Types and Motivations of Korean to English Code Switching in Taeyeon’S Album My Voice Song Lyrics

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

TYPES AND MOTIVATIONS OF KOREAN TO ENGLISH CODE SWITCHING IN TAEYEON’S ALBUM MY VOICE SONG LYRICS

AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters

By ARE SEA Student number : 144214072

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

TYPES AND MOTIVATIONS OF KOREAN TO ENGLISH CODE SWITCHING IN TAEYEON’S ALBUM MY VOICE SONG LYRICS

AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters

By ARE SEA Student number : 144214072

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Motivation is when your dreams put on work clothes.

–Benjamin Franklin-

vii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ACKNOWLEDGEMENT

In this opportunity I would like to thank God, who has already granted my prayer so I finally can finish my thesis. It is only for Him I give all my hopes and wishes.

There are many people who have given their participation and their support to me in finishing this thesis. Because of that, I would like to say thank you very much for their thesis contribution. First of all, my thesis advisor, Adventina

Putranti, S.S., M.Hum., who has patiently and conscientiously guided, helped, and gave me advice in conducting this thesis.The second one is my co-advisor,

Fransisca Kristianti, S.Pd., M.Hum, for kindly correcting my mistakes and giving improvements to my thesis.

My sincerest gratitude also goes to my parents, Jagau and Diah Purnama, and my younger sisters, Dayka and Arda, for their greatest support. I would like to thank all lecturers and staff of the English Letters Department who have helped and taught me, my friends in English Letters Department, especially my close friends, Audi, Niken, and Ni Luh who always support each other for our thesis, and all my friends who I cannot mention one by one.

Are Sea

viii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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 ACKNOWLEDGEMENTS ...... viii TABLE OF CONTENTS ...... ix LIST OF ABBREVIATIONS ...... xi ABSTRACT ...... xii ABSTRAK ...... xiii

CHAPTER I: INTRODUCTION A. Background of the Study ...... 1 B. Problem Formulation ...... 4 C. Objectives of the Study ...... 4 D. Definition of Terms ...... 5

CHAPTER II: REVIEW OF LITERATURE A. Review of Related Studies ...... 6 B. Review of Related Theories ...... 8 1. Code Switching ...... 8 2. Types of Code Switching ...... 9 a. Tag Switching ...... 9 b. Intra-Sentential Switching ...... 10 c. Inter-Sentential Switching ...... 11 3. Motivations for the Use of English in Song Lyrics ...... 11 a. The Use of English as an Exotic Device...... 12 b. The Use of English as a Poetic Device ...... 12 c. The Use of English as a re-Exotic Device ...... 14 d. The Use of English as Means of Creating New Structural Form .. 14 e. The Use of English as an Audacious Device ...... 15 f. The Use of English as a Symbolic Device ...... 16 g. The Use of English to Express Aspect of Modern Consumer Culture ...... 17 h. The Use of English to Express Image of Domestic life ...... 17 4. Song Lyrics Elements ...... 18 a. Rhyme, Rhythm, and Repetition...... 18 b. Figurative Languages ...... 18 c. Other Devices ...... 19 C.Theoretical Framework ...... 19

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER III : METHODOLOGY A. Object of the Study ...... 21 B. Approach of the Study ...... 21 C. Method of the Study ...... 22

CHAPTER IV: ANALYSIS (RESULTS AND DISCUSSIONS) A Types of Code Switching ...... 25 B. Possible Motivations for the Use of Korean to English Switching ...... 34

CHAPTER V: CONCLUSION REFERENCES ...... 54 APPENDICES ...... 56 Appendix 1 : Taeyeon’s album My Voice song lyrics (Romanized Lyrics)...... 59 Appendix 2 : Data Checklist of Code Switching ...... 70

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

LIST OF ABBREVIATIONS

AD : The Use of English as an Audacious Device DL : The Use of English to Express Image of Domestic Life ED : The Use of English as an Exotic Device TS : Tag Switching ITAS : Intra-sentential Code Switching ITES : Inter-sentential Code Switching MC : The Use of English to Express Aspect of Modern Consumer Culture NS : The Use of English as a Means of Creating New Structural Form PD : The Use of English as a Poetic Device RED : The Use of English as a re-Exotic Device SD : The Use of English as a Symbolic Device

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ABSTRACT

SEA, ARE. (2018). Types and Motivations of Korean to English Code Switching in Taeyeon’s Album My Voice Song Lyrics. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

The phenomenon when speakers use more than one language, dialect or variety within an utterance is called code switching. However, code switching is not only observed in verbal communication but also in written form. This research discusses the phenomena of code switching in written form, which is in song lyrics. Code switching in song lyrics is different from what happen in conversation because this phenomenon is something deliberately created and planned. Code switching in the lyrics becomes a marketing strategy used by songwriters and entertaiment industries. It can be seen in Korean popular music where code switching is deliberately put in song lyrics as the marketing strategy. The object of this study is song lyrics in Taeyeon’s album My Voice. The code switching found in this album song lyrics is the focus of this study. This study aims to identify the types of code switching used in the lyrics and to discuss possible motivations of the use of Korean to English code switching in them. In conducting this study, the researcher used purposive sampling strategy.The researcher searched lyrics of each song in the album that contained Korea–English code switching only. When they were collected, the researcher then continued to analyze their types and possible motivations. Sociolinguistic approach is used in conducting this study. To answer the first problem, the researcher applied a theory conducted by Poplack (1980). Meanwhile, to answer the second problem, a theory by Stanlaw (2004) is conducted. According to the result, types of code switching found in the album are distinguished into 3 types of code switching. They are intersentential code switching, tag switching, and intrasentential code switching. Second, there are five possible motivations found in the album that are divided into two, intrinsic and extrinsic motivations.Intrinsic motivations consist of motivation for the use of English as an exotic device, as a poetic device, and as means of creating new structural form.Extrinsic motivations consist of motivation for the use of English as anaudacious device, as a symbolic device. Motivation for the use of English as poetic device are found in all the lyrics, motivation for the use of English as exotic device and as a means of creating new forms mostly happen in intrasentential code switching, and motivation for the use of English as an audacious device and as a symbolic device mostly happen in intersentential code switching.

xii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ABSTRAK

SEA, ARE. (2018). Types and Motivations of Korean to English Code Switching in Taeyeon’s Album My Voice Song Lyrics. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Sebuah fenomena dimana pembicara menggunakan lebih dari satu bahasa, dialek atau variasi dalam suatu percakapan disebut alih kode. Namun, alih kode tidak hanya dapat diamati dalam bentuk komunikasilisan saja namun juga dalam bentuk tertulis. Penelitian ini membahas fenomena alih kode dalam bentuk tertulis, yaitu dalam lirik lagu. Alih kode dalam lirik lagu berbeda dengan apa yang terjadi dalam percakapan karena fenomena inidibuat dan direncanakan secara sengaja. Alih kode dalam lirik menjadi sebuah strategi pemasaran yang digunakan oleh para penulis lagu dan banyak industri hiburan. Fenomena ini dapat dilihat dalam musik populer di Korea di mana alih kode sengaja dimasukkan ke dalam lirik lagu sebagai suatu strategi pemasaran. Objek dari penelitian ini adalah lirik lagu di album My Voicemilik Taeyeon. Alih kode yang ditemukan dalam lirik lagu di album ini merupakan fokus penelitian. Penelitian ini bertujuan untuk mengidentifikasi jenis-jenis alih kode yang digunakan dalam lirik dan membahas kemungkinan motivasi dari perubahan kode bahasa Korea ke bahasa Inggris dalam lirik. Dalam melakukan penelitian ini, peneliti menggunakan strategi purposive sampling. Peneliti mencari lirik dari masing-masing lagu di album yang hanya berisi alih kode bahasa Korea ke bahasa Inggris. Begitu data terkumpul, peneliti kemudian menganalisis jenis dan motivasi penggunaan alih kode. Pendekatan sosiolinguistik digunakan dalam melakukan penelitian ini. Untuk menjawab masalah yang pertama, peneliti menerapkan teori dari Poplack (1980). Sementara untuk menjawab masalah kedua, diterapkan teori dari Stanlaw (2004). Menurut hasil penelitian, jenis-jenis pengalihan kode yang ditemukan dalam album dibedakan menjadi 3 jenis, yaitu alih kode antar kalimat, alih kode penanda, dan alih kode intra kalimat. Selanjutnya, ada lima kemungkinan motivasi ditemukan dalam album yang dibagi menjadi dua yaitu motivasi instrinsik dan ekstrinsik. Motivasi intrinsik terdiri dari motivasi menggunakan bahasa Inggris sebagai perangkat eksotis, sebagai perangkat puitis, sebagai sarana menciptakan bentuk struktural baru. Motivasi ekstrinsik terdiri darimotivasi menggunakan bahasa Inggris sebagai perangkat untuk mengekspresikan hal yang berani, dan motivasi menggunakan bahasa Inggris sebagai perangkat simbolis. Motivasi menggunakan bahasa Inggris sebagai perangkat puitis ditemukan dalam semua lirik, motivasi menggunakan bahasa Inggris sebagai perangkat eksotis dan sebagai sarana untuk menciptakan bentuk struktural baru sebagian besar terjadi dalam pengalihan kode intra kalimat, dan motivasi menggunakan bahasa Inggris sebagai perangkat untuk mengekspresikan hal yang berani dan sebagai perangkat simbolis kebanyakan terjadi pada alih kode antar kalimat.

xiii

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER I

INTRODUCTION

A. Background of the Study

One linguistic phenomena that happens in multilingual speech communities is code switching. Code switching is “the use of more than one language, variety, or style by a speaker within an utterance or discourse, or between different interlocuters or situations” (Romaine as cited in Owlcation, 1992, para.4). It means that this phenomenon can be seen in conversation between a speaker and other speakers. However, many linguists believe that code switching phenomenon is not only can be studied through conversation but also through written observations and say that code switching can be studied “either through written observations of naturalistic speech or through the study of texts containing code switching”(Bullock and Toribia 2009, p.22). One example of code switching in texts is song lyrics.

The use of code switching that happen on the song lyric is different than the use of code switching in conversation. Code switching in song lyrics “does not occur spontaneously” (Widaya,2015,p.2). It is means that code switching in song lyrics is planned. It is also explained by Davies and Bentahila that

there is a fundamental different between the code switching in lyrics and other types of literature and that which occurs in conversation. The former is not spontaneous, but a conscious and predicated strategy and discourse in which it occurs is edited and recorded. It is deliberate style used by the artist who would have prepared and reflected upon the lyrics before the relapse of the song (2008, p.3).

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The use of code switching in song lyrics is prepared carefully before the release of the song. Code switching in the lyrics becomes a marketing strategy used by songwriters and entertaiment industries.

The occurrence of code switching in song lyrics can be seen in Korean popular music. In the modern Korean popular music, or the so called K-POP,

“English is present in the main body of the lyrics”(Lee, 2004, p. 429). Code switching and mixing are oftenly used in Korean song lyrics. For example, a

South Korea band, Day6 gave the title for their song as FREE 하게. In creating their lyrics, the song writer switched and mixed Korean and English language.

The occurence of code switching in K-POP happened because the development of music industry using English language was strongly supported by the government.

Kim Daejung, the president of Korea at the time in the late 90s wanted to make Korea the largest exporter of pop culture making more revenue resources for the country. The music industry is therefore being used in a way to spread culture dominance globally and with English being internationally recognised language, it makes sense that English is used within pop music. This would be specially beneficial with groups names and title. (Linguisticluv,2015, para.8)

In the rule of Kim Daejung, the music industry became a way to increase the economic status. It was a result of using English as the recognised language.

Due to significant occurrences of code switching in K-Pop song lyrics and deliberate usage of code switching in song lyrics, the researcher is interested to analyze about code switching that is presented there. The researcher found that they often switch and mix Korean language to English language and vice-versa on

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

television programs, magazines, advertisments, and songs. Many artists sing

Korean to another language switched songs.

The fact that “there are an estimated 35.59 million fans of Korean Pop

Culture worldwide according to the Korea Foundation, as of 2015” (Yonhap news agency,2016, para.2), shows that Korean Pop culture has a lot of fans. According to 2017 Google Trends data, Indonesia is placed 5th from all countries around the world that searching any topic related to Korean popular music. Due to the popularity of Korean popular music in the world especially in Indonesia, the researcher chose Korean popular music as the object of the study.

In this research, Taeyeon first album My Voice is chosen as the object to be observed. Taeyeon first album My Voice was released on 28 February 2017.

This album contains 12 songs while the physical release includes 13 tracks.

Taeyeon is one of South Korea's most popular vocalists. Taeyeon's songs have appeared regularly on multiple Billboard charts ever since she began releasing solo music separate from her career as a member of Girls' Generation. (Herman,

2017, para.6). Her album is sold to various countries including Indonesia.

The researcher found many parts of her songs using code switching. Code switching happens on 11 out of 13 songs in this album. Various types of code switching also can be found on this album. The researcher also interested to find out what the motivations for the use of code switching are. Motivations play an important role to the implementation of code switching in the lyrics. Before the creation of the song lyrics, songwriters must have motivations or willingnesses to put another language into the song lyrics. Without any motivation, the act of

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

putting code switching may be not going to happen. Motivations from songwriters also will help them to reach production goals.

The research is expected to be able to increase the development and understanding of language learning, especially in the field of Sociolinguistics. The result of the research can be used as the basis and comparison for further research related to kinds of code switching used in song lyrics.

B. Problem Formulation

The research questions are formulated as follows.

1. What are the types of code switching used in Taeyeon’s My Voice song lyrics?

2. What are the possible motivations for the use of code switching in

Taeyeon’s My Voice song lyrics?

C. Objectives of the Study

The research has two objectives of the study. The first one is to observe types of code switching that are used in Taeyeon’s first album “My Voice” selected song lyrics. The types of code switching that are applied in the song lyrics will help the researcher to identify the second problem formulation. After that, the researcher will focus on finding out the possible motivations for the use of code switching in some parts of Taeyeon’s selected song lyrics. The researcher would find what type of switching that is mostly used as motivation in the album.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

D. Definition of Terms

This section provides some terminologies that are used in the study. The phenomenon when speakers use two or even more languages, dialects or varieties in the same conversation is called code switching. This definition is based on

Poplack (1980, p.583) that says “code switching is the alternation of two languages within a discourse, sentence or constituent.” Code switching is not only happen in communication but also in written and planned form. One of them is in song lyrics.

Song lyrics are lyrics that “susceptible of being sung to the accompaniment of a musical instrument or that expresses intense personal emotion in a manner suggestive of a song” (The Editors of Encyclopaedia

Britannica, 2018, para.1). Song lyrics are meant to be sung. People who make lyrics are called lyricists.

Motivation refers to “factor that activate, direct, and sustain goal-directed behavior.” (Nevid as cited in Verywellmind, 2013, para.3) In other words, motivation is a factor that move someone to run something. People who use code switching are “goal-directed actors”. (Myers-Scotton as cited in Pascalyne, 2014, p.50). They select a particular code according to the goal, and motivation makes them stick to this behavior.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER II

LITERATURE REVIEW

This thesis is not the first one which uses code switching case as the topic.

Previously, there are some studies that observed code switching. This chapter elaborates the studies done by other researchers on similar topics and also reviews some theories applied in this thesis.

A. Review of Related Studies

The first study is an undergraduate thesis titled “English-Indonesian Code

Switching in Indonesian Song Lyrics Composed by Melly Goeslaw” by Widaya in 2015.The researcher identifying the types of code switching which are used in

Indonesian song lyrics composed by Melly Goeslaw and identifying the reasons of code switching in that Indonesian song lyrics. The researcher uses two main theories, namely types of code switching theory by Stockwell (2002) and reason of code switching theory by Malik (1994). The data she used were ten song lyrics composed by Melly Goeslaw in 2007 until 2013. After analyzing ten song lyrics composed by Melly Goeslaw, the researcher found that there are three types of code switching used in the lyrics, and there are six reasons out of ten reasons of code switching by Malik that found in the lyrics.

The researcher uses the same method on how to identify types of code switching. Objects that are being observed are also song lyrics but in different languages, Indonesian to English. The another difference is the researcher more

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

focus on finding the motivations for the use of code switching. This thesis stands as a development of this study and also a discovery of new ideas in analysing code switching in song lyrics.

The second study is a journal article titled “English in Hong Kong

Cantopop: language choice, code switching and genre” by Brian Hok-Shing Chan in 2009. The paper is aimed to provide a general understanding of functions of

Cantonese-English code-switching in a corpus of Cantopop. In Hong Kong context, code switching to English has been primarily considered as quoting

“Western” concepts and ideas, conveying referential and connotative meanings absent in Cantonese. Code switching functions that are found is English words may mimic vernacular Cantonese, or convey inferences by recalling some other media texts, suh as other songs or movies. The English lines may be foregrounded information, but they can also carry background information. English may be used for serious expression of the singers’ self, feelings, and desires, but it may convey a sense of humour and playfulness. English may be symbolic, showing the singer diffrentiating himself from others, but it may function as primarily a poetic device. The researcher has the same topic as Chan but different object which is

Korean pop. The researcher would like to adapt his method for English as a symbolic device.

