A Phonological Analysis of Black English in Kendrick Lamar's Song Lyrics in the Album "DAMN""

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A PHONOLOGICAL ANALYSIS OF BLACK ENGLISH IN KENDRICK LAMAR’S

SONG LYRICS IN THE ALBUM “DAMN”

A THESIS

BY :

MUHAMMAD HASAN PRATAMA SIREGAR

REG. NO. 140705070

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN

2019

UNIVERSITAS SUMATERA UTARA

A PHONOLOGICAL ANALYSIS OF BLACK ENGLISH IN KENDRICK

LAMAR’S SONG LYRICS IN THE ALBUM “DAMN”

A THESIS BY MUHAMMAD HASAN PRATAMA SIREGAR REG. NO. 140705070

SUPERVISOR CO-SUPERVISOR

Dr. Rohanie Ganie, M.Hum. Dian Marisha Putri, S.S., M.Si NIP. 19570203 198503 2 002 NIP. 19901029 201706 2 001

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

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2020

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

Head, Secretary,

Prof. T. Silvana Sinar, M.A, Ph.D Rahmadsyah Rangkuti M.A., Ph.D NIP. 19540916 19803 2 003 NIP. 19750209 200812 1 002

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

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on January 30 th, 2020.

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001

Board of Examiners Prof. T. Silvana Sinar, M.A, Ph.D ______

Dr. Rohanie Ganie, M.Hum. ______

Dr. Eddy Setia,.M.Ed. TESP ______

UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION

I, MUHAMMAD HASAN PRATAMA SIREGAR, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed: Date : January 30th, 2020

UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION

NAME : MUHAMMAD HASAN PRATAMA SIREGAR

TITLE OF THESIS : A PHONOLOGICAL ANALYSIS OF BLACK

ENGLISH IN KENDRICK LAMAR’S SONG LYRICS

IN THE ALBUM “DAMN”

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF

DEPARTMENT OF ENGLISH, FACULTY CULTURAL STUDIES, UNIVERSITY

OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE

AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF

INDONESIA.

Signed :

Date : January 30th, 2020

UNIVERSITAS SUMATERA UTARA ACKNOWLEDGMENTS

Alhamdulillahi Rabbil ‗alamin, the greatest grattitude is expressed to Allah SWT for the blessings and the opportunity to complete this thesis. This thesis entitled ―A

Phonological Analysis of Black English in Kendrick Lamar's song lyrics in The

Album "DAMN‖ is submitted as the final requirement in completing the degree in

English Literature Department, Faculty of Cultural Studies, University of North

Sumatera.

In arranging this thesis, a lot of people have provided motivation, advice, support and also a lot of pressures which is being a vitamin for the writer. A lot of people who still give enthusiasm and advice to keep fighting from the closest people, especially the family to create enthusiasm and passion to keep trying. The first and foremost thank goes to my everlasting beloved Alm. Ir. Raja Junjungan

Siregar who always waits patiently and give extraordinary spirit from the heaven for the writer to finish his bachelor program but regrettably he is no longer in life to give a handshake to the writer and see her child officially become a English literature bachelor. The researcher also would like to give the second thank to his mother mrs. Juliani Lubis who has introduced English to the writer since he was a kid and being a single mother for the writer at that time the writer was working on this thesis. The next thank to my brother and sisters who always give motivation and responsibility and close to the writer whenever there are joy or sorrow.

The sincere appreciation goes to Dr. Budi Agustono M.S as the Dean of

Faculty of Cultural Studies University of North Sumatera. The appreciation also goes to Prof. T. Sylvana Sinar M.A Ph.D. as the head of English Literature

UNIVERSITAS SUMATERA UTARA Department and Mr Rahmadsyah Rangkuti M.A Ph.D. for their advice, supervision and crucial contribution in the improvement of the result of this thesis. Also the grateful thanks should go to all of lectures that have guided the writer from first semester until the last semester.

The researcher should be thankful to have guidance and motivation from Dr.

Rohani Ganie, M.Hum for his supervision, advice and guidance from the very early stage of this reasearch. This also has given the researcher extraordinary experience in doing first thesis through the past few months. The researcher also should thank his second supervisor Dian Mayasari, M.Hum. who has helped the writer with kind heart and patience finishing the thesis with her guidance, suggestion and correction until the thesis is completed.

It is very grateful to have some close friends who always support the researcher whenever there are joy or sorrow. The appreciation should go to the writer closest friend, Sinta Putri Amelia Ginting who always give support in attention and material to the writer in the procces of completing this thesis. Also the appreciation is dedicated to Summer Flings, nii nii jaa ngaronya, IMSI, English literature class of 2014 and to all friends who keep on supporting the researcher to finish his thesis.

vii

UNIVERSITAS SUMATERA UTARA Finally, thanks are dedicated to everybody who helped the researcher to complete this thesis. This thesis is far from perfect, for this reason, constructive thought, suggestion and critics are welcome.

Medan, December 21, 2019

Muhammad Hasan Pratama Siregar

viii

UNIVERSITAS SUMATERA UTARA ABSTRACT

The title of this research is "A Phonological Analysis of Black English in Kendrick Lamar's song lyrics in The Album "DAMN"". The objectives of this research are to find out the types the phonological processes of the Black English word pronunciation and the phonological characteristics of Black English in Kendrick Lamar selected lyrical songs. The concepts of phonological process are analyzed by using Victoria Fromkin, Beverley Collins and April McMahon theories. Qualitative research method is used in analyzing this research. The result of this research shows that some types of phonological processes are found in the data, with the alveolarization process as the most frequently used type of place of articulation based on April McMahon theory. The phonological process can be easier to understand by using the theory to analyze The Black English words or commonly called as African-American Vernacular English also revealed from the historical and cultural approach by David Crystal. It shows the condition of a language phenomenon that happened in African-American daily communication system even to other Americans besides black people.

Keywords: Phonology, African-American Vernacular English, Fromkin and Crystal, Song Lyrics, Source Domain, Target Domain.

UNIVERSITAS SUMATERA UTARA ABSTRAK

Judul penelitian ini adalah "Analisis Fonologis Bahasa Inggris Hitam dalam lirik lagu Kendrick Lamar dalam The Album" DAMN ". Tujuan dari penelitian ini adalah untuk mengetahui jenis proses fonologis pelafalan kata-kata Black English dan karakteristik fonologis Black English dalam lirik lagu-lagu pilihan dari Kendrick Lamar. Konsep proses fonologis dianalisis dengan menggunakan teori Victoria Fromkin, Beverley Collins dan April McMahon. Metode penelitian kualitatif digunakan dalam menganalisis penelitian ini. Hasil penelitian ini menunjukkan bahwa beberapa jenis proses fonologis ditemukan dalam data, dengan proses alveolarisasi sebagai jenis artikulasi yang paling sering digunakan berdasarkan teori April McMahon. Proses fonologis dapat lebih mudah dipahami dengan menggunakan teori untuk menganalisis kata-kata The Black English atau biasa disebut Afrika-Amerika Bahasa Inggris Vernakular juga terungkap dari pendekatan historis dan budaya oleh David Crystal. Ini menunjukkan kondisi dari sebuah fenomenom bahasa yang terjadi dalam sistem komunikasi Afrika-Amerika sehari-hari bahkan pada orang Amerika lainnya selain orang kulit hitam.

Kata kunci: Fonologi, African-American Vernacular English, Fromkin dan Crystal, Domain sumber, Domain target.

UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS

AUTHOR’S DECLARATION...... iv COPYRIGHT DECLARATION ...... v ACKNOWLEDGMENT ...... vi ABSTRACT ...... ix ABSTRAK ...... x TABLE OF CONTENTS ...... xi LIST OF FIGURES ...... xiii LIST OF TABLES ...... xiv

CHAPTER I : INTRODUCTION 1.1 Background of the Study ...... 1 1.2 Problem of the Study ...... 3 1.3 Objective of the Study ...... 4 1.4 Scope of the Study ...... 4 1.5 Significance of the Study ...... 4

CHAPTER II : REVIEW OF LITERATURE 2.1 Theories of Black English ...... 6 2.1.1 History ...... 6 2.1.2 The Growth of African-American English ...... 8 2.2 Theories of Phonetics ...... 9 2.2.1 Vocal Tract ...... 9 2.2.2 Articulation ...... 11 2.2.2.1 Manner of Articulation ...... 13 2.2.2.2 Place of Articulation ...... 16 2.3 Theories of Phonology ...... 22 2.3.1 Phonemes and Allophones ...... 22 2.3.2 The Rules of Phonology ...... 23 2.3.3 Variation between Accents ...... 26 2.4 Theories of Song Lyrics ...... 27

UNIVERSITAS SUMATERA UTARA 2.5 Review of Hip Hop Music ...... 29 2.6 Review of Kendrick Lamar ...... 30 2.7 Theoretical Framework ...... 32 2.8 Previous Relative Studies ...... 33

CHAPTER III : RESEARCH METHODOLOGY 3.1. Data of the study ...... 36 3.2. Approach of the study ...... 36 3.3. Method of the study ...... 37 3.3.1 Population and Sample ...... 37 3.3.2 Instrument and data collection ...... 37 3.3.3 Technique of Collecting Data ...... 38 3.3.4 Data Analysis ...... 38

CHAPTER IV: RESEARCH FINDINGS AND ANALYSIS 4.1 Data Description ...... 40 4.2 Analysis of Phonological Processes ...... 44 4.3.1 BLOOD ...... 45 4.3.2 DNA ...... 48 4.3.3 ELEMENT ...... 52 4.3.4 HUMBLE ...... 57 4.3.5 XXX ...... 63 4.3.6 GOD ...... 68 4.3 Analysis of Phonological Characteristics ...... 73

CHAPTER V: CONCLUSION AND SUGGESTION 5.1 Conclusion ...... 76 5.2 Suggestion ...... 79

REFERENCES ...... 80 APPENDIX

xii

UNIVERSITAS SUMATERA UTARA LIST OF FIGURES

Figure 1. Parts of the Vocal Tract (2003: 42) ...... 11 Figure 2. Areas of the Tongue (2003: 54) ...... 12

xiii

UNIVERSITAS SUMATERA UTARA LIST OF TABLES

Table 4.1 List of Black English Found in the Album "DAMN‖...... 39

xiv

UNIVERSITAS SUMATERA UTARA

CHAPTER I

INTRODUCTION

1.1 Background of the Study

Music plays an important role in human life because it becomes an instrument

Entertainment and expression of oneself. Rap Music, which is mainly today performed by

Black singers, millions of young people around the world are addicted to Rap Music. In this way, music can likewise be a device to voice one's interest. In this case, Rap Music was constantly connected with Black individuals that generally, it was utilized for censuring the

Whites. That is the reason the essayist considers Rap Music proper to be the portrayal of

Black English use in every day discussion. Robert McCrum in his book The Story of

English said that the word ‗rap‘ itself gained its new meaning in 1960‘s. To rap was used by

Blacks to criticize whites, to demand Black rights and finally, by extension, ‗to talk‘. It is very interesting for the word rap has meant ‗a rebuke‘ or ‗blame‘ in England since 1733

(McCrum, 1986: 229).

Rap Music is a genre as controversial as the culture it represents. The term ―Rap Music‖ is itself considered by many to be an oxymoron. Rap is criticized for using sexually explicit or profane lyrics, glorifying violence, and promoting controversial political views, (Stewart,

2015:163).One of the best black rappers today is Kendrick Lamar. His album ―DAMN‖ was released on April 14, 2017 by Aftermath Entertaiment, Interscope Records and Top Dawg

Entertaiment. DAMN was certified triple Platinum by the Recording Industry Association of

UNIVERSITAS SUMATERA UTARA America (RIAA) in May 2018 and was also the Billboard number one album of 2017. It was nominated for Album of the Year and won Best Rap Album at the 60th Annual

Grammy Awards. The album also won the 2018 Pulitzer Prize for Music, making it the first non-jazz or classical work to earn the accolade.

Phonology can never be completely divorced from phonetics, since sound patterns can never be completely separated from how they are produced and heard. Phonetics is a part of phonology, and provides the means for describing speech sounds. The writer only takes the theory on articulatory phonetics, which deals with how the vocal tract produces the sounds of language. It is extremely fascinating for the writer to consider Black English phonology in light of the fact that the articulations of the words are such a great amount of not quite the same as the Standard-English-word articulations. Place of articulation tells us where the sounds are produced. According to McMahon in An Introduction to English Phonology, the

English consonants are produced at eight places of articulation as follows (McMahon, 2002:

31-33). Place of articulation consists of bilabial, labio-dental, dental, alveolar, post-alveolar, velar and glottal.

As the impact, the spellings of Black English words also have some differences in comparison with the standard one. Rising among slaves in the southern states in the seventeenth and eighteenth hundreds of years, Dark English or frequently referenced as

Black English. it is widely spoken by both White and Black people (McCrum, et.al, 1986:

195). Therefore, the writer chooses to study the phonological analysis on Black English words through the sample, i.e. the song lyric of Kendrick Lamar in the album ‗DAMN‘, since Kendrick Lamar is a famous Black rapper nowadays who uses Black English as the

UNIVERSITAS SUMATERA UTARA style of his song lyrics. There are 14 song in this album, The lyrics that are going to be analyzed are BLOOD, DNA, ELEMENT, HUMBLE, XXX, and GOD.

The writer decided to investigate use of Black English place of articulation in lyrics of six Kendrick Lamar‘s songs because of their popularity and because he won Best Rap

Album at the 60th Annual Grammy Awards. Although, many genres of songs have been used to study language, American Rap Music lyric seems to have seldom been analyzed by the linguist, and they have been seldom used in English education. The aim is to find out the phonological processes and characteristics of Black English. Especially to compare the place of articulation between Standard English and Black English that found in Kendrick

Lamar‘s album.

1.2 Problems of the Studies

So based on the background of the study, the writer will analyze the problems below:

1. What phonological processes occurred in the black english words pronunciation of

the Kendrick Lamar‘s song lyrics in the album ―DAMN‖?

2. What are the phonological characteristics of Black English as seen through the

processes?

