KOPI-SENJA DAN INDIE: ANALISIS REPRESENTASI LAGU ‘TAK PERLU ADA SENJA’ DAN ‘KOPI, SENJA, DAN LOGIKA’
Main Article Content
Abstract
Article Summary
Song lyrics are an example of how music is a cultural tool that is used in society to shape social reality. Because there was no power relations from market demand during the industrialization of independent music, it became a counterculture. Indie music is a new lifestyle trend, especially for coffee lovers, because it frequently features songs with poetic lyrics about savoring the sunset as well as resistance. Fans of independent music cannot separate the three elements of dusk, coffee, and indie music. This study aims to examine how coffee-speech is portrayed in two songs with twilight themes. The formulation of the problem in this study is how the lyrics of the song 'Tak Perlu Ada Senja' sung by Suara Kayu ft. Fiersa Besari and the song 'Kopi, Senja, dan Logika' sung by the band Nosstress represent kopi-senja as a new term for indie music fans in Indonesia ?”. This research is a qualitative research through a textual/literary approach using Ferdinand de Saussure's semiotic analysis method. The author divides the song's text into two meanings, the signifier and the signified, using Ferdinand de Saussure's semiotic analysis. In conclusion, coffee and dusk go hand in hand with indie music. It turns out that coffee is a popular beverage among people who do more than just hang out in coffee shops. However, coffee has a positive energy that might inspire.
Keywords
Article Keywords
Downloads
Article Details

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC-BY 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
Chye, P.S. and Kong, L., 1996. Idealogy, social commentary and resistance in popular music: A case study of Singapore. Journal of Popular Culture, 30(1), p.215-231.
Danaher, W.F., 2010. Music and social movements. Sociology Compass, 4(9), pp.811-823. DOI: https://doi.org/10.1111/j.1751-9020.2010.00310.x.
Hargreaves, D.J., MacDonald, R. and Miell, D., 2005. How do people communicate using music. Musical communication, 1, pp.1-26.
Hall, S. 1997. The Work of Representation. In Stuart Hall (Ed.), Representation: Cultural Representation and Signifying Practices . United States: SAGE Publications.
Jhally, S. ed., 1997. Stuart Hall Representation & The Media. Media Education Foundation.
Rokhani, U. 2021. Representasi Kultural Pandemi Covid-19 Dalam Musik Indonesia. Prosiding Seminar Virtual FSMR, ISI Yogyakarta, 217-228.
Aviandy, M. and Saleh, M.I., 2020. Representasi Ideologi Generasi Muda Uni Soviet dalam Lirik Lagu Mama-Anarxija (Mama Anarki) dari Kino. JSSH (Jurnal Sains Sosial dan Humaniora), 4(2), pp.121-138. DOI: https://doi.org/10.30595/jssh.v4i2.8204.
Hasibuan, A. P. 2022. Representasi Ikatan Ibu dan Anak dalam Lirik Lagu Bertaut Karya Nadin Amizah (Analisis Semiotik Roland Barthes). Skripsi. Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Muhammadiyah Sumatera Utara Medan, 48-49.
Prendergast, C. 2000. The Triangle of Representation. . New York dan West Sussex: Columbia University Press.
Barker, C. 2000. Cultural Studies Teori dan Praktik. Bantul: Kreasi Wacana Offset.
Crnjanski, N., 2018. Is that a new language coming? Some questions concerning music semiotics vocabulary. Rasprave: Časopis Instituta za hrvatski jezik i jezikoslovlje, 44(2), pp.373-384.
Huat, A.T. and Blackburn, A., 2012. When music meets language. Journal of Research, Policy & Practice of Teachers and Teacher Education, 2(2), pp.62-70.
Sunardi, C., 2017. Talking about Mode in Malang, East Java. Asian Music, 48(2), pp.62-89.
Noviani, R. 2020. Politik Representsi di Era Serbamedia. Dalam Wening Udasmoro (Ed.), Gerak Kuasa: Politik Wacana, Identitas, dan Ruang/Waktu dalam Bingkai Kajian Budaya dan Media. Jakarta: Kepustakaan Populer Gramedia.
Tinarbuko, S. 2012. Semiotika Komunikasi Visual. Yogyakarta: Jalasutra.
Vera, N. 2014. Semiotika Dalam Riset Komunikasi. Bogor: Ghalia Indonesia.
Eco, U. 2009. Teori semiotika. Yogyakarta: Kreasi Wacana.
Nurindahsari, L. 2019. Analisis Semiotika Makna Motivasi Pada Lirik Lagu “Zona Nyaman” Karya Fourtwnty. Skripsi Ilmu Komunikasi, Fakultas Teknologi Komunikasi dan Informasi Universitas Semarang.
Saukko, P. 2003. Doing Research in Cultural Studies. Singapura: Sage Publication.
Irawanto, B., 2008. Menginterogasi Budaya: Memperkarakan Metodologi dalam Kajian Budaya. Jurnal Komunikasi, 2(2), pp.297-304.
Hamidi. 2010. Metode Penelitian Kualitatif Pendekatan Praktis Penulis Proposal dan Laporan Penelitian. Cetakan Pertama. Malang: UU Pers.
Mulyana, D. 2018. Metodologi Penelitian Kualitatif. Paradigma Baru Ilmu Komunikasi dan llmu Sosial Lainnya. Cetakan 9. Bandung: Remaja Rosdakarya.
(n.d.). Retrieved from https://genius.com/Suara-kayu-tak-perlu-ada-senja-lyrics dan https://genius.com/Nosstress-kopi-senja-dan-logika-lyrics 20 November 2022
(n.d.). Retrieved from https://genius.com/Suara-kayu-tak-perlu-ada-senja-lyrics dan https://genius.com/Nosstress-kopi-senja-dan-logika-lyrics 20 November 2022
(n.d.) Retrieved from https://mediaindonesia.com/hiburan/494387/gandeng-fiersa-besari-suara-kayu-rilis-tak-perlu-ada-senja 23 November 2022