From this point the description of verbal music in the story become the main data of this research analysis.
The next step, each verbal music is analyzed by the theory of the structure in verbal music. In this step, the analysis is expected to find the structure of each
verbal music, similarity, or other important details in each verbal music. Afterwards, the two verbal music are compared and analyzed based on the theory
of methapor and metonymy. The result is then analyzed using historical information. The conclusion is drawn from the last point of analysis, whether both
revival meeting and jazz performance are an archetype and their contribution toward the whole story.
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CHAPTER IV ANALYSIS
This chapter covers the analysis of the study. The analysis is divided into three main parts based on the formulated problems. The first part discusses the
description of the music in the form of language or the verbal music in James Baldwin’s “Sonny’s Blues”. The second part discusses the structural analysis of
the verbal music. The last part covers the discussion of the significance and the motif behind the verbal music in “Sonny’s Blues”.
A. The Description of Verbal Music in James Baldwin’s “Sonny’s Blues”
This part of analysis is divided into two major points, the description of the revival meeting and the jazz performance. The two have different cultural and
functional backgrounds. It is obvious to sum up that the revival meeting refers to a religious activity, while the jazz performance is a musical performance where the
audiences just enjoy the beauty of the music. However, Baldwin writes the verbal music of those two performances differently.
1. The Revival Meeting
From the two distinguished types of verbal music suggested by Scher, the street revival meetings in
“Sonny’s Blues” employ a re-presentational type. The revival meeting
in Baldwin’s description mentions three existing songs used in a revival meeting:
“The Old Ship of Zion” p.129, “If I could hear my mother pray
