AN ANALYSIS OF DEIXIS IN RAJA CAMPUR SARI OF DIDI KEMPOT’S SONG.

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AN ANALYSIS OF DEIXIS IN RAJA CAMPUR SARI OF

DIDI KEMPOT’S SONG

A THESIS

Submitted to the English Department Faculty of Languages and Arts, State University of Medan, in Partial Fulfillment of the Requirement for

the Degree of Sarjana Sastra

JIMMI ARWY

Reg.No.209520009

ENGLISH AND LITERATURE DEPARTMENT

FACULTY OF LANGUAGES AND ARTS

STATE UNIVERSITY OF MEDAN

2013

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DECLARATION

I have familiarized myself with the university’s Policy on Academic integrity. Except where appropriately acknowledged, this thesis is my own work, has been expressed. In my own words and has not previously been submitted for assessment. I understand that this paper may be screened electronically or otherwise for plagiarism.

Signature

Jimmi Arwy Reg.No.209520009

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ABSTRACT

Arwy, Jimmi. An Analysis of Deixis in Raja Campur Sari of Didi Kempot’s Song. Faculty of Language and Arts. State University of Medan. 2013.

This study deals with the types of deixis in Raja Campur Sari of Didi Kempot’s song. The objective of this study are to describe the types of deixis that are used in Raja Campur Sari of Didi Kempot’s song, finding out the dominant types, and finding out why the type of deixis is dominantly used in Raja Campur Sari of Didi Kempot’s song. This study applied descriptive qualitative method. The data of this study were taken from VCD of Raja Campur Sari of Didi Kempot’s song. There were 10 song lyrics taken as the samples. The findings of this study show that there are five types of deixis were found in Raja Campur Sari of Didi Kempot’s song, there are person deixis 33.7%, spatial deixis 16.6%, temporal deixis 16.4%, discourse deixis 20.3% and social deixis 13%. The most dominant type of deixis found is person deixis. Person deixis is dominantly used because he or the singer mostly wrote his own experiences, feelings and emotions inside human being into the song lyrics. The result implies that person deixis especially ‘aku’ plays a great role in the song.

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ACKNOWLEDGEMENT

Alhamdulillah, all the praise, honor and power belong to Allah SWT, for giving the writer blessing, mercy and endless love, especially in the process of accomplishing this thesis to fulfill one of the requirements to obtain the Sarjana degree from the English Department, Faculty of Languages and Arts, State University of Medan.

In completing this thesis, the writer would like to express her gratitude to:

1. Her appreciation goes to the Rector of State University of Medan, Prof. Dr. Ibnu Hajar Damanik, M.Si.

2. Her appreciation goes to the Dean of FBS, Dr. Isda Pramuniati, M.Hum. 3. Prof. Dr. Hj. Sumarsih, M.Pd., the Head of English Department, Dra.

Rahmah, M.Hum., the secretary of English Department, Dra. Meisuri, M.A., the Head of Applied Linguistics program of English Department for the suggestions and assistance in providing the academic administration while the writer studied in the faculty, especially in the process of completing this thesis

4. Dra. Sortha Silitonga, my thesis consultant, who has given so many supports, patience guidance, and advices, also for being her mentor during the process of accomplishing this thesis

5. Drs. Johan Sinulingga, as my guidence academy, who has given so many supports, patience guidance, and advices during the process of academy

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6. All of the lecturers in English Department, especially for Sir. Immanuel Prasetya Ginting, S.S., M.Hum., who gave taught and guidance her during the academic year at the Faculty

7. Mam Enda, who has helped her providing the academic administration 8. Her beloved parents, her father, Jumingin and her mother, Marsiah, for

their prayers, love, care, encouragement, moral, spiritual and financial supports. This thesis dedicated for them

9. Her beloved friends, Nindy, Leny, Icha, Faris, Anty, Sisna and all friends of Applied Linguistics 2009 class A and B, thank’s for the friendship. Especially for kak Tyas, bang James, thank you for the great help. It means so much for the writer, and her beloved friends in her “Muslimah” boarding house, Naya, kak Debby, kak Alni, Isma, Nurul, Ira, Susi, and Rizky.

10.All the others whose name can not be mentioned one by one for their help and support. Thanks for everything. May Allah bless us. Amin.

