ENGLISH-INDONESIAN CODE SWITCHING
IN INDONESIAN SONG LYRICS
COMPOSED BY MELLY GOESLAW
AN UNDERGRADUATE THESIS
Presented as partial Fulfillment of Requirements For the Degree of Sarjana Sastra
In English Letters
By
ROSA DELIMA WIKASITAKUSUMA WIDAYA
Student Number: 104214054
ENGLISH LETTERS STUDY PROGRAM DEPARTEMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
ii
ENGLISH-INDONESIAN CODE SWITCHING
IN INDONESIAN SONG LYRICS
COMPOSED BY MELLY GOESLAW
AN UNDERGRADUATE THESIS
Presented as partial Fulfillment of Requirements For the Degree of Sarjana Sastra
In English Letters
By
ROSA DELIMA WIKASITAKUSUMA WIDAYA
Student Number: 104214054
ENGLISH LETTERS STUDY PROGRAM DEPARTEMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
vii
This is the KEY
of
MY FREEDOM!
The next step is building my own kingdom
viii
To
My Beloved God,
My Family, and
The people who always
support me.
THANK YOU!
ix
ACKNOLEDGEMENTS
Doing a research is something which is new for me. There were many temptations to finish this undergraduate thesis. I would like to thank Jesus Christ for the blessing and support; I could rise from adversity and could complete this research properly.
Firstly, I would like to thank my thesis advisor, Adventina Putranti, S.S., M.Hum., for the assistance, advice, guidance, and patience. I would also like to thank my co-advisor, Dr. Fr. B. Alip, M.Pd., M.A., for the guidance, correction, and suggestion.
My deep gratitude goes to my parents, dr. B. Restu Widaya, Sp.B and Dra. A.M. Retno Abri S., my lovely younger sister, R.D.K. Tunjung Biru, and my grandmothers for the support and understanding.
My special thanks go to my beloved aunt, Yuyun Yulia, Ph.D., who is always willing to be contacted anytime, 24 hours a day. Thank for advices.
I am a blessed person surrounded by good-hearted people. Then, for all lecturers and staff of English Literature Department Sanata Dharma University, I thank for the knowledge, patient, experiences and lessons. I would also like to thank Grup Rempong, Formasi Malang, B-10 Sasing, English Letters 2010, Anak Bimbingan Bu Venti, Grup KKU, KKN 36 Kliwang, Rotaract Club of Yogyakarta Malioboro, GTS, Bedjo 28, for the support and wonderful experiences.
x
TABLE OF CONTENTS
TITLE PAGE………...…. ii
APPROVAL PAGE………...…….iii
ACCEPTANCE PAGE………... iv
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH..v
STATEMENT OF ORIGINALITY………....… vi
C. Review of Related Background………... 19
D. Theoretical Framework……….. 19
CHAPTER IV: ANALYSIS (RESULTS AND DISCUSSIONS)…………. 28
A. Types of Code Switching..………. 28
1. Tag Switching……… 28
2. Intrasentential Switching……….. 30
3. Intersentential Switching………...… 33
xi
CHAPTER V: CONCLUSION……… 68
BIBLIOGRAPHY……….. 71
APPENDIX……… 75 Lyric texts of Ten Indonesian Songs Composed by Melly
Goeslaw……… 75
xii
ABSTRACT
WIDAYA, ROSA DELIMA WIKASITAKUSUMA. English-Indonesian Code Switching in Indonesian Song Lyrics Composed by Melly Goeslaw.
Yogyakarta: Department of English Letter, Faculty of Letters, Sanata Dharma University, 2015.
Code switching has been commonly used in communication either in conversations or songs. The use of code switching in conversations and song lyrics are very different. Unlike in the use of code switching in conversations that occurred spontaneously, the use of code switching in song lyric has a specific purpose because it is edited and recorded, it does not occur spontaneously. Nowadays, there is a new trend to switch Indonesian to English in some Indonesian songs. This research gives some information of the use of code switching in ten Indonesian songs composed by Melly Goeslaw in 2007 until 2013 which is used to be a basis and a comparison for coming analysis.
Two main purposes highlighted in this research: (1) identifying the types of code switching which are used in Indonesian song lyrics composed by Melly Goeslaw, and (2) identifying the reasons of code switching in that Indonesian song lyrics.
This research needs all of Indonesian songs composed by Melly Goeslaw which contain Indonesian-English code switching at parts of the song. There are ten Indonesian songs composed by Melly Goeslaw which contain Indonesian-English code switching. Thus, that songs are collected and analyzed to answer two questions elaborated in problem formulation.
xiii
ABSTRAK
WIDAYA, ROSA DELIMA WIKASITAKUSUMA. English-Indonesian Code Switching in Indonesian Song Lyrics Composed by Melly Goeslaw.
Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2015.
Alih bahasa telah umum digunakan dalam komunikasi baik dalam percakapan atau lagu. Penggunaan alih bahasa pada percakapan sehari-hari dan lirik lagu sangat berbeda. Tidak seperti dalam penggunaan alih bahasa dalam percakapan yang terjadi secara spontan, penggunaan alih bahasa dalam lirik lagu memiliki tujuan tertentu karena telah melalui proses pengeditan dan rekaman, alih bahasa tersebut tidak terjadi secara spontan. Saat ini terdapat sebuah tren baru penggunaan alih bahasa dari Bahasa Indonesia ke Bahasa Inggris di beberapa lagu Indonesia. Penelitian ini memberikan informasi mengenai penggunaan alih bahasa di sepuluh lagu Indonesia karangan Melly Gowslaw pada selang waktu 2007-2013 yang dapat digunakan sebagai dasar dan perbandingan untuk penelitian selanjutnya.
Terdapat dua tujuan utama dalam penelitian ini: (1) mengidentifikasi jenis alih bahasa yang digunakan dalam lirik lagu Indonesia yang diciptakan oleh Melly Goeslaw, dan (2) mengidentifikasi alasan penggunaan dari alih bahasa tersebut.
Penelitian ini membutuhkan semua lagu Indonesia yang disusun oleh Melly Goeslaw yang menggunakan perpaduan Bahasa Indonesia dan Inggris pada bagian lagu. Ada sepuluh lagu Indonesia disusun oleh Melly Goeslaw yang menggunakan alih bahasa. Selanjutnya, lagu-lagu tersebut dianalisa untuk menjawab dua pertanyaan seperti yang diuraikan dalam rumusan masalah.
Hasil analisa menunjukkan sepuluh lirik lagu Indonesia yang diteliti dalam penelitian ini menggunakan tiga jenis alih bahasa. Terdapat empat kasus tag switching yang ditemukan di tiga lagu. Intrasentenial switching terjadi lima kali di dalam tiga lagu. Mayoritas penggunaan alih bahasa menggunakan tipe
1
CHAPTER I
INTRODUCTION
A. Background of the Study
Human is a social being who has to live with others and language is a means to communicate in society which human used to have a communication in a society. This era is a globalization era; many people realize that learning and mastering in more than one language give them many advantages. Developing communicative competence in two or more languages is a must for either integrative reasons or instrumental reasons.
