Style in Speech Sound of Count Dracula, the Leading Character in Hotel Transylvania

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STYLE IN SPEECH SOUND OF COUNT DRACULA, THE LEADING CHARACTER IN HOTEL TRANSYLVANIA – 2

A THESIS

BY:

DONAL FERNADO LUBIS 157052007/MBE

FACULTY OF CULTURAL SCIENCES UNIVERSITY OF SUMATERA UTARA MEDAN 2018

UNIVERSITAS SUMATERA UTARA STYLE IN SPEECH SOUND OF COUNT DRACULA, THE LEADING CHARACTER IN HOTEL TRANSYLVANIA – 2

A THESIS

Submitted as the Partial Fulfillment of Requirements for the Degree of Master of Arts (M.A.) in English Postgraduate Study Program, Faculty of Cultural Sciences, University of Sumatera Utara

BY: DONAL FERNADO LUBIS 157052007/MBE

FACULTY OF CULTURAL SCIENCES UNIVERSITY OF SUMATERA UTARA MEDAN 2018

UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA DECLARATION

STYLE IN SPEECH SOUND OF COUNT DRACULA,

THE LEADING CHARACTER IN HOTEL TRANSYLVANIA – 2

I certify that the thesis I wrote as one of the requirements to obtain the degree of Master of Arts from English Postgraduate Study Program, of Faculty of

Cultural Sciences, University of Sumatera Utara, is exactly my own work.

I certify that I clearly mentioned the reference of the citations I used in some specific parts of this thesis based on norm, rule, and etiquette of the technique of a scientific writing.

I certify, in the future, that I am willing to accept the consequences of the renovation of my academic degree which I receive and other sanctions in accordance with the prevailing laws and regulations provided some parts or all parts of this thesis are invented not to be my own work or to commit plagiarism.

Medan, January 2018 The Writer,

Donal Fernado Lubis

UNIVERSITAS SUMATERA UTARA AN ANALYSIS OF STYLES IN SOUND LEVEL OF COUNT DRACULA CHARACTER IN HOTEL TRANSYLVANIA – 2

ABSTRACT Speech s tyles r eflect p ersonal ch aracters t hrough p articular w ays i n co nveying utterances, and this has to be the main concern of a v oice cast in a film. Count Dracula character in the animation film, ‘Hotel Transylvania – 2’, cast by Adam Sandler performs varieties of styles in his speech to reinforce the existence of the main character. The styles were pointed out through research in phonetic studies to fi gure out t he i nfluences of s ounds p roduced t o t he s tyles pe rformed b y t he character. The an alysis i nvolved PRAAT, software s pecially u sed i n d oing acoustic phonetic research. One hundred thirty three of 243 utterances (55%) from the film script were chosen to represent the data. By digital converter, the voice of Count Dracula was taken from the film, converted it into wave files to get better quality of re cording. The m ethod o f d ata an alysis i s t hrough d escriptive qualitative combining two fundamental studies, Leech’s theories on stylistic and phonetic approaches by Collins and Mess, and applied them through analysis. By focusing on the stylistic elements in phonetic level, it was found that the glottal settings in voice production proved that the voice cast involved several phonations in consolidating the character Count Dracula with the scenes. Modal voice, harsh voice, and falsetto voice accompanied the speech style, and these acoustic effects were analyzed and measured. Each phonation is characterized by certain ranges of intensity an d p itch an d t heir p articular f requency o f m odulation. An i mportant finding here is how fricative voices are not under the influence of glottal setting for its distant place of articulation from glottis. In segmental analysis, there were distinguished pronunc iations i n a rticulating t he c onsonants a nd v owels t hat associated t he v oice cas t t o a t ypical accen t o f I ndo-European, v iewed a nd compared by the General American English, where the acoustic features of [], [r], [], [], [n̪ ], and several vowels such as // and /e/ deviated from their conventions in articulation. I n phonol ogical s chemes, a lliterations, c onsonance, a ssonance, both l exical a nd non -lexical onomatopoeia were found in t he songs sung i n t he film, as well as in the script setting. These features perform how a film is meant linguistically and describe style effects in film script composition.

Keywords: style, stylistic, phonetic, phonology, film, script.

UNIVERSITAS SUMATERA UTARA SEBUAH ANALISA GAYA BAHASA PANGERAN DRAKULA PADA TINGKAT SUARA DALAM FILM HOTEL TRANSYLVANIA - 2

ABSTRAK Gaya berbicara menggambarkan karakter pribadi melalui cara-cara tertentu dalam menyampaikan ujaran-ujaran, dan hal ini menjadi perhatian penting bagi seorang pengisi suara dalam sebuah film. Karakter Pangeran Drakula dalam film ‘Hotel Transylvania – 2’, yang diperankan oleh Adam Sandler menampilkan berbagai gaya berbicara untuk memperkuat eksistensinya sebagai tokoh utama. Berbagai gaya tersebut ditonjolkan melalui penelitian dalam kajian Fonetik untuk menampilkan pengaruh suara-suara yang dihasilkan terhadap gaya-gaya yang ditampilkan oleh tokoh tersebut. Analisa melibatkan penggunaan PRAAT, perangkat lunak yang khusus digunakan dalam penelitian Fonetik Akustik. Seratus tiga puluh tiga dari 243 ujaran(55%) dari skrip film dipilih untuk mewakili data. Melalui konversi digital, Suara Pangeran Drakula diambil dari film, mengubahnya kedalam file ‘wave’ untuk mendapatkan kualitas rekaman yang yang lebih baik. Metode analisa data melalui kualitatif deskriptif dengan menggabungkan dua kajian dasar, teori-teori Stylistik Leech dan pendekatan fonetik Collins dan Mess, dan menerapkannya kedalam analisis. Dengan memfokuskan elemen-elemen stylistik pada tingkat fonetik, ditemukan bahwa pengaturan bunyi suara dalam produksi suara membuktikan bahwa pengisi suara melibatkan beberapa fonasi untuk memperkuat karakter Drakula dengan adegan-adegan di film. Suara asal, suara parau, dan suara falset mengiringi gaya berbicara, dan efek-efek akustik tersebut dianalisa dan diukur. Masing-masing fonasi di ciri-khaskan oleh jangkauan intensitas dan pitch dan frekuensi modulasi. Sebuah temuan penting disini adalah bagaimana suara frikatif tidak berada dibawah pengaruh pengaturan glotis oleh karena jarak dari tempat artikulasi yang jauh dari glottis. Dalam analisa segmen, terdapat pengucapan yang berbeda dalam mengartikulasikan konsonan dan vokal yang menghubungkan karakter pengisi suara dengan aksen Indo-Eropa, ditinjau dan dibandingkan dengan Bahasa Inggris Amerika Umum, dimana fitur-fitur fonetis [], [r], [], [], [n̪ ], dan beberapa fonem vocal seperti // dan /e/ menyimpang dari konvensi pengucapan dalam artikulasinya. Dalam analisa skema fonologi, aliterasi, konsonansi, asonansi, onomatope leksikal dan non-leksikal ditemukan dalam lagu yang dinyanyikan dalam film, serta di dalam penyusunan skrip film. Fitur-fitur ini menampilkan bagaimana sebuah film dimaknai secara kebahasaan dan menggambarkan efek-efek gaya dalam komposisi pengusunan skrip film.

Kata Kunci: gaya, stylistik, fonetik, fonologi, film, skrip.

UNIVERSITAS SUMATERA UTARA ACKNOWLEDGMENTS

Praise and majesty to the Almighty Saviour, Lord Jesus Christ for His blessing, mercy and grace to the writer in completing this thesis.

In this occasion, the writer would like to express his gratitude to all who have contributed in conducting the research and the writing of this thesis.

1. Prof. Dr. Runtung Sitepu, S.H., M.hum. the Rector of University of Sumatera

Utara.

2. Dr. Budi Agustono, M.S. the Dean of Faculty of Social Sciences, University of

Sumatera Utara,

3. Dr. Ridwan Hanafiah, S.H., M.A. the Head of English Postgraduate Program

as well as the Supervisor in this research, for his guidance, time, advice, and

constructive ideas in this thesis writing.

4. Dr. Matius C.A. Sembiring, M.A. as the Co-Supervisor for his guidance, time,

advice, and constructive ideas in this thesis writing.

5. Prof. Dr. Syahron Lubis, M.A., Dr. Roswita Silalahi, M.Hum., Dr. Muhizar

Muchtar, M.S. and Dr. Umar Mono, M.Hum. who have given constructive

ideas, criticism, and suggestion for the betterment of this thesis.

6. All of the lecturers and the staffs of the English Postgraduate Program for the

facilities and opportunities given to the writer during his study in this

university.

7. My beloved parents, K. Lubis and Mrs. H. R. br. Pandiangan, who have given

all their supports and attention in prayers and financing along his study.

8. P. Sitorus and T. br. Hutauruk, for all their supports and attentions in prayers

and financing as well as in initiating the study plan of the writer.

iii UNIVERSITAS SUMATERA UTARA 9. My beloved wife, M. Pratiwi B. br. Sitorus, S.Pd, who has always been patient

in accompanying the writer in facing any obstacles, and my two little heroes,

John Prado Frederick Lubis and Frans Vajero Lubis who always bring joy and

strength through their prayers to the writer.

10. Simson Nainggolan, S.S who has been assisting the writer during his study

and for his encouragement through prayers.

11. All of the writer’s partners in the Third Batch of English Postgraduate

Program, especially Boni Fasius Siregar and Dita A. Bangun for all great time

we had in academic activities (seminars, workshop, and lectures) as well as for

our friendship.

At last the writer realizes that nothing is perfect in this life, including this thesis. Therefore the writer hopes every constructive criticism and suggestions to the betterment of this thesis, moreover to the academic improvement in English

Postgraduate Program of Faculty of Cultural Sciences. God Bless us.

Medan, December 2017 The Writer,

Donal Fernado Lubis NIM: 157052007

iv UNIVERSITAS SUMATERA UTARA CURRICULUM VITAE

Personal Data

Name : Donal Fernado Lubis

Place, date of birth : Medan, 31st October 1983

Father’s Name : Karmel Lubis

Mother’s Name : Heddi Ria Pandiangan

Sex : Male

Religion : Christianity

Address : Jl. Sumbawa III No. 92 Komplek Marelan Indah.

Kel. Rengas Pulau. Medan - Marelan

Telephone Number : 0853 5939 7410

Email : [email protected]

Academic Background

1. 1989 – 1995 : SD Swasta Melati, Medan

2. 1995 - 1998 : SMP Negeri 11 Medan

3. 1998 - 2001 : SMA Negeri 3 Medan

4. 2001 – 2005 : Bachelor of Arts (S.S.) of English Language and Literature,

University of Methodist Indonesia

5. 2015 – 2017 : Master of Arts (M.A) of English Language, University of Sumatera

Utara.

UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS

ABSTRACT ...... i ACKNOWLEDGMENTS ...... iii CURRICULUM VITAE ...... v TABLE OF CONTENTS ...... vi LIST OF TABLES ...... viii LIST OF FIGURES ...... ix LIST OF APPENDICES...... xi

CHAPTER I INTRODUCTION ...... 1 1.1. The Background of Research ...... 1 1.2. The Problem of Research ...... 6 1.3. The Objectives of Research ...... 8 1.4. The Significance of Research...... 9 1.5. Clarification of Terms ...... 10

CHAPTER II THEORETICAL POINT OF VIEWS ...... 12 2.1. Review of Relevant Studies ...... 12 2.2. General Concepts of Styles ...... 19 2.2.1. Stylistics ...... 19 2.2.2. Style ...... 21 2.3. General Concepts of Speech Sounds...... 23 2.3.1. Speech Sounds ...... 23 2.3.2. Phonetics and Phonology ...... 25 2.4. General Concepts of the Film ...... 28 2.4.1. Film ...... 28 2.4.2. Hotel Transylvania – 2 ...... 30 2.4.3. Count Dracula Character...... 32

CHAPTER III RESEARCH METHODOLOGY ...... 34 3.1. Research Design ...... 34 3.1.1. Transcribing the Phonemic Transcription ...... 35 3.1.2. The Application of Theories ...... 36 3.2. Data and Data Source ...... 37 3.2.1. Data ...... 38 3.2.2. The Source of Data ...... 40 3.3. Data Analysis ...... 41 3.3.1. Acoustic Analysis of the Character’s Voice ...... 41 3.3.2. Organizing the phonemic transcription ...... 41

UNIVERSITAS SUMATERA UTARA 3.3.3. Organizing the Phonological Schemes ...... 42 CHAPTER IV ANALYSIS & FINDINGS ...... 43 4.1. Analysis on the Voice Quality (Phonation) ...... 43 4.1.1. Harsh/ Rough voice in Phonation ...... 49 4.1.2. Falsetto Voice ...... 59 4.1.2.a. Natural Falsetto Voice ...... 61 4.1.2.b. Artificial Falsetto Voice ...... 64 4.2. Analysis of Phonetic Features ...... 68 4.2.1. Distinguished Articulations of Consonant Sounds ...... 68 4.2.2. Distinguished Articulations of Vowel Sounds ...... 79 4.3. Stylistic Devices of Phonological Schemes ...... 87 4.3.1. Poetic Devices: Alliteration, Consonance and Assonance ...... 87 4.3.2. Rhyme Scheme ...... 92 4.3.3. Onomatopoeia ...... 93 4.4. Findings ...... 95

CHAPTER V CONCLUSIONS ...... 98

REFERENCES ...... 101 APPENDICES ...... 104

UNIVERSITAS SUMATERA UTARA LIST OF TABLES

No. Title Page 3.1 List of IPA consonants 36 3.2 List of IPA vowels 36 4.1 Pitch and intensity ranges of the utterance ‘He is a 57 monster!’ 4.2 Pitch and intensity ranges of ‘- protective’ in falsetto 63 voice 4.3 Count Dracula’s style in uttering phoneme /l/ 69 4.4 The vowels of General American 80 4.5 Distinctive uses of vowels in Count Dracula’s speech 81 4.6 Vowels of Rumanian 83

UNIVERSITAS SUMATERA UTARA LIST OF FIGURES

No. Title Page 2.1 Continuum of phonation type (after Ladefoged 1971) 14 2.2 Spectrograms of modal and breathy voiced nasals in the 15 Newar words /ma:/ ‘garland’ and /a/ ‘be unwilling’ (male speaker) 2.3 The waveform and spectrogram display for ‘He is a monster’. 17 2.4 The waveform and pitch contour display for ‘He is a monster’. 18 2.5 The waveform, spectrogram and pitch contour display for 18 ‘monster’, taken out for zooming 2.6 Figure 2.6: Divisions of the speech mechanism (Collins and 23 Mess, 2013) 2.7 Animated characters in Hotel Transylvania - 2 31 2.8 Count Dracula in Hotel Transylvania – 2 33 4.1 The waveform and spectrogram display of ‘Now that’s your 44 Johnny’s girl 4.2 Spectrogram and waveform of the word “now”, taken out from 45 the utterance in figure 4.1. 4.3 Spectrogram and waveform of the word “that”, taken out from 46 the utterance in figure 4.1. 4.4 Spectrogram and waveform of the word “you’re”, taken out 47 from the utterance in figure 4.1. 4.5 Spectrogram and waveform of the word “Johnny’s”, taken out 48 from the utterance in figure 4.1. 4.6 Spectrogram and waveform of the word “girl”, taken out from 49 the utterance in figure 4.1. 4.7 Places of articulation (Fromkin, 2011) 51 4.8 Spectrogram and waveform of the utterance ‘I… I would eat a 53 bucket of garlic to fly with you.’ 4.9 The waveform and spectrogram display of ‘to fly with you’. 54 4.10 The spectrogram of harsh voice ‘to fly with you’. 55

UNIVERSITAS SUMATERA UTARA 4.11 The waveform and spectrogram of harsh voice ‘He is a 56 monster!’. 4.12 Spectrogram of the word /hi ɪz/ in harsh voice. 57 4.13 The waveform and spectrogram of ‘monster’ in harsh voice. 58 4.14 The waveform and spectrogram of ‘protective’ in falsetto 62 voice. 4.15 The waveform of ‘-protective’ in falsetto voice. 64 4.16 The waveform and spectrogram of ‘I’m the nurse’ in falsetto 65 voice. 4.17 The waveform and spectrogram of ‘Dad, it's not a fang.’ in 64 artificial falsetto voice. 4.18 a: The pitch contour of the utterance ‘Dad, it’s not a fang.’ 67 b: Intensity contour of the utterance ‘Dad, it’s not a fang.’ 4.19 English clear l (left) and dark l(right) showing velarised tongue shape. (Collins & Mess, 2013) 70 4.20 Tongue position in pronouncing /i/ from the word party. 77 4.21 Vowel position for /ə/ and /ʌ/ compared with /ɪ/ 82 4.22 Pitch contour for the utterance cool, like I said 84

UNIVERSITAS SUMATERA UTARA LIST OF APPENDICES

No. Title Page I The Data of Movie Script in Phonemic Transcription 104 II Utterances in Harsh Voice 117 III Wave form and spectrogram displays in various 119 phonation.

UNIVERSITAS SUMATERA UTARA CHAPTER I

INTRODUCTION

1.1 The Background of Research

The use of language primarily aims at communicating ideas and thought as well as sending and receiving information conceived in one’s mind. The ways of speakers in conveying their ideas to the hearers are influenced by their styles.

Stylistics, as the scientific study in analyzing style in language, has taken great roles in many researches, primarily in literary, and other various scopes of non-literary studies. There have been many scientific works in stylistic fields which proves that there are opportunities in exploring linguistic substances through stylistic analysis.

In this research, there is a peculiar interest found in a 3D computer animated fantasy-comedy movie issued in 2015, Hotel Transylvania – 2, which rouses the writer’s curiosity by its particular use of accent and pronunciation styles in the movie. Temporarily, there is assumption indicated and reflected in the movie to be examined scientifically from stylistic study at phonological level.

Movie is a product of art and creativity which offers certain themes to the audiences. Since people’s interest on watching movies grow significantly, film companies race to produce more attractive movies to satisfy the audiences’ desire.

Nowadays, animation movie is one choice for audiences to entertain them, since the actors and the plots are designed in more creative and attractive performances.

It is not regarded as kids’ choice anymore since the viewers are from any range of ages, kids, teenagers, and adults. It is distinguished from cartoon movies.

UNIVERSITAS SUMATERA UTARA Moreover, in some animation movies, there are certain styles of language used to express feelings and ideas. Toolan (2014:459) states that by analogy with stylistics’ goals in relation to literary texts, a stylistics of film could be expected to attempt to show how subjective impressions and intuitive responses of reasonably acculturated filmgoers are sourced in a range of foregrounded or patterned effects and techniques carefully achieved by the film-making team, and to underpin its account with arguments, evidence and texts.

Besides the storyline in the movie, people are entertained by hearing the language style spoken by the animated characters. The role of voice cast is very important in making certain expressions and sound effects since their voices must be able to express the animation characters in speaking and acting. Interesting language styles are presented in some movies, one of which is Hotel Transylvania

-2.

This movie, which was released on September 25, 2015, has become one of the most watched movie around the world (released in 90 countries) and brought it to achieved Box Office by Columbia Pictures after its prequel success in

2012 (https://en.wikipedia.org/wiki/Hotel_Transylvania_2).

On the other hand, the style of spoken language used in this movie is very attractive. In accordance with this research in style of the language, the researcher is going to analyze the particular use of language by the character Count Dracula, cast by Adam Sandler, one of the main characters in this movie. The writer found that there is a tendency to utter in particular accent more distinctively, whether in producing the vowel and consonant sounds in speaking or in using the words in particular ways. His speaking style in voice casting absolutely represents the

UNIVERSITAS SUMATERA UTARA character of a Count Dracula in hilarious ways, of which legend is originated in

Rumania. Intonation, accent, and stress pattern usage are collaborated to present the creature of the legendary Dracula in particular way. Furthermore, the success of this character is reflected in words choice in movie script that supports those phonological aspects used in the movie.

Sounds production and their characteristics are in the area of phonetics and phonology. Phonetics deals with the study of sound in human language.

