A Stylistic Analysis in British Musician's Selected Songs A

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A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS

A THESIS

BY :

ANDI FEBRIAN MAULANA REG. NO. 140705134

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

UNIVERSITAS SUMATERA UTARA A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS

A THESIS

ANDI FEBRIAN MAULANA REG. NO. 140705134

SUPERVISOR CO-SUPERVISOR

Drs. Yulianus Harefa, M.Ed., TESOL. Dra. Roma Ayuni A Loebis, M.A. NIP. 19610703 198601 1 001 NIP. 19680122 199803 2 001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019

UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for the Sarjana Sastra examination.

Head, Secretary,

Prof. T. Silvana Sinar, M.A., Ph.D Rahmadsyah Rangkuti, M.A., Ph.D

NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002

UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on 16th May 2019.

Dean of Faculty of Cultural Studies

University of Sumatera Utara

Dr. Budi Agustono, MS

NIP. 19600805 198703 1 001

Board of Examiners

Prof. T. Silvana Sinar, M.A., Ph.D ______

Drs. Yulianus Harefa, M.Ed., TESOL ______

Dr. Rohani Ganie, M.Hum ______

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NAME : ANDI FEBRIAN MAULANA

TITLE OF THESIS : A STYLISTIC ANALYSIS IN BRITISH

MUSICIAN’S SELECTED SONGS

QUALIFICATION : S1/SARJANA SASTRA

DEPARTMENT : ENGLISH

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UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENTS

First of alli would like to thank and praise Allah SWT for his countless blessings during the time i write this thesis. There were times during i‘m working on this thesis that bring me down and made me feel like i want to give up, but he continued to give me strength in order to finish this thesis. I also would like to thank my supervisor Drs. Yulianus Harefa, M.Ed. TESOL., my co-supervisor Dra. Roma

Ayuni A Loebis, M.A. who has given advice, criticism and precious time in correcting this thesis and thank to the Head Department of English Literature Prof. T.

Silvana Sinar, M. A., Ph. D for her guidance and suggestions. And to all of the staff and lecturers in English Literature Department who have helped me and taught me everything I need in the past 5 year.

The most special thank is dedicated to my beloved parents, Andi Maulana

MB and Mentik, my Etta and my Mom for theirendless love, pray and motivationthat made me keep going and never giving up in order to finish this thesis. My partners at works, all the team in SCJ9 and SCS9 who always be my daily-sharing-things- together. Also the greatest thank to all of my best friends called―SUMMER FLINGS

SQUAD‖. The best group of my life.Thank you for being the place where i can spill everything that bothering me in the process of writing my thesis and also become my family for these past 5 years.Thank you for my braders, Fajar, Akbar, Jeremy, and

Arief. Thank you for create my work life full of story. My high school buddies, Feri,

Rody, Halil, Teguh, Roni Putra, Aa, Bandar. You are all had become the best adviser ever. My Batam Squad in Medan Keke, Maru, Dina, Deby, Bg David and also Ilham,

Doni, Steven. Thank you guys for all the time that we spent together. Unforgettable.

Next is my beautiful Beneditha Athalia Simatupang, thank you for all your support

UNIVERSITAS SUMATERA UTARA for the past 5 years, I will not survive if I ain‟t got you with me baby~.I also thank C

Class of English Literature 2014 for helping me along the way and made my college life full of happiness. The last is for Rana Ashila Salim. Thank you for accepting me for who I am, I will make you happy someday.

Honorable mentions : Dwik, Utik, Windi, Titha, Mia, Zura, Kak Sarah, Bang

Mefint, Bg Tommi, Nisa, Fira, Sisi, IMKR, IMSI 2014, IMSI 2011, Teater ‗O‘, IMSI

2017.

However, this thesis is still far from perfect but i wish that this thesis could give contribution to the English Language studies especially in the study

Ecolinguistics. Therefore,i accept for any constructive criticism and suggestions to give me more improvement in the future.

Medan, May 16, 2019

Andi Febrian Maulana

UNIVERSITAS SUMATERA UTARA ABSTRAK

Tesis ini berjudul ―A Stylistic Analysis in British Musician‘s Selected Songs‖. Sebuah analisis stilistika yang diimplementasikan pada lirik-lirik empat musisi Inggris pilihan (Bob Dylan, Oasis, Blur, Ed Sheeran). Lagu-lagu ini dirilis antara tahun 1963 dan 2011. Pendekatan utama dari penelitian ini adalah untuk meneliti penggunaan bahasa kiasan, sajak, dan pengulangan, yang mana untuk memperlihatkan gaya bahasa si penulis lagu. Konteks dan penelitian lain tentang single pilihan dari lagu-lagu mereka adalah untuk pemahaman yang lebih besar tentang memahami makna lirik. Ke empat lagu itu adalah; Blowin ‟in The Wind (Bob Dylan), Roll with It (Oasis), Country House (Blur) dan The A-Team (Ed Sheeran) yang sangat populer dan sukses pada masa musik Britpop. Data dianalisis dengan menggunakan metode analisis wacana. Dari analisis, menunjukkan bahwa metafora adalah majas yang paling sering digunakan untuk menggambarkan makna dalam berbagai macam konsep. Selain itu, rima maskulin dan pengulangan adalah perangkat fonetik yang paling signifikan yang membuat lirik terdengar halus dan juga menyoroti pesan-pesan penting dalam lirik tersebut. Lebih penting lagi, stilistika strategi ini mencerminkan gaya penulisan lagu dari empat penulis lagu besar di era yang berbeda-beda yang di sajikan dengan menarik dalam berbagai konteks. Kata kunci: analisis stilistika, musisi asal Inggris, lirik lagu, linguistik, bahasa kiasan, rima, dan pengulangan.

UNIVERSITAS SUMATERA UTARA ABSTRACT

This thesis is entitled ―A Stylistic Analysis in British Musician‘s Selected Songs‖. A linguistic stylistic analysis was implemented upon the lyrics of four selected British‘s musician (Bob Dylan, Oasis, Blur, Ed Sheeran). They were released between 1963 and 2011. The primary approach of this study is to investigate the use of figurative language, rhyme, and repetition, in order to show the stylistic devices of the songwriters. Context and other interviews about selected singles were taken into songs for greater understanding of meaning of lyrics. The songs were four singles; Blowin‟ in The Wind (Bob Dylan), Roll with It (Oasis), Country House (Blur) and The A-Team (Ed Sheeran) which were very popular and successful during the years of Britpop history. The data was analyzed by using discourse analysis method. Findings showed that metaphor is most frequently used to describe meaning in various kinds of concepts. In addition, masculine rhyme and repetition are significant phonetic devices that make lyrics sound smooth and also highlight the important messages in the verses. More importantly, these stylistic strategies reflected the songwriting style of the four great songwriters in different era that are interestingly performed in a variety of contexts.

Keywords: stylistic analysis, British‘s musician, song lyrics, linguistic, figurative language, rhyme, repetition

UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS

ABSTRAK ...... i ABSTRACT ...... ii TABLE OF CONTENTS ...... iii LIST OF FIGURES ...... iv LIST OF TABLES ...... v

CHAPTER I INTRODUCTION 1.1 Background of The Study ...... 1 1.2 Problem of The Study ...... 4 1.3 Objectives of The Study ...... 5 1.4 Scope of The Study ...... 5 1.5 Significance of The Study ...... 6 CHAPTER II REVIEW OF RELATED LITERATURE 2.1 Stylistics ...... 7 2.1.1 Figurative Languages ...... 8 2.1.2 Phonetice Devices : Rhyme and Repetition ...... 12 2.2 Background of The Selected Songs (1963-2011) ...... 14 2.2.1 Bob Dylan – Blowin‘ in The Wind ...... 15 2.2.2 Blur – Country House & Oasis – Roll with It ...... 16 2.2.3 Ed Sheeran – The A Team ...... 16 2.3 Relevant Studies ...... 17 CHAPTER III METHOD OF THE STUDY 3.1 Research Design ...... 19 3.2 Data and Source Data ...... 20 3.3 Method of Collecting Data ...... 20 3.4 Data Analysis Technique ...... 20 3.4.1 Data Condensation ...... 21 3.4.2 Data Display ...... 21 3.4.3 Drawing and Verifying Conclusion ...... 21

