Contextual Meaning on My Chemical Romance's Songs

CONTEXTUAL MEANING ON MY CHEMICAL ROMANCE’S SONGS: A SEMANTIC ANALYSIS

A THESIS

PUTRI PAULINE STEFANI NAPITUPULU

140705155

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019

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AUTHOR’S DECLARATION

I, PUTRI PAULINE STEFANI NAPITUPULU, DECLARE THAT I AM THE

SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS

MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO

MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR

IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR

AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS

BEEN USED WITHOUT DUE ACKNOWLEDMENTS IN THE MAIN TEXT

OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE

AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed:

Date : February 6th, 2019

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NAME : PUTRI PAULINE STEFANI NAPITUPULU

TITLE OF THESIS : CONTEXTUAL MEANING ON MY CHEMICAL ROMANCE’S SONGS: A SEMANTIC ANALYSIS

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

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USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER LAW OF

THE REPUBLIC OF INDONESIA.

Signed :

Date : February 6th, 2019

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ACKNOWLEDGEMENTS

My gratitude for God Almighty for the blessing He gives to me in writing this thesis.

First, I would like to thank the Dean of Faculty of Cultural Studies,

University of Sumatera Utara, Dr. Budi Agustono, M.S, who has supported and helped my study during the period of study in this faculty.

Second, I would like to thank to the Head of English Department, Prof. T.

Silvana Sinar, M. A., Ph. D, and the Secretary of English Department Rahmadsyah

Rangkuti, M.A. Ph.D and the Lecturers who has taught and guided us with their knowledge and wisdom during my study in this faculty. My special thanks go to Dr.

Deliana, M.Hum. as my supervisor and Dra. Roma Ayuni Aminoeddin Loebis, MA as my co-supervisor for their kindness, patience, support t, guidance, time, valuable ideas and advices in my process of writing my thesis. May God is always blessing you. I would like to thank to Dr. Nurlela, M.Hum. as one of my examiner on my examinations for her support, guidance, and ideas to better this thesis. And also I would like to thank to Sir Kirno who helps me in administration process.

Third, I would like to thank my family members, my mother and my older brother who have helped me tremendously in every steps of my life, who have supported me and always encouraged me to do my best in pursuing my dreams. I would also thank my grandmother who has worked very hard for us and has been my great role model to guide us to always become better and stronger as a person. My gratitude is also for my aunts and uncles, all of my cousins, and especially my newest

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brother and his wife who have always been around to support each other through our ups and downs as a family. There was no single day passed without them working hard to support me and every each of us to grow and develop as a family.

My special thank you for all of my friends in USU who has supported each other during our study, especially my closest friend Almira, and Anggi who have helped me tremendously in life through emotional and mental support and helped me grow to be the person I am today. Words won’t be enough to illustrate how thankful and honored I am to have them as my friends. I would also thank my friend Clarisa and Umairoh for their support since our senior high school days until this day. And lastly, I would also thank all of the friends I made online around the world in the past few years who also have helped me to grow and taught me a lot about life and supported me through my days of writing this thesis.

I realized that this thesis is far from being perfect. Without any helps and support from all parties, this thesis would not be completed. Finally, I hope this thesis would be useful for the readers and other researchers in the future.

Medan, February 6th, 2019

Putri Pauline Stefani Napitupulu

Reg. No. 140705155

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ABSTRACT

The research entitled “Contextual Meaning on My Chemical Romance’s Songs: A Semantic Analysis”. The aims of this research are to find out the types of contextual meaning and to find out the most dominant type of contextual meaning in five of My Chemical Romance’s songs: Welcome To The Black Parade, Teenagers, Famous Last Words, I Don’t Love You, and Disenchanted. The research applies qualitative method and the data are analyzed descriptively. The data are classified based on the theory of Contextual Meaning of Lyons (1977). Based on Lyons’ theory, there are six types of contextual meaning: Context of Person, Context of Place, Context of Time, Context of Formality, Context of Mood, and Context of Subject-matter. The result of this research shows that there are 256 contextual meanings found on five of My Chemical Romance’s song lyrics. After being analyzed, there are 134 Context of Person (55.0%), 6 Context of Place (2.3%), 16 Context of Time (6.3%), 5 Context of Formality (2.0%), 45 Context of Mood (17.6%), and 43 Context of Subject-matter (16.8%). The results of this research show that all types of contextual meaning can be found in the lyrics of five of My Chemical Romance’s songs and Context of Person is the most dominant type of contextual meaning found in the lyrics of five of My Chemical Romance’s songs. The result of this study shows that the elements surrounding a context play an important role to convey the meanings of song lyrics.

Keywords: Semantics, Meaning, Contextual Meaning, Song lyrics

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ABSTRAK

Penelitian ini berjudul “Contextual Meaning on My Chemical Romance’s Songs: A Semantic Analysis”. Tujuan dari penelitian ini ialah untuk menemukan tipe makna kontekstual dan untuk menemukan tipe makna kontekstual terdominan di lima lagu My Chemical Romance: Welcome To The Black Parade, Teenagers, Famous Last Words, I Don’t Love You, dan Disenchanted. Penelitian ini menerapkan metode kualitatif dan data dianalisis secara deskriptif. Data diklasifikasi berdasarkan teori makna kontekstual oleh Lyons (1977). Berdasarkan teori Lyons, terdapat enam tipe makna kontekstual , yaitu: Context of Person, Context of Place, Context of Time, Context of Formality, Context of Mood, and Context of Subject-matter. Hasil dari penelitian ini menunjukkan bahwa terdapat 262 makna kontekstual di lirik lima lagu My Chemical Romance. Setelah analisis dilakukan, ditemukan 134 Context of Person (55.0%), 6 Context of Place (2.3%), 16 Context of Time (6.3%), 5 Context of Formality (2.0%), 45 Context of Mood (17.6%), dan 43 Context of Subject-matter (16.8%). Hasil dari penelitian juga menunjukkan bahwa Context of Person adalah tipe makna kontekstual yang terdominan dan semua tipe makna kontekstual dapat ditemukan di lirik lima lagu My Chemical Romance. Hasil dari studi menunjukkan bahwa elemen-elemen yang melingkupi sebuah konteks berperan penting dalam menyampaikan makna dari lirik lagu.

Kata kunci: Semantik, Makna, Makna Kontekstual, Lirik lagu

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TABLE OF CONTENTS

AUTHOR’S DECLARATION ………………………………………..………….. v

ACKNOWLEDGEMENTS ……………………………………………………... vii

ABSTRACT ……………………………………………………………………….. ix

ABSTRAK ……………………………………………………………………….… x

TABLE OF CONTENTS ………………………………………………………… xi

CHAPTER I INTRODUCTION 1.1 Background of the Study……………...………...... 1 1.2 Problems of the Study ……………………...……….. 5 1.3 Objectives of the Study………………….…..………. 5 1.4 Scope of the Study……………………….……...... 5 1.5 Significances of the Study………………………...... 6 CHAPTER II REVIEW OF LITERATURE 2.1 Semantics ...... ……………………...... 7 2.2 Scope of Semantics……………………..………...... 8 2.2.1 Meaning ………………………….……..……...... 8 2.2.2 Sense and Reference .……………….……....………. 9 2.3 Contextual meaning ………………...………...... 10 2.4 Types of Contextual Meaning ...... 11 2.4.1 Context of Person …………………………...... 12 2.4.2 Context of Place…………………...…………...... 13 2.4.3 Context of Time ……………………………….…... 14 2.4.4 Context of Formality ………………………….…… 15 2.4.5 Context of Mood………………….…………...... 17 2.4.6 Context of Subject-matter..……………………...…. 17 2.5 Related Studies…………………………………...… 18 2.6 Conceptual Framework…………………………..… 23

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CHAPTER III METHOD OF RESEARCH 3.1 Research Design ………………...... 25 3.2 Data and Data Source …………………………….... 25 3.3 Technique of Collecting Data …...……………...... 26 3.4 Technique of Analyzing Data …………………….. 26

CHAPTER IV DISCUSSION AND FINDING 4.1 Discussion …………...... 28 4.1.1 Context of Person …………...... 29 4.1.1.1 Deictic Roles ………………………………………. 29 4.1.1.2 Social Roles ……………………………………….. 34 4.1.2 Context t of Place ……….…………………………. 35 4.1.3 Context of Time ………….………………………... 37 4.1.4 Context of Formality …….………………………… 40 4.1.5 Context of Mood ………….……...... … 42 4.1.6 Context of Subject-matter ….……………………… 51 4.2 Finding …………………………………….………. 64 CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusion …………………………………..…….. 67 5.2 Suggestion …………………………………………. 68 REFERENCES APPENDICIES

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UNIVERSITAS SUMATERA UTARA CHAPTER I

INTRODUCTION

1.1 Background of the Study

Language is very important in human life. Language is a means of communication for human therefore human cannot function well without the presence of language in their life. Language is a system of verbal symbol which is used by the member of certain society to convey their messages to others

(Wardhaugh, 1977:3)

The study of language is called linguistics. It is concerned with identifying the elements of a specific language are related to each other and go together to express more complex meanings. The branch of linguistics that explores about meaning of language is semantics.

Semantics is the systematic study of meanings. It is concerned with what sentences and other Linguistics objects express, not with the arrangement of their syntactic parts or with their pronunciation. Semantics looks at these relationships in language and looks at how these meanings are created, which is an important part of understanding how language works as a whole. (Palmer 1976:1)

The notion of contextual meaning plays an important role in the study of semantics. Contextual meaning is the meaning of a lexeme or word inside a context.

The contextual meaning could be regarded to the situation, where the time, the language usage environment. Every actual utterance is unique to the particular place and particular time it is being spoken or written. Many expressions require for their semantic evaluation taking into account circumstances of the utterance situation, the

UNIVERSITAS SUMATERA UTARA semantic evaluation of other expressions in the same or in previous sentences, or background assumptions shared by the interlocutors.

Context has been discussed as an object of study in linguistics for decades. It has long been considered an essential factor for the interpretation of linguistic expressions. In the view of Werth (1999:78) the theory of context is basically about any elements that surround the piece of language, whether it is as little as a change in the articulatory movement. The complete meaning of a word is always contextual, and no study of meaning apart from a complete context can be taken seriously (Firth

1935: 37).

Contexts have their own uniqueness in their own way, but they all serve the same purpose; to deliver a message. There are many ways to express messages and ideas about contexts through literary works in a form of poem, novel, prose, play, essay, and song lyrics. This thesis is focuses on contextual meaning on song lyrics.

The word ‘lyric’ derives via Latin word lyricus. It first appeared in English in the mid-16th century. Lyric is the poetry which was sung accompanied with musical instrument which usually brief in length and arranged in stanzas. Lyrics can be studied from an academic perspective, especially in the field of linguistics. Some lyrics can be considered a form of social commentary. Lyrics often contain political, social, and emotional, themes as well as aesthetic elements and so can communicate culturally significant messages. The messages can be explicit, or implied through metaphors and symbolism depending on the contexts. Lyrics strengthen the meaning in songs as it harmonizes music and words into a more powerful form of opus.

My Chemical Romance was an American alternative rock band from Newark,

New Jersey, active from 2001 to 2014. The band released five full albums and The

UNIVERSITAS SUMATERA UTARA Black Parade is the band’s third album. The album was released on October 23,

2006 through Reprise Record and it was different from their other albums for being the only concept album among studio albums. Roy Shuker (2012) defines concept albums and rock operas as albums that are unified by a theme, which can be instrumental, compositional, narrative, or lyrical. In this form, the album changed from a collection of heterogeneous songs into a narrative work with a single theme, in which individual songs segue into one another.

The band’s line up during the time was lead vocalist Gerard Way, guitarists

Ray Toro and Frank Iero, bassist Mikey Way, and drummer Bob Bryar. The Black

Parade adopted a theme of a rock opera album centering on a dying character with cancer known as ‘The Patient’, the story of his apparent death, experiences in the afterlife, and subsequent reflections on his life. Upon releasing the album, the band would perform under a pseudonym ‘The Black Parade’, wearing a set of black marching band costumes to portray their whole band and performance as a marching band and Gerard Way would adopt the persona of a leader of the marching band, and the members would vary their character and performance accordingly.

The songs on this album provide appropriate data for this research to find contextual meaning. Here are some examples of contextual meaning in My Chemical

Romance’s songs on the data:

1. He said "Will you defeat them

2. The awful names that they stick

Above, the vocalist, Gerard Way wrote two phrases that contain contextual meaning. The first phrase contains three Context of Person. The pronoun He is used to fulfill the deictic role as the subject of the action said. Next, the pronoun you

UNIVERSITAS SUMATERA UTARA fulfills the deictic role as the target of the utterance said by He and as the referent to the Son, and the next pronoun, them is used to fulfill the deictic role as the target of the action defeat. On the second phrase, a Context of Subject-matter is found in one of the word used. The word stick is homonymous and belongs to at least two forms: as a noun with a meaning a thin piece of wood that has fallen or been cut off a tree and as a verb with a meaning adhere or cling to something. In this utterance the word stick has the meaning adhere or cling to something because the surrounding word, they creates the subject-matter of the utterance fits for the word stick to function as a verb.

There are many contextual meanings which can be found on the lyrics of the songs from My Chemical Romance. The lyrics are rich with elements and messages that the band wanted to deliver to the listener. The album itself was the most successful and well-known album from the band and had given such big influence to countless of people from the day it was released until today, including the writer herself. The writer has a strong connection and memories towards the album.

