Song Lyrics Research Articles

Long and Short Vowel Sounds in “Gasoline” and “Colors” Song Lyrics by Halsey

This study uses a phonetic technique to analyze the vowel sounds in Halsey's “Gasoline” and “Colors” songs. The use of long and short vowels in the lyrics is the subject of the examination. The study aims to present research findings on the long and short vowels in Halsey’s songs “Gasoline” and “Colors.” The writer also determines the impact of long and short vowels on the songs. The research methodology is a qualitative approach. The writer uses phonetics studies to analyze the long and short vowel sounds displayed in a table to provide a thorough understanding of the vowel sounds in the lyrics. According to the study, Halsey's songs' emotional effect is greatly influenced by phonetics, particularly long and short vowels. There are 87 examples of long vowels and 49 of short vowels. In the song "Colors” there are 72 examples of long vowels and 28 of short vowels, demonstrating how vowel articulation such as /iː/, /ɑː/, and /uː/ may improve emotion and intelligibility. Research on the significance of vowel sounds in successful vocal performance is supported by the notion that anatomical elements, such as the location of the tongue and lips, are necessary for appropriate pronunciation. The results provide insights into phonetics and linguistics in lyrics and demonstrate how vowel usage enhances emotional expressiveness in music.

A Study of Taylor Swift’s Pop Songs for EFL Learners: Categorizing Words Based on the Oxford 3000 and 5000 Word Lists and CEFR Levels

This study aims to evaluate the extent to which Taylor Swift’s song lyrics incorporate vocabulary from the Oxford 3000 and 5000 word lists and to categorize these words based on CEFR levels. The goal is to narrow down the vast selection of songs available to EFL learners, focusing on the most essential vocabulary to enhance their learning effectively and effortlessly. The Taylor Swift Pop Song Corpus (TPC) was compiled using the AntConc 4.2.4 program. The analysis involved three steps: data preparation, lexical profiling, and word categorization. The results revealed that 18.08% of the words in the songs appeared in the Oxford 3000 word list, while 1.99% were found in the Oxford 5000 word list. The highest frequency CEFR level in the songs was A1, with a lexical coverage of 41.44%. In summary, Taylor Swift’s songs can serve as valuable materials for learning or teaching essential vocabulary for general purposes and beginners.

Pelesapan subjek dalam lagu denny caknan: Kajian pragmasintaksis

This study aims to analyze the pattern of subject ellipsis in the clauses of Denny Caknan’s song lyrics. Ellipsis is a linguistic phenomenon in which a word or linguistic unit is not explicitly mentioned, but its meaning can be understood from the context. Using a qualitative descriptive method, this research collects data through the listening method and note-taking technique, which are then analyzed using techniques such as direct element division, inversion, ellipsis, and substitution. The findings indicate that subject ellipsis in these lyrics results in a more concise and effective narrative, although it requires contextual understanding from the listener. The listener’s understanding of subject ellipsis is highly dependent on the context of the preceding lyrics and their ability to fill in the missing syntactic elements, making them an active part of the interpretation process. These findings are expected to enrich linguistic studies on ellipsis and contribute to further research on subject ellipsis. Keywords: ellipsis, syntax, pragmatics, song lyrics, Denny Caknan

AN ANALYSIS MORAL VALUE IN SONG LYRICS "PRICE TAG" BY JESSIE

This study examines the moral values in the song lyrics of Price Tag by Jessie J. . The song critiques the growing focus on materialism and emphasizes the importance of love, happiness, and authenticity in life. The research aims to identify and analyze the moral messages conveyed through the song, using a qualitative approach to explore the lyrics and categorize the moral themes. The analysis reveals that the song advocates for a shift in societal focus—from the pursuit of wealth and material possessions to prioritizing emotional well-being and human connection. The moral values identified in the lyrics include love and affection, bravery, sympathy, and honesty. The findings suggest that the song calls for a shift in focus—from valuing money and possessions to prioritizing emotional well-being, human relationships, and genuine happiness. The most frequent moral value expressed in the song is love and affection, with the lyrics urging listeners to "pay with love" and to prioritize emotional connections over material wealth. In conclusion, Price Tag offers a critique of materialism while encouraging listeners to value love and unity. The study highlights the power of music as a tool for spreading moral messages and inspiring positive change in society, especially in an era where consumerism often overshadows more meaningful pursuits.