CHAPTER IV ANALYSIS AND FINDING 4.1 Bob Dylan – Blowin‘ in The Wind ...... 22

iii

UNIVERSITAS SUMATERA UTARA 4.1.1 Figurative language analysis ...... 22 4.1.2 Phonetic Devices: Rhyme and repetition ...... 24 4.2 Oasis – Roll with It ...... 28 4.2.1 Figurative language analysis ...... 28 4.2.1 Phonetic Devices: Rhyme and repetition ...... 29 4.3 Blur – Country House ...... 32 4.3.1 Figurative language analysis ...... 32 4.3.2 Phonetic Devices: Rhyme and repetition ...... 34 4.4 Ed Sheeran – The A Team ...... 36 4.4.1 Figurative language analysis ...... 38 4.4.2 Phonetic Devices: Rhyme and repetition ...... 38 CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusions ...... 42 5.2 Suggestions ...... 43

REFERENCES ...... 44 APPENDICES i. APPENDIX A : Blowin‘ in The Wind ii. APPENDIX B : Roll with It iii. APPENDIX C : Country House iv. APPENDIX D : The A Team

UNIVERSITAS SUMATERA UTARA LIST OF FIGURES

Figure 1: Structure mapping of mixing perception of garden and life ...... 9 Figure 2: Structure mapping of mixing perception of roads and experiences ...... 28

LIST OF TABLES

Table 1: Categories and features observed in the song ‗Blowin‘ In The Wind‘ .... 26

Table 2: Categories and features observed in the song ‗Roll Wit It‘ ...... 30

Table 3: Categories and features observed in the song ‗Country House‘ ...... 35

Table 4: Categories and features observed in the song ‗The A - Team‘ ...... 41

UNIVERSITAS SUMATERA UTARA CHAPTER 1

INTRODUCTION

1.1 Background of the Study

The most dominant language in British pop music is British English. British pop music has a very wide variety of themes that can be described literally.

Importantly, song is widespread globally and easy to approach around the world. The influence of song makes it an interesting source to study in the lyric content, language use, style, and the idea. Turner (2009, p. 70) argue that songwriters also use linguistic devices to manipulate language in a way that transcends conventional expression, through rhyme, symbol, imagery, metaphor, lexis, and sound.

Accordingly, song lyrics therefore can be considered as a kind of poetry that is composed attractively and melodiously by songwriters with concern for the use of words, the varieties of stylistic device, rhythm, and meaning.

Stylistics can be described by and large, as the study of style of language usage in different contexts either linguistic or situational. It is concerned with the examination of grammar, lexis, semantics as well as phonological properties as discursive devices. Stylistics examines oral and written texts in order to determine crucial characteristic linguistic properties, structure and patterns influencing perception of the text. Many figures of speech can be found In song lyrics. Not all the song lyrics are easily understandable, especially when the lyrics are full of figures of speech or figurative language in the words, phrases, or sentences which have hidden meaning inside them

UNIVERSITAS SUMATERA UTARA Stylistics is generally defined as the linguistic study of style, and it aims at explaining the relation between language and artistic function (Leech and Short,

2007, p. 11). However, one of the greatest difficulties in stylistics is the problem of defining style. Then, the motivating question from the linguist‘s viewpoint is ―Why was this form of expression chosen in the context of use?‖

Style, Riffaterre (1959) argued is ―…understood as an emphasis (expressive, affective or aesthetic) added to the information conveyed by the linguistic structure, without alteration of meaning‖ (p. 155). It also relates to linguistic form and literary meaning. In addition, it corresponds to the Organon model‘s division into three categories of style; symbol, symptom, and signal. First, style can be seen as a possible form for a specific content. Second, style can be seen as the choice of specific forms. Third, it can be seen as a deviation from a given expectation

(Renkema, 2004, p. 148).

Today, stylistics has continued to develop in many ways and it has come to be known as modern stylistics which plays an important part in linguistics study. As

Simpson (1997) stated, ―One of the main assets of modern stylistics is its heuristic value‖ and added, ―Stylistics is a method of applied language study which uses textual analysis to make discoveries about the structure and function of language‖ (p.

4).

Another reason for studying stylistics is the critical potential which leads to a better understanding of language by interpretation in an effective way because it allows different readers to interpret the meaning of a text without the limitation of only one correct interpretation. Simpson (1997) provided more reasons, ―Any

UNIVERSITAS SUMATERA UTARA interpretation of a piece of language is conditioned by three key factors. The first is to do with what‘s in the language itself, the second with what‘s in the context of communication, while the third is to do with what‘s in your head (that is, the assumptions knowledge you bring to a text)‖ (p. 3).

According to Riffaterre, ―Stylistic facts can be apprehended only in language, since that is their vehicle”. On the other hand, “They must have a specific character, since otherwise they could not be distinguished from linguistic facts‖ (1959, p. 154).

Moreover, stylistics in its intersubjective role is ―…an empowering tool, because it helps explain the multiple and varied responses to linguistic patterning which different readers experience when reading texts‖ (Simpson, 1997, p. 5). In other words, stylistics in its interpretation can be of benefit for critical reading or English language learning by highlighting and examining linguistic patterns used in literary texts.

In order to illustrate a stylistic methodological approach for English language study in literary text, Carter (1996) argued on the relevance of stylistics for literature teaching stating that stylistic analysis helps to foster interpretative skills and to encourage reading between the lines (p. 5). Stylistic analysis is now the applied study of creativity in foreign language classroom, and it is becoming standard in native- speaker language teaching as well.

According to Simpson (2004), ―Many forms of discourse (advertising, journalism, popular music – even casual conversation) often display a high degree of stylistic dexterity‖ (p. 3). Hence, it can be decided that song lyrics, including other regular forms of literature, such as poetry and novels, which usually employ

UNIVERSITAS SUMATERA UTARA numerous stylistic devices, are reasonable objects of study in stylistic analysis, especially for this present study.

The writer decided to study use of stylistic devices in lyrics of several British

Musician songs because of their popularity and because they have a large number of fans all over the world (Billboard Magazine 2013). Although, many genres of songs have been used to study language, British pop music lyrics seems to have seldom been analyzed by the linguists, and they have been seldom used in English education.

The aim is to explore the varieties of stylistic devices used in the verses to convey the exact meaning of the lyrics at different levels of language, such as figurative language (metaphor, metonymy, personification, idiom, etc.), and phonetic devices

(rhyme scheme and repetition), in addition, to reveal how these stylistic devices work in the lyrics. More interestingly, most of the songs usually tell about common topics in daily life and are composed with creative language use.

1.2 Problem of the Study

The problems in this study are formulated as the following :

1. What kind of figurative languages used in the British musician‘s selected song lyrics?

2. What kind of phonetic devices (rhyme scheme and repetition) are used in the

British musician‘s selected song lyrics?

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1.3 Objectives of the Study

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

1. To find out the figurative languages that are used in the British musician‘s

selected song lyrics

2. To find out kind of phonetic devices (rhyme scheme and repetition) are used

in the British musician‘s selected song lyrics

1.4 Scope of the Study

The objective of this study is to investigate the use of stylistic devices, focused on figurative language, rhyme, and repetition, that were employed in lyrics of selected singles of British musician (Bob Dylan, Oasis, Blur, And Ed Sheeran), in order to indicate the songwriting style of the songwriter from different time and era which could be important factors that made their singles very successful.

The writer is focus on the stylistic analysis in selected lyrics of British

Musician‘s popular songs during the years 1963 – 2011 to study the dominant linguistic features in the aspects of figurative language and phonetic devices; rhyme and repetition. Song lyrics were chosen from four songs of British Musician from the

1963 (Bob Dylan – Blowin‟ in The Wind), 1994-1997 (Oasis & Blur – Roll With it &

Country House), And 2011 (Ed Sheeran – The A Team).

Although, the songs in this study do not represent the entire British pop music or other music genres, however, they are an important part of British music history

UNIVERSITAS SUMATERA UTARA and can at least give a hint of the use of specific stylistic devices in song lyrics that made them became famous and successful in the UK and other countries.