1.3 Objectives of the Studies

Based on the problems above, the writer will concern on:

UNIVERSITAS SUMATERA UTARA 1. To know the phonological processes of the Black English word pronunciation that

lead to different spellings.

2. To find out the phonological characteristics of Black English.

1.4 Scope of the Study

This research is directed to analyze phonological of black english used by Kendrick

Lamar‘s song lyric in the album ―DAMN‖ that released on April 14, 2017. DAMN

album is official labeled by Aftermath Entertaiment, Interscope Records and Top Dawg

Entertaiment. There are 14 songs in this album, but the writer only chose six songs to

analyze in this research.

1.5 Significances of the Studies

The contribution of the study compasses two types, theoretical and practical significances.

1. Theoretically, the writer hopes that this research is able to enrich the writers in

comprehending about phonological of Black English.

2. Theoretically, the writer hopes that this research is useful for students to study about

the language phenomenon and language development.

3. Practically, the writer hopes that this research has some benefit for students to able to

apply their knowledge and comprehend slang word in appropriate daily

conversation, especially in informal situation.

4. Practically, the writer hopes that this research is useful for people to understand

Black English word that appear in movies or songs.

UNIVERSITAS SUMATERA UTARA CHAPTER II

REVIEW OF LITERATURE

2.1 Theories of Black English

Before we talk further about Black English phonology, we should know first about what people refer to as Black English. What people refer to as ‗Black English‘ is certainly one of the prominent vernacular dialects of English, but it is difficult to pick out one dialect as the most different. Wolfram, et.al, in Dialect and Education, Issues and Answers said that

Black English is a variety of English that has combined a number of the nonstandard

English forms in a unique way. Its uniqueness lies not so much in the distinct language forms that are found only in that dialect, although there are a few, but in the particular combination of forms that make up the dialect (Wolfram, 1989: 40).

2.1.1 History

Black English itself was the product of the slave trade. McCrum, et.al in The Story of English stated that today, Black English speakers are members of a scattered family that includes African pidgins, Caribbean creole, the English of Southern states of America and the Black English of the post-colonial British Isles (McCrum, 1986: 196). According to

David Crystal in his book Cambridge Encyclopedia of the English Language, during the early years of American settlement, a highly distinctive form of English was emerging in the islands of the West Indies and the southern part of the mainland, spoken by the incoming black population. This was a consequence of the importation of African slaves to work on the sugar plantations, a practice started by the Spanish as early as 1517. From the early 17th century, ships from Europe traveled to the West African coast, where they exchanged cheap

UNIVERSITAS SUMATERA UTARA goods for black slaves. The slaves were shipped in barbarous conditions to the Caribbean islands and the American coast, where they were in turn exchanged for such commodities as sugar, rum, and molasses. The ships then returned to England, completing an ‗Atlantic triangle‘ of journeys, and the process began again. The first 20 African slaves arrived in

Virginia on a Dutch ship in 1619. By the time of the American Revolution (1776) their numbers had grown to half a million, and there were over 4 million by the time slavery was abolished, at the end of the US Civil War in 1865 (McCrum, 1986: 96).

The policy of the slave-traders was to bring people of different language backgrounds together in the ships, to make it difficult for groups to plot rebellion. The result was the growth of several pidgin forms of communication, and in particular a pidgin between the slaves and the sailors, many of whom spoke English. Once arrived in the

Caribbean, this Pidgin English continued to act as a major means of communication between the black population and the new landowners, and among the blacks themselves.

Then, when their children were born, the pidgin gradually began to be used as a mother tongue, producing the first black creole speech in the region. It is this creole English, which rapidly came to be used throughout the southern plantations, and in many of the coastal towns, and islands. At the same time, standard British English was becoming a prestige variety throughout the area, as a consequence of the emerging political influence of Britain

(Crystal, 2005:96).

2.1.2 The Growth of African-American English

David Crystal in his book Cambridge Encyclopedia of the English Language said that black culture became known throughout the country, especially for its music following

UNIVERSITAS SUMATERA UTARA the widespread movement to the industrial cities of the northern states in the late 19th century in the USA. The linguistic result was a large influx of new, informal vocabulary into general use, as whites picked up the lively speech patterns of those who sang, played, and danced –from the early spirituals, through the many forms of jazz and blues, to later fashions in rapping, soul music, and break dancing. At the same time, there was a growth in educational opportunities for black people, and an increasing involvement in political and professional roles.

The civil rights movement in the 1960s had its linguistic as well as its political successes, with school being obliged to take account of the distinctive character of Black

English Vernacular, following the successful outcome of a test case at Ann Arbor,

Michigan, in 1977 (Crystal, 2005: 97). In the 1980s, the public use many expressions in the language for talking about this group of people. The current respectability of African-

American (which dates from the 1980s) has replaced such forms as Afro-American,

AfricoAmerican, Afro (all in evidence from the 1830s), colored (preferred in the period after the Civil War), negro (preferred after the 1880s, and with a capital N some 50 years later), and black/Black (which became the preferred form during the 1960s, and is still the commonest use).

Black is now often proscribed, and language conflicts have grown as people strive to find fresh forms of expression lacking the pejorative connotations they sense in earlier usage

(Crystal, 2005: 96).

2.2 Theories of Phonetics

Phonology can never be completely divorced from phonetics, since sound patterns can never be completely separated from how they are produced and heard. Phonetics is a

UNIVERSITAS SUMATERA UTARA part of phonology, and provides the means for describing speech sounds. The writer only takes the theory on articulatory phonetics, which deals with how the vocal tract produces the sounds of language based on April McMahon.

2.2.1 Vocal Tract

Basically, sound is produced by vibrating air. Speaking means using the vocal tract

(lungs, trachea, larynx, mouth, and nose) to get air moving and vibrating, and then shaping that movement in different ways. According to Elizabeth Zsiga in the compilation edited by

Ralph Fasold and Jeff Connor-Linton An Introduction to Language and Linguistics, said that speech begins with breath because most speech sounds are made with air exiting the lungs

(Fasold, 2006: 14). That is why when we begin to speak; we pull down the diaphragm, the big muscle that separates our chest cavity from the stomach. This enlarges the lungs, which draws air in. then the diaphragm relaxes and the muscles around the ribs contract, slowly squeezing the lungs and forcing the air out and up the windpipe or trachea.

The next part of the vocal tract is larynx in the little box of cartilage at the top of the trachea. Inside the larynx, two folds of soft tissue, called the vocal folds lie across the top of the trachea. Just above the larynx, at the base of the tongue, is the epiglottis. It is a muscular structure that folds down over the larynx when we swallow to prevent food from going down into the lungs before it enters the passage to the stomach.

The payoff for the risk of a larynx located low in the throat is an open area at the back of the mouth, i.e. the pharynx. The pharynx allows the tongue freedom for front and back movement (Fasold, 2006: 15). Inside the mouth itself, there are many different

UNIVERSITAS SUMATERA UTARA structures –active articulators and passive articulators- that we use to shape speech sounds as the air passes through the vocal tract. Active articulator is the organ that moves, and the passive articulator is the target of the articulation, i.e. the point towards which the active articulator is directed (Collins, Beverley and Inger M. Mees, 2003: 42). The active articulators move toward the passive articulators in order to constrict and shape the air that is moving out from the lungs.

Active articulators include the lips, which can be opened or closed, pursed or spread, and the tongue. The tongue front (including the tip and the blade, which extends a few centimeters back from the tip), the tongue body (the main mass of the tongue, also known as the dorsum), and the tongue root (the lowest part of the tongue, back in the pharynx), are considered separate active articulators. The passive articulators lie along the top of the vocal tract. The first is the alveolar ridge, the bony rise just behind the teeth. The second is the hard palate, the roof of the mouth. The post alveolar region arches from the alveolar ridge toward the hard palate. The third is soft palate or velum, which is the softer tissue that we can find when we curl the tongue very far back in the mouth, just behind the hard palate.

The velum is a muscular structure that regulates the velar port, the opening in the back of the mouth that connects the mouth and the nose. At the very end of the velum is the uvula, the little pink pendulum hanging down in the back of the mouth when it is opened wide

(Fasold, 2006: 16-17).

2.2.2 Articulation

McMahon in his book An Introduction to English Phonology stated that speech is audible because the movements of articulators cause the air to vibrate, forming sound waves

UNIVERSITAS SUMATERA UTARA which travel to the hearer‘s ears, and set up vibrations in the inner ear, which are then translated into sounds again by the brain. Since sound waves need air, it follows that articulatory vibrations will only make sound waves if there is a moving body of air available. Airstreams can be set in motion in three ways; pulmonic egressive airstream, glottalic airstream, and velaric airstreams mechanism. However, only one is used in English, that is, pulmonic egressive airstream, and indeed is found in every language of the world

(McMahon, 2002: 24). According to Elizabeth Zsiga in the compilation edited by Ralph

Fasold and Jeff Connor-Linton, An Introduction to Language and Linguistics, stated that pulmonic egressive airstream is the way the air moving out from the lungs (Fasold, 2006:

18).

All the sounds of English, both consonants and vowels, are produced on this pulmonic egressive airstream, where the initiator is the lungs and the rest of the respiratory system and the direction of airflow is out-wards. Besides the airstream mechanism, there is another way that a sound is articulated. It deals with the vocal folds. Sounds produced with vocal fold vibration are voiced; sounds produced without vocal fold are voiceless. This vocal folds vibration has to do with the larynx. When a speaker produces a voiced sound /z/, he or she can feel the vibration if he or she places the finger on the larynx. If the speaker switches to the voiceless /s/, the vibration ceases. Besides deciding what to do with the larynx, the speaker must decide whether the velum will be open or not. If the velum is open, so that air flows into the nose, the sound is nasal (like /m/). If the velum is close, the sound is oral (Fasold, 2006: 18). Figure 1 shows parts of the vocal tract and figure 2 shows the areas of the tongues. Both figures are taken from Practical Phonetics and Phonology by

Baverley Collins and Inger M.Mees.

UNIVERSITAS SUMATERA UTARA

Figure 1. Parts of the Vocal Tract (2003: 42)

Figure 2. Areas of the Tongue (2003: 54)

2.2.2.1 Manner of Articulation

According to Elizabeth Zsiga in the compilation edited by Ralph Fasold and Jeff

Connor-Linton, An Introduction to Language and Linguistics, manner of articulation is the type of constriction that is made for a speech sound (Fasold, 2006:507). To produce any consonant, an active articulator, usually located somewhere along the base of the vocal tract, moves towards a passive articulator, somewhere along the top. How close the active and passive articulators get, determines the manner of articulation. Victoria Fromkin et.al in An

UNIVERSITAS SUMATERA UTARA Introduction to Language stated that there are seven main manners of articulation (Fromkin,

2003: 244-250). The explanations are given below:

1. Voiced and Voiceless Sounds

Voiceless sounds are sounds produced in a way that the vocal cords are apart during the airflow, so that the air flows freely through the glottis and supraglottal cavities (the parts of the vocal tract above the glottis). The voiceless sounds in English are /p/, /t/, /k/, and /s/.

If the vocal cords are together, the airstream forces its way through and causes them to vibrate. The sounds produced in this way are voiced sounds: /b/, /d/, /g/, and /z/. Voiceless sounds may also be aspirated or unaspirated. In the production of aspirated sounds, the vocal cords remain apart for a brief time after the stop closure is released, resulting in a puff of air at the time of the release. The /p/ in pit is aspirated, while the /p/ in spit is unaspirated.

(Fromkin, 2003: 244-250)

2. Nasal and Oral Sounds

Sounds produced with the velum up, blocking the air from escaping through the nose, are oral sounds, since the air can escape only through the oral cavity. When the velum is not in its raised position, air escapes through both the nose and the mouth. Sounds produced this way are nasal sounds. Voiceless oral sounds include /p/, /t/, and /k/, and voiced oral sounds are /b/, /d/, and /g/. Nasal sounds in English are usually voiced. They are

/m/, /n/, and /ŋ/. (Fromkin, 2003: 244-250)

UNIVERSITAS SUMATERA UTARA 3. Stops

A stop occurs when the active and passive articulators actually touch, stopping airflow through the oral cavity completely for a brief period. Nasal sounds /m/, /n/, and /ŋ/ are classified as stops because nasals have a structure of complete closure in the oral cavity although the soft palate is lowered allowing the airstream to escape through the nose.

Nonnasal, or oral stops are also called plosive because the air that is blocked in the mouth

‗explodes‘ when the closure is released. Stops are classified into bilabial stops /p/, /b/, /m/, alveolar stops /t/, /d/, /n/, velar stops /k/, /g/, /ŋ/, glottal stop /ʔ/ as in butter, and palatal affricates with complete stop closures /t∫/ and /d /. (Fromkin, 2003: 244-250)

4. Fricatives

If the articulators are brought close together but not closed completely, so that the stream of air that is forced between them becomes turbulent and noisy, the manner of articulation is fricative. The sounds /f/, /v/, /s/, /z/, /ð/, /θ/, /∫/, and / / are fricatives. The sounds /f/ and /v/ are labiodental fricatives, /s/ and /z/ are alveolar fricatives, /ð/ and /θ/ are interdental fricatives, /∫/ and / / are palatal fricatives. (Fromkin, 2003: 244-250)

5. Affricates

Affricates combine a sequence of stop plus fricatives in a single sound. It is produced by a stop closure followed immediately by a gradual release of the closure that produces an effect characteristic of a fricative. The two relevant sounds for English are /t∫/, at the beginning and end of church, and its voiced equivalent /d / found at the beginning and end of judge. (Fromkin, 2003: 244-250)

UNIVERSITAS SUMATERA UTARA 6. Liquids

Liquids are sounds produced with some obstruction of the airstream in the mouth, but not enough to cause any real constriction or friction. For lateral liquid /l/, the tip of the tongue rises to the alveolar ridge leaving the rest of the tongue down, permitting the air to escape laterally over its sides. Retoflex liquid /r/ is produced by curling the tip of the tongue back behind the alveolar ridge. In some languages, the /r/ may be an alveolar trill, produced by the tip of the tongue vibrating against the roof of the mouth. It may be produced by a single tap or flap of the tongue against the alveolar ridge and it sometimes called ‗a flap‘.

