310 Ac a Linguis ica Li huanica XCI
FINCE L. SAMBEKA
Uni e si as Nege i Manado
ORCID id: o cid.o g/0009-0008-6517-5115
Field o esea ch: Sociolinguis ics.
MUHAMMAD I. ALI
Uni e si as Nege i Manado
ORCID id: o cid.o g/0009-0000-7700-7276
Field o esea ch: Li e a y Analysis.
DOI: doi.o g/10.35321/all91-13
EVOLUTION OF ABSTRACTING
METAPHORS IN MODERN
JAPANESE J-POP LYRICS:
ANALYSIS OF LINGUISTIC
DEVICES
Abs ahuojančių me a o ų aida šiuolaikiniuose
japonų J-pop dainų eks uose: kalbos
p iemonių analizė
ANNOTATION
This s udy in es iga es he use o me apho ical language in he second single by 25ji
Nigh co d de, ocusing on he iden i ica ion and analysis o di e en me apho ypes
and hei exp essions. Th ough quali a i e desc ip i e analysis employing lis ening and
eco ding echniques, combined wi h a e e en ial pai ing me hod, he s udy e eals h ee
dis inc ca ego ies o me apho s. The indings demons a e a p edominan use o abs ac ing
me apho s (18 ins ances), ollowed by an h opomo phic me apho s (3 ins ances), and
synes he ic me apho s (1 ins ance). Analysis o hese 22 me apho ical exp essions e eals
di e se seman ic in e p e a ions ha con ibu e o he song’s a is ic and emo ional dep h.
The p e alence o abs ac ing me apho s sugges s a endency owa d concep ual abs ac ion
in con empo a y songw i ing. Fu u e esea ch could explo e he e olu ion o me apho ical
S aipsniai / A icles 311
E olu ion o Abs ac ing Me apho s in Mode n Japanese
J-pop Ly ics: Analysis o Linguis ic De ices
pa e ns ac oss mul iple singles o compa e me apho ical usage ac oss di e en musical
gen es wi hin simila linguis ic con ex s.
KEYWORDS: Me apho ical analysis, Song ly ics, Language s yle, Abs ac ing
me apho s, Con empo a y songw i ing.
ANOTACIJA
Šiame y ime nag inėjamas me a o inės kalbos a ojimas an ajame „25ji Nigh co d
de“ single, daugiausia dėmesio ski ian ski ingų me a o ų ipų i jų iš aiškų iden i ika-
imui i analizei. A liekan kokybinę ap ašomąją analizę, aikan klausymo i į ašymo me o-
dus, de i namus su e e en inio po a imo me odu, y imas a skleidžia is ski ingas me a-
o ų ka ego ijas. Ty imo ezul a ai odo, kad y auja abs ahuojančios me a o os (18 a ejų),
an opomo inės me a o os (3 a ejai) i sines ezinė me a o a (1 a ejis). Šių 22 me a o inių
iš aiškų analizė a skleidžia į ai ias seman ines in e p e acijas, ku ios p isideda p ie dainos
meninės i emocinės gelmės. Abs ahuojančių me a o ų papli imas odo, kad šiuolaikinėje
dainų kū yboje y auja polinkis į koncep ualiąją abs akciją. A ei ies y imai galė ų išanali-
zuo i me a o inių modelių aidą keliuose singluose a ba palygin i ski ingų muzikinių žan ų
me a o ų a ojimą panašiuose kalbiniuose kon eks uose.
ESMINIAI ŽODŽIAI: me a o ų analizė, dainų eks ai, kalbos s ilius, me a o ų
abs aha imas, šiuolaikinė dainų kū yba.
INTRODUCTION
Language s ands as humani y’s undamen al b idge o emo ional exp ession
and in e pe sonal connec ion, se ing as he p ima y condui h ough which
indi iduals sha e hei inne mos hough s, eelings, and expe iences wi h he
wo ld a ound hem. In he inc easingly digi al landscape o he 21s cen u y,
his exp essi e capaci y has e ol ed a beyond adi ional e bal and w i en
communica ion, inding new o ms and meanings in he in e sec ion o
echnology and a is ic exp ession (Zhang, Ma sumo o 2023). The p oli e a ion
o digi al pla o ms and i ual pe sonali ies has c ea ed unp eceden ed
oppo uni ies o emo ional a icula ion, pa icula ly wi hin he ealm o
musical composi ion and pe o mance.