The third study is a journal article titled “Linguistic Hybridization in Kpop: discourse of self-assertion and resistence” by Jamie Shinhee Lee in 2004. She says that English mixing in Korean popular music (K-Pop) is prevalent and heterogeneous in its foms and functions. The size of mixed English constituent in

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

K-Pop lyrics varies from a single word to an entire song. The study shows that K-

Pop that K-Pop provides discursive space for South Korean youth to assert their self identity, to create new meanings, to challenge dominant representations of authority, to resist mainstream norms and values, and to reject older generations’ conservatism. English is used as the discourse of resistance. This study also takes

K-Pop as its object and also use one of the theories that is used by Lee, which is motivations of using English by Stanlaw (2004, p.104). This study adapt how Lee identifes the English mixing that is used in K-pop.

B. Review of Related Theories

In this study, the writer uses some theories as guidelines. This section is divided into four parts. They are code switching, types of code switching, the motivations for the use of English in song lyrics, and song elements.

1. Code Switching

Code switching is the use of more than one language, variety, or style by a speaker within an utterance or discourse, or between different interculators or situations (Romaine as cited in Owlcation, 1992, para.4). From that definition, code switching is used when people want to communicate with the societies and communities. People do not only communicate in one language or dialect to other people, but they can switch it to other language or dialect, depending on their needs.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

2. Types of Code Switching

The types of code switching from Poplack (1980) as cited Muysken

(2005, p.118) are explained below. a. Tag Switching

It involves an exclamation, a tag, or a parenthesis in another language than the rest of the sentence. An example is from Spanish-English drawn by Valldes

Fallis (1976), 'OYE ( listen) when I was a freshman at the beginning of the text.

Spanish language OYE is a tag switching. The tags and so on, serve as an emblem. That is why Poplack (1980) has named this type of switching as emblematic switching.

Romaine also says that “this switch can be inserted anywhere, which do not have too many syntatic limits and the switching use tags in one language, with rest of utterance in other language.” (Romaine as cited from Hidayat, 2012, p.2).

It is concluded that, a removal of tag switches in a sentence will not bother the meaning of the text.

An example in Korean-English song lyrics is

Wow! yekami kwaynchana ‘Wow! I have a good feeling about us.’ (Korean-English) (Lee, 2004, p.43)

A songwriter switched the language into English interjection ‘wow’ instead of Korean interjection to express excitement in the song lyrics. b. Intra-Sentential Switching

Intra-sentential switching occurs in the middle of a sentence in form of word and phrase. This type of intimate switching is often called code mixing. The

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

term code-mixing refers to “all cases where lexical items and grammatical features from two languages appear in one sentence.” (Muysken, 2000, p.1)

Based Poplack’s (1980) opinion, “intrasentential switching may be avoided by all but the most fluent bilinguals.” (Poplack as cited in Jingxia, 2010, p.11.)

Only people who are eloquent that can do that. An example of intra-sentential switching as follows.

kio ke six, seven hours te school de vicˇ spend karde ne, they are speaking English all the time. ‘Because they spend six or seven hours a day at school, they are speaking English all the time.’ (Punjabi/English bilingual in Britain). (Romaine, 2000, p.55)

This intrasentential switching is uttered by a Punjabi/English billingual.The

English nouns hours, school, and the verb spend are inserted into Punjabi syntactic structure. Romaine said this switch is “quite common in the Punjabi/

English bilingual community in Britain, especially among the younger generation, that many fear the language will be lost in the future.”(Romaine, 2000, p.57)

Punjabi/English bilinguals want to keep their native language, eventhough the contact with English language is so intense in this modern era.

Another example is from Malaysia - English switching.

This morning I hantar my baby tu dekat babysitter tu lah ‘This morning I took my baby to the babysitter.’ (Malay/English bilingual) (Romaine, 2000, p.55)

Based on Romaine, “it would be difficult to say that the utterance was basically English with some Malay words, or vice versa because both languages share the same word order” (2000 p.56).

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

c. Inter-Sentential Switching

Inter-sentential switching occurs between sentences, as their name indicates. Romaine said that “inter-sentential switching could be considered a requiring greater fluency in both languages than tag switching since major portions of utterance must conform to the rules of both languages” (as cited in

Jingxia, 2010, p.11). It means that intersentential code switching could happen because of the fluency of the speaker in mastering more than one language. An example of intersentential code switching is

daha yasin neki? Als je met zo’n instelling over school/studie denkt,dan ... ‘How old are you anyway? If that is how you think about school/study,then . . .’ (Dutch/Turkish) (Bullock & Barbara, 2009, p.139)

On this example, Dutch and Turkish elements are completely on different number of sentences. The function of the Turkish insertions in these text types is often to mark Turkish identity, and sometimes also to try and find out whether the interlocutor is Turkish as well (Bullock & Barbara, 2009, p.139). Code switching is used to mark that it is belong to Turkish.

3. Motivations for the Use of English in Song Lyrics

According to Stanlaw’s research (2004,p.104) as categorized and concluded Kettner (2013, p.16), the use of English in Japanese song lyrics and poetry, especially the use of code-switching and loanwords, has several motivations. Since both Japanese and Korean use non-Romanized writing system and they switch the lyrics into English, so this theory can be applied into Korean song lyrics.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The researcher divided possible motivations into two sections, they were motivations that can be observed through intrinsic elements and motivations that can be observed through extrinsic elements. Song lyrics is a literary work that has intrinsic and extrinsic elements. Some examples of intrinsic elements of song lyrics examples are rhythm and figurative languages. In this theory, motivations parts ‘a’ up to ‘d’ will be considered as motivations that can be seen through intrinsic elements, and the rest are considered as extrinsic motivations. Extrinsic element is any element that comes from outside the work of lyrics created, such as biography, value elements, and social elements. These are several motivations of the use of English in song lyrics. a. The Use of English as an Exotic Device

The use of English in lyrics are to make the translated words look or sound more interesting or to create a special atmosphere” (Kettner, 2013, p.16). It can be seen Yuming’s song “Sand Castle”. The English phrase ‘sand castle’ gives

‘fragile and dreamlike images.’ (Stanlaw, 2004, p.109) unlike Japanese equivalent suna no shiro. English phrase ‘sand castle’ bring image of unreal love, the love that is only temporary and like a dream. b. The Use of English as a Poetic Devices

English in the lyrics of Japanese pop songs also serves a number of creative poetic functions.For example in Yuming's song Sand Castles :

purinsesu to purinsu ne[a princess and a prince, do not you think? ] Somebody to kiss, somebody to hug, somebody to love daremo ga urayamu yoo na [We couldn't be the couple] futari ni narenakatta ne [that everybody dreams about] Somebody to kiss, somebody to hug, somebody to love (Stanlaw, 2004, p.111)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The repeated phrases somebody to kiss, somebody to hug, somebody to love always “follow a line ending with the sentence-final marker ne, seeking the agreement of her listener/lover before expressing her emotional and physical desires” (Stanlaw,2004, p.109). Sentence-final ne is an equivalent to tag question.

The English language contains wide range of word that “can assist the writer to create pleasing expressions to readers” (CFCP,Inc., 2007, para.2). The method is called poetic devices. Here is the summary of poetic devices based on their types as taken from California Federation of Chaparral Poets, Inc :

Table 1. Poetic Device Types (CFCP,Inc., 2007, pp.1-9)

POETIC DEVICE The Sound of the The Meaning of Arrangement the The Images of Words Words Words the Words a. Alliteration a. Allegory a. Point of View a. Imagery b. Assonance b. Allusion b. Line b. Synesthesia c. Consonance c. Analogy c. Verse c. Tone, mood d. Cacophony d. Apostrophe d. Stanza e. Euphony e. Cliché e. Stanza Forms f. Onomatopeia f. Connotation f. Rhetorical g. Repetition g. Contrast Question h. Rhyme h. Denotation g. Rhyme i. Rhythm i. Euphemism Scheme j. Hyperbole h. Enjambment k. Irony i. Form l. Metaphor m. Metonymy n. Oxymoron o. Paradox p. Personification q. Paradox r. Pun s. Simile t. Symbol u. Synecdoche

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

From the table above, it can be seen that poetic device is related to sound, meaning, arrangement, and imagery of the words. Words should sound right, have meaning, be arranged well, build emotion and any other feelings. English poetic devices are various and can be used to create interesting literary works. For example, onomatopeia will make a more expressive work because it use language that sounds like what it represents rather than only description of thing. c. The Use of English as a re-Exotic Device

“The songwriter makes words, phrases, or sentence that already exotic in a language become more exotic” (Kettner, 2013, p.16). Words, phrases, or sentences that are uncommonly used in daily life is translated into another language. One example is in Yuming's “Dawn Purple” song title. The title is given in complete English, that is in roman letters, while in the text of the song, reference is made to the dawn's murasaki no sora (purple sky), in Japanese.”

(Stanlaw, 2014, p.114). Phrase murasaki no sorais replaced by English phrase dawn purple. However, color “purple” is not really familiar for Japanese. d. The Use of English as a Means of Creating New Structural Forms

Kettner concludes Stanlaw’s theory that “lyricists feel creative with

English can create song structures that do not exist in Japanese or are rarely used such as rhyme and rhytym” (2013, p.16). Musicians argue that Japanese language contains too many syllables and limited sounds, so it would not fit with popular music. The example is in Yuming’s, English lines carry a rhyming structure,which is usually absent from Japanese verse. In the refrain of the song, four phrases are repeated several times.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Close to me machi-tsuzukeru Close to me mata au hi-o Close to me machi-tsuzukeru Close to me mata au hi-o (Stanlaw, 2004, p.113)

Lyricists are creative with English to create structural forms that is unavailable in the native language. English language repetitions and Japanese language alliterations are mixed in the same lenght to produce appealing song lyrics. English antecedent (close to me) is mixed with Japanese. According to

Stanlaw, “Each Japanese part of the phrase begins with a ma-syllable (machi or mata), thus alliterating with the final word in the English phrase (me)”(2004, p.113).

The researcher categorize those motivations above as intrinsic motivations. They all can be seen through intrinsic elements of song lyrics.

Motivation of the use of English as a poetic device, a exotic device and are-exotic device can be observed through sound and meaning of the words. Motivation of the use of English as the means of creating new structural forms can be observed through arrangement of the words. The parts ‘e’ until ‘h’ below are categorized as extrinsic motivations. e. the Use of English as an Audacious Device

Kettner concludes Stanlaw’s theory that “the lyricists use English when they want to express their song in a daring or bold way.” (2013, p.16) According to Chan’s research entitled “English in Hong Kong Cantopop: language choice, code-switching and genre”, the use of English in song lyrics is to express something that is not common in Asian culture. “English language is associated

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

with the freedom of expressing personal desires and critical attitudes of mainstream beliefs.”(2009a, pp 109-110).Example of the use of English as language to express song in a daring or bold way is C-Choo Kotoba ni Go-Yoojin

(Be Careful of C-chord Words).

Tamanya makin' love [Sometimes I'm making love] soo denakya hand job [but if I do not it washand job] Yume de I’mso sad [In a dream I'm so sad] Gutto kurushiku all night [It's a stabbing pain all night] (Stanlaw, 2004,p.103)

One stanza above is considered as daring expression because it express the singer’s intese feelings like what Stanlaw explains below.

He voices the random thoughts of a young man hurt by love, releasing his frustrations, and trying to make sense out of what has happened. The firstfew stanzas of the song express the singer's frustration both at being jilted by his lover and his sexual frustration, expressing his thoughts in a creative mixture of Japanese and English (2005, p.103)

The lyricist presents freedom of expressing, something uncommon in mainstrem beliefs. f. The Use of English as a Symbolic Device

Kettner concludes that “the English word represents or symbolizes another meaning than its native translation would do” (2013, p.16). For example, “a young woman would rarely say aishite-ru (means I love you in Japanese) to aman that she has become enamoured with, but may use the English ‘I love you’ instead”

(Stanlaw, 2004, p.105) It symbolizes Western type of relationship. In Japan, aishiteru is a serious statement that will guide into a new level of relationship.

The phrase I love you then equal to daisuki that means I like you, a less serious term.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

g. The Use of English to Express Aspects of Modern Consumer Culture

Stanlaw says that ‘the consumerism and materialism of society is expressed with the help of English” (Kettner, 2013, p.16). Stanlaw says that

“consumerism in Japan, the accusation is often made that consumerism is a

Western import, which, like English words, has contributed to the pollution of

Japanese society.” (2004, p.117).One example of this can be found in the song

Daiamondo (Diamonds) from the female band Princess Princess.The diamond in this song symbolizes that the singer is born to be greedy. Consumer materialism is reflected at the use of diamond as symbol. h. The Use of English to Express Images of Domestic Life

English is “used to express everyday life.” (Kettner, 2013, p.16). Stanlaw says that

Not only can English words in pop songs be used to depict the habits and eccentricities of a modern consumer culture, but they can also be used to exemplify less unfamiliar scenes, such as domestic encounters and other everyday occurrences. (Stanlaw,2004, p.122)

English can be used to express things or activities that are familiar for Japanese.

For example, inYuming's Sand Castles, “the singer mention that her nylon coat is flapping in the wind, itperhaps mimick the sound of her tears” (Stanlaw, 2004, p.122). If listeners imagine that they do an activity of flapping a nylon coat in the wind, they can imagine it as the sound of tears.

Researcher put motivations above as extrinsic motivations because they do not only deal with internal elements but also outside factors which are social and value elements. Those motivations cannot be seen directly from the text but need some other sources. Because the object of this study is a Korean-English code

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

switching,researcher need to study Korean and English social and value elements well.

4. Song Lyrics Elements

According to Cox (2000, pp.24-39), there are several elements that turn words into song lyrics. This theory will help the researcher in disscussing possible intrisic motivations that are related to intrinsic elements of song lyrics especially poetic device. a. Rhyme, Rhythm, and Repetition

The most important elements to create song lyrics are rhyme and rhythm.

Both of them depend on repetition to establish the pattern to make songs musical, singable, and memorable. Rhyme is the repetition of sounds primarily at the end of the line (end-rhyming) and/or sometimes at the middle of the lines (internal rhyming). Rhyme can either perfect or imperfect. Words that match in their vowel and ending consonant sounds are perfect. Words that match in their vowel sounds but different consonant sounds, and words that match in their consonant sounds but has different vowel sounds are considered as imperfect rhyme. Rhymes then create a pattern that is called rhyme scheme. While, rhythm is determined by meter, the repetition of accented and unaccented syllables in each lyric line. b. Figurative Languages

Some of the most common figurative devices that are used by songwriters are adjectives and adverbs, simile, metaphor and personification. Adjective and adverbs describe qualities to other words. Simile is an expression to compare one thing to another using word ‘like’ or ‘as’. Methapor is the use of words to

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

compare two things. Personification is used to describe or speak of a thing as if it were a person. c. Other Devices

Other devices can be used to convey the story in song lyrics so that the lyrics will be more interesting. These are alliteration, antonyms, apostrophe, assonance, irony, paradox, pun, and symbol. Alliteration is the repetition of consonant sounds. Assonance is the repetition of vowel sounds. Antonyms is the words that opposite to each other. Apostrophe is an absent, or inanimate object or condition that is addressed as if it were present and alive. Irony is the words that expresses something different or opposite from the literal meaning. Next, paradox is conjured by words or concepts that opposite but true. Pun is a play on words.

Lastly, symbol is a person or thing that represent something else.

C. Theoretical Framework

In order to get a systematic research, the writer elaborates this theoretical framework that will be the base to conduct this research. In answering the first problem formulation, which is finding types of code switching found in Taeyeon’s

My Voice song lyrics, the writer uses the theory of code switching by Poplack as cited in Muysken (2005, p.118). The writer chooses this theory because it is suitable to analyze song lyrics where the occurances of code switching happen within words, clauses, and different numbers of sentences.

Then, by knowing the type that is found in song lyrics, the results can help the writer to analyze the possible motivations for the use of code switching. In

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

finding the possible motivations for the use of code switching, the writer try to use theory of motivations of using English by Stanlaw (2004, p. 104).Researcher will divide motivations into two, intrinsic and extrinsic motivations. Some motivations cannot be observed through texts only but through outside factors such as social and value elements. Therefore, motivations that cannot be seen through texts alone will be categorized as extrinsic motivations.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER III

METHODOLOGY

The research is conducted using certain methodology. This chapter, provides the explanation of, first, the object of the study; second, the approach of the study; and third, the method used in this study.

A. Object of the Study

The object of this study is Korean-English code switching occurences in the song lyrics from Taeyeon’s album My Voice. Taeyeon first album “ My

Voice” was released on 28 February 2017. There are two versions ,“Fine” and “I

Got Love” versions, with different covers and booklets. Her album made into one of ‘the 20 best albums of 2017 so far by American music channel Fuse, and it was the only Korean on the list” (Soompi, 2017, para.2).

In this study, the researcher selected eleven songs from Taeyeon first album My Voice song lyrics, which used Korean-English code switching in the parts of the song, to be analyzed. The researcher would be focusing in finding out the possible motivations for the use of Korean-English code switching along with the analysis of its type.

