English-Indonesian code switching in Indonesian song lyrics composed by Melly Goeslaw - USD Repository

ENGLISH-INDONESIAN CODE SWITCHING

  Presented as partial Fulfillment of Requirements For the Degree of Sarjana Sastra

  In English Letters By

ROSA DELIMA WIKASITAKUSUMA WIDAYA

  Student Number: 104214054

ENGLISH LETTERS STUDY PROGRAM DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

ENGLISH-INDONESIAN CODE SWITCHING

  Presented as partial Fulfillment of Requirements For the Degree of Sarjana Sastra

  In English Letters By

ROSA DELIMA WIKASITAKUSUMA WIDAYA

  Student Number: 104214054

ENGLISH LETTERS STUDY PROGRAM DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

  This is the KEY of

MY FREEDOM!

  

The next step is building my own kingdom



  To My Beloved God, My Family, and The people who always support me.

THANK YOU!

  

ACKNOLEDGEMENTS

  Doing a research is something which is new for me. There were many temptations to finish this undergraduate thesis. I would like to thank Jesus Christ for the blessing and support; I could rise from adversity and could complete this research properly.

  Firstly, I would like to thank my thesis adviso for the assistance, advice, guidance, and patience. I would also like to . thank my co-advisor, Dr. Fr. B. Alip, M.Pd., M.A , for the guidance, correction, and suggestion.

  My deep gratitude goes to my parents, dr. B. Restu Widaya, Sp.B and Dra. A.M. Retno Abri S., my lovely younger sister, R.D.K. Tunjung Biru, and my grandmothers for the support and understanding.

  My special thanks go to my beloved aunt, Yuyun Yulia, Ph.D., who is always willing to be contacted anytime, 24 hours a day. Thank for advices.

  I am a blessed person surrounded by good-hearted people. Then, for all lecturers and staff of English Literature Department Sanata Dharma University, I thank for the knowledge, patient, experiences and lessons. I would also like to thank Grup Rempong, Formasi Malang, B-10 Sasing, English Letters 2010, Anak Bimbingan Bu Venti, Grup KKU, KKN 36 Kliwang, Rotaract Club of Yogyakarta Malioboro, GTS, Bedjo 28, for the support and wonderful experiences.

  To whom I can not mention one by one, thank for the support and lessons.

  

TABLE OF CONTENTS

TITLE PAGE

  ABSTRACT

  A. Types of Code Switching..…………………………………………. 28 1.

  …………. 28

  CHAPTER IV: ANALYSIS (RESULTS AND DISCUSSIONS)

  Data Collection………………………………………………….. 24 2. Data Analysis…………………………………………………… 25

  …………………………………………. 21 A. Object of Study…………………………………………………...... 21 B. Approach of the Study…………………………………………….. 24 C. Method of the Study……………………………………………….. 24 1.

  CHAPTER III: METHODOLOGY

  Code Switching……………………….………………………… 8 2. Types of Code Switching……………………………………….. 9 3. Reasons of Code Switching…………………………………….. 11 4. Code Mixing……………………………………………………. 15 5. Code Switching in Song Lyrics…………………………………. 16 6. Components of the Song………….……………………..……… 16 C. Review of Related Background…………………………………..... 19 D. Theoretical Framework…………………………………………….. 19

  ……………………………… 6 A. Review of Related Studies………………………………………… 6 B. Review of Related Theories……………………………………….. 8 1.

  CHAPTER II: REVIEW OF LITERATURE

  …………………………………………… 1 A. Background of the Study………………………………………….. 1 B. Problem Formulation………………………………………………. 3 C. Objectives of the Study……………………………………………. 4 D. Definition of Terms………………………………………………... 4

