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Honoured as a Nobel Laureate in 2016, Bob Dylan's song lyrics have garnered well-deserved recognition and appreciation for their themes, content and artistic performances. Part-of-speech characteristics are effective in denoting stylistic features of texts in stylometric studies. The present study carried out a quantitative observation of stylistic features of Dylan's lyrics. Specifically, the study focuses on parts of speech like verbs, adjectives, adverbs, nouns and pronouns. Results of the present study reveal that: (1) Based on the distribution of verbs and adjectives, Dylan's lyrics are significantly active texts, and the activity sequences (Q-sequences) have validated the result in a dynamic way; (2) Dylan's lyrics tend to present the characteristics of a written body; (3) Individualism is prominent in Dylan's lyrics accompanied by the wide use of the first-person singular pronouns. [ABSTRACT FROM AUTHOR]

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The article discusses the translation of a specific sentence from Gregory the Great's Dialogues into Old English by Wærferth, bishop of Worcester. The translation issue revolves around the meaning of the Old English word "læteð," which is believed to be a corruption of a verb meaning "to gleam" or "to shine." The article explores the linguistic evolution of this term in Old English, Gothic, and Old High German, suggesting that the original meaning was related to flashing or sparkling light. Ultimately, the problematic term "læteð" in the Old English translation of the Dialogues is interpreted as conveying the sense of "I have some glimmer of understanding." [Extracted from the article]

This paper assesses the relationship between the so-called "curses" on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, "to rule over" in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God's speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, "The Song I Sing Complete" with speech and motifs reassigned to the woman's voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel's neighbors in Mesopotamia and Egypt. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music is a core aspect of human experience/culture, functioning as one of humanity's oldest forms of communication. While music is a popular focus for many forms of scholarly inquiry, there is a relative lack of research on the topic of music genres and their impact. The present study helps address this gap in the literature, detailing a focused proof-of-concept, exploratory examination that uses psycholinguistic analysis to study how song lyrics are written. Specifically, the study uses integrative complexity, which assesses how information is processed and communicated, to compare structural differences in song lyrics across five genres - country, hip-hop/rap, rock, pop, and metal. The findings demonstrate significant complex differences across the groups, indicating that genre expectations play a marked role in how lyrics are conceptualized and structured. Alongside potential avenues for future research, possible cultural, historic, and demographic explanations for the witnessed linguistic patterns are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Procesamiento del Lenguaje Natural is the property of Sociedad Espanola para el Procesamiento del Lenguaje Natural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cizhen yadiao is a massive qu anthology compiled and engraved by the Hudongtang bookstore in Nanjing during the early Wanli era. This work consists of nine volumes that could be printed and sold respectively; later, they were put together and reproduced into one catalogue with continuous page numbers as a new book entitled Cizhen yadiao. The anthologizing concept of the book is centered on the core of "qu"--the combination of sanqu and dramatic songs, southern songs and northern songs, folk songs and literati lyrics, thereby representing a distinctive characteristic of "songbook and qu library" for use in popular singing. The editorial principle of Cizhen yadiao lies in the classification of occasions, putting similar songs together according to various life scenes in order to make a glossary to satisfy readers' multiple demands. The book's features and selection strategies might be connected with the cultural consumption of the prostitutes' song-singing entertainment in Nanjing during the late Ming. From the perspective of book history and the history of drama, Cizhen yadiao can provide us with a new way of thinking about research on anthologizing and the development of the qu. [ABSTRACT FROM AUTHOR]

The paper is a review of literature on the historical relevance of African traditional song texts from the perspective of new historicism. It sides with the argument that the traditional history-making criterion, historiography, is not as factual or faithful in history-making as historians often suggest. It further supports the views that history is an imaginative text and literature (imaginative literature) a text of history; African traditional song texts, though literary texts, are reliable sources of history; and that oral tradition is a good source of history and complements written sources of history. In the paper, copious literature on these arguments is reviewed. It is found that literature opining that traditional song texts are reliable sources of history and are at once literary and historical texts abound in scholarship. It is also found that scholarship is replete with literature contesting historiography's claim to faithful and factual recording of history. It concludes that as literary texts, African traditional song texts are weaved with materials drawn from society and, therefore, reflect the yearnings, experiences, and outlook of the society at the various historical moments and trajectories, making them not only historical texts but also good sources of history. [ABSTRACT FROM AUTHOR]

