TYPES AND MOTIVATIONS OF KOREAN TO ENGLISH ...dalam lirik lagu sebagai suatu strategi pemasaran. Objek dari penelitian ini adalah lirik lagu di album My Voicemilik Taeyeon. Alih kode

TYPES AND MOTIVATIONS

OF KOREAN TO ENGLISH CODE SWITCHING

IN TAEYEON’S ALBUM MY VOICE SONG LYRICS

AN UNDERGRADUATE THESIS

Presented as Partial Fulfilment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

ARE SEA

Student number : 144214072

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2018

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

TYPES AND MOTIVATIONS

OF KOREAN TO ENGLISH CODE SWITCHING

IN TAEYEON’S ALBUM MY VOICE SONG LYRICS

AN UNDERGRADUATE THESIS

Presented as Partial Fulfilment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

ARE SEA

Student number : 144214072

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2018






vii

Motivation is

when your dreams put on

work clothes.

–Benjamin Franklin-


viii

ACKNOWLEDGEMENT

In this opportunity I would like to thank God, who has already granted my

prayer so I finally can finish my thesis. It is only for Him I give all my hopes and

wishes.

There are many people who have given their participation and their support

to me in finishing this thesis. Because of that, I would like to say thank you very

much for their thesis contribution. First of all, my thesis advisor, Adventina

Putranti, S.S., M.Hum., who has patiently and conscientiously guided, helped, and

gave me advice in conducting this thesis.The second one is my co-advisor,

Fransisca Kristianti, S.Pd., M.Hum, for kindly correcting my mistakes and giving

improvements to my thesis.

My sincerest gratitude also goes to my parents, Jagau and Diah Purnama,

and my younger sisters, Dayka and Arda, for their greatest support. I would like to

thank all lecturers and staff of the English Letters Department who have helped

and taught me, my friends in English Letters Department, especially my close

friends, Audi, Niken, and Ni Luh who always support each other for our thesis,

and all my friends who I cannot mention one by one.

Are Sea


ix

TABLE OF CONTENTS

TITLE PAGE .................................................................................................... ii

APPROVAL PAGE .......................................................................................... iii

ACCEPTANCE PAGE .................................................................................... iv

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI

KARYA ILMIAH ............................................................................................... v

STATEMENT OF ORIGINALITY .............................................................. vi

MOTTO PAGE ................................................................................................. vii

ACKNOWLEDGEMENTS .............................................................................. viii

TABLE OF CONTENTS .................................................................................. ix

LIST OF ABBREVIATIONS .......................................................................... xi

ABSTRACT ....................................................................................................... xii

ABSTRAK ........................................................................................................... xiii

CHAPTER I: INTRODUCTION

A. Background of the Study ............................................................................... 1

B. Problem Formulation ..................................................................................... 4

C. Objectives of the Study ................................................................................. 4

D. Definition of Terms ....................................................................................... 5

CHAPTER II: REVIEW OF LITERATURE

A. Review of Related Studies ............................................................................ 6

B. Review of Related Theories .......................................................................... 8

1. Code Switching .................................................................................. 8

2. Types of Code Switching ................................................................... 9

a. Tag Switching ................................................................................. 9

b. Intra-Sentential Switching ............................................................. 10

c. Inter-Sentential Switching .............................................................. 11

3. Motivations for the Use of English in Song Lyrics ............................ 11

a. The Use of English as an Exotic Device........................................ 12

b. The Use of English as a Poetic Device .......................................... 12

c. The Use of English as a re-Exotic Device ..................................... 14

d. The Use of English as Means of Creating New Structural Form .. 14

e. The Use of English as an Audacious Device ................................. 15

f. The Use of English as a Symbolic Device .................................... 16

g. The Use of English to Express Aspect

of Modern Consumer Culture ...................................................... 17

h. The Use of English to Express Image of Domestic life ................ 17

4. Song Lyrics Elements ............................................................................ 18

a. Rhyme, Rhythm, and Repetition.................................................... 18

b. Figurative Languages .................................................................... 18

c. Other Devices ................................................................................ 19

C.Theoretical Framework ................................................................................... 19


x

CHAPTER III : METHODOLOGY

A. Object of the Study ........................................................................................ 21

B. Approach of the Study ................................................................................... 21

C. Method of the Study ...................................................................................... 22

CHAPTER IV: ANALYSIS (RESULTS AND DISCUSSIONS)

A Types of Code Switching .............................................................................. 25

B. Possible Motivations for the Use of Korean to English Switching ............... 34

CHAPTER V: CONCLUSION REFERENCES .................................................................................................. 54

APPENDICES ................................................................................................... 56

Appendix 1 : Taeyeon’s album My Voice song lyrics (Romanized Lyrics)........ 59

Appendix 2 : Data Checklist of Code Switching ................................................ 70


xi

LIST OF ABBREVIATIONS

AD : The Use of English as an Audacious Device

DL : The Use of English to Express Image of Domestic Life

ED : The Use of English as an Exotic Device

TS : Tag Switching

ITAS : Intra-sentential Code Switching

ITES : Inter-sentential Code Switching

MC : The Use of English to Express Aspect of Modern Consumer Culture

NS : The Use of English as a Means of Creating New Structural Form

PD : The Use of English as a Poetic Device

RED : The Use of English as a re-Exotic Device

SD : The Use of English as a Symbolic Device


xii

ABSTRACT

SEA, ARE. (2018). Types and Motivations of Korean to English Code

Switching in Taeyeon’s Album My Voice Song Lyrics. Yogyakarta: Department

of English Letters, Faculty of Letters, Universitas Sanata Dharma.

The phenomenon when speakers use more than one language, dialect or

variety within an utterance is called code switching. However, code switching is

not only observed in verbal communication but also in written form. This research

discusses the phenomena of code switching in written form, which is in song

lyrics. Code switching in song lyrics is different from what happen in

conversation because this phenomenon is something deliberately created and

planned. Code switching in the lyrics becomes a marketing strategy used by

songwriters and entertaiment industries. It can be seen in Korean popular music

where code switching is deliberately put in song lyrics as the marketing strategy.

The object of this study is song lyrics in Taeyeon’s album My Voice. The

code switching found in this album song lyrics is the focus of this study. This

study aims to identify the types of code switching used in the lyrics and to discuss

possible motivations of the use of Korean to English code switching in them.

In conducting this study, the researcher used purposive sampling

strategy.The researcher searched lyrics of each song in the album that contained

Korea–English code switching only. When they were collected, the researcher

then continued to analyze their types and possible motivations. Sociolinguistic

approach is used in conducting this study. To answer the first problem, the

researcher applied a theory conducted by Poplack (1980). Meanwhile, to answer

the second problem, a theory by Stanlaw (2004) is conducted.

According to the result, types of code switching found in the album are

distinguished into 3 types of code switching. They are intersentential code

switching, tag switching, and intrasentential code switching. Second, there are

five possible motivations found in the album that are divided into two, intrinsic

and extrinsic motivations.Intrinsic motivations consist of motivation for the use of

English as an exotic device, as a poetic device, and as means of creating new

structural form.Extrinsic motivations consist of motivation for the use of English

as anaudacious device, as a symbolic device. Motivation for the use of English as

poetic device are found in all the lyrics, motivation for the use of English as exotic

device and as a means of creating new forms mostly happen in intrasentential

code switching, and motivation for the use of English as an audacious device and

as a symbolic device mostly happen in intersentential code switching.


xiii

ABSTRAK

SEA, ARE. (2018). Types and Motivations of Korean to English Code

Switching in Taeyeon’s Album My Voice Song Lyrics. Yogyakarta: Program

Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Sebuah fenomena dimana pembicara menggunakan lebih dari satu bahasa,

dialek atau variasi dalam suatu percakapan disebut alih kode. Namun, alih kode

tidak hanya dapat diamati dalam bentuk komunikasilisan saja namun juga dalam

bentuk tertulis. Penelitian ini membahas fenomena alih kode dalam bentuk

tertulis, yaitu dalam lirik lagu. Alih kode dalam lirik lagu berbeda dengan apa

yang terjadi dalam percakapan karena fenomena inidibuat dan direncanakan

secara sengaja. Alih kode dalam lirik menjadi sebuah strategi pemasaran yang

digunakan oleh para penulis lagu dan banyak industri hiburan. Fenomena ini dapat

dilihat dalam musik populer di Korea di mana alih kode sengaja dimasukkan ke

dalam lirik lagu sebagai suatu strategi pemasaran.

Objek dari penelitian ini adalah lirik lagu di album My Voicemilik

Taeyeon. Alih kode yang ditemukan dalam lirik lagu di album ini merupakan

fokus penelitian. Penelitian ini bertujuan untuk mengidentifikasi jenis-jenis alih

kode yang digunakan dalam lirik dan membahas kemungkinan motivasi dari

perubahan kode bahasa Korea ke bahasa Inggris dalam lirik.

Dalam melakukan penelitian ini, peneliti menggunakan strategi purposive

sampling. Peneliti mencari lirik dari masing-masing lagu di album yang hanya

berisi alih kode bahasa Korea ke bahasa Inggris. Begitu data terkumpul, peneliti

kemudian menganalisis jenis dan motivasi penggunaan alih kode. Pendekatan

sosiolinguistik digunakan dalam melakukan penelitian ini. Untuk menjawab

masalah yang pertama, peneliti menerapkan teori dari Poplack (1980). Sementara

untuk menjawab masalah kedua, diterapkan teori dari Stanlaw (2004).

Menurut hasil penelitian, jenis-jenis pengalihan kode yang ditemukan

dalam album dibedakan menjadi 3 jenis, yaitu alih kode antar kalimat, alih kode

penanda, dan alih kode intra kalimat. Selanjutnya, ada lima kemungkinan

motivasi ditemukan dalam album yang dibagi menjadi dua yaitu motivasi

instrinsik dan ekstrinsik. Motivasi intrinsik terdiri dari motivasi menggunakan

bahasa Inggris sebagai perangkat eksotis, sebagai perangkat puitis, sebagai sarana

menciptakan bentuk struktural baru. Motivasi ekstrinsik terdiri darimotivasi

menggunakan bahasa Inggris sebagai perangkat untuk mengekspresikan hal yang

berani, dan motivasi menggunakan bahasa Inggris sebagai perangkat simbolis.

Motivasi menggunakan bahasa Inggris sebagai perangkat puitis ditemukan dalam

semua lirik, motivasi menggunakan bahasa Inggris sebagai perangkat eksotis dan

sebagai sarana untuk menciptakan bentuk struktural baru sebagian besar terjadi

dalam pengalihan kode intra kalimat, dan motivasi menggunakan bahasa Inggris

sebagai perangkat untuk mengekspresikan hal yang berani dan sebagai perangkat

simbolis kebanyakan terjadi pada alih kode antar kalimat.


1

CHAPTER I

INTRODUCTION

A. Background of the Study

One linguistic phenomena that happens in multilingual speech communities

is code switching. Code switching is “the use of more than one language, variety,

or style by a speaker within an utterance or discourse, or between different

interlocuters or situations” (Romaine as cited in Owlcation, 1992, para.4). It

means that this phenomenon can be seen in conversation between a speaker and

other speakers. However, many linguists believe that code switching phenomenon

is not only can be studied through conversation but also through written

observations and say that code switching can be studied “either through written

observations of naturalistic speech or through the study of texts containing code

switching”(Bullock and Toribia 2009, p.22). One example of code switching in

texts is song lyrics.

The use of code switching that happen on the song lyric is different than

the use of code switching in conversation. Code switching in song lyrics “does not

occur spontaneously” (Widaya,2015,p.2). It is means that code switching in song

lyrics is planned. It is also explained by Davies and Bentahila that

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 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 (2008, p.3).


2

The use of code switching in song lyrics is prepared carefully before the release of

the song. Code switching in the lyrics becomes a marketing strategy used by

songwriters and entertaiment industries.

The occurrence of code switching in song lyrics can be seen in Korean

popular music. In the modern Korean popular music, or the so called K-POP,

“English is present in the main body of the lyrics”(Lee, 2004, p. 429). Code

switching and mixing are oftenly used in Korean song lyrics. For example, a

South Korea band, Day6 gave the title for their song as FREE 하게. In creating

their lyrics, the song writer switched and mixed Korean and English language.

The occurence of code switching in K-POP happened because the

development of music industry using English language was strongly supported by

the government.

Kim Daejung, the president of Korea at the time in the late 90s wanted to

make Korea the largest exporter of pop culture making more revenue

resources for the country. The music industry is therefore being used in a

way to spread culture dominance globally and with English being

internationally recognised language, it makes sense that English is used

within pop music. This would be specially beneficial with groups names

and title. (Linguisticluv,2015, para.8)

In the rule of Kim Daejung, the music industry became a way to increase the

economic status. It was a result of using English as the recognised language.

Due to significant occurrences of code switching in K-Pop song lyrics and

deliberate usage of code switching in song lyrics, the researcher is interested to

analyze about code switching that is presented there. The researcher found that

they often switch and mix Korean language to English language and vice-versa on


3

television programs, magazines, advertisments, and songs. Many artists sing

Korean to another language switched songs.

The fact that “there are an estimated 35.59 million fans of Korean Pop

Culture worldwide according to the Korea Foundation, as of 2015” (Yonhap news

agency,2016, para.2), shows that Korean Pop culture has a lot of fans. According

to 2017 Google Trends data, Indonesia is placed 5th from all countries around the

world that searching any topic related to Korean popular music. Due to the

popularity of Korean popular music in the world especially in Indonesia, the

researcher chose Korean popular music as the object of the study.

In this research, Taeyeon first album My Voice is chosen as the object to

be observed. Taeyeon first album My Voice was released on 28 February 2017.

This album contains 12 songs while the physical release includes 13 tracks.

Taeyeon is one of South Korea's most popular vocalists. Taeyeon's songs have

appeared regularly on multiple Billboard charts ever since she began releasing

solo music separate from her career as a member of Girls' Generation. (Herman,

2017, para.6). Her album is sold to various countries including Indonesia.

The researcher found many parts of her songs using code switching. Code

switching happens on 11 out of 13 songs in this album. Various types of code

switching also can be found on this album. The researcher also interested to find

out what the motivations for the use of code switching are. Motivations play an

important role to the implementation of code switching in the lyrics. Before the

creation of the song lyrics, songwriters must have motivations or willingnesses to

put another language into the song lyrics. Without any motivation, the act of


4

putting code switching may be not going to happen. Motivations from songwriters

also will help them to reach production goals.

The research is expected to be able to increase the development and

understanding of language learning, especially in the field of Sociolinguistics. The

result of the research can be used as the basis and comparison for further research

related to kinds of code switching used in song lyrics.

B. Problem Formulation

The research questions are formulated as follows.

1. What are the types of code switching used in Taeyeon’s My Voice song

lyrics?

2. What are the possible motivations for the use of code switching in

Taeyeon’s My Voice song lyrics?

C. Objectives of the Study

The research has two objectives of the study. The first one is to observe

types of code switching that are used in Taeyeon’s first album “My Voice”

selected song lyrics. The types of code switching that are applied in the song

lyrics will help the researcher to identify the second problem formulation. After

that, the researcher will focus on finding out the possible motivations for the use

of code switching in some parts of Taeyeon’s selected song lyrics. The researcher

would find what type of switching that is mostly used as motivation in the album.


5

D. Definition of Terms

This section provides some terminologies that are used in the study. The

phenomenon when speakers use two or even more languages, dialects or varieties

in the same conversation is called code switching. This definition is based on

Poplack (1980, p.583) that says “code switching is the alternation of two

languages within a discourse, sentence or constituent.” Code switching is not only

happen in communication but also in written and planned form. One of them is in

song lyrics.

Song lyrics are lyrics that “susceptible of being sung to the

accompaniment of a musical instrument or that expresses intense personal

emotion in a manner suggestive of a song” (The Editors of Encyclopaedia

Britannica, 2018, para.1). Song lyrics are meant to be sung. People who make

lyrics are called lyricists.

Motivation refers to “factor that activate, direct, and sustain goal-directed

behavior.” (Nevid as cited in Verywellmind, 2013, para.3) In other words,

motivation is a factor that move someone to run something. People who use code

switching are “goal-directed actors”. (Myers-Scotton as cited in Pascalyne, 2014,

p.50). They select a particular code according to the goal, and motivation makes

them stick to this behavior.


6

CHAPTER II

LITERATURE REVIEW

This thesis is not the first one which uses code switching case as the topic.

Previously, there are some studies that observed code switching. This chapter

elaborates the studies done by other researchers on similar topics and also reviews

some theories applied in this thesis.

A. Review of Related Studies

The first study is an undergraduate thesis titled “English-Indonesian Code

Switching in Indonesian Song Lyrics Composed by Melly Goeslaw” by Widaya

in 2015.The researcher identifying the types of code switching which are used in

Indonesian song lyrics composed by Melly Goeslaw and identifying the reasons

of code switching in that Indonesian song lyrics. The researcher uses two main

theories, namely types of code switching theory by Stockwell (2002) and reason

of code switching theory by Malik (1994). The data she used were ten song lyrics

composed by Melly Goeslaw in 2007 until 2013. After analyzing ten song lyrics

composed by Melly Goeslaw, the researcher found that there are three types of

code switching used in the lyrics, and there are six reasons out of ten reasons of

code switching by Malik that found in the lyrics.

The researcher uses the same method on how to identify types of code

switching. Objects that are being observed are also song lyrics but in different

languages, Indonesian to English. The another difference is the researcher more


7

focus on finding the motivations for the use of code switching. This thesis stands

as a development of this study and also a discovery of new ideas in analysing

code switching in song lyrics.

