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Abdullayeva, Umida. "ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM". Scientific Reports of Bukhara State University 5, n.º 5 (30 de dezembro de 2021): 167–78. http://dx.doi.org/10.52297/2181-1466/2021/5/5/15.
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Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.
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Parkheta, Lubov. "FEATURES OF STUDYING LYRICS IN LITERATURE LESSONS". Psychological and Pedagogical Problems of Modern School, n.º 1(9) (27 de abril de 2022): 72–78. http://dx.doi.org/10.31499/2706-6258.1(9).2023.279339.
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Methodical approaches to the study of lyrics in literature lessons are disclosed in the article, in particular, its role in the formation of literary competence in students of general secondary education institutions. It is noted that lyrics are the most mobile of all genres of literature and have the greatest potential in shaping the emotional sphere of students and great educational opportunities. Various methodical algorithms for the study of lyric poetry are analyzed, in particular, the fact that lyrics are divided into civil, or political, philosophical, intimate, or personal, landscape, according to the subject matter and leading motives.According to the structure and method of organizing the material, lyrics are divided into reflexively expressive, narrative, and descriptive. In addition, there are also mixed structures of lyric works, that is, those that have features of all types. Studentsʼ perception and understanding of lyric works is determined by many factors: features of lyric poetry; the originality of the poetʼs artistic manner; the character of the ideological content of the works; general development of children, their life experience.The generic features of lyrical works determine the specificity of their study, which is associated with a number of related problems. One of them is the analysis of the image of the lyrical hero. The second problem of studying poetry is its poetic form (the peculiarity of the poetic language, its feet and size, strophic structure, etc.). Reading a work in class is a very important stage of its analysis, and for some types of lyrics it is also the main one. Pupils receive the first emotional impressions, on which the perception of poetry in general depends to a large extent. An important problem in the study of lyrics is its poetic form (the peculiarity of the poetic language, its feet and size, strophic structure, etc.). Lyrical works are somewhat difficult to perceive not only by teenagers, but often by high school students as well, therefore it is very important to create conditions for students to experience as fully as possible the feelings expressed in the studied poetry, to be imbued with thoughts. For this purpose, various methodological techniques are used. Studentsʼ interest in lyrical works must be constantly developed.
Keywords: lyrics; lyrical works; literature lesson; lyrical hero; author; rhythm; content and form of the poem; expressive reading.
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Hermintoyo, Muhamad. "Kalimat Metaforis Sebagai Sarana Estetika dalam Lirik Lagu nDangdut". Nusa: Jurnal Ilmu Bahasa dan Sastra 13, n.º 3 (28 de agosto de 2018): 380. http://dx.doi.org/10.14710/nusa.13.3.380-389.
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Abstract In providing an aesthetic element, the lyricist will express it through poetic diction. In the hands of creative lyric writers, a figurative language will emerge. Metaphorical lyrics understanding does not have to have the same meaning that is written. Poetic language / poetic lyrics, the words can mean the meaning depends on the listener's understanding. Even so in the song nDangdut. In general, the song Dangdut tends to have a theme of love compared to other themes. This article discusses metaphorical diction as an aesthetic means. Meaning of metaphorical diction using hermeneutical reading. Keywords: diction, metaphor, hermeunetic, lyrics, dangdut
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Amankulova, L. А., e B. S. Begmanova. "CREATIVE ENDEAVOUR IN THE CONTEMPORARY KAZAKH POETRY (ON THE WORK OF Y. ZHUNIS)". Keruen 77, n.º 4 (20 de dezembro de 2022): 254–63. http://dx.doi.org/10.53871/2078-8134.2022.4-21.
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A genre of lyrics in modern Kazakh literary criticism is being studied in a complex way. Many scientific works have been written on the history of the poetry development and lyric poetry. There is always a place for a poetry in the literature; there is a place for lyricism in the poetry. With the advent of new trends and manners in Kazakh poetry, a role of a lyrical hero changes from time to time. In this article, for the first time, mentality of modern Kazakh lyrics becomes an object of a scientific research. The study examines a history of development of Kazakh poetry on the example of the works of the following famous poets: M. Rayymbek, T. Tolkynkyzy, A. Elgezek, A. Temirbai, A. Isadil, Y. Zhunis. With the help of a comprehensive scientific analysis, the authors of the article explore significant changes and innovations in the artistic text in modern Kazakh poetry in order to identify traditional mentality. The authors explore work of Yerlan Zhunis, which contributed to the rise of modern Kazakh lyrics to a qualitatively new level: development of poetry in line with modern trends, improvement of artistic content. They examine poet’s philosophical approach and poetic mastership, his civil and love lyrics from the artistic point of view. Thus, the authors are trying to identify the elements of creative endeavor and the innovative contribution of the poet Y. Zhunis in Kazakh poetry.
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Nawangsari, Elsha Tiara. "ANALYSIS OF DENOTATIVE AND CONNOTATIVE MEANINGS IN THE LYRICS OF KESHI'S ALBUM ENTITLED BANDAIDS". Symposium of Literature, Culture, and Communication (SYLECTION) 2022 1, n.º 1 (24 de dezembro de 2022): 276. http://dx.doi.org/10.12928/sylection.v1i1.11583.
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This research aims to describe the form of word class and analyze the denotative and connotative meanings that can be found in the lyrics of Keshi’s album entitled Bandaids released in 2020. This research is categorized as qualitative descriptive research, since the data are in the forms of words and phrases also the result are in the form of text and explanations. There are 5 songs taken from Bandaids album by Keshi. The data are collected using Observation method (Metode Simak) by Sudaryanto. The researcher also uses Sudaryanto's Identify Method (Metode Padan) as the method analysis. Then, the researcher uses semantic study as the approach in this research. The result of the research shows that there are 46 words and phrases containing denotative and connotative meanings in the song lyrics. The form of word class found in the songs lyric are noun, verb, adjective, adverb, noun phrase, and verb phrase. The words are dominated by noun. The connotation found in the song lyrics is important in understanding the messages of the lyrics. It conveys the lyricist feelings and emotions toward his relationship with someone. The lyricist depicts the bitter sweetness of the relationship and the way of self-healing through the song lyrics.
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Vidhiasi, Dhion Meitreya. "An Analysis of Appraisal System of Paw Patrol Lyric". Al-Lisan 6, n.º 2 (5 de setembro de 2021): 167–78. http://dx.doi.org/10.30603/al.v7i2.2197.
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Hero-themed children’s films are always fun for children. The PAW Patrol film series is a spectacle aimed at pre-school-age children. The film’s main characters are one 10-year-old child and six puppies. This study aimed to look at the Appraisal System contained in the lyrics of the opening song of the PAW Patrol series, which aired on the NickJr channel. The researcher wanted to find the dominant Appraisal System in the lyrics. The researcher also wanted to know how the lyricist positioned the listeners and viewers of the film through the song’s lyrics. The data analyzed were the lyric of the opening song of the PAW Patrol film series. The data were then analyzed using Martin and White’s Appraisal System theory. Researchers used qualitative descriptive methods in analyzing the data. The results showed the three Appraisal sub-systems; Attitude, Engagement, and Graduation, are found in the lyrics of the PAW Patrol opening song. The dominant appraisal system was Graduation. Listeners or moviegoers are positioned as people who receive the image of the heroic act shown in the song's lyrics.
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Stoia, Nicholas, Kyle Adams e Kevin Drakulich. "Rap Lyrics as Evidence". Race and Justice 8, n.º 4 (31 de janeiro de 2017): 330–65. http://dx.doi.org/10.1177/2153368716688739.