1.5 Significance of the Study

Findings of the research are expected to be useful for the readers both theoretically and practically. Theoretically, this research findings are expected to develop the theories of stylistic analysis, specifically in the written language of song lyrics. Practically, the finding can be useful for :

1. Students especially in the university level to have a better understanding of the use of stylistic analysis in British musician‘s song lyrics.

2. Other researchers can be taken benefit of the study to identify the level of stylistics analysis especially the use of stylistic in literary text.

3. Those who are interested in analyzing British musician‘s song lyrics.

UNIVERSITAS SUMATERA UTARA CHAPTER II

REVIEW OF RELATED LITERATURE

2.1 Stylistics

Stylistics is generally defined as the linguistic study of style, and it aims at explaining the relation between language and artistic function (Leech and Short,

Levels of language

To start us off, here is a list of the major levels of language and their related technicalterms in language study, along with a brief description of what each level covers (Simpson 2004):

Level of language Branch of language study

The sound of spoken language; the way words are pronounced. phonology; phonetics

The patterns of written language; the shape of language on the page. graphology

The way words are constructed; words and their constituent structures. morphology

The way words combine with other

UNIVERSITAS SUMATERA UTARA words to form phrases and sentences. syntax; grammar

The words we use; the vocabulary of a language. lexical analysis; lexicology

The meaning of words and sentences. semantics

The way words and sentences are used in everyday situations; the meaning of language in context. pragmatics; discourse analysis

(another theory of stylistic)

(Simpson, P. 2004, p.5)

2.1.1 Figurative Languages

Figurative language is considered one of the important features of language in cognitive linguistics. The traditional meaning of figurative language has been suggested by McLaughlin (1990) as, ―Figurative has always involved a contrast with the ‗proper‘ meaning of word, its supposed rightful meaning, the idea which comes directly to mind when the word is used‖ (p. 81). On the one hand, figurative language is regarded as a fundamental cognitive linguistic approach, affected not only in language use, but also in human thought and action.

Here some example from one of Oasis‘s song called ―Live Forever‖;

(1) Maybe

(2) I don't really wanna know

UNIVERSITAS SUMATERA UTARA (3) How your garden grows

(4) 'Cause I just wanna fly

According to McLaughlin (1990), ―Metonymy accomplishes its transfer of meaning on the basis of associations that develop out of specific contexts rather than from participation in a structure of meaning‖ (p.83), therefore, the metonymic expression of the above lines is given by the word ‘garden’ which contains the connotation of ‘life’, one of the popular themes in rock music, and any other music as well. The notion of the garden can be interpreted as the cycle of life, since gardens employs a common interpretive aspect of the experience of humans living in relationships between humans and nature which are connected through physical movement, activities and imagination.

garden life

grow grow

plants human

Figure 1: Structure mapping of mixing perception of garden and life

In short, figurative language is language using figures of speech or tropes, such as metaphor, similes, metonymy, irony, idioms, analogies, and figurative phrase. Figurative language has also been a focus in the field of cognitive linguistics,

UNIVERSITAS SUMATERA UTARA which has made great strides in relating the language faculty to general cognitive processes.

Although, the analysis of figurative language in literary works seems too complex, ―they are so common in everyday language that the process of interpreting them occurs almost unconsciously, like any frequently repeated skill‖ (McLaughlin,

1990, p. 81). Generally, the used of figure of speech can be found in poetry and in other genres of literary works, including song. In lyrics composition, songwriters normally compose lyrics in order to express their idea of reality and emotion, narrate stories, and present their experiences through their own imagination by applying language used in their culture. In addition, some previous research seems to indicate that songwriters realize the significance of superior language used in song lyrics and it can therefore affect their overt reputation, improve their own prominence and appear to be influencing their target group. Consequently, in this study, the importance of studying discourse focusing on figurative language can gain insight into how lyrics meaning is constructed employing both different and familiar terms and concepts. Other forms of figurative language will be considered in defining categories, such as the meaning of words or phrases, and linking them to the musical experience.

UNIVERSITAS SUMATERA UTARA

There are seven common figures of speech are listed below with their definitions.

According to Richard E. Mezo (1999)

COMPARISON

A simile is an ―indirect‖ comparison between two different things using the word

―like‖ or ―as‖ or an equivalent term. (x is like y)

A metaphor is a ―direct‖ comparison. Explicit or implicit, between two different. (x is y: x=y)

A personification is a comparison of something not human (abstract to concrete) to a human being. (x is a human being). It gives something nothuman the characteristics or attributes of a human.

SUBSTITUTION

A metonymy is a substitution of some word or term closely related to or associated with the literal word or term meant. (y is substituted for x).

A synecdoche is substitution of the part for the whole. The whole for the part. A species for a genius (for vice versa). An individual for a class. Or material for the thing (part is substituted for whole: whole is substituted for part). The second element of the pair is the literal word or term.

EXAGGERATION

Hyperbole is an overstatement of the literal-an exaggeration.

Litotes is an understatement of the literal-an exaggeration.

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2.1.2 Phonetic Devices : Rhyme And Repetition

Rhyme is one of the stylistic devices for developing phonological sensitivity in poetry and song. Rhyme is a linguistic style based on repetition of similar or the same sounds in two or more words, which often occurs in the final syllables or whole words at the end of a line, normally occurring in poems or songs. Likewise, Butler and Newman (2008) suggested that, ―Rhyme is when two or more lines of lyrics or poetry end with the same corresponding sound, which enables the singers or listeners to remember the words more easily‖.

Rhyme is a powerful device used to make songs pleasant to hear, to keep the listener interested, and to flow the lyrics as well. All of these rhyming functions can create memorable and sing-able lyrics for the listeners. Besides, their potential effect on aesthetic experience, they have been claimed to influence recall and comprehension of words.

Rhyme can also be hypothesized to increase the comprehension of the beauty of poem and song with more emotionally involvement. Hence, systematic investigation has been done to show how structural features of rhyme impact the aesthetic and emotional processing of song lyrics.

Moreover, the pattern of rhyme that occurs at the end of each verse or line in poetry and song is regarded as rhyme scheme. There are several types of rhyme scheme or rhyming pattern used in poetry and song which can be divided into two categories. First, regular rhyme scheme, such as „Couplet‘ AA, AA,BB,CC,…, or

ABBA , „Triplet‘ AAA, „Monorhym‟ which is when every line uses the same

UNIVERSITAS SUMATERA UTARA rhyming pattern. Second, complex rhyme scheme, such as „Terza Rima‟ ABA BCB

CDC,…, ‗Keats‘ ABABCDECDE, „Rime Royal‟ ABABBCC, etc. Normally, like the other language devices of writing, rhyme scheme is used to control the flow, attract the audience‘s attention, and highlight important ideas in an effective way.

Example :

1. The sun is shining bright (A)

This is a lovely sight. (A)

The following example uses an AA rhyme scheme. Here, the first line ends in the word ―bright,‖ which rhymes with the final word of the second line, ―sight.‖

On the other hand, if we classify rhyme according to position in the verse, internal rhyme is one often used rhyme technique which occurs in the interior of a line when it rhymes with a word or phrase at the end of the same line or a different line. Furthermore, the use of different types of rhyme - perfect rhyme, forced rhyme, masculine rhyme, feminine rhyme, alliteration – were also carried out in this analysis. However, this study assumed that different songs will exhibit different styles of lyrics that can be characterized by the type or pattern of the rhymes used.

Hence, more elaborate rhyme schemes, particularly less obvious patterns of rhymes, were taken into consideration, including assonance and alliterations among others.

One important feature of popular music is the use of repetition in lyrics as a phonetic device. Repetition is apparently an essential part of popular song, as Kivy

(1993) suggested, repetition as pattern is highly pertinent to most music, ―The music which I have been discussing does not merely contain repetition as an important feature, but as a defining feature‖ (p. 359). Accordingly, repetitions are employed

UNIVERSITAS SUMATERA UTARA throughout lyrics in order to create an emotion, and to emphasize the meaning of important words or phrases.

The essence of this device lies in the repetition of similar sounds, in close succession, particularly at the beginning of successive words." Therefore, it is concerned as a musical instrument that aids to consolidate meaning as shown by certain sounds in words in sequence.

