SONG TRANSLATION ANALYSIS OF FIVE DISNEY MOVIE’S ENGLISH SONGS.

i

SONG TRANSLATION ANALYSIS OF FIVE DISNEY

MOVIE’S ENGLISH SONGS

Presented in Partial Fulfilment of Requirements for the Attainment of a

Sarjana Sastra degree in English Literature.

By:

Krisna Bayu Aji 12211141021

ENGLISH LITERATURE STUDY PROGRAM ENGLISH EDUCATION DEPARTMENT FACULTY OF LANGUAGES AND ARTS

YOGYAKARTA STATE UNIVERSITY 2016

v

MOTTOS

Of course I dress well,

I didn’t spend all that time in the closet for nothing

–

Anonymous

Being a part of something special does not make you

special. Something is special because you are a part of it

–

Rachel Berry, Glee

I loathe narcissism, but I approve of vanity.

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DEDICATION

viii

TABLE OF CONTENTS

TITLE... i

APPROVAL... ii

RATIFICATION ... iii

PERNYATAAN... iv

MOTTOS ...v

DEDICATION ... vi

ACKNOWLEDGEMENTS ... vii

TABLE OF CONTENTS ... viii

LIST OF FIGURE AND TABLES ...x

LIST OF ABBREVIATIONS ... xi

ABSTRACT ... xii

CHAPTER I INTRODUCTION ...1

A. Research Background... 1

B. Research Focus... 4

C. Research Objectives ... 5

D. Research Significance ... 6

CHAPTER II LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK .7 A. Theoretical Review ... 7

1. Translation ... 7

2. Categories of Translation ... 8

3. Song Translation ... 9

4. Musical Devices... 14

5. Degree of Equivalence ... 18

6. Multimedia Translation ... 19

7. Disney Movies and Soundtrack ... 21

8. Previous Studies ... 22

B. Conceptual Framework ... 23

CHAPTER III RESEARCH METHOD ...26

A. Type of Research... 26

ix

C. Data Collection Techniques ... 28

D. Data Analysis Techniques ... 29

E. Research Instruments ... 31

F. Data Trustworthiness ... 31

G. Example of Data Sheets ... 33

CHAPTER IV FINDINGS AND DISCUSSION ...35

A. Findings ... 35

B. Discussion ... 42

1. Musical Devices in the Original Songs and in the Translated Bahasa Indonesia Songs. ... 42

2. Translation Strategies Used in the Process of Translation ... 54

3. Degree of Equivalence between the Songs ... 65

CHAPTER V CONCLUSIONS AND SUGGESTIONS...68

A. Conclusions ... 68

1. Musical Devices Employed in English and Bahasa Indonesia songs ... 68

2. The Translation Strategies Used in Translating the Songs ... 69

3. Degree of Equivalence of the Original and Translated Songs ... 70

B. Suggestions ... 70

1. To translators ... 71

2. To other students... 71

3. To other researchers ... 71

REFERENCES...72

x

LIST OF FIGURE AND TABLES

Figure 1. Analytical Construct ...25

Table 1. Example of Blank Verse Translation ...13

Table 2. Example of Interpretation ...14

Table 3. Data Analysis Example ...30

Table 4. Example of Data Sheets ...33

Table 5. Musical Devices Findings ...36

Table 6. Translation Strategies Findings...37

Table 7. Degree of Equivalence Findings ...39

Table 8. Rhythm and Meter ...43

Table 9. Significant Changes in Beats and Meter ...44

Table 10. Different Beats and Meter Example in Bahasa Indonesia and English .45 Table 11. Rhyme Discussion Examples ...46

Table 12. Unrhymed Verse Example ...49

Table 13. Example of Different Meaning but Same Rhyme Employment ...49

Table 14. Assonance Discussion Examples ...50

Table 15. Different Employment of Assonance Examples ...51

Table 16. Consonace Discussion Examples ...52

Table 17. Different Employment of Consonance ...53

Table 18. Blank Verse Translation Discussion Examples ...56

Table 19. Literal Translation Discussion Examples ...59

Table 20. Interpretation Discussion Examples ...61

Table 21. Metrical Translation Discussion Examples ...60

Table 22. Rhymed Translation Discussion Examples ...63

xi

LIST OF ABBREVIATIONS

RY: Rhyme VP: Verse to Prose Translation

AS: Assonance RT: Rhymed Translation

CO: Consonance BV: Blank Verse Translation

ON: Onomatopoeia IN: Interpretation

PT: Phonemic Translation FE: Fully Equivalent

LT: Literal Translation PE: Partially Equivalent

xii

SONG TRANSLATION ANALYSIS OF FIVE DISNEY MOVIE’S ENGLISH SONGS

By

Krisna Bayu Aji 12211141021

ABSTRACT

This research concerns with the translation of Disney Movie’s Songs into Bahasa Indonesia. The aims of this research are 1) to describe the musical devices employed in the English and Bahasa Indonesia songs, 2) to describe the strategies the translator used in translating the songs, and 3) to describe the degree of equivalence between the English songs and Bahasa Indonesia songs.

This research employed descriptive qualitative study because the main concern of this research was to present the findings in words instead of numbers. The sources of the data were five English songs and Bahasa Indonesia Songs. The forms of the data were the lines in the lyrics. The main instrument of this research was the researcher himself. The data collecting techniques were, first downloading the original song and then the Bahasa Indonesia song album entitled We Love Disney, then listening to the songs and writing down the lyrics and then analysing the lyrics, an putting the data into the data sheets. The data trustworthiness of this research was achieved by employing triangulation.

The research finds that most of the musical devices employed in the English songs are employed in the Bahasa Indonesia songs. Most of the rhythm of the English songs are different from the Bahasa Indonesia songs, as the translator tried to convey the meaning. The most frequently used translation strategies are the blank verse translation and then followed by the literal translation, both are strategies is appropriate to translate a song because it carries the meaning and context. Most of the time, the translation are considered Partly Equivalent, as the translator usually tries to convey the meaning, and neglecting the form. Although the translated songs considered Partly Equivalent, it is still acceptable as a song as the lyrics is suitable and the meaning is still conveyed.

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CHAPTER I INTRODUCTION A. Research Background

In the world, language is one of the important aspects in life. Human needs languages in their daily life and in their interaction with each other. However, the vast number of languages makes it difficult for people to interact. Language is not just a means of talking or writing, but it is also a means of pleasure. Languages are used in many forms of entertainment created by human, such as poems, books, movies and songs. There are gaps between people around the world because they use different languages. Thus, translation as a bridge to overcome that difficulty is conducted.

There are different kinds of entertainment that have been translated into other languages. There are many books, novels, children’s picture books originating in English that have been translated into Bahasa Indonesia. Without translation, people might not know about Harry Potter and his war and struggle against Voldemort, or about the history of the grand cruise of Titanic. Recently, translation can also be found in the form of songs. There are several examples of songs in various languages that have been translated into Bahasa Indonesia songs, such as song by a girl group JKT48 which songs originally come from Japanese language and are translated into Bahasa Indonesia. Anggun, as an international singer also sometimes translated one of her songs into Bahasa Indonesia, for example the song Saviour that is translated into Mantra. Apart from that many

English animation movie’s songs have been also translated in their dubbed version in Bahasa Indonesia.

Listening to music is also another form of entertainment people seek. We love listening to songs on the radio or listening to songs on the internet. The vast improvement in technology has made it easier for people who want to search and listen to songs. Moreover, songs are not only written as song, but also written to accompany some movies in relation with the story of the movies.

For many years, Walt Disney has brought us the most amazing and magical story of the world. Walt Disney has been making movies since 1928 with

Steamboat Willie. Ever since, Disney has introduced people all over the world

with the story of fairy tale and make believe.

One of the important things in a movie is the music. The roles of the music in a movie are to hold and to shape the experience of the viewers, to manipulate their emotions, to guide the mood and to narrate the story. Music in a movie is divided into two categories: score, the music background, and soundtrack, the song, usually from certain artist.

Disney movies have been considered classic, meaning that the songs are considered great and outstanding of its kind, movies that employ soundtrack to their best. People in the world definitely recognise the works of Elton John entitled Can You Feel the Love Tonight from the classic movie, The Lion King. People also recognise the song from Demi Lovato and Idina Menzel from the movie Frozen entitled Let It Go. There are lots of outstanding and great Disney’s soundtracks in comparison with other animation soundtracks.

The researcher is interested in the topic because recently, there is an album containing the translated songs of the classic Disney movies’ songs. The Album features many Indonesian singers, such as Regina, Nowella, Hussein from Indonesia Idol, and also features Anggun, an Indonesian legendary singer.

