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THE TRANSLATION SHIFT AND MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S “TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By CLAUDIA CHYNTIA AYU ANGGRAENI Student Number: 154214003
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
THE TRANSLATION SHIFT AND MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S “TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By CLAUDIA CHYNTIA AYU ANGGRAENI Student Number: 154214003
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019
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STATEMENT OF ORIGINALITY
I certify that this undergraduate thesis contains no material which has been previously submitted for the award of any other degree at any university, and that, to the best of my knowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of undergraduate thesis.
Yogyakarta, January 31, 2019
Claudia Chyntia Ayu Anggraeni
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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama : Claudia Chyntia Ayu Anggraeni Nomor Mahasiswa : 154214003 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul
THE TRANSLATION SHIFT AND MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S “TILL THE END OF TIME” AND “TETAPLAH DI HATIKU” beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikannya secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta Pada tanggal 31 Januari 2019
Yang menyatakan,
Claudia Chyntia Ayu Anggraeni
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“Behold I am the servant of the Lord, let it be to me according to your word” (Luke 1:38)
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For my family who always support me and everyone who has helped me to get through the hard times
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ACKNOWLEDGEMENTS
I would like to thank God who does make everything possible. When in doubt, I found comfort. When in dark, I found a light. All of this may not happen if it is not from Him. I thank God for His blessing and helping through everyone I met. I am very thankful for my parents’ love and support as they have raised me very well. I also thank my brother who always believe I can do everything I put up to.
My gratitude also sends to my thesis advisor, Harris Hermansyah Setiajid,
M. Hum., for his advice, guidance, and support and also to my beautiful and inspiring co-advisor, Arina Isti’anah, S.Pd, M. Hum., for giving me suggestions to this research.
My thankful also goes to Indonesian Leadership Foundation who has already provided me with a hope to be a bachelor, a support to be a better person, and a second family to have. Last but not least, my gratitude goes to my friend who was always there through the thick and thin, Elisabeth Vonni Hapsari, and to the students of Class A of English Letters Department for all the supports.
Claudia Chyntia Ayu Anggraeni
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TABLE OF CONTENTS
TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCEPTANCE PAGE ...... iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ...... v STATEMENT OF ORIGINALITY ...... vi MOTTO PAGE ...... vii DEDICATION PAGE ...... viii ACKNOWLEDGEMENT ...... ix TABLE OF CONTENTS ...... x LIST OF ABBREVIATIONS ...... xii LIST OF TABLES ...... xiii LIST OF CHARTS ...... xiv ABSTRACT ...... xv ABSTRAK ...... xvi
CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 3 C. Objectives of the Study ...... 4 D. Definition of Terms ...... 4
CHAPTER II: REVIEW OF LITERATURE ...... 6 A. Review of Related Studies ...... 6 B. Review of Related Theories ...... 10 1. Theory of Translation Shift ...... 10 2. Theory of Song Translation ...... 15 3. Theory of Musical Devices ...... 20 C. Theoretical Framework ...... 24
CHAPTER III: METHODOLOGY ...... 25 A. Areas of Research ...... 25 B. Object of the Study...... 26 C. Method of the Study ...... 26 D. Research Procedure ...... 27 1. Types of Data ...... 28 2. Data Collection...... 28 3. Population and Sample ...... 29 4. Data Analysis ...... 30
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CHAPTER IV: ANALYSIS RESULTS AND DISCUSSION ...... 32 A. The Translation Shifts Found in Two Translated Songs of Christian Bautista ...... 32 1. The Shifts Occurrence in “Till the End of Time” ...... 35 2. The Shifts Occurrence in “Tetaplah di Hatiku” ...... 43 B. The Musical Devices Found in Two Translated Songs of Christian Bautista ...... 48 1. Musical Devices Occurrence in “Till the End of Time” ...... 50 2. Musical Devices Occurrence in “Tetaplah di Hatiku” ...... 55
CHAPTER V: CONCLUSION ...... 63
REFERENCES ...... 65 APPENDICES ...... 67 Appendix 1 ...... 67 Appendix 2 ...... 68 Appendix 3 ...... 70
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LIST OF ABBREVIATIONS
HA : “Hingga Akhir Waktu” song lyrics L : Lagu (Song) PB : “Please Be Careful with My Heart” song lyrics SL : Source Language ST : Source Text TE : “Till the End of Time” song lyrics TH : “Tetaplah di Hatiku” song lyrics TL : Target Language TT : Target Text Z : Stanza Syl : Syllable
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LIST OF TABLES
No. Table Page
1. Table 1. Example of Data Coding 28 2. Table 2. Example of Translation Shift Analysis 30 3. Table 3. Example of Musical Device Analysis 30
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LIST OF CHARTS
No. Chart Page
1. Chart 1. Translation Shift in the Song “Till the End of Time” 33 2. Chart 2. Translation Shift in the Song “Tetaplah di Hatiku” 34 3. Chart 3. Musical Devices Occurrence in “Hingga Akhir Waktu” and “Till the End of Time” 49 4. Chart 4. Musical Devices Occurrence in “Please be Careful with my Heart” and “Tetaplah di Hatiku” 49
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ABSTRACT
Anggraeni, Claudia Chyntia Ayu. (2018). THE TRANSLATION SHIFT AND MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S “TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.
Song translation is one of translation products which is challenging for a translator given that the translation should not only maintain the meaning, but also the sing-able of the song. In aiming those goals, translation shift inevitably occurs in the translation. This research used Christian Bautista’s “Till the End of Time”, which is originally entitled “Hingga Akhir Waktu”, and “Tetaplah di Hatiku”, which is originally entitled “Please Be Careful with My Heart” as the data to analyze the translation shift occurrences and their relation to the musical device occurrences.
There are two problems to solve in this study. The first one is to find out the translation shift occurrences in those two songs. The second one is to find the resulted musical devices from the translation shift.
This study is a qualitative research which employs library and explicatory method. Library method was applied to strengthen the data and analysis by gaining factual information and experts’ theories through journal articles, books and other sources. Explicatory method was also applied to analyze the translation shift and the musical devices deeply.
The result shows that those two translated songs employ several types of shift and applies many musical devices in the TT. There are five types of shift applied in the song “Till the End of Time”: unit shift, structure shift, syntactic shift, class shift and semantic shift. The most frequent shift found in the song is syntactic shift with 33% occurence. Meanwhile, there are only 2 types of shift found in the song “Tetaplah di Hatiku”. The most frequent shift found in the song is semantic shift with around 80% occurrence in the song. Nevertheless, in terms of musical devices, both of the songs employ rhyme, alliteration, assonance, and consonance though the musical devices are different in the amount and position from the original version.
Key words: translation shift, musical devices, song translation, expression shift
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ABSTRAK
Anggraeni, Claudia Chyntia Ayu. (2018). THE TRANSLATION SHIFT AND MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S “TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.
Penerjemahan lagu merupakan salah satu produk terjemahan yang menantang bagi penerjemah karena terjemahannya tidak hanya harus menjaga makna yang terkandung tapi juga musikalitas dari lagu tersebut. Dalam mencapai hal tersebut, pergeseran penerjemahan tidak dapat dihindari pada prosesnya. Penelitian ini menganalisis dua lagu Christian Bautista yang merupakan terjemahan Indonesia ke Inggris dan Inggris ke Indonesia. Kedua lagu tersebut berjudul “Till the End of Time”, yang dalam Bahasa Indonesia berjudul “Hingga Akhir Waktu”, dan “Tetaplah di Hatiku” yang lagu aslinya berjudul “Please Be Careful with My Heart” sebagai data untuk menemukan pergeseran penerjemahan dan relasinya dengan perlengkapan musikal.
Terdapat dua permasalahan yang dibahas dalam skripsi ini. Yang pertama adalah menemukan pergerean penerjemahan pada dua lagu tersebut. Yang kedua adalah menemukan efek dari pergeseran tersebut pada perlengkapan musikal.
Penelitian ini merupakan penelitian kualitatif yang menggunakan metode pustaka dan metode eksplikatori. Metode pustaka diaplikasikan untuk menguatkan data dan analisis melalui informasi faktual dan teori ahli dalam jurnal, buku, dan sumber lain. Metode eksplikatori diaplikasikan untuk menganalisis pergeseran penerjemahan yang terjadi dan perangkat musikal yang digunakan secara mendalam.
Hasil dari penelitian ini menunjukkan bahwa dalam kedua lagu terjemahan tersebut ditemukan beberapa tipe pergeseran penerjemahan. Terdapat lima tipe pergeseran yang digunakan dalam lagu “Till the End of Time”: pergeseran unit, strukture, sintaktik, kelas, dan semantik. Pergeseran yang paling sering muncul adalah pergeseran sintaktik hingga 33%. Sementara itu, hanya terdapat dua tipe pergeseran yang tejadi pada lagu “Tetaplah di Hatiku”, yaitu pergeseran sintaktik dan semantik yang mendominasi hingga 80%. Namun demikian, dalam hal perangkat musikal, kedua lagu mengaplikasikan rima, aliterasi, asonan dan konsonan meski tidak dalam jumlah dan posisi yang sema dengan versi aslinya.
Kata kunci: Pergeseran penerjemahan, perangkat musikal, penerjemahan lagu, pergeseran ekspresi
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CHAPTER I
INTRODUCTION
A. Background of the study
Humankind and language are inseparable state of affairs for the fact that human needs a language as a mean of communication, whether it is as universal as body language or as particular as English, Japanese or Spanish. Furthermore, since language has a bunch of variation throughout the world, there might be a problem for a person who has lived in an area and acquire the language used there to understand someone’s utterance in another part of the world. That is when translation plays an important role in the means of communication. Translation enables humankind to transfer messages in one certain language to another language, or based in Nida & Taber, translation is an activity of “reproducing in the receptor language the closest natural equivalent of the source-language, first in terms of meaning and secondly in terms of style” (1974, p. 12)
Translation studies is a new field of study which is established during the
70’s era. Translation itself is a craft consisting in the attempt to replace a written message and/or statement in one language by the same in/or statement in another language (Newmark, 1981, p. 7). The products of translation are not only in spoken but also in written form. We can find translation in literary works, academic journal, film subtitles and also song lyrics.
Song translation is one of the interesting works since the translator not only has the ability to transfer the message but also make the song still sing-able.
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Comparing to translation studies of literature, translations of sing-able songs pose specific demands on the translator (Åkerstörm, 2009, p. 4). The translator has to consider the musical elements, such as rhythm, note-values, and harmonies. For that reason, song translations are not always translated as they are. Shifts in some phrases or sentences are often found in song translation in order to fit the musical elements.
The shifts in song translation are also interesting topic to discuss since there is a possibility that the shifts happen not only in micro level, which is in the grammatical and syntactical area, but also in the macro level of a language, which is related to semantic, pragmatic, rhetoric, and other non-grammatical condition.
The example of the case is found in the song “Till the End of Time” by Christian
Bautista which is translated from Indonesian song entitled “Hingga Akhir Waktu” by Nineball. The lyrics which is originally phrased: “Bagiku semua sangat berarti.
Kuingin kau disini bersamaku” is translated into: “Everything was seemed so right.
If you were here with me.” The TT meaning is somewhat similar to the ST but if we deeply analyze the text in the micro level, there is a structural shift in the translation of kuingin and if you were.
Meanwhile, the translation of the song “Tetaplah di Hatiku” by Bunga Citra
Lestari which is translated from English song entitled “Please Be Careful with My
Heart” by Christian Bautista has more shifts on the macro level as it perhaps wants to express the song tones rather than the effect of translating it word by word. The first line of the chorus lyrics which is originally phrased: “You are my first romance.
And I'm willing to take a chance” is translated into: “Kaulah yang pertama. Yang
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memberi arti cinta.” We can find that there is a semantic shift in the expression used. However, in both of the examples given, the translations keep the musical elements such as rhyme and rhythm to be the same as the ST.
In this study, the researcher observes those two translated songs, “Till the
End of Time” and “Tetaplah di Hatiku”, which are sung by a Philippine singer,
Christian Bautista. Despite the fact that those two songs used to make a hit in
Indonesian music chart, those two songs are used as the data due to the frequent amount of shift occurrences in the translations. “Till the End of Time” is originally an Indonesian song entitled “Hingga Akhir Waktu” which is sung by an Indonesian group band named Nineball. Meanwhile, “Tetaplah di Hatiku” is originally an
English song entitled “Please Be Careful with My Heart” in Bautista’s 2009 album,
Romance Revisited: The Love Songs of Jose Mari Chan.
The shifts occur in the songs do not only appear in the micro level but also in the macro level, which in my hypothesis, those shift and musical devices, the repetitions used purposively to reinforce meaning in the song, are related to each other. One may happen due to the influence of the other.
B. Problem Formulation
To make this research more specific, the researcher formulated the problems as follows:
1. What translation shifts occur in the songs “Till the End of Time” and “Tetaplah
di Hatiku”?