Phonology is the study of sounds in a particular language or in languages generally. Fromkin (2012:227) states that the word phonology refers both to the linguistic knowledge that speakers have about the sound patterns of their language and to the description of that knowledge that linguists try to produce.

In this purpose, the style produced by the voice cast of Count Dracula

(also called Drac) adopts particular accents to support the main character’s speech.

One example taken from the movie script is an utterance by Drac: [00:15:11]

‘Alright, fine.’ transcribed as /ɔːlraɪt faɪn/ in General American. But instead of this, what is pronounced by the character is /Λr:ait faɪn/. A shifting of middle back-rounded vowel /ɔ/ with middle central vowel /Λ/ occurs, followed by substitution of consonant /l/ to longer /r/ sound. In this case, phonetic takes roles to analyze such styles used by the voice cast.

The Dracula’s accent in this movie also influences the fascination for the movie. Certain vowels and consonants are uttered in different manners as how standard General American English use. This indicates that English used in this movie is influenced by the character’s identity and style so that English varieties occur in this movie, and the voice cast Adam Richard Sandler is chosen. One

UNIVERSITAS SUMATERA UTARA important note on this voice cast is about his personal background. In his biography retrieved from http://www.imdb.com/name/nm0001191/bio, it is stated that he is of Russian Jewish descent, born in Brooklyn, New York, and raised in

Manchester, New Hampshire. There is an assumption that the voice cast’s personal background is considered influential to fill the character’s voice. Roach (1991: 4) states that Languages have different accents: they are pronounced differently by people from different geographical places, from different social classes, of different ages and different educational backgrounds. The word accent is often confused with dialect. We use the word dialect to refer to a variety of a language which is different from others not just in pronunciation but also in such matters as vocabulary, grammar and word order. Differences of accent, on the other hand, are pronunciation differences only.

Therefore, such distinct accent is frequently spoken by Dracula along the movie. For instance, Drac’s speech in [00:06:23]:

‘No, no! Are you kidding? I would eat a bucket of garlic to fly with you.’ is phonemically written in General American English as:

noʊ noʊ| ɑːr ju kɪdɪŋ||ai wʊd iːt ə bʌkɪt ɑːv ɡɑːlɪk tə flai wɪð ju||

The recording from the movie is heard as:

nɔ: nɔ:| ar ju kɪdɪŋ|| ai wʊd iːt ə bʌkt əv ɡɑːlɪk tu flai wɪð ju||

This sample shows how phonemic transcription works to identify different accent used in the movie.

Based on the description, the character’s styles in sound level relate with how the voice cast utters the words in expressing the animation character ‘Count

Dracula’ and brings it alive. Thus the analysis involves schemes; figures of speech

UNIVERSITAS SUMATERA UTARA that deal with word order, syntax, letters, and sounds, rather than the meaning of words.

One case is taken from [00:04:41] of the movie, where the following conversation occurs between Drac and Mavey, his daughter in her wedding ceremony.

Drac : Is it everything you wanted, my little poisonberry?

Mavey : Oh, it is, Daddy. Except where's Grandpa Vlad?

Drac : Honey, your gramps would not have been cool with this.

He's old-school.

Mavey : How do we know? If he could just meet Johnny...

Drac : He would have eaten him. He's not as enlightened as your hip Daddy.

Mavey : So, you're really okay with him not being a monster?

Drac : Human, monster, unicorn, as long as you're happy.

Mavey : Thanks, Dad.

From this flow of conversation, Drac’s turns are marked by certain parallelism. Leech (1969: 62) states that Parallelism is to do with ‘the introduction of extra regularities, not irregularities, into the language’. The repetition on the level of grammar is called grammatical parallelism, and on the level of sound it is known as phonological parallelism.

Language Style gives chances for filmgoers figuring out what actually the actor think about through utterances, or any sounds made in the movie. Through further analysis, stylistic is expected to reveal what values are conceived from this character.

UNIVERSITAS SUMATERA UTARA 1.2 The Problem of Research

From the previous description, the role of character is influenced by the setting of styles that reinforce the performances along the movie. The problem that emerges here firstly is initiated by the distinctive sounds in utterances by the character Count Dracula. The accent used and sound production by this character marked a speech style beyond the circumstances of General American English. By the same time, the tendency of the character in using rough voices in one situation is distinguished when he uses high pitch voice in other situation. In order to dig the style content, it is necessary to refer to some acoustic phonetic researches for temporary research, pointing out the voice production of the character. This does not intend to incline this research into sociolinguistic field (though sociolinguistic takes stylistic as one crucial field) but more on paralinguistic views.

The second fundamental problem deals with the text style used in the movie script viewed from phonological level. Leech and Short classify some problems that can be identified as the problems of stylistic study; they are lexical categories, grammatical categories, figures of speech and cohesion and context

(2007:75).

From the points described above, the concern of this research is to analyze the phonological schemes as the part of figure of speech analysis. Leech and Short

(2007:75) highlight the phonological level in phonological schemes and tropes:

PHONOLOGICAL SCHEMES; Are there any phonological patterns of rhyme, alliteration, assonance, etc.? Are there any salient rhythmical patterns? Do vowel and consonant sounds pattern or cluster in particular ways? How do these phonological features interact with meaning?

6 UNIVERSITAS SUMATERA UTARA TROPES; Are there any obvious violations of, or departures from, the linguistic code? For example, are there any neologisms (such as Americanly)? Deviant lexical collocations (such as portentous infants)? Semantic, syntactic, phonological, or graphological deviations? Such deviations (although they can occur in everyday speech and writing) will often be the clue to special interpretations associated with traditional poetic figures of speech such as metaphor, metonymy, synecdoche, paradox and irony.

Another significant thing to be taken into account is that the movie script is seriously planned and carefully set for each character in the movie. ‘Men’ behind the movie, for instance the script writer, film director and animation designer have considered every single thing along the process of making the movie. There is always reason for why a single event is designed particularly, but in general purpose, the movie is designed to make the filmgoers think that it is a real thing. Compared with non-animation movies, where humans are the actors, filmgoers tend to guess what possibilities will happen next in the movie, similarly when we watch a play on the stage, or simply when we read a novel. Since animation movies do not involve human, unpredictable or even illogical things and actions may happen in it, give its own peculiar style in the movie.

This analysis is expected to highlight the role of the voice cast in portraying the character Count Dracula in the movie. Therefore, the problems of this research can be formulated as:

1. How is Count Dracula’s style characterized through the voice qualities and

articulations by the voice cast in the movie?

2. What phonological schemes are involved in the movie script of the character

7 UNIVERSITAS SUMATERA UTARA Count Dracula’s parts?

From the genre perspective, audiences are very much attracted by the humorous scenes offered in fantasy-comedy movies for it is favored by both children and adults. Audiences expect to be entertained not only by the hilarious actions showed in the movie, but indeed the use of style in language give particular interests to the audiences.

1.3 The Objectives of Research

In accordance with the problems formulated above, the objectives of the research are stated as follows:

1. To analyze the voice settings and distinguished articulations which qualify

Count Dracula’s speech sounds by the voice-cast in the movie.

2. To find out the phonological schemes which are used in the setting of the

movie script.

8 UNIVERSITAS SUMATERA UTARA 1.4 The Significance of Research

A research is planned and conducted because there must be the important substance that the researcher and people can achieve and are regarded advantageous for the academic needs in relation to the research, human development, and for the future research. From the description given in the previous sections, the writer formulates the significance of this research as follows: a. Theoretically

1. To qualify the researcher in developing the scientific analysis in both

fundamental studies of Phonology and Stylistics.

2. To figure out the relevant methods in analyzing the character in the movie

according to the level of language to take in analysis. b. Practically

1. To implement the methods in analyzing character’s sounds used in the

movie through stylistic study by phonetic and phonology approaches.

2. To develop the academic ability in conducting research by using certain

applications and technology in order to achieve scientific results.

Besides the points written above, the writer expects that this work can be used as a model for further research in stylistic field, whether as a stepping stone to a wider research in the future, or a reference for those stylisticians who have great interest in analyzing movies in phonetic level or other literary works.

UNIVERSITAS SUMATERA UTARA 1.5 Clarification of Terms

There are several terms used in this research which are considered necessary to be clarified. Some of the terms are reviewed in the theoretical point of views in detail.

1. alliteration : the repetition of the initial consonant in two or more words.

2. allophone : a phonetic variant of a phoneme in a particular language.

3. approximant: a consonant which makes very little obstruction to the airflow

during articulation

4. assonance : repetition of vowel sounds. To qualify as assonance, the words

must be close enough for the repetition of the sound to be

noticable.

5. consonance : repetition of a consonant sound preceded by different vowel

sounds.

6. decibel (dB): a unit used to measure the intensity of a sound or the power level

of an electrical signal by comparing it with a given level on a

logarithmic scale; in general use, a degree of loudness.

7. falsetto : a method of voice production used by a man, to speak in higher

tone than his normal range.

8. fricative : a consonant sound made by forcing air through a narrow gap so

that a hissing noise occurs.

9. Hertz (Hz) : A unit which measures frequency in the International Systems of

Units (SI); defined as one cycle per second. It is named for

Heinrich Rudolf Hertz, the first person to provide conclusive

proof of the existence of electromagnetic waves.

10 UNIVERSITAS SUMATERA UTARA 10. Onomatopoeia : the use of a word that denotes a sound suggested by the

phonetic quality of the word, or thing that produces such a

sound.

11. Spectrogram : The display of sounds in image that is produced by a

spectrograph to show the energy produced in a speech. In

this research, spectrogram display is acquired from

computer software ‘Praat Version5.3.56’.

12. voice cast : actors who voice the characters in an animated movie or

television show.

11 UNIVERSITAS SUMATERA UTARA CHAPTER II

REVIEW OF LITERATURE

2.1 Review of Relevant Studies

The writer has found several works in stylistics and phonology discussing on how style works a nd c ontributes i n movies, as well as the previous journals discussing on it.

From pedagogical point of view, Etinne and Sax (2006) analyzed stylistic variations o f t wo s cenes f rom t he movie Une Fille seule directed b y Benoît

Jacquot. Since the analysis cover phonology, lexicon, syntax, and discourse, the findings re fer t o t he s ociolinguistic v ariables i n French. Th e v ariable u sed in phonological l ayer i ncluding / l/ d eletion i n t hird-person s ubject pronouns (elle, elles, il, ils), Re duction of w ord-final [ obstruent + l iquid] c onsonant clusters,

Frequency of opt ional liaisons, T endency toward contractions, pace of delivery, and clarity of articulation. Since this research aims at pedagogical purpose, then the benchmark used is the formality level of language in social function compared with t he movie. This r esearch contributes t he s ystematical method in analyzing styles t hrough various l evels o f l anguage. S ince t he an alysis i n s ound l evel focuses much on the segments, it differs his work from this thesis.

Poyatos ( 1991) d iscusses o n p aralinguistic v oice q ualifiers an d differentiate 10 types o f p aralinguistic q ualifiers; b reathing co ntrol, l aryngeal control, e sophageal c ontrol, pha ryngeal c ontrol, v elopharyngeal c ontrol, lingual control, labial control, mandibular control, articulatory control, and articulatory- tension control. This study contributes on the analysis of how voices are labeled

UNIVERSITAS SUMATERA UTARA by ack nowledging t heir t ypical k inesics co rrelates an d t heir co mmunicative functions. I n t he di scussion on l aryngeal c ontrol, t he w riter not ices t hat roug h voice i s used t o e xpress a nger, ri dicule, rejection, scorn, contempt, cruelty, and violent emotion. The term ‘rough’ is labeled as harsh voice, and illustrated when someone speaks harshly, fiercely, vengefully, scornfully, and violently. He refers to Laver’s works (1972 & 1980) on the production of the harsh voice.

Another contribution from Poyatos is the brief description about falsetto voice which he illustrates as a young girl’s innocence and with affectionate ways of addressing someone, or as typical of Anglo-Americans in general, as used by black Americans to express surprise and kind of laughter. These are included as the control of pharyngeal which takes place in the lower part of the throat, or the closer passage to the vocal fold. This work contributes in examining utterances in the movie according to the contextual circumstances which are displayed in the speech style of the character. From temporary observation, there are irrelevancies of t he s peech s tyle f rom p honation p erspective s ince t he ch aracter u ses h arsh voices in various situations, not only in expressing temperamental mood as it is stated above.

In hi s a rticle, Linguistics a nd Poetics (1960), J acobson s ynchronized t he roles of stylistic analysis from literary point of view and linguistic elements used in an alysis. S everal cas es i n phonology w ere a nalyzed a nd i nterpretation w as given to compare. One remarkable analysis in phonological level (1960: 374) is stated: Any analysis of poetic sound texture must consistently take into account the phonological structure of the given language and, beside the over-all code, the hierarchy of phonological distinctions in the given poetic convention as well.

UNIVERSITAS SUMATERA UTARA Gordon a nd Ladefoged (2001) ha ve di scussed t he t ypes of phona tion i n voice production resulted from the states of the glottis. Human’s ability to control his glottis may produce several kinds of sounds. This is related to the voice cast’s talent in movie during the voice filling to the character in the movie in different context of situation. From Ladefoged’s former studies, phonation types are set as in the diagram below.

Most open Most closed Phonation type Voiceless Breathy Modal Creaky Glottal closure

Figure 2.1. Continuum of phonation type (after Ladefoged 1971)

This r esearch co ntributes m uch i n t he an alysis o f w aveform an d spectrogram where utterances can be illustrated through the signals and contours which differentiate one voice style to the others. One example is shown from the spectrogram an alysis i n co mparing m odal an d b reathy voiced n asal i n N ewar words /ma:/ ‘garland’ and ‘be u nwilling’ ( male s peaker) where t he waveform for the breathy voiced nasal is characterized by a fair amount of noisy energy which co ntributes a r elatively j agged ap pearance t o the w aveform a nd diminishes the clarity of individual pitch pulses. In comparison, the modal voiced nasal is not marked by this turbulence and has relatively well-defined pitch pulses.

One of the more salient features differentiating modal and breathy voiced nasals in t he s pectrograms i s t he v isually well-defined na sal-to-vowel t ransition characteristic of the modal voiced nasal (at about 130 milliseconds) but not the breathy voiced nasal (at about 150 milliseconds).

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Figure 2.2. Spectrograms of modal and breathy voiced nasals in the Newar words /ma:/ ‘garland’ and ‘be unwilling’ (male speaker)

From t he ot her poi nt of v iew, G obl (20 03) e xplores t he rol e of v oice quality i n t he communication t hrough p articular p air o f attributes, s uch as relaxed/stressed, co ntent/angry, f riendly/hostile, s ad/ happy, bored/ interested, intimate/formal, t imid/ confident and a fraid/ unafraid. F rom t he e xperiments, phonation is classified in several types:

1. Modal voice; characterized as having overall moderate laryngeal tension.

2. Tense voice is described as having a higher degree of tension in the entire

vocal tract as compared to a neutral setting.

3. Breathy voice involves minimal laryngeal tension. Vocal fold vibration is

inefficient and the folds do not c ome fully t ogether, re sulting i n a udible

frication noise.

4. Whispery voice i s characterized by l ow t ension i n t he i nter-arytenoid

muscles, but a fairly high medial compression.

5. Harsh voice involves very high tension settings; tends to have additional

aperiodicity due to the very high glottal tension.

UNIVERSITAS SUMATERA UTARA 6. Creaky voice i s d escribed as h aving h igh m edial compression a nd

adductive tension, but low longitudinal tension.

7. Lax-creaky voice; based on breathy voice source settings but with reduced

aspiration noise and with added creakiness.

In orde r t o unde rstand how t he s pectrogram a nd w aveform w ork i n presenting t he v oices, t he manual o f P RAAT waveform an d s pectrogram h as pointed o ut s everal i mportant p oints t o be n oticed. A s pectrogram d isplays t he spectral d ata ov ertime w ith a mplitude s hown i n di fferent c olors (or di fferent shades of gray). In particular the horizontal axis displays the duration of the sound in second, or millisecond. The vertical axis shows the frequency values in Hertz

(Hz), with t he hi ghest pe ak of 5000 Hz. Darker pa rts of t he spectrogram m ean higher en ergy d ensities, l ighter p arts mean l ower energy d ensities. I f t he spectrogram has a dark area around a time of 1.2 seconds and a frequency of 4000

Hz, this means that the sound has lots of energy for those high frequencies at that time.

On t he uppe r pa rt, t he d iagram of w aveform s hows t he v oice pre ssure fluctuates accordingly to the voice produced. The horizontal axis represents time in s econd t o m illisecond an d the v ertical ax is r epresents s ound p ressure s cale, range from -1 t o + 1 i n P ascal. S ince t his p art o f an alysis ai ms at p roving t he typical v oices p roduced b y t he C haracter, i t i s n ecessary t o cl arify t he measurement s ystem us ed b y bot h w aveform a nd s pectrogram. T he s ound pressure s cale g oes f rom p ositive t o n egative t o ac commodate t hat a lternation.

The values of the sound pressure scale (-1 to +1) are arbitrary. This is also what you see when you look at the waveform of a speech recording in PRAAT. The

UNIVERSITAS SUMATERA UTARA standard unit of pr essure is Pascal, but the true Pascal values can only be shown for a r ecording w hen i t h as b een cal ibrated f or m easuring P ascal

(http://swphonetics.com/praat). One example (taken from 00:23:23 of t he movie script) has been provided in order to comprehend the analysis in the next chapter.

e……ɪ

Figure 2.3: The waveform and spectrogram display for ‘He is a monster’.

This f igure r epresents three p arts o f the analysis; t he w aveform o n the first row , t he s pectrogram on t he s econd, a nd t he phone tic t ranscription on t he third row . T he a mplitude and fre quency m easure ha ve be en g iven on t he ri ght side, and the length of t he utterance is provided at the bottom, that is 1,302245 seconds. The blue line draws the pitch contour and the yellow line (in the further analysis) draws the intensity contours. In order to get the detail and clear views, each part (waveform and spectrogram) can be displayed separately, and if there is a s ignificant p art t o an alyze, t he significant t ier can b e t aken o ut w ith m ore zooming display.

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Figure 2.4: The waveform and pitch contour display for ‘He is a monster’.

Figure 2.5: The waveform, spectrogram and pitch contour display for ‘ monster’, taken out for zooming

From t he di splay i n fi gure 2.5, there are some points as the matters of analysis, and figured in the following list:

1. The w aveform indicates the s ound p ressure m ade i n s peech. Th e m ore

pressure resulted in speech means the denser frequency it displays.

2. The spectrogram indicates the vibrations resulted during the speech by the

vocal fol ds. M ore vibrations di splays d arker a nd de nser c ontour i n t he

spectrogram.

UNIVERSITAS SUMATERA UTARA 3. Pitch contour is drawn inside the spectrogram as a blue string, raising and

falling accordingly.

4. There might be gaps shown in the waveform and spectrogram, but they do

not a ll o f a s udden m ean a p ause ( especially i n a s hort u tterance, f or

example a w ord), be cause phone mes a re c oming a s a s tring of s ound,

namely ‘co-articulation’ in phonology.

5. Gaps m ay i ndicate oc clusions of unv oiced s tops or a ffricates, bu t m ight

also be pauses between phrases.

This analysis gives wider descriptions for the writer to focus on the voice productions, p articularly l inguistic s ignificant in o rder to g ive ad vantages i n analyzing the character’s styles through his voices.

2.2 General Concepts of Styles

Based on the objectives of the research, this thesis analyzes the styles in phonemic level of Count Dracula Character in the movie “Hotel Transylvania –

2”. I n t his c hapter, terminologies are clarified as t he r esearch b asis t hrough scientific theories which underpins this thesis.