B. Approach of the Study

This research was conducted using sociolinguistic approach

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

It studies the ways in which language interacts with society. It is the study of the way in which the structure of a language changes in response to its different social functions, and the definition of what these function are. (NeoEnglish, 2010, para.2)

So, sociolinguistic is the study that deals with language and society.

This research discusses code switching thatcan be defined as the use of some languages in society. Sociolinguistics is suitable because it concerns with how language is used in society, and code switching is one of the phenomena that is discussed in sociolinguistics.The understanding of sociolinguistic concept would help the researcher to answer the research questions.

C. Method of the Study

1. Data Collection

In conducting this study, the researcher used purposive sampling strategy.

Purposive sampling itself means “individuals and sites are selected for study because they can purposefully inform an understanding of the research problem and central phenomenon in the study”(Creswell, 2013, Appendix A).Because the researcher needed data that could give explanation about the research problems and the central phenomenon clearly, which was code switching in song lyrics, this strategy was chosen. The researcher collected code switching cases that were in the album.

The data collection was taken from Taeyeon’s album My Voice song lyrics. The first step to collect data was finding the song list of Taeyeon first album in the internet. The next step, the researcher searched the lyrics of each song that contained Korea to English code switching only from the internet.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

When the data of the study was collected, the researcher then continued to analyze the data of code switching.

2. Data Analysis

The first analysis that the researcher would conduct is finding out the types of code switching. This analysis is meant to present the types of code switching that are used in the album song lyrics using Poplack’s types of code switching categorization. Tag switching is for tags, exclamations, parentheses, and simple nouns. Intrasentential code switching is for code switching that happen within a sentence. Intersentential code switching is for code switching that happen in different numbers of sentences. The researcher will separate lines in the song lyrics based on types of code switching. Each code switching case has its own numbering with this following pattern.

(Code switching case number / Types of code switching)

The first is code switching case number, and the second is the type of code switching. On the code switching case part, italicized sentence is for the romanized lyrics, uppercased on bracket sentence is for the english translation, uppercased and bolded sentence for the switching case.

After identifying the types of code switching, the next analysis was discovering the possible motivations from all lines in the song lyrics that were switched into English language. The data collection from the first analysis was used in order to proceed to the second analysis. The researcher sorted the code switching found in the song lyrics according to their types of code switching. The researcher used Stanlaw’s theory to identify the possible motivations of using

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

english language in the song lyrics. The researcher divided motivations into two, intrinsic motivation and extrinsic motivations. The result for the second analysis will be placed after case number and type of switching. The researcher summed up the findings into a table on appendix. After conducting these two analyzes, the last step is making a conclusion based on the finding.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER IV

ANALYSIS (RESULTS AND DISCUSSIONS)

This research has two problem formulations that are mentioned previously.

The first is to find the types of code switching and the second is to find out the motivations for the use of code switching. Therefore, this chapter presents the findings and the disscussion on those problems.

A. Types of Code Switching

This section classifies the types of code switching based on Poplack’s theory. There are three types of code switching namely tag switching, intrasentential code switching, and intersentential code switching. Firstly, the researcher has chosen song which contained code switching, and categorized them based on Poplack’s categorization. From data collected by the researcher, there are 105 numbers of code switching found in the album song lyrics. Each type has different number of code switching. Intersentential code switching occurs 51 times in the lyrics, followed by intra-sentential code switching with 32 numbers of occurrences and tag switching with 22 numbers of occurrences. The deeper analysis about each categorization will be presented below.

1. Tag Switching

The researcher found 3 variants of tags in several songs which are interjection ‘yeh’, interjection ‘oh’, and exclamation ‘right alright’. Some examples are presented below.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part kkaeeojiji ana yeojieopshi sae achimi wado (THOUGH A NEW seulpeun MORNING COMES WITHOUT FAIL) kkumsogeul 5/TS/PD, hemae (I CAN’T kkaeeojiji ana seulpeun kkumsogeul hemae (I AD WAKE UP, I’M CAN’T WAKE UP, I’M LOST IN SAD LOST IN SAD DREAMS) YEH DREAMS) YEH

The first example is taken from the song titled “Lonely Night”. Shorted form of interjection ‘yeah’ ,‘yeh’, is placed in the sentence boundary to not only show acceptance but also to show sadness and frustration. The deletion of interjection

‘yeh’ will not bother the meaning of the sentence because it is only used to show emotions.

The second variants is interjection ‘oh’. Interjection ‘oh’ is categorized as

English language because it is written in roman letters in the actual lyrics. Datum

6/TS/PD is actually written as Oh 이제난어디로. Lyrics that are presented by the researcher are already changed into the Romanized lyrics. Based on Moody and Mosimoto interjection ‘oh’ that is “written in Roman is categorized as English word and has role as music filler” (2003 as cited in Moody, 2006, p.218). The

Korean interjection equivalent of ‘oh ,o, can also mean five, and ‘oh’ is Korean’s surname.

No Case Lyrics Part nasseon byeoge budichyeo beorin (BUMPED INTO A STRANGE OH ije nan eodiro (NOW WALL) 6/TS/PD WHERE AM I?) OH ije nan eodiro (NOW WHERE AM I?) Please hold my hand

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The second example is taken from the song titled “Nalgae (feel so fine)”.

The sentence started with English interjection ‘oh’ then switched into Korean.The lyricist inserted English Interjection ‘oh’ to express a surprise instead of the

Korean interjection ‘o’, that can also be someone’s surname. On another song, the interjection ‘oh’ is used to show different expression like what is presented below.

No Case Lyrics Part Just realize, I feel so fine OH OH naye nalgae wi OH OH naye nalgae wi (ON TOP 7/TS/PD,NS (ON TOP OF MY WINGS) OF MY WINGS) Oh oh challanhi saegi (BRIGHTLY ENGRAVED)

Interjection ‘oh’ is repeated twice as space filler and to express excitement and realization. On a song titled “When I was Young”, interjection ‘oh’ is used to not only express realization and but also disappointment.

No Case Lyrics Part manhi himdeureotnayo (WAS IT naega geudaego (WHEN I REALLY HARD?) WAS YOU) naega geudaego (WHEN I WAS geudaedo nail ttae uri 20/TS/PD,AD YOU) hanail ttae (AND YOU geudaedo nail ttae uri hanail ttae WERE ME, WHEN WE (AND YOU WERE ME, WHEN WERE ONE) OOH WE WERE ONE) OOH

The sentence is ended with prolonged interjection ‘ooh’. The singer was questioning herself why it was hard for them to continue their relationship when they were together.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part neo eopshido (EVEN WITHOUT YOU,) nan RIGHT ( I’M) OK 22/TS/PD ALRIGHT ALRIGHT RIGHT ALRIGHT ALRIGHT RIGHT ALRIGHT ALRIGHT

The third variant of tags that is used is exclamation expression ‘right, alright.’ This example is taken from the song titled “I’m OK”. This exclamation indicates acknowledgement or acceptance. The lyricist used English exclamation

‘right’ instead of Korean exclamation, geurae. The singer convinced herself that she is okay. The researcher put this as tag switching because it is put to end the song only and is sung by the background singer. Moreover, it is put to show an agreement of singer’s previous statement and the deletion of this exclamation will not bother the overal meaning of previous statement.

2. Intrasentential Code Switching

Intrasentential code switching is the switching that happens within a sentence and is usually in the form of word or phrase. The researcher found 32 cases of intrasentential code switching in all the lyrics. The English switched code has several forms, such as noun phrase, verb phrase, adverbial phrase, adjective phrase, prepositional phrase, and appositive phrase. Some examples are given below.

No Case Lyrics Part morachin pokpung morachin pokpung soge nae maeumeun soge nae (INSIDE THE STORM, MY HEART IS) maeumeun GREEN LIGHT 36/ITAS/PD (INSIDE THE STORM, MY HEART IS) Yeah I’ll be just fine GREEN LIGHT

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

The first example is taken from song titled “Eraser”. The intrasentential code swtiching is what is presented below.

nae[pronoun] (MY) + maeum[noun] (HEART) + -eun[particle] (IS) + green light (foreign words) MY HEART IS GREEN LIGHT.

The sentence is switched from Korean to English within a sentence with a form of noun phrase ‘green light’. The use of particle –eun indicates that nae maeum (my heart) is the topic or subject of the sentence. Noun phrase ‘green light’ is added to explain what happen to subject. Then, noun ‘green light’ cannot be deleted from the sentence. The phrase ‘green light’ is the metaphor. The singer said that her heart is a green light, which figuratively means that her heart is under control and she is ready to open up her heart. Eventhough there are a lot of problems that hit her from his past lover, her heart is fine and she can get through it.

No Case Lyrics Part meomchuji aneul Racer[(A RACER) WHO WON'T STOP,] neol jiugo mameul RE- meoreojin Chaser [(A NEW [I WANT TO 49/ITAS/PD,SD CHASER) GONE FAR ERASE YOU AND (RE- AWAY] NEW) MY HEART] neol jiugo mameulRE-NEW [I WANT TO ERASE YOU AND (RE-NEW) MY HEART]

On the same song, the Korean is switched into English within the sentence also. English switched phrase that is used is verb phrase ‘re-new’ like what is stated below.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

neo [pronoun] (YOU) + jiu [verb] (ERASE) + -go [particle] (AND) + mam [noun] (HEART) + -eul [particle] + Re-new [foreign words] I WANT TO ERASE YOU ANDRE-NEW MY HEART.

Particle –eul is used to indicate the object of the sentence. The sentence follows

Korean structure where the verb is placed after the object. In this song, the singer uttered that she wanted to make her heart new again figuratively.

No Case Lyrics Part ajjilhan dul sai (DIZZINESS BETWEEN THE TWO,) THE ajjilhan dul sai LOVE AND THE HATE (DIZZINESS BETWEEN 23/ITAS/PD aseulhan gyeonggyeseone jageun THE TWO,) THE LOVE teumsae (A SMALL CRACK IN AND THE HATE THE DANGEROUS LINE)

The Korean to English intrasentential switching can alsso in form of an appositive phrase. It can be seen through case below.

ajjil [noun] (DIZZY) + -han [particle] + dul [number] (TWO) + sai[noun] (BETWEEN) + the love and the hate[foreign words] DIZZINESS BETWEEN THE TWO,THE LOVE AND THE HATE.

This example is taken from the song titled “Eraser”. Phrase ‘the love and the hate’ is an essential appositive to Korean noun dul sai (between two). The phrase ‘the love and the hate’ is the noun phrase that explain what parts of ‘the two’ that is mentioned before.

No Case Lyrics Part jakku dwidora boge dwae(I uri durideon(TO WHEN KEEP LOOKING BACK) 51/ITAS/PD WERE TOGETHER,) uri durideon(TO WHEN NIGHT AND DAY WERE TOGETHER,) NIGHT AND DAY

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Another type of phrase that is found through the album is adverbial phrase.

This example above is taken from “Lonely Night”. The sentence is what presented below.

uri [pronoun] (WE) + dur[number] (TWO) + ideon[verb] (WERE) + night and day (Foreign words) TO WHEN WE WERE TOGETHER, NIGHT AND DAY.

The adverb ‘night and day’ means everyday. It illustrates that characters on the song lyrics were together all the time. Korean equivalent, bamnaj, is also on hand, but lyricist chose English.

No Case Lyrics Part neo eopshido neo eopshi nan oneulbuteo (WITHOUT (EVEN YOU, FROM NOW ON) 52/ITAS/PD WITHOUT YOU,) nan ( I’M) neo eopshido (EVEN WITHOUT YOU,) OK nan ( I’M) OK

On the “I’m OK” song lyrics, Korean and English are mixed on the clausal level.The English word that is used is the adjective ‘OK’. Lyricist chose adjective

OK rather than the Korean equivalent gwaenchana.Adjective phrase might be after the noun or linking verb. In this song, adjective ‘OK’ is placed after linking verb, na [pronoun] (I) + -n [particle] (AM).In this song, the singer does not have interest with someone she once loved and claims that she will be okay without him. She has already gotten her own path.

No Case Lyrics Part jogeumsshik keojyeo ganeun mam (MY YEAH, IN FEELINGS ARE GROWING) 54/ITAS/PD MY HEART boy i can't cover up YEAH, IN MY HEART

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

eonjenga naye gyeote wa jul neowa dalkomhan kkumeul kkuneun sangsangeul hae (I’M IMAGINING THAT SOME DAY YOU’LL COME TO ME AND WE’LL HAVE A SWEET DREAM TOGETHER.)

The last type of phrase is prepositional phrase in song titled “Cover

Up”.The prepositional phrase is placed before a sentence as an additional information. The singer in the song secretly imagining that she will be together with someone she likes.

3. Intersentential Code Switching

The researcher found 51 cases of intersentential code switching in all song lyrics. The switching cases that are found are in form of sentences and clauses.

Findings are stated below.

Data Case Lyrics Part tto neol gidarigetjiman (I’LL WAIT FOR YOU AGAIN) BOY I CAN'T BOY I CAN'T COVER UP MY HEART 58/ITES/PD,SD COVER UP MY HEART neol bomyeon nan useumi saeeo nawa (WHEN I SEE YOU, LAUGHTER SEEPS OUT)

This example is taken from the song titled “Cover Up”. An English simple sentence becomes the main idea of the song. This sentence is repeated several times in the song. This sentence itself means she is not able to prevent herself from discovering her feeling.

The English switched sentence can also contain more than two independent clauses that make it become a compound sentence. It can be seen from song titled “I Got Love” below.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part teomunieopshi michige hae (YOU MAKE ME YOU DON’T STOP ABSURDLY CRAZY) THAT FIRE CAUSE I 80/ITES/PD,AD Come and turn me on GOT LOVE, I GOT LOVE, I GOT LOVE YOU DON’T STOP THAT FIRE CAUSE I GOT LOVE, I GOT LOVE, I GOT LOVE

This sentence contains of clauses ‘you don’t stop that fire’ and ‘I got love’. The clause ‘I got love’ tells the reason why someone in this lyrics makes a request to another person. However, those clauses has different kind of tenses. The lyricist want to match the lyrics with the title, so the tenses are different.

No Case Lyrics Part natseon byeoge budijhye (I COLLIDE 67/ITES/PD, PLEASE HOLD WITH AN UNFAMILIAR WALL) AD MY HAND Oh ije nan eodiro (NOW WHERE I AM?) PLEASE HOLD MY HAND

Another example is taken from a song titled “Nalgae (feel so fine)”. The sentence is completely switched into English. The English code switching that is used are imperative sentence, ‘please hold my hand’. The sentence ‘please hold my hand’ does not mean literally to asked someone to hold her hand but it rather means to asked someone to guide her into the right path. The singer feels herself lost and she needs someone who can make her to leave dark situation. The lyricist tried to narrate the story using English instead of using Korean translation of this sentence, jebal soneul jabajuseyo.

Switching in the form of clauses can be seen from the song titled “When I was Young.”

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part WHEN I~ WHEN I WAS YOUNG geuttae (THEN,) naega geudaego geudaega nail ttae (WHEN I WAS YOU AND YOU WHEN I~ WHEN WERE ME) 98/ITES/PD,NS I WAS YOUNG When I~ when I was a fool jeongmal geuttae (THEN,) (REALLY) amudo moreugo geudaeman al ttae (WHEN I DIDN’T KNOW ANYONE BUT ONLY YOU) eottaetnayo gwaenchanatnayo (HOW WAS IT? WAS IT ALRIGHT?)

An English dependent clause is linked with korean conjunction geuttaeto another dependent clause. This does not express a complete thought. The repetition of the adjective conjunction when I that is followed by pause, and several adverb clauses without any independent clauses gave the impression that the girl in the song lyrics was trying to remember about her past experience.

B. Possible Motivations of Korean to English Switching

This section classifies motivations for code switching base of Stanlaw’s research. The researcher found 5 motivations that are seen in the song lyrics, which were the use of English as an exotic device, the use of English as a poetic device,the use of English as means of creating new structural form,the use of

English as a symbolic device, and the use of English as an audacious device.

There are 2 cases on the use of English as an exotic device, 105 cases on the use of English as a poetic device, 19 cases on the use of English as means of creating new structural form, 13 cases on the use of English as a symbolic device, and 34

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

cases on the use of English as an audacious device. Here is the result of findings based on the intrinsic and extrinsic motivations.

1. Intrinsic Motivations

Motivations that originates from text’s basic needs and can be seen through intrinsic elements of the lyrics are presented below. a. The Use of English as a Poetic Device

Poetic devices are the ways poets and song writers arrange words to get different meanings. Several kinds of poetic devices are found in Taeyeon’s song lyrics. The use of English as poetic device is found in all songs in the album.

Researcher chose 6 songs that contains all various kinds poetic devices as examples. i. Eraser

This song expresses the singer’s passionate eagerness about the need of

‘an eraser’ to make her forget about her past relationship.Three types of poetic devices are identified in this song, they are repetition to emphasize the message and to create rhyme, antithesis, and metaphor. Some examples are listed below.