The writer chooses the songs from the album The Black Parade because the songs are a part of a concept album that has a purpose to deliver a message from a narrative formed by the collection of songs. The writer sees the songs from this album applicable to be analyzed within semantics theory because the songs are creating meanings to express from the relationship of the linguistics elements and one of them is contextual meanings. The five particular songs that are used on this thesis contain many contextual meanings and they are the most famous songs from the most famous album by the band, which implies how influential these particular songs to the listeners and fans.

UNIVERSITAS SUMATERA UTARA The writer wants to analyze how these meanings are created through semantic theory as an important part of understanding how language works as a whole and what the members of the band feel when they wrote these lyrics that time, and to whom they want to show their feelings and arguments; and how they wrote them by analyzing the contextual meaning in the song lyrics.

1.2 Problems of the Study

According to the background of the study above, there are some questions that attract the writer to make them as the problems of this paper, they are as follows:

1. What types of contextual meaning are found in My Chemical

Romance’s songs?

2. What is the most dominant type of contextual meanings used in My

Chemical Romance’s songs?

1.3 Objectives of the Study

Based on the problems above, the objectives of this thesis are:

1. To find out the types of contextual meaning found in My Chemical

Romance’s songs.

2. To find out the most dominant type of contextual meaning in My

Chemical Romance’s songs

1.4 Scope of the Study

There are many kinds of semantic features and types of meanings that can be analyzed from any literary work. Therefore, to limit the discussion of this thesis in order to get a satisfactory and detailed result, the writer focuses this thesis to analyze the contextual meaning found in the lyrics from My Chemical Romance’s songs.

UNIVERSITAS SUMATERA UTARA The writer gives a limitation for this thesis to five of the most famous songs among fourteen songs taken from their most successful album from 2006, ’The Black

Parade’. They are ‘Welcome To The Black Parade’, ‘Teenagers’, ‘Famous Last

Words’, ‘I Don’t Love You’, and ‘Disenchanted’.

This thesis refers to Lyons’s theory (1977) which classifies contextual meaning into six types: Context of Person, Context of Place, Context of Time,

Context of Formality, Context of Mood, and Context of Subject-matter.

1.5 Significances of the Study

The study’s goal is designed to find the contextual meaning in song lyrics and the percentage of the occurrence on the data. The findings of this study will be a great contribution to benefit the society considering that linguistics plays an important role in science and communication. The study of contextual meaning in song lyrics can be a learning paradigm in the bachelor degree and lower education level schools to enhance the readers’ knowledge and skills in linguistics as well, especially in the field of semantics. Thus, the result of this study will be of great benefit to the English Department on universities as a contribution on a research in the field of semantics. This study will serve as a proof of the capability of song lyrics to be analyzed with semantic theory as a research for current students and future students of English Department. This study will also benefit English teachers as a provided information regarding the method of analyzing song lyrics as a type of literary work that is very familiar to the general public linguistically for further teaching material for their students. The readers of this thesis will be able to understand how to classify and describe semantic components (contextual meaning) of a word, phrase, and sentence.

UNIVERSITAS SUMATERA UTARA CHAPTER II

REVIEW OF LITERATURE

2.1 Semantics

Semantics is a branch of linguistics that explores about meaning of language.

It is one of the main branches of contemporary linguistics. It could be found in any language since every language serves the purpose of delivering meaning but he term semantics is a recent addition to English. It was known since 1984 by American

Philological Association in an article named Reflected Meanings: A Point in

Semantics, but the subject of meaning has interested philosophers for thousands of years. The Greek philosophers were the first people known to have debated the nature of meaning.

Semantics is technical term used to refer to the study of meaning of linguistic expressions. The language can be a natural language such as English or artificial computer language. The study of semantics is concerned with what sentences and other linguistics objects express, not with the arrangement of their syntactic parts or with their pronunciation. Semantics is generally designed as the study of meaning

(Lyons, 1977:1) Semantics looks at these relationships in language and looks at how these meanings are created, which is an important part of understanding how language works as a whole. (Palmer, 1976:1)

Any person who can speak a language has the amazing capacity to reason about a meaning of a sentence if it follows the basic grammatical rules of the said language even though the sentence is a completely new sentence to the person. The

UNIVERSITAS SUMATERA UTARA arrangement of words and selection of vocabularies combine systematically to form a meaningful expression. Varying in the arrangement will result in the level of strength of meaning the expression hold.

Semantics probably won‟t solve the problem of finding out the meaning of a word that someone does not understand, but it has a lot to say about the patterns of lexical elements that intertwine each other to create various possibilities of outcome from a language.

2.2 Scope of Semantics

From the definitions of Semantics above everyone can settle into a very general agreement that it is a systematic study of meaning of language, even though each linguist has different ways of how to it is described.

In general, there are at least two major approaches in knowing how meaning in a language is studied. The first is linguistic approach and the second is philosophical approach. Linguistics is concerned with identifying the meaningful elements of language; how such elements from humans go together to express more complex meaning. While philosophers of language are concerned about how we know and accept what combination of elements is true and related to other facts.

The scope of semantics can be generalized into three basic terms: meaning, sense, and reference.

2.2.1 Meaning

The word „meaning‟ is one of the most discussable terms in English language. The word itself is derived from the word „mean‟. What kind of things

UNIVERSITAS SUMATERA UTARA means something? We could say, almost everything, ranging from words, signs, to body gestures. They all share one thing in common, that is they stand for something else, thus a meaning. Meaning is a complex phenomenon involving relationship between a language and the mind of its speakers and the practical use to which it put

(Nikelas,1988:231). Words don't necessarily have fixed independent meanings. The form of a word and the meaning of that word don‟t match or parallel to each other and the relationship between them is completely arbitrary.

Meaning has a number of definitions as suggested by several semanticists.

Linguists state that „meaning‟ is a word of the ordinary, everyday vocabulary of

English (Lyons, 1977:4).

2.2.2 Sense and Reference

Sense and Reference are two different aspects of meaning. They are related to each other. The sense of an expression is the thought it expresses, while its reference is the object it represents. A referring expression is a word or group of words which represents something in the real world. Reference has to do with the correspondence between word and world. The meaning comes from the fact that the words represent, or symbolize, or indicate, or refer to some real object in the real world.

Reference deals with the relationship between the linguistic elements, words, sentences, etc, and the non-linguistic world of experience and sense refers to the complex system of relationship that holds between the linguistics elements themselves (mostly the words); it is concerned only with the intralinguistic relations

(Palmer, 1976:30). For example:

“The husband of Melania Trump is the President who succeeded Barack

Obama.”

UNIVERSITAS SUMATERA UTARA From the statement above, the senses are The husband of Melania Trump and the President who succeeded Barack Obama, and the reference is the current president of USA, Donald Trump.

2.3 Contextual Meaning

Every utterance that is produced on particular occasion serves a meaning to deliver, but any utterance could hold more than one meaning, given the context that follows the utterance. In certain situations, the utterance that is produced is very highly determined by several factors of the moment, which we can call contextual.

Palmer (1981:43) uses the term context to replace the term „reference‟ for two reasons: first, that it is more ambiguous and narrower in a sense of denotation of words and, secondly that the term context is more familiar within linguistics discussion.

First, it is argued that the meaning of an utterance can be known despite of any context that present, and that the speaker of a certain language must know the meaning of their utterance before they can use it in any given context. The speaker is expected to know the fact that the utterance is ambiguous or anomalous by their own knowledge; thus showing that meaning is independent of context; therefore linguists can, and must study it without reference to context. This statement creates the question: how that we know the meaning of an utterance independently of the context? How do we know when two utterances can be used interchangeably in a similar situation? In this case, we have to set up the relationship between sentences without even considering what it is that they refer to.

UNIVERSITAS SUMATERA UTARA Context is dynamic in character. A context is not just one possible world- state, but at least a sequence of world-state and these situations do not remain identical in time, but change, hence, a context is a course of event (Dijk, 1977:192).

2.4 Types of Contextual Meaning

The study of context is a difficult topic to be discussed in a bachelor degree thesis. Every linguists and scholars seem to have their own view on the subject; in giving the definition, limitation of the study, classification of contexts, and so on.

Therefore, the writer of this thesis has compiled definitions and classifications from several linguists which the writer believes complement each of the linguist‟s view of the study of linguistic context in the field of semantics.

Dash (2008:2) on his research paper define context as an immediate linguistic environment (rarely detached or isolated) in which a particular word occurs. Dash has classifies context into four types: Local Context, Sentential Context, Topical

Context, and Global Context; adding two more types from Miller and Leacock

(2000) classifications of contexts (Local context and T opical context).

In his journal, Friedreike Moltmann (2003) explains that context plays an important role in the semantics of natural language. Moltmann roughly distinguishes context into two kinds: external and internal context. External and internal contexts differ in the way they are characterized, but also in the way they change, and in the role they play for the meaning of sentences. External notions of context include utterance contexts and indices (sequences of coordinates that can be shifted in the presence of an intensional operator). Internal contexts consist in what the

UNIVERSITAS SUMATERA UTARA interlocutors take for granted in the context of conversation or in other ways driven by the information given in the discourse.

Lyons (1977) on his book defines context as a theoretical construct which linguist and any participant of linguistic-event then use any factors that could influence the meaning of utterances into a consideration in delivering points across.

These factors, when necessary, make explicit reference to the time and place of utterances, and sometimes the factors are within the participant‟s traits as human being with the ability to socialize and each participant‟s knowledge of the subject matter. From his book, the writer of this thesis concludes six major types of contexts as a basis to precede this research.

2.4.1 Context of Person

In any utterance, each of the participants must know their role and status linguistically. According to Lyons (1977), there are two kinds of linguistically relevant roles: deictic and social roles. Deictic roles are derived from the normal language-behaviour of the speaker in addressing his utterance to another person with using personal or demonstrative pronoun in referring to himself, to the addressee(s) or to other persons and object. The pronouns used are determined by the participation of the speaker and target or addressee at the time of the utterance, not by means of a name or description. Although this role is not found on every language, but most languages, including English have it on its grammar.

(1) I will pick you up from school in an hour.

In English normal language-behaviour, the use of I and you by the speaker‟s assumption of the role of the speaker in relation to the target and by his referring to

UNIVERSITAS SUMATERA UTARA himself as the person fulfilling this deictic role. The target of the utterances must be able to identify the referent of I and also the referent of you, thus implying that the target knows that they are being targeted.

Social roles are recognized by the members of society as culture specific functions institutionally. These roles are generally connected with the social status of the participants; that each participant in the current situation must know, or make assumptions about, his status in relation to the other: for example: the function of being a priest, a parent, a customer, etc. This will determine the selection of pronouns and associated components of the grammatical structure of utterances by the participants.

Sex and age are also the determining factors in choosing the selections of pronouns and other grammatical components. The terms someone uses to address someone of the different sex or by a younger person to an older person may differ from the terms used by people of the same sex or age, even when the events were of similar situations. Social roles are typically reciprocal to each participant. For example: the function of doctor-to-patient and patient-to-doctor, the function of teacher-to-student and student-to-teacher, and so on. For example:

(2) I will submit my essay papers on your desk, Ma’am.

The use of the pronoun Ma’am represents the sex and age of the target: a female who is older than the speaker. The phrase submit my essay papers realizes the social function between a student to a teacher

UNIVERSITAS SUMATERA UTARA 2.4.2 Context of Place

The location of the ongoing language-event is also crucial in interpreting the meaning and also in the selection of vocabulary used. The speaker and target usually share the same location in live conversation, but there are also times when the participants are separated by location, for example: in long distance phone calls. The speaker and the target are expected to know the location of the target and the target to know the location of the speaker if the participants do not share the same location during the event. By knowing the location, it is easier to make sense of the meaning of the utterances. The place can be stated explicitly or not thorough the event.

(3) It is very cold where I live.

(4) Can you collect the balls from the field?

(5) The winter in Malaysia is not as cold as she thought.

On sentence (3), the utterance is grammatically and semantically correct. The speaker says where I live, meaning that both of the participants know the location of where the speaker is referring to, even though he does not mention it explicitly and from the notion, we can conclude that the participants are not currently on the same location. On sentence (4), it is explicitly mentioned the field as a location, even though it is not said which field the target shall go to. Both participants have the knowledge of the exact location the speaker mentioned (which field), thus the target knows what kind of ball he needs to collect. On sentence (5), the speaker mentions the location explicitly and very clearly: Malaysia, but even though the sentence is grammatically correct, it does not make sense semantically due to the geographical criteria of the country Malaysia which does not has a winter season.

UNIVERSITAS SUMATERA UTARA 2.4.3 Context of Time

The other important type of context that influences how the participants interpret meanings from utterances and in choosing the selection of vocabulary too use is time. Just like the other previous types, knowing the time of the utterances to makes more sense of the utterances. For example:

(6) Good Afternoon!

(7) Merry Christmas!

The use of both greetings is similarly dependent upon the speaker‟s knowledge of the time at which he is producing them. The greetings become semantically appropriate given the correct time, which are afternoon for Good

Afternoon! and during Christmas holiday for Merry Christmas!

The Context of Time can also be not explicitly mentioned on the utterance.

Some selection of vocabulary can give the target more insight of the time when the utterance took place. For example:

(8) It was dark outside when I looked at the window.

Normally, the words dark and outside give the target an insight of the time the speaker was on: on evening or night, specifically after sunset, for the sun as a source of outdoor light are not present anymore.

