Phonological Features and Their Effects in Charlie Puth’S “Your Name” and “Nothing but Trouble” Songs

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PHONOLOGICAL FEATURES AND THEIR EFFECTS IN CHARLIE PUTH’S “YOUR NAME” AND “NOTHING BUT TROUBLE” SONGS

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

By MARGARETHA NOVA DESTIYANTI Student Number: 154214090

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019

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PHONOLOGICAL FEATURES AND THEIR EFFECTS IN CHARLIE PUTH’S “YOUR NAME” AND “NOTHING BUT TROUBLE” SONGS

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

By MARGARETHA NOVA DESTIYANTI Student Number: 154214090

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019

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HYIHITI YAUYX IS\TXITflNd NYNfNTf,SUf,d NVYTYAUSd UYflIAIf,T PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TIDAK TINDAKAN MERUPAKAN PLAGIAT PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

HIDUPLAH SEAKAN-AKAN INI HARI TERAKHIR MU HIDUP

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FOR MY BELOVED MYSELF, THANK YOU FOR NOT GIVING UP AND MY BELOVED FAMILY

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ACKNOWLEDGEMENTS

Firstly, I would like to express my deepest gratitude to Jesus Christ, Holy

Maria, Saint Joseph, and Saint Margaretha for blessing me during writing this undergraduate thesis. I also would like to send my gratitude to my family for their support. Then, I would like to thank myself for not giving up on making this thesis.

Secondly, I also would like to express my gratitude to my thesis advisor

Arina Isti’anah, S.Pd., M.Hum., for always patiently supporting me, guiding me and understanding my difficulties during the process in making this thesis, and my co-advisor and my Academic Advisor Adventina Putranti, M.Hum., for guiding me, and supporting me during the process in making this thesis and also always supporting me since day one during the process of learning in this faculty. Thirdly,

I also would like to thank Miss Almira and all lecturers for their support.

Fourthly, I also would like to say thank you to all my friends for their support and their time who always accompany me during the process finishing this thesis. I hope you all are always be happy. I would like to say thank you for Leiden

Coffee & Work and Svarga Coffee & Eatery for giving me the comfortable place.

Margaretha Nova Destiyanti

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TABLE OF CONTENTS

TITLE PAGE ...... ii APPROVAL PAGE ...... iii ACCPETANCE PAGE ...... iv STATEMENT OF ORIGINALITY ...... v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ...... vi MOTTO …….………………………………………………………………….. vii DEDICATION PAGE ...... viii ACKNOWLEDGEMENTS ...... ix TABLE OF CONTENTS ...... x LIST OF TABLES ...... xi LIST OF ABBREVIATION ………………………………………………….. xii LIST OF TABLES ……………………………………………………………. xii ABSTRACT ...... xiv ABSTRAK ...... xv

CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 5 C. Objectives of the Study ...... 6 D. Definition of Terms ...... 6 CHAPTER II: REVIEW OF LITERATURE ...... 7 A. Review of Related Studies ...... 7 B. Review of Related Theories ...... 12 1. Stylistics ...... 12 2. Phonology ...... 13 a. Segmental Features ...... 14 i. Alliteration …………………………………………………. 16 ii. Assonance ………………………………………………….. 16 iii. Consonance ………………………………………………… 17 b. Supra-segmental Features ...... 17 i. Masculine Rhyme ………………………………………….. 18 ii. Feminine Rhyme …………………………………………… 18 iii. Pararhyme ………………………………………………….. 18 iv. Reverse Rhyme …………………………………………….. 19 v. Eye Rhyme …………………………………………………. 19 vi. Unaccented Rhyme ………………………………………… 19 vii. Apocopated Rhyme ………………………………………… 19 viii. Broken Rhyme ……………………………………………… 19 ix. Mosaic Rhyme ……………………………………………… 20 3. Language and Its Effects ...... 21

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a. Making the Words Memorable ………………………..……………. 22 b. Emphasizing Certain Words ………………………………….…….. 22 c. Pleasing the Listeners’ Ears ………………………………….……... 23 C. Theoretical Framework ...... 23 CHAPTER III: METHODOLOGY ...... 25 A. Object of the Study...... 25 B. Approach of the Study ...... 26 C. Method of the Study ...... 26 1. Data Collection ...... 27 2. Data Analysis ...... 27 CHAPTER IV: ANALYSIS RESULTS AND DISCUSSIONS ...... 29 A. Phonological Features in the Charlie Puth’s “Your Name” And “Nothing but Trouble” Songs ...... 29 1. Phonological Features in “Your Name” Song ...... 29 a. Segmental Features in “Your Name” Song ...... 29 i. Alliteration …………………………………………………. 30 ii. Assonance ………………………………………………….. 31 iii. Consonance ………………………………………………… 32 b. Supra-segmental Features in “Your Name” Song ...... 34 2. Phonological Features in “Nothing but Trouble” Song ...... 38 a. Segmental Features in “Nothing but Trouble” Song ...... 38 i. Alliteration …………………………………………………. 38 ii. Assonance ………………………………………………….. 40 iii. Consonance ………………………………………………… 42 b. Supra-segmental Features “Nothing but Trouble” Song ...... 44 B. The Effects of Phonological Features in Charlie Puth’s Songs ...... 50 a. Making the Words are Memorable .…………………………… 51 b. Emphasizing Certain Words ……………………………...…….. 53 c. Pleasing the Listeners’ Ears ……………………………..……... 56 CHAPTER V: CONCLUSION ...... 61 REFERENCES ...... 64 APPENDICES ...... 68 Appendix 1: “Your Name” Song Lyric ...... 67 Appendix 2: “Nothing but Trouble” Song Lyric ...... 69

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LIST OF ABBREVIATIONS

Co : Coda

Nu : Nucleus

On : Onset

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LIST OF TABLES

No. Table Page 1 Table 1. Levels of Language 12 2 Table 2. Types of Rhyme 20 3 Table 3. Alliteration Found in “Your Name” Song 30 4 Table 4. Assonance Found in “Your Name” Song 31 5 Table 5. Consonance Found in “Your Name” Song 33 6 Table 6. Rhyme Found in “Your Name” Song 34 7 Table 7. Alliteration Found in “Nothing but Trouble” Song 39 8 Table 8. Assonance Found in “Nothing but Trouble” Song 40 9 Table 9. Consonance Found in “Nothing but Trouble” Song 43 10 Table 10. Rhyme Found in “Nothing but Trouble” Song 44

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ABSTRACT

DESTIYANTI, MARGARETHA NOVA. (2019). Phonological Features and Their Effects in Charlie Puth’s “Your Name” and “Nothing but Trouble” Songs. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

Language is a medium to express human being ideas and feeling. Every human beings have their own style in his/her work. From his/her work, there are some effects for the readers or the listeners. In stylistics, the effects of a song could be analyzed through its sounds. The use of sound in a song could depict the effects. In terms of sound, there is an overview that talks about the organization and patterning the sound which is Phonology. This study has two objectives to be discussed. First, the writer provides the phonological features in Charlie Puth’s “Your Name” and “Nothing but Trouble” songs. Second, the writer finds the effects in Charlie Puth’s songs through the use of phonological features. This research used stylistic as the approach to analyze the phonological features found in the songs and find the effects. To take the data, a case study was applied. From the discussion, the song entitled “Your Name”, the alveolar voiced consonant sound /n/ dominated the repetition of initial consonant sound, while the alveolar voiceless consonant sound /t/ and the alveolar liquid consonant sound /r/ repeated the final consonant of the words. The high front unrounded lax vowel sound /ɪ/ was mostly repeated the vowel sound of the words. The types of rhyme that the writer found in “Your Name” song were Masculine Rhyme and Feminine Rhyme. Meanwhile, in the song entitled “Nothing but Trouble”, the alveolar voiced consonant sound /n/, the bilabial voiced consonant sound /w/, and the alveolar liquid consonant sound /l/ mostly repeated in the beginning of the words. The alveolar voiceless consonant sound /t/ dominated the final consonant sound of the words and the central mid unrounded reduced sound /ə/ repeated the vowel sound of the words. The types of rhyme which found in the song were Masculine rhyme, Feminine Rhyme, Reverse Rhyme, and Mosaic Rhyme. Rhyme occured at the end of the line and in the same line (an internal rhyme). The writer also found that Charlie Puth is a songwriter who has interest to make the listeners easily remembering his songs, to emphasize words, and to please the listeners’ ears so the listeners enjoy listening his songs through its repetitions of sounds.

Keywords: phonological features, song

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ABSTRAK

DESTIYANTI, MARGARETHA NOVA. (2019). Phonological Features and Their Effects in Charlie Puth’s “Your Name” and “Nothing but Trouble” Songs.Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Bahasa adalah media untuk mengekspresikan ide dan perasaan manusia. Setiap manusia memiliki gayanya sendiri dalam hasil karyanya. Melalui karyanya, ada beberapa efek bagi pembaca atau pendengar. Dalam Ilmu Stilistika, efek pada sebuah lagu dapat dianalisis melalui bunyinya. Penggunaan bunyi di dalam lagu dapat menggambarkan efek bagi pendengar. Dalam hal bunyi, ada tinjauan umum yang mendiskusikan mengenai organisasi dan pola bunyi yang disebut Fonologi. Penelitian ini memiliki dua tujuan untuk dibahas. Pertama, penulis memberikan fitur fonologis di dalam lagu Charlie Puth “Your Name” dan “Nothing but Trouble”. Kedua, penulis mencoba untuk menemukan efek melalui penggunaan fitur fonologis bagi pendengar pada lagu-lagu Charlie Puth. Penelitian ini menggunakan Ilmu Stilistika sebagai pendekatan untuk menganalisis fitur fonologis yang ditemukan di lagu Charlie Puth dan juga untuk menemukan efeknya. Penelitian ini juga menerapkan teknik case study untuk mengambil data. Dari hasil penelitian, penulis menemukan pada lagu “Your Name” bunyi konsonan alveolar voiced /n/ mendominasi pengulangan suara konsonan di awal kata, sedangkan bunyi konsonan alveolar voiceless /t/ dan alveolar liquid /r/ mengulangi bunyi konsonan di akhir kata. Vokal high front unrounded lax /ɪ/ mendominasi pengulangan bunyi vokal. Jenis sajak yang ditemukan oleh penulis adalah sajak Maskulin dan sajak Feminin. Sementara itu, dalam lagu yang berjudul “Nothing but Trouble”, bunyi konsonan alveolar voiced /n/, bilabial voiced /w/, dan alveolar liquid /l/ paling banyak muncul dalam mengulang bunyi konsonan di awal kata. Bunyi konsonan alveolar voiceless /t/ mendominasi pengulangan bunyi konsonan di akhir kata dan bunyi vokal central mid unrounded reduced /ə/ paling banyak muncul dalam pengulangan bunyi vokal. Jenis sajak yang ditemukan di dalam lagu ini adalah sajak Maskulin, sajak Feminin, sajak Balik (Reverse), dan sajak Mosaik. Sajak muncul di akhir baris dan di dalam baris yang sama (sajak internal). Penulis juga menemukan bahwa Charlie Puth adalah seorang penulis lagu yang memiliki ketertarikan untuk membuat pendengarnya mudah mengingat lagunya melalui bunyinya. Penulis juga menemukan bahwa Charlie Puth adalah seorang penulis lagu yang memiliki ketertarikan untuk membuat pendengarnya mudah mengingat lagunya, untuk menekankan kata-kata, dan untuk memuaskan telinga pendengar sehingga pendengar dapat menikmati lagunya melalui pengulangan bunyinya.

Katakunci: fitur fonologis, lagu

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CHAPTER I

INTRODUCTION

A. Background of the Study

Language takes an important part in human’s life. In human’s life, language is used to communicate. It also helps humans to convey what they think and feel. Brinton and Brinton (2010) state that

language has various functions such as to give expression to our thoughts, transmit information, maintain social intercourse, provide the raw material for works of literature, get others to do things, express emotions or feelings, makes promises, ask questions, bring about states of affairs (p.2)

From the explanation above, it is understood that language has many functions.

Language is a medium to express our ideas, deliver the message, and ask something.

Those functions of language show that language is very essential in human’s life. Human beings can express their ideas, emotions, and feelings through language. Human pour it through their creativities either in written or spoken work, so it will eventually leave an impression attached to the work itself. Commonly, human beings will convey their creativities into a literary work, either poem, short story, play, or novel.

Songs are divided into musical notes and words. Words in a song are called lyrics. Lyrics in a song have a big role in order to give an image about the song.