Translating a song is not an easy task, it is not only a matter of the same meaning, the same style but it also has to follow the syllables (rhyme) to put in the music and also put a same note. As Peter Low (2005) says in The Pentathlon

Approach to Translating Songs, song must be singable, and the (translated) text

must sound as it has been made for the music. Moreover, when the translator is translating the lyrics, translator must pay attention to the rhythm and rhyme for the translated lyrics to have a natural sound to the song.

There are differences in translating songs and ordinary speeches in the animated series. When the translator translated the speech the rule to be followed is more open than those rules concerning song translation such as note, the rhythm. It can be put in this way, as long as meaning is delivered and it is accomplished. Unlike the usual translation, songs have certain rules to be followed. Thus it is harder to translate. The example of translating a song lyrics can be seen below.

Source Expression:

I was a girl in a village doing alright

Target Expression:

Aku gadis desa selalu sederhana Dalam semalam jadi putri

These two lines are taken from the opening song of the animated series

Sofia the First. It can be seen that the source language employs a rhyme, yet it

cannot be translated into Bahasa Indonesia for the sake of the music and the singable notes. Take a look at the phrase doing alright; its translated phrase is

selalu sederhana. This is not equivalentt although acceptable for message and for

song.

In order to do so, there are many things to consider for the sake that the song can be sung in Bahasa Indonesia. For example, it is a different word which makes it not equivalent yet acceptable; deletion of the lyrics; the different rhyme for the sake of the music or meaning. The example is to show the reason why the researcher wants to conduct research based on the translation of the English songs

of several Disney’s movies, because not only the songs are very well known but the translations are also famous in Indonesia. Moreover, song translation is an interesting subject to be studied.

B. Research Focus

Translating a song is not an easy task. There are many aspects that should be considered when the translator is translating a song. Therefore, the researcher is interested in conducting research concerning song translation. The Object of this research is a music album, entitled We Love Disney, which contains twelve songs, five of which are analysed. The reason the researcher analyses five songs out of

twelve because the selected five songs came from a different classic Disney’s

movies, such as The Lion King, Aladdin, Beauty and the Beast, and others. Since there are many things considered in the translation of a song, the researcher must limit the focus of this research. The researcher focuses on the musical devices, translation strategies, and the degree of equivalence. Thus, based on the limitations above, the researcher focuses into three formulations below.

1. What musical devices are employed in the Disney’s Movies English Soundtrack and their Bahasa Indonesia translated version?

2. What are the strategies used by the translator to translate the songs?

3. What is the degree of equivalence between the English songs and Bahasa Indonesia translational songs?

C. Research Objectives

In accordance with the formulations made by the researcher, this research aims at analysing the English version of several Disney’s movies soundtrack and their Bahasa Indonesia translated version. The objectives of this study are.

1. to describe the musical devices employed in the English and Bahasa Indonesia songs,

2. to describe the strategies the translator used in translating the songs, and 3. to describe the degree of equivalence between the English songs and Bahasa

D. Research Significance

In particular the researcher wishes that this research will be useful to other translation concentration students. The researcher expects that this research will be a reference of thesis because there are not many thesis that concerns on translating a song. The researcher also expects that this research wil boraden the knowledge of song translation and will be an input for students who have the same or similar research. In general, the researcher expects that this research will be beneficial for students of English Literature Study Program. the researcher expects that this research can be another reference of thesis for literature and linguistics concentration students. The researcher also expects this research will

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CHAPTER II

LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK

A. Theoretical Review

In the Literature Review, the researcher explains about the notions of translation, categories of translation, song translation, multimedia translation, musical devices, and degree of equivalence. In this sub chapter, it is also explained the previous studies, and the background of the object as the soundtrack in a movie and the translated version compiled in one album.

1. Translation

Translation has many different meanings based on different scholars. The widely known meaning and definition of translation is by Nida and Taber. Nida and Taber (1982: 12) state that translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, firstly in terms of meaning, secondly in terms o style. By this definition, we can conclude that translation happens in two different languages, the source language (SL) and the target language (TL).

Catford (1962:20) states that translation may be defined as the replacement of textual material in one language (Source Language) by equivalent textual material in another language (Target Language). This is a process in which a meaning from the source language is being transferred to an equivalent meaning in the target

language. In other words, the forms are changing but the meaning must be equivalent.

In the case of the researcher’s objectives, the researcher agrees with the

definition proposed by Nida and Taber. Song translation may not be fully equivalent, but it is the closest natural equivalent in the target language. The lines of the song might change styles although maintaining the same meaning, or the meaning might change while maintaining the same styles.

2. Categories of Translation

As said by Roman Jakobson (1959:2) in his paper entitled “On Linguistic

aspecst of Translation”, there are three categories of translation. The three categories of translation proposed by Jakobson are as follows.

a. Intralingual Translation, also known as rewording, is an interpretation of verbal signs by means of other sign of the same language. Moreover, in Intralingual Translation, translators use words that are more or less synonymous from the source expression. However, synonyms are not a

complete equivalence. Jakobson in his paper states for example “every

celibate is a bachelor, but not every bachelor is a celibate”. Furthermore, a word or an idiomatic phrase-word may be able to only be fully interpreted by explaining or defining the phrase-word. For example, in Jakobson’s paper

“Every bachelor is an unmarried man, and every unmarried man is a

bachelor.”

b. Interlingual Translation is an interpretation of verbal signs, by means of some other language. Furthermore, in Interlangual Translation, Jakobson states that

there is no full equivalence between code-units. However, Message may be served across the language and still adequate to carry the meaning. Jakobson furthermore states that translators accept and transmit a message from a source into target. Thus, translation is involved two equivalent messages that carry the meaning in two different languages.

c. Intersemiotic Translation, also known as transmutation is an interpretation of verbal signs by means of signs of non-verbal sign system. Furthermore, in Intersemiotic Translation the translation process that happen conveys the meaning from a source symbol and sign and interpreted into another symbol of a different system symbol.

3. Song Translation

Song translation is unique. Song lyrics are written in the similar way of poetry, thus song lyrics can be regarded as one. However translating a song is a much more complex task to achieve. In song translation, translators have little or no freedom in choosing between versified translation (maintaining structure) or omitting structure. The translator might change or omit a rhyme, but assigning syllables to a musical note is a quite difficult task to overcome. The translated song is considerably different from the original song, because the repetition of phrases, words is more natural in the original song, than in the translated song.

There are many strategies that can be used in assessing the translation of song lyrics, Andre Lefevere in (Basnett, 2002:87) a scholar in translation, proposed seven translation strategies that can be used in translating a poem. There is a limited space in song translation, because there are certain rules of musical

devices that the translator must follow just like the rules found in a poem. In

assessing the selected song, the researcher believe that Lefevere’s strategies can

be used to asses the song lyrics. The seven strategies that are proposed by Lefevere are stated below.

a. Phonemic Translation

In this strategy, translators mainly discuss attempts to reproduce the sound in the source language into the target language. In this strategy, the translators also try to paraphrase the sense. Lefevere states that this is moderately great to translate the onomatopoeia, but the overall result is clumsy and sometimes deprived of the sense.

Example

Source Expression Target Expression

And turn that frown around Buat bunyi bunyian

Skee bop bop bop dadado boo Skee bop bop bop dadado boo

b. Literal Translation

In this strategy, the translators transfer the original text based not on menaing but on the literal expression. Beekman (1974) states that Literal Translation transfers the lexical units. Furthermore, this strategy does not only focus on word-for-word, but also phrase-for-phrase and clause-for-clause. Lefevere states that this strategy focuses on one thing, the lexical units. Beekman and Callow then states that this strategy often creates what it seems an unnatural target text.

Example:

Source expression Target expression

Huesca (John Cornford) Huessca (Translation by Chairil Anwar)

Heart of the heartless world Jiwa di dunia yang hilang jiwa Dear heart, the thought of you Jiwa sayang, kenangan padamu

Is the pain at my side Adalah derita di sisiku

The shadow that chills my view Bayangan yang bikin tinjauan beku

It can be seen that this is Literal Translation because the translator concern on the literal expression of the source text and transfer it into the target language. It can be seen in the phrase “Dear heart” and the clause “Is the pain at my side.”

c. Metrical Translation

In this strategy, the dominant criterion is the reproduction of the meter. In highlights, the translators try to reproduce the number of syllables and stresses of the original text. Much more like the literal translation, this strategy also focuses on one thing, the meter.