Aesthetic Expressions in Ḍeuḍā Song Lyrics: An Analysis of Shreeṅgār and Karuṇa Rasas

In recent years, many authors have shed light on the hidden world of folklore, particularly on folk songs seeking to re-envision the practices of the traditional society. This research on a folk song of Far Western Nepal i.e. Ḍeuḍā holds special promise for analyzing it in the light of Rasa theory; a theory about aesthetic flavor in arts that evokes emotions and feelings of the readers. The study reflects upon the theory of rasa and attempts to make an assessment of it in relation to the Deudā song that adopts qualitative research method, using observations and interviews as data collections tools. The main intention of this study is to see how the song lets out the common emotions (rasas) of the people dwelling in Far Western Nepal. It examines how different forms of rasa function in various Deudā songs. A particular emphasis is placed on analyzing the songs in terms of Shreeṅgār and Karuṇa rasas. The findings of the study reveal that the Deudā song is loaded with the feeling of the throbbing hearts of the people of the region with their emotions of pain, pathos, suffering, misery, hardships, compassion, mercy, love and romance.

Functions of Taboo Words Found in ‘Habits’ Song Lyric by Eminem

The use of taboo language could be found easily in our daily life, especially in our daily communication because it is considered more effective to use to express feelings and any situations. This research deals with the taboo words found in ‘Habits’ song lyric by Eminem. Theory of taboo words Wardhaugh (2006) is used to analyse the data found. This research aims to analyse the functions of taboo words in ‘Habits’ song lyrics by Eminem. The data of this research were taken from a rap song entitled ‘Habits’ by an American famous rapper, Eminem. As a result of this study, there are 4 functions of taboo words found in ‘Habits’ song lyric. The most functions used in the song lyrics is to draw attention and to show contempt with the percentages 35,7%.

A Reflection on Philosophical Midwifery Poetry

As midwifery students, it is imperative for us to formulate our own midwifery philosophy to guide our future practice. When asked to reflect on this at university through a creative medium, I was initially challenged by my self-perceived lack of artistic creativity. However, I have forever been moved by linguistics, and have identified with poems, think-pieces and song lyrics; hence, I was compelled to write poetry. My poem, We Are Midwives, utilises symbolism, metaphors and imagery to convey the journey of pregnancy – pre to postnatal – through the eyes of a midwife.

Analysis of Connotative Meaning in Five Songs in the Album "Menari Dengan Bayangan" by Baskara Putra as Teaching Material in Poetry Learning

Music, which involves sound and rhythm, is often used as a form of expression or entertainment, and song lyrics as a form of poetry have similar aspects to poetry, such as rhythm, rhyme, metaphor and emotional expression. In a song lyric, the connotation meaning, both positive and negative, is an important element in understanding the implied message in the song lyrics. This study uses a qualitative descriptive analysis method with a semantic content analysis approach to identify and classify connotative meanings in five songs, namely Membasuh, Secukupnya, Rumah ke Rumah, Efisiensi, and Untuk Apa / Untuk apa, which are included in the album "Menari dengan Bayangan" by Baskara Putra. The results of the analysis of the five songs can be calculated as follows: the song Membasuh found 16 or the equivalent of 16.33% of words or phrases containing connotative meaning. The second song, the song Secukupnya found 28 or equivalent to 16.18% of words or phrases containing connotative meaning. The third song, Rumah ke Rumah found 17 or equivalent to 7.69% of words or phrases containing connotative meaning. The fourth song, the song Efisiensi found 16 or equivalent to 16.33% of words or phrases containing connotative meaning. And the last song, the song Untuk Apa/ntuk apa found 44 or equivalent to 25.29% of words or phrases containing connotative meaning. Of the five songs that have been analyzed in general, there is an average percentage of words or phrases that contain connotative meaning of 15.5%

Voice-Over Translation of Musical Poetry in Films (an Analysis of Song Lyrics from the Musical Film “Grease”)

The features of voice-over translation in musical films, with a particular focus on song lyrics, were explored. Key methods best suited to the demands of such translation were analyzed and categorized. The insights were drawn from a detailed case study on the voice-over translation of song lyrics in the iconic musical film “Grease”. Compressed free translation and semantic translation, each with its strengths and limitations, were identified as the primary approaches used to preserve the intended meaning and musicality of the translated song lyrics. The obtained results, however, show that much can be lost through excessive compression, thus leading to semantic errors and an overall failure to meet the requirements for fidelity and quality in translation, which is due to a loss of expressiveness, as well as an inability to capture extralinguistic and linguistic nuances. Additionally, common challenges encountered while performing voice-over translation of song lyrics in musical films were summarized. By highlighting these potential pitfalls, the importance of preserving the original’s integrity and essence to effectively adapt it to new linguistic and cultural contexts was underscored.