The IPA symbol for the alveolar tap or flap is /ɽ/. (Fromkin, 2003: 244-250)

7. Glides

Glides produced with little or no obstruction of the airstream in the mouth. The sounds /j/ and /w/ are glides. They are transitional sounds that are sometimes called semivowels. The glide /j/ is a palatal sound; while /w/ is produced by both raising the back of the tongue toward the velum and simultaneously rounding the lips. Therefore, the glide

/w/ is a labio-velar glide, or a rounded velar glide. (Fromkin, 2003: 244-250)

2.2.2.2 Place of Articulation

Place of articulation tells us where the sounds are produced. According to McMahon in An Introduction to English Phonology, the English consonants are produced at eight places of articulation as follows (McMahon, 2002: 31-33).

1. Bilabial

For a bilabial sound, the active articulator is the bottom lip, and the passive articulator is the top lip.

UNIVERSITAS SUMATERA UTARA

/p/ pie voiceless bilabial plosive

/b/ by voiced bilabial plosive

/m/ my voiced bilabial nasal

(McMahon, 2002: 31-33)

There is at least one further English phoneme which to an extent fits under this heading: this is the approximant /w/ in wet. In producing /w/, the lips are certainly approximated, though not enough to cause friction or obstruct the airflow; but you should be able to feel that the back of your tongue is also bunched up. This additional articulation takes place at the velum, so that /w/ is not simply a labial sound, but a labial-velar one. In some accents of

English, notably those spoken in Scotland and New Zealand, this /w/ contrasts with /ʍ/, the voiceless labial-velar fricative, which tends to occur in words spelled . If you have the same pronunciation for witch and which, or Wales and whales, then you have only /w/; if these are consistently different for you, then these minimal pairs establish a contrast of /w/ and

/ʍ/.

/w/ witch voiced labial-velar approximant

/ʍ/ which voiceless labial-velar fricative

(McMahon, 2002: 31-33)

2. Labio-dental

For labio-dental sounds, the active articulator is again the bottom lip, but this time it moves up to the top front teeth. Note that these sounds are labio-dental, while /w/ and /ʍ/

UNIVERSITAS SUMATERA UTARA are labial-velar, because in the first case, articulation takes place only at a single location, while in the second, there are two separate, simultaneous articulations.

/f/ fat voiceless labio-dental fricative

/v/ vat voiced labio-dental fricative

(McMahon, 2002: 31-33)

3. Dental

In most English sounds, and most speech sounds in general, the active articulator is part of the tongue; to avoid confusion, places of articulation where the tongue is involved are therefore generally called after the passive articulator. For the two dental fricatives, it follows that the passive articulator is the top front teeth; the active articulator is the tip of the tongue. The tongue itself is conventionally divided into the tip (the very front); the blade

(just behind the blade, and lying opposite the alveolar ridge); the front (just behind the blade, and lying opposite the hard palate); the back (behind the front, and lying opposite the velum); and the root (right at the base, lying opposite the wall of the pharynx).

/θ/ thigh voiceless dental fricative

/ð/ thy voiced dental fricative (McMahon, 2002: 31-33)

4. Alveolar

Alveolar sounds are produced by the tip or blade of the tongue moving up towards the alveolar ridge, the bony protrusion you can feel if you curl your tongue back just behind your top front teeth.

/t/ tie voiceless alveolar plosive

/d/ die voiced alveolar plosive

UNIVERSITAS SUMATERA UTARA /n/ nigh voiced alveolar nasal

/s/ sip voiceless alveolar fricative

/z/ zip voiced alveolar fricative

/r/ rip voiced alveolar central approximant

/l/ lip voiced alveolar lateral approximant (McMahon, 2002: 31-33)

The symbol /r/ is used for the phoneme here and throughout the book, primarily because it is typographically convenient; but different realizations of /r/ are found throughout the

English-speaking world, and as we have seen, /r/ itself, the voiced alveolar trill, is rather rare. The tapped realization, /ɾ/, is also alveolar; but another even more common pronunciation is not. This is the voiced retroflex approximant, /ɹ/, which is produced with the tip of the tongue curled back slightly behind the alveolar ridge; this is the most common realization of /r/ for speakers of Southern Standard British English and General American.

(McMahon, 2002: 31-33)

5. Postalveolar

If you move your tongue tip back behind the alveolar ridge, you will feel the hard palate, which then, moving further back again, becomes the soft palate, or velum.

Postalveolar sounds are produced with the blade of the tongue as the active articulator, and the adjoining parts of the alveolar ridge and the hard palate as the passive one. They include two fricatives, and the affricates introduced in the last section.

/ʃ/ ship voiceless postalveolar fricative

/ʒ/ beige voiced postalveolar fricative

/tʃ/ chunk voiceless postalveolar affricate

UNIVERSITAS SUMATERA UTARA /dʒ/ junk voiced postalveolar affricate

(McMahon, 2002: 31-33)

6. Palatal

Palatals are produced by the front of the tongue, which moves up towards the hard palate. We have so far encountered two palatal sounds: the approximant /j/ in yes, and the voiceless palatal stop /c/ in kitchen. Recall, however, that /c/ is the allophone of /k/ found before certain vowels; velar /k/ appears elsewhere. There is a similar pattern for /g/, which has as allophones velar in garden and palatal // give. Since we are constructing a phoneme system here, these allophones are not included in the list.

/j/ yes voiced palatal approximant

(McMahon, 2002: 31-33)

7. Velar

For velar sounds, the active articulator is the back of the tongue, and the passive articulator is the velum, or soft palate. The labial-velar approximant and fricative /w/ and

/ʍ/ are not included here, as they were discussed above with the bilabials; however, it should be remembered that these doubly articulated sounds strictly belong under both headings. Similarly, although the ‗dark l‘ realization, /ɫ/, is also velar, it does not appear in the list below as it is an allophone of /l/. There is a further accent difference involving velar sounds: in some varieties of English, notably Scottish ones, there is a voiceless velar

UNIVERSITAS SUMATERA UTARA fricative, /x/: this is the sound at the end of Scots loch, which speakers of other accents typically replace with a /k/.

/k/ cot voiceless velar plosive

/ɡ/ got voiced velar plosive

/ŋ/ rang voiced velar nasal

/x/ loch voiceless velar fricative

(McMahon, 2002: 31-33)

8. Glottal

Glottal sounds are in the minority in articulatory terms, since they do not involve the tongue: instead, the articulators are the vocal folds, which constitute a place of articulation as well as having a crucial role in voicing. English has two glottal sounds. The first is allophonic, namely the glottal stop, /ʔ/, which appears as an intervocalic realisation of /t/ in many accents, as in butter. The glottal stop is technically voiceless, though in fact it could hardly be anything else, since when the vocal folds are pressed together to completely obstruct the airstream, as must be the case for a stop sound, air cannot simultaneously be passing through to cause vibration. The second, the voiceless glottal fricative /h/, is a phoneme in its own right.

/h/ high voiceless glottal fricative

(McMahon, 2002: 31-33)

UNIVERSITAS SUMATERA UTARA 2.3 Theories of Phonology

The word phonology refers both to the linguistics knowledge that speakers have about the sound patterns of their language and to the description of that knowledge that linguists try to produce .The study of how speech sounds from patterns is phonology.

(Fromkin et.al.: 2003).

2.3.1 Phonemes and Allophones

The importance of phonology is shown by the fact that one can change one word into another simply by changing one sound. It can be seen from the forms and meanings of the following English words: sip – zip fine – vine chunk – junk each word differs from the other words in both form and meaning. The difference between sip and zip is ‗signaled‘ by the fact that the initial sound of the first word is s /s/ and the initial sound of the second word is z /z/. The forms of the two words are identical except for the initial consonants. /s/ and /z/ can therefore distinguish or contrast words. They are distinctive sounds in English. Such distinctive sounds are called phonemes. A phoneme can be described as a label for a group of sounds that are perceived by the speaker to be the ‗same‘ sound, and the allophones are the different ways of pronouncing that sound depending upon the context in which it is produced. Phonemes are indicated by slashes, while allophones are indicated by brackets

(Fasold, 2006: 39). It can be said that each phoneme is therefore really composed of a number of different sounds which are interpreted as one meaningful unit by a native speaker of the language.

UNIVERSITAS SUMATERA UTARA This range is termed allophonic variation, and the variants themselves are called allophones. Only the allophones of a phoneme can exist in reality as concrete entities.

Allophones are real, since they can be recorded, stored and reproduced, and analyzed in acoustic or articulatory terms. Phonemes are abstract units and exist only in the mind of the speaker/listener. As the phoneme is an abstraction, one can only in fact, produce an allophone of the phoneme (Collins, Beverley and Inger M. Mees, 2003: 11).

2.3.2 The Rules of Phonology

According to Victoria Fromkin, Robert Rodman, and Nina Hyams in An

Introduction to Language, the phonological rules relate the phonemic representations to the phonetic representations and are part of a speaker‘s knowledge of the language.

Phonological rules in a grammar apply to phonemic strings and alter them in various ways to derive their pronunciation as described below (Fromkin, 2003: 301-312):

1. Assimilation rules

Assimilation is the adaptation of a phoneme to another under the phonetic conditioning. Beverley Collins and Inger M. Mees in Practical Phonetics and Phonology described phonetic conditioning as a term used to cover the in which speech segments are influenced by adjacent or near-adjacent segments, causing phonemes to vary in their realization according to the phonetic context. Assimilation may replace a phoneme by another phoneme. If green bag is said as /‘gri:m bæg/, then /n/ is said to assimilate to /m/ under the influence of the following /b/ (Collins, 2003: 102). The same is true in the word impolite, which is constructed from the root polite and prefix in. The surface representation of the word is /‗Impə / because the /n/ is said to assimilate to /m/ under the influence of

UNIVERSITAS SUMATERA UTARA the following voiceless stop /p/. Therefore, it can be said that assimilation rules change feature values of segments, thus spreading phonetic properties. The rule that nasalizes vowels in English before nasal consonants is such a rule (Fromkin et.al, 2003: 328).

2. Dissimilation rules

Languages also have dissimilation rules, rules in which a segment becomes less similar to another segment. An example of easing pronunciation through dissimilation is found in some varieties of English, where there is a fricative dissimilation rule. This rule applies to sequences /fθ/ and /sθ/, changing them to /ft/ and /st/. Here, the fricative /θ/ becomes dissimilar to the preceding fricative by becoming a stop. For example, the words fifth and sixth come to be pronounced as if they were spelled fift and sikst. (Fromkin, 2003:

301-312)

3. Feature-changing rules

The English vowel nasalization and vowel weakening rules change feature specifications. That is, in English the /-nasal/ value of phonemic vowel is changed to

/+nasal/ phonetically through an assimilation process when the vowels occur before nasals.

The Japanese vowel weakening rule also changes the feature specification. Vowels in

Japanese are phonemically voiced, and the rule changes vowels that occur in the specified environment into phonetically voiceless segments. Assimilation rules as described above often have the function of changing the value of phonemic features. They are feature- changing or feature spreading rules. (Fromkin, 2003: 301-312)

UNIVERSITAS SUMATERA UTARA 4. Feature addition rules

Phonological rules in grammar may add non distinctive features, which are predictable from the context. The example is the rule that aspirates voiceless stops at the beginning of words and syllables in English. Generally, aspiration occurs only if the following vowel is stresses. For example, the /p/ in pit and repeat is aspirated, but the /p/ in inspect and compass is not. Therefore, the rule can be stated as ‗voiceless stops (/- continuant, -voiced/ segments) becomes aspirated when they occur syllable initially before stressed vowels. (Fromkin, 2003: 301-312)

5. Segment insertion rules

Phonological rules may also insert consonants or vowels, which are called epenthesis. Insertion is usually related to syllable structure, when vowels are inserted to break up strings of consonants. The schwa insertion part of the rule of English plural formation is an example of epenthesis, e.g. kisses /kIsəz/. (Fromkin, 2003: 301-312)

6. Segment deletion rules

It is the opposite of insertion. Phonological rules may delete phonemic segments in certain context. Instead of breaking up a sequence of consonants with a vowel, a language may choose to delete one of the consonants, as in the loss of the initial /p/ in pneumonia.

Grand ends with /nd/, mother starts with /m/, but when the two words are put together, the medial /d/ is usually deleted and it becomes /grænmʌðər/. The /n/ may then assimilate to the

/m/, resulting in /græmmʌðər/. Deletion rules also show up as optional rules in fast speech or casual speech in English. Contraction rules in English are deletion rules. They result, for

UNIVERSITAS SUMATERA UTARA example, in the common contractions changing he is /hi Iz/ to he‘s /hIz/ and I will /aI wIl/ to

I‘ll /aIl/. (Fromkin, 2003: 301-312)

2.3.3 Variation between Accents

McMahon in An Introduction to English Phonology (McMahon, 2002) stated that accent is clearly extremely important, as one of the major tools we use in drawing inferences about humans, and in projecting particular images of ourselves. An accent, in phonological terms, is an idealized system which speakers of that variety share. Although slight differences in its use may be apparent, both across and within individuals, its speakers will still share more in common with one another, and with that idealized accent system, than with speakers of any other idealized accent system (McMahon, 2002: 93).

Further, she explained that there are three-way classification of accent differences, and illustrate these using examples involving both consonants and vowels. First, the systems of two accents may contain different numbers of phonemes, so different phonemic oppositions can be established from them: these are systemic differences. Second, the same phonemes may have different allophones: these are realisational differences. The last one, there are distributional differences, whereby the same lexical item may have different phonemes in two different varieties; or alternatively, the same phoneme may have a phonological restriction on its distribution in one variety but not another (McMahon, 2002:

94).

2.4 Theories of Song Lyrics

Music is the universal language as a vehicle to engage, inspire, and reinforce the magic of literature and the power of reading. Song-lyric, therefore, is also a means of

UNIVERSITAS SUMATERA UTARA communication because it is also a kind of a language use. As well as the lyric in poetry, song-lyric also has metaphor. Simpson in his book Stylistics: A Resource Book for Students said mixing the literary, with the manifestly ‗non-literature‘, the set, which features both metaphor and metonymy, draws in material from journalism, song lyrics, spoken discourse and, of course, literary text (Simpson, 2004: 142). There is no set way to write the lyrics to a song, but according to the article entitled How to Write Rap Lyrics posted in http://www.ehow.com/ how_2140038_write-rap-lyrics.html by How Arts & Entertainment

Editor accessed on 2 December 2008, there are a few basic ways in organizing the personal thoughts and turning them into song lyrics like what is written below.