No Case Lyrics Part ajjilhan dul sai ajjilhan dul sai (DIZZINESS BETWEEN (DIZZINESS THE TWO,) THE LOVE AND THE BETWEEN THE HATE 23/ITAS/PD TWO,) THE aseulhan gyeonggyeseone jageun teumsae LOVE AND (A SMALL CRACK IN THE THE HATE DANGEROUS LINE)

In Eraser, lyricist used two contradicting noun ‘love’ and ‘hate’ as antithesis. The noun ‘love’ means caring affection towards someone and noun hate is the antonym of love. The yricist used this to describe contradiction of a bad

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

boy who has a loving smile. Someone whose the girl love but also hate at the same time.

This songs also used repetition of words to emphasize the message and to create rhymes like in those examples.

No Case Lyrics Part modeun geol dwirohan chae taeyeonhage OH, I TRIED, (I TRIED PUSHING EVERYTHING 76/ITES/PD,AD TRIED, TRIED, BACK AND STAYING CALM) TRIED OH, I TRIED, TRIED, TRIED, TRIED

The sentence “I tried” is repeated to bring listeners’ attention because this line is sung with a rising tone of each word. The girl has tried hard to push everything back and stay calm like what she said on the previous line.

No Case Lyrics Part kkaekkeushi nal kkaekkeushi nal sshitgyeojul sshitgyeojul ERASER ERASER [(ERASER) THAT 29/ITAS/PD,NS [(ERASER) THAT WILL WASH ME CLEAN] WILL WASH ME dashin neol wonhaji anke (SO I CLEAN] WON’T WANT YOU AGAIN.) mokpyoreul hyanghanRACER [(A mokpyoreul RACER) TOWARD A GOAL] hyanghanRACER 30/ITAS/PD,NS i mamsok (in this heart) Chaser [(A RACER) TOWARD A GOAL] nal saerobge bakkwo (I’LL BECOME) Brand New i mamsok (IN THIS HEART,) i mamsok (IN THIS CHASER, 31/ITAS/PD,NS HEART) CHASER nal saerobge bakkwo (I’LL BECOME) Brand New

The noun ‘eracer’,‘racer’, and ‘chaser’ has similar ending sound which is /-sɚ/ .

Eraser is a metaphor to someone who can erase and replace the boy’s position in the singer heart. The lyricist compares the girl as a racer, as someone who

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

compete to reach her goal. The English noun ‘racer’ is chosen instead of the

Korean gyeongjuja or juja because it has the same ending sound with the following lines. ii. Nalgae (feel so fine)

This song tells about a girl who finally realizes that she will be fine in her new life. Poetic devices that are used by the lyricist in this song is repetition of syllables and words to create rhythm and rhyme, and personification.

No Case Lyrics Part Just realize, I feel so fine OH OH naye nalgae wi (ON TOP OF MY WINGS) OH OH naye nalgae wi 7/TS/PD,NS (ON TOP OF MY Oh oh challanhi saegi (BRIGHTLY WINGS) ENGRAVED) I know you know maeil kkumkkudeon (EVERYDAY)World I feel so fine Oh oh naye nalgae wi (ON TOP OF MY WINGS) OH OHchallanhi saegin OH OHchallanhi saegin (BRIGHTLY ENGRAVED) 8/TS/PD,NS (BRIGHTLY I know you know ENGRAVED) maeil kkumkkudeon (EVERYDAY) World, I feel so fine OH OH haneul kkeutkkaji (TO THE END OF THE SKY) Oh oh gadeuk pyeolchyeojin OH OH haneul (SPREAD OUT) 9/TS/PD,NS kkeutkkaji (TO THE I know you know END OF THE SKY) hwanhi bitnaneun (THE BRIGHTLY SHINING )World, I feel so fine Oh oh haneul kkeutkkaji (TO THE OH OH gadeuk END OF THE SKY) 10./TS/PD,NS pyeolchyeojin (SPREAD OH OH gadeuk pyeolchyeojin OUT) (SPREAD OUT) I know you know

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

hwanhi bitnaneun (THE BRIGHTLY SHINING) World, I feel so fine

All cases above contain same number of syllables. All contain 7 syllables, they are "Oh-Oh-na-ye-nal-gae-wi, Oh-Oh-ha-neul kkeut-kka-ji, Oh-Oh-chal-lan-hi- sae-gin and Oh-Oh- ga-deuk-pyeol-chyeo-jin. The interjection ‘oh’ is added to create rhythm to those lines.

No Case Lyrics Part shiganeun imi jinago (TIME HAS IT FADES 66/ITES/PD,AD ALREADY PASSED) AWAY IT FADES AWAY

In this line, the lyricist used personification to describe time that can fade away.

The lyricist gave an animate quality to inanimate thing. iii. Sweet love

The example is taken from song entitled “Sweet Love”. This song tells about the singer who is in love and cannot imagine how her life is going to be someone she loves.

No Case Lyrics Part ttaseuhi aneun chae tteodanigetji (AS WE LEAVE IN EACH I’LL TAKE YOU HIGH OTHER’S WARM EMBRACE) (TAKE YOU HIGHER) SO i’m in love 87/ITES/PD WE CAN FLY (SO WE CAN I’LL TAKE YOU HIGH FLYER) (TAKE YOU HIGHER) SO WE CAN FLY (SO WE CAN FLYER)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

In this song, words ‘high’ and ‘fly’ have same ending sound /aІ/ as rhyme. This conditional sentence then repeated with comparative form of ‘high’ and ‘fly’ which are sung by background singer. However, the comparative form of ‘fly’,

‘flyer’, is not commonly used in English. Usually, flyer is a noun phrase. The lyricist used ‘flyer’ to make it rhymed with the adverb ‘higher’.

Another kind of poetic device also found in this song. English switched code is used to represents the object that appeals to human physical sense or imagery. It can be seen in one example below.

No Case Lyrics Part sarangiran ge mwonji maeil nan baewoga (I LEARN WHAT LOVE IS EVERYDAY) GIVE ME YOUR 88/ITES/PD SWEET, SWEET i dalkomhame chwihaesseo, (I’M DRUNK LOVE WITH THIS SWEETNESS) GIVE ME YOUR SWEET, SWEET LOVE

The singer makes a request to the boy to give his sweet love. The adjective sweet is repeated to emphasize what the girl wants. The lyricist uses noun phrase

‘sweet love’ instead of Korean equivalent dalkomhan sarangeul. Sweet love is an imagery of taste, describing love as something pleasant and happy. Love does not have taste, but the lyricst gave taste of sugar to describe how love feels. iv. Lonely Night

This song tells about someone who remembers about their past memory with his boyfriend every night. The lyricist is motivated to use English as a poetic device in some lines of the lyrics. The types of poetic devices that the researcher found are repetition, irony, cliché, and rhetorical question.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part hwansangil ppun yeotjana (IT WAS JUST AN ILLUSSION BOY kkeutnasseo, neol ANYWAY) 47/ITAS/PD,SD miwohae (IT’S OVER, I BOYkkeutnasseo, neol HATE YOU) miwohae (IT’S OVER, I HATE YOU)

The first type is repetition. The sentence boy-kkeut-na-sseo, and another line, neol-i-je-ya have similar tune havethe same number of syllables, which is 4 syllables. Repetition of syllables are made to create rhythm. The second type of poetic device that is identified is irony. Korean is switched into English to convey a meaning that is opposite than its literal meaning. This kind of device can be seen in the table below.

No Case Lyrics Part Boy kkeutnasseo neol miwohae (IT’S OVER, I HATE YOU) I DON’T I DON’T KNOW YOUR NAME 82/ITES/PD,AD KNOW YOUR NAME i mal myeot beonina doenoeya haneunji (HOW MANY TIMES DO I HAVE TO TELL MYSELF?

The English code switching that is used is the complete sentence ‘I don’t know your name’. This sentence expresses the singer’s denial about her previous lover existance. She pretends that she does not know her past lover’s name. A poetic device named irony is applied to make this sentence because actually the girl in the lyrics knows her lover’s name. The singer just wants to forget him.

The third type of poetic device that is found is a cliché. It means a saying or idea that are widespread and commonly used.The lyricist adapted English sayings into Korean song lyrics. Some examples are provided below.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part SOME THINGS nareul dwiheundeul ttaemada (EVERY NEVER CHANGE, TIME IT SHAKES ME UP) jal araneoneun 102/ITES/PD eobttan geol ( I SOME THINGS NEVER CHANGE, jal KNOW THAT YOU araneoneun eobttan geol ( I KNOW ARE NOT HERE) THAT YOU ARE NOT HERE) neol saenggakhaneun bami jureo ga ENOUGH IS (NIGHTS I THINK ABOUT YOU IS ENOUGH deo uljin DECREASING) 103/ITES/PD ana ( I WON’T CRY ANYMORE) ENOUGH IS ENOUGHdeo uljin ana ( I WON’T CRY ANYMORE)

Datum 102/ITES/PD is a cliché that means some things will remain the same. One of the few things the lyricist refers to is a fact that a lover cannot be together anymore. Another example from this song is saying or cliché ‘enough is enough’ that means whatever is happening must be stopped. The girl in the lyrics wants to stop crying.

Another type of poetic device that researcher found is rhetorical question.

The lyricist can make Korean to English code switching as question that does not need to be answered and it is used to emphasize the point only. This device can be seen in the table below.

No Case Lyrics Part kkaeeojiji ana, seulpeun kkumsogeul hemae (I can’t wake up, I’m lost in sad dreams ) SO WHY DO I Yeh byeonhaji 50/ITAS/PD,AD SO WHY DO I byeonhaji mothae (CAN’T mothae (CAN’T CHANGE) CHANGE) jakku dwidora boge dwae (I keep looking back)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

In lonely night, the singer is questioning herself why she cannot change and keep looking back to the past. It does not need an answer from the listeners as she is just asking herself. v. Fire

In this song, the singer calls the one she ever loved as the fire, someone who destroyed her life. Two types of poetic devices that are used by the lyricist are repetition and metaphor.

No CS Case Lyrics Parts You’re the fire ttatteuthan ondo sori eopshi kkeullyeo nan (I AM PULLED BY YOUR WARMTH) jaetbit heunjeongman nama (ONLY TRACES OF ASH REMAIN) I FEEL SO 78/ITES/PD,AD Oh you’re the fire. ALONE Oh i know you’re the fire I FEEL SO ALONE I feel so alone I feel so alone I feel so alone

The repetition is made to be the refrain of the song. The sentence ‘I feel so alone’ is repeated four times to emphasize the message of this song that the singer feels so lonely. Audiences or listeners could enter into the singer’s thought through repetition. The four times repetition of the sentence ‘I feel so alone’ made the idea clearer and more memorable to the audiences and listeners.

Another poetic device is metaphor. It is one of the poetic devices that refers to decribe something that is not literally true. It also implies comparison between two things. Metaphors in this song can be seen in the example below.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part neoye geojit kkeutnasseo modeun ge (WITHOUT ANYTHING REMAINING, YOU GOT SO FAR AWAY) YOU’RE 75/ITES/PD,AD,SD YOU’RE THE FIRE THE FIRE ttatteuthan ondo sori eopshi kkeullyeo nan (I AM PULLED BY YOUR WARMTH)

The lyricist described the character ‘you’ as ‘the fire’. Lyricist made the character

‘you’ to share similarities with inanimate object ‘the fire’. The object ‘the fire’ is also the title of the song that shows this object is the important idea of the song.

Metaphor ‘fire’ means something that can destroy anything. vi. I’m OK

The singer does not have any interest with someone she loved in the past and claims that she will be okay without him. One kind of poetic devices that is found in the lyrics is assonance.

No Case Lyrics Part neo eopshi nan oneulbuteo neo eopshido (EVEN (WITHOUT YOU, FROM NOW 52/ITAS/PD WITHOUT YOU,) ON) nan(I’M) OK neo eopshido (EVEN WITHOUT YOU,) nan(I’M) OK

She said that she is in a good emotional state. Korean equivalent nan gwaenchanha is commonly used by Koreans, but the lyricist chose to use English adjective OK as assonance. The sentence ‘neo-eopsh-i-nan-o-neul-bu-teo’and

‘neo- eopsh-i-do-nan-OK’ has similar initial vowel sound. Adjective ‘OK’ has same initial vowel sound with oneulbuteo.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

b. The Use of English as a Means of Creating New Structural Forms.

Other languages can be combined in a song lyrics to create a form that is rare and hard to be implied, such as rhyming structure. Due to fact that Korea is a

Subject-Object-Verb language, it is hard for them to create rhyme because the variation is limited. If a lyricist wants to get more variations of rhyme, a lyricist can include other languages in the song that has more variation of rhyme, such as

English. This motivation can be seen on a song titled Eraser. Because eraser is a hiphop genre song, they tend to make rhyme. This is a chorus 1 and 2 part.

No Chorus 1 No Chorus 2 wanbyeokhi neol jiwojul negeseo nal guhaejul ERASER (29/ITAS) ERASER 25/ITAS 30/ITAS/ [(AN ERASER) THAT [(AN ERASER) THAT /PD,NS PD,NS WILL COMPLETELY WILL SAVE ME FROM ERASE YOU] YOU] piryohae neol itgi wihae saeroun shijageul wihae (I NEED IT TOFORGET (FOR A NEW START) YOU) kkaekkeushi nal kkaekkeushi nal sshitgyeojul ERASER sshitgyeojul ERASER 26/ITAS 26/ITAS/ [(AN ERASER) THAT [(AN ERASER) THAT /PD,NS PD,NS WILL WASH ME WILL WASH ME CLEAN] CLEAN] jageun miryeonjocha dashin neol wonhaji anke eopge (SO I WON’T WANT [SO I WON’T HAVE YOU AGAIN) ANY FEELINGS LEFT OVER] mokpyoreul hyanghan meomchuji aneul RACER 27/ITAS 31/ITAS/ RACER [(A RACER) [(A RACER) WHO /PD,NS PD,NS TOWARD A GOAL] WON'T STOP] i mamsok meoreojin CHASER 28/ITAS 32/ITAS/ (IN THIS HEART,) [(A CHASER) GONE /PD,NS PD,NS CHASER FAR AWAY] neol jiugo mameul RE- nal saerobge bakkwo NEW 33/ITAS 49/ITAS/ BRAND NEW (I’LL [I WANT TO ERASE /PD,NS PD,NS BECOME BRAND NEW) YOU AND (RE-NEW) MY HEART]

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

neoraneun angmongeseo (FROM THE jidokhan neoegeseo

NIGHTMARE THAT IS (FROM THE POTENT) YOU) 34/ITAS 34/ITAS/ nal kkaewojwo YOU nal kkaewojwo YOU /PD,NS, PD,NS,A (YOU WAKE ME UP) (YOU WAKE ME UP) AD,SD D,SD neol hyanghan ERASER neol hyanghan ERASER 29/ITAS 29/ITAS/ ((ERASER IS GOING (ERASER IS GOING /PD,NS PD,NS TOWARD YOU) TOWARD YOU)

Chorus 1 and chorus 2 has same rhyme pattern, they are A-B-A-C-A-A-D-E-F-A structure. The A pattern for words ‘eraser’, racer’, and ‘chaser’ with ending sound /-sɚ/, B pattern for wihae, C pattern for anke and eopge, D pattern for

‘new’ with sound /nu:/, and E pattern for angmongeseo and neoegeseo, and F pattern for word ‘you’ with ending sound /jʊ/. The lyricist create new variation of rhyme with sounds /-sɚ/, /nu:/, and /jʊ/. English words are placed in bottom line, so the line can be rhymed. c. The Use of English as a Exotic Device

English words, phrases, and sentences are used to make the English translation become more interesting. This kind of motivation can be seen through the song titled “Suchaehwa (Love in color)”. The literal meaning of the title is

‘watercolor’ and has alternative title, “Love in Color”. The singer’s love is compared as watercolor that has a lot of colors. Korean object suchaehwa is never mentioned in the lyrics and is replaced by these two intrasentential switchings below. These are two code switched lines that use English.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

No Case Lyrics Part nae mamsok seonmyeonghaetdeon sarangi (THE LOVE THAT WAS himihaejineun 39/ITAS/ED,PD CLEAR IN MY HEART) oh (FADING) COLOR himihaejineun (FADING) COLOR nunmure beonjin nunmure beonjin COLOR[(COLOR) THAT IS COLOR [(COLOR) SMUDGED WITH TEARS)] 40/ITAS/ED,PD THAT IS SMUDGED seulpeume jeojeun deut peojyeo WITH TEARS)] (SPREADING LIKE IT’S WET WITH TEARS)

The first datum combines Korean and English, and states that the color is fading.

The love that the singer is already being clear because the color is lost. The second datum tells how the color is faded. The color is smudged with tears and spread into various directions until it fades. Their love is not colorful anymore.

The phrase ‘love in color’ brings sense of temporary love. The love can disappear like a faded painting.

