THESIS Submitted to the Board o f Examiners as Partial Fulfillment o f the Requirements for the Degree of Sarjana Pendidikan Islam (S.Pd.I) in the English Department o f Education Faculty

Perpustakaan STAIN Salatiga

07TD3010940.01

DISCOURSE ANALYSIS OF SONG LYRICS

IN NEVER GONE ALBUM BY BACKSTREET BOYS

THESIS

Submitted to the Board o f Examiners as Partial Fulfillment o f the

Requirements for the Degree of Sarjana Pendidikan Islam (S.Pd.I)

in the English Department o f Education Faculty

B y :

ASRI AFIFAH

113 02 035

ENGLISH DEPARTMENT OF EDUCATION FACULTY

STATE ISLAMIC STUDIES INSTITUTE (STAIN)

SALATIGA

DEPARTMENT OF RELIGIOUS AFFAIRS STATE ISLAMIC STUDIES INSTITUTE (STAIN) JI. Stadion 03 Telp. (0298) 323706,323433 Salatiga 50721 ebsite: Email: administrasi@.stainsalatiaga.ac.id

DECLARATION

In the name of Allah The Most Gracious and The Most Merciful.

Hereby the writer fully declares that this thesis is made by the writer her self, and it is not containing materials written or has been published by other people, and other peoples’ ideas except the information from the references.

The writer capable account for this thesis if in the future this thesis can be proved of containing others’ ideas or in fact the writer imitates the others’ thesis. Likewise, the declaration is made by the writer and the writer hopes that this declaration can be understood.

Salatiga,..........................2007 Researcher

ASRI AFIFAH

NIM. 113 02 035

Drs. Sa’adi, M. Ag. THE LECTURER OF EDUCATIONAL FACULTY STATE ISLAMIC STUDIES INSTITUTE SALATIGA ATTENTIVE COUNSELOR NOTES Case: Asri Afifah’s Thesis

Salatiga, February 2007 Dear The Head of State Islamic Studies Institute o f Salatiga Assalmu’alaikum Wr. Wb.

After reading and correcting Asri Afifah’s thesis entitled ’’DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY BACKSTREET BOYS’], I have decided and would like to propose that if it could be accepted by the Educational Faculty, I hope it would be examined as soon as possible.

Wassalamu’alaikum Wr. Wb.

Drs. Sa’adi. M. Ag NIP. 150 526 821

DEPARTMENT OF RELIGIOUS AFFAIRS STATE ISLAMIC STUDIES INSTITUTE (STAIN) SALATIGA Jl. Tentara Pelajar 02 Telp. (0298) 323706,323433 Fax. 323433 Salatiga 50721 Website:

STATEMENT OF CERTIFICATION

DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY

BACKSTREET BOYS

ASRI AFIFAH

113 02 035

Has been brought to the board o f examiners in February, 28th 2007/Sya’ban, 10th 1428, and hereby considered to completely fulfill the requirement o f Saijana Degree in the English Department o f Education Faculty.

Salatiga, February, 28th 2007 Sya’ban, 10th 1428

1st Examiner

J E * - ,

. X Dra. Woro R. M.Pd

NIP. 150 262 646

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M y lt£c\m L fywJJty AAJ&C

DEDICATION 'W ' J4J** c 6& u L% o '

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ACKNOWLEDGEMENT

AH praise be to Allah, The almighty, The Lord o f the world, whose blessings have made it possible for the writer to realize this graduating paper entitled ’’DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY BACKSTREET BOYS”. There are many kinds of helps received appreciatively from many persons. The writer cannot realize this thesis without the help of theirs. In this occasion, she would like to thank to ;

1. Drs. Imam Sutomo, M Ag., the rector o f state Islamic studies Institute of Salatiga (STAIN Salatiga).

2. Hanung Triyoko, S. S., M. Hum., the Head o f English Department faculty of STAIN Salatiga.

3. Drs. Sa’adi, M. Ag., as consultant who gives her support, guidance, and useful advice.

4. All lecturers of State Islamic studies Institute, especially Pak Hammam, Pak Ruwandi, Pak Ari, Bu Woro “I’ll miss our lectures’.

5. My Beloved family Ibu Hj. Ruyatmi Bpk Mardjono, Mba Awal, Mba Etik, Mas lis, Mbak Eni. You have given me a true love, cares, prayers, supports and valuable lesson, thanks for this warm and wonderful family.