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2. How are musical devices resulted from the translation shift in the songs “Till
the End of Time” and “Tetaplah di Hatiku”?
C. Objectives of the Study
Based on the research questions, the objectives of this research are divided into two parts. The first part is to identify the shifts which occur in Christian
Bautista’s “Till The End of Time” and “Tetaplah di Hatiku”. The second part is to find the musical devices in those songs and check the relation between the musical devices and the translation shifts in the songs.
D. Definition of Terms
In order to avoid misunderstanding of some terms, these are some definition of terms or expressions which will frequently appear in this thesis:
Shifts are all the mandatory actions of the translator (due to the structural variance between the two language systems involved in the process) and the optional ones (due to the personal and sstylistic preferences) to gain natural and communicative interpretation of an SL text translation in another language (Al-
Zoubi & Al-Hassnawi, 2001, p. 2).
Language in poetry is used not only to convey information, the words chosen were for sound as well as for meaning, and the sound was used as a means of reinforcing meaning and the essential element in all music is repetition (Arp &
Johnson, 2008, p. 818) . Based on that explanation we can infer that musical
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devices are the repetitions and variations of sound which occur purposively to reinforce meaning in a literary work.
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CHAPTER II
REVIEW OF LITERATURE
This chapter is divided into three parts. The first part is a review of other researches which has been done before with the similar topic to this present research. This step is done to find the similarities and the differences of this research and the previous researches in order to avoid duplication. The second part is a discussion of the theories applied which aims to give clear and solid ground of the research. The last part is the theoretical framework which explains the contribution of the theories reviewed in this research.
A. Review of Related Studies
1. Suharto’s Article “Permasalahan Musikal dan Lingual dalam
Penerjemahan Lirik Lagu” (2006)
“Permasalahan Musikal dan Lingual dalam Penerjemahan Lirik Lagu”
(Musical and Linguistic Problems in Lyrics Translation) by Suharto (2006) is an article from a journal discussing the influence of song translation in changing the nuance of the song due to the differences in some elements such as word stress and equivalence. In the conclusion, Suharto mentions that the nature of translating a song is actually the same as producing a song. The translator needs to consider (1) what the original writer says, (2) what he/she means, (3) and how he/she delivers it. They are all important to know the message and the style of the original writer in translating a literature text so as translating a song. To make the translated song
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have the same nuance, the translator needs to give more attention to those elements
(2006, p. 12).
This undergraduate thesis is similar to Suharto’s research as it also discusses the problem of translating a song. However, in his research, Suharto only focuses on the translation shift problems and tries to peel off the findings layer by layer while this presented thesis tries to analyze the implementation of shifts theories in song translations.
2. Alzuhdy’s Article “Analisis Translation Shift dalam Penerjemahan
Bilingual Bahasa Inggris-Bahasa Indonesia” (2014)
“Analisis Translation Shift dalam Penerjemahan Bilingual Bahasa Inggris-
Bahasa Indonesia” (Translation Shift Analysis in Translating English-Indonesian) by Alzuhdy (2014) is aimed to review the classic theory of translation shifts introduced by Catford by applying them in the samples taken from English into
Bahasa Indonesia translations and vice versa (2014, p. 185). The result of the study is that the use of translation shift theory in analyzing a translation work is still relevant because the concept could accommodate the theory and practice of contemporary translation. The analysis model discusses in the study can be used as a model to analyze a translation product in further study (2014, p. 192).
This thesis is similar to Alzuhdy’s research as it also discusses translation shift. However, Alzuhdy’s research criticized the relevancy of the shift theory meanwhile this presented thesis tries to prove that the shift theories are still relevant by analyzing it in song translation.
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3. Aji’s Undergraduate Thesis “Song Translation Analysis of Five Disney
Movie’s Songs” (2016)
This undergraduate thesis conducted by Aji (2016) is aimed to describe the musical devices employed in the English and Bahasa Indonesia songs, to describe the strategies which the translator used in translating songs, and to describe the degree of equivalence between the English songs and Indonesian songs (2016, p.
5). To achieve those goals, Aji used descriptive qualitative method which enabled him to describe and explore the comparison between the English and the Bahasa
Indonesia songs, looking at the musical devices used in both version of the songs, the strategies applied, and the degree of its equivalence (2016, p. 26). As the result, based on the five musical devices concerning in this research, most of Indonesian lyric does not employ rhyme. Most of them have different rhythm and meter.
However, in term of assonance and consonance, both English songs and Indonesian songs employ these. The most strategies found is Blank Verse, besides Literal
Translation, Metrical Translation, Interpretations and Rhymed Translation (2016, pp. 68-70).
Aji’s research is similar to the present research as it also reveals the topic through the analysis of the musical devices applied. As Aji’s research does, this present research also compares the use of musical devices of the songs. The difference is that Aji’s research looks for the strategies applied, while in this presented research the shifts is analyzed. The other difference is about the number of the data sources, Aji’s research uses five translated songs while this presented research uses two translated songs.
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4. Christyanti’s Undergraduate Thesis “The Indonesian Translation of How
Far I’ll Go: A Study of Its Strategies and Musical Devices Applied” (2018)
This undergraduate thesis conducted by Christyanti (2018) is aimed to identify the strategies applied in translating Moana’s song “How Far I’ll Go” into
Indonesian “Sebrapa Jauh Ku Melangkah” and to found the musical devices employed in the song (2018, p. 4). To achieve those goals, Christyanti applied qualitative research since it deals with descriptive data, analysis, and results.
Furthermore, to examine the text and find its strategies, Christyanti used library and explicatory method. She chose those methods because it helped the researcher in collecting the theories and important information to strengthen the data analysis
(2018, pp. 17-18). She used some references and look carefully to the text to elaborate the phenomenon found in the song. The result shows that 36% of the strategy used by the translator is omission strategy. The applications of the translation strategies are to achieve the most singable translation since the source is a song. Moreover, the translator still maintains the musical devices as the source text although it is not in the same position (2018, p. 50).
Christyanti’s research is similar to the presented research due to some reasons. First, it is because her research applies the same musical devices theory as the presented research to analyze the topic. The second reason is because her research also treats the lyrics as poems as the presented research doing. The difference is that Christyanti’s research only uses one translated song from English to Indonesian and discusses about the translation strategy meanwhile this presented
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research uses two translated songs as the sources and attempts to find translation shifts in those songs.
B. Review of Related Theories
1. Theory of Translation Shift
Translation shift is firstly mentioned by Catford who writes “By ‘shift’ we mean departures from formal correspondence into the process of going from SL into TL” (1978, p. 17). By the word ‘departure’, Catford would like to point out his argument that contents should be more prioritize. This theory then established by
Al-Zoubi and Al-Hassnawi (2001) who constructed a model in analyzing translation shift. The model is product oriented and divided into two levels of analysis: micro analysis and macro analysis. Micro level analysis is carried out within the morpho-syntactic component of the model based on Systemic Grammar
(SG) and Transformational Grammar (TG) (2001, p. 3). On the other hand, macro level analysis accounts for all variables of texture, culture, style and rhetoric, which contribute to the occurrence of shifts at levels other than the syntactic level. It moves within the domain of a text (2001, pp. 9-10). a. Micro Level
Micro level analysis moves within the domain of a sentence as the maximum unit of the syntactic description. It covers all the Catford’s classification of translation shift which are level shift and category shift. Furthermore, Al-Zoubi and Al-Hassnawi added one more classification of shift in the micro level which is syntactic shift.
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i. Level Shift
The Level Shift happens if one source language item in a linguistic level changes into a different level in the target text, from grammar to lexis (1978, p. 73).
An easy example is the use of simple present tense in an affirmative sentence in
English “I am studying” which translated into a lexical level in Indonesian “Saya sedang belajar” ii. Category Shift
Category Shift are departures from formal correspondence in Translation
(1978, p. 76). The Category Shift itself is divided into 4 kinds:
1) Structural Shift
This type of shift can be found easily since it is the most frequent shift happened in a translation. “It occurs at all rank in translation. It occurs in phonological and graphological translation as well as in total translation” (Catford,
1978, p. 6). This shift indicates there is a deviation in the grammar rule between the
SL and the TL. For example: the structure of English is S-V-O but when it is translated into Japanese it will be S-O-V.
2) Class Shift
Class Shift occurs if one part of speech changes into another part of speech in the target. a shift that occurs when the translation equivalent of a SL item is a member of a different class from the original item. It means that SL has different class with TL (Catford, 1978, p. 78). For example: an adverb quickly in a sentence
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He runs quickly change into an adjective cepat in the Indonesian translation, Dia berlari dengan cepat.
3) Unit/Rank Shift
This shift occurs as a change in hierarchical linguistic units of a sentence, clause, phrase, word, and morpheme. Based on Catford, unit shift is a change of rank, departures from formal correspondence in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL (1978, p. 79). For example: the translation of watch (word rank) departs into jam tangan (phrase rank) in Indonesian.
4) Intra-System Shift
This is the shift which takes place when the SL and TL possess approximately corresponding systems but where ‘the translation involves selection of a non-corresponding term in the TL system’ (Munday, 2001, pp. 60-61). Or in short, Intra-System Shift translate the closest corresponding to a TT even though it does not entirely correspond to each other due to the system deviation. For example: the word people is translated into orang in Indonesia due to the plural and singular system differences in English and Indonesian. iii. Syntactic Shift
This shift happens due to the occurrence of four syntactic process in the translation such as deletion, insertion, permutation and substitution. For an instance in the translation of an Indonesian sentence Anda pergi atau saya pergi! into You
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go or I'll go! in English. There is an insertion of will in the TT as an effect of syntactical process while translating it. b. Macro Level
The macro analysis model emphasizes the existence of expression shift.
The presence of shifts is not only in the syntactical and grammatical area but also related to other study that influence the language or the text itself. There are some variables and background of the writer that may affect the expression used in delivering his or her idea. Hence, expression shifts are inevitable to be performed.
The main different of macro level and the micro level is in the direction of the analysis. Micro level comes within the domain of the sentence as the maximum unit of the syntactic description and the macro level moves within text (Al-Zoubi
& Al-Hassnawi, 2001, pp. 9-10). There are several shifts that occur due the contributions of the several non-syntactical components. The shifts are as explained below.
1) Semantic Shift
Semantic shift is the semantic adjustment that a translator does to transfer the meaning of the ST as similar as possible to the TT by considering the cultural and conceptual differences (Al-Zoubi & Al-Hassnawi, 2001, p. 10). There are three situations which make semantic shift occur: the existence of the reference’s function in SL correspondence by another referent in the TL, the existence of the referent in the TL have different function in the SL, and the reference does not exist in the TL and there is no other reference with a parallel function (Al-Zoubi & Al-
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Hassnawi, 2001, pp. 12-13). One of the example of the semantic shift occurrences is the translation of ‘snow’ in the idiom as white as a snow which in Indonesian translated into seputih kapas. The referent snow in the TL does not exist, therefore the translator replaces the reference by another referent with the same function, which is a white-color object. In other words, both of the referent has the similar semantic feature which is [+white].
2) Textual Shift
Textual shift analysis carried out in terms of textual formedness which entails variables as collocation, reiteration, ellipsis, reference, and substitution, and the like (Al-Zoubi & Al-Hassnawi, 2001, p. 13). The analysis of the shift takes in the form of a text which has global cohesion in addition to its local cohesion.
3) Pragmatic Shift
Pragmatic shift is the adjustment in the translator does to achieve similar meaning of the TL in relation with the SL cultural context (Al-Zoubi & Al-
Hassnawi, 2001, p. 14). The analysis of pragmatic shift takes consideration the relation of a text to its cultural context as a means of communication. The example that Al-Zoubi and Al-Hassnawi mentioned is the use of religious references for greeting and thanking by Arab speakers, e.g. /Baraka Allahu fiik/ (lit. ‘blessing of
God upon you’) which doesn’t have the corresponding formula in English references (2001, p. 14).
4) Rhetoric Shift
Rhetoric shift if the shift which arise with some major rhetorical devices, e.g., metaphor, idiomatic expressions, foregrounding, and metonym (Al-Zoubi &
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Al-Hassnawi, 2001, p. 16). The analysis of this shift focus on the usage of rhetoric devices since it is related to conceptual experiences and ideology.
5) Stylistic Shift
Stylistic shift occurs when two or more TL expressions are available at the translator’s disposal to express the same SL meaning (Al-Zoubi & Al-Hassnawi,
2001, p. 16). When there are several options in the TL expression, it becomes the translator advantage to apply the most correspondence meaning based on his or her style. However, the term style here is only understand as linguistic term due to its wideness and unrestricted meaning in literary context.
