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LANGUAGE CHANGE IN ORAL CULTURE OF SOCIETY: A DIACHRONIC STUDY

PERUBAHAN BAHASA DALAM BUDAYA LISAN MASYARAKAT MINANGKABAU: SEBUAH STUDI DIAKRONIS

Silvia Djonnaidi1) 1Jurusan Bahasa Inggris, Politeknik Negeri Padang, Kampus Unand Limau Manis Padang email: silviadjonnaidi83@.com Submitted: 07-02-2020, Reviewed: 08-03-2020, Accepted: 01-04-2020 https://doi.org/10.22202/JG.2020.V6i1.3937

Abstract This article shows the language change which occurs in the oral culture of Minangkabau society. The oral culture which is analyzed is the vocabularies that are used in the product of Minangkabau pop- culture which occurs in Minangkabau songs during the era of the 1950-s and 1990-s. Minang’s song is used as the of the study because these songs have a bigger tendency of having language change in its lyrics.It happens since songs are the product of oral folklore in Minangkabau society always follow the current development. The method in collecting the data is non-participant observational method with the note-taking technique. The method of analyzing the data is the intralingual equivalent method. To find out language retention and innovation, a top-down approach is also used in analyzing the data. The result of the analysis is presented informal and informal ways. The result of language analysis shows that there is some shift in meaning which happens lexically and semantically from both of this era. The language change is shown through the changing in some vocabularies which had innovation in meaning during the times. Keywords: language change, oral culture, retention, innovation

Abstrak Artikel ini membahas tentang gejala perubahan bahasa yang terjadi dalam budaya lisan masyarakat Minangkabau.Budaya lisan yang dianalisis adalah kosakata - kosakata yang digunakan dalam produk budaya lisan popular yakni lagu-lagu Minang yang muncul dalam dua era, yakni era 50-an dan 90-an. Pemilihan lagu Minang sebagai objek studi didasari oleh pengamatan dimana lagu sebagai produk sastra lisan. Minangkabau memiliki kecenderungan cukup besar untuk mengalami perubahan dalam bahasa yang digunakan pada lirik lagunya. Hal tersebut disebabkan karena lagu merupakan produk folklore lisan masyarakat Minangkabau yang senantiasa mengikuti arah perkembangan zaman. Metode yang digunakan untuk mengumpulkan data adalah metode simak bebas libat cakap dengan teknik catat. Metode yang digunakan dalam analisis data adalah metode pada intralingual. Dalam analisis data juga digunakan pendekatan top-down untuk menentukan unsur-unsur yang mengalami retensi dan inovasi. Penyajian data disajikan dalam bentuk formal dan informal. Hasil Analisis data memperlihatkan pergeseran makna yang terjadi secara leksikal dan semantic dari kedua era tersebut. Perubahan bahasa ditunjukkan oleh adanya kosakata – kosakata bahasa Minang yang mengalami inovasi seiring dengan terjadinya perubahan zaman.

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Kata kunci: Perubahanbahasa, budayalisan, retensi, inovasi

1. Introduction Language and culture like two sides of a coin that cannot be separated. The growth of language is formed because of the cultural context, while culture itself requires language to preserve it. language is a complex system, language not only involves the structure and the rules of language but more broadly language involves all forms of aspects in human life, especially the environment or geographical area of the language speaker (Fromkin, 1998). The differences between Regional and cultural in each community environment will create different languages. According to Danandjaya (2007), an oral culture is a form of language that is only used in certain regions and is regional. The role of language in oral culture can be seen through a direct speech from speakers of that language or through oral costumes which can take the form of stories, puzzles, folk poetry, folk prose stories, and folk songs. Through oral culture, we can see the cultural differences of each region, like the social structure, social life, or the way and style of their language in interacting and communicating. While According to Ibrahim Dt. Sanggoeno Dirajo (2009), Minangkabau (Minang) is an ethnic group in Indonesian who speaks and respects customs Minangkabau. According to Navis (2013) Minangkabau community embraces the concept of nature as a teacher. Furthermore, the teachings and worldviews are cited in the proverbs of petitih, advice, mamangan and thimbles. In an oral tradition society, the proverb petitih or expression that contains the doctrine, a very important view of life. According to Job et al (1993: 13) which has a function as a symbol of culture from West , and also as a means of connecting within the family and Minangkabau society in the form of communicating. According to Maryelliwati and Wahyudi Rahmat, (2016) the position and function of Minangkabau language as mentioned above, makes the Minangkabau language as one of the most important regional languages in the archipelago whose existence is considered safe in the times The importance of the Minangkabau language is not only seen from the function but also influenced by the number of speakers, it's spreading, and its role in everyday conversation. Sudaryanto (1993: 133) includes the following techniques of listing in minang language: (1) tapping technique, practically the listening method is done by tapping. A researcher to obtain data, he must use his ingenuity to tap into informant talks; (2) a competent listening technique, in tapping activities a researcher must participate in the conversation and listen to the conversation so that the researcher conducts a dialogue directly with the informant. The participation of researchers is flexible, that is, a researcher can be both active and receptive, said to be active if a researcher is actively speaking in the dialogue process, whereas it is receptive if a researcher due to both subjective and objective factors only listens to what is said by the informant; (3) competent, free listening techniques, in this technique a researcher is not directly involved to participate in determining the formation and appearance of data candidates except only as observers of data candidates that are formed and arise from linguistic events that are outside of him; (4) record technique, in this case, the researcher tries to record the conversation with the informant that he did without his knowledge and is used as research

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evidence; (5) the note-taking technique, besides recording this study also uses the note-taking technique on the data card followed by the data classification. Minangkabau is a language that belongs to groups language, including Kerinci and Iban. Besides these languages, languages Standard Malay, Serawai, Banjar, , Bacan, and Malay Menado also entered in the Melayik language group (Adelaar, 1992). According to Junus (in Koentjaraningrat, 1976: 242), use a common language, referred to as BMi, a language that is closely related to BM. Jonus added, according to your research language, BMi may be a separate language, but may also be considered as a dialect of BMi, a language that is closely related to BM. . Furthermore, Junus stated that BM words generally can be found similarities in BMi by changing only certain sounds. One way to see the similarities between BM and BMi is to change the label of the vocabulary. The culture of Minangkabau people is presented in two forms, namely oral culture and written culture.