Those who were interested in studying the language in order to be able to identify with the target people, or because they were interested in the culture of the target people, were said to be integratively motivated. Those who wanted to study the language for the purpose of career advancement, were instrumentally motivated. (Svanes, 1987: 342).
From the beginning of the independence of Indonesia, English has been decided to be the first foreign language learned in this country.
Early on, it was decided that English, rather than Dutch, would be the first foreign language of the country because Dutch was the language of the colonialists and it did not have the international status that English did. (Lauder, 2008: 10).
Even there are laws stating that English as the first foreign language in Indonesia which has to be learned by the students since the elementary school and it is found in the curriculum which has to be followed by official education institution.
be taught from the first year of Junior High School but may be taught as
early as Primary Four at the school‟s discretion. (Lauder, 2008: 16).
Hence, it is not wondering if Indonesian people have a good ability to understand English and use code features to deliver the message in their daily conversation. English is also used as a language tool to exchange information in business, politics, education, and media. (Lauder 2008:2).
Indonesian people sometimes use code switching, they changes the language from Indonesians to English, to deliver a message. Lauder (2008: 11)
states that “in Indonesia, English‟s role is defined primarily by means of a
conscious process of language planning, rather than by linguistics evolution.” The phenomenon of code switching is also be able to observed in literary works which exist in society. The song lyric is one of the literary works which can be an example. The use of code switching in conversation and song lyric are different. Language switching in the song lyric is used by some purposes, it does not occur spontaneously.
There is a fundamental different between the code switching in lyrics and other types of literature and that which occurs in conversation. The former is not spontaneous, but a conscious and predicated strategy and the discourse in which it occurs is edited and recorded. It is deliberate style used by the artist who would have prepared and reflected upon the lyrics before the relapse of the song. (Davies, 2008: 3-4).
Language switching nowadays is a common phenomenon and there are some previous code switching usages in song lyrics.
al-Andalus, many of the muwashsha songs featured refrains (kharjas) in a mixture of Arabic and Romance (see, for instance, Stern 1948; Armistead and Monroe 1983). Folksongs in may parts of the world also feature mixed language lyrics; between Spanish and Quechua (Muysken 1990), while in Morocco the Jewish community has long used songs combining Hebrew and Arabic (Zafrani 1983, 2003) Picone (2002) also discusses an interesting range of examples of code switching in the lyrics of recent popular song. (Davies, 2006: 368-369).
This occurrence is also found in Indonesia. There are some songs which use English-Indonesian code switching which are popular in Indonesian society. The first song composer whose songs is in the Indonesian top chart and has been a reference for other English-Indonesian song composers is Melly Goeslaw. Her works are not only popular in Indonesia, but also in foreign countries, such as in Singapore and Malaysia.
Due to its popularity, the researcher is interested in analyzing the code switching in Indonesian song lyrics including the reasons. The analyzed songs are
Melly Goeslaw‟s songs (ten songs in number). This research gives some
important information of code switching in Indonesian society through literacy view, in particular Indonesian lyrics songs. The result of this analysis is used to be a basis and a comparison for the coming analysis. The result is also used to observe the type and reason of code switching in the Indonesian song lyrics in the future.
B. Problem Formulation
1. What are the types of code switching in Indonesian song lyrics composed by Melly Goeslaw?
2. What are the possible reasons of code switching in Indonesian song lyrics composed by Melly Goeslaw?
C. Objective of the Study
The research has two objectives of the study. First is to identify the English-Indonesian code switching in Indonesian song lyrics composed by Melly Goeslaw. Second is to identify the reasons of code switching at some parts of Indonesian song lyrics composed by Melly Goeslaw.
D. Definition of Terms
Scholars define various explanations of code-switching. In order to get same understanding, there are several definitions of terms appearing in this research:
1. Code means a system used for communication between two or parties used on any occasions. (Wardhaugh, 2010: 103). Wardhaugh also defines code as “any kind of system that two or more people employ for communication. It can refer to a language, dialect, style, and kinds of language varieties.” (Wardhaugh, 2010: 84).
Within this study, code switching refers to the juxtaposition of Indonesian to
English in the literary works, namely the lyrics in Melly Goeslaw‟s songs.
3. Song lyrics are a set of words that make up a song. Song lyric derives via Latin lyricus from the Greek λσρικός (lyrikós), the adjectival form of lyre.
6
CHAPTER II
REVIEW OF LITERATURE
This chapter outlines four main parts: review of related studies, review of related theories, review of related background, and theoretical framework. Review of related studies discusses two previous international journals which have similar general topic as well as objective of this research. Review of related theories presents the theories applied. Review of related background provides Melly
Goeslaw‟s biography. The final section is theoretical framework outlining, the
contribution of the theories and review in solving the problems of the study.
A. Review of Related Studies
The researcher uses two previous published international journals which have similar objects as a comparison and a basis in doing this research. Both of the previous journals are done in the twenties century, thus it is previously researched.
1. Word Borrowing and Code Switching in Ancash Waynu Songs (Julca,
2009)
This paper presents a description and analysis of the processes of borrowing and code switching in Ancash waynu, a genre of popular traditional Andeans songs. The researcher found that both Quechua and Spanish are used in various ways, essentially to create special poetic and expressive-communicative
effects. The data used based on the researcher‟s own collection and transcription
summer 2006 and 2007. The conclusion of this research outlines different kinds of bilingual language use and reflects a general trend in language shift from monolinguistic in Quechua to bilingualism in Quechua and Spanish and from that to monolingualism in Spanish
2. Code Switching in Contemporary Nigerian Hip-Hop Music (Babalola,
2009)
The objectives of “Code Switching in Contemporary Nigerian Hip-Hop Music” are to (1) examine the nature of the phenomenon code switching and the reason of code switching, (2) discuss the stylistic effects of this trend, and (3) examine the implications of this practice for communication through music. The findings reveal that while most code switching is done in three languages English, Nigerian Pignin, and Yoruba– the prominent role is Yoruba. This code switching makes the languages feature in turns, thereby producing switches at discourse boundaries. The study concludes that the unique identities created by code switching in Nigerian hip-hop have positive local and global influence for music and artists, and reflect the ethno-linguistic diversity of the Nigerian nation.
B. Review of Related Theories
This section presents the basic theories used such as the general explanation of code switching, the detail explanation of code switching and the code switching classification type by Stockwell (2002: 33). A brief explanation of music theory focusing in components of the song, as well as the reasons of code switching by Malik (1994: 16) will be discussed.