2.2.1 Stylistics

Stylistics is the scientific study of linguistic style. Malmkjaer (2002:510) defines Stylistics as the study of style in spoken and written text. By style is meant a co nsistent o ccurrence i n t he t ext o f c ertain items an d s tructures, o r t ypes o f items an d s tructures, am ong t hose o ffered b y t he l anguage as a w hole. A f ull stylistic analysis of a given spoken or written text would describe the text at all the t raditional l evels o f l inguistic d escription – i.e. s ound, form , s tructure a nd

UNIVERSITAS SUMATERA UTARA meaning – but it will not typically look at patterns created by long stretches of text. Stylistic analysis in linguistics refers to the identification of patterns of usage in s peech an d w riting. S tylistic an alysis i s g enerally co ncerned w ith the uniqueness of a text; that is, what it is that is peculiar to the uses of language in a literary text for delivering the message. Linguistic stylistics studies functional styles of a language and the elements of language from the point of view of their ability to express and cause emotions.

Simpson (2004: 2) defines Stylistics as a method of textual interpretation in which primacy of place is assigned to language. The reason why language is so important t o s tylisticians i s b ecause t he various f orms, p atterns an d l evels t hat constitute linguistic structure are an important index of the function of the text.

Leech (2013:104) defines that stylistics is the study of style (particularly in literary t exts, an d m ore p articularly, with a v iew t o explicating t he r elation between the form of the text and its potential for interpretation). He distinguishes the level of linguistic function at which a figure is to be identified and described.

Leech (2013 :20) de scribes on t his ba sis, a fi gure i s c lassified a s form al

(grammatical o r l exical), p honological, orthographic, o r s emantic ( referential o r contextual), o r p erhaps as signed t o a combination o f these categories. For example, alliteration, rhyme, vowel harmony, and assonance (where these are not prosodic phe nomena) a re phonological schematic f igures, al l co nsisting i n an adscititious regularity of phonematic sequences. Parallelism, anaphora and many of t he s chemes d istinguished i n R enaissance rhetoric (s uch a s a ntistrophe a nd epanalepsis)are formal schematic figures, consisting in an adscititious regularity of various types of formal patterning.

UNIVERSITAS SUMATERA UTARA Although it is rooted from classical rhetoric and poetic, the development of stylistic study has given wide opportunities for the researches to spread their analytical s tudies i n v arious f ields o f l inguistic. C rystal ( 1970:99) s tates t hat

Stylistics is a label that covers the whole complex of varieties and styles that make up a l anguage – comprehending such differences as t he d istinction b etween written and s poken E nglish, m onologue a nd d ialogue, form al a nd i nformal, scientific and religious, and many more.

In movie production, especially in arranging the script for monologue or dialog, the script writer must have taken this concept of style in creating the plot and fulfilling the criterion of the characters. Even if he has to deviate from the convention in language, the script writer considers this as a support to satisfy the audiences.

2.2.2 Style

‘Style’ is a word derived from Latin word “elocution” which means style and m eans “l exis” i n G reek. The t erm ‘s tyle’ c ontains broa d unde rstanding towards the matter that is going to be analyzed. It is the style that marks one’s work in literature so that we may recognize a work belongs to a particular person.

Someone’s style is distinguished from how the person regards his own personality but without ignoring that more or less being influenced by what is perceived from outside. From l inguistic p oint o f v iew, Leech s tates ( 2013:54) t hat t he m ost specific domain of style, and in many ways the most valuable starting point for stylistics, is the individual text or text extract.

UNIVERSITAS SUMATERA UTARA From the statement, text in general is the core of the analysis in stylistic to bri ng up t he i ndividual qua lities. F urthermore, L eech a nd S hort (2007 :58) emphasizes t hat ev ery an alysis i s an attempt t o f ind t he ar tistic p rinciples underlying a writer’s choice of language.

The question that appears in relation with character analysis of a movie is: what linguistic elements are carried on in the analysis of the character’s style?

In order to correlate this point, the writer refers to the meaning of style proposed by Leech (2007:31):

1. Style is a w ay in which language is used i.e., it belongs to parole rather

than to langue.

2. Therefore s tyle co nsists i n ch oices m ade f rom t he r epertoire o f t he

language.

3. A style is defined in terms of domain of language use (e.g., what choices

are m ade b y a p articular author, i n a p articular genre, o r i n a p articular

text.)

Animation movie is a part of fictional genre, set, planned, and organized in o rder t o i nterest t he f ilm-goers. Th e p roduct i tself r eflects p articular s tyles performed by t he c haracters w here text is b rought u p al ive b y each character’s speech. If it is the artistic principle that becomes the aim of the analysis, then it must involve the voice quality as it is perceived by the film-goers. Voice quality itself is described in linguistic through phonology, involving phonation, in order to reveal the aesthetic value of the character. Collins and Mees (2013:31) define phonation a s t he func tion of t he l arynx a s a vibration s ource. P honation i tself

UNIVERSITAS SUMATERA UTARA requires further voice analysis in acoustic phonetic, where the writer refers to the previous relevant studies, to get the assistance in analyzing the voice presented by the character.

2.3 General Concepts of Speech Sounds

There ar e s everal f undamental t heories r elated w ith s ound p roductions and sound system of human’s properties.

2.3.1 Speech Sounds

Human produces the sound (that is called voice) by the organs of speech and the process of its production is called as speech mechanism. The concept of sound i n t his s tudy i s i n t he s cope o f l inguistic s ignificant, which m eans t he sounds that are produced by a speaker in speech to convey certain messages to the hearer. The sound production in speech involves airstream as the carrier of sound which i s ar ticulated b y t he o rgans o f s peech. C ollins an d M ess ( 2013:30) describes the organs of s peech in three major groups: head (articulatory system), throat (phonatory system), and lungs (respiratory system).

Figure 2.6: Divisions of the speech mechanism (Collins and Mess, 2013)

This speech mechanism is the main object of articulatory phonetics. The quality and feature of s ounds are the objects of a coustic phonetics. The various sounds are produc ed by t he a rticulators and t hey de pend on how t he s ound i s

UNIVERSITAS SUMATERA UTARA articulated and the condition of the articulators themselves. In general, the study of s ounds a nd t he s ystem of s ound i n human s peech a re unde r t he l inguistic studies, Phonetics and Phonology.

In its development, speech sounds analysis is made possible through the inventory of phonetic alphabet in which vowels and consonants are symbolized by a s ystem of w riting w hich re presents t he s peech s ounds. This r epresentation o f sounds is realized in phonemes. Phonemes vary in their features since the speech sounds are determined by several factors. Zsaga (2013:16) states that every speech sound, then, is defined by a particular combination of the following components:

• airstream mechanism

• state of the larynx

• state of the velar port

• combination of active and passive articulator (= place of articulation)

• manner of articulation

Therefore, a phon eme may h ave v ariants i n its produc tion w hich i s termed as allophone. The allophones of a phoneme show how a system of sounds in a l anguage h as cer tain f eatures w hich ar e r esulted from di stinguished articulation m echanism. I f a n on-native s peaker o f En glish ( for i nstance a n

Indonesian s peaker) ut ters t he w ord ‘ remember’, a di stinctive s ound w ould be resulted, compared when it is uttered by a n ative speaker, or e ven by an English learner in advanced level. This case would lead to a higher level of analysis where accent influences a speaker in uttering the words naturally or even artificially, no matter how ha rd a non -native pronounc es t he w ord a s c lose as pos sible t o t he native sound. In this area, phonetics, the scientific study of speech, is involved to

UNIVERSITAS SUMATERA UTARA analyze how the speech sounds are produced through observations to figure out the features in the phonemes.

2.3.2 Phonetics and Phonology

Phonetics and phonology are two fundamental elements in linguistic field that analyze s ound produc tion a nd s ound pa tterns i n language. P honetic m akes any sound of l anguages possible to be coded through the phonetic transcription.

According to Sokolova (2016: 9) the word “phonetics" is derived from the Greek

“φωνη” (sound). Phonetics is not a separate science. It is a branch of linguistics, like the other branches, such as grammar, lexicology and stylistics. It studies the phonetic s tructure of t he l anguage, i .e. s peech s ounds, w ord s tress, s yllabic structure and i ntonation. These four c omponents form t he pronunc iation of a language.

However p honetics t akes t he content l evel i nto consideration too. O nly meaningful sound sequences a re re garded a s speech and phonetics i s concerned only with such sounds which are carriers of organized information of a language.

Phonetics a nalyses t he na ture of these s ounds, t heir c ombinations a nd t heir functions in relation to the meaning.

Fromkin (2011 : 227) de scribes phonol ogy a s t he s tudy of ho w s peech sounds form patterns. These patterns may be as simple as the fact that the velar nasal cannot begin a syllable in English, or as complex as why g is silent in sign but is pronounced in the related word signature. To see that this is a p attern and not a one-time exception, just consider the slippery n in autumn and autumnal, or

UNIVERSITAS SUMATERA UTARA the b in bomb and bombard. Roach (1991:35) describes phonology by illustrating it: When we talk about how phonemes function in language, and the relationships among the different phonemes - when, in other words, we study the abstract side of the sounds of l anguage, we are studying a related but different subject that we call phonology.

The existence of phonology in stylistic scope is regarded crucial since the layers of a nalysis of s tylistic involve phone tic a nd phonol ogy i n s ound l evel investigation, including aesthetic, schemes, and expressive means.

Wales (2014: 9) de fines aesthetic as f ollows: D erived f rom t he G reek word meaning ‘perceptive’ aesthetic describes the perception and appreciation of what is ‘beautiful’, and is most used in the criticism of works of art, especially painting, sculpture and literature. Aesthetics is a branch of phi losophy concerned with the definition of beauty. How to define what is ‘beautiful’ is a problem; and whether beauty is intrinsic, or in the eye of the beholder, or both.

According to Abrams (1999:273) the phonological schemes discusses the phonological p attern o f r hyme, al literation, an d as sonance, t he i nteraction o f meaning an d p honological p attern o f rhyme. R hyme i s an other f eature i n phonological s chemes t hat di stinguish v erse from pros e a nd c onsists of t he acoustic coincidence of stressed syllables at the end of verse lines. The scopes of this category ar e o n h ow t hese p honological f eatures i nteract w ith t he m eaning and particular patterns, cluster of vowel and consonant.

The s ounds i nvolved i n l iterary works may r esult i n p articular p atterns which g ive ef fects i n t he f low o f a p lot. S tylistic r egards t his p henomenon necessarily to be interpreted since everything set in the text, whether it is verbal or

UNIVERSITAS SUMATERA UTARA non-verbal, m ay give co nnections t o the w ork i tself or things out side t he w ork meaningfully. Moreover, in movie settings, the sound effects may give effect to the background of a scene, and the characters in the movie also may give sound effect t hrough s ound pa tterns s o a s t o m ake t he a tmosphere of t he movie fascinating. Simpson (2004: 68 -69) characterizes the sound patterns as:

1. Onomatopoeia,is a f eature of sound patterning which is often thought to form

a bridge between ‘style’ and ‘content’. It consists of:

a. Lexical onom atopoeia dra ws upon re cognised w ords i n t he l anguage

system, words like thud, crack, slurp and buzz, whose pronunciation enacts

symbolically their referents outside language.

b. Non-lexical onomatopoeia, by contrast, refers to clusters of s ounds which

echo t he w orld i n a m ore u nmediated w ay, without t he i ntercession o f

linguistic s tructure. F or ex ample, t he m imicking o f t he s ound o f a car

reviving up might involve a s eries of nonlexical approximations, such as

vroom vroom, or brrrrm brrrrm, and so on.

2. Phonaesthesia is the study of t he expressiveness of s ounds, particularly those

sounds which are felt to be appropriate to the meaning of their lexemes: also

known as phonaestasia, protosemanticism, secondary onomatopoeia and – very

commonly –sound symbolism (Wales, 2014: 316).

It i s ex pected t hat t he ap plication o f t he t heories l eads t o t he p roper interpretation of the character, textually from the movie script and through speech sound from the character’s style.

UNIVERSITAS SUMATERA UTARA 2.4 General Concepts of the Film

In this research, several basic theories on film and the role of the main character Dracula are described here.

2.4.1 Film

Compared with drama or plays staged in the theater, movie has similarity with other artistic works. It aims at giving pleasure to the audiences and emerging certain impressions and feelings after all. What makes film differ from plays is the media where it is performed. Nowadays, cinema is the first choice for audiences to enjoy the fresh-released movie, commonly called premiere. T he d evelopment of film business enable people watch movies through DVD player, and even video sharing sites from internet, for instance YouTube.

Animated movie has been a p leasant choice in film genre, basically seen from the production in the last decade. It has particular attraction where moving images ar e d esigned w ith colorful b ackground, an imated-designed ch aracters, more imaginative plots that enable the audiences to think as wide the blue sea as they like, and hilarious soundtracks, and the voicing from the voice casts. How do genre characterize a movie? According to Laetz (2009:153), genres also figure in film appreciation. Part of appreciating a movie is attributing aesthetic properties to it. From this statement, Laetz emphasizes aesthetic, the appreciation of beauty, to the movie is initiated from the movie itself, accordingly to the genres, whether it is western, science-fiction, horror, comedy, thriller, fantasy, love story, etc.

According t o T oolan (2014 : 455), i n a c onjunction like ‘s tylistics a nd film’, then, the term film is in practice typically a metonym for a particular kind of

UNIVERSITAS SUMATERA UTARA cultural artifact: the output of a recording, on film or in digital files, of a sequence of i mages an d s ounds ( but n ot o f s mells, t astes, f eels), w hich t ell a f ictional narrative; and, further (except in TV series), usually between one and two hours in duration. Thus, excluded from consideration, although they would need attention in a broader study of film, are such forms as film documentaries, TV and internet commercials, and most segments posted on YouTube and similar websites.

Further, in his procedural challenges for a stylistics of film, (2014: 457) i t is stated that a stylistic analysis (of film) cannot mean simply a technical analysis

(of w hich t here w ill b e i nnumerable ki nds, e merging from fi lm s chools), but a technical analysis along the lines and with the assumptions enshrined in literary stylistic analysis. As Norgaard et al. note, stylistics of film is:

The application of traditionally textual tools of analysis to the

study of film and moving images … As is the case with textual

stylistics, f ilm s tylistics ai ms f or a m ore r etrievable w ay o f

analysing ci nematic f orms b ased o n f rameworks w hich h ave

already proven successful in the study of textual forms.

(Norgaard, Busse and Montoro 2011, p. 21)

This i n t urn m eans t hat a s tylistic an alysis o f a f ilm m ust t reat i t as a communicative aesthetic event, just as such an analysis of a play would so treat it, adopting a suitably broad understanding of what ‘aesthetic’ and ‘communicative event’ may mean here. Like canonical communicative events, films are a complex integration of modes and factors, but typically they represent human actions and speech i n s pecific an d u sually q uite f amiliar o r r ealist s ettings. Furthermore,

UNIVERSITAS SUMATERA UTARA reflecting t heir ‘ aesthetic’ dimension, f ictional n arrative f ilms are s haped b y an acute selectivity of presentation, conducive to the ‘telling’ of a story and a sense of narrative arc.

Furthermore, Toolan (2014: 468) c oncludes that film cannot easily – that is, w ithout n oticeable artificiality – disclose t o us a c haracter’s i nner t houghts.

Some films use voiceovers for this purpose, or else they have the character talk directly to camera, as if to a mirror; but neither convention has taken hold to the point o f f eeling ‘ natural’ t o v iewers. P artly f or t hat v ery r eason, d irectors h ire actors to play character roles who are gifted at using their faces (especially their eyes an d m outh) t o s uggest k inds o f co mplex t hought, ev aluative r eaction an d emotion.

From t his description, t he w riter ‘ underlines’ t he s tatements ‘ a communicative aesthetic event’ t o unde rpin hi s a nalysis on phonol ogical l evel. I t obv iously demands on aesthetic substances which stylistic reveals through the analysis.

2.4.2 Hotel Transylvania – 2

Hotel Transylvania – 2 (2015) i s t he s equel t o ‘ Hotel Transylvania’ i n

2012, di rected by Genndy T artakovsky, a nd w ritten by Robert S migel, a nd produced by Sony Pictures Animation. This animation movie tells about the life of a f amily, Johnny (the fa ther, who i s a hum an), Mavis (the m other, who i s a vampire) a nd their s on D ennis. M avis’s fa ther, Count Dracula, the ow ner a nd hotel m anager o f t he H otel Tr ansylvania, ex pected t o h ave a v ampire-blooded grandson. When he knew that her daughter conceived a baby, he was very

UNIVERSITAS SUMATERA UTARA

Figure 2.7: Animated characters in Hotel Transylvania - 2 much excited to welcome his vampire grandson. But the new born ba by, Dennis, did not have vampire power, such as flew like a bat and had sharp fangs as the other v ampires, a nd he de cided t o t rain t his bo y t o grow a s a vampire. H is determination turned into self ambition that caused conflict between him and the boy’s m other. P rotagonist rol e i s s hown a t t he e nd of t he movie when B ella,

Vlad’s trusted assistant found that humans have taken part in their dark territories.

Overall, the theme presented in this movie is the value of family relationship to accept one another willingly so that each member in the family regards everyone is precious through their inner bond.

In respect to the casting taken by the voice casts, it is necessary to perform the voice casts in the movie including the roles they portray in the movie.

1. Adam S andler as Count Dracula, nicknamed as Drac (The ow ner of t he

Hotel Transylvania)

2. Andy Samberg a s Jonathan Loughran ("Count Jonafang"), nicknamed as

Johnny (Dennis’s father)

UNIVERSITAS SUMATERA UTARA 3. Asher B linkoff as Dennis Loughran ("Dennisovitch"), M avis a nd J ohnny's

five-year-old son.

4. Selena Gomez as Mavis (Dracula’s daughter)

5. Kevin James as Frank (Frankenstein’s monster)

6. Steve Buscemi as Wayne (the werewolf)

7. David Spade as Griffin (the invisible man)

8. Keegan Michael Key as Murray (the Egyptian Mummy)

9. Fran Drescher as Eunice (Frank’s wife)

10. Molly Shannon as Wanda (Wayne’s wife)

11. Megan Mullally as Grandma Linda (Johnny’s mother)

12. Nick Offerman as Grandpa Mike (Johnny’s father)

13. Rob Riggle as Bela (The main antagonist, the leader of the bat cronies)

14. Mel Brooks as Vlad (Dracula’s father)

There are s everal o ther additional v oice casts b esides t hese main characters. A mong t hose voice cas ts m entioned above, Adam S andler, w hose voice portrays the character of Dracula, is the main concern of stylistic analysis in phonological level in this research.

2.4.3 Count Dracula Character

The ch aracter Count Dracula (also cal led as Count Drac) i s t he m ain character i n t he movie, v oice c ast b y an A merican actor, A dam S andler. Th e character Dracula is taken from Romanian mythology, the king of Vampire, the

UNIVERSITAS SUMATERA UTARA mythical creature that hunts for hum an’s blood. This creature is made into story by Bram Stoker’s novel in 1897, Nosferatu, The Legend of Dracula.

Figure 2.8: Count Dracula in Hotel Transylvania - 2

The p opularity o f t his m ythical cr eature i s ad opted i n the movie and successfully gives a horror ba ckground, but packed in a humorous style. Swartz

(2000: 2) describes this creature in his introduction part of his two acts thriller: As in its origin, Dracula is associated with the other horrible creatures in the movie, such a s z ombies, Frankenstein’s m onster, m ummy, w erewolf, bi gfoot, i nvisible ghost, and vampire bats. In contrast from the statement, by the development of digital technology, audiences are entertained with the comical and funny designs of those creatures when they appear in the movie Hotel Transylvania – 2.

In this movie, Count Dracula’s role quite dominates the plots; as the owner of t he H otel Tr ansylvania, f ather o f M avis ( who got m arried w ith J onathan

Loughran, his son-in-law), Jonathan Loughran’s father-in-law, Dennis Loughran’s grandfather, the leader of a gang of m onsters, and the son of Vlad, the legend of

Vampire from Transylvania. Automatically he appears in various situations which influence the style of his speech in the movie.

UNIVERSITAS SUMATERA UTARA CHAPTER III

RESEARCH METHODOLOGY

As the fundamental step in conducting linguistic research, there must be a firm foundation for a researcher to organize the research. There is an importance to clarify the difference of research method and research methodology in regard to the comprehending of stages in research. Kothari (2004:7) defines that Research methods may be understood as all those methods/techniques that are used for conduction of research. Research methods or techniques, thus, refer to the methods the researchers use in performing research operations. In other words, all those methods which are used by the researcher during the course of studying his research problem are termed as research methods. He adds that Research methodology is a way to systematically solve the research problem. It may be understood as a science of studying how research is done scientifically (p.8).

