AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

(1)

THE USE OF CONTRACTED FORMS IN THE HIP HOP

SONG LYRICS

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

AGUSTINA IKE WIRANTARI

Student Number: 034214130

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2008

(2)

A Sarjana Sastra Undergraduate Thesis

THE USE OF CONTRACTED FORMS IN THE HIP HOP

SONG LYRICS

By

AGUSTINA IKE WIRANTARI

Student Number: 034214130

Defended before the Board of Examiners on January 21, 2008

and Declared Acceptable

BOARD OF EXAMINERS

Name Signature

Chairman : Secretary : Member :

Member :

ii

(3)

(4)

ACKNOWLEDGEMENTS

I would like to address all my thanks and praise to God for all His kindness, love, patience and etc. I feel that I just nothing compared with His Greatness. He is always accompanying me and giving me power to face all the obstacles in front of me.

I owe so much thanks to my advisor Dr. Fr. B. Alip, M.Pd., M.A., for all his advise so I can finish my thesis, and also for my co-advisor Dr.B.Ria Lestari, M.S. for her ideas and supports in making my thesis. Thanking is also given for Ms. Sri Mulyani, for her ideas and the sources that can support my thesis, and for all the English Letters Department staffs for all their help in our study.

I would never forget to address my gratitude, love, and thanks for all the supports to my family especially for my Dad, I Ketut S.W., my Mom, Lestari, and my lovely sister, Putri. Thank you very much for all of your pray for me, so I can finish my thesis.

Finally, my true love and happiness are also given to all my friends in English Letters Department 2003 especially for my best friends Maya, Sondang, Csil, Agnes, Dean, Abit and Tyo. Thanks, guys, for making my days so colorful and meaningful. My warm love and true happiness are also addressed to my friends in Bromo 2B especially for Tuta, Entin, Wulan, Nunung, Novi, Kak Bertha and kak Hota. For my friends, Ivan and Hendri, I want to thank so much in supporting me.

Agustina Ike Wirantari

(5)

ABSTRACT

AGUSTINA IKE WIRANTARI. The Use of Contracted Forms in Hip Hop

Song Lyrics. Yogyakarta: Department of English Letters, Faculty of Letters,

Sanata Dharma University, 2007.

This research is aimed to find out the kinds of the contracted forms in the hip hop song lyrics and formulate the formulation of English contracted forms. The lyrics of the hip hop songs usually use sentences without subjects and only verbs phrases. The uses of contracted forms are also found in hip hop lyrics. The problems that will be discussed are what kinds of contracted forms, and what are the influences of the fans toward the use of the contracted forms in hip-hop song lyrics.

The kind of the research is a library study or a desk research and some of the data for this research comes from the internet research. After the researcher found the data then, the data are ready to be analyzed. The steps in analyzing the study areselecting the data, transcribing the data, identifying the data, classifying the data and finding the factors that influence the use of the contracted forms in hip-hop song lyrics.

Based on the research result, several conclusions can be drawn as follows : (1) The kinds of the contracted forms that are used in the hip hop lyrics are the the contracted forms of the operators, the contracted forms of negations, wanna contraction, the contracted forms of gemination, the contracted forms of aphesis, the contracted forms of the consonant sounds [r] and [l], and the contracted form of let’s, y’all and c’mon and (2) The factors that influence the use of the contracted forms in the hip-hop lyrics are the fans’ social class, the fans’ personality, the fans’ cultural background and the fans’ sex.

(7)

ABSTRAK

AGUSTINA IKE WIRANTARI. The Use of Contracted Forms in Hip Hop

Song Lyrics. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas

Sanata Dharma, 2007.

Penelitian ini bertujuan untuk mengetahui jenis-jenis penyingkatan di lirik lagu-lagu hip hop dan memformulasikan struktur dari penyingkatan-penyingkatan Bahasa Inggris. Biasanya bentuk lirik lagu hip hop menggunakan kalimat-kalimat tanpa subyek dan kata kerja. Penggunaan penyingkatan dapat ditemukan lebih banyak di lirik lagu-lagu hip hop. Masalah-masalah yang akan dibahas antara lain: macam-macam bentuk penyingkatan dan pengaruh fans terhadap penggunaan penyingkatan dalam lirik lagu hip-hop.

Jenis dari penelitian ini adalah studi perpustakaan atau penelitian di atas meja dan beberapa data dari penelitian ini berasal dari internet. Setelah si peneliti menemukan data dan data siap untuk digunakan. Cara-cara menganalisa thesis dengan menyeleksi data, menyalin data, mengidentifikasi data, mengklasifikasikan data dan mencari faktor-faktor yang mempengaruhi penggunaan penyingkatan dalam lirik lagu hip-hop.

Berdasarkan hasil penelitian, beberapa kesimpulan dapat diambil sebagai berikut: Jenis- jenis penyingkatan dalam lirik hip hop adalah (1) Penyingkatan kata kerja bantu, penyingkatan negatif, penyingkatan wanna, penyingkatan geminasi, penyingkatan aphesis, penyingkatan konsonan [r] dan [l] dan pennyingkatan let’s, y’all dan c’mon dan (2) faktor-faktor yang mempengaruhi penggunaan penyingkatan dalam lirik lagu hip-hop adalah kelas sosial fans, kepribadian fans, latar budaya fans, dan jenis kelamin fans.

(8)

You’re so precious in My eyes, I love you and I had chosen you as My

children. I had given to you My greatest wealth, My Son, so that you

can live.

Love you always,

Jesus Christ

When I feel afraid, think I lost my way, still You there right besides

me, nothing will I fear as long as You are near,please be near me to the

end.

(Thy word is a Lamp)

(9)

I dedicated this for my Love,

Jesus Christ for all His Blessing and Love,

and also for my parents and my sister

for their support and love.

For all my friends that always accompany me

.

(10)

(11)

A. BACKGROUND OF THE STUDY

As a means of communication, language makes the process of interaction among the people easier to do. By having language, an understanding and the peace among people can be created because each people can express his/her feeling. People from different countries can be united also if there is a similarity that can bind them together, for example the use of English as an international language. Language eases people to share their ideas or feelings by providing them many referents which explain the things. Because of this reason, language is also dealing with the other fields such as arts, politics, economics, music, and many more. In the process of the use of the language in those fields, language can be divided into two kinds, formal language and non-formal language. Formal language is usually used in the governmental office especially in official situations, business letters and etc. On the other hand, the non-formal language is used in colloquial, informal situation and many more. The non-formal language contains slang words, contracted forms, and etc.

Music is one of the ways to communicate feeling, beauty, idea and sympathy. As an entertainment for people, music has been developed all around the world whether in its form and in its variety such as classic, pop, rock, reggae, R&B, hip-hop, and etc. However, music also reflects the condition of the society.

(12)

For example, in the globalization era, the condition of the society is changed to be more dynamic, free, individual, independent, creative, innovative, and rebels for the static condition. People try to find music which can express those things, and hip-hop is the best choice for them. Hip-hop is the music that combines rapping, dancing and the music itself. Hip-hop also can promote the spirit of life. Hip-hop is popularized by West African and African American people. The hip hop music for the first time is introduced by Kool DJ Herc and Grandmaster Flash, who create more “danceable” music in 1970’s in New York. Today, hip-hop has been combined with rock music, reggae, techno and other music styles. The example of hip-hop music which is combined with rock music is Run-D.M.C. collaborates with rock band Aerosmith, and etc. (http://www.jam2dis.com/j2dhiphopdef.htm).