2. Extrinsic Motivations

Motivations can be seen not only from the text itself but also from extrinsic elements. The findings are below. a. The Use of English as an Audacious Device

Based on what Stanlaw says about audacious device using English,

“English downplays the weight of feelings and emotions supposedly too intense to be expressed in Japanese, and English lines allude Western-style romance”

(Stanlaw as cited in Chan, 2009a, p.110). In K-pop song lyrics, the researcher also found several use of Korean-English code switching to such motivation. The first

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

one is to express romantic and sensually connoted song lyrics. Began in the late nineties, “young South Korean pop artists exercised freedom of expression by voicing what was considered alarming to Korea’s moralistic censors” (Lee, 2004, p.436). Talking about something related to sex might still be “something taboo, because Korea is a conservative country” (Claire, 2017, para.5). Then, English becomes a medium to express somewhat taboo for them.

The example of freedom to express romantic and sensually connoted lyrics can be seen in “I Got Love” song. The lyricist created this song to bring up the singer’s ,Taeyeon, “dark and sultry side” (Herman, 2017, para.3). This is some parts of the song.

No Case Lyrics Part teomunieopshi michige hae COME AND TURN ME (YOU MAKE ME ABSURDLY 79/ITES/PD,AD ON CRAZY) COME AND TURN ME ON YOU DON’T STOP YOU DON’T STOP THAT THAT FIRE CAUSE I 80/ITES/PD,AD FIRE CAUSE I GOT LOVE, I GOT LOVE, I GOT GOT LOVE, I GOT LOVE LOVE, I GOT LOVE

In these parts, the imperative sentence ‘come’ means to move from further away to nearer and ‘turn me on’ means to arouse me. Both of the sentence is excite or stimulate the interest of someone, in sensual way especially. In Korean culture or Asian culture, it might be hard to express something like that. The lyricist used English to be able express the idea of the song freely. In other hand,

English language might be used to hide actual meanings of the song, so the song

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

is not banned from broadcast by censorship board since the song lyrics also appear in Korean TVs to let audiences sing together.

No Case Lyrics Part ja malhae bwa ja malhae bwa (TELL ME), WANT (TELL 104/ITES/PD, YOU BABY, WANT YOU BABY ME),WANT YOU AD,SD BABY, WANT uju gateun ni aneuro (IT’S LIKE A YOU BABY UNIVERSE INSIDE OF YOU) NEED YOU CLOSER,NEED YOU NEED YOU CLOSER, ppajeodeulmyeon (IF I FALL CLOSER,NEED 105/ITES/PD, IN) YOU CLOSER, AD daltteun hansumdo nabukkin nado (I ppajeodeulmyeon FLUTTER IN THE RESTLESS SIGHS (IF I FALL IN) TOO)

Another part in this song, in the chorus part, also brings sensual connotation. Both data are expressing commands. In this context, the complete sentence “I want you” means i want to be with you amorously. It is conveying woman’s freedom to say what she wants. The woman is daringly revealed her requests.

Secondly, Korean song lyrics is switched into English to express that female freedom of expression. “The example is when a female singer explicitly propose to her male lover” (Stanlaw as cited in Chan, 2009a, p.110). The use of switching for this motivation can be seen in the song titled “Cover Up”.

No Case Lyrics Part I WANT YOU keojyeo ganeun mam (MY 62/ITES/PD,AD I WANT YOU GROWING FEELINGS) Boy, I can’t cover up. I SAID IT, I SAID IT (I love I SAID IT, I SAID IT 63/ITES/PD,AD you, love you) (I love you, love you) I mean it, I mean it

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

I love you, love you I said it, I said it I LOVE YOU, LOVE I LOVE YOU, LOVE YOU 64/ITES/PD,AD,SD YOU I mean it, I mean it I love you, love you I said it, I said it I MEAN IT, I MEAN I love you, love you 65/ITES/PD,AD IT I MEAN IT, I MEAN IT I love you, love you

Csse 62/ITES/PD,AD means the girl has a desire to get the boy. Following case 63/ITES/PD,AD, the sentence ‘I said it’ stated that the girl already confessed her feeling to the boy. The confession that she already said to the boy is ‘I love

You’ as put in the case 64/ITES/PD,AD,SD. The lyricist brought the English way of confessing, ‘I Love You’, that also used by Koreans.Korean way of confessing love saranghaeyo is also available but the lyricist chose English instead. Besides showing the English way of confessing, it is also brings new symbolic mode of expression, a girl confessed her feeling first to male is considered as daring for

Koreans. However, time is changing and it is more acceptable now. “Many women no longer bite their nails and wait until their boyfriends pop the question”

(The Chosunilbo, 2018, para.1). Many women makes a move first.

Thirdly, English is put to express “griefness after break-up” (Chan, 2009a, p.108). English is used as confession of intense feeling. Some examples are given below.

No Case Lyrics Part i mal myot beonina doenoeya 81/ITES/PD,AD I’M SICK OF haneunji (HOW MANY TIMES LONELY NIGHTS DO I HAVE TO TELL

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

MYSELF?)

I’M SICK OF LONELYNIGHTS I’m sick of lonely nights English sentence is repeated twice in a song titled ‘Lonely Night’ to emphasixe the point to listeners. Figuratively, the sentence means that the singer is tired of the state of being alone at night. The singer broke with her lover and as the effect of this, the singer felt the frustration and loneliness. English is used to express intense feelings, loneliness and frustration.

Another song that has switched Korean to English to express griefness after breakup is in a song titled “Fine”.

No Case Lyrics Part Ipgae maemdoneun mareul samkil su eopseo (I CAN’T SWALLOW THE 55/ITES/PD,AD IT’S NOT FINE WORDS THAT LINGER IN MY MOUTH) IT’S NOT FINE

On this part, the lyricist used negative sentence “it’s not fine” to express what the singer could not said through words. The singer looks fine outside, but not inside.

It is also why the sentence is contradictory with the title. In addition, based on

SUDA JJ K-POP Entertaiment’s theory about Fine Music Video, the adjective

‘Fine’ in this lyrics is the continuation of French word Fin that means the end.

“Fine is the conclusion of Fin” (2017). The word ‘fine’ is the result of the ending of relationship.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

b. The Use of English as a Symbolic Device

English allows K-pop to bring new representational and symbolic modes of expression. The example is the use of English for youths as ways of endearment like what collected below. English represented modernity for Korean youths. Lee states that “being an English-knowing and English-using Korean is one of the most significant characteristics of being modern in contemporary South

Korea” (Lee, 2006, p.63).

No Case Lyrics Part WO BABE OH ije eojjeojyo nan andwaeyo (WHAT DO I DO? I CAN’T) 42/ITAS/PD,SD WO BABE OH amuri bulleodo doraojil ana (NO MATTER HOW MUCH I CALL OUT, YOU WON’T COME BACK) neo eopshi honja jinaen naldeul gieokjocha naji (DAYS SPENT WITHOUT anneunde (I AM NOT YOU, ALONE) 46/ITAS/PD,SD EVEN REMEMBER gieokjocha naji anneunde (I AM THEM) BABE NOT EVEN REMEMBER THEM) BABE ijeneun da (NOW,) I ijeneun da (NOW,) I CAN 72/ITES/PD,SD CAN LET IT GO LET IT GO BABY BABY milgo danggineun saineun nan shireo (I DON’T LIKE 93/ITES/PD,AD,SD NO THANKS BABY PLAYING GAMES OF PUSH AND PULL) NO THANKS BABY ja malhae bwa (TELL ME), WANT YOU BABY, WANT ja malhae bwa (TELL YOU BABY ME), WANT YOU 104/ITES/PD,AD,SD uju gateun ni aneuro (IT’S BABY, WANT YOU LIKE A UNIVERSE INSIDE BABY OF YOU) need you closer

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Five out eleven songs in the album that switch Korean into English contains the English way of endearment. The lyricists made the song with English way of endearment ‘babe’ and ‘baby’. The term ‘baby’ means my love and term

‘babe’ is more sophisticated form of baby that carries the same meaning. Koreans have their own way of endearment, jagi or jagiya for unmarried couples, oppa to address boyfriend especially if they are older than girls, and yeobo for married couples. The lyricists used English as alternative vocabularies. The use of English endearment also may suggest Western-kind of romance.

This table below is the relation between the types of code switching and the possible motivations for the use of English.

Table 2. Possible Motivations in the Album based on Types of Code Switching

Types Tag Intrasentential Intersentential Possible Motivations Intrinsic : 1. Exotic Device 0 2 0 2. Re-exotic Device 0 0 0 3. Poetic Device 22 32 51 4. Creating New Structural Forms 4 13 2 Extrinsic : 1. Audacious Device 9 2 23 2. Symbolic Device 0 4 9 3. Expressing Aspect of Modern 0 0 0 Culture 4. Express Images of Domestic 0 0 0 Life

From the data found, the most used intrinsic motivation in the album is to create poetic devices that occured in all songs, and the least used motivation is to create exotic device with only 2 data. It can be concluded that code switching in the

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

album is used to create expressions to the listeners but the motivation to make translated words to become more interesting is not really significant.

The motivation to create new structural deviceis mostly happen in intrasentential code switching in the album. It means that the intrasentential code switching is used to create structures that are new for Korean song lyrics. In this album, the intrasentential code switching is used to create new variation of rhyme pattern.

In extrinsic motivations, the lyricists use intersentential code switching the most rather than the other types. There are 23 intersentential code switching cases for audacious device motivation and 9 intersentential code switching cases for symbolic device motivation. The lyricists are more motivated to use intersentential code switching as a means of expressing daring feelings and giving new symbolic expressions forthe song lyrics. Most expressions that are too daring for Koreans are expressed in fully English sentence to hide their actual meaning so the songs are not banned from broadcast by the censorship board since song lyrics are also appear in Korean TVs, and it is also to change the singer’s image.

English sentences also symbolize freedom of expression, and modernity in Korea.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

CHAPTER V

CONCLUSION

This chapter provides the conclusions of findings which have been analyzed by the researcher. The first problem is about the types of code switching that occured in Taeyeon album My Voice song lyrics; the second problem is about the possible motivations for using code switching in Taeyeon album My Voice song lyrics.

According to the analysis, 3 types of code switching are found in the album. They are intersentential code switching, tag switching, and intrasentential code switching. The researcher found that the intersentential code switching occured 51 times in the lyrics, intrasentential code switching occured 32 times and tag switching occured 22 times. So, the total number of code switching occured in the album song lyrics is 105 times. It means that lyricists use all 3 types of code switching for the album.

The second analysis identifies possible motivations of code switching occured on the album song lyrics. According to the data collected, they are five possible motivations found in the album, which are motivation for the use of

English as an exotic device, the motivation for the use of English as apoetic device, themotivation for the use of English as means of creating new structural form,the motivation for the use of English as an audacious device, and the motivation for the use of English as a symbolic device.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Themotivation for the use English of as a poetic device are appeared on all

105 datas, it followed by motivation for the use of English as an audacious device with 34 numbers of occurrences, the motivation for the use of English as a means of creating new structural form with 19 numbers of occurrences, and the motivation for the use of English as a symbolic device with 13 numbers of occurances. Motivation for the use of English as an exotic device happened the least with 2 numbers of occurances.

After categorized them into intrinsic and extrinsic motivations. The research is expected to be able to increase the development and understanding of language learning, especially in the field of sociolinguistics. Code switching can happen not only in spontaneous conversation but also in written and planned discourses, such as in song lyrics. The result of the research can be used as the basis and comparison for further research related to code switching that is used in song lyrics.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

REFERENCES

Appel, R., & Muysken, P. (2005). Language Contact and Bilingualism. London: Edward Arnold. Retrieved from https://www.bookZZ.org/

Bullock, Barbara E, & Toribio, Almeida Jacqueline. (Eds). (2009). The Cambridge Handbook of Linguistic Code-switching. New York: Cambridge University Press. Retrieved from https://bookZZ.org/

Chan, Brian Hok-Shiong (2009a). English in Hong Kong Cantopop: Language choice, code-switching and genre. World Englishes 28(1) 109-110. [SSCI- Indexed] DOI:10.1111/j.1467-971x.2008.01572.x

Chloros, P. G. (2009). Code- Switching. New York: Cambridge University Press. Retrieved from http:/www.bookzz.org/

Claire. Things You Should Never Say in Korea. (2017) Retrieved from http://gogirlguides.com/asia/things-you-should-never-say-in-korea/

Cox, T. (2000). You Can Write Song Lyrics. Ohio: Writer's Digest Books. Retrieved from http://www.bookzz.org/

Creswell, John W. (Ed.). (2013). Qualitative inquiry and research design: choosing among five approaches. Los Angeles: SAGE Publications, Inc. Retrieved from https://bookzz.org/

Davies, E., & Bentahila, A. (2006). Code Switching and the Globalization of Populer Music: The Case of North African Rai and Rap. Multilingua 25, 367.

Dröschel, Yvonne. (2011). Lingua Franca English : the role of simplification and transfer.Bern: Peter Lang.

Google Trends. (2017) Search Result for K-Pop. Available at: https://trends.google.com/. Accessed on October 2017.

Herman, Tamar. K-pop Starlet Taeyeon fine new single. (2017). Retrived fromBillboard:http://www.billboard.com/articles/columns/k- town/7709090/k-pop-starlet-taeyeon-fine-new-single-first-lp. Accessed on April2017.

Herman, Tamar. Taeyeon Explores Her Sultry Side, Declares ‘I Got Love’: Watch (2017). Retrieved from http://www.billboard.com/articles/columns/k- town/7694237/taeyeon-i-got-love-girls-generation-video.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Jingxia, Liu (2010). Teacher’s Code Switching to the L1 in EFL Classroom. The Open Applied Linguistics Journal.3.10-23. Retrieved from htt s://benthamopen.com

J.K (2017)Taeyeon’s “My Voice” Named As One Of “The 20 Best Albums Of 2017 By Fuse. Retrieved from https://www.soompi.com/2017/06/29/ Taeyeons-voice-named-one-20-best-albums-2017-far-fuse/

Kachru, Y., & Nelson, C. L. (2006). Asian Englishes Today. In World Englishes in Asian Context (p. 177). Hong Kong: Hong Kong University Press. Retrived from http:/www.book-ok.org/.

Kaisa, Nyman. (2012) .English Influence on Japanese Popular Music: A Case Study of Language Contact (Master Thesis).University of Eastern Finland, Finland. Retrieved from https://www.epublications.uef.fi/

Kettner,Josefine. (2013). I wiru rokku yuu in Japanese A study of language in J- pop lyrics (Bachelor thesis). Lund University, Sweden. Retrieved from https://lup.lub.lu.se/

Lauder, A. (2008). The Status and Function of English in Indonesia: A Review of English in Key Factors. Makara, Social Humaniora.

Lee, Jamie Shinhee.(2004). Linguistic hybridization in Kpop: discourse of self- assertion and resistence. World Englishes. 23(3), 429-450. Retrieved from http://www.booksc.org/

Lee, Jamie Shinhee.(2006). Linguistic constructions of modernity: English mixing in Korean television commercials. Language in Society. 35(1), 59-91. doi:10.1017/S0047404506060039. Retrieved from http://bookzz.org/

Moreno, Julio. (2015). Another 10 Korean Words You Should Never Translate to English.Retrieved from: http://www.travelworldheritage.com/2015/06/07/ korean-translation/.

Muysken, Pieter. (2000). Bilingual Speech A Typology of Code- Mixing. Cambridge: Cambridge University Press. Retrieved from https://www. Bookzz.org/

NeoEnglish. (2010). Psycholinguistics-a Study of Language and Brain in relation to psychology . Retrieved from https://neoenglish.wordpress.com. Accessed on November 2017.

Pascalyne, Kimaiyo. (2014). The Markedness Model Approach to the Motivation and Functions of Code-Switching and Code-Mixing: a Case Study of Selected Kipsigis Songs (Master Thesis). University of Nairobi, Kenya.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Pop!gasa. Taeyeon (Girls’ Generation). Retrieved from https://popgasa.com

Poplack, S. (1980). “Sometimes I’ll start a sentence in Spanish Y TERMINO EN ESPAÑOL” : Toward a typology of code–switching. Linguistics18(7-8)581- 618. Retrieved on May 2018, from doi: 10.1515/ling-1980-18.7-8.581

Romaine, Suzanne. (1989). Language in Society: An Introduction to Socioliguistics. London: Longman. Retrieved from https:/www.book- ok.org/

Stanlaw, J. (2004). Japanese English: language and culture contact. Hong Kong: Hong Kong University Press. Retrieved from https: //www. Bookzz.org/

Suda JJ K-Pop Entertaiment. (2017, February 28). [myubihaseog] ibyeolhan bundeul-eun 200% gong-gam TAEYEON Fine MV Theory sudajaeng-ijun [video file] . Retrieved from : http://www.youtube.com/watch?v=Wlsd5bY H3GE

Suzanne Romaine. (2000). Language in Society: An Introduction to Sociolinguistics. New York: Oxford University Press. Retrieved from http://b-ok.org/

The Cholsun Ilbo. More Woman Propose to Men. (2018). Retrieved from https://english.cholsun.com. Accessed on March 2018.

The Editors of Encyclopaedia Britannica. Lyric. (2018) Retrieved from http://www.britannica.com/art/lyric

Trudgil, P. (1983). Sociolinguistics : an Introduction to Language and Society. London: Penguin Books.

Verywellmind. (2018). Motivation: Psychological Factors That Guide Behavior.https://www.verywellmind.com/what-is-motivation-2795378. Accessed on May 2018.