As Rap Music is a combination of musical beats and poetry, the songwriter should approach writing rap lyrics like he or she would approach the process of writing poetry. To write good rap lyrics, the songwriter needs to combine interesting subject matter with a clever lyrical delivery. The first step is writing about a subject the songwriter knows intimately. The best rap songs are born out of personal experience. The second step is varying the meter and phrasing. The simple, repetitive rap beats will provide a solid foundation upon which a rapper can create incredibly complex polyrhythmic flourishes with his lyrics. The songwriter should try to avoid writing rhythmically stagnant verses with rigid meters. The next step is to write all the time. Successful rappers are constantly coming up with phrases, rhymes or lyrical ideas. The songwriter should keep a notebook handy throughout the day so he or she can scribble down ideas whenever inspiration strikes. The fourth step is to become an observer. The songwriter should be sensitive to people and conflicts that surround him or her at all times. Next, is to create a simple chorus that encapsulates the themes and ideas of the song. The best choruses are short and catchy. After

UNIVERSITAS SUMATERA UTARA that, the songwriter should come up with a unique turn of phrase or wordplay. He or she should think of clichés or familiar phrases and find clever ways to put fresh spins on them.

The seventh step is employing literary devices like similes, metaphors, and onomatopoeias.

While the themes and content of the rap lyrics are important, the songwriter should spend an equal amount of time on the style and delivery. Consider how much wordplay goes in the single Jay Z line, ―You know the type: loud as a motorbike, but they wouldn‘t bust grape in a fruit fight.‖

The next step is building the rhymes within individual lines. Unlike rock or country lyrics, rap lyrics do not limit rhymes to the end of each line. By incorporating a series of rapid-fire rhymes within a single line of a verse, rappers give themselves plenty of opportunities to create fast-paced rhythmic syncopations and patterns. Step number nine is manipulating alliteration. In addition to rhymes, many rappers get a lot of creative mileage out of alliteration. The songwriter should try and repeat the initial consonant sounds with as many words as possible within a single lyrical passage. The last step is reading the lyrics from great rappers carefully. The songwriter should take notes on the techniques and styles used by successful rappers. Since raps are talk songs, they are not sung but spoken. They have a very heavy beat and a lot of rhyme. There might be original music, ―scratching‖ sounds, and parts of other people‘ songs behind the speaker of a rap.

2.5 Review of Hip Hop Music

Popular music is any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is

UNIVERSITAS SUMATERA UTARA conceived for mass distribution to large and often sociocultural heterogeneous groups of listeners, stored and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of

'free' enterprise, it should ideally sell as much as possible. Popular music consists of: Rock

Music, Electronic Music, R&B, Funk, Country Music, Latin, Reggae, Hip-hop Music and

Polka. (Tagg, 1982: 41)

Hip hop music, also referred to as rap or Rap Music, is a style of popular music which came into existence in the United States during the mid-1970s, and became a large part of modern pop culture during the 1980s. It consists of two main components: rapping (MCing) and DJing (audio mixing and scratching). Along with hip hop dance (notably breakdancing) and urban inspired art, or notably graffiti, these compose the four elements of hip hop, a cultural movement that was initiated by inner-city youth, mostly African Americans in New

York City, in the early 1970s.

Typically, hip hop music consists of intensely rhythmic lyrical form making abundant use of techniques like assonance, alliteration, and rhyme. The rapper is accompanied by an instrumental track, usually referred to as a "beat", performed by a DJ, created by a producer, or one or more instrumentalists. This beat is often created using a sample of the percussion break of another song, usually a funk or soul recording. In addition to the beat other sounds are often sampled, synthesized, or performed. Sometimes a track can be instrumental, as a showcase of the skills of the DJ or producer.

UNIVERSITAS SUMATERA UTARA Hip hop began in The Bronx, located in New York City, when DJs began isolating the percussion break from funk and disco songs. The early role of the MC was to introduce the

DJ and the music and to keep the audience excited. MCs began by speaking between songs, giving exhortations to dance, greetings to audience members, jokes and anecdotes.

Eventually this practice became more stylized and became known as rapping. By 1979 hip hop had become a commercially popular music genre and began to enter the American mainstream. In the 1990s, a form of hip hop called gangsta rap became a major part of

American music, causing significant controversy over lyrics which were perceived as promoting violence, terrorism, promiscuity, drug use and misogyny. Nevertheless, by the beginning of the 2000s, hip hop was a staple of popular music charts and was being performed in many styles across the world.

2.6 Review of Kendrick Lamar

Kendrick Lamar Duckworth (born June 17, 1987) is an American rapper, songwriter, and record producer. He is regarded as one of the most skillful and successful hip hop artists of his generation, with various media outlets branding him the "new king of hip hop".

Raised in Compton, California, Lamar embarked on his musical career as a teenager under the stage name K-Dot, releasing a mixtape that garnered local attention and led to his signing with indie record label Top Dawg Entertainment (TDE). He began to gain recognition in 2010, after his first retail release, Overly Dedicated. The following year, he independently released his first studio album, Section.80, which included his debut single,

"HiiiPoWeR".

UNIVERSITAS SUMATERA UTARA By that time, he had amassed a large online following and collaborated with several prominent hip hop artists, including The Game, Busta Rhymes, and Snoop Dogg.

Lamar's major label debut album, good kid, m.A.A.d city, was released in 2012 by

TDE, Aftermath, and Interscope Records to critical acclaim. It debuted at #2 on the

US Billboard 200 and was later certified platinum by the RIAA. The record contained the top 40 singles "Swimming Pools (Drank)", "Bitch, Don't Kill My Vibe", and "Poetic

Justice". His critically acclaimed third album To Pimp a Butterfly (2015) incorporated elements of funk, soul, jazz, and spoken word. It debuted atop the charts in the US and the

UK, and won the Grammy Award for Best Rap Album at the 58th ceremony.

In 2016, Lamar released Untitled Unmastered, a collection of unreleased demos that originated during the recording sessions for Butterfly. He released his fourth album Damn in

2017 to further acclaim; its lead single "Humble" topped the US Billboard Hot 100 chart.

Aside from his solo career, Lamar is also known as a member of the West Coast hip hopsupergroup Black Hippy, alongside his TDE label-mates and fellow South Los Angeles– based rappers Ab-Soul, Jay Rock, and Schoolboy Q.

Lamar has received many accolades over the course of his career, including twelve

Grammy Awards. In early 2013, MTV named him the "Hottest MC in the Game", on their annual list. Time named him one of the 100 most influential people in the world in 2016. In

2018, Damn became the first non-classical and non-jazz album to be awarded the Pulitzer

Prize for Music.

UNIVERSITAS SUMATERA UTARA 2.7 Theoretical Framework

In this study, there are two main points to examine. The points concerning the phonological processes occurred in the pronunciation of the song-lyrics in the Black English words, and the characteristics of Black English phonology which later differed from

Standard English. The writer needs some theories to help the writer analyze the points.

The first point needs the Black English theories. Such theories help the writer understand the meaning of Black English itself such that the writer has no trouble in identifying the basic terms in the song lyrics that are traditionally Black English as the topic of research is song lyrics written in Black English dialect. Such hypotheses allow the writer to identify which phonological processes are to be found in word pronunciation. In order to support the interpretation of the first point mentioned above, the concept of song-lyric is also required.

The second issue listed in the problem formulation is studied using phonology theories and their variation between accents. Such theories are used by the writer because these hypotheses allow the writer to assess the Black English phonological characteristics.

Finally, Kendrick Lamar, the singer of the songs, must also be reviewed by the writer to give the readers a brief explanation about the singer.

2.8 Previous Relative Studies

In order to support the study, especially to conduct the analysis, it is necessary for the writer to state the previous studies that have been done related to the topic of this thesis.

After searching for some sources, five related studies were found.

UNIVERSITAS SUMATERA UTARA

Black Vowel Lengthening Process in American-English Pronunciation by Wahyu

Adi Putra Ginting (2007). In his study, Ginting tried to find out how the voiced and voiceless stop consonants influence the duration of the preceding back vowel‘s lengthening.

He focused his observation on American-English pronunciation (2007: xi).

The Character‘s Dialect and Their Social Background In Mark Twain‘s The

Adventures of Huckleberry Finn by Wivina Tomas (2007). The writer takes this thesis because it discussed Black English as the dialect that represents the character‘s background.

Black English, in the novel, is the dialect used by Jim, one of the major characters. Although

Tomas study the same object of the study, i.e. Black English, the focus of the thesis is different in a way that it does not discuss the morphology of the Black English words.

Phonological Influence of Phonetic Change by Josef Fruehwald (2013). In this thesis Fruehwald has set out to understand how phonology and phonetics interact over the course of phonetic change with the hope of broadening our knowledge of both sound change and the general relationship between phonology and phonetics.

Grammatical Analysis of African American Vernacular English (AAV) in ―Straight

Outta Compton‖ Movie by Nur Arifin (2017). This research aimed to analyze the use of the selected African American Vernacular English (AAVE) features in in ―Straight Outta

Compton‖ movie which includes the use of negator ain‘t, negative concord, auxiliary absence, generalization of is and was to plural and second person pronouns, remote been, completive done, possessive pronoun they, and demonstrative them.

UNIVERSITAS SUMATERA UTARA

Phonological Variation of Black American English in the Songs of Alicia Keys by

Methusela Melani Harini (2015). This study aims to identify, analyze and describe phonological variations of English American blacks in the songs of Alicia Keys. The result of this research shows that there are some variations of African American Vernacular

English in the songs of Alicia Keys, especially in the album ‗The Diary of Alicia Keys‘.

Such as: Reduction of word final consonants clusters, especially those ending in t and the – ed suffix pronounced as /t/, Deletion of word-final single consonant, Realization of final ng

/ŋ/ as n /n/, Realization of voiceless th /θ/ as t, Realization of voiced /ð/ as d, Deletion or vocalization of l after a vowel, Deletion or vocalization of r after a vowel, Deletion of initial d and g in certain tense-aspect auxiliaries, Deletion of unstressed initial, Monophthongal pronunciation of ay, and ey, Most of the songs that sings by a black people have a different variation because their daily activities.

All previous related studies give the writer an understanding of African-American

Vernacular English and how to apply it to analyze the object. Previous related studies above also have objects that are similar to the writer's object because all object in all previous related studies are work containing Black English words or African-American Vernacular

English it them. The theoretical approach of previous related studies above also gave the writer knowledge to analyze the writer's object.

All previous related studies theoretical approach above are quite similar to the writer's theoretical approach because they use sound or phonological approach to analyze their studies. Neither Grammatical Analysis of African American Vernacular English

(AAV) in ―Straight Outta Compton‖ Movie by Nur Arifin (2017) because Arifin use

UNIVERSITAS SUMATERA UTARA grammatical approach to analyze the object. But the difference between the writer analysis and all related previous studies is that the writer use phonological process and compare The

African-American Vernacular English to Standard English based on Oxford Advanced

Learner's Current English Dictionary

UNIVERSITAS SUMATERA UTARA CHAPTER III

RESEARCH METHODOLOGY

3.1 Data of the study

The writer will analyze the phonological processes in Kendrick Lamar's song lyrics in the "DAMN" album focus on phonemes of Black English words. This is Kendrick

Lamar's latest album and released on April 14, 2017. The album contains fourteen songs, but the writer has to analyze six songs. BLOOD, DNA, ELEMENT, HUMBLE, XXX, and

GOD are the songs. The writer analyzes only the pronunciation of words, typically Black

English, or in other words, words found only in Black English Vernacular. The writer listed those words and wrote the phonetic transcriptions based on listening to the writer and generated by https://tophonetics.com/. The writer also gave the spellings and phonetic transcriptions of the words based on Oxford Advanced Learner's Current English Dictionary as a comparison to the Standard one.

3.2 Approach of the study

In studying the phonological processes, the writer deals with a phonological study.

The writer believes that using phonological approach is appropriate because the writer did the language sound pattern analysis, which is the analysis of the ways and methods in which speech sounds from system and patterns.

UNIVERSITAS SUMATERA UTARA 3.3 Method of the study

3.3.1 Population and Sample

A researcher must have objects to investigate when conducting a research. The writer cannot find all the populations in research. Sprinthall defines the term "population" as the entire group of person, thins, or events that share at least one common trait (Wardhaugh,

1992:27) While "samples" are only parts of the population used to present the characteristics of the population.. The writer considers this examination as the testing one in light of the fact that the study will do the phonological investigation on Black English just through the articulations of phonemes from the words in Kendrick Lamar's six song lyrics in the album

DAMN.

3.3.2 Instrument and data collection

In collecting data, the first thing the writer does is to get the lyrics of the song

Kendrick Lamar from https://genius.com/albums/Kendrick-lamar/Damn, then listen to the songs 5 times for each song in a day. Next, the writer identifies several words that have an

English phonological element in Black Americans English. Then, the data was collected by writing one word on one sheet of paper accompanied by phonetic transcripts. Data were found as many as 318 words from six song titles in the album DAMN by Kendrick Lamar.

3.3.3 Technique of Collecting Data

In this thesis, the researcher used documentation. The method of documentation

was used to collect data about the things or variables in the form of notes, transcripts,

books, newspapers, magazines, inscriptions, minutes of meetings, agendas, and so forth,

UNIVERSITAS SUMATERA UTARA (Arikunto, 2006:231). In collecting data, the first thing the writer does is to take the lyrics

of the song Kendrick Lamar from http://www.genius.com then listen to the songs 5 times

for each song in a day. Then, the writer identifies several words that have an English

phonological element in Black English. Then, the data was collected by writing one word

on one sheet of paper accompanied by phonetic transcripts of the word.

3.3.4 Data analysis

There are two issues to be answered in this research, which are the phonological processes of pronunciation of Black English words and how Black English phonology characteristics are seen through the processes. The writer did the analysis in a few steps to answer the problems.