Wi hin his e ol ing landscape o digi al exp ession, Japan has eme ged as a
pionee ing o ce in he usion o adi ional a is ic exp ession and echnological
inno a ion. The de elopmen o Vocaloid echnology by Yamaha Co po a ion
FINCE L. SAMBEKA, MUHAMMAD I. ALI
312 Ac a Linguis ica Li huanica XCI
ep esen s a wa e shed momen in his e olu ion, ans o ming he e y
na u e o musical c ea ion by in oducing i ual singe s capable o deli e ing
emo ional pe o mances h ough sophis ica ed ocal syn hesis (Yamamo o,
Suzuki 2020). This echnological b eak h ough has no only e olu ionized
he music p oduc ion p ocess bu has also gi en ise o en i ely new o ms
o cul u al exp ession and communi y engagemen , pa icula ly wi hin Japan’s
ib an digi al en e ainmen ecosys em.
The eme gence o mobile gaming pla o ms ha inco po a e Vocaloid
echnology, exempli ied by “P ojec Sekai Colo ul S age”, has u he expanded
he bounda ies o digi al musical exp ession. These pla o ms ha e c ea ed
unique spaces whe e i ual pe o me s and o iginal cha ac e s collabo a e in
he deli e y o emo ionally esonan musical expe iences. The sophis ica ion o
hese i ual pe o mances has eached a le el whe e he dis inc ion be ween
human and syn he ic exp ession becomes inc easingly blu ed, allowing o new
o ms o emo ional connec ion and a is ic app ecia ion (Chen e al. 2021).
Among he a ious musical uni s wi hin his digi al landscape, Nigh co d
a 25:00 (25時、ナイトコードで) has dis inguished i sel h ough i s p o ound
explo a ion o complex psychological hemes and emo ional s a es. The g oup’s
composi ions demons a e a mas e ul use o me apho ical language o add ess
sensi i e opics such as dep ession, social isola ion, and he sea ch o pe sonal
iden i y (Kim, Lee 2022). These hemes, while uni e sal in hei human
ele ance, ake on new dimensions when exp essed h ough he medium o
i ual pe o me s, c ea ing a unique space o emo ional explo a ion and
connec ion.
The use o me apho wi hin Nigh co d a 25:00’s composi ions ep esen s
a sophis ica ed app oach o emo ional exp ession ha me i s ca e ul academic
examina ion. Th ough ca e ully cons uc ed me apho ical amewo ks, he
g oup’s ly ics c ea e mul iple laye s o meaning ha allow lis ene s o engage
wi h di icul emo ional con en in ways ha migh be o he wise inaccessible o
o e whelming. The i ual na u e o he pe o me s adds an addi ional laye o
psychological dis ance ha pa adoxically enables close emo ional engagemen
wi h challenging hemes (Rod iguez, Tanaka 2024).
The ela ionship be ween me apho ical exp ession and emo ional impac in
i ual singe pe o mances aises impo an ques ions abou he na u e o a is ic
communica ion in he digi al age (Ke a 2010). The abili y o i ual pe o me s
o con ey genuine emo ional dep h h ough ca e ully c a ed me apho ical
language challenges adi ional assump ions abou he equi emen s o
au hen ic a is ic exp ession. This phenomenon sugges s new possibili ies o
emo ional communica ion and psychological suppo h ough digi al mediums,
S aipsniai / A icles 313
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J-pop Ly ics: Analysis o Linguis ic De ices
pa icula ly o younge gene a ions who may eel mo e com o able engaging
wi h sensi i e opics h ough i ual in e media ies.
Recen s udies ha e demons a ed ha he use o me apho ical language
in i ual singe pla o ms can se e as a powe ul ool o add essing men al
heal h conce ns and emo ional s uggles, pa icula ly among younge audiences
(Chen e al. 2021). The combina ion o sophis ica ed linguis ic de ices wi h
i ual pe o mance c ea es a unique o m o emo ional sca olding ha allows
lis ene s o explo e and p ocess hei own expe iences h ough he lens o
me apho ical exp ession. This app oach has p o en pa icula ly e ec i e in
Japanese you h cul u e, whe e di ec discussion o men al heal h issues may
ace cul u al ba ie s.
