INTERPERSONAL MEANING ANALYSIS OF MUSE SONG ..., Lecture notes of Linguistics

Download INTERPERSONAL MEANING ANALYSIS OF MUSE SONG ... and more Lecture notes Linguistics in PDF only on Docsity! INTERPERSONAL MEANING ANALYSIS OF MUSE SONG LYRICS IN BLACK HOLES AND REVELATIONS’ ALBUM (A Study Based on Systemic Functional Linguistics) A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By ROWIATUN AMRI MARHAMAH 07211141016 ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM ENGLISH LANGUAGE EDUCATION DEPARTMENT FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET INTERPERSONAL MEANING ANALYSIS OF MUSE SONG LYRICS IN BLACK HOLES AND REVELATIONS’ ALBUM (A Study Based on Systemic Functional Linguistics) Approved ‘on June 16", 2014 By: First Supervisor, Second Supervisor, Drs. Suhaini M. Saleh, M.A. NIP. 19540120 197903 1 002 NIP Kurnianta, M.Hum. 720622 200501 1 001 v MOTTOS “And whenever you give your word, say the truth.” [al-An'aam 6:152] “I often think in music. I live my daydreams in music. I see my life in terms of music.” -Albert Einstein- “Music is a higher revelation than all wisdom and philosophy.” -Ludwig van Beethoven- vi DEDICATIONS “Who should I give my love to, my respect, and my honor to; Who should I think the most to, after Allah, and Rasullullah; Comes Your mother; who next? Your mother; who next? Your mother; and then your father…” (Yusuf Islam’s song lyric entitled “Your Mother”) Buk, Pak, this is for you! vii ACKNOWLEDGEMENTS Alhamdulillah, all praise be for Allah SWT, the Almighty for all the blessing without which I would have never finished this thesis writing. I would like also give my deep gratitude to: 1. Drs. Suhaini Muhammad Saleh, M.A., as my first supervisor; and Paulus Kurnianta, M.Hum, as my second supervisor, who have given me guidance, care, understanding, and all patience, this thesis would not have been finished; 2. my parents, Sulami and Purnama, who always give me courage, long-lasting love, support, pray, and belief so that I always remember to write line in this thesis; 3. my brothers, M. Khoirul Basrowi and M. Rowi Arifin for their support and prayer which always enlighten my spirit; 4. all my cheerful nephews and nieces: Rosyid, Farel, Zahwa, Adhit, and Naura for their smiles and cute faces from which I get more powerful spirit; 5. my special friends: DJ Henny, Nur Hidayah, and Ptesh Bertingkah for their support, love, and affection from which I gain confidence even when I am not feeling well; 6. all struggling-together friends: Andy, Furqon, and Indah for always being there when I need their help and for always reminding me the days we skinned our heart and our knees; 7. all friends in Linguistics Class 2007: Astin, Endang, Ajar, Inta, Ryang, Tiwi, Rani, Fitria, Besti, Sherly, Galih, Arum, Lintang, Tita, Icha, Talita, Jihan, Iwan, Banu, Lisa, Widi, Nina, and Nita for always coloring every class that we attended with powerful spirit; 8. all people who have sincerely helped me in finishing this thesis, all of whom I cannot mention one by one. x 1. Systemic Functional Linguistics……………………………………… 8 2. Interpersonal Meaning…………...…………………………………… 9 a. Mood System…………………………………………………….. 12 b. Modality………………………………………………………….. 17 3. Music...….……………………………………………………………. 20 4. Muse………………………..………...…...………………………... 21 B. Previous Research Finding………….…………………………………. 22 C. The Conceptual Framework……………………..…………………….. 24 D. Analytical Construct…………………………………………..……….. 26 CHAPTER III. RESEARCH METHOD………………………………….. 27 A. Type of the research………………………………………………….. 27 B. Data Preparation……………………………………………………….. 28 1. The Object of the Research, Data and Data Source…………………. 28 2. Research Instrument………………………………………………….. 28 3. Technique of Data Collection………………………………………... 30 C. Technique of Data Analysis…………………………………………… 30 D. Trustworthiness of the Data……………………………………………. 31 CHAPTER IV. FINDINGS AND DISCUSSION…………………………. 33 A. Findings………………………………………………………………... 33 B. Discussion……………………………………………………………… 36 1. The Types of Interpersonal Meaning in the Lyrics of Muse Album Black Holes and Revelations ………………………….……............... 36 2. The Analysis of Mood Types Used in the Lyrics of Muse album 38 xi Black Holes and Revelations …………….…………………………... a. Declarative………………………………………………………….. 39 b. Interrogative…………..…………………………………………….. 43 c. Imperative…………………………………………………………... 45 3. The Modality realized in the lyrics of Muse album Black Holes and Revelations............................................................................................ 47 CHAPTER V. CONCLUSIONS AND SUGGESTIONS………………… 50 A. Conclusions……………………………………………………………. 50 B. Suggestions…………………………………………………………….. 51 REFERENCES……………………………………………………………… 54 APPENDICES………………………………………………………………. 56 xii LIST OF TABLES Table 1: The Mood Types ...………………………………………………. 14 Table 2: Mood Structure ………..………………………………………… 14 Table 3: The Degree of Modality…………..….………………………….. 19 Table 4: The Form of Data Sheet of Interpersonal Meaning Analysis in the Lyrics of Muse Album Black Holes and Revelations……….………………………………………………. 29 Table 5: The Analysis of Mood Types in the Lyrics of Muse album Black Holes and Revelations …………..…………….…………………. 35 Table 6: The Analysis of Modality in the Lyrics of Muse Album Black Holes and Revelations……………………………………………. 36 xv INTERPERSONAL MEANING ANALYSIS OF MUSE SONG LYRICS IN BLACK HOLES AND REVELATIONS’ ALBUM (A Study Based on Systemic Functional Linguistics) Rowiatun Amri Marhamah 07211141016 ABSTRACT This study examined the interpersonal meaning realized in the lyrics of Muse’s album Black Holes and Revelations. It will be easier and more interesting to analyze the interpersonal meaning through the literary work that people hear everyday such as song lyrics. The objectives of this study are to describe the types of interpersonal meaning, to describe the most dominant Mood Types, and to describe the Modality realized in the lyrics of Muse’s album Black Holes and Revelations, The design of the research was descriptive qualitative. The main sources of data in this research were the lyrics in the Muse’s album Black Holes and Revelations. There were three song lyrics that the researcher analyzed in this research. The analysis of the data used the following steps: firstly, listened to the songs, found the printed lyrics of the songs, analyzed