Medan, February 2013

The writer,

Jimmi Arwy Reg.No. 209520009

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TABLE OF CONTENT

ABSTRACT ...i

ACKNOWLEDGEMENT...ii

TABLE OF CONTENT ...ix

LIST OF TABLE ...vi

LIST OF APPENDICES ...vii

CHAPTER I INTRODUCTION A. The Background of The Study ...1

B. The Problem of The Study ...3

C. The Objective of The Study ...3

D. The Scope of The Study ...4

E. The Significance of The Study ...4

CHAPTER II REVIEW OF LITERATURE A. Pragmatics...5

B. Deixis ...7

C. Types of Deixis ...9

1. Person Deixis ...9

2. Spatial Deixis ...13

3. Temporal Deixis ...14

4. Discourse Deixis ...16

5. Social Deixis ...17

D. Song Lyric ...19

E. Javanese Song ...21

F. Biography of Didi Kempot ...25

G. Raja Campur Sari ...26

H. The Language of Campursari ...27

I. The Background of The Song ...40

CHAPTER III RESEARCH METHOD A. Research Design ...42

B. Source of Data ...42

C. The Technique for Collecting Data ...43

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CHAPTER IV THE DATA AND DATA ANALYSIS

A. The Data ...44

B. Data Analysis ...45

1. Kopi Lampung ...46

2. Sentir Lengo Potro ...48

3. Kalung Emas ...49

4. Pingin Ngombe ...51

5. Ojo Sujono ...53

6. Jamu Jawa ...55

7. Aku Dudu Rojo ...57

8. Bojo Gemati ...59

9. Pitik Kampung ...61

10.Stasiun Balapan ...63

C. Research Findings ...65

CHAPTER V CONCLUSIONS AND SUGGESTIONS A. Conclusions ...70

B. Suggestions ...71

REFERENCES ...72

APPENDICES ...74

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LIST OF TABLE

Table Page

4.1 The Proportion of Deixis in Raja Campur Sari ...45

4.2 The Calculating of the types of Deixis in the first song ...46

4.3 The Calculating of the types of Deixis in the second song ...48

4.4 The Calculating of the types of Deixis in the third song ...59

4.5 The Calculating of the types of Deixis in the fourth song ...51

4.6 The Calculating of the types of Deixis in the fifth song ...53

4.7 The Calculating of the types of Deixis in the sixth song ...55

4.8 The Calculating of the types of Deixis in the seventh song ...57

4.9 The Calculating of the types of Deixis in the eighth song ...59

4.10 The Calculating of the types of Deixis in the ninth song ...61

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vii

LIST OF APPENDICES

Page Appendix I ...77 Appendix II ...109

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CHAPTER I INTRODUCTION

A. The Background of the Study

Communication has definition as the process of obtaining information or expressing thought and feelings. Going by this definition, it is obvious that human beings are naturally communicators. Communication is the act or activity of conveying information for the purpose of creating a shared understanding. It’s something that humans do every day. This activity is used to conveying information through the exchange of thoughts, messages, or information. All forms of communication require to the same basic elements, a speaker or sender of information, a message, and an audience or recipient. The sender and recipient must also share a common language or means of understanding each other for communication to be successfull.

Language is used to express inner thoughts, emotions, and interactions in both spoken and written communication. Spoken means the process of expressing ideas and feelings or giving information is done orally. Writing is the representation of a language in a text, like sign and symbols. It is done in writing activity, such as in short story, article, poem, lyric, etc. Language has functions to the purposes in which we use language to communicate.

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We use language for a variety of formal and informal purposes, and specific grammatical structures and vocabulary are often used with each language function like compare and contrast, persuasion, asking questions, expressing likes and dislikes, cause and effect, summarizing, sequencing, predicting, agreeing/disagreeing, greeting people/introductions. Language is the most fundamental aspects of human’s life, without language can not communicate properly.

In understanding a language, it is related to pragmatics study. Pragmatics is a study on the language expression in communicative situation to get some meanings from the speakers. Therefore, pragmatics has a role in getting meanings. In fact, all languages contain of small set of words whose meanings vary systematically according to whom, where and when they are being used. The study of pragmatics also relationship with deixis. The discussion of deixis has the meaning of pragmatics because deixis is a part of pragmatics. According to Yule (1996:9) states that deixis is a technical terms (from Greek) for one of the most basic things we do with utterances. It means ‘pointing’ via language. By knowing and understanding deixis, the reader can easily determine the aspects of deixis such as person, spatial or place, temporal or time, social and discourse deixis.