6. My family in Salatiga, Bpk/Ibu Agus, Budhe, Ais, Bagas. Thanks for the comfort home and regard me as your family.

7. My beloved one “A’ Wahyu”. There is no stronger word I can use ...” You’re my safest place to hide”.

8. My Great team in “AFC” especially Uchaz and Uwikz ... Thanks for make me crazy an lazy, but we are not so crazy as y people though.

9. My “Gossip” Club, Jeng Nun and Jeng Mey ... thanks for always giving me the new gossip. I’ll keep you inside.

10. Mas Bagus, thanks for good typing.

11. My dearest friends in TBI 02.

vii

12. My friends in Communicative English Club (CEC), thanks for many experiences.

13. All o f my friends in HMI.

14. All o f my friends who can not be mentioned one by one, who helped me to finish my study.

Finally, the writer realizes that this thesis is imperfect, the writer gladly accepts constructive critics and evaluation to make this thesis better.

Salatiga, January 8th 2007

ASRI AF1FAH

TABLE OF CONTENS

CHAPTER III DATA PRESENTATION OF BACKSTREET BOYS’ NEVER \ BIBLIOGRAPHY APPENDIX

CHAPTER I INTRODUCTION A. Background o f the Study There are many ways to express idea among people in communication, for

example: spoken language, written language, and gesture. People cannot live without language, because it is really to communicate and give information for their life. As a means o f communication, language allows speakers to talk about everything within their realism knowledge. It can serve the human needs in their communication in any situation.

Dealing with language and communication, there is another famous way to communicate and tell people’s feeling or emotion. That is through lyrics o f song.

Lyrics is not only an arrangement o f words into sentence, but also the representation o f the composer’s emotion and intention to describe their feeling such as love, struggle, trouble, jealous, etc. There are some messages sent by the singer or composer to the listener with specific situation or context in song lyrics.

Basically, song lyrics could be said as a part o f discourse. Therefore, it is possible to analyze discourse o f song lyrics. One starting point is quotation o f «•

Carthy who maintained that “discourse analysis is concerned with the study o f the relationship between language and the contexts in which it is used, something concerned with the intefective or dialogic properties o f everyday communication” .1 1

1 Michael Me Carthy, Discourse Analysis fo r Language Teachers, Cambridge University press, New

The writer chooses discourse analysis toward song lyrics because songs represent a typical discourse which has a purpose to entertain anyone who hears them. Since songs are basically interpretative and deconstructing text, they have purpose to expand the singers or composers horizon, and make the audience realize to the singer or composer acknowledgement and the motivations.

In Cook’s term, a discourse and especially a text is a sequence o f connected sentences or utterances. It means the form by which a sender communicates a message to receiver or the function/ Therefore, the writer chooses seven criteria for textuality in the research o f discourse analysis in Never Gone album by Backstreet Boys. These criteria consist o f cohesion, coherence, intentionality, acceptability, informativeness, situational and intertextuality/

Cohesion is the connection result when the interpretation o f textual element in dependent on another element in a te x t Coherence is one part o f aspects that supports the unity receiving in a te x t It is logical sequence that is understandable by the readers. Intentionality refers to the composer’s intentions in the song.

Acceptability and informativeness constitute a sequence o f utterance be acceptable to the intended audience that contain information.

Situationality considers the situation in which the text has been produced and deals with. Intertextuality deals with a sequence related by form or meaning to other sequences o f sentences. The criteria are important to discourse analysis because there must be a unity analysis. It means that in Discourse Analysis the writer has to make an analysis based on both formal and functional aspect. 2 3

2 Guy Cook, Discourse, Oxford University press, Oxford, 1989, p. 32

Based on the phenomenon above, the writer is interested in conducting an analysis o f discourse toward song lyrics in Backstreet Boys album viewed from the elements that support song lyrics as discourse and the composer’s intention within the discourse. The writer wants to conduct a further research entitled “DISCOURSE ANALYSIS OF SONG LYRICS IN NEVER GONE ALBUM BY BACKSTREET BOYS”.

B. Limitation o f the Study

In English songs, there are many interesting problems that can be analyzed, but it is impossible to analyze all o f them. The research will be limited on analyzing the discourse o f song lyrics in Never Gone album by Backstreet Boys. This study is intended to help the readers comprehend the discourse analysis o f song lyrics by using seven criteria o f textuality and find out the composer’s intention in Never Gone album by Backstreet Boys.