Song lyrics contained linguistic indicators of self-focused attention, present- focused attention (Miller, 2017). Lyrics are included as one of types of poem since lyrics are a short poem that can be sung (Ade & Okunoye, 2008, p. 190). It means

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that lyrics are a poem that can be sung. In creating songs, many musicians and singer use rhyme in order to get attention of the listener so they can easily remember the song. Through the rhyme it helps the listener to remember the lyrics. Rhyme also can function to stimulate the listener’s memory through its repetition.

Therefore, it is the simplest the reason of applying the use of rhyme conducted by many musicians and singers in their songs.

Sometimes, people think that literary text can only be discussed in the literary studies by using several possible literary criticisms. However, literary work can also be discussed in terms of language. This phenomenon happens since some of literary works use unique language to deliver their emotions, ideas, and feelings.

Simpson states that “literary work also offer the chance to explore language that is out of the ordinary, language which is often the preeminent embodiment of the creative spirit” (2004, p.98). In linguistic studies, literary work can be discussed in the level of language. Level of language is the level where the language could be analyzed by its sounds, words, grammar, and vocabulary (Simpson, 2004, p. 5).

In phonology, language can be analyzed through its sounds. Simpson states that “the sound of spoken language, the way the sounds are produced includes in the phonology level” (2004, p.5). Phonology according to Ufot (2013) is

the study of the organization and patterning of sounds in particular languages. Phonology concerns itself with how these sounds function in a systemic way in a particular language (p.110)

Based on the explanation above, it can be assured that phonology is the study of sounds that can be seen through the pattern and organization of the language.

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Moreover, through the explanation above, it can be concluded that phonology is the study of sounds. Sounds especially in articulatory can be analyzed through supra-segmental features. Supra-segmental features is defined as “element that imposed more than one segment, in example vowels and consonant” (Brinton

& Brinton, 2010, p. 64). Supra-segmental consists of syllable. Syllable takes part in rhyming. Rhyme is “the repetition of the phonemic sound of a single syllable at the end of a line” (Bradford, 1997, p. 16). Rhyme can be seen through either poem or song lyric.

Rhyme is found also in the Charlie Puth’s songs. As cited from Bartley

(2015), Charlie Puth is an American singer, songwriter, and record producer. He was debuted through YouTube in his channel by posting his acoustic covers and comedy videos. In 2011, he participated and won an online video competition by covering Adele’s song. In 2010, he released an album entitled The Otto Tunes, and in 2013 he also released an album entitled Ego. The hit songs at that time are “Some

Types of Love” and “One Call Away”. In 2015, he and Megan Trainor released a song entitled “Marvin Gaye” which became the song topped charts in New Zealand,

Ireland, and The United Kingdom. Also in the same year, Charlie Puth released a song with Wiz Khalifah entitled “See You Again”.

This research discusses Charlie Puth’s songs entitled “Nothing but

Trouble” and “Your Name”. “Nothing but Trouble” was released in 2015, then it is included in the Nine Track Mind album in Deluxe edition which had been released in 2016. As cited from Billboard (2015), “Nothing but Trouble” song got the song position number 7 in the Rhythmic song in the United States. Moreover, “Nothing

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but Trouble” is one of the soundtracks of The 808-documentary. On the other hand, his other song entitled “Your Name” was released on 2013 in his album entitled

Ego as the one of his tracks in his debut album.

In this study, the writer examines the lyrics of Charlie Puth’s songs entitled

“Nothing but Trouble” and “Your Name”, which examined more deeply the rhyme that contributed in the lyrics and also the effect to Charlie Puth’s style through those songs. The purpose of this research is knowing the effects in Charlie Puth’s songs through the phonological features.

The reason why the writer uses the song as the object is because every song has the own style of language which can be to analyse. This understanding has been explained by Finch (2000) that,

the study of style has traditionally been the preserve of literary criticism, but since the rise of linguistics there has been a more systematic attempt to provide a ‘linguistic’ foundation for literary effects, as well as a concern to broaden the scope of enquiry to include non-literary text (p. 189).

Another reason of choosing song as the object of the study has also been explained by Simpson (2004) “many forms of discourse (advertising, journalism, popular music – even casual conversation) often display a high degree of stylistic dexterity”

(p.3).

Rhyme also can be analysed in stylistics because it is a part of style of language. Stylistics deals with the creativity of language (Simpson, 2004, p. 3) and rhyme is part of song’s creativity. Using rhyme is the same as exploring the creativity, and through those creativity, it can involve someone’s style. Leech and

Short (2007) state that “the word ‘style’ has a fairly uncontroversial meaning: it refers to the way in which language is used in a given context, by a given person,

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for a given purpose” (p.9). It means that the style refers to how a writer’s idea is manifested to his or her works. The effect in Charlie Puth’s songs will be discussed by using stylistic in this research.

Stylistics is one of the branches in linguistics. According to Verdonk, stylistics can be defined as “the analysis of distinctive expression in language and the description of its purpose and effect”(2002, p. 4). This understanding also has been disclosed by Finch (2000) “stylistics is concerned with using the methodology of linguistics to study the concept of ‘style’ in language” (p.189). Stylistics aims to analyze the style of the text. To sum up, stylistics is the study of style regarding to its effect and purpose. The reason why the writer uses stylistics in this research because basically stylistics is “to explore creativity in language use” (Simpson,

2004, p. 3).

In this research, the writer applies the phonological level of analysis that will focus on rhyme. Specifically, this research is aimed to analyze the phonological level of the songs entitled “Your Name” and “Nothing but Trouble”.

B. Problem Formulation

The researcher addresses two questions to be answered in this research, which are

1. What phonological features are found in Charlie Puth’s songs entitled “Your

Name” and “Nothing but Trouble”?

2. What effects are resulted from the phonological features in the songs?

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C. Objectives of the Study

This research focuses on the effects in Charlie Puth’s songs through the phonological features. Therefore, the effects in Charlie Puth’s songs will be known.

The first goal of this research is to find out the phonological features in Charlie

Puth’s song entitled “Nothing but Trouble” and “Your Name”. The purpose is to show the phonological features used by Charlie Puth on his songs. After knowing the phonological features, it will be used to reach the second goal which is to find out the effect by using those phonological features. The purpose is to find out the effects through the phonological features.

D. Definition of Terms

This part will define several terms which are used in this research. The purpose of this part is to avoid misunderstanding on certain terms. The terms are phonological features, song, and style. The first term is phonological features.

Phonological is “phonology as a level of language” (Wales, 2011, p. 318). Feature is “a term to refer to any typical property of spoken or written language” (Crystal,

2008, p. 186). It means that phonological features is a term of a level of language that studies the sounds in particular language.

The second term is song. Song as a musical work, an abstract entity that serves as an umbrella for many versions or rendition. (Spitzer & Walters, 2003, p.

1). The song is a part of poem, especially popular poetry that are meant to be sung.

The songs are divided into musical notes and words (lyrics).

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CHAPTER II

REVIEW OF LITERATURE

This chapter displays three parts which are review of related studies, review of related theories, and theoretical framework. In the review of related studies, it consists of two undergraduate theses and two journal articles which are related to this study. In the review of related studies, the writer also shows the similarities and differences between the previous related studies and this study.

Moreover, in the review of related theories, it presents the theories that are used in this study. The last part, theoretical framework, is the short explanation about how the problem formulation will be answered with the theories.

A. Review of Related Studies

This part discusses the related studies which are related to this study that discussed the style of language in the literary works. There are four related studies that contribute to this research. They help this research to expand the topic’s ideas.

The first related study is entitled Literary Style in “Song to the Men of

England” by Percy Bysshe Shelley. This research was conducted by Setyarini

(2015). In her research, she has three purposes which are to describe the relations among word in the poem to create the literary style, to represent the linguistic aspect and the personal features in the poem to form the literary style, and to portray the relation between the linguistic aspects and the personal features to fortify the

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relation among words to become the style of literary. The researcher also uses stylistics approaches to achieve her purposes that already mentioned above.

Setyarini (2015) finds out that Shelley uses the simple diction indicating the ambivalence and the uncertainty to represent Shelley’s doubt in expressing his ideas. The ambivalence can also be seen through the use of figurative language that consist the contradiction situation. Moreover, Shelley’s uncertainty is seen through the nominal groups, the definite article, the diction, the rhyme scheme, the rhythm and meter pattern. The uncertainty comes from the irregular ending sounds and masculine rhyme, and the irregularities comes from the combination of the trochaic tetrameter pattern and the iambic tetrameter pattern. Meanwhile, the choice of word in the poem brings the relation of the words to represent subjectivity. The relation of words to the objects led the obscurity in Shelley’s decision about the struggle of his life. Through the diction, the obscurity is pointed with the uncertainty and ambivalence. She concluded that the obscurity become the poetic style of Shelley.

Setyarini’s research is similar to this thesis because it also talks about rhyme. However, through Setyarini’s research, the writer aim to discover new ideas of stylistics, which is to know the effects through phonological features. The object also different, in Setyarini’s research, she uses poem. However, this research will use the song as the object of the research.

The second related studies is entitled Phonological Features in Robert

Frost’s “Fire and Ice” and “Nothing Gold Can Stay” Poems. This research was conducted by Asmara (2018). In his research, he aims to find out the phonological features in Robert Frost’s “Fire and Ice” and “Nothing Gold Can Stay” poems, and

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also to find out the style of Robert Frost through the poems. This research, he has two research questions, which are the phonological features that used in Robert

Frost’s poems and how do those features constitute Robert Frost’s style. As part of analyzing the data, Asmara uses stylistics approach. Since in stylistic there are some levels of language, he decides to focus on the phonological level since he wants to find out the phonological features inside the poems.

The contribution of his study into this research is the analysis of the data since this research also uses phonology. In Asmara’s study, he uses phonology which covers all the features such as rhyme, meter, assonance, consonance, and alliteration. In his research, he finds out that Robert Frost’s “Fire and Ice” poems has ABAABCBCB end rhyme pattern and use masculine rhyme, while in “Nothing

Gold Can Stay” has AABBCCDD end rhyme pattern. Robert Frost’s “Fire and Ice” is written in iambic tetrameter and iambic dimeter. In addition, the second poem written in iambic trimeter and unmetrical pattern. The major repetitions of vowel sounds in “Fire and Ice” are front high lax vowel /ɪ/ and the diphthong/aɪ/. On the other hands, the dominate repetition of vowel sound in “Nothing Gold Can Stay” is front high tense /i:/ and diphthong /əʊ/. Meanwhile, for the repetition of consonant in “Fire and Ice” poem is alveolar voiceless consonant /s/ repeated in the beginning of the words and the consonant that repeated at the end of the words is alveolar voiceless consonant /t/. For the consonant, in “Nothing Gold Can Stay” poem has five repetitions of initial consonant sound and each of them has a different consonant. In the final consonant sound in this poem has three repetitions and each

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of them has a different consonant. Asmara have found out that Robert Frost has a rhythmical style in making his poems.

The difference between Asmara’s research and this research is this research will focus on rhyme in Charlie Puth’s song entitled “Your name” and

“Nothing but Trouble”. The object of the research also different. In Asmara’s research, he uses poems as the object. However, the song will be the object of this research.

The third related study is entitled Phonological Features in Rudyard

Kipling’s “If”. This article was conducted by Isti’anah (2016). In this research, the researcher would like to know the phonological levels in Rudyard Kipling “If”. In this research, the researcher uses stylistics and phonology to analyze the work. The researcher used stylistics to know the style of the poem while, used phonology to know the segmental sound features that occurs in the poem. At the end of the research, Isti’anah found that the poem entitled If by Rudyard Kipling has an ottava rima which in the first stanza the rhyme of the poem was AAAABCBC end rhyme, and the second until the fourth stanza has the same end rhyme pattern which is

ABABCDCD. The poem also has iambic pentameter and also iambic hexameter.

Moreover, in this poem, it also has assonance. In this poem, mostly used vowel /ɪ/, and for the consonant, the consonant /t/ in every stanza mostly used those consonant and also in the beginning of the word, mostly Rudyard Kipling used consonant /j/.

From Isti’anah’s research, the writer would like to discover new insight in the stylistics research at the phonological level. The difference is in the journal

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article the object is a poem, in this researcher will use the song as the object. Also, this research will focus on rhyming.