Analysis in linguistics needs suitable research method in order to gain accuracy and valid result. Researchers around the world have found it important to hold the research based on particular methods according to the field of their research because the right method of research will lead the researchers to gain reliability results, both in collecting data and in completion of his thesis or dissertation. In this chapter, the writer is going to describe the suitable methodology to support the achievement of his research.

3.1 Research Design

Designing a research is a fundamental step in scientific writing. In determining the design in a research, the writer refers to the how to achieve the

UNIVERSITAS SUMATERA UTARA objective of the research. According to Kumar (2011: 282), in the suggested format in writing about information obtained from questions, notice that the literature review is integrated with the findings and conclusions. The extent of the integration of the literature with findings mostly depends upon the level at which you are writing your dissertation (Honours, Masters or PhD) – the higher the level, the more extensive the literature review, the greater its integration with your findings, and the more careful and confident you need to be about your conclusions. Writing in qualitative research is more descriptive and narrative than analytical. In regard to scientific writing system, Hanafiah (2016:48) affirms that both lexical density and grammatical intricacy should be considered to have the tendency in abstract writing in order to perform written language instead of spoken.

Therefore, considering the format of this research, it is concluded that this research is conducted through descriptive qualitative research. The details of the stages in conducting the research are performed as follows.

3.1.1 Transcribing the Phonemic Transcription

Since the writer has found several distinct pronunciations in the movie used by the character, then the movie script is compared with the sound produced in the movie. This approach must be done very carefully by transcribing the phonemic transcription in IPA (International Phonetic Alphabet) system and compare it to the distinct vowel and consonant sounds uttered in the movie. The

IPA system adapted is the newly revised to 2015, as shown in the following table.

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Table 3.1: List of IPA consonants

Table 3.2: List of IPA vowels

Considering the duration or the movie, the writer selected the sections by marking the minutes when the utterances occurred.

3.1.2 The application of theories

In order to avoid the overlapping analysis with the stylistic theories, then the research is designed qualitatively based on the stylistic categories, under the principles of figures of speech. Therefore, to figure out the phonological effects involved in the movie, the design in investigating the sound level in stylistic is organized as follows:

UNIVERSITAS SUMATERA UTARA STYLISTIC ANALYSIS

Character’s speech sound features Phonological Schematic features

Voice settings in Phonological Tropes articulations Schemes

In respect to these approaches, it is concluded that this research applies qualitative method. Qualitative method is based on interpretive actions toward the social phenomena. Kreswell (2009: 4) defines: Qualitative research is a means for exploring and understanding the meaning individuals or groups ascribe to a social or human problem. The process of research involves emerging questions and procedures.

3.2 Data and Data Source

Beforehand, it is necessary to clarify what the „data‟ is based on the methodology perspective. Griffee (2012: 128) states that data is the lifeblood of research. Data connects theory (ideas about the world) to practice (the world).

Without data, we have to take the researcher‟s word for whatever claims she is making. Data allows us to look over the researcher‟s shoulder and see what he saw. Data makes research empirical, and empirical research is highly valued because it represents something outside our opinions and ourselves.

Meanwhile, Walliman (2011: 65) states that data is another word for bits of information (singular – datum). Research uses data as the raw material in order to come to conclusions about some issue. It depends on the issue being investigated what data needs to be collected.

UNIVERSITAS SUMATERA UTARA In classifying the data methodologically, a clear description is given by

Walliman (2011:71): Data are also divided into two other categories, referring not to their source but to their characteristics; basically whether they can be reduced to numbers or presented only in words. This affects the way that they are collected, recorded and analyzed. The followings clarify the data used for the analysis.

3.2.1 Data

Since the analysis concern with phonological features to be analyzed stylistically, qualitative data are used in this research. It is considered that they are divided into two forms: a. Utterances

In linguistics, an utterance is a unit of speech. In phonetic terms, an utterance is a stretch of spoken language that is preceded by silence and followed by silence or a change of speaker (www.glossary.sil.org/term/utterance).

(Phonemes, morphemes, and words are all considered "segments" of the stream of speech sounds that constitute an utterance). b. Phonemic Transcription

In order to reveal the sound characteristic of the character „Count Drac‟, then the writer has transformed the text script which belongs to Count Dracula‟s part into phonemic transcription, specifically based on the recording taken from the movie. This transcript material has been prepared carefully, regarding to the needs of analysis in the next chapter. It is arranged based on the original movie script, attached in the Appendix section of this thesis.

UNIVERSITAS SUMATERA UTARA It can be assumed that this research passes through several phases to bring up stylistic elements and enlighten it linguistically. That is why the data which are collected must be able to fulfill the completion of the research as what is stated above, „empirical‟. c. Sampling

Due to the big amount of data taken from the movie script, then the writer considers to choose the representation of the data. In this stage, some considerations are taken for the sampling. After conducting deep observation, the writer decided to select the first thirty minutes of the movie to be taken in the analysis. This includes fifty five percent (55%) of the utterances from Count

Dracula‟s part, which is one hundred thirty four (134) from the total two hundred and forty three utterances.

This method is in accordance with purposive sampling with purposive technique, by judgment process, considering the quota of the data which are able to represent the whole parts of data. Ritchie and Lewis (2003:78) states that the sample units are chosen because they have particular features or characteristics which will enable detailed exploration and understanding of the central themes and puzzles which the researcher wishes to study. They also affirm that this sampling has two principal aims. a. to ensure that all the key constituencies of relevance to the subject matter are

covered. b. to ensure that, within each of the key criteria, some diversity is included so that

the impact of the characteristic concerned can be explored.

UNIVERSITAS SUMATERA UTARA 3.2.2 The Source of Data

The data is taken from the movie Hotel Transylvania – 2 with the movie script as the assistance. The source of data can be described as follows.

a. Video CD (Compact Disc)

The video compact disc contains the movie in English language, equipped with subtitles in several languages. English subtitle is the main source of data used. The duration of the movie takes one hour twenty nine minutes and forty two seconds.

b. Movie Script

Since technology of internet has developed significantly, this enables the writer to obtain the full movie script by retrieving it from http://www.springfieldspringfield.co.uk/movie_script.php?movie=hotel- transylvania-2. To clarify the accurateness of the script, it has been compared with the movie subtitle.

c. Audio Files

Since this thesis concerns with phonetic and phonological problems, the writer is obliged to convert the audio into the relevant format so that analysis can be conducted efficiently, without playing the video over and over. The audio files are collected through digital conversion, using a computer application namely

„Video to mp3 converter v.5.1.2. The conversion result is the audio file in mp3 format. This audio file is converted again into wave file in mono sound in order to get high quality result for the further analysis through waveform and spectrogram displays (as it is mentioned in Chapter 2).

UNIVERSITAS SUMATERA UTARA 3.3 Data Analysis

In analyzing the data, there are several stages to be conducted in accordance to the organization of the data.

3.3.1 Acoustic Analysis of the Character’s Voice

In this stage, character‟s voice is displayed through waveform and spectrogram presentations. Waveform displays the speech waves in frequency of vibrations; on the other hand, spectrogram displays the quality of vibrations of the vocal folds. Spectrogram also performs the pitch contour and intensity of the speech in a period of time, where pitch contour is presented in blue line and intensity in yellow line. These acoustic displays are taken by using a computer application namely “PRAAT” version 5.3.56, a freeware application and highly scientific tools in phonetic acoustic science. Using this computer program enables the writer to represent the speech in various utterances, such as a single clause, word or phrases, and even a single phoneme. This aims at displaying the voice quality (in term „phonation‟ in Chapter 2) resulted in the vocal folds that may vary from one circumstance to the others. Phonetic transcription is given below the spectrogram to guide readers in interpreting the voice characters, coming along with the explanations for detail analysis.

3.3.2 Organizing the phonemic transcription

Phonetic transcription is made in regard to the distinct accent, which may not be the convention of American and/ or British accent, and therefore to be figured out whether this phenomena appears with certain pattern in the movie, or

UNIVERSITAS SUMATERA UTARA whether it happens spontaneously or spoken by the character on purpose, for instance as modification. For the purpose of this stage, a standard headphone is used to get the clarity of the voice and match the sounds with the phonemic transcription. For the guidance in phonetic matters, Collins and Mees‟ Practical

Phonetics and Phonology is used for its clear descriptions on segmental cases and

English varieties in generated ways. The writer also uses a dictionary which is equipped with phonetic transcription and audio files in Received Pronunciation

(RP) and General American English (GA), that is Cambridge Advanced Learner‟s

Dictionary Electronic Version 2.0.

3.3.3 Organizing the phonological schemes

In this stage, audio files from the movie takes important role since the analysis involves the script to find out the schemes which occur phonologically. It is necessary to equip special dictionary of Stylistics as guidance in data analysis.

Dictionary of Literary Terms and David Crystal‟s Dictionary of Linguistics and

Phonetics Sixth Edition are used to assist the writer.

The theories described in chapter two, will finally direct this thesis into interpretation task to get the findings and conclusions. The writer consciously realizes that there is not any presumption to the result, because the only authentic result is achieved after conducting the research properly.

UNIVERSITAS SUMATERA UTARA CHAPTER IV

DATA ANALYSIS & FINDINGS

4.1 Analysis on the Voice Quality (Phonation)

The first section of the analysis qualifies the style in voice production of the glottal settings, called as „Phonation‟. In accordance with the previous chapter, speaker‟s style may be influenced by the voice quality in articulation, as what has been classified by Gobl (2003). The types of phonation which may influence style are modal voice, tense voice, breathy voice, whispery voice, harsh voice, creaky voice, and lax-creaky voice. Apart from the types mentioned above, falsetto is also the typical voice made up artificially since this high pitch sound is resulted by stretched vocal folds vibrating rapidly (Esling, 1984).

The very basic starting point is to figure out the modal voice or the basic voice of the character and represent it through the spectrogram in order to visualize it. One consideration in choosing the part to analyze is to avoid a stream of speech which comes along with the background music, so that only the utterances are taken, or at least with the slight background effect which does not disturb the speech sounds of the character during the analysis. The character‟s modal voices may also be influenced by the contextual circumstances. A clear part of modal voice is taken from [00:05:12] where Count Dracula is singing a song accompanied by a ukulele in his daughter‟s wedding ceremony to congratulate them. The song is sung as the following lyric:

And you'll always be my moonlight, but now on wings of love you soar. (1)

Now that you're Johnny's girl, Johnny's girl, and kind of Daddy's, too. (2)

Your mom would be so happy, cause she always knew. (3)

UNIVERSITAS SUMATERA UTARA Love is making room for all the best in you? (4)

This song represents the modal voice since there is not any dominant influence that gives impact to the emotional act, even though in performing the song, it may trigger emotional feeling. The utterance chosen is displayed in the following figure which represents the voice quality of the character taken from the second line of the lyric. Figure 4.1: The and spectrogram waveform di

splay of „Now your that‟s Johnny‟s girl

UNIVERSITAS SUMATERA UTARA PRAAT spectrogram analyzes how every word is uttered in modal voice, determining the time, frequency and intensity (in yellow line). In addition, pitch can be seen as blue line in the spectrogram. In pronouncing „now‟, the spectrogram lists the intensity ranges as follows:

- The lowest: 59.84 dB

- The highest: 78.71 dB

The shades of gray in the spectrogram display light contour, as it is shown in the waveform above it. The darker shade it displays means the more intense energy it produces in the length of time, in this case 459 millisecond (Ms).

         

Figure 4.2: Spectrogram and waveform of the word “now”, taken out from the utterance in figure 4.1.

The pitch contour (blue line) comes in relatively flat with a little raise from the middle part to the end of the utterance; refer to the diphthong /aʊ/. There is a short period initiating the nasal /n/, marked by the arrow in the figure above, followed by the increase of energy when it reaches the diphthong [aʊ] and lowers down

UNIVERSITAS SUMATERA UTARA When it reaches the second word, that /ðæt/, it is initiated by weaker sound of the ending from the previous word „now‟ where the vowel ending is continued by the consonant [ð] without any crucial changing of intensity, as it is shown here:

Minimum intensity : 53.95 dB

Maximum intensity : 74.06 dB

Figure 4.3: Spectrogram and waveform of the word “that”, taken out from the utterance in figure 4.1.

The shades of gray shown by the arrow displays the energy made up by fricative [ð] and the white gaps among the dark bands signify the presence of low front vowel [æ] which continues in the similar way as in the first word. These bands are called formants. Collins (2013:210) defines formants as a concentration of energy around certain frequencies. Combinations of formants form distinctive patterns for different vowel sounds. Ladefoged (2001: 36) illustrates the formant in the spectrogram as the dark bands with white lines running through their centers, with the degree of loudness (amplitude) of each formant being shown by the darkness of the bands.

UNIVERSITAS SUMATERA UTARA The third word „you’re‟, phonetically transcribed [jɔː] is displayed as in the following figure:

Figure 4.4: Spectrogram and waveform of the word “you’re”, taken out from the utterance in figure 4.1.

- Minimum intensity : 40.68 dB

- Maximum intensity : 73.59 dB

The dark shades form a solid pattern with regular arrangement in the lower part of the spectrogram, indicating less energy in vibration frequency. The black arrow marks a formant where the [j] is a vowel-like sound, indicated by the formant.

Meanwhile, the horizontal arrows represent the vowel /ɔː/ in longer period and very short approximant /r/ sound, as in general American style where /r/ sound is pronounced with less friction between the tip of the tongue to the post-alveolar.

In pronouncing Johnny’s, phonetically transcribed as [dʒɑːniz], the intensity range is noted as:

- Minimum intensity : 47.61dB

- Maximum intensity : 77.56 dB

Figure 4.5 is initiated by a thin shade as the blade of tongue takes a start for a fricative sound. The waveform also draws it (in the circles at the beginning

UNIVERSITAS SUMATERA UTARA and the end) as a horizontal line with less sound pressure level. This can be taken in general as the representation of fricative voice, as in /dʒ/ and /z/ in this word.

Figure 4.5: Spectrogram and waveform of the word “Johnny’s”, taken out from the utterance in figure 4.1.

When the vowel /ɑ/ is burst along with /dʒ/, more vibrations are produced without increasing the intensity significantly, and followed by a short horizontal gap (shown by the arrow), as if it were the syllable marker to the nasal

/n/. This articulation takes 903 Ms.

In the last word of the utterance, the word „girl‟ [ɡɜːɫ] takes 644 Ms with intensity range as follows:

- Minimum intensity : 56.97 dB

- Maximum intensity : 75.61dB

Pitch contour is relatively straight with a little raise in beginning the velar /ɡ/. The short period in the beginning part marks the flow of the ending of the previous fricative, with the formants represent the vowel /ɜ/ in longer period, and ended by a dark l, a typical phoneme /l/ of American English, with IPA symbol [ɫ].

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Figure 4.6: Spectrogram and waveform of the word “girl”, taken out from the utterance in figure 4.1.

The whole part of the utterance can be put together as temporary conclusion of Count Dracula‟s modal voice in that section.

a) Spectrogram analyzes the intensity of modal voice in the range: 40.67 dB

(minimum) up to 78.69 dB (Maximum)

b) Pitch frequency ranges from 79.13 Hz (minimum) up to 171.32 Hz

(maximum)

c) The degrees of amplitude are displayed by spectrogram in relatively light

with some darker shades indicating stable energy produced in sound

production through the vocal folds.

d) The greater vibrations are resulted, the higher intensity it is shown. This is

shown in the amplitude of the waveform, where the waves for voiced

sounds are higher than the voiceless sounds.

4.1.1 Harsh/ Rough voice in Phonation

The second part of voice production analysis figures out the tendency of the voice cast in articulating vowels and consonants in „rough‟ voices, which is

UNIVERSITAS SUMATERA UTARA termed in phonation as „harsh‟ voice. As it is clarified previously that phonation is the function of the larynx as a vibration source. Apart from the modal voice,

Count Dracula tends to articulate the phonemes in two other distinguished ways: harsh or rough voices and high pitch voices. In order to figure out these styles of articulations, the first observation is directed to harsh or rough voice production.

Gobl (2003:195) describes that harsh voice involves very high tension settings. To this extent it is essentially a variety of tense voice, but may have more extreme settings. A defining characteristic is that harsh voice tends to have additional aperiodicity due to the very high glottal tension.

This speech style demands further analysis to prove that harsh or rough voices performed in the movie are greatly influenced by the voice effect made up in the glottis and larynx. By imitating Count Dracula‟s voice in the movie, the writer finds that vibrations are produced significantly in the throat area when harsh or rough sounds accompany other segments in an utterance. Articulation in harsh voice is noticed when the sound produced contain more vibrations and constriction in glottis. Basically the sounds produced by glottis are called glottal, including [h] and [ʔ], glottal stop. The throat areas which are involved in speech production are pharynx, larynx, and the vocal fold itself, as it is illustrated in the following figure. Fromkin (2011: 196) illustrates the places of articulation as it is shown in the figure 4.7 as the following order: 1. bilabial; 2. labiodentals; 3. interdental; 4. alveolar; 5. (alveo) palatal; 6. velar; 7. uvular; 8. glottal.

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Figure 4.7. Places of articulation (Fromkin, 2011)

On the other point, /h/ sound, viewed from the manner of articulation is a fricative, since the airflow is obstructed that it causes friction, passing through the open glottis and pharynx (Fromkin, 2011:202). From this point, there is an indication that the rough or harsh voices produced by the voice cast is a sound modification to perform the typical character, since the plain glottal sound does not produce that typical sound.

The harsh voice which is simultaneously produced with the other segments relates with moments when the character Count Dracula gives instructions in his authority, showing high temper or anger, argue with others, or in short the moments which involves emotions and personal attitude, giving a scene more dramatic. From the voice cast side, the demonstration of this voice modification signifies his ability in controlling his glottal and larynx in speech.

UNIVERSITAS SUMATERA UTARA This type of phonation is considered important to perform through waveform or spectrogram analysis. The first utterance is taken from: [00:06:23]:

I, I would eat a bucket of garlic to fly with you. Count Dracula was painting when

Mavis and Jonathan entered the room, invited him to fly along with Mavis, and later on to give him s surprise about Mavis‟ pregnancy tiding.

(Scene: Count Dracula is painting a creature, Todd.)

Mavis : Hey, Dad.

Count Dracula : Oh, hey, guys! Todd, take a break.

So, what's up?

Johnny : Mavis was wondering if maybe you wanted to go for a fly.

Count Dracula : Oh. We haven't done that in forever. Any special reason?

Johnny : No special reason at all. Right, Mavis?

Count Dracula : What's his deal?

Mavis : He's silly. It's just a beautiful night, and...

Well, if you don't want to...

Count Dracula : No, no! Are you kidding?

I . . . I would eat a bucket of garlic to fly with you.

The shifting of voice quality occurs in the last utterance, „I . . . I would eat a bucket of garlic to fly with you‟, from modal voice, to high pitch voice

(falsetto) and ends in harsh or rough voice. This speech style occurs continuously in an utterance, revealing the voice cast ability in controlling his glottis and larynx in producing the voices.

UNIVERSITAS SUMATERA UTARA Figure 4.8

: Spectrogramand waveform of the

„ utterance

I… I eat a bucketgarlic would of

to fly with to fly with

you.

‟

UNIVERSITAS SUMATERA UTARA The utterance begins with modal voice in the first 923 ms, „I . . . I would eat a’ and is followed up by significant raise of pitch (1,94 seconds), which is analyzed later as „falsetto‟ voice, and ends with sudden decline of pitch but in higher intensity, which is termed in phonation as „harsh voice‟. The whole utterance takes 2,74 seconds with three different types of phonations.

Figure 4.9: The waveform and spectrogram display of „to fly with you‟.