The translation of song lyrics is challenging for translators primarily due to the intricate poetic and musical elements, which often compel them to employ specific strategies for effective translation. This study was an attempt to investigate the translation strategies in selected translated movie song lyrics and explore the challenges in translating the lyrics. In this qualitative study, the songs were purposefully selected from “Mulan” (1998) and “Aladdin” (2019) movies. Low’s (2013) translation strategies were applied during the process of translation. The “Translation” (transfer of material with a reasonably high degree of semantic fidelity), and “Replacement” (a re-creation of text by only preserving the music element) strategies were found as the common strategies in the translation of song lyrics. The use of a replacement strategy could be due to technical difficulties in translating songs, such as the constraint of rhythm, hence a total replacement of meanings to match the rhythm of the song. A significant challenge in translating song lyrics from English to Chinese was in translating the concept of face-saving, which is an eminent process in social interactions in Chinese culture. It was concluded that the use of a translation strategy depended on the lyrics, translators’ creativity, melody, rhyme, and the differences between the languages and cultures, while the “skopos”, i.e., the correspondence of aim/purpose in the source and target cultures should play the key role.

Songs that combine happy music and sad, violent, or morally disturbing lyrics raise questions about the relationship between music and lyrics in song, including the question of how such songs affect the listener, and of the ethical implications of listening – and perhaps singing along with – such songs. To explore those perplexing cases in which the affective impact of music and lyrics seem entirely incompatible, we first examine how song music – and the sympathetic musical affects it elicits – can influence listener attention to lyrics. We propose that 'happy' music and mood in particular may discourage close attention to the semantic contents of lyrics in some cases, and impart a 'positive glow' to them in others. We also mine the kinds of moral questions to which emotional and imaginative immersion in fiction can give rise for their potential applicability to songs with disturbing narratives. We then explore how performance and performer may influence the understanding and interpretations of lyrics. This investigation of the complexities of such songs will use Tom Jones' murder ballad "Delilah" as a template, taking into account both its impact and its presentation. [ABSTRACT FROM AUTHOR]

Cross-sex relationships between a man and a woman have their own appeal as a theme explored by researchers in creative texts such as song lyrics. The various types of cross-sex relationships in these lyrics reflect the varying characteristics of the participants involved and the language choices employed by the songwriter. Didi Kempot's Javanese Campursari song lyrics, for example, contain a dualism of contradictory female characters penned within his love-laden songs about two sorts of cross-sex relationships: mutual and rejected romance. To uncover the ideological effects of the language choices used by Didi Kempot, a set of analytical tools is needed. Thus, the goal of using Jeffries' critical stylistic model to critically read Didi Kempot's Campursari lyrics is to reveal the linguistic strengths in portraying female characters in the lyrics, thereby gaining an understanding of the songwriter's style in selecting and utilizing the potential of the Javanese language in positioning female participants in his song lyrics. Ultimately, this study can provide linguists with theoretical benefits in terms of new perspectives on contemporary stylistic studies and critical text analysis in Indonesia. The study also offers practical benefits in terms of applying critical stylistic perspectives to non-factual texts, such as Javanese song lyrics, to express ideological effects based on the songwriter's language choices and concrete linguistic evidences. [ABSTRACT FROM AUTHOR]

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Poverty is a problem that has not been resolved until now. this study will discuss the portrait of proverty in a literary work, namely a poem by W.S Rendra entitled Orang-Orang Miskin and the lyrics of Iwan Fals’ song entitled Pinggiran Kota Besar. The type of research applied is descriptive qualitative research using comparative literature as a method. The approach used in this research is an objective approach. This research was conducted to see the form of proverty described in poetry Orang-Orang Miskin by W.S Rendra and song lyrics Pinggiran Kota Besar by Iwan Fals. The results found in this research are similarities and differences in showing poverty in poetry and song lyrics. The similarities found are in the form of topics discussed, namely regarding poverty and criticism of the government regarding justice while the things that distinguish the way poverty is described. [ABSTRACT FROM AUTHOR]