the clauses based on the Mood- Residue elements, describe the most dominant Mood Types, and found the Modality through Modal Finite and Mood Adjunct. The last, the researcher drew the conclusion of this study. The results of data analysis show that the types of interpersonal meaning in the lyrics of Muse’s album Black Holes and Revelations realized in the wordings of the clause if analyzed based on the elements of interpersonal meaning, the most dominant Mood Types is Declarative, the Modality realized through the use of modal finite and mood adjunct. The conclusions of this study are; to describe the types of interpersonal meaning in the song lyrics, people should read them thoroughly while analyzing based on the interpersonal meaning elements. Based on the Mood Types analysis, the song writer or singer wants to declare something and give information to the readers or listener through these songs. According to the analysis of Modality through the use of Finite Modal and Mood Adjunct, the results of analysis found only few modalities. And all of them are in the form of modals finite. Keywords: interpersonal meaning, song lyrics, mood types, modality, Black Holes and Revelations 1 CHAPTER I INTRODUCTION This chapter consists of background of the research, the research focus, the formulation of the problems, the objectives of the research, and the significance of the research. A. Background of the Research In communication process, human being will deliver his/her messages by speaking or writing. Speaking is a communication form to deliver messages directly. There are speaker and hearer speaking to each other. While, writing is a communication form that requires media to convey the messages, such as, television, magazine, newspaper, etc., to convey the messages. There are writers and hearers or readers in the form of communication. There are many media in which human beings may express and communicate their information, idea, thought, emotion, and desire by using language, our basic of communication (Griffee, 1995:4). Language is used by normal human beings and by no other species, of using a spoken or written utterance to represent mental phenomena or events. Most fundamentally, language is the association of speech sounds with thoughts, concepts, or image in the mind. The primary purpose of language is communication among persons (Encyclopedia Americana, 1991: 727). In the hand of artist, the information, idea, thought, 2 emotions, and desire are expressed in poem, prose, painting, drama, film, and music. Music is called the language of emotions. Music can be a tool to share feeling between human beings. There are human beings who choose music to express and share their own feeling because human beings have sense of music. Implicitly, musician creates music not only to entertain but also to communicate through expressing or sharing his/her own feeling to the others. Human being creates music to share his feeling whether it is sad or happy. Actually, music is not only music itself but also lyric. Through the lyric, the readers or listeners will know the topic of the song. Song is a term of music. A song contains music and lyric. It is also one of the forms of music, which uses language. Every song has its own special arrangement in music and lyric. It is the way to tell a language. It is used by human to tell something in different ways. Through the song, the singer wants to tell the listeners about the writer’s feelings that come from his/her heart. There are songs that tell about sadness, happiness, love, social critique, etc. Songs speak to us directly about our experiences; they reassure us in our moments of trouble (Griffee, 1992: 4). It also tells something or someone’s feeling that uses imaginative diction and rhyme. People almost hear songs everyday; even the listeners can memorize the lyrics very well. It is very interesting to see how the composer plays with words and cords to convey the message, and it is very interesting to study or analyze something that people like very much. 5 This study is an attempt of describing the interpersonal meaning in the lyrics of Muse album Black Holes and Revelations. The focus of the research is about the interpersonal meaning analysis in the lyrics of Muse’s album Black Holes and Revelations which analyzed in the system of Mood and Modality. The researcher describes the analysis of Mood and Residue that is used in the lyrics of Muse’s album Black Holes and Revelations, showing the analysis of mood types used in the lyrics of Muse’s album Black Holes and Revelations, and showing the analysis of Modality in the lyrics of Muse album Black Holes and Revelations. In this research, the researcher will analyze three songs lyrics sung by Muse. Those three songs are taken from the Black Holes and Revelations album. Those songs are titled “Supermassive Black Hole”, “Map of the Problematique”, and “Hoodoo”. C. The Formulation of the Problems In relation to the research focus above, this research analyzes the interpersonal meaning in the lyrics of Muse album Black Holes and Revelations. The problems are formulated into three main questions below: 1. What are the types of interpersonal meaning realized in the lyrics of Muse album Black Holes and Revelations? 2. What are the Mood Types used in the lyrics of Muse album Black Holes and Revelations? 3. What are the types of Modality in the lyrics of Muse album Black Holes and Revelations? 6 D. The Objectives of the Research Based on the formulation of the problems above, this research is intended: 1. to describe the types of interpersonal meaning realized in the lyrics of Muse album Black Holes and Revelations, 2. to describe the Mood Types used in the lyrics of Muse album Black Holes and Revelations, 3. to describe the Modality in the lyrics of Muse album Black Holes and Revelations. E. The Significance of the Research This research is expected to bring some benefits to: 1. Musicians It is expected that this research can inform to the musicians especially song writer that every song contain interpersonal meaning. Therefore, song lyrics can be studied through the grammatical function. 2. Students The research is expected to be useful to students who like songs and can help them to learn it and to open the research world especially in the field of Systemic Functional Linguistics (SFL). Therefore, the research can be taken as a reference for further SFL approach. 