The Song lyrics can be related in the deixis. Song lyric is the part of the music that will express of the singer or writter fellings. Then, the song lyric divide to many genres like pop, rock, jazz, dangdut, malay, javanese, and etc. The writer would like to conduct a study of deixis and focuses on the analysis of deixis of album in Raja Campur Sari of Didi Kempot's song. Didi Kempot’s song will

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interest to be analyzed in the deixis. Many people like teenagers and adults know that Didi so well. Because, he is a strenght background which he works hard to build his dreams as a singer even he builds his career as beggar. He is the one of the icons of campursari in Javanese song. With his creation, Didi Kempot make campursari music become popular and interesting in Indonesia. So, the album will be used as basic object. And, the first album had burst in the market. The songs of "Cidro" and "Stasiun Balapan" which has become a hit song in the community. The Album has around 1 million copies sold in market. So, the Deixis in Didi Kempot’s songs will be very interesting to be explored. The writer will used descriptive analysis with qualitative approach to collect the data of this study.

B. The Problem of the Study

The problems of the study can be formulated as the following:

1. What types of deixis used in Raja Campur Sari of Didi Kempot’s song? 2. What is the most dominant type of deixis used in Raja Campur Sari of

Didi Kempot’s song?

3. Why is the type dominantly used?

C. The Objective of the Study

Based on the problems of the study above, the objective of the study are: 1. To categorize the types of deixis that is used in Raja Campur Sari of Didi

Kempot’s song.

2. To find out the dominant type of deixis that is used in Raja Campur Sari of Didi Kempot’s song.

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3. To find out the accurate reason of the dominant type of deixis that is used in Raja Campur Sari of Didi Kempot’s song.

D. The Scope of the Study

There are so many songs in Raja Campur Sari of Didi Kempot’s song in 1999. The writer will focused only 10 titles in album as the scope of this study. This study will describe five types of deixis based on Cruse (2000:319) adds that they are person deixis, spatial deixis, temporal deixis, discourse deixis and social deixis.

E. The Significance of the Study

This study is expected to give a meaningful contribution to linguistics study especially in the field of pragmatics. It is expected that the findings of the study will be useful for:

1. The lecturer/teacher: to investigate on deixis will add the variation of teaching deixis, especially deixis used in song.

2. Students: especially for the English Department Students who are studying linguistics, to enlarge their knowledge about deixis especially to identify the types of deixis used.

3. Readers: to get knowledge about deixis theory. It would be more easy to readers to identify the types of deixis in song.

4. Other researchers: are expected as a comparison for their further research on the same topic. At least as a resource, especially for their reasearch that uses deixis as analysis.

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CHAPTER V

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

After analyzed the use of deixis in Raja Campur Sari, can be conclude that:

1. Based on the analysis of the data on song lyrics of Raja Campur Sari, it can be conclude that there are five types of deixis found in the Raja Campur Sari, they are person deixis, spatial deixis, temporal deixis, social deixis and discourse deixis. It consists of 136 person deixis, 67 spatial deixis, 66 temporal deixis, 82 discourse deixis, and 52 social deixis.

2. The percentages of each type of deixis used in that song lyrics are 33.7% for person deixis, 16.6% for spatial deixis, 16.4% for temporal deixis, 20.3% for discourse deixis, and 13% for social deixis. The type of deixis is dominantly used in the song lyrics is person deixis with total 136 or 33.7%. The deictic word ‘aku’ is dominantly used in the song lyrics than others, because he/the singer mostly wrote his own experiences, feelings and emotions inside human being into the song lyrics. The result implies that person deixis especially ‘aku’ plays a great role in the song.

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Didi Kempot used the all deixis of ‘aku’, ‘kowe’, ‘mas’, ‘bojo’, ‘neng/ning’, ‘mung’, ‘iki’, ‘dek/dik’, ‘pelayane’, and etc, into the song lyrics he used language that is more simple and more explicit language, because ‘aku’, ‘kowe’, ‘mas’, ‘bojo’, ‘neng/ning’, ‘mung’, ‘iki’, ‘dek/dik’, ‘pelayane’, and etc, it is the language medium which used by Didi Kempot into the song lyrics were enjoyed by the listener of the medium class.