The second study is a journal article titled “English in Hong Kong

Cantopop: language choice, code switching and genre” by Brian Hok-Shing Chan

in 2009. The paper is aimed to provide a general understanding of functions of

Cantonese-English code-switching in a corpus of Cantopop. In Hong Kong

context, code switching to English has been primarily considered as quoting

“Western” concepts and ideas, conveying referential and connotative meanings

absent in Cantonese. Code switching functions that are found is English words

may mimic vernacular Cantonese, or convey inferences by recalling some other

media texts, suh as other songs or movies. The English lines may be foregrounded

information, but they can also carry background information. English may be used

for serious expression of the singers’ self, feelings, and desires, but it may convey

a sense of humour and playfulness. English may be symbolic, showing the singer

diffrentiating himself from others, but it may function as primarily a poetic

device. The researcher has the same topic as Chan but different object which is

Korean pop. The researcher would like to adapt his method for English as a

symbolic device.

The third study is a journal article titled “Linguistic Hybridization in Kpop:

discourse of self-assertion and resistence” by Jamie Shinhee Lee in 2004. She

says that English mixing in Korean popular music (K-Pop) is prevalent and

heterogeneous in its foms and functions. The size of mixed English constituent in


8

K-Pop lyrics varies from a single word to an entire song. The study shows that K-

Pop that K-Pop provides discursive space for South Korean youth to assert their

self identity, to create new meanings, to challenge dominant representations of

authority, to resist mainstream norms and values, and to reject older generations’

conservatism. English is used as the discourse of resistance. This study also takes

K-Pop as its object and also use one of the theories that is used by Lee, which is

motivations of using English by Stanlaw (2004, p.104). This study adapt how Lee

identifes the English mixing that is used in K-pop.

B. Review of Related Theories

In this study, the writer uses some theories as guidelines. This section is

divided into four parts. They are code switching, types of code switching, the

motivations for the use of English in song lyrics, and song elements.

1. Code Switching

Code switching is the use of more than one language, variety, or style by a

speaker within an utterance or discourse, or between different interculators or

situations (Romaine as cited in Owlcation, 1992, para.4). From that definition,

code switching is used when people want to communicate with the societies and

communities. People do not only communicate in one language or dialect to other

people, but they can switch it to other language or dialect, depending on their

needs.


9

2. Types of Code Switching

The types of code switching from Poplack (1980) as cited Muysken

(2005, p.118) are explained below.

a. Tag Switching

It involves an exclamation, a tag, or a parenthesis in another language than

the rest of the sentence. An example is from Spanish-English drawn by Valldes

Fallis (1976), 'OYE ( listen) when I was a freshman at the beginning of the text.

Spanish language OYE is a tag switching. The tags and so on, serve as an

emblem. That is why Poplack (1980) has named this type of switching as

emblematic switching.

Romaine also says that “this switch can be inserted anywhere, which do

not have too many syntatic limits and the switching use tags in one language, with

rest of utterance in other language.” (Romaine as cited from Hidayat, 2012, p.2).

It is concluded that, a removal of tag switches in a sentence will not bother the

meaning of the text.

An example in Korean-English song lyrics is

Wow! yekami kwaynchana

‘Wow! I have a good feeling about us.’ (Korean-English)

(Lee, 2004, p.43)

A songwriter switched the language into English interjection ‘wow’

instead of Korean interjection to express excitement in the song lyrics.

b. Intra-Sentential Switching

Intra-sentential switching occurs in the middle of a sentence in form of

word and phrase. This type of intimate switching is often called code mixing. The


10

term code-mixing refers to “all cases where lexical items and grammatical

features from two languages appear in one sentence.” (Muysken, 2000, p.1)

Based Poplack’s (1980) opinion, “intrasentential switching may be avoided

by all but the most fluent bilinguals.” (Poplack as cited in Jingxia, 2010, p.11.)

Only people who are eloquent that can do that. An example of intra-sentential

switching as follows.

kio ke six, seven hours te school de vicˇ spend karde ne, they are speaking

English all the time.

‘Because they spend six or seven hours a day at school, they are speaking

English all the time.’ (Punjabi/English bilingual in Britain).

(Romaine, 2000, p.55)

This intrasentential switching is uttered by a Punjabi/English billingual.The

English nouns hours, school, and the verb spend are inserted into Punjabi

syntactic structure. Romaine said this switch is “quite common in the Punjabi/

English bilingual community in Britain, especially among the younger generation,

that many fear the language will be lost in the future.”(Romaine, 2000, p.57)

Punjabi/English bilinguals want to keep their native language, eventhough the

contact with English language is so intense in this modern era.

Another example is from Malaysia - English switching.

This morning I hantar my baby tu dekat babysitter tu lah

‘This morning I took my baby to the babysitter.’ (Malay/English bilingual)

(Romaine, 2000, p.55)

Based on Romaine, “it would be difficult to say that the utterance was

basically English with some Malay words, or vice versa because both languages

share the same word order” (2000 p.56).


11

c. Inter-Sentential Switching

Inter-sentential switching occurs between sentences, as their name

indicates. Romaine said that “inter-sentential switching could be considered a

requiring greater fluency in both languages than tag switching since major

portions of utterance must conform to the rules of both languages” (as cited in

Jingxia, 2010, p.11). It means that intersentential code switching could happen

because of the fluency of the speaker in mastering more than one language. An

example of intersentential code switching is

daha yasin neki? Als je met zo’n instelling over school/studie denkt,dan ...

‘How old are you anyway? If that is how you think about

school/study,then . . .’ (Dutch/Turkish)

(Bullock & Barbara, 2009, p.139)

On this example, Dutch and Turkish elements are completely on different

number of sentences. The function of the Turkish insertions in these text types is

often to mark Turkish identity, and sometimes also to try and find out whether the

interlocutor is Turkish as well (Bullock & Barbara, 2009, p.139). Code switching

is used to mark that it is belong to Turkish.

3. Motivations for the Use of English in Song Lyrics

According to Stanlaw’s research (2004,p.104) as categorized and

concluded Kettner (2013, p.16), the use of English in Japanese song lyrics and

poetry, especially the use of code-switching and loanwords, has several

motivations. Since both Japanese and Korean use non-Romanized writing system

and they switch the lyrics into English, so this theory can be applied into Korean

song lyrics.


12

The researcher divided possible motivations into two sections, they were

motivations that can be observed through intrinsic elements and motivations that

can be observed through extrinsic elements. Song lyrics is a literary work that has

intrinsic and extrinsic elements. Some examples of intrinsic elements of song

lyrics examples are rhythm and figurative languages. In this theory, motivations

parts ‘a’ up to ‘d’ will be considered as motivations that can be seen through

intrinsic elements, and the rest are considered as extrinsic motivations. Extrinsic

element is any element that comes from outside the work of lyrics created, such as

biography, value elements, and social elements. These are several motivations of

the use of English in song lyrics.

a. The Use of English as an Exotic Device

The use of English in lyrics are to make the translated words look or sound

more interesting or to create a special atmosphere” (Kettner, 2013, p.16). It can be

seen Yuming’s song “Sand Castle”. The English phrase ‘sand castle’ gives

‘fragile and dreamlike images.’ (Stanlaw, 2004, p.109) unlike Japanese equivalent

suna no shiro. English phrase ‘sand castle’ bring image of unreal love, the love

that is only temporary and like a dream.

b. The Use of English as a Poetic Devices

English in the lyrics of Japanese pop songs also serves a number of

creative poetic functions.For example in Yuming's song Sand Castles :

purinsesu to purinsu ne[a princess and a prince, do not you think? ]

Somebody to kiss, somebody to hug, somebody to love

daremo ga urayamu yoo na [We couldn't be the couple]

futari ni narenakatta ne [that everybody dreams about]

Somebody to kiss, somebody to hug, somebody to love

(Stanlaw, 2004, p.111)


13

The repeated phrases somebody to kiss, somebody to hug, somebody to love

always “follow a line ending with the sentence-final marker ne, seeking the

agreement of her listener/lover before expressing her emotional and physical

desires” (Stanlaw,2004, p.109). Sentence-final ne is an equivalent to tag question.

The English language contains wide range of word that “can assist the

writer to create pleasing expressions to readers” (CFCP,Inc., 2007, para.2). The

method is called poetic devices. Here is the summary of poetic devices based on

their types as taken from California Federation of Chaparral Poets, Inc :

Table 1. Poetic Device Types (CFCP,Inc., 2007, pp.1-9)

POETIC DEVICE

The Sound of the

Words

The Meaning of

Words

Arrangement the

Words

The Images of

the Words

a. Alliteration

b. Assonance

c. Consonance

d. Cacophony

e. Euphony

f. Onomatopeia

g. Repetition

h. Rhyme

i. Rhythm

a. Allegory

b. Allusion

c. Analogy

d. Apostrophe

e. Cliché

f. Connotation

g. Contrast

h. Denotation

i. Euphemism

j. Hyperbole

k. Irony

l. Metaphor

m. Metonymy

n. Oxymoron

o. Paradox

p. Personification

q. Paradox

r. Pun

s. Simile

t. Symbol

u. Synecdoche

a. Point of View

b. Line

c. Verse

d. Stanza

e. Stanza Forms

f. Rhetorical

Question

g. Rhyme

Scheme

h. Enjambment

i. Form

a. Imagery

b. Synesthesia

c. Tone, mood


14

From the table above, it can be seen that poetic device is related to sound,

meaning, arrangement, and imagery of the words. Words should sound right, have

meaning, be arranged well, build emotion and any other feelings. English poetic

devices are various and can be used to create interesting literary works. For

example, onomatopeia will make a more expressive work because it use language

that sounds like what it represents rather than only description of thing.

c. The Use of English as a re-Exotic Device

“The songwriter makes words, phrases, or sentence that already exotic in a

language become more exotic” (Kettner, 2013, p.16). Words, phrases, or

sentences that are uncommonly used in daily life is translated into another

language. One example is in Yuming's “Dawn Purple” song title. The title is given

in complete English, that is in roman letters, while in the text of the song,

reference is made to the dawn's murasaki no sora (purple sky), in Japanese.”

(Stanlaw, 2014, p.114). Phrase murasaki no sorais replaced by English phrase

dawn purple. However, color “purple” is not really familiar for Japanese.

d. The Use of English as a Means of Creating New Structural Forms

Kettner concludes Stanlaw’s theory that “lyricists feel creative with

English can create song structures that do not exist in Japanese or are rarely used

such as rhyme and rhytym” (2013, p.16). Musicians argue that Japanese language

contains too many syllables and limited sounds, so it would not fit with popular

music. The example is in Yuming’s, English lines carry a rhyming structure,which

is usually absent from Japanese verse. In the refrain of the song, four phrases are

repeated several times.


15

Close to me machi-tsuzukeru

Close to me mata au hi-o

Close to me machi-tsuzukeru

Close to me mata au hi-o

(Stanlaw, 2004, p.113)

Lyricists are creative with English to create structural forms that is

unavailable in the native language. English language repetitions and Japanese

language alliterations are mixed in the same lenght to produce appealing song

lyrics. English antecedent (close to me) is mixed with Japanese. According to

Stanlaw, “Each Japanese part of the phrase begins with a ma-syllable (machi or

mata), thus alliterating with the final word in the English phrase (me)”(2004,

p.113).

The researcher categorize those motivations above as intrinsic

motivations. They all can be seen through intrinsic elements of song lyrics.

Motivation of the use of English as a poetic device, a exotic device and are-exotic

device can be observed through sound and meaning of the words. Motivation of

the use of English as the means of creating new structural forms can be observed

through arrangement of the words. The parts ‘e’ until ‘h’ below are categorized as

extrinsic motivations.

e. the Use of English as an Audacious Device

Kettner concludes Stanlaw’s theory that “the lyricists use English when

they want to express their song in a daring or bold way.” (2013, p.16) According

to Chan’s research entitled “English in Hong Kong Cantopop: language choice,

code-switching and genre”, the use of English in song lyrics is to express

something that is not common in Asian culture. “English language is associated


16

with the freedom of expressing personal desires and critical attitudes of

mainstream beliefs.”(2009a, pp 109-110).Example of the use of English as

language to express song in a daring or bold way is C-Choo Kotoba ni Go-Yoojin

(Be Careful of C-chord Words).

Tamanya makin' love [Sometimes I'm making love]

soo denakya hand job [but if I do not it washand job]

Yume de I’mso sad [In a dream I'm so sad]

Gutto kurushiku all night [It's a stabbing pain all night]

(Stanlaw, 2004,p.103)

One stanza above is considered as daring expression because it express the

singer’s intese feelings like what Stanlaw explains below.

He voices the random thoughts of a young man hurt by love, releasing his

frustrations, and trying to make sense out of what has happened. The

firstfew stanzas of the song express the singer's frustration both at being

jilted by his lover and his sexual frustration, expressing his thoughts in a

creative mixture of Japanese and English (2005, p.103)

The lyricist presents freedom of expressing, something uncommon in mainstrem

beliefs.

f. The Use of English as a Symbolic Device

Kettner concludes that “the English word represents or symbolizes another

meaning than its native translation would do” (2013, p.16). For example, “a young

woman would rarely say aishite-ru (means I love you in Japanese) to aman that

she has become enamoured with, but may use the English ‘I love you’ instead”

(Stanlaw, 2004, p.105) It symbolizes Western type of relationship. In Japan,

aishiteru is a serious statement that will guide into a new level of relationship.

The phrase I love you then equal to daisuki that means I like you, a less serious

term.


17

g. The Use of English to Express Aspects of Modern Consumer Culture

Stanlaw says that ‘the consumerism and materialism of society is

expressed with the help of English” (Kettner, 2013, p.16). Stanlaw says that

“consumerism in Japan, the accusation is often made that consumerism is a

Western import, which, like English words, has contributed to the pollution of

Japanese society.” (2004, p.117).One example of this can be found in the song

Daiamondo (Diamonds) from the female band Princess Princess.The diamond in

this song symbolizes that the singer is born to be greedy. Consumer materialism is

reflected at the use of diamond as symbol.

h. The Use of English to Express Images of Domestic Life

English is “used to express everyday life.” (Kettner, 2013, p.16). Stanlaw

says that

Not only can English words in pop songs be used to depict the habits and

eccentricities of a modern consumer culture, but they can also be used to

exemplify less unfamiliar scenes, such as domestic encounters and other

everyday occurrences. (Stanlaw,2004, p.122)

English can be used to express things or activities that are familiar for Japanese.

For example, inYuming's Sand Castles, “the singer mention that her nylon coat is

flapping in the wind, itperhaps mimick the sound of her tears” (Stanlaw, 2004,

p.122). If listeners imagine that they do an activity of flapping a nylon coat in the

wind, they can imagine it as the sound of tears.

Researcher put motivations above as extrinsic motivations because they do

not only deal with internal elements but also outside factors which are social and

value elements. Those motivations cannot be seen directly from the text but need

some other sources. Because the object of this study is a Korean-English code


18

switching,researcher need to study Korean and English social and value elements

well.

4. Song Lyrics Elements

According to Cox (2000, pp.24-39), there are several elements that turn

words into song lyrics. This theory will help the researcher in disscussing possible

intrisic motivations that are related to intrinsic elements of song lyrics especially

poetic device.

a. Rhyme, Rhythm, and Repetition

The most important elements to create song lyrics are rhyme and rhythm.

Both of them depend on repetition to establish the pattern to make songs musical,

singable, and memorable. Rhyme is the repetition of sounds primarily at the end

of the line (end-rhyming) and/or sometimes at the middle of the lines (internal

rhyming). Rhyme can either perfect or imperfect. Words that match in their vowel

and ending consonant sounds are perfect. Words that match in their vowel sounds

but different consonant sounds, and words that match in their consonant sounds

but has different vowel sounds are considered as imperfect rhyme. Rhymes then

create a pattern that is called rhyme scheme. While, rhythm is determined by

meter, the repetition of accented and unaccented syllables in each lyric line.

b. Figurative Languages

Some of the most common figurative devices that are used by songwriters

are adjectives and adverbs, simile, metaphor and personification. Adjective and

adverbs describe qualities to other words. Simile is an expression to compare one

thing to another using word ‘like’ or ‘as’. Methapor is the use of words to


19

compare two things. Personification is used to describe or speak of a thing as if it

were a person.

c. Other Devices

Other devices can be used to convey the story in song lyrics so that the

lyrics will be more interesting. These are alliteration, antonyms, apostrophe,

assonance, irony, paradox, pun, and symbol. Alliteration is the repetition of

consonant sounds. Assonance is the repetition of vowel sounds. Antonyms is the

words that opposite to each other. Apostrophe is an absent, or inanimate object or

condition that is addressed as if it were present and alive. Irony is the words that

expresses something different or opposite from the literal meaning. Next, paradox

is conjured by words or concepts that opposite but true. Pun is a play on words.

Lastly, symbol is a person or thing that represent something else.

C. Theoretical Framework

In order to get a systematic research, the writer elaborates this theoretical

framework that will be the base to conduct this research. In answering the first

problem formulation, which is finding types of code switching found in Taeyeon’s

My Voice song lyrics, the writer uses the theory of code switching by Poplack as

cited in Muysken (2005, p.118). The writer chooses this theory because it is

suitable to analyze song lyrics where the occurances of code switching happen

within words, clauses, and different numbers of sentences.

Then, by knowing the type that is found in song lyrics, the results can help

the writer to analyze the possible motivations for the use of code switching. In


20

finding the possible motivations for the use of code switching, the writer try to use

theory of motivations of using English by Stanlaw (2004, p. 104).Researcher will

divide motivations into two, intrinsic and extrinsic motivations. Some motivations

cannot be observed through texts only but through outside factors such as social

and value elements. Therefore, motivations that cannot be seen through texts

alone will be categorized as extrinsic motivations.


21

CHAPTER III

METHODOLOGY

The research is conducted using certain methodology. This chapter,

provides the explanation of, first, the object of the study; second, the approach of

the study; and third, the method used in this study.

A. Object of the Study

The object of this study is Korean-English code switching occurences in

the song lyrics from Taeyeon’s album My Voice. Taeyeon first album “ My

Voice” was released on 28 February 2017. There are two versions ,“Fine” and “I

Got Love” versions, with different covers and booklets. Her album made into one

of ‘the 20 best albums of 2017 so far by American music channel Fuse, and it was

the only Korean on the list” (Soompi, 2017, para.2).