The first issue is the phonological processes. The writer first listed the words found in the six song lyrics in Black English. The table has been divided into two parts, each of which is found in each song lyric for Black English words, since the album "DAMN" is made up of 14 songs. The writer included both Standard English phonetic transcripts (based on Oxford Advance Learner‘s Dictionary of Current English, 2007) and Black English

(based on listening to song pronouncements by the writer and generate by https://tophonetics.com).

Secondly, from comparing standard and Black English phonetic transcriptions. By applying all possible phonological rules, the writer analyzed each word in phonological process. The writer then orderly categorized these possible processes from the analysis according to the phonological processes, e.g. alveolarization process, vowel deletion, and

UNIVERSITAS SUMATERA UTARA nasal assimilation. By doing these steps, the writer was able to answer the number one problem that was finding the Black English words phonological process.

The second problem is answered by deriving notes from each classified process to state its phonological process ' general rule. For example, when it occurs in the last syllable of a word, the notation for the phonological process applying velar alveolarization (/ŋ/…….

/n/) is alveolarized a /ŋ/ to /n/. The writer could derive the characteristics of Black English phonology from the Standard one by doing this step. For instance, one of the characteristics of Black English phonology is that the /ŋ/ is pronounced to /n/ if it occurs in the last syllable of a word.

UNIVERSITAS SUMATERA UTARA CHAPTER IV

ANALYSIS AND FINDING

4.1 Data Description

The data consist of 61 Black English words from six songs in DAMN album by Kendrick

Lamar those taken from https://genius.com/albums/Kendrick-lamar/Damn. This album contain 14 songs, the writer took six songs as samples in analyzing. The lyrics those analyzed are BLOOD, DNA, ELEMENT, HUMBLE, XXX, and GOD. The data were limited only on 4 types of phonological interference based on Fromkin theory‘s. The writer listed 61 Black English words from six songs in a table below:

Table 4.1 List of Black English Found in the Album "DAMN"

No. Black English Phonetic Standard Phonetic words Transcription English words Transcription

1 gonna /ˈgɑnə/ Going to /ˈgoʊɪŋ/ /tu/ 2 takin' /ˈteɪkɪn/ Taking /ˈteɪkɪŋ/ 3 pacin' /ˈpeɪsɪn/ Pacing /ˈpeɪsɪŋ/ 4 somethin' /ˈsʌmθɪn/ Something /ˈsʌmθɪŋ/ 5 havin' /ˈhævɪn/ Having /ˈhævɪŋ/ 6 findin' /ˈfaɪndɪn/ Finding /ˈfaɪndɪŋ/ 7 watchin' /ˈwɑʧɪn/ Watching /ˈwɑʧɪŋ/ 8 runnin‘ /ˈrʌnɪn/ Running /ˈrʌnɪŋ/ 9 aimin‘ /ˈeɪmɪn/ Aiming /ˈeɪmɪŋ/ 10 rollin' /ˈroʊlɪn/ Rolling /ˈroʊlɪŋ/ 11 shootin‘ /ˈʃutɪn/ Shooting /ˈʃutɪŋ/ 12 dodgin' /ˈdɑʤɪn/ Dodging /ˈdɑʤɪŋ/ 13 reapin' /ˈripɪn/ Reaping /ˈripɪŋ/ 14 laughin' /ˈlæfɪn/ Laughing /ˈlæfɪŋ/ 15 livin' /ˈlɪvɪn/ Living /ˈlɪvɪŋ/ 16 sleepin' /ˈslipɪn/ Sleeping /ˈslipɪŋ/ 17 walkin' /ˈwɔkɪn/ Walking /ˈwɔkɪŋ/

UNIVERSITAS SUMATERA UTARA 18 buildin' /ˈbɪldɪn/ Building /ˈbɪldɪŋ/ 19 peekin' /ˈpikɪn/ Peeking /ˈpikɪŋ/

20 goin' /ˈgoʊən/ Going /ˈgoʊɪŋ/ 21 freakin' /ˈfrikɪn/ Freaking /ˈfrikɪŋ/ 22 wearin' /ˈwɛrɪn/ Wearing /ˈwɛrɪŋ/ 23 lookin' /ˈlʊkɪn/ Looking /ˈlʊkɪŋ/ 24 curvin' /ˈkɜrvɪn/ Curving ˈkɜrvɪŋ/ 25 hopin' /ˈhoʊpɪn/ Hoping /ˈhoʊpɪŋ/ 26 prayin' /ˈpreɪɪn/ Praying /ˈpreɪɪŋ/ 27 willin' /ˈwɪlɪn/ Willing /ˈwɪlɪŋ/

28 hangin' /ˈhæŋgɪn/ Hanging /ˈhæŋgɪŋ/ 29 nigga /‘nIgə/ Nigger /‘nIgər/ 30 fuckin' /ˈfʌkɪn/ Fucking /ˈfʌkɪŋ/ 31 sellin' /ˈsɛlɪn/ Selling /ˈsɛlɪŋ/ 32 gotta /ˈgɑtə/ Got to /gɑt/ /tu/ 33 crippin' /ˈkrɪpɪn/ Cripping /ˈkrɪpɪŋ/ 34 Nah /nɑ/ No /noʊ/ 35 y'all /jɔl/ You all /juː/ /ɔːl/ 36 checkin' /ˈʧɛkɪn/ Checking /ˈʧɛkɪŋ/ 37 makin' /ˈmeɪkɪn/ Making /ˈmeɪkɪŋ/ 38 Kill 'em /kɪl,ɛm/ Kill Them /kɪl,ðɛm/ 39 talkin' /ˈtɔkɪn/ Talking /ˈtɔːkɪŋ/ 40 countin' /ˈkaʊnɪn/ Counting /ˈkaʊntɪŋ/ 41 downin‘ /ˈdaʊnɪn/ Downing /ˈdaʊnɪŋ/ 42 yo' /joʊ/ Your /jɔː/ 43 playin' /ˈpleɪɪn/ Playing /ˈpleɪɪŋ/ 44 lil' /lɪl/ Little /ˈlɪtl/ 45 gettin' /‘getn/ Getting /‘getIŋ/ 46 dat /dæt/ That /ðæt/ 47 thinkin' /ˈθɪŋkɪn/ Thinking /ˈθɪŋkɪŋ/ 48 frontin' /ˈfrʌntɪn/ Fronting /ˈfrʌntɪŋ/ 49 hate 'em /heɪt,ɛm/ Hate Them /heɪt,ðɛm/ 50 got 'em /gɑt,ɛm/ Got Them /gɒt,ðɛm/ 51 fakin' /ˈfeɪkɪn/ Faking /ˈfeɪkɪŋ/ 52 'bout /baʊt/ About /əˈbaʊt/ 53 wanna /ˈwɑnə/ Want to /wɒnt/ /tuː/ 54 mo' /moʊ/ More /mɔː/ 55 hustlin' /ˈhʌslɪn/ Hustling /ˈhʌslɪŋ/ 56 sobbin' /ˈsɑbɪn/ Sobbing /ˈsɒbɪŋ/ 57 mobbin' /ˈmɑbɪn/ Mobbing /ˈmɒbɪŋ/

UNIVERSITAS SUMATERA UTARA 58 I'll /‘al/ I will /,aI‘wIl/ 59 leavin' /ˈlivɪn/ Leaving /ˈliːvɪŋ/ 60 fo' /foʊ/ For /fɔː/ 61 hol' /hol/ Hold /hoʊld/

To respond to the first problem, the writer firstly classified the words of each text,

the phonological processes of the Black English word pronunciation. Then, the words

were transcribed into the phonetic transcription. The writer then analyzed the data by

applying all practicable phonological rules and graded them according to phonological

processes by contrasting the transcripts of Black English words with those of Standard

English. Oxford Advanced Learner's Dictionary of Current English (2007) is the

phonetic transcription of the Standard Word in English while the phonetic transcription

of Black English Word is based on a song writer listening and generate by

https://tophonetics.com/.

The writer found the pronunciations of Black English language in in the Album

"DAMN" song‘s lyrics by Kendrick Lamar there are nine phonological processes. The

phonological processes are Velar alveolarization, Voiceless Continuantal Veolarization,

Vowel weakening, Consonant ð-deletion, Consonant r-deletion, Consonant t-deletion ,

Consonant d-deletion, Vowel deletion and Monophtongization. The following processes

are described:

UNIVERSITAS SUMATERA UTARA 1. Alveolarization

After the study the writer discovered that three types of processes are alveolarized. They are velar alveolarization, voiced continuant alveolarization, and voiceless continuant alveolarization.

a. Velar alveolarization

Velar alveolarization has the consonant velar /ŋ/ as the input. It appears when final velar stop /ŋ/ which is /–alveolar/ becomes /n/ which is /+ alveolar/. It means that the final velar stop is alveolarized.

b. Voiceless Continuantal Veolarization

The second process of alveolarization is from phoneme /θ/ to phoneme /t//.

2. Vowel Weakening

Vowel weakening happens when the vowel changes its shape, from strong to weak form. The example is the word ya in Black English, which comes from the word no pronounced /noʊ/ while it is pronounced in Standard English /nɑ/. The long and high vowel /oʊ/ is weakened and shifts its form into neutral middle vowel /ɑ/.

UNIVERSITAS SUMATERA UTARA 3. Deletion

The writer analyzed the data collected, and found that in the phonological processes

of the Black English pronunciation there are three types of deletion rules. The rules are

Consonant deletion, Vowel deletion and monophthongization.

a. Consonant deletion

Consonant deletion occurs when the use of black English removes a consonant. The

writer has discovered three different types of consonant deletions: ð- deletion, r-deletion,

t-deletion and d-deletion.

b. Vowel deletion

Vowel deletion happens when a vowel is removed by the use of Black English. The

4. Monophthongization

Monophtongization is the deletion rule in English, since it simplifies diphthong in

some contexts by deleting a certain phoneme.

4.2 Analysis of Phonological Processes

As the first problems of study is ―What phonological processes occurred in

the black english words pronunciation of the Kendrick Lamar‘s song lyrics in the album

―DAMN‖? The writer analyzes The Phonological Processes below:

UNIVERSITAS SUMATERA UTARA 4.3.1 BLOOD

[Intro: Bēkon] Is it wickedness? Is it weakness? You decide Are we gonna live or die?

[Verse: Kendrick Lamar] So I was takin' a walk the other day And I seen a woman—a blind woman Pacin' up and down the sidewalk She seemed to be a bit frustrated As if she had dropped somethin' and Havin' a hard time findin' it So after watchin' her struggle for a while I decide to go over and lend a helping hand, you know? "Hello ma'am, can I be of any assistance? It seems to me that you have lost something I would like to help you find it." She replied: "Oh yes, you have lost something You've lost… your life."

{Gunshot}

[Bridge: Bēkon] Is it wickedness?

[Outro: Eric Bolling & Kimberly Guilfoyle] Lamar stated his views on police brutality With that line in the song, quote: "And we hate the popo, wanna kill us in the street fo' sho." Oh please, ugh, I don't like it

(https://genius.com/albums/Kendrick-lamar/Damn, 2018:BLOOD)

In BLOOD's lyrics the writer found Velar alveolarization, Consonant t-deletion and

Consonant r-deletion. The processes explain below:

1. Velar alveolarization

UNIVERSITAS SUMATERA UTARA Findin'

Black English : /ˈfaɪndɪn/ = Findin'

Standart English : /ˈfaɪndɪŋ/ = Finding

In the example word above, there is a change in the phonological variation in the word " Findin'" which should be pronounced /ˈfaɪndɪŋ/ but pronounced /ˈfaɪndɪn/.

According to the data discussed above, the consonant velar / ŋ / is alveolarised to / n / when it appears in the final position of the word in Black English Vernacular. In

BLOOD song lyrics there are six Velar alveolarization words.

2. Consonant t-deletion

Wanna

Black English : /ˈwɑnə/ = Wanna

Standart English : /wɒnt/ /tuː/ = Want to

Gonna

Black English : /ˈgɑnə/ = Gonna

Standart English : /ˈgoʊɪŋ/ /tu/ = Going to

UNIVERSITAS SUMATERA UTARA segment; it‘s a mechanism that eliminates many phonemes. The final surface depiction

/ˈgɑnə/ is the result. In the word wanna to even the term t-deletion is added. The surface representation will be /ˈwɑnə/ after the /t/ has been deleted. In BLOOD song lyrics there are three Consonant t-deletion words.

3. Consonant r-deletion

Fo'

Black English : /foʊ/ = Fo'

Standart English : /fɔː/ = For

R deletion is another deletion process which can also be seen in the lyrics. R deletion takes place in fo' above words in black english. The sound r is removed and not pronounced accordingly. As a result, after the application of vowel reduction rule (vowel

/oʊ/ becomes /ə/). It is possible to say that /r/ is deleted if it is after a central mid vowel

/ə/ or a low back vowel /oʊ/ from the data discussed above. In BLOOD song lyrics there are one Consonant r-deletion word.