1. Code Switching
Code switching is one of the language phenomena commonly observed in the society. Before explaining the meaning of code switching, the researcher
presents the basic word of code switching, namely the word „code‟. According to
Asher (1994: 577) the term code refers to any system of signs or symbols which convey information. Wardhaugh (2010: 84) also defines code as “any kinds of system that two or more people employ for communication. It can refer to a language, dialect, style, and the kinds of language varieties.” So, code is a system which is used by people who have a same interpretation about something to get a good understanding communication.
Code switching refers to the juxtaposition of two languages or more in a communication process. As cited by Mandiri (2002: 9), Hymes (1974) defines
code switching as “a common term for alternative using of two languages or
more, varieties of a language or even speech style.” Bokamba (1989) as quoted by
Mandiri (2002: 9) also states that “code switching is the mixing of words, phrases,
2. Types of Code Switching
There are some theories of types of code switching. In this research, the researcher uses Stockwell‟s Theory to analyze the data because it is suitable with discussions to be performed and the research purposes. In Sociolinguistics a Resource Book for Students book, Stockwell (2002: 33) states that there are three types of code switching: tag switching, intrasentential switching, and intersentential switching. The classification of the types of code switching based on the form and the meaning of switching.
a. Tag Switching
Poplack (1988: 223) states that tag switching is component of content words which may be inserted almost anywhere within the sentence without violating any grammatical rules. So, tag switching is allowed to use as long as it does not break the grammatical rules of the main language in that communication. Milroy and Muysken (1995: 8) also equally mention tag switching is used to refer
“a switching between an utterance and the tag or interjection attached to it.” Tag
switching does not have a long pattern because it only a single word. Type of switching involves single words –mainly nouns- and it is motived by lexical needed. (Wardhaugh, 2010: 42). The example of tag switching can be seen below:
I‟m pleased to see you‟re getting bewegungsmelder (security light).
(Stockwell, 2002: 28)
b. Intrasentential Switching
language, but the use of that different languages restricted by punctuation and other factors. Intrasentential code switching consists of cases in which speaker switches some clauses within a sentences or clauses. (Julca, 2009: 93). Below is the example of intrasentential switching:
What’s so funny? Come, be good. Otherwise, yu bai go long kot. –
What‟s so funny? Come, be good. Otherwise, you‟ll go to court.
(Romaine, 1995: 123)
c. Intersentential Switching
Intersentential switching occurs from one language to another language in the different sentences. This implies one sentence is in a one language while the
other sentence or sentences is in a totally different language. “Intersentential code
switching, that is, the alternation in a single discourse between two languages, where the switching occurs after a sentence in the first language has been completed and the next sentence starts with a new language.” (Appel, 1987: 118). Intersentential code switching involves cases in which a bilingual speaker switches languages from clause to clause. (Winford, 2003: 102). Following Appel-Muysken‟s and Winford‟s statement, it is defined that intersentential code switching is the process which the song lyric switches the language from line to line, from sentence to sentence, from couplet to couplet, and from stanza to stanza which has a same pattern. According to Winford‟s argument, a line, a sentence, a couplet, and a stanza is a unity when the topic does not change. Felix
Julca-Guerrero applied a same perspective in his journal “Word Borrowing and Code
waynu songs. The example of intersentential switch in English-German bilingual can be seen below:
We‟re going to Nicki‟s house at nine and maybe to the night club afterwards.
Kristina bleibt allerdings zu Hause sie muss noch arbeiten.
(Unfortunately Kristina is staying at home because she still has to do some work). (Stockwell, 2002: 33)
3. Reasons of Code Switching
Malik states that “code-switching is context-governed phenomenon.”
(Malik, 1994: 10). Therefore, there is a spesific reason why people use code switching to delivery the message. According to Malik, there are ten reasons of code switching:
a. Lack of facility
Malik (1994: 16) states that code switching is used when the speaker cannot find an appropriate expression or a vocabulary item which is needed to carry on the conversation smoothly. The following is an example for the reason lack of facility in the Malay:
Saya difahamkan bahawa OKS jarang minum, hanya seorangsocialdrinker.
[I understand that OKS seldom drinks, he is only a social drinker.]
(Muthusamy, 2009:4)
b. Lack of register
This reason occurs when the speaker does not know the specific terms of the language that is being used. This condition makes the speaker uses a term of
language which he or she mastered. “In case the topic of discourse is of a
the speech of doctors, lawyers, engineers. The example of reason for lack of register can be seen as follow:
Ujian alcohol telah dijalankan iaitu breathanalyzer test.
[The alcohol test was conducted, i.e., a breath analyzer test]
(Muthusamy, 2009:4)
c. Mood of the speaker
Malik (1994: 16) claims that usually when a speaker who masters in more than one language is tired or angry, code switching is used to deliver that feeling. In this research, this reason is used when the speaker has a certain state of mind; he or she spontaneously finds certain English expressions which represent his or her feeling. The following is an example for the reason because of mood of the speaker:
This situation is fan till max!
(Fong, 2011: 51) The word „fan‟ (bothered) is used in expressing the participant‟s frustration in the example. This can be due to the participant‟s mood that made she use that word unconsciously. Hence, Mandarin Chinese is used for the subject of the sentence or main idea that the participant is trying to convey.
d. Emphasizing certain point
important point to the judge that the accused had not committed any crime for 10 years.
Sebelum ini OKT pernah ditangkap pada tahun 1975 dan 1986. There has been a 10 years gap since the last offence Semenjak itu OKT telah berumahtangga, mempunyaikerja tetap dan insaf”.
[Before this, OKT was caught in 1975 and 1986…..since then OKT has married
and has held a steady job.]
(Muthusamy, 2009:5)
e. Habitual experience
Malik (1994: 16) stresses the fact that “code switching often occurs in
fixed phrases of greeting and parting, commands and request, invitation,
expressions of gratitude and discourse markers.” The speaker uses code switching
because that expressions are habitual experiences used in his or her daily life. Muthusamy (2009: 5) cites that Hoffman (1971) reports in Puerto Rican homes, the mother gives short commands to their children in English, such as Don’t do
that…. and the rest of the mother‟s warning will be in Spanish.
f. Semantic significance
It is a communicative resource that builds on participant's perception of two languages. It also serves as an implicit purpose which is only known by particular addressees in certain specific information. The example below shows how a judge shifts from Bahasa Malaysia, the national language and the official language at Malaysian courts, to English as a face saving gesture:
Kenapa kamu tak setuju, panggilan pertama telah dijawab oleh BG Boy dan dah tentu Das mesti menanya di manakah BG Boy berada? Kamu tak faham soalan, saya maksudkan……
[Why don‟t you agree – Bg Boy responded to the first call and surely Dos asked
where he was ? You do not understand the question, I mean….]
g. Showing identity with a group
Code-switching is used to signify shared values and experiences by people of a same group or culture. Hence, words and phrases are retained in their original languages to represent a sense of belonging and familiarity to the group. As cited by Malik (1994: 17), Pietro reports that Italian immigrants would tell a joke in English and give the punch line in Italian, not only because it was better said in Italian but also to stress the fact that they all belong to the same minority group, with shared values and experiences.
h. Addressing a different audience
Code switching is used to convey a message targeted to different listener
from various linguistic background. Malik (1994: 17) states that “code switching
is also used when the speaker intends to address people coming from various
linguistic backgrounds.” Hence, the speaker uses some parts of the topic in one
language and the other parts in another language. The speaker also clearly distinguishes whom he/she addresses and what should be communicated. Below is an example of the the use of code switching to address a different audience: Merry Christmas, Furong ren.