C. Research Problem

From the background o f the study, the writer formulates the problems as follows:

1. W hat are the configurations o f discourse o f song lyrics in Never Gone album by Backstreet Boys?

2. W hat are the purposes o f the composer in Never Gone album by Backstreet Boys?

D. Objectives o f the Study

Based on the research problem mentioned above, the research has the

1. To identify the element o f song lyrics as discourse in Never Gone album by Backstreet Boys

2. To describe the composer’s intentions o f song lyrics in Never Gone album by Backstreet Boys.

E. Benefit o f the Study

1. Academic Benefit This study will give additional contribution to English students and English lectures, gives contribution to the development o f discourse study. Beside that, this study will give more emphasis on giving new information o f discourse analysis toward song lyrics.

2. Practical Benefit This research will help readers understand the use o f seven criteria for textuality that are formulated by Samsuri in DA, especially in analyzing discourse o f song lyrics. Beside that, the readers will get more knowledge or information that a song is not only being listened but also being known the real meaning o f the song it self and the intention o f the composer.

F. Review o f the Previous Research

In this thesis, the writer takes review o f related literature from the other thesis, and the title is: “DISCOURSE ANALYSIS OF THE COMMERCIAL

ADVERTISEMENT TEXT IN HOTEL BROCHURES’’ which had been researched

by Suripto Ali in 2004-2005, the student o f Muhammadiyah University o f

Surakarta. The writer has a similar focus with the previous research in the field of Discourse Analysis.4

The differences are in the data source and the analysis. A li’s research used the commercial advertisement text in brochures as the data analysis and Hyme’s speaking model to analyze the data. While the writer uses song lyrics as the data and uses seven criteria for textuality to analyze them. The writer also uses speech act as the approach o f analyzing discourse toward song lyrics.

The writer also takes review o f related literature from other thesis entitled

“DISCOURSE ANALYSIS OF CINDERELLA STO RY’ which had been

researched by Dhian Yuni Arifiyani in 2004-2005, the student o f M u h a m m a d iyah University o f Surakarta. In her research, she focused on cohesion in English story book for children. There is a similarity between Yuni’s research and this research in which the focus is on the field o f discourse analysis and the use o f seven criteria o f textuality, while the difference lies on the data, Yuni’s research use English story book as the data, while the writer uses songs lyrics as the data.5

The other previous research was written by Endriana Sri Wahyuni in 2002- 2003, the student o f State Islamic Studies Institute (STAIN) o f Salatiga. Her thesis is entitled “A DESCRIPTIVE STUDY ON THE USE OF COLLOQUIAL

STYLE IN ENGLISH SONGS". In her research, she focused on language style

used in English songs. The similarity is on the data which use song lyrics as the

4 Suripto Ali (Thesis), Discourse Analysis o f the Commercial Advertisem ent Text in Hotel

Brochures,

Muhammadiyah University, Surakarta, 2004, p.8

5 Dhian Yuni Arifiyani (Thesis), Discourse Analysis o f Cinderella Story, Muhammadiyah University,

data, while the difference lies on analysis o f the data, which the writer uses seven criteria for textuality to analyze the data.6 Another previous research was written by Hermawati Paulina in 2001-

2002, the student o f Muhammadiyah University o f Surakarta. Her thesis is entitled: ANALISIS WACANA PADA TAJUK RENCANA D I SURAT KABAR

HARIAN KOMPAS EDISI JU LI - SEPTEMBER 2000 (Sebuah Studi Piranti Kohesi dan Koherensi). In her research, she focused on discourse analysis

towards editorial in Kompas, especially in the analysis o f cohesion and coherence. She tried to describe the kinds o f cohesion and coherence. This is a similarity between Paulina’s research and this research in which the focus is on the field o f Discourse Analysis and the use o f seven criteria for textuality, while the difference lies on the data, which the writer uses song lyrics as the data.7

G. Methodology o f the Research

1. Type o f Research In this study, the researcher uses descriptive qualitative method. The rationale o f choosing this design is in accordance with M oleong’s opinion, that qualitative research is a type o f research which result descriptive data in the forms o f written or oral from observing people or behavior.8

In descriptive research, there are some steps o f qualitative research, they are selecting topic for the study by reading the discourse analysis and apply it in song lyrics, collecting the data, analyzing data and researcn repon.

