This paper addresses the divergence between the global increase in multilingual speakers due to globalization and the extreme rarity of "Multilingual Flow"—the simultaneous use of three or more languages by a single subject within a single musical work. The objective is to elucidate the conditions under which this practice is introduced. First, conventional multilingual music is categorized into four types: "Symbolic," "Sectional," "Decorative," and "Repetitive." We define "Multilingual Flow" as a distinct form where each language occupies a different functional phase (role). A screening of approximately 200 track candidates using multiple AI models, followed by rigorous auditory analysis, identified only five cases meeting this definition. This result paradoxically demonstrates the robust stability of the bilingual format in contemporary music. Through a detailed examination of these cases, the primary factors for introducing a third language are synthesized into two points: (1) "External Institutional Mandates," such as adaptation to international competitions or specific markets, and (2) "Intrinsic Structural Inadequacy" unresolvable within a bilingual framework. In conclusion, this paper clarifies that the current state of Multilingual Flow is not a natural manifestation of linguistic proficiency but a conditional musical phenomenon necessitated only under specific institutional or existential extremes.
Jun'ichiro Fujikura (Sun,) studied this question.