A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS

A THESIS
A THESIS
SUPERVISOR CO-SUPERVISOR
Drs. Yulianus Harefa, M.Ed., TESOL. Dra. Roma Ayuni A Loebis, M.A.
NIP. 19610703 198601 1 001 NIP. 19680122 199803 2 001
Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan
in partial fulfillment of the requirements for the degree of Sarjana Sastra from
Department of English
DEPARTMENT OF ENGLISH
UNIVERSITAS SUMATERA UTARA
Approved by the Department of English, Faculty of Cultural Studies University
of Sumatera Utara (USU) Medan as thesis for the Sarjana Sastra examination.
Head, Secretary,
Prof. T. Silvana Sinar, M.A., Ph.D Rahmadsyah Rangkuti, M.A., Ph.D
NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002
Accepted by the Board of Examiners in partial fulfillment of requirements for
the degree of Sarjana Sastra from the Department of English, Faculty of
Cultural Studies University of Sumatera Utara, Medan.
The examination is held in Department of English Faculty of Cultural Studies
University of Sumatera Utara on 16 th
May 2019.
University of Sumatera Utara
Dr. Budi Agustono, MS
Board of Examiners
Drs. Yulianus Harefa, M.Ed., TESOL ____________________
Dr. Rohani Ganie, M.Hum ____________________
I, ANDI FEBRIAN MAULANA DECLARE THAT I AM THE SOLE
AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN
THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL
PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART
FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED
ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED
WITHOUT DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS
THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD
OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.
Signed:
MUSICIAN’S SELECTED SONGS
I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR
REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF
DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,
UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT
USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW
OF THE REPUBLIC OF INDONESIA.
Signed:
ACKNOWLEDGEMENTS
First of alli would like to thank and praise Allah SWT for his countless
blessings during the time i write this thesis. There were times during i‘m working on
this thesis that bring me down and made me feel like i want to give up, but he
continued to give me strength in order to finish this thesis. I also would like to thank
my supervisor Drs. Yulianus Harefa, M.Ed. TESOL., my co-supervisor Dra. Roma
Ayuni A Loebis, M.A. who has given advice, criticism and precious time in
correcting this thesis and thank to the Head Department of English Literature Prof. T.
Silvana Sinar, M. A., Ph. D for her guidance and suggestions. And to all of the staff
and lecturers in English Literature Department who have helped me and taught me
everything I need in the past 5 year.
The most special thank is dedicated to my beloved parents, Andi Maulana
MB and Mentik, my Etta and my Mom for theirendless love, pray and motivationthat
made me keep going and never giving up in order to finish this thesis. My partners at
works, all the team in SCJ9 and SCS9 who always be my daily-sharing-things-
together. Also the greatest thank to all of my best friends calledSUMMER FLINGS
SQUAD. The best group of my life.Thank you for being the place where i can spill
everything that bothering me in the process of writing my thesis and also become my
family for these past 5 years.Thank you for my braders, Fajar, Akbar, Jeremy, and
Arief. Thank you for create my work life full of story. My high school buddies, Feri,
Rody, Halil, Teguh, Roni Putra, Aa, Bandar. You are all had become the best adviser
ever. My Batam Squad in Medan Keke, Maru, Dina, Deby, Bg David and also Ilham,
Doni, Steven. Thank you guys for all the time that we spent together. Unforgettable.
Next is my beautiful Beneditha Athalia Simatupang, thank you for all your support
for the past 5 years, I will not survive if I aint got you with me baby~.I also thank C
Class of English Literature 2014 for helping me along the way and made my college
life full of happiness. The last is for Rana Ashila Salim. Thank you for accepting me
for who I am, I will make you happy someday.
Honorable mentions : Dwik, Utik, Windi, Titha, Mia, Zura, Kak Sarah, Bang
Mefint, Bg Tommi, Nisa, Fira, Sisi, IMKR, IMSI 2014, IMSI 2011, Teater O‘, IMSI
2017.
However, this thesis is still far from perfect but i wish that this thesis could
give contribution to the English Language studies especially in the study
Ecolinguistics. Therefore,i accept for any constructive criticism and suggestions to
give me more improvement in the future.
Medan, May 16, 2019
i
ABSTRAK
Tesis ini berjudul A Stylistic Analysis in British Musician‘s Selected Songs.
Sebuah analisis stilistika yang diimplementasikan pada lirik-lirik empat musisi
Inggris pilihan (Bob Dylan, Oasis, Blur, Ed Sheeran). Lagu-lagu ini dirilis antara
tahun 1963 dan 2011. Pendekatan utama dari penelitian ini adalah untuk meneliti
penggunaan bahasa kiasan, sajak, dan pengulangan, yang mana untuk
memperlihatkan gaya bahasa si penulis lagu. Konteks dan penelitian lain tentang
single pilihan dari lagu-lagu mereka adalah untuk pemahaman yang lebih besar
tentang memahami makna lirik. Ke empat lagu itu adalah; Blowin in The Wind (Bob
Dylan), Roll with It (Oasis), Country House (Blur) dan The A-Team (Ed Sheeran)
yang sangat populer dan sukses pada masa musik Britpop. Data dianalisis dengan
menggunakan metode analisis wacana. Dari analisis, menunjukkan bahwa metafora
adalah majas yang paling sering digunakan untuk menggambarkan makna dalam
berbagai macam konsep. Selain itu, rima maskulin dan pengulangan adalah
perangkat fonetik yang paling signifikan yang membuat lirik terdengar halus dan
juga menyoroti pesan-pesan penting dalam lirik tersebut. Lebih penting lagi, stilistika
strategi ini mencerminkan gaya penulisan lagu dari empat penulis lagu besar di era
yang berbeda-beda yang di sajikan dengan menarik dalam berbagai konteks.
Kata kunci: analisis stilistika, musisi asal Inggris, lirik lagu, linguistik, bahasa
kiasan, rima, dan pengulangan.
ii
ABSTRACT
This thesis is entitled A Stylistic Analysis in British Musician‘s Selected Songs. A
linguistic stylistic analysis was implemented upon the lyrics of four selected British‘s
musician (Bob Dylan, Oasis, Blur, Ed Sheeran). They were released between 1963
and 2011. The primary approach of this study is to investigate the use of figurative
language, rhyme, and repetition, in order to show the stylistic devices of the
songwriters. Context and other interviews about selected singles were taken into
songs for greater understanding of meaning of lyrics. The songs were four singles;
Blowin in The Wind (Bob Dylan), Roll with It (Oasis), Country House (Blur) and
The A-Team (Ed Sheeran) which were very popular and successful during the years
of Britpop history. The data was analyzed by using discourse analysis method.
Findings showed that metaphor is most frequently used to describe meaning in
various kinds of concepts. In addition, masculine rhyme and repetition are significant
phonetic devices that make lyrics sound smooth and also highlight the important
messages in the verses. More importantly, these stylistic strategies reflected the
songwriting style of the four great songwriters in different era that are interestingly
performed in a variety of contexts.