Example:

Source expression Targe expression

Let it go / let it go Lepaskan / lepaskan

In this example, it can be seen that both of the lyrics employ the same meter, which is dimeter. Meter is indicated by the underlined word.

d. Verse into Prose

In this strategy, the translator transfers the original text into the target text in the form of prose. The target reader will get the meaning alright, but they will not get the beauty of the original text as it has lost the sense: form.

Example:

Source Expression Target Expression

I was a girl in the village doing alright

Then I became a princess overnight

Now I gotta figure out how to do it right

So much to learn and see

Dulu aku hanyalah seorang gadis desa. Namun sekarang berubah semenjak aku jadi putri. Sekarang aku harus belajar untuk menjadi putri yang sebaik baiknya.

e. Rhymed Translation

In this strategy, translator focuses on two aspects, the meter and rhyme, although rhyme is the main concern of the Rhymed Translation. In this strategy, translators try to produce the same rhyme of the source text into the target text. In this strategy, the translated version might be slightly weird to that of the original text, because the translator concerns on maintaining the rhyme and the meter.

Example:

Source expression Target expression

You won’t find me Kubuang masa lalu The past is all behind me T’lah terkubur di salju

These two expressions are trying to use the same rhyme (aa). However the target expression is a little bit off from the meaning.

f. Blank Verse Translation

In this strategy, the translator translates the text but with a tendency to ignore the rhyme of the original text. The translator tries to maintain the structure of the original text in the target text by using unrhymed lyrics. This looks very similar to a literal translation, although in this strategy, translator does not ignore the context of the original text, giving the translated version a similar impact as the original text. Literal translation tries to find each of the lexical units equivalent in the target text, making it lose the sense and context.

Example:

Table 1. Example of Blank Verse Translation

Source expression: Target Expression

I have got so much to give, I swear I do Banyak hal yang ku ingin tuk berbagi I may not have nine lives, this one feel

brand new

Walaupun tak abadi, rasanya begitu

In this example, the context of these two lines is a dog sharing his story. The translators try to create the same context of the original song in to the translated while ignoring the rhyme of the original text.

g. Interpretation

In this strategy, Lefevere called two different notion, versions and imitations. Version occurs when the SL text is retained in the target text but the form is

changed, meaning, the text of the SL text is still the same but the translation uses different form. An imitation occurs when the translators make their own poem which has only title and point of departure that is common with the source text.

Example:

Table 2. Example of Interpretation

Source expression: Target expression:

It’s enough to make king and

vagabonds Tak ada yang mampu memisahkan

Believe the very best Kita selamanya

By employing these seven strategies by Lefevere, the researcher analyzes how the source language songs are translated into target language songs. These seven translation strategies are the most appropriate strategies to be used in the analysis of the data.

4. Musical Devices

Much like poetry, songs also employ musical devices in the writing of the lyrics. Furthermore, a song is not only about the lyrics but also the music that accompany the lyrics. Thus, musical devices play an important role in the making of a song. It creates a more aesthetics addition into the song, both the lyrics and the music. Musical devices that usually are found in the song are as follows.

a. Rhythm and Meter

Rhythm explained by Scott and Liddell in A Greek-English Lexicon is from

Another scholar also suggests “Rhythm can be described as timed movement through space; an easy, connected path along which the eye follows a regular

arrangement of motifs.” (Jirousek, 1995). Rhythm can be analyzed through

rhyme, intonation, meter, and tempo. In this research, the researcher analyzes the rhythm employed in both versions of songs by looking at the beats and pauses that can also be said as the stressed and unstressed syllables.

However, it is not clear how to judge which syllable is stressed usually. Although, certain part of speech such as noun, verb, adverb, adjective, demonstrative and interrogatives usually have stressed syllables. To show the unstressed syllable it is usually symbolized by the curve line symbol ( ˇ ) and

stressed syllable is usually symbolized by ( ˉ ).

Not only is that rhythm seen by looking at the stressed and unstressed syllable, but also pauses play a big role in the rhythm. Pauses can be symbolized by using caesura (//).

Meter according to Bambang (2000) is a pattern in a line that has been cut into chunk by accents and stresses. This is the basis of the measurement of a meter. Meter is shown by saying foot in certain chunk. It is symbolized by underline.

Example

Rhythm and meter in Let It Go–Lepaskan

English Bahasa Indonesia

ˉ ˇ ˇ ˉ ˇ Snow glows white/ on a/ ˇ ˉ ˉ ˇ ˉ ˇ Mountain/ tonight// not a

ˉ ˇ ̌ ˇ ˉ ̌ ˇ ˉ

Salju/ berkilau/ merendam

̌ ˉ ˉ ˇ ˉ ˇ ˇ ˇ ˉ

ˉ ˇ ˇ ˇ ˉ /footprints/ to be seen//

b. Rhyme

Rhyme is the repetition of accented vowel sounds and all succeeding sound that appear close together. Rhyme might cause confusion if compared to assonance and consonance. However, they are different with one another. Cuddon (1999: 751) states that there are 4 types of rhyme based on their degree.

1) Full rhyme is when there are similar stressed vowel and the following sounds. 2) Identical rhyme is when there are one or more sounds preceding the stressed

vowel that identical.

3) Vowel rhyme is when the sound preceding the stressed vowel is identical, and the following sound is not.

4) Pararhyme is when the last stressed vowels are different but the following sounds are identical. In this type there is also a term called slant rhyme which occurs when the consonant in the end sound alike although the vowel is different.

Apart from their degree, there are three types of rhyme based on their position.

1) End Rhyme : by placing the rhyme at the end of a line 2) Internal Rhyme : Repeating a sounds within lines

3) Approximate Rhyme : The final rhyming sounds are close, but not the same.

Example:

Rhyme in Let It Go - Lepaskan

English Bahasa Indonesia

Snow glows white on a mountain tonight, not a footprints to be seen

Salju berkilau merendam malam, tanpa jejak terlihat A kingdom of isolation and it

looks like I’m the queen

Aku bagaikan ratu di kerajaan terasing

c. Assonance

Assonance is the repetition of vowel sounds close together. Unlike rhyme, assonance is simply a repetition of vowel sounds. It is usually called vocalic rhyme. Assonance occurs when there are vowel sounds close together and the sound following the vowel is ignored.

Example: Hear the mellow wedding bells (Edgar Allan Poe – The Bells)

d. Consonance

It is the repetition of consonant sounds. This is the opposite of assonance.

Example: Do not align yourself with someone else’s axis of expectation – (Kevin Kantor & Sienna Burnett – Phase)

e. Onomatopoeia

Onomatopoeia is the use of word whose sound imitates or reinforces its meaning. It should be noted that the relation between the sound and the referent is arbitrary. The sound produced is also different in one language and another.

Example:

English Bahasa Indonesia Explanation

Woof Guk It is the sound that dogs make

Bang Dor This is the sound of a gun

f. Tone

Tone is what the whole song or lyrics are about. Tone represents the feeling or the atmosphere that the song try to carry. There are many things that tone can create. It can be sadness, joy, anger, and other feeling.

5. Degree of Equivalence

Degree of Equivalence is one of the assessments of translation product. The assessment of the translation product is in the form of assessment of the message and/or the style of the translation product. It cannot be separated the assessment between the target language (the translation product) and the source language. In this research, the researcher makes use of degree of equivalence proposed by Bell. Bell proposed four categories of degree of equivalence namely, Fully Equivalent Expression (FEE), Partly Equivalent Expression (PEE), Non-Equivalent Expression (NEE), and Unrealized Expression (UE). However, the researcher wants to take note that in the translation the songs, the translators are trying to produce every line of the songs into Bahasa Indonesia. In accordance to that, the researcher will use only three of the notion that Bell proposed.

a. Fully Equivalent Expression : When an expression in the ST is translated into the same type of expression in the TT both meaning and style.

Example: Let it go, let it go Lepaskan, lepaskan

b. Partly Equivalent Expression : Expression in the ST is translated into the TE but either has the same meaning or style, not both.

Example: Picking daffodils  memetik bunga

c. Non-Equivalent Expression : SE is translated into the TE but using different meaning and style.

Example: Can be a princess thing  bisa dilakukan

6. Multimedia Translation

There are types of multimedia translation, namely, subtitling, dubbing, lip-sync, voice-over. Subtitling and dubbing are considered the most popular used translation in multimedia translation.

On one hand, the dubbing type is considered making the source language far more familiar to the target language through the method of domestication. The aim of dubbing is to make audience feel that the actor speak in the audience language himself/herself.

On the other hand, subtitling provides a translation of certain source language in a form of synchronized caption, usually at the bottom of the screen. If the dubbing uses the domestication, subtitling however, uses foreignization, because using the caption will make the audience know some sort of foreignism from the movie.