The examina ion o me apho ical cons uc ions in Nigh co d a 25:00’s
composi ions e eals he in ica e ways in which language, echnology, and
emo ion in e sec in con empo a y digi al cul u e. By analyzing he speci ic
ypes o me apho s employed and hei seman ic ela ionships o in ended
meanings, we can be e unde s and how i ual pla o ms acili a e emo ional
exp ession and connec ion in he mode n e a. This unde s anding has impo an
implica ions o bo h a is ic c ea ion and he apeu ic applica ions in digi al
con ex s.
The b oade implica ions o his esea ch ex end beyond he immedia e
con ex o i ual singe pla o ms, ouching upon undamen al ques ions abou
he na u e o emo ional exp ession and human connec ion in an inc easingly
digi al wo ld. As i ual pe o mances and digi al communica ion con inue o
play a la ge ole in global cul u e, unde s anding how me apho ical language
unc ions wi hin hese con ex s becomes inc easingly c ucial. This knowledge
can in o m he de elopmen o mo e e ec i e digi al pla o ms o emo ional
exp ession and suppo , while also con ibu ing o ou b oade unde s anding
o how language and echnology shape human expe ience in he 21s cen u y.
1. LITERATURE REVIEW
1.1. Me apho Analysis
Me apho is one o he s udies in seman ics, namely language s yle (Masoko
2019). A me apho is a compa ison be ween wo hings ha a e used (mel ed)
o a di ec compa ison because o simila i ies o simila i ies ha a e conc e e
( eal) o in ui i e o pe cep ual (Ullmann 2011: 119–120). Me apho in Japanese
FINCE L. SAMBEKA, MUHAMMAD I. ALI
314 Ac a Linguis ica Li huanica XCI
is called inyu (隠喩). In he book Yoku Waka u Gengogaku Nyumon (Machida,
Yosuke 1997: 112) he de ini ion o me apho is: 隠喩「メタファー」２つ
の事物．概念の何らかの類似性に基づき、一方の事物．概念を表す語で、
他方の事物概念を表すという比喩です。
Fu a su no ko omono, gainen no nan akano ujisei ni mo ozuki, ippo no ko omono,
gainen wo a awasu go de, ahou no ko omono, gainen wo a awasu o iu hiyu desu.
“Me apho is a s yle o language ha exp esses one hing o ma e wi h
ano he based on simila i ies in na u e o concep .”
Types o me apho s acco ding o S ephan Ullmann a e:
1) An h opomo phic Me apho s a e exp essions ha e e o inanima e
objec s by way o ans e om human bodies and limbs o human senses
and eelings;
2) Synes he ic Me apho , is a ans e ence o ans e o one sense o ano he ;
3) Me apho ical Abs ac ing, is he opposi e o abs ac hings being ea ed
as some hing anima e so ha hey can ac conc e ely o anima e;
4) Animal Me apho , his me apho uses some hing ela ed o animals o
image some hing else. I is gene ally based on a ai ly ob ious esemblance
in a o m ha lacks s ong exp essi eness.
Me apho s o e come he sho comings and limi a ions o he lexicon, p o ide
in e es and a oid mono ony (Edy 2011). In each ype o me apho , he e is a
meaning o he me apho ical exp ession. The meaning can be unde s ood based
on he lingual uni s ha make i up, he e o e he me apho ical exp ession is in
line wi h wha is me apho ized be ween he one who makes he me apho and
he one who eads i .