In many songs, repetition is usually used not only for the pleasure of the recurrent, but also for emphasizing the elements of a relationship in trouble to signify a range of different emotions. When repetition is conducted in a verse, it is important and commonly presents semantic interpretations of the lyrics and it is the means of creating pattern. Above all of these distinctions, repetition embeds in depth a familiar word and a song chorus, as Beasley and Chuang (2008) suggested in their research that ―songs should utilize repetition to highlight key words or phrases. Repetition of lyrics is typically found in the chorus section of a song. This section is considered a song's lyrical "hook" because it makes the song memorable to the listener, thus

"hooking" them on the song‖ .

2.2 Background of The Selected Songs (1963-2011)

2.2.1 Bob Dylan – Blowin’ In The Wind

Bob Dylan‘s revered ―Blowin‘ in the Wind,‖ released on his second studio

LP The Frewheelin‟ Bob Dylan, is a protest song and an appeal to the masses for justice and fortitude. The song is one of Dylan‘s simplest – just three verses and accompanied only by guitar and harmonica – but also one of his strongest. The song

UNIVERSITAS SUMATERA UTARA questions moral fiber and exposes a harsh reality in an effort to find a spark of virtue and ignite a flame of passionate righteousness.

Life is a succession of moments and experiences, roads that we must travel in order to live the human experience. We must ride the cycle of life reveling in the good times and enduring the bad, taking something enriching from each individual experience that we using it to better our lives.

Speaking of Dylan in a Songfacts interview, Yarrow added, "He was just a fountain of brilliance of poetry. And he was as a person just a normal human being, like everybody else."

2.2.2 Blur – Country House & Oasis – Roll with It

Britpop is a UK based music and culture movement in the mid 1990s which emphasised "Britishness", and produced brighter, catchier alternative rock, partly in reaction to the popularity of the darker lyrical themes of the US-led grunge music, an alternative rock genre, and to the UK's own shoegazing music scene. The most successful bands linked with the movement are Oasis, Blur, Suede and Pulp; those groups would come to be known as its "big four".

―The Battle of Britpop‖. A chart battle between Blur and Oasis dubbed "The Battle of

Britpop" brought Britpop to the forefront of the

British press in 1995. The bands had initially praised each other but over the course of the year antagonisms between the two increased. Spurred

UNIVERSITAS SUMATERA UTARA on by the media, the groups became engaged in what the NME dubbed on the cover of its 12 August issue the "British Heavyweight Championship" with the pending release of Oasis' single "Roll with It" and Blur's "Country House" on the same day.

The battle pitted the two bands against each other, with the conflict as much about

British class and regional divisions as it was about music. Oasis were taken as representing the North of England, while Blur represented the South. The event caught the public's imagination and gained mass media attention in national newspapers, tabloids, and television news. NME wrote about the phenomenon, "Yes, in a week where news leaked that Saddam Hussein was preparing nuclear weapons, everyday folks were still getting slaughtered in Bosnia and Mike Tyson was making his comeback, tabloids and broadsheets alike went Britpop crazy. ―Country House‖ sold 274,000 copies to ―Roll With It‖‘s 216,000 – the songs charting at number one and number two respectively. However, in the long run Oasis became more commercially successful than Blur, achieving sustained sales in the United States thanks to the singles "Wonderwall" and "Champagne Supernova". Oasis's second album, (What's the Story) Morning Glory? (1995), sold over four million copies in the UK, becoming the third best-selling album in British history.

2.2.3 Ed Sheeran – The A Team

The A Team" is the debut single by English singer-songwriter Ed Sheeran. It was released as a digital download in the United Kingdom on 12 June 2011, serving as the lead single from his debut album, + (2011). "The A Team" is a folk ballad with lyrics that speak of a prostitute addicted to crack cocaine, a Class A drug. It was written after Sheeran visited a homeless shelter and heard some of the stories of the lives people had been living. Making the song upbeat and using the line "Class A 16

UNIVERSITAS SUMATERA UTARA Team" was his way of masking the heavy subject matter. He wrote the song following a last-minute performance at an event for the homeless.

It became a top 10 hit in Australia, Germany, Ireland, Israel, Japan,

Luxembourg, New Zealand, Norway, the Netherlands, and the United Kingdom. It debuted at number three on the UK Singles Chart, with sales of 57,607 copies. The song was serviced to US radio formats in late 2012 and became a sleeper hit there, gradually rising up the Billboard Hot 100 to peak at number 16, becoming Sheeran's first single on that chart. On 5 December, the song received a Grammy Award nomination for Song of the Year, Sheeran's first Grammy Award nomination. At the

2012 Brit Awards, it was nominated for Best British Single.

2.3 Relevant Studies

The writer found some previous studies about stylistics that helps the writer to works this research. The first research is the study of stylistics analysis done by

Ferdows Agha Golzadeh & Nader Mahdipoor (2016). This study is a stylistic analysis of the Beatles‘ song lyrics ‗Let It Be‘. The aim is to explore the various stylistic devices used in the lyrics at different linguistic levels, and to see how all these stylistic features interact to make the lyrics mean what they mean. The study covers different aspects of style such as rhyme patterns at the level of sounding, and tense selection and transitivity structure at the level of wording and grammar.

The second previous study is belonged to a journal article of stylistics written by Ferdows Agha-Golzadeh, Amir Ghorbanpour (2016). The title is We Don‘t Need

No Education: A Stylistic Analysis Of Pink Floyd‘s ‗Another Brick In The Wall‘.

The aim was to explore various stylistic devices used in the verses to convey the

UNIVERSITAS SUMATERA UTARA main theme of the lyrics at different levels of language (phonetics/phonology, lexico- grammar, and semantics), and to see how all these stylistic features interact to make the lyrics mean what they do. The study covers different aspects of style including rhythm and rhyme patterns at the level of sounding, tense selection and transitivity structure at the level of wording and grammar, and the use of metaphor and irony at the level of meaning. The analysis shows that the verses make use of a variety of stylistic techniques to communicate the main theme of the lyrics, which is centred around the sense of isolation and abandonment, and to fit into the musical rhythm and feeling connected to it.

The third previous study is belonged to Suriati (2016) Stylistic Analysis In

Iwan Fals‘ And Ebiet G Ade‘s Song Lyrics. Masters thesis UNIMED. The objectives of this study are to describe types of figures of speech found in the Iwan Fals‘ and

Ebiet G Ade‘s song lyrics, to describe the interpretation of Iwan Fals‘ and Ebiet G

Ade‘s song lyrics and to elaborate the reason why they use it. A qualitative descriptive research was applied. The data source were taken from the album of Iwan

Fals and Ebiet G Ade‘s album from 1982 to 1990. There are 11 album of Iwan Fals and 6 album of Ebiet G Ade.Iwan Fals‘ album are choosen randomly as well as Ebiet

G Ade‘s album.To take the album is used percentage namely 30 percent of Iwan

Fals‘ album and Ebiet G Ade‘s album. There are 3 album of Iwan Fals and 2 album of Ebiet G ade that will be the source of data. The songs that characterized the most representative are taken respectively from the album collection. The researcher takes

30 percent of it as the data namely 8 song lyrics of Iwan Fals and 6 song lyrics of

Ebiet Ade. Documentary technique is applied in collecting the data. The instrument for collecting the data is documentary sheet. The data were analyzed by using Mile

UNIVERSITAS SUMATERA UTARA and Huberman‘s data analysis. The findings show that there are 10 types of figures of speech are found in the Iwan Fals song lyrics namely: personification, apostrophe, simile, metaphor, synecdoche, metonymy, symbol, paradox, allegory, and overstatement/hyperbole and 8 types of figures of speech are found in Ebiet G Ade‘s song lyrics namely: personification, apostrophe, metaphor, symbol, paradox, allegory, overstatement/hyperbole and understatement.

UNIVERSITAS SUMATERA UTARA CHAPTER III

METHOD OF STUDY

3.1 Research Design

In principle, any research design uses any type of data collection method either quantitative or qualitative data. In a qualitative research, a researcher produces a narrative or textual description of the phenomena under study. The researcher uses descriptive qualitative approach in conducting this research. The qualitative research is chosen because it can describe systematically the fact and characteristics of the data. Besides that, qualitative research methods were developed in the social sciences to enable researchers to study social and cultural phenomena like case study and ethnography.