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Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight the usage of lyric formulas, stock lyrical topics understood by musicians and their audiences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to contemporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally.
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Mutawakkil, Fadhil, e Hendra Afriwan. "PERANCANGAN VIDEO LIRIK BAND DISTRICT HARDCORE MELALUI MEDIA AUDIO VISUAL". DEKAVE : Jurnal Desain Komunikasi Visual 10, n.º 2 (17 de fevereiro de 2020): 231. http://dx.doi.org/10.24036/dekave.v10i2.108161.
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District is one of Hardcore band that have a Melodic Hardcore style from Bukittinggi city. District are the pioneer of Melodic Hardcore genre in Bukittinggi city, made this genre as their characteristic that brought by District. Lyrics from District is containing massage about rebellion and resistance to oppressions. Yet the messages from the lyrics is less delivered, because of the audience have a problem to understand the lyrics.The design of this lyric video is expected can be an effective communication media to delivered contain and message from District song lyrics and suit with low budget also style of Hardcore music.This lyric video will be showing Let’s Revolt lyric from District. Besides showing the lyrics, Motion Graphics will be shown to illustrating to give some better impressions for this lyric video. This lyric video will have theme of war, mass demonstration, and justice.Keyword : indie band, hardcore, Let’s Revolt, District, Lyric Video
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Li, Shengguo, e Sungkyoo Hong. "A Study on the Elements of Literature by Analyzing the Lyrics of “Chinese Style” by Fang Wenshan". Korean Society of Culture and Convergence 44, n.º 7 (31 de julho de 2022): 743–53. http://dx.doi.org/10.33645/cnc.2022.7.44.7.743.
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This study is an in-depth analysis of the Chinese-style work of modern Chinese lyricist Fang Wen shan. Fang Wen shan's work has been evaluated as a lyric containing ancient elements, so the characteristics of creation and literary elements contained in the lyrics of the song “Fa Ru Xue” were studied. To this end, in order to analyze the characteristics of the rhyme, artistic conception, and rhetoric of the notice contained in the lyrics, Fang When san’s creative career was investigated, and previous studies on Fang Wen shan’s work were found. Through prior research on Fang Wen shan’s work, the keyword and literary value of the song were explored, and the positive effects of Fang Wen shan’s Chinese-style work on the development of the Chinese music industry were explored through creative characteristics and literary value analysis of the lyrics.
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Rachman, Fika Hastarita, Riyanarto Sarno e Chastine Fatichah. "Music Emotion Classification based on Lyrics-Audio using Corpus based Emotion". International Journal of Electrical and Computer Engineering (IJECE) 8, n.º 3 (1 de junho de 2018): 1720. http://dx.doi.org/10.11591/ijece.v8i3.pp1720-1730.
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Music has lyrics and audio. That’s components can be a feature for music emotion classification. Lyric features were extracted from text data and audio features were extracted from audio signal data.In the classification of emotions, emotion corpus is required for lyrical feature extraction. Corpus Based Emotion (CBE) succeed to increase the value of F-Measure for emotion classification on text documents. The music document has an unstructured format compared with the article text document. So it requires good preprocessing and conversion process before classification process. We used MIREX Dataset for this research. Psycholinguistic and stylistic features were used as lyrics features. Psycholinguistic feature was a feature that related to the category of emotion. In this research, CBE used to support the extraction process of psycholinguistic feature. Stylistic features related with usage of unique words in the lyrics, e.g. ‘ooh’, ‘ah’, ‘yeah’, etc. Energy, temporal and spectrum features were extracted for audio features.The best test result for music emotion classification was the application of Random Forest methods for lyrics and audio features. The value of F-measure was 56.8%.
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Yuliah, Lia, Eka Yusup e Flori Mardiani Lubis. "Peran Lirik Jingle Iklan Luwak White Koffie dalam Pembentukan Identitas: Analisis Semiotika Model Roland Barthes tentang Peran Lirik Jingle Iklan Televisi Luwak White Koffie Versi Tarik Malaka Featuring Via Vallen". Da'watuna: Journal of Communication and Islamic Broadcasting 4, n.º 2 (28 de agosto de 2023): 759–67. http://dx.doi.org/10.47467/dawatuna.v4i2.5011.
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The Lyrical Role of Jingle Luwak White Koffie Advertising in Identity Formation (Semiotic Analysis of Roland Barthes Model on the Lyric Roles of Luwak White Koffie Television Advertence Jingles Version of Tarik Malaka Featuring Via Vallen). The jingle advertising is used to deliver messages to the audience and as one of the communication strategies, to convey messages that risk the identity or purposes of the company itself. The purpose of this research is to find out how lyrics and visual jingle advertising luwak white coffee in the formation of identity and how the word selection strategy in lyrics writing jingle television advertising luwak white koffie in shaping identity. The research method used in this research is a qualitative method with Roland Barthes' semiotic analysis, with data collection techniques, observations of library studies and documentation. This research uses Roland Barthe's theory with denotations, connotations and myths. The results show that lyrics from the jingle advertisement luwak white koffie tarik malaka helped shape the identity of the product with the selection of supportive words in the lyrics of the advertisement.
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Tambunan, Khairunnisa, Fika Emylia Effendi e Miftahur Ridha. "IMPLICIT AND EXPLICIT INFORMATION IN THE TRANSLATION OF "FLOWERS" LYRICS BY MILEY CYRUS". Proceedings of International Conference on Education 2, n.º 1 (1 de abril de 2024): 771–75. http://dx.doi.org/10.32672/pice.v2i1.1356.
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This article delves into the intricate process of translating song lyrics, with a specific focus on Miley Cyrus's emotive track, "Flowers". The study explores the challenges faced when translating implicit and explicit information, as well as the impact of cultural nuances on the accuracy and emotive resonance of the translated lyrics. By analyzing the translation process and the choices made, we gain insight into the dynamic interplay between language and music, and how translators navigate this intricate terrain. The translation of song lyrics is an art that transcends linguistic and cultural boundaries, demanding not only linguistic fluency but also a deep understanding of cultural and emotional subtleties woven into lyrical compositions. "Flowers" with its universal themes, serves as an intriguing case study to investigate the multifaceted process of translating implicit and explicit information in song lyrics. This article adopts a qualitative research approach, drawing insights from lyric analysis, interviews with experienced song translators, and an exploration of the cultural context of the target languages. The findings shed light on the art and science of song translation and the pivotal role of translators in mediating the emotional and cultural impact of music across diverse linguistic and cultural landscapes.
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Putri, Ranadya Ditharifiasari Santoso, e Ati Sumiati. "Grammatical and lexical cohesion devices found in Coldplay's song lyrics in the Ghost Stories album". Lililacs Journal : English Literature, Language, and Cultural Studies Journal 2, n.º 2 (11 de julho de 2022): 33–38. http://dx.doi.org/10.21009/lililacs.022.03.
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This study aims to analyze the used of grammatical devices and lexical device in 9 (nine) Coldplay’s song lyrics in the Ghost Stories album. The songs are titled Always in My Head, Magic, Ink, True Love, Midnight, Another’s Arms, Oceans, A Sky Full of Stars, and O. The source of the data were collected from the lyrics of Coldplay’s song lyrics and taken from Coldplay’s official website. In this study, the writer used theory by Halliday and Hasan (1976) about lexical cohesive devices and grammatical cohesive devices. This study applied qualitative method. The data in this study is in the form of words, phrases, and sentences which contains grammatical and lexical cohesive devices.