1.2. The E olu ion and Cogni i e Founda ion o
Me apho ical Unde s anding
T adi ional iews o me apho ha e signi ican ly e ol ed, mo ing om
i s ea ly ole as a simple compa a i e de ice o i s cu en ecogni ion as a
undamen al cogni i e mechanism (Lako , Johnson 2003). While ea ly heo is s
like Ullmann es ablished he g oundwo k by de ining me apho as a used
compa ison be ween objec s o concep s (隠喩, inyu in Japanese linguis ics),
con empo a y schola ship has e ealed me apho ’s ole as a p ima y a chi ec
o human hough and unde s anding. This e olu ion in me apho heo y
pa allels de elopmen s in cogni i e science and neu olinguis ics, which ha e
demons a ed ha me apho ical hinking isn’ me ely a linguis ic o namen bu

S aipsniai / A icles 315
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J-pop Ly ics: Analysis o Linguis ic De ices
a he a co e p ocess h ough which humans cons uc and na iga e meaning in
bo h physical and digi al ealms.
Me apho ’s cogni i e dimension unc ions ac oss a ious le els o human
consciousness, simul aneously ac i a ing he b ain’s linguis ic, isual, emo ional,
and cul u al p ocessing cen es (Sompo an 2021). Mode n esea ch has e ealed
ha when indi iduals encoun e me apho ical exp essions, pa icula ly in digi al
con ex s like i ual singe pe o mances, hei b ains ac i a e mul iple neu al
ne wo ks associa ed wi h bo h conc e e and abs ac unde s anding (Ta igan
1986). This mul i-le el p ocessing enables he gene a ion o new meanings
and concep ual amewo ks ha anscend simple compa ison, c ea ing ich
apes ies o unde s anding ha blend physical and i ual expe ience. The
eme gence o i ual pe o mance pla o ms has added addi ional laye s o his
cogni i e complexi y, as audiences p ocess me apho ical exp essions ha exis
simul aneously in physical, emo ional, and digi al domains.
The dep h and sophis ica ion o me apho ical p ocessing become pa icula ly
e iden in he con ex o Japanese i ual singe pe o mances, whe e adi ional
cul u al me apho s in e sec wi h con empo a y digi al exp ession. This
in e sec ion c ea es unique cogni i e challenges and oppo uni ies, as lis ene s
mus in eg a e adi ional Japanese me apho ical unde s anding ( oo ed in
concep s like seasonal e e ences and na u al phenomena) wi h newe digi al
me apho s ha eme ge om i ual pe o mance con ex s. The esul ing
cogni i e syn hesis demons a es me apho ’s ole no jus as a compa a i e
ool, bu as a undamen al mechanism o gene a ing new unde s anding and
meaning ac oss cul u al and echnological bounda ies.
2. RESEARCH METHODS
2.1. Resea ch Design
The ounda ion o his in es iga ion es s upon a quali a i e desc ip i e
me hodology, emb acing he heo e ical amewo k a icula ed by John
W. C eswell & Che yl N. Po h (2023). This app oach enables a nuanced
examina ion o ex ual elemen s wi hin hei na u al con ex , eschewing
nume ical ans o ma ions in a ou o ich, con ex ual unde s anding. By
selec ing his me hodological pa h, he esea ch c ea es space o deep linguis ic
explo a ion and seman ic analysis o he song ly ics, allowing me apho ical
exp essions o eme ge o ganically wi hin hei cul u al and digi al con ex s.
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316 Ac a Linguis ica Li huanica XCI
The me hodological amewo k wea es oge he mul iple analy ical h eads,
inco po a ing he meneu ic in e p e a ion p inciples wi h Ullmann’s me apho ical
heo y. This heo e ical apes y is u he en iched by con empo a y digi al
discou se analysis, acknowledging he unique cha ac e is ics o i ual singe
pla o ms. Valida ion occu s h ough a ca e ul p ocess o iangula ion, whe e
mul iple expe pe spec i es con e ge o ensu e analy ical igou and cul u al
au hen ici y.
2.2. Da a Sou ces and Co pus
The hea o his esea ch bea s wi hin wo signi ican composi ions om 25ji
Nigh co d de (25時ナイトコード)’s second single. The i s piece, “限りな
く灰色へ” (Kagi inaku Haii o e) by Su ii, eme ges as a p o ound explo a ion
o sel -wo h and exis en ial meaning. Th ough he lens o Ena Shinonome’s
cha ac e pe spec i e, he song wea es oge he hemes o pe cei ed alen
inadequacy and he s uggle o li e’s meaning wi hin he “Insa iable Pale Colo ”
e en na a i e.