According to Danandjaya (2007) describes oral culture as a form of language that is only used in certain regions and is regional. The role of language in oral culture can be seen through a direct speech from speakers of the language or through oral costums that develops in society. Oral costums is a costums that is purely oral in form. Folklore included in this form are folklore, puzzles, folk poetry, folk prose stories, and folk songs. Minangkabau society has an original cultural element associated with oral costums. One form of Minangkabau costums is songs from the Minangkabau language. Minang songs can decsribe and provide about the Minangkabau community, like lifestyle, philosophy, or ideology. However, Minang songs as one of the local Minangkabau art products are seen as susceptible to interference due to changes and progress of the times. With the progress of the times, the Minang songs that are present during the Minangkabau community will experience changes in terms of form and presentation in the community. The change aims to make the songs acceptable to modern society. On the one hand, this can be one way to further introduce local culture, not only to groups that are within the scope of that culture, but also to other groups. However, on the other hand the modification and interference of the popular culture presenter media can obscure some important components of the oral culture product, one of which is the regional language vocabulary used in the lyrics of the song. With the progress of human, be marked by the rapid development of science, technology and modern communication, oral culture as a cultural force is the source of the formation in various aspects of life. This is important cause oral culture, in its various forms is very complex which contains, not only stories, myths, legends, and fairy tales, but also contains various matters concerning the life and life of the community of its owner, for example local wisdom, value systems, traditional knowledge (local knowledge), history, law, customs, medicine, belief systems, religion, astrology, and various kinds of art. Awareness of the importance of oral culture as a source of knowledge began to be felt when the sources of modern knowledge obtained from written sources often did not provide an answer to the local uniqueness encountered. That happens because a lot of literature that glorifies the study of science in written standardized forms, while references originating from electrical culture to be ignored.

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On the other hand, the speakers and the oral cultural community are diminishing. This is due to the natural inheritance process that does not go as expected, while cultural change goes quickly. Faced with this fact, the only thing that is important in the effort to preserve oral tradition as a source of knowledge in the present and future is a change in the inheritance system. Oral culture is a manifestation of a community's of cultural activities. Oral culture itself can be seen as a cultural event or as an invented culture to be used, developed and revitalized, or as a form of culture which for some reason needs to be protected from extinction. In relation to language, oral culture is a form of language that is only used in certain regions and is regional. This oral culture is susceptible to change due to the rapid development of technology. Factors that influence changes in the shape and variety of meanings of a word include; technological development, socio-cultural development, differences in the fields of use, the existence of associations, the exchange of responses, senses, differences in responses, grammatical processes and term development (Bonvilllain: 1997). The development of language change and the meaning of a word does not necessarily occur but undergoes a process of change. Along with the development of the times that occur in a society, the language and words in that society will experience changes. This phenomenon of language change is also present of Minangkabau society. One form of oral can be observed is in the form of Minang songs that emerged in the era of the 50th and 90th. With the progress of the times, the Minang songs that are present in the Minangkabau community will experience changes in terms of form and presentation in the community. The change aims to make the songs acceptable to modern society. On the one hand, this can be one way to further introduce local culture, not only to groups that are within the scope of that culture, but also to other groups. On the other hand, the modification and interference of the popular culture presenter media can obscure some important components of the oral culture product, one of which is the regional language vocabulary used in the lyrics of the song. Therefore, this article further discusses the language changes that have arisen in the Minangkabau community in terms of vocabulary that experiences a form of retention and innovation. The discussion in this article will also involve the process of diachronic dialectological analysis to map vocabulary that still retains its original form and vocabulary that has undergone a shift in meaning. The results of this research analysis are expected to be able to add and enrich studies in the field of diachronic dialectology, especially for the Minangkabau language.

2. Research of methods This research is descriptive to give and explain the variations in the Minangkabau dialect that appear in the Minangkabau song lyrics. This is in accordance withDjayasudarma (2006: 16) that a descriptive study provides an accurate description of the characteristics of the data in accordance with the nature of the data itself. Descriptive research is based on available facts. This research is also qualitative because the research data are not related to numbers, but in the form of words, phrases and sentences. According to Arikunto (1998: 193) qualitative research is descriptive research because this study tries to describe data with words or sentences separated according to their categories to obtain a conclusion. The source of data in this research

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are Minangkabau songs which were obtained from CDs and cassettes of collections of Minang songs that emerged in the 50th and 90th. The data in this study are variations of language found in the lyrics of the Minangkabau song. To collect data on the Minangkabau language variations in the Minang song lyrics, the first method of listening to listen the Minangkabau language when used in the song lyrics. The listening method used is Listen free with involved, because the researcher did not directly involve the informant in data collection, but only listened to cassettes and CDs containing Minangkabau songs. After the data has been collected using the Simak bebas Libat Cakap method, the next step is do the recording technique. The recording technique is done by recording variations in the language in the Minang song lyrics, so that you can get an idea of the types of language variations that appear in the lyrics of the song. After all data is recorded, the next data is classified according to the type of language variation and the era in which the variations in the song's lyrics are found. This classification aims to simplify the data analysis stage in comparing language variations from two different eras, so it can be seen that vocabulary experiences retention and innovation. The method used in data analysis is the matching method, specifically the intralingual method. According to Mahsun (2005: 112-115) the intralingual equivalent method is a method of analyzing data by connecting the elements that are lingual, both in one language and in several different languages. There are three basic techniques of this method, namely the equalizing interconnection technique (HBS), the differentiating differential relations technique (HBB), and the comparative connecting technique equalizing the main thing (HBSP).

