Ratna Putri Krisnisa, Semi Sukarni, Zulia Chasanah

Figurative Languages Found in Paint My Love Greatest Hits Lyrics

Introduction

Figurative languages found in paint my love greatest hits lyrics. Explore figurative language in 'Paint My Love Greatest Hits' lyrics. This qualitative study reveals types & meanings, with symbols (42.86%) being the most frequent, enriching song depth.

Abstract

Language is a fundamental tool in communication and expression, including in the realm of music. Songs, as a form of art, often use figurative language to convey messages more emotionally and aesthetically. However, not all listeners are able to understand the hidden meaning behind the lyrics, especially when figurative language is used. This study aims to examine the use of figurative language in the album Paint My Love Greatest Hits by referring to Frederik's theory. This study uses a qualitative approach to analyze the types and meanings of figurative language found in song lyrics. Data were obtained from all songs in the album. The results of the analysis show that the most frequent type of figurative language is symbols (42.86%), while the least frequent are hyperbole, litotes, metonymy, and paradox. These findings reveal that figurative language plays an important role in enriching the meaning and emotional depth of song lyrics.

Review

This study undertakes a linguistic analysis of the *Paint My Love Greatest Hits* album, with a primary focus on identifying and interpreting the figurative language embedded within its lyrics. The paper positions itself as relevant by addressing the dual nature of figurative language in music: its capacity to enhance emotional and aesthetic depth, and the potential challenge it poses for listeners in understanding underlying meanings. By applying "Frederik's theory" to a specific and popular musical corpus, the research promises to contribute to a more nuanced appreciation of how linguistic devices shape artistic expression in the realm of popular songs. The methodology employs a qualitative approach to systematically analyze the types and meanings of figurative language across all songs in the album. The abstract highlights a quantitative dimension within this qualitative framework, revealing that symbols are the most frequently utilized form of figurative language, accounting for 42.86% of occurrences. In contrast, hyperbole, litotes, metonymy, and paradox were found to be the least frequent. These findings offer concrete insights into the stylistic preferences within the analyzed lyrics; however, the abstract's brevity regarding the specifics of "Frederik's theory" means its precise application and contribution to the analysis remain to be fully elaborated in the complete paper. Overall, the study successfully quantifies the prevalence of various figurative language types within a specific musical collection, thereby reinforcing the known importance of these linguistic tools in enriching lyrical content and emotional impact. While the findings provide a clear statistical overview, the abstract could benefit from a brief explanation of Frederik's theoretical framework to contextualize the analysis for a broader academic audience. Nevertheless, this research offers a focused exploration into the stylistic elements of song lyrics and serves as a solid foundation for future studies investigating the intersection of language, music, and audience interpretation.

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