2. Theory of Song Translation
In doing this research, an understanding of song translation characteristics is needed. Åkerstörm, by using twelve songs from three musicals: “CHESS”,
“MAMMA MIA!” and “Kristina från Duvemåla” (two songs from each musical) with their translated versions, analyzed the translation strategies and specific features used in song translation (2009, p. 13). Though her research, we can analyze the influence of the song translation characteristics in the occurrences of translation shift. In her work, there are ten features that she analyzed which explained as below with additional the examples from this presented research data. a. Word Count
The word count in the original song and the translation song is not always in the same count. This may happen because the ST or the TT has more complex language system or the equivalences used are idiomatic (Åkerstörm, 2009, p. 14).
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The example is from the first stanza of the song “Hingga Akhir Waktu” by Nineball and “Till the End of Time” by Christian Bautista:
ST : Ku coba untuk melawan hati (22 letters/5 words = an average 4.4 letter per word) TT : I try to resist what my heart feels (28 letters/8 words = an average 3.5 letter per word)
As we can see, there are only 5 words in the ST, yet, it translated into 8 words.
Åkerstörm also mentioned in her research that English translation contain more words could be because English words are generally shorter than other languages
(2009, pp. 14). b. Syllables vs Words
In song translation, the number of words is less important than the number of syllables since it is related to the beat of the song and the music (Åkerstörm,
2009, pp. 15). This is an example from the first stanza of the song “Hingga Akhir
Waktu” by Nineball and “Till the End of Time” by Christian Bautista:
ST : Tepiskan sepiku bersamamu (10 syllables vs 3 words) TT : You'd brush away this loneliness from me (10 syllables vs 7 words)
Those two lines have different count in the wordings, yet they still share the same syllables due to maintain the rhythm. However, it is also possible to use different syllable count with a consequence doubling the beat for one of the syllable or making it sound longer. Here is an example from the first stanza of the song
“Hingga Akhir Waktu” by Nineball and “Till the End of Time” by Christian
Bautista:
ST : Ku coba untuk melawan hati (10 syllables vs 5 words, 10 beats) TT : I try to resist what my heart feels (9 syllables vs 8 words, 10 beats)
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In those lines, both of the word count and the syllable count are different. The TT song has only 9 syllables which is shorter, yet it is sung for two beats so it has the same total beats as the original one to match the song tempo. c. Word-for-word Translation
The use word-for-word translation is a strategy that a song translator may employ as it is important to convey the same message in a song to the translated one. The example of the strategy can be seen in an example from the second stanza of the song “Hingga Akhir Waktu” by Nineball and “Till the End of Time” by
Christian Bautista:
ST : Tak kan pernah ada yang lain di sisi TT : There will never be another by my side
The words in the ST are translated exactly in the same meaning or at least in the similar one, like the word ‘tak kan pernah’ which translated into ‘never’ and the word ‘sisi’ into ‘side’. However, this strategy in translating a song is rare, the amount of the syllables are more important as it latter must fit the music
(Åkerstörm, 2009, pp. 16-17). d. Additions of Words
In order to deliver the harmony, the word count or the syllable with the rhyme, song translator also like to add word(s) into the translation. For an example from the first stanza of the song “Hingga Akhir Waktu” by Nineball and “Till the
End of Time” by Christian Bautista:
ST : Ku coba untuk melawan hati (5 words) TT : I try to resist what my heart feels (8 words)
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There are additions in the TT which are the possessive pronoun ‘my’ and the word
‘feels’. Meanwhile, the ST only mentions the word which is equivalent to ‘heart’, yet the translator decided to add more words to justify the word ‘heart’ itself. But
Åkerstörm also states that this strategy is rare in her findings. Furthermore it is not the only strategy that suit best for translating songs (Åkerstörm, 2009, pp. 18-19). e. Omission of Words
Similar to addition, there’s also a possibility to omit word(s) in the process of the translation to suit the musical element. Here an example from the second stanza the song “Please Be Careful with My Heart” by Christian Bautista ft. Sarah
Geronimo and “Tetaplah di Hatiku” by Bunga Citra Lestari ft. Christian Bautista:
ST : You are my first romance TT : Kaulah yang pertama The target text does not tranlsated the word ‘romance’ as it may be already understood by the context of the song which is a romantic song. Furthermore, the same statement is also mentioned by Åkerstörm as it the additon strategy (2009, pp.
18-19). f. Use of Metaphors
Songs sometimes use metaphors in order to give aesthetic value to the text; however, the translation should also use metaphorical expression in the TL to deliver the same idea and same beauty of the song. Åkerstörm stated that a metaphor is something that being expressed in the format of a picture (2009, p. 20). The example provided is from example from the fourth stanza of the song “Please Be
Careful with My Heart” by Christian Bautista ft. Sarah Geronimo and “Tetaplah di
Hatiku” by Bunga Citra Lestari ft. Christian Bautista:
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ST : I’ll be gentle with your heart I’ll caress it like the morning dew TT : Tak akan ku berpaling Hanya kau satu di hatiku
Since the use of metaphor is optional, it is depended on the writer style to use it or not. The same thing also goes to the translator. The translation may contain metaphor or present non-metaphorical meaning. However, if it has metaphor meaning anyway, the meaning may or may not perfectly the same as it is in the ST.
This phenomenon happens due to the difference cultural perceiving in the SL and
TL.
g. Use of Rhymes
Another feature that become one of the peculiar characteristic of a song is the use of rhymes in the lyrics, the translation supposed to find the suitable diction to make rhyming sound to keep the aesthetic value. In her research, Åkerstörm found out that meter is influence the rhyme a lot and that the corresponding rhyme in the TT cannot always the true rhymes (2009, p. 22). Here is an example from the second stanza of the song “Please Be Careful with My Heart” by Christian Bautista ft. Sarah Geronimo which employ true rhymes and “Tetaplah di Hatiku” by Bunga
Citra Lestari ft. Christian Bautista which doesn’t employ true rhymes.
ST : You are my first romance And I'm willing to take a chance That 'till life is through I'll still be loving you TT : Kaulah yang pertama Yang memberi arti cinta 'tuk selamanya tetap di hatiku
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h. Reorganization of Words and Lines of Text
This might also possible to occur to clarify or emphasize the meaning of the words or lines, or happen due to the differences in the language system. These are examples from the song “Hingga Akhir Waktu” by Nineball and “Till the End of
Time” by Christian Bautista:
ST : Tak kan pernah ada yang lain di sisi TT : There will never be another by my side As we can see, the word ada does not appear in the middle of the TT as it is in the
ST. This phenomenon is happened due to the difference in the language system between Indonesian and English. i. Use of Paraphrases
In translating a song, paraphrasing might also be one of the strategies to make a successful translation. In her research, Åkerstörm found that this strategy is the most common strategy used (2009, p. 24). Below is the example of the strategy from the first stanza of the song “Hingga Akhir Waktu” by Nineball and “Till the
End of Time” by Christian Bautista:
ST : Ku coba untuk melawan hati TT : I try to resist what my heart feels
The example above shows that the translator can also reform the lyrics based on his/her perception. The translator of that song paraphrase the word hati (heart) and add more detail of whose heart and what it does. j. Use of Source Words in the Translations
In the translation process, there is also a possibility that the translator cannot find the best equivalence of a word and decides to keep the SL to maintain the
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meaning. However, unlike the paraphrases strategy, this strategy is rarely used
(Åkerstörm, 2009, p. 27). It is proven by the absent of the example in the Åkerstörm data, nor in the data of this presented research.
3. Theory of Musical Devices
Giving aesthetics nuance to the song, musical devices play such an
important role to a song. Quite like poetry, musical devices are also needed in
writing a song in order to make the song sing-able and interesting. There are four
aspects in Musical Devices based on Perrine’s Literature: Structure, Sound, and
Sense which are: alliteration, assonance, consonance, and rhyme (Arp & Johnson,
2008, pp. 818-821). Those aspects are explained as below: a. Alliteration
Alliteration is the repetition of the initial consonant sounds (Arp & Johnson,
2008, p. 820). It is common to find alliteration in texts such as song, poetry, or even news headlines. The example is the consonant sound [t] in the initial of the word tried and true. Another examples are in the phrases such as safe and sound, fish or fowl, and rhyme or reason, which have a repetition of consonant [s], [f], and [r]. b. Assonance
Assonance is the repetition of the vowel sounds (Arp & Johnson, 2008, p.
820). The example can be seen in mad as hatter. In those word there is a repetition in the vowel [æ] in the first syllable of [mæd] and [ˈhætə]. Moreover, assonance may also occur in one word as in slapdash. There is a repetition in the [æ] vowel sound in the first and second syllable of [ˈslæpdæʃ].
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c. Consonance
Consonance is the repetition of final consonant sounds (Arp & Johnson,
2008, p. 820). The example is in the phrase first and last which there is a repetition of consonants [s] and [t] in the last sound. Another examples are in the phrases such as odds and ends, short and sweet, a stroke of luck, or struts and frets. There are repetitions in the sound [ds], [t], [k], and [ts] from those phrases. d. Rhyme
Rhyme is the repetition of the accented vowel sound in any succeeding consonant sounds (Arp & Johnson, 2008, p. 820). Rhyme is one of particular feature that often found in aesthetic works. It usually becomes the main characteristics of literary works, especially in poetry and song lyrics. There are five types of rhyme based on the amount of syllable and the position of the occurrence. i. Masculine Rhyme
Masculine Rhyme is the rhyming sound in one syllable (Arp & Johnson,
2008, p. 820). The example can be find in the one-syllable words such as decks
[dɛks] and sex [sɛks] which share a rhyming sound [ɛks], or in two-syllable words like support [səˈpɔːt] and retort [rɪˈtɔːt] but only share a rhyme in one of the syllables which is [ɔːt]. ii. Feminine Rhyme
Feminine Rhyme is rhyming sound in two or more syllables (Arp &
Johnson, 2008, p. 820). For example, is in the two-syllable words, turtle [ˈtɜrtəl]
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and fertile [ˈfɜrtəl], or in the three-syllable words, spitefully [ˈspaɪtfʊli] and delightfully [dɪˈlaɪtfʊli] iii. Internal Rhyme
Internal Rhyme is the rhyming sound in one or more words in within the line (Arp & Johnson, 2008, p. 821). For example in the work The Raven (Allan-
Poe, 1984) we can find a line saying “While I nodded, nearly napping, suddenly there came a tapping,..” (line 3, par. 1). The word napping [ˈnæpɪŋ] and tapping
[ˈtæpɪŋ] is rhyming in within one line. iv. End Rhyme
End Rhyme is the rhyming sound in the end words of the lines (Arp &
Johnson, 2008, p. 821). For example, let us take a look at a poem entitled In
Flanders Field (1915) by John McCrae below:
In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below (stanza 1)
In that poem, the ending words of every line is rhyming. As we can see blow [bloʊ], row [roʊ], and below [bɪˈloʊ] are rhyming in the vowel [oʊ]. The same as the word fly [flaɪ] and sky [skaɪ] which has the same vowel rhyme [aɪ]. The pattern of the rhyme is A-A-B-B-A.
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v. Approximate Rhyme
This type of rhyme includes words with any kind of sound similarity, from close to fairly remote (Arp & Johnson, 2008, p. 821). It is always seemed like a rhyme but never perfectly rhyming when it is pronounced. We can see the example in Emily Dickinson’s work I Never Saw A Moor (1052) below.
I never saw a moor; I never saw the sea; Yet I know how the heather looks; And what a billow be (stanza 1)
The last words in line two and four, which are [si] and [bi], are rhyming perfectly.
However, the last words in in line one and three, which are [mʊr] and [lʊks], are only similar in the nucleus sound not the coda.
C. Theoretical Framework
There are three theories applied in this research: theory of translation shift, theory of song translation, and theory of musical devices. The first theory is this present research’s main topic as it gives basic knowledge about its definition and classification. The second theory is important to make us know the characteristics of song translation and the problems the translator faced in translating a song. The last theory, the musical devices theory, helps us understand the stylistic tools of a song which create the aesthetical text.
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CHAPTER III
METHODOLOGY
This chapter discusses the methodology applied in this presented research in order to answer the research questions. There are four parts in this chapter. In the first part, the areas of research are explained as it restricts the scope of research. In the second part, the researcher provides the object being analyzed in this study. In the third part, the researcher elaborates the methods applied in this study. Lastly, in the end of this chapter, the procedure of the analysis process is presented, including the types of data, the data collection, the population and sample, and the data analysis.
A. Areas of Research
This research focused on the analysis of the translation shifts on two translated songs “Till the End of Time” and “Tetaplah di Hatiku” by Christian
Bautista and discovered the musical device occurrences. In conducting the research, the songs were treated as poems since they have the same characteristics as them.
For example, they have verses, lines, stanzas and they also employ rhyme to add aesthetic values. Hence, the area of research is classified as Genre Translation.