The fourth related studies is entitled Doubly-Negating Complicatedness of

Undoing Love: A Stylistic Reading of “I Can’t Unlove You” by Kenny Rogers. This journal article was conducted by Akun (2013). In this research, the researcher aims to know the role of linguistic features to the overall meaning of the song. The goal of this research is to prove that special linguistic features used in the song which played a significant role in conveying the meaning of the song. This research focuses on the elaboration of the double negative expression to get the deeper meaning of the song. In Akun’s research, he used stylistics to reveal the dominant style that used in the song, while the double negative expression is used to prove that it is contributing to the overall meaning of the song.

In this research, Akun found out that the double negation expression combined with the creation of invented verbs such as “unthink, unfeel, unheard, unsay, unremember, and unlove” to communicate the love intricacy which mean it is impossible to undo all the good experience about the lover. At the end of his research, he also found that by using the non-existent vocabulary is an effective way of conveying meaning and the goal of his research has been reached through the combination of double negation with non-existent but created vocabulary.

The difference between Akun’s research and this research is the purpose of using stylistics. In Akun’s research, he used stylistics to know the meaning of the song through the double negation expression. On the other hand, in this research,

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the writer uses stylistics to know the effects through the phonological features. Even the object is the same which is the song, the purpose is different.

B. Review of Related Theories

In this part, there are some theories which are related to find and analyze the data. The theories related with stylistics, phonology, rhyme, alliteration, assonance, consonance also language style. Those theories will be explained in the following discussions.

1. Stylistics

Stylistics is defined as the style of language. Verdonk (2002) defines stylistics as the study of the style in language of its purpose and effects (p. 4). This also has been disclosed by Finch (2000, p. 189), “stylistics is concerned with using the methodology of linguistics to study the concept of ‘style’ in language.” The focus of stylistics is analysing the style of the text. Leech & Short (2007) also explain that stylistics discusses the style of literary works to get the characteristics of language use (p .11). The purpose of stylistics is as a tool to explore the language that used in the literary work and non-literary work (Simpson, 2004, p. 2). In order to explore the use of language, Simpson delivers some level of language. Below is the table explaining seven levels of language.

Table 1. Levels of Language (Simpson, 2004, p. 2) Level of Language Branch of Language Study The sound of spoken language; the way Phonology, phonetics words are pronounced. The patterns of written language; the Graphology shape of language on the page. The way words are constructed; words

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Level of Language Branch of Language Study and their constituent structures. Morphology The way words combine with other Syntax; Grammar words to form phrases and sentence. The words we use; the vocabulary of a Lexical Analysis; Lexicology language The meaning of words and sentence. Semantics The way words and sentences are used Pragmatics; Discourse Analysis in everyday situations; the meaning of language in context.

From the table above, it can be known that phonological level is chosen to help the researcher analyse the data. Phonology is chosen since the datum are sound.

The form of the data are rhyme, alliteration, assonance, and consonance which are found from the sound. Thus, the level of language discussed about the sound is phonology.

2. Phonology

Phonology is the study of sounds seen through the pattern and organization of the language. In the phonology, there is a minimal units concerning about the speech sounds that is called as phonetics (Dawson & Phelan, 2016, p. 40). One of the aspects in the studies of speech sounds is articulatory phonetics that concern about how the speech sounds are produced (Dawson & Phelan, 2016, p. 40). In the phonetic, there is a way how to know the sounds are produced by seeing the transcription. In order to create the phonetic transcription, the sounds are divided into segmental features and supra-segmental features (Dawson & Phelan, 2016, p.

44).

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a. Segmental Features

Segmental features are the smallest feature because it just covers the consonant and vowel sounds. Dawson & Phelan (2016) state that segmental features is divided into consonant and vowel sounds (p. 44). The consonant sounds are divided according to place and manner of articulation. While vowel sounds are divided according to the position of the tongue in the oral cavity.

Place of articulation is the way of the consonants is produced. In English sounds, there are eight places of articulation (Fromkin et al, 2010, p. 236-237). In the place of articulation, when the lips are brought together, it will produce bilabial sounds such as [p], [b], and [m]. While, if the bottom lip against the upper teeth producing labiodental sounds like [f] and [v]. Meanwhile, Interdental sounds produced when the tongue tip is between the upper and lower teeth such as [θ] and

[ð]. Moreover, the alveolar sounds are made with the tongue at or near the front of the upper alveolar ridge, such as [t], [d], [s], [z], [ɾ], [l], and [ɹ]. The palatal sounds are made by raising the front part of the tongue to the palate, the sounds are [ʃ], [ʒ],

[ʧ], [ʤ] and [j]. Moreover, when the back of the tongue are raising to the soft palate will produce velar sounds, such as [k], [ɡ], and [ŋ]. On the other hands, when the flow of the air through the open glottis the past the tongue and lips will produce glottal sound[h] and when the air is stopped at the glottis by close the vocal cords tightly will produce glottal sound[Ɂ].

Manner of articulation is how the air of sounds leaves the oral cavity. In the English sounds, the manner of articulation has seven manners of articulation

(Fromkin et al, 2010, p. 238-244). Voiced sounds are produced when the vocal

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cords are together, then causes the sounds to vibrate, the sounds are [b], [d], [ɡ],

[v], [ð], [z], [ʒ], [ʤ], [m], [n], [ŋ], [l], [w], [j], and [r]. Meanwhile, the voiceless sounds are produced when the vocal cords are apart so that the air flows freely and not causes any vibration in the oral cavity, the sounds are [p], [t], [k], [f], [Ɂ], [θ],

[s], [ʃ], [ʧ], and [h]. The nasal sounds are produced when the air is flowing through the nose and mouth, and the sounds are [m], [n], and [ŋ]. While, the oral sounds are produced through the oral cavity. On the other hands, stop sounds are produced when the airstream is blocked in the oral cavity in the short time, and the sounds are [p], [b], [t], [d], [k], [ɡ], [ʧ], [ʤ], [m], [n], and [ŋ]. The fricative sounds are produced when the airstream obstructed then passes through the oral cavity, and the sounds are [f], [v], [s], [z], [θ], [ð], [ʒ], and [ʃ]. Moreover, when the sounds are produced by a short period of the airstream stopping then followed by releasing gradually the closure, and the sounds are [ʧ] and [ʤ]. The sounds [l] and [r] is liquid sounds because the sounds are produced by some obstruction of the airstream in the mouth, but not enough to cause constrictions. The glide sounds are produced when the airstream have little obstruction, and the sounds are [w] and [j].

On the other hand, the vowel sounds in English are produced when the airflow from the lungs out the mouth and/or the nose have less restriction. The vowel sounds depend on the tongue position in the mouth caused the high, mid, and low vowel sounds. The high vowel sounds are [i], [ɪ], [u], and [ʊ]. The vowel sounds are categorized as mid vowel sounds are [ɛ], [ə], [o], and [e]. While, the vowel sounds that are categorized into low vowel sounds are [æ], [ʌ], [ɔ], and [a]. The vowel sounds which are depend on the round of the lips called as rounded vowel,

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such as [u], [ʊ], [o], and [ɔ]. In the English sounds, there are not only have vowel sounds, but also diphthongs sounds. Diphthongs are a sequence of two vowel sounds (Fromkin et al, 2010, p. 248). English sounds have five sounds of

Diphthongs (Dawson & Phelan, 2016, p. 47). There are [aɪ], [aʊ], [ɔɪ], [oʊ], and

[eɪ]. The vowel and diphthong sounds are categorized into tense and lax sounds. It depends on the duration of the sounds. If the sounds are pronounced in the long duration called as tense sounds, while, when the sounds are pronounced in the short duration called as lax sounds.

In addition, the further discussion about the segmental features concerning more about the consonant and vowel sounds are alliteration, assonance and consonance.

i. Alliteration

Alliteration is the repetition of consonant sound in the initial position

(Altenbernd & Lewis, 1966, p. 33). In line with Altenbernd & Lewis, Bradford

(1997) states that alliteration is “the repetition of similar consonant sounds within individual lines and across sequences of lines” (p. 15). It can be concluded that alliteration is the repetition of consonant sound in the initial position. For example, the church check the cheese in the kitchen. The alliteration from the sentence is the sound [ʧ] in the initial position.

ii. Assonance

Another segmental sound feature that associate with the vowel is called as assonance. Assonance is the repetition of vowel sounds within the line (Altenbernd

& Lewis, 1966, pp. 34). Bradford (1997) states that assonance is the repetition of

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similar vowel within the lines and across sequences of lines (p. 15). For example, it is true that I do love you. The assonance is the repetition of the vowel sound [u].

iii. Consonance

Consonance is the reverse of assonance. If assonance deal with the repetition of vowel sound, while, consonance is the repetition of the consonant sound. In the consonance, the consonant sounds have similarities with each other but also there are differences between the vowel sounds (Reaske, 1966, p. 21). The consonance occurs in the final consonant sound that involves two or more syllable.

Sometimes consonance covers both the first and last consonants in the syllable

(Cavanaugh, 1974, p. 264). It can be concluded that the consonance is the repetition of the consonant sounds in both the initial and final consonants. The example of consonance is in “Toss the glass, boss!” there is a repetition in the s sound in the final position. b. Supra-segmental Features

Supra-segmental feature is a feature that covers all the consonant and vowel sounds. Supra-segmental feature is the larger features than the segments that often occur to the entire utterances of consonant and vowel sounds (Dawson &

Phelan, 2016, p. 44). Supra-segmental features are dealing with syllable or the word. The syllable consists of onset (initial consonant), nucleus (vowel), and coda

(final consonant). One of the units of the supra-segmental features is rhyme.

Rhyme is one language features used to beautify the literary works. Rhyme also is a part of supra-segmental features, which deals with the syllable. According to Ufot (2013), rhyme is the repetition of nucleus and coda where occur at the end

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of the lines. Rhyme is divided into internal rhyme and end rhyme. Internal rhyme is the rhyme within the line. An internal rhyme usually take place at or near the middle of the lines (Altenbernd & Lewis, 1966, p. 32). However, end rhyme is the rhyme occurs in the final position of lines (Altenbernd & Lewis, 1966, p. 32). There are some types of rhyme that explained by the experts. Ufot (2013) purposes nine types of rhyme:

i. Masculine Rhyme

Masculine rhyme is a rhyme that has the same identity between nucleus and coda of stressed monosyllabic words at the end of two or more lines, for example day [deɪ] /say [seɪ] (Ufot, 2013, p. 118).

ii. Feminine Rhyme

Feminine rhyme is a rhyme which consists of two (or more) syllables in which a stressed syllable is followed by an unstressed syllable, for example, motion

[moʊʃən] /ocean [oʊʃən] (Ufot, 2013, p. 118).

iii. Pararhyme

Pararhyme is the rhyme that involves syllables or words with a different nucleus but similar or identical onsets and coda, for example pest[pest]/past[pæst].This rhyme also can be half rhyme or off rhyme that is involves the repetition of coda with variation in the preceding nucleus, for example pest [pest] /last [læst] (Ufot, 2013, p. 118).

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iv. Reverse Rhyme

Reverse rhyme is a rhyme that has the similar identity between the onset and nucleus of two or more stressed syllable, for example cash [kæʃ] /carry [ˈkæriː]

(Ufot, 2013, p. 118).

v. Eye Rhyme

Eye rhyme is the rhyme if the words whose endings are spelt alike, and in most instances were pronounced alike, for example, bough [baʊ] /cough [kɔːf]

(Ufot, 2013, p. 119).

vi. Unaccented Rhyme

This types of rhyme will occur if the word which have a stressed syllable word rhymes with an unstressed word, for example unsure [ənˈʃʊər] /measure

[ˈmeʒər] (Ufot, 2013, p. 119). vii. Apocopated Rhyme

The Apocopated rhyme is a rhyme occur when one of the rhyming syllables is followed by an extra syllable, for example wordless [wɜːrdlɪs] / birds

[bɜːrdz] (Ufot, 2013, p. 119).

viii. Broken Rhyme

Broken rhyme is a rhyme when a word is split to run on to the next line, for example, leaving him to buy his box of oint[ɔɪnt]-

Ment, tea, and seedlings – which were now to the point[pɔɪnt]

(Christopher Filling) (Ufot, 2013, p. 119)

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ix. Mosaic Rhyme

The mosaic rhyme also called as compound rhyme, is a type of rhyme in which one word rhymes with a combination of words, for example background

[bækˌgraʊnd] /foreground [fɔːrˌgraʊnd] (Ufot, 2013, p. 119).