In this study, the researcher selected eleven songs from Taeyeon first

album My Voice song lyrics, which used Korean-English code switching in the

parts of the song, to be analyzed. The researcher would be focusing in finding out

the possible motivations for the use of Korean-English code switching along with

the analysis of its type.

B. Approach of the Study

This research was conducted using sociolinguistic approach


22

It studies the ways in which language interacts with society. It is the study

of the way in which the structure of a language changes in response to its

different social functions, and the definition of what these function are.

(NeoEnglish, 2010, para.2)

So, sociolinguistic is the study that deals with language and society.

This research discusses code switching thatcan be defined as the use of

some languages in society. Sociolinguistics is suitable because it concerns with

how language is used in society, and code switching is one of the phenomena that

is discussed in sociolinguistics.The understanding of sociolinguistic concept

would help the researcher to answer the research questions.

C. Method of the Study

1. Data Collection

In conducting this study, the researcher used purposive sampling strategy.

Purposive sampling itself means “individuals and sites are selected for study

because they can purposefully inform an understanding of the research problem

and central phenomenon in the study”(Creswell, 2013, Appendix A).Because the

researcher needed data that could give explanation about the research problems

and the central phenomenon clearly, which was code switching in song lyrics, this

strategy was chosen. The researcher collected code switching cases that were in

the album.

The data collection was taken from Taeyeon’s album My Voice song

lyrics. The first step to collect data was finding the song list of Taeyeon first

album in the internet. The next step, the researcher searched the lyrics of each

song that contained Korea to English code switching only from the internet.


23

When the data of the study was collected, the researcher then continued to analyze

the data of code switching.

2. Data Analysis

The first analysis that the researcher would conduct is finding out the types

of code switching. This analysis is meant to present the types of code switching

that are used in the album song lyrics using Poplack’s types of code switching

categorization. Tag switching is for tags, exclamations, parentheses, and simple

nouns. Intrasentential code switching is for code switching that happen within a

sentence. Intersentential code switching is for code switching that happen in

different numbers of sentences. The researcher will separate lines in the song

lyrics based on types of code switching. Each code switching case has its own

numbering with this following pattern.

(Code switching case number / Types of code switching)

The first is code switching case number, and the second is the type of code

switching. On the code switching case part, italicized sentence is for the

romanized lyrics, uppercased on bracket sentence is for the english translation,

uppercased and bolded sentence for the switching case.

After identifying the types of code switching, the next analysis was

discovering the possible motivations from all lines in the song lyrics that were

switched into English language. The data collection from the first analysis was

used in order to proceed to the second analysis. The researcher sorted the code

switching found in the song lyrics according to their types of code switching. The

researcher used Stanlaw’s theory to identify the possible motivations of using


24

english language in the song lyrics. The researcher divided motivations into two,

intrinsic motivation and extrinsic motivations. The result for the second analysis

will be placed after case number and type of switching. The researcher summed

up the findings into a table on appendix. After conducting these two analyzes, the

last step is making a conclusion based on the finding.


25

CHAPTER IV

ANALYSIS (RESULTS AND DISCUSSIONS)

This research has two problem formulations that are mentioned previously.

The first is to find the types of code switching and the second is to find out the

motivations for the use of code switching. Therefore, this chapter presents the

findings and the disscussion on those problems.

A. Types of Code Switching

This section classifies the types of code switching based on Poplack’s

theory. There are three types of code switching namely tag switching,

intrasentential code switching, and intersentential code switching. Firstly, the

researcher has chosen song which contained code switching, and categorized them

based on Poplack’s categorization. From data collected by the researcher, there

are 105 numbers of code switching found in the album song lyrics. Each type has

different number of code switching. Intersentential code switching occurs 51

times in the lyrics, followed by intra-sentential code switching with 32 numbers of

occurrences and tag switching with 22 numbers of occurrences. The deeper

analysis about each categorization will be presented below.

1. Tag Switching

The researcher found 3 variants of tags in several songs which are

interjection ‘yeh’, interjection ‘oh’, and exclamation ‘right alright’. Some

examples are presented below.


26

The first example is taken from the song titled “Lonely Night”. Shorted form of

interjection ‘yeah’ ,‘yeh’, is placed in the sentence boundary to not only show

acceptance but also to show sadness and frustration. The deletion of interjection

‘yeh’ will not bother the meaning of the sentence because it is only used to show

emotions.

The second variants is interjection ‘oh’. Interjection ‘oh’ is categorized as

English language because it is written in roman letters in the actual lyrics. Datum

6/TS/PD is actually written as Oh 이제난어디로. Lyrics that are presented by

the researcher are already changed into the Romanized lyrics. Based on Moody

and Mosimoto interjection ‘oh’ that is “written in Roman is categorized as English

word and has role as music filler” (2003 as cited in Moody, 2006, p.218). The

Korean interjection equivalent of ‘oh ,o, can also mean five, and ‘oh’ is Korean’s

surname.

No Case Lyrics Part

6/TS/PD OH ije nan eodiro (NOW

WHERE AM I?)

nasseon byeoge budichyeo beorin

(BUMPED INTO A STRANGE

WALL)

OH ije nan eodiro (NOW WHERE

AM I?)

Please hold my hand

No Case Lyrics Part

5/TS/PD,

AD

kkaeeojiji ana

seulpeun

kkumsogeul

hemae (I CAN’T

WAKE UP, I’M

LOST IN SAD

DREAMS) YEH

yeojieopshi sae achimi wado (THOUGH A NEW

MORNING COMES WITHOUT FAIL)

kkaeeojiji ana seulpeun kkumsogeul hemae (I

CAN’T WAKE UP, I’M LOST IN SAD

DREAMS) YEH


27

The second example is taken from the song titled “Nalgae (feel so fine)”.

The sentence started with English interjection ‘oh’ then switched into Korean.The

lyricist inserted English Interjection ‘oh’ to express a surprise instead of the

Korean interjection ‘o’, that can also be someone’s surname. On another song, the

interjection ‘oh’ is used to show different expression like what is presented below.

Interjection ‘oh’ is repeated twice as space filler and to express excitement and

realization. On a song titled “When I was Young”, interjection ‘oh’ is used to not

only express realization and but also disappointment.

No Case Lyrics Part

20/TS/PD,AD

naega geudaego (WHEN I

WAS YOU)

geudaedo nail ttae uri

hanail ttae (AND YOU

WERE ME, WHEN WE

WERE ONE) OOH

manhi himdeureotnayo (WAS IT

REALLY HARD?)

naega geudaego (WHEN I WAS

YOU)

geudaedo nail ttae uri hanail ttae

(AND YOU WERE ME, WHEN

WE WERE ONE) OOH

The sentence is ended with prolonged interjection ‘ooh’. The singer was

questioning herself why it was hard for them to continue their relationship when

they were together.

No Case Lyrics Part

7/TS/PD,NS OH OH naye nalgae wi

(ON TOP OF MY WINGS)

Just realize, I feel so fine

OH OH naye nalgae wi (ON TOP

OF MY WINGS)

Oh oh challanhi saegi (BRIGHTLY

ENGRAVED)


28

No Case Lyrics Part

22/TS/PD RIGHT

ALRIGHT

ALRIGHT

neo eopshido (EVEN WITHOUT YOU,) nan

( I’M) OK

RIGHT ALRIGHT ALRIGHT

RIGHT ALRIGHT ALRIGHT

The third variant of tags that is used is exclamation expression ‘right,

alright.’ This example is taken from the song titled “I’m OK”. This exclamation

indicates acknowledgement or acceptance. The lyricist used English exclamation

‘right’ instead of Korean exclamation, geurae. The singer convinced herself that

she is okay. The researcher put this as tag switching because it is put to end the

song only and is sung by the background singer. Moreover, it is put to show an

agreement of singer’s previous statement and the deletion of this exclamation will

not bother the overal meaning of previous statement.

2. Intrasentential Code Switching

Intrasentential code switching is the switching that happens within a

sentence and is usually in the form of word or phrase. The researcher found 32

cases of intrasentential code switching in all the lyrics. The English switched code

has several forms, such as noun phrase, verb phrase, adverbial phrase, adjective

phrase, prepositional phrase, and appositive phrase. Some examples are given

below.

No Case Lyrics Part

36/ITAS/PD

morachin pokpung

soge nae

maeumeun

(INSIDE THE

STORM, MY

HEART IS)

GREEN LIGHT

morachin pokpung soge nae maeumeun

(INSIDE THE STORM, MY HEART IS)

GREEN LIGHT

Yeah I’ll be just fine


29

The first example is taken from song titled “Eraser”. The intrasentential code

swtiching is what is presented below.

nae[pronoun] (MY) + maeum[noun] (HEART) + -eun[particle] (IS) +

green light (foreign words)

MY HEART IS GREEN LIGHT.

The sentence is switched from Korean to English within a sentence with a form of

noun phrase ‘green light’. The use of particle –eun indicates that nae maeum (my

heart) is the topic or subject of the sentence. Noun phrase ‘green light’ is added to

explain what happen to subject. Then, noun ‘green light’ cannot be deleted from

the sentence. The phrase ‘green light’ is the metaphor. The singer said that her

heart is a green light, which figuratively means that her heart is under control and

she is ready to open up her heart. Eventhough there are a lot of problems that hit

her from his past lover, her heart is fine and she can get through it.

No Case Lyrics Part

49/ITAS/PD,SD

neol jiugo mameul RE-

NEW [I WANT TO

ERASE YOU AND (RE-

NEW) MY HEART]

meomchuji aneul Racer[(A

RACER) WHO WON'T

STOP,]

meoreojin Chaser [(A

CHASER) GONE FAR

AWAY]

neol jiugo mameulRE-NEW [I

WANT TO ERASE YOU

AND (RE-NEW) MY

HEART]

On the same song, the Korean is switched into English within the sentence

also. English switched phrase that is used is verb phrase ‘re-new’ like what is

stated below.


30

neo [pronoun] (YOU) + jiu [verb] (ERASE) + -go [particle] (AND) +

mam [noun] (HEART) + -eul [particle] + Re-new [foreign words]

I WANT TO ERASE YOU ANDRE-NEW MY HEART.

Particle –eul is used to indicate the object of the sentence. The sentence follows

Korean structure where the verb is placed after the object. In this song, the singer

uttered that she wanted to make her heart new again figuratively.

No Case Lyrics Part

23/ITAS/PD

ajjilhan dul sai

(DIZZINESS BETWEEN

THE TWO,) THE LOVE

AND THE HATE

ajjilhan dul sai (DIZZINESS

BETWEEN THE TWO,) THE

LOVE AND THE HATE

aseulhan gyeonggyeseone jageun

teumsae (A SMALL CRACK IN

THE DANGEROUS LINE)

The Korean to English intrasentential switching can alsso in form of an

appositive phrase. It can be seen through case below.

ajjil [noun] (DIZZY) + -han [particle] + dul [number] (TWO) + sai[noun]

(BETWEEN) + the love and the hate[foreign words]

DIZZINESS BETWEEN THE TWO,THE LOVE AND THE HATE.

This example is taken from the song titled “Eraser”. Phrase ‘the love and the hate’

is an essential appositive to Korean noun dul sai (between two). The phrase ‘the

love and the hate’ is the noun phrase that explain what parts of ‘the two’ that is

mentioned before.

No Case Lyrics Part

51/ITAS/PD

uri durideon(TO WHEN

WERE TOGETHER,)

NIGHT AND DAY

jakku dwidora boge dwae(I

KEEP LOOKING BACK)

uri durideon(TO WHEN

WERE TOGETHER,) NIGHT

AND DAY


31

Another type of phrase that is found through the album is adverbial phrase.

This example above is taken from “Lonely Night”. The sentence is what presented

below.

uri [pronoun] (WE) + dur[number] (TWO) + ideon[verb] (WERE) + night

and day (Foreign words)

TO WHEN WE WERE TOGETHER, NIGHT AND DAY.

The adverb ‘night and day’ means everyday. It illustrates that characters on the

song lyrics were together all the time. Korean equivalent, bamnaj, is also on hand,

but lyricist chose English.

On the “I’m OK” song lyrics, Korean and English are mixed on the clausal

level.The English word that is used is the adjective ‘OK’. Lyricist chose adjective

OK rather than the Korean equivalent gwaenchana.Adjective phrase might be

after the noun or linking verb. In this song, adjective ‘OK’ is placed after linking

verb, na [pronoun] (I) + -n [particle] (AM).In this song, the singer does not have

interest with someone she once loved and claims that she will be okay without

him. She has already gotten her own path.

No Case Lyrics Part

54/ITAS/PD YEAH, IN

MY HEART

jogeumsshik keojyeo ganeun mam (MY

FEELINGS ARE GROWING)

boy i can't cover up

YEAH, IN MY HEART

No Case Lyrics Part

52/ITAS/PD

neo eopshido

(EVEN

WITHOUT

YOU,) nan ( I’M)

OK

neo eopshi nan oneulbuteo (WITHOUT

YOU, FROM NOW ON)

neo eopshido (EVEN WITHOUT YOU,)

nan ( I’M) OK


32

eonjenga naye gyeote wa jul neowa dalkomhan

kkumeul kkuneun sangsangeul hae

(I’M IMAGINING THAT SOME DAY

YOU’LL COME TO ME AND WE’LL HAVE

A SWEET DREAM TOGETHER.)

The last type of phrase is prepositional phrase in song titled “Cover

Up”.The prepositional phrase is placed before a sentence as an additional

information. The singer in the song secretly imagining that she will be together

with someone she likes.

3. Intersentential Code Switching

The researcher found 51 cases of intersentential code switching in all song

lyrics. The switching cases that are found are in form of sentences and clauses.

Findings are stated below.

Data Case Lyrics Part

58/ITES/PD,SD BOY I CAN'T

COVER UP

MY HEART

tto neol gidarigetjiman (I’LL WAIT FOR

YOU AGAIN)

BOY I CAN'T COVER UP MY HEART

neol bomyeon nan useumi saeeo nawa

(WHEN I SEE YOU, LAUGHTER SEEPS

OUT)

This example is taken from the song titled “Cover Up”. An English simple

sentence becomes the main idea of the song. This sentence is repeated several

times in the song. This sentence itself means she is not able to prevent herself

from discovering her feeling.

The English switched sentence can also contain more than two

independent clauses that make it become a compound sentence. It can be seen

from song titled “I Got Love” below.


33

No Case Lyrics Part

80/ITES/PD,AD

YOU DON’T STOP

THAT FIRE CAUSE I

GOT LOVE, I GOT

LOVE, I GOT LOVE

teomunieopshi michige hae

(YOU MAKE ME

ABSURDLY CRAZY)

Come and turn me on

YOU DON’T STOP THAT

FIRE CAUSE I GOT LOVE,

I GOT LOVE, I GOT LOVE

This sentence contains of clauses ‘you don’t stop that fire’ and ‘I got love’. The

clause ‘I got love’ tells the reason why someone in this lyrics makes a request to

another person. However, those clauses has different kind of tenses. The lyricist

want to match the lyrics with the title, so the tenses are different.

No Case Lyrics Part

67/ITES/PD,

AD PLEASE HOLD

MY HAND

natseon byeoge budijhye (I COLLIDE

WITH AN UNFAMILIAR WALL)

Oh ije nan eodiro (NOW WHERE I AM?)

PLEASE HOLD MY HAND

Another example is taken from a song titled “Nalgae (feel so fine)”. The

sentence is completely switched into English. The English code switching that is

used are imperative sentence, ‘please hold my hand’. The sentence ‘please hold

my hand’ does not mean literally to asked someone to hold her hand but it rather

means to asked someone to guide her into the right path. The singer feels herself

lost and she needs someone who can make her to leave dark situation. The lyricist

tried to narrate the story using English instead of using Korean translation of this

sentence, jebal soneul jabajuseyo.

Switching in the form of clauses can be seen from the song titled “When I

was Young.”


34

No Case Lyrics Part

98/ITES/PD,NS WHEN I~ WHEN

I WAS YOUNG

geuttae (THEN,)

WHEN I~ WHEN I WAS YOUNG

geuttae (THEN,)

naega geudaego geudaega nail ttae

(WHEN I WAS YOU AND YOU

WERE ME)

When I~ when I was a fool jeongmal

(REALLY)

amudo moreugo geudaeman al ttae

(WHEN I DIDN’T KNOW ANYONE

BUT ONLY YOU)

eottaetnayo gwaenchanatnayo (HOW

WAS IT? WAS IT ALRIGHT?)

An English dependent clause is linked with korean conjunction geuttaeto another

dependent clause. This does not express a complete thought. The repetition of the

adjective conjunction when I that is followed by pause, and several adverb clauses

without any independent clauses gave the impression that the girl in the song

lyrics was trying to remember about her past experience.

B. Possible Motivations of Korean to English Switching

This section classifies motivations for code switching base of Stanlaw’s

research. The researcher found 5 motivations that are seen in the song lyrics,

which were the use of English as an exotic device, the use of English as a poetic

device,the use of English as means of creating new structural form,the use of

English as a symbolic device, and the use of English as an audacious device.

There are 2 cases on the use of English as an exotic device, 105 cases on the use

of English as a poetic device, 19 cases on the use of English as means of creating

new structural form, 13 cases on the use of English as a symbolic device, and 34


35

cases on the use of English as an audacious device. Here is the result of findings

based on the intrinsic and extrinsic motivations.

1. Intrinsic Motivations

Motivations that originates from text’s basic needs and can be seen through

intrinsic elements of the lyrics are presented below.

a. The Use of English as a Poetic Device

Poetic devices are the ways poets and song writers arrange words to get

different meanings. Several kinds of poetic devices are found in Taeyeon’s song

lyrics. The use of English as poetic device is found in all songs in the album.

Researcher chose 6 songs that contains all various kinds poetic devices as

examples.

i. Eraser

This song expresses the singer’s passionate eagerness about the need of

‘an eraser’ to make her forget about her past relationship.Three types of poetic

devices are identified in this song, they are repetition to emphasize the message

and to create rhyme, antithesis, and metaphor. Some examples are listed below.