7 3. Lecturers The research is expected to help the lecturers to give more attentions to the SFL field by giving more SFL knowledge to the students, especially English Department students. 10 Wignell (1995:22) state that clauses signal three types of meaning namely ideational, textual and interpersonal. Ideational meanings are about things and ideas that are realized in the clause. Meanwhile, textual meanings are realized contextually and con-textually in lexicogrammar through thematic, information systems and cohesion. Halliday (1985: 20) explains that ‘whereas in its experiential meaning language is a way of reflecting, in its interpersonal meaning language is a way of acting’. Interpersonal meaning views language from point of views of its function in the process of social interactions. According to Gerot and Wignell (1994:13), the interpersonal meanings are meanings which express a speaker’s attitudes and judgments. These are meanings for acting upon and with others. Interpersonal meaning, according to Butt (2001:86) is one of the most basic interactive distinction is between using language to exchange information and using it to exchange goods and services. These meanings are most centrally influenced by tenor (who/what kind of person produced this text? For whom?) of discourse. Interpersonal meanings focus on the interactivity of the language, and concern the ways in which we act upon one another through language. In either spoken texts or written texts, an interlocutor expects to tell listeners/readers via text. This means that each text has a relationship between providers and recipients of information. The analysis of interpersonal meaning deals with two components, are mood element and residue element of the clause. The mood element includes 11 subject, finite, and/or mood adjunct; while the residue consists of predicator, complement, and some adjuncts such as mood, polarity, comment, vocative or circumstantial adjunct (Suzanne Eggins, 1994:154-169). Mood consists of the Subject and the Finite operator. The Subject is a nominal group while the Finite operator is part of a verbal group. The explanation of Subject and Finite operator can be seen in the example below. They could Subject Finite Mood Element Thus, in ‘They could’, ‘they’ is Subject; meanwhile, ‘could’ is Finite. The subject is a nominal group in which a personal pronoun and nouns are included. Meanwhile, the Finite element is a verbal operator expressing tense and modality (Halliday, 1994:72). Halliday (1984, 1985a: 68-71) approaches the grammar of interaction from semantic perspective. He points out that whenever we use language to interact, one of things we are doing with it is establishing a relationship between us: between the person speaking now and the person who will probably speak next. The mood structure of the clauses refers to the organization of asset of functional constituents including the constituent Subject. The component that gets bandied back and forth is what is called as the Mood element of the clause. There are two essential functional constituents of the Mood component of the clause: the Subject and the Finite. 12 The Subject offered by Halliday (1985a: 76) is that it realizes the thing by reference to which the proposition can be affirmed denied. It provides the person or thing in whom is vested the success or failure of the proposition, what is “held responsible”. The second constituent of Mood element is the Finite. Halliday (1985a: 75) defines the Finite in terms of its function in the clause to make the proposition definite, to anchor the proposition in a way that people can argue about it. The other component is called as the Residue. Residue consists of Predicator, Complement and Adjunct. The Complement is typically realized by nominal groups. The Predicator is realized by the non-tensed (or nonfinite) element or elements of the verbal group. The Adjunct is realized by an adverbial group or prepositional phrase. Adjuncts have some sub types as well namely circumstantial, mood, polarity, comment, vocative, conjunctive and continuity. Example: Josh can speak English Subject Finite Predicator Complement Mood Residue a. Mood System Mood system is a system which describes the types of clauses which is being carried in a verbal interaction whether it is indicative (declarative, interrogative) or imperative. Mood structure is a clause structure which 15 or What time did Mike arrive at school? or Where did Mike arrive at nine o’clock? 3. (Imperatives) Tell me when Mike arrived at school. In the declaratives, the information is provided from the interlocutor to the listener/reader; the former is a provider of information and the latter is a recipient of information. But in the interrogatives, people can see the opposite movement of information; the interlocutor expects to receive an answer (yes/no, at nine o’clock, or at school) from the listener/reader. This shows that the former is a recipient of information, and the latter is a (potential) provider of information. Finally, in the imperatives, the interlocutor demands the information (or goods & services, according to Halliday (White, 2000, p.7)) to a listener/reader; the former is a recipient of information, and the latter is a provider of information/service, as in the case of the interrogatives. It is noteworthy that such relationships of interlocutors are, naturally, influenced by the social situation, and as such, the interlocutors’ positions will maintain some elements of flexibility. Example 3 above, Tell me when Mike arrived at school, can be replaced by (1) You should tell me when Mike arrived at school, or (2) Would you tell me when Mike arrived at school? etc. Sentence (1) demands the service more strongly by using the word should rather than the original. On the other hand, sentence (2) represents a very polite request by using the phrase Would you … ?, and the demand of 16 service is not as strong as the original. Although each sentence conveys the same message, they show the difference in terms of the subtle nuance behind the message. Moreover, sentence (1) carries a demanding message by a declarative sentence, and sentence (2) does it through an interrogative