Moreover, Altenbernd & Lewis (1996, p. 31) add another type of rhyme which is double feminine rhyme. Double feminine rhyme is the rhyme that consist of two syllables. Double feminine rhyme shares the similarity to the Feminine rhyme in accordance to Ufot.

Below is the table of summarize of the types of rhyme from Ufot (2013) and Altenbernd & Lewis (1966).

Table 2. Types of Rhyme (Altenbernd & Lewis, 1996, p. 31; Ufot, 2013, p. 118-119) No. Types of Meaning or Characteristic Example Rhyme 1. Masculine same identity between day [deɪ] and say rhyme nucleus and coda of stressed [seɪ]. monosyllabic words at the end of two or more lines 2. Feminine consists of two (or more) motion [moʊʃən] rhyme syllables in which a stressed and ocean syllable is followed by an [oʊʃən]. unstressed syllable a. involves syllables or pest[pest]and words with a different past[pæst] 3. Pararhyme similar or identical onsets and coda b. involves the pest [pest] and last repetition of coda with [læst] variation in the preceding nucleus 4. Eye Rhyme the words whose endings are bough [baʊ] and spelt alike, and in most cough [kɔːf] instances were pronounced alike 5. Reverse rhyme has the similar identity cash [kæʃ] and between the onset and

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No. Types of Meaning or Example Rhyme Characteristics nucleus of two or more carry [ˈkæriː] stressed syllable 6. Unaccented Occur when the word which unsure [ənˈʃʊər] rhyme have a stressed syllable word and measure rhymes with an unstressed [ˈmeʒər] word 7. Apocopated occur when one of the wordless rhyme rhyming syllables is [ˈwɜːrdlɪs]and followed by an extra syllable birds [bɜːrdz]. 8. Broken rhyme when a word is split to run on leaving him to buy to the next line his box of oint[ɔɪnt]- Ment, tea, and seedlings – which were now to the point[pɔɪnt] 9. Mosaic rhyme a type of rhyme in which one background (compound word rhymes with a [bækˌgraʊnd] and rhyme) combination of words foreground [fɔːrˌgraʊnd]

From the table above, it is clear that there are ten types of rhyme. Those types of rhyme will help the writer to analyze the Charlie Puth’s songs in order to know the style of Charlie Puth.

3. Language and Its Effects

Language style is the style of language that is used to present a literary work in a particular way the author wants. Language style is a method people do to its language use in order to communicate both in written and spoken language

(Chaika as cited in Haqqo, 2016, p. 7). The use of language can make people have a curiosity and build interest in listening or reading the literary text.

Since song and poem are the literary works that present the author’s expression of feeling, the author usually uses phonological features such as

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alliteration, assonance, consonance, and rhyme to make the work more beautiful to be listened to or read. There are some effects by using alliteration, assonance, and consonance sound. a. Making the Words are Memorable

This effect can be gained since alliteration is “a powerful aid to memory”

(Kennedy & Gioia, 1999, p. 813). It happens because the sound is repeated and the listener directly get the attention of the sound. Also, by using assonance, it might the phrases unforgettable (Kennedy & Gioia, 1999, p. 814). Thus, there are how the words and phrases are easy to remember since they use the alliteration, assonance, and consonance sound. b. Emphasizing Certain Words

This effect depicts through the repetition of sound. According to Kennedy

& Gioia (1999), the effect by using alliteration sound is to give emphasis (p. 813).

Consonance also gives effect emphasizing the words. According to Romala (2018), consonance sound gives emphasize since the consonance sound happens in the end of the words (p. 5). This effect happens since the songwriter uses the repetition of sound such as alliteration, consonance, and rhyme to give emphasis of the word where the repetition happens.

The effect of emphasizing the words also could be found in rhyme. Rhyme can emphasize particular words (Kennedy & Gioia, 1999, p. 813). This effect happens since rhyme occur at the end of the lines or within the line. They are emphasize the words when it becomes rhyme.

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c. Pleasing the Listener’s Ears

This effect arise when the songwriter uses repetition of sound such as alliteration, assonance, consonance, and rhyme. It happens because when the listener have heard a sound before, then it becomes mostly pleasing to hear it again

(Reaske, 1966, p. 21). Perrine (1977) also supported by stating that the repetitions of sound are matters that ordinarily make enough impression on the ear (p. 170).

Therefore, through the use of the repetitions of sound makes the listener’s ears are more pleasing, so the listener can enjoy to listen the song.

C. Theoretical Framework

According to the theories explained above, the focus of this study is on the phonological level of stylistics. Thus, there are two main goals to be analysed in this research. The first goal is to find out the phonological features that used in

Charlie Puth’s “Nothing but Trouble” and “Your Name” songs and the second goal is to know the effect by using those phonological features in Charlie Puth’s songs.

The theory of phonology which focuses in the sound features is needed to answer the first problem. The theory of segmental features from Alternberd &

Lewis is used to find out the alliteration, assonance, and consonance in songs while the theory of supra-segmental features from Ufot and Altenbernd & Lewis is used to find the types of rhyme in songs.

Meanwhile, to answer the second problem, the result of the first problem will be related to the style of Charlie Puth. The answer of the first problem will cover the types of rhyme, alliteration, assonance, and consonance occur in Charlie

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Puth’s songs entitled “Your Name” and “Nothing but Trouble”. From the result, the effects by using phonological features in Charlie Puth’s songs is analysed by relating the types of rhyme, alliteration, assonance, and consonance. The theory of stylistics and language and its effects are applied in order to know the effects. As the result, this study reveals the effects by using phonological features in Charlie

Puth’s songs. The writer used the theories by Kennedy & Gioia, Reaske, and

Romala to analyze the effects.

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CHAPTER III

METHODOLOGY

This chapter displays three parts which are object of the study, approach of the study, and method of the study. The object of the study underlines the linguistic features that will be analyzed based on the data. The approach of the study describes the approach that is used to analyse the linguistic features. In the method of the study, it explains briefly about how to collect and analyze the data.

A. Object of the Study

The object of the research dealt with the songs by Charlie Puth. In this research, the researcher used two songs by Charlie Puth: “Your Name” and

“Nothing but Trouble”. The first song, “Your Name” was released in 2013 on the album entitled Ego. This song in one of the tracks of the album. On the other hand, the second song, “Nothing but Trouble” was released in 2016 on the album entitled

Nine Track Mind Deluxe Edition. Both songs were written by Charlie Puth. The lyrics of both songs were taken from www.azlyrics.com.

The object of the study focused on the phonological level of stylistics, which covered the analysis of segmental features (alliteration, assonance, and consonance) and supra-segmental features (rhyme). In alliteration, the data allied to the repetition of initial consonant sounds of each line in the songs.

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In consonance, the data where related the repetition of final consonant sounds of each line in the songs. However, in assonance, the data covered the repetition of vowel sounds of each line in the songs. At last, in rhyme, the data covered the repetition of the arrangement of the onset (initial consonant), nucleus (vowel) and coda (final consonant) at the end of each line and within the line of the songs.

B. Approach of the Study

The approach of this study was stylistics. Stylistics is the study of style in language of its purpose and effects (Verdonk, 2002, p. 4). The purpose of stylistics is as a tool to explore the creativity of the language used in the literary work and non-literary work (Simpson, 2004, p. 2). Stylistic approach is suitable to apply in this research since this research shared the same goal which is to know the effect of the use of phonological features in the songs and this research gathered the data from non-literary work, in this case song lyrics, which also one of the concentrations in stylistics. The analysis of stylistics of this study is created under the aspects of phonological level of stylistics, which covered rhyme, alliteration, assonance, and consonance.

C. Method of the Study

In order to accomplish this research, there are two methods of the study which are data collection and data analysis.

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1. Data Collection

This research used population (a case) study. According to Creswell (2017, p. 143), a case study was a method that analysed deeply about the case. The writer chose case study since the writer focused on the lyrics in songs. The data selected for this research were alliteration, assonance, consonance, and rhyme from Charlie

Puth’s songs. The data of this research were taken from songs entitled “Your Name” and “Nothing but Trouble” written by Charlie Puth. The songs were chosen since they were contained the phonological features. The data were chosen due to the availability of phonological features.

To collect the data, first, the writer searched and listened to the songs and observed the lyrics on www.azlyrics.com, then transcribed the song lyrics. Next, the writer collected the words by taking some notes that contained rhyme, alliteration, assonance, and consonance. After that, the writer classified the findings based on the types of rhyme, assonance, alliteration, and consonance. The writer analyzed the effect of the use of phonological features based on the classification of the types of rhyme, alliteration, assonance, and consonance findings.

2. Data Analysis

In order to answer the first problem, the writer listened the song then observed the lyrics. After that, the writer divided the analysis song by song and then divided again into two parts. In the first part, the analysis divided into two parts into the segmental features and supra-segmental features. Segmental features covered alliteration, assonance, and consonance in the song lyrics. In alliteration, the writer observed the repetition of the initial consonant sound in the two songs. In the

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assonance, the writer examined the repetition of vowel sound in the songs. In the part of finding out consonance, the writer observed the repetition of final consonant in the two songs. The writer applied the theories by Cavanaugh and Altenbernd &

Lewis to observe the alliteration, assonance, and consonance sounds appeared in the songs.

Furthermore, in the second parts, the writer scrutinized the supra- segmental features of the songs. In this part, the writer analyzed rhyme in the songs.

The analysis of rhyme focused on the repetition of the arrangement of the nucleus

(vowel), and the coda (final consonant) at the end of the line and within the line.

The writer employed the types of rhyme by Ufot and Altenbernd & Lewis to observe rhyme occurred in the songs.

In addition, to answer the second problem, the writer scrutinized the effects.

In finding out the effects, the writer used the data which gained from the result of the first problem. In analyzing the effects, the writer divided the analysis into three parts based on the theories. Then in each effect, the writer analyzed song by song and sequential according to the sound features.

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CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This chapter is divided into two parts. The first part discusses segmental sound features which overwhelmed alliteration, assonance, consonance and supra- segmental sound features which deal with rhyme in the songs. The second part analyses the language style of Charlie Puth through the usage of the rhyme, alliteration, assonance, and consonance are revealed.

A. Phonological Features in the Charlie Puth’s “Your Name” and

“Nothing but Trouble” Songs

The analysis of this research is divided into segmental sound features and supra-segmental sound features. The segmental features consists of alliteration, assonance, and consonance. Meanwhile, the supra-segmental features deal with rhyme. The phonemic transcription of the words includes in the analysis and the phonemic transcription place in the inside the slash brackets.

1. Phonological Features in “Your Name” Song

“Your Name” was released on 2013. “Your Name” has 39 lines of lyrics.

Below is the discussion on phonological features in “Your Name” song. a. Segmental Features in “Your Name” Song

In “Your Name” song, Charlie Puth used some segmental features which consists of alliteration, assonance, and consonance. Through the use of

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segmental features, it helps the writer to find out the Charlie Puth’s style in writing the songs. i. Alliteration

First, there are some alliteration in “Your Name” songs. Altenberd &

Lewis (1966) explain that alliteration is the repetition of consonant line in the initial position (p. 33). The result of alliteration found in “Your Name” song is provided in the table below.

Table 3. Alliteration Found in “Your Name” Song Line Lyrics Alliteration 10 Never been acquainted I just need to know your /n/ name 11 Girl I just need to know your name /n/ 1 This goes out to the most beautiful girl that I saw /ð/ just the other day 16 Than anything I might have thought that I could /ð/ feel 20 Is she out there is she out there /ð/ 2 She had me slipping and had me falling for her right /f/ away 9 If you knew how I felt cause you never feel the /f/ same 9 If you knew how I felt cause you never feel the /j/ same 8 Girl you got me love sick and your beauty is to /ɡ/ blame

From the table above, the alliteration found in the song are /n/, /ð/, /f/, /ɡ/ and /j/. First, alveolar voiced consonant /n/ is found in the words “never”, “need”,

“know”, and “name”. Another alliteration /n/ is repeated in lines 25, 26, 27, 28, 34,

38, and 39. The alliteration alveolar voiced consonant /n/ is commonly used in the song since the frequencies of the alliteration are nine. Next, the alliteration of interdental voiced fricatives consonant /ð/ appears in the words “this”, “the”,

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“than”, “that”, and “there”. The repetition of the alliteration interdental voiced fricatives /ð/ sound occurs in the line 21 with the word “there”. Meanwhile, the labiodental voiceless consonant /f/ can be found in the words “falling”, “for”, “felt”, and “feel”. The alliteration labiodental voiceless consonant /f/ also appears in lines

24, 33, and 37. Another alliteration sound, the velar voiced consonant /ɡ/ occurs in the words “girl” and “got”, also, occurs again lines 23, 32, and 36. The last alliteration sound found is palatal glides voiced consonant /j/ enters in the word

“you”. The alliteration palatal glides voiced consonant /j/ sounds is repeated in the lines 24, 33, and 37. ii. Assonance

Second, another segmental sound feature found in “Your Name” songs is assonance. According to Altenbernd & Lewis (1966), assonance is the repetition of vowel sounds within the line (p. 34).The assonance sounds are summarized in the table below.