Widaya, R. D. (2015). English- Indonesian Code Switching in Indonesian Song Lyrics Composed by Melly Goeslaw (Undergraduate Thesis). Universitas Sanata Dharma, Yogyakarta.

Yonhap News Agency. Global ‘hallyu’ fans swell to 35 million in 86 countries. (2016). Retrieved from https://english.yonhapnews.co.kr/news/. Accessed on September 2017.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

APPENDICES Gakkeum ireoke gamdanghal su eopneun Mworado haeya hal geotman gateun gibune Appendix 1 : Taeyeon’s album My Voice song lyrics (Romanized lyrics) Gwaenhi umjigigon hae

1. Fine Verse 1 Pre-Chorus Jjijeojin jongitjogage Haru han dal il nyeon geujjeumimyeon Damanaen naye jinshime Useumyeo chueokhal geora haetjiman Seonmyeonghaejyeo somethin’ bout you Yeah nareul manhi dalmeun deut dareun Chorus Neon hokshi nawa gateulkka jigeum Naneun aniya Gwaenhan gidaereul hae Swibji aneul geot gata Yeojeonhagedo neon nae haruharureul chaeugo Pre-Chorus Ajigeun aniya Haru han dal il nyeonjeum doemyeon Babocheoreom doenoeneun na Seoro dareun ilsangeul saraga Ipgae maemdoneun mareul samkil su eopseo It’s not fine Ah~ Ah~ Ah~Ah~ It’s not fine Chorus Naneun aniya Verse 3 Swibji aneul geot gata Uimi eopneun nongdam jugobadneun daehwa Yeojeonhagedo neon nae haruharureul chaeugo Saramdeul teume nan amureochi ana boyeo Ajigeun aniya Mudin cheok useumeul jieo boimyeo Babocheoreom doenoeneun na Neoran geuneureul aesseo oemyeonhaebojiman Ipgae maemdoneun mareul samkil su eopseo It’s not fine Ah~ Ah~ Ah~ Ah~ It’s not fine Outro Uri majimak Geu sungani jakku tteoolla Verse 2 Jal jinaeran mari jeonbuyeotdeon damdamhan ibyeol Meoril jikkeun mukkeun chae Ajigeun aniya Eojireoun bangeul jeongnihae Babocheoreom doenoeneun geu mal Chatgo isseo somethin’ new Ipgae maemdoneun mareul samkil su eopseo

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

nae mamgwa gateunji eolmamankeum inji It’s not fine mareul haejwo Yes or no Ah~ Ah~ Ah~ It’s not fine Oh~ Ah~ Ah~ Ah~ It’s not fine Pre- Chorus bamhaneuredo georiedo jeonbu neoye moseubi gadeukhan geol jom deo shigani piryohadamyeon tto neol gidarigetjiman 2. Cover Up Verse 1 Chorus oneuldo byeolcheoreom ne maeumeul ttara Boy I can't cover up my heart tto neoye gyeoteul maemdolji neol bomyeon nan useumi saeeo nawa Stop nan eojireowo seonmyeonghan ne mameul amudo mollae naege seumyeodeureo ijen algo shipeojyeo jogeumsshik keojyeo ganeun mam Boy I can't cover up

bamhaneuredo georiedo Yeah, in my heart jeonbu neoye moseubi gadeukhan geol eonjenga naye gyeote wa jul neowa jom deo shigani piryohadamyeon dalkomhan kkumeul kkuneun sangsangeul hae tto neol gidarigetjiman I want you keojyeo ganeun mam Boy I can't cover up

Chorus Verse 3 I said it, I said it (I love you, love you) Boy I can't cover up my heart neol bomyeon nan useumi saeeo nawa I mean it, I mean it (I love you, love you) amudo mollae naege seumyeodeureo malhaneun i sungan jogeumsshik keojyeo ganeun mam Boy I can't cover up huhoehandaedo neoreul hyanghan jinshimin geol Refrain Chorus Can't cover it up, can't Boy I can't cover up my heart neol bomyeon nan useumi saeeo nawa can't cover it up, no amudo mollae naege seumyeodeureo Can't cover it up, no, jogeumsshik keojyeo ganeun mam Boy I can't cover up I just can't cover it up, come on

Can't cover it up, can't can't cover it up, no keojyeo ganeun mam Boy I can't cover up Bridge Verse 2 Yeah, in my heart nan joshimseureobge ne saekkkareul ipgo (Can't cover it up, can't tto ne yeope jaril jabji Can't cover it up, no)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

eonjenga naye gyeote wa jul neowa han beondo jedaero (Can't cover it up, no, nalji mothan nae du nalgae I just can't cover it up, come on) saerobge pyeolchyeobwa dalkomhan kkumeul kkuneun sangsangeul hae tto narabwa ije (Can't cover it up, can't Can't cover it up, no) Chorus 1 I want you keojyeo ganeun mam Boy I can't cover up geuryeoman watdeon jigeum nae moseub ajik nan mitgiji ana Refrain ssodajineun haessal seuchineun baram Can't cover it up, can't cover it up, Just realize, I feel so fine no (I love you, love you) Can't cover it up, can't cover it up, no more (I love you, love you) Oh oh naye nalgae wi Can't cover it up, can't cover it up Oh oh challanhi saegin keojyeo ganeun mam Boy I can't cover up I know you know maeil kkumkkudeon World, 3. Nalgae (Feel so Fine) I feel so fine Verse 1 eodum soge pagodeun Oh oh haneul kkeutkkaji nae ane nal gadudeon Oh oh gadeuk pyeolchyeojin shiganeun imi jinago I know you know It fades away hwanhi bitnaneun World, hayeomeopshi tteodolda I feel so fine nasseon byeoge budichyeo beorin Oh ije nan eodiro Verse 3 Please hold my hand mareopshi anja banghwanghaetdeon Verse 2 gireseo majuhaetdeon bamdo jeonbu gwaenchana ijen modu da hanadulsshik yeoreo I don’t care gamchwowatdeon nareul kkaewo ijeuryeo haetdeon gyeolgugen neul ijeul su eopseotdeon kkumdeul

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

honjaraneun pyeonanham sok Oh oh haneul kkeutkkaji pieooreun oeroumdo Oh oh gadeuk pyeolchyeojin ijeneun da I know you know I can let it go baby hwanhi bitnaneun World, I feel so fine Verse 4 Oh yeah, I feel so fine jigu bandaepyeon eodinga Oh yeah, I feel so fine naege oechyeoon meari Oh Oh yeah , Ooh oh yeah ne nunape pyeolchyeojil jeo byeok Oh yeah , Oh nae ane nareul neomeoseon sungan neomeoye sesangeul chaja saeroun sesangi boyeo ssodajineun haessal seuchineun baram dulleossan hyeonshil geuboda Just realize, I feel so fine meonjeo neomeoseol naran byeok Oh gyesokhaeseo jigyeoga 4. Eraser nae jashini hal su itda mideo Verse 1 gin angmongeul kkun deuthae jeonjaeng gatdeon Chorus 1 neoran sarange miso nappeun neoye maeryeoge babocheoreom bareul deuryeotdeon miro geuryeoman watdeon jigeum nae moseub ajik nan mitgiji ana ssodajineun haessal seuchineun baram ajjilhan dul sai the Love and the Hate aseulhan gyeonggyeseone jageun teumsae Just realize I feel so fine modeun geol dwirohan chae taeyeonhage Oh, I tried, tried, tried, tried Chorus 2 Chorus Oh oh naye nalgae wi Oh oh challanhi saegin wanbyeokhi neol jiwojul Eraser I know you know maeil kkumkkudeon World, piryohae neol itgi wihae kkaekkeushi nal sshitgyeojul Eraser I feel so fine dashin neol wonhaji anke mokpyoreul hyanghan Racer i mamsok

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Chaser nal saerobge bakkwo Brand New Wo Babe Ooh neoraneun angmongeseo nal kkaewojwo you ije eojjeojyo nan andwaeyo neol hyanghan Eraser amuri bulleodo doraojil ana hokshi geuttae jinjak uri meomchwotdeoramyeon Verse 2 deo joasseuljido molla gieokhanayo

eojjeom iri ppeonppeonhae yeojeoni Chorus neon nae juwireul maemdora negen neomu gwabunhae neo hanaman When I~ when I was young geuttae tteugeopge saranghaetdeon nan naega geudaego geudaega nail ttae When I~ when I was a fool jeongmal Bridge amudo moreugo geudaeman al ttae eottaetnayo gwaenchanatnayo wanjeonhi kkaekkeuthaejin nae mam bichun Headlight Verse 2 ne modeun gieokdeureun naegeseo Fade out morachin pokpung soge nae maeumeun Green Light mitgiji anchyo majimagirae Yeah I’ll be just fine yeah I’ll be just fine uri nanun maldeul jiwojiji ana

Chorus hokshi geuttae seoro manhi aratdeoramyeon deo joasseuljido molla negeseo nal guhaejul Eraser saeroun shijageul wihae Chorus kkaekkeushi nal sshitgyeojul Eraser jageun miryeonjocha eopge When I~ when I was young geuttae meomchuji aneul Racer meoreojin naega geudaego geudaega nail ttae Chaser neol jiugo mameul Re-New When I~ when I was a fool jeongmal jidokhan neoegeseo nal kkaewojwo You amudo moreugo geudaeman al ttae neol hyanghan Eraser Oh yeah eottaetnayo gieokhanayo neol hyanghan Eraser Bridge 5. When I was Young Verse 1

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

manhi eoryeosseotjanayo uri seotulleotjanayo Oh you’re the Fire ajik eoje ilman gata Ooh Oh I know you’re the Fire

manhi himdeureotnayo naega geudaego Verse 2 geudaedo nail ttae uri hanail ttae Ooh uimi eopneun naye haru nega eobttan sashillo Chorus gidaedeullo ssahin miraeye tabi dan hansungan muneojyeo Oh When I~ when I was young geuttae naega geudael geudaega nal Ooh jeolmangmajeo anajudeon When I~ when I was a fool jeongmal keun pumi gongheohal ppuninde geudaeman baraetdeon geureon nayeosseul ttae nunbit songil mollatdeon eottaetnayo gieokhaejwoyo neoye geojit kkeutnasseo modeun ge

6. Fire Chorus Verse 1 bulkge muldeun changeul bichun You’re the Fire ttatteuthan ondo jeongmakhan haneureul boda sori eopshi kkeullyeo nan seubgwancheoreom neol bulleo neon naege beonjyeo du nuneul tteumyeon daedapi eopseo neoneun boiji ana jaetbit heunjeongman nama Oh you’re the Fire gyeoteul jigyeo jugetdadeon Oh I know you’re the Fire soksagim mideotdeon neoinde eotteon insa hanado Refrain namgimeopshi meoreojyeo ireoke I feel so alone Chorus I feel so alone I feel so alone You’re the Fire ttatteuthan ondo I feel so alone sori eopshi kkeullyeo nan neon naege beonjyeo du nuneul tteumyeon Outro jaetbit heunjeongman nama

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

You’re the Fire dagagamyeon ginmilhi ssain nae mamkkaji samkyeoga neowa na seorol tamhadeon daneo hayahge beonjyeo kkamage taewo yeolgi garin gamyeon beoseodeonjeo heurin yeongiman nama kkeuneojil tteutan ginjangeun Oh you’re the Fire euishimeun sarajeosseuni eoseo wa hani Oh I know you’re the Fire Oh you’re the Fire nunape jonjae neon sara umjigineunde Oh I know you’re the Fire ogame chwihae neol deo algo shipeo

You’re the Fire Chorus I know you’re the Fire ja malhae bwa want you baby, want you baby

uju gateun ni aneuro need you closer, 7. I Got Love need you closer ppajeodeulmyeon Verse 1 daltteun hansumdo nabukkin nado yuhineun shwiweo chwihan deut kkumeul hemae neoreul hemae i bameul bonael geu heunhan bangbeop mideojini geureogien urin jom dalla bunmyeong geureoja bame mabeobi yongmangi dari soksagyeo gwaenchana hani Verse 3 eodumi gipeo bimireul deopeo jul teni ikkeuneun daero ga bogo shipeunde jeonbu muneojige da noga beorige teomunieopshi michige hae Chorus Come and turn me on You don’t stop that fire ‘cause I got love I got love I got love ja malhae bwa want you baby, want you baby uju gateun ni aneuro need you closer, need you closer ppajeodeulmyeon Chorus daltteun hansumdo nabukkin nado chwihan deut kkumeul hemae neoreul hemae ja malhae bwa want you baby, want you baby mideojini uju gateun ni aneuro need you closer need you closer ppajeodeulmyeon Verse 2 daltteun hansumdo nabukkin nado

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

chwihan deut kkumeul hemae neoreul hemae eodil georeodo neoye gieogeun mideojini gapjagi nae apeul maga mushimhan deut jinachyeo jebeob gyeondyeonae 8. Lonely Night nappeuji anchana eochapi Verse 1 nega geuriun geon sashirinde ijen iksukhaejilman hande geugeotjocha aneun deut nareul ttarawa bameun neomu gireo jameun ojido anne Yeh neon jigeum mwo hae? dueobeon hogeun deo Chorus jeonhwagireul manjijakdae jeoldae geureol na aninde chueok ttawin beorija da Yeh hwansangil ppun yeotjana Verse 2 Boy kkeutnasseo neol miwohae nasseon goseul ga, neoye heunjeogi I don’t know your name eopneun segyereul mandeullae i mal myeot beonina doenoeya haneunji nasseon geori, saramdeul, geurae gwaenchana bappeuge jinaeda tto nega boyeo Verse 5 nareul dwiheundeul ttaemada neol saenggakhaneun bami jureo ga Some things never change, Enough is enough deo uljin ana jal ara, neoneun eobttan geol So let me redeem, redeem, redeem jeonbu da, tonight Chorus geurae neol dashin saenggakdo anke chueok ttawin beorija da Yeh hwansangil ppun yeotjana Verse 6 Boy kkeutnasseo neol miwohae jiwobeoryeo Lonely Night da Yeh I don’t know your name nan gwaenchaneul geojana i mal myeot beonina doenoeya haneunji neol ijeya jal aldeut hae deo oerobge hae Verse 3 yeojieopshi sae achimi wado Chorus kkaeeojiji ana, seulpeun kkumsogeul hemae Yeh chueok ttawin beorija da Yeh So why do I byeonhaji mothae hwansangil ppun yeotjana jakku dwidora boge dwae, Boy kkeutnasseo neol miwohae uri durideon night and day I don’t know your name i mal myeot beonina doenoeya haneunji Verse 4

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Outro geobu an hae Mmm yea I know it I’m sick of lonely nights ne pume angil ttaemada I’m sick of lonely nights ne sumsori naege gamgyeool ttaemada I’m in love 9. Sweet Love Intro Chorus Oh Oh boy you know it Baby I’ll take you high (take you higher) I know you wanna fall in love with me So we can fly (so we can flyer) neo eopshi honja jinaen naldeul Verse 1 gieokjocha naji anneunde Babe Crying for love heullin nunmulmankeum Higher ganjeolhi seoroga seorol danggyeotji gipeojil su itdamyeon urin sarangiran ge mwonji maeil nan baewoga pureun badassogeul hemaeeo i dalkomhame chwihaesseo Give me your seoroye bulbichi dwae jumyeo I I realize I need your love ttaseuhi aneun chae tteodanigetji gin nal dongan Yes I do I’m in love 10. Suchaehwa (Love in Color) Chorus Verse 1 I’ll take you high (take you higher) machi tumyeonghan saekkkallo So we can fly (so we can flyer) chokchogi seumyeowa neo eopshi honja jinaen naldeul seoroege muldeuldeon shigandeul gieokjocha naji anneunde Babe chaewojideon sarang bit Higher ganjeolhi seoroga seorol danggyeotji sarangiran ge mwonji maeil nan baewoga Chorus i dalkomhame chwihaesseo nae mamsok seonmyeonghaetdeon sarangi Oh Give me your sweet himihaejineun Color Sweet Love na hollo i eodum sogeul georeo Lovin so Sweet geutorok seonmyeonghaetdeon uri chueokdeureun ije Sweet Love himihan heukbaekcheoreom Now we’re faded Verse 2 Now we’re faded bame jamdeul ttaemada nega piryohae honja itneun nare shiganeun deodinde Verse 2 geurae naege on byeonhwareul