sentence. This means that the interlocutor of sentence (1) can become a recipient of service. As a result, sentence forms sometimes work together to make up for meanings. Considering that the use of words in texts is strongly connected with the interlocutor’s internal reality, it is important to pay attention even to decorative words found in texts. For instance, when example 1 contains the word probably, or the phrase I suppose, the certainty of the meaning of the text will be reduced. On the other hand, when it has definitely, or I know, the certainty will be increased. Such words, extending the meaning of texts, are called modal verbs. The types of modality are various, and the functions of modality are also various, depending on modal words/phrases. When the subject of the sample sentence Mike is replaced with Mr Smith, the text will lose the intimacy it contains. It will sound more formal, as though being spoken from a secretary to his/her boss. When arrived is replaced with got to, the intimacy of the text will become stronger. When the text is rewritten to He’ll arrive at school at nine o’clock, it sounds to be delivered by a person who knows Mike in a casual way. As a result, it can be said that the use of words creates the social role and relationship in a text. 17 When people interact with one another, they use language clearly to convey the unlimited purposes: they may want to order, apologize, confirm, invite, reject, describe and so on. The system of mood governs the basic structural features of the sentence - whether the sentence chooses among declarative, interrogative or imperative forms. The mood system is thus the part of grammar which is most inherently linked with the roles which speakers adopt in the use of language. Generally speaking, statements are most naturally expressed by declarative clauses, questions by interrogative clauses and commands by imperative. There are also exist exceptions in certain context. For example, some interrogative sentences can also be used to give command with different intonation. In Functional Grammar, the subject and finite make up the mood and the subject-finite positioning in a clause realizes different speech functions, which plays a vital role in carrying out the interpersonal meaning of the clause as exchange and serves a reflection of social role and identity (Eggins & Slade, 1997). b. Modality When the speakers are not definite about their message, they give signal by looking for a position between definite ‘yes’ and a definite ‘no’ that are known as Modality. The term Modality is used to refer to all positioning by the speaker about probability, usuality, typicality, obviousness, obligation and inclination (Butt, 2001:113). Martin claims that there are four main kinds of modality; they are probability, usuality, 20 3. Music Music is not a kind of entertainment but a musical poet’s or thinker’s presentation of musical ideas; ideas that are a part of what man can perceive, reason, and express and that must correspond to the laws of human logic (Schoenberg, 1995: 1). Actually, it is not only for entertainment but also it can be useful for the life and also it can be studied through the grammatical function. Music has been called as the language of emotion (Machlish, 1955: 4). Through the kinds of music, such as rock, jazz, pop, etc., a singer can express his/her own feeling. Furthermore, the language of music or the lyric will describe the singer’s feeling. Griffee gives his own reason that songs speak to people directly about their experiences, they reassure people in their moments of trouble. They are a satisfying art form: the lyrics fit the music and the music fits the lyrics and together they form a complete unit (Griffee, 1992: 4). The reason is really true. Songs, through the kinds of music and the lyrics, can give strength to them when they are hopeless for the singer or songwriter usually creates the songs based on his/her own experiences: happiness, sadness, fear, etc. He adds the reason that is: “another reason might be the ability of songs and music in general to affect our emotions. Many people can be moved to fears or other strong emotions by music, and songs can acquire strong emotional associations with people, event and places” (Griffee, 1992: 4). Therefore, music can be said as a description of human feeling in a certain time and place. 21 Songs can be used as texts in the same way that a poem, short story or novel or any other piece of authentic material (Griffee, 1992: 5). Again, according to Griffee: “although songs have elements in common with speech and poetry, they are a unique form. Both songs and speech are vocally produced, are linguistically meaningful and have melody. Actually, we do not realize when we are speaking, we create melody in our speech, and for example the melody is up when we are asking or angry. He adds both songs and poetry use words to convey meaning, both are usually written down before publication, both can be put to music and both can be listened to (e.g. a poetry reading for poems and a concert for songs)” (Griffee, 1992: 3). Through the lyrics, the listeners or readers will understand that songs have the meaning-what the songs about, what happened in the songs. In addition, the kinds of music will explain clearly about the songs, for example happiness, sadness, fears, etc. 4. Muse Muse is an English alternative rock band from Teignmouth, Devon, formed in 1994. The band consists of school friends Matthew Bellamy (lead vocals, guitars, piano, keyboards, keytar), Christopher Wolstenholme (bass, backing vocals, keyboards, guitars, harmonica) and Dominic Howard (drums, percussion, synthesizers, backing vocals, sampling). Muse has released five studio albums: Showbiz (1990), Origin of Symmetry (2001), Absolution (2003), Black Holes and Revelations (2006), and The Resistance (2009). They have also issued three live albums, Hullabaloo Soundtrack (2002), which is also a compilation of B-sides, Absolution Tour 22 (2005), and HAARP (2008) (http://www.amazon.com/Black-Holes- Revelations Muse/dp/B000FVQYYK). After the release of their fourth studio album in 2006, Black Holes and Revelations, the keyboardist and percussionist Morgan Nicholls has performed live with the band (http://www.metrolyrics.com/muse-albums-list.html). Muse is known