(Fong, 2011: 52) In that example, the participant wanted to dedicate her wishes to a specific group of people by addressing them in Mandarin Chinese.
i. Pragmatic reason
involvement. As an example, a Javanese young man is talking to his friends in Javanese, and then he switches the language into Indonesian when he talks to the lecturer in order to be more polite.
j. Driving attention
Malik (1994: 18) shows that code switching is also used to attract the attention of the readers/listeners. In English conversation when the interlocutor comes across non-English, either Hindi or any one of the other Indian languages,
the interlocutor‟s attention is automatically drawn to depend on the language
background he or she originates from. Attention of interlocutor is also obtained when the speaker uses words from a foreign language. A similar situation prevails in song lyrics which uses English in some parts of the song.
For the example Malik (1994: 18) shows that in advertisements (in both, written as well as in spoken) in India, codeswitching is used to attract the attention of the readers/listeners. In English newspaper when the readers come across non-English, either Hindi or any one of the other Indian languages, the reader‟s attention is automatically drawn to depend on the language background he/she originates from. A similar situation prevails in advertisements that involve audio and video output.
4. Code Mixing
language are incorporated into another. Bokamba (1989) notes that code mixing is a part of code switching.
5. Code Switching in Song Lyrics
According to Bentahila-Davies the use of code switching in conversation
and in song lyric are different because “the utterance in a conversation are
typically spontaneously produced” (Bentahila, 2002: 192), while the use of code
switching in the song lyrics has a purpose, “the author of the lyrics has
deliberately assembled them with the aim of achieving particular effects.” (Bentahila, 2002: 192).
Code switching also serves a poetic function, contributing to the aesthetic and rhetorical effect or discourse that is not spontaneous, but carefully constructed (Bentahila, 2008: 2). From the theories, it is seen that the use of code switching in song lyrics is on a purpose. If some components of song lyrics use language switching, they have specific purposes which can be analyzed.
6. Components of the Song
Stanzas in a song lyric have their own function seen from part of the song point-of-view. According to Davidson and Heartwood, a good song consists of
verse, chorus, bridge, hook, and refrain. “All songs are put together with some or
From knowing the components of the song which use code switching, the researcher gains knowledge of the reasons of code switching in that components of the song because each part has its own function to deliver the song message.
a. Title
Title is a component of the song which is recognized first from a song.
Title sometimes contains the main idea of the song. “Many times, the chorus is
taken from the title of the song.” (Davidson, 1996: 6). The song title should also
to be memorable and fitting to the theme of the song. (Estrella, 8th September 2014).
b. Verse
Verses are components of the song containing the song background. “The verse contains the details of the song: the story, events, images and emotions that
the writer wishes to express.” (Davidson, 1996: 6) The verses direct the listeners
of the song to know and understand deeper the message background which wants
to deliver in the chorus part. “The verses are preliminary parts which can deliver
the listeners to feel and guess what is actually to be conveyed in the chorus. The verses fill in on the story-line.” (Bentahila, 2002: 202).
c. Chorus
Chorus is a component of the song which can be easily remembered by
the listeners of the songs because this part is always sung repeatedly. “The chorus
the song. (Bentahila, 2002: 202). The chorus is the component of the song which contains the main idea of song message. “It contains main idea, or big picture, of
what being expressed.” (Davidson, 1996: 6).
d. Hook
Hook is “a phrase of word that literally hooks, or grabs, the listeners and
draws them into song.” (Davidson, 1996: 7). The hook is the component of the
song which is recognized easily by the listeners and it is an icon of the song. The
hook is not only a phrase of word, but also an instrument. “The hook can be
musical, such as repeated guitar or keyboard riff.” (Davidson, 1996: 7).
e. Bridge
Not every song has a bridge. Bridge is used to keep the listeners‟ attention.
“The break is a device that is used to break up the repetitive pattern of a song and
keep the listeners‟ attention.” (Davidson, 1996: 7). The bridge can also be a
change of key music. “In a bridge, the pattern of the words and music change.”
(Davidson, 1996: 7).
f. Refrain
Refrain is different from chorus. A refrain is "a repeated line or musical phrase that ties a song together. A refrain is only a phrase, or a word, while a
chorus contains many more words.” (Davidson, 1996: 7). A refrain may be
g. Coda
The English word „coda‟ comes from “an Italian word for „tail‟, it is the
additional lines of a song which brings the song to a close.” (Estrella, 8th September 2014). The coda is an optional addition to a song, so not every song has a coda as component of the song.
C. Review of Related Background
This part provides a review of Melly Goeslaw‟s biographical background
to support the analysis. The review is taken from the website maintained by the management team of Melly Goeslaw, so the contents can be accounted for.
1. Melly Goeslaw
Mellyana Goeslaw Hoed, who has a stage name “Melly Goeslaw”, was born in Bandung on 7 January 1974. She is known as an Indonesian singer and songwriter. Her career is begun by becoming a backing vocalist for Elfa Seciora. After marrying Anto later that year, they went on to form the band Potret and the band's first album was released in 1995. In 1999, Goeslaw started her solo career with her self-titled debut album. As a songwriter, Melly Goeslaw is an independent song writer and she is brave to produce work which is different from others. The Jakarta Post described her lyrics as being deliberately antagonistic. Goeslaw's songs have won awards within and outside Indonesia. (Rudi, 2014).
D. Theoretical Framework
21
CHAPTER III
METHODOLOGY
The researcher uses specific methodology to analyze the data and this chapter provides the description of the objects of the study, the approach of the study, and the description of procedures used in data collection and data analysis.
A. Object of the Study
In this study, the researcher only analyzes Indonesian song lyrics composed by Melly Goeslaw in 2007 until 2013 which use English-Indonesian code switching in the parts of the song. The researcher finds that there are ten Indonesian songs composed by Melly Goeslaw which use Indonesian-English and also English-Indonesian switching in the song‟s lyrics. The titles of the songs which use code switching are:
1. I‟m Falling in Love
The speaker in this song is mentioned clearly in the lyrics. The speaker is a woman who is falling in love with a man and she hopes she can be his bridge. The main language of this song is Indonesian. The switching to English occurs in a simple form in the chorus part. The English part consists of a sentence which is repeated several times.