  CHAPTER I: INTRODUCTION

  ………………………………………………………………………xiii

  ABSTRAK

  ………………………………………………………………….…xii

  ………………………………………………………x

  ……………………………………………………………...…. ii

  STATEMENT OF ORIGINALITY

  APPROVAL PAGE

  ……………………………………………………...…….iii

  ACCEPTANCE PAGE

  ………………………………………….................... iv

  LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH

  ..v

  ……………………………………....… vi

  TABLE OF CONTENTS

  MOTTO PAGE

  …………………………………………………………….… vii

  DEDICATION PAGE

  …………………………………………………………viii

  ACKNOWLEDGEMENTS

  ……………………………………………………ix

  Tag Switching…………………………………………………… 28 2. Intrasentential Switching……………………………………….. 30 3. Intersentential Switching……………………………………...… 33

CHAPTER V: CONCLUSION

  ……………………………………………… 68

  BIBLIOGRAPHY

  …………………………………………………………….. 71

  APPENDIX

  …………………………………………………………………… 75 Lyric texts of Ten Indonesian Songs Composed by Melly Goeslaw

  ………………………………………………………………… 75

  

ABSTRACT

  WIDAYA, ROSA DELIMA WIKASITAKUSUMA. English-Indonesian Code

Switching in Indonesian Song Lyrics Composed by Melly Goeslaw.

Yogyakarta: Department of English Letter, Faculty of Letters, Sanata Dharma University, 2015.

  Code switching has been commonly used in communication either in conversations or songs. The use of code switching in conversations and song lyrics are very different. Unlike in the use of code switching in conversations that occurred spontaneously, the use of code switching in song lyric has a specific purpose because it is edited and recorded, it does not occur spontaneously. Nowadays, there is a new trend to switch Indonesian to English in some Indonesian songs. This research gives some information of the use of code switching in ten Indonesian songs composed by Melly Goeslaw in 2007 until 2013 which is used to be a basis and a comparison for coming analysis.

  Two main purposes highlighted in this research: (1) identifying the types of code switching which are used in Indonesian song lyrics composed by Melly Goeslaw, and (2) identifying the reasons of code switching in that Indonesian song lyrics.

  This research needs all of Indonesian songs composed by Melly Goeslaw which contain Indonesian-English code switching at parts of the song. There are ten Indonesian songs composed by Melly Goeslaw which contain Indonesian- English code switching. Thus, that songs are collected and analyzed to answer two questions elaborated in problem formulation.

  The results of the analysis show ten Indonesian song lyrics examined in this research use three types of code switching. Tag switching has four cases found in three Indonesian songs. Intrasentential switching has five cases in three Indonesian songs. The majority of song lyrics use intersential switching: twenty one intersentential switching cases occur in eight songs. The code switches are found in title, verse, chorus, bridge, refrain and coda of the song. There are six reasons why the speaker of the song uses song switching, namely because of certain state of mind and feeling, because of lack of facility, because of semantic significance, because of different audiences, because of emphasis the point of information, and because of attraction the attention.

  

ABSTRAK

  WIDAYA, ROSA DELIMA WIKASITAKUSUMA. English-Indonesian Code

Switching in Indonesian Song Lyrics Composed by Melly Goeslaw.

Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2015.

  Alih bahasa telah umum digunakan dalam komunikasi baik dalam percakapan atau lagu. Penggunaan alih bahasa pada percakapan sehari-hari dan lirik lagu sangat berbeda. Tidak seperti dalam penggunaan alih bahasa dalam percakapan yang terjadi secara spontan, penggunaan alih bahasa dalam lirik lagu memiliki tujuan tertentu karena telah melalui proses pengeditan dan rekaman, alih bahasa tersebut tidak terjadi secara spontan. Saat ini terdapat sebuah tren baru penggunaan alih bahasa dari Bahasa Indonesia ke Bahasa Inggris di beberapa lagu Indonesia. Penelitian ini memberikan informasi mengenai penggunaan alih bahasa di sepuluh lagu Indonesia karangan Melly Gowslaw pada selang waktu 2007-2013 yang dapat digunakan sebagai dasar dan perbandingan untuk penelitian selanjutnya.

  Terdapat dua tujuan utama dalam penelitian ini: (1) mengidentifikasi jenis alih bahasa yang digunakan dalam lirik lagu Indonesia yang diciptakan oleh Melly Goeslaw, dan (2) mengidentifikasi alasan penggunaan dari alih bahasa tersebut.