The result of this study shows that grammatical cohesive devices and lexical cohesive devices were found in Coldplay’s song lyrics in the Ghost Stories album. For the grammatical cohesive devices found are reference, substitution, ellipsis, and conjunction where the dominant types of grammatical cohesive devices used is reference, specifically personal reference. Meanwhile, the lexical cohesive devices found are repetition, synonym, and antonym. Repetition is the dominant type of lexical cohesive device used. The function of the usage of the lexical cohesive devices is to express and emphasize the writer’s idea that the lyricist puts into the lyrics of the songs he writes.
Keywords: Song lyric, grammatical devices, cohesive devices.
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Levitskaya, N. E. "SUBJECTIVE ORGANIZATION OF THE LANDSCAPE DISCOURSE IN OLEG CHUKHONTSEV’S LYRICS". Bulletin of Kemerovo State University, n.º 2 (8 de julho de 2016): 193–99. http://dx.doi.org/10.21603/2078-8975-2016-2-193-199.
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The paper studies O. Chukhontsev’s lyrics of the 1990s – early 2000s. The study focuses on the landscape lyric discourse, the category of the author’s world view is used in the conceptual and functional aspects as a methodological tool of the study. The organization of the subjective sphere of landscape discourse indicates the predominance of the lyrical subject-subject relations in the author – character scope.
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Preniqi, Vjosa, Kyriaki Kalimeri e Charalampos Saitis. "Soundscapes of morality: Linking music preferences and moral values through lyrics and audio". PLOS ONE 18, n.º 11 (29 de novembro de 2023): e0294402. http://dx.doi.org/10.1371/journal.pone.0294402.
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Music is a fundamental element in every culture, serving as a universal means of expressing our emotions, feelings, and beliefs. This work investigates the link between our moral values and musical choices through lyrics and audio analyses. We align the psychometric scores of 1,480 participants to acoustics and lyrics features obtained from the top 5 songs of their preferred music artists from Facebook Page Likes. We employ a variety of lyric text processing techniques, including lexicon-based approaches and BERT-based embeddings, to identify each song’s narrative, moral valence, attitude, and emotions. In addition, we extract both low- and high-level audio features to comprehend the encoded information in participants’ musical choices and improve the moral inferences. We propose a Machine Learning approach and assess the predictive power of lyrical and acoustic features separately and in a multimodal framework for predicting moral values. Results indicate that lyrics and audio features from the artists people like inform us about their morality. Though the most predictive features vary per moral value, the models that utilised a combination of lyrics and audio characteristics were the most successful in predicting moral values, outperforming the models that only used basic features such as user demographics, the popularity of the artists, and the number of likes per user. Audio features boosted the accuracy in the prediction of empathy and equality compared to textual features, while the opposite happened for hierarchy and tradition, where higher prediction scores were driven by lyrical features. This demonstrates the importance of both lyrics and audio features in capturing moral values. The insights gained from our study have a broad range of potential uses, including customising the music experience to meet individual needs, music rehabilitation, or even effective communication campaign crafting.
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Murtadho, Abdul Muhid, e Amelia Amelia. "AN ANALYSIS OF FIGURATIVE LANGUAGE USED IN WESTLIFE’S SELECTED SONGS". Journal of English Language and Literature (JELL) 7, n.º 1 (1 de março de 2022): 73–84. http://dx.doi.org/10.37110/jell.v7i1.145.
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The purposes of this study are: (1) To find out the figurative language used in Westlife’s selected songs (2) To know the general meaning of lyrics on the Westlife’s selected songs. In analyzing of figurative language used in Westlife’s selected songs lyrics, the writer using qualitative research methodology, the data is taken from several books and internet as well as. Based on research finding, the general meaning contained in Westlife''s selected songs lyric indirectly deliver to the listeners through the lyrics they wrote.The lyrics try to tell about human social life which contains happiness, sadness, loneliness and others. The writer could identified that most of figurative language which used in Westlife’s selected songs lyric is “Hyperbole”. The writer got the data from the table. Hyperbole has a great exaggeration used to emphasize a point.
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Nuri, Nurhaida. "Peranan Bahasa Dalam Berkesenian: Pemberdayaan Lirik Lagu sebagai Sarana Pembentukan Karakter Bangsa". JURNAL ARBITRER 1, n.º 1 (1 de outubro de 2013): 58. http://dx.doi.org/10.25077/ar.1.1.58-67.2013.
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Language has important role in supporting the activities of art of music.This support can be seen from the lyrics composing the song.Language is used as the media to express the artisticness of the music.The harmonious esthetical lyrics with the rhyme give certain meaning to the music lovers. Without proper lyrics, the music composed will lose their soul, except instrumentalities which have no lyrics. The language in this lyric is categorized as literary words because it is ambiguous and full of expression. This kind of language may be used for several purposes, like persuading, to unite, to separate, and to provoke. Though the language is guaranteed by poetical license, as the literary work, such language is supposed to fulfill the esthetical aspects reflected in the intrinsic and extrinsic ones. As the lyric composer, a musician is bound the values and the social- ideology in society. No matter how, the lyric composer is part of the society. So, what happens in the society is part of his experience. The Indonesian proficiency as the media to express lyrics in Indonesian popular songs is undoubted. However, the quality is questioned. This worry comes up due to many lyrics-vulgarly expressed impacts negatively to the developing of national character. The success on building the character can be used through the role of Indonesian language, the model, especially the artists and musicians. They are forced to use the distinctive language bearing the character of honesty, politeness, and responsibility.
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MELEZHKO, V. "LYUDMYLA OVDIENKO: BIOGRAPHY, AUTOBIOGRAPHY". Philological Studies, n.º 34 (30 de dezembro de 2021): 13–19. http://dx.doi.org/10.33989/2524-2490.2021.34.250137.
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The publication presents the biography and autobiographical motives of the lyrics of the Ukrainian writer Lyudmyla Ovdienko. The purpose of the article is to present a biography and analysis of the poetic heritage of a fellow artist in the autobiographical aspect. We came to the conclusion that Lyudmila Ovdienko’s lyrical cycle is not only a specific type of context, but also a special form of creativity, a type of integrity that differs from the usual collection of poems and is a sequence of texts formed by the author.
We are convinced that motives-images are significant for the poet’s autobiographical lyrics. Of the many motifs that sound in the poems, the most prominent is the autobiographical. The emergence of the genre of autobiographical motives in the creative work of L. Ovdienko is determined by a special type of thinking of the author, the national tradition. The leading place in the consideration of lyric poetry is given to the study of motives-images (motive-family, motive-village). These motives the most significant for the autobiographical lyrics of our compatriot.
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Rakhmatova, Alisa Mukhamatovna. "Images of bodily objectification in non-classical lyrics". Филология: научные исследования, n.º 6 (junho de 2022): 22–31. http://dx.doi.org/10.7256/2454-0749.2022.6.38022.