2. Let‟s Dance Together
3. I‟m Sorry Goodbye
The song “I‟m Sorry Goodbye” narrates the women‟s thank you because
God show her lover‟s real nature which is manipulative. Similar to the first song,
the code switching case occurs from Indonesian, as the main language of the song, to English. The switching occurs at the end of the song.
4. My Heart
The lyrics of this song narrate that there is a couple of lover who are falling in love. In the future, probably they will not be a couple of lover again, but the love feeling will always exist in their heart The code switching occurs between Indonesian stanza to English stanza accordingly.
5. Selamanya Cinta
The speaker of this song is falling in love and she thinks that she will love him throughout her life. The main language of this song is Indonesia language, the code switching from Indonesian to English occurs at the end of the song. There is no clue that this song contains English code switching because the title, verses, ad chorus of the song use Indonesian.
6. Butterfly
7. Glow
From the song lyric, the listeners of this song know that the speaker has a high self-confidence. The speaker believes that he or she can do anything. The use of code switching in this song is a complex one. The use of code switching has several different patterns in some parts of the song.
8. Love Story
Love is eternal forever and ever is the message which is to be delivered to the listeners of this song. There are two forms of code switching usage in this song, namely a sentence and a phrase. The code switching occurs from Indonesian to English.
9. I‟m not Diva
The speaker loves herself. The speaker is proud of herself. She always shows her real side. She is happy to be who she is. This is one of the songs analyzed which quite often switches Indonesian to English, even the opening of the song uses English.
10.Let‟s Talk about Love
B. Approach of the Study
From the title of this research, “The Use of English-Indonesian Code
Switching in Indonesian Song Lyrics Composed by Melly Goeslaw” seen that this research uses sociolinguistics approach.
Sociolinguistics is concerned with investigating the relationships between language and society with the goal being a better understanding of the structure of language and how languages function in communication. (Wardhaugh, 2010: 54)
The sociolinguistics approach is the most suitable approach and a basis approach in this research because the data used are ten Indonesian song lyrics composed by Melly Goeslaw. The goal of this research is identifying the types of code switching in that song lyrics and the possible reasons of code switching based on linguistics theory.
C. Method of the Study
This part is divided into two smaller sections, namely data collection and data analysis. Data collection presents the number of the data and specifies how the data are collected, organized, categorized, and treated for the purpose of the study. Data analysis clarifies the steps of analysis for finding the answer for the problem formulations.
1. Data Collection
Melly Goeslaw‟s biography in the internet to get a list of songs which Melly
Goeslaw made. The next step, the researcher finds out the lyric of each song from internet, in order to know which songs contain code-switching and which do not. Thus, the songs which contain code switching are collected and analyzed to answer two questions elaborated in problem formulation.
2. Data Analysis
This part clarifies the steps of the analysis for finding the answers for the problems. This part also clarifies how to interpret the numbers and symbols presented in the data. There are five steps conducted to accomplish the research as follows:
a. Selecting the target data
The research makes a list of Melly Goeslaw‟s songs and finds out which
songs containing code switching in the parts of the songs; b. Identifying the types of code switching
c. Making the numbering of the data
To simplify the analysis and avoid double discussion, each code switching case has its own numbering with this following pattern:
(A/ TYPE OF CODE SWITCHING/ CASE NUMBER)
„A‟ refers to the code of the code switching. Then, the next numbering refers to
type of code switching based on Stockwell‟s Theory. There are three code usages: TAG refers to tag switching, INTRA refers to intrasentential switching, and INTER refers to intersentential switching. The last part of this numbering refers to the case number of each type of switching. The case numbering uses roman numerals. For example data (A/ TAG/1) refers to the first data identified in tag switching part and this data is in the part A of analysis chapter;
d. Identifying the reasons of code switching
Bloor. ”For SFL, a language is „a system of meanings‟. That is to say that when people use language, their language acts produce or, or more technically,
construct meaning.” (Halliday, 2004: 2). The researcher closely read the song
lyrics to get into the context and understand why in certain parts of the song using code switching. It is done so that the analysis to the second problem formulation is not based on speculation of the researcher;
e. Making a conclusion based on the findings
28
CHAPTER IV
ANALYSIS RESULTS AND DISCUSSION
This chapter presents the analysis done by the researcher to answer two questions elaborated in the problem formulation. The first is to identify the types of code switching in Indonesian song lyrics composed by Melly Goeslaw and the second one is to find out the possible reasons of code switching.
This section is divided into two main sub-sections. The first one is the explanation of the types of English-Indonesian code switching in Indonesian song lyrics composed by Melly Goeslaw and the second one is the explanation of possible reasons of code switching. These two sub-sections are interrelated and cannot be separated because the explanation from each sub-section will support the other.
A. Types of Code Switching
This section classifies the types of code switching based on Stockwell‟s Theory. There are three types of code switching according to Stockwell; there are namely tag switching, intrasentential switching, and intersentential switching.
1. Tag Switching
a. Let’s Dance Together
The first data of tag switching usage in Indonesian song lyrics composed
by Melly Goeslaw is found in “Let‟s Dance Together” song. There is a case of the
tag switching in the fourth stanza.
(A/ TAG/I) Lihat DJ memainkan musik disko dimulai. (Goeslaw, 2007, stanza 4, line 3).
The main language in that sentence is Indonesian, but it turns to English in
the word „DJ.‟ DJ is continuation of Disc Jockey.
b. Butterfly
There is a tag switching case occurring in this song: (A/ TAG/ II) Butterfly terbanglah tinggi,
Setinggi anganku untuk meraihmu. (Goeslaw, 2008, stanza 3, line 1-2).
The English nominal item „butterfly‟ is used as a subject in the first sentence of
the Indonesian dominating stanza. In formal Indonesian grammatical rules, a sentence consists of subject, predicate, and object though in many cases, a
sentence can be merely a subject or predicate (verb). The English word „butterfly‟
c. I’m not Diva
(A/ TAG/ III) Ku bukan diva.
(Goeslaw, 2011, Stanza 4, line 1).
The tag switching case occurs in the first line of third stanza. The English
word „diva‟ uses in this line. The same case also occurs in the first line of the fifth
stanza.
(A/ TAG/ IV) Sedangkan kamu seolah-olah diva.
(Goeslaw, 2011, stanza 5, line 1).
For the additional information, both of them occurs in the first line of the fourth and fifth stanza.
2. Intrasentential Switching
In this research, five intrasentential switching cases in three Indonesian song examined. The followings highlight such notion,
a. I’m Falling in Love
The first song which uses intrasentential switching is “I‟m Falling in
Love.” Language code switching occurs twice in this song and both of switching
cases are categorized in intrasentensial switching.