  Penelitian ini membutuhkan semua lagu Indonesia yang disusun oleh Melly Goeslaw yang menggunakan perpaduan Bahasa Indonesia dan Inggris pada bagian lagu. Ada sepuluh lagu Indonesia disusun oleh Melly Goeslaw yang menggunakan alih bahasa. Selanjutnya, lagu-lagu tersebut dianalisa untuk menjawab dua pertanyaan seperti yang diuraikan dalam rumusan masalah.

  Hasil analisa menunjukkan sepuluh lirik lagu Indonesia yang diteliti dalam penelitian ini menggunakan tiga jenis alih bahasa. Terdapat empat kasus tag

  

switching yang ditemukan di tiga lagu. Intrasentenial switching terjadi lima kali di

  dalam tiga lagu. Mayoritas penggunaan alih bahasa menggunakan tipe

  

intersentential switching , terdapat dua puluh satu kasus yang terjadi di delapan

lagu. Alih bahasa tersebut terjadi di judul, bait, chorus, bridge, refrain dan koda.

  Ada enam alasan mengapa sebuah lagu menggunakan alih bahasa, yaitu untuk mengungkapkan pikiran dan perasaan tertentu, karena kurangnya fasilitas, karena signifikansi semantik, untuk menyampaikan pesan lagu ke pendengar yang memiliki latar belakang bahasa yang berbeda, untuk menekankan sebuah informasi, dan untuk menarik perhatian.

CHAPTER I INTRODUCTION A. Background of the Study Human is a social being who has to live with others and language is a

  means to communicate in society which human used to have a communication in a society. This era is a globalization era; many people realize that learning and mastering in more than one language give them many advantages. Developing communicative competence in two or more languages is a must for either integrative reasons or instrumental reasons.

  Those who were interested in studying the language in order to be able to identify with the target people, or because they were interested in the culture of the target people, were said to be integratively motivated. Those who wanted to study the language for the purpose of career advancement, were instrumentally motivated. (Svanes, 1987: 342). From the beginning of the independence of Indonesia, English has been decided to be the first foreign language learned in this country.

  Early on, it was decided that English, rather than Dutch, would be the first foreign language of the country because Dutch was the language of the colonialists and it did not have the international status that English did. (Lauder, 2008: 10). Even there are laws stating that English as the first foreign language in Indonesia which has to be learned by the students since the elementary school and it is found in the curriculum which has to be followed by official education institution.

  In the 1989 Law, Chapter IX, Section 39, Verse 3, English is specified as a compulsory subject, part of the Basic Curriculum. This supported by Government Regulation Number 28, 1990, which states that English is to be taught from the first year of Junior High School but may be taught as early as Primary Four at the school‟s discretion. (Lauder, 2008: 16). Hence, it is not wondering if Indonesian people have a good ability to understand English and use code features to deliver the message in their daily conversation.

  English is also used as a language tool to exchange information in business, politics, education, and media. (Lauder 2008:2).

  Indonesian people sometimes use code switching, they changes the language from Indonesians to English, to deliver a message. Lauder (2008: 11) states that “in Indonesia, English‟s role is defined primarily by means of a conscious process of language planning, rat her than by linguistics evolution.”

  The phenomenon of code switching is also be able to observed in literary works which exist in society. The song lyric is one of the literary works which can be an example. The use of code switching in conversation and song lyric are different. Language switching in the song lyric is used by some purposes, it does not occur spontaneously.

  There is a fundamental different between the code switching in lyrics and other types of literature and that which occurs in conversation. The former is not spontaneous, but a conscious and predicated strategy and the discourse in which it occurs is edited and recorded. It is deliberate style used by the artist who would have prepared and reflected upon the lyrics before the relapse of the song. (Davies, 2008: 3-4).

  Language switching nowadays is a common phenomenon and there are some previous code switching usages in song lyrics.