2.4.4 Context of Formality

Formality means the rigid observance of rules of convention or etiquette. In every language-event, participants must be able to categorize or make an assumption

UNIVERSITAS SUMATERA UTARA in terms of degree of formality. The scale of formality occurs in probably all languages.

There are two basic forms of formality registers: informal and formal. The informal register is the one we use with friends, family, and when meeting people at casual venues. The formal register is reserved for professional settings, like classrooms, workplace, and interviews.

Joos (1967) has classified the degrees of formality in English, which each is said to correlate with systemic phonological, grammatical, and lexical differences:

 Frozen: languages that never changes, which sometimes include old

grammar or vocabulary i.e. religious books and scripts, national

anthems, Bill of Rights, etc.

 Formal: languages that follow the form and rules of standard English

with the purpose to announce or state important information i.e.

research paper, academic presentation, a judge‟s pronouncement, or a

religious sermon.

 Consultative: more casual standard English with the purpose to get

help i.e. news reports, employee to employer conversation, a doctor‟s

appointment, etc

 Casual: languages between people in the same group or team which

follow the rules and “norms” of the group i.e. lunch with friends, a

school dance, or dinner with friendly coworkers.

UNIVERSITAS SUMATERA UTARA  Intimate: languages between very close relationship with lovers,

friends, or family i.e. pet names, nick names, inside jokes.

The degree of the formality of utterances can be seen and analyzed by the selection of vocabularies used. For example:

(9) The phonemes of a language are conventionally represented by means of

letters enclosed within a pair of oblique strokes.

(10) He called Libby outside to join the party.

On sentence (9), the selection of vocabularies used follows the form and rules of Standard English and also in a manner of describing information off of a research paper; therefore it is a formal state of formality. On sentence (10), the word Libby as a nick name used by the speaker shows the level of intimacy between the participants, which is in an intimate state of formality.

2.4.5 Context of Mood

Mood context deals with the state of mind or feelings of the participants during the conversation. The current state of mind of a speaker and the target can affect the interpretation of meaning and the production of vocabularies. For example:

(11) Don’t you dare leaving this room while I’m still talking!

(12) I immediately regret what I just said to her.

On sentence (11), we can conclude that the speaker is feeling angry and infuriated by the use of Don’t you dare to the target to pose a threat. On sentence

(12), the speaker is showing a feeling of shame from the use of the word regret. 17

UNIVERSITAS SUMATERA UTARA 2.4.6 Context of Subject-matter

The subject-matter of one language may reflect or be brought about by several different but mutually reinforcing factors. In utterances, the participants must know the importance of subject-matter as one of the determining factor in the selection of vocabulary or dialect to use; and also how to make their utterance appropriate to the subject-matter.

Crystal and Davy (1969) define subject-matter as one of the factor among many which contributes to a province‟s (the features of language which identify an utterance with those variables in an extralinguistic context which are defined with reference to the kind of occupational or professional activity being engaged in) definition, and in any case has predictive power only in a minority of extremely specialist situations.

Understanding the subject-matter is important in understanding the meaning of utterances which has homonymous or polysemous lexemes in it. The subject- matter of an utterance is determined by the terms of the occurrence surrounding the lexeme. For example:

(13) He made a polite bow as the prime minister entered the room.

The word bow has several meaning, and in this case, it has the role as a noun.

The noun bow belongs to at least two fields: one field about a type of weapon made for shooting arrows, and the other one field about a body gesture made by inclining the head or bending forward at the waist to show respect. In this case, we can conclude that the sentence is about the body gesture from the selections of words surrounding the homonymous lexeme.

UNIVERSITAS SUMATERA UTARA 2.5 Related studies

These are some theses and journals that discuss semantic analysis on contextual meaning and theses that discuss song lyrics to support this paper. They are as follows:

Çetinavcı (2014) in his research paper entitled Contextual factors in guessing word meaning from context in a foreign language focused to investigate whether

Turkish EFL learners use contextual clues in guessing process or not. A vocabulary guessing test was administered to the subjects who were the students attending prep classes at the School of Foreign Languages of Uludag University. The results showed that unknown words in a rich context were guessed more successfully than unknown words presented in a poor context. The similarity of Çetinavcı‟s research with this present thesis is that both discuss the importance of context as the framework in the study of meaning. The difference of the two are that Çetinavcı‟s research used the theory of Paribakht & Wesche (1999) while this current thesis uses Lyons‟ (1977) theory and both researches have different problems and objectives.

Cuccio, et al. (2014) in their research article entitled How the Context

Matters. Literal and Figurative Meaning in the Embodied Language Paradigm focused to test the hypothesis that embodied simulation occurring during linguistic processing is contextually modulated depending on the context of utterance, leads to the activation of different effector-specific brain motor areas. They used motor responses with the hand or the foot of the participants to the presentation of ambiguous idioms containing action-related words when these are preceded by context sentences. Their research suggested that motor activation during the processing of action related words is not fixedly associated to the literal meaning of

UNIVERSITAS SUMATERA UTARA words but depends on the context of utterance. Their data supported the general claim that automatic mechanisms can be sensitive to the context. The similarity of

Cuccio, et al.‟s research with this present thesis is that both discuss the role of context of utterance as the framework in the study of meaning. The differences of the two are that Cuccio, et al.‟s research used data from motor movement produced by the participants and aim to test the hypothesis of the direct connection of utterances with certain contexts and movement of the subjects‟ foot and hand, while this current thesis uses data from song lyrics and aim to find the type and the most dominant type of contextual meaning on the lyrics of five My Chemical Romance‟s songs and both researches have different problems and objectives.

Lestari (2016) in her thesis entitled An Analysis Contextual Meaning of Songs by Shane Filan focused on describing contexts and contextual meaning devices on the lyrics of ten Shane Filan‟s songs. She used the contextual meaning theory by

Mansoer Pateda (2010) and concluded that there were six types of contexts found on the data, such as context of organs, context of purpose, mood context of speaker or listener, Context of Time, and object context. The similarities of Lestari‟s thesis with this present thesis are that both theses discuss contextual meaning and both theses analyze lyrics from music albums as the main data, but this current thesis is using

Lyons‟ (1977) theory while Lestari uses Mansoer Pateda”s (2010) theory, and this current thesis has different problems and objectives.

Margaretha (2014) in her thesis entitled An Analysis of Meaning Properties and Relation in the Paramore's Song Album Brand New Eyes used Palmer‟s theory

(1976) found and conclude meaning properties into meaningfulness (49.31%), anomaly (19.17%), contradictory (1.36%), ambiguity, and redundancy(5.47%), with meaningfulness as the dominant; and Leech‟s theory (1997) found and concluded

UNIVERSITAS SUMATERA UTARA meaning relations into synonymy (12%), polysemy (36%), homonymy (6%), hyponymy (12%), and antonymy (18%), with polysemy as the dominant. The only similarity of Margaretha‟s thesis with this present thesis is that both theses analyze lyrics from music albums as the main data.

Nourladeen (2015) in his research paper entitled Meaning and Context-Three

Different Perspectives explored the link between meaning and context in the linguistic context from three different perspectives: communication, teaching and translation. He concluded that context considers a major factor at addressing meaning and meaning occupies an integral role at establishing context. The similarity of Nourladeen‟s research with this present thesis is that both discuss the importance of context as the framework in the study of meaning. The difference of the two are that Nourladeen‟s research used several theories, such as Christiansen & Dahl‟s

(2005) and Kreidler‟s (1998) while this current thesis uses Lyons‟ (1977) theory and both researches have different problems and objectives.

Parveen (2016) ) in his research paper entitled Meaning and External Context in Linguistics focused on differentiating between what a word inherently mean and that it can be used to mean in a particular context using three approaches. Parveen used a random sample from interviewing five people. He concluded that different aspects are involved in the word comprehension with context, therefore, three theories and behaviorism played a vital role in the semantics. The similarity of

Parveen‟s research with this present thesis is that both discuss the importance of context as the framework in the study of meaning. The difference of the two are that

Parveen‟s research used several theories, such as Palmer‟s (1976) and Yule‟s (2006) while this current thesis uses Lyons‟ (1977) theory and both researches have different problems and objectives.

UNIVERSITAS SUMATERA UTARA Winters et al. (2015) in their research paper entitled Languages adapt to their contextual niche explored how context links short-term language use with the long- term emergence of different types of language systems. Using an iterated learning model of cultural transmission, the current study experimentally investigates the role of the communicative situation in which an utterance is produced (SITUATIONAL

CONTEXT) and how it influences the emergence of three types of linguistic systems: UNDERSPECIFIED languages, HOLISTIC systems, and SYSTEMATIC languages. Winters et al. used discrimination task in a communication game and manipulated whether the feature dimension shape was relevant or not in discriminating between two referents. The experimental languages gradually evolved to encode information relevant to the task of achieving communicative success, given the situational context in which they are learned and used, resulting in the emergence of different linguistic systems. They concluded that language systems adapt to their contextual niche over iterated learning. The similarity of Winters et al.‟s research with this present thesis is that both discuss the importance of context as the framework in the study of meaning. The difference of the two are that Winters et al.‟s research used several theories, such as Silvey, Kirby & Smith (2014) and

Christiansen & Chater (2008) while this current thesis uses Lyons‟ (1977) theory and both researches have different problems and objectives.

UNIVERSITAS SUMATERA UTARA 2.6 Conceptual Framework

Contextual Meaning in My Chemical Romance‟s songs

What types of contextual What is the most dominant meaning are found in My type of contextual meanings Chemical Romance‟s songs? used in My Chemical Romance‟s songs?

Theory of Contextual Meaning by Lyons (1977)

Descriptive Qualitative

Discussion

Six types of Contextual Meaning The most dominant type of Contextual Meaning

Findings

 141 Context of Person Context of Person (55,0%)  6 Context of Place  16 Context of Time  5 Context of Formality  45 Context of Mood  43 Context of Subject- matter 23

UNIVERSITAS SUMATERA UTARA The framework above describes how this present thesis is conducted. This present thesis answers two following problems: finding the type of contextual meaning found in My Chemical Romance‟s songs and finding the most dominant type of contextual meaning used in My Chemical Romance‟s songs.

The theory of contextual meaning proposed by Lyons (1977) is used to identify the words and phrases in the lines of lyrics that have the criteria to be considered to belong in the type of contexts: Context of Person, Context of Place,

Context of Time, Context of Formality, Context of Mood, and Context of Subject- matter to answer the first problem.

To answer the second problem, the next step in conducting this present thesis is calculating the data to find the dominant type of Contextual Meaning found in the source of data by Bungin‟s formula (2005:171-172). This thesis is researched using descriptive qualitative method.

The last step is to discuss the types of contextual meaning found in My

Chemical Romance‟s songs and the most dominant type of contextual meaning found in My Chemical Romance‟s songs with the findings that there are six types of contextual meaning found: 141 Context of Person, 6 Context of Place, 16 Context of

Time, 5 Context of Formality, 45 Context of Mood, 43 Context of Subject-matter, and Context of Person (55,0%) is the most dominant type of contextual meaning found in My Chemical Romance‟s songs.

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CHAPTER III

METHOD OF RESEARCH

This chapter presents the research methods in conducting this current thesis.

This research method covers the research design, data and data source, techniques of collecting data, and techniques analyzing data.

3.1 Research Design

The writer of this thesis uses methodology and some supporting theories, and relevant documentations in conducting the research. Qualitative research is conducted through intense and prolonged contact with participants in a naturalistic setting to investigate the everyday and exceptional lives of individuals, groups, societies, and organizations (Miles & Huberman, 2014:29). This thesis is a descriptive research because it focuses on describing the phenomenon of contextual meaning including the detailed explanation of occurrences, participants, actions, and situations. The writer uses qualitative method to connect the extension of the lines of lyrics in My Chemical Romance’s songs to study the contextual meaning in the form of words and phrases which are the main concern in this research.

3.2 Data and Data Source

The data of this analysis is the lines of lyrics in terms of words, phrases, and sentences which had contextual meaning from My Chemical Romance’s songs. The data will be analyzed with the theory of contextual meaning by Lyons (1977).

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The data source is taken from five of the most famous songs among fourteen songs taken from their most successful album from 2006, ’The Black Parade’. They are ‘Welcome To The Black Parade’, ‘Teenagers’, ‘Famous Last Words’, ‘I Don’t

Love You’, and ‘Disenchanted’ retrieved from a website of song lyrics http://www.azlyrics.com (January 2019).

3.3 Technique of Collecting Data

There are four steps in collecting data: observation, questionnaire, interview, and documentation. The writer applies documentation method in conducting this thesis. Here are the steps of collecting data used by the writer:

1. Retrieving the lyrics of five selected songs from The Black Parade

album.

2. Reading carefully the lyrics of the five selected songs from The Black

Parade album.

3. Identifying words, phrases, and sentences that meet the criteria of

contextual meaning on every lyric.

4. Marking tables of the data to display the data findings.

3.4 Technique of Analyzing Data

In this analysis, descriptive qualitative method is applied to analyze the data.

In descriptive research, the data tabulation is based on analyzing percentage and trend analysis. Miles and Huberman (2014) define the data analysis in qualitative research consists of four concurrent flows of data analysis activity: data condensation, data display, conclusion drawing and verification.. These are the procedure of analyzing the source of data:

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1. Listening to the five selected songs from The Black Parade album.

2. Focusing on the lines of lyrics to find the data (words and phrases)

that can be identified to contain contextual meaning.

3. Simplifying and abstracting the data processes by organizing

contextual meaning for each type based on Lyon’s Theory

about the six types of contextual meaning: Context of Person, Context

of Place, Context of Time, Context of Formality, Context of Mood,

and Context of Subject-matter.

