IN
NEVER GONE
ALBUM BY BACKSTREET BOYS
THESIS
Submitted to the Board o f Examiners as Partial Fulfillment o f the
Requirements for the Degree of Sarjana Pendidikan Islam (S.Pd.I)
in the English Department o f Education Faculty
B y :
ASRI AFIFAH
113 02 035
ENGLISH DEPARTMENT OF EDUCATION FACULTY
STATE ISLAMIC STUDIES INSTITUTE (STAIN)
DEPARTMENT OF RELIGIOUS AFFAIRS STATE ISLAMIC STUDIES INSTITUTE (STAIN)
JI. Stadion 03 Telp. (0298) 323706,323433 Salatiga 50721
ebsite: www.stainsalatiga.ac.id Email: administrasi@.stainsalatiaga.ac.id
DECLARATION
In the name of Allah The Most Gracious and The Most Merciful.
Hereby the writer fully declares that this thesis is made by the writer her self, and it is not containing materials written or has been published by other people, and other peoples’ ideas except the information from the references.
The writer capable account for this thesis if in the future this thesis can be proved of containing others’ ideas or in fact the writer imitates the others’ thesis.
Likewise, the declaration is made by the writer and the writer hopes that this declaration can be understood.
Salatiga,...2007 Researcher
ASRI AFIFAH
ATTENTIVE COUNSELOR NOTES
Case: Asri Afifah’s Thesis
Salatiga, February 2007
Dear
The Head of State Islamic Studies Institute o f Salatiga
Assalmu’alaikum Wr. Wb.
After reading and correcting Asri Afifah’s thesis entitled ’’DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY BACKSTREET BOYS’], I have decided and would like to propose that if it could
be accepted by the Educational Faculty, I hope it would be examined as soon as possible.
Wassalamu’alaikum Wr. Wb.
m
DEPARTMENT OF RELIGIOUS AFFAIRS
STATE ISLAMIC STUDIES INSTITUTE (STAIN) SALATIGA
Jl. Tentara Pelajar 02 Telp. (0298) 323706,323433 Fax. 323433 Salatiga 50721 Website: www.stainsalatiga.ac.id E-mail: administrasi@stainsalatiga.ac.id
STATEMENT OF CERTIFICATION
DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY
BACKSTREET BOYS
ASRI AFIFAH 113 02 035
Has been brought to the board o f examiners in February, 28th 2007/Sya’ban, 10th 1428, and hereby considered to completely fulfill the requirement o f Saijana Degree in the English Department o f Education Faculty.
Salatiga, February, 28th 2007 Sya’ban, 10th 1428
1st Examiner
J E * - ,
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Dra. Woro R. M.Pd NIP. 150 262 646
DEDICATION
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entitled ’’DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY BACKSTREET BOYS”. There are many kinds of helps received appreciatively from many persons. The writer cannot realize this thesis without the help of theirs. In this occasion, she would like to thank to ;
1. Drs. Imam Sutomo, M Ag., the rector o f state Islamic studies Institute of Salatiga (STAIN Salatiga).
2. Hanung Triyoko, S. S., M. Hum., the Head o f English Department faculty of STAIN Salatiga.
3. Drs. Sa’adi, M. Ag., as consultant who gives her support, guidance, and useful advice.
4. All lecturers of State Islamic studies Institute, especially Pak Hammam, Pak Ruwandi, Pak Ari, Bu Woro “I’ll miss our lectures’.
5. My Beloved family Ibu Hj. Ruyatmi Bpk Mardjono, Mba Awal, Mba Etik, Mas lis, Mbak Eni. You have given me a true love, cares, prayers, supports and valuable lesson, thanks for this warm and wonderful family.
6. My family in Salatiga, Bpk/Ibu Agus, Budhe, Ais, Bagas. Thanks for the comfort home and regard me as your family.
7. My beloved one “A’ Wahyu”. There is no stronger word I can use ...” You’re my safest place to hide”.
8. My Great team in “AFC” especially Uchaz and Uwikz ... Thanks for make me crazy an lazy, but we are not so crazy as y people though.
9. My “Gossip” Club, Jeng Nun and Jeng Mey ... thanks for always giving me the new gossip. I’ll keep you inside.
10. Mas Bagus, thanks for good typing. 11. My dearest friends in TBI 02.
12. My friends in Communicative English Club (CEC), thanks for many experiences.
13. All o f my friends in HMI.
14. All o f my friends who can not be mentioned one by one, who helped me to finish my study.
Finally, the writer realizes that this thesis is imperfect, the writer gladly accepts constructive critics and evaluation to make this thesis better.
Salatiga, January 8th 2007
DECLARATION ... ii
ATTENTIVE COUNSELOR NO TES... iii
STATEMENT OF CERTIFICATION... iv
M O T T O ... ... v
DEDICATION... vi
ACKNOW LEDGEMENT... vii
TABLE OF CO NTEN S... ix
CHAPTER I INTRODUCTION... 1
A. Background o f the S tu d y ... 1
B. Limitation o f the Study... 3
C. Research Problem ... 3
D. Objectives o f the Study... 4
E. Benefit o f the S tudy... 4
F. Review o f the Previous R esearch... 4
G. Methodology o f the R esearch... 6
H. Thesis O rganization... 8
CHAPTER II REVIEW OF RELATED LITERA TURE... 9
A. The Notion o f Discourse A nalysis... 9
B. Text, Context, and D iscourse... 11
C. Seven Criteria for T extuality... 12
D. Speech Act Theory... 19
CHAPTER III DATA PRESENTATION OF BACKSTREET BOYS’
NEVER \
GONE A L B U M ... 23
A. The Biography o f Backstreet B oys... 23
B. Lyrics o f Never Gone A lbum ... 26
CHAPTER IV DATA ANALYSIS... 36
A. The Configuration o f Song Lyrics as A Discourse... 36
B. The Composer’s Intention... 51
CHAPTER V CLOSURE... 56
A. Conclusion... 56
B. Suggestion... 58
BIBLIOGRAPHY
v /
■Y
A. Background o f the Study
There are many ways to express idea among people in communication, for
example: spoken language, written language, and gesture. People cannot live
without language, because it is really to communicate and give information for
their life. As a means o f communication, language allows speakers to talk about
everything within their realism knowledge. It can serve the human needs in their
communication in any situation.
Dealing with language and communication, there is another famous way to
communicate and tell people’s feeling or emotion. That is through lyrics o f song.
Lyrics is not only an arrangement o f words into sentence, but also the
representation o f the composer’s emotion and intention to describe their feeling
such as love, struggle, trouble, jealous, etc. There are some messages sent by the
singer or composer to the listener with specific situation or context in song lyrics.