(A/ INTRA/ I) Perasaanku berkata,I’m falling in love. (Goeslaw, 2005, stanza 2, line 3).
(A/ INTRA/ II) Hati kecilku berkata, I’m falling in love, I’m falling in love. (Goeslaw, 2005, stanza 2, line 5).
continuation of Indonesian topic which wants to narrate that her or his feeling and heart are falling in love with the addressee. The Indonesian has to be connected to the English part in order to form a complete sentence. Generally, the progressive
(or “continuous”) focuses on the situation as being in progress at a particular time
(Greenbaum-Quirk, 1990:53).
b. Selamanya Cinta
(A/ INTRA/ III) Walau takdirku tak bersamamu,
I’m not dreaming now.
(Goeslaw, 2008, stanza 7, lines 1-2).
Data (A/ INTRA/ III) exhibits intrasentential code switching. In data (A/ INTRA/ III) the language switches the Indonesian language to the English
language. The English part is the independent clause in this switching. “An
independent clause, along with having a subject and predicate, expresses a complete thought and can stand alone as a sentence.” (Eggenschwiller, 2001: 59).
The aspect presents progressive collaborated with the time adverbial „now‟ in
these sentence shows the action is going on during that period of time. “Aspect is
a grammatical category that reflects the way in which the action of a verb is
viewed with respect of time.” (Greenbaum-Quirk, 1990: 51). On the contrary, the
subordinate clause of this sentence is the Indonesian part. The Indonesian part
started with the word „walaupun.‟ In English, „walaupun‟ means „even though.‟
“Some subordinate clauses are introduced by subordinating conjunctions
(although, because, if, unless, when, etc)” (Eggenschwiller, 2001: 60). The
to express a complete thought, which is why it is called as a dependent clause.”
(Eggenschwiller, 2001: 60).
The English part is an independent clause of the sentence, so an independent clause of a sentence can stand as a complete sentence. “An independent clause, along with having a subject and predicate, expresses a
complete though and can stand alone as a sentence.” (Eggenschwiller, 2001: 59).
c. Glow
A switching from Indonesian to English within a sentence, called intrasentential switching, also occurs in the second and third line in the third stanza of this song.
(A/ INTRA/ IV) Membuatku merasa,
Oh happy all I though.
(Goeslaw, 2009, stanza 3, lines 2-3).
d. I’m not Diva
The intrasentential switching occurs in the second and third line of the fifth stanza.
(A/ INTRA/ V) Gaya selangit,
but don’t have money.
(Goeslaw, 2011, stanza 5, lines 2-3).
In data (A/ INTRA/ V), the switching starts in Indonesian and then shifts to English without change the topic. The English sentence shows the contradiction of the Indonesian statement. “The speaker uses „but„ to modify a statement and the addressee can use it to express a contrary opinion, refuse a statement by the
interlocutor, reject a suggestion, etc.” (Biber, 1999: 82). In line with explanation
in (A/ INTRA/ III) and (A/ INTRA/ IV), this sentence consists of two clauses which are in the different lines. These lines (line 2 and line 3 in fifth stanza of the song) use inversions to the delivery of the message. It is the reason why data (A/ INTRA/ V) still called clauses, even though they do not have a subject in the beginning of the clauses.
3. Intersentential Switching
a. I’m Sorry Goodbye
There is only one code switching case in these songs.
(A/ INTER/ I) Terima kasih oh Tuhan, tunjukkan siapa dia. Maaf kita putus.
So thank you so much, I'm sorry, goodbye.
(Goeslaw, 2007, stanza 4, lines 1-5).
The switching occurs in a stanza and it includes intersentential switching from Indonesian sentences to English sentence. There are two Indonesian sentences ended with a stop mark means that the sentences are complete and they are followed by English sentence. The message on the Indonesian narrates that the speaker say thank you to God because He shows the real character of the addressee and the speaker wants to break up with the addressee. The English sentence emphasizes that decision.
The English sentence uses simple present tense means that gratitude is felt
by the speaker without any definite time limit. “The use of the simple present
tense for present tense in commentaries indicates that the event has little or no duration that occurs at the time of speaking.” (Greenbaum, 1990: 49).
b. Let’s Dance Together
The next song which has an intersentential switching from stanza to stanza
is “Let‟s Dance Together.” This part of the song can be classified as
(A/ INTER/ II) Let’s dance together, Get on the dance floor.
The party won’t start
if you stand still like that.
Let’s dance together.
Let’s party and turn off the lights.
Berdiri semua together and a similar song message is also mentioned in Indonesian stanza.
c. My Heart
There is a case of intersentential switching from stanza to stanza occurs in
the song “My Heart.”
Our love will stay in my heart.
The combination of present tense and past tense is seen in this song. The first sentence of the English part uses conditional clause type 2 or past conditional
clause presenting „you‟ (the addressee) do not love another man, it is the reason
why their love can be strong at the present. Thus, the second sentence which uses simple present delivers its message. The past tense is used again in the third
sentence. The third clause uses „would‟ at the beginning of the clause shows the
corresponding „prediction in the past‟ (Greenbaum, 1990: 63). The two closing
sentences in this stanza use simple present tense. And the refrain closed with a noun, my heart.
The intersentential switching occurs from stanza to stanza in this song. The first stanza uses Indonesian, continued with English. The message delivered in first stanza is similar to the second stanza.
d. Butterfly
Another code switching cases happened between stanzas.
(A/ 1/ TAG/II) Butterfly terbanglah tinggi, (A/ 1/ INTER/ IV) setinggi anganku untuk meraihmu.
Memeluk batinmu yang sempat kacau
that previous messed up touching me and you.
(Goeslaw, 2008, stanza 3-4).
Indonesian. The first stanza uses Indonesian, followed by English in the second stanza.
The third stanza uses Indonesian, while the fourth one uses English. The Indonesian part and English part of this song can stand alone as a complete text because the message in the Indonesian part and English part is similar; however, the both languages are important in this song.
e. Glow
At the first stanza of the song, an intersentential switching case occurs at the last line of that stanza.
(A/ INTER/ V) Memancar!
Glow (glow) glow (glow) glow (glow)!
(Goeslaw, 2009, stanza 1, lines 5-6)
This language switching case includes in intersentential switching case
from word to word because „memancar‟ and „glow‟ is an independent word which
does not form a sentence.
At the second stanza, the intersentential switching occurs from sentence to sentence. The first sentence uses Indonesian, then the second one uses English sentence, English present tense.
(A/ INTER/ VI) Ku tak bisa berdiri saja,
Sementara musuhku teriak memanggil.
On the dance floor what are you waiting for. The music glow (glow) glow (glow) glow (glow).
(Goeslaw, 2009, stanza 2).