4. Calculating the data to find the dominant type of Contextual Meaning

found in the source of data by Bungin’s formula (2005:171-172):

Types of Contextual Meaning (in percentage)

풇풙 풏 = × ퟏퟎퟎ% 푵

n : The percentage of one type of contextual meaning

fx: The amount of context in one type of contextual meaning

N : The number of all data

5. Drawing conclusion by doing recheck and verification to data found

in order to validate the answers of problems.

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CHAPTER IV

DISCUSSION AND FINDING

This chapter consists of two subchapters related with the problems of study in this present thesis. The first subchapter discusses the discussion of types of contextual meaning to answer the first problem of this thesis. The second subchapter shows the finding of the data in percentage to answer the second problem of this thesis.

4.1 Discussion

In order to find lines of lyrics that contain any contextual meaning, the writer does an analysis by classifying the collected data based on the types of contextual meaning found. The data is taken from the lyrics of five of My Chemical Romance’s songs from the album The Black Parade in the form of lines of words. To identify if a line or a part of the lyric contains contextual meaning according to Lyons’ theory, we have to identify each line from every song and find out if the words or phrases on those lines of lyrics fulfill the criteria of containing a contextual meaning. Then, we can identify which type of contextual meaning the context belongs to answer the first problem of this thesis.

There are six types of contextual meaning: Context of Person, Context of

Place, Context of Time, Context of Formality, Context of Mood, and Context of

Subject-matter which all present on the lyrics of five of My Chemical Romance’s songs and below, the writer presented the findings and discussion of each type.

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4.1.1 Context of Person

Context of Person in a sentence or utterance is the pronouns that are being used by the participants. Each participant in the sentence or utterance must know or at least makes an assumption of their role and status as. Linguistically, there are two kinds of roles in English, Deictic Role and Social Role (Lyons, 1977:574). Context of Person are used on these lines on lyrics to highlight the fulfillment of the social and deictic roles and status of the participants involved.

There are 98 lines of lyrics that contain Context of Person with 141 Context of Person: 134 Deictic Roles and 7 Social Roles found in the lyrics of five of My

Chemical Romance’s songs. To make this analysis efficient to read and comprehend, the writer chose a few Context of Person containing Deictic Role and Social Roles from the lines of lyrics to discuss as representative as discussed below:

4.1.1.1 Deictic Role

1. When I was a young boy [1] (Welcome to the Black Parade)

The pronoun I is used to fulfill the deictic role as the speaker of the utterance and as the referent of the young boy.

2. My father took me into the city [2] (Welcome to the Black Parade)

The pronoun me is used to fulfill the deictic role as the person uttering the sentence and as the target of the action took.

3. He said, "Son when you grow up [3] (Welcome to the Black Parade)

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The pronoun He is used to fulfill the deictic role as the subject of the action said and the next pronoun you is used to fulfill the deictic role as the target of the utterance (Son).

4. Would you be the savior of the broken [4] (Welcome to the Black Parade)

The pronoun you is used to fulfill the deictic role as the target of the utterance said by He and as the referent to the Son who is the speaker of the utterance.

5. He said "Will you defeat them [5] (Welcome to the Black Parade)

The pronoun He is used to fulfill the deictic role as the subject of the action said. Next, the pronoun you fulfills the deictic role as the target of the utterance said by He and as the referent to the Son, and the next pronoun, them is used to fulfill the deictic role as the target of the action defeat.

6. The plans that they have made?" [6] (Welcome to the Black Parade)

The pronoun they is used to fulfill the deictic role as the target of the utterance said by He and as the referent to the people on previous line your demons and all the non-believers.

7. "Because one day I'll leave you [7] (Welcome to the Black Parade)

The pronoun I is used to fulfill the deictic role as the subject and you as the object of the action leave.

8. A phantom to lead you in the summer [8] (Welcome to the Black Parade)

The pronoun you is used to fulfill the deictic role as the target of the action who will receive the phantom.

9. Sometimes I get the feeling she's watching over me [9]

(Welcome to the Black Parade)

The pronoun I is used to fulfill the deictic role as the speaker of the utterance and as the subject of the action get the feeling. Next, the pronoun she is used to fulfill

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the deictic role as the subject of the action watching over. The pronoun me is used to fulfill the deictic role as the person uttering the sentence and as the target of the action watching over.

10. And other times I feel like I should go [10] (Welcome to the Black Parade)

The first I pronoun is used to fulfill the deictic role as the speaker of the utterance and as the subject of the action feel like. Next, the later I pronoun is used to fulfill the deictic role as the subject of the action should go.

11. And when you're gone we want you all to know [11]

(Welcome to the Black Parade)

The first pronoun you is used to fulfill the deictic role as the target of the utterance and it is modified by the adjective gone. Next, the pronoun we is used to fulfill the deictic role as the speaker of the utterance and as the subject of the action want. The later pronoun you is used to fulfill the deictic role as target of the utterance and as the object of the action to know.

12. We'll carry on [12] (Welcome to the Black Parade)

The pronoun We is used to fulfill the deictic role as the speaker of the utterance and as the subject of the action carry on.

13. And though you're dead and gone believe me [13]

(Welcome to the Black Parade)

The pronoun you is used to fulfill the deictic role as the target of the utterance and it is modified by the adjective dead. Next, the pronoun me is used to fulfill the deictic role as the speaker of the utterance and as the object of the action believe.

14. And in my heart I can't contain it [14] (Welcome to the Black Parade)

The pronoun I is used to fulfill the deictic role as the speaker of the utterance and as the subject of the action can’t contain.

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15. A world that sends you reeling from decimated dreams [15]

(Welcome to the Black Parade)

The pronoun you is used to fulfill the deictic role as the target of the utterance and as the object of the action sends.

16. Your misery and hate will kill us all [16] (Welcome to the Black Parade)

The pronoun us is used to fulfill the deictic role as the speaker of the utterance and as the object of the action kill.

17. And though you're broken and defeated [18] (Welcome to the Black Parade)

The pronoun you is used to fulfill the deictic role as the target of the utterance and it is modified by the adjective broken.

18. On and on we carry through the fears [19] (Welcome to the Black Parade)

The pronoun we is used to fulfill the deictic role as the speaker of the utterance and as the subject of the action carry.

19. Take a look at me cause I could not care at all [20]

(Welcome to the Black Parade)

Both of the pronouns me and I are used to fulfill the deictic role as the speaker of the utterance, while me functions as the object of the action look, I functions as the subject of the action could not care.

20. Go and try, you'll never break me [22] (Welcome to the Black Parade)

The pronoun you is used to fulfill the deictic role as the target and me as the speaker of the utterance. Also, you functions as the subject and me as the object of the action break.

21. I won't explain or say I'm sorry [24] (Welcome to the Black Parade)

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Both of the pronouns I are used to fulfill the deictic role as the speaker of the utterance. The first I functions as subject of the action explain, and the later I is modified by the adjective sorry.

22. I'm unashamed, I'm gonna show my scar [25]

(Welcome to the Black Parade)

Both of the pronouns I are used to fulfill the deictic role as the speaker of the utterance. The first I is modified by the adjective unashamed, and the later I functions as subject of the action gonna show.

23. I'm just a man, I'm not a hero [27] (Welcome to the Black Parade)

Both of the pronouns I are used to fulfill the deictic role as the speaker of the utterance. The first I functions as the subject of the noun phrase I’m just a man, and the later I functions as subject of the noun phrase I’m not a hero.

24. They're gonna clean up your looks [30] (Teenagers)

The pronoun They is used to fulfill the deictic role as the target of the utterance and as the subject of the action gonna clean up.

25. Because they sleep with a gun [32] (Teenagers)

The pronoun they is used to fulfill the deictic role as the target of the utterance and as the subject of the action sleep.

26. You're never gonna fit in much, kid [40] (Teenagers)

The pronoun You is used to fulfill the deictic role as the target of the utterance and it as the subject of the action fit in.

27. Honey if you stay, I'll be forgiven [55] (Famous Last Words)

The pronoun I is used to fulfill the deictic role as the speaker of the utterance and it is modified by the adjective forgiven.

28. That gave me heartache to sing [82] (Disenchanted)

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The pronoun me is used to fulfill the deictic role as the speaker of the utterance and as the object of the action gave.

29. Well, if you think that I'm wrong [92] (Disenchanted)

The pronoun you is used to fulfill the deictic role as the target of the utterance and as the subject of the action think and the pronoun I is used to fulfill the deictic role as the speaker of the utterance and it is modified by the adjective wrong.

4.1.1.2 Social Roles

1. He said, "Son when you grow up [1] (Welcome to the Black Parade)

The word Son fulfills the social role of a father of the speaker (He) and social function between a father – son. It also shows the sex and age of the target (you): a male, younger than the speaker.

2. I'm just a man, I'm not a hero [27] (Welcome to the Black Parade)

The word man and hero are used to show a contrast in social role of the speaker that he is just an ordinary person (man) instead of an extraordinary person

(hero).

3. Just a boy, who had to sing this song [28] (Welcome to the Black Parade)

The word boy fulfills the speaker’s social role as a person’s son or a male child or youth. It also shows the sex and age of the speaker: a young male youth.

4. And keep an eye on you, son [33] (Teenagers)

The word son fulfills the social role of a father of the speaker and social function between a father – son. It also shows the sex and age of the target (you): a male, younger than the speaker.

5. You're never gonna fit in much, kid [40] (Teenagers)

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The word kid fulfills the social role of an adult to a child or young person. It also shows the age of the target (You): younger than the speaker but not the gender of the person since kid is a gender neutral form to address a person.

6. Honey if you stay, I'll be forgiven [55] (Famous Last Words)

The word Honey fulfills the social role of a lover of the target (you) and social function between lovers (you and I).

7. But baby when they knock you [73] (I Don’t Love You)

The word baby fulfils the social role of a young woman or a person whom the speaker has a romantic relationship with and social function between lovers.

4.1.2 Context of Place

Context of Place is the space of the sentence or utterance takes place.

Knowing the location of the sentence or utterance plays an important role in the selection of vocabulary used in the language exchange by the participants (Lyons,

1977:578).

Context of Place in an utterance shows a tangible location and it can be stated either explicitly or implicitly. Based on findings of the data above, there are 6

Context of Place found in the lyrics from My Chemical Romance’s songs titled

Welcome to the Black Parade, Teenagers, Famous Last Words, I Don’t Love You, and Disenchanted as discussed below:

1. My father took me into the city

To see a marching band [99] (Welcome to the Black Parade)

On these lines of lyric, the speaker directly states a name of a location, the city but do not specify the name of the city. The line then followed by the phrase to

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see a marching band, which gives the context that the city do not mean an actual city, but in the downtown area of a city where it is busier and events usually held.

2. So many

Bright lights, they cast a shadow [100] (Famous Last Words)

Above, the speaker does not state a name of a location explicitly, but the speaker use the phrase to give a clue of a location. The place the speaker is saying that there are many bright lights, or sources of illumination, lighting up a space with many objects around to create shadows. Added with the rest of the lines of lyric of the song, the speaker is known to be a patient in a hospital, therefore the place the speaker is referring to is a hospital building.

3. Nothing you can say can stop me going home [101] (Famous Last Words)

The speaker of the utterance above states a name of a location explicitly. The word home means that the speaker refers to his house where he resides.

4. 'Cause I see you lying next to me [102] (Famous Last Words)

On the utterance above, the speaker states a name of a location explicitly: next to me. It means that the speaker refers to the space right beside him, on the same room space at the same time to the target.

5. It was the roar of the crowd

That gave me heartache to sing [103] (Disenchanted)

On the utterance above, the speaker do not state the location on exact word, but certain words the speaker use give us a clue of a name of a location. The speaker is going to sing in a location where a roar of a crowd exists in the same time and space. From these clues, it can be concluded that the place of the utterance is in a stage of a concert because it is a place where someone can perform an activity such

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as singing with a crowd of people enjoying the performance in a same time and space.

6. I spent my high school career

Spit on and shoved to agree [104] (Disenchanted)

The speaker of the utterance above stated one of his experiences as high

school career, which is referring to the time when the speaker was attending high

school as a student. From this clue, a name of a location arises, which is a high

school campus.

4.1.3 Context of Time

Context of Time is also influential in the process of interpreting meaning because the time of when the sentence or utterance is happening is one of the factors in selection the vocabulary used in the language exchange by the participants (Lyons,

1977:578).

Context of Time in an utterance shows a time frame of the utterance happening or a time frame of something on the utterance which can be stated either explicitly or implicitly. There are 16 Context of Time occurring in the lyrics from

My Chemical Romance’s songs titled Welcome to the Black Parade, Teenagers,

Famous Last Words, I Don’t Love You, and Disenchanted as discussed below:

1. When I was a young boy [105] (Welcome to the Black Parade)

The speaker of the utterance above states a time frame When I was a young boy, which means he is referring to a period of time on his childhood in the past.

2. A phantom to lead you in the summer [106] (Welcome to the Black Parade)

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The speaker of the utterance above states a time frame summer, which means he is referring to a period of time on the season summer around June to August in the northern hemisphere.

3. And when you're gone we want you all to know [107]

(Welcome to the Black Parade)

The speaker of the utterance above states a time frame when you’re gone, which means he is referring to a period of time in the future when the target is no longer with the speaker.

4. Now I know [108] (Famous Last Words)

The speaker of the utterance above states a time frame now, which means he is referring to the current time he is uttering the line.