(13)

B. PROBLEM FORMULATION

In this research, there are two problems that will be discussed. Those are: 1. What contracted forms are found in the hip hop lyrics?

2. What are the influences of the fans toward the use of the contracted forms in the hip-hop lyrics?

C. OBJECTIVES OF THE STUDY

The study about the use of the contracted forms in the hip-hop lyrics are to find out what contracted forms that are usually used in the hip-hop lyrics and what are the influence of the fans toward the use of the contracted forms. The first is to find out the contracted forms in the lyrics means to find out what the function and structure of the contracted forms that are found in the hip-hop lyrics. It includes the research about the characteristics of the contracted forms.

(14)

D. DEFINITION OF TERMS

In this part, the researcher explains first about each definition that is very important for the topic that the researcher is going to be discussed. The definitions are:

1.Contracted Forms

They are shortening word or words of which one or more letters have been omitted. There are many examples of the contracted forms that are mostly used such as I’ve, she’d, we’ll, they’ve, can’t, he’d, won’t and etc. Swan (1995:132) in his book entitled Practical English Usage explained that contractions are common and correct in informal writing and usually they represent the pronunciation of the informal speech. In relations with black dialects, Wolfram and Christian (1989: 40) explained further in their book entitled Dialects and Education: Issues and Answers. They describe Black English as a variety of English that has combined a

number of the nonstandard English forms in a unique way and the contracted forms belong to the nonstandard English. The contracted forms that can be found are consonant blends such as lil’ for little, and the reduced or lost of r such as ca’ol for carol.

2. Music

(15)

Enjoyment of Music says that a song is the most natural form of music. Machlis

explains that singing has been the most widespread and spontaneous way of making music. Actually, a song is the brief composition written or adapted for singing which also contains music and lyrics and the definitions of the lyrics themselves are the words of a song.

3. Hip-hop

(16)

4. Stylistics

The use of the contracted forms in hip-hop lyrics may have several effects from the stylistics. According to Verdonk (2002:4) in his book entitled Stylistics, stylistics is the analysis of distinctive expression in language and the description of its purpose and effect. Stylistics as a study of style is also dealing with the use of the language in any different types of text such as prose, poetry, novel, newspaper and etc. Music is also the field that stylistics is dealing with. Lyric in the music has similarities as poems in its characteristics. In hip-hop, rap takes an important role besides the music itself, the break-dance, and the graffiti art. In relations with stylistics, rap has some elements that can be observed further such as word choices, slang words, rhyme styles, metaphors, similes, prosody, enunciation and wordplay. The form that mostly used in hip-hop lyrics is the contracted forms. From the word choices, rap uses contracted forms because the form of rap is just the same as the everyday conversation which uses contracted forms, slang words, and many more. The examples are the use of the words wanna, gonna, ‘coz, and etc. From the explanation above, it can be seen that the

(17)

CHAPTER II

THE REVIEWS OF LITERATURE

In this chapter, the researcher will discuss the following: the review of the related theories, and the theoretical framework. The related theories will discuss about the theory of contracted forms and the hip hop itself. Finally, the theoretical framework will discuss about the use of the theories in answering all the problems.

A. Review of Related Theories

1.Contracted Forms in Standard English a. Definition of Standard English

The definition about Standard English has brought so many contra versions in defining the Standard English itself. Peter Trudgill in Bex and Watts (1999) Standard English will make it clearer by explaining first one by one about the definitions about Standard English.

1. Standard English is not a language

Standard English is one of the variety of English Language not the English language itself. Standard English is a variety used in writing, a variety associated with the education system in all the English speaking countries, a variety spoken by those who are referred to as “educated people”, and a variety taught to non-native learners. ( Ibid, 1999:118)

(18)

2. Standard English is not an accent

Standard English has nothing to do with pronunciation. In British perspective, Received Pronunciation (RP) is a high status and widely described accent but actually it is purely social accent which is associated with speakers in all parts of the country or at least in England from upper class and upper middle class background. RP is a standardized accent of English and not Standard English itself. ( Ibid, 1999: 118)

3. Standard English is not a style

The definitions of styles are varieties of language which can be arranged on a continuum ranging from very formal to very informal. Formal styles are employed in social situations which are formal, and informal styles are employed in social situations which are informal. Trudgill explains further that speakers of Standard English have a full range of styles open to them, just as speakers of other varieties do, and can swear and use slang just like anybody else. It means that there is no need for speakers of non-standard varieties to switch into Standard English in order to gain the formal styles. ( Ibid, 1999:119-121).

4. Standard English is not a register

(19)

education system and it is important for the study which acquires the registers. Actually there is no necessary connection between Standard English and the technical registers. ( Ibid, 1999: 121-123)

From the above explanation, it can be concluded that actually Standard English is not a language, not an accent, not a style and not a register. Trudgill explains that Standard English is a social dialect or a sub-variety of English which is distinguished from other dialects of the language by its grammatical forms. ( Ibid, 1999:123-125)

b. The Contracted Forms in Standard English

Contracted forms are squeezing word or words of which one or more letters have been omitted. Contracted forms usually happen in the non-standard written representation of spoken forms and in the casual speech. According to Swan (1995: 143) in his book entitled Practical English Usage, the contractions are common and correct in informal writing and not generally used in a formal style. He also explains about the kinds of contracted forms such as I’ve, hasn’t, didn’t and many more. Based on the Standard English as a dialect, the contracted

forms that are included in the Standard English are those which are grammatically correct but they are used in the informal situations. The contracted forms are:

(20)

2. The contracted forms of negation such as didn’t, doesn’t, don’t, hadn’t, haven’t, and wasn’t for the primary verbs and can’t, couldn’t, shouldn’t, won’t and wouldn’t for the modals. (Ibid, 1995: 144- 145)

2. Contracted forms in Black English a. Definitions of Black English

Black English has a very great role in the hip-hop music especially because the hip-hop for the first time appears amongst the Black People. Black English also attracts so much controversy in defining its definition. Some of the definitions will be explained by Wardaugh, Bough and Cable, Christian and Wolfram, and Lesley Milroy.

1. Black English

According to Ronald Wardaugh (1986) in his book entitled An Introduction to Sociolinguistics, there are three definitions about Black English.

First, Black English is another dialect of American English. When Black speakers produce greater quantities of certain non-standard usage, it is simply a peculiarity of the style of speaking they have adopted. (Ibid, 1986: 325).

(21)

Lastly, Black English is a variety of English related systematically to all other varieties of English. Black English is just the same as the other varieties of English which have their special rules to produce their unique varieties.( Ibid, 1986: 326).

Wolfram and Christian (1989) in their book entitled Dialects and Education: Issues and Answers explain that Black English is a variety of English

that has combined a number of the nonstandard English forms in a unique way. They also explain about the history of the Black English which is a creole (mixed) language of Carribean at that time.

Now, Black English is not a creole but still has its creole past combined with many features of Southern English. Black English as dialect is an important ethnic dimensions that combined with the social class parameter characterizing those who spoke this variety. They underline that not all Blacks speak Black English.