for their energetic and extravagant live performances, and their fusion of many music genres, including progressive rock, alternative rock, space rock, pop music, and heavy metal, with recurring themes of revolution. Black Holes and Revelations earned the band a Mercury Prize nomination and a third place finish in the NME Albums of the Year list for 2006. Beside that, Muse has also won numerous other music awards throughout their history, including five MTV Europe Music Awards, fiveQ Awards, eight NME Awards, two BRIT awards, an MTV Video Music Award, four Kerrang Awards and an American Music Award. They were also nominated for three Grammy Awards, of which they won Best Rock Album for their fifth studio album, The Resistance. As of November 2010, Muse has sold over ten million albums worldwide (http://www. http://muse.mu/news.htm). B. Previous Research Findings There have been many studies about interpersonal meaning in linguistics field recently. One of them is the research conducted by Dyan Hari Tjahyani, a 25 In this research, the data were analyzed based on Systemic Functional Linguistic covering interpersonal meaning. The discussion of this research finally deals with the interpersonal meaning analysis in the lyrics of Muse album Black Holes and Revelations that realized in the system of Mood and Modality. The researcher describes the analysis of Mood-Residue that used in the lyrics of Muse album Black Holes and Revelations, showing the analysis of mood types used in the lyrics of Muse album Black Holes and Revelations, and showing the analysis of Modality in the lyrics of Muse album Black Holes and Revelations which can be analyzed through interpersonal meaning analysis. The researcher collects Muse song lyrics in the album Black Holes and Revelations, and then classified them into one theme. The theme is internal conflict happening to the song’s writer, Matthew Bellamy, in facing the life. 26 D. Analytical Construct The form of analytical Construct of Interpersonal Meaning Analysis of Muse song lyrics in Black Holes and Revelations Systemic Functional Linguistics Strategy Media Users Meaning InterpersonalIdeational Textual ModalityMood ImperativeDeclarative Interrogative LowHigh Medium etc.Film Novel Song etc. Musician Politicians Businessmen Interpersonal Meaning Analysis of Muse’s Song Lyrics in Black Holes and Revelations’ Album Muse’s Song Lyrics in Black Holes and Revelations album Muse Style Language etc. 27 CHAPTER III RESEARCH METHOD In this chapter, the researcher focuses on the research method. The researcher divides this chapter into four parts of discussion: type of the research – describing the approach of conducting this study; data preparation – including object of the research, data and source of data, research instrument, and techniques of data collection; technique of data analysis – showing how the data are analyzed; and data trustworthiness – describing how the validity of the data findings is checked. A. Type of the Research This research used descriptive qualitative analysis. Sutrisno Hadi is an expert of descriptive qualitative one. He states that collecting the data, classifying the data, analyzing the data, interpreting the data, and finally drawing conclusion without making generalization carry out descriptive method (1983: 3). Narbuko and Achmadi (1997: 44) also state that a descriptive method is a research method which tries to give the solution of a problem based on the data. Based on the definition and criteria such as collecting the data, classifying the data, analyzing the data, interpreting the data, and drawing conclusion about the data, this type of research can be classified as a descriptive method. It is called qualitative since it is a type of research which does not include any calculation or enumeration (Moeleong, 2002: 2). Moreover, Subroto (1992: 6-7) states that a qualitative 30 3. Techniques of data Collecting According to Wiersma (1995: 218), qualitative research is very “researcher-dependent”. The instrument for the data collection is the researcher him/herself. It means that in collecting the data the researcher decides about what kind of data to collect. To get the data, the researcher used an observation method. Observation method is appropriate in observation of language use. Sudaryanto (1998: 2) states that observation method is conducted by the way of observing that language. In this research, the researcher used indirect observation technique since she used CD, VCD player, and Internet to get the song lyrics of Muse’s songs. Then, she scrutinized the songs and noted the lyrics. The themes of the songs were internal conflict happen to the writer in facing the life. C. Technique of Data Analysis Qualitative research is inductive in methods. It is a process of reasoning that follows a reverse path – observation precedes theory, hypothesis, and interpretation. The researchers let the data give information to them. Qualitative methods employ observations, interviews, and/or the analysis of some types of text. The text includes spoken words, visual representations, written text, or a cultural group. Those three ways employed in qualitative methods are analyzed for meanings and themes. In this research, the researcher employed the content analysis in written words of the song’s lyrics in the Muse’s album Black Holes 31 and Revelations to find the analysis of the interpersonal meaning. The followings were the steps of the data analysis of this study: 1. Collecting the data in the form of clauses from Muse’s song lyrics in the album Black Holes and Revelations; 2. classifying and choosing the song lyrics based on the relevance theme that is internal conflict happening to the writer in facing the life; 3. finding information about Muse and Black Holes and Revelations album and also theories related to the interpersonal meaning through a research library; 4. analyzing the mood and residue of those song lyrics of Muse in the album Black Holes and Revelations; 5. analyzing the mood types of those song lyrics of Muse in the album Black Holes and Revelations; 6. analyzing the modality realized in those song lyrics of Muse in the album Black Holes and Revelations and identifying the degree; 7. drawing the conclusion. D. Data Trustworthiness To achieve the credibility of the data, the