6 Endriana Sri Wahyuni (Thesis), A Descriptive Study on the Use o f Colloquial S tyle in English

Songs,

STAIN Salatiga, 2002, p. 10

7 Hermawati Paulina (Thesis), Analisis Wacana pada Tajuk Rencana d i Surat Kabar Harian

Kompas E disi Juli-Septem ber 2000,

Muhammadiyah University, Surakarta, 2001

2. Object o f the Research The researcher conducts the research o f discourse analysis o f song lyrics in Never Gone album. The object o f the research is elements which form a discourse o f song lyrics in Never Gone album by Backstreet Boys.

3. Data and Source o f Data The data are lyrics o f the songs connected with discourse relations taken from Backstreet Boys’ album. Source o f data in this research was taken from the text o f Never Gone album.

4. The Method o f Data Collection There are many ways to collect the data, such as: documentation, observation, test, interview and questionnaire. In this case the researcher uses documentation as the way to collect the data, while the technique o f collecting data is listening to the songs and recording data in the form o f orthography. Arikunto states that documentation is getting the data about cases or variable as note, transcripts, book, m agazine, etc.9 In this case is the text o f Backstreet Boys’ song cassette.

5. Technique o f Data Analysis The research will use seven criteria for textuality consist o f cohesion, coherence, intentionality, informativeness, situational and intertextuality;10 and speech act theory especially illocutionary act to analyze the data. Seven criteria for textuality as a technique to analyze the configuration o f song lyrics as a discourse in Never Gone album, while speech act theory will be

9 Suharsimi Arikunto, Manajemen Penelitian, Rineka Cipta, Jakarta, 1990, p. 321

used to analyze the composer’s intention. The procedures that the researcher going to take are: classifying the data, describing the context o f the use o f each discourse analysis toward song lyrics, describing the analysis o f discourse toward song lyrics in Never Gone album by using seven criteria for textuality, describing the composer’s intention in discourse analysis o f song lyrics by speech act theory, especially illocutionary meaning and making the conclusion based on the data.

H. Thesis Organization

The writer arranges the thesis into five chapters as the following:

Chapter I is Introduction, which contains the background o f the study, limitation o f the study, statement o f the problem, objectives o f the study, benefit o f the study, review o f related literature, methodology o f research, and thesis organization.

Chapter II is underlying theory, which contains the notion o f discourse analysis, context and discourse, seven criteria for textuality and speech act theory.

Chapter III is Data Presentation, covering the bibliography o f Backstreet Boys and lyrics o f Never Gone album. Chapter IV is analysis and discussion; it presents the analysis o f the discourse toward song lyrics and finding the composer’s intention in Never Gone album by Backstreet Boys.

Chapter V is closure containing conclusion and suggestions. The last part is bibliography and appendix.

CHAPTER n

REVIEW OF RELATED LITERATURE

A. The Notion of Discourse Analysis The term “Discourse Analysis” (DA) becomes popular and important of language study. It does not discuss language only but also how it relates with society, culture, and though. Anyhow, the term DA itself remains vague or somewhat ambiguous, since it has come to be used with a wide range o f meaning, which covers a wide range o f activities.1 DA studies the discipline devoted to the investigation o f the relationship between formal and functional aspect. Formal aspect deals with the quality o f text, while functional aspect deals with the objectives effect and situation that support the text to be qualified as a good te x t

Discourse Analysis covers an extremely wide range o f activities to the study o f dominant ideology in culture, but when it is restricted to linguistic issues, DA focuses on the spoken or written language in some context to express an intention. People can observe or take part in wide range o f different types o f spoken interaction, such as: phone calls, talking formally at meeting or in classrooms, informally in cafes or intimately with their friends and loved ones.1 2 They will have different ways o f opening and closing they encounter, different role relationship, different purpose and different setting. DA is not entirely

1 Endang Fauziaty, Reading on Applied Linguistic, Muhammadiyah University Press, Surakarta,

2004, p. 119

2 Michael Me Carthy, Discourse Analysis fo r Language Teachers, Cambridge University press, New

separated from the study o f grammar or phonology, but it is interested in a lot more than linguistic form, how the dialogue between two people or more is coherent and not gobbledygook.

Spoken language emerged before written language, written texts are more than “talk written down” only. In fact, written language performs a similar range o f broad functions to those performed by spoken language. Written language used for action (public sign, product label, menu, bills, etc), for information (newspaper, magazines, advertisements, pamphlets, etc) and for entertainment (comic, fiction, drama, newspaper, film subtitles, etc). These different purposes will be reflected in the characteristic o f the texts themselves.