Keywords: stylistic analysis, British‘s musician, song lyrics, linguistic, figurative
language, rhyme, repetition
2.1 Stylistics ............................................................................ 7
2.2 Background of The Selected Songs (1963-2011) ............ 14
2.2.1 Bob Dylan – Blowin‘ in The Wind .............................. 15
2.2.2 Blur – Country House & Oasis – Roll with It ............... 16
2.2.3 Ed Sheeran – The A Team ........................................... 16
2.3 Relevant Studies .............................................................. 17
3.1 Research Design .............................................................. 19
3.4 Data Analysis Technique ................................................. 20
3.4.1 Data Condensation ........................................................ 21
3.4.2 Data Display ................................................................. 21
CHAPTER IV ANALYSIS AND FINDING
4.1 Bob Dylan – Blowin‘ in The Wind ................................. 22
4.1.2 Phonetic Devices: Rhyme and repetition ..................... 24
4.2 Oasis – Roll with It .......................................................... 28
4.2.1 Figurative language analysis ........................................ 28
4.3 Blur – Country House ..................................................... 32
4.3.1 Figurative language analysis ....................................... 32
4.3.2 Phonetic Devices: Rhyme and repetition .................... 34
4.4 Ed Sheeran – The A Team ............................................... 36
4.4.1 Figurative language analysis ........................................ 38
CHAPTER V CONCLUSION AND SUGGESTION
5.1 Conclusions ..................................................................... 42
5.2 Suggestions ..................................................................... 43
ii. APPENDIX B : Roll with It
iii. APPENDIX C : Country House
iv. APPENDIX D : The A Team
LIST OF FIGURES
Figure 1: Structure mapping of mixing perception of garden and life ................... 9
Figure 2: Structure mapping of mixing perception of roads and experiences ...... 28
LIST OF TABLES
Table 1: Categories and features observed in the song Blowin‘ In The Wind‘ .... 26
Table 2: Categories and features observed in the song Roll Wit It‘ ..................... 30
Table 3: Categories and features observed in the song Country House‘ .............. 35
Table 4: Categories and features observed in the song The A - Team‘ .................... 41
1.1 Background of the Study
The most dominant language in British pop music is British English. British
pop music has a very wide variety of themes that can be described literally.
Importantly, song is widespread globally and easy to approach around the world. The
influence of song makes it an interesting source to study in the lyric content,
language use, style, and the idea. Turner (2009, p. 70) argue that songwriters also use
linguistic devices to manipulate language in a way that transcends conventional
expression, through rhyme, symbol, imagery, metaphor, lexis, and sound.
Accordingly, song lyrics therefore can be considered as a kind of poetry that is
composed attractively and melodiously by songwriters with concern for the use of
words, the varieties of stylistic device, rhythm, and meaning.
Stylistics can be described by and large, as the study of style of language
usage in different contexts either linguistic or situational. It is concerned with the
examination of grammar, lexis, semantics as well as phonological properties as
discursive devices. Stylistics examines oral and written texts in order to determine
crucial characteristic linguistic properties, structure and patterns influencing
perception of the text. Many figures of speech can be found In song lyrics. Not all
the song lyrics are easily understandable, especially when the lyrics are full of
figures of speech or figurative language in the words, phrases, or sentences which
have hidden meaning inside them
2
Stylistics is generally defined as the linguistic study of style, and it aims at
explaining the relation between language and artistic function (Leech and Short,
2007, p. 11). However, one of the greatest difficulties in stylistics is the problem of
defining style. Then, the motivating question from the linguist‘s viewpoint is Why
was this form of expression chosen in the context of use?
Style, Riffaterre (1959) argued is …understood as an emphasis (expressive,
affective or aesthetic) added to the information conveyed by the linguistic structure,
without alteration of meaning (p. 155). It also relates to linguistic form and literary
meaning. In addition, it corresponds to the Organon model‘s division into three
categories of style; symbol, symptom, and signal. First, style can be seen as a
possible form for a specific content. Second, style can be seen as the choice of
specific forms. Third, it can be seen as a deviation from a given expectation
(Renkema, 2004, p. 148).
Today, stylistics has continued to develop in many ways and it has come to
be known as modern stylistics which plays an important part in linguistics study. As
Simpson (1997) stated, One of the main assets of modern stylistics is its heuristic
value and added, Stylistics is a method of applied language study which uses
textual analysis to make discoveries about the structure and function of language (p.
4).
Another reason for studying stylistics is the critical potential which leads to a
better understanding of language by interpretation in an effective way because it
allows different readers to interpret the meaning of a text without the limitation of
only one correct interpretation. Simpson (1997) provided more reasons, Any
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interpretation of a piece of language is conditioned by three key factors. The first is
to do with what‘s in the language itself, the second with what‘s in the context of
communication, while the third is to do with what‘s in your head (that is, the
assumptions knowledge you bring to a text) (p. 3).
According to Riffaterre, Stylistic facts can be apprehended only in language,
since that is their vehicle”. On the other hand, “They must have a specific character,
since otherwise they could not be distinguished from linguistic facts (1959, p. 154).
Moreover, stylistics in its intersubjective role is …an empowering tool, because it
helps explain the multiple and varied responses to linguistic patterning which
different readers experience when reading texts (Simpson, 1997, p. 5). In other
words, stylistics in its interpretation can be of benefit for critical reading or English
language learning by highlighting and examining linguistic patterns used in literary
texts.
In order to illustrate a stylistic methodological approach for English language
study in literary text, Carter (1996) argued on the relevance of stylistics for literature
teaching stating that stylistic analysis helps to foster interpretative skills and to
encourage reading between the lines (p. 5). Stylistic analysis is now the applied study
of creativity in foreign language classroom, and it is becoming standard in native-
speaker language teaching as well.
According to Simpson (2004), Many forms of discourse (advertising,
journalism, popular music – even casual conversation) often display a high degree of
stylistic dexterity (p. 3). Hence, it can be decided that song lyrics, including other
regular forms of literature, such as poetry and novels, which usually employ
numerous stylistic devices, are reasonable objects of study in stylistic analysis,
especially for this present study.
The writer decided to study use of stylistic devices in lyrics of several British
Musician songs because of their popularity and because they have a large number of
fans all over the world (Billboard Magazine 2013). Although, many genres of songs
have been used to study language, British pop music lyrics seems to have seldom
been analyzed by the linguists, and they have been seldom used in English education.
The aim is to explore the varieties of stylistic devices used in the verses to convey
the exact meaning of the lyrics at different levels of language, such as figurative
language (metaphor, metonymy, personification, idiom, etc.), and phonetic devices
(rhyme scheme and repetition), in addition, to reveal how these stylistic devices work
in the lyrics. More interestingly, most of the songs usually tell about common topics
in daily life and are composed with creative language use.
1.2 Problem of the Study
The problems in this study are formulated as the following :
1. What kind of figurative languages used in the British musician‘s selected song
lyrics?
2. What kind of phonetic devices (rhyme scheme and repetition) are used in the
British musician‘s selected song lyrics?
1.3 Objectives of the Study
Based on the problems above, the objectives of this thesis are:
1. To find out the figurative languages that are used in the British musician‘s
selected song lyrics
2. To find out kind of phonetic devices (rhyme scheme and repetition) are used
in the British musician‘s selected song lyrics
1.4 Scope of the Study
The objective of this study is to investigate the use of stylistic devices,
focused on figurative language, rhyme, and repetition, that were employed in lyrics
of selected singles of British musician (Bob Dylan, Oasis, Blur, And Ed Sheeran), in
order to indicate the songwriting style of the songwriter from different time and era
which could be important factors that made their singles very successful.