No Case Lyrics Part

23/ITAS/PD

ajjilhan dul sai

(DIZZINESS

BETWEEN THE

TWO,) THE

LOVE AND

THE HATE

ajjilhan dul sai (DIZZINESS BETWEEN

THE TWO,) THE LOVE AND THE

HATE

aseulhan gyeonggyeseone jageun teumsae

(A SMALL CRACK IN THE

DANGEROUS LINE)

In Eraser, lyricist used two contradicting noun ‘love’ and ‘hate’ as

antithesis. The noun ‘love’ means caring affection towards someone and noun

hate is the antonym of love. The yricist used this to describe contradiction of a bad


36

boy who has a loving smile. Someone whose the girl love but also hate at the

same time.

This songs also used repetition of words to emphasize the message and to

create rhymes like in those examples.

No Case Lyrics Part

76/ITES/PD,AD OH, I TRIED,

TRIED, TRIED,

TRIED

modeun geol dwirohan chae taeyeonhage

(I TRIED PUSHING EVERYTHING

BACK AND STAYING CALM)

OH, I TRIED, TRIED, TRIED, TRIED

The sentence “I tried” is repeated to bring listeners’ attention because this line is

sung with a rising tone of each word. The girl has tried hard to push everything

back and stay calm like what she said on the previous line.

No Case Lyrics Part

29/ITAS/PD,NS

kkaekkeushi nal

sshitgyeojul ERASER

[(ERASER) THAT

WILL WASH ME

CLEAN]

kkaekkeushi nal sshitgyeojul

ERASER [(ERASER) THAT

WILL WASH ME CLEAN]

dashin neol wonhaji anke (SO I

WON’T WANT YOU AGAIN.)

30/ITAS/PD,NS

mokpyoreul

hyanghanRACER

[(A RACER) TOWARD

A GOAL]

mokpyoreul hyanghanRACER [(A

RACER) TOWARD A GOAL]

i mamsok (in this heart) Chaser

nal saerobge bakkwo (I’LL

BECOME) Brand New

31/ITAS/PD,NS i mamsok (IN THIS

HEART) CHASER

i mamsok (IN THIS HEART,)

CHASER,

nal saerobge bakkwo (I’LL

BECOME) Brand New

The noun ‘eracer’,‘racer’, and ‘chaser’ has similar ending sound which is /-sɚ/ .

Eraser is a metaphor to someone who can erase and replace the boy’s position in

the singer heart. The lyricist compares the girl as a racer, as someone who


37

compete to reach her goal. The English noun ‘racer’ is chosen instead of the

Korean gyeongjuja or juja because it has the same ending sound with the

following lines.

ii. Nalgae (feel so fine)

This song tells about a girl who finally realizes that she will be fine in her

new life. Poetic devices that are used by the lyricist in this song is repetition of

syllables and words to create rhythm and rhyme, and personification.

No Case Lyrics Part

7/TS/PD,NS

OH OH naye nalgae wi

(ON TOP OF MY

WINGS)


OH OH naye nalgae wi (ON TOP

OF MY WINGS)

Oh oh challanhi saegi (BRIGHTLY

ENGRAVED)

I know you know maeil

kkumkkudeon (EVERYDAY)World

I feel so fine

8/TS/PD,NS

OH OHchallanhi saegin

(BRIGHTLY

ENGRAVED)

Oh oh naye nalgae wi (ON TOP OF

MY WINGS)

OH OHchallanhi saegin

(BRIGHTLY ENGRAVED)

I know you know

maeil kkumkkudeon (EVERYDAY)

World,

I feel so fine

9/TS/PD,NS

OH OH haneul

kkeutkkaji (TO THE

END OF THE SKY)

OH OH haneul kkeutkkaji (TO THE

END OF THE SKY)

Oh oh gadeuk pyeolchyeojin

(SPREAD OUT)

I know you know

hwanhi bitnaneun (THE

BRIGHTLY SHINING )World,

I feel so fine

10./TS/PD,NS

OH OH gadeuk

pyeolchyeojin (SPREAD

OUT)

Oh oh haneul kkeutkkaji (TO THE

END OF THE SKY)

OH OH gadeuk pyeolchyeojin

(SPREAD OUT)

I know you know


38

hwanhi bitnaneun (THE

BRIGHTLY SHINING) World,

I feel so fine

All cases above contain same number of syllables. All contain 7 syllables, they

are "Oh-Oh-na-ye-nal-gae-wi, Oh-Oh-ha-neul kkeut-kka-ji, Oh-Oh-chal-lan-hi-

sae-gin and Oh-Oh- ga-deuk-pyeol-chyeo-jin. The interjection ‘oh’ is added to

create rhythm to those lines.

No Case Lyrics Part

66/ITES/PD,AD IT FADES

AWAY

shiganeun imi jinago (TIME HAS

ALREADY PASSED)

IT FADES AWAY

In this line, the lyricist used personification to describe time that can fade away.

The lyricist gave an animate quality to inanimate thing.

iii. Sweet love

The example is taken from song entitled “Sweet Love”. This song tells

about the singer who is in love and cannot imagine how her life is going to be

someone she loves.

No Case Lyrics Part

87/ITES/PD

I’LL TAKE YOU HIGH

(TAKE YOU HIGHER) SO

WE CAN FLY (SO WE CAN

FLYER)

ttaseuhi aneun chae tteodanigetji

(AS WE LEAVE IN EACH

OTHER’S WARM EMBRACE)

i’m in love

I’LL TAKE YOU HIGH

(TAKE YOU HIGHER) SO

WE CAN FLY (SO WE CAN

FLYER)


39

In this song, words ‘high’ and ‘fly’ have same ending sound /aІ/ as rhyme. This

conditional sentence then repeated with comparative form of ‘high’ and ‘fly’

which are sung by background singer. However, the comparative form of ‘fly’,

‘flyer’, is not commonly used in English. Usually, flyer is a noun phrase. The

lyricist used ‘flyer’ to make it rhymed with the adverb ‘higher’.

Another kind of poetic device also found in this song. English switched

code is used to represents the object that appeals to human physical sense or

imagery. It can be seen in one example below.

No Case Lyrics Part

88/ITES/PD GIVE ME YOUR

SWEET, SWEET

LOVE

sarangiran ge mwonji maeil nan baewoga (I

LEARN WHAT LOVE IS EVERYDAY)

i dalkomhame chwihaesseo, (I’M DRUNK

WITH THIS SWEETNESS)

GIVE ME YOUR SWEET, SWEET

LOVE

The singer makes a request to the boy to give his sweet love. The adjective

sweet is repeated to emphasize what the girl wants. The lyricist uses noun phrase

‘sweet love’ instead of Korean equivalent dalkomhan sarangeul. Sweet love is an

imagery of taste, describing love as something pleasant and happy. Love does not

have taste, but the lyricst gave taste of sugar to describe how love feels.

iv. Lonely Night

This song tells about someone who remembers about their past memory

with his boyfriend every night. The lyricist is motivated to use English as a poetic

device in some lines of the lyrics. The types of poetic devices that the researcher

found are repetition, irony, cliché, and rhetorical question.


40

No Case Lyrics Part

47/ITAS/PD,SD

BOY kkeutnasseo, neol

miwohae (IT’S OVER, I

HATE YOU)

hwansangil ppun yeotjana (IT

WAS JUST AN ILLUSSION

ANYWAY)

BOYkkeutnasseo, neol

miwohae (IT’S OVER, I HATE

YOU)

The first type is repetition. The sentence boy-kkeut-na-sseo, and another line,

neol-i-je-ya have similar tune havethe same number of syllables, which is 4

syllables. Repetition of syllables are made to create rhythm. The second type of

poetic device that is identified is irony. Korean is switched into English to convey

a meaning that is opposite than its literal meaning. This kind of device can be seen

in the table below.

No Case Lyrics Part

82/ITES/PD,AD I DON’T

KNOW YOUR

NAME

Boy kkeutnasseo neol miwohae (IT’S

OVER, I HATE YOU)

I DON’T KNOW YOUR NAME

i mal myeot beonina doenoeya haneunji

(HOW MANY TIMES DO I HAVE TO

TELL MYSELF?

The English code switching that is used is the complete sentence ‘I don’t know

your name’. This sentence expresses the singer’s denial about her previous lover

existance. She pretends that she does not know her past lover’s name. A poetic

device named irony is applied to make this sentence because actually the girl in

the lyrics knows her lover’s name. The singer just wants to forget him.

The third type of poetic device that is found is a cliché. It means a saying

or idea that are widespread and commonly used.The lyricist adapted English

sayings into Korean song lyrics. Some examples are provided below.


41

No Case Lyrics Part

102/ITES/PD

SOME THINGS

NEVER CHANGE,

jal araneoneun

eobttan geol ( I

KNOW THAT YOU

ARE NOT HERE)

nareul dwiheundeul ttaemada (EVERY

TIME IT SHAKES ME UP)

SOME THINGS NEVER CHANGE, jal

araneoneun eobttan geol ( I KNOW

THAT YOU ARE NOT HERE)

103/ITES/PD

ENOUGH IS

ENOUGH deo uljin

ana ( I WON’T CRY

ANYMORE)

neol saenggakhaneun bami jureo ga

(NIGHTS I THINK ABOUT YOU IS

DECREASING)

ENOUGH IS ENOUGHdeo uljin ana ( I

WON’T CRY ANYMORE)

Datum 102/ITES/PD is a cliché that means some things will remain the same. One

of the few things the lyricist refers to is a fact that a lover cannot be together

anymore. Another example from this song is saying or cliché ‘enough is enough’

that means whatever is happening must be stopped. The girl in the lyrics wants to

stop crying.

Another type of poetic device that researcher found is rhetorical question.

The lyricist can make Korean to English code switching as question that does not

need to be answered and it is used to emphasize the point only. This device can

be seen in the table below.

No Case Lyrics Part

50/ITAS/PD,AD

SO WHY DO I

byeonhaji

mothae (CAN’T

CHANGE)

kkaeeojiji ana, seulpeun kkumsogeul hemae

(I can’t wake up, I’m lost in sad dreams )

Yeh

SO WHY DO I byeonhaji mothae (CAN’T

CHANGE)

jakku dwidora boge dwae (I keep looking

back)


42

In lonely night, the singer is questioning herself why she cannot change and keep

looking back to the past. It does not need an answer from the listeners as she is

just asking herself.

v. Fire

In this song, the singer calls the one she ever loved as the fire, someone

who destroyed her life. Two types of poetic devices that are used by the lyricist

are repetition and metaphor.

No CS Case Lyrics Parts

78/ITES/PD,AD I FEEL SO

ALONE

You’re the fire ttatteuthan ondo

sori eopshi kkeullyeo nan (I AM PULLED

BY YOUR WARMTH)

jaetbit heunjeongman nama (ONLY

TRACES OF ASH REMAIN)

Oh you’re the fire.

Oh i know you’re the fire

I FEEL SO ALONE

I feel so alone

I feel so alone

I feel so alone

The repetition is made to be the refrain of the song. The sentence ‘I feel so alone’

is repeated four times to emphasize the message of this song that the singer feels

so lonely. Audiences or listeners could enter into the singer’s thought through

repetition. The four times repetition of the sentence ‘I feel so alone’ made the idea

clearer and more memorable to the audiences and listeners.

Another poetic device is metaphor. It is one of the poetic devices that

refers to decribe something that is not literally true. It also implies comparison

between two things. Metaphors in this song can be seen in the example below.


43

No Case Lyrics Part

75/ITES/PD,AD,SD YOU’RE

THE FIRE

neoye geojit kkeutnasseo modeun ge

(WITHOUT ANYTHING REMAINING,

YOU GOT SO FAR AWAY)

YOU’RE THE FIRE

ttatteuthan ondo sori eopshi kkeullyeo

nan (I AM PULLED BY YOUR

WARMTH)

The lyricist described the character ‘you’ as ‘the fire’. Lyricist made the character

‘you’ to share similarities with inanimate object ‘the fire’. The object ‘the fire’ is

also the title of the song that shows this object is the important idea of the song.

Metaphor ‘fire’ means something that can destroy anything.

vi. I’m OK

The singer does not have any interest with someone she loved in the past

and claims that she will be okay without him. One kind of poetic devices that is

found in the lyrics is assonance.

No Case Lyrics Part

52/ITAS/PD

neo eopshido (EVEN

WITHOUT YOU,)

nan(I’M) OK

neo eopshi nan oneulbuteo

(WITHOUT YOU, FROM NOW

ON)

neo eopshido (EVEN WITHOUT

YOU,) nan(I’M) OK

She said that she is in a good emotional state. Korean equivalent nan

gwaenchanha is commonly used by Koreans, but the lyricist chose to use English

adjective OK as assonance. The sentence ‘neo-eopsh-i-nan-o-neul-bu-teo’and

‘neo- eopsh-i-do-nan-OK’ has similar initial vowel sound. Adjective ‘OK’ has

same initial vowel sound with oneulbuteo.


44

b. The Use of English as a Means of Creating New Structural Forms.

Other languages can be combined in a song lyrics to create a form that is

rare and hard to be implied, such as rhyming structure. Due to fact that Korea is a

Subject-Object-Verb language, it is hard for them to create rhyme because the

variation is limited. If a lyricist wants to get more variations of rhyme, a lyricist

can include other languages in the song that has more variation of rhyme, such as

English. This motivation can be seen on a song titled Eraser. Because eraser is a

hiphop genre song, they tend to make rhyme. This is a chorus 1 and 2 part.

No Chorus 1 No Chorus 2

25/ITAS

/PD,NS

wanbyeokhi neol jiwojul

ERASER (29/ITAS)

[(AN ERASER) THAT

WILL COMPLETELY

ERASE YOU]

30/ITAS/

PD,NS

negeseo nal guhaejul

ERASER

[(AN ERASER) THAT

WILL SAVE ME FROM

YOU]

piryohae neol itgi wihae

(I NEED IT TOFORGET

YOU)

saeroun shijageul wihae

(FOR A NEW START)

26/ITAS

/PD,NS

kkaekkeushi nal

sshitgyeojul ERASER

[(AN ERASER) THAT

WILL WASH ME

CLEAN]

26/ITAS/

PD,NS

kkaekkeushi nal

sshitgyeojul ERASER

[(AN ERASER) THAT

WILL WASH ME

CLEAN]

dashin neol wonhaji anke

(SO I WON’T WANT

YOU AGAIN)

jageun miryeonjocha

eopge

[SO I WON’T HAVE

ANY FEELINGS LEFT

OVER]

27/ITAS

/PD,NS

mokpyoreul hyanghan

RACER [(A RACER)

TOWARD A GOAL]

31/ITAS/

PD,NS

meomchuji aneul RACER

[(A RACER) WHO

WON'T STOP]

28/ITAS

/PD,NS

i mamsok

(IN THIS HEART,)

CHASER

32/ITAS/

PD,NS

meoreojin CHASER

[(A CHASER) GONE

FAR AWAY]

33/ITAS

/PD,NS

nal saerobge bakkwo

BRAND NEW (I’LL

BECOME BRAND NEW)

49/ITAS/

PD,NS

neol jiugo mameul RE-

NEW

[I WANT TO ERASE

YOU AND (RE-NEW)

MY HEART]


45

neoraneun angmongeseo

(FROM THE

NIGHTMARE THAT IS

YOU)

jidokhan neoegeseo

(FROM THE POTENT)

34/ITAS

/PD,NS,

AD,SD

nal kkaewojwo YOU

(YOU WAKE ME UP)

34/ITAS/

PD,NS,A

D,SD

nal kkaewojwo YOU

(YOU WAKE ME UP)

29/ITAS

/PD,NS

neol hyanghan ERASER

((ERASER IS GOING

TOWARD YOU)

29/ITAS/

PD,NS

neol hyanghan ERASER

(ERASER IS GOING

TOWARD YOU)

Chorus 1 and chorus 2 has same rhyme pattern, they are A-B-A-C-A-A-D-E-F-A

structure. The A pattern for words ‘eraser’, racer’, and ‘chaser’ with ending

sound /-sɚ/, B pattern for wihae, C pattern for anke and eopge, D pattern for

‘new’ with sound /nu:/, and E pattern for angmongeseo and neoegeseo, and F

pattern for word ‘you’ with ending sound /jʊ/. The lyricist create new variation of

rhyme with sounds /-sɚ/, /nu:/, and /jʊ/. English words are placed in bottom line,

so the line can be rhymed.

c. The Use of English as a Exotic Device

English words, phrases, and sentences are used to make the English

translation become more interesting. This kind of motivation can be seen through

the song titled “Suchaehwa (Love in color)”. The literal meaning of the title is

‘watercolor’ and has alternative title, “Love in Color”. The singer’s love is

compared as watercolor that has a lot of colors. Korean object suchaehwa is never

mentioned in the lyrics and is replaced by these two intrasentential switchings

below. These are two code switched lines that use English.


46

No Case Lyrics Part

39/ITAS/ED,PD himihaejineun

(FADING) COLOR

nae mamsok seonmyeonghaetdeon

sarangi (THE LOVE THAT WAS

CLEAR IN MY HEART) oh

himihaejineun (FADING)

COLOR

40/ITAS/ED,PD

nunmure beonjin

COLOR [(COLOR)

THAT IS SMUDGED

WITH TEARS)]

nunmure beonjin

COLOR[(COLOR) THAT IS

SMUDGED WITH TEARS)]

seulpeume jeojeun deut peojyeo

(SPREADING LIKE IT’S WET

WITH TEARS)

The first datum combines Korean and English, and states that the color is fading.

The love that the singer is already being clear because the color is lost. The

second datum tells how the color is faded. The color is smudged with tears and

spread into various directions until it fades. Their love is not colorful anymore.

The phrase ‘love in color’ brings sense of temporary love. The love can disappear

like a faded painting.