UNIVERSITAS SUMATERA UTARA 4.3.2 DNA

[Verse 1] I got, I got, I got, I got— Loyalty, got royalty inside my DNA Cocaine quarter piece, got war and peace inside my DNA I got power, poison, pain and joy inside my DNA I got hustle though, ambition flow inside my DNA I was born like this, since one like this, immaculate conception I transform like this, perform like this, was Yeshua new weapon I don't contemplate, I meditate, then off your fucking head This that put-the-kids-to-bed This that I got, I got, I got, I got— Realness, I just kill shit ‘cause it's in my DNA I got millions, I got riches buildin' in my DNA I got dark, I got evil, that rot inside my DNA I got off, I got troublesome heart inside my DNA I just win again, then win again like Wimbledon, I serve Yeah, that‘s him again, the sound that engine in is like a bird You see fireworks and Corvette tire skrrt the boulevard I know how you work, I know just who you are See, you's a, you's a, you's a— Bitch, your hormones prolly switch inside your DNA Problem is, all that sucker shit inside your DNA Daddy prolly snitched, heritage inside your DNA Backbone don't exist, born outside a jellyfish, I gauge See, my pedigree most definitely don't tolerate the front Shit I've been through prolly offend you, this is Paula's oldest son I know murder, conviction Burners, boosters, burglars, ballers, dead, redemption Scholars, fathers dead with kids and I wish I was fed forgiveness Yeah, yeah, yeah, yeah, soldier‘s DNA (I‟m a soldier's DNA) Born inside the beast, my expertise checked out in second grade When I was 9, on cell, motel, we didn‘t have nowhere to stay At 29, I've done so well, hit cartwheel in my estate And I'm gon' shine like I‘m supposed to, antisocial extrovert And excellent mean the extra work And absentness what the fuck you heard And pessimists never struck my nerve And Nazareth gon' plead his case The reason my power's here on earth Salute the truth, when the prophet say

UNIVERSITAS SUMATERA UTARA

[Bridge: Kendrick Lamar & Geraldo Rivera] I-I got loyalty, got royalty inside my DNA This is why I say that hip hop has done more damage to young African Americans than racism in recent years I got loyalty, got royalty inside my DNA I live a better life, I'm rollin' several dice, fuck your life I got loyalty, got royalty inside my DNA I live a be-, fuck your life 5, 4, 3, 2, 1 This is my heritage, all I'm inheritin' Money and power, the mecca of marriages

[Verse 2] Tell me somethin' You mothafuckas can't tell me nothin I'd rather die than to listen to you My DNA not for imitation Your DNA an abomination This how it is when you in the Matrix Dodgin' bullets, reapin' what you sow And reapin' up the footage, livin' on the go And sleepin' in a villa Sippin' from a Grammy, walkin' in the buildin' Diamond in the ceilin', marble on the floors Beach inside the window, peekin' out the window Baby in the pool, godfather goals Only Lord knows I've been goin' hammer Dodgin' paparazzi, freakin' through the cameras Eat at Four Daughters, Brock wearin' sandals Yoga on a Monday, stretchin' to Nirvana Watchin' all the snakes, curvin' all the fakes Phone never on, I don't conversate I don't compromise, I just penetrate Sex, money, murder—these are the breaks These are the times, level number 9 Look up in the sky, 10 is on the way Sentence on the way, killings on the way Motherfucker, I got winners on the way You ain't shit without a body on your belt You ain't shit without a ticket on your plate You ain't sick enough to pull it on yourself You ain't rich enough to hit the lot and skate Tell me when destruction gonna be my fate

UNIVERSITAS SUMATERA UTARA Gonna be your fate, gonna be our faith Peace to the world, let it rotate Sex, money, murder—our DNA

(https://genius.com/albums/Kendrick-lamar/Damn, 2018: DNA)

In DNA's lyrics the writer found Velar alveolarization and Consonant t-deletion. The processes explain below:

1. Velar alveolarization

Rollin'

Black English : /ˈroʊlɪn/ = Rollin'

Standart English : /ˈroʊlɪŋ/ = Rolling

In the example word above, there is a change in the phonological variation in the word " Rollin' " which should be pronounced /ˈroʊlɪŋ/ but pronounced /ˈroʊlɪn/.

According to the data discussed above, the consonant velar / ŋ / is alveolarised to / n / when it appears in the final position of the word in Black English Vernacular. In DNA song lyrics there are 20 Velar alveolarization words.

2. Consonant t-deletion

Gonna

Black English : /ˈgɑnə/ = Gonna

Standart English : /ˈgoʊɪŋ/ /tu/ = Going to

UNIVERSITAS SUMATERA UTARA The analysis above shows that the alveolar stop /t/ is suppressed if the alveolar stop is preceded by the nasal alveolar /n/ and followed by the central mid vowel /ə/. The first process is the alveolarization of the velar when the final stop of the velar /ŋ/ is /n/.This transcription is transcribed to /ˈgoʊɪn/ /tu/.The second process is removal of the segment, It's a mechanism that eliminates many phonemes. The final surface depiction

/ˈgɑnə/ is the result. In DNA song lyrics there are three Consonant t-deletion words.

UNIVERSITAS SUMATERA UTARA 4.3.2 ELEMENT

[Intro: Kid Capri & Kendrick Lamar] New Kung Fu Kenny Ain't nobody prayin' for me Y'all know, what happens on Earth stays on Earth Here we go! I don't give a fuck, I don't give a fuck I don't give a, I don't give a, I don't give a fuck

[Verse 1] I'm willin' to die for this shit I done cried for this shit, might take a life for this shit Put the Bible down and go eye for an eye for this shit D-O-T my enemy, won't catch a vibe for this shit, ayy I been stomped out in front of my mama My daddy commissary made it to commas Bitch, all my grandmas dead So ain't nobody prayin' for me, I'm on your head, ayy Thirty millions later, know the feds watchin' Auntie on my Telegram like, "Be cautious!" I be hangin' out at Tam's, I be on Stockton I don't do it for the 'Gram, I do it for Compton I'm willin' to die for this shit, nigga I'll take your fuckin' life for this shit, nigga We ain't goin' back to broke, family sellin' dope That's why you maney-ass rap niggas better know

[Chorus] If I gotta slap a pussy-ass nigga, I'ma make it look sexy If I gotta go hard on a bitch, I'ma make it look sexy I pull up, hop out, air out, made it look sexy They won't take me out my element Nah, take me out my element

[Verse 2] I'm allergic to a bitch nigga, ayy An imaginary rich nigga, ayy Seven figures ho, that's slimmer than my bitch figure, ayy Goin' digital and physical on all y'all, ayy Bunch of criminals and money in my phone calls, ayy We okay, we let the A1 fly Relocate, jump on the same G5 Checkin' for me heavy 'cause I go yeah, I go yeah They never been ready, yeah, I know yeah, know yeah 100K spread across the floor, 'cross the floor, yeah None of y'all fuckin' with the flow yeah, the flow yeah Years in the makin', and don't y'all mistake it 50

UNIVERSITAS SUMATERA UTARA I got 'em by a landslide, we talkin' about races You know this'll never be a tie, just look at they laces You know careers take off, just gotta be patient Mr. One through Five, that's the only logic Fake my death, go to Cuba, that's the only option

[Bridge] Damned if I do, if I don't (Yuh) Goddamn us all if you won't (Yuh) Damn, damn, damn, it's a goddamn shame You ain't front in line, get out the goddamn way

[Verse 3] Niggas thought they wasn't gonna see me, huh? Niggas thought that K-Dot real life Was the same life they see on TV, huh? Niggas wanna flex on me and be in L.A. for free, huh? Next time they hit the 10 freeway, we need a receipt, huh? 'Cause most of y'all ain't real, most of y'all gon' squeal Most of y'all just envy, but jealousy get you killed Most of y'all throw rocks and try to hide your hand Just say his name and I promise that you'll see Candyman Because it's all in your eyes, most of y'all tell lies Most of y'all don't fade, most of y'all been advised Last LP I tried to lift the black artists But it's a difference 'tween black artists and wack artists

[Chorus: Kendrick Lamar & Kid Capri] If I gotta slap a pussy-ass nigga, I'ma make it look sexy It's the one and only, the world's greatest, the Kid Capri If I gotta go hard on a bitch, I'ma make it look sexy I pull up, hop out, air out, made it look sexy They won't take me out my element Nah, take me out my element

(https://genius.com/albums/Kendrick-lamar/Damn, 2018: ELEMENT)

UNIVERSITAS SUMATERA UTARA In ELEMENT's lyrics the writer found Velar alveolarization, Vowel Weakening,

Monophthongization and Consonant t-deletion and Consonant r-deletion, the process explain below:

1. Velar alveolarization

Prayin'

Black English : / preɪɪn / = prayin'

Standart English : / preɪɪŋ / = praying

In the example sentences above, there is a change in the phonological variation in the word "Praying" which should be pronounced / preɪɪŋ / but pronounced / preɪɪn / Sound / t / is a type of aveolar voiceless sound. According to the data discussed above, the consonant velar / ŋ / is alveolarised to / n / when it appears in the final position of the word in Black English Vernacular. In ELEMENT song lyrics there are 14 Velar alveolarization words.

2. Vowel Weakening

Nah

Black English : /nɑ/ = Nah

Standart English : /noʊ/ = No

The vowel weakening process of the high back vowel /noʊ/ becomes /nɑ/ in Black

English "Nah" in the phonological processes that apply this rule. In the normal English

"No". In ELEMENT song lyrics there are three Vowel Weakening words.

UNIVERSITAS SUMATERA UTARA 3. Monophthongization

Y'all

Black English : /jɔl/ = Y'all

Standart English : /juː/ /ɔːl/ = You All

From the data analyzed above, it can be said there are two rules apply in the term

Y'all. The first is the segment deletion; deleting the /uː/ to make the word Y'll /jɔl/ a representation. The diphthong /juː/ is then reduced to a monophtong /j/. So, the representation of the surface word /jɔl/ is of the word Y'all. In ELEMENT song lyrics there are nine Monophthongization words.

4. Consonant t-deletion

Gotta

Black English : /ˈgɑtə/ = Gotta

Standart English : /gɑt/ /tu/ = Got to

The analysis above shows that the alveolar stop /t/ is suppressed if the alveolar stop is followed by the central mid vowel /ə/. This process is removal of /t/, It's a mechanism that eliminates many phonemes. The final surface depiction /ˈgɑtə/ is the result. In

ELEMENT song lyrics there are five Consonant t-deletion words.

UNIVERSITAS SUMATERA UTARA 5. Consonant r-deletion

Nigga

Black English : /‘nIgə/ = Nigga

Standart English : /‘nIgər/ = Nigger

R deletion is another deletion process which can also be seen in the lyrics. R deletion takes place in nigga above words in Black English. The sound r is removed and not pronounced accordingly. As a result, after the application of vowel reduction rule (vowel

/ər/ becomes /ə/), the words nigga are pronounced /‘nIgə/. It is possible to say that /r/ is deleted if it is after a central mid vowel /ə/ or a low back vowel /oʊ/ from the data discussed above. In ELEMENT song lyrics there are 10 Consonant r-deletion words.

UNIVERSITAS SUMATERA UTARA 4.2.4 HUMBLE

[Intro] Nobody pray for me It's been that day for me Way (Yeah, yeah!)

[Verse 1] Ayy, I remember syrup sandwiches and crime allowances Finesse a nigga with some counterfeits, but now I‘m countin' this Parmesan where my accountant lives, in fact I'm downin‘ this D'USSÉ with my boo bae tastes like Kool-Aid for the analysts Girl, I can buy yo' ass the world with my paystub Ooh, that pussy good, won't you sit it on my taste bloods? I get way too petty once you let me do the extras Pull up on your block, then break it down: we playin' Tetris A.M. to the P.M., P.M. to the A.M., funk Piss out your per diem, you just gotta hate 'em, funk If I quit your BM, I still ride Mercedes, funk If I quit this season, I still be the greatest, funk My left stroke just went viral Right stroke put lil' baby in a spiral Soprano C, we like to keep it on a high note It's levels to it, you and I know

[Chorus] Bitch, be humble (Hol‘ up, bitch) Sit down (Hol‘ up, lil', hol‘ up, lil' bitch) Be humble (Hol' up, bitch) Sit down (Hol' up, sit down, lil‘, sit down, lil' bitch) Be humble (Hol' up, hol' up) Bitch, sit down (Hol' up, hol' up, lil' bitch) Be humble (Lil' bitch, hol' up, bitch) Sit down (Hol' up, hol' up, hol' up, hol' up) Be humble (Hol' up, hol' up) Sit down (Hol' up, hol' up, lil', hol' up, lil' bitch) Be humble (Hol' up, bitch) Sit down (Hol' up, sit down, lil', sit down, lil' bitch) Be humble (Hol' up, hol' up) Bitch, sit down (Hol' up, hol' up, lil' bitch) Be humble (Lil' bitch, hol' up, bitch) Sit down (Hol' up, hol' up, hol' up, hol' up)

[Verse 2] Who dat nigga thinkin' that he frontin' on Man-Man? (Man-Man) Get the fuck off my stage, I'm the Sandman (Sandman) Get the fuck off my dick, that ain't right 55

UNIVERSITAS SUMATERA UTARA I make a play fucking up your whole life I'm so fuckin' sick and tired of the Photoshop Show me somethin' natural like afro on Richard Pryor Show me somethin' natural like ass with some stretch marks Still will take you down right on your mama's couch in Polo socks Ayy, this shit way too crazy, ayy, you do not amaze me, ayy I blew cool from AC, ayy, Obama just paged me, ayy I don't fabricate it, ayy, most of y'all be fakin', ayy I stay modest 'bout it, ayy, she elaborate it, ayy This that Grey Poupon, that Evian, that TED Talk, ayy Watch my soul speak, you let the meds talk, ayy If I kill a nigga, it won't be the alcohol, ayy I'm the realest nigga after all

(https://genius.com/albums/Kendrick-lamar/Damn, 2018: HUMBLE)

In HUMBLE's lyrics the writer found Velar alveolarization, Consonant d-deletion,

Monophthongization and Consonant t-deletion, Consonant r-deletionons, Consonant ð- deletion and Voiceless Continuantal Veolarization the process explain below:

UNIVERSITAS SUMATERA UTARA 1. Velar alveolarization

Downin‘

Black English : / daʊnɪn / = downin‘

Standart English : /daʊnɪŋ / = downing

In the example sentences above, there is a change in the phonological variation in the word "Praying" which should be pronounced /daʊnɪŋ/ but pronounced /daʊnɪn/ Sound /t/ is a type of alveolar voiceless sound. According to the data discussed above, the consonant velar / ŋ / is alveolarised to / n / when it appears in the final position of the word in Black English Vernacular. In HUMBLE song lyrics there are nine Velar alveolarization words.

2. Consonant d-deletion

Hol‘

Black English : /hol/ = Hol‘

Standart English : /hoʊld/ = Hold

The analysis above shows that the alveolar stop /d/ is suppressed if the alveolar stop is followed by /l/. This process is removal of /t/. The vowel /ʊ/ then deleted and the final surface representation for hol'‘ is /hol/. In HUMBLE song lyrics there are 60 Consonant d-deletion words.