The analysis o f discourse is necessarily, the analysis o f language in use, as such, it cannot be restricted to the description o f linguistics form independent o f the purposes or functions which these forms are designed to serve in human affairs.3 4 In short, discourse is more than a message from a sender to a receiver, and a reader or listener is more than just receiver who decodes incoming signals. Discourse is connected to utterances or sentences by which a sender communicates to the receiver where there is context within the discourse.

From the definition above, it could be stated that discourse analysis is an examination o f language used by the speaker to the receiver, which investigates the relationship between language form and language functions in verbal communication.

3 ibid., p. 9

B. Text, Context, and Discourse

Basically, discourse cannot be separated from the terms “text” and “context”. According to Yule, text as a term refers to the verbal records o f communication a c t/ Text is a piece o f naturally occurring spoken, written, or signed discourse identified for purposes o f analysis. Text is essentially a semantic unit, it means that a text cannot be seen just as a sentence, it has certain construction that can be represented in systematic terms.

In text production, it is impossible to tell exactly when a certain sequence is “long enough” to qualify as a text. Text is produced all the time: the production o f text literally never comes to stop, as long as there are text producers.5 6

From above paragraph, it is obvious that context is an important concept in discourse analysis, context refers to the situation in which language is used.

According to Mey, context is a dynamic, not a static concept: it is to be understood in the communication process to interact, and that make the linguistic expressions o f their interaction intelligible.7 Context is more than a matter o f reference and o f understanding what things are about, practically speaking. It is also what gives our utterances become deeper meaning.8

While discourse refers to the unity and connected utterances by which a sender communicates to the receiver where there is context given within the discourse is stretches o f language perceived to be meaningful, unified, and

5 Gillian Brown and George Yule, Discourse Analysis, Cambridge University Press, New York, 1983,

?.°

6 Jacob L. Mey, Pragmatic an Introduction, Blackwell Publisher, Oxford UK & Cambridge USA, 1993, p. 183 7 ibid., p. 38 purposive.9 Discourse is more than just language use: it is language use, whether speech or writing, seen as a type o f social practices.10 11 In order to account for discourse, we need to look at features outside the language: at the situation, the people involved, what they know and what they are doing.

From the definition above, it can be understood that discourse refers to a text that is given context as interaction. Discourse cannot be accounted for in the same way as our feeling for the acceptability o f sentences, in discourse we need to look at the situation, the people involved, what they know and what they are doing. However, in this case o f the discourse, analysis, the ultimate aim is both to show and interpret the relationship between meaning and purposes through discourse.

C. Seven Criteria for Textuality

1. Cohesion

Cohesion is the connection with result when the interpretation o f textual element as dependent on another element in text.11 Cohesion concerns with the ways in which the components o f surface text such as the actual words being heard or seen. Consider the following example:

The store no longer sold porcelain figurines. It used to, the man behind the counter said, but they didn’t sell very well. Since the business had switched to plastic, sales were doing a lot better. The interpretation o f “it” is dependent on that o f “store” just as “they” is dependent on “porcelain figurines” the meaning o f “used to” is depending

9 Guy Cook, Discourse, Oxford University Press, Oxford, 1989, p. 14

10 Endang Fauziaty, op.cit., p. 119

on “sold porcelain figurines” cohesion refers to the connection which exists between elements in the text.

2. Coherence

Coherence is the connection that is brought about something outside text.12 “Something” here usually refers to knowledge which a listener or reader is assumed to process. The following exam ple is not problematic in the term o f coherence even though the sentences are hardly seemed to be connected:

The procedure is actually quite simple. First, you arrange this into different groups. O f course, one pile m ay be sufficient dependent on how much there is to do. if you have to go somewhere else due to lack o f facilities, that is then next step, otherwise you are pretty well set.13 This seemingly disjointed passage becomes coherent when certain knowledge o f washing clothes is applied to the text, than the text becomes easy to interpret.

3. Intentionality

It means that the speaker must have a conscious intention o f achieving specific goals with their message.14 For example, giving information or arguing an opinion.