What is defined by genre here is both traditional literary genres such as drama, poetry and prose as well as other well established and clearly defined type of text for translation such as, multimedia texts, religious texts, children’s literature,
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tourism texts, technical text and legal document (Williams & Chesterman, 2002, p.
9).
B. Object of the Study
The objects of this study were the translation shifts and musical devices in
Christian Bautista’s songs “Till the End of Time” which is translated from
Indonesian song “Hingga Akhir Waktu” by Nineball and “Tetaplah di Hatiku” which is translated from English song “Please Be Careful with My Heart” by
Christian Bautista featuring Sarah Geronimo. Both the original version and the translated version are examined and analyzed to identify the shifts and the musical devices which are occurrences and it is done from line per line and stanza per stanza.
C. Method of the Study
This research is a qualitative research which employed library and explicatory method. The qualitative research was applied because the data, the analysis and the findings are formed in description. Based on George, qualitative research is a research which results are captured in words, images, or non-numeric symbol (2008, p. 7).
Furthermore, to examine the translation shifts and the musical devices, the researcher used library and explicatory method. Library method was applied to strengthen the data and analysis by gaining factual information and experts’ theories through journals, books and other sources. It is also mentioned by George that library method involves identifying and locating sources that provide factual
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information and personal/expert opinion on a research question; necessary component of every other research method at some point (2008, p. 7). Explicatory method was also applied due to the researcher’s need to be able to categorize the translation shift and the musical devices, therefore, a close reading and analysis is required. In that case, this method is suitable because “it entails a careful, close, and focuses examination of a single major text” (George, 2008, p. 7).
D. Research Procedure
1. Types of Data
The data collected in this present research were categorized as objective data. The data were taken from the lyrics of two translated songs in which the researcher analyzed both the original and the translated versions. The first song is
“Till the End of Time” by Christian Bautista from his album “Captured” which is released in Indonesia in 2008. It is translated from Indonesian song “Hingga Akhir
Waktu” by Nineball which released in 2007 and labeled by Aquariuz Musikindo.
Meanwhile, the second song is “Tetaplah di Hatiku” by Bunga Citra Lestari featuring Christian Bautista which released in 2010 and produced by the same label as Nineball’s song. The original song is an English song entitled “Please Be Careful with My Heart” which is originally produced by Jose Mari Chan. However, it is remade by Christian Bautista featuring Sarah Geronimo in 2009 in his album
“Romance Revisited: The Love Songs of Jose Mari Chan”. Both of the original and the translated version became hits on some music charts in Indonesian and
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International which make them more interesting to set them as the data. The total of the data consists of 84 lines and formed in 9 stanzas.
2. Data Collection
On arranging this research, the researcher analyzed both the original song lyrics and the translated lyrics. The researcher took the whole lyrics in the songs as the population of the research and observed them line by line to find out the shifts and the musical devices occurrences. The researcher used qualitative data to achieve the goals of the study which are to find out the shifts occur, the cause of them and compare the Indonesian-English and English-Indonesian translation. All the data were collected and listed in a table such as below.
Table 1. Example of Data Coding
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count
I try to resist 1/ST/Z1 Ku coba untuk 1/TT/Z1 Unit 5/10 what my heart 8/9 /HA/L1 melawan hati /TE/S1 Shift feels
in which,
1 : Number of the whole data (the first number of the data)
ST : Source Text (“Hingga Akhir Waktu” by Nineball and “Please Be
Careful with My Heart” by Christian Bautista ft. Sarah Geronimo)
TT : Target Text (“Till the End of Time” by Christian Bautista and
“Tetaplah di Hatiku” by Bunga Citra Lestari ft. Christian Bautista)
Z1 : Number of stanza
HA : “Hingga Akhir Waktu” song lyrics
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TE : “Till the End of Time” song lyrics
PB : “Please Be Careful with My Heart” song lyrics
TH : “Tetaplah di Hatiku” song lyrics
L1/S1 : The first song, “Hingga Akhir Waktu” by Nineball which is
translated into “Till the End of Time” by Christian Bautista
L2/S2 : The second song, “Please Be Careful with My Heart” by Christian
Bautista ft. Sarah Geronimo which is translated into “Tetaplah di
Hatiku” by Bunga Citra Lestari ft. Christian Bautista
1 : Number of the data of song 1 (the second number of the data)
Syl : Syllable count
3. Population and Sample
The total population of the data from the combination of ST and TT are 84 lines. There are 14 lines which are collected from “Hingga Akhir Waktu” song lyric and there are also 14 lines collected from the translated version, “Till the End of
Time”. Both of the songs are formed in 4 stanzas. Meanwhile, in the song “Please
Be Careful with My Heart”, there are 28 lines collected and it is formed in 5 stanzas.
The song “Tetaplah di Hatiku” is also formed in 28 lines and 5 stanzas. All the data are formed as phrases or short sentences and related to one another. There is no sampling in this research because all the data are analyzed line by line and stanza by stanza to examine the shifts, the song translation characteristics, and the musical devices occurrences. In conducting this research, the data are analyzed and treated as poems due to their similarity in how the writer uses certain style to express the word.
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4. Data Analysis
The data analysis is arranged in two major parts in order to answer the problem formulation. The first part is identification and categorization of the translation shifts based on Catford (1965) and Al-Zoubi and Al-Hassnawi’s Model for Shift Analysis in (2001). The table below is the example of the data analysis by applying those two shift theories.
Table 2. Example of Translation Shift Analysis
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count I try to resist 1/ST/Z1 Ku coba untuk 1/TT/Z1 Unit 5/10 what my heart 8/9 /HA/L1 melawan hati /TE/S1 Shift feels
The shift occurred in the datum above is categorized as unit/rank shift. The word hati in the ST is classified as word unit, yet it is translated into a clause what my heart feels in the TT. That changing in word unit into clause unit is categorized as unit/rank shift. The application the shift helps the syllable count of the TT similar to the ST though the last syllable is still sung for two beats since the count is not the same.
In the second part, musical devices in the songs are analyzed according to
Arp and Johnson’s (1970). The data below are the example of the musical devices analysis.
Table 3. Example of Musical Devices Analysis
ST Rhyme TT Rhyme I try to resist what my heart Ku coba untuk melawan hati A A feels Tapi hampa terasa B But I'm falling into pieces B
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ST Rhyme TT Rhyme Di sini tanpamu C Drifting further away from you C Bagiku semua sangat berarti A Everything won't seem right D lagi Kuingin kau di sini A If you were here with me E Tepiskan sepiku bersamamu C You'd brush away this E loneliness from me
In the data above, both of the ST and TT applied rhyme techniques in the song lyrics. However, the translated song is unable to maintain the pattern of the
ST. Another musical device applied in the songs are assonance, alliteration and consonance. In the first line of the ST we can find a repetition of the vowel [a] in the word coba, melawan and hati. There is also a repetition of [t] sound in the word tapi and terasa in the second line. In the TT we can also find vowel repetition in the soung [i] in the word resist and feels. Consonance also occurs in those word which is the repetition of the sound [s].
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CHAPTER IV
ANALYSIS RESULTS AND DISCUSSION
This chapter discusses the findings of the analysis. The elaborations are divided into two parts. Translation shift analysis of the object of the study is explained in the first part. In the second part, the discussion on musical devices used in the songs is presented. Those two discussion will answer the questions in the problem formulation.
A. The Translation Shifts Found in Two Translated Songs of Christian
Bautista
In this part, the translation shifts applied in the “Hingga Akhir Waktu”, “Till the End of Time”, “Please Be Careful with My Heart”, and “Tetaplah di Hatiku” lyrics are analyzed. There are 42 data found in those songs analyzed using Catford’s
Translation Shift Theory and Al-Zoubi and Al-Hassnawi’s Model of Translation
Shift analysis. J.C. Catford divides shifts into two: level and category which focus on grammatical aspect such as changing in the structure, parts of speech, rank/unit or in the intra system (1978, pp. 76-79). Moreover, Al-Zoubi and Al-Hassnawi develop the theory with an argument that shifts occur not only in the grammatical aspect but also in the macro level: semantic component, textual component, pragmatic component, rhetorical component, and stylistic component (2001, pp. 9-
19). In the micro level, they add another type of shift which they call syntactic shift
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as it is based on the occurrence of shift in every transformational syntactic process such as deletion, insertion, permutation, and/or substitution in the deep analysis process (2001, p. 9).
This section is explained in two parts. The first one is the analysis of the shifts occurrence in the song “Hingga Akhir Waktu” by Nineball and “Till the End of Time” by Christian Bautista. The second part is the shift analysis of the song
“Please Be Careful with My Heart” by Christian Bautista ft. Sarah Geronimo and
“Tetaplah di Hatiku” by Bunga Citra Lestari ft. Christian Bautista.
The results of the shift analysis are presented in the pie charts below. There are several types of shifts which occur in the data. Those are unit shift, class shift, syntactic shift, structure shift, and semantic shift. The details of the occurrences are described and explained in the next subchapter.
Chart 1. Translation shifts in the Soon “Till the End of Time”
28% 22% 6% 11% 33%
Unit Shift Level Shift Syntactic Shift Class Shift Semantic Shift
From the chart above, it is seen that several shifts are found in the translation of “Hingga Akhir Waktu” and “Till the End of Time”. The occurrence of the unit shift is 22% as it occurs 3 times. The occurrence of the level shift is 6% as it only occurs once. The occurrence of semantic shift is in 28% as it occurs 5 times. The
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occurrence of class shift is not as big as the unit shift which is only 11% as it occurs twice. The most frequent shift occur is syntactic shift which is 33% or since it occurs
6 times in the song lyrics.
Chart 2. Translation Shifts in the Song “Tetaplah di Hatiku”
14%
86%
Syntactic Shift Semantic Shift
Unlike the previous chart, there are only two types of shift found in the songs “Please Be Careful with My Heart” and “Tetaplah di Hatiku”. Those two types are syntactic shift and semantic shift. Syntactic shift occurs four times in the translation as the same as 14%. The semantic shift is dominating the translation shift occurrence since it occurs 24 times in the song lyrics or 86%. They are categorized as semantic shift since they express the same nuance and atmosphere despite of the choice of words differences. Thus, the shift called as macro level shift due to the changing in expression rather than structural system.
Due to the lots number of semantic shift occurrences, there is a possibility that the translation is considered as an adaptation. However, an adaptation is still categorized as a translation product though it is more focus on the audience preference. The use of adaptation strategy phrases the text differently to create certain effect to the audience.
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1. The Shifts Occurrence in the Songs “Hingga Akhir Waktu and Till the End of Time”
In these two songs, the translation shifts are quite varied. The researcher finds five types of shift in these songs. Those types are unit shift, structure shift, syntactic shift, class shift, and semantic shift. a. Unit Shift
There are three shift occurrences categorized as unit/rank shifts in these songs. Those three unit shifts are explained as below:
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count I try to resist 1/ST/Z1 Ku coba untuk 1/TT/Z1 Unit 5/10 what my heart 8/9 /HA/L1 melawan hati /TE/S1 Shift feels
The shift which occurs in the datum above is categorized as unit shift since the word hati in the ST is translated into a clause unit what my heart feels in the TT.