2. African American Vernacular English (AAVE)

Bough and Cable (2002) in their book entitled The History of The English Language explain about the Black English which is also called as African

American Vernacular English (AAVE). The variety here is not a geographical

(22)

The term African American does serve to identify a coherent linguistic situation on the west coast of Africa and in the Carribean during the days of the slave trade. Some phonological features of African American Vernacular English are the reduction of final consonant clusters such as lis’ for list, the loss of post vocalic r for example ca’ for car, deletion before a vowel such as lif’ up for lift up, deletion of a word-final single consonant after a vowel like ma’ for man, and

etc.( Ibid, 2002: 382-384)

According to Lesley Milroy in Bex and Watts’(1999) Standard English , the African American Vernacular English based on the race and ethnicity is essentially a working class black variety and the speakers of the African American Vernacular English comes from the bitter economic, political and social cleavages created by slavery and the Civil War.( Ibid, 1999: 178, 196)

From those explanations, it can be concluded that Black English is another variety of English and also a kind of dialects. The speakers of Black English are not Blacks only because not all Blacks speak Black English and many whites can speak Black English.

b. The Contracted Forms in Black English

(23)

English as a dialect. Wolfram and Chistian (1989: 31) in their book entitled The Dialects and Education: Issues and Answers explain that pronunciation

differences are the major key to the Black English. In addition, pronunciation is related to the phonological forms. Most of the contracted forms in Black English are related to the phonology. Bough and Cable (2002:384) in their book entitled The History of The English Language give further explanation that in AAVE, the

phonological and morphological features occur almost exclusively. Some of the examples are:

1. The gemination such as in the words gimmie for give me, and lemme for let me .

2. The Aphesis as seen in the words ‘cause for because, ‘round for around , ‘fore for before, ‘head for ahead and many more.

3. r and l contracted forms for example fo’ for for, mo’ for more, yo’ for your, do’ for door and coup’ for couple.

4. The contracted forms of the words let’s for let us, y’all for you all and c’mon for come on.

5. The wanna contraction as seen in the words wanna for want to, gonna for going to, gotta for got to, usedta for used to, oughtta for ought to, and

hafta for have to can be found in Murcia and Freeman (1983:87) in their

(24)

3. Hip Hop Lyrics a. Definition

Hip-hop music is derived from the acts of hip-hopping on the turntables from one turntable to another to create “The Breaks”. In hip hop music, the performers usually begin to speak (rap) in rhyming with the beats.

The performers also must have ability to make the stressed words in the lyrics sounds rhyming with the beats of the percussion. The Hip-hop music depends on the performers’ ability to deliver the raps. In addition, hip-hop is not only talking about the music itself but also talking about the culture that it brings. (www.wikipedia.com)

b. Characteristics

Hip-hop music is divided into four elements that cannot be separated from each other which developed as the characteristics of hip-hop culture. The five elements are the DJ-ing, B-boying (break-dancing), the MC-ing, the graffiti art and beatboxing. The first element is DJ-ing. DJ (Disc Jockey) is the strange sounds that are produced by the manipulation of a record over a certain groove. DJ is usually found in the night club as someone who influences the mood of the audience with his skills in music.

(25)

showed in the break section of the song and then the b-boy will get in front of the audience to dance.

The third element is MC-ing. MC stands for Mic Controller. The MC in the hip-hop music is also called as a rapper. An MC or a rapper should match the stressed words with the beat of the percussion to make the rhyming sound more musical. Some factors that the rapper should master are the vocal presence, enunciation and breath control. Vocal presence is the uniqueness of the rapper’s voice on record. Enunciation is also known as the articulation which is needed to flow the rap and to exaggerate the artistic effects. Breath control which takes in air without interrupting one’s delivery is very significant to master by the rapper.

The fourth element is graffiti art. The art of making graffiti that usually masters the rapper. It is considered as the additional skill of the rapper. The graffiti art is usually made in the public properties in America, but now the graffitti art spreads widely in many countries. The fifth element is beat boxing. Beat boxing is an art of creating beats, rhythms, and melodies using the human mouth. Usually beat boxing is used to replace the music instruments.

c. The Hip-hop

(26)

Hip-hop spreads widely in New York in the end of 1970s and the rappers try to mix the rap with the pop music. One of the rap innovators is Melle Mel. Hip hop music at that time is influenced by the funk , soul, R&B, and disco music. In 1980s, hip-hop begins to diversify and develop into more complex form. The techniques in music develops also including scratching and electronic recording.

Hip-hop musicians try to collaborate with rock bands for example Run DMC collaborates with rock bands, Aerosmith in the song “Walk This Way” in the album Raising Hell. The kinds of hip-hop are also developed into conscious hip-hop, jazz-rap and gangsta-rap.

The golden age of hip-hop era begins in 1985 to 1993. Rap changes in direction especially in the style of rapping. In 80s, the rap has verses which constrained straight forward structures and rhyme scheme but in 90s, the rapper try to explore the basic form to more free-flowing in lyrics, more fluid and complex in the style and the like. The style of rap at that time differenciates between the West Coast with its funky and smooth rap and the East Coast with its aggressive rap. Both groups compete each other and it causes the prolonged confrontation.

d. Functions and Significance

(27)

you? says that rap or hip-hop has become big business that attracts the young

people to create more hip-hop to succeed in business as it is stated bellows:

The venue of rap serves as a means of upward mobility and social legitimation, allowing Biggie Smalls to describe the dismal choices faced by those who attempt to rise up out of the ghetto….Thus basketball and rap become the primary vehicles for the articulation of an underclass aesthetic here associated with the nigga.

(1997: 34)

The hip hop music is an entertainment for the people who loves the freestyle music and as a medium where the creative and dynamic person can explore their skills and potentials.

e. The Hip Hop Lyrics

Hip-hop music includes the music itself and the lyrics. The music in hip-hop contains the beats, the tempo, sounds of instruments of music and many more. The lyrics in hip-hop involve word choices, slang words, rhyme styles, metaphors, similes, prosody, enunciation and wordplay.The theme of the hip-hop song includes political issues, crime, religion, culture, and love. The shape of rap is almost the same as poetry especially classical poetry such as having consonance such as in The story untold, about to unfold , assonance such as in Get up on my booty, tutti-fruiti on the rooty, slant rhyme such as in Yeah, you need to worry,

like Jason, it gets scary , internal rhymes such as in Lay another finger on this big

bad one miss lady rap singer, and also complex and lengthy rhymes for example:

Paul, 'the way you make me feel' with these calls You should really take a look at the 'man in the mirror' And tell him to 'beat it' because I 'won't stop till I get enough'

(28)

Well he'll always be that Michael to me And it doesn't matter if he's 'black or white'

Because I 'can't stop loving him' and I hate plastic surgeons (Em Calls Paul- Eminem)

The rap uses the elements of the poetry in its lyrics such as alliterations, wordplays, similes and metaphors for example for the use of the word honey, pussy and etc. Besides that, hip-hop has its own vocabularies from the

international hip-hop slang to the local or regional slang. 4. Contracted Forms in Hip Hop Music

The contracted forms that are commonly use in writing a lyric are the contracted forms that are included to the informal Standard English for example don’t, it’s, you’re, and can’t. The example is:

They don’t always happen when you ask And it’s easy to give in to your fear But when you’re blinded by your pain Can’t see you way safe through the rain Thought of a still resilient voice

Says love is very near. (When You Believe by Mariah Carey feat Whitney )

(29)

contracted forms, the rapper prefers to use the gemination such as gimmie or lemme. The example is:

[Missy]

Yo, come here baby, lemme kiss ya

Lemme see what cha' bout when I'm witcha Lemme see what cha' talkin' bout big shot If you got that dough, can I get some Lemme see that Benz, can I drive, dude Can I have when I ride right beside you

Oh, side by side, I got my crew…(Dat’s What I’m Lookin’ For- Da Brat) By using such kind of gemination, hip-hop song seems cool and attractive. The rapper also likes to use the ‘Black’ contracted forms such as the word what you becomes what’chu, old becomes ol’, because becomes ‘cos, you all becomes

y’al and etc. All these kinds of contracted forms are mostly found in hip-hop music and those will enrich the variety of the English dialect especially Black English.