  The most well known examples are the macaronic songs and carols popular in medieval Europe, which feature a combination of Latin with one or more vernacular language such as English or French, often serving to convey religious message in a way relatively accessible to the

  Andalus, many of the muwashsha songs featured refrains (kharjas) in a mixture of Arabic and Romance (see, for instance, Stern 1948; Armistead and Monroe 1983). Folksongs in may parts of the world also feature mixed language lyrics; between Spanish and Quechua (Muysken 1990), while in Morocco the Jewish community has long used songs combining Hebrew and Arabic (Zafrani 1983, 2003) Picone (2002) also discusses an interesting range of examples of code switching in the lyrics of recent popular song. (Davies, 2006: 368-369).

  This occurrence is also found in Indonesia. There are some songs which use English-Indonesian code switching which are popular in Indonesian society.

  The first song composer whose songs is in the Indonesian top chart and has been a reference for other English-Indonesian song composers is Melly Goeslaw. Her works are not only popular in Indonesia, but also in foreign countries, such as in Singapore and Malaysia.

  Due to its popularity, the researcher is interested in analyzing the code switching in Indonesian song lyrics including the reasons. The analyzed songs are Melly Goeslaw‟s songs (ten songs in number). This research gives some important information of code switching in Indonesian society through literacy view, in particular Indonesian lyrics songs. The result of this analysis is used to be a basis and a comparison for the coming analysis. The result is also used to observe the type and reason of code switching in the Indonesian song lyrics in the future.

B. Problem Formulation

  This research requires more than disclosing of code-switching occurring in the Indonesian song lyrics composed by Melly Goeslaw. Hence, two problems can

1. What are the types of code switching in Indonesian song lyrics composed by

  Melly Goeslaw? 2.

  What are the possible reasons of code switching in Indonesian song lyrics composed by Melly Goeslaw?

  C. Objective of the Study

  The research has two objectives of the study. First is to identify the English-Indonesian code switching in Indonesian song lyrics composed by Melly Goeslaw. Second is to identify the reasons of code switching at some parts of Indonesian song lyrics composed by Melly Goeslaw.

  D. Definition of Terms

  Scholars define various explanations of code-switching. In order to get same understanding, there are several definitions of terms appearing in this research:

  

1. Code means a system used for communication between two or parties used on

  any occasions. (Wardhaugh, 2010: 103). Wardhaugh also defines code as “any kind of system that two or more people employ for communication. It can refer to a language, dialect, style, and kinds of language varieties.

  ” (Wardhaugh, 2010: 84).

  

2. Code switching is one of language phenomena that exists in a society. The

  term „code-switching‟ defined byand Rodman is “a term in linguistics referring to using more than one language in conversation. Code-switching can be

  Within this study, code switching refers to the juxtaposition of Indonesian to English in the literary works, namely the lyrics in Melly Goeslaw‟s songs.

3. Song lyrics are a set of words that make up a song. Song lyric derives .

  via λσρικός (lyrikós), the adjectival form of

  (Asher, 1903: 264). The song lyric consists of several stanzas which are components of a song. The most commonly known components of a song are verse part and chorus part. The lyrics of a song often contain a significant message about the society. The message can be explicit, or implied through metaphor or symbolism.

CHAPTER II REVIEW OF LITERATURE This chapter outlines four main parts: review of related studies, review of

  related theories, review of related background, and theoretical framework. Review of related studies discusses two previous international journals which have similar general topic as well as objective of this research. Review of related theories presents the theories applied. Review of related background provides Melly Goeslaw‟s biography. The final section is theoretical framework outlining, the contribution of the theories and review in solving the problems of the study.

A. Review of Related Studies

  The researcher uses two previous published international journals which have similar objects as a comparison and a basis in doing this research. Both of the previous journals are done in the twenties century, thus it is previously researched.