5. Well, when you go [109] (I Don’t Love You)

The speaker of the utterance above states a time frame when you go, which means he is referring to a period of time in the future when the target is no longer with the speaker.

6. And maybe when you get back [110] (I Don’t Love You)

The speaker of the utterance above states a time frame when you get back, which means he is referring to a period of time in the future when the target is comes back to the speaker.

7. But baby when they knock you [111] (I Don’t Love You)

The speaker of the utterance above states a time frame when they knock you, which means he is referring to a hypothetical period of time in the future of the target being in the situation the speaker uttered.

8. Better get out while you can [112] (I Don’t Love You)

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The speaker of the utterance above states a time frame while you can, which means he is referring to a limited period of time he decided from the time he uttered the phrase to a time in the future.

9. "I don't love you like I did yesterday." [113] (I Don’t Love You)

The speaker of the utterance above states a time frame yesterday, which literally means a time on the day before, but in this utterance, the speaker is referring to a period time in the past when the speaker still loves the target.

10. Better get up while you can [114] (I Don’t Love You)

Same as the previous Context of Time, the speaker of the utterance above states a time frame while you can, which means he is referring to a limited period of time he decided from the time he uttered the phrase to a time in the future.

11. Well, I was there on the day

They sold the cause for the queen [115] (Disenchanted)

The speaker of the utterance above states a time frame on the day they sold the cause for the queen, which means he is referring to a hypothetical period of time in the past of him being in the situation the speaker uttered.

12. And when the lights all went out

We watched our lives on the screen. [116] (Disenchanted)

The speaker of the utterance above states a time frame when the lights all went out then we would watch our lives on the screen, which means he is referring to a very short period of time between life and death.

13. How can you listen all night long? [117] (Disenchanted)

The speaker of the utterance above states a time frame all night, which means he is referring to a period from sunset to sunrise when the target listened to the speaker.

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14. Now will it matter after I'm gone? [118] (Disenchanted)

The speaker of the utterance above states a time frame after I’m gone, which means he is referring to a hypothetical period of time in the future after now which is when the speaker is no longer present.

15. You're just a sad song with nothin' to say

About a life-long wait for a hospital stay [119] (Disenchanted)

The speaker of the utterance above states a time frame a life-long wait, which means he is referring to a period of time from someone’s birth to his death or simply someone’s life time.

16. I spent my high school career

Spit on and shoved to agree [120] (Disenchanted)

The speaker of the utterance above states a time frame my high school career, which means he is referring to a 3 or 4 years period of time attending high school as a student in the past.

4.1.4 Context of Formality

Context of Formality focuses on the participants’ systemic phonological, grammatical and lexical differences in a sentence or utterance (Lyons, 1977:580).

Joos (1967) has classified the degrees of formality in English into five categories:

‘frozen’, ‘formal’, ‘consultative’, ‘casual’, and ‘intimate’.

Context of Formality in an utterance shows the degree of formality of the conversation and show the kind of relationship the speaker and target share. Based on findings of the data above, there are 5 Context of Formality occurring in the lyrics from My Chemical Romance’s songs titled Welcome to the Black Parade,

Teenagers, Famous Last Words, I Don’t Love You, and as discussed below: 40

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1. He said, "Son when you grow up

Would you be the savior of the broken

The beaten and the damned?" [121] (Welcome to the Black Parade)

The word Son above is used to address the speaker in a conversation between him and his father. This addressing term by a father to his son shows the relationship between the speaker and the target: a parent-child relationship. Therefore, the utterance is in the mode of intimate degree of formality.

2. Because they sleep with a gun

And keep an eye on you, son [122] (Teenagers)

The word son above is used by the speaker in a conversation between him and a younger person as the target. This addressing term by an adult to a younger person shows how the speaker is imposing a parental figure in talking to the younger person, which shows how close they are emotionally. Therefore, the utterance is in the mode of intimate degree of formality.

3. You're never gonna fit in much, kid [123] (Teenagers)

The word kid above is also a variation of addressing a younger person that is used to by the speaker in a conversation between him and a younger person as the target. This addressing term by an adult to a younger person shows how the speaker is imposing a parental figure in talking to the younger person, which shows how close they are emotionally. Therefore, the utterance is in the mode of intimate degree of formality.

4. Honey if you stay, I'll be forgiven [124] (Famous Last Words)

The word Honey above is used by the speaker as a nickname for the target. It shows the relationship between the speaker and the target: a romantic relationship.

Therefore, the utterance is in the mode of intimate degree of formality.

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5. But baby when they knock you [125] (I Don’t Love You)

On the utterance above, the speaker uses the word baby to address the target.

It shows the relationship between the speaker and the target: a romantic relationship.

Therefore, the utterance is in the mode of intimate degree of formality.

4.1.5 Context of Mood

Context of Mood focuses with the variations of vocabulary used by the participants in a sentence or utterance that is showing their state of mind or feelings

(Lyons, 1977:581). It shows the state of mind or feelings of the participants during the conversation which draws the mood of the conversation and it can be stated either explicitly or implicitly. There are 45 Context of Mood occurring in the lyrics from My Chemical Romance’s songs titled Welcome to the Black Parade,

Teenagers, Famous Last Words, I Don’t Love You, and Disenchanted as discussed below:

1. Sometimes I get the feeling she's watching over me

And other times I feel like I should go [126]

(Welcome to the Black Parade)

The phrase she’s watching over me above is considered a Context of Mood because it shows the speaker’s feeling of uneasiness and distraught. It is then followed by the speaker’s thought that I should go which shows he is feeling perturbed.

2. A world that sends you reeling from decimated dreams [127]

(Welcome to the Black Parade)

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The phrase reeling from decimated dream above is considered a Context of

Mood because it displays the target’s feeling on the situation: the feeling of shaken and great grief with the phrase.

3. Defiant to the end we hear the call [128] (Welcome to the Black Parade)

On this utterance, the word Defiant is considered a Context of Mood because it shows his feeling towards the situation: feeling aggressive and challenged.

4. Take a look at me cause I could not care at all [129]

(Welcome to the Black Parade)

The phrase I could not care at all is considered a Context of Mood because he speaker uses it to explicitly show his feeling of carelessness on the utterance.

5. Do or die, you'll never make me

Because the world will never take my heart

Go and try, you'll never break me [130] (Welcome to the Black Parade)

On the lines above, the speaker uses three phrases to express his feeling to the target: you’ll never make me, the world will never take my heart, and you’ll never break me which are considered a Context of Mood because they show his feeling of disaffected and firm he is towards the situation.

6. I won't explain or say I'm sorry [131] (Welcome to the Black Parade)

The selection of words above are considered a Context of Mood because they shows the feeling of the speaker, which is a secretive mood as portrayed by the word won’t explain and then it is followed with say I’m sorry to deepen the mood into an unapologetic and rebellious feeling .

7. I'm unashamed, I'm gonna show my scar [132]

(Welcome to the Black Parade)

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The selection of words above are considered a Context of Mood because they show the feeling of the speaker, which is a proud feeling as portrayed by the word unashamed and a following confident feeling by the phrase show my scar.

8. Give a cheer for all the broken [133] (Welcome to the Black Parade)

The phrase Give a cheer on the line above is considered a Context of Mood because it shows the speaker’s intention to encourage and show enthusiastic feeling for the target.

9. I Don't Care! [134] (Welcome to the Black Parade)

On the line above, the speaker explicitly states I Don’t Care to express indifference and to indicate that the outcome of a situation has no significance for him.

10. Because they sleep with a gun

And keep an eye on you, son [135] (Teenagers)

The phrase keep an eye on you above are considered a Context of Mood because they are used by the speaker to tell the target that someone is being careful and attentive in watching the target’s behavior to the point of paranoia supported by the phrase sleep with a gun.

11. They're gonna rip up your heads,

Your aspirations to shreds [136] (Teenagers)

The phrase rip up your head is considered a Context of Mood because it is used metaphorically in trying to equate the agony feeling like having their head ripped from shredded aspirations.

12. They said all teenagers scare the living shit out of me [137] (Teenagers)

The phrase scare the living shit out of me is considered a Context of Mood because it is used by the speaker to convey how petrified he feels in the utterance.

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13. They could careless as long as someone'll bleed [138] (Teenagers)

The word careless above is considered a Context of Mood because it is used so show the person they’s feeling of indifference and the lack of significance the outcome of a situation for them.

14. So darken your clothes or strike a violent pose [139] (Teenagers)

The phrases darken your clothes and strike a violent pose above are considered a Context of Mood because they are used by the speaker to persuade the target to feel rebellious against the rules they are used to live in and make a dramatic courageous change.

15. But if you're troubled and hurt [140] (Teenagers)

The two adjectives used by the speaker above are considered a Context of

Mood because they show the target’s mood during the utterance, troubled and hurt which means the target is feeling distressed and pained from his/her experience.

16. Now I know

That I can't make you stay

But where's your heart? [141] (Famous Last Words)

The phrases I know, I can’t make you stay, but where’s your heart are considered a Context of Mood because they show the speaker’s feeling of disbelief and disappointment towards the speaker.

17. But can I speak? [142] (Famous Last Words)

The phrase can I speak and the word incomplete are considered a Context of

Mood because they are used to show the speaker’s feeling of helplessness towards the situation.

18. Well is it hard understanding

I'm incomplete [143] (Famous Last Words)

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The phrase is it hard understanding and the word incomplete are considered a

Context of Mood because they are used to show the speaker’s feeling of helplessness towards the situation.

19. A life that's so demanding

I get so weak [144] (Famous Last Words)

The words demanding and so weak are considered a Context of Mood because they are used to show the speaker’s feeling of helplessness and weakness on the utterance.

20. A love that's so demanding

I can't speak [145] (Famous Last Words)

The words demanding and can’t speak are considered a Context of Mood because they are used to show the speaker’s feeling of helplessness and speechlessness on the utterance.

21. I am not afraid to keep on living

I am not afraid to walk this world alone [146] (Famous Last Words)

On the utterances above, the speaker uttered not afraid twice which are considered a Context of Mood, on his decision to continue living and venture the world to emphasize the confident and assured feeling he has.

22. Nothing you can say can stop me going home [147] (Famous Last Words)

The phrase Nothing you can say can stop me going home is considered a

Context of Mood because it shows the speaker’s adamant feeling towards the situation.

23. My eyes are shining bright [148] (Famous Last Words)

The phrase eyes are shining bright is considered a Context of Mood because it shows the speaker’s feeling of great determination towards his decision.

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24. These bright lights have always blinded me [149]

The phrase always blinded me is considered a Context of Mood because it is used to show the speaker’s feeling of discomfort towards the situation.

25. With words I thought I'd never speak [150] (Famous Last Words)

The phrase I thought I'd never speak is considered a Context of Mood because it is used to show the speaker’s feeling of shock and amazement towards the situation.

26. So never think, I'll make you try to stay [151] (I Don’t Love You)

The phrase never think, I'll make you is considered a Context of Mood because it is used to show the speaker’s alarming feeling towards the target.

27. Well, after all this time that you still owe

You're still a good-for-nothing I don't know [152] (I Don’t Love You)

The phrase a good-for-nothing I don't know and the word owe are considered a Context of Mood because they are used to show the speaker’s feeling of rejection and agony towards the uselessness of the target on the utterance.

28. So take your gloves and get out

Better get out while you can [153] (I Don’t Love You)

The phrases take your gloves and get out and while you can are considered a

Context of Mood because they are used to show the speaker’s feeling of misery and agony on the utterance.

29. When you go

Would you even turn to say,

"I don't love you like I did yesterday." [154] (I Don’t Love You)

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The statement Would you have turn to say "I don't love you like I loved you yesterday." above is considered a Context of Mood because it shows the speaker’s challenging the target while also feeling the sorrow and sadness of the situation.

30. Sometimes I cry so hard from pleading [155] (I Don’t Love You)

The phrase I cry so hard from pleading above is considered a Context of

Mood because it shows the speaker’s feeling of anguish and pain towards the situation.

31. So sick and tired of all the needless beating [156] (I Don’t Love You)

The phrase so sick and tired above is considered a Context of Mood because it shows the speaker’s feeling of weary and drained towards the situation.

32. Well, after all the blood that you still owe

Another dollar's just another blow [157] (I Don’t Love You)

The phrases blood that you still owe and just another blow above are considered a Context of Mood because they show the speaker’s feeling of detest towards the speaker.

33. So fix your eyes and get up

Better get up while you can [158] (I Don’t Love You)

The phrases fix your eyes and get up and get up while you can above are considered a Context of Mood because they show the speaker’s feeling to encourage and persuade the speaker.

34. When you go

Would you have the guts to say

"I don't love you like I loved you yesterday." [159] (I Don’t Love You)

The statement Would you have the guts to say "I don't love you like I loved you yesterday." above is considered a Context of Mood because it shows the

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speaker’s challenging the target while also feeling the sorrow and sadness of the situation.

35. I hate the ending myself,

But it started with an alright scene. [160] (Disenchanted)

The words hate and alright are considered a Context of Mood because they show the speaker’s feeling of resentment of the situation even though he felt good at the beginning.

36. It was the roar of the crowd

That gave me heartache to sing. [161] (Disenchanted)

The word heartache is considered a Context of Mood because it shows the speaker’s feeling of bitterness and during the situation.

37. It was a lie when they smiled

And said, "You won't feel a thing." [162] (Disenchanted)

The phrase a lie when they smiled is considered a Context of Mood because it shows the speaker’s feeling of remorse of being deceived by someone on the situation.