5. Phonological Processes

Wolfram and Johnson (1982: 88), in their book entitled Phonological Analysis: Focus on American English, define phonology as the system that can be

changed in its units when they contact with the other units in the system. Those changes are called phonological processes.

(30)

a. Deletion

Wolfram and Johnson (1982: 95) explains that in the phonological process of deletion, units which occur in some contexts are lost in others. The deletion process changes the syllable structure of words. Some cases in the contracted forms that have this kind of process are:

1. Deletion of the modals, have and be.

According to Murphy (1985: 279) and Quirk (1990: 35), the principal processes of the deletion of modals, have and be is to delete the first vowel sound and the preceding consonant sound before the first vowel sounds and then add aposthrope ( ’ ) to replace the missing letter. For examples: I’m, she’s, they’re, I’ve, they’ll, it’s and many more. 2. Deletion of the negations.

(31)

exceptions happen in the word can’t and won’t which not only get the deletion in negatives not but also have the changes in its sounds.

3. Deletion in Aphesis

Wolfram and Johnson (1982: 97) explains that aphesis is the loss of an unstressed initial vowel or syllable. Usually it is used in the casual styles of English. The examples are ‘round for around, ‘bout for about, ‘cause for because and many more.

4. Deletion in the words let’s, y’all and c’mon.

The deletion in the word let’s happen in the word us by deleting the vowel sound and then replace it with aposthrope (’). It can be seen in Swan (1995: 306). Wolfram and Christian (1989: 141) explain about the deletion in the words y’all and c’mon which have the deletion in the first words you and come. Both of them have the deletion in the vowel sounds but for the word come, the consonant sound after the vowel is still used. 5. Deletion of consonants r and l

(32)

b. Assimilation

Assimilation is a process in which a sound takes on the characteristics of a neighboring sound as it is said by Wolfram and Johnson (1982:88). There are so many kinds of assimilation, but the kinds of assimilation that are mostly found are wanna contraction and gemination.

1. Wanna

Haegemann and Gueron ( 1999: 281) give explanation that the wanna contraction happens when the infinitival marker to is contracted to the preceding verbs. For example: wanna for want to, gonna for going to and gotta for got to.

2. Gemination

Wolfram and Johnson (1982: 92) say that the gemination is the assimilation process result in contiguous identical consonants. The process of gemination assimilates the last consonant sound of the first word with the first consonant sound of the second word. The examples are gimme for give me and lemme for let me.

B. Theoretical Framework

(33)

answered by using theory by Wolfram and Christian. The theory is chosen because it explains about the phonological forms of the contracted forms in the Black English. Most of the hip-hoppers are Blacks and the hip-hop itself originated from the African American, so most of the hip-hop lyrics have so much influence from the Black English. Wolfram and Christian will explain about the variety of the contracted forms especially in the phonological forms in the Black English, as one of the dialects in America. They also explain that the contracted forms are quite prominent in vernacular Black English. They also give examples in each phonological form of the contracted forms.

The second problem is about what influences of the fans toward the use of the contracted forms in hip-hop. It can be answered by using the theories in Wardaugh’s (1986) book entitled The Introduction of Sociolinguistics. There are several factors from the fans that influence the use of the contracted forms in hip hop. They are the fans’ cultural background, the fans’ sex, the fans’ social class, and the fans’ personality.

(34)

CHAPTER III

METHODOLOGY

The object of the study, approach of the study and the method of the study will be discussed further in this chapter. First, the object of the study will focus on the data of the study and the general idea about the work. Second, the approach of the study will discuss about the approach that will be used in the work and the reasons why the approach is chosen. The last, the method of the study will explain further about the steps in analyzing the work.

A. Object of the Study

The object of the study is related to the data that will be analyzed in the analysis. The object of this study is the contracted forms in hip-hop song lyrics. The contracted forms are the forms of the words that contracts in its letters. The contracted forms in the hip-hop lyrics are related also to the Black English and the Standard English where the contracted forms are mostly used.

The data are taken from the internet research because the hip-hop lyrics were seldom found in the lyrics book. The lyrics that will be analyzed are 45 song lyrics from the hip-hop artists such as Eminem, 50 Cent, Ludacris, Missy Eliott, Da Brat, and many more.

(35)

B. Approach of the Study

The approach used in analyzing the work is a phonological approach. Phonology is the closest and the observable theory to answer problems. In this approach, the contracted forms are distinguished based on the pronunciation and sources of the sounds. A phonological approach can analyze the contracted forms as the part of the phonology and not as the part of grammar. By having a phonological approach, the use of the contracted forms can be analyzed further because the contracted forms in the lyrics of the hip-hop have relationship with the pronunciation of the Black people’s everyday language.

C. Method of the Study

The research was both an empirical research and a library research. The empirical research was used in finding the data of this research, hip-hop lyrics, because the hip-hop lyrics were difficult to find in the public market especially in music books. Besides that, it saved the time and was effective in use. The library research was used in searching for the approach of the study and the theory of the study.

(36)

(37)

CHAPTER IV

ANALYSIS

This chapter will analyze further about the use of the contracted forms in hip-hop lyrics by answering the questions in the problem formulation about the kinds of contracted forms that can be found in hip-hop lyrics and how the sociological factors influence the use of the contracted forms in hip-hop lyrics.

A. The Kinds of Contracted Forms in Hip-Hop Lyrics

1. The Operators

The operators here are divided into two parts, be such as is, am, are, was, and were and modals and have such as will, would, can, could, might, may, must,

ought, shall, should, have, has, and had.

a. Be

Be consists of some verbs such as am, is, are, was and were. Usually such verbs follow pronouns and nouns. The pronouns with be are mostly found in the hip-hop lyrics.

(38)

Songs titles and Singers I’m You’re He’s She’s It’s We’re They’re You’s I’mma

Dats What I’m Talkin’ Bout- Missy

Eliott 21 2 3 3

(39)

From the data above, it can be seen that the contracted forms of be are used a lot in the hip-hop lyrics. The contracted forms of be have the phonological process of deletion. Most of be have this phonological process when they contact with the pronoun such as I, she, they, and many more.