Basically, song lyrics could be said as a part o f discourse. Therefore, it is
possible to analyze discourse o f song lyrics. One starting point is quotation o f «•
Carthy who maintained that “discourse analysis is concerned with the study o f
the relationship between language and the contexts in which it is used, something
concerned with the intefective or dialogic properties o f everyday
communication” .1 1
1 Michael Me Carthy, Discourse Analysis fo r Language Teachers, Cambridge University press, New York, 194, p. 5
2
The writer chooses discourse analysis toward song lyrics because songs
represent a typical discourse which has a purpose to entertain anyone who hears
them. Since songs are basically interpretative and deconstructing text, they have
purpose to expand the singers or composers horizon, and make the audience
realize to the singer or composer acknowledgement and the motivations.
In Cook’s term, a discourse and especially a text is a sequence o f connected
sentences or utterances. It means the form by which a sender communicates a
message to receiver or the function/ Therefore, the writer chooses seven criteria
for textuality in the research o f discourse analysis in Never Gone album by
Backstreet Boys. These criteria consist o f cohesion, coherence, intentionality,
acceptability, informativeness, situational and intertextuality/
Cohesion is the connection result when the interpretation o f textual element
in dependent on another element in a te x t Coherence is one part o f aspects that
supports the unity receiving in a te x t It is logical sequence that is understandable
by the readers. Intentionality refers to the composer’s intentions in the song.
Acceptability and informativeness constitute a sequence o f utterance be
acceptable to the intended audience that contain information.
Situationality considers the situation in which the text has been produced
and deals with. Intertextuality deals with a sequence related by form or meaning
to other sequences o f sentences. The criteria are important to discourse analysis
because there must be a unity analysis. It means that in Discourse Analysis the
writer has to make an analysis based on both formal and functional aspect. 2 3
2 Guy Cook, Discourse, Oxford University press, Oxford, 1989, p. 32
Based on the phenomenon above, the writer is interested in conducting an
analysis o f discourse toward song lyrics in Backstreet Boys album viewed from
the elements that support song lyrics as discourse and the composer’s intention
within the discourse. The writer wants to conduct a further research entitled
“DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY
BACKSTREET BOYS”.
B. Limitation o f the Study
In English songs, there are many interesting problems that can be analyzed,
but it is impossible to analyze all o f them. The research will be limited on
analyzing the discourse o f song lyrics in Never Gone album by Backstreet Boys.
This study is intended to help the readers comprehend the discourse analysis o f
song lyrics by using seven criteria o f textuality and find out the composer’s
intention in Never Gone album by Backstreet Boys.
C. Research Problem
From the background o f the study, the writer formulates the problems as
follows:
1. W hat are the configurations o f discourse o f song lyrics in Never Gone album
by Backstreet Boys?
2. W hat are the purposes o f the composer in Never Gone album by Backstreet
Boys?
D. Objectives o f the Study
Based on the research problem mentioned above, the research has the
4
1. To identify the element o f song lyrics as discourse in Never Gone album by
Backstreet Boys
2. To describe the composer’s intentions o f song lyrics in Never Gone album by
Backstreet Boys.
E. Benefit o f the Study
1. Academic Benefit
This study will give additional contribution to English students and English
lectures, gives contribution to the development o f discourse study. Beside
that, this study will give more emphasis on giving new information o f
discourse analysis toward song lyrics.
2. Practical Benefit
This research will help readers understand the use o f seven criteria for
textuality that are formulated by Samsuri in DA, especially in analyzing
discourse o f song lyrics. Beside that, the readers will get more knowledge or
information that a song is not only being listened but also being known the
real meaning o f the song it self and the intention o f the composer.
F. Review o f the Previous Research
In this thesis, the writer takes review o f related literature from the other
thesis, and the title is: “DISCOURSE ANALYSIS OF THE COMMERCIAL
ADVERTISEMENT TEXT IN HOTEL BROCHURES’’ which had been researched
Surakarta. The writer has a similar focus with the previous research in the field of
Discourse Analysis.4
The differences are in the data source and the analysis. A li’s research used
the commercial advertisement text in brochures as the data analysis and Hyme’s
speaking model to analyze the data. While the writer uses song lyrics as the data
and uses seven criteria for textuality to analyze them. The writer also uses speech
act as the approach o f analyzing discourse toward song lyrics.
The writer also takes review o f related literature from other thesis entitled
“DISCOURSE ANALYSIS OF CINDERELLA STO RY’ which had been
researched by Dhian Yuni Arifiyani in 2004-2005, the student o f M u h a m m a d iyah
University o f Surakarta. In her research, she focused on cohesion in English story
book for children. There is a similarity between Yuni’s research and this research
in which the focus is on the field o f discourse analysis and the use o f seven
criteria o f textuality, while the difference lies on the data, Yuni’s research use
English story book as the data, while the writer uses songs lyrics as the data.5
The other previous research was written by Endriana Sri Wahyuni in 2002-
2003, the student o f State Islamic Studies Institute (STAIN) o f Salatiga. Her
thesis is entitled “A DESCRIPTIVE STUDY ON THE USE OF COLLOQUIAL
STYLE IN ENGLISH SONGS". In her research, she focused on language style
used in English songs. The similarity is on the data which use song lyrics as the
4 Suripto Ali (Thesis), Discourse Analysis o f the Commercial Advertisem ent Text in H otel Brochures, Muhammadiyah University, Surakarta, 2004, p.8
6
data, while the difference lies on analysis o f the data, which the writer uses seven
criteria for textuality to analyze the data.6
Another previous research was written by Hermawati Paulina in 2001-
2002, the student o f Muhammadiyah University o f Surakarta. Her thesis is
entitled: ANALISIS WACANA PADA TAJUK RENCANA D I SURAT KABAR
HARIAN KOMPAS EDISI JU LI - SEPTEMBER 2000 (Sebuah Studi Piranti
Kohesi dan Koherensi). In her research, she focused on discourse analysis
towards editorial in Kompas, especially in the analysis o f cohesion and
coherence. She tried to describe the kinds o f cohesion and coherence. This is a
similarity between Paulina’s research and this research in which the focus is on
the field o f Discourse Analysis and the use o f seven criteria for textuality, while
the difference lies on the data, which the writer uses song lyrics as the data.7
G. Methodology o f the Research
1. Type o f Research
In this study, the researcher uses descriptive qualitative method. The
rationale o f choosing this design is in accordance with M oleong’s opinion,
that qualitative research is a type o f research which result descriptive data in the forms o f written or oral from observing people or behavior.8
In descriptive research, there are some steps o f qualitative research,
they are selecting topic for the study by reading the discourse analysis and
apply it in song lyrics, collecting the data, analyzing data and researcn repon.