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The object of research in our article is body images in the lyrics of the non-classical stage of the poetics of artistic modality (in the terminology of S. N. Broitman). The subject of research in this article is a specific way of depicting a lyrical subject and/or a lyrical character, in which his body is experienced (comprehended, evaluated) by himself as something separate, independently existing (or the body of a lyrical character is comprehended by a lyrical subject as something independent in relation to his inner world, "soul"). The article examines various methods of bodily objectification in non-classical lyrics based on the material of a number of lyrical works of the twentieth century. The scientific novelty of the research is determined, firstly, by the insufficient study of the artistic specificity of bodily images in lyrics as a kind of literature in general, secondly, by the lack of clarity of the artistic specificity of bodily images in the lyrics of the non-classical stage of the poetics of artistic modality, and thirdly, by the unexplored phenomenon of bodily objectification in both classical and modern lyrics. As a result of the conducted research, a number of conclusions were made. 1. A common feature of bodily objectification in lyrics (with all the variety of its depiction in specific texts) is the following: the perception by the lyrical subject of his body / the body of the lyrical character as another (related to the outside world) while maintaining an actual connection with him. 2. In the works of non-classical lyrics, two main variants of the image of bodily objectification are distinguished: a) in the image of a lyrical subject /character, the body is opposed to the "I"; b) in the image of a lyrical subject / character, the body is opposed to the "I", as well as to a certain extent to the objectified inner principle - the "soul".
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Lyubimov, Nikolay Ivanovich. "Philosophical problematic in the lyrics of Nadezhda Emykan". Филология: научные исследования, n.º 12 (dezembro de 2020): 178–88. http://dx.doi.org/10.7256/2454-0749.2020.12.34706.
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Within the framework of studying the typological varieties of modern Mari philosophical poetry, this article examines the lyrics of the contemporary Mari poet Nadezhda Emykan (Vasilyeva), particularly the poems from the compilation “I am the Daughter of Spring” (2016), which reflect the philosophical worldview and perception of the author, and in a certain way characterize the lyrical heroine. Research methodology contains historical-typological and structural-semantic analysis of the works, which allowed describing the structural-semantic levels of philosophical problematic, as well as revealing the authorial concept of the world and a human, and the type of lyrical heroine in the poetry of Nadezhda Emykan. The article discusses the fundamental philosophical problems of the lyrics of Nadezhda Emykan. In this aspect, the lyrics of this contemporary Mari poet is analyzed for the first time. It is proven that the philosophical problematic in Emykan’s lyric poetry is rich and diverse, demonstrating lateral thinking of the author, mental and emotional activity of the lyrical heroine. It is concluded that in analyzing various aspects of life, looking deeply into the present, the author of the book of poems “I am the Daughter of Spring” appears in two guises – as a romanticist, who refuses to accept many aspects of modern life, and as the “core” of the current “sinful” world; she understands the complexity of being, preserves her life principles, inner freedom and honesty therein.
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Hassan, Sundus, e Ahmad S. Haider. "Options for subtitling English movie lyrics into Arabic". Studies in Linguistics, Culture, and FLT 12, n.º 1 (15 de abril de 2024): 82–104. http://dx.doi.org/10.46687/lhtd6033.
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Subtitling lyrics poses a problem regarding conveying the content and the form, which include meaning, rhyme, rhythm, and other musical features. This requires having well-trained professional translators to master the rendering of those features in the target language, bearing in mind the constraints imposed by subtitling as an audio-visual mode. This study examines the Arabic subtitled version of English movie lyrics and explores the translator’s options in rendering their content and form. To this end, sixteen lyrics were extracted from five movies that have been subtitled. The compiled lyrics were classified into different categories based on the translation options proposed by Franzon (2008). The option of “translating lyrics without taking the music into consideration” was used 11 times, while the option of “aesthetic translation” was opted for four times. “Not translating the lyric” was used only once, while the option of “creating new lyrics for the music” was not adopted in any of the five movies. The study recommends two research areas: exploring dubbed Arabic versions of English movie lyrics and analyzing subtitled lyrics in other language pairs.
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Fajrin, Maudy Yaser, e Aseptiana Parmawati. "AN ANALYSIS OF FIGURATIVE LANGUAGE FOUND IN SONG OF BRUNO MARS ENTITLED “GRENADE”". PROJECT (Professional Journal of English Education) 4, n.º 4 (12 de julho de 2021): 588. http://dx.doi.org/10.22460/project.v4i4.p588-594.
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Individuals use language as a means of communication everywhere and at all times. In today's world, figurative language is often encountered in everyday life, such as in song lyrics. Figurative language is a way of describing something without saying it directly. This research aims to investigate the figurative languages found in the lyrics of the song "Grenade" by analyzing their context and attempting to decipher their meaning. The data tool is song lyrics found on the internet, and the research approach is descriptive qualitative analysis. The results revealed that this album employs figurative language such as metaphor, hyperbole, and repetition. Furthermore, the most figurative words used in the lyrics is hyperbole. Each figurative language's contextual sense is often clarified in relation to the lyric's situation. Keywords: Figurative Language, Song lyrics, Contextual Meaning
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Cantillo Lucuara, Mayron Estefan. "“Come, Dark-eyed Sleep”: Michael Field and the Performance of the Lyric as a Radical Fantasy". Revista Alicantina de Estudios Ingleses, n.º 35 (28 de julho de 2021): 43. http://dx.doi.org/10.14198/raei.2021.35.02.
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This article seeks to illustrate how the Michael Fields articulate their Sapphic poetry in Long Ago (1889) not only in keeping with their own Shakespearean aspirations and with Robert Browning’s hybrid formula of dramatic lyrics, but also in connection with Jonathan Culler’s theory of the lyric as a performative genre. Much recent scholarship has broken ground in the rediscovery and reappraisal of the Fields’ literary stature, yet the general critical approach has been divisive in addressing their poetry and their verse dramas separately. Some critics have taken heed of how their lyrics in general exhibit an intrinsic dramatic temper, yet no systematic inquiry has discussed how this lyrical dramaticity is manifest in any particular instance. Thus, this article singles out Long Ago’s second poem for its powerful performative energy, offering a close reading of each line, and demonstrating that it amounts to a hybrid dramatic lyric, as well as a tragic and transgressive performance in which a new Sappho takes centre stage as a Dionysian apologist of radical erotic fantasies.
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Chouhan, Sandhya. "The Theme of Love in Sarojini Naidu’s Poetry". International Journal of Advanced Research in Peace, Harmony and Education 04, n.º 01 (4 de dezembro de 2019): 10–12. http://dx.doi.org/10.24321/2455.9326.201903.
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Love is the dominant theme of Sarojini Naidu’s poetry. There are a large number of love-lyrics in the store of her poetry. As a love-lyricist, Sarojini Naodu is superb. Her lyrics deal with human love to metaphysical love. Thus, her love-lyrics have an aesthetic approbation of contemplation and sensation.
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Putri, Dwi Rizkiana, e Elpri Darta Putra. "Analisis Permasalahan Pembuatan Rencana Pelaksanaan Pembelajaran (RPP) Tematik Kelas IV di SDS YKPP Lirik". QALAMUNA: Jurnal Pendidikan, Sosial, dan Agama 13, n.º 2 (22 de setembro de 2021): 521–32. http://dx.doi.org/10.37680/qalamuna.v13i2.1018.
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This study aims to describe; Knowing the problems of making the fourth grade thematic Learning Implementation Plan (RPP) at SDS YKPP Lyrics, Knowing how the solutions were made by the teacher to overcome the problems of making the fourth grade thematic Learning Implementation Plan (RPP) at SDS YKPP Lyrics. This research use desciptive qualitative approach. The data sources of this study were two fourth grade teachers and one principal. This research was conducted in the fourth grade of SDS YKPP Lyric which is located on JL. Ukui No.1 Lyrics Area Lyrics District, Indragiri Hulu Regency. data collection techniques in this study are; interviews, observations, and documentation. While the analysis of research data using the Miles & Huberman model which includes data reduction, presentation, and drawing conclusions. The results showed that the Problem Analysis of Making Class IV Thematic Learning Implementation Plans (RPP) at SDS YKPP Lyrics: (a) The problems of making Class IV thematic Learning Implementation Plans (RPP) at SDS YKPP Lyrics were limited time, lack of understanding of RPP components, difficulty determining learning strategies and learning media. (b). The solution that the teacher does to overcome the problem of making the thematic Learning Implementation Plan (RPP) for grade IV at SDS YKPP Lyric is to add additional information, attend training activities, or workshops, refer to the teacher's handbook, conduct discussions with colleagues.