1. Word Borrowing and Code Switching in Ancash Waynu Songs (Julca, 2009)

  This paper presents a description and analysis of the processes of borrowing and code switching in Ancash waynu, a genre of popular traditional Andeans songs. The researcher found that both Quechua and Spanish are used in various ways, essentially to create special poetic and expressive-communicative effects. The data used based on the researcher‟s own collection and transcription of Ancash waynus from DVDs, CDs, and recordings of the songs performed summer 2006 and 2007. The conclusion of this research outlines different kinds of bilingual language use and reflects a general trend in language shift from monolinguistic in Quechua to bilingualism in Quechua and Spanish and from that to monolingualism in Spanish

2. Code Switching in Contemporary Nigerian Hip-Hop Music (Babalola, 2009)

  The objectives of “Code Switching in Contemporary Nigerian Hip-Hop

  Music ” are to (1) examine the nature of the phenomenon code switching and the reason of code switching, (2) discuss the stylistic effects of this trend, and (3) examine the implications of this practice for communication through music. The findings reveal that while most code switching is done in three languages English, Nigerian Pignin, and Yoruba

• – the prominent role is Yoruba. This code switching makes the languages feature in turns, thereby producing switches at discourse boundaries. The study concludes that the unique identities created by code switching in Nigerian hip-hop have positive local and global influence for music and artists, and reflect the ethno-linguistic diversity of the Nigerian nation.

  This thesis has a similar general objectives to the two previous researches namely, song lyrics, but the main attention in this research is different. The main focus of this research is code switching in ten Indonesian songs and the possible reasons why the speaker of the song switches language when he or she wants to describe a specific message.

B. Review of Related Theories

  This section presents the basic theories used such as the general explanation of code switching, the detail explanation of code switching and the code switching classification type by Stockwell (2002: 33). A brief explanation of music theory focusing in components of the song, as well as the reasons of code switching by Malik (1994: 16) will be discussed.

1. Code Switching

  Code switching is one of the language phenomena commonly observed in the society. Before explaining the meaning of code switching, the researcher presents the basic word of code switching, namely the word „code‟. According to Asher (1994: 577) the term code refers to any system of signs or symbols which convey informatio n. Wardhaugh (2010: 84) also defines code as “any kinds of system that two or more people employ for communication. It can refer to a language, dialect, style, and t he kinds of language varieties.” So, code is a system which is used by people who have a same interpretation about something to get a good understanding communication.

  Code switching refers to the juxtaposition of two languages or more in a communication process. As cited by Mandiri (2002: 9), Hymes (1974) defines code switching as “a common term for alternative using of two languages or more, varieties of a language or even speech style.” Bokamba (1989) as quoted by

  Mandiri (2002: 9) also states that “code switching is the mixing of words, phrases, and sentences from two distinct grammatical (sub) systems across sentence boundarie s within the same speech event.”

2. Types of Code Switching

  There are some theories of types of code switching. In this research, the researcher uses Stockwell‟s Theory to analyze the data because it is suitable with discussions to be performed and the research purposes. In Sociolinguistics a

  

Resource Book for Students book, Stockwell (2002: 33) states that there are three

  types of code switching: tag switching, intrasentential switching, and intersentential switching. The classification of the types of code switching based on the form and the meaning of switching.

a. Tag Switching

  Poplack (1988: 223) states that tag switching is component of content words which may be inserted almost anywhere within the sentence without violating any grammatical rules. So, tag switching is allowed to use as long as it does not break the grammatical rules of the main language in that communication.

  Milroy and Muysken (1995: 8) also equally mention tag switching is used to refer “a switching between an utterance and the tag or interjection attached to it.” Tag switching does not have a long pattern because it only a single word. Type of switching involves single words

• –mainly nouns- and it is motived by lexical needed. (Wardhaugh, 2010: 42). The example of tag switching can be seen below: I‟m pleased to see you‟re getting bewegungsmelder (security light).

  (Stockwell, 2002: 28) b.

   Intrasentential Switching

  Intrasentential switching occurs within a sentence. “A sentence is a group of words containing a subject and a predicate and expressing a complete thought.

  ” language, but the use of that different languages restricted by punctuation and other factors. Intrasentential code switching consists of cases in which speaker switches some clauses within a sentences or clauses. (Julca, 2009: 93). Below is the example of intrasentential switching:

  What’s so funny? Come, be good. Otherwise, yu bai go long kot. – What‟s so funny? Come, be good. Otherwise, you‟ll go to court.

