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ANALISIS CAMPUR KODE PADA LIRIK LAGU OHEY WHATRS UPP 坤 HEY WHATRS UP墾 碕 哉妻 妻 冴 昨 璽紫屍斯執市思実詩 昨"便霍 Skripsi ini Diajukan kepada Panitia Ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan untuk Melengkapi Salah Satu Syarat Ujian Sarjana dalam Bidang Ilmu Sastra Jepang OLEH: SARIANA 130722006 EKSTENSI SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2019 Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara ABSTRAK Bahasa Inggris Amerika Utara adalah bahasa asing yang paling berpengaruh dalam bahasa Jepang. Pencampuran kode didefinisikan sebagai kondisi di mana seorang pembicara yang mampu berbicara bahasa asing memasukkan kata-kata asing ke dalam kalimat Jepang. Ini bisa dalam bentuk kata, frasa, klausa, idiom, atau baster. Saat ini, pencampuran kode ini mudah ditemukan di lagu-lagu Jepang. Menurut penelitian lagu top 2015, campur kode dengan kata-kata bahasa Inggris mencapai 69%. Penelitian ini berfokus pada menganalisis kode pencampuran dalam lagu "Hey What's Up". Pengamatan menunjukkan bahwa lagu "Hey What's Up" berisi 22 kode pencampuran unik yang diulang 91 kali. Campur kode dalam lagu dapat dalam bentuk kata, frasa, klausa, pengulangan dan baster. Pencampuran kode bertujuan untuk mengekspresikan kata-kata yang tidak tersedia di Jepang, untuk memperlancar dan menyelaraskan lirik serta untuk mengkonfirmasi artinya. i Universitas Sumatera Utara KATA PENGANTAR Segala puji dan syukur selalu tercurahkan ke hadirat Allah Subhanahu Wa Ta’ala yang telah memberikan rahmat dan hidayah-Nya tanpa henti, serta sholawat dan salam atas rasulullah Muhammad SAW yang menjadi suri tauladan dalam kehidupan, sehingga penulis dapat menyelesaikan skripsi yang berjudul “ANALISIS CAMPUR KODE BAHASA PADA LIRIK LAGU HEY WHAT’S UP”. Penulis menyadari sepenuhnya bahwa skripsi ini masih jauh dari sempurna, dari tata bahasa, analisis maupun uraiannya. Untuk itu penulis sangat mengharapkan kritik dan saran yang akan menjadi sumber pembaca untuk perbaikan di masa yang akan datang. Dalam penulisan skripsi ini, penulis banyak menerima bantuan dan dorongan dari berbagai pihak. Untuk itu, pada kesempatan ini penulis menyampaikan rasa terimakasih yang tak terhingga, terutama kepada : 1. Bapak Dr. Budi Agustono M.S, selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara, Medan. 2. Bapak Prof. Hamzon Situmorang, M.S.,Ph.D, selaku Ketua Program Studi Sastra Jepang, Universitas Sumatera Utara, serta selaku Pembimbing 2 yang memberikan masukan perbaikan skripsi dari awal hingga akhir. 3. Ibu Adriana Hasibuan, SS., M.Hum, selaku dosen pembimbing 1 yang telah memberikan arahan, bimbingan, dan masukan kepada penulis hingga skripsi ini selesai. 5. Bapak Drs. Eman Kusdiyana, M.Hum, selaku dosen penguji yang telah memberikan arahan dan masukan kepada penulis hingga skripsi ini selesai. ii Universitas Sumatera Utara 6. Untuk semua Bapak dan Ibu dosen Sastra Jepang, terima kasih atas ilmu dan bimbingannya selama ini. 7. Untuk orang tua penulis, Alm. Irwan Efendi dan Hamidah, untuk suami dan anak- anakku, serta keluarga besar penulis, tak lupa teman-teman seangkatan, sehingga penulis dapat menyelesaikan skripsi ini. 8. Dan juga kepada pihak yang tak dapat disebutkan namanya satu per satu, terima kasih atas segala dukungan dan doa yang juga merupakan sumber semangat bagi penulis. Semoga Allah memberikan rahmat-NYA kepada semua pihak yang disebutkan di atas serta semua pihak yang telah membantu, tetapi tidak disebutkan namanya. Penulis memohon maaf jika penulis ada kekurangan. Akhir kata, semoga skripsi ini dapat memberi manfaat bagi kita semua. Medan, 20 Mei 2019 Sariana NIM 130722006 iii Universitas Sumatera Utara DAFTAR ISI ABSTRAK ................................................................................................................................ i KATA PENGANTAR ............................................................................................................. ii DAFTAR ISI........................................................................................................................... iv BAB I PENDAHULUAN ....................................................................................................... 1 1.1 Latar Belakang .............................................................................................................. 1 1.2 Perumusan Masalah ..................................................................................................... 2 1.3 Ruang Lingkup.............................................................................................................. 3 1.4 Tinjauan Pustaka dan Kerangka Teori ...................................................................... 3 1.4.1 Tinjauan Pustaka ....................................................................................................... 