B. Suggestions

Based on the result of the study, the following suggestions are: 1. Lecturer/teacher: it is better for the English lecturer/teacher to

investigate deixis that will add the variation of teaching deixis to the students.

2. Students: it is better for the students to enlarge their knowledge about deixis especially to identify the types of deixis. It is hoped that they can move easily to understand the meaning of the song lyrics.

3. Readers: it will be easier for the readers to understand the story and make them more interested in understanding the meaning of the song. 4. Other researchers: these findings can be applied by other researchers to

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REFERENCES

Aitchison, Jean. 2004. Language Change: Progress or Decay? Cambridge : Cambridge: University Press.

Arikunto, S. 2006. Prosedur Penelitian: Suatu Pendekatan Praktek. Jakarta: Rineka Cipta.

Brown, Gillian & Yule, George. 2000. Discourse Analysis. Cambridge: Cambridge University Press.

Cruse, D. Alan. 2000. Meaning in Language: An Introduction to Semantic and

Pragmatics. Oxford: Oxford University Press.

Davis, B. 2000. Discourse Analysis Lecture: Lecture 3- Deixis and Reference. Lectured on October 2000. New York: Oxford University Press.

Fromkin, Victoria and Robert Rodman, H and Hyyams, N. 1991. An Introduction

to Language. Massachusetts: Thompson Wadsworth.

Hornby. 1995. Oxford Advanced Learner’s Dictionary of Current English (5th

Edition). Oxford: Oxford University Press.

Levinson, S. 2004. ‘Deixis and Pragmatics’ for handbook of Pragmatics. Nijmegen: Max Plack- Institute for Psycholinguistics.

Liu, Shaozhang. 2003. New Perspective of Pragmatics. China: Guangxi Normal University.

Methven, A. 2006. A Comparative Study of Deixis in Chinese and English. London:SOAS University.

Naibaho. J. 2010. Introduction to General Linguistics. Fakultas Bahasa dan Seni. Medan: IKIP, Medan.

Ögeyik, C. Muchlise. 2007. Deictic Expressions and the Types of Deixis in

Turkish Narratives. Turkey: Trakaya University

Oxford. 2008. Oxford Advanced Learner’s Pocket Dictionary. Oxford: Oxford University Press.

Peccei, J.S. 1999. Pragmatics. London: New York.

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Puji Lisa Esti and Frans Arya. 2008. Koleksi 100 Lagu Daerah Indonesia

Terpopuler. Yogyakarta: Indonesia Cerdas

Rangkuti, RE. 1981. Kumpulan Lagu-Lagu Daerah (Dilengkapi dengan Akord). Jakarta: Titik Terang.

Richter,Max. M. 2008. “Other worlds in Yogyakarta From Jatilan to Electronic

Music”. In Ariel Heryanto, ed. Popular Culture in Indonesia Fluid Identities in Post-authoritarian Politics. New York: Routledge.

Swan, M. 1995. Practical English Usage. Oxford: Oxford University Press.

Widhyasmaramurti. 2002. The Background and The Language Change of

Campursari. Fakutas Ilmu Pengetahuan Budaya. Jakarta: Universitas

Indonesia.

Yule, George. 1996. Pragmatics. New York: Oxford University Press. http://www.as.wvu.edu/~tsloane/students/current/pdf/sa3/perez%20song.pdf

Accessed on November, 08th 2012.

http://en.wikipedia.org/wiki/Lyrics. Accessed on November, 08th 2012. http://www.anneahira.com/lagu-jawa.htm. Accessed on November, 08th 2012. http://www.anneahira.com/penyanyi-campursari.htm. Accessed on December,

04th 2012.

http://www.keroncong.web.id/article.php?&tag=campursari&page=1. Accessed on December, 04th 2012.

http://icssis.files.wordpress.com/2012/05/2729072009_34.pdf. Accessed on December, 21rd 2012.

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B. The Problem of the Study

The problems of the study can be formulated as the following:

1. What types of deixis used in Raja Campur Sari of Didi Kempot’s song? 2. What is the most dominant type of deixis used in Raja Campur Sari of

Didi Kempot’s song?

3. Why is the type dominantly used?

C. The Objective of the Study

Based on the problems of the study above, the objective of the study are: 1. To categorize the types of deixis that is used in Raja Campur Sari of Didi

Kempot’s song.