For example: I [ai]+ am [æm] = I’m [а m] She [ i]+ is [Iz] = she’s [ iz]

They [ð ei] + are [ə:(r)] = they’re [ ð eər]

From the example above, it can be explained that the pronoun I, when squeezes with the operators am, have the phonological process of deletion in the sound [ ]of the operator am and the missing sound is substituted by the aposthrope (’), but in the pronoun she and they, when they contract with the operators is and are, the phonological process of deletion happen in the operators by deleting the vowel sounds and add aposthrope (’) to replace the missing sounds.

Usually the contracted forms of be are used in the informal written English and spoken English. The example from the lyrics is as seen below:

When I'm gone, you're alone

You stickin' them chickens ‘til I get home When I'm home, you're wit' me

Kissin' on my ass, tryna be wit' me Well it's done, this I know

Seen it for myself, I'ma let you know You don't play, games wit' me

But before I go, betta leave my dough …( Stickin’ Chickens –Missy Eliott f/ Aaliyah)

(40)

and where and also that, there, here. It can be seen from the table 1.b. and table 1.c.

Songs titles and singers Who’s What’s Where’s

1 Em Calls Paul- Eminem 1

2 Hit‘EmWitDaHee-MissyEliott 1 3

DaGameGotSwitched-

Ludacris 3

4 Good Ol’ Ghetto-Usher 1

5

Gettin’ Jiggy Wit It-Will

Smith 1

6 Gangsta Shit – Puff Daddy 2

7 All N My Grill- Missy Eliott 1 6 8

That’sWhatI’mLookin’ For –

Da Brat 2

9 Get Ur Freak On- Missy Eliott 1

10 U Got It Bad- Usher 1

11 Work It Out- Usher 1

12 1st and 10 - Ludacris 1

13 Joy – Missy Eliott 1

14 Hot Boys- Missy Eliott 1

TOTAL 5 13 6

Table 1.b. The contraction of be forms with WH words

The example of the lyrics contains the contracted forms of question words with be as seen below:

If you want me, where's my dough? Give me money, buy me clothes No need for talking, have my dough

(41)

Song Titles and Singers That’s There’s Here’s

Slap!Slap!Slap!-Missy Eliott f/ Da

Brat 1

15 That’sI’mLookin’ For- Da Brat 11

16 Whatcha Gon’ Do-Missy Eliott 3

17 Stickin’Chickens- Aaliyah f/ Eliott 1 1

18

Checkin’ For You- Lil Kim f/ Missy

Eliott 3

Dat’s What I’m Talkin’ Bout- Missy

Eliott 1

The example of the lyrics using the contraction of be forms with that, there and here is as follows:

Down to do it all night

See that there, is the type of bitch I like

(42)

b. The Modals and Have

The modals consists of will, would, shall, should, and have includes the verbs such as have, has and had.

Song titles and Singers I’ve I’ll I’d You’ll He’ll He’d We've They’ll It’ll

Table 1.d. The contracted forms of have and modals.

The data show the use of the contracted form of modals and have such as have, has, will, would, had, shall and should. The contracted forms of modals and

have have the phonological process of deletion. It only happens when they

(43)

For example : I [ai] + have [ hæv] = I’ve [aiv]

They [ ð ei] + will [ wil] = they’ll [ ð eil]

From the example, it can be seen that the operators have when contracts with the pronoun I has the phonological process of deletion in the operator have by deleting the vowel sound and the consonant sound before the vowel sound and also with the operator will which has the phonological process of deletion in the vowel sound and the consonant sound before the vowel sound. The aposthrope (’) is added in the elided sounds in both.

It can be seen also in the lyrics as follows:

My black ass is so hungry I'll take a bite out of crime And it'll hurt if I swallow, but even more if I choke Neighbors called the fire station off the blunt that I smoke You see I crush cowards, funerals I'll send flowers

And I'm on the overpass flick pennies at rush hour…(Cry Babies by Ludacris)

2. Negations

The negations involve some primary verbs and modals in its contraction process. The primary verbs include be, have, and do and the modals (can, could, may, might, shall, should, will, would and must).

a. Verbs of be, have and do.

(44)

but in the hip-hop lyrics, the alternative and nonstandard forms of ain’t is mostly

(45)

The table above shows that most of the song lyrics that are analyzed use the contracted negations don’t and ain’t. The contracted forms of negatives in the verbs of be, have and do have the phonological process of deletion.

For example : is [iz] + not [n t] = isn’t [iznt] Do [du] + not [n t] = don’t [dont]

Have [h v] + not [n t] = haven’t [h vnt]

From the examples above, it can be seen that the contracted forms of negatives for the verbs be, have and do have the phonological process of deletion. The deletion happens in the negative not by deleting the vowel sound and replace it with the aposthrope (’) such as in the words isn’t, don’t and haven’t.

The example from the lyrics is can be seen below : Uh, yo don't get mad at me

I don't love 'em I fuck 'em I don't chase 'em I duck 'em I replace 'em with another one

You had to see she keep calling me BIG And my name is Jay-Z

She be all on my dick

Gradually I'm taking over your bitch

Coming over your shit…(Is That Yo’ Bitch- Jay Z)

The word ain’t [eint] which are commonly used in American English to replace the negation am not, is not, are not, has not, and have not

The example from the lyrics is:

Appreciate my presence, while I shine wit' a barrel I came up wit' cut diamonds, obscure in a rare blue Shorty ain't checkin for you, step to the way I do Super senile, I ain't the one to compare to

(46)

b. Modals

The modals consist of can, could, should, will, and would. The data below gives the contracted forms of modals which is mostly used by the song lyrics.

Song Titles and Singers Can’t Couldn’t Shouldn’t Won’t Wouldn’t

1 Em Calls Paul- Eminem 2 1

Table 2.b. The contraction of negations in the modals.

(47)

and shan’t. The contracted forms of the negatives of the modals have the phonological process of deletion.

For example: could [k d]+ not [n t] = couldn’t [k dnt] Must [m st] + not [n t] = mustn’t [m snt]

From the example above, it shows that in the modals could and must, when they squeeze with the negatives not, the deletion still happens in the negatives not by deleting the vowel sound and replace it with the aposthrope (’).

Exception happens in modals will and can which have some changes when contracted with the negatives not [n t]. The contracted forms of negatives of modals will and can have phonological process of deletion and the changes in some sounds.

For example : will [wil] + not [n t] = won’t [wə nt] Can [k n] + not [n t] = can’t [kа:nt]

The lyric that uses the contracted forms of modals is:

You should really take a look at the 'man in the mirror' And tell him to 'beat it' because I 'won't stop till I get enough'

Do you 'remember the time' we were watching the 'Billy Jean' video? …(Em Calls Paul- Eminem)

When my gunshot peel, that’s a one shot kill I’m so far ahead y’all can’t touch my land spread

Cause most of y’all is misled and underfed…(Gangsta Shit-Puff Daddy)

(48)

Wanna contraction is the contracted forms that mostly found in verbs

which are followed by preposition to. The table below shows the use of contracted forms of wanna in the lyrics.

