<![CDATA[Eschatological teachings in the Qur'an and hadith are an important foundation in shaping human life orientation and moral responsibility. However, in contemporary religious practice, these teachings are often reduced to normative-doctrinal discourse that is separated from the everyday cultural experiences of society. This study addresses the lack of research on the Qur'an and hadith that analyzes how eschatological teachings are transformed and internalized through popular cultural media, particularly dangdut music. By focusing on the lyrics of Rhoma Irama's songs; Masa Depan (The Future), Kematian (Death), Sebujur Bangkai (A Corpse), Kiamat (The Apocalypse), and Hari Berbangkit (The Day of Resurrection), this study aims to analyze the forms and patterns of reception of eschatological teachings from the Qur'an and hadith in musical expression. This study is a qualitative study using descriptive-analytical methods. The research data, in the form of song lyrics, are described and analyzed using the theory of Qur'anic reception by tracing references to verses and hadiths, symbolic language strategies, and the function of meaning in song lyrics. The results of the study show that Rhoma Irama does not merely reproduce eschatological teachings normatively, but transforms meaning through three main patterns of reception, namely functional reception, exegetical reception, and aesthetic reception. This research contributes to the development of studies on the reception of the Qur'an by expanding the study of Islamic eschatology into the realm of popular culture, while also affirming music as a medium for reflection and internalization of the theological-eschatological consciousness of society.]]>