Complemen ing his is “アイディスマイル” (ID Smile) by Toa,
pe o med h ough he i ual oices o Ha sune Miku and Kagamine Rin. This
composi ion ingeniously combines concep s o iden i y, dis ance, mino i y
s a us, and emo ional exp ession h ough i s e y i le. The song esona es wi h
Mizuki Akiyama’s expe ience as a social ou side , as depic ed in he “Sec e
Dis ance” e en na a i e, c ea ing a ich apes y o meaning o analysis.
Da a au hen ica ion ollows a igo ous p ocess o e i ica ion agains o icial
sou ces, wi h ca e ul a en ion o e sion con ol and documen a ion o any
a ia ions in ly ics o in e p e a ion. The esea ch main ains a li ing da abase o
modi ica ions and upda es, ensu ing analy ical accu acy h oughou he s udy
pe iod.
2.3. Da a Collec ion P ocedu es
The collec ion o esea ch ma e ials ollows a ca e ully o ches a ed p ocess o
sys ema ic lis ening analysis, whe e mul iple sessions ocus on di e en aspec s
o he composi ions. Each lis ening expe ience is documen ed wi h pa icula
a en ion o acous ic elemen s, emo ional esonance, and he eme gence o
me apho ical exp essions (Suda yan o 2015). Time-s amped no a ions c ea e a
p ecise eco d o me apho ical ins ances, allowing o de ailed c oss- e e encing
and analysis.
S aipsniai / A icles 317
E olu ion o Abs ac ing Me apho s in Mode n Japanese
J-pop Ly ics: Analysis o Linguis ic De ices
T ansc ip ion ollows an equally me iculous p o ocol, beginning wi h di ec
Japanese ansc ip ion and mo ing h ough omaniza ion o English ansla ion.
Each s ep unde goes e i ica ion by na i e speake s and subjec ma e expe s,
ensu ing accu acy in bo h linguis ic and cul u al dimensions. Con ex ual
elemen s ecei e ca e ul documen a ion, including ele an e en s o ies,
cha ac e backg ounds, and game na a i e in eg a ion.
The quali y con ol p ocess in ol es mul iple laye s o e i ica ion, including
na i e speake consul a ion and c oss- e e encing wi h o icial ma e ials.
Pa icula a en ion is paid o ambiguous cases, whe e mul iple in e p e a ions
migh be possible, ensu ing comp ehensi e documen a ion o in e p e a i e
possibili ies.
2.4. Da a Analysis F amewo k
The analy ical p ocess begins wi h a deep imme sion in he discou se, whe e
esea che s engage wi h he ex h ough mul iple eadings and lis ening. This
imme si e app oach allows o he eme gence o hemes and na a i e s uc u es,
c ea ing a ounda ion o subsequen me apho ical analysis. The P agglejaz
Me hod (2007) guides he iden i ica ion o me apho ical ins ances, ensu ing
sys ema ic and eplicable analysis.
Seman ic analysis un olds h ough ca e ul documen a ion o bo h lexical
and con ex ual meanings, wi h pa icula a en ion o cul u al e e ences and
he in luence o he digi al medium. This p ocess acknowledges he unique
cha ac e is ics o i ual singe pla o ms while main aining sensi i i y o
adi ional linguis ic analysis me hods.
The applica ion o Ullmann’s heo e ical amewo k p o ides s uc u e
o me apho classi ica ion, while con empo a y me apho heo y o e s
addi ional analy ical ools. Special conside a ion is gi en o he digi al con ex ,
acknowledging how i ual pla o ms migh in luence me apho ical exp ession
and in e p e a ion.
2.5. Valida ion P ocedu es
The alida ion p ocess employs mul iple laye s o quali y assu ance, including
expe e iew, na i e speake e i ica ion, and c oss-cul u al in e p e a ion
alida ion. Pa icula a en ion is paid o he app op ia eness o in e p e a ions
wi hin he digi al con ex , acknowledging he unique cha ac e is ics o i ual
singe pla o ms.