Both of them have the same meaning despite of the utterance differences. The shift occurs in order to overtake the beat of the song. The application the shift helps the syllable count of the TT to be similar to the ST. Yet the last syllable is still sung for two beats since the syllable count in the TT, which is 9, is one syllable less than the
ST, which is 10.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count You'd brush 6/ST/Z1/ Tepiskan sepiku 6/TT/Z1/ away this Unit 3/10 7/10 HA/L1/6 bersamamu TE/S1/6 loneliness from Shift me
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And brush away 11/ST/Z2 Tepiskan sepiku 11/TT/Z2 Unit 3/10 this loneliness 7/10 /HA/L1/5 bersamamu... /TE/S1/5 from me Shift
Another example of the unit shift is in the data above. The word tepiskan in the ST is translated into a verb phrase brush away in the TT. That shift from word unit to phrase unit is also categorized as Unit/Rank Shift. However, if we look at the number of the rhythm, both of them have the same number. In the second datum, there is a changing in the phrase You’d to a conjunction and in the TT, yet, he following phrase are still the same. In this example, it is obvious that the use of the rank is to achieve the same syllable count as the ST. b. Level Shift
There is only one shift in this type which occurs in the song. The datum is presented and explained below. It is taken from the line 5 of stanza 1.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count 5/ST/Z1/ Kuingin kau 5/TT/Z1/ If you were here Unit 3/7 6/6 HA/L1/5 disini TE/S1/5 with me Shift
The datum above experiences level shift since there is a change in a lexis level in the ST into a grammatical level in the TT. The word “ingin” or in English means “want, wish, long, or desire” is change into the second type of conditional form using if and were which indicate an unreal or impossible situation. The occurrence of the shift in this example is also as an attempt to gain the similar
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syllable count, yet the last syllable needs to be sung for two beats since it fails to get the same count. c. Syntactic Shift
There are six syntactic shifts found in these two songs. Those six changing are categorized as syntactic shift due to the occurrence of four syntactic process in the translation such as deletion, insertion, permutation and substitution. The explanation about the changings is below.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count You'd brush 6/ST/Z1/ Tepiskan sepiku 6/TT/Z1/ away this Syn- 3/10 7/10 tactic HA/L1/6 bersamamu TE/S1/6 loneliness from shift me And brush away Syn- 11/ST/Z2 Tepiskan sepiku 11/TT/Z2 3/10 this loneliness 7/10 tactic /HA/L1/5 bersamamu... /TE/S1/5 from me shift
Besides experiencing unit shift, the data above experience two syntactic shifts. First, there is an insertion in the process of translation which can be seen by the addition of the word you’d and and in the beginning of the TT in line 6 of stanza
1 and line 5 of stanza 2. The second one, the possessive pronoun ku in the ST is also substituted to this in the ST. Those syntactical process is happened to suit the amount of the syllable count as the ST.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Tak `kan pernah There will never Syn- 7/ST/Z2/ 7/TT/Z2/ ada yang lain di 8/10 be another by 11/8 tactic HA/L1/1 TE/S1/1 sisi my side shift
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Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Dan tak `kan And there can 9/ST/Z2/ 9/TT/Z2/ Syn- mungkin ada 9/13 never be another 11/12 tactic HA/L1/3 TE/S1/3 yang lain di sisi by my side shift
In the data above, there is an insertion of there in line 1 and 3 stanza 2 of the TT as English needs a subject to make a sentence. It is different from the ST tendency to omit a subject or even a predicate to form a sentence because
Indonesian language is not a verb-focus language. Another syntactic shift also occurs in the insertion of my in the TT to specify the side that the specification of sisi does not occur in the ST. In this example, the shift occurrence fails to make the syllable count the same as the ST although it already adds several words and as the consequences, the singer needs to double the note while sing one of the syllable.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count 10/ST/Z2 Ku ingin kau di 10/TT/Z2 I need you here Syn- 5/7 6/6 tactic /HA/L1/4 sini /TE/S1/4 with me shift 13/ST/Z3 Kuingin kau di 13/TT/Z3 I need you here Syn- 5/7 6/6 tactic /HA/L1/2 sini /TE/S1/2 with me shift
There is an insertion of phrase with me in the TT which does not exist in the
ST. However, the insertion still fails to gain the same the syllable counts. Hence, due to the differences the singer needs to sing one of the syllable longer to match the beat of the song c. Class Shift
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There are only two class shifts occurring from those two songs. Those two findings are similar one another except that there is a change in the diction of the two lines which is not related to the shift finding.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count You'd brush 6/ST/Z1/ Tepiskan sepiku 6/TT/Z1/ away this Class 3/10 7/10 HA/L1/6 bersamamu TE/S1/6 loneliness from shift me And brush away 11/ST/Z2 Tepiskan sepiku 11/TT/Z2 Class 3/10 this loneliness 7/10 /HA/L1/5 bersamamu... /TE/S1/5 shift from me
A class shift occurred in the data above as it can be seen in the word sepi in the ST is categorized as an adjective in the Kamus Besar Bahasa Indonesia (KBBI) or Indonesian Dictionary, however, it has a function as a noun in that line since it is followed by a possessive pronoun ku. Therefore, in the TT the adjective word sepi is translated into loneliness which is a noun form of lonely. The shift is happened to equalize the syllable count. d. Semantic Shift
Semantic shift occurs five times in the analysis of these two songs. The shifts mostly occur due to the needs of maintain the word meter and the deep meaning of the original song. One of the case example is as explained as below.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- 2/ST/Z1/ Tapi hampa 2/TT/Z1/ But I'm falling man- 3/7 5/6 HA/L1/2 terasa TE/S1/2 into pieces tic shift
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The datum above shows that the expressions used in the ST and TT are different, yet the nuance is the same. The meaning of both expressions carried is as hopeless as it should be. The expression hampa terasa in the ST is translated into falling into pieces in the TT. Hampa means “sepi” or “a feeling of desolation or lonely” (KBBI Daring, 2018). Thus, it has similar meaning to the idiom falling into pieces, which means “unable to think clearly and control emotions because of unpleasant experience” (Cambridge Dictionary, 2018). Those expressions share a semantic feature which is [+sad]. The shift is occurred to get the syllable count similar to the ST to make the song still sing-able with the ST beats.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- 3/ST/Z1/ 3/TT/Z1/ Drifting further man- Di sini tanpamu 3/6 5/8 HA/L1/3 TE/S1/3 away from you tic shift
The expressions used in the ST and TT are totally different in the third line of stanza one. However, both the expressions carried same meaning. The expression tanpa in the ST means “tidak dengan” or “without” (KBBI Daring, 2018).
Meanwhile the verb phrase occurs in TT, drifting away, share the same semantic features with the word tanpa. The word drift in the dictionary means “move slowly”
(Cambridge Dictionary, 2018) while away means “somewhere else, or to or in a different place, position, or situation” (Cambridge Dictionary, 2018). Those words share [+situation] semantic feature. However, the occurrence of the shift is only
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make the word and syllable count not the same as the ST. Thus, the singer has to sing four of the syllables half the beat.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- Bagiku semua 4/ST/Z1/ 4/TT/Z1/ Everything man- sangat berarti HA/L1/4 5/12 TE/S1/4 won't seem right 4/6 tic lagi Shift Se- Bagiku semua Everything was 12/ST/Z3 12/TT/Z3 man- sangat berarti seem right.. /HA/L1/1 5/12 /TE/S1/1 6/8 tic lagi once again Shift
There are two expressions repeated in stanza 1 and 3, yet it is added by the phrase once again at the ending of stanza 3 which makes it different from the previous stanza although the expressions in stanza 1 and 3 of the ST are the same.
However, what we need to highlight is the translation of the phrase sangat berarti.
In the first stanza, it is translated into won’t seem right, but in the third stanza, it is translated into was seem right. Despite the grammatical error, the expression in the
TT in the first stanza uses a form of negative statement of future arrangement, yet the third one uses passive form. The use of future arrangement in the first stanza infers that the translator focused on the word lagi at the ending of the lyric and interprets that it is a hope for the future. Thus argument also supported since there is no additional phrase once again to translate the word lagi. Meanwhile, the use of passive form in the third stanza infers that the translator focused to the word bagiku in the beginning of the lyric and interpreted that as a flashback activity done by the speaker.
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However, the translation of the word berarti into right has similar meaning.
Arti, based on dictionary, means “makna” (KBBI Daring, 2018) or meaning, while the use of affix {ber-} means having. Therefore, berarti can be understood as having a meaningful perception. Meanwhile, the word right based on dictionary means “correct” (Cambridge Dictionary, 2018). Those words share similar semantic feature which is [+value]. However, the semantic shift applied in this lines are still unable to maintain the word count and the syllable count of the ST. Due to that reason, the singer should sing some of the syllable in longer beat.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count 8/ST/Z2/ Segenap jiwa 8/TT/Z2/ Because all I am Sema ntic HA/L1/2 hanya untukmu 4/10 TE/S1/2 is just for you 8/9 shift
In the datum above, the phrase segenap jiwa is translated into all I am in the
TT. Literally the word segenap is equivalent to the word all in TL as it is mentioned in the dictionary that segenap means “seluruh, semua, selengkapnya” (KBBI
Daring, 2018). However figuratively, the phrase all I am means all the life and soul of human which equivalent to the phrase segenap jiwa. Therefore, both of the expressions are applied [+human] but segenap jiwa [+belonging] and all I am [- belonging]. Although there is already a shift to double the word count, it still doesn’t achieve the same syllable count so the singer still needs to double beat of the last syllable.
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2. The Shift Occurrence in the Song “Please Be Careful with My Heart” and
“Tetaplah di Hatiku”
In this English-Indonesian song translation, there are only two shifts found.
Those types are syntactic shift and semantic shift. Syntactic shift occurs whenever there is a syntactical changing in the process of translation and semantic shift occurs when the expression of the lyric is seemingly the same though it uses another choice of words. a. Syntactic Shift
Syntactic Shift occurs only four times in the translation process of “Please
Be Careful with My Heart” and “Tetaplah di Hatiku”. Three of them occur in the chorus part of the song or in stanza 2 and one of them is in the stanza 5. The data are presented below.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count 19/ST/Z2 You are my first 19/TT/Z2 Kaulah yang Syn- /PB/S1/1 romance 4/6 /TH/L1/1 pertama 3/6 tactic shift You are my first Kaulah yang 41/ST/Z5 41/TT/Z6 Syn- romance (and pertama (yang /PB/S1/1 9/11 /TH/L1/1 5/11 tactic you are my last) selamanya) shift
In the data above, a syntactic process of deletion occurs in the first line of stanza 2 and stanza 6. As we can see, the word romance in the ST is omitted in the
TT. This process happens probably due to the translator’s attempt to maintain the syllable count of the ST.
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Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count 21/ST/Z2 That 'till life is 21/TT/Z2 Syn- 'tuk selamanya /PB/S1/3 through 5/5 /TH/L1/3 2/5 tactic shift
Another example of the syntactic process which occurs in the translation is in the third line of the chorus in stanza 2. The word that omitted in the TT since it is obligatory to have a subject in the ST system, which is English, unlike in the TT system which a subject is sometimes can be omitted. That is happened perhaps to keep the syllable count the same as the ST, which is 5 in both lyrics.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count I'll be right 38/ST/Z4 38/TT/Z5 Ku akan s’lalu Syn- beside you /PB/S1/5 6/9 /TH/L1/5 disampingmu 4/9 tactic forever shift
Besides insertion and deletion, substitution also occurs in the song translation. The word forever in the ST is substitute by the word s’lalu in the TT.
The translation shift is occurred as the translator wants to balance the TT’s syllable count as in the ST, which is 9.
b. Semantic Shift
Almost all the shift occurred in the song are semantic shifts. There are 24 semantic shifts which occur in the song translation. The ST and TT have different choice of words and create different meaning, however, both of them semantically
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share the same context meaning and nuance which can be proven by the semantic features shared. The six examples of the analysis are as seen as below.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- 15/ST/Z1 If you love me 15/TT/Z1 Kekasihku man- 8/8 2/7 /PB/S1/1 like you tell me /TH/L1/1 sayangku tic shift
That example is taken from the first line of the first stanza. In the ST, the lyrics begins with a conditional sentence, while in the TT starts with phrases which express a calling to a partner. However, the use of word love in the ST is equivalent to the word sayang in the TT. Although one has function as a verb and the other one has function as a noun, both of them share semantic features which are
[+romantic], [+emotive], and [+relationship]. Thus features prove that both of the songs share similar conditions which influence the shift. The shift itself happens to balance the number of the syllable of the ST and TT. However, the syllable count in TT is still out of number which the impact is to double a beat for one of the syllable when it is sung.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- 16/ST/Z1 Please be careful 16/TT/Z1 Ku ingin kau man- 6/7 4/6 /PB/S1/2 with my heart /TH/L1/1 tahu tic shift Se- 26/ST/Z2 Please be careful 26/TT/Z3 Tetaplah di man- 6/7 4/7 /PB/S1/8 with my heart /TH/L1/4 hatiku tic shift
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In another case, there are two translations found in the TT though the ST is the same. The data above are taken from the second line of the first stanza and the last line of stanza three which is the chorus. Both of the translation have different choice words, but the same expression. The ST conveys an expression of request which is pointed by the use of please in the beginning of the line. In the second line of stanza 1, it is translated into another form of request by using the word ingin though the rest of the words are inequivalent due to the urge of the translator to relate it with the previous and the next line. In the fourth line of the stanza, it is translated into a stronger type of request or even consider as a command. It is proven by the omission of the subject which usually use to form a command and the use of
–lah which is attached to the verb tetap as a softener or a stronger in imperative construction (Sneddon, Adelaar, Djenar, & Ewing, 2012, p. 328). Despite of the different dictions, those three translations share [+request] semantic feature. The shifts themselves occur as the attempt to keep the syllable count of the ST to fit the music. The first version is still a syllable less than the ST, then one of the syllable needs to be sung twice the beat by the singer.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- 22/ST/Z2 I'll still be 22/TT/Z2 man- 5/6 Tetap di hatiku 3/6 /PB/S1/4 loving you /TH/L1/4 tic shift
In the line four stanza 2, the structure of the ST is completely change in the translation. However, the word loving conveys the same meaning as the word hati.