2. Extrinsic Motivations

Motivations can be seen not only from the text itself but also from

extrinsic elements. The findings are below.

a. The Use of English as an Audacious Device

Based on what Stanlaw says about audacious device using English,

“English downplays the weight of feelings and emotions supposedly too intense to

be expressed in Japanese, and English lines allude Western-style romance”

(Stanlaw as cited in Chan, 2009a, p.110). In K-pop song lyrics, the researcher also

found several use of Korean-English code switching to such motivation. The first


47

one is to express romantic and sensually connoted song lyrics. Began in the late

nineties, “young South Korean pop artists exercised freedom of expression by

voicing what was considered alarming to Korea’s moralistic censors” (Lee, 2004,

p.436). Talking about something related to sex might still be “something taboo,

because Korea is a conservative country” (Claire, 2017, para.5). Then, English

becomes a medium to express somewhat taboo for them.

The example of freedom to express romantic and sensually connoted

lyrics can be seen in “I Got Love” song. The lyricist created this song to bring up

the singer’s ,Taeyeon, “dark and sultry side” (Herman, 2017, para.3). This is some

parts of the song.

No Case Lyrics Part

79/ITES/PD,AD COME AND TURN ME

ON


(YOU MAKE ME ABSURDLY

CRAZY)

COME AND TURN ME ON

80/ITES/PD,AD

YOU DON’T STOP

THAT FIRE CAUSE I

GOT LOVE, I GOT

LOVE, I GOT LOVE

YOU DON’T STOP THAT

FIRE CAUSE I GOT LOVE, I

GOT LOVE, I GOT LOVE

In these parts, the imperative sentence ‘come’ means to move from further

away to nearer and ‘turn me on’ means to arouse me. Both of the sentence is

excite or stimulate the interest of someone, in sensual way especially. In Korean

culture or Asian culture, it might be hard to express something like that. The

lyricist used English to be able express the idea of the song freely. In other hand,

English language might be used to hide actual meanings of the song, so the song


48

is not banned from broadcast by censorship board since the song lyrics also

appear in Korean TVs to let audiences sing together.

No Case Lyrics Part

104/ITES/PD,

AD,SD

ja malhae bwa

(TELL

ME),WANT YOU

BABY, WANT

YOU BABY

ja malhae bwa (TELL ME), WANT

YOU BABY, WANT YOU BABY

uju gateun ni aneuro (IT’S LIKE A

UNIVERSE INSIDE OF YOU)

105/ITES/PD,

AD

NEED YOU

CLOSER,NEED

YOU CLOSER,

ppajeodeulmyeon

(IF I FALL IN)

NEED YOU CLOSER,NEED YOU

CLOSER, ppajeodeulmyeon (IF I FALL

IN)

daltteun hansumdo nabukkin nado (I

FLUTTER IN THE RESTLESS SIGHS

TOO)

Another part in this song, in the chorus part, also brings sensual

connotation. Both data are expressing commands. In this context, the complete

sentence “I want you” means i want to be with you amorously. It is conveying

woman’s freedom to say what she wants. The woman is daringly revealed her

requests.

Secondly, Korean song lyrics is switched into English to express that

female freedom of expression. “The example is when a female singer explicitly

propose to her male lover” (Stanlaw as cited in Chan, 2009a, p.110). The use of

switching for this motivation can be seen in the song titled “Cover Up”.

No Case Lyrics Part

62/ITES/PD,AD I WANT YOU

I WANT YOU

keojyeo ganeun mam (MY

GROWING FEELINGS)

Boy, I can’t cover up.

63/ITES/PD,AD I SAID IT, I SAID IT (I love you, love you)

I SAID IT, I SAID IT (I love

you, love you)

I mean it, I mean it


49

I love you, love you

64/ITES/PD,AD,SD I LOVE YOU, LOVE

YOU

I said it, I said it

I LOVE YOU, LOVE YOU



65/ITES/PD,AD I MEAN IT, I MEAN

IT



I MEAN IT, I MEAN IT


Csse 62/ITES/PD,AD means the girl has a desire to get the boy. Following

case 63/ITES/PD,AD, the sentence ‘I said it’ stated that the girl already confessed

her feeling to the boy. The confession that she already said to the boy is ‘I love

You’ as put in the case 64/ITES/PD,AD,SD. The lyricist brought the English way

of confessing, ‘I Love You’, that also used by Koreans.Korean way of confessing

love saranghaeyo is also available but the lyricist chose English instead. Besides

showing the English way of confessing, it is also brings new symbolic mode of

expression, a girl confessed her feeling first to male is considered as daring for

Koreans. However, time is changing and it is more acceptable now. “Many

women no longer bite their nails and wait until their boyfriends pop the question”

(The Chosunilbo, 2018, para.1). Many women makes a move first.

Thirdly, English is put to express “griefness after break-up” (Chan, 2009a,

p.108). English is used as confession of intense feeling. Some examples are given

below.

No Case Lyrics Part

81/ITES/PD,AD

I’M SICK OF

LONELY NIGHTS

i mal myot beonina doenoeya

haneunji (HOW MANY TIMES

DO I HAVE TO TELL


50

MYSELF?)

I’M SICK OF

LONELYNIGHTS

I’m sick of lonely nights

English sentence is repeated twice in a song titled ‘Lonely Night’ to emphasixe

the point to listeners. Figuratively, the sentence means that the singer is tired of

the state of being alone at night. The singer broke with her lover and as the effect

of this, the singer felt the frustration and loneliness. English is used to express

intense feelings, loneliness and frustration.

Another song that has switched Korean to English to express griefness

after breakup is in a song titled “Fine”.

No Case Lyrics Part

55/ITES/PD,AD IT’S NOT FINE

Ipgae maemdoneun mareul samkil su

eopseo (I CAN’T SWALLOW THE

WORDS THAT LINGER IN MY

MOUTH)

IT’S NOT FINE

On this part, the lyricist used negative sentence “it’s not fine” to express what the

singer could not said through words. The singer looks fine outside, but not inside.

It is also why the sentence is contradictory with the title. In addition, based on

SUDA JJ K-POP Entertaiment’s theory about Fine Music Video, the adjective

‘Fine’ in this lyrics is the continuation of French word Fin that means the end.

“Fine is the conclusion of Fin” (2017). The word ‘fine’ is the result of the ending

of relationship.


51

b. The Use of English as a Symbolic Device

English allows K-pop to bring new representational and symbolic modes

of expression. The example is the use of English for youths as ways of

endearment like what collected below. English represented modernity for Korean

youths. Lee states that “being an English-knowing and English-using Korean is

one of the most significant characteristics of being modern in contemporary South

Korea” (Lee, 2006, p.63).

No Case Lyrics Part

42/ITAS/PD,SD WO BABE OH

WO BABE OH

ije eojjeojyo nan andwaeyo

(WHAT DO I DO? I CAN’T)

amuri bulleodo doraojil ana

(NO MATTER HOW MUCH I

CALL OUT, YOU WON’T

COME BACK)

46/ITAS/PD,SD

gieokjocha naji

anneunde (I AM NOT

EVEN REMEMBER

THEM) BABE

neo eopshi honja jinaen naldeul

(DAYS SPENT WITHOUT

YOU, ALONE)

gieokjocha naji anneunde (I AM

NOT EVEN REMEMBER

THEM) BABE

72/ITES/PD,SD

ijeneun da (NOW,) I

CAN LET IT GO

BABY

ijeneun da (NOW,) I CAN

LET IT GO BABY

93/ITES/PD,AD,SD NO THANKS BABY

milgo danggineun saineun nan

shireo (I DON’T LIKE

PLAYING GAMES OF PUSH

AND PULL)

NO THANKS BABY

104/ITES/PD,AD,SD

ja malhae bwa (TELL

ME), WANT YOU

BABY, WANT YOU

BABY

ja malhae bwa (TELL ME),

WANT YOU BABY, WANT

YOU BABY

uju gateun ni aneuro (IT’S

LIKE A UNIVERSE INSIDE

OF YOU)

need you closer


52

Five out eleven songs in the album that switch Korean into English

contains the English way of endearment. The lyricists made the song with English

way of endearment ‘babe’ and ‘baby’. The term ‘baby’ means my love and term

‘babe’ is more sophisticated form of baby that carries the same meaning. Koreans

have their own way of endearment, jagi or jagiya for unmarried couples, oppa to

address boyfriend especially if they are older than girls, and yeobo for married

couples. The lyricists used English as alternative vocabularies. The use of English

endearment also may suggest Western-kind of romance.

This table below is the relation between the types of code switching and

the possible motivations for the use of English.

Table 2. Possible Motivations in the Album

based on Types of Code Switching

Types

Possible Motivations

Tag Intrasentential Intersentential

Intrinsic :

1. Exotic Device 0 2 0

2. Re-exotic Device 0 0 0

3. Poetic Device 22 32 51

4. Creating New Structural Forms 4 13 2

Extrinsic :

1. Audacious Device 9 2 23

2. Symbolic Device 0 4 9

3. Expressing Aspect of Modern

Culture 0 0 0

4. Express Images of Domestic

Life 0 0 0

From the data found, the most used intrinsic motivation in the album is to create

poetic devices that occured in all songs, and the least used motivation is to create

exotic device with only 2 data. It can be concluded that code switching in the


53

album is used to create expressions to the listeners but the motivation to make

translated words to become more interesting is not really significant.

The motivation to create new structural deviceis mostly happen in

intrasentential code switching in the album. It means that the intrasentential code

switching is used to create structures that are new for Korean song lyrics. In this

album, the intrasentential code switching is used to create new variation of rhyme

pattern.

In extrinsic motivations, the lyricists use intersentential code switching the

most rather than the other types. There are 23 intersentential code switching cases

for audacious device motivation and 9 intersentential code switching cases for

symbolic device motivation. The lyricists are more motivated to use

intersentential code switching as a means of expressing daring feelings and giving

new symbolic expressions forthe song lyrics. Most expressions that are too daring

for Koreans are expressed in fully English sentence to hide their actual meaning

so the songs are not banned from broadcast by the censorship board since song

lyrics are also appear in Korean TVs, and it is also to change the singer’s image.

English sentences also symbolize freedom of expression, and modernity in Korea.


54

CHAPTER V

CONCLUSION

This chapter provides the conclusions of findings which have been

analyzed by the researcher. The first problem is about the types of code switching

that occured in Taeyeon album My Voice song lyrics; the second problem is about

the possible motivations for using code switching in Taeyeon album My Voice

song lyrics.

According to the analysis, 3 types of code switching are found in the

album. They are intersentential code switching, tag switching, and intrasentential

code switching. The researcher found that the intersentential code switching

occured 51 times in the lyrics, intrasentential code switching occured 32 times and

tag switching occured 22 times. So, the total number of code switching occured

in the album song lyrics is 105 times. It means that lyricists use all 3 types of code

switching for the album.

The second analysis identifies possible motivations of code switching

occured on the album song lyrics. According to the data collected, they are five

possible motivations found in the album, which are motivation for the use of

English as an exotic device, the motivation for the use of English as apoetic

device, themotivation for the use of English as means of creating new structural

form,the motivation for the use of English as an audacious device, and the

motivation for the use of English as a symbolic device.


55

Themotivation for the use English of as a poetic device are appeared on all

105 datas, it followed by motivation for the use of English as an audacious device

with 34 numbers of occurrences, the motivation for the use of English as a means

of creating new structural form with 19 numbers of occurrences, and the

motivation for the use of English as a symbolic device with 13 numbers of

occurances. Motivation for the use of English as an exotic device happened the

least with 2 numbers of occurances.

After categorized them into intrinsic and extrinsic motivations. The

research is expected to be able to increase the development and understanding of

language learning, especially in the field of sociolinguistics. Code switching can

happen not only in spontaneous conversation but also in written and planned

discourses, such as in song lyrics. The result of the research can be used as the

basis and comparison for further research related to code switching that is used in

song lyrics.


56

REFERENCES

Appel, R., & Muysken, P. (2005). Language Contact and Bilingualism. London:

Edward Arnold. Retrieved from https://www.bookZZ.org/

Bullock, Barbara E, & Toribio, Almeida Jacqueline. (Eds). (2009). The

Cambridge Handbook of Linguistic Code-switching. New York: Cambridge

University Press. Retrieved from https://bookZZ.org/

Chan, Brian Hok-Shiong (2009a). English in Hong Kong Cantopop: Language

choice, code-switching and genre. World Englishes 28(1) 109-110. [SSCI-

Indexed] DOI:10.1111/j.1467-971x.2008.01572.x

Chloros, P. G. (2009). Code- Switching. New York: Cambridge University Press.

Retrieved from http:/www.bookzz.org/

Claire. Things You Should Never Say in Korea. (2017) Retrieved from

http://gogirlguides.com/asia/things-you-should-never-say-in-korea/

Cox, T. (2000). You Can Write Song Lyrics. Ohio: Writer's Digest Books.

Retrieved from http://www.bookzz.org/

Creswell, John W. (Ed.). (2013). Qualitative inquiry and research design:

choosing among five approaches. Los Angeles: SAGE Publications, Inc.

Retrieved from https://bookzz.org/

Davies, E., & Bentahila, A. (2006). Code Switching and the Globalization of

Populer Music: The Case of North African Rai and Rap. Multilingua 25,

367.

Dröschel, Yvonne. (2011). Lingua Franca English : the role of simplification and

transfer.Bern: Peter Lang.

Google Trends. (2017) Search Result for K-Pop. Available at:

https://trends.google.com/. Accessed on October 2017.

Herman, Tamar. K-pop Starlet Taeyeon fine new single. (2017). Retrived

fromBillboard:http://www.billboard.com/articles/columns/k-

town/7709090/k-pop-starlet-taeyeon-fine-new-single-first-lp. Accessed on

April2017.

Herman, Tamar. Taeyeon Explores Her Sultry Side, Declares ‘I Got Love’: Watch

(2017). Retrieved from http://www.billboard.com/articles/columns/k-

town/7694237/taeyeon-i-got-love-girls-generation-video.


https://www.bookzz.org/

https://bookzz.org/

http://gogirlguides.com/asia/things-you-should-never-say-in-korea/

http://www.bookzz.org/

https://bookzz.org/

https://trends.google.com/

http://www.billboard.com/articles/columns/k-town/7709090/k-pop-starlet-taeyeon-fine-new-single-first-lp.%20Accessed%20on%20April%202017



http://www.billboard.com/articles/columns/k-town/7694237/taeyeon-i-got-love-girls-generation-video

http://www.billboard.com/articles/columns/k-town/7694237/taeyeon-i-got-love-girls-generation-video

57

Jingxia, Liu (2010). Teacher’s Code Switching to the L1 in EFL Classroom. The

Open Applied Linguistics Journal.3.10-23. Retrieved from htt

s://benthamopen.com

J.K (2017)Taeyeon’s “My Voice” Named As One Of “The 20 Best Albums Of

2017 By Fuse. Retrieved from https://www.soompi.com/2017/06/29/

Taeyeons-voice-named-one-20-best-albums-2017-far-fuse/

Kachru, Y., & Nelson, C. L. (2006). Asian Englishes Today. In World Englishes

in Asian Context (p. 177). Hong Kong: Hong Kong University Press.

Retrived from http:/www.book-ok.org/.

Kaisa, Nyman. (2012) .English Influence on Japanese Popular Music: A Case

Study of Language Contact (Master Thesis).University of Eastern Finland,

Finland. Retrieved from https://www.epublications.uef.fi/

Kettner,Josefine. (2013). I wiru rokku yuu in Japanese A study of language in J-

pop lyrics (Bachelor thesis). Lund University, Sweden. Retrieved from

https://lup.lub.lu.se/

Lauder, A. (2008). The Status and Function of English in Indonesia: A Review of

English in Key Factors. Makara, Social Humaniora.

Lee, Jamie Shinhee.(2004). Linguistic hybridization in Kpop: discourse of self-

assertion and resistence. World Englishes. 23(3), 429-450. Retrieved from

http://www.booksc.org/

Lee, Jamie Shinhee.(2006). Linguistic constructions of modernity: English mixing

in Korean television commercials. Language in Society. 35(1), 59-91.

doi:10.1017/S0047404506060039. Retrieved from http://bookzz.org/

Moreno, Julio. (2015). Another 10 Korean Words You Should Never Translate to

English.Retrieved from: http://www.travelworldheritage.com/2015/06/07/

korean-translation/.

Muysken, Pieter. (2000). Bilingual Speech A Typology of Code- Mixing.

Cambridge: Cambridge University Press. Retrieved from https://www.

Bookzz.org/

NeoEnglish. (2010). Psycholinguistics-a Study of Language and Brain in relation

to psychology . Retrieved from https://neoenglish.wordpress.com. Accessed

on November 2017.

Pascalyne, Kimaiyo. (2014). The Markedness Model Approach to the Motivation

and Functions of Code-Switching and Code-Mixing: a Case Study of

Selected Kipsigis Songs (Master Thesis). University of Nairobi, Kenya.


https://www.epublications.uef.fi/

https://lup.lub.lu.se/

http://www.booksc.org/

http://bookzz.org/

http://www.travelworldheritage.com/2015/06/07

https://neoenglish.wordpress.com/

58

Pop!gasa. Taeyeon (Girls’ Generation). Retrieved from https://popgasa.com

Poplack, S. (1980). “Sometimes I’ll start a sentence in Spanish Y TERMINO EN

ESPAÑOL” : Toward a typology of code–switching. Linguistics18(7-8)581-

618. Retrieved on May 2018, from doi: 10.1515/ling-1980-18.7-8.581

Romaine, Suzanne. (1989). Language in Society: An Introduction to

Socioliguistics. London: Longman. Retrieved from https:/www.book-

ok.org/

Stanlaw, J. (2004). Japanese English: language and culture contact. Hong Kong:

Hong Kong University Press. Retrieved from https: //www. Bookzz.org/

Suda JJ K-Pop Entertaiment. (2017, February 28). [myubihaseog] ibyeolhan

bundeul-eun 200% gong-gam TAEYEON Fine MV Theory sudajaeng-ijun

[video file] . Retrieved from : http://www.youtube.com/watch?v=Wlsd5bY

H3GE

Suzanne Romaine. (2000). Language in Society: An Introduction to

Sociolinguistics. New York: Oxford University Press. Retrieved from

http://b-ok.org/

The Cholsun Ilbo. More Woman Propose to Men. (2018). Retrieved from

https://english.cholsun.com. Accessed on March 2018.