4. Acceptability

It requires that a sequence o f sentence be acceptable to the intended audience in order to qualify as a text.15 Consider the following example:

12 ibid., p. 118

13 Gillian Brown and George Yule, o p .cit, p. 72

Rich people are not poor people, and poor people live in need, need transcends the law, and he who live outside o f law lives like a wild animal. Therefore, you are doomed for eternity. The example has some what skewed internal logic and therefore no acceptable to many people.

Informativeness

Informativeness is important in discourse. A text must contain new information. Renkema stated that if a reader knows everything contained in a text, than it does not qualify, likewise, if a reader does not understand what is in a text, it also does not qualify as a text.16

Therefore, in song lyrics there m ust contain necessary information sent by the composer or singer to the hearer or listener.

6. Situationality

It is concerning with the factors which make a text relevant to a situation o f occurrence. People can decide such an issue is due to the influence o f the situation where the text is presented, produced and dealt with.17

7. Intertextuality

Intertextuality means that a sequence o f sentence is related by form or meaning to other sequences o f sentence. Intertextuality concerns with the factors which make the utilization o f one text dependent upon knowledge o f one or more previously encountered texts.18

16 Jan Renkema, Discourse Study: An Introduct Text Book, Philadelphia, 1993, p. 36

Viewed from this song lyrics analysis, the intertextuality can be shown on the related meaning o f the title to the whole content o f the song lyrics, and also the correlation between each couplet

Seven criteria from the previous paragraphs have been developed to answer the question o f what makes a sequence o f sentence as a discourse. A sequence o f utterances is discourse only, when the cohesion between the sentences that can be put into words or when the listener or reader can derive the connection (coherence). A sequence o f sentences must also be characterized by an intention o f the speaker (intentionality). It is also informative and acceptable to the listener (informativeness and acceptability), furthermore, discourse m ust be geared to the situationally and also consider the relationship between one text to others.

In discourse study, much attention has been paid to the first criterion for textuality, “cohesion” as the apparent connection in discourse. The most comprehensive description o f this device is found in Halliday and Hassan as stated in Charty.19 They identified five different types o f cohesion: reference, ellipsis, substitution, conjunction and lexical conjunction,

a. Reference (Referring Expressions) These are words whose meaning can only be discovered by referring to other words or to elements o f the context which are clear to both sender and receiver.20 The most obvious example o f them is third person pronouns (she/her/hers/herself; he/him/his/himself; it/its/itself;

19 Michael Me Charty, op.cit., p. 35

they/them/their/theirs/them selves). I f we are listening to a story and somebody says “So I ate it” we may will know the meaning o f it from somewhere earlier in the story. We choose the most likely meaning for “i f ' from the text. c.g ’T here was a pineapple on the table. So, I ate i t ”

We would assume that the speaker had eaten pineapple not the table (even though the word table is nearer).

According to Carthy, reference items in English include pronoun (e.g. he, she, i t him, they, etc), demonstratives (this, th a t these, those), the article the, and items like such a.21 b. Ellipsis

Ellipsis is the omission o f part sentences on the assumption that an earlier sentence or the context will make the meaning clear.22 Sometimes, we do not even need to provide a substitute for a word or phrase which has already been said. We can simply omit i t and know that the missing part can be reconstructed quite successfully.

Instead o f answering, “Would you like a glass o f beer?” with yes I would like a glass o f beer. We can just say “Yes I would” knowing that like a glass o f beer will be understood. Or someone says “What are you doing?”, we can just answer “Eating a mango” instead o f “I’m eating mango” because we know that I’m is understood and does not have to be said. There are three types o f ellipsis: nominal, verbal and clausal.

21 Michael Me Charty, o p .c i t p. 35

e.g. nominal ellipsis Nelly liked the green tiles, my self I preferred the blue. e.g. verbal ellipsis

A. Will anyone be waiting? B. Jim will, I should think. e.g. clausal ellipsis

A. Is it going rain? B. I think so.

c. Substitution Another kind o f formal link between sentences is the substitution o f words like “do” or “so”, for a word or group o f words which have appeared in an earlier sentence. It would be very long. Winded if we had always to answer a question such as “Do you like mangoes?” with sentence like “Yes, I like mangoes” or “Yes, I think I like mangoes”. It is much quicker, and it means the same if we say “Yes Id o ” or “Yes, I think so.”

Substitution is similar to ellipsis. In English, it operates either at nominal, verbal or clausal level.23 Charty stated that the items commonly used for substitution in

English are: One (s) : I offered him a seat. He said he didn’t want one.