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Agus Tri Wardana, Agoes Hendriyanto, e Sofia Rahma Dwi Astuti. "Language Harmony in the Song 'Raiso Dadi Siji': Code Switching and Code Mixing, the Realization of Multilingual Education". Jurnal Penelitian Pendidikan 15, n.º 2 (28 de dezembro de 2023): 84–95. http://dx.doi.org/10.21137/jpp.2023.15.2.2.
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Qualitative descriptive research by collecting data on the lyrics of the song "Raiso Dadi Siji". This song tells the story of a man who is married and has a wife, but still loves his affair very much. Data was collected through listening approaches and note-taking techniques involving song lyric text and performance videos of songs sung by Kevin Ihza and Niken Salindri. The study will be conducted in May 2023. The results of the study are as follows: in the lyrics of this song, there are two code-switching events that occur due to the influence of Javanese, as well as two code-mixing events that insert words in Javanese into the song lyrics. Kevin Ihza, in his lyrical section, contains nine elements that reflect code mixing and five elements that indicate code switching. Code switching is a phenomenon in which a person switches from the use of one language to another in communication, often occurring between different language clauses or phrases. Understanding and analyzing code mixing and code switching, we can sense the diversity of languages and cultures around us and use them to develop more inclusive approaches in communication and education.
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Condit-Schultz, Nathaniel, e David Huron. "Catching the Lyrics". Music Perception 32, n.º 5 (1 de junho de 2015): 470–83. http://dx.doi.org/10.1525/mp.2015.32.5.470.
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Although purely instrumental music is commonplace, much of the world’s most popular music is sung with lyrics. However, it is evident that listeners don’t always attend to lyrics and that those who do aren’t always successful in deciphering them. An empirical study is reported whose goal is to measure the intelligibility of lyrics in commercial recordings of music from a variety of genres. Thirty participants were exposed to 120 brief musical excerpts from twelve song genres: Avante-garde, Blues, Classical, Country, Folk, Jazz, Musical Theater, Pop/Rock, Rhythm and Blues, Rap, Reggae, and Religious. Participants were instructed to transcribe the lyrics after hearing each excerpt once. The transcribed lyrics were then compared to the actual lyrics and intelligibility scores calculated. The different genres were found to exhibit significantly different levels of lyric intelligibility, from as low as 48% for Classical music, to as high as 96% for Jazz, with an overall average of 72%. Intelligibility scores were positively correlated with listener judgments of the general importance of lyrics. In a second experiment, participants were allowed to hear excerpts five times. Improvements to intelligibility were modest but significant after the second and third hearings, but not on further hearings.
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Sayogie, Frans, Difa Mahya e Dyona Priorita Dwiarso. "Analytic, Paradoxical, and Synthetic Sentences on ABC and The Hard Way Song Lyrics". Insaniyat: Journal of Islam and Humanities 4, n.º 1 (29 de novembro de 2019): 1–14. http://dx.doi.org/10.15408/insaniyat.v4i1.12128.
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This research aims to identify and classify; analytic, paradoxical, and synthetic sentences which are logical types of sentences in the song lyric of ABC by The Jackson 5 and The Hard Way by The Kinks in order to get the virtue of meanings of the lyrics. The method used in this research is descriptive qualitative by analyzing and comparing the data by using Kant’s containment concept. The data used in this research are lyrics from the songs ABC 5 and The Hard Way. The research findings obtained: one analytic sentence in ABC, one paradoxical sentence in The Hard Way and twenty two synthetic sentences in both lyrics. The data indicate that there are more synthetic sentences rather than analytical and paradoxical sentences in the songs. In conclusion, the synthetic sentences used on the song lyrics are more fabricated for the virtue of meanings on the song lyrics than analytic and paradoxical sentences. Therefore, the listeners can express their emotions freely by song lyrics using synthetic sentences.
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Fitri, Aulia, Haru Deliana Dewi e Rahayu Surtiati Hidayat. "THE QUALITY OF RHYME AND RHYTHM IN SONG LYRIC TRANSLATION". Paradigma: Jurnal Kajian Budaya 12, n.º 2 (26 de setembro de 2022): 213. http://dx.doi.org/10.17510/paradigma.v12i2.507.
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<p>This research is a development of Low’s theory (2008) on assessing the quality of song lyric translation based on its translation method. The objective of the study is to discover the quality of rhyme and rhythm of song lyrics in the album We Love Disney which have been translated from English to Indonesian. Therefore, this study focuses on the quality of rhyme and rhythm of the translation because these elements are significant parts of the songs. Low’s theory has been applied in the present study to measure the song lyric translation quality using three translation methods: communicative, free, and semantic methods. The study employs a qualitative approach through comparative analysis. Data in the analysis are the song lyrics and their translation, and their rhymes and rhythms. The values of the rhyme and rhythm in the translations were obtained from the comparative analysis. The findings reveal that song lyrics translated using the communicative translation method have a higher rhyme value than the original song lyrics; in contrast, the lyrics translated using a free method yield a rhyme value with a considerable difference. The assessment of rhythm reveals that a song translated using the free method shows a substantial difference in value compared to translations using the other methods.</p>
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Sousou, Shaden Denise. "Effects of Melody and Lyrics on Mood and Memory". Perceptual and Motor Skills 85, n.º 1 (agosto de 1997): 31–40. http://dx.doi.org/10.2466/pms.1997.85.1.31.
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137 undergraduate Le Moyne College students volunteered in a study on music and its effects on mood and memory. In a 2 × 3 between-subjects design, there were 2 lyric conditions (Happy and Sad Lyrics) and 3 music conditions (No Music, Happy Music, and Sad Music). Participants were asked to listen to instrumental music or mentally to create a melody as they read lyrics to themselves. The study tested cued-recall, self-reported mood state, and psychological arousal. Analysis suggested that mood of participants was influenced by the music played, not the lyrics. Results also showed those exposed to No Music had the highest score on the recall test. Personal relevance to the lyrics was not correlated with memory.
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Purwandari, Septyana Atik, Didin Nuruddin Hidayat, Waliyadin Waliyadin e Muhammad Syafii S. "The Analysis of the Song Lyrics of the Energy of Asia Music Album from the Perspective of Systemic Functional Grammar". IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 10, n.º 1 (7 de julho de 2022): 718–29. http://dx.doi.org/10.24256/ideas.v10i1.2781.
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Music has played a role as the media in modern society. It is used not only to be listened to accompany in doing activities but also as the media to inform people about what is happening around them. This study aims to investigate the most frequent occurrence of mood system and adjunct of each lyric and describe the modality realized in the lyric of Energy of Asia’s album of the 2018 Asian Games, to find the transitivity processes, and to find the textual meaning (theme) of the song lyrics. In this descriptive qualitative research, three song lyrics from the "Energy of Asia" music album released in 2018 were selected, including nonpolitical Asian dance, unbeatable, and dance tonight. The analysis of the data involved some activities, including listening to the songs, finding the printed lyrics of the songs, analyzing the clauses based on the mood residue elements, describing the most frequent used-mood types, seeing the modality finite and mood adjunct, finding the transitivity process, and the textual meaning occurred on the song lyrics and making a conclusion. This paper attempts to reveal how the perspective of Systemic Functional Grammar (SFG) is employed to analyze song lyrics. The result of this study showed that the message in the lyrics is mostly about the pride of being Indonesian people in celebrating the Asian Games and motivating the players to be the winner in this event.