3. Result and discussion The change process of language that occur in Minangkabau oral culture in the form of Minang songs cannot be separated from analysis of the Minangkabau form of language (PBM) which is closely related to the reconstruction process. Language reconstruction is an attempt to rearrange the forms of ancient languages that reduce modern languages or dialects used by speakers today. To know the development of the Minang lexicon used in the Minang song lyrics in these two different eras, the reconstruction process is needed as a first step in determining whether the lexicon present in each era experiences a tendency for retention or innovation. As a first step to see the Minang language retention and innovation in Minang song lyrics in the 50th and 90th, first phonological reconstruction will be seen in the two eras. After that, then explained the extent to which the era uses ancient dialect / language (retention) and innovative dialect / language. In the description below, symbols will be used where the reconstruction form is marked by a star (*) before the reconstructed form, the symbol (#) is used to express the word boundary, the symbol (<) is used to indicate originating from, and the symbol (>) states the process becomes. Reconstruction of Vocal in Minang Song Lyrics in the 50th and 90th Analysis of the data in the previous sub-chapter shows that in the 50th there were 6th vowel phonemes / i /, / u /, / e /, / o /, / ә / and / a / whereas in the 90th there were 5th phonemes / i /, / u /, / e /, / o /, and / a /. The Minangkabau prototype form has six phonemes which are * a, * i,

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* u, * e, * ә, and * o. PBM's vocal phonemes have various reflexes in the Minang Era 50s and 90s song lyrics. The vocal phoneme reconstruction and reflex process describe below:

(1) PBM *a a. PBM *a / *-n# ( < PM *a) > a b. PBM *a / penultima, *-k#, *-ŋ#, *-h# (< PM *a) > a . PBM *al / -# ( < PM *al) > a

a reflex that appears at the end of the word that comes from PBM * al (which comes from PM * al) can be said as one form of phonological innovation in the language of the Minangsong lyrics because there has been a change in the PBM form. On the contrary, the reflex a at the final position of the words before n, k, ŋ and h and in the position of the penultimate from PM * a is a relic form because it still retains the original form of PBM * a.

(2) PBM *i a. PBM *i / -# (< PM *i) > i b. PBM *i / penultima ( < PM *i) > i c. PBM *it / -# (< PM *it) > i? d. PBM *is / -# (< PM *is) >ih e. PBM *ih / -# (< PM *ih) >iah, ieh, iәh f. PBM *ik / -# (< PM *ik) >ia?,ie? g. PBM *iɳ / -# (< PM *iɳ) >i˄ŋ h. PBM *il / -# (< PM *il) >ia i. PBM *iR / -# (< PM *ir) >ia, ie, iә Based on the reconstruction process above, it can be seen that PBM * I in the song lyrics of Minang in the 50th and 90th also has a form of innovation and retention. These forms can be explained as follows: PBM * it at the final position of the word (which comes from PM * it) which is realized as i? is a phonological innovation from the PBM * it. PBM * is at the end of the word (which comes from PM * is) which is realized to become a form of phonological innovation from PBM * is. The reflexes iah, ieh, and iәh are a form of phonological innovation from PBM * ih at the end of the word (which comes from PM * ih). Reflex he ?, ie? is a phonological innovation from * PBM ih at the end of the word (which comes from PM * ih). PBM * ik at the end of the word (which comes from PM * ik) which is realized as he ?, ie? is a form of phonological innovation from PBM * ik. Reflex i˄ŋ is a form of phonological innovation from PBM * iŋ at the end of the word (which comes from PM * iŋ). Furthermore, his form is also a form of phonological innovation from PBM * il at the end of the word (which comes from PM * il). Another form of phonological innovation is he, ie, iә which is a phonological innovation from PBM * iR at the end of the word (which comes from PM * ir). The other two forms of reflex i at the end of words and in the position of penultima of PBM * i (which comes from PM * i) is a retention form of PBM * i because it still inherits its prototype form.

(3) PBM *u

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a. PBM *u / -#, penultima, *-n# (< PM *u) > u b. PBM *ut / -# (< PM *ut) >uy? c. PBM *uŋ / -# (< PM *uɳ) >uaŋ d. PBM *uh / -# ( < PM *uh) >uah e. PBM *uk / -# (< PM *uk) >ua?,uO? f. PBM *up / -# (< PM *up) >uy? g. PBM *us / -# (< PM *us) >uyh h. PBM *ul / -# (< PM *ul) >ua i. PBM *uR / -# (< PM *ur) >ua, uO

In Minang song lyrics of the 50s and 90s, PBM * u only has one form of its actual relic u which is a reflex of PBM * u at the final position of words and penitima. Conversely, there are several forms of phonological innovation for PBM * u, namely: PBM * ut at the final position of the word (derived from PM * ut) which is realized as uy ?; PBM * uŋ at the end of the word (derived from PM * uŋ) which is realized as uaŋ; PBM * uh at the end of the word (which comes from PM * uh) which is realized to be uah; PBM * uk in the final position of the word (derived from PM * uk) which is realized as ua ?, uO ?; PBM * up at the end of the word (derived from PM * up) which is realized as uy ?; PBM * us at the end of the word (which comes from PM * us) is realized as uyh; PBM * ul at the end of the word (derived from PM * ul) is realized as ua; PBM * uR at the end of the word (derived from PM * ur) is realized as ua, uO. These forms of reflexes are a form of phonological innovation from PBM * i because they undergo a change from their prototype form.