Table 4. Assonance Found in “Your Name” Song Line Lyrics Assonance 3 This goes out to the one and only miss mysterious /ɪ/ 5 Yeah is she out there is she out there /ɪ/ 7 Cause you’re all that I need in every single way /ɪ/ 10 Never been acquainted I just need to know your name /ɪ/ 17 I give it all everything I have even though it’s all so new /ɪ/ 8 Girl you got me love sick and your beauty is to blame /u:/ 9 If you knew how I felt cause you never feel the same /u:/ 14 Thought that true love was actually real /u:/ 19 Can you make my wish come true /u:/ 1 This goes out to the most beautiful girl that I saw just /i:/ the other day 2 She had me slipping and she had me falling for her right /i:/ away 4 Thought of me being next to her got me so delirious /i:/ 7 Cause you’re all that I need in every single way /i:/ 20 Is she out there is she out there /i:/

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Line Lyrics Assonance 9 If you knew how I felt cause you never feel the same /ɛ/ 20 Is she out there is she out there /ɛ/ 21 Just tell me if you’re out there if you’re out there /ɛ/

From the table above, the assonances found in “Your Name” song are /ɪ/,

/u:/, /i:/, and /ɛ/. The high front unrounded lax vowel sound [ɪ]occurs in line 3, 5, 7,

10, and 17. They occur in the word “miss”, “mysterious”, “is”, “every”, “single”,

“been”, and “acquainted”. The high front unrounded lax vowel sound /ɪ/ is repeated in lines 20, 22, 25, 31, 34, 35, and 38 with the same word. These assonance sound is commonly used since the frequencies of the sound are twelve.

The second assonance sound is high back rounded tense vowel sound /u:/ found in lines 8, 9, 14, and 19 which occur in the words “you”, “beauty”, “to”,

“you”, and “true”. The repetition of high back rounded tense vowel sound [u:] appears in the lines 23, 24, 32, 33, 36, 37.

Moreover, the assonance sound is high front unrounded tense /i:/ arises in lines 1, 2, 4, 7, and 20 with the words “this”, “the”, “she”, “me”, “delirious”, “need”, and “every”. In lines 22, 31, and 35, the repetition of high front unrounded tense /i:/ is repeated with the same words. The last assonance sound found in the song is front mid unrounded lax vowel sound /ɛ/. The front mid unrounded lax vowel sound /ɛ/ occurs in lines 9, 20, and 21 in the words “felt”, “never”, “there”, and “tell”. These assonance sound occur again in the lines 24, 33, and 37 with the same words. iii. Consonance

Last, in the song “Your Name”, Charlie Puth also used consonance.

Consonance is the repetition of consonant sound in the final position (Cavanaugh,

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1974, p. 264). The consonance sound found in “Your Name” song is listed in the table below.

Table 5. Consonance Found in “Your Name” Song Line Lyrics Consonance 1 This goes out to the most beautiful girl that I saw /t/ just the other day 4 Thought of me being next to her got me so /t/ delirious 5 Yeah is she out there is she out there /t/ 14 Thought that true love was actually real /t/ 16 Than anything I might have thought that I could /t/ feel 18 Cause I want you in the worst of ways /t/ 20 Is she out there is she out there /t/ 21 Just tell me if you’re out there if you’re out there /t/ 2 She had me slipping and she had me falling for her /r/ right away 10 Never been acquainted I just need to know your /r/ name 12 Before I saw your face /r/ 20 Is she put there is she out there /r/ 21 Just tell me if you’re out there if you’re out there /r/ 1 This goes out to the most beautiful girl that I saw /l/ just the other day 7 Cause you’re all that I need in every single way /l/ 2 She had me slipping and she had me falling for her /d/ right away 10 Never been acquainted I just need to know your /d/ name

From the table above, the consonance sounds found in “Your Name” song are /t/, /r/, /l/ and /d/. The alveolar voiceless consonant sound /t/ occurs in the words

“out”, “most”, that”, “just”, “thought”, “next”, “got”, “might”, “want”, and “worst”.

These consonance sounds are mostly found in the song with the frequencies are eight. The repetition also occurs in lines 20 and 21 with the same words. Another consonance sound with the most commonly found with the same frequencies in the

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song is alveolar liquid consonant sound /r/. This consonance occurs in the words

“for”, “her”, “never”, “your”, “before”, and “there”. The alveolar liquid consonant sound /r/ is repeated in the lines 21, 25, 34, and 38 with the same words.

In addition, the alveolar liquid consonant sound /l/ is also found in the song. This consonance sound occurs in the words “beautiful”, “girl”, “all”, and

“single”. The alveolar liquid consonant sound /l/ repeats in lines 22, 31, and 35 with the same words. Meanwhile, the alveolar voiced consonant sound /d/ appears in lines 2 and 10 with the words “had”, “and”, “acquainted”, and “need”. The repetition of the alveolar voiced consonant sound /d/ occurs in the lines 25, 34, and

38 with the same words. b. Supra-segmental Features in “Your Name” Song

In the supra-segmental features, the analysis focuses on rhyme which occurs in the song entitled “Your Name” by Charlie Puth. In the analysis, the writer uses the theory by Ufot (2013) and Altenbernd & Lewis (1966). The writer analyses the rhymes by seeing the (nucleus (vowel sound) and coda (final consonant sound) in the syllable. The summarized the frequency of rhyme in “Your Name” song are listed in the table below.

Table 6. Rhyme Found in “Your Name” Song No Types of Rhyme Frequency Percentage 1 Masculine Rhyme 3 75% 2 Feminine Rhyme 1 25% Total 4 100 %

The first type of rhyme in the song is Masculine rhyme. According to Ufot

(2013), Masculine rhyme is a rhyme that has the same identity between nucleus

(vowel) and coda (final consonant) of stressed monosyllabic words at the end of

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two or more lines (p. 118). The masculine rhyme occurs in the below at the word day /deɪ/ and way /weɪ/,

“This goes out to the most beautiful girl that I saw just the other day”

“Cause you’re all that I need in every single way”

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/‘d eɪ/ ø /‘w eɪ/ ø Those words are counted into masculine rhyme because from the syllable tree above, they have the same nucleus (vowel) which is /eɪ/ and also they do not have coda (final consonant) sounds. In line with Ufot (2013, p. 118), Masculine rhyme has the same identity between the nucleus and coda, and from the syllable tree above, it clears that words “day” and “way” belongs to Masculine rhyme. This rhyme which occur in those word is involved as end rhyme since both words occur at the end of the lines.

The second masculine rhyme is found in the line below at the words real

/ri:l/and feel /fi:l/. They occur in the lyrics,

“Thought that true love was actually real”

“Than anything I might have thought that I could feel”

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/‘r i: l/ /‘f i: l/

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Those words are masculine rhyme, it is seen from the syllable tree above that they have the same nucleus (vowel) /i:/ and coda (final consonant) /l/ and in line with Ufot (2013, p. 118), Masculine Rhyme has the same identity between nucleus and coda. From the tree diagrams above, the words “real” and “feel” belongs to Masculine Rhyme since they have the same identity in Nucleus and

Coda. Also, since those words occur in the end of the lines, they are included as end rhyme.

The third Masculine rhyme in the “Your Name” song occurs in lines 8, 9,

10 with the lyrics,

“Girl you got me love sick and your beauty is to blame”

“If you knew how I felt cause you never feel the same”

“Never been acquainted I just need to know your name”

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/b l eɪ m/ /s eɪ m/ Syllable

On Rhyme

Nu Co

/n eɪ m/ From the syllable trees above, it is seen that the rhyme found in the words “blame”,

“same”, and “name”. Those words include to Masculine rhyme since they have the same nucleus (vowel) /eɪ/ and coda (final consonant) /m/. This rhyme also belongs

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to an end rhyme cause they occur in the end of the each lines. These rhyme also repeated in lines 23, 24, 25, 32, 33, 34, 36, 37, and 38.

The next type of rhyme which occurs in “Your Name” song is feminine rhyme. Feminine rhyme is a rhyme that consists of two (or more) syllables in which a stress syllable is followed by an unstressed syllable (Ufot, 2013, p. 118). In this song, Feminine rhymes occur in the line 3 and 4 with the lyrics,

“This goes out to the one and only miss mysterious”

“Thought of me being next to her got me so delirious”

The Feminine rhyme occurs in the words “mysterious” and “delirious”.

They are included as Feminine rhyme since the stress of words “mysterious” and

“delirious” is in the second syllable which is /tɪ/ and /lɪ/ then follow by the unstressed syllable /-riəs/ and in line with Ufot (2013, p. 118), Feminine Rhyme occurs when the stressed syllable is followed by an unstressed syllable. Below are the syllable tree that show the Feminine rhyme,

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/m ɪ s ‘t ɪ ø

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

r ɪ ø ø ɪə s/

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Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/d ɪ ø ‘l ɪ ø

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

r ɪ ø ø ɪə s/

2. Phonological Features in “Nothing but Trouble” Song

“Nothing but Trouble” was released in 2015. This song has 52 lines of lyrics. Below is the discussion on phonological features in “Nothing but Trouble” song. a. Segmental Features in “Nothing but Trouble” Song

There are some segmental features found in “Nothing but Trouble” song.

The segmental sound features cover alliteration, assonance, and consonance. i. Alliteration

The first segmental sound features found in “Nothing but Trouble” song is alliteration. Alliteration is the repetition of similar consonant sounds within the line or across the lines (Bradford, 1997, p. 15). The alliteration sound in the song are listed in the table below.

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Table 7. Alliteration Found in “Nothing but Trouble” Song Line Lyrics Alliteration 5 When I met her she was out for love /w/ 29 I was so green and all she wanted was that limelight /w/ 14 They like it, like it, repost it /l/ 28 Lord I had to, open up my eyes and find light /l/ 40 No, you liar, liar, liar girl /l/ 45 I’m sipping and lighted and dipping in line, but I’m /l/ coping 9 No, all my niggas say she’s not what’s up /n/ 22 She’s going now (Now it’s over) /n/ 48 Are nothing but trouble (But I don’t know her Lord) /n/ 1 I’m facing the bottle for all of my problems /f/ 27 I had to go talk to my friends, I had to find Christ /f/ 13 Oh she posted, she posted, she posted /p/ 15 She party promoting, she hosting /p/ 16 She posing, legs open, provoking /p/ 26 I had to leave that ho alone and get my mind right /m/ 31 She had me not checking my DM’s neither my likes /m/ 32 Oh what, you modelling ma? Knock yourself out /m/

From the table above, the alliteration sounds found in “Nothing but

Trouble” song are /w/, /l/, /n/, /f/, /p/, and /m/. The first alliteration sound is bilabial voiced consonant sound /w/ in the words “when”, “was”, and “wanted”. These words are repeated in lines 7 and 34. Another alliteration sound is alveolar liquid consonant sound /l/ in the words “like”, “lord”, “light”, “liar”, “lighted” and “line”.

These alliteration sounds are found in lines 14, 28, 40, and 45.

The third alliteration sound is alveolar voiced consonant sound /n/. This sound arise in the words “no”, “niggas”, “not”, “now”, nothing”, and “know”. The repetition of alveolar voiced consonant sound /n/ appears in line 49 with the words

“now”. In addition, the labiodental fricative consonant sound /f/ is found in the words “facing”, “for”, “friends”, and “find” in lines 1 and 27. The labiodental fricative consonant sound /f/ is repeated in line 20 with the words “facing” and

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“for”, while the bilabial voiceless consonant sound /p/ is found in lines 13, 15, and

16 with the words “posted”, “party”, “promoting”, “posing”, and “provoking”. The last alliteration sound is bilabial voiced consonant sound /m/ is found in the words

“my”, “mind”, “me”, modelling”, and “ma”. These alliteration sounds are in lines

26, 31, and 32. ii. Assonance

The second segmental features in the “Nothing but Trouble” song is assonance sounds. Assonance is the repetition of vowel sounds within the line

(Altenbernd & Lewis, 1966, p. 34). In the table below, the assonance sounds are listed.