The length of this part takes 811 ms with pitch and intensity ranges as follows:

a) Pitch : Minimum : 72.47 Hz

Maximum : 209.34 Hz

b) Intensity: Minimum : 40.12 dB

Maximum : 73.88 dB

Shades of gray in the spectrogram represent the vocal fold quality where vibrations are reinforced by the state of glottis, where greater constriction accompanies the segment in producing the phonemes. This causes energy turbulence influence the frequency especially when it accompanies the vowel sounds. For specific display of harsh voice, the spectrogram is drawn separately as shown in the following figure:

UNIVERSITAS SUMATERA UTARA

tu ˈflaɪ wɪθ ju

Figure 4.10: The spectrogram of harsh voice „to fly with you‟.

Since this sound mechanism takes place in lower area of the throat, it assumes that glottis and pharynx become the secondary articulators in sound production. According to Esling (1999: 2449) the “growling” and “throat clearing” sounds, occurring as properties of meaningful distinctive consonant or vowel sounds in some languages, are also shown to be aryepiglottic folds as they approximate the base of the epiglottis.

In order to comprehend this statement, clarification of the term

„aryepiglottic fold‟ is given. Aryepiglottic fold is defined as a prominent fold of mucus membrane stretching between the lateral margin of the epiglottis and the aryternoid cartilage on either side; it encloses the aryepiglottic muscle.

(www.medilexicon.com/dictionary/34245).

Based on its type, harsh voice is primarily used with raising tones and higher pitch to express anger, temper or fury, and in some circumstances it may be

UNIVERSITAS SUMATERA UTARA used to express dislike, annoyance, or when someone feels disturbed. Another situation is taken from [00:23:13 – 00:23:23] when Frank (the Frankenstein monster caught Count Dracula was wigging out in his room)

Frank : What are you wiggin' out about, Drac?

Count Dracula : The kids. Mavis Wavey's saying she wants to leave.

Frank : She wants to leave? What about Johnny? He doesn't wanna go.

He's making the hotel more human-y for Dennis. You know,

seeing that he isn't a monster.

Count Dracula : He is a monster! He's just a late fanger.

Both utterances are uttered in harsh voice expressing his dislike when he knew that Mavis, her daughter wanted to leave the hotel to raise her son, Dennis, since she found that the hotel were full of chaotic atmosphere and violent influences, which she found bad for Dennis. Count Dracula found it a very bad idea for he would not have any family member live with him, moreover other residents doubted that his grandson was not a monster, since he did not see any fangs had grown, as most Dracula had. The utterance chosen to display in spectrogram are taken from [00:23:23], „He is a monster!‟.

Figure 4.11: The waveform and spectrogram of harsh voice „He is a monster!‟.

UNIVERSITAS SUMATERA UTARA By zooming to each sections of the utterance, pitch and intensity ranges are measured as in the following table:

/hi/ /ɪz/ /eɪ/ /mɒnstər/ Minimum 236.18 Hz 102.76 Hz 241.82 Hz 172.24 Hz Pitch Maximum 317.31 Hz 282.18 Hz 294.96 Hz 282.67 Hz pitch Minimum 75.72 dB 65.86 Db 66.45 dB 50.25 dB intensity Maximum 78.87 db 79.16 Db 75.18 dB 76.34 dB intensity Table 4.1: Pitch and intensity ranges of the utterance „He is a monster!‟

h i ɪ z Figure 4.12: The spectrogram of the word /hi ɪz/ in harsh voice.

The /h/ sound in /hi/ comes in a very short time, almost inaudible, and what dominantly heard is vowel /i/, marked by the formants (white arrows) in higher frequency. The waveform shows that high frequencies are repeated with so many peaks, which means more energy is released in articulating the sounds. This vowel /i/ is extended to the vowel /ɪ/ in the next word /ɪz/. As intensity is

UNIVERSITAS SUMATERA UTARA relatively high from the beginning of the utterance (i.e. 75,98 Db in 2591 Hz of spectrogram frequency), it reinforces the harsh voice with more tenses and rapid creaks along the utterance. This causes shades in spectrogram bands appear not in solid dark, but full of white spots amongst it. Fricative /z/ is marked by the diminishing shade, indicating that sound concentration is no longer in glottis. The last part of the utterance, a monster, clearly sounded the vowel a in strong form, as /eɪ/, followed by the sound „monster‟ in harsh voice. The waveform draws two syllables in two periods of sound waves as in figure 4.13. The first syllable is initiated by the complete closure of lips in nasal /m/ before the burst of air in vowel /ɒ/. There is a short period where intensity drops sharply when nasal /n/ and fricative /s/ meet to initiate the next syllable, draws the condition of vocal folds in voicing, where more strictures involve the front parts of tongue to the alveolar ridge. Plosive sound /t/ is again accompanied by greater air turbulence that triggers the rising of intensity in higher level, where larynx produces harsh effect, drawn as broken contour of the shades until the vowel /ə/ is uttered simultaneously again in harsh effect, ended by blurring /r/ since the glottal tension has given too rapid vibrations.

m ɒ n s t ər

Figure 4.13: The waveform and spectrogram of „monster‟ in harsh voice.

UNIVERSITAS SUMATERA UTARA Since this speech style dominates most articulations made up by Count

Dracula, the writer has listed the utterances where the voice cast used his speech style in harsh voice in appendix page.

4.1.2 Falsetto Voice

The other typical voice which marks Count Dracula‟s speech style is the use of high pitch voices, termed in phonation as „falsetto‟. Falsetto voice of the voice cast displays the presence of Count Dracula as a friendly figure, comical, amusing, cheerful and showing affection. In short, positive perception to the social environment. After thorough observation to the data, the writer found obviously two ways of how falsetto voice is produced by the voice cast: naturally and artificially. The term natural here does not mean merely the speaker‟s voice quality that he possesses, but the voice that he produces spontaneously in articulation, to get the intended circumstance according to the context of story.

Artificially in this context means that the character, with certain reasons, acts as a lady, or imitating a woman and takes after the feminine voice as close as possible in falsetto voice. There are thirty five utterances in falsetto voice taken from the data, listed as follows:

1. 00:05:56 : Oh, hey, guys! Todd, take a break.

2. 00:06:07 : Oh. We haven't done that in forever. Any special reason?

3. 00:06:23 : No, no! Are you kidding? I would eat a bucket of garlic

to fly with you.

4. 00: 07:31 : Where are you? Honeybat! Mavis! Honeybat!

5. 00: 07:35 : I'm gonna get you.

UNIVERSITAS SUMATERA UTARA 6. 00:07:40 : Honey? Are you okay?

7. 00:08:46 : Yes, a human who can fly as a bat.

8. 00:09:35 : Really? I mean, okay. He's the family, I guess.

9. 00:09:45 : Oh, look! It's a boy! It's a boy!

The Dracula bloodline carries on!

10. 00:09:59 : If I were Dad, I'd say yes. But I'm the nurse, Francine.

Here you go anyway.

11. 00:10:57 : It's not his vampire name.

12. 00:11:52 : Someone's overprotective.

13. 00:16:23 : Yes! Cool, like I said.

14. 00:16:29 : Feel the bat.

15. 00:17:29 : But, honeydeath, six of Wayne's wolf pups are having a

birthday party tonight.

16. 00:19:52 : Denisovich! My big boy! You made it!

17. 00:20:23 : Get in there, Mavis.

18. 00:21:43 : What's wrong with the classes we have here?

Like the kids' yoga?

19. 00:21:51 : This is Denisovich's home.

20. 00:22:48 : Dad, it's not a fang. Dad, I don't know if it's the right place

for Dennis. Right, Johnny?

21. 00:25:53 : What? Are you kidding me? And get him off his routine?

22. 00:29:17 : You see, Denisovich, monsters are nice, just like you.

UNIVERSITAS SUMATERA UTARA 4.1.2.a Natural falsetto voice

This speech style is commonly used when Count Dracula shows cheerful mood in speaking. This style influences the pitch and voice contour that makes the voice resulted contrast to the other styles. Podesva (2007:480) observed phonetically the glottal configuration for falsetto, give rise to rapid vocal fold vibration, correlating acoustically with a high fundamental frequency (f0) level which can range from 240 Hz to 634 Hz in the speech of men, and from sociolinguistic perception is a stereotypical gay identity. This marks that falsetto voice is the product of glottis setting, controlled by the speaker, in this case is a man. The utterance [00:11:52 : Someone's overprotective.] is taken to be analyzed by the spectrogram.

Eunice : We have a present. I hope it's acceptable.

Drac : "My First Guillotine." Very educational. Well played, Frank.

Mavis : It's great. Thank you. We just have to baby-proof that.

Johnny, do you know where you put the rubber guards?

Eunice : Baby-proofing a guillotine?

So you cut your finger off. It's part of the fun.

Drac : She made me baby-proof the whole hotel.

Someone's overprotective.

This scene was taken from Dennis‟ first birthday party, where every monster had prepared the gifts for him. Eunice, Frankenstein‟s wife, gave him a toy, „My First Guillotine‟ and this made Mavis felt panic, since her son was just one year old and had asked Johnny to prepare the baby-proof tool to protect him from such a dangerous toy. Guillotine is a sort of device with a sharp blade raised

UNIVERSITAS SUMATERA UTARA on the top of the frame, used in the past to execute someone by cutting the head when the blade is released. Count Dracula tempted her by saying this utterance.

Spectrogram audio plays two kinds of voice used in a single utterance, modal (neutral) voice in „Someone’s over-‟ and falsetto voice in saying

„protective.‟ In order to specify the analysis, the part „-protective‟ is zoomed and chunked into syllables. The advantage of using this computer software is that the piece of utterance is instantly set in certain periodic of waves accordingly with the typical voice made by the speaker to determine the syllables.

Modal Voice

Figure 4.14: The waveform and spectrogram of „protective‟ in falsetto voice.

There is a short transition of modal voice occur in this piece of utterance, which takes place in the first syllable /prə/ (284 ms). This gives differences in the

UNIVERSITAS SUMATERA UTARA shade contour compared with the second syllable /tek/ and third syllable /tɪv/ which are sounded in falsetto voice. Viewed from pitch and intensity ranges, the first syllable /prə/ is lower than the other two syllables.

prə (284 ms) tek (209 ms) tɪv (880 ms) Minimum Pitch 219.33 Hz 365.27 Hz 316.85 Hz Maximum pitch 277.43 Hz 421.86 Hz 375.15 Hz Minimum intensity 50.45 dB 56.45 dB 33.12 dB Maximum intensity 76.55 dB 76.53 dB 78.60 dB Table 4.2: Pitch and intensity ranges of „- protective’ in falsetto voice

Waveform displays this piece of utterance in three periodic cycles, representing the three syllables. Each cycle is drawn with denser concentration of frequency. Compared with the neutral and harsh voice where waveform appears with various peaks of waves above and below the zero axis, falsetto voice is drawn as accumulation of frequencies that happens when the air stream passing through the glottis faces blockage in pharynx area, that force vocal fold make rapid vibrations, which means greater energy is used to release the sound.

The plosive /p/ marks the sudden increase of intensity as it releases the air with the burst of energy, reinforced by vowel /ə/ as it is a voiced sound, results more vibration in vocal fold. The approximant /r/ is the channel where the airstream passes the mouth cavity as the tip of the tongue lowers down. The second syllable /tek/ has more stable pitch and rapid vibrations occur to each segment in it. Initiated by plosive /t/, the frequency emerges high and rather stable. But when the plosive /k/ ends the syllable, it forms a short pause before the segment /t/ in the third syllable is started, as they form a blockage in velum area.

The third cycle comes in longer period, which is shown by a prolonged vowel /ɪ/

UNIVERSITAS SUMATERA UTARA uttered before it fades out in fricative /v/, where there is absence of vibration from the force of the glottis.

p r ə t e k t ɪ v

Figure 4.15: The waveform of „-protective‟ in falsetto voice.

This concentration of energy made in falsetto voice is drawn in spectrogram in the solid dark bands, even darker in some parts of the utterance, indicating the solid energy produced by glottis and vocal fold in releasing the airstream to form each segments. This is also influenced by higher pitch, as falsetto voice is one octave higher than the neutral voice, especially when it is uttered by a man.

4.1.2.b Artificial falsetto voice

There are two sections in this movie where Count Dracula use falsetto voice in acting as a female nurse and imitating female voice, that is Mavis, his daughter. The scenes are marked by the use of falsetto voice but in different manner, compared with the use of falsetto voice which is used in the common context of conversation. The scenes are shown in the following conversation:

1. Count Dracula in disguise as a nurse when Dennis was born. He acted as the

nurse since the doctor did not allow him to enter the delivery ward.

[00:09:45: Holding the baby in nurse outfit, speaking in female voice]

Count Dracula : Oh, look! It's a boy! It's a boy!

The Dracula bloodline carries on!

UNIVERSITAS SUMATERA UTARA (Speaking in low harsh voice) No one will ever harm you

as long as I'm here, my little devil dog.

Mavis : Dad, can I hold my baby?

Count Dracula : If I were Dad, I'd say yes.

But I'm the nurse, Francine. Here you go anyway.

2. Count Dracula imitated Mavis‟s voice to express his dislike on her statement

about moving out from the hotel. [00:22:48]

Count Dracula : (Female voice, imitating Mavis) Dad, it's not a fang.

Dad, I don't know if it's the right place for Dennis.

Right, Johnny?

(Californian accent, imitating Johnny)

Oh, hey, dudeman. It's not me. It's Mavis. Hey, dudeman.

I'm afraid to say anything. Hey, dudeman. I'm a dudeman!

Spectrogram display can give clear state of vocal folds and glottis in the two utterances. This utterance is taken from the first situation, ‘I'm the nurse’.

/a i m / ð ə / n ː r s/

Figure 4.16: The waveform and spectrogram of „I’m the nurse‟ in falsetto voice.

UNIVERSITAS SUMATERA UTARA

/d æ d/ /ɪts /n ɒ t / ə f æ ŋ/

Figure 4.17: The waveform and spectrogram of „Dad, it's not a fang.‟ in artificial falsetto voice.

In general, both views of the waveforms display concentration of energy in several periodic of amplitudes. Wherever the energy is concentrated, the spectrogram shows solid contours in the gray shades, vowels are indicated through the dark bands of formant layers, with white gaps among them in the dotted contours. Fricative voices are marked by the gaps between two periodic of amplitudes, whether it is a hissing sounds of /s/ or buzzing sound of /z/, or the typical obstruent /f/. An interesting point from figure 4.17 is the intensity fluctuates along the utterance. Indeed, the voice cast uttered this by doing overtones through sharp rising and falling of pitch. It can be illustrated as someone sings by legato in certain length of time.

UNIVERSITAS SUMATERA UTARA

Figure 4.18a: The pitch contour of the utterance „Dad, it’s not a fang.‟

Figure 4.18b: Intensity contour of the utterance „Dad, it’s not a fang.‟

However, the most important point achieve here is that the voice quality supports the speech style of the voice cast, reflects the personality in various context, and shows how the interactions are influenced pragmatically through the speech styles in various manners.

UNIVERSITAS SUMATERA UTARA 4.2 Analysis of Phonetic Features

As the fundamental part in phonetic level, distinguished styles in segments and phonemes pronounced by the voice cast are analyzed here. It involves consonant and vowel sounds which characterize Count Dracula‟s identity in his speech style.

4.2.1 Distinguished Articulations of Consonant Sounds

There are several consonants which are uttered differently from the general American English pronunciation. These are viewed from place and manner of articulations of the standard American English. For specific use, acoustic value is also considered important to distinguish the sound especially to figure out the style used in speaking.

1. Phoneme /l/

The very first marked pronunciation is the phoneme /l/ which is pronounced distinctively in final position of a word or syllable. Viewed from the features of articulations commonly used in American English accent, an /l/ before a pause will be pronounced as a velarized /l/. Collins and Mess (2013:74) state that phoneme /l/ may have three positions of a word:

1. Clear [l] occurs before vowels (as in live, love, etc)

2. Dark (velarized) [ɫ] before a consonant or a pause (as in told, bold, children,

Paul, etc)

3. Voiceless (fricative) [  ] occurs initially in a stressed syllable following /p/ or

/k/ (as in clean, play, etc)

UNIVERSITAS SUMATERA UTARA By listing the words which contain phoneme /l/ uttered by the voice cast, in initial, medial and final positions, a distinguished /l/ sound is found deviating from the standard General American English.

Initial Medial Final long /lɑːŋ/ welcome /welkəm/ cool /kuːl/ light /laɪt/ enlighten /ɪnlaɪtən/ school /skuːl/ large /lɑːrdʒ/ old /oʊld/ all /ɑːl/ little /'lɪtl / ceiling /siːlɪŋ/ able /eɪbl / look /lʊk/ really /riːəli/ hotel /hoʊtel/ leave /liːv/ wolf /wʊlf/ whole /hoʊl/ Table 4.3: Count Dracula‟s style in uttering phoneme /l/

Phoneme /l/ in initial position is pronounced with clear /l/ as they follow the vowel sounds, and end with consonant sounds (closed syllables). Count

Dracula utters the initial /l/ in the same manner, though it sounds „thicker‟ or too clear in manner as if the place of articulation were farther back than alveolar. By imitating the sound, the writer would say that this initial /l/ tends to be post- alveolar, or even next to palatal (compared with post-alveolar).

In medial position, the one-syllable words (old and wolf) are pronounced with dark [ɫ] sound. On the other hand, the phoneme /l/ which takes final position is pronounced with clear [l] by the voice cast, which is not an acoustic feature of

American English sound. In order to clarify the term „dark‟ here, Collins and

Mess (2013:94) illustrates the tongue positions for both „clear‟ and „dark‟ /l/ as shown below:

UNIVERSITAS SUMATERA UTARA

Figure 4.19: English clear l (left) showing palatalised tongue shape, and dark l (right) showing velarised tongue shape. Arrows indicate lateral passage of the airstream over lowered sides of the tongue (Collins & Mess, 2013)

In the following sections, the final /l/ sound is clearly pronounced, and tends to be palatalized.

 00:04:48 : Honey, your gramps would not have been cool with this.

/hʌni jʊr ɡræmpsː wʊd nɒt həv biːn kuːl wɪð ðɪs/

 00:11:52 : She made me baby-proof the whole hotel.

/ʃi meid miː beibi pruːf ðə hol ˌhoutel/

 00:08:23 : so he'll be able to climb ceilings properly

/ˈso hil bi eibl t klaim siːlɪŋz prɒpəli/

The dark /l/ sound [ɫ] is a typical accent of American English which accentuates the feature of consonant /l/ in final position from other English accent.

This feature is carried out naturally, so that someone may be assumed not a native speaker of the language when he uses a different feature, in this case the final /l/ sound. One example is the word cool, which is pronounced four times in the first thirty minutes, is consistently performs clear [l] sound. Despite the speaker‟s

UNIVERSITAS SUMATERA UTARA ability in modifying his voice, it can be detected obviously by comparing the natural sound of phoneme with the artificial one.

2. Phoneme /r/

Another distinguished consonant sound occurs in phoneme /r/ as shown in the following sections:

1. 00:05:03 : …, monster, unicorn, …

The first, in saying „monster‟, the voice cast pronounced /r/ sound in trill

[mɒnstər], but an approximant in the word „unicorn‟ [juːnɪkɔn].

2. 00:05:12 : soar

In the second case, „soar‟ is pronounced as /sɔː/, not even any sound of /r/ is sounded. Compared with the standard American English sound, [sɔː], a post- alveolar approximant is sounded.

3. 00:06:07 : forever

In saying the word „forever‟, the voice cast clearly pronounced it in two different manners: a flap in the final /r/ of the first syllable, and a trill in final /r/ of the last syllable, and thus transcribed as [foevər].

4. 00:07:06 : Remember what we played when you were little

The word „remember‟ in 00:07:06 is pronounced as [ɪmembə] where initial and final /r/ are sounded as flap. Compared with standard American English sound, both position of /r/ sounds are pronounced as approximant sounds.

A very distinguished sound is resulted in the end of the utterance

„…were little‟, transcribed as [wə lɪtl ]. The phoneme /r/ is not sounded at all that interconnect this style to a non-native American English speaker. This is

UNIVERSITAS SUMATERA UTARA discussed by Collins and Mess (2013:96) as non-rhotic accents: In rhotic varieties,

/r/ is pronounced in all contexts. Rhotic speech comprises most American varieties – including General American and Canadian – Scottish, Irish, much

Caribbean, and the regional accents of the West Country of England. In non- rhotic varieties, /r/ is pronounced only before a vowel.