(4) PBM *e a. PBM *et / -# (< PM *at, *әt) > e? b. PBM *eh / -# (< PM *as) > e, eh

PBM * e in Minang song lyrics undergo a process of phonological innovation. This is caused by a change in form from PBM * et at the end of the word (which comes from PM * at, * әt) to e? and PBM * eh at the end of the word (which comes from PM * as) becomes e. On the contrary, PBM * eh at the end of the word (which comes from PM * as) becomes eh said to have not undergone a process of phonological innovation or is still retention because it still maintains its relic form. (5) PBM *ә a. PBM *ә / *-m# (< PM * ә) > a b. PBM *ә / penultima (< PM * ә) > a c. PBM *әp / -# ( o? d. PBM *әR / -# ( < PM *ar, *әr) > a

PBM * ә found in the lyrics of Minang songs in the 50s and 90s mostly underwent a phonological innovation process. Based on PBM * rekonstruksi reconstruction data above, it can be seen that PBM * ә at the final position of the word before m and at the position of the cultor

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(which comes from PM * ә) experiences phonological innovation into the form a. PBM * әp at the end of the word (derived from PM * әp) becomes o?. Next PBM * әR at the end of the word position (which comes from PM * ar, * әr) becomes a. All these reflexes are said to undergo a process of phonological innovation because they no longer maintain their prototype form.

(6) PBM *o a. PBM *o / -# (< PM *a) > o

PBM * o at the end of the word (which comes from PM * a) becomes o. the form is said to not experience innovation because the PBM reflex * o in the Minang song lyrics tends to still maintain the PBM relics form ie * o

Thus, the description of PBM's vocal phonemes can be seen in table 1 below:

Tabel 1.FonemVokal PBM spread out round Spread out round hight t *i *u k Middle t *e *ә *o k low *a Front Center back Source: PBM Vocal Phonetic Table (Nadra, 2006: 105)

Information: t = tense k = slack

Reconstruction of the Diftong phoneme in Minang Song Lyrics in the 50th and 90th. Song lyrics of the Minang in the 50s and 90s had several diphthong phonemes. In the 50's, six diphthong phonemes were found: / ua /, / he /, / ay /, / aw /, / ea /, / uy / while the 90s had 5 diphthong phonemes, namely: / ua /, / he /, / ay /, / aw /, / uy /. For PBM there are only two forms of diphthong phonemes, namely * -ay and * -aw. The reconstruction process for the two phonemes bellow: a. PBM *-ay (< PM *-ay) >ey, ay b. PBM *-aw (< PM *-aw) > aw

PBM * -ay (which comes from PM * -ay) is the ey that appears in the Minang song lyrics can be said as a form of phonological innovation from PBM * -ay diphthong. PBM * -aw

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(which comes from PM -aw) is inherited from ancient forms because the reflexes do not show changes.

Reconstruction of Consonant phonemes in Minang Song Lyrics in the 50th and 90th Minang songs in the 50th and 90th have the same number of consonant phonemes, which are 19 consonant phonemes. Each consonant phoneme has a different phoneme reflex depending on the position of the consonant phonemes. The following will be shown the process of PBM consonant phoneme reconstruction which will produce the various reflexes. The reconstruction of each PBM consonant phoneme and its reflexes in the Minang Era 50th and 90th song lyrics can be seen bellow:

(1) PBM *p a. PBM *p-, *-p- (< PM *p-, *-p) > p b. PBM *p / *u-# (< PM *p / *u-#) > ? PBM *p / * ә-# (< PM *p / * ә-#) > ?

PBM * p at the initial position of the word and the middle of the word (derived from PM * p-,* -p) is a form of retention because the reflex still remains p. however, phonological innovation occurs in PBM * p at the final position of the word after u (which comes from PM * p) becomes? and PBM * p at the end of the word after ә (derived from PM * p) becomes?

(2) PBM *t a. PBM *t-, *-t- (< PM *t-, *-t-) > t b. PBM *t / *i-#; *u-# (< PM *t / *i-#; u-#) > ? c. PBM *t / *e-# (< PM *t / *a-# ; *ә-#) > ?

PBM * t at the initial position of the word and at the middle position of the word (which comes from PM * t-, * -t-) becomes t is a form of retention. Forms of innovation occur at PBM * t at the final position of the word after i and u (which comes from PM * t) and PBM * t at the final position of the word after e (which comes from PM * t) is realized as a sound?

(3) PBM *k a. PBM *k-, *-k- (< PM *k-, *-k) > k b. PBM *-k (< PM *-k) > ? PBM * k experiences retention in the PBM * k reflex at the initial and middle position of the word (which comes from PM * k-, * -k) which is still realized as the sound k. conversely, PBM * k experiences innovation in the final position where PBM * -k (which comes from PM * -k) is realized?