WORD ON THE (DIGITAL) STREET: EXPLORING YOUTUBE VLOGS AS REPUTATION MANAGEMENT FOR ARTISTS IN CHICAGO’S DRILL RAP SCENE

In Drill music, Chicago’s subgenre of Gangsta rap, Black male gang-affiliated recording artists (Drillers) often distribute content on social media platforms to solidify the authenticity of their song lyrics and music videos and validate their own embeddedness in gang territories. Using content analysis of two prominent Drillers’ vlogs, this study examines how YouTube channels serves as important intermediaries to not only circulate one’s music but provide Drillers a valuable reputation management tool. Results of this analysis suggests there are three primary ways that Drillers relate audiences: “signifying” (using humor to discredit a rival’s accusations and appear unbothered), “calling bluffs” (threatening or challenging a rival to retaliate by inviting them to their physical location) and cross referencing (calling attention to private information that contradicts one’s public image through storytelling). These findings show that though publicly crafting violent personas remains central in Black male youth gaining visibility in the corporate rap music industry, through social media entertainment, there are newer and riskier labor practices required for Black male youth seeking to self-authenticate street reputations, monetize, and create community around personas communicated within their music.

평양 숭실대학 교가(校歌)의 발굴과 역사적 함의

This study aims to analyze the historical significance of the school songs sung at Pyongyang Soongsil University. Soongsil University was established under the leadership of foreign missionaries, and through this process, Western-style music and school songs were introduced. This paper explores the lyrics and musical characteristics of the school songs sung from the early days of Pyongyang Soongsil University until its closure and examines the educational philosophy and Christian spirit that Soongsil University pursued through these songs. Furthermore, it discusses how the school songs contributed to instilling pride among students and strengthening the identity of the school. It was confirmed that the school songs of Soongsil University symbolized the identity of the institution and played a role in strengthening the bonds among its members. The school songs of Soongsil University also played a role in promoting national pride in line with the historical context of the time. The songs held significance beyond being mere school anthems for the students, and through them, the spirit of the nation was fostered within the school community. In this historical context, it was confirmed that the school songs of Soongsil University went beyond being part of a particular school culture and became important symbolic elements of modern Korean education. Moreover, as the school songs developed under the musical influence of the missionaries, they not only held religious significance but also contributed to the students' academic education and spiritual cultivation. The lyrics of the school songs reflected Christian values and beliefs, instilling faith and moral responsibility in the students. This shows that the school songs functioned as symbols that combined the academic goals of Soongsil University with its Christian ideals. This study comprehensively analyzes these elements and discusses how the school songs can be connected to the Soongsil University of today, ultimately proposing ways to restore and modernize the use of Soongsil University's school songs.

1950년대 샹소니에 작품에 내재된 민중시적 특징 고찰

This study aims to analyze the lyrics of chanson songs from the 1950s in order to examine the populist characteristics inherent in the works of the period. For this purpose, four chanson artists—Georges Brassens, Jacques Brel, Boris Vian, and Léo Ferré—who released albums during the 1950s, are selected for the analysis of prevailing trends and populist features in their compositions. In the aftermath of World War II, Europe experienced widespread human and material losses, which posed significant barriers to social stability. Artists and writers of the time depicted the horrors of war and the existential struggles of humanity through their works. Chanson songs of this era, in turn, captured the lives, experiences, desires, and aspirations of the working class, reflecting the socio-economic realities of ordinary people. The populist characteristics of these chansons are evident in their realistic portrayals of the impoverished and difficult lives of the lower classes in an unstable post-war society, as well as in their expressions of yearning for love and freedom. Furthermore, the societal implications of rapid industrialization were also addressed. By investigating these populist features, this study demonstrates how chanson songs of the 1950s functioned as a form of social engagement, using artistic expression to reflect and critique the social issues of the time.