  (Romaine, 1995: 123)

c. Intersentential Switching

  Intersentential switching occurs from one language to another language in the different sentences. This implies one sentence is in a one language while the other sentence or sentences is in a totally different language. “Intersentential code switching, that is, the alternation in a single discourse between two languages, where the switching occurs after a sentence in the first language has been complet ed and the next sentence starts with a new language.” (Appel, 1987: 118). Intersentential code switching involves cases in which a bilingual speaker switches languages from clause to clause. (Winford, 2003: 102). Following Appel-

  Muysken‟s and Winford‟s statement, it is defined that intersentential code switching is the process which the song lyric switches the language from line to line, from sentence to sentence, from couplet to couplet, and from stanza to stanza which has a same pattern. According to Winf ord‟s argument, a line, a sentence, a couplet, and a stanza is a unity when the topic does not change. Felix Julca-

  Guerrero applied a same perspective in his journal “Word Borrowing and Code Switching in Ancash Waynu Songs” to analyze the type of code switching in waynu songs. The example of intersentential switch in English-German bilingual can be seen below: We ‟re going to Nicki‟s house at nine and maybe to the night club afterwards.

  Kristina bleibt allerdings zu Hause sie muss noch arbeiten.

  (Unfortunately Kristina is staying at home because she still has to do some work).

  (Stockwell, 2002: 33) 3.

   Reasons of Code Switching

  Malik states that “code-switching is context-governed phenomenon.” (Malik, 1994: 10). Therefore, there is a spesific reason why people use code switching to delivery the message. According to Malik, there are ten reasons of code switching: a.

   Lack of facility

  Malik (1994: 16) states that code switching is used when the speaker cannot find an appropriate expression or a vocabulary item which is needed to carry on the conversation smoothly. The following is an example for the reason lack of facility in the Malay:

  Saya difahamkan bahawa OKS jarang minum, hanya seorang social drinker.

  [I understand that OKS seldom drinks, he is only a social drinker.] (Muthusamy, 2009:4) b.

   Lack of register

  This reason occurs when the speaker does not know the specific terms of the language that is being used. This condition makes the speaker uses a term of language which he or she mastered. “In case the topic of discourse is of a technical, their registral items are likely to be from English and grammatical items from Hindi.

  ” (Malik, 1994: 16). It usually occurs in certain occupations, such as in the speech of doctors, lawyers, engineers. The example of reason for lack of register can be seen as follow:

  Ujian alcohol telah dijalankan iaitu breath analyzer test.

  [The alcohol test was conducted, i.e., a breath analyzer test] (Muthusamy, 2009:4) c.

   Mood of the speaker

  Malik (1994: 16) claims that usually when a speaker who masters in more than one language is tired or angry, code switching is used to deliver that feeling.

  In this research, this reason is used when the speaker has a certain state of mind; he or she spontaneously finds certain English expressions which represent his or her feeling. The following is an example for the reason because of mood of the speaker: This situation is fan till max!

  (Fong, 2011: 51) The word

  „fan‟ (bothered) is used in expressing the participant‟s frustration in the example. This can be due to the participant‟s mood that made she use that word unconsciously. Hence, Mandarin Chinese is used for the subject of the sentence or main idea that the participant is trying to convey.

d. Emphasizing certain point

  Switching is also used to emphasize a point. Gal (1988: 251) reports several instances in which a switch at the end of an argument not only helps to end the interaction but may serve to emphasize a point. The switching aims to give a stress and more force the statement. As cited by Muthusamy (2009), David (2003) uses the courtroom environment to show how a defending lawyer uses important point to the judge that the accused had not committed any crime for 10 years.

  

Sebelum ini OKT pernah ditangkap pada tahun 1975 dan 1986. There has been a

10 years gap since the last offence Semenjak itu OKT telah berumahtangga, mempunyai kerja tetap dan insaf”.

  [Before this, OKT was caught in 1975 and 1986…..since then OKT has married and has held a steady job.] (Muthusamy, 2009:5) e.

   Habitual experience

  Malik (1994: 16) stresses the fact that “code switching often occurs in fixed phrases of greeting and parting, commands and request, invitation, expressions of gratitude and discourse markers.” The speaker uses code switching because that expressions are habitual experiences used in his or her daily life.