UNIVERSITAS SUMATERA UTARA 3. Monophthongization

Y'all

Black English : /jɔl/ = Y'all

Standart English : /juː/ /ɔːl/ = You All

From the data analyzed above, it can be said there are two rules apply in the term

Y'all. The first is the segment deletion; deleting the /uː/ to make the word Y'll /jɔl/ a representation. The diphthong /juː/ is then reduced to a monophtong /j/. So, the representation of the surface word /jɔl/ is of the word y‘all. In HUMBLE song lyrics there are is Monophthongization word.

4. Consonant t-deletion

Gotta

Black English : /ˈgɑtə/ = Gotta

Standart English : /gɑt/ /tu/ = Got to

The analysis above shows that the alveolar stop /t/ is suppressed if the alveolar stop is followed by the central mid vowel /ə/. This process is removal of /t/ , It's a mechanism that eliminates many phonemes. The final surface depiction /ˈgɑtə/ is the result. In

HUMBLE song lyrics there is one Consonant t-deletion word.

UNIVERSITAS SUMATERA UTARA 5. Consonant r-deletion

Yo'

Black English : /joʊ/ = yo'

Standart English : /jɔː/ = your

Nigga

Black English : /‘nIgə/ = Nigga

Standart English : /‘nIgər/ = Nigger

R deletion is another deletion process which can also be seen in the lyrics. R deletion takes place in nigga and yo' above words in Black English. The sound r is removed and not pronounced accordingly. As a result, after the application of vowel reduction rule

(vowel /ər/ becomes /ə/), the words nigga are pronounced /‘nIgə/ and yo' is pronounced

/jɔː/. It is possible to say that /r/ is deleted if it is after a central mid vowel /ə/ or a low back vowel /oʊ/ from the data discussed above. In HUMBLE song lyrics there are two

Consonant r-deletion words.

6. ð-deletion

Hate 'em

Black English : /heɪt,ɛm/ = hate ‗em

Standart English : /heɪt,ðɛm/ = hate them

UNIVERSITAS SUMATERA UTARA The word em refers to ð-deletion as it has been dropped from /ð/ in /ðəm/ (them), and only becomes /əm/ in em. In the words em the last syllable of the text is followed by a last alveolized stop, like /t/ in the sentence at em. From the above analysis it is possible to say that the spoken interdentally fricative /ð/ is omitted when it has a velar stop /k/ or

/ a new stop, a voiceless alveolar stop /t/, a lateral labiodental fricative /v/ or a central midvowel followed. In HUMBLE song lyrics there is one Consonant ð-deletion word.

7. Voiceless Continuantal Veolarization

Thinkin'

Black English : /ˈtɪŋkɪn/ = thinkin'

Standart English : /ˈθɪŋkɪŋ/ = thinking

The interdental voiceless fricative /θ/ is alveolarized to make the stop alveolar /t/.

Also the consonant velar / ŋ / is alveolarised to / n / when it appears in the final position of the word in Black English Vernacular. In HUMBLE song lyrics there is one Voiceless

Continuantal Veolarization word.

UNIVERSITAS SUMATERA UTARA 4.2.5 XXX

[Intro: Bēkon & Kid Capri] America, God bless you if it's good to you America, please take my hand Can you help me underst— New Kung Fu Kenny!

[Verse 1: Kendrick Lamar] Throw a steak off the ark to a pool full of sharks, he'll take it Leave him in the wilderness with a sworn nemesis, he'll make it Take the gratitude from him, I bet he'll show you somethin', whoa I'll chip a nigga lil' bit of nothin', I'll chip a nigga lil' bit of nothin' I'll chip a nigga lil' bit of nothin', I'll chip a nigga, then throw the blower in his lap Walk myself to the court like, "Bitch, I did that!," X-rated Johnny don't wanna go to school no mo', no mo' Johnny said books ain't cool no mo' (No mo') Johnny wanna be a rapper like his big cousin Johnny caught a body yesterday out hustlin' God bless America, you know we all love him

[Verse 2: Kendrick Lamar] Yesterday I got a call like from my dog like 101 Said they killed his only son because of insufficient funds He was sobbin', he was mobbin', way belligerent and drunk Talkin' out his head, philosophin' on what the Lord had done He said: "K-Dot, can you pray for me? It been a fucked up day for me I know that you anointed, show me how to overcome." He was lookin' for some closure Hopin' I could bring him closer To the spiritual, my spirit do know better, but I told him "I can't sugarcoat the answer for you, this is how I feel: If somebody kill my son, that mean somebody gettin' killed." Tell me what you do for love, loyalty, and passion of All the memories collected, moments you could never touch I'll wait in front a nigga's spot and watch him hit his block I'll catch a nigga leavin' service if that's all I got I'll chip a nigga, then throw the blower in his lap Walk myself to the court like, "Bitch, I did that!" Ain't no Black Power when your baby killed by a coward I can't even keep the peace, don't you fuck with one of ours It be murder in the street, it be bodies in the hour Ghetto bird be on the street, paramedics on the dial Let somebody touch my momma Touch my sister, touch my woman Touch my daddy, touch my niece Touch my nephew, touch my brother 61

UNIVERSITAS SUMATERA UTARA You should chip a nigga, then throw the blower in his lap Matter fact, I'm 'bout to speak at this convention Call you back—

[Break: Kendrick Lamar] Alright, kids, we're gonna talk about gun control (Pray for me) Damn!

[Chorus: Bono] It's not a place This country is to me a sound Of drum and bass You close your eyes to look around

[Verse 3: Kendrick Lamar] Hail Mary, Jesus and Joseph The great American flag is wrapped in drag with explosives Compulsive disorder, sons and daughters Barricaded blocks and borders Look what you taught us! It's murder on my street, your street, back streets Wall Street, corporate offices Banks, employees, and bosses with Homicidal thoughts; Donald Trump's in office We lost Barack and promised to never doubt him again But is America honest, or do we bask in sin? Pass the gin, I mix it with American blood Then bash him in, you Crippin' or you married to Blood? I'll ask again—oops, accident It's nasty when you set us up Then roll the dice, then bet us up You overnight the big rifles, then tell Fox to be scared of us Gang members or terrorists, et cetera, et cetera America's reflections of me, that's what a mirror does

[Chorus: Bono] It's not a place This country is to me a sound Of drum and bass You close your eyes to look ar—

(https://genius.com/albums/Kendrick-lamar/Damn, 2018:XXX)

UNIVERSITAS SUMATERA UTARA In XXX's lyrics the writer found Velar alveolarization, Consonant r-deletion,

Consonant t-deletion and Vowel Deletion. The process explains below:

1. Velar alveolarization

Lookin

Black English : /ˈlʊkɪn/ = Lookin‘

Standart English : /ˈlʊkɪŋ/ = Looking

In the example word above, there is a change in the phonological variation in the word "Looking" which should be pronounced /ˈlʊkɪŋ/ but pronounced /ˈlʊkɪn/.

According to the data discussed above, the consonant velar / ŋ / is alveolarised to / n / when it appears in the final position of the word in Black English Vernacular. In XXX song lyrics there are 11 Velar alveolarization words.

2. Consonant t-deletion

Wanna

Black English : /ˈwɑnə/ = Wanna

Standart English : /wɒnt/ /tuː/ = Want to

Gonna

Black English : /ˈgɑnə/ = Gonna

Standart English : /ˈgoʊɪŋ/ /tu/ = Going to

UNIVERSITAS SUMATERA UTARA The analysis above shows that the alveolar stop /t/ is suppressed if the alveolar stop is preceded by the nasal alveolar /n/ and followed by the central mid vowel /ə/. The first process is the alveolarization of the velar when the final stop of the velar /ŋ/ is /n/.This transcription is transcribed to /ˈgoʊɪn/ /tu/.The second process is removal of the segment; it‘s a mechanism that eliminates many phonemes. The final surface depiction

/ˈgɑnə/ is the result. In the word wanna to even the term t-deletion is added. The surface representation will be /ˈwɑnə/ after the /t/ has been deleted. In XXX song lyrics there are three Consonant t-deletion words.

3. Consonant r-deletion

Nigga

Black English : /‘nIgə/ = Nigga

Standart English : /‘nIgər/ = Nigger

/ər/ becomes /ə/), the words nigga are pronounced /‘nIgə/. It is possible to say that /r/ is deleted if it is after a central mid vowel /ə/. In XXX song lyrics there are eight

Consonant r-deletion words.

UNIVERSITAS SUMATERA UTARA 4. Vowel Deletion

Gettin'

Black English : /‘getn/ = Gettin'

Standart English : /‘getIŋ/ = Getting

Vowel deletion is applied on the above phonological process along with velar alveolarization rule. The word gettin‟ applied alveolarization rule first for the /ŋ/ is alveolarized and becomes /n/. The vowel /I/ then deleted and the final surface representation for sittin‘ is /‘getn/. It can be said that the rule occurs to the high front vowel /I/ when it is preceded by a voiceless alveolar stop /t/ and followed by a voiced alveolar nasal/n/. In XXX song lyrics there is one Vowel Deletion words.

UNIVERSITAS SUMATERA UTARA 4.2.6 GOD

[Chorus] This what God feel like, huh, he-yeah Laughin' to the bank like, "A-ha!", huh, he-yeah Flex on swole like, "A-ha!", huh, he-yeah You feel some type of way, then a-ha! Huh, he-yeah (A-ha-ha, a-ha-ha)

[Verse 1] Ever since a young man (Since a young man) All I wanna be was a gunman (Was a gunman) Shootin‘ up the charts, better run, man Y'all gotta see that I won, man Slick as El DeBarge with the finger waves, work it, JT Handle bars like a fade, watch me work it, JT I'm at large, runnin‘ plays like a circuit, JT I'm sellin' verses, JT, watch me work it, JT Look, look… hol' up! Don't judge me! My mama caught me with a strap Don't judge me! I was young, fuckin' all the brats Don't judge me! Aimin‘ at your head for a stack Don‘t judge! Don't judge me! Now my home got a Valley peak Don‘t judge me! If I press your line you a freak Don't judge me! Won't you tell a friend? Y'all gon‘ see—

[Verse 2] Fuck is you talkin' to? Ayy, do you know who you talkin' to? Slide on you like fallen drapes God toss full of carnivals I kill 'em with kindness Or I kill 'em with diamonds Or I put up like fifteen hundred Get yo' ass killed by the finest Everything in life is a gamble Nothin' in life I can't handle Seen it all, done it all, felt pain more For the cause, I done put blood on sword 66

UNIVERSITAS SUMATERA UTARA Everything I do is to embrace y'all Everything I write is a damn eight ball Everything I touch is a damn gold mine Everything I say is from an angel

[Bridge] I don't rush shit, fuck shit, always your shit, my shit Cannonballs to ignite shit, morning to the night shift I'm on, I ain't sorry for it Ask for a piece of mine, you charged me for it I wanna see sometimes if you ignore it I'm in the streets sometimes and can't afford it I got a bad habit, levitatin', duckin' haters Oh my! My heart is rich, my heart is famous

[Chorus] This what God feel like Huh, he-yeah (This what God feel like) Laughin' to the bank like, "A-ha!" (This what God feel like) Huh, he-yeah (This what God feel like) Flex on swole like, "A-ha!" (This what God feel like) Huh, he-yeah (This what God feel like) You feel some type of way, then a-ha! (This what God feel like) Huh, he-yeah (This what God feel like) This what God feel like

(https://genius.com/albums/Kendrick-lamar/Damn, 2018:GOD)

In HUMBLE's lyrics the writer found Velar alveolarization, Monophthongization and Consonant t-deletion, Consonant r-deletion, Consonant ð-deletion and Consonant d- deletion. The processes explain below:

UNIVERSITAS SUMATERA UTARA 1. Velar alveolarization

Shootin‘

Black English : /ˈʃutɪn/ = shootin‘

Standart English : /ˈʃutɪŋ/ = shooting

In the example sentences above, there is a change in the phonological variation in the word "Shooting" which should be pronounced /ˈʃutɪŋ/ but pronounced /ˈʃutɪn/ Sound /t/ is a type of alveolar voiceless sound. According to the data discussed above, the consonant velar /ŋ/ is alveolarised to /n/ when it appears in the final position of the word in Black English Vernacular. In GOD song lyrics there are 12 Velar alveolarization words.

2. Consonant d-deletion

Hol‘

Black English : /hol/ = Hol‘

Standart English : /hoʊld/ = Hold

The analysis above shows that the alveolar stop /d/ is suppressed if the alveolar stop is followed by /l/. This process is removal of /t/. The vowel /ʊ/ then deleted and the final surface representation for hol'‘ is /hol/. In GOD song lyrics there is one Consonant d- deletion word.

UNIVERSITAS SUMATERA UTARA 3. Monophthongization

Y'all

Black English : /jɔl/ = Y'all

Standart English : /juː/ /ɔːl/ = You All

From the data analyzed above, it can be said there are two rules apply in the term

Y'all. The first is the segment deletion; deleting the /uː/ to make the word Y'll /jɔl/ a representation. The diphthong /juː/ is then reduced to a monophtong /j/. So, the representation of the surface word /jɔl/ is of the word y‘all. In GOD song lyrics there are two Monophthongization words.

4. Consonant t-deletion

Wanna

Black English : /ˈwɑnə/ = Wanna

Standart English : /wɒnt/ /tuː/ = Want to

The analysis above shows that the alveolar stop /t/ is suppressed if the alveolar stop is preceded by the nasal alveolar /n/ and followed by the central mid vowel /ə/. The first process is the alveolarization of the velar when the final stop of the velar /ŋ/ is /n/.This transcription is transcribed to /wɒnt/ /tuː/ .The second process is removal of the segment; it‘s a mechanism that eliminates many phonemes. In the word wanna to even the term t- deletion is added. The surface representation will be /ˈwɑnə/ after the /t/ has been deleted. In GOD song lyrics there is one Consonant t-deletion word.

UNIVERSITAS SUMATERA UTARA 5. Consonant r-deletion

Yo'

Black English : /joʊ/ = yo'

Standart English : /jɔː/ = your

R deletion is another deletion process which can also be seen in the lyrics. R deletion takes place in yo' above words in Black English. The sound r is removed and not pronounced accordingly. As a result, after the application of vowel reduction rule (vowel

/oʊ/ becomes /ɔː/), the word yo' is pronounced /jɔː/. It is possible to say that /r/ is deleted if it is after a central mid vowel /ɔː/ or a low back vowel /oʊ/ from the data discussed above. In GOD song lyrics there is one Consonant r-deletion word.