(4) PBM *? PBM *-? Penandavokatif (< PM *-?) > ?

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In the Minang song lyrics of the 50s and 90s only one form of PBM * was found? namely PBM * -? As a vocational marker (which comes from PM * -?) Which is realized as? The pattern shows that there is no change in the use of PBM * -? because it is still being realized? thus form? considered a form of retention.

(5) PBM *b PBM *b-, *-b- ( < PM *b-, *-b-) > b

PBM * b in the initial and middle position of the word (which comes from PM * b) to b is also a form of retention because it still retains the PBM * b form.

(6) PBM *d PBM *d-, *-d- (< PM *d-, *-d-) > d

The form of retention is also seen in PBM * d in the initial and middle position of the word (which comes from PM * d) which is still realized as b.

(7) PBM *g PBM *g-, *-g- ( < PM *g-, *-g-) > g

PBM * g (derived from PM * g) which is realized to be g is a form of retention because it does not change from its PBM form.

(8) PBM *m a. PBM *m / * ә-#, *a-# (< PM *m) > m b. PBM *m / *u-#, *i-# (< PM *m) > m

Reflex m is a form of retention. PBM * m in the final position of the word after ә, a, u, and i (which comes from PM * m) is still realized into m so that it makes it a form of retention.

(9) PBM *n ( < PM *n) > n

PBM * n (which comes from PM * n) in the song lyrics of the Minang era of the 50th and 90th continues to be realized into n. Thus there is no renewal or process of phonological innovation. Therefore, reflex n is considered a form of retention.

(10) PBM * PBM *ñ-, *-ñ- (< PM * ñ-, *-ñ-) >ñ PBM * ñ at the beginning and middle of the word (which comes from PM * ñ-, * -ñ-) becomes ñ is also considered a form of retention because there is no renewal process.

(11) PBM * ŋ ( ŋ

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The reflex ŋ of PBM * ŋ (which originates from PM * ŋ) is a form of retention because it still retains the original form of PBM * ŋ.

(12) PBM * s a. PBM * s-, * -s- ( s b. PBM * -s ( h, ø

PBM * s at the beginning and middle of the word (which comes from PM * s) is realized to be said to be a form of retention because there is no change in the reflex form. However, PBM * s at the end of the word (which comes from PM * s) is realized as h, ø is a form of innovation because there has been a process of renewal.

(13) PBM *R PBM *R- (< PM *r) > r a. PBM * -R- ( < PM *-r-) > r b. PBM *R- ( < PM *–r) > ø

PBM * R in Minang song lyrics in 50s and 90s era underwent renewal or innovation. PBM * R in the initial and middle position of the word (derived from PM * r) is realized as r sound. PBM * R in the last position of the word (derived from PM * r) is realized as ø.

(14) PBM *h a. PBM *-h ( < PM *-h) > h, ø b. PBM *h / – V ( < PBM *-h-) > h, ø

PBM * h's reflexes in Minangkabau song lyrics appear in the form of retention and innovation. The form of retention is seen in PBM * h at the end of words and in the position between vowels (derived from PM * h) which are reflected to h. On the contrary, innovation is seen in PBM * h at the end of words and in positions between vowels (derived from PM * h) which are reflected as ø.

(15) PBM *c PBM *c-, *-c- (< PM *c-, *-c-) > c PBM * c in the initial and middle position of words (derived from PM * c) is reflected to c. The form does not change so it can be said to be a form of retention.

(16) PBM * PBM * j-, * -j- ( j PBM * j in the initial and middle position of the words (which comes from PM * j) in Minang song lyrics in 50s and 90s era did not undergo a renewal process because it was still realized as j. Thus j is a form of retention.

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(17) PBM * l PBM * l-, * -l- (< PM, * l-, * -l-) > l PBM * l in the initial position and in the middle of the word (which comes from PM * 1) becomes l is a form of retention because it does not undergo a renewal process.

(18) PBM * w (< PM * w) > w Reflex w of PBM * w (which comes from PM * w) is a form of retention because there is no renewal of the reflex form.

(19) PBM * y (< PM * y) > y PBM * y (which comes from PM * y) becomes y is a form of relics because there is no change in the PBM reflex.

Therefore, PBM consonant phonemes can be seen in the following table 2:

Table 2. PBM Consonant phonemes Bilabial Dentalalveolar Palatal Velar Glottal Inhibit Tb *p *t *k *?

B *b *d *g Nasal *m *n *ñ *ŋ *s *r *h

Affricative Tb *c

B *j Lateral *l Trill *r Semi vocal *w *y

Source: PBM Consonant Phonograph Table (Nadra, 2006: 106)

Reconstruction of Morphological Elements in Minang Song Lyrics in 50s and 90s Era Based on data analysis in the previous sub-chapter, it is known that there are morphological variations in Minang song lyrics in 50s and 90s era. These two eras show the same reflexes of morphological variation in formation of possessive third person pronouns (APPPT), the suffix of noun forming (APKB), and the suffix of verb forming (APKK). Based on data for APPPT there is only one form of suffix used, called -ño. The reconstruction of the use of this suffix can be explained by the following pattern:

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PBM * ña ‘possessive third person pronouns’ (< PM * ña) >ño. The ño reflex can be considered as a form of innovation because it has changed from PBM * ña to ño. In APKB the reflexes are found in two , that is –an and ø. The reconstruction pattern for APKB can be written as follows: PBM * -an ‘suffix that functions as forming a noun’ (< PM * - an) > -an, ø. The form of retention occurs in PBM * -an ‘suffix which functions as forming nouns’ (originating from PM * -an) which is realized as –an. The PBM * -an ‘suffix that functions as a noun (which originates from PM * -an) which is realized as ø is a form of morphological innovation from the PBM * -an. Reconstruction of APKK can be seen from transitive, and benefactive APKK and locative and causative APKK. Transitive, causative and beneficial active APKK are realized in two forms, that are –kanand –an while locative and causative APKK are also realized in two forms, that are –iand–an. The PBM reconstruction process for the reflex can be written as follows: a. Transitive, causative and benefactive APKK reconstruction PBM * -kan ‘suffix that functions as forming verbs’ (< PM * -kan) > -kan, -an. Reflexes in the Minang song lyrics in 50s and 90s era are retention forms while reflexes are forms of innovation. b. Locative and causative APKK reconstruction PBM * -i ‘suffix forming locative and causative verbs’ (< PM * -i) >-i, -an. The realization of PBM * -i in the form i is a form of retention while the reflex-an as a sign of locative and causative APKK is considered a form of innovation because it has undergone renewal.

Lexical Reconstruction in Minang Song Lyrics in the 50s and 90s Era Based on the results of the reconstruction in the previous discussion, lexical reconstruction can be done by referring to PBM phonemes whose reflexes are seen in the lexicons developing in Minang song lyrics of the 50s and 90s era. The discussion of lexical variations in Minang song lyrics shows that the Minangkabau language variations in Minang song lyrics are reflected in several categories such as numbers, time and direction, human body parts, pronouns and kinship terms, jewelry, animals and body parts, parts plants and their processed products, nature, odor and taste, nature, condition and color, house and parts thereof, food and drink, disease and medicine, activities, and question words. In the following sub- chapter, we will explain some forms of lexical retention and innovation that occur in the lexicons in Minang song lyrics in 50s and 90s era. The discussion will refer to the data contained in Appendix C and Appendix D. Some number words are found in Minang song lyrics in 50s and 90s era. Most of the number words found in a form of inheritance from PBM including the following:

PBM * әso ‘one (aso PBM * duo ‘two’ ( Duo PBM * әmpet ‘four’ (ampe? PBM * tujuh 'seven' (tujuah

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However, it is not only the form of retention that appears in the word numbers in Minang song lyrics in 50s and 90s era. The lexical innovation is also reflected in the lexicon of the Minang songs, including the following:

PBM * әso ‘one (< PM * әsa?, * sA-)>cie?, tuŋga PM * tәlu 'three' >tigo PM * әsa? alap-an ‘take one (out of 10)’ >sambilan

The word tigo is an external innovation borrowed from Indian language through Malay. Likewise, the sambilan word is also an external innovation borrowed from Malay. In the timepiece and direction categories there are also a number of lexicons that still maintain their ancient form, including: PBM * ilir ‘downstream’ (ilia PBM * taun ‘year’ (taun PBM * lamo 'long' (lamo PBM * malәm ‘evening’ (malam PBM * siah ‘afternoon’ (siaŋ PBM * (i) tu ‘that’ (ba-itu

The time and direction lexicons also have lexical innovations, including: PBM * lamo 'long' (usaŋ PBM * (i) ni ‘this’ (iko, ko, naŋko PBM * (i) tu ‘that’ (nantun PBM * sore ‘evening’ (pataŋ

The lexicons belonging to the category of parts human body in general still maintain their prototype form. The lexicons can be described as follows: PBM * bibiR ‘lips’ (bibia, bibiә PBM * mato ‘eye’ (mato PBM * kәnih ‘forehead’ (kani˄ŋ PBM * pәRut ‘stomach’ (paruy? PBM * dado ‘chest’ ( dado PBM *jantuaŋ ‘heart‘(jantuaŋ PBM * Rambut ‘hair’ (rambuy?

The next category that has lexical variations is pronouns and kinship terms. In the word meaning 'we' there are two variations of the words used, that are kito and awa?. The reconstruction process is: PBM * kito "us" ( Kito, awa?.Kito form is said to be a relic form which still inherits the basic form of its prototype. However, the form of awa? is a form of innovation. For the word meaningful 'I' the reconstruction process occurs: PBM * ambo 'I' ( ambo, aden, denay, wa?. The word ambo is inherited from the form of prototype

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while the word aden (with variations den, wa? Den), wa? (with variations awa?) and denay is a form of lexical innovation from PBM * ambo that has undergone renewal. The lexicon associated with the term kinship is the lexicon in which the Minang song lyrics have the most variety. The word 'father' has variant suc as bapa? And ayah. These two reflexes are inherited from the prototype form PBM * ((b)) a) pa? and PBM * ayah. The reconstruction process can be written with the following rules:

PBM * ((b)) a) pa? ‘Father’ (bapa? PBM * ayah ‘father ’( ayah

Next is the lexicon for the meaning 'mother' which has a mande variant (with mandeh variations), ama? (with variations ma?), bundo, indua?. The form of mande and bundo can be considered as ama? and indua? is an inherited form of PBM * (ә) ma? and PBM * indu? as can be seen in the following reconstruction process:

PBM * (ә) ma? ‘Mom’ (Ama? PBM * indu? ‘Mother’ (Indua?