This paper investigates the geometric patterns inherent in Arabic poetry rhythms, uncovering attributes that likely contribute to their historical popularity. Through comprehensive analysis, we identified a combination of computational geometric features that seem to correlate with defining a rhythm's attraction in Arabic poetry. These features can be used to generate similar but new appealing poetry rhythms. While there are multiple studies on the geometry of musical rhythms, our research offers a novel perspective by applying these geometric concepts to poetry rhythms, aiming to contribute to the understanding of rhythmic patterns across diverse creative domains. To the best of our knowledge, our work is the first attempt to transfer the geometric analysis of rhythms to Arabic poetry rhythms. Moreover, our findings hint at potential connections between the rhythms of Arabic poetry and English song lyrics. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A central part of singing includes learning new pieces of vocal music. Learning a new song is a complex task that involves several functions and modalities, such as memory functions, language and motor skills, and auditory and visual perception. Memory functions are a well-studied area, but it is unknown how memory theories apply to a multimodal activity such as singing. In this study, an attempt is made to translate the theories to the applied field of singing. This study aims to investigate the effectiveness of three types of learning formats for learning new song lyrics: auditory learning with image support (AI), auditory learning with text support (AT), and auditory learning only (A). Ninety-five participants were randomly assigned to one of the three experimental conditions. A univariate analysis of variance revealed a significant effect of condition on the lyric recall score and post-hoc tests showed that participants performed significantly better in the AI condition in comparison to both the AT and the A condition. No significant difference was found between AT and A. This study sheds light on how memory processes might work in learning song lyrics. Practical implications for practitioners such as music educators, conductors, and choir singers are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Pedagogía Social is the property of Pedagogia Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Korean popular music (K-pop) has expanded its cultural reach among Western audiences over the past 20 years (Lie, 2015), and groups like BTS and BLACKPINK have achieved unprecedented global success recently (McIntyre, 2022). As K-pop evolves into a global cultural export, scholars have paid more attention to the code-mixing of English within its lyrics (Yeo, 2018; Ahn, 2021). [ABSTRACT FROM AUTHOR]

Founded in 1909 by W. Doegen in Berlin, the Sound Archive (Lautarchiv) was enriched during the First World War with valuable texts and folk songs recorded on discs and wax cylinders or recorded on paper. The research took place in 32 of the 175 prisoner-of-war camps of the Allied Powers, which covered the territory of Germany at that time. The prisoners came from European, Asian, African countries and the United States of America, and the research was carried out by a team of 50 German specialists in the languages spoken in those countries. Among them are three camps with prisoners from the Kingdom of Romania and from Bessarabia located in the perimeter of the cities of Chemnitz, Mannheim and Lamsdorf. The study presents some of the results obtained by the professors M. Friedwagner and H. Urtel in the research of the Romanian prisoners in those camps. [ABSTRACT FROM AUTHOR]

Songs, regarded as a form of musical expression, consistently mirror societal culture. This research aims to unveil and analyze the song tegalan, which serves as a portrayal of Tegal's cultural identity. The research employs a qualitative descriptive methodology. Data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the Tegal community. In addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. A literature review was also undertaken to corroborate the research findings. The collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of Tegal's cultural identity and then conclusively analyzed. The research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial Javanese infused with the "ngapak" dialect; (2) the characteristic of spontaneous and sincere communication reflective of the Tegal community's culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical Tegal delicacies such as "sega ponggol", tea with palm sugar ("teh poci gula batu"), among others. Based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the Tegal community in both structure and communicative patterns. Moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the Tegal community.. [ABSTRACT FROM AUTHOR]

Reading is one of the basic language skills. For this reason, teaching and developing reading skills are among the most important goals in language teaching. Therefore, the language textbooks focus on the reading texts and the activities that are carried out with these texts. A similar method is used in the Kurdish textbooks and these books also contain different texts. In this study, the 5th grade Kurdish textbook has been selected as sample and the reading texts in this book have been analyzed and evaluated in terms of teaching reading skills. For this purpose, qualitative research has been chosen as the study design and the texts, text types and activities and exercises and also the balance between them have been determined based on the scanning model and the technique of document and content analysis. As a result, it has been found that the book contains a total of 43 reading texts consisting of interviews, poems, stories, anecdotes, songs and free texts. A total of 63 activities and exercises, grouped under 8 types of activities, were used in these texts. [ABSTRACT FROM AUTHOR]

We investigated the effects of a response-contingent pairing (RCP) procedure on responses to voices for preschoolers with autism spectrum disorder (ASD). The participants were 4 preschool males who attended full-day special education classes utilizing a behavior-analytic system of schooling. The participants were chosen due to (a) their low numbers of observing responses to voices during initial probe screenings for observing responses to different forms of voice stimuli, and (b) their slow rates of mastery of educational objectives in their Individualized Education Programs (IEPs). We used an iPad-based RCP voice conditioning protocol during which we taught the participants to touch a correct stimulus on a screen (a red circle) that would activate 10 s of either sung or spoken song lyrics or spoken storylines. The conditioning component involved a response-contingent pairing procedure; contingent on a correct selection response, the investigators immediately paired the voice output with preferred edibles and/or light, preferred physical contact for the entire interval. We employed a multiple probe design across participants for five observing responses to voices (OV) following the intervention. The results showed increases for all four participants' OV responses. We explore future implications of research involving increasing preferences for voices, and discuss other potential dependent variables. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the history of the national anthem of China that provides a new perspective on society and culture during the regimes of the Qing dynasty and People's Republic of China. It describes attempts to create a national anthem during the Qing dynasty and the controversy that surrounded the first official Qing national anthem. It discusses the creation of the song "March of the Volunteers" for a war film that became the national anthem when People's Republic of China was founded.