Both of them are [+emotive] or related to a certain feeling when it is used. Besides,
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the word still in the ST means “continuing” (Cambridge Dictionary, 2018) which is the same as the word tetap in the TT; or “unchanged” (KBBI Daring, 2018). The shift is happened to maintain the syllable count the same as the ST.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Se- 29/ST/Z3 Promise I'll be 29/TT/Z4 Tak akan ku man- 5/7 4/7 /PB/S1/3 always true /TH/L1/3 berbagi tic shift
The datum above is taken from the third line of stanza four. In the datum, the phrase will be always true is translated into tak akan berbagi in the TT. True based on the dictionary means “not false, real, sincere, and accurate” (Cambridge
Dictionary, 2018). Meanwhile, berbagi means “membagi sesuatu bersama” (KBBI
Daring, 2018) or “share”. The word is completely inequivalent to the ST. However, if we look at it as a whole line, both of them have similar characteristic which is
[+future]. The shift occurrence here is also due to the number of word and syllable in the ST. The song translation as much as possible pursuing to make the word count or at least the syllable count the same as the ST. That attempt is happened to fit the music, especially the beat count of the song.
Word Word Number Number ST / Syl TT / Syl Shift of Data of Data Count Count Trust my love is Yakinkan di Se- 35/ST/Z4 real for you 35/TT/Z5 hatimu (Selalu man- /PB/S1/2 (I hope that your 7/7 /TH/L1/2 4/7 Untukku) tic love is real) shift
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The above example is taken from the second line of stanza 5. In the example, both of the ST and TT use different choice of words, yet both of them share similar meaning. The TT uses adverb di hatimu after the verb. Meanwhile, in the ST, the verb is followed by a clause my love is real for you which function as a noun. In terms of meaning, the word love and hati share semantic feature [+emotive] as they usually related to a feeling in the usage. The shift happens probably to maintain the number of the syllable, which is 7.
B. The Musical Devices Found in Two Translated Songs of Christian Bautista
After analyzing the shifts, the researcher comes to answer the second problem. In this part, the musical devices of “Hingga akhir Waktu”, “Till The End of Time”, “Please Be Careful with My Heart”, and “Tetaplah di Hatiku” lyrics are analyzed. This analysis is important to see the relation between the translation shift and the musical devices. Due to the changing of forms and meanings in the text, there is a very high probability that the musical devices also change in the song, whether they are more or less than the ST. It is also possible that they are different located the same or differently.
In this analysis, the researcher treats the song lyrics as poems and uses
Perrine’s Literature: Structure, Sound, and Sense by Arp & Johnson (2008) to categorize the musical devices. There are four musical devices that frequently applied in a poem writing: alliteration, assonance, consonance, and rhyme (2008, pp. 818-821). Musical devices are used as the attempt to give aesthetic value to the song by using several repetitions. The application of those musical devices in the songs are showed in the chart below.
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Chart 3. Musical Devices Occurrence in “Hingga Akhir Waktu” and “Till the End of Time”
10 9 8 8 7 6 6 6 Hingga Akhir Waktu 4 3 Till The End of Time 2 1 0 0 Aliteration Assonance Consonance Rhyme
In the diagram above, it can be seen that both of the songs employ musical devices in the lyrics. In the song “Hingga Akhir Waktu”, alliteration occurs 7 times, assonance occurs 6 times, rhyme occurs 9 times and no consonance occurrence.
Meanwhile the song “Till The End of Time” employs alliteration for only one time, assonance 8 times, consonance 3 times, and rhyme for 6 times.
Chart 4. Musical Devices Occurrence in “Please Be Careful with My Heart” and “Tetaplah di Hatiku”
16 14 14 12 12 10 10 Please Be Careful with My 7 Heart 8 6 6 5 Tetaplah di Hatiku 4 2 2 1 0 Aliteration Assonance Consonance Rhyme
The same as the previous diagram, musical devices also occur in the song
“Please Be Careful with My Heart” and “Tetaplah di Hatiku”. There are 5 alliteration occurrences, 12 assonance occurrences, 11 consonance occurrences and
14 rhyme occurrences in the song “Please Be Careful with My Heart”. However, the number of those musical devices are found less in the song “Tetaplah di Hatiku”.
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1. Musical Devices Found in “Hingga Akhir Waktu” and “Till the End of Time” There are three stanzas from those two songs being analyzed in this part.
The analysis presents stanza by stanza and the description covers the alliteration, assonance, consonance end/or the rhyme applied. Based on the analysis, both of the song applied those musical devices in the songs even though the translation does not fully copy the pattern of the musical devices.
Rhyme Rhyme ST TT Pattern Pattern Ku coba untuk melawan hati A I try to resist what my heart A feels Tapi hampa terasa B But I'm falling into pieces B Di sini tanpamu C Drifting further away from C you Bagiku semua sangat berarti A D lagi Everything won't seem right Kuingin kau di sini A If you were here with me E Tepiskan sepiku bersamamu C You'd brush away this E loneliness from me
In stanza 1, all musical devices are applied. If we look at the rhyme device, the TT is unable to maintain the ST rhyme pattern. The ST patterns as A-B-C-A-A-
C while the TT patterns A-B-C-D-E-E. The song “Hingga Akhir Waktu” employs end rhyme in lines 1, 4, and 5. It can be seen in the occurrence of the same vowel
[i] in the end sound of hati, lagi, and sini. End rhyme can also be seen in lines 3 and
6 in the end sound of the word tanpamu and bersamamu. Those two words end by the same vowel which is [u]. Meanwhile, “Till the End of Time” employs end rhyme in lines 5 and 6 in the end vowel [i] in the word me. The rest of the lines are not rhyming.
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Another musical device employed is alliteration. We can see the application of alliteration in the song “Hingga Akhir Waktu” in line two in the consonance [t] in the word tapi and terasa. In line 4 in the phrase semua sangat where the repetition of [s] occurred. In the line 5, there is also a repetition of consonance [k] in the initial word of kuingin kau. Moreover, the song “Till the End of Time” employs alliteration of [f] sound in the initial of the word further and from in line 3.
The application of assonance also occurs. It is proven by the occurrence of the vowel [a] repetition in the words melawan hati in line 1 and tapi hampa terasa in line 2. A repetition of the vowel [ɪ] in the song Till the End of Time in line 2 in the word falling and into.
Rhyme Rhyme ST TT Pattern Pattern Tak `kan pernah ada yg lain There will never be another A F di sisi by my side Because all I am is just for Segenap jiwa hanya untukmu C C you Dan tak `kan mungkin ada yg And there can never be A F lain disisi another by my side Ku ingin kau disini A I need you here with me E Tepiskan sepiku And brush away this C E bersamamu... loneliness from me
Same as stanza 1, the rhyme of the TT in the stanza 2 is also unable to maintain the ST rhyme pattern. The stanza 2 of the song “Hingga Akhir Waktu” has A-C-A-A-C rhyme pattern while the song “Till the End of Time” has F-C-F-E-
E rhyme pattern. The ST employs end rhyme in line 1, 3 and 4 as the end vowel of the line is repeating the sound [i]. It also employs end rhyme [u] in line 2 and 5 in the word untukmu and bersamamu. Meanwhile, the TT employs rhymes except for line 2. In line 1 and 3, there is a repetition of rhyme [aɪd] from the word side which
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occurs twice. In line 4 and 5, there is a repetition of sound [i] from the word me which also occurs repeatedly.
Aliteration only appears in line 4 kuingin kau which has the same initial sound [k]. However, assonance and consonance devices frequently occur in the songs. The example of the assonance can be seen in the first line of the ST stanza
2, which is the repetition of the sound [a] in the phrase tak kan pernah ada yang lain. The other example is in line 1 of the TT stanza 2. In that line, the repetition of schwa vowel occurs in the word never and another. Diphthong [aɪ] also occurs in line 3 of TT stanza 2 in the word by my side. Meanwhile, consonant repetition also occurs in the TT the repetition of the consonant sound [r] in line 3 in the words there, never, and another.
Rhyme Rhyme ST TT Pattern Pattern Bagiku semua sangat A D berarti Everything won't seem right Kuingin kau disini A If you were here with me E Bagiku semua sangat A Everything won't seem right G berarti lagi once again Kuingin kau disini A If you were here with me E
In stanza 3, the application of the rhyme is totally different in terms of pattern. The ST applies A-A-A-A pattern while the TT applies D-E-G-E pattern.
However, both of the texts employs end rhyme in the lyrics which means the beauty of the song is still maintained. In the ST, it can be clearly seen that the rhyme is occurred in the repetition of vowel [i] in the end of the last word syllables.
Meanwhile, the TT rhyme is less distinct than the ST. The end sound of the first line is in the sound [aɪt] in the word right. The second and the fourth lines have the
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same rhyme which is in the vowel [i] from the word me. The third line is actually repeating the first line, yet it has additional phrase which affects the end sound is not as rhyming as the first sound. The end sound of the third line is the sound [ɛn] from the word again.
Another musical device that the song still maintain is the application of alliteration. If we look at it closely, alliteration [k] occurs in the second line of the
ST kuingin kau. The repetition of consonant [s] in the initial word is also happen in the third line in the phrase semua sangat. Meanwhile in the TT, there is no initial sound repetition in one line, but since the third and fourth lines are actually a repetition of the first and second line, most of the initial words are completely reoccur.
Assonance also occurs in these songs. It is proven by the use of several vowel repetitions. For example, [a] sound is repeated time after time in line 1 and
3. Meanwhile in line 2 and 4 sound [i] occurs repeatedly. In the TT, schwa sound is also found repeatedly in the word everything and was. However, the most frequent vowel that occurs again is the sound [i] which we can see the occurrence in lines 1 until 4, in the words everything, seem, need, here, and me. The repetition of consonant also occurs in this stanza. The sound [r] occurs time to time in line 2 and 4 in the words were and here.
Rhyme Rhyme ST TT Pattern Pattern Tak `kan pernah ada yang A There will never be another F lain di sisi by my side Segenap jiwa hanya untukmu C Because all I am is just for C you
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Rhyme Rhyme ST TT Pattern Pattern Dan tak `kan mungkin ada yg A And there can never be F lain di sisi another by my side Ku ingin kau di sini A I need you here with me E Tepiskan sepiku C You'd brush away this E bersamamu... loneliness from me Hingga akhir waktu ... C Till the end of time... H
Similar to the previous stanza, in the last stanza, the musical device of rhyme also applied in different pattern. The ST pattern is A-C-A-A-C-C, while the TT pattern is F-C-F-E-E-H. However, both of the songs employ end rhyme in the lyrics.
The end rhyme found in the ST is in the sound [i] in line 1, 3, and 4 in the word sisi and sini. The last words in line 2, 5, and 6 which are untukmu, bersamamu, and waktu also have the same vowel sound [u]. On the other hand, end rhyme [aɪ] also occurs in lines 1, 3, and 6 in the TT in the word side and time. Another example is the repetition of rhyme [i] in the last word of line 4 and 5 me.
Other musical devices such as alliteration, assonance, and consonance also occur in the songs. Alliteration is found in line 4 of the ST in the word kuingin kau which has the repetition of the sound [k] in the initial of the words. Different from alliteration which only occur once, assonance is frequently found in both text.
Repetitions of vowel sound [a] occur in the first line of the ST and repetitions of vowel sound [i] in line 1, 3, and 4 in the word lain, di, sisi, ingin, and sini. In the other hand, in the TT, a repetition of schwa [ə] vowel occurs in line first line of the
TT in the word never and another. The repetition of the diphthongs [ai] also occurs in line 1 and 3 in the phrase by my side. Last but not least, [i] sound also found repeatedly in line 4 in the phrase here with me. Meanwhile, the consonance device
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occurs once in the TT. The consonant [r] occurs repeatedly in line 1 and 3 in the word there, never, and another.
2. Musical Devices Found in “Please Be Careful with My Heart” and “Tetaplah di Hatiku”
There are five stanzas from these two songs that being analyzed in this part.
Stanza by stanza are analyzed to explain the musical devices applied. Based on the analysis, all musical devices are employed in both of the songs even though the pattern is not equally the same.
Rhyme Rhyme ST TT Pattern Pattern If you love me like you tell A Kekasihku sayangku A me Please be careful with my B Ku ingin kau tahu A heart You can take it just don't C Hati ini 'kan selalu A break it Menantikan cintamu Or my world will fall apart B A
As we can see in the datum above, the first stanza is unable to apply the rhyme pattern entirely. The ST has A-B-C-B pattern, meanwhile, the TT has A-A-
A-A pattern. The ST employed several types of rhyme. End rhyme is found in the end sound of the second line of the ST, which is ended by the sound [ɑrt], is repeated in the fourth line. Internal rhyme also applied in the first line which is in the sound
[mi] in the middle and the end of the line. Meanwhile the third line repeats the sound
[eɪk ɪt] in the middle and in the end of the line. Approximate rhyme also occurs since the second and fourth line rhyming perfectly, but the first and the third line
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only have same nucleus [ɪ] but not really produce the same sound when they are pronounced due to the coda [t] in the third line. The TT in the other way repeats the same end sound from the first line until the fourth line, which is the sound [u].