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Gina, Nur Alve, Muhammad Muntazero Shidqi, Muhammad Hilmi Fauzan, Shafira Hanna Chairina e Ahmet Serhat Uçar. "AN ANALYSIS OF LANGUAGE STYLE IN SONG LYRIC: “HEAT WAVES” BY GLASS ANIMAL". Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 5, n.º 2 (5 de outubro de 2022): 165. http://dx.doi.org/10.20527/jetall.v5i2.13218.
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The objective of this research is to know and learn more about the language style in figurative language in the lyrics of the song on the song by Glass Animal, which is entitled Heat Waves and can also provide information about the style of language in the lyrics of the song, which means that further researchers can continue further research. The results of this study are (1) Personification: 1; (2) Hyperbole: 2; (3) Alliteration: 1; (4) Assonance: 4; (5) Irony: 1; (6) Anaphora: 2; and (7) Repetition: 3. Based on the result of study, there are 14 figurative languages in the lyrics of "Heat Waves" by Glass animal. It can be concluded that there is no metaphor in this lyric, and dominant in this lyric of figurative language is Assonance.
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Puspitorini, Ferawaty. "A STUDY OF SLANG WORDS IN SONG LYRICS USED BY BRUNO MARS". JOURNEY (Journal of English Language and Pedagogy) 1, n.º 2 (24 de fevereiro de 2019): 53–59. http://dx.doi.org/10.33503/journey.v1i2.282.
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The study concerned with discussing about slang words used in Bruno Mars song lyrics. The research design of this study is descriptive qualitative method. In this study, the theory of word-formation process by George Yule process (1986) in his book “the study of language” is used to analyze the formation process of each slang word. The researcher only analyzes five in Bruno Mars song lyrics. They are count on me, show me, the lazy song, liquor store blues and just the way you are. There are consists of two research problem : (1) what is the type of slang word used by Bruno Mars in lyrics, (2) what is the dominant slang word found in Bruno Mars song lyrics. The data were document analysis, the research tried to find and identity the slang word in lyric by marking, finding and analyzing the slang word. The result shows that from 58 data taken, not all process of slang-word formation appear in the lyrics. Five process of slang-word formation found in the lyrics. The process of slang word formation that are used in the lyrics are clipping(160%), blending(120%), coinage(80%), borrowing(0%), and acronym(60%).
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Kiling, Tatiana Viktorovna. "G. R. Derzhavin at the brink of dialogism: on the material of earlier lyrics". Litera, n.º 3 (março de 2020): 14–26. http://dx.doi.org/10.25136/2409-8698.2020.3.32643.
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On the background of growing interest towards the problem of dialogism of lyrics of the XIX – XX centuries, the author highlights a small number of works dedicated to research of the phenomenon of dialogism in the lyrics of the XVIII century, including the works of G. R. Derzhavin. The forms of manifestation of dialogism in the earlier lyrics of G. R. Derzhavin served as the subject of this research. The goal of this research is to determine the paths of formation of dialogical intentions in the process of establishment of authorial mentality of Derzhavin as a lyricist. The materials for this research contain triumphal odes created by Derzhavin during the 1760’s – 1770’s. The methodology is based on the problem of the author S. N. Broytman, who leans on the concept of dialogism. The structural-semantic method allows determining the dialogical structures and forms within the lyrical text. The results yielded paths of dialogization manifested in the earlier odes of Derzhavin: from mastering the communicative function of address, formed in the preceding odic tradition, to emergence of intuitively or consciously news to the genre canon odes of this period of dialogism – change in the distance between addressor and addressee, individualization of lyrical subject, emergence of speech subjects, etc., which serve as the scientific novelty of this research.
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Yahyapour, Marzieh, Janolah Karimi-Motahhar, Fahrahnaz Farmani e Tatiana V. Maltseva. "“My poetry… is full of movement and heat, characteristic of life”: The theme of love in the lyrics Forugh Farrokhzad". Philological Sciences. Scientific Essays of Higher Education, n.º 6 (novembro de 2022): 128–35. http://dx.doi.org/10.20339/phs.6-22.128.
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The article deals with forms of representation of love theme in lyrics by F. Farrokhzad. It considers the fact that interpretation of love in Farrokhzad’s lyrics differs from traditional perception of love in oriental poetry. Hence the authors prove that F. Farrokhzad has broken the traditional circle of associations in oriental love lyrics and has rethought it by adding new “bodily” signs of love. Love in Farrokhzad’s lyrics is shown through the prism of everyday, natural and existential patterns. Love as an event serves as a core for the poetess’ lyrics and displaces the generic features of the lyrics itself. Love lyrics by F. Farrokhzad demonstrates the features of the narrative text combining lyrical and epic pictures of the world in poem’s structure, so narrativeness is one of the key parameters of F. Farrokhzad’s poetics. The authors conclude that poetess tends to concentration of everyday details and to eventful measure of the reality.
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Fadilah, Sofiatul, e Setya Resmini. "A DEIXIS ANALYSIS OF A SONG LYRICS ENTITLED “LOVER”". PROJECT (Professional Journal of English Education) 4, n.º 4 (12 de julho de 2021): 628. http://dx.doi.org/10.22460/project.v4i4.p628-633.
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This research is a qualitative research which aims to analyze the kinds of dominant deixis in the song lyrics entitled ‘Lover’. The data collected from the lyrics then classified into types of deixis according to Levinson (1983:62) theory. The classification of the data then analyzed by relating the deixis to the references/meaning from the lyrics. The result of this research found that there are 51 deixis found in the lyrics consist of 39 personal deixis, 7 temporal deixis, and 5 spatial deixis. Most of personal deixis in ‘Lover’ lyric refer to the speaker itself which are encoded by first singular personal deixis like I and My. While for first plural personal deixis which is We, mostly refer to the speaker. Finally, this research is expected to provide an understanding of deixis and the context that is conveyed by the speaker. Keywords: Deixis, Pragmatics, Song Lyrics
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Wenwen, Xiao, e Gu Yunfei. "A Study of the English Translation of the Lyrics in the Sichuan Opera Lady Macbeth". IAR Journal of Humanities and Social Science 3, n.º 02 (20 de abril de 2022): 62–68. http://dx.doi.org/10.47310/iarjhss.2022.v03i02.009.
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Lady Macbeth, a Sichuan opera, is adapted by Xu Fen, from Macbeth, one of Shakespeare’s plays. This play has made great influence in China and other countries, and it is regarded as the communication through time and space. Then Liana Chen translated it into English. The lyrics in the play show the plot and the mind of Lady Macbeth, and it’s not easy to translate these lyrics. This paper takes several of them as the examples, based on “Three Beauties” of Xu Yuanchong, to find out the difficulties in translating lyrics in the opera, points out that “Three Beauties” can also be applied to translating lyrics, and tries to provide some reference for the future lyric translation in the opera.
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Yastanti, Unpris, e Dewi Safitri. "IMAGERY IN SONG LYRICS OF ALICIA KEYS". IJOLTL: Indonesian Journal of Language Teaching and Linguistics 1, n.º 1 (17 de agosto de 2016): 49. http://dx.doi.org/10.30957/ijoltl.v1i1.169.