„music‟ as a single noun is followed by the verb „glow‟. In accordance with the
applicable rules, it should be „the music is glowing‟ or „the music glows‟. This
existing error is probably due to make the sentence in accordance with the rhythm of the song.
Another intersentential switching from sentence to sentence occurs in the third stanza of this song.
(A/ INTER/ VII) Yeah I'm happy all of them.
(A/ INTRA/ IV) Membuatku merasa,
Oh happy all I though.
Menyentuh bintang-bintang. (Goeslaw, 2009, stanza 3).
In this stanza, the intersentential switching occurs between different sentences in a stanza. A stative present tense is at the beginning of the song, following by intersentential switching of Indonesian and English in the second sentence and the third sentence in this stanza uses Indonesian.
Another intersentential switching case occurs between stanzas is:
(A/ INTER/ VIII) Glow establish to your life. Music is my energy.
Glow glow glow!
Dan kuhanya ingin bahagia
membawa cintamu setinggi-tingginya. (A/ INTER/ IX) Siapkah dirimu melayang bersama.
Glow (glow) glow (glow) glow (glow)!
(Goeslaw, 2009, stanzas 4-5).
stanza, but the main language in the following stanza is Indonesian. This fact makes the switching includes in intersentential switching. The English part probably wants to use present tense, but the grammar is indoubt.
The other case of intersentential switching occurs in the fifth stanza. (A/ INTER/ IX) Siapkah dirimu melayang bersama.
Glow (glow) glow (glow) glow (glow)!
(Goeslaw, 2009, stanza 5, line 3-4).
The pattern of this intersentential switching is similar to data (A/INTER/V).
f. Love Story
(A/ INTER/ XI) Love story, let’s make a history.
Biarpun seribu bencana meremukkan tubuh kita, namun cinta kita tetap akan utuh.
(Goeslaw, 2011, stanza 3).
The intersentential switching from sentence to sentence in the second and third stanza, data (A/ INTER/X) and (A/ INTER/ XI), have the same pattern and words. The English sentence is found at the beginning of the stanza, followed by two Indonesian sentences. The English sentence uses habitual present asking to
make a history together. “The habitual present is used with dynamic verb senses
to refer to events that repeatedly occur without limitation on their extension into
Another case of intersentential switching occurs in the last stanza of the song, in the sixth stanza.
(A/ INTER/ XII) Meremukkan tubuh kita,
namun cinta kita tetap akan utuh.
Love story, love story, love story.
(Goeslaw, 2011, stanza 6).
The sixth stanza is begun by Indonesian sentence, then switched to English phrase
„love story‟ and that phrase is repeated three times at the end of the stanza. “A
phrase is any group of related words that, unlike a sentence, has no subject-predicate combination.” (Eggenschwiller, 2001: 55).
The next case of intersentential switching from stanza to stanza occurs in the displacement of the third stanza to fourth stanza of this song.
(A/ INTER/ XIII) Love story, let’s make a history.
Biarpun seribu bencana meremukkan tubuh kita, namun cinta kita tetap akan utuh.
Love story.
(Goeslaw, 2011, stanzas 3-4).
Even though, an English sentence is at the beginning of the stanza. The main language in the third stanza is still Indonesian. The fourth stanza is an independent stanza which consists of an English phrase. There is a reason why case (A/ INTER/ XIII) is categorized in the intersentential switching from stanza to stanza.
g. I’m not Diva
(A/ INTER/ XIV) Jangan tersinggung.
I’m not talking about you.
Just having fun.
(Goeslaw, 2011, stanza 5, lines 4-6).
The fourth line uses Indonesian to deliver the message. After the stop mark, the language switches to English until the end of the stanza. Even though the language is different, the messages in the fourth, fifth, and sixth line have a unity and attachment to each other.
Code switching also involves different mechanisms of bilingual language usage. The next code switching case occurs between the second and the third stanza. The second stanza uses present English tense, while the third stanza uses Indonesian.
(A/ 1/ INTER/XV) I like music. I like movie. I like drama.
Don’t like to be a drama queen.
h. Let’s Talk about Love
“Let‟s Talk about Love” is the newest song composed by Melly Goeslaw
which uses language switching. There are some cases of language switching, but the pattern of switching is similar to the previous songs.
The first code switching usage case in this song occurs from stanza to stanza.
(A/ INTER/ XVI) Let’s talk about love, baby.
Love love love baby. stanza uses English words, followed by English stanza in the second stanza.
The second and third cases of switching are intersentential switching from sentence to sentence in the same stanza. The pattern and the explanation of both of the cases are similar.
(A/ INTER/ XVII) Baby, I love you.
Ku temukan cinta sejati di kamu, hanya dengan kamu.
(Goeslaw, 2013, stanza 2, lines 1-3). (A/ INTER/ XVIII) Baby, I need you.
Tak tahu aku jadi apa tanpamu, aku butuh kamu.
The first line uses English, while the following sentences use Indonesian. The same pattern can be found in case (A/ INTER/X) and (A/ INTER/ XI) in “Love
Story” song. Different from case (A/ INTER/X) and (A/ INTER/ XI), case (A/
INTER/XVII) and (A/ INTER/ XVIII) use the state present.
The state present is used with stative verb senses to refer to a single unbroken state of affairs that has existed in the past, exist now, and is
likely to continue to exist in the future. It includes the “time less present”,
which refers to “eternal truth.” (Greenbaum-Quirk, 1990: 48).
The next case of intersentential switching from stanza to stanza occurs from sixth stanza to seventh stanza.
(A/ 1/ INTER/ XIX) Diriku percaya kau tercipta untukku. Babyku terima semua baik burukmu.
(Let's talk about love, baby). Baby, I love you.
Love love love love, baby.
(Goeslaw, 2013, stanza 6-7).
The main language in the sixth stanza is Indonesian; it is seen from the majority of the language usage. Seventh stanza is a simple stanza which has simple English words. Because of the explanation above, this code switching is be categorized intersentential switching from stanza to stanza.
The last cases of intersentential switching from sentence to sentence occur in the sixth and eleventh stanza.
(A/ INTER/ XX) Diriku percaya kau tercipta untukku. Babyku terima semua baik burukmu.
(Let's talk about love, baby). Baby, I love you.
(A/ INTER/ XXI) Babyku percaya kau tercipta untukku. Babyku terima semua baik burukmu.
Baby, I love you.
(Goeslaw, 2013, stanza 8).
Data (A/ INTER/ XX) and (A/ INTER/ XXI) include in intersentential switching from Indonesian sentences to English sentence. Even though, there is an English word in the first and second sentences, the whole sentence of that sentences use Indonesian.
From the analysis, the most type of code switching which is used in ten Indonesian song lyrics composed by Melly Goeslaw examined in this undergraduate thesis is intersentential switching, there are twenty one intersentential switching cases occur in eight songs. Followed by intrasentential switching, there are six cases in three Indonesian songs. Tag switching occurs four times found in three Indonesian songs.