Do : Did Mary take that latter? She might have done.

So/not : Do you need a lift? If so, wait for me, if not, I’ll see you there. Same : She chooses the roast duck; I choose the same.

d. Conjunction Conjunction is a relationship which indicates how two sequences sentence or clause should be linked to the preceding or the following parts o f the sentence.24 There are four types o f conjunction: addition, causality, temporality and adversative.25 e.g. 1). Addition conjunction She is intelligent. And she is reliable.

2) . Causality conjunction He fell in the river and caught a chill.

3) . Temporality Conjunction I got up and made my breakfast

4) . Adversative I’ve lived here ten years and I’ve never heard o f that job.

e. Lexical Cohesion Lexical cohesion does not deal with grammatical and semantic connection, but it deals with connection based on the words used toward song lyrics. The researcher just takes one lexical cohesion, which is repetition, because in song lyrics there are some repetition used. This repetition will play an important role. e.g. Now I’m climbing the walls cause I miss you. I miss you.

The repetition above means that the singer or composer gives stress on the statement “I miss you”. It means that he miss his love so much.

D. Speech Act Theory

1. The Notion o f Speech Act

Speech act theory focuses on communicative act, which are performed through speech, and deals with the function o f discourse in specific situation.

To express idea, people produce speech and perform action through utterances. It originates in Austin’s observation that while sentences can often be used to report state affairs the utterance o f some sentences, in specified circumstance, must be treated as the performance o f an act. His most basic insight is that some utterances neither statements nor questions about some piece o f information, but are actions, such as in the following example:

a. “I do” (take this woman to be my lawful wedded wife) - as uttered in the course o f the marriage ceremony.

b. “I name this ship The Queen Elizabeth” - as uttered when smashing the bottle against the stem.

c. “I give and bequeath my watch to my brother” - as occurring in a will.26

d. “I bet”, Those sentences above share common qualities. They include a particular type o f verb - a performance verb that realized a particular action when uttered in a specified context. It may also require a particular response.

Performatives require both the appropriate circumstances and language (grammatical instructions).27 The other example is the act o f ordering someone to do something, for example: ‘7 order you to clean the boots”, or

“clean your b o o tsr which is often associated with ordering, and such

utterances will only be perceived as orders if certain condition, are in operating and known to be operation by the sender to the receiver. The felicity conditions for an order are:

a. The sender believes the action should be done

b. The receiver has the ability to do the action c. The receiver has the obligation to do the action.

If anyone o f these conditions is not fulfilled, the utterance will not function as an order.28 In short, speech act theory is basically concerned with what people

“do” with language - with the function o f language. The speech act theory is applicable to discourse analysis, it provides a framework in which to identify the conditions underlying the production and understanding o f an utterance as a particular linguistically realized action.

2. Kind o f Action

a. Locutionary act The locutionary act is the act o f saying something: producing a series o f sounds which mean something.29 Locution act produces and understandable utterance, it means that speaker is attempting to say

27 Endang Fauziaty, op.cit., p. 121

28 Guy Cook, op.cit., p. 36

something and expect that the receivers understand the utterances constructed by the speaker. According to Austin in Leech, locutionary act is performing the act o f saying something: the utterance w ith certain sense and reference. Austin identifies the locutionary act with the transmission o f the message (Ideational Communication).30

From the definition above, it is clear that locutionary act is a basic act o f utterances. It means the act o f saying something, b. Illocutionary act

Illocutionary act is perform ing, an art in saying something: the making o f statement, offer promise, etc.31 Austin identifies the illocutionary act with the transmission o f discourse (interpersonal communication). Dlocution acts are acts defined by social conventions act, such thanking, offering, apologizing, challenging, complaining, mocking, naming, protesting, disappointing, etc.

Fauziaty states that illocutionary act is the issuing o f an utterance or the act performed when saying something. It includes act o f betting, promising, etc. For example, “I promise to come”.

The utterance below has performs the illocutionary act o f promising.32

30 Geoffery Leech, Principles o f Pragmatics, Longman Inc., London, 1983, p. 199 31 ibid., p. 199

c. Perlocutionary act Perlocutionary act is performing an act by saying something. The perlocutionary act carried out by a speaker making an utterance as the act o f causing a certain effect on the hearer and other.33

Perlocutionary act is the actual effect achieved “by saying” o r hearers.34 It means that the receivers/hearers do an action, as a response to her/his psychological change.