The writer is focus on the stylistic analysis in selected lyrics of British
Musician‘s popular songs during the years 1963 – 2011 to study the dominant
linguistic features in the aspects of figurative language and phonetic devices; rhyme
and repetition. Song lyrics were chosen from four songs of British Musician from the
1963 (Bob Dylan – Blowin in The Wind), 1994-1997 (Oasis & Blur – Roll With it &
Country House), And 2011 (Ed Sheeran – The A Team).
Although, the songs in this study do not represent the entire British pop music
or other music genres, however, they are an important part of British music history
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and can at least give a hint of the use of specific stylistic devices in song lyrics that
made them became famous and successful in the UK and other countries.
1.5 Significance of the Study
Findings of the research are expected to be useful for the readers both
theoretically and practically. Theoretically, this research findings are expected to
develop the theories of stylistic analysis, specifically in the written language of song
lyrics. Practically, the finding can be useful for :
1. Students especially in the university level to have a better understanding of the use
of stylistic analysis in British musician‘s song lyrics.
2. Other researchers can be taken benefit of the study to identify the level of stylistics
analysis especially the use of stylistic in literary text.
3. Those who are interested in analyzing British musician‘s song lyrics.
2.1 Stylistics
Stylistics is generally defined as the linguistic study of style, and it aims at
explaining the relation between language and artistic function (Leech and Short,
2007, p. 11). However, one of the greatest difficulties in stylistics is the problem of
defining style. Then, the motivating question from the linguist‘s viewpoint is Why
was this form of expression chosen in the context of use?
Levels of language
To start us off, here is a list of the major levels of language and their related
technicalterms in language study, along with a brief description of what each level
covers (Simpson 2004):
The sound of spoken language;
the way words are pronounced. phonology; phonetics
The patterns of written language;
the shape of language on the page. graphology
The way words are constructed;
words and their constituent structures. morphology
The way words combine with other
The words we use; the vocabulary
of a language. lexical analysis; lexicology
The meaning of words and sentences. semantics
The way words and sentences are
used in everyday situations; the
meaning of language in context. pragmatics; discourse analysis
(another theory of stylistic)
(Simpson, P. 2004, p.5)
2.1.1 Figurative Languages
Figurative language is considered one of the important features of language in
cognitive linguistics. The traditional meaning of figurative language has been
suggested by McLaughlin (1990) as, Figurative has always involved a contrast with
the proper‘ meaning of word, its supposed rightful meaning, the idea which comes
directly to mind when the word is used (p. 81). On the one hand, figurative
language is regarded as a fundamental cognitive linguistic approach, affected not
only in language use, but also in human thought and action.
Here some example from one of Oasis‘s song called Live Forever;
(1) Maybe
(4) 'Cause I just wanna fly
According to McLaughlin (1990), Metonymy accomplishes its transfer of
meaning on the basis of associations that develop out of specific contexts rather than
from participation in a structure of meaning (p.83), therefore, the metonymic
expression of the above lines is given by the word ‘garden’ which contains the
connotation of ‘life’, one of the popular themes in rock music, and any other music
as well. The notion of the garden can be interpreted as the cycle of life, since gardens
employs a common interpretive aspect of the experience of humans living in
relationships between humans and nature which are connected through physical
movement, activities and imagination.
garden life
grow grow
plants human
Figure 1: Structure mapping of mixing perception of garden and life
In short, figurative language is language using figures of speech or tropes,
such as metaphor, similes, metonymy, irony, idioms, analogies, and figurative
phrase. Figurative language has also been a focus in the field of cognitive linguistics,
10
which has made great strides in relating the language faculty to general cognitive
processes.
Although, the analysis of figurative language in literary works seems too
complex, they are so common in everyday language that the process of interpreting
them occurs almost unconsciously, like any frequently repeated skill (McLaughlin,
1990, p. 81). Generally, the used of figure of speech can be found in poetry and in
other genres of literary works, including song. In lyrics composition, songwriters
normally compose lyrics in order to express their idea of reality and emotion, narrate
stories, and present their experiences through their own imagination by applying
language used in their culture. In addition, some previous research seems to indicate
that songwriters realize the significance of superior language used in song lyrics and
it can therefore affect their overt reputation, improve their own prominence and
appear to be influencing their target group. Consequently, in this study, the
importance of studying discourse focusing on figurative language can gain insight
into how lyrics meaning is constructed employing both different and familiar terms
and concepts. Other forms of figurative language will be considered in defining
categories, such as the meaning of words or phrases, and linking them to the musical
experience.
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There are seven common figures of speech are listed below with their definitions.
According to Richard E. Mezo (1999)
COMPARISON
A simile is an indirect comparison between two different things using the word
like or as or an equivalent term. (x is like y)
A metaphor is a direct comparison. Explicit or implicit, between two different. (x
is y: x=y)
A personification is a comparison of something not human (abstract to concrete) to
a human being. (x is a human being). It gives something nothuman the characteristics
or attributes of a human.
SUBSTITUTION
A metonymy is a substitution of some word or term closely related to or associated
with the literal word or term meant. (y is substituted for x).
A synecdoche is substitution of the part for the whole. The whole for the part. A
species for a genius (for vice versa). An individual for a class. Or material for the
thing (part is substituted for whole: whole is substituted for part). The second
element of the pair is the literal word or term.
EXAGGERATION
2.1.2 Phonetic Devices : Rhyme And Repetition
Rhyme is one of the stylistic devices for developing phonological sensitivity
in poetry and song. Rhyme is a linguistic style based on repetition of similar or the
same sounds in two or more words, which often occurs in the final syllables or whole
words at the end of a line, normally occurring in poems or songs. Likewise, Butler
and Newman (2008) suggested that, Rhyme is when two or more lines of lyrics or
poetry end with the same corresponding sound, which enables the singers or listeners
to remember the words more easily.
Rhyme is a powerful device used to make songs pleasant to hear, to keep the
listener interested, and to flow the lyrics as well. All of these rhyming functions can
create memorable and sing-able lyrics for the listeners. Besides, their potential effect
on aesthetic experience, they have been claimed to influence recall and
comprehension of words.
Rhyme can also be hypothesized to increase the comprehension of the beauty
of poem and song with more emotionally involvement. Hence, systematic
investigation has been done to show how structural features of rhyme impact the
aesthetic and emotional processing of song lyrics.
Moreover, the pattern of rhyme that occurs at the end of each verse or line in
poetry and song is regarded as rhyme scheme. There are several types of rhyme
scheme or rhyming pattern used in poetry and song which can be divided into two
categories. First, regular rhyme scheme, such as „Couplet‘ AA, AA,BB,CC,…, or
ABBA , „Triplet‘ AAA, „Monorhym which is when every line uses the same
13
rhyming pattern. Second, complex rhyme scheme, such as „Terza Rima ABA BCB
CDC,…, Keats‘ ABABCDECDE, „Rime Royal ABABBCC, etc. Normally, like
the other language devices of writing, rhyme scheme is used to control the flow,
attract the audience‘s attention, and highlight important ideas in an effective way.
Example :
This is a lovely sight. (A)
The following example uses an AA rhyme scheme. Here, the first line ends in
the word bright, which rhymes with the final word of the second line, sight.
On the other hand, if we classify rhyme according to position in the verse,
internal rhyme is one often used rhyme technique which occurs in the interior of a
line when it rhymes with a word or phrase at the end of the same line or a different
line. Furthermore, the use of different types of rhyme - perfect rhyme, forced rhyme,
masculine rhyme, feminine rhyme, alliteration – were also carried out in this
analysis. However, this study assumed that different songs will exhibit different
styles of lyrics that can be characterized by the type or pattern of the rhymes used.