3 1.4.2. Kerangka Teori ..................................................................................................... 5 1.5 Tujuan dan Manfaat ..................................................................................................... 8 1.5.1. Tujuan .................................................................................................................... 8 1.5.2 Manfaat ................................................................................................................... 8 1.6 Metode ............................................................................................................................ 9 BAB II GAMBARAN UMUM CAMPUR KODE DAN PENYANYI HEY WHAT’S UP .................................................................... 10 2.1 Campur Kode .............................................................................................................. 10 2.1.1 Pengertian Campur Kode ................................................................................... 10 2.1.2 Jenis Campur Kode ............................................................................................. 11 2.1.3 Bentuk Campur Kode .......................................................................................... 11 2.1.4 Faktor-faktor penyebab campur kode ............................................................... 14 2.2 Jin Akanishi dan Karyanya ....................................................................................... 14 2.2.1 Profil Jin Akanishi ............................................................................................... 14 2.2.2 Karya Lagu Jin Akanishi .................................................................................... 16 2.2.3 Latar Belakang Lagu Hey What’s Up .................................................................... 18 2.2.4 Lagu What’s Up ....................................................................................................... 19 BAB III ANALISIS BENTUK CAMPUR KODE DAN PENYEBAB PENGGUNAAN PADA LIRIK LAGU HEY WHAT’S UP .............................................................. 24 3.1 Analisis Bentuk Campur Kode pada Lagu Hey What’s Up ................................... 24 3.2 Analisis Penyebab Penggunaan Campur Kode ........................................................ 29 4.1. Kesimpulan ............................................................................................................. 39 4.2 Saran ....................................................................................................................... 40 DAFTAR PUSTAKA ............................................................................................................ 41 iv Universitas Sumatera Utara BAB I PENDAHULUAN 1.1 Latar Belakang Keterbukaan bangsa Jepang terhadap dunia luar pada akhir abad ke-19 membuat bangsa Jepang mencapai tingkat pencapaian riset dan teknologi setara dengan negara- negara maju. Sebagai akibatnya, Jepang mengalami dua arah perubahan, pengaruh dari luar negeri ke dalam negara Jepang, serta pengaruh Jepang ke negara lain. Globalisasi () merupakan proses yang menempatkan masyarakat suatu bangsa yang mampu menjangkau bangsa yang lain dan mampu saling berhubungan dalam berbagai aspek kehidupan. Globalisasi merupakan pengabungan cara berpikir masyarakat dari beberapa negara. Pengaruh bangsa lain menyebabkan semua aspek berubah, termasuk dalam bahasa dan budaya. Ota (1999: 108-130 (dalam tsuge.arts.yorku.ca)) mengungkapkan globalisasi di Jepang disamakan dengan “North Americanization”, dimana pengaruh bahasa Inggris Amerika mendominasi. Hal ini menyebabkan terjadinya campur kode bahasa. Campur kode, code mixing atau koudo mikushingu (), menurut Suwito (1983: 75) merupakan keadaan seorang penutur yang menguasai beberapa bahasa, kemudian menyisipkan unsur-unsur bahasa atau variasinya di dalam bahasa lain yang tidak lagi mempunyai fungsi sendiri. Campur kode digunakan untuk memperbanyak variasi atau gaya berbicara seseorang. Campur kode dapat berbentuk penyisipan kata, frasa ataupun kelompok kata. Campur kode berupa kata, klausa, idiom, sapaan dan sebagainya. Menurut Suwito (1983: 75), campur kode dapat juga Universitas Sumatera Utara1 berbentuk hasil perpaduan dua unsur bahasa yang berbeda membentuk satu makna. Salah satu bentuk campur kode ini adalah gairaigo. Gairaigo adalah kata-kata yang berasal dari bahasa Inggris yang telah disesuaikan dengan aturan-aturan bahasa Jepang. Gairaigo mendominasi kata serapan dalam bahasa Jepang. Sebagai contoh, riiku-suru , riiku berasal dari leak, yang artinya kebocoran. Campur kode sangat terlihat pada lirik lagu-lagu jepang terkini. Dari 100 lagu top Oricon
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