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ne moseub adeukhaejyeo ga neoraneun angmong kkaeji mothan kkumcheoreom chagaun shiseongwa nae mamsoge aryeonhage nama shilcheung nan pyojeong dollyeobonaelge dashi nega geuriwo nado jigyeowo hana dulsshik modu beorilge Chorus han poge punggyeong gatdeon sarangi Oh Verse 2 himihaejineun color amuri neol mideoboryeogo na hollo i eodum sogeul georeo noryeokhae bwado geutorok seonmyeonghaetdeon uri chueokdeureun ije irijeori nae nuneul pihae himihan heukbaekcheoreom ne ipsureun tto tto da ijeulge ijeobeorillae Verse 3 deoneun gwanshimdo heungmido eopseo nae mam soge nunbushige modu kkaekkeushi namgimeopshi neol muldeureotdeon Me and You Chorus Outro yeongweoni hamkkerago nunmure beonjin Color mideotdeon hanttaedo oh seulpeume jeojeun deut peojyeo jeogi baramgeore nallyeo himihaejineun Color meolli nallyeobwa na hollo i eodum sogeul georeo gwaenchana ijen nado geutorok seonmyeonghaetdeon uri chueokdeureun ije namane gireul chaja oh himihan heukbaekcheoreom nae kkumeul ttara gallae Now we’re faded oh oh oh oh oh I’m OK O~K Now we’re faded oh oh oh oh oh Now we’re faded oh oh oh oh oh Verse 3 Himihaejineun Color mushimhan cheok tteobodeushi tto yeollageul hago 11. I’m OK gwaenshiri nal shingyeong sseuneun cheok Verse 1 amureochi aneun cheokhaedo nungireul juji da moreun cheokhaedo i aemaehan mijigeunhan Something maeilgachi nareul kkaeudeon milgo danggineun saineun nan shireo No thanks baby

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Chorus yeongweoni hamkkerago mideotdeon hanttaedo oh jeogi baramgeore nallyeo meolli nallyeobwa gwaenchana ijen nado namane gireul chaja oh nae kkumeul ttara gallae I’m OK O~K

Verse 4 shigani heulleogamyeon neol gakkeum tteoollyeodo oh useum seokkin misoreul jitgo taeyeonhagetji apeumdo nunmuldo ijen da kkeutnasseo oh neo eopshi nan oneulbuteo neo eopshido nan ok

Outro Right Alright Alright Right Alright Alright Right Alright Alright Oh Right Alright Alright Right Alright Alright Right Alright Alright I’m OK

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Appendix 2 : Data Checklist of Code Switching in Taeyeon’s album My Voice

Motivations Song Types No. CS Case Lyrics Parts Form Intrinsic Extrinsic Title TS ITAS ITES ED RED PD NS AD SD MC DL OH YEAH OH,nae ane nareul neomeoseon sungan. (THE MOMENT I OH YEAH CLIMBED OVER OH,nae ane MYSELF) nareul saeroun sesangi Nalgae Interjection neomeoseon ‘oh yeah’ on 1/TS/PD boyeo(I SEE A NEW (Feel so   sungan. (THE initial WORLD) Fine) MOMENT I position ssodajineun haessal CLIMBED (THE SPILLING OVER MYSELF) SUNLIGHT,) seuchineun baram (THE PASSING WIND)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

i mamsok (IN THIS HEART,) Chaser. nal saerobge bakkwo (I’LL BECOME) Brand New neoraneun neol hyanghan angmongeseonal Interjection (TOWARD ‘oh yeah’ on 2/TS/PD,AD kkaewojwo you Eraser    YOU,) eraser OH final (WAKE ME UP YEAH position FROM MY NIGHTMARE THAT IS YOU) neol hyanghan (TOWARD YOU,) eraser OH YEAH Ijen iksukhaejilman hande. (IT’S TIME I GET USED TO IT) bameun neomu gireo I CAN’T FALL 3/TS/PD,AD jameun ojido anne    ASLEEP) YEH (THE NIGHT IS SO LONG,

I CAN’T FALL Interjection ASLEEP) YEH Lonely ‘yeh’ on chueok ttawin beorija Night final chueok ttawin da (LET’S THROW position beorija da AWAY OUR (LET’S THROW MEMORIES) YEH 4/TS/PD,AD    AWAY OUR hwansangil ppun MEMORIES) yeotjana (IT WAS YEH JUST AN ILLUSION ANYWAY) 5/TS/PD,AD kkaeeojiji ana yeojieopshi sae   

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

seulpeun achimi wado kkumsogeul (THOUGH A NEW hemae (I CAN’T MORNING COMES WAKE UP, I’M WITHOUT FAIL) LOST IN SAD kkaeeojiji ana DREAMS) YEH seulpeun kkumsogeul hemae (I CAN’T WAKE UP, I’M LOST IN SAD DREAMS) YEH hayeomeopshi tteodolda (ENDLESSLY FLOATING) nasseon byeoge OHije nan eodiro Nalgae Interjection 6/TS/PD budichyeo beorin ‘oh’ on (NOW WHERE (feel so   (BUMPED INTO A initial AM I?) STRANGE WALL) fine) position OHije nan eodiro (NOW WHERE AM I?) Please hold my hand Just realize, I feel so fine OH OH naye nalgae wi (ON TOP OF MY OH OH naye Repetitive WINGS) Nalgae nalgae wi (ON interjection 7/TS/PD,NS Oh oh challanhi (feel so ‘oh’ on    TOP OF MY saegi (BRIGHTLY fine) initial WINGS) ENGRAVED) position I know you know maeil kkumkkudeon (EVERYDAY)World

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

I feel so fine Oh oh naye nalgae wi (ON TOP OF MY WINGS) OH OHchallanhi OH OHchallanhi saegin (BRIGHTLY saegin ENGRAVED) 8/TS/PD,NS   (BRIGHTLY I know you know ENGRAVED) maeil kkumkkudeon (EVERYDAY) World, I feel so fine OH OH haneul kkeutkkaji (TO THE END OF THE SKY) Oh oh gadeuk OH OH haneul pyeolchyeojin kkeutkkaji (TO (SPREAD OUT) 9/TS/PD,NS   THE END OF I know you know THE SKY) hwanhi bitnaneun (THE BRIGHTLY SHINING )World, I feel so fine Oh oh haneul kkeutkkaji (TO THE OH OH gadeuk END OF THE SKY) 10/TS/PD,NS pyeolchyeojin OH OH gadeuk   (SPREAD OUT) pyeolchyeojin (SPREAD OUT) I know you know

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

hwanhi bitnaneun (THE BRIGHTLY SHINING) World, I feel so fine jigu bandaepyeon eodinga naege oechyeoon (SOMEWHERE ON meari (THE THE OTHER SIDE 11/TS/PD ECHO HAS OF THE EARTH)  COME TO ME) naege oechyeoon OH meari (THE ECHO HAS COME TO ME) Nalgae OH (feel so dulleossan hyeonshil  fine) geuboda (MORE neomeoseol naran THAN THE byeok (I NEED REALITY AROUND 12/TS/PD TO CLIMB YOU) Interjection  ‘oh’ on final OVER MY OWN neomeoseol naran position WALL) OH byeok (I NEED TO CLIMB OVER MY OWN WALL) OH yeongweoni (AT ONE TIME) hamkkerago mideotdeon mideotdeon hanttaedo (I hanttaedo (I 13/TS/PD BELIEVED WE I’m OK   BELIEVED WE WOULD BE WOULD BE TOGETHER) OH TOGETHER) OH jeogi baramgeore nallyeo

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

(BUT NOW I’M SENDING THOSE DAYS OFF TO THE WIND) gwaenchana (IT’S ijen nado namane ALRIGHT) gireul chaja ijen nado namane 14/TS/PD (NOW I’LL  gireul chaja (NOW FIND MY OWN I’LL FIND MY WAY) OH OWN WAY) OH shigani neol gakkeum heulleogamyeon tteoollyeodo (AFTER TIME (AND I THINK PASSES) 15/TS/PD  OF YOU neol gakkeum SOMETIMES) tteoollyeodo (AND I OH THINK OF YOU SOMETIMES) OH Apeumdo nunmuldo ijen da kkeutnasseo (IT’S (PAIN AND TEARS) 16/TS/PD  ALL OVER ijen da kkeutnasseo NOW) OH (IT’S ALL OVER NOW) OH nae mamsok nae mamsok seonmyeonghaetdeon seonmyeonghaetd sarangi (THE LOVE eon sarangi (THE 17/TS/PD,AD THAT WAS CLEAR Suchaeh  LOVE THAT IN MY HEART) OH wa (Love  WAS CLEAR IN himihaejineun in Color) MY HEART) OH (FADING) Color han poge han poge punggyeong 18/TS/PD,AD  punggyeong gatdeon sarangi(THE

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

gatdeon sarangi LOVE THAT WAS (THE LOVE LIKE A THAT WAS PICTURESQUE LIKE A LANDSCAPE) OH PICTURESQUE himihaejineun LANDSCAPE) (FADING) color OH ajik eojei lman gata (NOW I REALIZE) OOH ajik eojei lman manhi 19/TS/PD,AD gata (NOW I   eoryeosseotjanayo REALIZE) OOH (WE WERE SO YOUNG,)

manhi naega geudaego himdeureotnayo (WHEN I WAS (WAS IT REALLY YOU) geudaedo HARD?) Prolonged When I interjection nail ttae uri naega geudaego was ‘oh’ the  20/TS/PD,AD hanail ttae (AND (WHEN I WAS   Young final YOU WERE ME, YOU) geudaedo nail position WHEN WE ttae uri hanail ttae WERE ONE) (AND YOU WERE OOH ME, WHEN WE WERE ONE) OOH When I~ when I was naega geudael young geuttae geudaega nal (BACK THEN) (WHEN I WAS 21/TS/PD,AD naega geudael   YOU, WHEN geudaega nal YOU WERE ME) (WHEN I WAS OOH YOU, WHEN YOU

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WERE ME ) OOH neo eopshido (EVEN WITHOUT YOU,) nan ( I’M) OK RIGHT RIGHT ALRIGHT Interjection   22/TS/PD ALRIGHT ALRIGHT I’m OK ‘right” ALRIGHT RIGHT ALRIGHT ALRIGHT I’m OK ajjilhan dul sai (DIZZINESS BETWEEN THE ajjilhan dul sai TWO,) THE LOVE (DIZZINESS AND THE HATE BETWEEN THE Apositive 23/ITAS/PD aseulhan Eraser   TWO,) THE phrase gyeonggyeseone LOVE AND jageun teumsae (A THE HATE SMALL CRACK IN THE DANGEROUS LINE) Meoril jikkeun mukkeun chae (WITH MY HAIR TIGHTLY TIED UP) Chatgoisseo (I’M Eojireoun bangeul LOOKING 24/ITAS/PD jeongnihae (I’M Fine   FOR)SOMETHI Noun CLEANING UP MY N’ NEW Phrase MESSY ROOM) Chatgoisseo (I’M LOOKING FOR) SOMETHIN’ NEW 25/ITAS/PD,NS wanbyeokhi neol wanbyeokhi neol Eraser   

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

jiwojul ERASER jiwojul ERASER [(AN ERASER) [(AN ERASER) THAT WILL THAT WILL COMPLETELY COMPLETELY ERASE YOU] ERASE YOU] piryohae neol itgi wihae(I NEED IT TO FORGET YOU.) kkaekkeushi nal sshitgyeojul Eraser[(ERASER) THAT WILL WASH ME CLEAN] dashin neol wonhaji anke (SO I WON’T WANT YOU AGAIN.) kkaekkeushi nal sshitgyeojul kkaekkeushi nal ERASER sshitgyeojul [(ERASER) THAT ERASER WILL WASH ME 26/ITAS/PD,NS [(ERASER)   CLEAN] THAT WILL dashin neol wonhaji WASH ME anke (SO I WON’T CLEAN] WANT YOU AGAIN.) mokpyoreul mokpyoreul hyanghanRACER hyanghanRACE [(A RACER) 27/ITAS/PD,NS R [(A RACER)   TOWARD A GOAL] TOWARD A i mamsok (in this GOAL] heart) Chaser

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

nal saerobge bakkwo (I’LL BECOME) Brand New i mamsok (IN THIS i mamsok (IN HEART,) CHASER, 28/ITAS/PD,NS THIS HEART) nal saerobge bakkwo   CHASER (I’LL BECOME) Brand New neoraneun angmongeseo nal kkaewojwo neol you(WAKE ME UP hyanghanERASE FROM MY R [(AN NIGHTMARE 29/ITAS/PD,NS   ERASER) THAT IS YOU) GOING neol TOWARD YOU] hyanghanERASER [(AN ERASER) GOING TOWARD YOU] negeseo nal guhaejul ERASER [(AN ERASER) THAT WILL SAVE ME negeseo nal FROM YOU] guhaejul saeroun shijageul ERASER [(AN 30/ITAS/PD,NS wihae (FOR A NEW   ERASER) THAT START) WILL SAVE ME

FROM YOU] kkaekkeushi nal sshitgyeojul [(AN ERASER) THAT WILL WASH ME CLEAN]

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

meomchuji aneul RACER [(A meomchuji aneul RACER) WHO RACER [(A 31/ITAS/PD,NS WON'T STOP,]   RACER) WHO meoreojin chaser [(A WON'T STOP] CHASER) GONE FAR AWAY] meomchuji aneul Racer[(A RACER) meoreojin WHO WON'T CHASER [(A 32/ITAS/PD,NS STOP,]   CHASER) GONE meoreojin CHASER FAR AWAY] [(A CHASER) GONE FAR AWAY] i mamsok (in this heart) Chaser nal saerobge bakkwo (I’LL BECOME) i mamsok (in this BRAND NEW heart) Chaser nal neoraneun 33/ITAS/PD,NS saerobge bakkwo angmongeseo   (I’LL BECOME) (FROM A BRAND NEW NIGHTMARE THAT IS YOU) nal kkaewojwo, (WAKE ME UP) you. nal neoraneun kkaewojwoYOU angmongeseo 34/ITAS/PD,NS (WAKE ME UP nal kkaewojwoYOU    ,AD FROM MY (WAKE ME UP NIGHTMARE FROM MY THAT IS YOU) NIGHTMARE

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THAT IS YOU) neol hyanghan Eraser (AN ERASER TOWARD YOU) wanjeonhi kkaekkeuthaejin nae mam bichun HEADLIGHT [(THE wanjeonhi HEADLIGHT) kkaekkeuthaejin THAT SHINES nae mam bichun INTO MY HEART] HEADLIGHT ne modeun 35/ITAS/PD [(THE gieokdeureun   HEADLIGHT) naegeseo (ALL OF THAT SHINES YOUR MEMORIES) INTO MY Fade out HEART] morachin pokpung soge nae maeumeun (INSIDE THE STORM, MY HEART IS) Green Light ne modeun gieokdeureun morachin naegeseo (ALL pokpung soge nae YOUR MEMORIES) maeumeun Fade out 36/ITAS/PD (INSIDE THE   morachin pokpung STORM, MY soge nae maeumeun HEART IS) (INSIDE THE GREEN LIGHT STORM, MY HEART IS) GREEN

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

LIGHT Yeah I’ll be just fine Enough is enough, deo uljin ana SOLET ME (I’WONT CRY REDEEM, ANYMORE) REDEEM, SOLET ME 37/ITAS/PD   REDEEMjeonbu REDEEM, da,(EVERYTHIN REDEEM, G) TONIGHT REDEEMjeonbu Lonely da,(EVERYTHING) Night TONIGHT jiwobeoryeo jiwobeoryeo (ERASE) LONELY (ERASE) NIGHT da yeh 38/ITAS/PD   LONELY nan gwaenchaneul NIGHT da yeh geojana ( I WILL BE OKAY) nae mamsok seonmyeonghaetdeon himihaejineun sarangi (THE LOVE 39/ITAS/ED,PD (FADING) THAT WAS CLEAR    COLOR IN MY HEART) oh himihaejineun Suchaehw (FADING) COLOR a nunmure beonjin (Love in nunmure beonjin COLOR[(COLOR) Color) COLOR[(COLO THAT IS 40/ITAS/ED,PD R) THAT IS SMUDGED WITH    SMUDGED TEARS)] WITH TEARS)] seulpeume jeojeun deut

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

peojyeo(SPREADIN G LIKE IT’S WET WITH TEARS) nae mam soge nunbushigemulde nae mam soge ureotdeon (IN nunbushigemuldeure MY otdeon (IN MY 41/ITAS/PD HEART,COLOR HEART,COLORED   ED SO SO BRIGHTLY BRIGHTLY WAS) ME AND WAS) ME AND YOU YOU WO BABE OH ije eojjeojyo nan andwaeyo (WHAT DO I DO? I CAN’T) When I amuri bulleodo 42/ITAS/PD,SD WO BABE OH was doraojil ana (NO Young MATTER HOW MUCH I CALL OUT, YOU WON’T COME BACK) gwaenshiri nal shingyeong sseuneun i cheok nungireul juji aemaehan mijigeu (PRETENDING TO nhan (THIS CARE ABOUT ME, 43/ITAS/PD,A AMBIGUOUS YOU LOOK AT I’m OK    D AND ME) LUKEWARM) i SOMETHING aemaehan mijigeunh an (THIS AMBIGUOUS AND

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

LUKEWARM) SOMETHING Oh oh naye nalgae wi (ON TOP OF MY WINGS) Oh oh challanhi I KNOW YOU saegin (BRIGHTLY KNOW maeil ENGRAVED) kkumkkudeon I KNOW YOU 44/ITAS/PD/NS WORLD [(THE    KNOW WORLD) THAT maeil kkumkkudeon I DREAMED WORLD [(THE EVERYDAY ] WORLD) THAT I DREAMED EVERYDAY ] Nalgae I feel so fine (Feel so Fine) Oh oh haneul kkeutkkaji (TO THE END OF THE SKY) I KNOW YOU Oh oh gadeuk KNOW hwanhi pyeolchyeojin bitnaneun (THE (SPREAD OUT) 45/ITAS/PD,NS    BRIGHTLY I KNOW YOU SHINING) KNOW WORLD hwanhi bitnaneun (THE BRIGHTLY SHINING) WORLD I feel so fine gieokjocha naji neo eopshi honja anneunde (I AM jinaen naldeul Sweet 46/ITAS/PD,SD    NOT EVEN (DAYS SPENT Love REMEMBER WITHOUT YOU,