Hence, more elaborate rhyme schemes, particularly less obvious patterns of rhymes,
were taken into consideration, including assonance and alliterations among others.
One important feature of popular music is the use of repetition in lyrics as a
phonetic device. Repetition is apparently an essential part of popular song, as Kivy
(1993) suggested, repetition as pattern is highly pertinent to most music, The music
which I have been discussing does not merely contain repetition as an important
feature, but as a defining feature (p. 359). Accordingly, repetitions are employed
14
throughout lyrics in order to create an emotion, and to emphasize the meaning of
important words or phrases.
The essence of this device lies in the repetition of similar sounds, in close
succession, particularly at the beginning of successive words." Therefore, it is
concerned as a musical instrument that aids to consolidate meaning as shown by
certain sounds in words in sequence.
In many songs, repetition is usually used not only for the pleasure of the
recurrent, but also for emphasizing the elements of a relationship in trouble to signify
a range of different emotions. When repetition is conducted in a verse, it is important
and commonly presents semantic interpretations of the lyrics and it is the means of
creating pattern. Above all of these distinctions, repetition embeds in depth a familiar
word and a song chorus, as Beasley and Chuang (2008) suggested in their research
that songs should utilize repetition to highlight key words or phrases. Repetition of
lyrics is typically found in the chorus section of a song. This section is considered a
song's lyrical "hook" because it makes the song memorable to the listener, thus
"hooking" them on the song .
2.2 Background of The Selected Songs (1963-2011)
2.2.1 Bob Dylan – Blowin’ In The Wind
Bob Dylan‘s revered Blowin‘ in the Wind, released on his second studio
LP The Frewheelin Bob Dylan, is a protest song and an appeal to the masses for
justice and fortitude. The song is one of Dylan‘s simplest – just three verses and
accompanied only by guitar and harmonica – but also one of his strongest. The song
15
questions moral fiber and exposes a harsh reality in an effort to find a spark of virtue
and ignite a flame of passionate righteousness.
Life is a succession of moments and experiences, roads that we must travel in
order to live the human experience. We must ride the cycle of life reveling in the
good times and enduring the bad, taking something enriching from each individual
experience that we using it to better our lives.
Speaking of Dylan in a Songfacts interview, Yarrow added, "He was just a
fountain of brilliance of poetry. And he was as a person just a normal human being,
like everybody else."
2.2.2 Blur – Country House & Oasis – Roll with It
Britpop is a UK based music and culture movement in the mid 1990s which
emphasised "Britishness", and produced brighter, catchier alternative rock, partly in
reaction to the popularity of the darker lyrical themes of the US-led grunge music, an
alternative rock genre, and to the UK's own shoegazing music scene. The most
successful bands linked with the movement are Oasis, Blur, Suede and Pulp; those
groups would come to be known as its "big four".
The Battle of Britpop. A chart battle
between Blur and Oasis dubbed "The Battle of
Britpop" brought Britpop to the forefront of the
British press in 1995. The bands had initially
praised each other but over the course of the year
antagonisms between the two increased. Spurred
on by the media, the groups became engaged in what the NME dubbed on the cover
of its 12 August issue the "British Heavyweight Championship" with the pending
release of Oasis' single "Roll with It" and Blur's "Country House" on the same day.
The battle pitted the two bands against each other, with the conflict as much about
British class and regional divisions as it was about music. Oasis were taken as
representing the North of England, while Blur represented the South. The event
caught the public's imagination and gained mass media attention in national
newspapers, tabloids, and television news. NME wrote about the phenomenon, "Yes,
in a week where news leaked that Saddam Hussein was preparing nuclear weapons,
everyday folks were still getting slaughtered in Bosnia and Mike Tyson was making
his comeback, tabloids and broadsheets alike went Britpop crazy. Country House
sold 274,000 copies to Roll With It‘s 216,000 – the songs charting at number one
and number two respectively. However, in the long run Oasis became more
commercially successful than Blur, achieving sustained sales in the United States
thanks to the singles "Wonderwall" and "Champagne Supernova". Oasis's second
album, (What's the Story) Morning Glory? (1995), sold over four million copies in
the UK, becoming the third best-selling album in British history.
2.2.3 Ed Sheeran – The A Team
The A Team" is the debut single by English singer-songwriter Ed Sheeran. It
was released as a digital download in the United Kingdom on 12 June 2011, serving
as the lead single from his debut album, + (2011). "The A Team" is a folk ballad with
lyrics that speak of a prostitute addicted to crack cocaine, a Class A drug. It was
written after Sheeran visited a homeless shelter and heard some of the stories of the
lives people had been living. Making the song upbeat and using the line "Class A
17
Team" was his way of masking the heavy subject matter. He wrote the song
following a last-minute performance at an event for the homeless.
It became a top 10 hit in Australia, Germany, Ireland, Israel, Japan,
Luxembourg, New Zealand, Norway, the Netherlands, and the United Kingdom. It
debuted at number three on the UK Singles Chart, with sales of 57,607 copies. The
song was serviced to US radio formats in late 2012 and became a sleeper hit there,
gradually rising up the Billboard Hot 100 to peak at number 16, becoming Sheeran's
first single on that chart. On 5 December, the song received a Grammy Award
nomination for Song of the Year, Sheeran's first Grammy Award nomination. At the
2012 Brit Awards, it was nominated for Best British Single.
2.3 Relevant Studies
The writer found some previous studies about stylistics that helps the writer
to works this research. The first research is the study of stylistics analysis done by
Ferdows Agha Golzadeh & Nader Mahdipoor (2016). This study is a stylistic
analysis of the Beatles‘ song lyrics Let It Be‘. The aim is to explore the various
stylistic devices used in the lyrics at different linguistic levels, and to see how all
these stylistic features interact to make the lyrics mean what they mean. The study
covers different aspects of style such as rhyme patterns at the level of sounding, and
tense selection and transitivity structure at the level of wording and grammar.
The second previous study is belonged to a journal article of stylistics written
by Ferdows Agha-Golzadeh, Amir Ghorbanpour (2016). The title is We Don‘t Need
No Education: A Stylistic Analysis Of Pink Floyd‘s Another Brick In The Wall‘.
The aim was to explore various stylistic devices used in the verses to convey the
18
main theme of the lyrics at different levels of language (phonetics/phonology, lexico-
grammar, and semantics), and to see how all these stylistic features interact to make
the lyrics mean what they do. The study covers different aspects of style including
rhythm and rhyme patterns at the level of sounding, tense selection and transitivity
structure at the level of wording and grammar, and the use of metaphor and irony at
the level of meaning. The analysis shows that the verses make use of a variety of
stylistic techniques to communicate the main theme of the lyrics, which is centred
around the sense of isolation and abandonment, and to fit into the musical rhythm
and feeling connected to it.