researcher performed deep and detail observation on the data, so the data can be regarded credible. she read and reread the data carefully and comprehensively until gets certainty that the data are in accordance with the research question. The credibility of the data is also got through triangulation technique. There are four main types of triangulation: by 32 source – data are collected from different sources; by methods – different data collection strategies are used such as individual interviews and participant observation; by researcher – which involves the use of more than one researcher to analyze the data, develop and test the identification; and by theories – multiple theories and perspective are considered during data analysis and interpretation. In this research, she used sources and observers. Sources, in the forms of books, papers, journals, and some written sources from the internet that related to some linguistics theories, were used in this research. Meanwhile, in utilizing the observers, she applied peer review. Peer reviewing means asking friends to confirm the research data. Moreover, she also asked for some help from the lecturers to check. 35 Table 5. The Analysis of Mood Types in the lyrics of Muse album Black Holes and Revelations Imperative Declarative Interrogative TOTAL Lyric 1 0 29 4 33 0% 87.88% 12.12% 100% Lyric 2 2 16 4 22 9.10% 72.72% 18.18% 100% Lyric 3 11 8 2 21 52.38% 38.10% 9.52% 100% 3. The Modality realized in the lyrics of Muse album Black Holes and Revelations According to the analysis in the Muse Song lyrics in the Album Black Holes and Revelations, only few modalities are found. And all of them are in the form of modals finite. In lyric 1 (Supermassive Black Hole), ‘can’ is the only modal finite that found. ‘can’ is categorized in low degree of modality. In lyric 2 (Map of the Problematique), the modals finite which appear are ‘can’t’ and ‘will’. ‘can’t’ is categorized in low degree of modality, and ‘will’ is in medium degree of modality. And the modals finite ‘will’, ‘could’, and ‘should’ can be found in lyric 3 (Hoodoo). ‘will’ and ‘should’ are categorized as medium degree, and ‘can’ is low degree of modality. 36 Table 6. The analysis of Modality in the lyrics of Muse album Black Holes and Revelations Degree of Modality High Medium Low Lyric 1 - - can Lyric 2 - will can’t Lyric 3 - will, should could B. Discussions 1. The types of interpersonal meaning in the lyrics of Muse album Black Holes and Revelations The interpersonal meanings in the transcripts were identified and analyzed. The analyses were based on Mood and Residue structure. Mood consists of Subject and Finite, while residue consists of Predicator, Complement and Adjunct. The Subject and Complement are typically realized by nominal groups. The Finite is realized by the tensed element of the verb. The Predicator is realized by the non-tensed (or nonfinite) element or elements of the verbal group. The Adjunct is realized by an adverbial group or prepositional phrase. The Mood of a clause can be identified from its grammatical structure; statement is realized by Declarative Mood, question is realized by Interrogative Mood, command is realized by Imperative Mood. 37 The followings are the examples of the interpersonal meaning analysis in the lyrics of Muse album Black Holes and Revelations. And the superstars sucked into the supermassive. IM/L1/C.10/D.10 The analysis of interpersonal meaning in this clause deals with two components that are Mood element and Residue element of the clause. The Mood element includes Subject ‘the superstars’ and Finite ‘sucked’. In this clause, Finite is fused with the Predicator. In ‘And the superstars sucked into the supermassive’, the Finite appears to be missing, but is in fact fused with the Predicator ‘suck’ (sucked = Finite: ‘did’ + ‘Predicator: ‘suck’). While the Residue consists of Adjunct ‘into the supermassive’. I can’t get it right. IM/L2/C.06/D.06 I can’t get it right Subject Finite Predicator complement Adjunct Mood Residue The analysis of interpersonal meaning shows the clear structure of the clause. The interpersonal meaning is realized from the system of Mood and Residue. And the superstars sucked into the supermassive Subject Finite Adjunct Mood Residue 40 This song is written by Matthew Bellamy, the vocalist of Muse. The text is about the writer’s condition. He lives in suffering and sorrow. His girlfriend is a bad girl. She makes the writer’s life in bad condition. The writer describes it as the superstars sucked into the supermassive black hole. Supermassive black hole is the description of very bad and frightening place to stay. Through the text, the writer wants to tell to his listeners or readers that his life is in the frightened place which sucked all his happiness so that he describes it as in Supermassive Black Hole. Lyric 2. Map of the Problematique I want to be free from desolation and despair. IM/L2/C.03/D.03 And I feel like everything I saw is being swept away. IM/L2/C.04/D.04 Life will flash before my eyes. IM/L2/C.11/D.11 The clause in the Map of the Problematique’s song lyric is dominated by Declarative Mood. It means that the clauses of the lyric are giving or demanding information to the listeners or readers. This song is written by Matthew Bellamy, the vocalist of Muse. As for the title of the song, it is referencing the club of Rome who create a map that reveals a series of events and challenges that the world may encounter at some point in the future. 