Pronounal metamorphoses in “The Man Who Would Be King” by R.J. Dio

The article examines the conflict structure in the song lyrics of “The Man Who Would Be King” (2004) by the American rock musician R.J. Dio. The article emphasizes the cross-interference of literary framework and grammar. The high compression of the song lyrics intensifies the polysemantic potential of words, pronouns in particular. The choice of pronouns, in turn, allows spaciously depicting the status and progress of the lyrical character, conveyed by Dio in singular and plural simultaneously. The pronouns help to designate different aspects of the conflict within the lyrics: “we and the infidels”, “me and (Holy) Father/God”, “me and my allies in faith”, and to escalate the conflict of the lyrical character with himself. In the absence of response, Dio’s narration becomes an unrequited dialogue, a one-sided reasoning of the lyrical character with himself. The article draws parallels with the story “The Man Who Would Be King” (1888) by R. Kipling, which for Dio serves an intertextual reference, taking us back to earlier events in British history, revealing a common motif of the White Man’s Burden, a colonial mission, and the archetype of the crusader and liberator for both stories. The article concludes that it was “them”, the defeated infidels, who were the dragging force that made the lyrical character grow as “I” and “we”. “Them” also served a basis for the uneasy changing authority of “him”, the super-ego – (Holy) Father/God, King, the Devil, the Man – testifying to the important role of pronouns in the progress of the song’s plot.

Lyrics do matter: how “coping songs” relate to well-being goals. The COVID pandemic case

IntroductionIn stressful times, people often listen to “coping songs” that help them reach emotional well-being goals. This paper is a first attempt to map the connection between an individual’s well-being goals and their chosen coping song.MethodsWe assembled a large-scale dataset of 2,804 coping songs chosen by individuals from 11 countries during COVID-19 lockdown. Individuals reported their well-being goals and also named their coping song. We applied an unsupervised topic-modeling approach to identify 15 self-emerging topics from the song lyrics, and connected them to well-being goals.ResultsWe found significant association between certain lyrics’ topics and specific well-being goals. This association weakened for participants for which music is highly important. No significant patterns were found for the songs’ acoustic features.DiscussionThis paper posits that song lyrics, despite their brevity and presumed simplicity, can be meaningful for self-regulation of emotional states, and should receive more attention by researchers and streaming services alike.

ANALYSIS METAPHOR IN SELECTED SONG BY JAMES ARTHUR

This research analyses the expression of metaphors in the Selected James Arthur's song In this research, the author analyzes the types of metaphors that are used based on Lakoff & Johnson's theory in James Arthur's song lyrics. By using the qualitative method, Metaphor is the most used figurative language to express sadness in James Arthur's song lyrics. Based on the analysis of 25 metaphors, it was found that conceptual metaphor was the most dominant type, with a frequency of 10 times (40%). Conceptual metaphors describe the relationship between one idea and another more concrete idea, such as describing life as a journey. This type helps the listener or reader understand abstract concepts in a more familiar and digestible way. Ontological metaphors took second place with a frequency of 9 times (36%). This type transforms an abstract or formless experience into something more concrete, such as emotions described as objects that can be touched or moved. The use of this metaphor often makes it easier for someone to visualize complex ideas. Meanwhile, orientational metaphors appeared 6 times (24%). Overall, these results suggest that conceptual metaphors are more widely used, perhaps due to their flexibility in conveying abstract ideas, whereas ontological and orientational metaphors complement the narrative more concretely and emotionally

CORPUS-BASED ANALYSIS OF FIRST-PERSON PRONOUN IN NIKI’S SONG

This study aims to analyze the use of first-person pronouns in NIKI's song lyrics, focusing on their frequency, pattern, and context of usage. The research employs a descriptive qualitative-quantitative approach, combining corpus analysis with contextual interpretation. The data consists of song lyrics from NIKI's albums and popular tracks, formatted into a compatible text file (.txt) for analysis using AntConc software version 4.3.1. Data collection involved gathering lyrics from reliable sources, cleaning the data, and preparing it for analysis. The analysis process included identifying the frequency of first-person pronouns, observing distribution patterns through the concordance feature, and interpreting the context and meanings of pronoun usage. The findings reveal a dominance of the pronoun "I" (589 occurrences) over "We" (138 occurrences), indicating a focus on individual experiences and emotions in NIKI's lyrics. The study identifies various patterns, including "I + to be," which reflects deep emotional states, self-reflection, and regret; "I + modal," which conveys feelings and desires; and "I + verb," which directly expresses actions and emotions. Additionally, the "We" patterns, such as "We + To Be" and "We + Modal," illustrate collective experiences, possibilities, and relationship dynamics. The results highlight the contrasting roles of individual and collective perspectives in NIKI’s songwriting, enriching the emotional depth of her lyrics.