Song Titles and Singers Gotta Wanna Gonna

That’s What I’m Lookin’ For- Da

Brat 2 4 1

Can’t Leave Em Alone- Ciara f/ 50

Cent 2

Dats What I’m Talkin’ Bout- Missy

Eliott 3 1

36 We Run This- Missy Eliott 3

37 Ain’t That Funny- Missy Eliott 1 1

38 For My Man- Missy Eliott 2

TOTAL 31 87 40

(49)

From the data above, it can be seen that most of the song lyrics are used the wanna contraction such as wanna, gotta and gonna. The contracted forms of wanna contraction have the phonological process of assimilation.

For example: Got [g t] + to [tu:] = gotta [g tə ]

From the example, it can be seen that when the verb got contracts with the infinitival marker to, the change happens in the last vowel which is changed from the vowel sound [u:] to [ə]. In some cases such as in the word gonna and wanna, the phonological process that happens not only the change in the last

vowel but also in the verbs themselves which have the deletion of consonant sound t for want and for the verb, going, the deletion of the sounds after the consonant sound g and replace it with the vowel sound [ ].

For example:want [w nt] + to [tu:]] = wanna [w nə] Going [gə i ]+ to[ tu:] =gonna[g nə]

The example from the lyrics below will make the explanation clearer: You just came home from doing a bid

Tell me what you gonna do? Act a fool Somebody broke in and cleaned out your crib Boy whatcha gonna do? Act a fool

Just bought a new pair and they scuffed your shoes Tell me what you gonna do? Act a fool

Now them cops tryna throw you in them county blues

(50)

For example: I [ai] + am [aem] + to [tu] = I’mma / I’ma [æmə ] In the lyrics, it can be seen from the example below:

I'mma get my niggaz niggaz go and get ya hoes flows to come so natural

I'mma take a stroll role this high droll I'mma take my ass to Pazzaz and Essoh

slow oh down diggy diggy doh…( Izzy Izzy Ahh by Missy Eliott ) 4. Gemination

The forms of this contraction can be found much in the hip hop lyrics. The table below shows the list of the words which have the gemination.

Songs titles and Singers Gimme Lemme

1 Get ur freak on – Missy Eliott 4 2

2 Slap! Slap!Slap!- Missy Eliott f/ Da Brat 1

3 Ladies Night – Lil’Kimf/ Missy Eliott 1

4 Da Game Got Switched – Ludacris 1 1

5 That’s What I’m Lookin’ For – Da Brat 4

6 Act A Fool- Ludacris 2

7 We Run This – Missy Eliott 1

8 Hot Boys- Missy Eliott 1

9 Ain’tThat Funny- Missy Eliott 2

Total 11 9

Table 4. The gemination.

From the table above, it can be seen that the gemination such as gimmie and lemme can be found much in hip-hop lyrics. The contracted forms of gemination have the phonological process of assimilation.

For example : Give me [giv mi] = Gimmie [ gimi ] Let me [let mi ] = Lemme [l mi]

(51)

the verbs, give and let, and the consonant sound of the word me will be contiguous identical in consonant with the next sound to replace the lost sound.

The example from the song is

Headbanger.. hit me, hit me, hit me, hit me Yeah.. gimme some new shit

Yeah.. gimme some new shit Yeah.. gimme some new shit

Yeah.. gimme some new shit…(Get ur Freak On- Missy Eliott)

5. Aphesis

(52)

Song Titles and Singers ‘cause ‘em ‘round ‘till ‘fore ‘head ‘bout ‘stead ‘pose

Brat 5 1 2 1

Table 5. The aphesis.

The data above show that mostly the hip-hop lyrics use the contracted forms of aphesis ‘cause or ‘cuz and ‘em. The contracted forms of aphesis have the phonological process of deletion.

(53)

Around [ə‘rа nd] = ‘round [ra nd]

About [ə‘ba t] = ‘ bout [ba t]

Those examples show that the contracted forms of the aphesis have the phonological process of deletion by deleting the unstressed initial vowel or syllable. In the word because, the consonant sound [b] and the vowel sound [ e] are unstressed, so both are deleted and the aposthrope (’) is added to replace the elided sounds. In the words around and about, the initial vowel in both of them are unstressed, so those vowel sounds are deleted and add the aposthrope (’) to substitute the lost sounds.

The example of the contracted forms of aphesis is: You make the freak come up out me Dats what I'm talkin' bout

Go 'head like it's my birthday Dat-dats what I'm talking bout

You make me say oooaa! 'til I can't speak Dats what I'm talkin' bout

Baby dat-dats what I'm talking bout

(54)

6. R and L

The consonant sounds that have the contracted forms when they follow vowel sounds are r and l. The data below shows some words that have the contracted forms of r and l.

Song Titles and Singers Fo’ Mo’ Yo’ Do’ Coup’ 1

Ladies Night- Lil Kim f/ Missy

Eliott 1

Stickin’ Chickens- Aaliyah f/

Missy Eliott 1

Brat 1

19 Get Ur Freak On- Missy Eliott 2

TOTAL 5 7 35 2 1

Table 6. The contracted forms of [r]and [l ].

From the data above, the contracted forms of r and l that mostly used in the hip- hop lyrics is yo’. The contracted forms of the consonant sounds r and l have the phonological process of deletion.

(55)

Door [d : ( r )] = do’ [d :]

Couple [k pl] = coup’ [k p]

From the examples above, it can be seen that the contracted forms of the consonant sounds r and l have the phonological process of deletion. The consonant sound of r is lost when it precedes with vowel sounds such as in the word for, more and door which are preceded by vowel sound [ ]. For the word couple, the consonant sound l is lost when it is followed the consonant sound p.

The hip-hop lyrics also use the contracted forms of r and l as follows: I'll be the one you runnin to

when yo’ pockets is low And you outta cash flow

And the chicks don't want you no mo'….(Ain’t That Funny – Missy Eliott)

They recognized pimpin when I stepped in the do' Higher than a satellite, full of that 'dro

Holla at a player when you're ready to go… ( U and Dat - E-40) You know, Down South chicks got big asses

and we a little heavy sometime, but when you're from the South, we don't call that

(56)

7. Let’s, Y’all and C’mon

The words that are usually used by the rappers in their hip-hop lyrics which is mostly found in hip hop are the words let’s, y’all and c’mon. The following data shows the use of the contracted forms of let’s, y’all and c’mon.

Song Titles and Singers Let’s Y’all C’mon

Table 7. The contracted forms y'all, c'mon, and let's.

(57)

informal English. The explanation about those contracted forms will be started first with the contracted form of let’s. According to Swan (1995 : 316), the contracted form of let’s is usually used to point to the word let us. The contracted form of the word let’s has the phonological process of deletion.

For example : Let [let] + us [ s] = Let’s [lets]

The example above shows that the phonological process of deletion happens to the word let’s by deleting the vowel sound of the word us and then replace it with aposthrope (’).

The example from the lyric is Tworkin' it out Laying in the cut

Kissing rubbing and making sweet love Damn the club tonight

Let’s twork it out

It'll be just me on u from 11 to 6 in the morning I know u like it when i do u like that

Let's twork it out…( Work It Out- Usher)

The contracted forms of y’all and c’mon have the phonological process of deletion, too. Usually both contracted forms happen in the informal English and spoken English.

For Example: you [ju:] + all [ l] = y’ all [j l]

From the example above, it can be seen that the phonological process of deletion happens in the word you that is lost its vowel sound and still the aposthrope (’) substitutes the lost sound.