Alliteration, assonance and consonance are also applied in both of the lyrics.
Alliteration occurs in line 4 of the ST which is in the initial sound of the word world and will. Meanwhile, in the TT the sound [k] is repeated in the initial word of ku and kau in the second line. Assonance in the ST occurs in the sound [ɪ] which occurs multiple times in line 2 in the words please, be, and with. The schwa sound also occurs twice in the words world and apart in line 4. In the TT, the sound [a] and [u] keep repeating from line 1-4. In line 1 for example, the sound [a] occurs several times in the words kekasihku, sayangku. Meanwhile in line 2 the sound [u] is found frequently in the words ku, kau, and tahu. There is also a repetition of consonant [t] in the words take, it, just, don’t, and it. The last line also applied [l] repetition in the words will, and fall.
Rhyme Rhyme ST TT Pattern Pattern You are my first romance D Kaulah yang pertama B And I'm willing to take a D Yang memberi arti cinta B chance That 'till life is through E 'tuk selamanya B I'll still be loving you E tetap di hatiku A I will be true to you E Ingin memelukmu A Just a promise from you will E Mendekap hangat cintamu A do From the very start B 'tuk selamanya B Please be careful with my tetaplah di hatiku B A heart
The rhyme pattern of the ST and TT are different as we can see in the above table. The ST applies D-D-E-E-E-E-B-B pattern while the TT applies B-B-B-A-A-
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A-B-A pattern. However, both of them employ end rhyme. The ST rhymes are
[æns], [u] and [ɑrt]. The repetition of the sound [æns] is found in line 1 and 2, in the words romance and chance. The repetition of the sound [u] is found in the words through, you, and do, in line 3 until 6. The repetition of the sound [ɑrt] is found in line 7 and 8, in the words start and heart. In the other hand, in the TT, repetitions occur in two sound which are [a] and [u]. The repetition of rhyme [a] occurs in line
1, 2, 3, and 7, in the words pertama, cinta, and selamanya. The repetition of the sound [u] occurs in line 4, 5, 6, and 8, in words hatiku, milikmu, and cintamu.
Other musical devices also occur in those two songs. In the sense of alliteration, there is only once occurrence in the ST and none in the TT. That one occurrence is in the sound [t] in the initial words of that, till, and through in line 3.
Unlike alliteration, assonance occurs in both songs. In the ST, the repetition of vowel sound [ɪ] and [u] occurs. The vowel sound [ɪ] occurs in line 4 in the words still, be, and loving, meanwhile the vowel sound [u] occurs in line 5, in the words true, to, and you. In the TT, a repetition of the sound [a] occurs in the first line, in the phrase kaulah yang pertama. A repetition of the vowel sound [i] also occurs in the second line, in the words memberi, arti, and cinta. In the sense of consonance, a repetition of consonant sound [l] occurs in the line 4 of the ST, in the words I’ll, and still.
Rhyme Rhyme ST TT Pattern Pattern I love you and you know I do E Kuberi semua untukmu A There'll be no one else for me A Dengan kesungguhanku A Promise I'll be always true E Tak akan ku berbagi C For the world and all to see A Meskipun engkau jauh D
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Rhyme Rhyme ST TT Pattern Pattern Love has heard some lies F Ku kan s'lalu merindukanmu A softly spoken And I have had my heart Ku kan tetap selalu F A badly broken menjagamu I've been burned and I've Jangan ada kata berpisah G E been hurt before
In this stanza, both of the songs have completely different rhyme pattern.
The ST has E-A-E-A-F-F-G pattern while the TT has A-A-C-D-A-A-E. The rhymes applied is classified as end rhyme. In the ST, a repetition of sound [u] occurs in line
1 and 3, in the words do and true. A repetition of sound [i] occurs in line 2 and 4, in words me and see. Sound [ən] also is found repeatedly in line 5 and 6, in words spoken and broken. Meanwhile, in the TT, a repetition of sound [u] occurs in line
1, 2, 5, and 6, in the words untukmu, kesungguhanku, merindukanmu and menjagamu.
Alliteration is only found in the ST. A repetition of the sound [h] in initial words such as have, had, and heart is found in line 6. Another repetition is found in line 7 which is the repetition of sound [b] in the initial words such as been, burned, and before
Different from alliteration, assonance occurs in both songs. In the ST, there are repetitions of sound [u], [ə], and [ɪ]. The repetition of the sound [u] occurred in line 1, in the words you and do. The repetition of the schwa sound occurred in line
4 and 6, in the words for, the, world, and, to, and and, have, had, broken. In the TT, there are repetitions of the sounds [u] and [a]. The repetition of the sound [u] is found in almost all line except for the line 3. For example, it occurs in the words
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kuberi and untukmu in line 1. The repetition of [a] sound occurs in line 3, 4, and 6.
For example, in line 3, the sound is repeated in the words tak, akan, and berbagi.
Last but not least, consonance device occurs in the sounds of [s], [d], and
[n] in the ST. The sound [s] is found in line 5 in the words has and lies. The sound
[d] is repeated in line 6 in the words and, and had. However, in the TT, there is only one consonant repetition which is the sound [h] which occurs multiple times in line
4 and 7 in the words jauh and berpisah.
Rhyme Rhyme ST TT Pattern Pattern So I know just how you feel H Pegang erat janjiku A
(how I feel) H (janjimu) A
Trust my love is real for you E Yakinkan di hatimu A
(I hope that your love is real) H (Selalu untukku) A
I'll be gentle with your heart B Tak akan ku berpaling F I'll caress it like the morning Hanya kau satu di hatiku dew E A
I'll be right beside you forever I Ku akan selalu di sampingmu A
I won't let our world fall apart B Tak ku biarkan kau jauh D
From the very start B Tuk selamanya B I'll be careful with your heart B Tetaplah di hatiku A
Rhyme patterns of the ST and the TT in the fourth stanza are also different one another. The pattern of the ST is H-H-E-H-B-E-I-B-B-B meanwhile the TT A-
A-A-A-F-A-A-D-B-A. The ST employs end rhyme except for line 7, while in the
TT, line 5, 7, and 8 are not rhyming. In the ST, the end rhyme [il] in line 1, 2, and
4, in the words feel and real. The end rhyme [u] is occurs in line 3 and 6, in the words you and dew. Lastly, the end rhyme [ɑrt] occurs repeatedly in line 5, 8, and
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10, in words heart, apart, and start. However, in the TT, there is only a repetition of end sound [u] in almost all the lines. It occurs in the words janjiku, janjimu, hatimu, untukku, hatiku, and di sampingmu.
Alliteration is not found in both of the songs in this stanza, yet other musical devices such as assonance and consonance are occurred. Assonance is found in line
3, 4, and 7 of the ST. In line 3 and 4, the vowel [ə] is found repeatedly in the phrases is real for and that your love is real. In line 7, diphthong [aɪ] is repeated in the words
I, right, and beside. Meanwhile, in the TT, the repetition of vowel [a] and [u] occurs frequently. The vowel [a] occurs almost in every line. For example, in line 1, it occurs in the words pegang, erat and janjiku. The vowel [u] occurs in line 6 and 8 in the words kau, satu, hatiku and ku, kau, jauh. In the sense of consonance, the repetition of consonant [r] is found several times in line 3 and 8 in the words such as for and forever. In lines 3 and 9 there is a repetition of consonant [t] in the words trust, right and start.
Rhyme Rhyme ST TT Pattern Pattern You are my first romance D Kaulah yang pertama B
(And you are my last) I (Dan selamanya) B And I'm willing to take a D Yang memberi arti cinta B chance (I’ve learned from the past) I (Untuk diriku) A That 'till life is through E 'tuk selamanya B I'll still be loving you E tetap di hatiku A I will be true to you E Ingin memelukmu A Just a promise from you will do E Mendekap hangat cintamu A (only to you)
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Rhyme Rhyme ST TT Pattern Pattern From the very start B 'tuk selamanya B Please be careful with my heart tetaplah di hatiku B A (I’ll be careful with your heart)
The last stanza is actually a repletion of the second stanza as it is the chorus of the song. However, this stanza has some additional phrases, the one showed in parentheses, which are sung by the second singer. Same as the other stanzas, this stanza also doesn’t maintain the rhyme pattern. The ST pattern is D-I-D-I-E-E-E-
E-B-B while the TT pattern is B-B-B-A-B-A-A-A-B-A. The rhymes in both of the songs are mostly similar to stanza 2 except for line 2 and 4, which are the additional phrases. In the ST, line 2 and 4 applied an end rhyme [æst] from the words last and past. Meanwhile, in the TT, line 2 and 4 are unrhymed each other but is rhyming to other lines. Line 2 is ended by the sound [a] which is rhyming with line 1, 3, 5, and
9. Line 4 is ended by the sound [u] which is rhyming with line 6, 7, 8, and 10.
Similar to stanza 2, musical devices such as alliteration, and assonance. In the additional phrases, however, there is only assonance device that occurs in the
TT. The vowels which keep repeating are [a] and [u]. The vowel [a] is found in the words dan and selamanya, while the vowel [u] is found in the words untuk and diriku.
Based on the discussion above, it reveals that both of the songs employ musical devices in the translated version. However, the musical devices in the song are not in the same places or amount than the ST. Due to the influence of the
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translation shift, the total amount of musical devices in the TT are less than the ST.
In the song “Till the End of Time”, there are 18 musical devices applied or three devices less than the ST which has 22 musical devices. The same case also goes to the song “Tetaplah di Hatiku” with 20 musical devices or seventeen devices less than the ST which has 37 musical devices. This fact reveals that the translators of those songs prioritize the meaning and the form of the song first than the musical devices.
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CHAPTER V
CONCLUSION
Based to the analysis conducted, both of the problems are answered in this study. There are two objectives of this research which are divided into two parts.
The first part is to identify the shifts occur in Christian Bautista’s “Till the End of
Time”, which is Indonesian to English translation, and “Tetaplah di Hatiku”, which is English to Indonesian translation. The second part is to find the musical devices in those songs and check the relation between the musical devices and the translation shifts in the songs.
Based on the analysis, there are various types of shifts occur in the songs.
The shift occurrences do not only cover in the micro level, such as in the level or category shift, but also in the macro level or in the expression shift. There are five types of translation shift occur in “Till the End of Time”. Those are unit shift, level shift, semantic shift, class shift and syntactic shift. The most frequent shift occur is syntactic shift which is 33% of the data. Meanwhile, in the song “Tetaplah di
Hatiku” there are only two types of translation shift which occur. Those are syntactic shift and semantic shift. The semantic shift is dominating the translation shift occurrence or 86% of the data. The large amount of semantic shift in the song also indicates that the translation may recognize as an adaptation since it does not maintain the messages of the ST.
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The results of the musical devices analysis reveals that all musical devices; alliteration, assonance, consonance and rhyme, can be found in the songs. The most frequent musical devices in the song “Till the End of Time” are assonance, 8 times, and rhyme in its ST, 9 times. The most frequent musical device in the song
“Tetaplah di Hatiku” is assonance, 10 times, and rhyme in its ST, 14 times.
However, due to the influence of the translation shift, the total amount of musical devices in the TT are less than the ST. This fact reveals that the translators of those songs prioritize the meaning and the form of the song first than the musical devices.
Through all the analysis and the findings above, we can conclude that in every song translation, translation shift will always occur. There are two different source language used as the data in this research and it reveals that translation shift occurs no matter what the SL is. The occurrence of the shift also affects the occurrences of musical devices. However, in translating song translation, word count and syllable count are need to get an attention. Translation shift may make the word count or/and the syllable count of the TT shorter or longer than the ST. In one hand it can be used to maintain the beat of the song, if it is done purposively.
In other hand, it requires the singer to sing the syllable quicker or longer if there is a difference in the word or syllable count in the TT with the same beat count as ST.
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REFERENCES
Aji, B. (2016). Song Translation Analysis of Five Disney Movie’s English songs (Undergraduate's Thesis). Retrieved from http://eprints.uny.ac.id/45251/
Åkerstörm, J. (2009). Translating Song Lyrics: A Study of the Translation of the Three Musicals. Södertörns högskola: Institutionen för kultur och kommunikation.q
Allan-Poe, E. (1984, November 16). Retrieved from Tel Aviv University: https://www.tau.ac.il/~itzhakevenor/Poe-The-Raven.pdf
Al-Zoubi, D., & Al-Hassnawi, D. (2001). Constructing a Model for Shift Analysis in Translation. Translation Journal, 5(4), 1-22.
Alzuhdy, Y. (2014). Analisis Translation Shift Dalam Penerjemahan Bilingual Bahasa Inggris – Bahasa Indonesia. Diksi, 22(2), 185-193. Retrieved from http://journal.uny.ac.id/index.php/diksi/article/view/3188/2668
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Bassnet, S. (1991). Translation Studies. London: Clays Ltd, St Ives plc.