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318 Ac a Linguis ica Li huanica XCI
Reliabili y measu es include egula coding consis ency checks, ansla ion
accu acy e i ica ion, and cul u al con ex alida ion. The in luence o he
digi al medium ecei es ca e ul conside a ion h oughou he alida ion p ocess,
ensu ing ha in e p e a ions emain app op ia e o he unique cha ac e is ics o
i ual singe pla o ms.
3. FINDINGS
The me apho s con ained in he second single 25ji Nigh co d de ha e di e en
exp essions o me apho ical meaning. So based on he esea ch esul s, i is
known ha he song ly ics ha ha e me apho ical exp essions based on he
ype o me apho a e as ollows:
1) An h opomo phic Me apho s
In he second single 25ji Nigh co d de song Kagi inaku Haii o e, he ype o
an h opomo phic me apho was ound, as much as 3 da a, no an h opomo phic
me apho was ound in he song ID Smile. These ypes o me apho s a e ound
in da a 1, 6, and 10, namely:
TABLE 1: Song Ly ics & Meanings Con aining An h opomo phic Me apho s
No.
Da a
An h opomo phic Me apho s
Da a Co pus Meaning o Me apho ical
Exp essions
目に映った景
色の青さが羨
ましく思って
いた。
(1)
Me ni u su a keshiki no aosa ga
u ayamashiku omo e i a.
I i a ing mysel wi h he blue scene y
be o e my
eyes.
En y o o he people’s
happiness.
指先から伝わ
っていく虚し
(6)
さの色。 Yubisaki ka a su awa e iku
munashisa no i o.
Li eless colou s con eyed h ough my
inge ips.
No ha ing ambi ion and
passion in wha you do will
no p oduce wo k ha you can
enjoy.
S aipsniai / A icles 325
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J-pop Ly ics: Analysis o Linguis ic De ices
The p e alence o abs ac ing me apho s o e animalis ic ones in he analyzed
songs highligh s a dis inc ly u ban, echnology- ocused aes he ic shaping much
o con empo a y Japanese you h cul u e (Takahashi 2022). This p e e ence
aligns wi h he Vocaloid subcul u e’s emphasis on digi al spaces and i ual
eali ies, whe e adi ional na u e-based me apho s may hold less ele ance.
The sophis ica ed use o synes he ic and an h opomo phic me apho s in hese
songs demons a es how Japanese songw i e s wi hin he Vocaloid scene a e
adap ing adi ional Japanese linguis ic de ices o exp ess mode n sensibili ies
and expe iences. Unde s anding hese cul u al and subcul u al con ex s is
essen ial o o eign audiences o ully app ecia e he nuanced ways in which
me apho ical de ices ope a e wi hin Japanese ly ics.
The ela ionship be ween me apho and Japanese cul u al exp ession ex ends
beyond me e linguis ic analysis in o he ealm o isual and pe o ma i e
elemen s, pa icula ly ele an in he Vocaloid con ex whe e i ual pe o me s
embody me apho ical concep s h ough hei e y exis ence. This mul i-
modal app oach o me apho ical exp ession, combining linguis ic, isual, and
echnological elemen s, c ea es a complex web o meaning ha equi es cul u al
li e acy o ully decode. The absence o ce ain me apho ical ypes (such as
animalis ic me apho s) and he p ominence o o he s (abs ac ing me apho s)
in he analyzed songs can be be e unde s ood when iewed h ough he lens
o Japanese cul u al p e e ences and he speci ic aes he ic alues o he Vocaloid
subcul u e.