The Editors of Encyclopaedia Britannica. Lyric. (2018) Retrieved from

http://www.britannica.com/art/lyric

Trudgil, P. (1983). Sociolinguistics : an Introduction to Language and Society.

London: Penguin Books.

Verywellmind. (2018). Motivation: Psychological Factors That Guide

Behavior.https://www.verywellmind.com/what-is-motivation-2795378.

Accessed on May 2018.

Widaya, R. D. (2015). English- Indonesian Code Switching in Indonesian Song

Lyrics Composed by Melly Goeslaw (Undergraduate Thesis). Universitas

Sanata Dharma, Yogyakarta.

Yonhap News Agency. Global ‘hallyu’ fans swell to 35 million in 86 countries.

(2016). Retrieved from https://english.yonhapnews.co.kr/news/. Accessed

on September 2017.


http://www.youtube.com/watch?v=Wlsd5bY%20H3GE

http://www.youtube.com/watch?v=Wlsd5bY%20H3GE

http://b-ok.org/

https://english.cholsun.com/

https://english.yonhapnews.co.kr/news/

59

APPENDICES

Appendix 1 : Taeyeon’s album My Voice song lyrics (Romanized lyrics)

1. Fine

Verse 1

Jjijeojin jongitjogage

Damanaen naye jinshime

Seonmyeonghaejyeo somethin’ bout you

Yeah nareul manhi dalmeun deut dareun

Neon hokshi nawa gateulkka jigeum

Gwaenhan gidaereul hae

Pre-Chorus

Haru han dal il nyeonjeum doemyeon

Seoro dareun ilsangeul saraga

Chorus

Naneun aniya

Swibji aneul geot gata

Yeojeonhagedo neon nae haruharureul chaeugo

Ajigeun aniya

Babocheoreom doenoeneun na

Ipgae maemdoneun mareul samkil su eopseo

It’s not fine

Ah~ Ah~ Ah~ Ah~ It’s not fine

Verse 2

Meoril jikkeun mukkeun chae

Eojireoun bangeul jeongnihae

Chatgo isseo somethin’ new

Gakkeum ireoke gamdanghal su eopneun

Mworado haeya hal geotman gateun gibune

Gwaenhi umjigigon hae

Pre-Chorus

Haru han dal il nyeon geujjeumimyeon

Useumyeo chueokhal geora haetjiman

Chorus

Naneun aniya

Swibji aneul geot gata

Yeojeonhagedo neon nae haruharureul chaeugo

Ajigeun aniya

Babocheoreom doenoeneun na


It’s not fine

Ah~ Ah~ Ah~Ah~ It’s not fine

Verse 3

Uimi eopneun nongdam jugobadneun daehwa

Saramdeul teume nan amureochi ana boyeo

Mudin cheok useumeul jieo boimyeo

Neoran geuneureul aesseo oemyeonhaebojiman

Outro

Uri majimak

Geu sungani jakku tteoolla

Jal jinaeran mari jeonbuyeotdeon damdamhan ibyeol

Ajigeun aniya

Babocheoreom doenoeneun geu mal



60

It’s not fine

Ah~ Ah~ Ah~ It’s not fine Oh~

Ah~ Ah~ Ah~ It’s not fine

2. Cover Up

Verse 1

oneuldo byeolcheoreom ne maeumeul ttara

tto neoye gyeoteul maemdolji

Stop nan eojireowo seonmyeonghan ne mameul

ijen algo shipeojyeo

bamhaneuredo georiedo

jeonbu neoye moseubi gadeukhan geol

jom deo shigani piryohadamyeon

tto neol gidarigetjiman

Chorus

Boy I can't cover up my heart neol bomyeon nan useumi saeeo nawa

amudo mollae naege seumyeodeureo

jogeumsshik keojyeo ganeun mam Boy I can't cover up

Refrain

Can't cover it up, can't

can't cover it up, no

Can't cover it up, no,

I just can't cover it up, come on

Can't cover it up, can't can't cover it up, no

keojyeo ganeun mam Boy I can't cover up

Verse 2

nan joshimseureobge ne saekkkareul ipgo

tto ne yeope jaril jabji

nae mamgwa gateunji eolmamankeum inji

mareul haejwo Yes or no

Pre- Chorus

bamhaneuredo georiedo

jeonbu neoye moseubi gadeukhan geol

jom deo shigani piryohadamyeon

tto neol gidarigetjiman

Chorus

Boy I can't cover up my heart




Yeah, in my heart

eonjenga naye gyeote wa jul neowa

dalkomhan kkumeul kkuneun sangsangeul hae

I want you keojyeo ganeun mam Boy I can't cover up

Verse 3

I said it, I said it (I love you, love you)

I mean it, I mean it (I love you, love you)

malhaneun i sungan

huhoehandaedo neoreul hyanghan jinshimin geol

Chorus

Boy I can't cover up my heart




Bridge

Yeah, in my heart

(Can't cover it up, can't

Can't cover it up, no)


61

eonjenga naye gyeote wa jul neowa

(Can't cover it up, no,

I just can't cover it up, come on)

dalkomhan kkumeul kkuneun sangsangeul hae

(Can't cover it up, can't

Can't cover it up, no)

I want you keojyeo ganeun mam

Boy I can't cover up

Refrain

Can't cover it up, can't cover it up,

no (I love you, love you)

Can't cover it up, can't cover it up,

no more (I love you, love you)

Can't cover it up, can't cover it up keojyeo ganeun mam Boy I can't cover up

3. Nalgae (Feel so Fine)

Verse 1

eodum soge pagodeun

nae ane nal gadudeon

shiganeun imi jinago

It fades away hayeomeopshi tteodolda

nasseon byeoge budichyeo beorin

Oh ije nan eodiro

Please hold my hand

Verse 2

hanadulsshik yeoreo

gamchwowatdeon nareul kkaewo

ijeuryeo haetdeon gyeolgugen

neul ijeul su eopseotdeon kkumdeul

han beondo jedaero

nalji mothan nae du nalgae

saerobge pyeolchyeobwa

tto narabwa ije

Chorus 1

geuryeoman watdeon jigeum nae moseub

ajik nan mitgiji ana

ssodajineun haessal seuchineun baram


Oh oh naye nalgae wi

Oh oh challanhi saegin

I know you know

maeil kkumkkudeon World,

I feel so fine

Oh oh haneul kkeutkkaji


I know you know hwanhi bitnaneun World,

I feel so fine

Verse 3

mareopshi anja banghwanghaetdeon

gireseo majuhaetdeon bamdo

jeonbu gwaenchana ijen modu da

I don’t care


62

honjaraneun pyeonanham sok

pieooreun oeroumdo

ijeneun da

I can let it go baby

Verse 4

jigu bandaepyeon eodinga

naege oechyeoon meari Oh

ne nunape pyeolchyeojil jeo byeok

neomeoye sesangeul chaja

dulleossan hyeonshil geuboda

meonjeo neomeoseol naran byeok Oh

gyesokhaeseo jigyeoga

nae jashini hal su itda mideo

Chorus 1

geuryeoman watdeon jigeum nae moseub

ajik nan mitgiji ana


Just realize I feel so fine

Chorus 2


Oh oh challanhi saegin

I know you know

maeil kkumkkudeon World,

I feel so fine

Oh oh haneul kkeutkkaji


I know you know hwanhi bitnaneun World,

I feel so fine

Oh yeah, I feel so fine

Oh yeah, I feel so fine

Oh yeah , Ooh oh yeah

Oh yeah , Oh nae ane nareul neomeoseon sungan

saeroun sesangi boyeo



4. Eraser

Verse 1

gin angmongeul kkun deuthae jeonjaeng gatdeon

neoran sarange miso

nappeun neoye maeryeoge babocheoreom

bareul deuryeotdeon miro

ajjilhan dul sai the Love and the Hate

aseulhan gyeonggyeseone jageun teumsae

modeun geol dwirohan chae taeyeonhage

Oh, I tried, tried, tried, tried

Chorus

wanbyeokhi neol jiwojul Eraser

piryohae neol itgi wihae

kkaekkeushi nal sshitgyeojul Eraser

dashin neol wonhaji anke

mokpyoreul hyanghan Racer i mamsok


63

Chaser nal saerobge bakkwo Brand New

neoraneun angmongeseo nal kkaewojwo you

neol hyanghan Eraser

Verse 2

eojjeom iri ppeonppeonhae yeojeoni

neon nae juwireul maemdora

negen neomu gwabunhae neo hanaman

tteugeopge saranghaetdeon nan

Bridge

wanjeonhi kkaekkeuthaejin

nae mam bichun Headlight

ne modeun gieokdeureun naegeseo Fade out

morachin pokpung soge nae maeumeun Green Light

Yeah I’ll be just fine yeah I’ll be just fine

Chorus

negeseo nal guhaejul Eraser

saeroun shijageul wihae

kkaekkeushi nal sshitgyeojul Eraser

jageun miryeonjocha eopge

meomchuji aneul Racer meoreojin

Chaser neol jiugo mameul Re-New

jidokhan neoegeseo nal kkaewojwo You

neol hyanghan Eraser Oh yeah


5. When I was Young

Verse 1

Wo Babe Ooh

ije eojjeojyo nan andwaeyo

amuri bulleodo doraojil ana

hokshi geuttae jinjak uri meomchwotdeoramyeon

deo joasseuljido molla gieokhanayo

Chorus

When I~ when I was young geuttae




eottaetnayo gwaenchanatnayo

Verse 2

mitgiji anchyo majimagirae

uri nanun maldeul jiwojiji ana

hokshi geuttae seoro manhi aratdeoramyeon

deo joasseuljido molla

Chorus





eottaetnayo gieokhanayo

Bridge


64

manhi eoryeosseotjanayo uri seotulleotjanayo

ajik eoje ilman gata Ooh

manhi himdeureotnayo naega geudaego

geudaedo nail ttae uri hanail ttae Ooh

Chorus


naega geudael geudaega nal Ooh


geudaeman baraetdeon geureon nayeosseul ttae

eottaetnayo gieokhaejwoyo

6. Fire

Verse 1

bulkge muldeun changeul bichun

jeongmakhan haneureul boda

seubgwancheoreom neol bulleo

daedapi eopseo neoneun boiji ana

gyeoteul jigyeo jugetdadeon

soksagim mideotdeon neoinde

eotteon insa hanado

namgimeopshi meoreojyeo ireoke

Chorus

You’re the Fire ttatteuthan ondo

sori eopshi kkeullyeo nan

neon naege beonjyeo du nuneul tteumyeon

jaetbit heunjeongman nama

Oh you’re the Fire

Oh I know you’re the Fire

Verse 2

uimi eopneun naye haru nega eobttan sashillo

gidaedeullo ssahin miraeye tabi

dan hansungan muneojyeo Oh

jeolmangmajeo anajudeon

keun pumi gongheohal ppuninde

nunbit songil mollatdeon

neoye geojit kkeutnasseo modeun ge

Chorus

You’re the Fire ttatteuthan ondo

sori eopshi kkeullyeo nan

neon naege beonjyeo du nuneul tteumyeon

jaetbit heunjeongman nama



Refrain

I feel so alone

I feel so alone

I feel so alone

I feel so alone

Outro


65

You’re the Fire dagagamyeon

nae mamkkaji samkyeoga

hayahge beonjyeo kkamage taewo

heurin yeongiman nama





You’re the Fire

I know you’re the Fire

7. I Got Love

Verse 1

yuhineun shwiweo

i bameul bonael geu heunhan bangbeop

geureogien urin jom dalla bunmyeong

geureoja bame mabeobi yongmangi

dari soksagyeo gwaenchana hani

eodumi gipeo bimireul deopeo jul teni

ikkeuneun daero ga bogo shipeunde

Chorus

ja malhae bwa want you baby, want you baby

uju gateun ni aneuro need you closer,

need you closer ppajeodeulmyeon

daltteun hansumdo nabukkin nado

chwihan deut kkumeul hemae neoreul hemae

mideojini

Verse 2

ginmilhi ssain

neowa na seorol tamhadeon daneo

yeolgi garin gamyeon beoseodeonjeo

kkeuneojil tteutan ginjangeun

euishimeun sarajeosseuni eoseo wa hani

nunape jonjae neon sara umjigineunde

ogame chwihae neol deo algo shipeo

Chorus


uju gateun ni aneuro need you closer,




mideojini

Verse 3

jeonbu muneojige da noga beorige


Come and turn me on

You don’t stop that fire

‘cause I got love I got love I got love

Chorus


uju gateun ni aneuro need you closer




66


mideojini

8. Lonely Night

Verse 1

ijen iksukhaejilman hande

bameun neomu gireo jameun ojido anne Yeh

neon jigeum mwo hae? dueobeon hogeun deo

jeonhwagireul manjijakdae jeoldae geureol na aninde

Verse 2

nasseon goseul ga, neoye heunjeogi

eopneun segyereul mandeullae

nasseon geori, saramdeul, geurae gwaenchana

bappeuge jinaeda tto nega boyeo

nareul dwiheundeul ttaemada

Some things never change,

jal ara, neoneun eobttan geol

Chorus

chueok ttawin beorija da Yeh

hwansangil ppun yeotjana

Boy kkeutnasseo neol miwohae

I don’t know your name i mal myeot beonina doenoeya haneunji

Verse 3

yeojieopshi sae achimi wado

kkaeeojiji ana, seulpeun kkumsogeul hemae Yeh

So why do I byeonhaji mothae

jakku dwidora boge dwae,

uri durideon night and day

Verse 4

eodil georeodo neoye gieogeun

gapjagi nae apeul maga

mushimhan deut jinachyeo jebeob gyeondyeonae

nappeuji anchana eochapi

nega geuriun geon sashirinde

geugeotjocha aneun deut nareul ttarawa

Chorus




I don’t know your name


Verse 5

neol saenggakhaneun bami jureo ga

Enough is enough deo uljin ana

So let me redeem, redeem, redeem

jeonbu da, tonight

geurae neol dashin saenggakdo anke

Verse 6

jiwobeoryeo Lonely Night da Yeh

nan gwaenchaneul geojana

neol ijeya jal aldeut hae

deo oerobge hae

Chorus




I don’t know your name



67

Outro



9. Sweet Love

Intro

Oh Oh boy you know it

I know you wanna fall in love with me

Verse 1

Crying for love heullin nunmulmankeum

gipeojil su itdamyeon urin

pureun badassogeul hemaeeo

seoroye bulbichi dwae jumyeo

ttaseuhi aneun chae tteodanigetji

I’m in love

Chorus

I’ll take you high (take you higher)

So we can fly (so we can flyer)


gieokjocha naji anneunde Babe

Higher ganjeolhi seoroga seorol danggyeotji

sarangiran ge mwonji maeil nan baewoga

i dalkomhame chwihaesseo

Give me your sweet

Sweet Love

Lovin so Sweet

Sweet Love

Verse 2

bame jamdeul ttaemada nega piryohae

honja itneun nare shiganeun deodinde

geurae naege on byeonhwareul

geobu an hae Mmm yea I know it

ne pume angil ttaemada

ne sumsori naege gamgyeool ttaemada

I’m in love

Chorus

Baby I’ll take you high (take you higher)

So we can fly (so we can flyer)


gieokjocha naji anneunde Babe

Higher ganjeolhi seoroga seorol danggyeotji

sarangiran ge mwonji maeil nan baewoga

i dalkomhame chwihaesseo Give me your

I I realize I need your love

gin nal dongan Yes I do

10. Suchaehwa (Love in Color)

Verse 1

machi tumyeonghan saekkkallo

chokchogi seumyeowa

seoroege muldeuldeon shigandeul

chaewojideon sarang bit

Chorus

nae mamsok seonmyeonghaetdeon sarangi Oh

himihaejineun Color

na hollo i eodum sogeul georeo

geutorok seonmyeonghaetdeon uri chueokdeureun ije

himihan heukbaekcheoreom

Now we’re faded

Now we’re faded

Verse 2


68

ne moseub adeukhaejyeo ga

kkaeji mothan kkumcheoreom

nae mamsoge aryeonhage nama

dashi nega geuriwo

Chorus

han poge punggyeong gatdeon sarangi Oh

himihaejineun color




Verse 3

nae mam soge nunbushige

muldeureotdeon Me and You

Outro

nunmure beonjin Color

seulpeume jeojeun deut peojyeo

himihaejineun Color




Now we’re faded oh oh oh oh oh



Himihaejineun Color

11. I’m OK

Verse 1

amureochi aneun cheokhaedo

da moreun cheokhaedo

maeilgachi nareul kkaeudeon

neoraneun angmong

chagaun shiseongwa

shilcheung nan pyojeong dollyeobonaelge

nado jigyeowo

hana dulsshik modu beorilge

Verse 2

amuri neol mideoboryeogo

noryeokhae bwado

irijeori nae nuneul pihae

ne ipsureun tto tto

da ijeulge ijeobeorillae

deoneun gwanshimdo heungmido eopseo

modu kkaekkeushi namgimeopshi neol

Chorus

yeongweoni hamkkerago

mideotdeon hanttaedo oh

jeogi baramgeore nallyeo

meolli nallyeobwa

gwaenchana ijen nado

namane gireul chaja oh

nae kkumeul ttara gallae

I’m OK O~K

Verse 3

mushimhan cheok tteobodeushi

tto yeollageul hago

gwaenshiri nal shingyeong sseuneun cheok

nungireul juji

i aemaehan mijigeunhan Something

milgo danggineun saineun nan shireo

No thanks baby


69

Chorus

yeongweoni hamkkerago

mideotdeon hanttaedo oh

jeogi baramgeore nallyeo

meolli nallyeobwa

gwaenchana ijen nado

namane gireul chaja oh

nae kkumeul ttara gallae

I’m OK O~K

Verse 4

shigani heulleogamyeon

neol gakkeum tteoollyeodo oh

useum seokkin misoreul jitgo

taeyeonhagetji

apeumdo nunmuldo

ijen da kkeutnasseo oh

neo eopshi nan oneulbuteo

neo eopshido nan ok

Outro

Right Alright Alright



Oh Right Alright Alright



I’m OK


70

Appendix 2 : Data Checklist of Code Switching in Taeyeon’s album My Voice

No. CS Case Lyrics Parts Song

Title Form

Types Motivations

Intrinsic Extrinsic

TS ITAS ITES ED RED PD NS AD SD MC DL

1/TS/PD

OH YEAH

OH,nae ane

nareul

neomeoseon

sungan. (THE

MOMENT I

CLIMBED

OVER MYSELF)

OH YEAH OH,nae

ane nareul

neomeoseon sungan.