The third previous study is belonged to Suriati (2016) Stylistic Analysis In
Iwan Fals‘ And Ebiet G Ade‘s Song Lyrics. Masters thesis UNIMED. The objectives
of this study are to describe types of figures of speech found in the Iwan Fals‘ and
Ebiet G Ade‘s song lyrics, to describe the interpretation of Iwan Fals‘ and Ebiet G
Ade‘s song lyrics and to elaborate the reason why they use it. A qualitative
descriptive research was applied. The data source were taken from the album of Iwan
Fals and Ebiet G Ade‘s album from 1982 to 1990. There are 11 album of Iwan Fals
and 6 album of Ebiet G Ade.Iwan Fals‘ album are choosen randomly as well as Ebiet
G Ade‘s album.To take the album is used percentage namely 30 percent of Iwan
Fals‘ album and Ebiet G Ade‘s album. There are 3 album of Iwan Fals and 2 album
of Ebiet G ade that will be the source of data. The songs that characterized the most
representative are taken respectively from the album collection. The researcher takes
30 percent of it as the data namely 8 song lyrics of Iwan Fals and 6 song lyrics of
Ebiet Ade. Documentary technique is applied in collecting the data. The instrument
for collecting the data is documentary sheet. The data were analyzed by using Mile
19
and Huberman‘s data analysis. The findings show that there are 10 types of figures of
speech are found in the Iwan Fals song lyrics namely: personification, apostrophe,
simile, metaphor, synecdoche, metonymy, symbol, paradox, allegory, and
overstatement/hyperbole and 8 types of figures of speech are found in Ebiet G Ade‘s
song lyrics namely: personification, apostrophe, metaphor, symbol, paradox,
allegory, overstatement/hyperbole and understatement.
METHOD OF STUDY
3.1 Research Design
In principle, any research design uses any type of data collection method
either quantitative or qualitative data. In a qualitative research, a researcher produces
a narrative or textual description of the phenomena under study. The researcher uses
descriptive qualitative approach in conducting this research. The qualitative research
is chosen because it can describe systematically the fact and characteristics of the
data. Besides that, qualitative research methods were developed in the social sciences
to enable researchers to study social and cultural phenomena like case study and
ethnography.
In a qualitative research, a researcher produces a narrative or textual
description of the phenomena under study. Thus, the object of the study is presented
more in words rather than in numbers. The data collected are the subject‘s
experiences and perspectives. The qualitative research attempts to get a rich
description of people, objects, events, places, conversations, and so on. In this
research, the data is the selected songs from British musician. Then further action
will be conducted by describing and analyzing the data one based on the theories
which are discussed in the previous chapter.
3.2 Data and Source Data
The writer takes four selected songs from British musicians as data in this
research that contain a stylistic aspect in figurative languages and phonetic devices;
21
rhyme and repetition. The source of data is taken from internet website
https://www.poemhunter.com/.
3.3 Method of Collecting Data
In terms of analyzing the data, there are four ways to collect the data which
are observation, questionnaire, interview and documentation. This research method
used in the study document as a process mainly to help us learn. We need to
understand more clearly just what is going on when we analyze data, in order to
reflect, refine our methods, and make them more generally usable by others. In
addition, the writer collects the data that retrieves on internet.
The steps in collecting data are below:
1. Listening, reading, and writing down the songs from four British musician (Bob
Dylan, Oasis, Blur, Ed Sheeran)
2. Marking the figurative languages, rhyme, and repetition that occur in songs.
3. Classifying which kind of process that occur in songs
3.4 Data Analysis Technique
Data analysis which includes gathering and linking the data to find particular
phenomena is the important part of qualitative research. This study will focus
primarily on data in the form of words, phrase/sentences and discourses—that is,
language in the form of extended text. According to Miles and Saldana (2014), there
are three concurrent flows of activity in the process of analyzing the data: (1) data
condensation, (2) data display, and (3) conclusion drawing/verification (as cited in
Miles et.al., 2014: 31). It can be represented as shown in figure below.
Data condensation refers to the process of selecting, focusing, simplifying,
abstracting, and/or transforming the data that appear in the full corpus (body) of
written-up field notes, interview transcripts, documents, and other empirical
materials. (Miles et.al., 2014: 31). In this study data condensation is done by only
selecting and focusing through the data.
3.4.2 Data Display
Generically, a display is an organized, compressed assembly of information
that allows conclusion drawing and action. Usually in a form of table or diagram to
make the data looks more organized and easier to be observed so it helps conclusion
drawing. In this study, the table will be used as a model analysis.
3.4.3 Drawing and Verifying Conclusion
Conclusion from this study focused on the analysis of figurative languages,
rhyme and repetition that happen based on several theory from experts (Paul
Simpson; Stylistic: a resource book for student), (Butler and Newman; The effects of
using music and rhyme to increase retention. (Master of Education), Kivy (1993).
The Fine Art of Repetition: Essays in the Philosophy of Music. There are steps in
analyze the figurative languages and phonetics devices in selected British songs;
1. Listen, read, and write down each songs carefully.
2. Marks the figurative languages, learn the rhyme and repetition that occur
in line.
3. Classify which type of figurative languages, and what kind of rhyme and
repetition occur in line.
ANALYSIS AND FINDING
For comprehension of each song, all of them firstly were selected from the
four British musician (Bob Dylan, Oasis, Blur, Ed Sheeran) popular singles which
were released between the years 1963 and 2011. Although each song revealed
a different technique used by the songwriter, the main features which were
chosen to discover the style and organization of the texts are provided in the
following frame of the analysis:
- Figurative language (metaphor, metonymy, personification, simile,
synecdoche, idiomatic phrase, rhetorical question)
- Phonetic devices: rhyme and repetition
3.1 Bob Dylan – Blowin’ in The Wind
4.1.1 Figurative language Analysis
(4) How many seas must a white dove sail before she sleeps in the sand?
before she sleeps in the sand In the Verse 1 line, Dylan said the song raises
rhetoric question asking how many seas must a white dove sail‘ which is how many
times the war will be fought before achieving peace. Sleeping in the sand refers to
the fact that there is no war. The song uses the phrase sleeps in the sand as a
reference to the passage in the Bible that describes the incident of Noah‘s sending the
doves out to find land after the flooding of the earth. He was searching for a place to
land and rest.
24
(5) Yes, and how many times must the cannon balls fly
In the next line. The song asks how many times the weapons (cannon ball)
will be used before they might be totally banned. In other words, it says that we have
fought enough wars and they should be ended now. According to McLaughlin
(1990), personification is when the characteristics of a human subject are transferred
to an inhuman object (p. 83). Therefore this sentence, revealed the use of
personification in cannon balls fly‘, because the cannon ball(weapon)‘ is being
personified or humanized, giving it the human or animal characteristic of fly, though
actually cannon ball‘ is an inanimate object
(7) The answer, my friend, is blowing in the wind : (A)
(8) The answer is blowing in the wind : (A)
In the refrain part, line (7) and (8) tell what all these song means, The line
says that the answer to all of the questions he raised in the verses above lies in the
winds, which the answer does exist that is waiting for someone to grab it. But the
problem is that nobody troubles to quest for those answers.
In the Verse 2 line (11) and (12) consist a metaphor inside the rhetorical
question which says,
(11) Yes, and how many years can some people exist
(12) Before they're allowed to be free?
25
There is a direct reference to the discrimination against the African
Americans who were treated as second-class citizens in spite of living in free‘
country. Dylan wonders when these people will be able to live freely and might not
just exist‘ on the earth.
(15) Yes, and how many times must a man look up
(16) Before he can see the sky?
Verse 3 is very interesting, in the line (16), sky‘ represents freedom‘.
According to him, this Metaphor happen when the sky‘ which interpreted as
freedom‘ is hidden before the wars. So he wonders how many times one will have to
face the wars in order to gain freedom and liberty.