Geoffrey Leech, op.cit., p. 199

CHAPTER III DATA PRESENTATION OF BACKSTREET BOYS’ NEVER GONE ALBUM A. The Biography o f Backstreet Boys The name o f Backstreet Boys (BSB) comes from the Backstreet Flea Market in Orlando, Florida. In the summer o f 1992 producer Lan Pearlman

advertised in an Orlando, Florida newspaper for male singers for a New Kids on the Block style group. A.J. McLean and Howie Dorough were the first who success in this audition. Nick Carter was hired at the young age o f 12, then Kevin Richardson and his cousin Brian Littrell who joined in 1993.

The Backstreet Boys’ first major concert was performed at Orlando’s Sea World in May 1993. By that concert, BSB began touring around the country and got the attention from Zomba Record executives in Cleveland, Ohio. Signed to a recording contract with Zomba subsidiary Jive Records and released their first single “W e’ve G ot It Going on”. Although their first single flopped in the US, Backstreet Boys gained their first true success when “W e’ve Got It Going on” reached the top 10 in Germany in 1995. Then, the group’s management decided to focus on the European and Asian market instead o f the US.

The first album was released in the US in August 1996, with the new single “Everybody (Backstreet Back)” . This new single was a massive hit around the world. In May 1999, the next album “Millenium” is released setting a new record for the most copies sold in one week - 1.1 million, “I W ant It That Way” and

The next album “Black and Blue” released in 2000, sold 1.6 million copies. BSB began on a world tour in 2001, but dates were postponed due to member

A.J. Mclean battling alcohol and depression issues. After the release o f “Black and Blue” the group retreated from the spotlight to work on individual projects.

After three years o f hiatus, their hit single “Incomplete” was released to radio stations on March 2005, and quickly became the #1 most requested song in top markets in both US and overseas. The song was changed from their previous albums, it was more o f an adult contemporary style rather than the previous albums. In June 2005, BSB released their comeback album Never Gone, which spent more than a year recording. The album debuted at #3 on the US chart with substantial first week sales o f 291,000 copies, and has gone to sell over 2.1 million including #1 debutes in Japan, Germany, India, Chile, Brazil, Australia and Korea. They began the first o f their “Never Gone” tour on July in W est Palm Beach Florida, and on July 2006 The Bakcstreet Boys returned to the recording studio to follow-up 2005’ s Never Gone and promoted this album in several countries.

These are the biography o f BSB’s personnel:

1. Name : Nick Carter Birth Name : Nicholas Gene Carter

Birth Place : Jamestown, New York, USA Birth Date : January 28, 1980 Height : 6 T ’ Profession : Actor, musician

Claim to Fame : as a member o f Backstreet Boys

2. Name : Brian Littrell Birth Name : Brian Thomas Littrell Birth Place

: Lexington, Kentucky, USA Birth Date

: February 20, 1975 Height

: 5*7” Profession : Singer

Claim to Fame : as a member o f Backstreet Boys

3. Name : Howie Dorough Birth Date

: Howard Dwaine Dorough Birth Place

: Orlando, Florida Birth Date

: August 22,1973 Height : 5’7” Profession : Singer Claim to Fame : as a member o f Backstreet Boys

4. Name : A.J. McLean

Birth Name : Alexander James McLean

Birth Place : West Palm Beach, Florida

Birth Date : January 9,1978 Height

: 5’9” Profession

: Singer Cairn to Fame : as a member o f Backstreet Boys

Name : Kevin Richardson

Birth Name : Kevin Scott Richardson

Birth Place : Lexington, Kentucky, USA Birth Date

: October 3, 1972 Height : 6 ’1” Profession : Singer Claim to Fame : as a member o f Backstreet Boys

B. LYRICS OF NEVER GONE ALBUM

The data are lyrics o f songs connected with discourse relations taken from

Never Gone album by Backstreet Boys. The titles and lyrics o f those songs are the

following:

INCOMPLETE

/Empty spaces fill me up with holes/ /Distant faces with no place left to go/ /Without you within me/1 can’t find no rest/ /Where I’m going is anybody guess/

/I’ve tried to go on like I never knew you/ /I’m awake but my word is half asleep/ /I pray for this heart to be unbroken/ /But without you/ all, I’m going to be incomplete/ /Voices tell me I should carry on/ /But I am swimming in an ocean all alone/