Countries that usually employ the dubbing techniques are French, Italy and German and other European countries. In these countries the movies undergo the process of dubbing. Gottlieb (1997) states it is because dubbing is the preferred

mode in the 1930s. The countries mentioned above have a feeling that translation is an act of violence towards their language. They are so accustomed by their language in the TV and cinema. Listening to their own language gives a sense of nationality and pride. Thus saying it becomes tradition to dub movie in these countries.

The countries that employ subtitling are Norway, Netherland, Belgium, and smaller European countries and non-European countries. This is usually due to their small population. The lack of people makes fewer people go to the cinema, and fewer tickets sales. Furthermore, subtitling cost less that dubbing, because dubbing needs more people and other resources.

In Indonesia, TV employs the two types of the most used multimedia translation equally. For a TV show, program, series, movie that is meant for children, the dubbing is used. When the movie is meant for teenager and adult, the subtitling is used. Children are not familiar with English, so the best way to employ the movie translation is dubbing, so the TV channels provide a domestication background in the movie.

Disney, the production house that has brought many children animated movies, TV shows, and now live action movies, is the biggest company that creates a movie in many languages, not only for the dialogue, but also the song. This happens because the target audiences are mainly children. Children across the world do not usually understand English, because English is not their mother tongue. Another reason is that the songs in the movie also play a major part of the movies or series. In Sofia the First, the song is always telling about what is the

problem of an episode, In the Disney’s animated movie, and the song can tell the

story of a certain scene. Thus, score and song is an important part in Disney’s

movie. The researcher believes that dubbing is the most appropriate way to translate an audio text, because with dubbing the readers, listeners can feel the domestic aura so that they can understand it more.

7. Disney Movies and Soundtrack

Disney animated movies are well known throughout the world. Children from all across the nations and countries are waiting for Disney to release a new line of animated movie. Several of them are also become of the classic movie of all time. Take a look at the example of Cinderella. This well-known princess is then changed into a classic animated movie which later changed into a live action movie in the 2015.

Apart from the majestic and classical movie Disney has provided. Disney also employs an amazing line up of musical score and soundtrack. Disney animated movie usually teams up with several great names of singer and musician in the making of their movie. The name like Phil Collins, Elton John, and Celine Dion are a well-known singer and also a classical one. These names above are a few of singers that are teamed up with Disney Studio to create a mesmerizing song to accompany the yet classical movie.

Disney movies are usually categorized as musical in the term of the musical score and soundtrack they employ. This musical score and soundtrack are always stunning. The song from Frozen, entitled Let It Go Even translated into many languages, also included in Bahasa Indonesia. All-in-all, Disney animated movie

songs are always amazing to listen to, and is a good thing to accompany the movie.

Disney also has made compilation albums called We Love Disney. These

albums, released three times, contain many classic Disney’s songs sung by

contemporary artists. The first We Love Disney entry was released in 2013 in France. The second entry released in 2014 in Australia, and France. The third entry released in 2015 in United States, Italy, and Indonesia. As a matter of fact, in Asia, Indonesia is the first country that has its own We Love Disney Compilation album.

8. Previous Studies

There are several researches that have a similar focus as this research. There have been researches concerning song translation before. However this research is only brought up recently. Even though people all over the world love to listen to music, the activity of song translation is quite few.

Fang Yu, a Mandarin, conducted a study of song translation between English song and the Mandarin Translation. He conducted the research using Functional Translation Theory. The theory concerns on how translations are a goal oriented and the translation is their own text, rather a translated version of a source text. It did not concern of equivalence between two texts.

The other research conducted in relation to song translation is by Pannapa Warachananan and Dutsadee Roongrattanakool. In the research the two

in Disney’s Movie Songs as many of the English song that have been translated into Thai.

This research is different with both studies. The researcher believes that the translated songs are related to the original songs, which means the researcher concerns on the equivalence between two texts. This research also uses Disney

Movie’s Songs as the object, but the researcher also takes account of the musical

devices, not only the translation strategies.

B. Conceptual Framework

Translation is an action that has been going over for years and years. Translation by Nida and Taber states that a translation is a reproducing in the receptor language the closest natural equivalent of the source language message, firstly in the term or meaning and secondly in term of style. This research employs the notion proposed by nida because the translated song may not be the same in the form, but it can be only in meaning.

There are three categories of translation. Intralingual Translation, Interlingual Translation, Intersemiotic Translation. Intralingual Translation happens in the same language, Interlingual Translation happens in the different language, and intersemiotic happens if a symbol is translated into different symbol system. This research mainly focuses on the interlingual translation because it is happening in two different languages, English as the source language and Bahasa Indonesia as the target language.

Nowadays, songs are translated into many other languages. Translating a song is not an easy thing to do. Because there are certain rules that need to be

followed by translator, such as rhyme and rhythm so that the song can convey the same meaning from the source language songs. Song is written in a very delicate way that it can be considered as poem, and such treated the same way. The song translation may come under the umbrella of multimedia translation, more precisely the dubbing. This research main objects are songs that has been translated into another language also in the form of song.

The strategies that are proposed by Lefevere are strategies that are appropriate to be used in the analysis of the data because these strategies are concerning on the the verse translation. These strategies are suitable to translate poem. Furthermore, song lyrics are written similar with poem. Both are written in verses, employ musical devices, employ figurative language. Thus, song is treated as poem, making these strategies also suitable to asses the translation of song.

Degree of Equivalence is one of the assessments of Translation that can be used to asses translation quality. Nida and Taber proposed that there are four categories of degree of equivalence. Fully Equivalent, Partial Equivalent, Non-Equivalent, Unrealized Expression. As the researcher has said before, the song might be different in form although still convey the same meaning. Thus, this assessments of translation can be used to asses the value of translation in this research. In accordance to the conceptual framework, the following diagram is presenting the outline of this research.

Itralingual Translation Interlingual Translation Intersemiotic Translation Song Translation English Lyrics Disney’s Songs

Bahasa Indonesia Lyrics

(We Love Disney) Musical Devices: 1. Rhyme 2. Rhythm 3. Intonation 4. Assonance 5. Onomatopoeia 6. Consonace Musical Devices: 1. Rhyme 2. Rhythm 3. Intonation 4. Assonance 5. Onomatopoeia 6. Consonace Translation Strategies:

1. Phonemic Translation

2. Literal Translation

3. Metrical Translation

4. Verse into Prose Translation

5. Rhymed Translation

6. Blank Verse Translation

7. Interpretation Fully Equivalent Partly Equivalent Non Equivalent

Literary Translation Multimedia

Translation

Degree of Equivalence

Cinema Translation Mobile Communication

Figure 1. Analytical Construct

26

CHAPTER III RESEARCH METHOD

A. Type of Research

This research uses the descriptive qualitative method. A descriptive qualitative method can be used to analyze and expose the quality between the source text and the target text found in the five songs of Disney’s movie soundtracks and their Bahasa Indonesia translation version found in the album,

We Love Disney. Fraenkel and Wallen (1993) state that descriptive method is a

method used to explain, analyze, and classify, something through various techniques, survey, interview, questionnaire, and test. Fraenkel and Wallen also state that qualitative research is a research that investigates the quality of relationships, activities, situations, and materials. This type of research uses descriptions and categories, and uses open ended examples, observation, and document analysis. This type of research is suitable for conducting this research, because this research analyzes and explains through words instead of numbers and figures. The data collected are presented in words and are explained thoroughly. This research also uses qualitative approach because it takes more emphasis into the understanding of the problems rather than the generalization of the problems.

Bogdan and Knopp (1992) in Frankel and Wallen state that a qualitative research has five characteristics.

1. The natural setting is the direct source of data, and the researcher is the key instrument in qualitative research. This research have the natural setting which are the songs, either in English or Bahasa Indonesia.

2. Qualitative data are collected in form of words or pictures rather than number. The data collected are in form of words, that are song lyrics.

3. Qualitative research concerned with process as well as product. This research concerned in the process of the research and the outcome.

4. Qualitative researchers tend to analyze their data inductively. This research uses the inductive approach to analyze the data.

5. How people make sense out their lives is a major concern of qualitative researchers. This research uses the natural setting of the data.

Regarding to the subject, the researcher believes that this research uses qualitative methods, as this research describes and explores the comparison between the English and the Bahasa Indonesia songs, looking at the musical devices used in both version of the songs, the strategies the translator use to translate the songs, and also the degree of equivalence between the two versions of the song.