Analysis
(1) How many roads must a man walk down : (A)
(2) Before you call him a man? : (X)
(3) How many seas must a white dove sail : (B)
(4) Before she sleeps in the sand? : (X)
(5) Yes, and how many times must the cannon balls fly : (C)
(6) Before they're forever banned? : (X)
26
In the Verse 1, The pattern is AXBXCX, there is 3 different rhyme in line
1(down), line 3(sail), and line 5(fly), however the X symbol is marked for the other
line which have the same rhyme /nd/ man, sand, and, banned. each line ended with
masculine rhyme with the words - man, sand, and banned, that contained the same
assonant sound. When each line has the same ending sound, its sound is more
smooth and catchy.
[Refrain]
(7) The answer, my friend, is blowing in the wind : (A)
(8) The answer is blowing in the wind : (A)
In the Refrain, there is a Monorhyme happens with two same word repeated
at the end of the line (wind).
[Verse 2]
(9) Yes, and how many years can a mountain exist : (A)
(10) Before it is washed to the sea? : (X)
(11) Yes, and how many years can some people exist : (A)
(12) Before they're allowed to be free? : (X)
(13) Yes, and how many times can a man turn his head : (B)
(14) And pretend that he just doesn't see? : (X)
In the Verse 2, The pattern is also AXBXCX, but, there is a same ending in
line (9) and line (11) with exist. Still, the X symbol is marked for the other line
27
which have the same rhyme /i/ (sea, free, and, see.) Each line ended with masculine
rhyme with the words - sea, free, and see, that contained the same assonant sound
/i/.
[Verse 3]
(15) Yes, and how many times must a man look up : (A)
(16) Before he can see the sky? : (X)
(17) Yes, and how many ears must one man have : (B)
(18) Before he can hear people cry? : (X)
(19) Yes, and how many deaths will it take 'til he know : (C)
(20) That too many people have died? : (X)
Verse 3 still using the same Pattern AXBXCX. Masculine rhyme in the X
Marks with vowel sound // (sky, cry, and died). Also the Head rhyme (Alliteration)
shows in line (15) with many, must and man and also happens in line (17) with the
same words.
SUMMARY
Table 1: Categories and features observed in the song „Blowin In The Wind
CATEGORIES OBSERVED FEATURES
Alliteration (Head Rhyme)
Phonetic Devices Repetition
It can be seen in Table 1 above that Blowin‘ in The Wind‘ is a very easy-
listening song with so many repetition words and these are what make this song is so
powerful by the messages that song has. Rhetorical questions always be the
weapon‘ of this song. They remind us to keep asking question to every single
decision that make us apart because of war. And for the rhyme scheme look very
smooth with the consistency rhyming in all verses. And a very wise – Monorhyme in
the refrain.
4.2.1 Figuratives Language Analysis
The song Roll With It‘ contains an optimistic perspective which can be
analyzed from the use of figurative language in the lyrics. For this purpose, the
songwriter needs to connect the audiences‘ pre-existing schemata or experience by
using metonymy as part of the details, the chorus:
(12) I know the roads down which your life will drive
(13) I'll find the key that lets you slip inside
(14) Kiss the girl, she's not behind the door
29
(15) But you know I think I recognize your face, but I've never seen
you before
I know the roads down which your life will drive
roads experiences
(process) (process)
your life will drive what you want to be
Figure 2: Structure mapping of mixing perception of roads and experiences
According to McLaughlin, Metonymy accomplishes its transfer of meaning
on the basis of associations that develop out of specific contexts rather than from
participation in a structure of meaning (p.83), therefore, the metonymic expression
of the line 12 is given by the resemblance between the target and the source is
process‘ (see Figure 2), because roads and the experiences in humans is earn by how
long you can reach and get to the finish to achieved the goal/place. It can be
described that to show the places you want to go is you should go through the roads
(source) which is similar to get what you want to be you need to gain some
experiences (target).
For line 14, According to Deignan (2005), The conceptual metaphor that
equates experiencing strong emotions with experiencing physical motion can be
expressed as feeling is physical movement (p.148). Based on metaphorical analysis
the line says kiss the girl, she's not behind the door”. The writer wants to show the
30
feeling with some act (kissing) he wants tell us that we don‘t have to doubt or afraid
to make a decision even for kissing the girl, do something with confident as long as
you think that‘s the truth it‘ll alright.
Analysis
(3) You gotta say what you say : (X)
(4) Don't let anybody get in your way : (X)
(5) 'Cause it's all too much for me to take : (Y)
For the verse 1, perfect rhyme happens in line (3) and (4). Words say and way
are rhyming perfectly. These words consist of the same final accented vowel sound
/e/: say, way.
The writer used the repetition a lot in this verse like in the line (1),(2), and
(3). He used You gotta‘ in the beginning of the line. This is because the song is
about to encourage people, to motivate them in direct way which use word You‘ to
sounds like he speak to you directly.
(6) Don't ever stand aside : (A)
(7) Don't ever be denied : (A)
(8) You wanna be who you'd be if you're coming with me : (X)
(9) I think I've got a feeling I've lost inside : (A)
(10) I think I'm gonna take me away and hide : (A)
(11) I'm thinking of things that I just can't abide : (A)
31
Verse 2 is more interesting, The pattern is AAXAAA. These verse consist the
same final vowel /d/ aside, denied, inside, hide, and abide. Except the X the end
with /i:/ vowel me. On the other hand, an internal rhyme was revealed in the line (8)
by matching between the words be‘ and me‘ with vowel sound /i:/.
[Chorus]
(12) I know the roads down which your life will drive : (A)
(13) I'll find the key that lets you slip inside : (A)
(14) Kiss the girl, she's not behind the door : (B)
(15) But you know I think I recognize your face, but I've never seen you before :
(B)
For analyzing rhyme pattern in the chorus, it can be clearly seen as the
regular rhyme pattern AABB. Since line (12) ends in a word drive‘ that rhymes with
inside‘ in the next line by the same vowel sound //, which is marked with letter
A‘. Then, the ending words door‘ in line (14) and before in line (15) were marked
with letter B‘, because of matching the same accent vowel sound // door and
before.
SUMMARY
Table 2: Categories and features observed in the song „Roll Wit It
Figurative Languages Metonymy
Internal Rhyme
In The Table 2, there is a metonymy happen which make the song really interesting
to discuss. For the rhyme, perfect rhyme and internal becomes songwriter‘s favorites
rhyme. He used repetition very smooth by repeated the verses with other option in
the end line.
3.3 Blur – Country House
4.3.1 Figuratives Languages Analysis
Message of the song is about how Blur regard city and country.
(1) City dweller, successful fella
(2) Thought to himself, "Oops, I've got a lot of money”
(3) Caught in a rat race, terminally
Line 3, the songwriter‘s says rat race. It is a metaphor of the city. They are
all living in city as if they are playing a rat race game, which means city lives are
endless, self-defeating and pointless. They are just lab rats running in a maze.
(15) Oh, it's like an animal farm
33
The writer‘s uses simile in the line (15). The words it‘ refers to the country‘s
view when it all sounds relaxing, and peaceful when you live in the country.
The representation of the country house is totally different with city. Verse 2
are very interesting to discuss, here is the line 17-19
(17) He's got morning glory and life's a different story
(18) Everything's going Jackanory
Jackanory is a BBC children's television series
which was originally broadcast between 1965 to 1996.