In a qualitative research, a researcher produces a narrative or textual description of the phenomena under study. Thus, the object of the study is presented more in words rather than in numbers. The data collected are the subject‘s experiences and perspectives. The qualitative research attempts to get a rich description of people, objects, events, places, conversations, and so on. In this research, the data is the selected songs from British musician. Then further action will be conducted by describing and analyzing the data one based on the theories which are discussed in the previous chapter.

3.2 Data and Source Data

The writer takes four selected songs from British musicians as data in this research that contain a stylistic aspect in figurative languages and phonetic devices;

UNIVERSITAS SUMATERA UTARA rhyme and repetition. The source of data is taken from internet website https://www.poemhunter.com/.

3.3 Method of Collecting Data

In terms of analyzing the data, there are four ways to collect the data which are observation, questionnaire, interview and documentation. This research method used in the study document as a process mainly to help us learn. We need to understand more clearly just what is going on when we analyze data, in order to reflect, refine our methods, and make them more generally usable by others. In addition, the writer collects the data that retrieves on internet.

The steps in collecting data are below:

1. Listening, reading, and writing down the songs from four British musician (Bob

Dylan, Oasis, Blur, Ed Sheeran)

2. Marking the figurative languages, rhyme, and repetition that occur in songs.

3. Classifying which kind of process that occur in songs

3.4 Data Analysis Technique

Data analysis which includes gathering and linking the data to find particular phenomena is the important part of qualitative research. This study will focus primarily on data in the form of words, phrase/sentences and discourses—that is, language in the form of extended text. According to Miles and Saldana (2014), there are three concurrent flows of activity in the process of analyzing the data: (1) data condensation, (2) data display, and (3) conclusion drawing/verification (as cited in

Miles et.al., 2014: 31). It can be represented as shown in figure below.

UNIVERSITAS SUMATERA UTARA 3.4.1 Data Condensation

Data condensation refers to the process of selecting, focusing, simplifying, abstracting, and/or transforming the data that appear in the full corpus (body) of written-up field notes, interview transcripts, documents, and other empirical materials. (Miles et.al., 2014: 31). In this study data condensation is done by only selecting and focusing through the data.

3.4.2 Data Display

Generically, a display is an organized, compressed assembly of information that allows conclusion drawing and action. Usually in a form of table or diagram to make the data looks more organized and easier to be observed so it helps conclusion drawing. In this study, the table will be used as a model analysis.

3.4.3 Drawing and Verifying Conclusion

Conclusion from this study focused on the analysis of figurative languages, rhyme and repetition that happen based on several theory from experts (Paul

Simpson; Stylistic: a resource book for student), (Butler and Newman; The effects of using music and rhyme to increase retention. (Master of Education), Kivy (1993).

The Fine Art of Repetition: Essays in the Philosophy of Music. There are steps in analyze the figurative languages and phonetics devices in selected British songs;

1. Listen, read, and write down each songs carefully.

2. Marks the figurative languages, learn the rhyme and repetition that occur

in line.

3. Classify which type of figurative languages, and what kind of rhyme and

repetition occur in line. 22

UNIVERSITAS SUMATERA UTARA CHAPTER IV

ANALYSIS AND FINDING

For comprehension of each song, all of them firstly were selected from the four British musician (Bob Dylan, Oasis, Blur, Ed Sheeran) popular singles which were released between the years 1963 and 2011. Although each song revealed a different technique used by the songwriter, the main features which were chosen to discover the style and organization of the texts are provided in the following frame of the analysis:

- Figurative language (metaphor, metonymy, personification, simile, synecdoche, idiomatic phrase, rhetorical question)

- Phonetic devices: rhyme and repetition

3.1 Bob Dylan – Blowin’ in The Wind

4.1.1 Figurative language Analysis

(4) How many seas must a white dove sail before she sleeps in the sand?

―before she sleeps in the sand‖ In the Verse 1 line, Dylan said the song raises rhetoric question asking ‗how many seas must a white dove sail‘ which is how many times the war will be fought before achieving peace. Sleeping in the sand refers to the fact that there is no war. The song uses the phrase ―sleeps in the sand‖ as a reference to the passage in the Bible that describes the incident of Noah‘s sending the doves out to find land after the flooding of the earth. He was searching for a place to land and rest.

UNIVERSITAS SUMATERA UTARA

(5) Yes, and how many times must the cannon balls fly

In the next line. The song asks how many times the weapons (cannon ball) will be used before they might be totally banned. In other words, it says that we have fought enough wars and they should be ended now. According to McLaughlin

(1990), personification is when the characteristics of a human subject are transferred to an inhuman object (p. 83). Therefore this sentence, revealed the use of personification in ‗cannon balls fly‘, because the ‗cannon ball(weapon)‘ is being personified or humanized, giving it the human or animal characteristic of fly, though actually ‗cannon ball‘ is an inanimate object

(7) The answer, my friend, is blowing in the wind : (A)

(8) The answer is blowing in the wind : (A)

In the refrain part, line (7) and (8) tell what all these song means, The line says that the answer to all of the questions he raised in the verses above lies in the winds, which the answer does exist that is waiting for someone to grab it. But the problem is that nobody troubles to quest for those answers.

In the Verse 2 line (11) and (12) consist a metaphor inside the rhetorical

question which says,

(11) Yes, and how many years can some people exist

(12) Before they're allowed to be free?

UNIVERSITAS SUMATERA UTARA There is a direct reference to the discrimination against the African

Americans who were treated as second-class citizens in spite of living in ‗free‘ country. Dylan wonders when these people will be able to live freely and might not just ‗exist‘ on the earth.

(15) Yes, and how many times must a man look up

(16) Before he can see the sky?

Verse 3 is very interesting, in the line (16), ‗sky‘ represents ‗freedom‘.

According to him, this Metaphor happen when the ‗sky‘ which interpreted as

‗freedom‘ is hidden before the wars. So he wonders how many times one will have to face the wars in order to gain freedom and liberty.

4.1.2 Phonetic Devices : Rhyme And Repetition

Analysis

[Verse 1]

(1) How many roads must a man walk down : (A)

(2) Before you call him a man? : (X)

(3) How many seas must a white dove sail : (B)

(4) Before she sleeps in the sand? : (X)

(5) Yes, and how many times must the cannon balls fly : (C)

(6) Before they're forever banned? : (X)

UNIVERSITAS SUMATERA UTARA In the Verse 1, The pattern is AXBXCX, there is 3 different rhyme in line

1(down), line 3(sail), and line 5(fly), however the X symbol is marked for the other line which have the same rhyme /ʌnd/ man, sand, and, banned. each line ended with masculine rhyme with the words - man, sand, and banned, that contained the same assonant sound. When each line has the same ending sound, its sound is more smooth and catchy.

[Refrain]

(7) The answer, my friend, is blowing in the wind : (A)

(8) The answer is blowing in the wind : (A)

In the Refrain, there is a Monorhyme happens with two same word repeated at the end of the line (wind).

[Verse 2]

(9) Yes, and how many years can a mountain exist : (A)

(10) Before it is washed to the sea? : (X)

(11) Yes, and how many years can some people exist : (A)

(12) Before they're allowed to be free? : (X)

(13) Yes, and how many times can a man turn his head : (B)

(14) And pretend that he just doesn't see? : (X)

In the Verse 2, The pattern is also AXBXCX, but, there is a same ending in line (9) and line (11) with exist. Still, the X symbol is marked for the other line

UNIVERSITAS SUMATERA UTARA which have the same rhyme /iː/ (sea, free, and, see.) Each line ended with masculine rhyme with the words - sea, free, and see, that contained the same assonant sound

/iː/.

[Verse 3]

(15) Yes, and how many times must a man look up : (A)

(16) Before he can see the sky? : (X)

(17) Yes, and how many ears must one man have : (B)

(18) Before he can hear people cry? : (X)

(19) Yes, and how many deaths will it take 'til he know : (C)

(20) That too many people have died? : (X)

Verse 3 still using the same Pattern AXBXCX. Masculine rhyme in the X

Marks with vowel sound /ʌɪ/ (sky, cry, and died). Also the Head rhyme (Alliteration) shows in line (15) with many, must and man and also happens in line (17) with the same words.