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The objective of this study is to identify kinds of imagery on songs lyric of Alicia Keys. This study used descriptive method to analyze data. Recorder songs lyrics of Alicia Keys were served as resources of data and imagery reflected in the lyrics was promoted as data of this study. The study revealed the following findings: (1) imagery was deserved in three lyrics of Alicia Keys: Girl on Fire, Superwoman, and A Woman’s Worth, (2) Kinds of imagery in the three lyrics songs included: auditory imagery, kinesthetic imagery, visual imagery and organic imagery and the forming is about a woman life, (3) Message of songs figured out upon a woman’s life, suggesting a woman should undertake real struggle and never gave up at whatever occurred in life.
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Hastuti, Nur, e Alya Nurul Inayah. "Majas dan Imaji Dalam Lirik Lagu Kimi Ga Kureta Natsu Karya Reo Ieiri". KIRYOKU 6, n.º 2 (1 de outubro de 2022): 152–59. http://dx.doi.org/10.14710/kiryoku.v6i2.152-159.
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Poetry is a very famous literary work. Nowadays, song lyrics are considered a part of poetry as well. Song lyrics and similar poetry elements; such as rhymes, stanzas, etc. To make the lyrics more poetic, the lyricist can use some figures of speech and images in the lyrics. This study aims to determine the figure of speech and imagery in the song "Kimi ga Kureta Natsu" by Leo Ieiri. The method used in this research is the library method using stylistic studies as an analytical tool. The data used in this study are the lyrics of "Kimi ga Kureta Natsu" by Reo Ieiri. Based on data analysis, it can be concluded that in the lyrics of the song Kimi ga Kureta Natsu there are 3 types of figure of speech and there are 2 types of images.
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Aisyah, Siti, e Afriliana Larasati. "An Analysis of Slang Word in Avril Lavigne Song Lyrics “Head Above Water”". JELT: Journal of English Language Teaching 5, n.º 2 (13 de novembro de 2021): 180. http://dx.doi.org/10.33087/jelt.v5i2.94.
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This study deals in the slang word analysis in Avril Lavigne song lyrics “Head Above Water” album. This study aimed to identify the types of slang word found in Avril Lavigne song lyrics “Head Above Water” album, to find out the meaning of slang word in Avril Lavigne song lyrics “Head Above Water” album, to analyze the slang word which are realized in Avril Lavigne song lyrics “Head Above Water” album. Descriptive qualitative research was applied in this study. The data of research were taken from Avril Lavigne song lyric “Head Above Water” album, 74 words found in this song. The data were analyzed by identifying the song into four types of process, classifying the word in each type of slang, analyze the data into the slang word. It was found that there were four types of slang in selected Avril Lavigne song lyrics “Head Above Water” album namely blending, coinage, clipping, and compounding. The writer found the most widely types of slang namely clipping among words of slang in selected 8 songs lyrics of Avril Lavigne “Head Above Water” album. The researcher was realized that the words where the slang word which was found in Avril Lavigne song lyrics “Head Above Water” album by reading all the lyrics in detail and analyzing the word by trying find the correct word or the real meaning, then the researcher can decide the word was called the slang word.Key words: Analysis, Slang Word, Avril Lavigne Song Lyrics
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Yamashita, Meguru, Kiwamu Sato e Akio Doi. "Implementation and Evaluation of a Collaborative Lyric-Writing Support System Using a Lyric Association Map". Multimodal Technologies and Interaction 6, n.º 4 (2 de abril de 2022): 23. http://dx.doi.org/10.3390/mti6040023.
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In many popular songs, lyrics are an important element. The act of collaborative lyric writing by multiple people may produce richer ideas than creative acts by individuals. However, if all members of a songwriting group do not accurately share the elements which are considered to be important in songwriting (i.e., story, character, viewpoint, and line of sight), then it would be difficult for ideas to diverge and converge, which is important in a creative act. In the present paper, we propose a collaborative lyric conception support method, which consists of lyric divergence support using a lyric association map (LAM) based on radial thinking in mind mapping and lyric convergence support using an enumeration of lyric candidate sentences created from the conceived lyric candidates. The visualization of the process of conception in a group facilitates the association, sharing, examination, and consideration of lyrics.
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Wijana, I. Dewa Putu. "Aneka Fungsi Bahasa Syair- Syair Lagu Ismail Marzuki". Deskripsi Bahasa 1, n.º 2 (15 de outubro de 2018): 81–90. http://dx.doi.org/10.22146/db.v1i2.326.
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This article intends to reveal various language functions consisted in Ismail Marzuki’s song lyrics in the frame of the widely known Jakobson’s language function theory. By using data gathered from various sources, the research findings shows that Ismail Marzuki’s song lyrics are dominated by the use of language which is exploited to bear poetic function in order to enable the audiences experiencing the song’s messages and other language functions aesthetically. All Marzuki’s song lyrics concern with extralinguistic world. Accordingly, it is not surprising that none of the song lyric is used to convey metalinguistic function for explaining the internal structure of a language.
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Sholah, Hanif Maulaniam, e Ahmad Yunus. "An Analysis of Lexical and Grammatical Cohesion of Six Feet Apart Song by Alec Benjamin". Tafhim Al-'Ilmi 12, n.º 1 (30 de setembro de 2020): 37–62. http://dx.doi.org/10.37459/tafhim.v12i1.4026.
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Abstract
This paper shows the linguistic aspect in term of discourse analysis in the lyrics of song. Those aspects are cohesion device and grammatical cohesion. Cohesion devices divided into two descriptions, those are; grammatical and lexical cohesion devices. Grammatical cohesion contains reference, ellipsis, substitution, and conjunction while lexical cohesion contains collocation and reiteration. This research analyzes the lyrics from the soloist band namely Alec Benjamin entitle “Six feet apart”. After analyzing grammatical and lexical cohesion of six feet apart’s lyric, the result shows that the kinds of grammatical and lexical cohesion exist in the lyric. The first kind of grammatical cohesion which is found is reference. The kinds of references namely personal, adverbial demonstrative, selective nominal demonstrative, and comparative reference are found in the lyric. The most frequent reference which is used in the lyric is personal reference. The usage of cohesive devices is so important to make meaningful language to the lyrics of the song. The cohesion devices make the text united.. The function of lexical cohesion within the stanza in the lyric of six feet apart song is making a relationship and also it is used to express and to stress the singer’s idea.
Key word: Discourse analysis, Lexical Cohesion, Grammatical Cohesion
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Mimin, Mimin, Wikanengsih Wikanengsih e Aditya Permana. "ANALISIS MAKNA DIKSI LIRIK LAGU “SATU†MILIK DEWA 19 DENGAN MENGGUNAKAN PENDEKATAN SEMIOTIK". Parole : Jurnal Pendidikan Bahasa dan Sastra Indonesia 5, n.º 4 (30 de dezembro de 2022): 277–86. http://dx.doi.org/10.22460/p.v4i2p315-322.7107.
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A song that has lyrics with a deep meaning or meaning is always popular even though it has been lyrical for a long time, in the creation of song lyrics, there are language games such as games in language style and word meanings. Dhani's songs with Dewa 19 are often judged to have controversial lyrics in the lyrics, the word "I" and the "You" do not always describe someone who is expressing feelings with their soulmate. The owner of this song also often describes the relationship between man and the creator. The song 'Satu' is an example. This research is to analyze a meaning in the one song lyrics. The method used is descriptive qualitative method by dividing the lyrics into several verses, with a semiotic approach the song lyrics are divided into markers and signs and then analyzed to determine their meaning. The research was carried out in several steps, (1) determining the song, (2) dividing it into several verses, (3) determining the markers and signs, (4) analyzing the meaning, (5) describing the results. The results of the author’s analysis on the lyrics of the song Satu Dewa 19 by Ahmad Dhani concluded that the lyrics contain meaning that implies one’s obedience to God.