(58)

Y’all ain’t good in bed like me And y’all don’t give head like me

Plus your crew don’t break bread like me Think about it, this a one shot deal Y’all got one shot still

When my gunshot peel, that’s a one shot kill I’m so far ahead y’all can’t touch my land spread Cause most of y’all is misled and underfed Hey, what can I say, I’m a little vain

Now all aboard if you ridin’ my train….(Gangsta Shit – Puff Daddy) The process of contracted forms of c’ mon is almost the same as the contracted forms of y’all, the word come [k m] has its vowel to be deleted and the aposthrope (’) is added to mark the missing vowel.

For example : come [k m] + on [ n] = c’mon [km n] The example from the lyric is:

This is for my people, my party people

This is for my people, my motherfucking people C'mon, c'mon, get down, get, get on down C'mon, c'mon, get down, get, get on down This is for my people, my party people C'mon, c'mon, get down, get on down

C'mon, c'mon, get down, get, get on down…( For My People- Missy Eliott)

As a conclusion, most of the hip-hop lyrics use the contracted forms which show that those are made to be spoken and more informal rather than the other kind of music. The contracted forms that are used in the hip-hop lyrics are the operators, the negations, the wanna contraction, gemination, aphesis, r and l,

and also let’s, y’all and c’mon. By using the contracted forms, it makes the songs

(59)

B. The Influences of the Fans toward the Use of Contracted Forms

The contracted forms that are found in the hip-hop lyrics are related to the people who love the hip-hop music. In the research, the researcher finds that many factors influence the use of the contracted forms especially in the hip-hop lyrics. It is mentioned above that hip-hop music is a way to reduce the gang violence and as a media for the people to channel their anger and to express themselves. Some influences of the fans are:

1. Fans’ Social Class

The fans social class also takes part in the use of the nonstandard form of English such as the contracted forms. Wardhaugh in the book entitled An Introduction to Sociolinguistics explains also about the use of the in’ forms rather

than -ing forms among the working class speakers as follows:

For example, middle middle-class speakers always avoid in’ more in casual style. Upper working class speakers appear to show a very –ing styles. Lower-working class speakers make no real distinction between the two speaking styles and use in’ pronunciations almost exclusively in both. (1986: 165)

(60)

Aight, uh

Why you all in my grill? I'm thinkin' it's time to chill Yeah, but you on a drill, though

I couldn't even step out the baby blue Bonneville Cuz you be tryin' to kill my hoe, my girlfriend

And people around me is tellin' me that you's a stalker Like Darth Vader takes a Skywalker

I told you I was the street talker

It ain't my fault you dirty your Victoria's Secret's And your Frederick's

You wanted the Waldorf Astoria

But instead I took you to Cedrick's, to entertain you To give you to the "G", and never claim you

Me and Missy, we get it straight pissin'

Oh yeah, we puffin' on one of them thangs too You blamin' who? You namin' who?

I know you ain't bringin' that lame crew Big Boi, they the phat sacks

She pretty D, all they same, boo

But I'm backed by the Dungeon Family So you can go 'head wit' all that stabbin' me Cuz I will jab thee, and slam thee

And Bobby Boochet yo' ass, G

Yeah, yeah…( All N My Grill- Missy Eliott)

(61)

2. Fans’ Personality

One’s personality affects the use of the language especially the choices of words and form of the language. Fischer as stated in An Introduction to Sociolinguistics (Wardaugh, 1986: 156), mentions that the ‘model’ boy who is

described as being popular, thoughtful, and considerate in school is one who uses -ing form mostly rather than in’ form as the latter is used by the ‘typical’ boy who

is described as being strong, mischievous, and apparently unafraid of being caught doing something he should not be doing. It shows that personality also takes part in human mind in choosing their language. Some of the hip-hop lyrics have harsh words in the lyrics and much of the themes of the songs are about crime, sex, rape and etc. It really influences the kind of fans of the hip-hop music which are rude, full of anger, love sex much, full of crime, and etc. The example of the hip-hop lyrics is:

I got a whip like miricle Ludacris lyrical

Boom

We dirty south Shut yo mouth We rock jewels

No holds barred but obey da block rules C*ck tools

Put clorine in recker pools Is there any one like ya H*ll naw

I treat humans like students fail y'all

So turns ya books ta page 69 and start suckin Orginize drop da track and start duckin When Ludacris get in da bed start f*ckin You wanna be startin somthin

Get out da booth

(62)

We kicks down doors Save all da H2O For front row

Live in da bank and watch for stank hoes Stay chromed out and dat's out da off road If you know what I mean

Proceed to state clean

Light skinded n*gga turn red but get green Inhale some o dat drol and blow steam

Love tha combination big *ss in tight jeans!...( Da Game Got Switched- Ludacris)

The choice of words of the songs above shows that personality also influences what kind of fans that loves the music too. From the lyrics, it can be seen that the theme of the songs is about the sex lesson in the rude words and that kind of songs are really loved by sexaholic, rude people, and the like. The contracted forms that are used most to show how bad that songs are yo’, ya’, y’all, wanna, and dat’s.

3. Fans’ Cultural Background

According to Wolfram and Christian (1989), Black English is made not only for the Blacks but also for the whites. It can be seen from their statement that:

“…The ethnic designation should never be misinterpreted for racial one, however: not all Blacks use this dialect, and whites who learn their language in the context of a black-working class community may use it….”.( Ibid, 1989: 42)

(63)

world about its existence by involving their cultures in the shape of the music itself and from their style of language. Boyd (1997) states that:

“…Rap is obviously an extension of the Black oral tradition and the legacy of Black music and its relationship to the cultural landscape of America…”(Ibid, 1997:34)

“…Rap music is the most visible form of African American cultural expression in contemporary society. With its emergence we have also seen a change in African American popular culture specific to the late 1980s and early 1990s..”(Ibid, 1997: 38)

From those statements, it can be seen that rap or hip-hop music has become the popular culture amongst the African American and for people who loves the hip-hop songs. The fans of the hip-hop music come from many different cultural background but they really loves the culture of the Black people that can be seen from the choice of words that really reflect the Black culture. The rappers wants to show to the world the culture of Black people and to attract their generation to join with them in developing the hip-hop music. It can be seen from this song:

Minks draggin on the floor – bangin on your whore Suckin the croissant just examine it for flaws Pour the Cristal on the way to trial, RICO law

got a nigga head hurtin squirtin til they pull the curtain Let the money drip dry, hundred dollar bills

wipe the tears from my eyes, no love

Fuck y'all niggaz, hope you die a slow death as I coke-test and see the lawyers talk of protest Can't fuck with you weak rap niggaz, witcha gay raps Runnin 'round talkin this and talkin that

See me in the streets, tried to give me dap Andrew Cunanan ass niggaz

My two cannons blast niggaz, ass niggaz

(64)

Do the shit to clean my money dummies, gleamed the wrist out Cop the pist-al, nigga, talk shit now, uh …( Bad Boyz – Ludacris)

From that song lyric, the rappers use so many words which show their existence and their power as the songwriter of the songs by using the word nigga or niggaz. It shows that they really wants to gain the attention of the Young Black generation to love hip-hop much and try to join with them to keep the existence of the Black toward the hip-hop music. The use of the contracted forms such as ‘round, y’all, ‘caine, and can’t are very important to support the impression of the