B. Data and Sources of Data

The data sources are five songs taken from the album We Love Disney. This album was released on September 2015 and available for download online on

iTunes. The songs are taken from the movie Frozen, The Lion King, Pocahontas,

Tarzan, Beauty and The Beast and, Aladdin. The songs are Lepaskan (Let It Go),

The Love Tonight), Dunia Baru (A Whole New World), Si Cantik dan Si Buruk

Rupa (Beauty and the Beast). The data are in the form of song lines. The

researcher analyzes the lyrics and the musical devices of the five songs. The context of the data is a movie soundtrack which is put in the middle of the movie to emphasize a scene or put in the credit as the end credit soundtrack. The reason why the resercher chose this five songs that because the song chosen by the researcher is the iconic song of its respective movie. Audiences will have a high expectations of these five songs.

This research conducts an analysis of the translation strategies and the musical devices maintained. The researcher also analyzes the degree of equivalence. The unit of the data analysis is line as it is song lyrics, the line on the verse in the English songs and the line on the verse in the Bahasa Indonesia songs..

C. Data Collection Techniques

Collecting data is an important part of a research. The researcher must focus on the object of the research. The research also collects carefully in collecting the data. In this research, the researcher listened to the original songs from the movies by listening to it on the movie and wrote down the lyrics on a note. Then the researcher listened to the translated version of the songs taken from the album and wrote down the lyrics. Since all the lyrics are the data, the researcher listened to the songs more than one time. Not only that the researcher took notes of the lyrics, but the researcher also listened to the rhythm in the music. In order to collect the data, the researcher did the step as follows.

1. The researcher collected the data of English Songs 2. The researhcher searched the song featured in the movie. 3. The researcher listened to the song from the movie. 4. The researcher wrote down the lyrics into note.

6. The researcher collected the data of Bahasa Indonesia Songs 7. The researcher downloaded the album on iTunes.

8. The researcher listened to the song selected from the album. 9. The researcher wrote down the lyrics into note.

D. Data Analysis Techniques

In the analyzing of the data, the researcher looked at the lyrics and listened to the songs, both the English songs and their counterparts in Bahasa Indonesia. After listening to the song, the researcher consulted the lyrics written down, finding which line is the equivalence to which line in the song. The researcher determined the musical devices first of the two lines, whether the Bahasa Indonesia song has the same rhythm and/or rhyme. After that the researcher determined which of the strategies proposed by Lefevere is used in the translation of the song lyrics.

The Researcher used the theory proposed by Bell about equivalence. After finding the musical devices and then the line in English and its translated version, researcher tried to assess, and tojudge the quality based on meaning equivalence of the lyrics.

For example:

Table 3. Data Analysis Examples

English lyrics Bahasa Indonesia lyrics

ˇ ˇ ˉ ˇ ˉ ˇ ˉ Snow glows white/ on a/ mountain/ ˇ ˉ

tonight//

ˇ ˉ ˇ ˇ ˉ ˇ ˇ ˉ

Salju/ berkilau/ merendam/

ˇ ˉ

malam//

ˇ ˉ ˇ ˉ ˇ ˇ ˉ

Not a/ footprints/ to be seen//

ˇ ˉ ˇ ˉ ˇ ˇ ˉ Tanpa/ jejak / terlihat//

ˇ ˉ ˇ ˉ ˇ ˉ ˇ ˉ ˇ ˉ

A king/dom of/ Iso/lation// and it/ ˇ ˉ ˇ ˇ ˉ

Looks like/ I’m the queen//

̌ ˉ ̌ ̌ ˉ ˇ ˉ ˇ

Aku/ bagaikan/ratu// di

ˉ ˇ ˇ ˉ ˇ ̌ ˉ

ke/rajaan/ terasing// ˇ ˇ ˉ ˇ ˉ ˇ ˉ

The wind is/ howling/ like this/

ˇ ˉ ˇ ˇ ˉ

swirling/ storm inside//

ˇ ˉ ˇ ˉ ˇ ˉ

Angin/ mende/ru bak

ˇ ˉ ˇ ˉ ̌ ˉ

badai/ dalam/ diri// ˇ ˉ ˇ ˇ ˉ ˇ ˇ ˉ

Couldn't/ keep it in/ Heaven knows/

ˇ ˉ

I tried//

ˇ ˇ ˉ ˇ ˉ Tak sanggup/ lagi/ ˇ ˉ ˇ ˇ ˉ ku per/tahankan//

These verses are taken from the song entitled Lepaskan in Bahasa Indonesia

and Let It Go in English. The first line of the example, showing that both lyrics,

English and Bahasa Indonesia, employ Assonance and Consonance. The translator used Blank Verse Translation to translate the line. Although, both lyrics have the same meter, which is tetra meter, consisting of four feet, they employ a different rhythm.

The translator tried to convey the meaning like the original, and want to make an impact to the viewers like the original version has impact on the viewers.

Based on the theory proposed by Bell of degree of equivalence, these dubbing of song are partial equivalence, although the meaning are equivalent and acceptable, both lyrics have different style of rhythm although employing the same meter.

E. Research Instruments

In qualitative research, the main instrument of a research is the researcher himself, because the researcher knows the phenomenon first hand. The researcher also acts as a planner, data analyst, and data collector. Equipment used is laptop, notebook, cell phone (recording), dictionary and data sheets.

Also stated by Lincoln and Guba (1983) the instrument in naturalistic inquiry is human. This is suitable that the research instrument is the researcher himself. Although, the other forms of instruments may be used later, but human (researcher) is the main instrument of the research.

F. Data Trustworthiness

Triangulation is used to achieve data trustworthiness. Trinangulation involves using multiple sources and perspective to reduce systematic bias. The type of triangulation used in this research is by employing the researcher trangulation. Researcher will ask another student to look at the finding and to say their piece of mind about the data and fingins. The researcher asked several translation students who are the researcher colleague in Translation concentration studies. The researcher also asked a studeng of Linguistics concentration, who has got her stylistics course as her college subject. The researcher asked them to listen to both versions of the songs, and then to consult the researcher’s data if they are agree of

not with what the researcher found. Not only that they are the research’s

G. Examples of Data Sheets Table 4. Example of Data Sheets

Data

Code Lyrics

Musical Devices Translation Strategies Degree of

Equivalence

RY AS CO ON PT LT MT VP RT BV IN FE PE NE

001/A/I/AS

-AS/

C

O-C

O/LT&MT/F

E

ˇ ˇ ˉ ˇ ˇ ˉ Let it go/ let it go//

a

√ √

√ √ √

ˇ ˇ ˉ ˇ ˇ ˉ Lepaskan/ lepaskan//

c

√ √

002/A/I/AS

-AS/

Ø

-C

O/LT/P

E

ˇ ˉ ˇ ˉ

Can’t hold/ it back

ˇ ˇ ˉ

Anymore//

b

√ -

√ √

ˇ ˇ ˉ ˇ ˇ ˉ Tak mampu/ kutahan/

ˇ ˉ

lagi//

d

Musical Devices : Translation Strategies : Degree of Equivalence

RY : Rhyme PT : Phonemic Translation FE : Fully Equivalent

AS : Assonance LT : Literal Translation PE : Partial Equivalent

CO : Consonance MT : Metrical Translation NE : Not Equivalent

ON : Onomatopoeia VP : Verse to Prose Translation

RT : Rhymed Transalation BT : Blank Verse Translation IN: Interpretation

35

CHAPTER IV

FINDINGS AND DISCUSSION A. Findings

In these finding, there are 144 data. The 144 data are taken from 182 lines collected from all the five songs. From 182 lines, the researcher used only 144 lines because the rest of the lines are considered chorus and refrain, which is a verse that contain the same lines, beats, and meters.

In detail, in Let It Go, there are 17 assonances and 21 consonances and no onomatopoeia in English lyric, while there are 22 assonance and 18 consonance and no onomatopoeia in Bahasa Indonesia lyric. In Color of the Wind, there are 35 assonance and 33 consonance and no onomatopoeia in English lyric, while there are 36 assonance and 34 consonance and no onomatopoeia in Bahasa Indonesia lyric. In Can You Feel The Love Tonight, there are 12 and 16 of assonance and consonance respectively in English lyric, while there is onomatopoeia to be found, while in the Bahasa Indonesia lyric there are 16 and 13 of assonance and consonance respectively, and no onomatopoeia. In A Whole New World, there are 30 and 42 assonance and consonance respectively, and no onomatopoeia in English lyric, while there are 54 assonance and 36 consonance in Bahasa Indonesia lyric and No onomatopoeia. In Beauty and the Beast, there are 13 and 16 of assonance and consonance respectively in English lyric, and 25 and 20 of assonance and consonance in Bahasa Indonesia lyric, both texts do not employ any onomatopoeia. It can be simplified into a table below.