B. Possible Reasons of Code Switching
The data discussed in this undergraduate thesis is ten Indonesian songs which use language switching (code switching) in the song lyrics. All the songs use both Indonesian and English, although the proportions of these Languages in particular songs vary considerably; in some cases Indonesian is more dominant than English, while in others the use of the two language is almost equally balance.
deliver a specific song message. Stanzas in song lyrics also have its own function seen from parts of the song point-of-view. There are seven components of the song according to Davidson-Heartwood and Estrella‟s Theory. Each part has a significant function to deliver the message of the song.
This second section elaborate the analysis of type of code switching and part of the song to get the most appropriate reason of code switching in song lyrics.
a. I’m Falling in Love
“I‟m Falling in Love” song consists of four stanzas. This song is opened
by a verse which uses Indonesian; it is followed by a chorus which has intrasentential code switching cases. Then, a different Indonesian verse is sung and followed by the same chorus.
Dan kut'lah jatuh cinta,
ku wanita dan engkau lelaki.
(Goeslaw, 2005, stanza 2, line 1-2).
The second verse conveys again that she hopes to become the bride of the addressee. She is grateful because she can fall in love to the addressee. She feels that feeling is very beautiful, even though she does know whether he has the same feeling or not. Thus, the same chorus is sung after this second verse stanza.
This song uses English title which has exactly the same words as the English clauses occurring in intrasentential switching cases in this song. Both of intrasentential switching occurs in the chorus component of the song, in the third and fifth line. The chorus is sung twice because the song has two verses and the chorus is always sung after the verses.
(A/ 1/ INTRA/ I) Perasaanku berkata,I’m falling in love. (Goeslaw, 2005, stanza 2, line 3).
(A/ 1/ INTRA/ II) Hati kecilku berkata, I’m falling in love, I’m falling in love. (Goeslaw, 2005, stanza 2, line 5).
The data above are sentences which consist of two clauses. The Indonesian part is a dependent clause, while the English is an independent clause. It means that the Indonesian part needs the English part to build a complete though, while the English part as an independent clause is a sentence when it stands alone.
The Indonesian part delivers that the speaker of the song wants to reveal a feeling and that specific feeling is delivered in the English clause. Because the English part is an independent clause and is allowed to be seen as a sentence, the English part is positioned as a sentence in further analysis.
A sentence has a meaning and the same understanding when a sentence is composed of at least a subject (noun or pronoun) and a verb. “Functionally,
adding a verb to a noun is enough to complete a sentence.” (Celce, 1999: 434).
The word „fall‟ is a stative verb and it expresses emotion of feeling.
Verbs with stative senses do not occur in the progressive. When verbs that are ordinary stative occur in the progressive, they adopt dynamics meaning. They may indicate a type of behavior with limited duration. Verbs expressing emotion and attitude, which are ordinary stative, indicate tentativeness when they occur in the progressive. (Greenbaum-Quirk, 1990: 53-54).
From knowing the pronoun, the listeners of this song clearly understand who are the speaker and the addressee of the sentence. The first person (the self) indicated by using pronoun „I‟ and „we‟. Because of the explanation above, the researcher also knows that the sentences in this song use the first person point of view indicating with the use of pronoun „I‟. This pronoun presents as a way to directly convey the deeply internal.
The researcher also analyzes the use of verb besides knowing the pronoun used to ease knowing the song message. ”A verb is that it is a word that denotes
an action or state being.” (Celce, 1999: 434). A verb is a key of sentence. The
„Fall in love‟ is an idiom which is generally used to describe and show a strong
attraction for somebody or something.
The English switching here means that the speaker of the song wants to reveal her strong attraction to the addressee, but she is more comfortable to deliver it in English rather than in Indonesian which is her national language that are used in everyday life and understood by everyone in the country.
As previously explained, title and chorus are components of song that draw the attention of the audience for the first time and they are most remembered by audience. The title and chorus are also components of the song which consist the main theme and song message. Because those two components of the song use English which delivers a strong affection to the addressee from the speaker of the song, it means that the purpose of English usage in the song title and intrasentential switching usage in chorus parts is to deliver a state of feeling. Malik claims that usually the speaker turns into English to express certain state of mind and feeling. It is the reason why the speaker changes the language into English when she wants to deliver her personal feeling.
b. Let’s Dance Together
Different from the previous song, this song is opened by a chorus. The whole chorus uses English; there is not any Indonesian word in the chorus part. Thus, it is followed by a verse which uses Indonesian, but there is a tag switching
case occurs in the word „DJ.‟ After the verse, the same chorus is repeated again.
Similar to the previous song, this title of the song, which uses English, also uses an English sentence which is a clue to song message. The speaker of the song asks others to join in the dance floor to dance together in the party.
There are two types of switching in this song, tag switching and intersentential switching. The tag switching occurs in the last verse before the
chorus. The tag switching is in the fourth stanza to call „Disc Jockey‟ in English
words. The possibility reason why the language switch into English in the word
“DJ” is there is no appropriate word in Indonesian. “It involves single words –
mainly nouns- and it is motived by lexical need.” (Wardhaugh, 1992: 42). According to Malik, this reason of this code switching usage is caused because lack of facility in Indonesian.
The intersentential switching occurs from chorus part to the verse part. The opening of the song, the first stanza of the song, uses English. Then, it is followed by verses which use Indonesian.
The speaker and the addressee of this song are clearly understandable
because there is an English word „you‟ in the fourth line of first stanza. Because
of the word „you‟, the listeners know that the message is given directly. The
English sentences use present tense with the dynamic verbs indicates the action
which is factual. There are three sentences begun by the word „let‟s‟. „Let‟s‟ is a
contraction of the two words, „let‟ and „us.‟ „Let‟s‟ is an exhortation of the group
Sentence Type I refers to the future. An action in the future will only happen if a certain condition is fulfilled by that time. We do not know for sure whether the condition actually will be fulfilled or not, but the conditions seems rather realistic –so we think it is likely to happen (“If Clause Type 1”, 7th July 2014).
The possible reason of intersentential switching from Indonesian verse stanza to English chorus stanza is a semantic significance. The use of intersentential switching as a semantic significance serves an implicit purpose which is only known by particular speakers in certain specific information. The verse of this song narrates the condition in the dance floor (stanza 3) and explains the advantages of dancing in the dance floor (stanza 4) in Indonesian. Disclosed in the verse, one of the advantages of dancing is relieving stress.
Aku dan yang lain menikmati semua irama berderap kencang. Tak ada gundah,
hilang semua penat di dada.
Lihat DJ memainkan musik disko dimulai. (Goeslaw, 2007, stanza 3-4).
Seen from the message delivered in verse parts, the speaker of the song positions himself or herself as someone who is describing the situation in the dance floor to others.