Vocabulary is important in English language instruction, as it is indispensable for comprehending and articulating thoughts, necessitating a diverse array of classroom learning techniques, innovative pedagogical methods, and multimedia integration, and encourages teachers to try new methods, like using songs to help students get better at words. This research focuses on the effectiveness and how well students remember the vocabulary by lyric songs counted with percentage. This research will measure the dependent variable before and after exposure to the treatment, the total vocabulary in the pre-test and post-test, to see the improvement of song lyrics and check their memorization. This study uses a quantitative approach by pre-test, treatment, and post-test conducted with 34 participants in seventh grade Junior High School students. This research found that 85% of students improved their vocabulary through song with 56,15% of improvement. It means song is an effective learning medium for learning vocabulary. It means song is an effective learning medium for learning vocabulary. [ABSTRACT FROM AUTHOR]

This paper, through the lyrics of the song, presents the representation of gender roles and stereotypes in Kosovar society. On the other hand, this study aims to shed light on music and the opportunities it ofers for the transmission of social values that help in overcoming gender stereotypes in the cultural context of Kosovo. The importance of this study is undeniable because this study was done at a time when discussions about gender equality were at the center of attention. Therefore, the study of gender issues, not only through music but also from other perspectives, is of great importance because it afects social transformation regarding equality, as a requirement for developing a real democratic society. To realize this research, the text (content) analysis method was used, through the ethnographic research approach. Through this method, the lyrics of certain songs have been analyzed to discover how they carry or challenge gender stereotypes in our society. For analysis, we have chosen some of the most popular songs. In the analysis results, we have identifed gender stereotypes expressed with a special emphasis. This includes the praise of the man as the head of the house and the one who takes care of all, including some texts that praise the son as the honor and pride of the family. On the other hand, some songs describe the man in a derogatory way, calling him stupid, owl, and using other negative insulting terms. In particular, current modern music such as rap and hip-hop, especially, tends to go even further in creating gender stereotypes, belittling women with diferent terms such as fraudsters, traitors, whores, etc. The results obtained from this research will serve as a basis for discussions on the improvement of the gender image in the media that ofer songs, especially in the lyrics of the songs to promote positive changes in Kosovar society related to gender roles and stereotypes, as well as help to raise awareness of to the general public about the role of songs in creating and cultivating a culture in favor of improving gender equality. At this point, we recommend a deeper awareness in Kosovar society about the impact of these texts on the formation of gender perceptions. Also, artists and music creators are invited to be proactive in changing this reality, to create music that refects a more equal perspective. [ABSTRACT FROM AUTHOR]

The article investigates Swedish translations of French pop songs. The collected material (50 original songs and 50 Swedish cover versions) has been found in the database SMDB (Svensk Mediedatabas) and by using the reference site Discogs. All songs date from the “phonogram era” between the 1930s and the early 2000s. The results indicate that some Swedish target lyrics faithfully transfer the semantic meaning and the effect produced by the source texts – they hence fall into the category of “near-enough translations”. Other texts show no resemblance to the source lyrics and may therefore be described as “replacement texts” or “all-new target lyrics”. The study also highlights various stratagems that translators use to attract the interest of their target audience. They may, for instance, transfer the story to the target culture or they can choose to add French references to make the translated lyrics sound more “exotic” to the Swedish listener. Résumé L’article examine les traductions suédoises de chansons populaires françaises. Le matériel collecté (50 chansons originales et 50 reprises suédoises) a été trouvé dans la base de données SMDB (Svensk Mediedatabas) et en utilisant le site de référence Discogs. Toutes les chansons datent de « l’ère du disque » des années 1930 jusqu’au début des années 2000. Les résultats indiquent que certaines paroles cibles suédoises transfèrent fidèlement le sens sémantique et l’effet produit par les textes sources – elles entrent donc dans la catégorie des « traductions suffisamment proches » des versions originales. D’autres textes ne montrent aucune ressemblance avec les paroles sources et peuvent donc être décrits comme des « textes de remplacement » ou des « nouvelles paroles cibles ». L’étude met également en lumière diverses stratégies que les traducteurs utilisent pour attirer l’intérêt du public cible. Ils peuvent, par exemple, transposer l’histoire dans la culture cible ou choisir d’ajouter des références françaises pour rendre les paroles traduites plus « exotiques » pour l’auditeur suédois. Mots-clés: Études sur la traduction de chansons; Paroles de chansons; Chanson populaire française; Traduction suédoise