CONCLUSION
The analysis o me apho ical exp essions in 25ji Nigh co d de’s second single
e eals signi ican pa e ns in con empo a y Japanese songw i ing echniques,
wi h abs ac ing me apho s eme ging as he dominan o m o igu a i e
language. Ou o 22 iden i ied me apho ical ins ances, he dis ibu ion
pa e n shows 18 abs ac ing me apho s, 3 an h opomo phic me apho s, and
1 synes he ic me apho , demons a ing a clea p e e ence o ans o ming
abs ac emo ional concep s in o angible image y. The sophis ica ed in e play
o hese me apho ical ypes, pa icula ly e iden in songs like “Kagi inak u
Haii o e” wi h 16 ins ances and “ID smile” wi h 6 ins ances, showcases how
a ying densi ies o me apho ical exp ession e ec i ely con ey di e en
le els o emo ional complexi y while main aining linguis ic accessibili y and
a is ic sophis ica ion. Fu u e esea ch in his a ea should explo e se e al
p omising di ec ions, including compa a i e analyses ac oss di e en Japanese
musical gen es, longi udinal s udies o me apho ical e olu ion in J-pop, and

FINCE L. SAMBEKA, MUHAMMAD I. ALI
326 Ac a Linguis ica Li huanica XCI
c oss-cul u al examina ions o me apho ical p e e ences in Asian music
ma ke s. Addi ionally, in es iga ions in o lis ene comp ehension and emo ional
esponse o di e en me apho ical ypes could p o ide aluable insigh s o
bo h academic unde s anding and p ac ical applica ions in songw i ing. The
de elopmen o new heo e ical amewo ks speci ically ailo ed o analyzing
con empo a y Asian pop ly ics, combined wi h s udies on he in luence o
digi al cul u e on me apho ical choices, would signi ican ly con ibu e o ou
unde s anding o mode n musical exp ession. Such esea ch would no only
enhance ou comp ehension o linguis ic de ices in music bu also p o ide
p ac ical guidance o songw i e s, compose s, and language educa o s wo king
wi h con empo a y Japanese musical o ms.
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FINCE L. SAMBEKA, MUHAMMAD I. ALI
328 Ac a Linguis ica Li huanica XCI
Abs ahuojančių me a o ų aida šiuolaikiniuose
japonų J-pop dainų eks uose: kalbos
p iemonių analizė
SANTRAUKA
Šiame y ime nag inėjamas me a o inės kalbos a ojimas an ajame japonų muzikos
g upės „25ji Nigh co d de“ single. Jame daugiausia dėmesio ski iama į ai ių dainos eks-
uose a ojamų me a o ų ipų iden i ika imui i analizei. Ty ime aikomas kokybinis ap-
ašomasis me odas, naudojan klausymo i į ašymo echniką, aip pa e e encinį po a imo
me odą, siekian suski s y i i išanalizuo i šias me a o as. Rezul a ai a skleidžia is pag indi-
nius me a o ų ipus: abs ahuojančias me a o as, an opomo ines me a o as i sines ezines
me a o as. Iš 22 nus a y ų me a o inių posakių labiausiai papli usios y a abs ahuojančios
me a o os (18 a ejų), an opomo inės me a o os (3 a ejai) i sines ezinė me a o a (1 a e-
jis). Šios me a o inės iš aiškos siūlo į ai ias seman ines in e p e acijas, ku ios p isideda p ie
dainos emocinio i meninio nepap as umo, sus ip indamos jos bend ąjį po eikį.
Ty ime pab ėžiamas abs ahuojančių me a o ų domina imas šiuolaikinėje J-pop dainų
kū yboje, o ai odo y aujan į koncep ualios abs akcijos polinkį šiuolaikinėje muzikoje.
Ty imo ezul a ai odo, kad me a o os y a ne ik pag indinis ly ikos b uožas, be i a lieka
lemiamą aidmenį pe eikian gilesnes emocines i menines p asmes, leidžiančias klausy-
ojams užmegz i glaudesnį in e p e acinį yšį su daina. Būsimuose y imuose bū ų galima
oliau nag inė i me a o ų a ojimo aidą keliose dainose a ba lygin i me a o inius modelius
ski inguose muzikos žan uose panašiuose kalbiniuose kon eks uose. Tai padė ų ge iau su-
p as i, kaip me a o ų kalba o muoja šiuolaikinę populia iąją muziką, ypač unikalioje japo-
nų J-pop kul ū inėje i kalbinėje aplinkoje.
Į eik a 2024 m. spalio 6 d.
FINCE L. SAMBEKA
Depa men o Indonesian Language and Educa ion
Manado S a e Uni e si y
Sou h Tondano, No h Sulawesi, Indonesia
Pos Code 95618
incesambe[email p o ec ed]
MUHAMMAD I. ALI
Depa men o English Educa ion
Manado S a e Uni e si y
Sou h Tondano, No h Sulawesi, Indonesia
Pos Code 95618
[email p o ec ed]