  Muthusamy (2009: 5) cites that Hoffman (1971) reports in Puerto Rican homes, the mother gives short commands to their children in English, such as

  Don’t do that

  …. and the rest of the mother‟s warning will be in Spanish.

f. Semantic significance

  It is a communicative resource that builds on participant's perception of two languages. It also serves as an implicit purpose which is only known by particular addressees in certain specific information. The example below shows how a judge shifts from Bahasa Malaysia, the national language and the official language at Malaysian courts, to English as a face saving gesture:

  

Kenapa kamu tak setuju, panggilan pertama telah dijawab oleh BG Boy dan dah

tentu Das mesti menanya di manakah BG Boy berada? Kamu tak faham soalan,

saya maksudkan

  ……

  [Why don‟t you agree – Bg Boy responded to the first call and surely Dos asked where he was ? You do not understand the question, I mean….] (Muthusamy, 2009: 5)

  g. Showing identity with a group

  Code-switching is used to signify shared values and experiences by people of a same group or culture. Hence, words and phrases are retained in their original languages to represent a sense of belonging and familiarity to the group. As cited by Malik (1994: 17), Pietro reports that Italian immigrants would tell a joke in English and give the punch line in Italian, not only because it was better said in Italian but also to stress the fact that they all belong to the same minority group, with shared values and experiences.

  h. Addressing a different audience

  Code switching is used to convey a message targeted to different listener from various linguistic background. Malik (1994: 17) states that “code switching is also used when the speaker intends to address people coming from various linguistic backgrounds.” Hence, the speaker uses some parts of the topic in one language and the other parts in another language. The speaker also clearly distinguishes whom he/she addresses and what should be communicated. Below is an example of the the use of code switching to address a different audience: Merry Christmas, Furong ren.

  (Fong, 2011: 52) In that example, the participant wanted to dedicate her wishes to a specific group of people by addressing them in Mandarin Chinese.

i. Pragmatic reason

  Code switching depends on the context of a conversation or other factors such as formality, participants and location where a conversation is taking place. involvement. As an example, a Javanese young man is talking to his friends in Javanese, and then he switches the language into Indonesian when he talks to the lecturer in order to be more polite.

  j. Driving attention

  Malik (1994: 18) shows that code switching is also used to attract the attention of the readers/listeners. In English conversation when the interlocutor comes across non-English, either Hindi or any one of the other Indian languages, the interlocutor‟s attention is automatically drawn to depend on the language background he or she originates from. Attention of interlocutor is also obtained when the speaker uses words from a foreign language. A similar situation prevails in song lyrics which uses English in some parts of the song.

  For the example Malik (1994: 18) shows that in advertisements (in both, written as well as in spoken) in India, codeswitching is used to attract the attention of the readers/listeners. In English newspaper when the readers come across non- English, either Hindi or any one of the other Indian languages, the reader‟s attention is automatically drawn to depend on the language background he/she originates from. A similar situation prevails in advertisements that involve audio and video output.

4. Code Mixing

  Code mixing occurs when speakers use two or more language below clauses level within one social situation. As cited by Claros (2009), Muysken (2000) defines three types of code mixing: insertion, alternation, and congruent lexicalization. In his view, code switching occurs when lexical items from one language are incorporated into another. Bokamba (1989) notes that code mixing is a part of code switching.

  5. Code Switching in Song Lyrics

  According to Bentahila-Davies the use of code switching in conversation and in song lyric are different because “the utterance in a conversation are typically spontaneously produced

  ” (Bentahila, 2002: 192), while the use of code switching in the song lyrics has a purpose, “the author of the lyrics has deliberately assembled th em with the aim of achieving particular effects.” (Bentahila, 2002: 192).

  Code switching also serves a poetic function, contributing to the aesthetic and rhetorical effect or discourse that is not spontaneous, but carefully constructed (Bentahila, 2008: 2). From the theories, it is seen that the use of code switching in song lyrics is on a purpose. If some components of song lyrics use language switching, they have specific purposes which can be analyzed.