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Catford, J. (1978). A Linguistic Theory of Translation. Oxford: Oxford University Press.
Christyanti, S. A. (2018). The Indonesian Translation of How Far I’ll Go: A Study of Its Strategies and Musical Devices Applied (Undergraduate's Thesis). Yogyakarta: Sanata Dharma.
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KBBI Daring. (2018, December 5). Retrieved from KBBI Daring: http://kbbi.kemendikbud.go.id
McCrae, J. (2018, November 16). Poetry. Retrieved from Poetry Foundation: https://www.poetryfoundation.org/poems/47380/in-flanders-fields
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Nida, E., & Taber, C. (1974). The Theory and Practice of Translation. Leiden: E. J. Brill.
Sneddon, J. N., Adelaar, A., Djenar, D. N., & Ewing, M. (2012). Indonesian: A Comprehensive Grammar. New York: Routledge.
Suharto. (2006). Permasalahan Musikal dan Lingual dalam Penerjemahan Lirik Lagu. Harmonia: Journal of Arts Research and Education, 7(2), 1-13. Retrieved from https://journal.unnes.ac.id/artikel_nju/harmonia/756
Williams, & Chesterman. (2002). The Map: A Beginner's Guide to Doing Research in Translation Studies.
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APPENDICES
APPENDIX 1. "Hingga Akhir Waktu” and “Till The End of Time” Song
Lyrics
Hingga Akhir Waktu
Nineball
Ku coba untuk melawan hati Tapi hampa terasa Di sini tanpamu Bagiku semua sangat berarti lagi Kuingin kau di sini Tepiskan sepiku bersamamu
Tak `kan pernah ada yg lain di sisi Segenap jiwa hanya untukmu Dan tak `kan mungkin ada yg lain di sisi Ku ingin kau di sini Tepiskan sepiku bersamamu...
Bagiku semua sangat berarti Kuingin kau di sini Bagiku semua sangat berarti lagi Kuingin kau di sini
Tak `kan pernah ada yg lain di sisi Segenap jiwa hanya untukmu Dan tak `kan mungkin ada yg lain di sisi Ku ingin kau di sini Tepiskan sepiku bersamamu... Hingga akhir waktu ... Hingga akhir waktu ... Hingga akhir waktu ...
Till the End of Time
Christian Bautista
I try to resist what my heart feels But I'm falling into pieces Drifting further away from you Everything won't seem right If you were here with me
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You'd brush away this loneliness from me
There will never be another by my side Because all I am is just for you And there can never be another by my side I need you here with me And brush away this loneliness from me
Everything was seem so right If you were here with me Everything was seem right.. once again I need you here with me
There will never be another by my side Because all I am is just for you And there can never be another by my side I need you here with me You'd brush away this loneliness from me Till the end of time... Till the end of time… Till the end of time…
APPENDIX 2. “Please Be Careful with My Heart” and “Tetaplah di Hatiku” Song Lyrics.
Please Be Careful with My Heart
Christian Bautista ft Sarah Geronimo
If you love me like you tell me Please be careful with my heart You can take it just don't break it Or my world will fall apart
You are my first romance And I'm willing to take a chance That 'till life is through I'll still be loving you I will be true to you Just a promise from you will do From the very start Please be careful with my heart
I love you and you know I do There'll be no one else for me Promise I'll be always true For the world and all to see Love has heard some lies softly spoken And I have had my heart badly broken
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I've been burned and I've been hurt before
So I know just how you feel (how I feel) Trust my love is real for you (I hope that your love is real) I'll be gentle with your heart I'll caress it like the morning dew I'll be right beside you forever I won't let our world fall apart From the very start I'll be careful with your heart
You are my first (and you are my last) romance And I'm willing to take a chance (I've learned from the past) That 'till life is through I'll still be loving you I will be true (I will be true) to you Just a promise from you will do (only to you) From the very start (from the very start) From the very start (from the very start) From the very start Please be careful with (I'll be careful with) my heart (your heart)
Tetaplah di Hatiku
Bunga Citra Lestari ft Christian Bautista
Kekasihku sayangku Ku ingin kau tahu Hati ini 'kan selalu Menantikan cintamu
Kaulah yang pertama Yang memberi arti cinta 'tuk selamanya tetap di hatiku Ingin memelukmu Mendekap hangat cintamu 'tuk selamanya tetaplah di hatiku
Kuberi semua untukmu Dengan kesungguhanku
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Tak akan ku berbagi meskipun engkau jauh Ku kan s'lalu merindukanmu Ku kan tetap selalu menjagamu Jangan ada kata berpisah
Pegang erat janjiku (janjimu) Yakinkan di hatimu (Selalu Untukku) Tak akan ku berpaling Hanya kau satu di hatiku Ku akan s’lalu disampingmu Tak ku biarkan kau jauh 'tuk selamanya ku tetap di hatimu
Kaulah yang pertama (yang selamanya) Yang memberi arti cinta (untuk dirimu) 'tuk selamanya tetap di hatiku Ingin memelukmu Mendekap hangat cintamu 'tuk selamanya ('tuk selamanya) 'tuk selamanya ('tuk selamanya) 'tuk selamanya tetaplah di hatiku Tetaplah di hatimu… 'tuk selamanya Ku tetap di hati...mu…
APPENDIX 3. The Translation Shift Analysis A. "Hingga Akhir Waktu” and “Till The End of Time” Data Found
Number of Number of Shift No. ST TT Data Data Applied I try to resist 1/ST/Z1/H Ku coba untuk 1/TT/Z1/TE 1. what my heart Unit Shift A/L1/1 melawan hati /S1/1 feels 2/ST/Z1/H Tapi hampa 2/TT/Z1/TE But I'm falling Semantic 2. A/L1/2 terasa /S1/2 into pieces Shift 3/ST/Z1/H 3/TT/Z1/TE Drifting further Semantic 3. Di sini tanpamu A/L1/3 /S1/3 away from you Shift Bagiku semua 4/ST/Z1/H 4/TT/Z1/TE Everything Semantic 4. sangat berarti A/L1/4 /S1/4 won't seem right Shift lagi
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Number of Number of Shift No. ST TT Data Data Applied 5/ST/Z1/H Kuingin kau 5/TT/Z1/TE If you were here Level 5. A/L1/5 disini /S1/5 with me Shift You'd brush Unit Shift away this 6/ST/Z1/H Tepiskan sepiku 6/TT/Z1/TE Class Shift 6. loneliness from A/L1/6 bersamamu /S1/6 me Syntactic Shift Tak `kan pernah There will never 7/ST/Z2/H 7/TT/Z2/TE Syntactic 7. ada yg lain di be another by A/L1/1 /S1/1 Shift sisi my side 8/ST/Z2/H Segenap jiwa 8/TT/Z2/TE Because all I am Semantic 8. A/L1/2 hanya untukmu /S1/2 is just for you shift Dan tak `kan And there can 9/ST/Z2/H 9/TT/Z2/TE Syntactic 9. mungkin ada yg never be another A/L1/3 /S1/3 shift lain disisi by my side 10/ST/Z2/H Ku ingin kau 10/TT/Z2/T I need you here Syntactic 10. A/L1/4 disini E/S1/4 with me Shift Unit shift And brush away 11/ST/Z2/H Tepiskan sepiku 11/TT/Z2/T Class shift 11. this loneliness A/L1/5 bersamamu... E/S1/5 from me Syntactic Shift Bagiku semua Everything was 12/ST/Z3/H 12/TT/Z3/T Semantic 12. sangat berarti seem right.. once A/L1/1 E/S1/1 Shift lagi again 13/ST/Z3/H Kuingin kau 13/TT/Z3/T I need you here Syntactic 13. A/L1/2 disini E/S1/2 with me Shift 14/ST/Z4/H Hingga akhir 14/TT/Z4/T Till the end of 14. Unit shift A/L1/1 waktu ... E/S1/1 time...
B. “Please Be Careful with My Heart” and “Tetaplah di Hatiku” Data Found
Number Number Shift No. ST ST of Data of Data Apllied 15/ST/Z1/ If you love me 15/TT/Z1/ Kekasihku Semantic 15. PB/S1/1 like you tell me TH/L1/1 sayangku Shift Please be 16/ST/Z1/ 16/TT/Z1/ Ku ingin kau Semantic 16. careful with PB/S1/2 TH/L1/1 tahu Shift my heart You can take it 17/ST/Z1/ 17/TT/Z1/ Hati ini 'kan Semantic 17. just don't break PB/S1/3 TH/L1/1 selalu Shift it
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Menantikan 18/ST/Z1/ Or my world 18/TT/Z1/ Semantic 18. cintamu PB/S1/4 will fall apart TH/L1/1 Shift
19/ST/Z2/ You are my 19/TT/Z2/ Kaulah yang Syntactic 19. PB/S1/1 first romance TH/L1/1 pertama Shift And I'm 20/ST/Z2/ 20/TT/Z2/ Yang memberi Semantic 20. willing to take PB/S1/2 TH/L1/2 arti cinta Shift a chance 21/ST/Z2/ That 'till life is 21/TT/Z2/ Syntactic 21. 'tuk selamanya PB/S1/3 through TH/L1/3 shift 22/ST/Z2/ I'll still be 22/TT/Z2/ Semantic 22. tetap di hatiku PB/S1/4 loving you TH/L1/4 Shift 23/ST/Z2/ I will be true to 23/TT/Z3/ Ingin Semantic 23. PB/S1/5 you TH/L1/1 memelukmu Shift Just a promise 24/ST/Z2/ 24/TT/Z3/ Mendekap Semantic 24. from you will PB/S1/6 TH/L1/2 hangat cintamu Shift do 25/ST/Z2/ From the very 25/TT/Z3/ Semantic 25. 'tuk selamanya PB/S1/7 start TH/L1/3 Shift Please be tetaplah di 26/ST/Z2/ 26/TT/Z3/ Semantic 26. careful with hatiku PB/S1/8 TH/L1/4 Shift my heart 27/ST/Z3/ I love you and 27/TT/Z4/ Kuberi semua Semantic 27. PB/S1/1 you know I do TH/L1/1 untukmu Shift 28/ST/Z3/ There'll be no 28/TT/Z4/ Dengan Semantic 28. PB/S1/2 one else for me TH/L1/2 kesungguhanku Shift 29/ST/Z3/ Promise I'll be 29/TT/Z4/ Tak akan ku Semantic 29. PB/S1/3 always true TH/L1/3 berbagi Shift 30/ST/Z3/ For the world 30/TT/Z4/ meskipun Semantic 30. PB/S1/4 and all to see TH/L1/4 engkau jauh Shift Love has heard 31/ST/Z3/ 31/TT/Z4/ Ku kan s'lalu Semantic 31. some lies softly PB/S1/5 TH/L1/5 merindukanmu Shift spoken And I have had Ku kan tetap 32/ST/Z3/ 32/TT/Z4/ Semantic 32. my heart badly selalu PB/S1/6 TH/L1/6 Shift broken menjagamu I've been Jangan ada 33/ST/Z3/ burned and I've 33/TT/Z4/ Semantic 33. kata berpisah PB/S1/7 been hurt TH/L1/7 Shift
before
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
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So I know just Pegang erat 34/ST/Z4/ 34/TT/Z5/ Semantic 34. how you feel janjiku PB/S1/1 TH/L1/1 Shift (how I feel) (janjimu) Trust my love is real for you Yakinkan di 35/ST/Z4/ 35/TT/Z5/ Semantic 35. (I hope that hatimu (Selalu PB/S1/2 TH/L1/2 Shift you're love is Untukku) real)
36/ST/Z4/ I'll be gentle 36/TT/Z5/ Tak akan ku Semantic 36. PB/S1/3 with your heart TH/L1/3 berpaling Shift
I'll caress it 37/ST/Z4/ 37/TT/Z5/ Hanya kau satu Semantic 37. like the PB/S1/4 TH/L1/4 di hatiku Shift morning dew
I'll be right 38/ST/Z4/ 38/TT/Z5/ Ku akan s’lalu Syntactic 38. beside you PB/S1/5 TH/L1/5 disampingmu shift forever
39/ST/Z4/ I won't let our 39/TT/Z5/ Tak ku biarkan Semantic 39. PB/S1/6 world fall apart TH/L1/6 kau jauh Shift
ku tetap di 40/ST/Z5/ I'll be careful 40/TT/Z5/ Semantic 40. hatimu PB/S1/7 with your heart TH/L1/7 Shift
You are my Kaulah yang 41/ST/Z6/ first (and you 41/TT/Z5/ Syntactic pertama (yang 41. PB/S1/1 are my last) TH/L1/1 shift selamanya) romance
And I'm willing to take Yang memberi 42/ST/Z6/ 42/TT/Z5/ Semantic a chance arti cinta 42. PB/S1/2 TH/L1/2 Shift (I've learned (untuk dirimu) from the past)