Table 5. Musical Devices Findings

Song Titles Assonance Consonance Onomatopoeia

Let It Go 17 21 0

Lepaskan 22 18 0

Color of the Wind 35 33 0

Warna Angin 36 34 0

Can You Feel The Love Tonigt 12 16 0

Dapatkah Kau Rasakan Cinta 16 13 0

A Whole New World 30 42 0

Dunia Baru 54 36 0

Beauty and the Beast 13 16 0

Si Cantik dan Buruk 25 20 0

In terms of Translation Strategies, there are 180 times the strategies are used in translating the five original English songs into five Bahasa Indonesia equivalents. In details, there is zero Phonemic Translation (PT) used in translating the song, in all five songs. Literal Translation (LT) is used nine times in translating the first song, twelve times used in translating the second songs, zero time used in translating the third song, nine times used in translating the fourth song, and six times used in translating the fifth song. Metrical Translation (MT) is used twice in translating the first song, once in translating the second song, twice in translating the third song, eighteen times in translating the fourth song, and eight times in translating the fifth song. Verse to Prose Translation (VP) is not used in translating all the five songs. Rhymic Translation (RT) is used four times the third song, while the other did not employ this strategy. Blank Verse Translation (BV) is used thirteen times in translating the first song, twenty one

times in translating the second song, six times in translating the third song, twenty nine times in translating the fourth song, and sixteen times in translating the fifth song. Interpretation (IN) is used once in translating the first song, thrice in translating the second song, ten times in translating the third song, six times in translating the fourth song, and four times in translating the fifth song.

In total, Blank Verse Translation is used eighty three times. Literal Translation is used thirty six times. Interpretation is used twenty six times. Metrical Translation is used thirty one times. Rhymic Translation is used four times. Phonemic Translation and Verse to Prose Translation are not used in the translating the five song. In summary the findings of Translation Strategies applied can be seen in the table below.

Table 6. Translation Strategies Findings

Song Title PT MT LT VP RT BV IN TOTAL

Let It Go – Lepaskan 0 2 9 0 0 13 1 25

Color Of The Wind – Warna Angin

0 1 12 0 0 21 3 37

Can You Feel The Love Tonight – Dapatkah Kau Rasakan Cinta

0 2 0 0 4 6 10 22

A Whole New World – Dunia Baru

0 18 9 0 0 29 6 62

Beauty And The Beast – Cantik Dan Buruk

0 8 6 0 0 16 4 34

There are three types of Degree of Equivalence, namely Fully Equivalent (FE), Partially Equivalent (PE), and Non-equivalent (NE). Fully Equivalent is when the translated line is same in term of meaning and style. Then Partially Equivalent is when it is either the meaning (different style) or style (different meaning) maintained. Non-equivalent covers two types of equivalence, which are non-equivalence and not translated. However, as stated earlier all the line are translated in Bahasa Indonesia, meaning that it only covers non-equivalence as in different meaning and style. There are thirty lines that are considered fully equivalent, eighty three that are considered partially equivalent, and thirty two that are considered non-equivalent.

Table 7. Degree of Equivalence Findings

Fully Equivalent 30

Partially Equivalent

Different style 78

Different meaning 5

Non-Equivalent 32

. The number of translation strategies used shows that the Blank Verse Translation is dominant. The dominant number of the translation strategies means that it covers every aspect of equivalence in the song. It is found that Blank Verse Translation usually produces partially equivalent lines. Even though, not all of them are partially. It is also found that Blank Verse Translation also create fully equivalent and not equivalent, but dominantly it produces a partly equivalent lines.

It is also found that fully equivalent translations are usually produced by employing Literal Translation and Metrical Translation. It should be noted that Metrical Translation is a secondary translation strategy and usually found side to side with Literal Translation, combined they produced a great quality of translation, where Literal Translation produce a fully meaning equivalent, while Metrical Translation the same meter and beat pauses. It does not work the same as combination of Blank Verse and Metrical. Blank Verse and Metrical Combination usually create a different meaning translation, not a fully equivalent translation.

Interpretation tends to create a non-equivalent translation. Interpreation usually creates the translator’s own lines. It is up to the translator on what to fill in the translation of certain lines. The translator usually create a different meaning lines compared to the original, the sole purpose of the translation is to fill enough syllables that go or fit with the music. As long as the line is singable in the term of music, translator freely used it without thinking about the equivalent meaning or form.

In terms of the musical devices of the lyrics, there is not much that is different. Usually the lines are employing assonance and consonance in both version of lyrics no matter what the translation strategies are. The translation of musical devices can be maintained with whatever translation strategies the translator used. There are only a little difference between the assonance and consonance. However, the differences in rhythm and meter are numerous. All the translation strategies used in translating the lyrics are more concerned on

conveying the meaning. Thus it creates a similar line but with a different rhythm and meter.

As the song is regarded as a poetry, there must be a message contained in each song. It is important to know whether the message of the original songs is delivered in the Bahasa Indonesia translated songs. For song has a hidden message if you listen to it close enough. The researcher knows that the song for a soundtrack is not merely just for the purpose of supporting the movies scene, but also a song to introduce or to support an idea for society to thrive for a better society.

For example in Color of the Wind, this song tells us to see the world not by their worth. Pocahontas as the main character of the story tells us to appreciate nature, to appreciate the mother earth as a living being, not as a dead thing that is valued by her worth. Moreover, human put value over things, that this make human ignorant about the nature. This is a great message to be told to younger generation not to waste the nature. Not to ignore the nature for then you can see the true beauty of it. This kind of message is conveyed great with the solemn music of the original, and that music is then conveyed greatly in the Bahasa Indonesia.

It is safe to say that the entire messages contained in each song are conveyed towards the Bahasa Indonesia songs. The researcher believes that the message conveyed into Bahasa Indonesia are more diminutive compared to the English songs. This is happening because the word choice of the Bahasa Indonesia cannot convey the diction of the English songs. For example in Color of the Wind the line

said “for whether we are white or copper skinned” and it is translated into “tahu apakah kita berbeda”. This translated did not do justice towards the white or

copper skinned. Racial differences is always a major matter in the world, up until now, and it is only translated into “berbeda” seems like a little understatement of the matter.

Then, there is each song tone. Tone is how the writer, in this case might be the composer and lyricist, attitude towards the audience. In other words, what the composer and lyricist try to tell the audience. All of the songs have their own tone and sense as they came from different movie, different set of stories. For example the song from Frozen, Let It Go, telling a story of an upset woman who’s been

caged for her life and now she finally free. The music of this song is courageous with a fast beat. This tone is conveyed towards the Bahasa Indonesia well, for this song. However, as the translated song is sung by more than one singer, each singer has her own type of tone, so there are times when the tone of the original song is conveyed differently by the singer.

For the rest of the songs, the tone is conveyed greatly. For example, Color of

the Wind, with the condescending tone from Pocahontas towards John Smith.

Anggun can deliver the tone of the song perfectly as the original singer, Judy Kuhn. Apart from the different meaning of the translated songs, Dapatkah Kau

Rasakan Cinta has the same tone of loving as the original song Can You Feel The

Love Tonight. The rest of the song also has the same tone. A Whole New World

B. Discussion

In the Discussion, the researcher discusses thoroughly the data found on the research. The discussion focuses on the three objectives of this research. The discussion also discusses the necessary item to be discussed in relation to the objectives of this research. The discussion aims to be as thorough as possible.

1. Musical Devices in the Original Songs and in the Translated Bahasa Indonesia Songs.

In term of song, sung text, and poetry, musical devices play a great role in the making of the whole text. Musical devices are used to make the text much more aesthetically pleasurable than other text such as short story and novel. In this research the researcher pays attention to rhythm, rhyme, assonance, consonance, and onomatopoeia as the object of musical devices to be analyzed. Each part of the musical devices will be explained in this part thoroughly.

It is also found that musical devices from each version may differ from one another. Sometimes it is found in both version, but sometimes it only found in the Bahasa Indonesia version. The reason these happened are for many reasons. Sometimes it happens because the translator tries to convey the meaning above all, without considering the musical devices.

a. Rhythm

Rhythm in a song is shown by the stressed and unstressed syllable. Stresses show how the syllable of a word is voiced. Not only by the stressed/unstressed syllable, rhythm also shown by the pauses of each meter and feet. The beats and

pauses make both versions similar but not alike. The example of rhythm found in the data analysis is shown in the table below.