6 Endriana Sri Wahyuni (Thesis), A D escriptive Study on the Use o f Colloquial S tyle in English Songs, STAIN Salatiga, 2002, p. 10
7 Hermawati Paulina (Thesis), Analisis Wacana pada Tajuk Rencana d i Surat Kabar Harian Kompas E disi Juli-Septem ber 2000, Muhammadiyah University, Surakarta, 2001
2. Object o f the Research
The researcher conducts the research o f discourse analysis o f song
lyrics in Never Gone album. The object o f the research is elements which
form a discourse o f song lyrics in Never Gone album by Backstreet Boys.
3. Data and Source o f Data
The data are lyrics o f the songs connected with discourse relations
taken from Backstreet Boys’ album. Source o f data in this research was taken
from the text o f Never Gone album.
4. The Method o f Data Collection
There are many ways to collect the data, such as: documentation,
observation, test, interview and questionnaire. In this case the researcher uses
documentation as the way to collect the data, while the technique o f
collecting data is listening to the songs and recording data in the form o f
orthography. Arikunto states that documentation is getting the data about
cases or variable as note, transcripts, book, m agazine, etc.9 In this case is the
text o f Backstreet Boys’ song cassette.
5. Technique o f Data Analysis
The research will use seven criteria for textuality consist o f cohesion,
coherence, intentionality, informativeness, situational and intertextuality;10
and speech act theory especially illocutionary act to analyze the data. Seven
criteria for textuality as a technique to analyze the configuration o f song
lyrics as a discourse in Never Gone album, while speech act theory will be
8
used to analyze the composer’s intention. The procedures that the researcher
going to take are: classifying the data, describing the context o f the use o f
each discourse analysis toward song lyrics, describing the analysis o f
discourse toward song lyrics in Never Gone album by using seven criteria for
textuality, describing the composer’s intention in discourse analysis o f song
lyrics by speech act theory, especially illocutionary meaning and making the
conclusion based on the data.
H. Thesis Organization
The writer arranges the thesis into five chapters as the following:
Chapter I is Introduction, which contains the background o f the study,
limitation o f the study, statement o f the problem, objectives o f the study, benefit
o f the study, review o f related literature, methodology o f research, and thesis
organization.
Chapter II is underlying theory, which contains the notion o f discourse
analysis, context and discourse, seven criteria for textuality and speech act
theory.
Chapter III is Data Presentation, covering the bibliography o f Backstreet
Boys and lyrics o f Never Gone album.
Chapter IV is analysis and discussion; it presents the analysis o f the
discourse toward song lyrics and finding the composer’s intention in Never Gone
album by Backstreet Boys.
Chapter V is closure containing conclusion and suggestions.
A. The Notion of Discourse Analysis
The term “Discourse Analysis” (DA) becomes popular and important of
language study. It does not discuss language only but also how it relates with
society, culture, and though. Anyhow, the term DA itself remains vague or
somewhat ambiguous, since it has come to be used with a wide range o f
meaning, which covers a wide range o f activities.1 DA studies the discipline
devoted to the investigation o f the relationship between formal and functional
aspect. Formal aspect deals with the quality o f text, while functional aspect deals
with the objectives effect and situation that support the text to be qualified as a
good te x t
Discourse Analysis covers an extremely wide range o f activities to the
study o f dominant ideology in culture, but when it is restricted to linguistic
issues, DA focuses on the spoken or written language in some context to express
an intention. People can observe or take part in wide range o f different types o f
spoken interaction, such as: phone calls, talking formally at meeting or in
classrooms, informally in cafes or intimately with their friends and loved ones.1 2
They will have different ways o f opening and closing they encounter, different
role relationship, different purpose and different setting. DA is not entirely
1 Endang Fauziaty, Reading on A pplied Linguistic, Muhammadiyah University Press, Surakarta, 2004, p. 119
2 Michael Me Carthy, Discourse Analysis fo r Language Teachers, Cambridge University press, New York, 1991, p. 8
10
separated from the study o f grammar or phonology, but it is interested in a lot
more than linguistic form, how the dialogue between two people or more is
coherent and not gobbledygook.
Spoken language emerged before written language, written texts are more
than “talk written down” only. In fact, written language performs a similar range
o f broad functions to those performed by spoken language. Written language
used for action (public sign, product label, menu, bills, etc), for information
(newspaper, magazines, advertisements, pamphlets, etc) and for entertainment
(comic, fiction, drama, newspaper, film subtitles, etc). These different purposes
will be reflected in the characteristic o f the texts themselves.
The analysis o f discourse is necessarily, the analysis o f language in use, as
such, it cannot be restricted to the description o f linguistics form independent o f
the purposes or functions which these forms are designed to serve in human
affairs.3 4 In short, discourse is more than a message from a sender to a receiver,
and a reader or listener is more than just receiver who decodes incoming signals.
Discourse is connected to utterances or sentences by which a sender
communicates to the receiver where there is context within the discourse.
From the definition above, it could be stated that discourse analysis is an
examination o f language used by the speaker to the receiver, which investigates
the relationship between language form and language functions in verbal
communication.
3 ibid., p. 9
B. Text, Context, and Discourse
Basically, discourse cannot be separated from the terms “text” and
“context”. According to Yule, text as a term refers to the verbal records o f
communication a c t/ Text is a piece o f naturally occurring spoken, written, or
signed discourse identified for purposes o f analysis. Text is essentially a semantic
unit, it means that a text cannot be seen just as a sentence, it has certain
construction that can be represented in systematic terms.
In text production, it is impossible to tell exactly when a certain sequence is
“long enough” to qualify as a text. Text is produced all the time: the production
o f text literally never comes to stop, as long as there are text producers.5 6
From above paragraph, it is obvious that context is an important concept in
discourse analysis, context refers to the situation in which language is used.
According to Mey, context is a dynamic, not a static concept: it is to be
understood in the communication process to interact, and that make the linguistic
expressions o f their interaction intelligible.7 Context is more than a matter o f
reference and o f understanding what things are about, practically speaking. It is
also what gives our utterances become deeper meaning.8
While discourse refers to the unity and connected utterances by which a
sender communicates to the receiver where there is context given within the
discourse is stretches o f language perceived to be meaningful, unified, and
5 Gillian Brown and George Yule, Discourse Analysis, Cambridge University Press, New York, 1983, ?.°
6 Jacob L. Mey, Pragmatic an Introduction, Blackwell Publisher, Oxford UK & Cambridge USA, 1993, p. 183
purposive.9 Discourse is more than just language use: it is language use, whether
speech or writing, seen as a type o f social practices.10 11 In order to account for
discourse, we need to look at features outside the language: at the situation, the
people involved, what they know and what they are doing.