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Ni, Shuoyao. "The Images of the Courtesans in Liu Yong's Vulgar Lyrics". International Journal of Education and Humanities 5, n.º 1 (11 de outubro de 2022): 131–33. http://dx.doi.org/10.54097/ijeh.v5i1.1955.
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Liu Yong was originally known as Liu Sanbian, but later changed his name to Yong, also named Qiqing, born in Chong'an. He was an influential contributor to the Song dynasty lyric literature. Influenced by the culture of the marketplace, Liu Yong's lyrical works reflect the characteristics of Slang and vulgar. Liu Yong's vulgar lyrics are dominated by the erotic words of men and women, with numerous depictions of women in the capacity of courtesans. The courtesans in Liu Yong's lyrics are portrayed with a female form in a male aesthetic, boldly breaking away from the traditional sense of love and also the women with male-dominated fidelity. Compared with the ancient boudoir women, the personalities of courtesans are free and bold, and they tended to reveal their love and admiration for men in a straightforward manner. Liu Yong reaches out and understands women intimately, presenting a different image of the courtesans than the traditional boudoir women.
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Asriadi, Rahmad Dede, e Andi Muhammad Irawan. "Analysis of Figurative Language Used in Selected Song Lyrics of Arctic Monkeys in "Am" Album". English Language and Literature 11, n.º 1 (7 de outubro de 2022): 71. http://dx.doi.org/10.24036/ell.v11i1.116318.
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This study aimed to find the types of figurative languanges used in selescted song lyrics in Arctic Monkey “AM” album. The Figurative Language found in six songs lyric in AM album. There were "R U Mine?", "Do I Wanna Know?", "Why'd You Only Call Me When You're High?", "One for the Road", "Arabella", and "Snap out of It" songs lyric. This research aimed to show how language can be so in many forms. This study showed how many figurative language and language can be in so many ways to express. This research used qualitative method as a way to analyze figurative language in selected song's lyrics from the album “AM” by Arctic Monkeys. The data in this research used collections of words within their categories of figurative language from Arctic Monkeys’ song lyrics. The result of this study showed types of figurative languages and most used types of figurative languages in selected song by Arctic monkey. There were five types of figurative languages that found in song lyric by Arctic Monkey AM album. There were metaphor, simile, hyperbole, metonymy and synecdoche.
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Lestari, Indah, Erna Pranata Putri e Dwi Nitisari. "REPRESENTATION OF EXISTENTIAL FEMINISM IN THE LYRIC OF ‘I MADE YOU LOOK’ SONG BY MEGHAN TRAINOR". Jurnal Sosial Humaniora dan Pendidikan 2, n.º 1 (30 de abril de 2023): 01–06. http://dx.doi.org/10.56127/jushpen.v1i1.490.
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This is a descriptive qualitative study that aims to describe how existential feminism is represented in the lyrics of a popular song entitled 'I made you look' sung by Meghan Trainor. Lyrics are a series of related poems in which some sort of broad narrative is tantalizingly offered (Culler, 2017). The aims of the research are 1) to find out the meaning of the lyric of ‘I made you look’ song and 2) to describe the existential-feminism represented in the lyric of ‘I made you look’ songThe method used in this research is descriptive with the approach of syntagmatic and paradigmatic relation by Ferdinand de Saussure (1983) and the theory of existential feminism by Beauvoir (1949). The results obtained are from the 5 stanzas of the lyrics, there are phrases containing existential feminism that is being self-confidence about femaleness, about sexual roles, about community, and about body.
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Lestari, Indah, Erna Pranata Putri e Dwi Nitisari. "REPRESENTATION OF EXISTENTIAL FEMINISM IN THE LYRIC OF ‘I MADE YOU LOOK’ SONG BY MEGHAN TRAINOR". Jurnal Ilmiah Multidisiplin 1, n.º 05 (30 de setembro de 2022): 124–30. http://dx.doi.org/10.56127/jukim.v1i05.494.
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This is a descriptive qualitative study that aims to describe how existential feminism is represented in the lyrics of a popular song entitled 'I made you look' sung by Meghan Trainor. Lyrics are a series of related poems in which some sort of broad narrative is tantalizingly offered (Culler, 2017). The aims of the research are 1) to find out the meaning of the lyric of ‘I made you look’ song and 2) to describe the existential-feminism represented in the lyric of ‘I made you look’ songThe method used in this research is descriptive with the approach of syntagmatic and paradigmatic relation by Ferdinand de Saussure (1983) and the theory of existential feminism by Beauvoir (1949). The results obtained are from the 5 stanzas of the lyrics, there are phrases containing existential feminism that is being self-confidence about femaleness, about sexual roles, about community, and about body.
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Ismagilova, Ekaterina I. "Folk song poetry of the Chuvash people of the Krasnoyarsk Krai". Sibirskiy filologicheskiy zhurnal, n.º 4 (2022): 49–62. http://dx.doi.org/10.17223/18137083/81/4.
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To create an adequate picture of the existence of the oral folk art of the Chuvash settlers, it is necessary to characterize individual microlocal traditions. Such traditions include song samples recorded from the Chuvash of the Krasnoyarsk Territory in the Bolshemurtinsky (1981 year of recording) and Kazachinsky (2009 year of recording) regions. Genre-style composition of songs is heterogeneous. The calendar layer of folklore is represented by Maslenitsa and round dance songs. Life cycle patterns include wedding and recruiting songs. Untimed lyrics includes guest and traditional lyric songs, late lyric samples of the late 19th and 20th centuries, songs with plots and melodies borrowed from Russian folklore, and author’s songs. During youth meetings, ditties were performed in the Chuvash and Russian languages. The texts of ritual and traditional lyrical songs preserved a number of patterns that are characteristic of the Chuvash folk song poetry. These include the aphoristic type of versification, brevity of plot, two-link figurative parallelism. The texts of the songs accompanying the rite describe the ritual actions in detail. Ritual songs most often have a narrow local timing. There is also a supradialect layer of texts of much wider distribution (Siberia, the Volga region). This layer includes samples of untimed lyrics: some guest songs, many lyrical songs (especially of late origin), songs with borrowed plots and tunes, some ditties. Chuvash settlers who came from different places developed a common repertoire, one that includes songs known to most performers.
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M. Hermintoyo, M. Hermintoyo. "Simbol Natural dalam Lirik Lagu “Di Manakah Matahariku” Karya Ebid G Ade sebagai Sarana Kreatif Penciptaan Kosakata Baru". Nusa: Jurnal Ilmu Bahasa dan Sastra 12, n.º 3 (1 de agosto de 2017): 145. http://dx.doi.org/10.14710/nusa.12.3.145-153.
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Song lyrics are created along with a tone of harmonization. The lyrics of the song as the author’s expression are created by choosing the right and aesthetic words, which fulfill elements of beauty such as poems that have diction, images, rhymes, and rhetorical means. Creative lyricist, such as Ebiet G Ade in the song "Where My Sun" utilizes the object seen, felt and heard by changing in a metaphor that is symbolically natural in the lyrics of the song. Ebiet G Ade as a creative lyricist produces new vocabulary through his previously invented songs. The creation of this new vocabulary is known as a private symbol, especially in the form of a metaphor.