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THEM) BABE ALONE) gieokjocha naji anneunde (I AM NOT EVEN REMEMBER THEM) BABE hwansangil ppun yeotjana (IT WAS JUST AN BOYkkeutnasseo, ILLUSSION neol miwohae Lonely 47/ITAS/PD,SV ANYWAY)    (IT’S OVER, I Night BOYkkeutnasseo, HATE YOU) neol miwohae (IT’S OVER, I HATE YOU) ne modeun gieokdeureun naegeseo (ALL OF ne modeun YOUR MEMORIES) gieokdeureun FADE OUT naegeseo (ALL 48/ITAS/PD morachin pokpung   OF YOUR soge nae maeumeun MEMORIES) (INSIDE THE FADE OUT STORM, MY Eraser Verb phrase HEART IS) Green Light meomchuji aneul neol jiugo Racer[(A RACER) mameulRE-NEW WHO WON'T 49/ITAS/PD,SD [I WANT TO STOP,]    ,NS ERASE YOU meoreojin Chaser [(A AND (RE-NEW) CHASER) GONE MY HEART] FAR AWAY]

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

neol jiugo mameulRE-NEW [I WANT TO ERASE YOU AND (RE- NEW) MY HEART] kkaeeojiji ana, seulpeun kkumsogeul hemae (I can’t wake up, I’m lost in sad SO WHY DO I dreams ) Yeh 50/ITAS/PD,A byeonhaji mothae Lonely SO WHY DO I    D (CAN’T Night byeonhaji mothae CHANGE) (CAN’T CHANGE) jakku dwidora boge dwae (I keep looking back) jakku dwidora boge dwae (I keep looking uri durideon back) (when were Lonely Adverbial 51/ITAS/PD   together) NIGHT uri durideon (when Night phrase AND DAY were together) NIGHT AND DAY neo eopshi nan neo eopshido oneulbuteo (EVEN (WITHOUT YOU, 52/ITAS/PD WITHOUT FROM NOW ON) I’m OK   YOU,) nan ( I’M) neo eopshido (EVEN Adjective OK WITHOUT YOU,) phrase nan ( I’M) OK HIGHERganjeol HIGHERganjeolhi Sweet 53/ITAS/PD hi seoroga seorol seoroga seorol   Love danggyeotji (WE danggyeotji (WE

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

PULLED ON PULLED ON EACH EACH OTHER) OTHER) sarangiran ge mwonji maeil nan baewoga ( I LEARN WHAT LOVE IS EVERY DAY) YEAH, IN MY HEART eonjenga naye gyeote wa jul neowa dalkomhan kkumeul kkuneun sangsangeul YEAH, IN MY hae Prepositiona 54/ITAS/PD Cover Up   HEART (I’M IMAGINING l phrase THAT SOME DAY YOU’LL COME TO ME AND WE’LL HAVE A SWEET DREAM TOGETHER.) Ipgae maemdoneun mareul samkil su eopseo (I CAN’T SWALLOW THE   55/ITES/PD,AD IT’S NOT FINE WORDS THAT LINGER IN MY MOUTH) Fine Sentence IT’S NOT FINE Ipgae maemdoneun AH ~AH ~ AH~ mareul samkil su 56/ITES/PD,AD AHIT’S NOT    eopseo (I CAN’T FINE SWALLOW THE

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

WORDS THAT LINGER IN MY MOUTH) It’s not fine AH ~AH ~ AH~ AHIT’S NOT FINE oneuldo byeolcheoreom ne maeumeul ttara (AGAIN TODAY, I’M FOLLOWING YOUR HEART LIKE A STAR) tto neoye gyeoteul STOPnan maemdolji (AND 57/ITES/PD,AD eojireowo (I’M I’LL LINGER   

DIZZY) AROUND YOU) STOPnan eojireowo (I’M DIZZY) seonmyeonghan ne Cover Up mameul ijen algo shipeojyeo (NOW I WANNA KNOW YOUR CLEAR HEART) BOY I CAN'T COVER UP MY HEART BOY I CAN'T neol bomyeon nan 58/ITES/PD,SD COVER UP MY    useumi saeeo nawa HEART (WHEN I SEE YOU, LAUGHTER SEEPS OUT)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Can’t cover it up, CAN’T COVER can’t 59/ITES/PD   IT UP, NO CAN’T COVER IT UP, NO Can’t cover it up, no I JUST CAN’T 60/ITES/PD I JUST CAN’T   COVER IT UP, COME ON COVER IT UP, COME ON Can't cover it up, CAN'T COVER CAN'T COVER IT 61/ITES/PD IT UP NO   UP NO MORE MORE (I love you, love you) I WANT YOU keojyeo ganeun mam 62/ITES/PD,AD (MY GROWING    I WANT YOU FEELINGS) Boy, I can’t cover up. I SAID IT, I SAID IT (I love you, love I SAID IT, I you) 63/ITES/PD,AD SAID IT (I love   

you, love you) I mean it, I mean it I love you, love you I said it, I said it I LOVE YOU, 64/ITES/PD,AD I LOVE YOU, LOVE YOU     ,SD LOVE YOU I mean it, I mean it I love you, love you 65/ITES/PD,AD I said it, I said it    I MEAN IT, I

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

MEAN IT I love you, love you I MEAN IT, I MEAN IT I love you, love you shiganeun imi jinago (TIME HAS IT FADES 66/ITES/PD,AD ALREADY    AWAY PASSED) IT FADES AWAY natseon byeoge budijhye (I COLLIDE WITH AN UNFAMILIAR 67/ITES/PD, PLEASE HOLD WALL)    AD MY HAND Oh ije nan eodiro (NOW WHERE I AM?) Nalgae PLEASE HOLD (feel so MY HAND fine) ajik nan mitgiji ana (I STILL CAN’T BELIEVE IT) ssodajineun haessal JUST seuchineun baram 68/ITES/PD REALIZE, I   (THE SPILLING FEEL SO FINE SUNLIGHT, THE PASSING WIND) JUST REALIZE, I FEEL SO FINE I know you know I FEEL SO 69/ITES/PD maeil kkumkkudeon   FINE (EVERYDAY)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

World

I FEEL SO FINE jeonbu gwaenchana ijen modu da (EVERYTHING 70/ITES/PD,AD I DON’T CARE WAS ALRIGHT    NOW) I DON’T CARE I KNOW YOU KNOW hwanhi bitnaneun (THE BRIGHTLY SHINING) WORLD I feel so fine OH YEAH, I 71/ITES/PD OH YEAH, I FEEL   FEEL SO FINE SO FINE

Oh yeah, I feel so fine Oh yeah , Ooh oh yeah ijeneun da ijeneun da (NOW,) I (NOW,) I CAN 72/ITES/PD,SD CAN LET IT GO    LET IT GO BABY BABY modeun geol dwirohan chae OH, I TRIED, taeyeonhage (I 73/ITES/PD.AD TRIED, TRIED, Eraser    TRIED PUSHING TRIED EVERYTHING BACK AND

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

STAYING CALM) OH, I TRIED, TRIED, TRIED, TRIED morachin pokpung soge nae maeumeun (INSIDE THE STORM, MY YEAH I’LL BE HEART IS)Green 74/ITES/PD   JUST FINE Light YEAH I’LL BE JUST FINE YEAH I’LL BE JUST FINE neoye geojit kkeutnasseo modeun ge (WITHOUT ANYTHING REMAINING, YOU GOT SO FAR 75/ITES/PD,AD YOU’RE THE AWAY)     ,SD FIRE YOU’RE THE FIRE ttatteuthan ondo sori Fire eopshi kkeullyeo nan (I AM PULLED BY YOUR WARMTH) You’re the fire ttatteuthan ondo 76/ITES/PD,AD OH YOU’RE sori eopshi kkeullyeo     ,SD THE FIRE nan (I AM PULLED BY YOUR WARMTH)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

jaetbit heunjeongman nama (ONLY TRACES OF ASH REMAIN) OH YOU’RE THE FIRE You’re the fire ttatteuthan ondo sori eopshi kkeullyeo nan (I AM PULLED BY YOUR WARMTH) OH I KNOW 77/ITES/PD,AD jaetbit heunjeongman YOU’RE THE     ,SD nama (ONLY FIRE TRACES OF ASH REMAIN) Oh you’re the fire. OH I KNOW YOU’RE THE FIRE You’re the fire ttatteuthan ondo sori eopshi kkeullyeo nan (I AM PULLED BY YOUR WARMTH) I FEEL SO 78/ITES/PD,AD jaetbit heunjeongman    ALONE nama (ONLY TRACES OF ASH REMAIN) Oh you’re the fire. Oh i know you’re the

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

fire

I FEEL SO ALONE I feel so alone I feel so alone I feel so alone teomunieopshi michige hae (YOU MAKE ME ABSURDLY CRAZY) COME AND 79/ITES/PD,AD COME AND TURN    TURN ME ON ME ON You don’t stop that fire Cause I got love, I got love, I got love teomunieopshi I Got michige hae (YOU Love MAKE ME YOU DON’T ABSURDLY STOP THAT CRAZY) FIRE CAUSE I Come and turn me on 80/ITES/PD,AD    GOT LOVE, I YOU DON’T STOP GOT LOVE, I THAT FIRE GOT LOVE CAUSE I GOT LOVE, I GOT LOVE, I GOT LOVE I’M SICK OF uri durideon (when Lonely 81/ITES/PD,AD    LONELY were together) night Night

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

NIGHTS and day I’M SICK OF LONELY NIGHTS I’m sick of lonely nights Boy kkeutnasseo neol miwohae (IT’S I DON’T KNOW OVER, I HATE 82/ITES/PD,AD    YOUR NAME YOU) I DON’T KNOW YOUR NAME OH OH BOY YOU OH OH BOY KNOW IT 83/ITES/PD,SD    YOU KNOW IT I know you wanna fall in love with me Oh oh boy you know I KNOW YOU it WANNA FALL 84/ITES/PD I KNOW YOU   IN LOVE WITH WANNA FALL IN ME LOVE WITH ME geurae naege on byeonhwareul ( I Sweet WON’T REJECT Love MMMYEA I THESE CHANGES) 85/ITES/PD   KNOW IT geobu an hae (THAT COME TO ME) MMMYEA I KNOW IT ttaseuhi aneun chae tteodanigetji (AS WE 86/ITES/PD I’M IN LOVE LEAVE IN EACH   OTHER’S WARM EMBRACE)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

I’M IN LOVE ttaseuhi aneun chae tteodanigetji (AS WE I’LL TAKE LEAVE IN EACH YOU HIGH OTHER’S WARM (TAKE YOU EMBRACE) 87/ITES/PD HIGHER) SO i’m in love   WE CAN FLY I’LL TAKE YOU (SO WE CAN HIGH (TAKE YOU FLYER) HIGHER) SO WE CAN FLY (SO WE CAN FLYER) sarangiran ge mwonji maeil nan baewoga (I LEARN WHAT LOVE IS EVERYDAY) GIVE ME i dalkomhame 88/ITES/PD YOUR SWEET,   chwihaesseo, (I’M SWEET LOVE DRUNK WITH THIS SWEETNESS) GIVE ME YOUR SWEET, SWEET LOVE i dalkomhame chwihaesseo, (I’M DRUNK WITH I I REALIZE I THIS SWEETNESS) 89/ITES/PD NEED YOUR   give me your LOVE sweet, sweet love I I REALIZE I

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

NEED YOUR LOVE gin nal dongan, (FOR A LONG TIME,) yes I do I I realize I need your gin nal dongan, love (FOR A LONG 90/ITES/PD gin nal dongan. (FOR   TIME.) A LONG TIME.) YES I DO YES I DO himihan heukbaekcheoreom (are now just a faded black-and-white NOW WE’RE 91/ITES/PD picture)   FADED NOW WE’RE FADED NOW WE’RE FADED Suchaeh NOW WE’RE wa (Love FADED OH OH in Color) OH OH OH NOW WE’RE NOW WE’RE FADED OH OH 92/ITES/PD FADED OH OH OH OH OH   OH OH OH NOW WE’RE FADED OH OH OH OH OH Himihaejineun (fading) Color milgo 93/ITES/PD,AD NO THANKS danggineun saineun I’m OK     ,SD BABY nan shireo (I DON’T

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

LIKE PLAYING GAMES OF PUSH AND PULL) NO THANKS BABY nae kkumeul ttara gallae (I WANNA 94/ITES/PD,AD I’M OK O~K FOLLOW MY    DREAM) I’M OK O~K Jjijeojin jongitjogage (ON A RIPPED PIECE OF PAPER) Seonmyeonghaejy Damanaen naye eo (IT jinshime (I WROTE BECOMES 95/ITES/PD DOWN HOW I Fine   CLEAR,)SOME REALLY FEEL) THIN’ BOUT

YOU Seonmyeonghaejyeo (IT BECOMES CLEAR,)SOMETHI N’ BOUT YOU Clause jogeumsshik keojyeo ganeun mam (MY BOY I CAN'T FEELINGS ARE 96/ITES/PD,SD    COVER UP GROWING) BOY I CAN'T COVER UP Cover Up nae mamgwa gateunji mareul haejwo eolmamankeum inji 97/ITES/PD (TELL ME,) YES (DO YOU FEEL   OR NO THE SAME WAY? HOW MUCH?)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

mareul haejwo(TELL ME,) YES OR NO WHEN I~ WHEN I WAS YOUNG geuttae (THEN,) naega geudaego geudaega nail ttae (WHEN I WAS YOU AND YOU WERE ME) WHEN I~ When I~ when I was WHEN I WAS a fool jeongmal 98/ITES/PD,NS    YOUNG geuttae (REALLY) (THEN,) amudo moreugo geudaeman al ttae (WHEN I DIDN’T KNOW ANYONE When I BUT ONLY YOU) was eottaetnayo Young gwaenchanatnayo (HOW WAS IT? WAS IT ALRIGHT?) When I~ when I was younggeuttae (THEN,) naega geudaego WHEN I~ geudaega nail ttae WHEN I WAS A 99/ITES/PD,NS (WHEN I WAS YOU    FOOLjeongmal AND YOU WERE (REALLY) ME) WHEN I~ WHEN I WAS A FOOLjeongmal

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

100

(REALLY) amudo moreugo geudaeman al ttae (WHEN I DIDN’T KNOW ANYONE BUT ONLY YOU) eottaetnayo gwaenchanatnayo (HOW WAS IT? WAS IT ALRIGHT?) CRYING FOR CRYING FOR LOVE,heullin LOVE,heullin nunmulmankeum nunmulmankeum gipeojil su itdamyeon gipeojil su urin (IF WE CAN itdamyeon urin GROW AS DEEP 100/ITES/PD (IF WE CAN AS THE AMOUNT   GROW AS DEEP OF TEARS WE AS THE SHED) Sweet AMOUNT OF pureun badassogeul Love TEARS WE hemaeeo (WE SHED) WOULD SWIM IN A BLUE OCEAN) Give me your, Sweet LOVIN SO Sweet Love 101/ITES/PD SWEET, SWEET LOVIN SO   LOVE SWEET, SWEET LOVE SOME THINGS nareul dwiheundeul NEVER ttaemada (EVERY Lonely 102/ITES/PD   CHANGE, jal TIME IT SHAKES Night araneoneun ME UP)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

101

eobttan geol ( I SOME THINGS KNOW THAT NEVER CHANGE, YOU ARE NOT jal araneoneun HERE) eobttan geol ( I KNOW THAT YOU ARE NOT HERE) neol saenggakhaneun bami jureo ga ENOUGH IS (NIGHTS I THINK ENOUGHdeo ABOUT YOU IS 103/ITES/PD uljin ana ( I DECREASING)   WON’T CRY ENOUGH IS ANYMORE) ENOUGHdeo uljin ana ( I WON’T CRY ANYMORE) ja malhae bwa (TELL ME), WANT ja malhae bwa YOU BABY,WANT (TELL ME), YOU BABY 104/ITES/PD,A WANT YOU uju gateun ni aneuro     D,SD BABY,WANT (IT’S LIKE A YOU BABY UNIVERSE INSIDE OF YOU) need you closer I Got ja malhae bwa Love (TELL ME) want you NEED YOU baby, want you baby CLOSER,NEED uju gateun ni aneuro 105/ITES/PD,A YOU CLOSER, (IT’S LIKE A    D ppajeodeulmyeon UNIVERSE INSIDE (IF I FALL IN) OF YOU) NEED YOU CLOSER,NEED

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

102

YOU CLOSER, ppajeodeulmyeon (IF I FALL IN) daltteun hansumdo nabukkin nado (I FLUTTER IN THE RESTLESS SIGHS TOO)