38. And as we ran from the cops

We laughed so hard it would sting [163] (Disenchanted)

The phrase laughed so hard it would sting is considered a Context of Mood because it shows the speaker’s feeling of great happiness and freedom during the situation.

39. If I'm so wrong

How can you listen all night long? [164] (Disenchanted)

The statement above is considered a Context of Mood because it shows the speaker’s feeling of distrust and disbelief towards the speaker.

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40. Now will it matter after I'm gone?

Because you never learn a goddamned thing. [165] (Disenchanted)

The statement above is considered a Context of Mood because it shows the speaker’s feeling of letdown and disappointment towards the speaker.

41. You're just a sad song with nothin' to say

About a life-long wait for a hospital stay [166] (Disenchanted)

The statement above is considered a Context of Mood because it shows the speaker’s feeling of being mislead and deceived towards the speaker.

42. Well, if you think that I'm wrong,

This never meant nothing to you [167] (Disenchanted)

The phrase if you think that I'm wrong this never meant nothing to you is considered a Context of Mood because it shows the speaker’s feeling of disappointment and hurt towards a situation the speaker.

43. I spent my high school career

Spit on and shoved to agree

So I could watch all my heroes sell a car on TV [168] (Disenchanted)

The phrase Spit on and shoved to agree is considered a Context of Mood because it shows the speaker’s feeling of rage and displeasure towards a situation in the past.

44. So go

Go away

Just go, run away. [169] (Disenchanted)

The phrases So go, Go away, and Just go run away are considered a Context of Mood because they show the speaker’s feeling of frustration towards the speaker.

45. But where did you run to? And where did you hide?

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Go find another way [170] (Disenchanted)

The statements But where did you run to? And where did you hide? and Go find another way are considered a Context of Mood because they show the speaker’s feeling of anger and disappointment to the speaker.

4.1.6 Context of Subject-matter

In the English vocabulary, some particular words have more than one meaning, either related (polysemy) or completely different (homonymy). The

Context of Subject-matter of a sentence or utterance is determined by the terms surrounding these certain word, depends on the situation it is concerned with (Lyons,

1977:582). There are certain words in the English vocabulary that have more than one meaning, either related (polysemy) or completely different (homonymy). The elements surrounding the words which are categorized as homonymy or polysemous are the key element in understanding the meaning of Context of Subject-matter on the lines on lyrics

There are 43 Context of Subject-matter occurring in 38 lines of lyrics from

My Chemical Romance’s songs titled Welcome to the Black Parade, Teenagers,

Famous Last Words, I Don’t Love You, and Disenchanted as discussed below:

1. A phantom to lead you in the summer [171]

(Welcome to the Black Parade)

The word lead is homonymous and belongs to at least two forms: as a noun with a meaning a soft, heavy, ductile bluish-grey metal, the chemical element of atomic number 82 and as a verb with a meaning to guide or conduct. In this utterance the word lead has the meaning to guide or conduct because the surrounding words, to

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and you create the subject-matter of the utterance fits for the word lead to function as a verb.

2. And through it all, the rise and fall, the bodies in the streets [172]

(Welcome to the Black Parade)

The word fall is homonymous and belongs to at least two forms: as a noun with a meaning to come down, to drop or descend and as a noun (in Canada and

USA) with a meaning the season of the year between the autumnal equinox and the winter solstice. In this utterance the word fall functions as a noun and has the meaning to come down, to drop or descend because fall is preceded by the phrase the rise emphasizing on the opposite effect of the two words.

3. And when you're gone we want you all to know [173]

(Welcome to the Black Parade)

The word know [nō] is homonymous (homophone) with the word no [nō].

When listening to this part of the lyric, we can conclude the word that is meant to be used is know which means be aware of through observation, inquiry, or information instead of the word no which means expressing a negative response because the sound [nō] is preceded by preposition to.

4. So paint it black and take it back [174] (Welcome to the Black Parade)

The word back is homonymous and belongs to at least two forms: as a noun with a meaning the rear surface of the human body from the shoulders to the hips and as an adverb with a meaning to return to an earlier or normal position or condition. In this utterance the word back has the meaning to return to an earlier or normal position or condition because the surrounding words, take and it create the subject-matter of the utterance fits for the word back to function as an adverb.

5. Let's shout it loud and clear [175] (Welcome to the Black Parade)

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The word clear is homonymous and belongs to at least two forms: as an adjective with a meaning easy to perceive, understand, or interpret and as an adverb with a meaning remove an obstruction or unwanted item or items from. In this utterance the word clear functions as an adjective and has the meaning easy to perceive, understand, or interpret because clear is preceded by another adjective loud to emphasize the meaning of the utterance.

6. We want it all, we wanna play this part [176]

(Welcome to the Black Parade)

The word play is homonymous and belongs to at least two forms: as a verb with a meaning engage in (a game or activity) for enjoyment and as a noun with a meaning a dramatic work for the stage or to be broadcast. In this utterance the word play has the meaning engage in (a game or activity) for enjoyment because the surrounding word, wanna (want to) create the subject-matter of the utterance fits for the word play to function as a verb.

7. I'm unashamed, I'm gonna show my scar [177]

(Welcome to the Black Parade)

The word show is homonymous and belongs to at least two forms: as a verb with a meaning offer, exhibit, or produce (something) for inspection and as a noun with a meaning a play or other stage performance, especially a musical. In this utterance the word show functions as a verb and has the meaning offer, exhibit, or produce (something) for inspection because the surrounding words , gonna (going to) and my scar create the subject-matter of the utterance fits for the word show to function as a verb.

8. I'm just a man, I'm not a hero [178] (Welcome to the Black Parade)

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The word man is homonymous and polysemous and belongs to at least two forms: as a noun with a meaning an adult human male and as a verb with a meaning

(of personnel) work at, run, or operate (a place or piece of equipment) or defend (a fortification). In this utterance the word man has the meaning an adult human male because man is preceded by the determiner a which creates the subject-matter of the utterance fits for the word man to function as a noun.

9. Just a boy, who had to sing this song [179] (Welcome to the Black Parade)

The word sing is homonymous and belongs to at least two forms: as a verb with a meaning perform (a song, words, or tune) by making musical sounds with the voice and as a noun with a meaning an act or spell of singing. In this utterance the word sing has the meaning perform (a song, words, or tune) by making musical sounds with the voice because the surrounding words, to and this song create the subject-matter of the utterance fits for the word sing to function as a verb.

10. With all the lies in the books [180] (Teenagers)

The word lies is homonymous and belongs to at least two forms: as plural form of a noun lie with a meaning to convey a false image or impression and as third-person singular simple present indicative form of a verb lie with a meaning to rest in a horizontal position on a surface. In this utterance the word lies has the meaning to convey a false image or impression because lies is preceded by the words all the which create the subject-matter of the utterance fits for the word lies to function as a noun.

Next, the word books is homonymous and belongs to at least two forms: as plural form of a noun book with a meaning a written or printed work consisting of pages glued or sewn together along one side and bound in covers; and as third- person singular simple present indicative form of a verb book with a meaning reserve

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accommodation for (someone). In this utterance the word books has the meaning a written or printed work consisting of pages glued or sewn together along one side and bound in covers because books is preceded by the words in the which create the subject-matter of the utterance fits for the word books to function as a noun.

11. Another cog in the murder machine [181] (Teenagers)

The word murder is homonymous and belongs to at least two forms: as a verb with a meaning kill (someone) unlawfully and with premeditation and as the collective noun for a group of crows. In this utterance the word murder functions as a verb and has the meaning kill (someone) unlawfully and with premeditation because this utterance is not talking about any kind of animal.

12. They could care less as long as someone'll bleed [182] (Teenagers)

The word long is homonymous and belongs to at least two forms: as an adjective with a meaning lasting or taking a great amount of time and as a verb with a meaning have a strong wish or desire. In this utterance the word long functions as an adjective and has the meaning lasting or taking a great amount of time because long is surrounded by as...as which makes phrase as long as functions as a comparative adjective.

13. The awful names that they stick [183] (Teenagers)

The word stick is homonymous and belongs to at least two forms: as a noun with a meaning a thin piece of wood that has fallen or been cut off a tree and as a verb with a meaning adhere or cling to something. In this utterance the word stick has the meaning adhere or cling to something because stick is preceded with the word they which creates the subject-matter of the utterance fits for the word stick to function as a verb.

14. You're never gonna fit in much, kid [184] (Teenagers)

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The word fit is homonymous, but in this case, the word is followed by in which create a phrasal verb fit in which means be socially compatible with other members of a group. This meaning is the most suitable meaning for the word fit based on the subject-matter of this utterance.

Next, the word kid is homonymous and belongs to at least two forms: as a noun with a meaning a young goat and as another kind of noun with a meaning a child or young person. In this utterance the word kid functions as the later noun and has the meaning a child or young person because this utterance is not talking about any kind of animal.

15. Now I know [185] (Famous Last Words)

The word know [nō] is homonymous (homophone) with the word no [nō].

16. So many

Bright lights, they cast a shadow [186] (Famous Last Words)

The word lights is homonymous and belongs to at least two forms: as plural form of a noun light with a meaning source of illumination, especially an electric lamp; and as third-person singular simple present indicative form of a verb light with a meaning make (something) start burning; ignite. In this utterance the word lights has the meaning source of illumination, especially an electric lamp because the surrounding words, so many and bright create the subject-matter of the utterance fits for the word lights to function as a noun.

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Next, the word cast is homonymous and belongs to at least two forms: as a verb with a meaning cause (light or shadow) to appear on a surface and as a noun with a meaning the actors taking part in a play, film, or other production. In this utterance the word cast has the meaning cause (light or shadow) to appear on a surface because the surrounding words, lights and shadow create the subject-matter of the utterance fits for the word cast to function as a verb.

17. But can I speak? [187] (Famous Last Words)

The word can is homonymous and belongs to at least two forms: as a modal verb with a meaning be able to and as a noun with a meaning a cylindrical metal container. In this utterance the word can has the meaning be able to because the surrounding words, I and speak create the subject-matter of the utterance fits for the word can to function as a modal verb.

18. Well is it hard understanding [188] (Famous Last Words)

The word well is homonymous and belongs to at least two forms: as an exclamation with a meaning to indicate that one is waiting for an answer or explanation from someone and as a noun with a meaning a shaft sunk into the ground to obtain water, oil, or gas. In this utterance the word well has the meaning to indicate that one is waiting for an answer or explanation from someone because it is followed by a question is it hard understanding which create the subject-matter of the utterance fits for the word well to function as an exclamation.

19. Nothing you can say can stop me going home [189] (Famous Last Words)

The word can is homonymous and belongs to at least two forms: as a modal verb with a meaning be able to and as a noun with a meaning a cylindrical metal container. In this utterance, both of the can words has the meaning be able to because the first can is surrounded by words, you and say, and the second can is

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followed with the word stop which create the subject-matter of the utterance fits for both of the can words to function as modal verb.

20. Can you see [190] (Famous Last Words)

The word can is homonymous and belongs to at least two forms: as a modal verb with a meaning be able to and as a noun with a meaning a cylindrical metal container. In this utterance the word can has the meaning be able to because it is followed with the words, you and see create the subject-matter of the utterance fits for the word can to function as a modal verb.

21. Of a jet black hotel mirror [191] (Famous Last Words)

The word jet is homonymous and belongs to at least two forms: as a noun with a meaning a rapid stream of liquid or gas forced out of a small opening and as a noun modifier for the colour black with a meaning glossy black colour. In this utterance the word jet has the function as a modifier because it is followed with the word black, therefore the subject-matter of the utterance fits for jet to function as noun modifier.

22. These bright lights have always blinded me [192] (Famous Last Words)

The word lights is homonymous and belongs to at least two forms: as a noun with a meaning as plural form of light: source of illumination, especially an electric lamp; and as a verb with a meaning third-person singular simple present indicative form of light: make (something) start burning; ignite. In this utterance the word lights has the meaning as plural form of light: source of illumination, especially an electric lamp because the lights is preceded by the word bright which creates the subject-matter of the utterance fits for the word lights to function as a noun.

23. I see you lying next to me [193] (Famous Last Words)

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The word lying is homonymous and belongs to at least two forms: as present participle form of the verb lie with a meaning to rest in a horizontal position on a surface and as an adjective with a meaning not telling the truth. In this utterance the word lying has the meaning to rest in a horizontal position on a surface because the surrounding words, you and next to me create the subject-matter of the utterance fits for the word lying to function as a verb.

24. Well, when you go [194] (I Don’t Love You)

The word well is homonymous and belongs to at least two forms: as an exclamation with a meaning to mark the resumption or end of a conversation, etc. and as a noun with a meaning a shaft sunk into the ground to obtain water, oil, or gas. In this utterance the word well has the meaning to mark the resumption or end of a conversation, etc. because it is followed by a statement when you go which create the subject-matter of the utterance fits for the word well to function as an exclamation.

25. And maybe when you get back [195] (I Don’t Love You)

The word back is homonymous and belongs to at least two forms: as a noun with a meaning the rear surface of the human body from the shoulders to the hips and as an adverb with a meaning to return to an earlier or normal position or condition. In this utterance the word back has the meaning to return to an earlier or normal position or condition because back is preceded by the words you get which create the subject-matter of the utterance fits for the word back to function as an adverb.

26. Well, after all this time that you still owe [196] (I Don’t Love You)

The word well is homonymous and belongs to at least two forms: as an exclamation with a meaning to mark the resumption or end of a conversation, etc.