  6. Components of the Song

  Stanzas in a song lyric have their own function seen from part of the song point-of-view. According to Davidson and Heartwood, a good song consists of verse, chorus, bridge, hook, and refrain. “All songs are put together with some or all of these parts in a particular pattern.

  ” (Davidson, 1996: 6). The researcher collaborates Davidson- Heartwood‟s Theory to Espie Estrella‟s Theory. Estrella contended besides those five parts, a good song has also to have title and coda, as an optional component of the song. From knowing the components of the song which use code switching, the researcher gains knowledge of the reasons of code switching in that components of the song because each part has its own function to deliver the song message.

  a. Title Title is a component of the song which is recognized first from a song.

  Title sometimes contains the main idea of the song. “Many times, the chorus is taken from the title of the song.” (Davidson, 1996: 6). The song title should also to be memorable and fitting to the theme of the song. (Estrella, 8th September 2014).

  b. Verse

  Verses are components of the song containing the song background. “The verse contains the details of the song: the story, events, images and emotions that the writer wishes to express.” (Davidson, 1996: 6) The verses direct the listeners of the song to know and understand deeper the message background which wants to deliver in the chorus part. “The verses are preliminary parts which can deliver the listeners to feel and guess what is actually to be conveyed in the chorus. The verses fill in on the story- line.” (Bentahila, 2002: 202).

  c. Chorus

  Chorus is a component of the song which can be easily remembered by the listeners of the songs because this part is always sung repeatedly. “The chorus is repeated thr oughout the song.” (Davidson, 1996: 6). The frequently with which the chorus is repeated may make it the most dominant and memorable element of the song. (Bentahila, 2002: 202). The chorus is the component of the song which contains the main idea of song message. “It contains main idea, or big picture, of what being expressed.” (Davidson, 1996: 6).

  d. Hook

  Hook is “a phrase of word that literally hooks, or grabs, the listeners and draws them into song.” (Davidson, 1996: 7). The hook is the component of the song which is recognized easily by the listeners and it is an icon of the song. The hook is not only a phrase of word, but also an instrument. “The hook can be musical, such as repeated guitar or keyboard riff.” (Davidson, 1996: 7).

  e. Bridge

  Not every son g has a bridge. Bridge is used to keep the listeners‟ attention. “The break is a device that is used to break up the repetitive pattern of a song and keep the listeners‟ attention.” (Davidson, 1996: 7). The bridge can also be a change of key music. “In a bridge, the pattern of the words and music change.” (Davidson, 1996: 7).

  f. Refrain

  Refrain is different from chorus. A refrain is "a repeated line or musical phrase that ties a song together. A refrain is only a phrase, or a word, while a chorus contains many more words.” (Davidson, 1996: 7). A refrain may be defined as a repetitive phrase or phrases that serve the function of a chorus lyrically but are not placed in a separate section and/ or long enough so as to be considered a chorus. (Cope, 2009: 68).

g. Coda

  The English word „coda‟ comes from “an Italian word for „tail‟, it is the additional lines of a song which br ings the song to a close.” (Estrella, 8th

  September 2014). The coda is an optional addition to a song, so not every song has a coda as component of the song.

C. Review of Related Background

  This part provides a review of Melly Goeslaw‟s biographical background to support the analysis. The review is taken from the website maintained by the management team of Melly Goeslaw, so the contents can be accounted for.

1. Melly Goeslaw

  Mellyana Goeslaw Hoed, who has a stage name “Melly Goeslaw”, was born in Bandung on 7 January 1974. She is known as aer and songwriter. Her career is begun by becoming a backing vocalist for Elfa Seciora.

  After marrying Anto later that year, they went on to form the band Potret and the band's first album was released in 1995. In 1999, Goeslaw started her solo career with herAs a songwriter, Melly Goeslaw is an independent song writer and she is brave to produce work which is different from otherscribed her lyrics as being deliberately antagonistic. Goeslaw's songs have won awards within and outside Indonesia. (Rudi, 2014).

D. Theoretical Framework

  In order to answer the first problem formulation, namely, code switching in Indonesian song lyrics, the researcher uses Stockwell‟s Theory to classify types of code switching.