2. To find out the dominant type of deixis that is used in Raja Campur Sari of Didi Kempot’s song.

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3. To find out the accurate reason of the dominant type of deixis that is used in Raja Campur Sari of Didi Kempot’s song.

D. The Scope of the Study

E. The Significance of the Study

This study is expected to give a meaningful contribution to linguistics study especially in the field of pragmatics. It is expected that the findings of the study will be useful for:

1. The lecturer/teacher: to investigate on deixis will add the variation of teaching deixis, especially deixis used in song.

2. Students: especially for the English Department Students who are studying linguistics, to enlarge their knowledge about deixis especially to identify the types of deixis used.

3. Readers: to get knowledge about deixis theory. It would be more easy to readers to identify the types of deixis in song.

4. Other researchers: are expected as a comparison for their further research on the same topic. At least as a resource, especially for their reasearch that

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CHAPTER V

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

After analyzed the use of deixis in Raja Campur Sari, can be conclude that:

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B. Suggestions

Based on the result of the study, the following suggestions are: 1. Lecturer/teacher: it is better for the English lecturer/teacher to

investigate deixis that will add the variation of teaching deixis to the students.

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Cambridge: University Press.

Arikunto, S. 2006. Prosedur Penelitian: Suatu Pendekatan Praktek. Jakarta: Rineka Cipta.

Brown, Gillian & Yule, George. 2000. Discourse Analysis. Cambridge: Cambridge University Press.

Cruse, D. Alan. 2000. Meaning in Language: An Introduction to Semantic and Pragmatics. Oxford: Oxford University Press.

Davis, B. 2000. Discourse Analysis Lecture: Lecture 3- Deixis and Reference. Lectured on October 2000. New York: Oxford University Press.

Fromkin, Victoria and Robert Rodman, H and Hyyams, N. 1991. An Introduction to Language. Massachusetts: Thompson Wadsworth.

Hornby. 1995. Oxford Advanced Learner’s Dictionary of Current English (5th Edition). Oxford: Oxford University Press.

Levinson, S. 2004. ‘Deixis and Pragmatics’ for handbook of Pragmatics. Nijmegen: Max Plack- Institute for Psycholinguistics.

Liu, Shaozhang. 2003. New Perspective of Pragmatics. China: Guangxi Normal University.

Methven, A. 2006. A Comparative Study of Deixis in Chinese and English. London:SOAS University.

Naibaho. J. 2010. Introduction to General Linguistics. Fakultas Bahasa dan Seni. Medan: IKIP, Medan.

Ögeyik, C. Muchlise. 2007. Deictic Expressions and the Types of Deixis in Turkish Narratives. Turkey: Trakaya University

Oxford. 2008. Oxford Advanced Learner’s Pocket Dictionary. Oxford: Oxford University Press.

Peccei, J.S. 1999. Pragmatics. London: New York.

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Puji Lisa Esti and Frans Arya. 2008. Koleksi 100 Lagu Daerah Indonesia Terpopuler. Yogyakarta: Indonesia Cerdas

Rangkuti, RE. 1981. Kumpulan Lagu-Lagu Daerah (Dilengkapi dengan Akord). Jakarta: Titik Terang.

Richter,Max. M. 2008. “Other worlds in Yogyakarta From Jatilan to Electronic Music”. In Ariel Heryanto, ed. Popular Culture in Indonesia Fluid Identities in Post-authoritarian Politics. New York: Routledge.

Swan, M. 1995. Practical English Usage. Oxford: Oxford University Press.

Widhyasmaramurti. 2002. The Background and The Language Change of Campursari. Fakutas Ilmu Pengetahuan Budaya. Jakarta: Universitas Indonesia.

Yule, George. 1996. Pragmatics. New York: Oxford University Press. http://www.as.wvu.edu/~tsloane/students/current/pdf/sa3/perez%20song.pdf

Accessed on November, 08th 2012.

04th 2012.

http://www.keroncong.web.id/article.php?&tag=campursari&page=1. Accessed on December, 04th 2012.

http://icssis.files.wordpress.com/2012/05/2729072009_34.pdf. Accessed on December, 21rd 2012.

AN ANALYSIS OF DEIXIS IN RAJA CAMPUR SARI OF DIDI KEMPOT’S SONG.