5. 00:07:09 : Okay. Regular hide and go seek.

An extreme trill is articulated in initial /r/, but silent in the final position, thus it is transcribed as [reɡjʊlə].

6. 00:07:11 : Where are you?

In this utterance, both /r/ sounds are pronounced as flap, transcribed as

[we  ju]. From the description, the voice cast of Dracula demonstrates various phonemes /r/ which does not associate his English speech as an American English native speaker. Moreover, his speech styles in pronouncing phoneme /r/ deviate from American English pronunciation, which mostly is pronounced as post- alveolar approximant.

Viewed from the place of articulation, consonant /r/ in American English is an alveolar sound where the tip of the tongue raises to the alveolar ridge, but this sound varies in many ways viewed from the manner of articulation.

Malmkjaer (2002: 32) classifies the /r/ sound in three classes:

 approximant [], a sound in whose articulation the airstream flows

continuously, while two speech organs approach each other without

touching.

 a roll or trill [r] is a sound in whose articulation one speech organ strikes

several times against the other rapidly.

UNIVERSITAS SUMATERA UTARA  a flap or tap [] is a sound in whose articulation one speech organ strikes

against the other just once

On the other hand, Collins and Mess (2013:50) identifies uvular trill [] where uvula strikes the back of the tongue. They also affirm that the phonetic transcription symbol for the commonest type of English /r/ (a post-alveolar approximant) is an upside-down []. Nevertheless, for phonemic transcription the rule is to employ the simplest letter shape possible, and consequently an ordinary

/r/ (in slant brackets) is used for the English phoneme.

The native speakers of American English hardly ever use trill sound in pronouncing /r/, but tend to use a flap or tap [] sound. In the movie, the writer found incongruity in the production of /r/ sounds.

3. Phoneme /t/

Referring to Collins and Mess (2013:17) that a word-initial /t/ is realised with a little puff of air, an effect termed aspiration, which we indicate by [h], e.g. tea [thi] and in many word-final contexts, [t] is pronounced with an accompanying glottal stop [], then the writer collected and compared the following phoneme [t] uttered in particular ways.

 00:04:55 : He would have eaten him. He's not as enlightened as your

hip Daddy.

: /hi wʊd həv iːtn hɪm//hiz nɒt æz ɪnlaitnd æz jɔːr hɪp

dædi/

In General American English, the word eaten is pronounced as [iːtn] with the glottal stop before the phoneme /n/ and enlightened is pronounced as

UNIVERSITAS SUMATERA UTARA [ɪn'laɪtnd]. CALD transcribes this as [iːt ən] with a diacritic after /t/ to indicate a glottal stop sound, similarly with enlightened [ɪnlaɪt ənd]. In the utterance above, the voice cast uttered the phoneme /t/ in both words as non-glottalized transcribed as /iːtn/ for eaten and /ɪntlaɪ nd/ for enlightened.

It is considered important to refer to such conventions which are generally accepted in American English accent both in manners of articulations and acoustic values to clarify this speech styles that the voice cast used in this section.

The first is that /t/ is aspirated when it takes initial position of a stressed syllable as in talking [tɑːkɪŋ] or taking [teɪkɪŋ]. For this circumstance Collins and Mess (2013:88) distinguish two groups of language users:

 those with aspiration, such as English, standard German, the Scandinavian

languages (Danish, Swedish, Norwegian, Icelandic), Welsh, Chinese;

 those without aspiration, such as Dutch, southern varieties of German, the

Romance languages (e.g. French, Spanish, Italian, Portuguese, Rumanian)

and the Slavonic languages (e.g. Russian, Polish, Czech, Slovak, Serbian,

Croatian and Slovene).

The second is that of syllable-final fortis stops are accompanied by a reinforcing glottal stop at or before the hold stage (2013:88). The term fortis is defined by

Crystal (2008:197) as a sound made with a relatively strong degree of muscular effort and breath force, compared with some other sound (known as lenis).

In NRP the pattern of glottal reinforcement is as follows.

. Syllable-final fortis stops are regularly glottalised before another consonant;

UNIVERSITAS SUMATERA UTARA . In the following contexts both glottalised and non-glottalised forms are to be

found:

(a) before pause: short [ʃɔːt] or [ʃɔːrt];

(b) before /h/, shorthand [ʃɔːthænd] or [ʃɔːthænd];

mʌni].

. The most frequently glottalised consonant is /t/. In particular, pre-glottalisation

very commonly affects a small group of high-frequency words, namely: it, bit,

get, let, at, that, got, lot, not (and contracted forms: don’t, can’t, aren’t, isn’t,

etc.), what, put, but, might, right, quite, out, about.

Depart from the points above, there are more evidences now that the voice cast adopted non-English (whether it is RP or NRP) accent and there is indication that this speech style is modified by adopting European accents where aspiration does not occur in phoneme /t/ of initial position and glotallization is not taken as reinforcement of phoneme /t/ in final stop. Further examples take place in the following section:

 00:05:56 : Oh, hey, guys! Todd, take a break.

The initial /t/ in both words is not aspirated. By using Praat software, this audio can be segmented to get the detail of the sound.

 00:06:25 : I, I would eat a bucket of garlic to fly with you.

/aj ai wʊd iːt ə bʌkɪt əv ɡɑːlɪk tu flai wɪð ju/

Two final phoneme /t/ in eat and bucket as well as initial in to are unaspirated. However, phonation effect (the first part of this chapter) may influence the manner in the phrase /tu flai wɪð ju/, where the harsh voice influence

UNIVERSITAS SUMATERA UTARA voiceless value of /t/ when it is said in lower pitch and frequency. On the other hand, falsetto voice drops the aspirated [th] in the word bucket that almost no plosion could be heard there.

The third is that there is inconsistency voicing of phoneme /t/ found in

Dracula‟s speech, which is one of American English acoustic character, such as in matter, Saturday, butter, eating. Collins and Mess (2013:90) clarify that intervocalic /t/ (i.e. /t/ between vowels) is frequently realised as a very brief voiced stop which can be shown as [], e.g. British, pretty, but I, pathetic, that I.

This effect is known as t-voicing and is particularly common in high-frequency words and expressions. The brevity of the tap and the shortening of the preceding vowel serve to maintain the contrast with /d/.

Then, what are other typical /t/ sounds used by the character to realize his role in the movie? The following sections aim to figure out how intervocalic /t/ is articulated by the voice cast.

1. 00:12:51 : We get it.

[wi ɡe ɪt]

The t-voicing occurs as the allophone of /t/, proceeding vowel /e/ and preceded by /ɪ/, in which both are high front vowels.

2. 00:13:24 : Is this a party?

[ɪz ðɪs ə pɑːi]

Voicing occurs between approximant [] and high front vowel /i/. The influence of approximant is assumed to relate with the movement of the tongue from retracted position in the middle part of alveolar (post-alveolar) in [] toward

UNIVERSITAS SUMATERA UTARA the front part of alveolar [] and consequently ends by front vowel /i/ as shown in the picture below.

Figure 4.20: Tongue position in pronouncing /i/ from the word party.

3. 00:12:58 : Just checking for cavities.

/dʃ ʒəst t ekɪŋ fɔːr kævtɪz/

Phoneme /t/ is articulated plainly; neither voicing occurs nor is plosive sound resulted. As it takes initial position of syllable –ties, phoneme /t/ is supposed to be aspirated, which is the typical of English accent. CALD transcribed this word as /kævət i/ with aspirated /t/.

4. 00:15:38 : Okay. All that taught me is that you're pathetic.

/ˌouˈkei ɔːl ðət tɔːt miː iz ðət jʊ pəˈθetɪk/

Another inconsistency is found that phoneme /t/ in pathetic is commonly pronounced in //, that similarly to the sound /t/ in party in point two. Count

Dracula pronounced it as aspirated /t/ instead voiced sound. CALD transcribed this as [pəθetɪk] in General American English.

4. Phoneme /n/

Compared to the place of articulation, the alveolar /n/ is pronounced distinctively by Count Dracula in quite many parts of the movie. The sense of its

UNIVERSITAS SUMATERA UTARA /n/ sound tends to be in outer part of the oral cavity, closer to dental rather than alveolar. This leads to a speculation on a dentalized process of phoneme /n/ where tongue position (that is the tip of the tongue) is either at the back part of the upper-teeth or between the upper and lower teeth (inter-dental). Pavlík (2009:14) classified this process in assimilation case, Dental assimilation,which occurs when the dental characteristics of the assimilator are transferred (categorically or non-categorically) to the assimilee. This process may be referred to as dentalization and it is expressed in the IPA by the symbol [ ]. For instance, in the phrase one thing, the [n] is articulated dentally as [n], and this dentalization is categorical.

On the other side, Collins and Mess (2013:60) observed that this variant of phoneme /n/ is a typical sound in Spanish. In General American English, this is also an allophonic variation, termed as advanced (p.99) which refers to the tongue position and in the context of assimilation. To clarify this point, the following section shows when nasal /n/ takes position as dental. a. 00:04:41 : Is it everything you wanted

[ɪz ɪt evriθɪŋ ju wɒn t ɪd]

Phoneme /n/ is dentalized and followed by dentalized /t/. Both phonemes are in the state of dental where plosive /t/ is influenced by /n/ in place of articulation. b. 00:04:48 : Honey, your gramps would not have been cool with this.

[hʌn i jɔː ɡræmpsː wʊd nɒt həv biːn kuːl wɪ ðɪs]

Phoneme /n/ is dentalized when it takes initial position in the syllable –ni. c. 00:04:55 : He would have eaten him.

[hi wʊd həv iːtn hɪm]

UNIVERSITAS SUMATERA UTARA d. 00:04:55 : He's not as enlightened as your hip Daddy.

[hiz nɒt əz ɪnlaitn d əz jɔː hɪp dædi]

Since phoneme /t/ is non-glotallized and the voice cast is quite consistent to utter it as dental, dentalized /n/ is pronounced in both utterances. e. 00:05:03 : Human, monster, unicorn,

[hjuːmən mɒn stər juːnɪkɔn]

Phoneme /n/ is dentalized in final position of syllables in both words human and monster. But it remains alveolar in the word unicorn. There is indication that long back vowels /u/ and // before the nasal /n/ defends the position /n/. f. 00:06:23 : No, no! Are you kidding?

[n  n  ɑ ju kɪdɪŋ] g. 00:08:17 : No, no, no. You mustn't give in to your cravings.

[n  n  n  ju mʌsnt ɡɪv ɪn t u jɔː kreivɪŋz]

In accordance to point (b), the voice cast pronounced /n/ as dental as it takes initial position followed by a vowel. On the other hand, opposed to point (e) where back vowels influence /n/ remain in alveolar position, the high front vowel

/ɪ/ precedes dentalized /n/ and is reinforced when it assimilates with plosive /t/, turn it to dental position accordingly.

4.2.2 Distinguished Articulations of Vowel Sounds

From the beginning of the movie, there have been indications that the accent used by Count Dracula performs that he is not a native of English speaker.

Whether his English is adopted from where the character Count Dracula is originated (Romania) or whether his English accent is influenced by his

UNIVERSITAS SUMATERA UTARA biographical bound (see Chapter 1) is reflected in his speech style through articulations of consonants and vowels in particular way. Referring to IPA

Conventions of the vowel chart and comparing it with the standard pronunciations of American English, several contrasts are found in his speech styles deviating from American English conventions.

According to Collins and Mess (20013:159), the vowels of General

American are classified as follows:

Table 4.4: The vowels of General American

The three categories of vowels above are defined (2013:15) as:

1. Checked steady-state vowels: these are short. They are represented by a single

symbol, e.g. /ɪ/.

2. Free steady-state vowels: other things being equal, these are long. They are

represented by a symbol plus a length mark , e.g. /i/.

3. Free diphthongs: other things being equal, these are long. They have tongue

and/or lip movement and are represented by two symbols, e.g. /eɪ/.

From the three categories, none shows vowel /o/ (which is frequently used by count Dracula) as a dependent phoneme, except bound in by another vowel

UNIVERSITAS SUMATERA UTARA (diphthong) and pre –r keyword (as in force). Then, how far is Count Dracula‟s deviance in his style regarding to the features of vowels in speech?

Before mapping these contrasted vowels, it is efficient to list down the standard pronunciation in American English compared with the one used by

Count Dracula (only the utterances which contain distinguishing vowels).

Phonetic Transcription No. Section words General American Count Dracula 1 00:01:55 welcome /welkəm/ /welkam/ 2. 00:06:26 bucket /bʌkɪt/ /bʌkt/ 3. 00:07:08 go /goʊ/ /ɡo/ 4. 00:07:11 okay /oʊ'keɪ/ /oke/ 5. 00:09:35 really /iəli/ /ili/ 6. 00:11:53 whole /hoʊl/ /hol/ 7. 00:11:53 hotel /hoʊtel/ /hotel/ 8. 00:12:36 don't /dont/ /dont/ 9. 00:12:46 only /onli/ /onli/ 10. 00:13:24 deal /dɪəl/ /diːl/ 11. 00:13:52 leave /liːv/ /lɪv/ 12. 00:14:05 wrong /rɑːŋ/ /roŋ/ 13. 00:16:23 said /sed/ /seɪd/ 14. 00:18:17 Yes /jes/ /jes/ 15. 00:23:50 Alone /loʊn/ /eloʊn/ Table 4.5: Distinctive uses of vowels in Count Dracula‟s speech

In the first case, there is a shifting of phoneme // in welcome into /a/.

Mid-central vowel //, commonly termed as schwa is significant in General

American accent since it carries the accent of American English and makes distinguished pronunciation especially in syllabic sound.

UNIVERSITAS SUMATERA UTARA In pronouncing bucket, Count Dracula turns the high front /i/ into mid- central //. In the utterance [00:06:23], I, I would eat a bucket of garlic …, the word bucket seems to get influences from the other vowels coming before and after it where they take low positions of tongue instead of high front /ɪ/.

/a ai wʊd iːt ə bʌkt əv ɡɑːlɪk/

This uniformity supports fluency in speech (1, 95 seconds).

Figure 4.21: Vowel position for /ə/ and /ʌ/ compared with /ɪ/

Another distinctive use of vowels is found in pronunciation of vowel

/o/ instead of diphthong /o/. Table 4.5 shows how the words go, okay, whole, hotel, don’t and only are pronounced with long /o/ sound. Compared with the vowels of General American (Table 4.4), vowel /o/ is not included as a feature in

General American accent, both in short and long vowels, except in diphthongs.

However, the sound /o/ is commonly replaced by // and /ɑ/ as in boy /bɔɪ/ and gonna /ɡɒnə/ which are back rounded vowels. This also occurs in [00:14:05], where phoneme /ɑː/ in wrong is replaced by /o/, thus pronounced it as /roŋ/.

Meanwhile, Count Dracula pronounced those diphthongs /o/ as /o/ where the tongue position slightly raises and lips are in the state of rounding.

Compared with diphthong /o/, which is a vowel glide (where the tongue slightly moves forward from back position /o/ and lips remain round), the writer observed that the voice cast of Count Dracula tends to simplify the diphthong by prolonged the initial vowel, and therefore the diacritic [] marks the long sound /o/.

UNIVERSITAS SUMATERA UTARA This triggers such speculations about the accent that influence his speech style; whether he was imitating Transylvanian accent as the origin of Dracula

Character (therefore related to Rumanian Accent) or it was definitely his own speech style. According to Schane (1973:12), Rumanian has seven vowels:

Front unrounded Back unrounded Back rounded High   u Mid    Low  Table 4.6: Vowels of Rumanian In addition, Renwick (2012:104) describes the two diphthongs /ea/ and

/a/ which are very low in frequency of the corpus, compared with the vowels in the language system.

This chart obviously explicates the previous cases on the exchange of vowels used in speech, such as in welcome, since the absence of mid-central vowel // in the final of stressed syllable. This also occurs in saying alone where mid vowel is turned into /e/, /eloʊn/; similarly in the dominant use of mid- rounded /o/ in replacing diphthong /o/. But still there is no fundamental reason to affirm that Rumanian is the speaker‟s native language due to his inconsistency in accent, except if he adopted this accent in voice modification.

In [00:09:35], another simplification of diphthong occurs, where /i/ is pronounced as / iː/ and the central vowel // is dropped. The word really is uttered with a centering diphthong in General American. Similarly to the previous omission of vowel // as in the word hotel, only the initial vowel of the diphthong is sounded. This also occurs in the word deal [00:13:24] where only vowel /i/ is sounded.

UNIVERSITAS SUMATERA UTARA Contrast with the simplification of diphthongs, the word said /sed/ in

[00:16:23] is diphthongized as /seɪd/. The timbre in falsetto gives its effect in saying this utterance, Cool, like I said, where cool and said are in falsetto and spontaneously turn the intonation higher than its former pitch. This effect carries the nature of high vowel /i/, as if to convey it in such a gay manner.

kuːl______laik__ ai__sed_____

Figure 4.22: Pitch contour for the utterance cool, like I said

Besides the phonemes discussed above, the most noticeable deviation found is the pronunciation of articles a and the. Phonologically, article „a‟ is pronounced // (despite the strong form /eɪ/ which is not commonly used in

General American) as the determiner to singular noun. From twenty eight article

„a‟, they are pronounced as /e/ for six times and // for two times.

1. 00:16:16 : I'm going to teach you how to turn into a bat.

/aim ɡouɪŋ tu tiːtʃ ju hau tu tɜ rn ɪntu e bæt/

2. 00:16:33 : I mean, a real bat.

/ˈai min e riəl bæt/

3. 00:18:08 : Whoa, whoa, whoa. How is that a monster?

/ wo wo wo hau iz ðt e mɒnstər /

UNIVERSITAS SUMATERA UTARA 4. 00:23:23 : He is a monster!

/hi ɪz e mɒnstər/

5. 00:24:28 : Teach him how to be a monster.

/tiːtʃ ɪm hau tu bi e mɒnstər/

6. 00:28:50 : A monster-y adventure.

/e mɒnstərɪ ədventʃər/

The vowel /e/ is by chance associated with the word monster in four utterances as if it were organized in such a way, though in the first utterance, the word bat has no association with the second one, real bat, but the phoneme /e/ is still pronounced.

Furthermore, another distinctive pronunciation is found in the word „the‟ which is phonologically pronounced as /ðə/ when it is followed by any consonants. Instead, there are several articles the pronounced as /ðiː/ followed by consonant sounds. This uncommon way of speech is found in the following sections:

1. [00:05:31] : for all the best in you?

/fər ɔːl ði best ɪn ju/

2. [00:09:35] : Really? I mean, okay. He's the family, I guess.

/ˈrili/ /ai miːn ˌokei/ /hiz ði fæməli ai ɡes/

3. [00:11:21] : What? Look how well he's playing with the wolf pups.

/wt/ /lʊk hau wel hiz pleiɪŋ wɪð ði wʊlf pʌps/

4. [00:14:48] : What's the noise?

/wɒts ð nɔiz/

UNIVERSITAS SUMATERA UTARA 5. [00:116:32] : Feel the bat.

/fiːl ðɪ bæt /

6. [00:21:29] : Oh, yes, indeed. Here comes the fang.

/ou jes ɪn diːd/ /hiə kʌmz ð fæŋ /

7. [00:22:51] : Dad, I don't know if it's the right place for Dennis.

/dæd ai dont no ɪf ɪts ði rait pleis fr denɪs/

8. [00:26:05] : Yes, yes. With the phone and the buttons and the agony.

/ jes / jes / wɪð ði foun ənd ði bʌtn z ənd ði æɡəni /

9. [00:26:39] : Now, remember the plan.

/nau rɪmembə ði plæn/

10. [00:27:03] : Ah, yes, we'll get to the bed. We all love the bed.