From the definition above, it can be understood that discourse refers to a
text that is given context as interaction. Discourse cannot be accounted for in the
same way as our feeling for the acceptability o f sentences, in discourse we need
to look at the situation, the people involved, what they know and what they are
doing. However, in this case o f the discourse, analysis, the ultimate aim is both to
show and interpret the relationship between meaning and purposes through
discourse.
C. Seven Criteria for Textuality
1. Cohesion
Cohesion is the connection with result when the interpretation o f
textual element as dependent on another element in text.11 Cohesion concerns
with the ways in which the components o f surface text such as the actual
words being heard or seen. Consider the following example:
The store no longer sold porcelain figurines. It used to, the man behind the counter said, but they didn’t sell very well. Since the business had switched to plastic, sales were doing a lot better.
The interpretation o f “it” is dependent on that o f “store” just as “they”
is dependent on “porcelain figurines” the meaning o f “used to” is depending
9 Guy Cook, Discourse, Oxford University Press, Oxford, 1989, p. 14 10 Endang Fauziaty, op.cit., p. 119
on “sold porcelain figurines” cohesion refers to the connection which exists
between elements in the text.
2. Coherence
Coherence is the connection that is brought about something outside
text.12 “Something” here usually refers to knowledge which a listener or
reader is assumed to process. The following exam ple is not problematic in
the term o f coherence even though the sentences are hardly seemed to be
connected:
The procedure is actually quite simple. First, you arrange this into different groups. O f course, one pile m ay be sufficient dependent on how much there is to do. if you have to go somewhere else due to lack o f facilities, that is then next step, otherwise you are pretty well set.13
This seemingly disjointed passage becomes coherent when certain
knowledge o f washing clothes is applied to the text, than the text becomes
easy to interpret.
3. Intentionality
It means that the speaker must have a conscious intention o f achieving
specific goals with their message.14 For example, giving information or
arguing an opinion.
4. Acceptability
It requires that a sequence o f sentence be acceptable to the intended
audience in order to qualify as a text.15 Consider the following example:
12 ibid., p. 118
13 Gillian Brown and George Yule, o p .cit, p. 72
14
Rich people are not poor people, and poor people live in need, need transcends the law, and he who live outside o f law lives like a wild animal. Therefore, you are doomed for eternity.
The example has some what skewed internal logic and therefore no
acceptable to many people.
Informativeness
Informativeness is important in discourse. A text must contain new
information. Renkema stated that if a reader knows everything contained in a
text, than it does not qualify, likewise, if a reader does not understand what is
in a text, it also does not qualify as a text.16
Therefore, in song lyrics there m ust contain necessary information sent
by the composer or singer to the hearer or listener.
6. Situationality
It is concerning with the factors which make a text relevant to a
situation o f occurrence. People can decide such an issue is due to the
influence o f the situation where the text is presented, produced and dealt
with.17
7. Intertextuality
Intertextuality means that a sequence o f sentence is related by form or
meaning to other sequences o f sentence. Intertextuality concerns with the
factors which make the utilization o f one text dependent upon knowledge o f
one or more previously encountered texts.18
16 Jan Renkema, Discourse Study: An Introduct Text Book, Philadelphia, 1993, p. 36 1' Pranowo, op.cit., p. 76
Viewed from this song lyrics analysis, the intertextuality can be shown
on the related meaning o f the title to the whole content o f the song lyrics, and
also the correlation between each couplet
Seven criteria from the previous paragraphs have been developed to
answer the question o f what makes a sequence o f sentence as a discourse. A
sequence o f utterances is discourse only, when the cohesion between the
sentences that can be put into words or when the listener or reader can derive
the connection (coherence). A sequence o f sentences must also be
characterized by an intention o f the speaker (intentionality). It is also
informative and acceptable to the listener (informativeness and acceptability),
furthermore, discourse m ust be geared to the situationally and also consider
the relationship between one text to others.
In discourse study, much attention has been paid to the first criterion
for textuality, “cohesion” as the apparent connection in discourse. The most
comprehensive description o f this device is found in Halliday and Hassan as
stated in Charty.19 They identified five different types o f cohesion: reference,
ellipsis, substitution, conjunction and lexical conjunction,
a. Reference (Referring Expressions)
These are words whose meaning can only be discovered by
referring to other words or to elements o f the context which are clear to
both sender and receiver.20 The most obvious example o f them is third
person pronouns (she/her/hers/herself; he/him/his/himself; it/its/itself;
16
they/them/their/theirs/them selves). I f we are listening to a story and
somebody says “So I ate it” we may will know the meaning o f it from
somewhere earlier in the story. We choose the most likely meaning for
“i f ' from the text.
c.g ’T here was a pineapple on the table. So, I ate i t ”
We would assume that the speaker had eaten pineapple not the table
(even though the word table is nearer).
According to Carthy, reference items in English include pronoun
(e.g. he, she, i t him, they, etc), demonstratives (this, th a t these, those),
the article the, and items like such a.21
b. Ellipsis
Ellipsis is the omission o f part sentences on the assumption that an
earlier sentence or the context will make the meaning clear.22 Sometimes,
we do not even need to provide a substitute for a word or phrase which
has already been said. We can simply omit i t and know that the missing
part can be reconstructed quite successfully.
Instead o f answering, “Would you like a glass o f beer?” with yes I
would like a glass o f beer. We can just say “Yes I would” knowing that
like a glass o f beer will be understood. Or someone says “What are you
doing?”, we can just answer “Eating a mango” instead o f “I’m eating
mango” because we know that I’m is understood and does not have to be
said. There are three types o f ellipsis: nominal, verbal and clausal.
e.g. nominal ellipsis
Nelly liked the green tiles, my self I preferred the blue.
e.g. verbal ellipsis
A. Will anyone be waiting?
B. Jim will, I should think.
e.g. clausal ellipsis
A. Is it going rain?
B. I think so.
c. Substitution
Another kind o f formal link between sentences is the substitution o f
words like “do” or “so”, for a word or group o f words which have
appeared in an earlier sentence. It would be very long. Winded if we had
always to answer a question such as “Do you like mangoes?” with
sentence like “Yes, I like mangoes” or “Yes, I think I like mangoes”. It is
much quicker, and it means the same if we say “Yes Id o” or “Yes, I think
so.”