It was designed to stimulate an interest in reading. The
show's format, which varied little over the decades,
involved an actor reading from children's novels or
folk tales, usually while seated in an armchair. From
time to time the scene being read would be illustrated
by a specially commissioned still drawing, often by
Quentin Blake. Usually a single book would occupy
five daily fifteen-minute episodes, from Monday to
Friday. (Wikipedia)
Based on article above, the writer wants to tell us by line (18) that living in
the country is more like – everyday vacation. You can watch TV in the morning and
do some work with a more flexible time than you live in the city.
(20) He's reading Balzac and knocking back Prozac
34
For line (20) according to McLaughlin (1990), personification is when the
characteristics of a human subject are transferred to an inhuman object (p. 83).
Therefore this sentence, revealed the use of personification in „knocking back
Prozac, because the Prozac‘ is being personified or humanized, giving it the human
characteristic of knocking though actually Prozac‘ is a medicine or an inanimate
object. Hence, the sentence „knocking back Prozac can be interpreted as he is taking
an antidepressant to make his mood normal again after so much activity from work,
in other words, it means he does not have enough time to do the things he want.
4.3.2 Phonetic Devices : Rhyme and Repetition
(1) City dweller, successful fella : (A)
(2) Thought to himself, "Oops, I've got a lot of money" : (B)
(3) Caught in a rat race, terminally : (X)
(4) I'm a professional cynic but my heart's not in it : (A)
(5) I'm paying the price of living life at the limit : (B)
(6) Caught up in the century's anxiety : (X)
Verse 1 start with internal rhyme, when dweller and fella rhyming in the
same final consonants of accented syllables, which matched the consonant sound /l/.
The pattern is a regular one with ABXABX. For line (4) and (5) also consist an
internal rhyme. In line (4) Cynic and in it have a same /i/ sounds. Meanwhile in (5)
head rhyme (alliterative rhyme) happen in words living, life, and limit.
[Chorus]
(A)
(12) And the food he eats in the country : (B)
(13) He takes all manner of pills : (C)
(14) And piles up analyst bills in the country : (C)
(15) Oh, it's like an animal farm : (D)
(16) That's the rural charm in the country : (D)
The chorus is fabulous. The pattern is only the regular AABBCCDD. The
interesting part is, it doesn‘t rhyme at the end of the line like usual. Line (9) and (10)
repeated the word house, for (11) and (12) word repeats and eats show the same end
/its/. Also in (14) and (15) with animal farm and rural charm. Ending with /l/ for
animal and rural, and ending with /m/ for farm and charm.
[Verse 2]
(17) He's got morning glory and life's a different story : (A)
(18) Everything's going Jackanory : (A)
(19) Touched with his own mortality : (A)
Verse 2, another internal rhyme ‘glory’ and ‘story’ following with a feminine
rhyme in words ‘Jackanory’ and ‘mortality’. All of these word rhyming the same
ending with /i:/ sound.
(20) He's reading Balzac and knocking back Prozac : (B)
(21) It's a helping hand that makes you feel wonderfully bland : (B)
(22) Oh, it's a century's remedy : (X)
36
Internal rhyme in line (20) between Balzac and „Prozac is called feminine
rhyme (double rhyme) refers to a line ending in a stressless syllable. And for line
(21), hand‘ and bland is a masculine rhyme because „hand and „bland is a stressed
syllable.
SUMMARY
Table 3: Categories and features observed in the song „Country House
Figurative Languages Metaphor
Masculine Rhyme
Feminine Rhyme
In Table 3, the song has it all. The songwriter used so many figurative languages.
Metaphor, simile and personification. Still metaphor become the dominant one.
Rhyme scheme is very complex, it rhyming uniquely in the refrain with all the
37
internal rhyme that happen in each line make the song so pleased to hear with all the
spirit energy in it.
4.4.1 Figurative Languages Analysis
This is a really easy listening song. Ed wrote this song after going to a charity
event for the homeless that his friend organized. The analysis started with this
following sentences
(1) White lips, pale face
(2) Breathing in the snowflakes
(3) Burnt lungs, sour taste
Line (2) shown a synecdoche when sentences „Breathing in the snowflakes.
The snowflakes‘ means winter there. The condition is snowy and cold, a woman
shouldn‘t be outside in this situation. Also in line (3) shown a metaphor with
sentences „burnt lungs. BURNT and LUNGS metaphor notably appears in the
line; „Burnt lungs, sour taste‘. Burnt mean there is something that fire and the
fact is fire cannot occur inside a human body including the lungs, so this sentence
cannot be interpreted literally. As Kövecses (2000) pointed out, the concept of
love is the most metaphorically used, probably because it does not only allude to
an emotion, but also to a relationship. Thus, the conceptual metaphor LOVE IS
FIRE‘, one of the conceptual metaphors about LOVE, was used in describing
what the message is trying to convey. When we think of LOVE, we
38
conceptualize it via FIRE (Larsen, 2006, p. 11). In this situation LOVE is not
something that fill your heart with happiness anymore because is already burnt.
Synecdoche also used by the writer in line (19) And in a pipe she flies to the
Motherland
The writer uses metaphor and said under the upper hand.
The Upper hand means the position of dominance,
being in charge, being in control or having the
advantage. It is most often used as get the upper
hand or gain the upper hand. Some believe the
idiom upper hand comes from an American
playground method of seeing who takes the first turn
in a game. Someone tosses a baseball bat at a player,
and then the other players vying for the first turn take
turns grabbing the bat above the original gripping
point. The hand that lands on top of the baseball bat
handle belongs to the player who gets the first turn.
However, the term upper hand is older than baseball.
It is found several hundred years before, in
England. Upper hand is derived from the
word upper, meaning superior, first, highest,
and hand, with the alternative meaning of possession
or power. (Grammarist.com)
The woman is being control by situation. She cannot choose what she wants.
She is always under the position of dominance. She has to follow orders or life will
bring her down.
(12) Slowly sinking, wasting
(13) Crumbling like pastries
The writer use simile on this line when he said her face seems, slowly
sinking, wasting, crumbling like pastries. According to Richard E. Mezo (1999)
simile is an indirect comparison between two different things using the word like
or as or an equivalent term. (x is like y). in the line 11-13 the writer describe the
condition of a woman that really sour and sad it shown by her face like an object in
the middle of ocean. Meaningless just like when he uses slowly, sinking, wasting and
he add that her life is like pastries that easy to crumb. In other word, even something
beautiful like pastry, it has something called weakness which is easy to crumb or
break.
40
Significantly, the masculine rhyme can be seen clearly in these triplet except
for line (2) the snowflakes‘: face – snowflakes – taste‘ are the same vowel and
consonant sound /es/, end – rent – men‘ are the same /n/ sound. The pattern is
AAABBB. We can see, this song is written in 20‘s century. it‘s show a significant
change in writing style of the musician. When the old music full of spiritual and
abstractness meaning, nowadays the important thing is you should write with honest
just like Ed said when he was interviewed by abcnews.