SUMMARY

Table 1: Categories and features observed in the song „Blowin‟ In The Wind‟

CATEGORIES OBSERVED FEATURES

Figurative Languages Rhetorical Questions

Metaphor

Personification

Rhyme Scheme AXBXCX

UNIVERSITAS SUMATERA UTARA AXAXBX

Type of Rhyme Masculine Rhyme (Single Rhyme)

Alliteration (Head Rhyme)

Phonetic Devices Repetition

It can be seen in Table 1 above that ‗Blowin‘ in The Wind‘ is a very easy- listening song with so many repetition words and these are what make this song is so powerful by the messages that song has. Rhetorical questions always be the

―weapon‘ of this song. They remind us to keep asking question to every single decision that make us apart because of war. And for the rhyme scheme look very smooth with the consistency rhyming in all verses. And a very wise – Monorhyme in the refrain.

3.2 Oasis – Roll with It

4.2.1 Figuratives Language Analysis

The song ‗Roll With It‘ contains an optimistic perspective which can be analyzed from the use of figurative language in the lyrics. For this purpose, the songwriter needs to connect the audiences‘ pre-existing schemata or experience by using metonymy as part of the details, the chorus:

(12) I know the roads down which your life will drive

(13) I'll find the key that lets you slip inside

(14) Kiss the girl, she's not behind the door

UNIVERSITAS SUMATERA UTARA (15) But you know I think I recognize your face, but I've never seen

you before

I know the roads down which your life will drive

roads experiences

(process) (process)

your life will drive what you want to be

Figure 2: Structure mapping of mixing perception of roads and experiences

According to McLaughlin, ―Metonymy accomplishes its transfer of meaning on the basis of associations that develop out of specific contexts rather than from participation in a structure of meaning‖ (p.83), therefore, the metonymic expression of the line 12 is given by the resemblance between the target and the source is

‗process‘ (see Figure 2), because roads and the experiences in humans is earn by how long you can reach and get to the finish to achieved the goal/place. It can be described that to show the places you want to go is you should go through the roads

(source) which is similar to get what you want to be you need to gain some experiences (target).

For line 14, According to Deignan (2005), ―The conceptual metaphor that equates experiencing strong emotions with experiencing physical motion can be expressed as feeling is physical movement‖ (p.148). Based on metaphorical analysis the line says ‖kiss the girl, she's not behind the door”. The writer wants to show the

UNIVERSITAS SUMATERA UTARA feeling with some act (kissing) he wants tell us that we don‘t have to doubt or afraid to make a decision even for kissing the girl, do something with confident as long as you think that‘s the truth it‘ll alright.

4.2.2 Phonetic Devices : Rhyme And Repetition

Analysis

(1) You gotta roll with it : (A)

(2) You gotta take your time : (B)

(3) You gotta say what you say : (X)

(4) Don't let anybody get in your way : (X)

(5) 'Cause it's all too much for me to take : (Y)

For the verse 1, perfect rhyme happens in line (3) and (4). Words say and way are rhyming perfectly. These words consist of the same final accented vowel sound

/eɪ/: say, way.

The writer used the repetition a lot in this verse like in the line (1),(2), and

(3). He used ‗You gotta‘ in the beginning of the line. This is because the song is about to encourage people, to motivate them in direct way which use word ‗You‘ to sounds like he speak to you directly.

(6) Don't ever stand aside : (A)

(7) Don't ever be denied : (A)

(8) You wanna be who you'd be if you're coming with me : (X)

(9) I think I've got a feeling I've lost inside : (A)

(10) I think I'm gonna take me away and hide : (A)

(11) I'm thinking of things that I just can't abide : (A)

UNIVERSITAS SUMATERA UTARA Verse 2 is more interesting, The pattern is AAXAAA. These verse consist the same final vowel /ʌɪd/ aside, denied, inside, hide, and abide. Except the X the end with /i:/ vowel me. On the other hand, an internal rhyme was revealed in the line (8) by matching between the words ‗be‘ and ‗me‘ with vowel sound /i:/.

[Chorus]

(12) I know the roads down which your life will drive : (A)

(13) I'll find the key that lets you slip inside : (A)

(14) Kiss the girl, she's not behind the door : (B)

(15) But you know I think I recognize your face, but I've never seen you before :

(B)

For analyzing rhyme pattern in the chorus, it can be clearly seen as the regular rhyme pattern AABB. Since line (12) ends in a word ‗drive‘ that rhymes with

‗inside‘ in the next line by the same vowel sound /ʌɪ/, which is marked with letter

‗A‘. Then, the ending words ‗door‘ in line (14) and ‗before‟ in line (15) were marked with letter ‗B‘, because of matching the same accent vowel sound /əʊ/ door and before.

SUMMARY

Table 2: Categories and features observed in the song „Roll Wit It‟

CATEGORIES OBSERVED FEATURES

Figurative Languages Metonymy

Metaphor

UNIVERSITAS SUMATERA UTARA Rhyme Scheme ABXXY

AAXAAA

ABAB

Type of Rhyme Perfect Rhyme

Internal Rhyme

Phonetic Devices Repetition

In The Table 2, there is a metonymy happen which make the song really interesting to discuss. For the rhyme, perfect rhyme and internal becomes songwriter‘s favorites rhyme. He used repetition very smooth by repeated the verses with other option in the end line.

3.3 Blur – Country House

4.3.1 Figuratives Languages Analysis

Message of the song is about how Blur regard city and country.

(1) City dweller, successful fella

(2) Thought to himself, "Oops, I've got a lot of money”

(3) Caught in a rat race, terminally

Line 3, the songwriter‘s says rat race. It is a metaphor of the city. They are all living in city as if they are playing a rat race game, which means city lives are endless, self-defeating and pointless. They are just lab rats running in a maze.

(15) Oh, it's like an animal farm

UNIVERSITAS SUMATERA UTARA The writer‘s uses simile in the line (15). The words ‗it‘ refers to the country‘s view when it all sounds relaxing, and peaceful when you live in the country.

The representation of the country house is totally different with city. Verse 2 are very interesting to discuss, here is the line 17-19

(17) He's got morning glory and life's a different story

(18) Everything's going Jackanory

(19) Touched with his own mortality

Jackanory is a BBC children's television series which was originally broadcast between 1965 to 1996. It was designed to stimulate an interest in reading. The show's format, which varied little over the decades, involved an actor reading from children's novels or folk tales, usually while seated in an armchair. From time to time the scene being read would be illustrated by a specially commissioned still drawing, often by Quentin Blake. Usually a single book would occupy five daily fifteen-minute episodes, from Monday to Friday. (Wikipedia)

Based on article above, the writer wants to tell us by line (18) that living in the country is more like – everyday vacation. You can watch TV in the morning and do some work with a more flexible time than you live in the city.

(20) He's reading Balzac and knocking back Prozac

UNIVERSITAS SUMATERA UTARA For line (20) according to McLaughlin (1990), personification is when the characteristics of a human subject are transferred to an inhuman object (p. 83).

Therefore this sentence, revealed the use of personification in „knocking back

Prozac‟, because the ‗Prozac‘ is being personified or humanized, giving it the human characteristic of knocking though actually ‗Prozac‘ is a medicine or an inanimate object. Hence, the sentence „knocking back Prozac‟ can be interpreted as he is taking an antidepressant to make his mood normal again after so much activity from work, in other words, it means he does not have enough time to do the things he want.

4.3.2 Phonetic Devices : Rhyme and Repetition

(1) City dweller, successful fella : (A)

(2) Thought to himself, "Oops, I've got a lot of money" : (B)

(3) Caught in a rat race, terminally : (X)

(4) I'm a professional cynic but my heart's not in it : (A)

(5) I'm paying the price of living life at the limit : (B)

(6) Caught up in the century's anxiety : (X)

Verse 1 start with internal rhyme, when dweller and fella rhyming in the same final consonants of accented syllables, which matched the consonant sound /ɛl/.