Substitution is similar to ellipsis. In English, it operates either at
nominal, verbal or clausal level.23
Charty stated that the items commonly used for substitution in
English are:
One (s) : I offered him a seat. He said he didn’t want one.
Do : Did Mary take that latter? She might have done.
18
So/not : Do you need a lift? If so, wait for me, if not, I’ll see you there.
Same : She chooses the roast duck; I choose the same.
d. Conjunction
Conjunction is a relationship which indicates how two sequences
sentence or clause should be linked to the preceding or the following parts
o f the sentence.24 There are four types o f conjunction: addition, causality,
temporality and adversative.25
e.g. 1). Addition conjunction
She is intelligent. And she is reliable.
2) . Causality conjunction
He fell in the river and caught a chill.
3) . Temporality Conjunction
I got up and made my breakfast
4) . Adversative
I’ve lived here ten years and I’ve never heard o f that job.
e. Lexical Cohesion
Lexical cohesion does not deal with grammatical and semantic
connection, but it deals with connection based on the words used toward
song lyrics. The researcher just takes one lexical cohesion, which is
repetition, because in song lyrics there are some repetition used. This
repetition will play an important role.
e.g. Now I’m climbing the walls cause I miss you. I miss you.
24 Guy Cook, op.cit., p. 21
The repetition above means that the singer or composer gives stress
on the statement “I miss you”. It means that he miss his love so much.
D. Speech Act Theory
1. The Notion o f Speech Act
Speech act theory focuses on communicative act, which are performed
through speech, and deals with the function o f discourse in specific situation.
To express idea, people produce speech and perform action through
utterances. It originates in Austin’s observation that while sentences can
often be used to report state affairs the utterance o f some sentences, in
specified circumstance, must be treated as the performance o f an act. His
most basic insight is that some utterances neither statements nor questions
about some piece o f information, but are actions, such as in the following
example:
a. “I do” (take this woman to be my lawful wedded wife) - as uttered in the
course o f the marriage ceremony.
b. “I name this ship The Queen Elizabeth” - as uttered when smashing the
bottle against the stem.
c. “I give and bequeath my watch to my brother” - as occurring in a will.26
d. “I bet”,
Those sentences above share common qualities. They include a
particular type o f verb - a performance verb that realized a particular action
when uttered in a specified context. It may also require a particular response.
20
Performatives require both the appropriate circumstances and language
(grammatical instructions).27 The other example is the act o f ordering
someone to do something, for example: ‘7 order you to clean the boots”, or
“clean your b o o tsr which is often associated with ordering, and such
utterances will only be perceived as orders if certain condition, are in
operating and known to be operation by the sender to the receiver. The
felicity conditions for an order are:
a. The sender believes the action should be done
b. The receiver has the ability to do the action
c. The receiver has the obligation to do the action.
If anyone o f these conditions is not fulfilled, the utterance will not
function as an order.28
In short, speech act theory is basically concerned with what people
“do” with language - with the function o f language. The speech act theory is
applicable to discourse analysis, it provides a framework in which to identify
the conditions underlying the production and understanding o f an utterance
as a particular linguistically realized action.
2. Kind o f Action
a. Locutionary act
The locutionary act is the act o f saying something: producing a series o f
sounds which mean something.29 Locution act produces and
understandable utterance, it means that speaker is attempting to say
something and expect that the receivers understand the utterances
constructed by the speaker. According to Austin in Leech, locutionary act
is performing the act o f saying something: the utterance w ith certain sense
and reference. Austin identifies the locutionary act with the transmission
o f the message (Ideational Communication).30
From the definition above, it is clear that locutionary act is a basic
act o f utterances. It means the act o f saying something,
b. Illocutionary act
Illocutionary act is perform ing, an art in saying something: the
making o f statement, offer promise, etc.31 Austin identifies the
illocutionary act with the transmission o f discourse (interpersonal
communication). Dlocution acts are acts defined by social conventions
act, such thanking, offering, apologizing, challenging, complaining,
mocking, naming, protesting, disappointing, etc.
Fauziaty states that illocutionary act is the issuing o f an utterance or
the act performed when saying something. It includes act o f betting,
promising, etc. For example, “I promise to come”.
The utterance below has performs the illocutionary act o f
promising.32
30 Geoffery Leech, Principles o f Pragmatics, Longman Inc., London, 1983, p. 199 31 ibid., p. 199
22
c. Perlocutionary act
Perlocutionary act is performing an act by saying something. The
perlocutionary act carried out by a speaker making an utterance as the act
o f causing a certain effect on the hearer and other.33
Perlocutionary act is the actual effect achieved “by saying” o r
hearers.34 It means that the receivers/hearers do an action, as a response to
her/his psychological change.
A. The Biography o f Backstreet Boys
The name o f Backstreet Boys (BSB) comes from the Backstreet Flea
Market in Orlando, Florida. In the summer o f 1992 producer Lan Pearlman
advertised in an Orlando, Florida newspaper for male singers for a New Kids on
the Block style group. A.J. McLean and Howie Dorough were the first who
success in this audition. Nick Carter was hired at the young age o f 12, then Kevin
Richardson and his cousin Brian Littrell who joined in 1993.
The Backstreet Boys’ first major concert was performed at Orlando’s Sea
World in May 1993. By that concert, BSB began touring around the country and
got the attention from Zomba Record executives in Cleveland, Ohio. Signed to a
recording contract with Zomba subsidiary Jive Records and released their first
single “W e’ve G ot It Going on”. Although their first single flopped in the US,
Backstreet Boys gained their first true success when “W e’ve Got It Going on”
reached the top 10 in Germany in 1995. Then, the group’s management decided
to focus on the European and Asian market instead o f the US.
The first album was released in the US in August 1996, with the new single
“Everybody (Backstreet Back)” . This new single was a massive hit around the
world. In May 1999, the next album “Millenium” is released setting a new record
for the most copies sold in one week - 1.1 million, “I W ant It That Way” and
“Larger than Life” were hits from the album.
24
The next album “Black and Blue” released in 2000, sold 1.6 million copies.
BSB began on a world tour in 2001, but dates were postponed due to member
A.J. Mclean battling alcohol and depression issues. After the release o f “Black
and Blue” the group retreated from the spotlight to work on individual projects.