/ɑː jes/ /wil ɡet t ði bed/ /wi ɔːl lv ði bed/

Although the ten utterances firmly expose how the voice cast pronounce the article the as /ði/, it does not come in pattern since there are other words the precede consonant-initial words and still follow the convention in American

English /ð/. The writer tends to acquire the reasons for the tendency in the use of final /i/, or even if the voice cast tried his best to adopt Rumanian accent, final back-unrounded // would sound better to some of the utterances.

This affirms that one‟s adopted style would result in exchange of varieties moreover when the disparity in culture linguistically is wide from the culture he is adopting. In both consonant and vowel varieties made up by the voice cast reflect his inconsistency in his speech style, brings up linguistic elements to be of concern to the viewers and turns intense emotional settings to humorous situations.

UNIVERSITAS SUMATERA UTARA 4.3 Stylistic Devices of Phonological Schemes

In accordance with Leech‟s views on phonological schematic features

(2007), the analysis is about to find out the expressiveness in utterances; the phonological patterns of rhyme, alliteration, assonance, rhythmical patterns, and also vowel and consonant pattern or cluster in particular ways.

Although this typical of analysis is widely used in literary works, it does work in influencing the script writing in this movie.

4.3.1 Poetic Devices: Alliteration, Consonance and Assonance

To begin with this analysis, the movie script which is taken as the data has been transcribed phonetically accordingly to the characteristics of the voice cast. The organization of the script is realized to contain poetic devices which are marked by certain repetition of sounds or phonemes, especially the songs which give colors to expressiveness of the character Count Dracula.

The first point to expose here is the first song in [00:05:12] with the setting taken from Johnny and Mevis‟ wedding Party scene.

(1) And you'll always be my moonlight

/ənd jul ɔːlweɪz bi maɪ muːnlaɪt/

(2) But now on wings of love you soar

/bət naʊ ɒn wɪŋz əv lv ju sɔː/

(3) Now that you're Johnny's girl, Johnny's girl,

/naʊ ðæt jr dʒɑːniz ɡɜːl dʒɑːniz ɡɜːl /

(4) and kind of Daddy's, too

/ənd kaɪnd əv dædiz tuː/

UNIVERSITAS SUMATERA UTARA (5) Your mom would be so happy, 'cause she always knew

/ jɔ mɒm wʊd bi s hæpi kɔːz ʃi ɔːlweɪz njuː/

(6) Love is making room, for all the best in you?

/lv ɪz meɪkɪŋ ruːm fr ɔːl ði best ɪn ju/

Accompanied by a ukulele, Count Dracula sang the song in moderate tempo although it is not in constant tap and rather flat in singing it, except in line three and four where the tunes are more melodious. This gives impression of a poem sung in expressive way, reveals Count Dracula‟s gentle character. His modal voice reveals the identity of the voice character, Adam Sandler.

Another song from the data is taken from [00:19:02]. Someone who listens to this song will spontaneously figure it out since the tune is adopted from popular nursery rhyme, Twinkle, Twinkle, Little Star.

(1) Suffer, suffer, scream in pain

/sʌfər sʌfər / skriːm ɪn pein /

(2) Blood is spilling from your brain?

/blʌd ɪspɪlɪŋ frm jɔr brein /

(3) Zombies gnaw you like a plum,

/zɒmbɪz nɔː ju laik e plʌm /

(4) Piercing cries and you succumb

/piərsɪŋ kraiz end ju səkʌm /

(5) Suffer, suffer, scream in pain,

/sʌfər sʌfər skriːm ɪn pein /

(6) You will never breathe again.

/ju wɪl nevər briːð əgeɪn/

UNIVERSITAS SUMATERA UTARA a. Alliteration

The first noticeable stylistic element is the frequency of repetition of the speech sound, termed as alliteration. In the first song, /jul/ and /ˈɔl/ in the word always alliterate (line one) as well as in /maɪ/ and /ˈmu/ in moonlight. The similar pattern is found in the second line in /əv/ and /ˈlʌv/. And what a typical harmonious sound when each line in the first four lines is linked with initial- stressed sound with voiced sound /z/ in final position: /ˈɔlweɪz - wɪŋz - dʒɑniz -

dædiz/. Repetition of the phrase Johnny’s girl signifies Count Dracula‟s willingness to accept Johnny (who is not a monster) as his son-in-law.

Setting of the lyric of the second song represents alliteration in regular form and by the same time forms the rhyme scheme: pain – brain, plum – succumb, pain – again. From line five and six, the words suffer and never pattern in cv-cvc.

Alliteration is also found in the movie script that is viewed from the repetition of stressed words in consonant initial within an utterance. The sounds

/hi/ in [00:04:55] alliterate in the utterance „He would have eaten him. He's not as enlightened as your hip Daddy.‟ In [00:27:03], repetition of words shows alliteration in this utterance:

We'll get to the bed. We all love the bed.

But we're just gonna do one thing first.

Deviation is found in pronouncing „the‟ as /ði/ which is followed by consonant sound. This typical deviation now might be said to have its artistic value, when it is viewed from assonance aspect, compared if is said in its conventional form, /ð/, meanwhile the final /l/ pronounced here is clear /l/ which

UNIVERSITAS SUMATERA UTARA is not conventionally used in General American. As it is stated by Leech (2013:

55) that the concept of deviation (as the negative side, so to speak, of variation) is important to the study of style. To be stylistically distinctive, a feature of language must deviate from some norm of comparison. The norm may be an absolute norm, i.e. a norm for the language as a whole, or a relative norm, i.e. a norm provided by some set of texts which, for the purposes of the study, are regarded as comparable.

b. Consonance

The repetition of a sequence of two or more consonants is termed as

Consonance, where the repetition must be close enough to register in the ear of the listener. In the first song, each line contains consonance as repetition of /l/ and

/m/ in line (1), /n/ and /v/ in line (2), /n/, /dʒ/, /z/ and /l/ in line (3), and /d/ in line

(4). Line (5) and (6) tend to have assonance rather than consonance as described below.

In the second song, an important point shown here is how fricative sounds dominate every line, as in voiceless /s/ and /f/ in line (1) and (2), voiced /z/ in line (3) and (4), and /v/ an / ð/ in line six, which are voiced. Another dominant consonant sounds are nasal /m/, /n/, // in final position of syllables and words which can be found in every lines.

In the script, some cases of consonance are found in the following sections:

1. [00:07:06] : Remember what we played when you were little?

2. [00:08:19] : so he'll be able to climb ceilings properly.

And eat lots of sheep bile.

UNIVERSITAS SUMATERA UTARA As it is discussed in the previous part, that Count Dracula‟s final /l/ sound is clearly pronounced, an accent which does not associate with General American

English. In this typical segment, the voice cast is consistent in pronouncing it in such manner, whether in initial, medial, or final positions.

c. Assonance

The repetition of identical or similar vowels in a sequence of nearby words is termed as assonance. Diphthong /aɪ/ in line one shows assonance in the phrase my moonlight. Line five is identical with high front vowel /i/ in final positions (be, happy, she) as well as back vowel /ɔ/ in /jɔr/, /kɔ ːz/, and /ˈɔːlweɪz/.

Similarly in line six where assonance /i/ is found in the following words: is, making, the, in.

In the second song, assonance is displayed by the repetition of diphthong

/ei/ in pain (the first line) and brain in the second line; diphthong /ai/ in like (line three) and cries in line four; and diphthong /ei/ in pain (the fifth line) and again in the sixth line.

In the movie script, identical repetitions of vowel sounds are found in the following sections:

1. 00:04:41: Is it everything you wanted, my little poisonberry?

Spoken in low pitch tone, front vowel /i/ and /ɪ/ give an emotional effect, that he devotes himself for everything that makes her daughter happy. A sequence of vowel harmony color the tones in this utterance, where the long /i/ sound in the word „everything‟ is influenced by a row of short /ɪ/ that it assimilates to its circumstance.

UNIVERSITAS SUMATERA UTARA 2. 00:04:55: He would have eaten him. He's not as enlightened as your hip Daddy.

/hi wʊd həv iːtn hɪm / hiz nɒt əz ɪnlaitnd z jɔr hɪp dædi/

By the same time, assonance /i/ emerges with the alliteration /hi/. The word

„eaten‟ rhymes with „enlightened‟, reveals assonance // in the unstressed final syllables /tn/.

3. 00:08:19: You need to increase your spider intake, so he'll be able to climb

ceilings properly. And eat lots of sheep bile. (Followed by bleating

sound of a sheep.)

Vowel /i/ appears to be the dominant sounds in assonance, uttered relatively fast in the first sentence. There is an affirmation in conveying the utterance, and is emphasized in the second sentence, in which the utterance speed is reduced when final /t/ in „eat‟ is followed by lateral /l/.

4. 00:26:11 : Stake my heart and hope to die.

/steik mai hɑt ənd hop tu dai/

The two diphthongs /ai/ form assonance in voiced-initial syllables.

5. 00:12:46 : I only say it when I say I don't say it!

Diphthongs /ai/ and /ei/ make a pattern of taking turn here. Spoken in high tone,

Count Dracula expresses his disagreement in

ɪɪ

4.3.2 Rhyme Scheme

In the first song, the first four lines performs irregular pattern with a-b-c- d rhyme and the last two lines rhyme with final /u/.

UNIVERSITAS SUMATERA UTARA Compared from the first song, the rhyme scheme patterns in the second song is a-a-b-b-a-a dominated by nasal /n/ and /m/. The pairs of lines form harmonious patterns. Rhyme schemes are only found in the two songs above.

4.3.3 Onomatopoeia

Another important element of style in phonetic layer is the feature of sound patterning in sound symbolism, termed as Onomatopoeia. Taken from the second song, domination of fricative sounds /s/, /z/, /f/, /v/, and // indicate how relevant the diction in the lyric to the context of the song. This may associate with humming sounds which echo continually.

 scream in pain [m, n]

 spilling from … brain [, m, n]

 Zombies … plum [m]

 Piercing … and … succumb [, n, m]

 scream in pain [m, n]

 again [n]

As the song is a lullaby, especially sung to make children sleep, it is obvious that the lyric is intended to be sung in a soft way, where fricative and nasal sounds are proved to be useful to create the calm atmosphere. Accordingly, the song is sung by Count Dracula to make his grandson, Dennis, asleep. This is categorized as lexical onomatopoeia. Apart from the lexicon used in the lyric, which sounds horror and sadistic, the sound of the song turns it into something soothing and calm.

UNIVERSITAS SUMATERA UTARA In the movie script, Count Dracula joyfulness is realized in a yell „Whoo- hoo‟ [00:03:49] to express a strong excitement when the scene displayed his daughter marriage. This noise is symbolized in onomatopoeic form, as non-lexical onomatopoeia. Similarly in [00:10:07] when a growl sound of a monster

„graaahh‟ reflects the cruel side of Count Dracula. This is triggered when Count

Dracula who was in disguise, wearing a nurse uniform to see his new-born beloved grandson, was tempted by a coquettish zombie who thought he were a real nurse.

Another non-lexical onomatopoeia is shown in [00:12:36], I don't say,

‘Bleh, bleh-bleh.’ Cambridge Learner‟s Dictionary notes that this phrase is used to represent boring speech. „Blah, blah, blah‟ is commonly used when someone feels bored or sick to hear the other‟s speech and as criticism or disagreement to the person. This utterance is spoken as Count Dracula‟s excitement to his grandson‟s first words gone, since what Dennis said was „blah, blah, blah‟. (/bl bl blThere is a great expectation from a grandpa to hear the first word of his grandson, whether he will say mama, papa, or perhaps grandpa. Instead, this phrase is spoken intentionally in order to reinforce his comical side.

In [00:18:08], the utterance „Whoa, whoa, whoa. How is that a monster?‟ exemplify another non-lexical onomatopoeia. CALD defines that

„whoa‟ is used when telling a person to stop what they are doing or to do it more slowly. This disagreement expression is shown when Dennis asked his grandfather to watch a monster video, where it showed someone in monster costume acted foolishly to entertain kids, which is an unacceptable thing for

Count Dracula, since for him, a monster should be a scary creature.

UNIVERSITAS SUMATERA UTARA 4.4 FINDINGS

Using Praat application in analyzes on phonetic level, three types of phonation found in Count Dracula‟s speech which characterize his comical style in this movie: the modal, harsh, and falsetto voice. These are the result of glottal settings in voice modification since they emerges accordingly under the circumstances. An utterance might be accompanied by combination of phonation setting, for instance in 00:09:48, „The Dracula Bloodline carries on.‟, where harsh effect emerged along falsetto voice (Appendix 3). Combination in phonation occurs in the following section of Count Dracula speech:

1. [00:05:56] : Oh, hey, guys! Todd, take a break. [falsetto] [modal + harsh] 2. 00:06:07 : Oh. We haven't done that in forever. [modal] [falsetto] 3. 00:06:25 : I, I would eat a bucket of garlic to fly with you. [modal] [harsh] 4. 00:07:11 : Okay. Regular Hide and Go Seek. [Modal] [falsetto] [harsh] 5. 00:12:36 : I don‟t say blah, blah, blah. [modal] [harsh]

Thus, control on glottal setting takes important role for a voice cast in giving characteristics of the animated identity.

Falsetto voice is marked by high pitches where rise and falling might occur sharply. In spectrogram view, solid shade draws the energy resulted along falsetto voice. On the other side, harsh voice is identical with the creaky effect that turns the spectrogram views as broken contours on the shade layers. The two crucial elements in this analysis are pitch and intensity ranges and contours, scientifically shown by Praat in digital and mathematical way.

UNIVERSITAS SUMATERA UTARA From the circumstances where these phonations are used, harsh voice:

1. Describe the authority in giving commands:

[00:08:19] : And eat lots of sheep bile.

[00:13:24] : Guys, what's the deal? Is this a party? Pick up a phone.

[00:15:44] : Okay. Blue Tooth, come over here. So, now what?

[00:16:27] : … turn into a bat. Try. Feel the bat.

2. Express hesitation:

[00:06:25] : … to fly with you

[00:15:11] : All right, fine.

3. Anger:

[00:23:23] : He is a monster! He's just a late fanger.

[00:23:28] : Shut up! It's all that human-y stuff that's confusing poor

Denisovich.

4. Disagreement:

[00:12:36] : I don‟t say blah, blah, blah!

[00:13:24] : I don't care if Johnny said it's a "cool app." Johnny's still new

here.

[00:13:36] : No, you're checking your Facebook page. Again.

[00:18:17] : "Shares"? Yes! When I think monsters, I think "shares. "

5. Deceitful

[00:23:47] : Wait a minute. That's what Johnny wants, too.

[00:24:21] : We'll take Denisovich to all our old haunts. Each of us will show

him our skills. Teach him how to be a monster.

UNIVERSITAS SUMATERA UTARA 6. Disappointed

[00:23:13] : The kids. Mavis Wavey's saying she wants to leave.

[00:23:40] : I can't. She's always around, checking up on me.

Modal voice marks the voice cast plain voice, except his accent that associate with non-native speaker of General American. A remarkable context is found on incongruity of articulations of vowels and consonants phonemes that are changeable. Allophones of the phonemes are identified through acoustic phonetic approach. This is compared from the conventional use of acoustic features in

General American such as: dark /l/ voice in final syllable, the post-alveolar approximant /r/, initial aspirated /t/, t-voicing, and dentalized /n/. The Shifting of diphthong /ou/ or /o/ into plain /o/ gives effect in his accent.

From the movie script, there is an indication that the script writer considers set of dictions in order to support the voice cast ability in reinforcing the animation character. Tendency in the use of vowel /e/ instead of //, /ɪ/ instead of

/ɪ/ and /o/ instead of /ou/ might manipulate the listeners to associate this character as an Indo-European figure or at least gives image of Romanian character, as its origin identity as a Dracula Vampire.

UNIVERSITAS SUMATERA UTARA CHAPTER V

CONCLUSIONS & SUGGESTION

5.1 CONCLUSIONS

A voice actor takes an important role in supporting the animation character by articulations setting and in that way, he brings the identity of the character alive. Adam Sandler, the voice cast of Count Dracula in Hotel

Transylvania – 2, has performed a stylistic work through his speech sounds in this film.

Thus, several important points are drawn as the conclusions.

1. Glottal settings (phonation) enable a voice cast in modifying voices according

to the context of speech. Modal, harsh, and falsetto voices have their own

values resulted from the vibrations quality in vocal cord.

Harsh voice is identical with disagreement, anger, cruelty, annoyance and displeasure toward a situation. Harsh voice, however shows contrast ranges in loudness based on the intensity it makes (50.25 dB - 76.34 dB for minimum ranges and 75,18 dB - 79.16 dB for maximum ranges).

Falsetto voice might occur naturally as the personal native customs in speaking to express excitement, enthusiasm, and joy as reflected in the utterances.

Spoken artificially, it performed the voice cast ability in imitating female voice. It is characterized visually by solid dark band in spectrogram and denser concentration of frequency in each of periodic amplitude. It is also marked by relatively higher pitch ranges. This might lead to interpretation of a gay voice in gay manner, but it does not prove at all that the voice cast is a gay.

UNIVERSITAS SUMATERA UTARA In segmental analysis, several deviations occur in consonant and vowel sounds, viewed from standard General American English pronunciation, resulted in allophonic variations from the phonemes. The deviations cover the following phonemes: a. The tendency in pronouncing clear /l/ in final position instead of dark /l/, []. b. Final /r/ in a syllable or a word is frequently pronounced by trill [r] or flap []

instead of post-alveolar approximant [] in initial, medial and final position. c. Consonant /t/ articulated by the voice cast has three variants: Unaspirated initial

/t/ which associate with Romance and Slavonic languages, Non-glottalized /t/

in a word preceding a vowel (as in eaten and enlighten), inconsistent use of t-

voicing in intervocalic /t/. d. Dentalized /n/ occurs without any influence from dental consonants

environment, transcribed as [n ]. e. The shifting of diphthong /ou/ or /o/ into plain /o/ or //. f. Article ‘a’ tends to be pronounced in strong manner as /e/ instead of //.

Deviation is clearly seen in pronouncing ‘the’ followed by a consonant-initial

word as /i/ instead of //.

2. Stylistic devices are used considerably to support the skillful cast in performing

the character count Dracula in the film script, especially in the two songs.

In accordance with this, alliteration, assonance, consonance, rhyme scheme and onomatopoeia are explored and analyzed not only from the songs, but also found in the script part of Count Dracula.

UNIVERSITAS SUMATERA UTARA Thus, this animation film is realized to exhibit linguistic elements through the style in speech sounds performed by the character Count Dracula.

5.2 SUGGESTIONS

After passing through the whole stages of analysis, there are several suggestions to bring up in this thesis considering the betterment to further research in stylistic study.

Despite the involvement of computer software in conducting acoustic phonetic analysis in this research, analysis focused mainly on segmental cases emerged in the movie. This has been taken as a matter of consideration in scope of study, and therefore prosodic features are left aside. The use of Praat software in the analysis has performed partial prosodic features visually, for instance pitch and intonation contours and ranges. On the other hand the analysis did not cover more comprehensive details on suprasegmental features. Therefore it is believed that speech styles analysis would have been more complete and systemic by applying suprasegmental analysis in phonetic and phonology layers. Moreover, there are many others phonological cases found in this movie that make this become potential data to be taken into linguistic analysis. It cannot be denied that recent movies that are released have also considered that the use of language in particular would make up the performance of the characters and plots in it.

Since stylistic analysis involves various elements from the layers of linguistic, this gives more opportunities for further research to take stylistics as the main foundation and involves another linguistic layer to be taken in the analysis of the movie, whether in morphology, syntax, semantic, and pragmatic

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UNIVERSITAS SUMATERA UTARA cases. The phenomena related with cultural and linguistic studies are always found, particularly in animation movies. It is the matter of approaches used, whether theoretically or practically, to get across the phenomena into a research scientifically.

Apart from theoretical matters, it is also suggested that the use of computer software should have been introduced in academic process in order to build more competitive researchers in phonetics and phonology fields. The phonetic software proves very accurate in doing research revealing the acoustic properties as it is applied in this research. Praat, Audacity, Emu, and other potential tools in doing phonetic research and other fields of studies in linguistic should have been introduced intensely to support academic abilities especially in postgraduate program.