Table 8. Assonance Found in “Nothing but Trouble” Song Line Lyrics Assonance 1 I’m facing the bottle for all of my problems /ə/ 2 These Instagram models are nothing but trouble /ə/ 4 All these Instagram models, I said they’re nothing /ə/ but trouble 6 Yeah, I bought her leather and some diamond /ə/ studs 8 Fuck it, I said “Whatever” cause I’m not a judge /ə/ 10 Uh, I considered it but not enough /ə/ 12 Uh, she just wanted ten thousand followers /ə/ 16 She posing, legs open, provoking /ə/ 22 She’s going away now (Now it’s over) /ə/ 27 I had to go talk to my friends, I had to find Christ /ə/ 31 She had me not checking my DM’s neither my /ə/ likes 35 In the section holding bottles up /ə/ 38 I should have known from the very start /ə/ 40 No, you liar, liar, liar girl /ə/ 1 I’m facing the bottle for all of my problems /aɪ/ 6 Yeah, I bought her leather and some diamond /aɪ/ studs 14 They like it, they like it, repost it /aɪ/ 18 I tried to act like I don’t notice /aɪ/ 23 I’m going full throttle (You drive me crazy) /aɪ/

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Line Lyrics Assonance 26 I had to leave that ho alone and get my mind right /aɪ/ 27 I had to go talk to my friends, I had to find Christ /aɪ/ 28 Lord I had to, open up my eyes and find light /aɪ/ 29 I was so green and all she wanted was that /aɪ/ limelight 30 Lord I, was so blinded by her highlights /aɪ/ 40 No, you liar, liar, liar girl /aɪ/ 45 I’m sipping and lighted and dipping in line, but /aɪ/ I’m coping 2 These Instagram models are nothing but trouble /ʌ/ 5 When I met her she was out for love /ʌ/ 6 Yeah, I bought her leather and some diamond /ʌ/ studs 7 Damn, when I met her she was molly’d up /ʌ/ 8 Fuck it, I said “Whatever” cause I’m not a judge /ʌ/ 9 No, all my niggas say she’s not what’s up /ʌ/ 10 Uh, I considered it but not enough /ʌ/ 1 I’m facing the bottle for all of my problems /ɑ/ 2 These Instagram models are nothing but trouble /ɑ/ 11 Uh, she just wanted to be popular /ɑ/ 12 Uh, she just wanted ten thousand followers /ɑ/ 32 Oh what, you modeling ma? Knock yourself out /ɑ/ 33 Open my heart to you when you lock yourself out /ɑ/ 41 You got me the world thinking you’re a star /ɑ/ 42 But you, you’re not who you say you are /ɑ/ 7 Damn, when I met her she was molly’d up /i:/ 11 Uh, she just wanted to be popular /i:/ 15 She party promoting, she hosting /i:/ 23 I’m going full throttle (You drive me crazy) /i:/ 29 I was so green and all she wanted was that /i:/ limelight 31 She had me not checking my DM’s neither my /i:/ likes 34 When I met her she was posse’d up /i:/

From the table above, it could be seen the assonance sounds are found in

“Nothing but Trouble” song are /ə/, /aɪ/, /ʌ/, /ɑ/, and .i:/. The first assonance sound is central mid unrounded reduced vowel sound /ə/ which is commonly found in the song with the frequencies are twenty one. This assonance sound finds in the words

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“the”, “for”, “of”, “Instagram”, “trouble”, “they’re”, “leather”, “diamond”,

“whatever”, “a”, “considered”, “thousand”, “popular”, “followers”, “open”,

“provoking”, “away”, “over”, “had”, “neither”, “section”, ”should”, “have”, and

“liar”. The repetitions of the central mid unrounded reduced vowel sound /ə/ appears in lines 20, 21, 37, 41, 46, and 49 with the same words, while diphthong

/aɪ/ finds in the words “ I’m”, “my”, “I’, “diamond”, “like”, “tried”, “drive”,

“mind”, “right”, “find”, “Christ”, “light”, “limelight”, “blinded”, “by”,

“highlights”, “liar”, “lighted”, and “line”. In lines 8, 20, 31, 46, and 50, the diphthong sound /aɪ/ is repeated.

Meanwhile, the central mid unrounded lax vowel sound /ʌ/ is found in the words “nothing”, “but”, “trouble”, “was”, “love”, “some”, “studs”, “up”, “fuck”,

“judge”, “what”, and “enough”. Those words are repeated in lines 4, 21, 25, 29, 48, and 52. Another assonance sound is central low unrounded tense vowel sound /ɑ/ is in the words “bottle”, “problems”, “wanted”, “popular”, “followers”,

“modeling”, “ma”, “knock”, “heart”, “lock”, “got”, “star”, “not”, and “are”. The repetition of back low unrounded tense vowel sound /ɑ/ occurs in lines 20, 21, and

36. The last assonance sound found in the song is front high umrounded tense vowel sound /i:/ in the words “she”, “molly’d”, “be”, “party”, “me”, “crazy”, “green”,

“me”, “neither”, and “posse’d”. The front high unrounded tense vowel sound /i:/ is repeated in the lines 36, 49, and 50.

iii. Consonance

The last segmental features, consonance sound, also found in the song.

Consonance is the repetition of consonant sound which occurs in the final position

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(Cavanaugh, 1974, p. 264). Below is the table of the consonance sounds found in

“Nothing but Trouble” song.

Table 9. Consonance Found in “Nothing but Trouble” Song Line Lyrics Consonance 5 When I met her she was out for love /t/ 8 Fuck it, I said “Whatever” cause I’m not a judge /t/ 18 I tried to act like I don’t notice /t/ 26 I had to leave that ho alone and get my mind right /t/ 29 I was so green and all she wanted was that /t/ limelight 32 Oh what, you modeling ma? Knock youself out /t/ 33 Open my heart to you when you lock yourself out /t/ 39 That you weren’t after my foolish heart /t/ 42 But you, you’re not who you say you are /t/ 2 These Instagram models are nothing but trouble /z/ 9 No, all my niggas say she’s not what’s up /z/ 19 Emotions, emotions, emotions, lord /z/ 6 Yeah, I bought her leather and some diamond studs /d/ 13 Oh she posted, she posted, she posted /d/ 26 I had to leave that ho alone and get my mind right /d/ 27 I had to go talk to my friends, I had to find Christ /d/ 28 Lord I had to, open up my eyes and find light /d/ 29 I was so green and all she wanted was that /d/ limelight 30 Lord I, was so blinded by her highlights /d/ 45 I’m sipping and lighted and dipping in line, but I’m /d/ coping 5 When I met her she was out for love /r/ 6 Yeah, I bought her leather and some diamond studs /r/ 40 No, you liar, liar, liar girl /r/ 41 You got me the world thinking you’re a star /r/ 42 But you, you’re not who you say you are /r/

From the table above, the consonance sounds in the song are /t/, /z/, /d/, and /r/. The first consonance sound found is alveolar voiceless consonant sound /t/ in the words “met”, “out”, “it”, ‘not”, “act”, “don’t”, “that”, “get”, “right”,

“limelight”, “what”, “weren’t”, “heart”, and “but”. The alveolar voiceless consonant sound /t/ is repeated in lines 10, 14, and 48 with the same words “it”,

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“not”, “but”, and “don’t”. The consonance alveolar voiceless consonant sound /t/ is commonly found in the song with the frequencies are twelve. The second consonance sound is alveolar fricative consonant sound /z/ are found in the words

“these”, “models”, “niggas”, “she’s”, and “emotions”. The repetitions of alveolar fricative consonant sound /z/ are occur in the lines 4, 21, 24, 29, and 47 with the same words.

In addition, alveolar voiced consonant sound /d/ appears in the words

“said”, “posted”, “had”, “and”, “mind”, “find”, “lord”, “wanted”, “blinded”, and

“lighted” which occur in the lines 6,13, 26, 27, 28, 29, 30, and 45. The last consonance sound is alveolar liquids consonant sound /r/ is found in the lines 5, 6,

40, 41, and 42 with words “her”, “for”, “leather”, “liar”, “you’re”, “star”, and “are”.

In the lines 48, the alveolar liquids /r/ are repeated with the words “are” and “her”. b. Supra-segmental Features in “Nothing but Trouble” Song

In this part, the writer analyses the supra-segmental features focussing on rhyme. The writer analyse the rhyme by seeing the onset (initial consonant), nucleus

(vowel) and coda (final consonant). In the table below, there is the list of rhymes occur in “Nothing but Trouble” song.

Table 10. Rhyme Found in “Nothing but Trouble” Song No Types of Rhyme Frequency Percentage 1 Masculine Rhyme 4 50% 2 Feminine Rhyme 2 25% 3 Reverse Rhyme 1 12.5% 4 Mosaic Rhyme 1 12.5% Total 8 100%

The first types of rhyme found in “Nothing but Trouble” song is Masculine rhyme. Masculine rhyme is a rhyme that have the same identity between the nucleus

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(vowel) and coda (final consonant) in the stressed monosyllabic words (Ufot, 2013, p. 118). The first masculine rhyme found in the song is in the line 26 and 28 with the lyrics,

“I had to leave that ho alone and get my mind right”

“Lord I had to, open up my eyes and find light”

Masculine rhyme occurs in the word “right” and “light”. They included as

Masculine rhyme since they have the same identity in the nucleus (vowel) /aɪ/ and coda (final consonant) /t/ and in line with Ufot (2013, p. 118), Masculine Rhyme has the similarity between Nucleus and Coda so that the words “right” and “light” belongs to Masculine Rhyme. Since they occur in the end of the lines, it belongs to the end rhyme. Below is the syllable tree that shows the rhyme.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/r aɪ t/ /l aɪ t/

The second Masculine rhyme found in the song is in lines 38 and 39 in the sentence below,

“I should have known from the very start”

“That you weren’t after my foolish heart”

The Masculine rhyme occurs in the words “start” and “heart”. Both words have the same identity of nucleus (vowel) [ɑ] and coda (final consonant) /r/ and /t/.

According to Ufot (2013, p. 118), Masculine Rhyme has the same identity between

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Nucleus and Coda, and the words “start” and “heart” belongs to Masculine rhyme since they have the same identity between Nucleus and Coda. This rhyme is included as end rhymes since the words occur in the last line. Below is the syllable tree to make clear that those words are rhyme.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/s t ɑ r t/ /h ɑ r t/ The third Masculine rhyme found is in the lines 41 and 42 with the lyrics,

“You got the world thinking you’re a star”

“But you, you’re not who you say you are”

The rhyme found in the end of each lines of the sentences and below is the syllable tree that shows the Masculine rhyme in those words,

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/s t ɑ r/ ø /ɑ r/

From the syllable trees above, it is seen that the words “are” and “star ” are included as Masculine rhyme since they have the same identity in nucleus (vowel) /ɑ/ and coda (final consonant)/[r/. In this case, they also belongs to end rhyme since they occur at the end of each line. In the lines 44 and 50, another Masculine rhyme is found. The Masculine rhyme found at the end of each lines and it is belongs to an end rhyme. The Masculine rhyme is found in the lyrics,

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“I’m facing the bottle”

“I’m going full throttle (You drive me crazy)”

The rhyme occur in the words “bottle” and “throttle”. They are included as

Masculine rhyme since they have the same identity /ɑ/ sounds in the nucleus (vowel sound) and /t/, /l/ sounds in the coda (final consonant). Below is the syllable tree that show the same identity in those words.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

Figure/b ɑ t l/ /θ r ɑ t l/

The second types of rhyme found in the song is Feminine rhyme. The

Feminine rhyme found in the lines 15 and 17 with the lyrics,

“She party promoting, she hosting”

“It got my head smoking”

The Feminine rhyme is found from the words “hosting” and “smoking”. It is included as Feminine Rhyme because Feminine Rhyme consists of two or more syllables in which a stressed syllable is followed by an unstressed syllable (Ufot,

2013, p. 118). From the words “hosting” and “smoking”, it is seen that both of them

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are followed by an unstressed syllable /-ɪŋ/. Below is the syllable tree that show the

Feminine rhyme in those words.