Black English in the hip-hop songs. 4. Fans’ sex

Wardaugh in his book entitled An Introduction to Sociolinguistics explains commonly about the differences between men and women in using the language. He states:

Men have more power and maybe more assertive; women tend to be kept ‘in their place’ but aspire quite often to a different and ‘better’ place….On the other hand, men have power, even lower-class men. They are less influenced linguistically by others and, in the case of the lower working class, may seek solidarity through the ‘toughness’ that nonstandard varieties of the language seem to indicate….women may not find appropriate the kinds of solidarity that men seek through the use of a particular language or certain kinds of language. (1986:312)

Fischer (1958) in Wardaugh’s book (1986: 155) An Introduction to Sociolinguistics finds boys used more in’ forms than girls in the most formal

(65)

girls. In the hip-hop music, although the singer is a woman, the lyrics of the songs are very rude, nasty, and etc, so it is not a surprised anymore when most of the hip-hop fans are men. The example is taken from Missy Eliott’s song lyrics as follows:

[Verse 1 - Missy Elliott]

Down South girls got them real BIG BUTTS Real big butts make ya man wanna look (OH!) Back it up, flip it up, skinny girls - eugh! Love my guts, so fuck a tummy tuck (Oh yeaaah?) Yeah! I shakes my butt I shakes my gut like "yeah, bitch what?" Yeah I likes it rough, tough

Ask your man how I'm good in handcuffs Me and Nelly came to rock the club Pack the place, don't push or shove Out of the club, straight to the crib

I'll let you know if the sex was good…(Pump It Up- Missy Eliott)

The sex of the fans also affects the people to choose the hip-hop music as their favorites. The example of lyrics above is taken from the hip-hop lyrics which is made by a woman, Missy Eliott who has a man’s perspectives in making the lyrics. The contracted forms are still the best choices to show how informal the words, the words are ya’, wanna, I’m, don’t and I’ll.

(66)

CHAPTER V

CONCLUSION

In this chapter, the writer will conclude everything that has been discussed in the previous chapters. The sources of this analysis are taken from the internet research and most of theories are taken from the library research. The sources of the analysis are 45 hip-hop song lyrics. The hip-hop song lyrics are used because this kind of songs is originated from the Black People or African American people. The problems that are used in this analysis are about the kinds of contracted forms that are found in the hip-hop song lyrics and the influences of the fans toward the use of the contracted forms in hip-hop song lyrics.

The first problem is about the kinds of contracted forms in the hip-hop song lyrics. The contracted forms are the contracted forms of the operators, the contracted forms of negations, wanna contraction, the contracted forms of gemination, the contracted forms of aphesis, the contracted forms of the consonant sounds [r] and [l], and the contracted form of let’s, y’all and c’mon. Those kinds of contracted forms are mostly found in the hip-hop song lyrics.

The second problem is about the influence of the fans toward the use of the contracted forms in hip-hop song lyrics. One of the factors that influence the using of the contracted forms in hip-hop lyrics is the fans of the hip-hop itself. Without fans, the hip-hop music is not as popular as today. The hip-hop music is made to entertain people especially the fans of the hip-hop music. The

(67)

sociological factors that influence the use of the contracted forms are the fans’ social class, the fans’ personality, the fans’ cultural background and the fans’ sex.

(68)

BIBLIOGRAPHY

Bex, Tony and Richard J. Watts. Standard English : The Widening Debate. London: Routledge,1999.

Bough, Albert C. and Thomas Cable. A History of English Language. Fifth edition. Philadelphia: Pearson Education Inc., 2002.

Boyd, Todd. Am I Black Enough For You. Indianapolis: Indiana University Press, 1997.

Fasold, Ralph W. and Jeff Connor- Linton. An Introduction to Language and Linguistics. Cambridge: Cambridge University Press, 2006.

Freeborn, Dennis, Peter French and David Langford. Varieties of English: An Introduction to the Study of English. New York: Palgrave, 1993.

Haegeman, Liliane and Jacqueline Gueron. English Grammar : A Generative Perspective. Malden: Blackwell Publishing, Ltd., 1999.

Machlis, Joseph. The Enjoyment of Music. New York : W.W. Norton & Company Ltd., 1955.

Murcia, Maria C. and Diane L. Freeman. The Grammar Book. Boston: Newbury House Publisher, 1983.

Murphy, Raymond. English Grammar in Use. Cambridge: Cambridge University Press, 1985.

Quirk, Randolph and Sidney Greenbaum. A Students Grammar of the English Language.Philadelphia: Pearson Education Limited, 1990.

Strang, Barbara M. H. A History of English. London: Methuen & Co, Ltd., 1970. Swan, Michael. Practical English Usage. Oxford : Oxford University Press, 1995.

Verdonk, Peter. Stylistics. Oxford: Oxford University Press, 2002.

Wardaugh, Ronald. An Introduction to Sociolinguistics. Oxford: Basil Blackwell Ltd.,1986.

(69)

Wolfram, Walt and Donna Christian. Dialects and Education: Issues and Answers. Philadelphia: Prentice Hall Regents, 1989.

Wolfram, Walt and Robert Johnson. Phonological Analysis: Focus on American English . Philadelphia: Prentice Hall Regents, 1982.

The lyrics of the hip-hop songs:

www.thelyrics.com (June 17, 2006)

The definition of hip-hop:

http://en.wikipedia.org/wiki/Hip-Hop (March 22,2007)

The history of hip-hop:

http://www.jam2dis.com/j2dhiphopdef.htm (March 22, 2007)

The additional information of hip-hop:

http://www.answers.com/topic/hip-hop( March 22, 2007)

The lyrics of hip-hop songs by Missy Eliott:

(70)

APPENDICES

The list of the songs and the singers are:

Songs titles and Singers 1 Em Calls Paul- Eminem 2 Hit Em Wit Da Hee-MissyEliott 3 For My People-Missy Eliott 4 So Addictive – Missy Eliott 5 Izzy Izzy Ah- Missy Eliott

6 Ladies Night – Lil’Kimf/ Missy Eliott 7 Can’t Let U Go- Usher

8 Can U Help Me- Usher 9 Help Me- Usher 10

How We do It OverHere-Busta Rhymes

11 That’s crazy- P. Daddy 12 Is That Yo’ Bitch?-Jay Z 13 Ultimate Rush- Notorious B.I.G 14 CatchUp-Ludacris

15 Da Game Got Switched – Ludacris 16 U and Dat-E-40

17 GoodOl’ Ghetto -Usher 18 Gettin’JiggyWit It- Will Smith 19 Gangsta Shit- P. Daddy 20 I Love You Baby –P. Daddy 21 Real Niggas – P. Daddy 22

Slap! Slap!Slap!- Missy Eliott f/ Da Brat 27 Whatcha Gon’ Do- Timbaland 28 Stickin’Chickens –Aaliyah f/ Eliott 29 Checkin’For You -Lil’Kim f/ Eliott 30

Can’t Leave ‘Em Alone-Ciara f/ 50 cent

31 U Got It Bad- Usher 32 Get Me Bodied- Beyonce 33 Work it Out- Usher