The pattern is a regular one with ABXABX. For line (4) and (5) also consist an internal rhyme. In line (4) Cynic and in it have a same /iː/ sounds. Meanwhile in (5) head rhyme (alliterative rhyme) happen in words living, life, and limit.

[Chorus]

(9) He lives in a house

(A)

(10) A very big house in the country : (A)

UNIVERSITAS SUMATERA UTARA (11) Watching afternoon repeat : (B)

(12) And the food he eats in the country : (B)

(13) He takes all manner of pills : (C)

(14) And piles up analyst bills in the country : (C)

(15) Oh, it's like an animal farm : (D)

(16) That's the rural charm in the country : (D)

The chorus is fabulous. The pattern is only the regular AABBCCDD. The interesting part is, it doesn‘t rhyme at the end of the line like usual. Line (9) and (10) repeated the word house, for (11) and (12) word repeats and eats show the same end

/iːts/. Also in (14) and (15) with animal farm and rural charm. Ending with /ɛl/ for animal and rural, and ending with /ɑːm/ for farm and charm.

[Verse 2]

(17) He's got morning glory and life's a different story : (A)

(18) Everything's going Jackanory : (A)

(19) Touched with his own mortality : (A)

Verse 2, another internal rhyme ‘glory’ and ‘story’ following with a feminine rhyme in words ‘Jackanory’ and ‘mortality’. All of these word rhyming the same ending with /i:/ sound.

(20) He's reading Balzac and knocking back Prozac : (B)

(21) It's a helping hand that makes you feel wonderfully bland : (B)

(22) Oh, it's a century's remedy : (X)

UNIVERSITAS SUMATERA UTARA Internal rhyme in line (20) between ‗Balzac‟ and „Prozac‟ is called feminine rhyme (double rhyme) refers to a line ending in a stressless syllable. And for line

(21), ‗hand‘ and bland is a masculine rhyme because „hand‟ and „bland‟ is a stressed syllable.

SUMMARY

Table 3: Categories and features observed in the song „Country House‟

CATEGORIES OBSERVED FEATURES

Figurative Languages Metaphor

Simile

Personification

Rhyme Scheme ABXABX

AABBCCDD

AAABBX

Type of Rhyme Internal rhyme

Masculine Rhyme

Feminine Rhyme

Alliteration (Head Rhyme)

Phonetic Devices Repetition

In Table 3, the song has it all. The songwriter used so many figurative languages.

Metaphor, simile and personification. Still metaphor become the dominant one.

Rhyme scheme is very complex, it rhyming uniquely in the refrain with all the

UNIVERSITAS SUMATERA UTARA internal rhyme that happen in each line make the song so pleased to hear with all the spirit energy in it.

3.4 Ed Sheeran – The A Team

4.4.1 Figurative Languages Analysis

This is a really easy listening song. Ed wrote this song after going to a charity

event for the homeless that his friend organized. The analysis started with this

following sentences

(1) White lips, pale face

(2) Breathing in the snowflakes

(3) Burnt lungs, sour taste

Line (2) shown a synecdoche when sentences „Breathing in the snowflakes‟.

The ‗snowflakes‘ means winter there. The condition is snowy and cold, a woman

shouldn‘t be outside in this situation. Also in line (3) shown a metaphor with

sentences „burnt lungs‟. BURNT and LUNGS metaphor notably appears in the

line; „Burnt lungs, sour taste‘. Burnt mean there is something that fire and the

fact is fire cannot occur inside a human body including the lungs, so this sentence

cannot be interpreted literally. As Kövecses (2000) pointed out, the concept of

love is the most metaphorically used, probably because it does not only allude to

an emotion, but also to a relationship. Thus, the conceptual metaphor ‗LOVE IS

FIRE‘, one of the conceptual metaphors about LOVE, was used in describing

what the message is trying to convey. When we think of LOVE, we

UNIVERSITAS SUMATERA UTARA conceptualize it via FIRE (Larsen, 2006, p. 11). In this situation LOVE is not

something that fill your heart with happiness anymore because is already burnt.

Synecdoche also used by the writer in line (19) ‗And in a pipe she flies to the

Motherland‟

‗The pipe‘ means drugs.

(16) 'Cause we're just under the upper hand‟

The writer uses metaphor and said ―under the upper hand‖.

The Upper hand means the position of dominance, being in charge, being in control or having the advantage. It is most often used as get the upper hand or gain the upper hand. Some believe the idiom upper hand comes from an American playground method of seeing who takes the first turn in a game. Someone tosses a baseball bat at a player, and then the other players vying for the first turn take turns grabbing the bat above the original gripping point. The hand that lands on top of the baseball bat handle belongs to the player who gets the first turn. However, the term upper hand is older than baseball. It is found several hundred years before, in England. Upper hand is derived from the word upper, meaning superior, first, highest, and hand, with the alternative meaning of possession or power. (Grammarist.com)

The woman is being control by situation. She cannot choose what she wants.

She is always under the position of dominance. She has to follow orders or life will bring her down. 38

UNIVERSITAS SUMATERA UTARA

(11) But lately, her face seems

(12) Slowly sinking, wasting

(13) Crumbling like pastries

The writer use simile on this line when he said ‗her face seems, slowly sinking, wasting, crumbling like pastries‟. According to Richard E. Mezo (1999) simile is an ―indirect‖ comparison between two different things using the word ―like‖ or ―as‖ or an equivalent term. (x is like y). in the line 11-13 the writer describe the condition of a woman that really sour and sad it shown by her face like an object in the middle of ocean. Meaningless just like when he uses slowly, sinking, wasting and he add that her life is like pastries that easy to crumb. In other word, even something beautiful like pastry, it has something called weakness which is easy to crumb or break.

4.4.2 Phonetic Devices : Rhyme and Repetition

(1) White lips, pale face (A)

(2) Breathing in the snowflakes (A)

(3) Burnt lungs, sour taste (A)

(4) Light's gone, days end (B)

(5) Struggling to pay rent (B)

(6) Long nights, strange men (B)

UNIVERSITAS SUMATERA UTARA Significantly, the masculine rhyme can be seen clearly in these triplet except for line (2) the ‗snowflakes‘: ‗face – snowflakes – taste‘ are the same vowel and consonant sound /eɪs/, ‗end – rent – men‘ are the same /ɛn/ sound. The pattern is

AAABBB. We can see, this song is written in 20‘s century. it‘s show a significant change in writing style of the musician. When the old music full of spiritual and abstractness meaning, nowadays the important thing is you should write with honest just like Ed said when he was interviewed by abcnews.

He said, “I think the best songs are the most truthful and honest songs. And it‟s because it‟s stuff you can‟t actually say yourself,” said Sheeran. “I don't know. Songwriting is a really weird thing. 'Cause I think it works as some sort of therapy for me, anyway. Like, I think I've stopped myself going mad by writing songs.” (www.abcnews.go.com)

[Pre-Chorus]

(7) And they say (X)

(8) She's in the Class A Team (A)

(9) Stuck in her daydream (A)

(10) Been this way since 18 (A)

(11) But lately, her face seems (A)

(12) Slowly sinking, wasting (A)

(13) Crumbling like pastries (A)

(14) And they scream (A)

(15) The worst things in life come free to us (Y) 40

UNIVERSITAS SUMATERA UTARA This song have a pre-chorus and it all rhyme the same sound /i;/ except the

(7) and (15) as a opener and close lines. According to the line above, it also revealed an internal rhyme that occurred within each line and combine together. There are feminine rhyme of assonance /i;/ sound between the words – lately, and slowly - including rhyme of assonance /i;ng/ sound between the words – sinking, wasting, and crumbling.

[Chorus]

(16) 'Cause we're just under the upper hand (A)

(17) And go mad for a couple of grams (A)

(18) And she don't want to go outside tonight (X)

(19) And in a pipe she flies to the Motherland (A)

(20) Or sells love to another man (A)

(21) It's too cold outside (X)

(22) For angels to fly (B)

(23) Angels to fly (B)

Moving on to the chorus when head rhyme (alliteration) of the line (16) happen in „under the upper‟. And also end with the same sound /eɪ/ in words „hands

– grams‟. Line (19) and (20) is a also end with /eɪn/ „motherland – man‟. The last line (22) and (23), the writer used repetition to make sure that every woman deserved a proper life, deserved to fly (free) to do what she wants to do.