Syllable Syllable

On Rhyme On Rhyme

Nu Nu Co

/‘h oʊ s t ɪ ŋ/

Syllable Syllable

On Rhyme On Rhyme

Nu Nu Co

/‘s m oʊ k ɪ ŋ/

Another Feminine rhyme found in the song is in line 45. In this rhyme, it belongs to an internal rhyme, since they occur within the line. The second

Feminine rhyme found with the lyrics,

“(I’m sipping and lighted and dipping in line, but I’m coping)”

The Feminine rhyme occurs in the words “sipping” and “dipping. They are included as Feminine rhyme since three of them is followed by an unstressed syllable /-ɪŋ/.

Below are the syllable tree which show the Feminine rhyme.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/‘s ɪ p ɪ ŋ/

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Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/‘d ɪ p ɪ ŋ/

Another types of rhyme institute in the song is Reverse rhyme. The

Reverse rhyme found is in lines 28 and 31 with the lyrics,

“Lord I had to, open up my eyes and find light”

“She had me not checking my DM’s neither my likes”

The Reverse rhyme occur in the words “light” and “likes”. According to Ufot

(2013) reverse rhyme is a rhyme which has the same identity of onset (initial consonant) and nucleus (vowel) (p. 118). Those words are included as Reverse rhyme since they have the same identity of onset (initial consonant) /l/ and nucleus

(vowel) /aɪ/. This rhyme also belongs to an end rhyme since both words are occur in the end of each lines. Below is the syllable tree which show the Reverse rhyme in those words.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/l aɪ t/ /l aɪ k s/ The last types of rhyme institute is Mosaic rhyme. Mosaic rhyme is a type of rhyme in which one word rhymes with the combination of words (Ufot, 2013, p.

119). Another name of Mosaic rhymes is compound rhyme. Mosaic rhyme found in the lines 29 and 30 with the lyrics,

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“I was so green and all she wanted was that limelight”

“Lord I, was so blinded by her highlights”

The Mosaic rhyme occur in the words “limelight” and “highlights”. It is included as Mosaic rhyme since the words “limelight” is a compound word from lime + light, while “highlights” is a compound rhyme of high + light and also have an extra syllable /s/ in the end of the word. Below is the syllable tree which show the rhyme in the words “limelight” and “highlight”.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/l aɪ m l aɪ t/

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/h aɪ ø l aɪ t s/

B. The Effects of Phonological Features in Charlie Puth’s Songs

In this part, the effects of phonological features in Charlie Puth’s songs could be seen through the use of segmental sound features which cover the alliteration, assonance, and consonance, and supra-segmental sound features overwhelm the rhyme. The effects found based on the answer of the first problem

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above. There are some effects from the use of the repetition of sound such as alliteration, assonance, consonance, and rhyme. Below are the effects of using phonological features. a. Making the Words are Memorable

The first effect is making the words more memorable. This effect can be seen through the repetition of sound. At the alliteration sound, the words more memorable since the repetition of initial consonant sound of the words. In “Your

Name”, the alliteration sound that commonly uses is alveolar voiced consonant [n] sound. This sound found in the words “never”, “need”, “know”, and “name”. Those words occur with the lyric “never been acquainted I just need to know your name”.

In line with Kermode (2018, para. 8), the effect of using alliteration sound is “to direct attention to particular words, making them stand out, and making them more memorable”. This happens since the /n/ sound occurs in one line, so that it makes the listener’s focus to those words and since the sound is repeated, it makes the sound stand out and it becomes more memorable. Furthermore, in “Nothing but

Trouble”, the words “was”, “wanted”, and “was” are more memorable since the sound /w/ is repeated, so it makes the words more stand out and easy to be remembered. The voiced consonant sound /w/ occur with the lyric “I was so green and all she wanted was limelight”.

The next repetition of sound is assonance. At the assonance sound, the words are more memorable since the repetition of vowel sounds of the words.

According to Kennedy & Gioia (1999), the assonance sound makes the common word or phrases is unforgettable (p. 814). In line with Kennedy & Gioia (1999),

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Kermode (2018) also states that the effect of assonance sound is “to direct attention to particular words, making them stand out, and making them more memorable”

(para. 8). In “Your Name”, the assonance sound that commonly used is high front unrounded lax vowel sound /ɪ/. This sound found in words “give”, “it”,

“everything”, and “even”, also, they occur with the lyric “I give it all everything I have even though it’s all so new”. Kermode (2018) also states that the effect by using assonance sound same with alliteration sound which is “to direct attention to particular words, making them stand out, and making them more memorable” (para.

8). From the assonance sound that commonly used in “Your Name”, the vowel sound /ɪ/ is repeated and it makes the sound more stand out, therefore, it is easy to be remembered by the listeners.

This happens also in “Nothing but Trouble”. The vowel sound that is repeated is central mid unrounded reduced sound /ə/. This sound found in words

“the”, “for”, and “of” with the lyric “I’m facing the bottle for all of my problem”.

Since the vowel sound /ə/ is dominate the assonance sound, so that the assonance sound /ə/ in “Nothing but Trouble” is more stand out and it gets the attention of the listener and it makes easy to be remembered by the listener. In line with Kennedy

& Gioia (1999), assonance sound help the common words or phrases unforgettable

(p. 814), through the repetition of the vowel sound, it makes the common words or phrases is unforgettable. The words “the”, “for”, and “of” are the easiest words to be remembered by the listener because of the repetition of vowel sounds /ə/ that happens in those words.

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From the discussion above, the first effect is making the words are memorable. This effect can be gained by using the repetition of sound such as alliteration and assonance sound. From the discussion above, Charlie Puth wants his listener easily to remember the lyrics of his songs through the use of the repetition of alliteration and assonance sounds. b. Emphasizing Certain Words

The effect by using the repetition of sound such as alliteration, consonance, and rhyme is emphasizing the words. The words which are emphasized are the words where the repetition is happened. Based on the discussion above, the first repetition of sound is alliteration. In “Your Name” song, the words which are emphasized are “never”, “know”, “name”, and “need”, like in the lyric, “never been acquainted I just need to know your name”. According to Kennedy & Gioia (1999), the effect by using alliteration sound is to give emphasis (p. 813). The emphasize words happens because it is repeated the same sound. It repeats the /n/ sound and it emphasize where the words “never”, “need”, “know”, and “name” happens. Those words more emphasized since the repetition of /n/ sound is repeated in other lines of song lyrics.

Furthermore, according to Romala (2018), consonance sound gives emphasize since the consonance sound happens in the end of the words (p. 5). The words which are emphasized are “out”, “most”, “just”, “thought”, “next”, “got”,

“might”, “want”, and “worst”. Those words are emphasized because it repeats the alveolar voiceless consonant sound /t/ and this sound happens in the end of the words. Moreover, in “Your Name” song, the writer found that the words “for”,

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“her”, “never”, “your”, “before”, and “there” are emphasized through the use of consonance sound which are repeated in the song. The consonance sound which is repeated is alveolar liquid consonant sound /r/.

From the first discussion, there are two types of rhyme found in “Your

Name”. Those are Masculine and Feminine Rhyme. However, in the song, the most frequent rhyme appears is Masculine Rhyme with three data. Masculine Rhyme brings effect to be stronger and more positive (Altenbernd & Lewis, 1966, p. 31).

Therefore, the use of Masculine Rhyme in the song means to emphasize the words becoming rhyme.

Masculine Rhyme found in “Your Name” occurs at the end of lines.

Romala (2018), states Masculine Rhyme gives the end rhyme a stronger, firmer, and more positive effect by the use of words with monosyllable words (p. 5).

Masculine Rhyme gives a stronger and the utterance more positive since it appears at the end of the lines. Besides, Masculine Rhyme becomes stronger and the utterance more positive since only appears in monosyllabic words. Then, when

Masculine Rhyme appears at the end of the lines, the rhyme could be called as End

Rhyme. The effects of end rhyme is to emphasize the words, since the rhyme comes at the end of the lines (Perrine, 1977, p. 168). In example, from the data, the words

“real” and “feel” are emphasized. This happens since those words are monosyllabic words and occur at the end of the lines, then, the utterance becomes more positive.

Furthermore, the words that emphasize in “Nothing but Trouble” song are

“like”, “lord”, “light”, “liar”, “lighted”, and “line”. Those words are emphasized since Charlie Puth uses alveolar liquids consonant sound /l/ and this sound is

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repeated the initial consonant sound. According to Kennedy & Gioia (1999), the effect by using alliteration sound is to give emphasis (p. 813). The words “like”,

“lord”, “light”, “liar”, “lighted”, and “line” is matched with the theory above because those words repeat the initial consonant sound. Other words that emphasize by using alliteration sound are “no”, “niggas”, “not”, “now”, “nothing”, and

“know”. Those words are repeated the alveolar voiced consonant sound /n/.

Moreover, the words “met”, “it”, “out”, “act”, “don’t”, “not”, “get”,

“right”, “that”, “what”, “but”, “heart”, “limelight”, and “weren’t” repeats the same sound which is alveolar voiceless consonant sound /t/ in the final consonant words.

In line with Romala (2018), consonance sound gives emphasize since the consonance sound happens in the end of the words (p. 5). Those words repeat the same sound that happens in the end of the words.

From the first discussion, there are four types of rhyme found in “Nothing but Trouble”. Those are Masculine, Feminine, Reverse, and Mosaic Rhyme.

However, in the song, the most frequent rhyme occurs is Masculine Rhyme with four data. According to Altenbernd & Lewis (1966), Masculine Rhyme brings effect to be stronger and more positive (p. 31). Therefore, the use of Masculine

Rhyme in the song means to emphasize the words becoming rhyme.

Masculine Rhyme found in “Nothing but Trouble” appears at the end of lines. Romala (2018), states Masculine Rhyme gives the end rhyme a stronger, firmer, and more positive effect by the use of words with monosyllable words (p.

5). Masculine Rhyme gives a stronger and the utterance more positive since it appears at the end of the lines. Besides, Masculine Rhyme becomes stronger and

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the utterance more positive since only appears in monosyllabic words. Then, when

Masculine Rhyme appears at the end of the lines, the rhyme could be called as End

Rhyme. The effects of end rhyme is to emphasize the words, since the rhyme comes at the end of the lines (Perrine, 1977, p. 168). In example, from the data, the words

“heart” and “start” are emphasized, since those words are monosyllabic words and occur at the end of the lines, then, the utterance becomes more positive. c. Pleasing the Listener’s Ears

This effect can be gained through the use of the repetitions of sound. At the alliteration sound in “Your Name”, it repeats the alveolar voiced consonant sound /n/ like in the words “need”, “know”, “never”, and “name”. When the listener listen the consonant /n/ sound again, it pleases their ear because Charlie Puth keeps repeating the /n/ sound in other line and the listeners are familiar with the sound because they have heard the /n/ sound before. Therefore, because of the repetitions of alliteration sound make pleasing the listener’s ears. It is supported by Reaske

(1966) who states that it pleases to hear again when the listener have heard a sound before (p. 21).

Meanwhile, the sound /ɪ/ is pleasing to hear again by the listener’s ears because this vowel sound keeps repeating continuously. Charlie Puth wants his listeners to enjoy his songs by repeat the same sound which is the high front unrounded lax vowel sound /ɪ/. This sound could be found in words “miss”,

“mysterious”, “is”, “every”, “single”, “been”, and “acquainted”. Those words make the listener’s ears more pleasing because those words repeat the same sound and occur again in other line. This phenomena also happens in words “out”, “most”,

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“that”, “just”, “thought”, “next”, “got”, “might”, “want”, and “worst”. Those words make the listener’s ears more pleasing since they repeat the same sound which is the alveolar voiceless consonant sound /t/ that occur in another lines in “Your

Name: song. Those sounds please the listener’s ear because they repeat the same sound then, when the listener heard those sounds again, it pleases their ears. This happens because by using the repetitions of sound, it makes enough impression on the ear of the listener (Perrine, 1977, p. 170). Therefore, that is how the repetitions of sound please the listener’s ear.

The effect of pleasing the listeners’ ears could be found by the use of rhyme. Reaske (1966), states that rhyme creates pleasing to hear because when the listener already heard a sound before then the second appearance of the sound like an echo which send the listeners please their ears (p. 21). This could be seen from the repetition of the sound which rhymes have. The example, in “Your Name”, the words “blame”, “same”, and “name” are rhymes since they have the same sound

/eɪm/ and appears at the end of each line. When the words “same” and “name” heard by the listeners, the sound /eɪm/ is like an echo from the word “blame”. It happens because the listeners already heard the sound /eɪm/ in word “blame” and the sound

/eɪm/ is repeated in words “same” and “name”.