Lexicon for the meaning of 'child' in Minangkabau language anak?is still inherited from PBM * anak ‘child’ (ana?. The same thing with the word adia? which is the legacy of PBM * Adi? ‘Brother/Sister’ (Adia?. The word bini which means 'wife' is inherited from PBM * bini 'wife' (bini while the male word meaning 'husband' is also inherited from PBM * male 'husband' ( male. Next is a word related to the nickname used to say the names of girls and boys. In Minang song lyrics in 50s and 90s era, several lexical variations were found to refer to girls, namely: upia?, gadih, padusi, batino. Upia word? and gadih is a form of innovation while the word padusi is inherited from the PBM * podusi relic form and the word batino is a legacy from PBM * batino derived from the standard bә / t / ina. The lexical variation for the designation of boys in the Minang song lyrics in the 50s and 90s era is buyuaŋ, bujaŋ, laki-laki, jantan. The word male is inherited from PBM * male (s) ( male and the word male is inherited from * jantәn. The form of buyuaŋ, bujaŋ can be considered a lexical innovation for the calling boys. The lexicons associated with animals and their body parts are also found in the lyrics of Minang songs in 50s and 90s era. The lexical reconstruction process for the lexicons is as follows: PBM * buRuh ‘bird’ (buruaŋ PBM * itik ‘duck’ (itia? PBM * kәbaw ‘buffalo’ (kabaw PBM * ulәr ‘snake (ula PBM * tәluR "egg" (taluO, talua PBM * ikuR ‘tail’ (ikua

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In addition to lexicons related to animals and their body parts, there are also several lexicon in the category of plants, parts, fruits, and their processed products. Some examples of lexical reconstructions related to this category are as follows: PBM * nasi ‘rice’ (nasi PBM * bәReh ‘rice (bareh PBM * kunit 'turmeric' (kuñit PBM * dahan "branch" (dahan PBM * buɳo ‘flower’ (Buŋo PBM * Rueh ‘segment’ (rueh

The next category that is often found in Minang song lyrics is a lexicon related to nature. The reconstruction process of some of the lexicons is as follows: PBM * aiR ‘water’ (aia, aie PBM * Rimbo ‘jungle’ (rimbo PBM * aŋin ‘wind’ (aŋin PBM * kabut ‘fog’ (kabuy? PBM * passiR ‘sand’ (pasia

Furthermore, there is also a lexicon which shows the smell, taste, nature, state and color. Some of them are as follows: PBM * busuk ‘rotten’ (busua?,busuo? PBM * pahit 'bitter' (payi? PBM * manis ‘sweet’ (manih PBM * idup ‘life’ (hiduy? PBM * tiŋgi ‘high’(tiŋgi PBM * pandak ‘short ’(pende? PBM * tuo ‘old’ (Tuo PBM * mudo ‘young’ (Mudo PBM * kәcik ‘small’ (kacia? PBM * dәket ‘close’ (dake? PBM * takut ‘scared’ (takuy? PBM * jauh ‘far’ (jauah PBM * itәm ‘black’ (hitam, itam PBM * kuniŋ ‘yellow’ (kuni˄ŋ

Then, in Minang song lyrics in 50s and 90s era also had lexical variations in the categories of disease and medicine. The word means 'sick' in the Minangkabau language is Saki? It is comes from PBM * sakit ‘sick’ (saki?. Sometimes the word saki? Also realized as damam. Next is the use of the word meaning 'blind' which has two lexical variations that are buto and rabun. The word buto is inherited from PBM * buto ‘blind’ (Buto while the word rabun is inherited from PBM * rәbun.

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The word question also has several forms of lexical variation. Some of them underwent a reconstruction process as follows: PBM * siapo ‘who (sia, siapo PBM * mano 'where' (Ma, mano PBM * apo ‘what’ (apo

The next category that have develop become semantic innovation is that which is related to activities. Data in Appendix C and Appendix D show that semantic innovation is most common in Minang song lyrics, especially in 90s era. Some examples of semantic innovations related to these activities or activities are: innovation in the word lie? Which comes from PBM * liet ‘see’ (lie. In Minang song lyrics in 50s and 90s era, there were several variations of the word lie? These are: pandaŋ, cigo?,calia?, tampa? Some of these variants are a form of innovation from the word lie?. Then, the word dataŋ which comes from PBM * dataŋ ‘comes’ (dataŋ. Besides the use of dataŋ there is also the use of the word tibo to realize the same meaning. Thus, the word tibo originating from PBM * arrived is a form of innovation from PBM * dataŋ. The word for meaning 'dream' has lexical variations mimpi and rasian. The word dream is a legacy from PBM * mimpi ‘dream’ (mimpi. The word rasian is a form of lexical innovation from the word dream. The word for meaning 'give' has two lexical variants that are bari and agiah. The word bari is inherited from PBM * bәri ‘give’ ( Bari. The word agiah is a form of lexical innovation that is internal. The word for 'hold' in Minang song lyrics has two lexical variants namely paci? And gaŋgam. Word of Paci? It thought to be a legacy from the form of relics because in Malay there is PM * pәcit. The word gaŋgam is a legacy from PBM * gәŋgam ‘handheld’ (gaŋgam which experiences semantic innovation and extends its meaning to 'grasp'. Analysis of the data above shows that there are significant developments in phonological, morphological, lexical and semantic elements in Minang song lyrics. Songs in the 50s era have a tendency to still maintain the form of prototype relics. Songs of the 50s as one form of classical work in Minangkabau culture reflect the use of vocabulary that is still a legacy of the PBM form although there are also some updates that are still internal. The form of relics that still survives in Minang song lyics in 50s era can be seen one of them from the phonological aspect. In the 50's era the vocal phonemes / ә / were still found in some lexicons, some examples are the phonemes / ә / in the words iliә, bibiә, agiәh. The emergence of this form of relics in the lexicon of Minang song in 50s era was caused by the use of the Minangkabau language in this era which was still strongly influenced by the Melayik proto language. In the development of the Minang song industry, in 50s era was the the growth of classical Minang songs era that were thick with the use of classical Minangkabau language as well. In this case the classic Minangkabau language that is meant here is the Minangkabaulanguage which is still a legacy of the Minangkabau form of prototype which comes from the prototype Melayik derivative.