After three years o f hiatus, their hit single “Incomplete” was released to
radio stations on March 2005, and quickly became the #1 most requested song in
top markets in both US and overseas. The song was changed from their previous
albums, it was more o f an adult contemporary style rather than the previous
albums. In June 2005, BSB released their comeback album Never Gone, which
spent more than a year recording. The album debuted at #3 on the US chart with
substantial first week sales o f 291,000 copies, and has gone to sell over 2.1
million including #1 debutes in Japan, Germany, India, Chile, Brazil, Australia
and Korea. They began the first o f their “Never Gone” tour on July in W est Palm
Beach Florida, and on July 2006 The Bakcstreet Boys returned to the recording
studio to follow-up 2005’ s Never Gone and promoted this album in several
countries.
These are the biography o f BSB’s personnel:
1. Name : Nick Carter
Birth Name : Nicholas Gene Carter
Birth Place : Jamestown, New York, USA
Birth Date : January 28, 1980
Height : 6 T ’
Birth Place : Lexington, Kentucky, USA
Birth Date : February 20, 1975
Height : 5*7”
Profession : Singer
Claim to Fame : as a member o f Backstreet Boys
3. Name : Howie Dorough
Birth Date : Howard Dwaine Dorough
Birth Place : Orlando, Florida
Birth Date : August 22,1973
Height : 5’7”
Profession : Singer
Claim to Fame : as a member o f Backstreet Boys
4. Name : A.J. McLean
Birth Name : Alexander James McLean
Birth Place : West Palm Beach, Florida
Birth Date : January 9,1978
Height : 5’9”
Profession : Singer
26
Name : Kevin Richardson
Birth Name : Kevin Scott Richardson
Birth Place : Lexington, Kentucky, USA
Birth Date : October 3, 1972
Height : 6 ’1”
Profession : Singer
Claim to Fame : as a member o f Backstreet Boys
B. LYRICS OF NEVER GONE ALBUM
The data are lyrics o f songs connected with discourse relations taken from
Never Gone album by Backstreet Boys. The titles and lyrics o f those songs are the
following:
INCOMPLETE
/Empty spaces fill me up with holes/ /Distant faces with no place left to go/ /Without you within me/1 can’t find no rest/ /Where I’m going is anybody guess/
/I’ve tried to go on like I never knew you/ /I’m awake but my word is half asleep/ /I pray for this heart to be unbroken/
/But without you/ all, I’m going to be incomplete/
/Voices tell me I should carry on/
/But I am swimming in an ocean all alone/ /Baby, my baby/
/It’s written on your face/
/You still wonder/ if we made a big mistake/
/I’ve tried to go on like I never knew you/ /I’m awake but my world is half asleep/ /I pray for this heart to be unbroken/
H don’t mean to drag it on/ but I can’t seem to let you go/ /I don’t wanna make you face this world alone/
/I wanna let you go (alone)/
/I’ve tried to go on like I never knew you/ /I’m awake but my world is half asleep/ /I pray for this heart to be unbroken/
/But without you/ all I’m going to be is incomplete/
/Incomplete/
JUST WANT YOU TO KNOW
/Looking at your picture from when we first met/ /You gave me a smile that I could never forget/ /And nothing I could do/
/Could protect me from you that night/
/Wrapped around your fingers, always on my mind/ /The days would blend ‘cause we stayed up all night/ /Yeah/
/You and I were everything/ /Everything to me/
/I just want you to know/
/That I’ve been fighting to let you go/ /Some days I make it through/
/And then there’s nights that never end/ /I wish that I could believe/
/That there’s a day you’ll come back to me/ /But still I have to say/
/I would do it all again/ /Just want you to know/
/All the doors are closing I’m tryin’ to move ahead/ /And deep inside I wish it’s me instead/
/My dreams are empty/
/From the day/
/The day you slipped away/
/I just want you to know/
/That I’ve been fighting to let you go/
/Some days I make it through/
28
/That there’s a day you’ll come back to me/ /But still I have to say/
/I would do it all again/ /Just want you to know/
/That since I lost you, I lost my self/ /No I can’t fake it, there’s no one else/
/I just want you to know/
/That I’ve been fighting to let you go/ /Some days I make it through/
/And then there’s nights that never end/ /I wish that I could believe/
/That there’s a day you’ll come back to me/ /But still I have to say/
/I would do it all again/ /Just want you to know/
/That I’ve been fighting to let you go/ /Some days I make it through/
/And then there’s nights that never end/ /I wish that I could believe/
/That there’s a day you’ll come back to me/ /But still I have to say/
/I would do it all again/ /Just want you to know/
CRAWLING BACK TO YOU
/Everybody knows that I was such a fool to ever let go o f you/ /Baby I was wrong/
/Yeah I know I said w e’d be better o f alone/ /It was time that we moved on/
/I know I broke your heart/
/I didn’t mean to break your heart/ /But baby here I am/
/If you could see these tears I’m crying/ /Touch these hands that can’t stop shaking/ /Hear my heart that’s barely beating/
/You will see a different man/
/But baby here I am/
/Banging on your front door/ /My pride spilled on the floor/ /My hands and knees from the truth/
/And now I’m crawling back to you (come on)/ /Begging for a second chance/
/Are you gonna let me in? (let me in)/ /I was running from the truth/
/And now I’m crawling back to you/
/Banging on your front door (darling)/ /My pride spilled on the floor/
/My hands and knees from the truth/ /And now I’m crawling back to you, yeah/ /Now I’m crawling back to you/
/Crawling back to you/
/How we were young and stupid/ /Do you remember that?/
/Baby/
/No matter how I fight it/ /Can’t deny it/
/Just can’t let you go/
/I still need you/
/I still care about you/
/Thought everything’s been said and done/
/I still feel you/
/Now look at me/
/Instead o f moving on, I refuse to see/ /That I keep coming back/
/And I’m stuck in a moment/ /That wasn’t meant to last (to last)/
/I try to fight it/ /Can’t deny it/
/You don’t even know/ /That I still need you/ /I still care about you/
/Though everything’s been said and done/ /I still feel you/
/Like I’m right beside you/ /But still no word from you/
/Ohhh/
/W ish I could find you/ /Just like you found me/
/Ohhhh (can’t live without you)/
/Though everything’s been said and done (yeah)/ /I still feel you (I still feel you)/
/Like I’m right beside you (like I’m right beside you)/ /But still no (still no word) word from you/
MY BEAUTIFUL WOMAN
/How can I begin to/ /Tell you what you do to/ /My every time I hear ya/ /More willing to wanna see ya/
/I know that there’s no use in/ /Tryin’ to explain the confusion/ /But still I’m not complainin’/ /‘Bout my situation/
/Let’s not talk about a/ /Possible ending/
/For your consideration/
/I’m finding it harder and harder to breath/ /Every time I’m near/
/My beautiful woman/
/And so we put the top down/ /To take you drivin’ downtown/ /I guess we’ll know just what to do/ /When you’re lookin’ to fool around/
/It’s too late to stop me/
/I know w e’re gonna get down/
[Chorus:]
/E tells me everything is feelin’ alright/ /A goes to you and me swingi’ it down/