UNIVERSITAS SUMATERA UTARA SUMMARY

Table 4: Categories and features observed in the song „The A - Team‟

CATEGORIES OBSERVED FEATURES

Figurative Languages Metaphor

Simile

Synecdoche

Rhyme Scheme AAABBB

XAAAAAAAAAY

AAX AAX BB

Type of Rhyme Internal rhyme

Masculine Rhyme

Feminine Rhyme

Alliteration (Head Rhyme)

Phonetic Devices Repetition

It can be seen in Table 4 above that there is a synecdoche happen which is very cool in order this song is the only song that written in 00‘s. The songwriter not using metaphor as much as other three songs. But the rhyme is so beautiful. Internal rhyme become something that make this song stay in our head with repetition that support the beauty in this song.

UNIVERSITAS SUMATERA UTARA CHAPTER V

CONCLUSION AND SUGGESTION

5.1 CONCLUSIONS

The purpose of the current study was to discuss the use of figurative language, rhyme, and repetition to justify the significant stylistic devices that four big British‘s songwriter used in thei popular singles, released between 1963 and

2011. After the discussion previously, it was proved that stylistic analysis in song lyrics it could be concluded as follows :

1. The results demonstrate that the use of figurative language, especially metaphor, as a dominant one could be remarkably found in all selected song lyrics of these four

British musician.

2. Rhyme and repetition were generally used as significant phonetic devices to attract the audience‘s attention with charming sounds and rhythms including connotations of repeated words, phrases, or choruses in the verses. There is no specific one, but varied forms of regular and complex rhyme schemes employed in all of the selected songs. However, it was found that masculine rhyme is mostly employed to emphasize the meaning of the verses. In terms of repetition of choruses and words, it is an objective feature that distinguishes the attractive sounds and also performs as a stylistic device to highlight an important meaning of content in those lyrics. The overall results of this study can be beneficial for language learners who are interested in studying English, particularly with respect to developing their skill of stylistic analysis in song lyrics.

UNIVERSITAS SUMATERA UTARA Finally, despite the many factors that go into creating a hit song, the use of stylistic devices - figurative language especially metaphor, rhyme, repetition - were very effective tools for the songwriting of four musician (Bob Dylan, Oasis, Blur, and Ed Sheeran) during 1963 - 2011, and it could be efficient for songwriting in other periods as well as in other music genres, and other music bands.

5.4 SUGGESTIONS

This study focused on the use of stylistic devices in four selected songs of

British musician, released between 1963 and 2011. In this small-scale study, further research can be broadened in terms of data-scale by increasing the number of song lyrics and conducting more comparisons with other genres of music, and also extending the number of years in chronological order in order to contribute richer findings. Moreover, there are only three features of language use selected to be analyzed in this study which consisted of figurative language, rhyme, and repetition, instead, further research can be done by expanding the scope of language analysis beyond these three features, in order to compare and contrast the distinctive characteristics for greater validity and reliability

Furthermore, the results from this study are aimed to be useful for other researchers who are interested in investigating English song lyrics or other related topics. However, the writer should be aware that stylistic analysis in song lyrics and other kinds of text needs advanced proficiency in English skills since the difficult level of language features in lyrics plays an important role based on the English language level of each audience.

UNIVERSITAS SUMATERA UTARA REFERENCES

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UNIVERSITAS SUMATERA UTARA APPENDIX A

Songs : Blowin‘ in The Wind Album : The Freewheelin' Bob Dylan Year : 1963 How many roads must a man walk down Before you call him a man? How many seas must a white dove sail Before she sleeps in the sand? Yes, and how many times must the cannonballs fly Before they're forever banned?

The answer, my friend, is blowin' in the wind The answer is blowin' in the wind

Yes, and how many years can a mountain exist Before it's washed to the sea? Yes, and how many years can some people exist Before they're allowed to be free? Yes, and how many times can a man turn his head And pretend that he just doesn't see?

Yes, and how many times must a man look up Before he can see the sky? Yes, and how many ears must one man have Before he can hear people cry? Yes, and how many deaths will it take 'til he knows That too many people have died?

The answer, my friend, is blowin' in the wind The answer is blowin' in the wind

UNIVERSITAS SUMATERA UTARA APPENDIX B Song : Roll with It Album : (What‘s The Story) Morning Glory? Year : 1995 You gotta roll with it You gotta take your time You gotta say what you say Don't let anybody get in your way 'Cause it's all too much for me to take

Don't ever stand aside Don't ever be denied You wanna be who you'd be If you're coming with me

I think I've got a feeling I've lost inside I think I'm gonna take me away and hide I'm thinking of things that I just can't abide

I know the roads down which your life will drive I find the key that lets you slip inside Kiss the girl, she's not behind the door But you know I think I recognize your face But I've never seen you before

You gotta roll with it You gotta take your time You gotta say what you say Don't let anybody get in your way 'Cause it's all too much for me to take

I know the roads down which your life will drive I find the key that lets you slip inside

UNIVERSITAS SUMATERA UTARA Kiss the girl, she's not behind the door But you know I think I recognize your face But I've never seen you before

You gotta roll with it You gotta take your time You gotta say what you say Don't let anybody get in your way 'Cause it's all too much for me to take

Don't ever stand aside Don't ever be denied You wanna be who you'd be If you're coming with me

I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside I think I've got a feeling I've lost inside

UNIVERSITAS SUMATERA UTARA APPENDIX C Song : Country House Album : The Great Escape Year : 1995 So the story begins

City dweller Successful fella Thought to himself, "Oops, I've got a lot of money." Caught in a rat race terminally

I'm a professional cynic But my heart's not in it I'm paying the price of living life at the limit Caught up in the century's anxiety

Yes, it preys on him He's getting thin Try the simple life

He lives in a house, a very big house in the country Watching afternoon repeats And the food he eats In the country He takes all manner of pills And piles up analyst bills In the country Oh, it's like an animal farm Lots of rural charm In the country

He's got morning glory And life's a different story

UNIVERSITAS SUMATERA UTARA Everything's going Jackanory Touched with his own mortality

He's reading Balzac And knocking back Prozac It's a helping hand That makes you feel wonderfully bland Oh it's a century's remedy

For the faint at heart A new start Try the simple life

He lives in a house, a very big house in the country He's got a fog in his chest So he needs a lot of rest In the country He doesn't drink smoke laugh Takes herbal baths In the country But you'll come to no harm On the animal farm In the country

In the country, in the country, in the country

Blow, blow me out I am so sad, I don't know why Blow, blow me out I am so sad, I don't know why

He lives in a house, a very big house in the country Watching afternoon repeats

UNIVERSITAS SUMATERA UTARA And the food he eats In the country He takes all manner of pills And piles up analyst bills In the country Oh, it's like an animal farm Lots of rural charm In the country

UNIVERSITAS SUMATERA UTARA APPENDIX D Song : The A-Team Album : + Year : 2011 White lips, pale face Breathing in snowflakes Burnt lungs, sour taste Light's gone, day's end Struggling to pay rent Long nights, strange men

And they say She's in the Class A Team Stuck in her daydream Been this way since eighteen But lately her face seems Slowly sinking, wasting Crumbling like pastries And they scream The worst things in life come free to us 'Cause we're just under the upper hand And go mad for a couple grams And she don't want to go outside tonight And in a pipe she flies to the Motherland Or sells love to another man It's too cold outside For angels to fly Angels to fly

Ripped gloves, raincoat Tried to swim and stay afloat Dry house, wet clothes Loose change, bank notes

UNIVERSITAS SUMATERA UTARA Weary-eyed, dry throat Call girl, no phone

And they say She's in the Class A Team Stuck in her daydream Been this way since eighteen But lately her face seems Slowly sinking, wasting Crumbling like pastries

UNIVERSITAS SUMATERA UTARA They scream The worst things in life come free to us And we're all under the upper hand Go mad for a couple grams And we don't want to go outside tonight And in a pipe we fly to the Motherland Or sell love to another man It's too cold outside For angels to fly Angels to fly To fly, fly For angels to fly, to fly, to fly For angels to die

UNIVERSITAS SUMATERA UTARA