Cultural and Linguistic Insights through Green Day's Lyrics for EFL Students

This study explores the potential of Green Day's lyrics as an educational resource for English as a Foreign Language (EFL) learners. While traditional language instruction often lacks the cultural and emotional dimensions of authentic language, song lyrics can bridge this gap. Focusing on three Green Day songs—"American Idiot," "Boulevard of Broken Dreams," and "Wake Me Up When September Ends"—this qualitative analysis examines recurring themes, vocabulary, and sociocultural content. Findings reveal that these songs provide learners with relatable content, idiomatic expressions, and a rich array of colloquial vocabulary, supporting vocabulary acquisition and conversational fluency. Moreover, Green Day's lyrics offer insight into American society, including themes of media influence, identity, and social critique, fostering cultural awareness and critical thinking among learners. The emotional engagement provided by these themes also enhances memory retention, aligning with Krashen’s Affective Filter Hypothesis. This study suggests that popular music, particularly songs with cultural depth, can enhance EFL learning by offering an immersive, authentic experience.

Representasi Folksong dan Memori Kinetik dalam Nyanyian Jemaat Gereja Protestan Maluku

This article aims to examine the Maluku Protestant Church (GPM) Congregation Songbook using the kinetic memory study to find the representation of folksong in implementing worship in Maluku. The author uses descriptive qualitative methods with data collection techniques and interviews with key informants, including the GPM synod chairman and two songwriters from this congregational songbook, to obtain the desired results. Based on the results of the research, the author found that it is true that the GPM congregational songbook is the work of the Maluku people used in the worship life of the Maluku people, which is inseparable from the context of the social and cultural life of the Maluku people so that this congregational song can be referred to as the folksong of the Maluku people which is contextualized by theological and cultural understanding. The next finding also presents several song titles and lyrics that contain kinetic memory so that when sung with body movements, it will liven up the atmosphere of worship that is more vibrant and excite the congregation.

Makna Konotasi dalam Lagu “Kita Bikin Romantis” Karya MALIQ & D’Essentials

This study focuses on the analysis of the connotative meaning contained in the lyrics of the song Kita Bikin Romantis by MALIQ & D’Essentials. Literary works, produced through language, not only reflect the life and culture of society, but also play a role in shaping and developing the culture itself. Literature as an art and science has aesthetic and analytical aspects related to the expression of emotions and ideas, including in the arts of music, drama, dance, and painting. The song Kita Bikin Romantis as a work of art uses language to convey emotional and symbolic messages, which focus on romantic actions in everyday life. This study aims to reveal how this song connects music, language, and socio-cultural contexts in creating a richer understanding of the message conveyed to the listener. Through a qualitative descriptive approach, this study explores the connotative meaning that not only shows romance through big actions, but also through small, meaningful attentions, such as serving hot tea or asking about a partner. The researcher analyzed the connotative meaning in each lyric. This study resulted in a study of the connotative meaning of a song. The results of this study are expected to contribute to the study of music semiotics and inspire listeners to better understand the interpretation of song lyrics in a broader cultural and emotional context.

GENRE FEATURES OF THE SONGS OF THE ZHYLYOI REGION

The most widespread song genre of the national musical culture was initially divided into regions, formed by local musical moonshine, and then continued and developed in colloquial speech. In the Russian musicological field, the study of this genre in various aspects continues to this day. The vitality, variability of local lyrical songs, characteristic local musical and stylistic features of the region, continuity between ritual and author's lyrical works of this region determine the main purpose of the article: musical features, range and harmony, etc. In accordance with this goal, the article reflects the complex focus of research among the internal conditional periodic types of the genre (ritual, folk, oral and professional). The results achieved in order to identify intertemporal continuity can be used in scientific research, performing arts, demonstrating scientific and practical significance. The approaches of complex and comparative historical and theoretical analysis are applied on the basis of fundamental scientific works studied by domestic scientists in the genre of conversational and professional regional songs. Formulating the study, the local genre features of the songs of Zhylyoi, which have developed between the two largest performing schools in the Western region, were determined both by the names of the songs and by musical and theoretical characteristics.