/It seems like yesterday when I said “I do”/
/And after all this time my heart still bums for you/
/If you don’t know by now that you’re my only one/
32
/Is there no stronger word I can use/
/To reassure you when the storm, is raging outside/ /You’re my safest place to hide/
/Can you see me, here I am/ /I need you like I need you then/ /When I feel like giving up/ /I climb inside your heart/ /I still find/
/You’re my safest place to hide/
/You see colors no one else can see/ /In every breath you hear a symphony/ /You understand me like nobody can/
/I feel like my soul unfolding like a flower blooming/
/When this whole world gets too crazy/ /And there’s nowhere left to go/
/I know you give me sanctuary/ /You’re the only truth I know/ /You’re the road back home/
/Can you see me, here I am/
/Standing here where I’ve always been/ /And when words are not enough/ /I climb inside your heart/
/I’d still find/ '
/You’re my safest place to hide/ /My safest place to hide/
/I know I promised you forever/ /There’s no stronger word I can use/
/To reassure when the storm is raging outside/ /You’re my safest place to hide/
/Oh! Can you see me, here I am/ /Standing here where I’ve always been/ /When I feel like giving up/
/I climb inside your heart/ /I’d still find yeah, yeah/
SIBERIA
/When you come back I won’t be here/ /She said and gently pulled me near/ /If you want to talk you can cal 1/ /And no it’s not your fault/
/I just smiled and said let go o f me/
/But there's something that I've just gotta know/ /Did someone else steal my part?/
/She said it’s not my fault/
/Then my heart did time in Siberia/ /Was waiting for the lie to come true/ /‘Cause it’s all so dark and mysterious/
/When the one you want doesn’t want you too/
/I was drifted in between/
/Like I was on the outside looking in, yeah yeah/ /In my dreams you are still here/
/Like you’ve always been/
/Oh yeah, my heart did time in Siberia/ /Was waiting for the lie to come true/ / ‘Cause it’s all so dark and mysterious/
/When the one you want doesn’t want you too/
/I gave myself away completely/ /But you just couldn’t see me/ /Though I was sleeping in your bed/ /‘Cause someone else was on your mind/ /In your head/
/When I came back she wasn’t there/ /Just a note left on the stairs/
/If you want to talk give me a call/
/My heart did time in Siberia/
/Was waiting for the lie to come true/ /‘Cause it’s all so dark and mysterious/
/When the one you want doesn’t want you too/ /When the one you want doesn’t want you too/
/Siberia, Siberia/
34
NEVER GONE
A really miss you/
/There’s something that I gotta say/
/The things we did, the things we said/
/Keep coming back to me and make me smile again/ /You showed me how to face the truth/
/'Everything that's good in me I owe to you/'
/Though the distance that’s between us/ /Now my seem to be too far/
At will never separate us/ /Deep inside I know you are/
/Never gone, never far/ /In my heart is where you are/ /Always close, everyday/ /Every step along the way/
/Even though for now we’ve gotta say goodbye/ A know you will be forever in my life (yeah)/ /Never gone/
/No no no/
A walk alone these empty streets/
/There is not a second you’re not here with me/ /The love you gave, the grace you’ve shown/
/Will always give me strength and be my cornerstone/
/(Somehow)/
/Somehow you found a way/ /To see the best I have in me/ /As long as time goes on/ A swear to you that you will be/
/Never gone, never far/ /In my heart is where you are/ /Always close, everyday/ /Every step along the way/
/Even though for now we’ve gotta say goodbye/
A know you will be forever in my life (in my life yeah)/
/Never gone from me/
/If there’s one thing I believe (I believe)/
/Even though for now we’ve gotta say goodbye (yeah yeah)/ /I know you will be forever in my life (in my life)/
/Never gone, never far/
/In my heart (in my heart is where) is where you are (you are)/ /Always close, everyday/
CHAPTER IV
DATA ANALYSIS
In this chapter, the researcher presents the most important part o f this thesis,
the result o f data analysis. They are (A) the configurations o f song lyrics as a
discourse in Never Gone album, (B) the composer’s intention in Never Gone album.
Each section will be explained in detail as the following:
A. The Configuration o f Song Lyrics as A Discourse
The researcher uses seven criteria for textuality consist o f cohesion,
coherence, intentionality, acceptability, informativeness, situationally and
intertextuality.1 Those criteria are used as the technique to analyze the
configurations o f song lyrics as a discourse in Never Gone album as the
following:
1. Title : Incomplete
Theme : Broken heart
Contextual Configuration
This is a story o f a boy who feels so weak because he lost his
girlfriend. He feels that he can not live happily without the girl. Actually, the
boy has tried to forget the girl, he tried to get away from the sadness and
weakness, he did not want to drag it on, he prayed for his heart to be
unbroken, he did everything to forget the girl, but finally he realized that his
life will never be complete without the girl.
1 Pranowo, Analisis Pengajaran Bahasa, Gajahmada University Press, Yogyakarta, 1996, p. 75
Data Analysis
Viewed from the cohesion criteria, there are several words being
analyzed in this song, as the following:
1. From the couplet “but without you, all I’m going to be is incomplete”, the
word “I’m going” refers to the action o f tried to go on, awake and pray
for this heart to be unbroken.
2. From the couplet “I don’t mean to drug it on”, the word “it” substitutes to
“incomplete feeling”.
3. There is repetition o f the word “incomplete”. It means that the singer
feels really incomplete without the girl he loves.
4. From coherence criteria, there is something brought outside the text. The
word “I” refer to the singer (boy) and “you” refers to the girl that he loves
so much. From the couplet “voices tell me”, the word “voices” has no
clear reference. It might be the voices o f the singer him self. He might
tell to himself that he should forget the girl. Furthermore, the word
“baby” is similar with “a girl”.
Ffom intentionally criteria, there is an intention o f achieving specific
goals within the song. In the song “Incomplete” there is an intention where
the singer feels broken heart because o f loosing someone he loves, although
he has done everything to stay strong. The singer or composer has the
intention to warn the audiences that loosing someone they love very much is
38
From the acceptability and informativeness, this song is acceptable as a
song with broken heart as the theme, and it is intended to the adult audiences,
while the information o f this song is about the singer’s feeling when he lost
his girl. Beside that, the singer also gives information that broken heart made
him to be a weak boy.
The situation concerns with the factors that make a text is relevant to
the situation occurrence. Therefore, the situations which support this song are
sadness, loneliness and weakness.