41 The lyrics in the song reveal that two people have been separated from each other for some reason or another. The song expresses feelings of being lonely, not wanting to accept the fact of the separation, and the fact that they have not felt the same since they met the other person. In the writer’s life, the text’s lyric has meaning that he was broken heart. He always feels lonely because he lost someone whom he loves. Through the text the writer wants to tell his listeners or readers that he was falling in love with someone. And when he lost her, he always feels lonely. He spends the day in sadness and sorrow. He cannot feel good anymore. He thinks that everything he is doing, he thinks, is wrong and everything he does is problematic and he wishes he could've done the right thing. He wishes he could've started over. Lyric 3. Hoodoo We will hide. IM/L3/C.04/D.04 You’re protected from trouble and pain. IM/L3/C.10/D.10 And I’ve had recurring nightmares. IM/L3/C.20/D.20 In Hoodoo, the Declarative Mood is not the most dominant types which appear. It is in the second position after Imperative Mood. The declarative 42 clauses show that the clauses of the text are giving or demanding information to the listeners or readers. Therefore, the writer is called an informant of the information whereas the listeners or readers are the receiver of the information. Yet, in this text the writer is not truly the informant. He is just someone who realizes his own place to live so that he has some opinions about the place. In giving or demanding information, the writer uses probability or obligations statement. It is written by Matthew Bellamy, the vocalist of Muse. The text tells about the writer’s effort to reach the better life. It is about moving from one life to another, as in, getting tired of an unhappy life and changing to a better one. He realizes that he lives in bad luck. He is looking at the life he has and seeing the misery and sorrow. He wants to change and forget about the bad stuff. He wants to hide from the misery of the past life and build a newer, better life. Actually, hoodoo is a description of vagueness of life. Through the text, the writer wants to tell his listeners or readers that this world is very vague like a nightmare so that the writer calls it hoodoo. Hoodoo is a world where the writer is confusing living in. In this text, the writer wants to realize his listeners or readers that they live in hoodoo where it is bad place to stay. The place makes the writer wants to escape. 45 which show the Interrogative Mood. The clauses express the writer of the song’s questions about his condition. The interrogative clause is used to make the song more acceptable and easier to involve in this song. c. Imperative The Imperative Mood may be used to convey a command. Thus the use of imperatives can indicate that the writer of the song or the singer of the song is in a position of greater power than the readers or listeners. Imperative sentences express directives, such as orders, instructions, requests, invitations etc. The followings are the examples of the use of Imperative Mood in the lyrics of Muse song in the album Black Holes and Revelations. Lyric 1. Supermassive Black Hole -there is no imperative clause in this song’s lyric- Lyric 2. Map of the Problematique Get it right! IM/L2/C.07/D.07 Imperative clauses appeal the listeners or readers to follow the writer’s instruction; in that it can also help to build up the authority of the writer. While in Map of the Problematique’s lyric, which only 2 imperative clauses appear, it is more significant for the writer to build up an equal and mutual reliant relationship with the listeners or readers. 46 Lyric 3. Hoodoo Build a new reality. IM/L3/C.05/D.05 Draw another picture of the life you could have had. IM/L3/C.06/D.06 Follow your instincts. IM/L3/C.07/D.07 In the Hoodoo, Imperative Mood are dominated the text. Matthew Bellamy successfully shortens the distance between him and the listeners or readers and further to call on them to take actions together with him to overcome the difficulties. Imperative clause also plays an important role in the text. It can appeal the listeners or readers to follow the instruction of the writer or singer; in that it can also help to build up the authority of the writer or singer of the song. Through the text, the writer wants to tell his listeners or readers that this world is very vague like a nightmare and it is called hoodoo. The writer wants to realize his listeners or readers that they live in hoodoo where it is bad place to stay. The place makes the writer wants to escape. The writer also invites the listeners or readers to wake up from the nightmare. They are led by the writer to have a new life and be a better man. 47 3. The Modality realized in the lyrics of Muse album Black Holes and Revelations Different degrees of assertiveness suggested by a text can convey different kinds of interpersonal relationship between the writer and reader. For example, the use of expressions related to a high degree of modality will increase the strength of a claim, and thus can indicate the higher degree of authoritativeness or expertise assumed by the writer. Modality also plays an important role in carrying out the interpersonal meaning of clauses showing to what degree the proposition is valid. Modality refers to the space between “yes” and “no”, showing the speaker’s judgments of the probabilities or the obligations involved in what she is saying. In this analysis, there is three degree of modality. The followings are the examples of the analysis of the degree of modality in the lyrics of Muse song in the album Black Holes and Revelations. Lyric 1. Supermassive Black Hole Oh baby can you hear me moan? IM/L1/C.03/D.03 ‘can’ representing a low value modulation. Permission of ‘can’ is seen as the lowest degree of pressure, opening the possibility for the other person to do the action but leaving the decision to them; with regard to this, the writer of the song, Matthew Bellamy, uses ‘can’ to weaken his authority, to shorten the distance between him and his partner; in this song, his partner is his girlfriend; 50 CHAPTER V CONCLUSIONS AND SUGGESTIONS A. Conclusions Based on the analysis of the interpersonal meaning in the lyrics of Muse album Black Holes and Revelations, three conclusions can be drawn as follows. 1. Interpersonal meaning of Muse’s song lyrics in the album Black Holes and Revelations realized in the wordings of the clauses based on the Mood (subject, finite) and Residue (predicator, complement, adjunct) element. 2. There are three mood types namely imperative, interrogative and declarative. Based on the analysis of the three Muse song lyrics in the album Black Holes and Revelations, the most dominant Mood Types used in text 1 (Supermassive Black Hole) is Declarative Mood (87.88%), while the second place is Interrogative Mood (12.12%), and there is no Imperative Mood (0%). It indicates that the song writer or the singer wants to state or declare something to the listeners through these songs. In text 2 (Map of the Problematique), Declarative Mood is also the most dominant. It is appear 16 times (72.72%), while Interrogative Mood is appear 4 times (18.18%), and Imperative Mood is founded twice (9.10%). The dominant Declarative Mood indicates that the writer of the song or 51 the singer is the provider of information. While in text 3 (Hoodoo), Imperative Mood (52.38%) is the most dominant. The Imperative Mood shows that the writer’s song or the singer as the person asks the listeners or readers to do something. 