6. ð-deletion

Kill 'em

Black English : /kɪl/ /ɛm/ = Kill 'em

Standart English : /kɪl/ /ðɛm/ = Kill Them

The word em refers to ð-deletion as it has been dropped from /ð/ in /ðəm/ (them), and only becomes /əm/ in em. In the words em the last sylable of the text is followed by a last alveolized stop, like /t/ in the sentence at em. From the above analysis it is possible to say that the spoken interdental fricative /ð/ is omitted when it has a velar stop /k/ or / a new stop, a voiceless alveolar stop /t/, a lateral labiodental fricative /v/ or a central midvowel followed. In GOD song lyrics there is one Consonant ð -deletion word.

UNIVERSITAS SUMATERA UTARA 4.3 Analysis of Phonological Characteristics

As the second problems of study is " What are the phonological characteristics of

Black English as seen through the processes?", The writer was able to find the

phonological characteristics of Black English after examining the first question, that is

the phonological processes of Black English words from the lyrics. The phonological

characteristics Black English are described below:

1. Black English words velar nasal alveolarized when in the final position of a word.

/ŋ/ = +alveolar , +nasal, -velar

/n/ = -alveolar, +nasal, +velar

/ˈpreɪɪŋ/ /ˈpreɪɪn/

The above characteristics is shown in the terms prayin' /ˈpreɪɪn/ , lookin' /ˈlʊkɪn/ ,

shootin‘ /ˈʃutɪn/ and other similar things. All 6 songs entitled BLOOD, DNA,

ELEMENT, HUMBLE, XXX, and GOD contain this characteristic in them.

2. Black English words delete voiced interdental fricative /ð/ when it is preceded by

lateral /l/, and followed by a mid-central vowel.

/ð/ = + cons, + voiced, + cont

/l/ = + cons, + velar, + cont, + alveolar

/kɪl,ðɛm/ /kɪl,ɛm/ = -high, -low, +back, +reduced

UNIVERSITAS SUMATERA UTARA Kill 'em /kɪl,ɛm/ is the example of the words that have this characteristic. Songs entitled HUMBLE and GOD contain this characteristic in them.

3. R-deletion in Black English which appears if the /r/ is after central mid vowel /ə/.

/r/ = +cons, +anterior, +coronal

/‘nIgər/ /‘nIgə/ = -high, -low, +back, +reduced

Nigga /‘nIgə/ and mo' /mɔː/ are examples of the words that have this characteristic.

Songs entitled BLOOD, ELEMENT, XXX, HUMBLE and GOD contain this characteristic in them.

4. In Black English words the alveolar stop /t/ is removed when it is followed by an alveolar /n/ nasal and then a center middle vowel /ə/.

/t/ = + cons, - voiced, -cont, +alveolar

/n/ = + cons, +velar, -cont, +alveolar

/wɒnt,tuː/ /ˈwɑnə/ = -high, -low, +back, +reduced

All 6 songs entitled BLOOD, DNA, ELEMENT, HUMBLE, XXX, and GOD contain this characteristic in them.

The features of Black English phonology are all of the points above that differ from the Standard English. In Black English, phonological processes contribute to the spelling of these words. The writer finds that only two forms of spelling variations have been

UNIVERSITAS SUMATERA UTARA studied from the lyrics between Black English and Standard English those are g- dropping and unstressed initial syllable loss, the forms and examples explain below:

1. G- dropping

One very common process in most vernacular varieties is g-dropping where the back basal is represented as ng when the ng in the spelling is /n/. It results in a consonant change of the language by the pronunciation ng (phonetically /ŋ/) as /n/.

This process takes place when the ng appears in an unstressed syllable, as in prayin' for praying and shootin‟ for shooting. G-dropping common used in verbs continuous form. All 6 songs entitled BLOOD, DNA, ELEMENT, HUMBLE, XXX, and GOD contain this characteristic in them.

2. Unstressed Iinitial Syllable loss

The general process of deleting initial adverbial syllables in informal Standard

English spoken style is extended to the Black English vernacular. For example, about becomes „bout. Songs entitled HUMBLE and XXX contain this characteristic in them.

UNIVERSITAS SUMATERA UTARA CHAPTER V

CONCLUSION AND SUGGESTION

This chapter covers the conclusion of the study and suggestion that might have benefits and inputs for the writer especially and to everyone who wants to conduct a research relating to this study.

5.1 Conclusion

Having analyzed the Black English phonological process in lyrics from six songs of

DAMN album by Kendrick Lamar the writer like to draw some conclusion. Black English is very common used by Black American in their daily life even White American use Black

English especially in social media. Black English is also often called as African-American

Vernacular English.

In this thesis there are 61 words that categorized in Black English . Accordingly, there are two problems of studies that analyze in this thesis. The first one is the phonological processes occurred in the black english words pronunciation of the Kendrick

Lamar‘s song lyrics in the album ―DAMN‖ and the second one is the phonological characteristics of Black English as seen through the processes.

The writer found nine Black English phonological processes based on 61 Black

English words those found in the lyrics. Velar alveolarization : 43 words, Voiceless

Continuantal Veolarization:1 word, Vowel Weakening: word, ð-deletion: 3 words, r- deletion: 4 words, t-deletion: 3 words, d-deletion:1, Vowel deletion: 1 word,

UNIVERSITAS SUMATERA UTARA Monophthongization: 3 words and a Black English Characteristics that is Unstressed initial syllableloss: 1 word. Each word represents some of the same words in the lyrics.

In the pronunciation of Black English words, the phonological processes happened with Kendrick Lamar Song lyrics from the album DAMN: alveolarization, vowel weakening, deletion, and affricatisation. The alveolarization processes in Black English pronunciation have three separate inputs. The first input is a velaar nasal /ŋ/ an alveolar / n/ if in the last syllable of a word it occurs, the second input a velar fricative /ð/ which is alveolarised into a voiced alveolar stop / d / and the latest input a voiceless alveolar fricative

/θ/ alveolar stop /t/ when the beginning of the language syllable occurs. The vowel weakening took place in Black English if the vowel was in the last syllable of one word or after a retroflex / r/. Depending on the analysis, the deletion process has three forms of deletion rules in Black English phonology. The first is consonant deletion; the first is the elimination of /ð/, /r/, /t/ and /d/ the second is vowel deletion; the third is diphthong, /aI/ as monophtong /a/ and the last is segment removal.

The writer found two different inputs in the affrication process of the alveolar stops.

The first input, according to the data, is voiceless alveolar stop /t/ which becomes voiceless, palatal /t/, under the condition of a palatal glide /j/, and an alveolary stop / d/ other input is voiced, that becomes palatal /dƷ/, if before palatal glide /j/ it is voiced.

The phonological characteristics of Black English can be seen in the pronunciation of the black English words of the lyrics though the phonological processes. After the study, the researcher found that there are six Black English phonological characteristics.

UNIVERSITAS SUMATERA UTARA The first characteristic is the alveolarized nasal velar word in Black English if the final position is a word. Second, characteristic of Black English is to eliminate voiced interdental fricative /ð/ if preceded by a voiceless alveolar stop /k/ or /ŋ/, a voiceless /t /, a lateral /l/ or labyrinthine friction /v/ followed by a central vowel. The third characteristic in

Black English phonology is monophtongization, the writer found that the diphthong /aI/ becomes simply /a/ without the glide if it occurs in the last syllable of a word or if it occurs before a nasal alveolar /n/ or a lateral /l/. The last one, Black English also has voiceless alveolar stop affricatisation. The alveolar will stop /t/ and /d/ and will become palatal /t/ to and /dƷ/ if appears before palatal glide to /j/.

After the analysis, the writer found that the lyrical analysis showed that primarily two forms of spelling variations between the Black English language and the Standard

English, those are g-dropping and unstressed intial syllable loss. When spelling /ng/ becomes /n/, it's referred to as g-droppin. This is the result of the process of velar alveolarisation, in which the velar nasal /ŋ/ is alveolarized to /n/. For examples, the word praying is written prayin‟ in Black English, as well as frontin‟ for fronting, and countin' for counting. In Black English, the unstressed intial syllable is deleted. It can be found in the word about become 'bout.

UNIVERSITAS SUMATERA UTARA 5.2 Suggestion

We can learn from this study that by listening to Rap Music. We can understand a

specific dialect's characteristic that is Black English Vernacular. The writer hopes

this thesis could be a reference for those who want to write about the phonological

processes especially about Black English. And the writer suggest that students of

English Department should do further research about the Black English phonological

process used in other video, movie, or another resources. Hope that this thesis be

useful for science and linguistics. The writer realizes that this thesis is far from being

perfect, therefore any constructive criticism, comments and suggestions concerning

with the analysis in this thesis from the reader will be highly appreciated. And last

but not least the writer expect this thesis can provide something helpful and useful

for readers who are interested in studying phonological process.

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UNIVERSITAS SUMATERA UTARA ONLINE REFERENCES

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2019).

UNIVERSITAS SUMATERA UTARA

APPENDIX

1.BLOOD [Intro: Bēkon] Is it wickedness? Is it weakness? You decide Are we gonna live or die?

{Gunshot}

[Bridge: Bēkon] Is it wickedness?

[Outro: Eric Bolling & Kimberly Guilfoyle] Lamar stated his views on police brutality With that line in the song, quote: "And we hate the popo, wanna kill us in the street fo' sho'." Oh please, ugh, I don't like it

UNIVERSITAS SUMATERA UTARA 2. DNA

[Bridge: Kendrick Lamar & Geraldo Rivera] I-I got loyalty, got royalty inside my DNA

UNIVERSITAS SUMATERA UTARA This is why I say that hip hop has done more damage to young African Americans than racism in recent years I got loyalty, got royalty inside my DNA I live a better life, I'm rollin' several dice, fuck your life I got loyalty, got royalty inside my DNA I live a be-, fuck your life 5, 4, 3, 2, 1 This is my heritage, all I'm inheritin' Money and power, the mecca of marriages

[Verse 2] Tell me somethin' You mothafuckas can't tell me nothin' I'd rather die than to listen to you My DNA not for imitation Your DNA an abomination This how it is when you in the Matrix Dodgin' bullets, reapin' what you sow And reapin' up the footage, livin' on the go And sleepin' in a villa Sippin' from a Grammy, walkin' in the buildin' Diamond in the ceilin', marble on the floors Beach inside the window, peekin' out the window Baby in the pool, godfather goals Only Lord knows I've been goin' hammer Dodgin' paparazzi, freakin' through the cameras Eat at Four Daughters, Brock wearin' sandals Yoga on a Monday, stretchin' to Nirvana Watchin' all the snakes, curvin' all the fakes Phone never on, I don't conversate I don't compromise, I just penetrate Sex, money, murder—these are the breaks These are the times, level number 9 Look up in the sky, 10 is on the way Sentence on the way, killings on the way Motherfucker, I got winners on the way You ain't shit without a body on your belt You ain't shit without a ticket on your plate You ain't sick enough to pull it on yourself You ain't rich enough to hit the lot and skate Tell me when destruction gonna be my fate Gonna be your fate, gonna be our faith Peace to the world, let it rotate Sex, money, murder—our DNA

UNIVERSITAS SUMATERA UTARA 3. ELEMENT

UNIVERSITAS SUMATERA UTARA None of y'all fuckin' with the flow yeah, the flow yeah Years in the makin', and don't y'all mistake it I got 'em by a landslide, we talkin' about races You know this'll never be a tie, just look at they laces You know careers take off, just gotta be patient Mr. One through Five, that's the only logic Fake my death, go to Cuba, that's the only option

[Bridge] Damned if I do, if I don't (Yuh) Goddamn us all if you won't (Yuh) Damn, damn, damn, it's a goddamn shame You ain't front in line, get out the goddamn way

[Chorus: Kendrick Lamar & Kid Capri]

UNIVERSITAS SUMATERA UTARA 4. HUMBLE

[Intro] Nobody pray for me It's been that day for me Way (Yeah, yeah!)

[Verse 2] Who dat nigga thinkin' that he frontin' on Man-Man? (Man-Man) Get the fuck off my stage, I'm the Sandman (Sandman)

UNIVERSITAS SUMATERA UTARA Get the fuck off my dick, that ain't right I make a play fucking up your whole life I'm so fuckin' sick and tired of the Photoshop Show me somethin' natural like afro on Richard Pryor Show me somethin' natural like ass with some stretch marks Still will take you down right on your mama's couch in Polo socks Ayy, this shit way too crazy, ayy, you do not amaze me, ayy I blew cool from AC, ayy, Obama just paged me, ayy I don't fabricate it, ayy, most of y'all be fakin', ayy I stay modest 'bout it, ayy, she elaborate it, ayy This that Grey Poupon, that Evian, that TED Talk, ayy Watch my soul speak, you let the meds talk, ayy If I kill a nigga, it won't be the alcohol, ayy I'm the realest nigga after all

UNIVERSITAS SUMATERA UTARA 5. XXX

[Intro: Bēkon & Kid Capri] America, God bless you if it's good to you America, please take my hand Can you help me underst— New Kung Fu Kenny!

UNIVERSITAS SUMATERA UTARA Touch my nephew, touch my brother You should chip a nigga, then throw the blower in his lap Matter fact, I'm 'bout to speak at this convention Call you back—

[Break: Kendrick Lamar] Alright, kids, we're gonna talk about gun control (Pray for me) Damn!

[Chorus: Bono] It's not a place This country is to me a sound Of drum and bass You close your eyes to look around

[Chorus: Bono] It's not a place This country is to me a sound Of drum and bass You close your eyes to look ar—

UNIVERSITAS SUMATERA UTARA 6. GOD

UNIVERSITAS SUMATERA UTARA For the cause, I done put blood on sword Everything I do is to embrace y'all Everything I write is a damn eight ball Everything I touch is a damn gold mine Everything I say is from an angel

UNIVERSITAS SUMATERA UTARA