Intertextuality, there is related sequence between the title with the
content o f the song in each couplet. Besides that, the chorus couplet
emphasizes the song’s story. So, the receiver can understand the main idea or
story o f the song from the relation o f the title and the chorus couplet.
2. Title : Just W ant You To Know
Theme : Love
Contextual Configuration
There was a boy who was looking at his girlfriend picture. The boy
remembered when the first time they met, the girl gave a charming smile that
he could never forget. He remembered when they stayed up all night. In the
end o f the story, the boy lost his girl. Basically, he just informed the girl that
he has been fighting to let her go, and he hoped that the girl would come back
Data Analysis
From the cohesion criteria, there are several words being analyzed in
the song as the following:
1. From the couplet “and nothing I could do, could protect me from you that
night”, the word “that night” refers to “when we first met”.
2. From the couplet “some days I make it through”, the word “it” subtitles
to the action “fighting to let you go”.
3. From the couplet “no I can’t fake it”, the word “it” refers to “there’s no
one else”.
4. From the couplet “and deep inside I wish it’s me”, the word “it’s”
substitutes to “I’m tryin’ to move ahead”.
Viewed from coherence criteria, there is something brought outside the
text as the following:
1. “I” refers to the speaker or singer. Here, the speaker is a boy and “you”
refers to the girl that he loved.
2. “Look at your picture”, the word “your picture” means his girl friend’s
picture.
3. “From the first we met”, the word “we” means the singer and the girl.
Viewed from intentionality criteria, there is an intention o f achieving
specific goals by the song. The intentionality o f the song “just want you to
know” tells the audience about the singer’s struggle to let his girlfriend go
40
that he still love her very much and he hopes that the girl will come back to
him.
From acceptability and informativeness, a sequence can be acceptable
to the intended audiences and also give information. This song is acceptable
as a song that has love as its theme and intended to adult audiences. The
information o f this song is about story o f a boy who lost his girlfriend. He
hoped that his girl knew that he has been fighting to let her go, but he could
not fake himself that there was no one else. Therefore, he hoped that the girl
would come back to him.
The situationally concerns about the factors that make a text relevant to
the situation occurrence. Therefore, the situations which support this song are
about the struggle and expectation o f the singer for his love.
From the intertextuality view, there is a related sequence between the
title with the content o f the song in each couplet. The chorus couplet gives
emphasis on the song’s story. The receiver can understand the story o f the
song from the relation o f the title and chorus couplet.
3. Title : Crawling Back To You
Theme : Regret
Contextual Configuration
This is the story about a boy who feels regret because he let his
girlfriend go away from him. He realized that he was wrong and broke her
the second chance. He felt his pride spilled on the floor and he was crawling
back to the girl. He hoped that the girl could see the teardrops o f his cry.
Data Analysis
From cohesion criteria, there are several words being analyzed in this
song as the following:
1. From the couplet “it was time that we moved on”, the word “that”
substitutes the action o f “I said w e’d be better o f alone”.
2. From the couplet “Baby here I’m”, the word “here I’m” refers to the next
couplet “Banging on your front door”.
3. From the couplet “Are you gonna let me in”, the word “let me in”
substitutes o f the word “second chance”.
4. There are repetitions o f the word “crawling back to you” which means
that the singer really wants to back to his girl.
From coherence criteria, there are several words being analyzed in this
song. Those are as the following:
1. “I” refers to the singer (boy), while “you, baby, girl” have the similar
meaning with the singer’s girlfriend.
2. “I was running from the truth” means that the singer lets his girlfriend go
away from him.
3. “You will see the different man”, the word “different man” means the
singer himself. It means that the girl could see his struggle in crawling
42
The intentionality o f this song tells the audience about how regret the
singer is, because he has let his love go and broke her heart. Basically, he
would back to his girl.
From acceptability and informativeness, this song is acceptable as a
song with “regret” for its theme, and it is intended to adult audiences. The
information o f this song is about the regret feeling o f the singer because of
his foolishness. He also informs that he was crawling back to the girl.
Situationality, this song has considered the situation o f a boy in feeling
regret, and then he asked for the second chance although the girl was very
mad. Therefore, the situations that support this song are regret, sadness and
expectation.
From intertextuality aspect, there is a related sequence between the title
with the content o f the song. Besides that, the chorus couplet emphasizes the
story of the song, so the receiver can understand the story o f the song from
the relation o f the title and chorus couplet.
4. Title : I Still
Theme : Endless love
Contextual Configuration
One day, there was a boy who was remembering his girl. He asked
himself whether the girl changed or not. He imagined when they were young
and stupid. Actually, he still needs the girl and still cares about her though
beside her. Furthermore, he hoped that the girl would come back to him, but
there was no response from the girl.
Data analysis
From the cohesion criteria, there are several words being analyzed in
this song, as the following:
1. From the couplet “Do you remember that”, the word “that” substitutes
the previous couplet “How we were young and stupid”.
2. From the couplet “That wasn’t meant to last”, the word “that” refers to
“I’m stuck in a moment”.
3. There are some repetitions found in this song. It shows that the
repetitions are meant for stressing the following utterance.
From the coherence aspect, several words in this song are analyzed, as
the following:
1. “I” refers to the singer or speaker. Here, the singer is a boy
2. “You” and “baby” refer to the girl for whom this song is dedicated
3. “No matter how I fight it, can’t deny it” the word “it” means the singer’s
love for his girl.
The intentionality o f this song is telling the audience about the singer’s
love for his girl. He still needs and cares about her though everything had
been said and done. Furthermore, he wishes that his girl would come back to
him.
From acceptability and informativeness, this song is acceptable as a
44
the information o f this song is about singer’s love to his girl. He also informs
that he can’t live without the girl.
The situationality concerns about the factors that make a text relevant
to the situation occurrence. Therefore, the situations that support this song are
love and expectation.
From intertextuality aspect, there is a related sequence between the title
with the content o f the song. The chorus couplet gives emphasis on the
song’s story, so the receiver can understand the main idea or story o f the song
from the relation o f the title and the chorus couplet.
5. Title : My Beautiful Woman
Theme : Falling In Love
Contextual configuration
This is the story about a boy who fell in love with his friend. He was
falling in love at the first sight. At the first time they met, he found his
inspiration in the girl’s expression, so he tried to make an approach to show
his feeling. He admired the girl, he was finding it was harder and harder to
breathe when he was near the girl. But, he did not know how to tell about his
feeling and he confused to begin. Furthermore, he called the girl “my
beautiful woman”.
Data Analysis
Viewed from cohesion, there are several words being analyzed in this