Данная статья посвящена исследованию песенного текста как неисчерпаемого источника историко-культурного богатства и части социального и политического наследия любого государства. Цель данного исследования заключается в лингвострановедческом анализе текста песни Ганса Ляйпа «Lili Marleen» на немецком языке. Автор статьи предпринимает попытку проследить взаимосвязь песни и социокультурного контекста определенной исторической эпохи, доказывая, что исследование такой взаимосвязи является когнитивным процессом, направленным на познание истории и культуры страны изучаемого языка. Анализ материала показывает, что песенный текст, будучи разновидностью поэтического текста, является комплексным явлением, отражающим изменения культурного пространства не только в лингвистическом, но и в социолингвистическом и когнитивном аспектах. В данной статье особое внимание уделяется исследованию особенностей функционирования языковых средств в песенном тексте. Проводится анализ лексики с точки зрения тематического содержания песенного текста, описываются выявленные приемы художественной речи, особенности их использования в песенном тексте. В качестве методологической базы были использованы общенаучные и частнонаучные методы исследования.

The article analyses the lyrics of selected songs by Lila Downs, paying special attention to the rhetorical appeals of logos, ethos and pathos they contain. The results of the analysis reveal all three types of rhetorical appeals, as well as passages combining two or all three of them. Pathos appeals to emotion, often using specific linguistic means (hyperbole, irony), ethos evokes both historical figures and indigenous people as examples, and logos involves predominantly social criticism.

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The societal phenomenon of taboo terms is commonly expressed in song lyrics. This research focuses on the function of taboo expressions in the song lyrics of Nicki Minaj, a singer who is known to use such expressions. The first objective of this analysis is to determine the types of taboo expressions found in Minaj’s songs. Secondly, the researchers examine the function of these expressions in the song lyrics. Four of Minaj's songs are presented in the data: "Superbass," "Megatron," "Barbie Tingz," and "Anaconda." This research employs descriptive and qualitative analysis, as well as the theoretical frameworks provided by Battistella (2005) and Wardhaugh (2021). The findings demonstrate that vulgarity is the most frequent form of taboo expression in Minaj's song lyrics, while the main function of these phrases is to attract attention. These songs indicate more than simply linguistic qualities; they also offer a thorough understanding of the social setting. This study fills a gap in the literature on taboo expressions in song lyrics by revealing the function and types of taboo expressions employed by a well-known singer. This research has the capacity to enlighten future research on the usage of taboo expressions in music, and the broader cultural consequences of such language implication.

Abstract Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity. We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners’ interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs’ lyrics.

Research suggests that a core lexical structure characterized by words that define plot staging, plot progression, and cognitive tension underlies written narratives. Here, we investigate the extent to which song lyrics follow this underlying narrative structure. Using a text analytic approach and two publicly available datasets of song lyrics including a larger dataset (N = 12,280) and a smaller dataset of greatest hits (N = 2,823), we find that music lyrics tend to exhibit a core Arc of Narrative structure: setting the stage at the beginning, progressing the plot steadily until the end of the song, and peaking in cognitive tension in the middle. We also observe differences in narrative structure based on musical genre, suggesting different genres set the scene in greater detail (Country, Rap) or progress the plot faster and have a higher rate of internal conflict (Pop). These findings add to the evidence that storytelling exhibits predictable language patterns and that storytelling is evident in music lyrics. [ABSTRACT FROM AUTHOR]

A song is composed of a series of tones that form a melody and support musical elements. It uses the tones of a human voice to beautifully and meaningfully express thoughts or feelings The combination of a song with a lively poem (text) can stir up a lot of emotions in the audience and have a major effect on their soul. This study aims to explore the emotions evoked by Kemas Anwar Beck's lyrics for his song Nasib Kulo and how his experiences show up in using language and wordplay to give his lyrics a unique and appealing quality. The study focuses on analyzing the content of the song lyrics and interpreting their meaning in a qualitative descriptive manner. A semiotic theory is used to decipher the meaning of the lyrics that were penned in polite Palembang Alus language. Moreover, a musicology approach is also used to analyze the musical form. The results show that the song Nasib Kulo uses two types of symbols, namely, verbal meaning in the form of poetry or lyrics and non-verbal meaning in the form of song elements, that is, chord progression, melody, tempo, and dynamics. As a result of the creativity of the artist, the mindset of life conception and lifestyle are reflected in his artwork. In conclusion, the song Nasib Kulo that is written in Palembang Alus language is very influential for individuals and communities. [ABSTRACT FROM AUTHOR]