101

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104 UNIVERSITAS SUMATERA UTARA APPENDIX 1

THE DATA OF MOVIE SCRIPT IN PHONEMIC TRANSCRIPTION

No. Minute Script Phonemic Transcription 1. 00:01:55 Welcome! Welcome! ˈˈ 2. 00:03:49 Whoo-hoo!  3. 00:04:41 Is it everything you wanted, ɪz ɪt evriθɪŋ ju wɒntɪd  my little poisonberry? ɪɪəɔ  4. 00:04:48 Honey, your gramps would hʌni| jɔː ɡræmpsː wʊd nɒt not have been cool with this. həv biːn kuːl wɪ ðɪs|| He's old-school. ː

5. 00:04:55 He would have eaten him. hi wʊd həv iːtn hɪm|| hiz nɒt He's not as enlightened as æz ɪnlaitnd æz jɔːr hɪp dædi|| your hip Daddy. 6. 00:05:03 Human, monster, unicorn, ːəɒəːɪɔ as long as you're happy. əˈɒŋəɔɪ 7. 00:05:12 And you'll always be my əɔːɪɪ moonlight ːɪ But now on wings of love əʊɒɪŋəʌ you soar ɔr|| Now that you're Johnny's girl naʊ ðæt jr| dʒɑːniz ɡɜːl| Johnny's girl, and kind of dʒɑːniz ɡɜːl| ənd kaɪnd əv Daddy's, too dædiz tuː|| Your mom would be so jɔr mɒm wʊd bi s hæpi happy kɔːz ʃi ɔːlweɪz njuː|| 'Cause she always knew  Love is making room ʌɪɪŋ for all the best in you? fr ɔːl ði best| ɪn ju||

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 8. 00:05:56 Oh, hey, guys! Todd, take a ɡɑə break.  9. 00:05:59 So, what's up? ɒʌ 10. 00:06:07 Oh. We haven't done that in  ʌɪ forever. Any special reason? əˈəʃə 11. 00:06:16 What's his deal? ɒɪː 12. 00:06:23 No, no! Are you kidding? ɪɪŋ|| 13. 00:06:25 I, I would eat a bucket of aj ai wʊd iːt ə bʌkɪt əv ɡɑːlɪk garlic to fly with you. tu flai wɪð ju|| 14. 00:07:02 Oh, honey, look at those ʌʊ fluffy clouds. ʌ 15. Remember what we played ɪərɒ when you were little? əɪ  16. 00:07:08 Hide and Go Seek Sharp əɡːʃɑː Objects? əʒ 17. 00:07:11 Okay. Regular Hide and Go ɡʊəəɡ Seek. ː 18. Where are you? Honeybat! ʌ Mavis! Honeybat! ɪ|| ʌ I'm gonna get you. ɡɒəɡ 19. 00:07:40 Honey? Are you okay? ʌˌ 20. 00:07:46 Yes, well, I guess that would ɡʊ make it more... What? ɪɔːɒ 21. 00:07:55 I'm gonna be a grandpa! ˈɡɒəəˈɡɑː|| 22. 00:08:17 No, no, no, no. You mustn't ʌɡɪɪ give in to your cravings. ɔɪŋ

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 23. 00:08:19 It's not good for the baby. ɪɒɡʊɔːə 24. 00:08:19 You need to increase your ːɪːɔ spider intake, so he'll be able əɪntk|ˈso hil bi eibl t to climb ceilings properly. klaim siːlɪŋz prɒpəli|| And eat lots of sheep bile. əːɒɑːʃː 25. 00:08:38 "Human-y. " With thousands ˈːəɪ  of years of Dracula genes. Not əəɑːəʒː gonna happen. ɒɡɒəə 26. 00:08:43 Of course. A healthy little ɑːɔˈɪ vampire. ə 27. 00:08:46 Yes, a human who can fly as a əːəː bat. ə 28. Here. Just have some monster ə||ʒəə ball soup. It's your mommy's ɒəɔːːɪɔ recipe. ɑːə 29. 00:09:35 Really? I mean, okay. He's ː the family, I guess. əɡ 30. 00:09:45 Oh, look! It's a boy! It's a boy! ʊɪəˌɔɪəˌɔ [Falsetto voice] 31 00:09:48 The Dracula bloodline əəʌɪ carries on! ɒ 32 00:09:51 No one will ever harm you as ʌ əɑːə long as I'm here, my little ɒŋəər ɪ devil dog.  ɒɡ 33 00:09:59 If I were Dad, I'd say yes. ɪə But I'm the nurse, Francine. əəɜː Here you go anyway. əɡ 34 00:10:07 Graah (growling sound) 

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 35 00:10:52 Oh. You're okay, Denisovich. əɪʃ|| 36. 00:10:57 It's not his vampire name. ɪɒɪə My little Denisovichy ɪ əɪʃəɪʃ Weesovichy. 37. 00:11:14 Oh, he'll get his fangs. He's a ɡɪŋə Dracula. ə 38. 00:11:21 What? Look how well he's ʊɪŋ playing with the wolf pups. ɪʊʌ 39. 00:11:32 "My First Guillotine." Very ɜːɡɪəː educational. Well played, ˌʒʊʃ ə Frank. ŋ 40. 00:11:52 She made me baby-proof the ʃi meid miː beibi pruːf ðə hol whole hotel. Someone's ˌhoutel/ʌʌ overprotective. əə 41. 00:12:27 What's up? He's okay? ɒʌˌ 42. 00:12:30 He did? ɪ 43. 00:12:36 I don't say, "Bleh, bleh bleh."  44. 00:12:41 Then where did he get that? ɪɡ 45. 00:12:46 I only say it when I say I ɪ don't say it! ɪ 46. 00:12:51 Okay, kid. We get it. You ˌɪwi ɡet ɪt|| can talk. Denisovich ɔːəɪʃ 47. 00:12:58 Just checking for cavities. dʒəst tʃekɪŋ fɔːr kævtɪz|| 48. 00:13:06 It was you! ɪə 49. 00:13:24 Guys, what's the deal? ɡɒəː Is this a party? Pick up a ɪɪəɑɪʌə phone. I don't care if Johnny ɪʒɒ said it's a "cool app." ˈɪɪəː Johnny's still new here. ʒɑːɪːər|| 

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 50. 00:13:33 Now, Porridge Head, did you ˈɒɪʒɪ call a hearse for the ɔːəɜːə Gremlinbergs? ɡɪɜːɡ 51. 00:13:36 No, you're checking your ɔˈʃɪŋɔʊ Facebook page. Again. ʒəɡ 52. 00:13:52 Sure. It's a real job. Not a ʃəɪəəʒɒɒəʃː cheap excuse to keep Mavis ɪˈɪ happy, so you never leave ˈˈəɪər|| here. 53. 00:14:05 What's wrong with Harry ɒŋɪrː Three-Eye? 54. 00:14:22 No, Harry's great. Can't ɡ blame Harry for the crowd ə not being hip. ɒːɪŋɪ 55. 00:14:28 Wayne? Are you nuts? He's ʌˌɔ my boy. 56. 00:14:48 What is that? What's the ɒɒ noise? It's on me! ɔɪɒ 57. 00:15:00 Oh! Eh... What the... It's not ɒɪɒ doing it. ɪŋɪ 58. 00:15:11 All right, fine.  59. 00:15:13 How do you do this? ɪ 60. 00:15:38 Okay. All that taught me is ˌouˈkei|| ɔːl ðət tɔːt mi iz ðət jʊ that you're pathetic. pəθetɪk|| 61. 00:15:44 Okay. Blue Tooth, come ˌːːʌ over here. So, now what? əər||ɒ 62. 00:15:55 Rise and shine, my əʃ Denisovich. əɪʃ

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 63. 00:15:59 Hello, my little devil. Did əˈˈɪ ˈ ɪ you have sweet nightmares? əə 64. 00:16:06 Oh... And were you drinking əəɪŋɪŋ his blood? ɪʌ 65. 00:16:10 Just throwing it out there. ʒəɪŋɪˈ Hey! You want to do ɒʌɪŋː something cool? 66. 00:16:16 I'm going to teach you how ˈɡɪŋːʃ to turn into a bat. Like me. ɜːrˈɪː See? ː|| 67. 00:16:23 Yes! Cool, like I said. Now ːˈ you try. ˈ 68. 00:16:33 I mean, a real bat. ə 69. 00:16:27 Denisovich. Take a breath. əɪʃə You can really turn into a əəɜːɪəə bat. Try. Feel the bat. ːɪ 70. 00:16:30 Not a chicken. ɒɒʃɪɪ 71. 00:16:51 What's that? The electric ɒɪɪɡ boogaloo? If I show you I ɪʃ can bust a move, will you try ʌə  to fly, then?  72. 00:17:14 Uh, he was sleep-dancing. əˈɑɪŋ 73. 00:17:18 "Back to bed"? It's already ɪɔːɑə after 8:00 p. m.  74. 00:17:25 Ehh... ˈ

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 75. 00:17:29 But, honeydeath, six of ʌˈʌɪə Wayne's wolf pups are ʊʌɪŋə having a birthday party ɜːɑ Tonight. You wouldn't want ʊɒɪɪ him to miss that. 76. 00:17:39 "Too rough"? ʌ 77. 00:17:44 What are you saying? ɒɪŋ Denisovich shouldn't be əɪʃʃʊ around monsters? əɒə 78. 00:17:50 Ha! ɑː 79. 00:18:08 Whoa, whoa, whoa. How is  that a monster? ɒə 80. 00:18:17 "Shares"? Yes! When I think ʃɪŋ monsters, I think "shares. " ɒəɪŋʃ Now, let me tell you what a ɒəə real monster is, Denisovich. ɒəɪəɪʃ 81. 00:18:47 What? That's not how that ɒɒə one goes. ʌɡ 82. 00:18:51 "Most people"? What's ˈ ˈɒɒŋɪ wrong with ♪ Suffer, suffer, ʌəʌəɪ scream in pain, blood is ʌɪɪɪŋɔ spilling from your brain? ♪ 83. 00:19:00 Come on. You know how I ʌɒ sang it to you. ɒŋɪ 

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 84. 00:19:02 Zombies gnaw you like a ɒɪɔːʌ plum, Piercing cries and you əsɪŋəʌ succumb. Suffer, suffer, ʌəʌəːɪ scream in pain, You will ɪ ərːəɪ never breathe again? 85. Still works. ɪɜː 86. 00:19:52 Denisovich! My big boy! əɪʃɪɡɔ You made it! ɪ 87. 00:20:00 Thank you, coffin cake. ŋɒɪ 88. 00:20:23 Get in there, Mavis. ɡɪɪ 89. 00:20:27 Show 'em how it's done. ʃɪʌ 90. 00:21:29 Oh, yes, indeed. Here comes ɪːəʌ the fang. ŋ 91. 00:21:43 What's wrong with the ɒɒŋɪə classes we have here? Like ɑɪəə the kids' yoga? əɪɡ 92. 00:21:51 This is Denisovich's home. ɪɪəɪʃ 93. 00:21:55 What don't you know? ɒ 94. 00:22:15 Mavey, wait. You can't mean ɪɑː that. 95. 00:22:21 You're in on this? The ɪɒɪəɪŋ leaving?

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 96. 00:22:48 Dad, it's not a fang. ɪɒəŋ|| Dad, I don't know if it's the ɪɪ right place for Dennis. Right, ɪ Johnny? ʒɒ Oh, hey, dudeman. It's not ɪɒ me. It's Mavis. ːɪˈɪ Hey, dudeman. I'm afraid to ːə say anything. ɪŋ Hey, dudeman. I'm a ː ə dudeman!    ː 97. 00:23:13 The kids. Mavis Wavey's əɪɪɪɪŋʃ saying she wants to leave. ɒ 98. 00:23:23 He is a monster! He's just a ɪɒəʒəə late fanger. ŋə 99. 00:23:28 Shut up! It's all that human-y ʃʌʌɪɔːʌ stuff that's confusing poor əːɪŋəəɪʃ Denisovich. 100 00:23:40 I can't. She's always around, ʃɔːə checking up on me. ʃɪŋʌɒ 101 00:23:47 Wait a minute. That's what əɒʒɒ Johnny wants, too. Alone ɒɪ time with Mavis. ɪ 102 00:24:01 They're going to now. And ərɡɪŋə so are we. Frank, you're a ŋəʒə genius.

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 103 00:24:21 We'll take Denisovich to all əɪʃɔə our old haunts. ɔ Each of us will show him ʃə ʃɪə our ɪ skills. ːʃɪɒə Teach him how to be a əŋɪŋɪʌɪ monster.  And he'll be fanging it up in no time. 104 00:24:41 Oh, it ain't ain't happening, ɪˈəɪŋ baby. All he needs is time ɔɪˈɪ with his vampa. ɪ 105 00:24:47 Vampire grandpa. Come on, ɛərɡɑʌɒ man. That's obvious. ɒə 106 00:24:54 Johnny. Come outside. ʒɒʌˌ 107 00:24:58 It's your father-in-law. I need ɪɔˈɑːərɪˌɔːˈː to talk to you. ɔː 108 00:25:05 Oh. Let me get rid of them. ɡɪəə Sorry. ɒ 109 00:25:15 Come on. Go to your ʌɒɡɔʌər|| mother. 110 00:25:18 Look, you want to stay here, ʊɒə right?  111 00:25:27 Well, then, we've got some ɡɒɜːr work to do. Okay, so here's ə the plan. ə 112 00:25:32 (Whispering) Maybe it's a ːɪəɡʊə good idea to take her to your əɔˌɑ hometown. But remember... ɪə

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UNIVERSITAS SUMATERA UTARA No. Minute Script Phonemic Transcription 113 00:25:41 And then the shea butter on əəʃʌəɒ his tush before his PJs and ɪʊʃɪɔːɪʤə then 20 minutes with the ɪɪɪə nebulizer while I read his ʊərɪ Learning Factory Phonics ɪŋəɒɪʊ book to him. ɪ 114 00:25:53 What? Are you kidding me? ɒɪɪŋːəɡ And get him off his routine? ɪɒɪː No, no, no. You kids go to ɪɡ California, and see if it's the ˌɪɔə| əɪɪə right place to raise əɪʃ Denisovich. 115 00:26:05 Yes, yes. With the phone ɪə and ʌ əɡə the buttons and the agony. 116 00:26:11 Of course, Mavis. Stake my əɔɪɑ heart and hope to die. ə 117 00:26:22 I'll tell him Mavis Wavey ɪɪɪɔːɪ stories every night before ɪɔ bed. 118 00:26:36 Yes. I love you, too. Now, ||  remember the plan. Just ɪəʒə keep əɪɪəəɒ her distracted and happy. ː But not too happy, capisce? 119 00:26:51 Smiling on the outside. ɪŋɒˌˈ 120 00:26:54 No. 

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No. Minute Script Phonemic Transcription 121 00:27:03 Ah, yes, we'll get to the bed. ɑːɡ We all love the bed. But ɔːəər we're just gonna do one thing ʒəɡɒəʌɪŋɜː first. 122 00:27:17 Whatever. Where's Griffin? ɒəəɡɪɪ 123 00:27:37 Just let him play it out, get it ʒəɪɪɡɪ over with. Okay, you two əɪ lovebirds. Drink your ʌɜːɪŋɔʃ champagne and let's get əɡɡɪŋ going. 124 00:27:53 No. We don't have time for ə zingers. ɪŋɜː 125 00:28:05 How do you click in the ˈɪɪˈːɪ stupid car seat? arrhh... ɑː 126 00:28:16 What's he doing here? ɒːɪŋə 127 00:28:20 Blobby, there's no room. ɑːəː Sorry, man. ɒ 128 00:28:28 Fine, put him on the Rascal. ʊɪɒəɑː  Let's just get going. ʒəɡɡɪŋ|| 129 00:28:47 Oh, Denisovich, we're going əɪʃəˈɡɪŋ to have an adventure. A əəəʃə monster-y adventure. ɒəɪʃə 130 00:28:56 No. No cake on this monster ɒɪɒə trip. ɪ

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No. Minute Script Phonemic Transcription 131 00:29:14 What? We don't need to call ɒːɔː Vlad. We got this. You see, ɡɒɪ Denisovich, monsters are əɪʃɒə nice, just like you. But when ʒː the moon comes out, the real ʌəəɒəʌ monster fun begins. ɪɡɪ Being scary. Right, guys? ːɪŋəɡ (Disco music playing. Everyone in the car dances.) 132 00:29:36 Guys? Guys! What is wrong ɡɡɒŋ with you? ɪ 133 00:29:40 We're not everybody. We're əɒɪˌɒər ə scary monsters. Remember? ɒəɪə 134 00:29:45 It's an audio book. Bigfoot's ɪəɔːʊɪɡʊ life story. He reads it ɔːːɪɪ himself.

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UNIVERSITAS SUMATERA UTARA APPENDIX II

UTTERANCES IN HARSH VOICE

1. [00:04:55] : He would have eaten him.

2. [00:06:16] : What’s his deal

3. [00:06:25] : … to fly with you

4. [00:07:55] : I’m gonna be a grandpa.

5. [00:08:19] : And eat lots of sheep bile.

6. [00:08:38] : … not gonna happen.

7. [00:09:35] : Really?

8. [00:09:51] : … my little devil dog.

9. [00:12:27] : What’s up? He’s okay?

10. [00:12:36] : I don’t say blah, blah, blah!

11. [00:12:41] : … where did he get that?

12. [00:12:58] : Just checking for cavities.

13. [00:13:24] : Guys, what's the deal? Is this a party? Pick up a phone.

I don't care if Johnny said it's a "cool app." Johnny's still new

here.

14. [00:13:33] : Now, Porridge Head, did you call a hearse for the Gremlinbergs?

15. [00:13:36] : No, you're checking your Facebook page. Again.

16. [00:13:52] : Sure. It's a real job. Not a cheap excuse to keep Mavis happy,

so you never leave here.

17. [00:14:05] : What's wrong with Harry Three-Eye?

18. [00:15:00] : Oh! Eh... What the... It's not doing it.

19. [00:15:11] : All right, fine.

118 UNIVERSITAS SUMATERA UTARA 20. [00:15:13] : How do you do this?

21. [00:15:44] : Okay. Blue Tooth, come over here. So, now what?

22. [00:16:27] : … turn into a bat. Try. Feel the bat.

23. [00:16:30] : Not a chicken.

24. [00:16:51] : What's that? The electric boogaloo? If I show you

I can bust a move, will you try to fly, then?

25. [00:18:17] : "Shares"? Yes! When I think monsters, I think "shares. "

Now, let me tell you what a real monster is, Denisovich.

26. [00:22:48] : Oh, hey, dudeman. It's not me. It's Mavis.

Hey, dudeman. I'm afraid to say anything.

Hey, dudeman. I'm a dudeman!

27. [00:23:13] : The kids. Mavis Wavey's saying she wants to leave.

28. [00:23:23] : He is a monster! He's just a late fanger.

29. [00:23:28] : Shut up! It's all that human-y stuff that's confusing poor

Denisovich.

30. [00:23:40] : I can't. She's always around, checking up on me.

31. [00:23:47] : Wait a minute. That's what Johnny wants, too.

Alone time with Mavis.

32. [00:24:01] : They're going to now. And so are we. Frank, you're a genius..

33. [00:24:21] : We'll take Denisovich to all our old haunts. Each of us will show

him our skills. Teach him how to be a monster. And he'll be

fanging it up in no time.

34. [00:24:41] : Oh, it ain't ain't happening, baby. All he needs is time with his

vampa.

119 UNIVERSITAS SUMATERA UTARA APPENDIX III

WAVE FORM AND SPECTROGRAM DISPLAYS IN VARIOUS

PHONATION.

1. Figure 1: [00:09:48]: Multi phonation of falsetto and harsh voice.

Falsetto voice Falsetto + harsh

the Dra cula blood line carries on ə ə ʌ  ɪɒ Falsetto setting: Harsh setting:

Max intensity: 80.67 dB Max intensity: 76.24

Min Intensity: 62.48 dB Min Intensity: 63.89 dB

2. Figure 2: Pitch contour for ‘the Dracula bloodline

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