He said, “I think the best songs are the most
truthful and honest songs. And its because
its stuff you cant actually say yourself,” said
Sheeran. “I don't know. Songwriting is a
really weird thing. 'Cause I think it works as
some sort of therapy for me, anyway. Like, I
think I've stopped myself going mad by
writing songs.” (www.abcnews.go.com)
(8) She's in the Class A Team (A)
(9) Stuck in her daydream (A)
(10) Been this way since 18 (A)
(11) But lately, her face seems (A)
(12) Slowly sinking, wasting (A)
(13) Crumbling like pastries (A)
(14) And they scream (A)
(15) The worst things in life come free to us (Y)
This song have a pre-chorus and it all rhyme the same sound /i;/ except the
(7) and (15) as a opener and close lines. According to the line above, it also revealed
an internal rhyme that occurred within each line and combine together. There are
feminine rhyme of assonance /i;/ sound between the words – lately, and slowly -
including rhyme of assonance /i;ng/ sound between the words – sinking, wasting, and
crumbling.
[Chorus]
(17) And go mad for a couple of grams (A)
(18) And she don't want to go outside tonight (X)
(19) And in a pipe she flies to the Motherland (A)
(20) Or sells love to another man (A)
(21) It's too cold outside (X)
(22) For angels to fly (B)
(23) Angels to fly (B)
Moving on to the chorus when head rhyme (alliteration) of the line (16)
happen in „under the upper. And also end with the same sound /e/ in words „hands
– grams. Line (19) and (20) is a also end with /en/ „motherland – man. The last
line (22) and (23), the writer used repetition to make sure that every woman deserved
a proper life, deserved to fly (free) to do what she wants to do.
42
SUMMARY
Table 4: Categories and features observed in the song „The A - Team
Figurative Languages Metaphor
Masculine Rhyme
Feminine Rhyme
It can be seen in Table 4 above that there is a synecdoche happen which is very cool
in order this song is the only song that written in 00‘s. The songwriter not using
metaphor as much as other three songs. But the rhyme is so beautiful. Internal rhyme
become something that make this song stay in our head with repetition that support
the beauty in this song.
5.1 CONCLUSIONS
The purpose of the current study was to discuss the use of figurative
language, rhyme, and repetition to justify the significant stylistic devices that four
big British‘s songwriter used in thei popular singles, released between 1963 and
2011. After the discussion previously, it was proved that stylistic analysis in song
lyrics it could be concluded as follows :
1. The results demonstrate that the use of figurative language, especially metaphor,
as a dominant one could be remarkably found in all selected song lyrics of these four
British musician.
2. Rhyme and repetition were generally used as significant phonetic devices to attract
the audience‘s attention with charming sounds and rhythms including connotations
of repeated words, phrases, or choruses in the verses. There is no specific one, but
varied forms of regular and complex rhyme schemes employed in all of the selected
songs. However, it was found that masculine rhyme is mostly employed to
emphasize the meaning of the verses. In terms of repetition of choruses and words, it
is an objective feature that distinguishes the attractive sounds and also performs as a
stylistic device to highlight an important meaning of content in those lyrics. The
overall results of this study can be beneficial for language learners who are interested
in studying English, particularly with respect to developing their skill of stylistic
analysis in song lyrics.
44
Finally, despite the many factors that go into creating a hit song, the use of
stylistic devices - figurative language especially metaphor, rhyme, repetition - were
very effective tools for the songwriting of four musician (Bob Dylan, Oasis, Blur,
and Ed Sheeran) during 1963 - 2011, and it could be efficient for songwriting in
other periods as well as in other music genres, and other music bands.
5.4 SUGGESTIONS
This study focused on the use of stylistic devices in four selected songs of
British musician, released between 1963 and 2011. In this small-scale study, further
research can be broadened in terms of data-scale by increasing the number of song
lyrics and conducting more comparisons with other genres of music, and also
extending the number of years in chronological order in order to contribute richer
findings. Moreover, there are only three features of language use selected to be
analyzed in this study which consisted of figurative language, rhyme, and repetition,
instead, further research can be done by expanding the scope of language analysis
beyond these three features, in order to compare and contrast the distinctive
characteristics for greater validity and reliability
Furthermore, the results from this study are aimed to be useful for other
researchers who are interested in investigating English song lyrics or other related
topics. However, the writer should be aware that stylistic analysis in song lyrics and
other kinds of text needs advanced proficiency in English skills since the difficult
level of language features in lyrics plays an important role based on the English
language level of each audience.
REFERENCES
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________.2019. Retrieved from Grammarist on 3 March 2019
________.2019. Retrieved from Songfact.com on 3 March 2019
Year : 1963
Before you call him a man?
How many seas must a white dove sail
Before she sleeps in the sand?
Yes, and how many times must the cannonballs fly
Before they're forever banned?
The answer is blowin' in the wind
Yes, and how many years can a mountain exist
Before it's washed to the sea?
Yes, and how many years can some people exist
Before they're allowed to be free?
Yes, and how many times can a man turn his head
And pretend that he just doesn't see?
Yes, and how many times must a man look up
Before he can see the sky?
Yes, and how many ears must one man have
Before he can hear people cry?
Yes, and how many deaths will it take 'til he knows
That too many people have died?
The answer, my friend, is blowin' in the wind
The answer is blowin' in the wind
Year : 1995
You gotta say what you say
Don't let anybody get in your way
'Cause it's all too much for me to take
Don't ever stand aside
Don't ever be denied
If you're coming with me
I think I've got a feeling I've lost inside
I think I'm gonna take me away and hide
I'm thinking of things that I just can't abide
I find the key that lets you slip inside
Kiss the girl, she's not behind the door
But you know I think I recognize your face
But I've never seen you before
You gotta roll with it
You gotta take your time
I find the key that lets you slip inside
But you know I think I recognize your face
But I've never seen you before
You gotta roll with it
You gotta take your time
Don't ever stand aside
Don't ever be denied
If you're coming with me
Thought to himself, "Oops, I've got a lot of money."
Caught in a rat race terminally
I'm a professional cynic
I'm paying the price of living life at the limit
Caught up in the century's anxiety
Yes, it preys on him
He's getting thin
Try the simple life
He lives in a house, a very big house in the country
Watching afternoon repeats
In the country
And piles up analyst bills
In the country
Lots of rural charm
Everything's going Jackanory
He's reading Balzac
Oh it's a century's remedy
For the faint at heart
A new start
Try the simple life
He's got a fog in his chest
So he needs a lot of rest
In the country
Takes herbal baths
In the country
On the animal farm
Blow, blow me out
Blow, blow me out
I am so sad, I don't know why
Watching afternoon repeats
In the country
And piles up analyst bills
In the country
Lots of rural charm
In the country
He's got a fog in his chest
So he needs a lot of rest
In the country
Takes herbal baths
In the country
On the animal farm
Stuck in her daydream
Slowly sinking, wasting
Crumbling like pastries
And they scream
'Cause we're just under the upper hand
And go mad for a couple grams
And she don't want to go outside tonight
And in a pipe she flies to the Motherland
Or sells love to another man
It's too cold outside
For angels to fly
Dry house, wet clothes
Loose change, bank notes
And they scream
'Cause we're just under the upper hand
And go mad for a couple grams
And she don't want to go outside tonight
And in a pipe she flies to the Motherland
Or sells love to another man
For angels to fly
An angel will die
Straight down the line
And we're all under the upper hand
Go mad for a couple grams
And we don't want to go outside tonight
And in a pipe we fly to the Motherland
Or sell love to another man
For angels to fly
For angels to die

Documents

A STYLISTIC ANALYSIS IN BRITISH MUSICIAN’S SELECTED SONGS