Furthermore, in “Nothing but Trouble”, the first sound that pleases the listener’s ears is the bilabial voiced consonant sound /w/. This sound repeats the initial consonant sound and found in the words “when”, “was”, and “wanted”. The bilabial voiced consonant sound /w/ pleases the listener’s ears because the sound

/w/ keeps repeating in another line, so makes the consonant sound /w/ becoming an

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echo when this sound occur again. In accordance with Reaske (1966), when the listener have heard a sound before, then it becomes most pleasing to hear it again

(p. 21). Therefore, when the listeners hear the sound /w/ in the initial consonant sound, it pleases their ear because this sound repeats the same sound.

The second sound is central mid unrounded reduced vowel sound /ə/. This sound repeats the vowel sound of the words or assonance sound. The assonance sound found in the words “the”, “for”, “of”, “Instagram”, “trouble”, “they’re”,

“leather”, “diamond”, “whatever”, “a”, “considered”, “thousand”, “popular”,

“followers”, “open”, “provoking”, “away”, “over”, “had”, “neither”, “section”,

”should”, “have”, and “liar”. Those words, please the listener’s ears since they repeats the same sound which is the vowel /ə/ sound. In accordance with Reaske

(1966), a sound becomes more pleasing when the listeners have heard that sound before (p. 21). It could be seen in the words that have the same vowel sound above.

Those words become more pleasing when the listeners heard it since the words, repeats the vowel /ə/ sound. The third sound is alveolar voiceless consonant sound

[t]. The consonant sound /t/ repeats the final consonant sound. According to Reaske

(1966), when the listeners have heard a sound before, then it becomes pleasing to hear it again (p. 21). It could be seen from words ”met”, “out”, “it”, “not”, “act”,

“don’t”, “that”, “get”, “right”, “limelight”, “what”, “weren’t”, “heart”, and “but” that repeat the final consonant sound /t/.

The effect of pleasing the listener’s ears could be found by the use of rhyme. It could be seen from the words “right” and “light”. Those words repeats the same sound which is /aɪt/. Reaske (1966), states that rhyme creates pleasing to

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hear because when the listener already heard a sound before then the second appearance of the sound like an echo which send the listeners please their ears (p.

21). When the listeners hear the sound /aɪt/ in word “light” then its sound becomes an echo since the listeners already heard /aɪt/ sound in word “right” and the sound

/aɪt/ is repeated in word “light”.

From the analysis above, it can be seen that Charlie Puth likes to use the repetitions of sound while he is making the song. In the case of rhyme, he often applies Masculine Rhyme to make his song stronger so that the listeners can feel the song directly. Charlie Puth also pays attention to the repetition of sound in his songs. He often uses the repetition of vowel sound or assonance and the repetition of final consonant sound or consonance.

Thus, from the discussion above, the writer finds the effects in Charlie

Puth’s songs. The effects can be found from the use of the repetitions of sound which he employs to his song. The writer finds three effects by using phonological features in Charlie Puth’s songs. First, Charlie Puth wants his listeners easily to remember his songs by using the repetitions of alliteration and assonance sounds.

Second, Charlie Puth emphasize the words by using the repetitions of sounds which are alliteration, consonance, and rhyme sounds. Third, Charlie Puth also pleasing the listeners’ ears since he pays attention to the use of the repetitions of alliteration, assonance, consonance, and rhyme sounds. From what the writer found about the effects, it clears that Charlie Puth tries to make his songs easy to be remembered by his listeners through the use of the repetitions of alliteration and assonance sounds

He is also a songwriter that give the stronger effect to his songs thus the listener get

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the attention to the song directly so the listener can be easy to feel the impact from the words which are emphasized by the repetitions of sound. Then, Charlie Puth also pleasing the listeners’ ears by the repetitions of sound, thus the listeners enjoy listening to his songs. Therefore, it can be concluded that Charlie Puth is a songwriter who is very interested in using the rhyme and repetition of sound in order make the listeners remembering his songs easily, emphasizing the words and pleasing the listeners’ ears.

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CHAPTER V

CONCLUSION

This research is aimed to answer two problems of the study. The first problem is to find out the phonological features which found in “Your Name” and

“Nothing but Trouble” songs. The sound features that are analyzed are taken from every line of his song. The second problem is to find out the effects by using phonological features in Charlie Puth’s songs.

In the first problem, the analyzed sound features is coming from the segmental features which cover alliteration, assonance, and consonance. The other feature is supra-segmental which overwhelms the rhyme. The research displays all of the features found in the two songs.

There are two songs that the writer had been analyzed. The song entitled

“Your Name” and “Nothing but Trouble”. Those songs are written by Charlie Puth.

From those songs, the writer found out the phonological features and its effects.

First, in “Your Name” song, the writer found that the song employs the rhyme also the repetition of sound. Charlie Puth applies the repetition of sound, such as alliteration, assonance, and consonance. The alveolar voiced consonant sound /n/ is dominating the repetition of initial consonant sound, while the alveolar voiceless consonant sound /t/ and the alveolar liquid consonant sound /r/ are dominating the repetition of final consonant sounds in the song. The high front

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unrounded lax vowel sound /ɪ/ is dominating the repetition of vowel sounds in the song. On the other hand, in the “Your Name” song, Charlie Puth applies the rhyme.

The writer found out that the type of rhyme which Charlie Puth uses are Masculine

Rhyme and Feminine Rhyme. The mostly type of rhyme that the writer found out is Masculine Rhyme. Charlie Puth also applies the rhyme in the end of the lines and in middle of the lines.

Besides that, in “Nothing but Trouble” song, the writer found out that the song also employs the rhyme and the repetition of sound. Charlie Puth uses the repetition of sound such as alliteration, assonance, and consonance.

In the second problem, the writer found the effects by using phonological features in Charlie Puth’s songs through the sound features and had been analyzed.

Based on the discussion, the writer found three effects by using phonological features in Charlie Puth’s songs. The first effect is making the words are memorable. Charlie Puth applies the repetitions which are alliteration and assonance sound to be remembered easily by the listeners. The second is emphasizing the words. Charlie Puth applies the repetitions of alliteration, assonance, and rhyme sound to emphasize the words of his songs. The third is

Charlie Puth uses the repetition of alliteration, assonance, consonance, and rhyme sounds in making the song to please the listeners’ ears, so the listeners enjoy listening his songs. Therefore, it can be concluded that Charlie Puth is a songwriter who have interest to please the listener’s ears, to make words easy to be remembered, then to emphasize words.

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As the final point, this research found the effects by using phonological features in Charlie Puth’s songs. Charlie Puth is a songwriter and a singer who helps the listener to remember, to emphasize, and to please the listeners’ ears through the use of the repetitions of sounds which are alliteration, assonance, consonance and rhyme sounds. Also, through this research, it was proven that stylistics approach can be applied to analyze the literary works, including song. Through some level of stylistics approach such as grammatical, lexical, graphological, and phonological can be used to analyze the literary text. Moreover, this research shows that through the phonological features can find its effects.

To improve stylistic analysis, the writer suggests the future researchers to conduct similar analysis in different objects, such as poem. The writer also suggests future researchers to conduct a research by using another level in stylistics so that the effects also can be found not only from the sound but also from the structure.

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Haqqo, O. A. (2016, June 27). Language Style In The Jakarta Post Advertisements. Undergradute Thesis. Malang: State Islamic University of Maulana Malik Ibrahim Malang. Isti'anah, A. (2016). Phonological Features in Rudyard Kipling's "If". Language, Literature, and Society, 8-17. Kennedy X.J., & Dana Gioia. (1999). An Introduction to Ficiton, Poetry, and Drama (Seventh ed.). New York: Longman. Kermode, J. (2018, June 12). Alliteration and Assonance in Poetry. Retrieved January 24, 2019, from ExploreWriting: www.explorewriting.co.uk/alliteration-assonance-poetry.html Landy, A. S. (1979). To Read a Poem. Lexington: D. C. Heath and Company. Leech, G., & Mick Short. (2007). Style in Fiction: A Linguistics Introduction to English Fictional Prose. Second Edition. England: Pearson Education Limited. Maraden, S. (2016, August). Language Style Found in Indonesian Movies. The Episteme Journal of Linguistics and Literature, 3 No. 1, 3-25. Retrieved October 5, 2018, from https://uhn.ac.id/files/akademik_files/1712070831_2016_The%20Epistem e%20Journal%20of%20Linguistics%20and%20Literature%20Vol%203% 20No%201_4.Language%20Style%20Found%20in%20Indonesian%20M ovies.pdf McRae, J. (1998). The Language of Poetry. London: Routledge. Miller, A. M. (2017). Analyzing Songs Used for Lyric Analysis With Mental Health Consumers Using Linguistic Inquiry and Word Count (LIWC) Software. Thesses and Dissertation-- Musics. 88., Abstract. Perrine, L. (1977). Sound and Sense: An Introduction to Poetry (Fifth ed.). New York: Harcourt Brace Jovanich, Inc. Reaske, C. R. (1966). How To Analyze Poetry. New York: Monarch Press. Romala, A. G. (2018, October). Linguistic Deviation in Rhyme of Poems in Lewis Carroll's Throgh The Looking-Glass. LANGUAGE CIRCLE : Journal of Language and Literature, 13(1), 1-12. Retrieved March 29, 2019, from http://journal.unnes.ac.id Setyarini, M. R. (2015, September 18). Literary Style in "Song to the Men of England" by Percy Bysshe Shelley. Undergraduate Thesis. Semarang: Universitas Diponegoro. Simpson, P. (2004). Stylistics. London: Taylor & Francis Group.

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APPENDICIES

Appendix 1 : Your Name Song Lyric

This goes out to the most beautiful girl that I saw just the other day She had me slipping and she had me falling for her right away This goes out to the one and only miss mysterious Thought of me being next to her got me so delirious Yeah is she out is she out there Yeah is she out there

Cause you're all that I need in every single way Girl you got me love sick and your beauty is to blame If you knew how I felt cause you never feel the same Never been acquainted I just need to know your name Girl I just need to know your name

Before I saw your face I never in my wildest dreams Thought that true love was actually real

Cause you shine way brighter Than anything I might have thought that I could feel I give it all everything I have even though it's all so new Cause I want you in the worst of ways Can you make my wish come true Is she out there is she out there Just tell me if you're out there if you're out there

Cause you're all that I need in every single way Girl you got me love sick and your beauty is to blame If you knew how I felt Cause you never feel the same Never been acquainted I just need to know your name Girl I just need to know your name

Hey need to know your Need to know your name

Hey hey I need to

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Cause you're all that I need (in every single way) Girl you got me love sick and your beauty is to blame If you knew how I felt cause you never feel the same Never been acquainted I just need to know your name Girl I just need to know your name

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

Appendix 2 : Nothing but Trouble Song Lyric

I'm facing the bottle for all of my problems These Instagram models are nothing but trouble She's going away now, I'm going full throttle All these Instagram models, I said they're nothing but trouble

When I met her she was out for love Yeah, I bought her leather and some diamond studs Damn, when I met her she was molly'd up Fuck it, I said "Whatever" cause I'm not a judge No, all my niggas say she's not what's up Uh, I considered it but not enough Uh, she just wanted to be popular Uh, she just wanted ten thousand followers

Oh she posted, she posted, she posted They like it, they like it, repost it She party promoting, she hosting She posing, legs open, provoking It got my head smoking

I tried to act like I don't notice Emotions, emotions, emotions, lord

I'm facing the bottle for all of my problems These Instagram models are nothing but trouble She's going away now (Now it's over) I'm going full throttle (You drive me crazy) All these Instagram models I said they're nothing but trouble

I had to leave that ho alone and get my mind right I had to go talk to my friends, I had to find Christ Lord I had to, open up my eyes and find light I was so green and all she wanted was that limelight Lord I, was so blinded by her highlights She had me not checking my DM's neither my likes Oh what, you modeling ma? Knock yourself out Open my heart to you when you lock yourself out When I met her she was posse'd up In the section holding bottles up Oh, she just wanted to be popular Oh, she just wanted ten thousand followers

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

I should have known from the very start That you weren't after my foolish heart No, you liar, liar, liar girl You got the world thinking you're a star But you, you're not who you say you are I'm dying, dying, dying, girl

I'm facing the bottle (I'm sipping and lighted and dipping in line, but I'm coping) For all of my problems (I'm too open) These Instagram models (Glad I left her) Are nothing but trouble (But I don't know her Lord) She's going away now (Now it's over)

I'm going full throttle (You drive me crazy) All these Instagram models I said they're nothing but trouble