Taken from the first song, Let It Go, sung by Demi Lovato and in Bahasa Indonesia into Lepaskan sung by Regina, Anggun, Raisa, Nowella.

Table 8. Rhytm and Meter Data

Code

Lyrics

001/A/I/ AS- AS/CO-CO/RW/ FE

ˉ ˇ ˇ ˉ ˇ ˇ

Let it go/ let it go//

ˉ ˇ ˇ ˉ ˇ ˇ

Lepaskan/ lepaskan//

002/A/I/ Ø-AS/Ø-CO/RW/ FE

ˇ ˇ ˉ ˇ ˉ ˇ ˉ

Can’t hold it/ back A/nymore//

ˇ ˇ ˉ ˇ ˇ ˉ ˇ ˉ

Tak mampu/ kutahan/ lagi//

In this example there are two lines of the lyric shown. The first line is the opening lyric of Let It Go sung by Demi Lovato. It is a soundtrack of the movie

Frozen. This line shows that the character, Elsa, should not hid the power inside

of her, hence the lyric, to let go. On this line the beats and pauses are the same between the two versions. It is shown by the same meter these two versions have. Meter is a unit of rhythm. Both of the English and Bahasa Indonesia lines are comprised of two feet. The first lines of each version comprised of dactyl meter, which are three syllables with the first syllable are stressed and the rest are not.

The second example taken from the next line succeeding “Let it go”. This is another emphasis on let it go, as the character cannot hold what she is holding.

She has to let go the power that has been swirling inside of her. Unlike the first line of each version, the second lines of both versions are not similar. It is still comprised by three feet, but with a different beats and syllables. The English line comprised of seven beats, while the Bahasa Indonesia line comprised of eight beats. This is still acceptable as the beats are similar, not significantly different in number, and also in type. The English line is comprised of one anapest and two lambs, whilst the Bahasa Indonesia is comprised of two anapests and one lamb.

Some lines are even drastically different between the English and Bahasa Indonesia.

Table 9. Significant Changes in Beats and Meter

Code English Bahasa Indonesia

028/B/I/AS-AS/CO-CO/LT/PE

ˇ ˇ ˉ

You don’t know// Yang kau/ tak tahu// ˇ ˉ ˇ ˇ ˉ

This line is taken from the song Color of the Wind. In this line Pocahontas

asked John Smith if he is a civilized man, then why there are so much that he did not know. Looking at the line, it can be seen that the difference concerning the number of beats and the number of meter. The English line comprised of one foot with one anapest, while the Bahasa Indonesia line comprised of two feet with one lamb and one anapest. Employing a different meter and rhythm is risky. There is a risk that it may not fit the music of the lines. Translating a song is a play of words, where translator needs to comprised a line with same or similar syllables, even though with different beats, pauses, and meter. It is not acceptable indeed with the

next line, that the translator and composer could fill the gap with words. The rhythm of this line is so different but in term of meaning this is partially equivalent. It will be much better of rhythm equivalence if the Bahasa Indonesia version is translated into tak tahu, for it will has the same foot and beat. However,

in order to do so, the subject “You” has to be deleted.

Some lines are also comprised of different foot and with a different beats and pauses, whether the English has fewer or more lines than the Bahasa Indonesia, or vice versa.

Table 10.Different Beats and Meters Example in Bahasa Indonesia and English

Code English Bahasa Indonesia

013/A/IV/AS- AS/CO-CO/VBV

ˇ ˉ ˇ ˉ And here/ I stand/ ˇ ˉ ˇ ˉ

And here/ I’ll stay//

ˇ ˇ ˉ ˇ ˉ ˇ ˉ

Di sini/ ku ber/diri//

024/B/I/AS- AS/CO-CO/LT/PE

ˇ ˉ ˇ ˉ

You think/ I’m an/ ˇ ˇ ˉ ˇ ˉ

ignorant/ savage/

ˇ ˉ ˇ ˉ ˇ ˉ

Pikir/mu ku/ orang/ ˇ ˉ ˇ ˇ ˉ yang tak/ berada//

In the first example, taken from Let It Go fourth stanza, the Bahasa Indonesia as the target text is comprised by only three feet while the English line is comprised by four feet. There are different in number of meters and beats, but not significantly different. The English line is all comprised by lambs, while the Bahasa Indonesia is comprised by one anapest and two lambs. It means that the English comprised of eight beats and syllables while the Bahasa Indonesia only comprised of seven beats and syllables. In the term of meaning of both lines, there is a difference between the two lines. There is an omission between the two lines,

this happen because if the English lines is translated with literal translation it will be a much different beats and syllable and might not acceptable with the music.

The second example is taken from Color of the Wind first stanza.Oppositely, the English song in the second line is only comprised of four feet while the Bahasa Indonesia line is comprised of five feet. The English line is comprised of lambs, but the third foot is replaced by an anapest, while the Bahasa Indonesia comprised of lambs with the last foot is replaced by an anapest.

Example above shows that there is a same type of rhythm and also a different rhythm. However it should be noted that even though there are different rhythms, the difference is not significant. The differences between lines probably is just the beats are different, and the English or Bahasa Indonesia has a different set of meter.

b. Rhyme

Rhyme is an essential musical device in a song. Almost every verse in the song employs a rhyme, although, some of the verses are not. This is an example of rhyme found in the song verses, both in English version and Bahasa Indonesia version.

Table 11. Rhyme Discussion Examples

Code English Bahasa Indonesia

045/B/VI/AS- AS/CO-CO/LT/PE

The rainstorm and the river are my brother

Hujan badai dan sungai saudaraku

046/B/VI/AS- AS/CO-CO/LT/FE

The heron and the otter are my friends

Bangau dan berang berang temanku

047/B/VI/AS- AS/CO-CO/BV/NE

And we’re all connected to each other

Kita diciptakan untuk bersama

048/B/VI/AS- AS/CO-CO/BV/PE

In circle in a hoop that never ends

Di dalam lingkaran yang tiada akhir

This example is taken from Color of the Wind sixth stanza, when Pocahontas

is explaining that all creature, all being in the earth is connected to each other. In the English version of the song, the rhyme pattern is a-b-a-b, can be seen from brother [brʌð.ər] – other [ʌð.ər] and friends [frends] – ends [end]. However the Bahasa Indonesia did not employ the same rhyme, or did not employ any kind of rhyme at all. The Bahasa Indonesia lyrics rhyme pattern is a-a-b-c, can be seen from saudaraku – temanku and bersama – akhir. This is might happen because the translator trying to make an equivalent meaning across the language, thus neglecting the rhymed employed in the translation. It can be seen in the example that every Bahasa Indonesia lines are equivalent in meaning with the English

lines. With exception of the third lines, where there is the word “diciptakan” while the English lines did not use any word that is equivalent with “diciptakan”.

However, the context of the lines is still conveyed towards the Bahasa Indonesia. Furthermore the lines have the same beats and syllable which makes it acceptable with the music, but employ a different meter.

It is also found that some verses in both versions are ignoring the rhyme. It might happen because the composer wanted the lines to tell the story and the translator as the same problem as before, wanted to convey an equivalent meaning of the source language across to the target language.

Table 12. Unrhymed Verse Example

Code English Bahasa Indonesia

029/B/II/AS- AS/CO-CO/BV/PE

You think you own whatever land you land on

Pikirmu kau miliki semua tempat

030/B/II/AS- AS/CO-CO/BV/NE

Earth is just a dead thing you can claim

Tanah hanyalah yang kau miliki

031/B/II/AS- AS/CO-CO/LT/PE

But I know every rock and tree and creature

Tapi ku tahu batu pohon dan makhluk

032/B/II/AS- AS/CO-CO/LT/MT/FE

Has a life, has a spirit, has a name Berjiwa, punya hati, bernama

This example is taken from the first stanza of Color of the Wind. In this part of the verse, the composer is trying to make statement about the story. The story of John Smith, an English explorer to conquer new land that he always think was a dead thing, but Pocahontas beg to differ, that earth is not a dead thing, it is alive, and everything has a life. In the example above, both of the verse did not employ any kind of rhyme, a-b-c-d. However, the translated meaning is equivalent toward the English line. It can be seen that all the four lines of the Bahasa Indonesia is equivalent with their counterparts in English. Not all of them are translated literally, but the context is conveyed to the Bahasa Indonesia with grace.

And also in a rare occurrence, there is a verse that employ the same rhyme but having a different meaning because the work of interpretation.