(THE MOMENT I

CLIMBED OVER

MYSELF)

Nalgae

(Feel so

Fine)

Interjection

‘oh yeah’ on initial

position

saeroun sesangi

boyeo(I SEE A NEW

WORLD)

ssodajineun haessal

(THE SPILLING

SUNLIGHT,)

seuchineun baram

(THE PASSING

WIND)


71

2/TS/PD,AD

neol hyanghan

(TOWARD

YOU,) eraser OH

YEAH

i mamsok (IN THIS

HEART,) Chaser.

Eraser

Interjection

‘oh yeah’ on

final position

nal saerobge bakkwo

(I’LL BECOME)

Brand New

neoraneun

angmongeseonal

kkaewojwo you

(WAKE ME UP

FROM MY

NIGHTMARE

THAT IS YOU)

neol hyanghan

(TOWARD YOU,)

eraser OH YEAH

3/TS/PD,AD I CAN’T FALL

ASLEEP) YEH

Ijen iksukhaejilman

hande. (IT’S TIME I

GET USED TO IT)

Lonely

Night

Interjection

‘yeh’ on

final

position

bameun neomu gireo

jameun ojido anne

(THE NIGHT IS SO

LONG,

I CAN’T FALL

ASLEEP) YEH

4/TS/PD,AD

chueok ttawin

beorija da

(LET’S THROW

AWAY OUR

MEMORIES)

YEH

chueok ttawin beorija

da (LET’S THROW

AWAY OUR

MEMORIES) YEH

hwansangil ppun

yeotjana (IT WAS

JUST AN ILLUSION

ANYWAY)

5/TS/PD,AD kkaeeojiji ana yeojieopshi sae


72

seulpeun

kkumsogeul

hemae (I CAN’T

WAKE UP, I’M

LOST IN SAD

DREAMS) YEH

achimi wado

(THOUGH A NEW

MORNING COMES

WITHOUT FAIL)

kkaeeojiji ana

seulpeun kkumsogeul

hemae (I CAN’T

WAKE UP, I’M

LOST IN SAD

DREAMS) YEH

6/TS/PD

OHije nan eodiro

(NOW WHERE

AM I?)

hayeomeopshi

tteodolda

(ENDLESSLY

FLOATING)

Nalgae

(feel so

fine)

Interjection

‘oh’ on initial

position

nasseon byeoge

budichyeo beorin

(BUMPED INTO A

STRANGE WALL)

OHije nan eodiro

(NOW WHERE AM

I?)

Please hold my hand

7/TS/PD,NS

OH OH naye

nalgae wi (ON

TOP OF MY

WINGS)

Just realize, I feel so

fine

Nalgae

(feel so

fine)

Repetitive

interjection

‘oh’ on

initial

position

OH OH naye nalgae

wi (ON TOP OF MY

WINGS)

Oh oh challanhi

saegi (BRIGHTLY

ENGRAVED)

I know you know

maeil kkumkkudeon

(EVERYDAY)World


73

I feel so fine

8/TS/PD,NS

OH OHchallanhi

saegin

(BRIGHTLY

ENGRAVED)


(ON TOP OF MY

WINGS)

OH OHchallanhi

saegin (BRIGHTLY

ENGRAVED)

I know you know

maeil kkumkkudeon

(EVERYDAY)

World,

I feel so fine

9/TS/PD,NS

OH OH haneul

kkeutkkaji (TO

THE END OF

THE SKY)

OH OH haneul

kkeutkkaji (TO THE

END OF THE SKY)

Oh oh gadeuk

pyeolchyeojin

(SPREAD OUT)

I know you know

hwanhi bitnaneun

(THE BRIGHTLY

SHINING )World,

I feel so fine

10/TS/PD,NS

OH OH gadeuk

pyeolchyeojin

(SPREAD OUT)

Oh oh haneul

kkeutkkaji (TO THE

END OF THE SKY)

OH OH gadeuk

pyeolchyeojin

(SPREAD OUT)

I know you know


74

hwanhi bitnaneun

(THE BRIGHTLY

SHINING) World,

I feel so fine

11/TS/PD

naege oechyeoon

meari (THE

ECHO HAS

COME TO ME)

OH

jigu bandaepyeon

eodinga

(SOMEWHERE ON

THE OTHER SIDE

OF THE EARTH)

Nalgae

(feel so

fine)

Interjection

‘oh’ on final

position

naege oechyeoon

meari (THE ECHO

HAS COME TO ME)

OH

12/TS/PD

neomeoseol naran

byeok (I NEED

TO CLIMB

OVER MY OWN

WALL) OH

dulleossan hyeonshil

geuboda (MORE

THAN THE

REALITY AROUND

YOU)

neomeoseol naran

byeok (I NEED TO

CLIMB OVER MY

OWN WALL) OH

13/TS/PD

mideotdeon

hanttaedo (I

BELIEVED WE

WOULD BE

TOGETHER) OH

yeongweoni (AT

ONE TIME)

hamkkerago

I’m OK

mideotdeon

hanttaedo (I

BELIEVED WE

WOULD BE

TOGETHER) OH

jeogi baramgeore

nallyeo


75

(BUT NOW I’M

SENDING THOSE

DAYS OFF TO THE

WIND)

14/TS/PD

ijen nado namane

gireul chaja

(NOW I’LL

FIND MY OWN

WAY) OH

gwaenchana (IT’S

ALRIGHT)

ijen nado namane

gireul chaja (NOW

I’LL FIND MY

OWN WAY) OH

15/TS/PD

neol gakkeum

tteoollyeodo

(AND I THINK

OF YOU

SOMETIMES)

OH

shigani

heulleogamyeon

(AFTER TIME

PASSES)

neol gakkeum

tteoollyeodo (AND I

THINK OF YOU

SOMETIMES) OH

16/TS/PD

ijen da

kkeutnasseo (IT’S

ALL OVER

NOW) OH

Apeumdo nunmuldo

(PAIN AND TEARS)

ijen da kkeutnasseo

(IT’S ALL OVER

NOW) OH

17/TS/PD,AD

nae mamsok

seonmyeonghaetd

eon sarangi (THE

LOVE THAT

WAS CLEAR IN

MY HEART) OH

nae mamsok

seonmyeonghaetdeon

sarangi (THE LOVE

THAT WAS CLEAR

IN MY HEART) OH Suchaeh

wa (Love

in Color)

himihaejineun

(FADING) Color

18/TS/PD,AD

han poge

punggyeong

han poge punggyeong

gatdeon sarangi(THE


76

gatdeon sarangi

(THE LOVE

THAT WAS

LIKE A

PICTURESQUE

LANDSCAPE)

OH

LOVE THAT WAS

LIKE A

PICTURESQUE

LANDSCAPE) OH

himihaejineun

(FADING) color

19/TS/PD,AD

ajik eojei lman

gata (NOW I

REALIZE) OOH

ajik eojei lman gata

(NOW I REALIZE)

OOH

When I

was

Young

Prolonged interjection

‘oh’ the

final

position

manhi

eoryeosseotjanayo

(WE WERE SO

YOUNG,)

20/TS/PD,AD

naega geudaego

(WHEN I WAS

YOU) geudaedo

nail ttae uri

hanail ttae (AND

YOU WERE ME,

WHEN WE

WERE ONE)

OOH

manhi

himdeureotnayo

(WAS IT REALLY

HARD?)

naega geudaego

(WHEN I WAS

YOU) geudaedo nail

ttae uri hanail ttae

(AND YOU WERE

ME, WHEN WE

WERE ONE) OOH

21/TS/PD,AD

naega geudael

geudaega nal

(WHEN I WAS

YOU, WHEN

YOU WERE ME)

OOH

When I~ when I was

young geuttae

(BACK THEN)

naega geudael

geudaega nal

(WHEN I WAS

YOU, WHEN YOU


77

WERE ME ) OOH

22/TS/PD

RIGHT

ALRIGHT

ALRIGHT

neo eopshido (EVEN

WITHOUT YOU,)

nan ( I’M) OK

I’m OK Interjection

‘right”

RIGHT ALRIGHT

ALRIGHT

RIGHT ALRIGHT

ALRIGHT

I’m OK

23/ITAS/PD

ajjilhan dul sai

(DIZZINESS

BETWEEN THE

TWO,) THE

LOVE AND

THE HATE

ajjilhan dul sai

(DIZZINESS

BETWEEN THE

TWO,) THE LOVE

AND THE HATE

Eraser Apositive

phrase aseulhan

gyeonggyeseone

jageun teumsae (A

SMALL CRACK IN

THE DANGEROUS

LINE)

24/ITAS/PD

Chatgoisseo (I’M

LOOKING

FOR)SOMETHI

N’ NEW

Meoril jikkeun

mukkeun chae

(WITH MY HAIR

TIGHTLY TIED UP)

Fine Noun

Phrase

Eojireoun bangeul

jeongnihae (I’M

CLEANING UP MY

MESSY ROOM)

Chatgoisseo (I’M

LOOKING FOR)

SOMETHIN’ NEW 25/ITAS/PD,NS wanbyeokhi neol wanbyeokhi neol Eraser


78

jiwojul ERASER

[(AN ERASER)

THAT WILL

COMPLETELY

ERASE YOU]

jiwojul ERASER

[(AN ERASER)

THAT WILL

COMPLETELY

ERASE YOU]

piryohae neol itgi

wihae(I NEED IT TO

FORGET YOU.)

kkaekkeushi nal

sshitgyeojul

Eraser[(ERASER)

THAT WILL WASH

ME CLEAN]

dashin neol wonhaji

anke (SO I WON’T

WANT YOU

AGAIN.)

26/ITAS/PD,NS

kkaekkeushi nal

sshitgyeojul

ERASER

[(ERASER)

THAT WILL

WASH ME

CLEAN]

kkaekkeushi nal

sshitgyeojul

ERASER

[(ERASER) THAT

WILL WASH ME

CLEAN]

dashin neol wonhaji

anke (SO I WON’T

WANT YOU

AGAIN.)

27/ITAS/PD,NS

mokpyoreul

hyanghanRACE

R [(A RACER)

TOWARD A

GOAL]

mokpyoreul

hyanghanRACER

[(A RACER)

TOWARD A GOAL]

i mamsok (in this

heart) Chaser


79

nal saerobge bakkwo

(I’LL BECOME)

Brand New

28/ITAS/PD,NS

i mamsok (IN

THIS HEART)

CHASER

i mamsok (IN THIS

HEART,) CHASER,

nal saerobge bakkwo

(I’LL BECOME)

Brand New

29/ITAS/PD,NS

neol

hyanghanERASE

R [(AN

ERASER)

GOING

TOWARD YOU]

neoraneun

angmongeseo nal

kkaewojwo

you(WAKE ME UP

FROM MY

NIGHTMARE

THAT IS YOU)

neol

hyanghanERASER

[(AN ERASER)

GOING TOWARD

YOU]

30/ITAS/PD,NS

negeseo nal

guhaejul

ERASER [(AN

ERASER) THAT

WILL SAVE ME

FROM YOU]

negeseo nal guhaejul

ERASER [(AN

ERASER) THAT

WILL SAVE ME

FROM YOU]

saeroun shijageul

wihae (FOR A NEW

START)

kkaekkeushi nal

sshitgyeojul [(AN

ERASER) THAT

WILL WASH ME

CLEAN]


80

31/ITAS/PD,NS

meomchuji aneul

RACER [(A

RACER) WHO

WON'T STOP]

meomchuji aneul

RACER [(A

RACER) WHO

WON'T STOP,]

meoreojin chaser [(A

CHASER) GONE

FAR AWAY]

32/ITAS/PD,NS

meoreojin

CHASER [(A

CHASER) GONE

FAR AWAY]

meomchuji aneul

Racer[(A RACER)

WHO WON'T

STOP,]

meoreojin CHASER

[(A CHASER)

GONE FAR AWAY]

33/ITAS/PD,NS

i mamsok (in this

heart) Chaser nal

saerobge bakkwo

(I’LL BECOME)

BRAND NEW

i mamsok (in this

heart) Chaser nal

saerobge bakkwo

(I’LL BECOME)

BRAND NEW

neoraneun

angmongeseo

(FROM A

NIGHTMARE

THAT IS YOU)

nal kkaewojwo,

(WAKE ME UP)

you.

34/ITAS/PD,NS

,AD

nal

kkaewojwoYOU

(WAKE ME UP

FROM MY

NIGHTMARE

THAT IS YOU)

neoraneun

angmongeseo

nal kkaewojwoYOU

(WAKE ME UP

FROM MY

NIGHTMARE


81

THAT IS YOU)


(AN ERASER

TOWARD YOU)

35/ITAS/PD

wanjeonhi

kkaekkeuthaejin

nae mam bichun

HEADLIGHT [(THE

HEADLIGHT)

THAT SHINES

INTO MY

HEART]

wanjeonhi

kkaekkeuthaejin nae

mam bichun

HEADLIGHT

[(THE

HEADLIGHT)

THAT SHINES

INTO MY HEART]

ne modeun

gieokdeureun

naegeseo (ALL OF

YOUR MEMORIES)

Fade out

morachin pokpung

soge nae maeumeun

(INSIDE THE

STORM, MY

HEART IS) Green

Light

36/ITAS/PD

morachin

pokpung soge nae

maeumeun

(INSIDE THE

STORM, MY

HEART IS)

GREEN LIGHT

ne modeun

gieokdeureun

naegeseo (ALL

YOUR MEMORIES)

Fade out

morachin pokpung

soge nae maeumeun

(INSIDE THE

STORM, MY

HEART IS) GREEN


82

LIGHT

Yeah I’ll be just fine

37/ITAS/PD

SOLET ME

REDEEM,

REDEEM,

REDEEMjeonbu

da,(EVERYTHIN

G) TONIGHT

Enough is enough,

deo uljin ana

(I’WONT CRY

ANYMORE)

Lonely

Night

SOLET ME

REDEEM,

REDEEM,

REDEEMjeonbu

da,(EVERYTHING)

TONIGHT

38/ITAS/PD

jiwobeoryeo

(ERASE)

LONELY

NIGHT da yeh

jiwobeoryeo

(ERASE) LONELY

NIGHT da yeh

nan gwaenchaneul

geojana ( I WILL BE

OKAY)

39/ITAS/ED,PD

himihaejineun

(FADING)

COLOR

nae mamsok

seonmyeonghaetdeon

sarangi (THE LOVE

THAT WAS CLEAR

IN MY HEART) oh

Suchaehw

a

(Love in

Color)

himihaejineun

(FADING) COLOR

40/ITAS/ED,PD

nunmure beonjin

COLOR[(COLO

R) THAT IS

SMUDGED

WITH TEARS)]

nunmure beonjin

COLOR[(COLOR)

THAT IS

SMUDGED WITH

TEARS)]

seulpeume jeojeun

deut


83

peojyeo(SPREADIN

G LIKE IT’S WET

WITH TEARS)

41/ITAS/PD

nae mam soge

nunbushigemulde

ureotdeon (IN

MY

HEART,COLOR

ED SO

BRIGHTLY

WAS) ME AND

YOU

nae mam soge

nunbushigemuldeure

otdeon (IN MY

HEART,COLORED

SO BRIGHTLY

WAS) ME AND

YOU

42/ITAS/PD,SD WO BABE OH

WO BABE OH

When I

was

Young

ije eojjeojyo nan

andwaeyo (WHAT

DO I DO? I CAN’T)

amuri bulleodo

doraojil ana (NO

MATTER HOW

MUCH I CALL

OUT, YOU WON’T

COME BACK)

43/ITAS/PD,A

D

i

aemaehan mijigeu

nhan (THIS

AMBIGUOUS

AND

LUKEWARM)

SOMETHING

gwaenshiri nal

shingyeong sseuneun

cheok nungireul juji

(PRETENDING TO

CARE ABOUT ME,

YOU LOOK AT

ME) I’m OK

i

aemaehan mijigeunh

an (THIS

AMBIGUOUS AND


84

LUKEWARM)

SOMETHING

44/ITAS/PD/NS

I KNOW YOU

KNOW maeil

kkumkkudeon

WORLD [(THE

WORLD) THAT

I DREAMED

EVERYDAY ]


(ON TOP OF MY

WINGS)

Nalgae

(Feel so

Fine)

Oh oh challanhi

saegin (BRIGHTLY

ENGRAVED)

I KNOW YOU

KNOW

maeil kkumkkudeon

WORLD [(THE

WORLD) THAT I

DREAMED

EVERYDAY ]

I feel so fine

45/ITAS/PD,NS

I KNOW YOU

KNOW hwanhi

bitnaneun (THE

BRIGHTLY

SHINING)

WORLD

Oh oh haneul

kkeutkkaji (TO THE

END OF THE SKY)

Oh oh gadeuk

pyeolchyeojin

(SPREAD OUT)

I KNOW YOU

KNOW

hwanhi bitnaneun

(THE BRIGHTLY

SHINING) WORLD

I feel so fine

46/ITAS/PD,SD

gieokjocha naji

anneunde (I AM

NOT EVEN

REMEMBER

neo eopshi honja

jinaen naldeul

(DAYS SPENT

WITHOUT YOU,

Sweet

Love


85

THEM) BABE ALONE)

gieokjocha naji

anneunde (I AM

NOT EVEN

REMEMBER

THEM) BABE

47/ITAS/PD,SV

BOYkkeutnasseo,

neol miwohae

(IT’S OVER, I

HATE YOU)

hwansangil ppun

yeotjana (IT WAS

JUST AN

ILLUSSION

ANYWAY) Lonely

Night

BOYkkeutnasseo,

neol miwohae (IT’S

OVER, I HATE

YOU)