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and as a noun with a meaning a shaft sunk into the ground to obtain water, oil, or gas. In this utterance the word well has the meaning to mark the resumption or end of a conversation, etc. because it is followed by a statement after all this time that you still owe which create the subject-matter of the utterance fits for the word well to function as an exclamation.

27. You're still a good-for-nothing I don't know [197] (I Don’t Love You)

The word know [nō] is homonymous (homophone) with the word no [nō].

28. Better get out

While you can [198] (I Don’t Love You)

The word can is homonymous and belongs to at least two forms: as a modal verb with a meaning be able to and as a noun with a meaning a cylindrical metal container. In this utterance the word can has the meaning be able to because can is preceded by the words while you create the subject-matter of the utterance fits for the word can to function as a modal verb.

29. Would you even turn to say [199] (I Don’t Love You)

The word even is homonymous and belongs to at least two forms: as an adverb which is used to emphasize something surprising or extreme and as a noun with a meaning the end of the day; evening. In this utterance the word even has the function to emphasize something surprising or extreme because the surrounding words, you and turn create the subject-matter of the utterance fits for the word even to function as an adverb.

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30. So sick and tired of all the needless beating [200] (I Don’t Love You)

The word sick is homonymous and belongs to at least two forms: as an adjective with a meaning disappointed, mortified, or miserable and as a verb with a meaning set someone to pursue, keep watch on, or accompany (another). In this utterance the word sick has the function disappointed, mortified, or miserable because sick is followed by the word tired which create the subject-matter of the utterance fits for the word sick to function as an adjective.

31. But baby when they knock you

Down and out [201] (I Don’t Love You)

The word down is homonymous and belongs to at least two forms: as an adverb with a meaning in or into a weaker or worse position, mood, or condition and as a noun with a meaning fine, soft hair on the face or body of a person. In this utterance the word down has the meaning in or into a weaker or worse position, mood, or condition because the surrounding words, knock you and and out create the subject-matter of the utterance fits for the word down to function as an adverb.

32. Well, I was there on the day [202] (Disenchanted)

The word well is homonymous and belongs to at least two forms: as an exclamation with a meaning to mark the resumption or end of a conversation, etc. and as a noun with a meaning a shaft sunk into the ground to obtain water, oil, or gas. In this utterance the word well has the meaning to mark the resumption or end of a conversation, etc. because it is followed by a statement I was there on the day which create the subject-matter of the utterance fits for the word well to function as an exclamation.

33. And when the lights all went out [203] (Disenchanted)

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The word lights is homonymous and belongs to at least two forms: as plural form of a noun light with a meaning source of illumination, especially an electric lamp; and as third-person singular simple present indicative form of a verb light with a meaning make (something) start burning; ignite. In this utterance the word lights has the meaning source of illumination, especially an electric lamp because the surrounding words, the and all went out create the subject-matter of the utterance fits for the word lights to function as a noun.

34. It was a lie when they smiled [204] (Disenchanted)

The word lie is homonymous and belongs to at least two forms: as a noun with a meaning to convey a false image or impression; and as a verb with a meaning to rest in a horizontal position on a surface. In this utterance the word lies has the meaning to convey a false image or impression because lie is preceded by the determiner a which creates the subject-matter of the utterance fits for the word lie to function as a noun.

35. How can you listen all night long [205] (Disenchanted)

The word can is homonymous and belongs to at least two forms: as a modal verb with a meaning be able to and as a noun with a meaning a cylindrical metal container. In this utterance the word can has the meaning be able to because the surrounding words, How and you listen create the subject-matter of the utterance fits for the word can to function as a modal verb.

Next, the word long is homonymous and belongs to at least two forms: as an adjective with a meaning lasting or taking a great amount of time and as a verb with a meaning have a strong wish or desire. In this utterance the word long functions as an adjective and has the meaning lasting or taking a great amount of time because

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long is preceded by the words all night which create the subject-matter of the utterance fits for the word long to function as an adjective.

36. So I could watch all my heroes sell a car on TV [206] (Disenchanted)

The word watch is homonymous and belongs to at least two forms: as a verb with a meaning follow closely or maintain an interest in and as the collective noun for a group of nightingales. In this utterance the word watch functions as a verb and has the meaning follow closely or maintain an interest in because this utterance is not talking about any kind of animal.

37. We'll show 'em what we all mean [207] (Disenchanted)

The word show is homonymous and belongs to at least two forms: as a verb with a meaning to explain or demonstrate something to and as a noun with a meaning a play or other stage performance, especially a musical. In this utterance the word show has the meaning to explain or demonstrate something to because it is followed by a clause what we all mean which create the subject-matter of the utterance fits for the word show to function as a verb.

Next, the word mean is homonymous and belongs to at least two forms: as an adjective with a meaning unkind, spiteful, or unfair and as a verb with a meaning intend to convey or refer to (a particular thing). In this utterance the word mean has the meaning intend to convey or refer to (a particular thing) because mean is preceded by the words what we all which create the subject-matter of the utterance fits for the word mean to function as a verb.

38. But where did you run to? And where did you hide? [208] (Disenchanted)

The word hide is homonymous and belongs to at least two forms: as a verb with a meaning to conceal oneself and as a noun with a meaning the skin of an animal, especially when tanned or dressed. In this utterance the word hide has the

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meaning to conceal oneself because hide is preceded by the words where did you which create the subject-matter of the utterance fits for the word hide to function as a verb.

4. 2 Finding

After collecting and discussing My Chemical Romance’s songs Welcome to the Black Parade, Teenagers, Famous Last Words, I Don’t Love You, and

Disenchanted, we can identify which type of contextual meaning iis the most dominant type to answer the second problem of this thesis. The number of data found:

Types Of Contextual Meaning Amount Percentage

Deictic Role 134 Context of 55.0% Person Social Role 7

Context of Place 6 2.3%

Context of Time 16 6.3%

Frozen 0

Formal 0 Context of Consultative 0 2.0% Formality Casual 0

Intimate 5

Context of Mood 45 17.6%

Context of Subject-matter 43 16.8%

Total 256 100%

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In this analysis, Context of Person occurs dominantly in the data (55.0%), then followed by Context of Mood (17.6%), Context of Subject-matter (16.8%),

Context of Time (6.3%), Context of Place (2.3%), and last is Context of Formality

(2.0%).

Context of Person turns to be the most dominant type of contextual meaning on the data, because the songs writer, Gerard Way uses a lot of pronouns in addressing the role and status between the characters on the songs. He addresses himself as the speaker on most occasion and other characters involved in his story as the target which is determined by the participation of the speaker and target at the time of the utterance.

The second most dominant type of contextual meaning is Context of Mood, because the state of mind or feelings of the participants of the story are very influential in affecting the interpretation of meaning. The album itself is a rock concept album, so it is not a far-fetched prediction to find numerous numbers of terms visualizing emotions and feelings.

The third most dominant type of contextual meaning is Context of Subject- matter, because the fact that the album is a post-modern rock album targeted for a general public, therefore the words and phrases used on the lyrics are informal in nature, which also tends to be homonymous and polysemous in meaning.

The last three least dominant types of contextual meaning are Context of

Time, Context of Place, and last is Context of Formality. It is because the five songs used on this thesis each happened few places and during one period of time. The song writer, Gerard Way only needs to use few terms to illustrate the time, place, and degree of formality on his songs, which make these types of contextual meaning the least concern when it comes to song lyrics; not because time, place, and degree of

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formality are not important, but because it only took very few of them to visualize the contexts on the song lyrics.

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CHAPTER V

CONCLUSION AND SUGGESTION

This last chapter consists of two subchapters. The first subchapter is the conclusion of the data analysis that has been analyzed by the writer in the previous chapter and the second subchapter is the suggestion by the writer of this thesis. The explanation of each subchapter is presented below:

5.1 Conclusion

Having described the contextual meaning of five of My Chemical Romance’s songs in this thesis, supported with the examples and analysis in the previous chapter, the writer draws the two conclusions:

The utterances on the lines of lyrics should be analyzed by using the theory of contextual meaning by Lyons (1977) in order to classify a word or phrase in the utterance contains one or more contexts. First, in this thesis, there are six types of contextual meaning namely Context of Person, Context of Place, Context of Time,

Context of Formality, Context of Mood, and Context of Subject-matter all occur in the lyrics.

Second, in this thesis, Context of Person occurs 141 times or 55.0% and becomes the most dominant type in the data, then successively followed by Context of Mood that occurs 45 times or 17.6% and Context of Subject-matter occurs 43 times or 16.8%, Context of Time occurs 16 times or 6.3%, Context of Place occurs 6 times or 2.3%, and Context of Formality occurs 5 times or 2.0%.

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From the collected data, it is concluded that the Context of Person is the most dominant type of contextual meaning and all types of contextual meaning can be found in the lyrics of five of My Chemical Romance’s songs. The band uses words and phrases that are rich in contextual meaning, which is why they are very expressive in conveying all the characters in the lyrics of their songs.

5.2 Suggestion

There are many kind of literary works that we encounter in our daily life that are semantically analyzable. In this chance, the writer would like to suggest the readers who are interested in the topic to carry out further research on semantics, especially in the field of contextual meaning on other literary works such as poetry, prose, novel, essay etc.

Based on the research that has been done, it is known that in the song lyrics, there are many words and phrases that contain contextual meaning. In this study, the writer is limited by the theory of John Lyons (1977) that is used to discuss the song lyrics, so there is only a few types of context and contextual meaning can be discussed in this study. Whereas there are also other perspectives and methods in analyzing context in literary works that the writer did not use in this study.

From the explanation above, the writer suggests for future researchers that is researching about context and contextual meaning can use different theories with the same data so that all types of contextual meaning found in the song lyrics can be discussed completely. Researchers can also conduct research on different data with different theories so that readers know the difference of the roles of contextual meaning in a literary work such as song lyrics, to the contextual meaning used in 68

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advertisements, poetry, novel, etc., so the readers can understand about the type of contextual meaning and the roles in a literary work better. Furthermore the readers will no longer have difficulty to interpret the meaning of the sentences that used contextual meaning. The writer of this thesis also suggest that this research can be used for non research purpose also, such as English teachers as a provided information regarding the method of analyzing song lyrics as a type of literary work that is very familiar to the general public linguistically for further teaching material for their students.

UNIVERSITAS SUMATERA UTARA REFERENCES

Bungin, B. 2005. Metodologi Penelitian Kualitatif. Jakarta: Prenada Media Group.

Çetinavcı, B,. M. 2014. Contextual factors in guessing word meaning from context in a foreign language. Procedia - Social and Behavioral Sciences 116, 2670 – 2674.

Crystal, D and Davy, D. 1969. Investigating English Style. Blooming-ton: Indiana University Press. Cuccio V, Ambrosecchia M, Ferri F, Carapezza M, Lo Piparo F, et al. 2014. How the Context Matters. Literal and Figurative Meaning in the Embodied Language Paradigm. PLoS ONE 9(12): e115381.doi:10.1371/journal.pone.0115381

Dash, N. S. January 2008. Context and Contextual Word Meaning. Retrieved from https://www.researchgate.net/publication/228339051_Context_and_Contextu al_Word_Meaning (January 2019) Dijk, Teun A. van. 1977.Text and Context.London. Lonngman.

Firth, J. R. 1935. The Technique of Semantics. London: Oxford University Press.

Joos, M. 1967. The Five Clocks. New York. Harcourt, Brace & World

Lestari, M. D. 2016. An Analysis Contextual Meaning of Songs by Shane Filan (Thesis) Surabaya: Fakultas Adab dan Humaniora UINSA. (Unpublished). Lyons, John. 1977. Semantics Volume I. London: Cambridge University Press.

Lyons, John. 1977. Semantics Volume II. London: Cambridge University Press.

Margaretha. 2014. An Analysis of Meaning Properties and Relation in the Paramore's Song Album Brand New Eyes. (Thesis) Medan: Program Sarjana University of North Sumatera. (Unpublished). Miles, M. B. and Huberman, A. M. 1992. Analisis Data Kualitatif: Buku Sumber Tentang Metode-metode Baru. Jakarta: Penerbit Universitas Indonesia. Moltmann, F. 2003. Context, Complex Sentences, and Propositional Content. University of Stirling.

UNIVERSITAS SUMATERA UTARA Nouraldeen, A,. S. 2015. Meaning and Context-Three Different Perspectives. British Journal of English Linguistics, 3(2), 13-17. Palmer, F. R. 1976. Semantics : A New Outline. London : Cambridge University Press. Palmer, F. R. 1981. Semantics. London : Cambridge University Press.

Parveen, A. 2016. Meaning and External Context in Linguistics. International Journal of Sciences: Basic and Applied Research (IJSBAR) 25(1), 40-53.

Shuker, Roy. 2012. Popular Music Culture: The Key Concepts: Routledge.

Wardhaugh, R. 1977. Introduction to linguistics : New York: McGraw-Hill. Werth, P. 1999. Text Worlds: Representing Conceptual Space in Discourse. London: Longman. Winters, J., Kirby, S., & Smith, K. 2015. Languages adapt to their contextual niche. Language and Cognition, 7(3), 415-449. doi:10.1017/langcog.2014.35 Yule, G. 2010. The Study of Language. London: Cambridge University Press.

______September 2009. My Chemical Romance (MCR) Lyrics. Retrieved from https://www.azlyrics.com/m/mychemicalromance.html (January 2019).