Table 13. Example of different meaning but same rhyme employment

Code English Bahasa Indonesia

071/C/IV/AS- AS/CO-CO/RT/IN/NE

There’s a time for everyone if they

only learn

Takkan pernah mudah jalani ini

072/C/IV/AS- AS/CO-CO/RT/IN/NE

That the twisting caleidoscope moves us all in turn

Dunia berputar untuk temukan hati

073/C/IV/AS- AS/CO-CO/RT/IN/NE

There’s a rhyme and reason to the

rush outdoors

Hidup menuliskan masa bahagia

074/C/IV/AS- AS/CO-CO/RT/IN/NE

When the heart of this star crossed voyager, beat in time with yours

Saat nada hatiku tak berdetak sama

In this part of the verse, the English lines employ a-a-b-b and can be seen from learn [lɜːn] – turn [tɜːn] and outdoors [aʊtˈdɔːz] – yours [jɔːz], and the Bahasa Indonesia lines also employ the same rhyme, can be seen from ini-hati

and bahagia-sama. However in terms of meaning across the language these lines are hugely different with each line. The translator employ the strategy intepretation, meaning that the translator creating his/her own kind of line. However, both version has a similiar meter and even have a same meter.

It is shown that there are many differences and similarities of rhyme that take place in the Bahasa Indonesia translation compared to the English. However the differences of rhyme are not much a problem as long as the song is still a singable text. Rhyme is a musical device that is there to give a much more beautiful song or poem. However, rhyme might essential to a song, but when it came to translation of song, rhyme is a musical device that is ignored easily.

c. Assonance

When talking about assonance, it is easy to determine. Assonance is a repetition of vowel sound in a line. There are a lot of example that assonance is employed in both version of lyrics.

Table 14. Assonance Discussion Examples

Code English Bahasa Indonesia

119/E/I/AS- AS/CO-CO/BV/PE

Tale as old as time Dongeng yang lama

120/E/I/AS- AS/CO-CO/BV/PE

True as it can be Sungguh terjadi

121/E/I/Ø- AS/Ø-Ø/BV/PE

Barely even friends Bukanlah teman

122/E/I/AS- AS/CO-Ø/IN/NE

Then somebody bends Atau yang lain

123/E/I/AS- AS/Ø-CO/LT/FE

Unexpectedly Tidak dinanti

These examples are taken from the first stanza of Beauty and the Beast. All of the lines in these two verses are employing assonance. First line of English line

using the sound /æ/ in the word “as” while in the Bahasa Indonesia line using the

sound /a/ in the word “yang” and “lama”. In the second line of English line using the sound /æ/ in the word “as” and “can” while in Bahasa Indonesia using the sound /u/ in the word “sungguh”. Then and bend using the same sound /e/ and in

Bahasa Indonesia using the sound /a/ in atau yang lain. “Unexpectedly” using the

However there are also cases where the English lyrics as a source text did not employ assonance, but in Bahasa Indonesia as Target text employ assonance.

Table 15. Difference Employment of Assonance Examples

Code English Bahasa Indonesia

063/C/II/Ø- AS/CO-CO/BV/PE

And can you feel the love tonight Dan rasakan getar cinta

064/C/II/AS- AS/CO-Ø/IN/NE

It is where we are Antara kita

065/C/II/AS- AS/CO-CO/IN/NE

It’s enough for this wide eyed

wanderer

T’lah cukup hatiku

berjalanan

066/C/II/Ø- AS/CO-CO/BV/PE

That we got this far Sampai disini

In the example above, it can be seen that the fourth line of the English did not employ assonance, but the Bahasa Indonesia line employs assonance. The Bahasa

Indonesia employs the sound /i/ in “sampai” and “disini”. Even though the

English line consist of many words with several same vowel letters, but that letter represent a different sound each. Take a look at that and far. They have different sound [a]. Also take a look at we and this, they sounded similar, but both word actually have different type of [i] realization. One is /ðæt/ and the other one is /fa:r/ and /wi:/ and /ðɪz/. However the bahasa Indonesia employ assonance sampai disini. The explanation for this case probably because English has a lot more variety of vowel sound compared to Bahasa Indonesia. Thus, making it more difficult to employ assonance in English compared to Bahasa Indonesia.

129 It's enough for this restless warrior just

to be with you

And can you feel the love tonight It is where we are

It's enough for this wide eyed wanderer That we got this far

And can you feel the love tonight How it's laid to rest It's enough to make kings and

vagabonds Believe the very best

There's a time for everyone if they only learn

That the twisting kaleidoscope moves us all in turn

There's a rhyme and reason to the wild outdoors

When the heart of this star crossed voyager beats in time with yours And can you feel the love tonight

It is where we are

It's enough for this wide eyed wanderer That we got this far

And can you feel the love tonight How it's laid to rest It's enough to make kings and

vagabonds Believe the very best It's enough to make kings and

vagabonds Believe the very best

tak lain yang ku ingin hanya kau di sampingku

dan rasakan getar cinta antara kita

telah cukup hatiku berjalanan sampai di sini

dan rasakan getar cinta alam saksinya

tak ada yang mampu memisahkan kita selamanya

takkan pernah mudah jalani ini di dunia berputar untuk temukan hati

hidup menuliskan masa bahagia saat ada hatiku tak berdetak sama

dan rasakan getar cinta antara kita telah cukup hatiku berjalanan sampai di

sini

dan rasakan getar cinta alam saksinya

tak ada yang mampu memisahkan kita selamanya

dan rasakan getar cinta antara kita telah cukup hatiku berjalanan sampai di

sini

A Whole New World Dunia Baru

I can show you the world Shining, shimmering, splendid Tell me, princess, now when did

You last let your heart decide? I can open your eyes Take you wonder by wonder

Over, sideways and under On a magic carpet ride

A whole new world A new fantastic point of view

kan ku perlihatkan dunia yang gemerlap katakan puteri kapan hatimu

bebas memutuskan betapa indahnya permadani ajaib bawa kita melayang terbang tinggi di awan

dunia baru sungguh indah bersamamu

130 No one to tell us no or where to go

Or say we're only dreaming A whole new world A dazzling place I never knew

But when I'm way up here it's crystal clear

That now I'm in a whole new world with you

Now I'm in a whole new world with you Unbelievable sights

Indescribable feelings Soaring, tumbling, freewheeling Through an endless diamond sky

A whole new world Don't you dare close your eyes A hundred thousand things to see

Hold your breath, it gets better I'm like a shooting star

I've come so far I can't go back To where I used to be

A whole new world Every turn a surprise With new horizons to pursue

Every moment red letter I'll chase them anywhere There's time to spare

Let me share this whole new world with you

A whole new world A whole new world That's where we'll be That's where we'll be

A thrilling chase A wondrous place

For you and me

tiada yang melarang kemanapun dan ini bukan mimpi

dunia baru

yang belum pernah ku tahu dan jelas sekali

dari sini,

bersamamu di dunia baru bersamamu di dunia baru sungguh tak percaya sulit tuk ku ungkapkan

naik turun menari dan menembus angkasa

dunia baru jangan tutup matamu banyak yang ku harus tahu

tahan nafasmu, lihatlah bagai bintang jatuh

ku telah jauh ku tak ingin kembali lagi

dunia baru penuh dengan kejutan dengan cakrawala baru

setiap saat berharga ku kan mengejarnya

ada waktunya

berbagi dunia baru denganmu

dunia baru dunia baru di sanalah di sanalh mendebarkan mengejutka kau dan aku

Beauty and the Beast Si Cantik dan Si Buruk Rupa

Tale as old as time True as it can be Barely even friends Then somebody bends

dongeng yang lama sungguh terjadi bukanlah teman atau yang lain

131 Unexpectedly

Just a little change Small to say the least

Both a little scared Neither one prepared

Beauty and the beast Ever just the same

Ever a surprise Ever as before and

ever just as sure as the sun will rise Ever just the same Ever a surprise Ever as before Ever just as sure As the sun will rise

Tale as old as time Tune as old as song Bitter sweet and strange Finding you can change Learning you were wrong

Certain as the sun Certain as the sun Rising in the east Tale as old as time Song as old as rhyme

Beauty and the beast Tale as old as time Song as old as rhyme

Beauty and the beast

tidak dinanti semua perubahan

walaupun kecil hati tergetar tak ada yang siap si cantik dan buruk

tiada beda atau mengejutkan seperti pernah ada s

seyakin surya yang akan tiba

tiada beda atau mengejutkan seperti pernah ada

seyakin surya yang akan tiba dongeng yang lama,

nada yang dulu susah dan senang

untuk berubah, mencoba mengerti

seyakin surya seyakin surya terbit di timur dongeng yang lama

nada yang dulu si cantik dan buruk dongeng yang lama

nada yang dulu si cantik dan buruk