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Aside from aspects of phonological variation, other aspects of language that indicate the use of the Minangkabau form of prototype in Minang song lyrics of the 50s era are aspects of lexical variation. Based on data analysis in the previous sub-chapter, we found some forms of lexical variation for certain vocabularies that still use the form of relics. Some examples are: the word number 'one' has two lexical variations in this era: aso and tuɳga. The use of the aso lexicon shows the Minangkabau reflex language * әso ‘one that comes from the Proto Melayik form * әsa?. Another example is the lexical variation for the word 'I'. In this era lexical variations found denay, den, awa?, and ambo. The ambo lexicon is a reflex of the Minangkabau prototype* ambo 'me' which comes from the proto Melayik * Ambo. Changes began to be felt in some of the lexicon used in contemporary Minang songs in 90s era. In that era innovation in the Minangkabau language began to be seen clearly. Updates occur both internally and externally and semantic innovation is also found. In terms of phonological aspects, in this era the phoneme / ә / in its lexicons was no longer found. Conversely, the phoneme / a / is used in most of the lexicon to realize the sound [ә]. For example: the lexicon which realizes the meaning of 'lips', in the era of the 50s appeared in the form of bibia, while in 90s era it was realized as a bibia. Thus, a process of change occurs internally from the Minangkabau * әr prototype at the end of a word derived from the proto Melayik * әr which is realized as [a]. Significant renewal occurs in many aspects of the lexical. In Section 4.3.5, which explains the lexical reconstruction of, it was found several lexicons in Minang song lyrics in 50s and 90s era. in 90s era which experienced innovation processes both internally and externally. For example, in the Minangkabau song lyrics in 90s era, several lexical variations were found to refer to girls, namely: upia?,gadih, padusi, batino. Upia word? and gadih is a form of innovation while the word padusi is inherited from the PBM * podusi relic form and the word batino is a legacy from PBM * batino derived from the standard Malay language bә / t / ina. The lexical variation for the designation of boys in Minang song lyrics in 50s and 90s era is buyuaŋ, bujaŋ, laki-laki, jantan. The word male is inherited from PBM * male (s) ( male and the word male is inherited from * jantәn. The form of buyuaŋ, bujaŋ can be considered a lexical innovation for calling of boys. External innovations in 90s era were seen in the use of the word loan in several lexicons, for example: The word tigo is an external innovation borrowed from Indian language through Malay. Likewise, sambilan word is also an external innovation borrowed from Malay.Besides lexical innovation, the lexicons in Minang song lyrics in 90s era also gave rise to semantic forms of innovation. For example, as explained in the data analysis section, the word for the meaning of 'hold' in Minang song lyrics has two lexical variants, namely paci? And gaŋgam. Word of Paci? It thought to be a legacy from the form of relics because in Malay there is PM * pәcit. The word gaŋgam is a legacy from PBM * gәŋgam ‘handheld’ (gaŋgam which experiences semantic innovation and extends its meaning to 'grasp'. Another form of semantic innovation occurs in the word buɳo which used to mean 'flower' in the true sense, then in 90s era it was used to realize the meaning of 'women'. Similarly, the use of the word batino and jantan which refers to the calls for 'women' and 'men'. In song lyrics in 50s era the two words were not found while in 90s era the words appeared and were

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used in some song lyrics. However, the meaning of the word male and batino has experienced an extension from the term that refers to the sex of the animal to a call that refers to the call for 'women' and 'men'. For the category of phonological variation in the aspects of diphthongs and consonant phonemes, and variations of the morphological aspects there were no differences between in 50s and 90s era. These two eras show the same variation patterns in these aspects. This fact is likely due to the changing times from the classical era to the contemporary era causing more aspects of change in terms of lexical and semantic aspects than intralinguistic aspects related to sound and endings that are affixed to the lexicon. This is in accordance with the category of cultural factors that cause changes in the language of a community group. The 50s and 90s formed different cultural patterns in Minangkabau society. The 90s were more influenced by modern or contemporary culture so that there was a renewal or innovation in the lexicon used in society. Old lexicons continue to emerge, but because of the influence of cultural change, these words will undergo a process of change in meaning (sematic innovation). On the other hand, the development of the times also led to an external innovation process in the form of the emergence of loan lexicons from other languages.

4. Conclusions Based on the above analysis it can be concluded that, Minang songs as one of oral literary products in the culture of Minangkabau community can provide an overview of language retention and innovation that occurs in Minangkabau language. The emergence of innovation trends in 90s era became a benchmark for the development of Minangkabau lexicon. This data proves that the lexicon of Minangkabau language began to undergo a process of erosion of meaning due to the emergence of many updates from internal and external aspects. Minang songs in 90s era have a more innovative tendency in the selection of the lexicon to realize one meaning compared to Minang songs in 50s era. Conversely, Minang songs in 50s era tended to maintain a more relic form of Minangkabau language or more retention-oriented.

5. Acknowledgments Thank you to the Head of Department, colleagues, administrative staff of the English Department of State Polytechnic of Padang, and all those who have helped in perfecting the writing of this research article. Hopefully, the results of this study can enrich the treasury of science, especially in the field of diachronic dialectology research.

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