UNIVERSITAS SUMATERA UTARA APPENDICIES

No. Lines of lyrics Type of context

1. When I was a young boy Context of Person (Deictic Role)

2. My father took me into the city Context of Person (Deictic Role)

3. He said, "Son when you grow up Context of Person (Deictic Roles, Social Role)

4. Would you be the savior of the broken Context of Person (Deictic Role)

5. He said "Will you defeat them Context of Person (Deictic Roles)

6. The plans that they have made?" Context of Person (Deictic Role) Context of Person (Deictic 7. "Because one day I'll leave you Role) Context of Person (Deictic 8. A phantom to lead you in the summer Role) Sometimes I get the feeling she's watching Context of Person (Deictic 9. over me Role) Context of Person (Deictic 10. And other times I feel like I should go Role) And when you're gone we want you all to Context of Person (Deictic 11. know Role) Context of Person (Deictic 12. We'll carry on Role) And though you're dead and gone believe Context of Person (Deictic 13. me Role) Context of Person (Deictic 14. And in my heart I can't contain it Role) A world that sends you reeling from Context of Person (Deictic 15. decimated dreams Role) Context of Person (Deictic 16. Your misery and hate will kill us all Role) Context of Person (Deictic 17. Defiant to the end we hear the call Role) Context of Person (Deictic 18. And though you're broken and defeated Role) Context of Person (Deictic 19. On and on we carry through the fears Role) Take a look at me cause I could not care at Context of Person (Deictic 20. all Role)

UNIVERSITAS SUMATERA UTARA Context of Person (Deictic 21. Do or die, you'll never make me Role) Context of Person (Deictic 22. Go and try, you'll never break me Role) Context of Person (Deictic 23. We want it all, we wanna play this part Role) Context of Person (Deictic 24. I won't explain or say I'm sorry Role) Context of Person (Deictic 25. I'm unashamed, I'm gonna show my scar Role) Context of Person (Deictic 26. Listen here, because it's who we are Role)

27. I'm just a man, I'm not a hero Context of Person (Deictic Role, Social Role)

28. Just a boy, who had to sing this song Context of Person (Social Role) Context of Person (Deictic 29. I Don't Care! Role) Context of Person (Deictic 30. They're gonna clean up your looks Role) Context of Person (Deictic 31. To make a citizen out of you Role) Context of Person (Deictic 32. Because they sleep with a gun Role)

33. And keep an eye on you, son Context of Person (Deictic Role, Social Role) Context of Person (Deictic 34. So they can watch all the things you do Role) Context of Person (Deictic 35. They're gonna rip up your heads Role) They said all teenagers scare the living shit Context of Person (Deictic 36. out of me Role) They could care less as long as someone'll Context of Person (Deictic 37. bleed Role) Context of Person (Deictic 38. Maybe they'll leave you alone, but not me Role) Context of Person (Deictic 39. The awful names that they stick Role)

40. You're never gonna fit in much, kid Context of Person (Deictic Role, Social Role) Context of Person (Deictic 41. But if you're troubled and hurt Role) Context of Person (Deictic 42. What you got under your shirt Role) Will make them pay for the things that they Context of Person (Deictic 43. did Role)

UNIVERSITAS SUMATERA UTARA Context of Person (Deictic 44. Now I know Role) Context of Person (Deictic 45. That I can't make you stay Role) Context of Person (Deictic 46. And I know Role) Context of Person (Deictic 47. There's nothing I can say Role) Context of Person (Deictic 48. Bright lights, they cast a shadow Role) Context of Person (Deictic 49. But can I speak? Role) Context of Person (Deictic 50. I'm incomplete Role) Context of Person (Deictic 51. I get so weak Role) Context of Person (Deictic 52. I can't speak Role) Context of Person (Deictic 53. I am not afraid to keep on living Role) Context of Person (Deictic 54. I am not afraid to walk this world alone Role)

55. Honey if you stay, I'll be forgiven Context of Person (Social Role, Deictic Role) Nothing you can say can stop me going Context of Person (Deictic 56. home Role) Context of Person (Deictic 57. Can you see Role) Context of Person (Deictic 58. 'Cause I'm out here Role) Context of Person (Deictic 59. These bright lights have always blinded me Role) Context of Person (Deictic 60. I say Role) Context of Person (Deictic 61. I see you lying next to me Role) Context of Person (Deictic 62. With words I thought I'd never speak Role) Context of Person (Deictic 63. Well, when you go Role) Context of Person (Deictic 64. So never think, I'll make you try to stay Role) Context of Person (Deictic 65. And maybe when you get back Role) Context of Person (Deictic 66. I'll be off to find another way Role) Context of Person (Deictic 67. Well, after all this time that you still owe Role)

UNIVERSITAS SUMATERA UTARA Context of Person (Deictic 68. You're still a good-for-nothing I don't know Role) Context of Person (Deictic 69. Better get out while you can Role) Context of Person (Deictic 70. When you go would you even turn to say, Role) Context of Person (Deictic 71. "I don't love you like I did yesterday." Role) Context of Person (Deictic 72. Sometimes I cry so hard from pleading Role)

73. But baby when they knock you Context of Person (Social Role, Deictic Role) Context of Person (Deictic 74. Is where you ought to stay Role) Context of Person (Deictic 75. Well, after all the blood that you still owe Role) Context of Person (Deictic 76. Better get up while you can Role) Context of Person (Deictic 77. Would you have the guts to say Role) Context of Person (Deictic 78. Well, I was there on the day Role) Context of Person (Deictic 79. They sold the cause for the queen Role) Context of Person (Deictic 80. We watched our lives on the screen. Role) Context of Person (Deictic 81. I hate the ending myself Role) Context of Person (Deictic 82. That gave me heartache to sing Role) Context of Person (Deictic 83. It was a lie when they smiled Role) Context of Person (Deictic 84. And said, "You won't feel a thing." Role) Context of Person (Deictic 85. And as we ran from the cops Role) Context of Person (Deictic 86. We laughed so hard it would sting Role) Context of Person (Deictic 87. If I'm so wrong Role) Context of Person (Deictic 88. How can you listen all night long? Role) Context of Person (Deictic 89. Now will it matter after I'm gone? Role) Context of Person (Deictic 90. Because you never learn a goddamned thing. Role) Context of Person (Deictic 91. You're just a sad song with nothin' to say Role)

UNIVERSITAS SUMATERA UTARA Context of Person (Deictic 92. Well, if you think that I'm wrong, Role) Context of Person (Deictic 93. This never meant nothing to you Role) Context of Person (Deictic 94. I spent my high school career Role) So I could watch all my heroes sell a car on Context of Person (Deictic 95. TV Role) Context of Person (Deictic 96. We'll show 'em what we all mean Role) But where did you run to? And where did Context of Person (Deictic 97. you hide? Role) Context of Person (Deictic 98. Price you pay Role) My father took me into the city 99. Context of Place To see a marching band So many 100. Context of Place Bright lights, they cast a shadow Nothing you can say can stop me going 101. Context of Place home 102. 'Cause I see you lying next to me Context of Place It was the roar of the crowd 103. Context of Place That gave me heartache to sing I spent my high school career 104. Context of Place Spit on and shoved to agree 105. When I was a young boy Context of Time

106. A phantom to lead you in the summer Context of Time And when you're gone we want you all to 107. Context of Time know 108. Now I know Context of Time

109. Well, when you go Context of Time

110. And maybe when you get back Context of Time

111. But baby when they knock you Context of Time

112. Better get out while you can Context of Time

113. "I don't love you like I did yesterday." Context of Time

114. Better get up while you can Context of Time Well, I was there on the day 115. Context of Time They sold the cause for the queen And when the lights all went out 116. Context of Time We watched our lives on the screen. 117. How can you listen all night long? Context of Time

UNIVERSITAS SUMATERA UTARA 118. Now will it matter after I'm gone? Context of Time You're just a sad song with nothin' to say 119. Context of Time About a life-long wait for a hospital stay I spent my high school career 120. Context of Time Spit on and shoved to agree He said, "Son when you grow up 121. Would you be the savior of the broken Context of Formality The beaten and the damned?" Because they sleep with a gun 122. Context of Formality And keep an eye on you, son 123. You're never gonna fit in much, kid Context of Formality

124. Honey if you stay, I'll be forgiven Context of Formality

125. But baby when they knock you Context of Formality Sometimes I get the feeling she's watching 126. over me Context of Mood And other times I feel like I should go A world that sends you reeling from 127. Context of Mood decimated dreams 128. Defiant to the end we hear the call Context of Mood Take a look at me cause I could not care at 129. Context of Mood all Do or die, you'll never make me 130. Because the world will never take my heart Context of Mood Go and try, you'll never break me 131. I won't explain or say I'm sorry Context of Mood

132. I'm unashamed, I'm gonna show my scar Context of Mood

133. Give a cheer for all the broken Context of Mood

134. I Don't Care! Context of Mood Because they sleep with a gun 135. Context of Mood And keep an eye on you, son They're gonna rip up your heads, 136. Context of Mood Your aspirations to shreds They said all teenagers scare the living shit 137. Context of Mood out of me They could care less as long as someone'll 138. Context of Mood bleed So darken your clothes or strike a violent 139. Context of Mood pose 140. But if you're troubled and hurt Context of Mood Now I know 141. That I can't make you stay Context of Mood But where's your heart?

UNIVERSITAS SUMATERA UTARA 142. But can I speak? Context of Mood Well is it hard understanding 143. Context of Mood I'm incomplete A life that's so demanding 144. Context of Mood I get so weak A love that's so demanding 145. Context of Mood I can't speak I am not afraid to keep on living 146. Context of Mood I am not afraid to walk this world alone Nothing you can say can stop me going 147. Context of Mood home 148. My eyes are shining bright Context of Mood

149. These bright lights have always blinded me Context of Mood

150. With words I thought I'd never speak Context of Mood

151. So never think, I'll make you try to stay Context of Mood Well, after all this time that you still owe 152. Context of Mood You're still a good-for-nothing I don't know So take your gloves and get out 153. Context of Mood Better get out while you can When you go 154. Would you even turn to say, Context of Mood "I don't love you like I did yesterday." 155. Sometimes I cry so hard from pleading Context of Mood

156. So sick and tired of all the needless beating Context of Mood Well, after all the blood that you still owe 157. Context of Mood Another dollar's just another blow So fix your eyes and get up 158. Context of Mood Better get up while you can When you go 159. Would you have the guts to say Context of Mood "I don't love you like I loved you yesterday." I hate the ending myself, 160. Context of Mood But it started with an alright scene. It was the roar of the crowd 161. Context of Mood That gave me heartache to sing. It was a lie when they smiled 162. Context of Mood And said, "You won't feel a thing." And as we ran from the cops 163. Context of Mood We laughed so hard it would sting If I'm so wrong 164. Context of Mood How can you listen all night long? Now will it matter after I'm gone? 165. Context of Mood Because you never learn a goddamned thing.

UNIVERSITAS SUMATERA UTARA You're just a sad song with nothin' to say 166. Context of Mood About a life-long wait for a hospital stay Well, if you think that I'm wrong, 167. Context of Mood This never meant nothing to you I spent my high school career Spit on and shoved to agree 168. Context of Mood So I could watch all my heroes sell a car on TV So go 169. Go away Context of Mood Just go, run away. But where did you run to? And where did 170. you hide? Context of Mood Go find another way 171. A phantom to lead you in the summer Context of Subject-matter And through it all, the rise and fall, the 172. Context of Subject-matter bodies in the streets And when you're gone we want you all to 173. Context of Subject-matter know 174. So paint it black and take it back Context of Subject-matter 175. Let's shout it loud and clear Context of Subject-matter 176. We want it all, we wanna play this part Context of Subject-matter 177. I'm unashamed, I'm gonna show my scar Context of Subject-matter 178. I'm just a man, I'm not a hero Context of Subject-matter 179. Just a boy, who had to sing this song Context of Subject-matter 180. With all the lies in the books Context of Subject-matter 181. Another cog in the murder machine Context of Subject-matter They could care less as long as someone'll 182. Context of Subject-matter bleed 183. The awful names that they stick Context of Subject-matter 184. You're never gonna fit in much, kid Context of Subject-matter 185. Now I know Context of Subject-matter So many 186. Context of Subject-matter Bright lights they cast a shadow 187. But can I speak? Context of Subject-matter 188. Well is it hard understanding Context of Subject-matter Nothing you can say can stop me going 189. Context of Subject-matter home 190. Can you see Context of Subject-matter

UNIVERSITAS SUMATERA UTARA 191. Of a jet black hotel mirror Context of Subject-matter 192. These bright lights have always blinded me Context of Subject-matter 193. I see you lying next to me Context of Subject-matter 194. Well, when you go Context of Subject-matter 195. And maybe when you get back Context of Subject-matter 196. Well, after all this time that you still owe Context of Subject-matter 197. You're still a good-for-nothing I don't know Context of Subject-matter Better get out 198. Context of Subject-matter While you can 199. Would you even turn to say Context of Subject-matter 200. So sick and tired of all the needless beating Context of Subject-matter But baby when they knock you 201. Context of Subject-matter Down and out 202. Well, I was there on the day Context of Subject-matter 203. And when the lights all went out Context of Subject-matter 204. It was a lie when they smiled Context of Subject-matter 205. How can you listen all night long Context of Subject-matter So I could watch all my heroes sell a car on 206. Context of Subject-matter TV 207. We'll show 'em what we all mean Context of Subject-matter But where did you run to? And where did 208. Context of Subject-matter you hide?

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