48/ITAS/PD

ne modeun

gieokdeureun

naegeseo (ALL

OF YOUR

MEMORIES)

FADE OUT

ne modeun

gieokdeureun

naegeseo (ALL OF

YOUR MEMORIES)

FADE OUT

Eraser Verb phrase

morachin pokpung

soge nae maeumeun

(INSIDE THE

STORM, MY

HEART IS) Green

Light

49/ITAS/PD,SD

,NS

neol jiugo

mameulRE-NEW

[I WANT TO

ERASE YOU

AND (RE-NEW)

MY HEART]

meomchuji aneul

Racer[(A RACER)

WHO WON'T

STOP,]

meoreojin Chaser [(A

CHASER) GONE

FAR AWAY]


86

neol jiugo

mameulRE-NEW [I

WANT TO ERASE

YOU AND (RE-

NEW) MY HEART]

50/ITAS/PD,A

D

SO WHY DO I

byeonhaji mothae

(CAN’T

CHANGE)

kkaeeojiji ana,

seulpeun kkumsogeul

hemae (I can’t wake

up, I’m lost in sad

dreams ) Yeh Lonely

Night SO WHY DO I

byeonhaji mothae

(CAN’T CHANGE)

jakku dwidora boge

dwae (I keep looking

back)

51/ITAS/PD

uri durideon

(when were

together) NIGHT

AND DAY

jakku dwidora boge

dwae (I keep looking

back) Lonely

Night

Adverbial

phrase

uri durideon (when

were together)

NIGHT AND DAY

52/ITAS/PD

neo eopshido

(EVEN

WITHOUT

YOU,) nan ( I’M)

OK

neo eopshi nan

oneulbuteo

(WITHOUT YOU,

FROM NOW ON) I’m OK

Adjective phrase

neo eopshido (EVEN

WITHOUT YOU,)

nan ( I’M) OK

53/ITAS/PD

HIGHERganjeol

hi seoroga seorol

danggyeotji (WE

HIGHERganjeolhi

seoroga seorol

danggyeotji (WE

Sweet

Love


87

PULLED ON

EACH OTHER)

PULLED ON EACH

OTHER)

sarangiran ge mwonji

maeil nan baewoga (

I LEARN WHAT

LOVE IS EVERY

DAY)

54/ITAS/PD YEAH, IN MY

HEART

YEAH, IN MY

HEART

Cover Up Prepositiona

l phrase

eonjenga naye gyeote

wa jul neowa

dalkomhan kkumeul

kkuneun sangsangeul

hae

(I’M IMAGINING

THAT SOME DAY

YOU’LL COME TO

ME AND WE’LL

HAVE A SWEET

DREAM

TOGETHER.)

55/ITES/PD,AD IT’S NOT FINE

Ipgae maemdoneun

mareul samkil su

eopseo (I CAN’T

SWALLOW THE

WORDS THAT

LINGER IN MY

MOUTH) Fine Sentence

IT’S NOT FINE

56/ITES/PD,AD

AH ~AH ~ AH~

AHIT’S NOT

FINE

Ipgae maemdoneun

mareul samkil su

eopseo (I CAN’T

SWALLOW THE


88

WORDS THAT

LINGER IN MY

MOUTH)

It’s not fine

AH ~AH ~ AH~

AHIT’S NOT FINE

57/ITES/PD,AD

STOPnan

eojireowo (I’M

DIZZY)

oneuldo

byeolcheoreom ne

maeumeul ttara

(AGAIN TODAY,

I’M FOLLOWING

YOUR HEART

LIKE A STAR)

Cover Up

tto neoye gyeoteul

maemdolji (AND

I’LL LINGER

AROUND YOU)

STOPnan eojireowo

(I’M DIZZY)

seonmyeonghan ne

mameul

ijen algo shipeojyeo

(NOW I WANNA

KNOW YOUR

CLEAR HEART)

58/ITES/PD,SD

BOY I CAN'T

COVER UP MY

HEART

BOY I CAN'T

COVER UP MY

HEART

neol bomyeon nan

useumi saeeo nawa

(WHEN I SEE YOU,

LAUGHTER SEEPS

OUT)


89

59/ITES/PD CAN’T COVER

IT UP, NO

Can’t cover it up,

can’t

CAN’T COVER IT

UP, NO

60/ITES/PD I JUST CAN’T

COVER IT UP,

COME ON

Can’t cover it up, no

I JUST CAN’T

COVER IT UP,

COME ON

61/ITES/PD CAN'T COVER

IT UP NO

MORE

Can't cover it up,

CAN'T COVER IT

UP NO MORE

(I love you, love you)

62/ITES/PD,AD I WANT YOU

I WANT YOU

keojyeo ganeun mam

(MY GROWING

FEELINGS)

Boy, I can’t cover up.

63/ITES/PD,AD I SAID IT, I

SAID IT (I love

you, love you)

I SAID IT, I SAID

IT (I love you, love

you)



64/ITES/PD,AD

,SD

I LOVE YOU,

LOVE YOU


I LOVE YOU,

LOVE YOU



65/ITES/PD,AD I MEAN IT, I I said it, I said it


90

MEAN IT I love you, love you

I MEAN IT, I

MEAN IT


66/ITES/PD,AD IT FADES

AWAY

shiganeun imi jinago

(TIME HAS

ALREADY

PASSED)

Nalgae

(feel so

fine)

IT FADES AWAY

67/ITES/PD,

AD

PLEASE HOLD

MY HAND

natseon byeoge

budijhye (I

COLLIDE WITH AN

UNFAMILIAR

WALL)

Oh ije nan eodiro

(NOW WHERE I

AM?)

PLEASE HOLD

MY HAND

68/ITES/PD JUST

REALIZE, I

FEEL SO FINE

ajik nan mitgiji ana (I

STILL CAN’T

BELIEVE IT)

ssodajineun haessal

seuchineun baram

(THE SPILLING

SUNLIGHT, THE

PASSING WIND)

JUST REALIZE, I

FEEL SO FINE

69/ITES/PD I FEEL SO

FINE

I know you know

maeil kkumkkudeon

(EVERYDAY)


91

World

I FEEL SO FINE

70/ITES/PD,AD I DON’T CARE

jeonbu gwaenchana

ijen modu da

(EVERYTHING

WAS ALRIGHT

NOW)

I DON’T CARE

71/ITES/PD OH YEAH, I

FEEL SO FINE

I KNOW YOU

KNOW

hwanhi bitnaneun

(THE BRIGHTLY

SHINING) WORLD

I feel so fine

OH YEAH, I FEEL

SO FINE

Oh yeah, I feel so

fine

Oh yeah , Ooh oh

yeah

72/ITES/PD,SD

ijeneun da

(NOW,) I CAN

LET IT GO

BABY

ijeneun da (NOW,) I

CAN LET IT GO

BABY

73/ITES/PD.AD OH, I TRIED,

TRIED, TRIED,

TRIED

modeun geol

dwirohan chae

taeyeonhage (I

TRIED PUSHING

EVERYTHING

BACK AND

Eraser


92

STAYING CALM)

OH, I TRIED,

TRIED, TRIED,

TRIED

74/ITES/PD YEAH I’LL BE

JUST FINE

morachin pokpung

soge nae maeumeun

(INSIDE THE

STORM, MY

HEART IS)Green

Light

YEAH I’LL BE

JUST FINE

YEAH I’LL BE

JUST FINE

75/ITES/PD,AD

,SD

YOU’RE THE

FIRE

neoye geojit

kkeutnasseo modeun

ge (WITHOUT

ANYTHING

REMAINING, YOU

GOT SO FAR

AWAY)

Fire

YOU’RE THE

FIRE

ttatteuthan ondo sori

eopshi kkeullyeo nan

(I AM PULLED BY

YOUR WARMTH)

76/ITES/PD,AD

,SD OH YOU’RE

THE FIRE

You’re the fire

ttatteuthan ondo

sori eopshi kkeullyeo

nan (I AM PULLED

BY YOUR

WARMTH)


93

jaetbit heunjeongman

nama (ONLY

TRACES OF ASH

REMAIN)

OH YOU’RE THE

FIRE

77/ITES/PD,AD

,SD

OH I KNOW

YOU’RE THE

FIRE

You’re the fire

ttatteuthan ondo


nan (I AM PULLED

BY YOUR

WARMTH)


nama (ONLY

TRACES OF ASH

REMAIN)


OH I KNOW

YOU’RE THE

FIRE

78/ITES/PD,AD I FEEL SO

ALONE

You’re the fire

ttatteuthan ondo


nan (I AM PULLED

BY YOUR

WARMTH)


nama (ONLY

TRACES OF ASH

REMAIN)


Oh i know you’re the


94

fire

I FEEL SO ALONE

I feel so alone

I feel so alone

I feel so alone

79/ITES/PD,AD COME AND

TURN ME ON

teomunieopshi

michige hae (YOU

MAKE ME

ABSURDLY

CRAZY)

I Got

Love

COME AND TURN

ME ON

You don’t stop that

fire

Cause I got love, I

got love, I got love

80/ITES/PD,AD

YOU DON’T

STOP THAT

FIRE CAUSE I

GOT LOVE, I

GOT LOVE, I

GOT LOVE

teomunieopshi

michige hae (YOU

MAKE ME

ABSURDLY

CRAZY)

Come and turn me on

YOU DON’T STOP

THAT FIRE

CAUSE I GOT

LOVE, I GOT

LOVE, I GOT

LOVE

81/ITES/PD,AD

I’M SICK OF

LONELY

uri durideon (when

were together) night

Lonely

Night


95

NIGHTS and day

I’M SICK OF

LONELY NIGHTS

I’m sick of lonely

nights

82/ITES/PD,AD I DON’T KNOW

YOUR NAME

Boy kkeutnasseo neol

miwohae (IT’S

OVER, I HATE

YOU)

I DON’T KNOW

YOUR NAME

83/ITES/PD,SD OH OH BOY

YOU KNOW IT

OH OH BOY YOU

KNOW IT

Sweet

Love

I know you wanna

fall in love with me

84/ITES/PD

I KNOW YOU

WANNA FALL

IN LOVE WITH

ME

Oh oh boy you know

it

I KNOW YOU

WANNA FALL IN

LOVE WITH ME

85/ITES/PD MMMYEA I

KNOW IT

geurae naege on

byeonhwareul ( I

WON’T REJECT

THESE CHANGES)

geobu an hae (THAT

COME TO ME)

MMMYEA I

KNOW IT

86/ITES/PD I’M IN LOVE

ttaseuhi aneun chae

tteodanigetji (AS WE

LEAVE IN EACH

OTHER’S WARM

EMBRACE)


96

I’M IN LOVE

87/ITES/PD

I’LL TAKE

YOU HIGH

(TAKE YOU

HIGHER) SO

WE CAN FLY

(SO WE CAN

FLYER)

ttaseuhi aneun chae

tteodanigetji (AS WE

LEAVE IN EACH

OTHER’S WARM

EMBRACE)

i’m in love

I’LL TAKE YOU

HIGH (TAKE YOU

HIGHER) SO WE

CAN FLY (SO WE

CAN FLYER)

88/ITES/PD GIVE ME

YOUR SWEET,

SWEET LOVE

sarangiran ge mwonji

maeil nan baewoga (I

LEARN WHAT

LOVE IS

EVERYDAY)

i dalkomhame

chwihaesseo, (I’M

DRUNK WITH

THIS SWEETNESS)

GIVE ME YOUR

SWEET, SWEET

LOVE

89/ITES/PD I I REALIZE I

NEED YOUR

LOVE

i dalkomhame

chwihaesseo, (I’M

DRUNK WITH

THIS SWEETNESS) give me your

sweet, sweet love

I I REALIZE I


97

NEED YOUR

LOVE

gin nal dongan, (FOR

A LONG TIME,) yes

I do

90/ITES/PD

gin nal dongan,

(FOR A LONG

TIME.)

YES I DO

I I realize I need your

love

gin nal dongan. (FOR

A LONG TIME.)

YES I DO

91/ITES/PD NOW WE’RE

FADED

himihan

heukbaekcheoreom

(are now just a faded

black-and-white

picture)

Suchaeh

wa (Love

in Color)

NOW WE’RE

FADED

NOW WE’RE

FADED

92/ITES/PD NOW WE’RE

FADED OH OH

OH OH OH

NOW WE’RE

FADED OH OH

OH OH OH

NOW WE’RE

FADED OH OH

OH OH OH

NOW WE’RE

FADED OH OH

OH OH OH

Himihaejineun

(fading) Color

93/ITES/PD,AD

,SD NO THANKS

BABY

milgo

danggineun saineun

nan shireo (I DON’T

I’m OK


98

LIKE PLAYING

GAMES OF PUSH

AND PULL)

NO THANKS

BABY

94/ITES/PD,AD I’M OK O~K

nae kkumeul ttara

gallae (I WANNA

FOLLOW MY

DREAM)

I’M OK O~K

95/ITES/PD

Seonmyeonghaejy

eo (IT

BECOMES

CLEAR,)SOME

THIN’ BOUT

YOU

Jjijeojin jongitjogage

(ON A RIPPED

PIECE OF PAPER)

Fine

Clause

Damanaen naye

jinshime (I WROTE

DOWN HOW I

REALLY FEEL)

Seonmyeonghaejyeo

(IT BECOMES

CLEAR,)SOMETHI

N’ BOUT YOU

96/ITES/PD,SD BOY I CAN'T

COVER UP

jogeumsshik keojyeo

ganeun mam (MY

FEELINGS ARE

GROWING)

Cover Up

BOY I CAN'T

COVER UP

97/ITES/PD

mareul haejwo

(TELL ME,) YES

OR NO

nae mamgwa gateunji

eolmamankeum inji

(DO YOU FEEL

THE SAME WAY?

HOW MUCH?)


99

mareul haejwo(TELL

ME,) YES OR NO

98/ITES/PD,NS

WHEN I~

WHEN I WAS

YOUNG geuttae

(THEN,)

WHEN I~ WHEN I

WAS YOUNG

geuttae (THEN,)

When I

was

Young

naega geudaego

geudaega nail ttae

(WHEN I WAS YOU

AND YOU WERE

ME)

When I~ when I was

a fool jeongmal

(REALLY)

amudo moreugo

geudaeman al ttae

(WHEN I DIDN’T

KNOW ANYONE

BUT ONLY YOU)

eottaetnayo

gwaenchanatnayo

(HOW WAS IT?

WAS IT ALRIGHT?)

99/ITES/PD,NS

WHEN I~

WHEN I WAS A

FOOLjeongmal

(REALLY)

When I~ when I was

younggeuttae

(THEN,)

naega geudaego

geudaega nail ttae

(WHEN I WAS YOU

AND YOU WERE

ME)

WHEN I~ WHEN I

WAS A

FOOLjeongmal


100

(REALLY)

amudo moreugo

geudaeman al ttae

(WHEN I DIDN’T

KNOW ANYONE

BUT ONLY YOU)

eottaetnayo

gwaenchanatnayo

(HOW WAS IT?

WAS IT ALRIGHT?)

100/ITES/PD

CRYING FOR

LOVE,heullin

nunmulmankeum

gipeojil su

itdamyeon urin

(IF WE CAN

GROW AS DEEP

AS THE

AMOUNT OF

TEARS WE

SHED)

CRYING FOR

LOVE,heullin

nunmulmankeum

gipeojil su itdamyeon

urin (IF WE CAN

GROW AS DEEP

AS THE AMOUNT

OF TEARS WE

SHED) Sweet

Love

pureun badassogeul

hemaeeo (WE

WOULD SWIM IN

A BLUE OCEAN)

101/ITES/PD

LOVIN SO

SWEET, SWEET

LOVE

Give me your, Sweet

Sweet Love

LOVIN SO

SWEET, SWEET

LOVE

102/ITES/PD

SOME THINGS

NEVER

CHANGE, jal

araneoneun

nareul dwiheundeul

ttaemada (EVERY

TIME IT SHAKES

ME UP)

Lonely

Night


101

eobttan geol ( I

KNOW THAT

YOU ARE NOT

HERE)

SOME THINGS

NEVER CHANGE,

jal araneoneun

eobttan geol ( I

KNOW THAT YOU

ARE NOT HERE)

103/ITES/PD

ENOUGH IS

ENOUGHdeo

uljin ana ( I

WON’T CRY

ANYMORE)

neol saenggakhaneun

bami jureo ga

(NIGHTS I THINK

ABOUT YOU IS

DECREASING)

ENOUGH IS

ENOUGHdeo uljin

ana ( I WON’T CRY

ANYMORE)

104/ITES/PD,A

D,SD

ja malhae bwa

(TELL ME),

WANT YOU

BABY,WANT

YOU BABY

ja malhae bwa

(TELL ME), WANT

YOU BABY,WANT

YOU BABY

I Got

Love

uju gateun ni aneuro

(IT’S LIKE A

UNIVERSE INSIDE

OF YOU)

need you closer

105/ITES/PD,A

D

NEED YOU

CLOSER,NEED

YOU CLOSER,

ppajeodeulmyeon

(IF I FALL IN)

ja malhae bwa

(TELL ME) want you

baby, want you baby

uju gateun ni aneuro

(IT’S LIKE A

UNIVERSE INSIDE

OF YOU)

NEED YOU

CLOSER,NEED


102

YOU CLOSER,

ppajeodeulmyeon (IF

I FALL IN)

daltteun hansumdo

nabukkin nado (I

FLUTTER IN THE

RESTLESS SIGHS

TOO)


Documents

TYPES AND MOTIVATIONS OF KOREAN TO ENGLISH ...dalam lirik lagu sebagai suatu strategi pemasaran. Objek dari penelitian ini adalah lirik lagu di album My Voicemilik Taeyeon. Alih kode