3. According to the analysis of Modality through the use of Finite Modal and Mood Adjunct, the results of analysis found only few modalities. And all of them are in the form of modals finite. In text 1 (Supermassive Black Hole), ‘can’ is the only modal finite that found. ‘can’ is categorized in low degree of modality. In text 2 (Map of the Problematique), the modals finite which appear are ‘can’t’ and ‘will’. ‘can’t’ is categorized in low degree of modality, and ‘will’ is in medium degree of modality. And the modals finite ‘will’, ‘could’, and ‘should’ can be found in text 3 (Hoodoo). ‘will’ and ‘should’ are categorized as medium degree, and ‘can’ is low degree of modality. B. Suggestions Based on the conclusions of the analysis of interpersonal meaning in the lyrics of Muse album Black Holes and Revelations, the suggestions can be drawn as follows. 52 1. To the future researchers From the beginning of the research, there are some problems faced by the researcher. One of them was when she had to deal with the material. Since the material is a song’s lyrics, she needed to find the appropriate song which contains all the data needed. This means that the song must also have the topics of being discussed. For this reason, the researcher suggests that in the future the similar research on the interpersonal meaning will be conducted with the topical song which is much easier than this research. The future researchers can still use songs as the research instrument, but it will be easier if they understand about it by heart so that they will have enough time to work on the lyric. More to the point, it also opens the opportunity for the future researchers to conduct deeper analysis. 2. To the English student The more understanding about the interpersonal meaning analysis is gained. The research will also give some contribution to the readers since it can be served as a reference for the linguistic study. The contribution of interpersonal meaning used in the lyrics of Muse in the album Black Holes and Revelations is to help the English students easier 55 Subroto, E. 1992. Pengantar Metode Penelitian Linguistik Struktural. Surakarta: Sebelas Maret University Press. Sudaryanto. 1998. Metode Linguistik Bagian Kedua: Metode dan Aneka Teknik Pengumpulan Data. Yogyakarta: Gadjah Mada University Press. Wiersma, W. 1995. Research Method in Education: An Introduction (6th Ed.). Boston: Allyn and Bacon. Electronic References “Black Holes and Revelations’ Album” http://www.amazon.com/Black-Holes- Revelations Muse/dp/B000FVQYYK Data retrieved on July, 15th 2014. 06.17 p.m. “Muse Band” http://www. http://muse.mu/news.htm Data retrieved on July, 15th 2014. 06:30 p.m “Muse’s Song Lyrics 2006.” http://www.metrolyrics.com/muse-albums-list.html Data retrieved on July, 15th 2014. 04:01 p.m. 56 APPENDICES 57 APPENDIX 1 The Data Findings of the Interpersonal Meaning Analysis of Muse Song Lyrics in Black Holes and Revelations Note. IM : Interpersonal Meaning L1 : Lyric 1 C.01 : Clause 01 D.01 : Datum Number 1 S : Subject F : Finite P : Predicator C : Complement A : Adjunct Dec : Declarative Imp : Imperative Int : Interrogative H : High M : Medium L : Low The data findings of the interpersonal meaning analysis of Muse song lyrics in Black Holes and Revelations in lyric 1 (Supermassive Black Hole) No Code Clause Interpersonal Meaning Analysis Mood Types Degree of Modality Mood Residue Dec Imp Int H M L S F P C Aj 1 IM/L1/C.01/D.01 Supermassive Black Hole Supermas sive Black Hole 2 IM/L1/C.02/D.02 Oh baby don’t you know I suffer? you don’t know I suffer √ 3 IM/L1/C.03/D.03 Oh baby can you hear me moan? you can hear me moan √ can 4 IM/L1/C.04/D.04 You caught me under false pretenses you caught me under false pretenses √ 5 IM/L1/C.05/D.05 How long before you let me go? you let me √ 6 IM/L1/C.06/D.06 You set my soul alight you set my soul alight √ 60 No Code Clause Interpersonal Meaning Analysis Mood Types Degree of Modality Mood Residue Dec Imp Int H M L S F P C A 35 IM/L1/C.35/D.35 And the superstars sucked into the supermassive the superstars sucked in to the supermassive √ 36 IM/L1/C.36/D.36 You set my soul alight you set my soul alight √ 37 IM/L1/C.37/D.37 Glaciers melting in the dead of night glaciers melting in the dead of night √ 38 IM/L1/C.38/D.38 And the superstars sucked into the supermassive the superstars sucked in to the supermassive √ 39 IM/L1/C.39/D.39 Supermassive Black Hole Supermas sive Black Hole 40 IM/L1/C.40/D.40 Supermassive Black Hole Supermas sive Black Hole 41 IM/L1/C.41/D.41 Supermassive Black Hole Supermas sive Black Hole 61 The data findings of the interpersonal meaning analysis of Muse song lyrics in Black Holes and Revelations in lyric 2 (Map of the Problematique) No Code Clause Interpersonal Meaning Analysis Mood Types Degree of modality Mood Residue Dec Imp Int H M L S F P C Aj 1 IM/L2/C.01/D.01 Map of the Problematique Map of the Problemat ique √ 2 IM/L2/C.02/D.02 Fear and panic in the air fear and panic in the air √ 3 IM/L2/C.03/D.03 I want to be free from desolation and despair I want to be free from desolation and despair √ 4 IM/L2/C.04/D.04 And I feel like everything I saw is being swept away I feel like everything I saw is being swept away √ 5 IM/L2/C.05/D.05 Well I refuse to let you go I refuse to let you go √ 6 IM/L2/C.06/D.06 I can’t get it right I can’t get It right √ can’t 7 IM/L2/C.07/D.07 Get it right get It right √ 8 IM/L2/C.08/D.08 Since I met you I met you √ 9 IM/L2/C.09/D.09 Loneliness be over be over loneliness √ 10 IM/L2/C.10/D.10 When will loneliness be over? when will be over loneliness √ will 11 IM/L2/C.11/D.11 Life will flash before my eyes life will flash before my eyes √ will 12 IM/L2/C.12/D.12 So scattered and lost so scattered and lost √ 62 No Code Clause Interpersonal Meaning Analysis Mood Types Degree of Modality Mood Residue Dec Imp Int H M L S F P C A 13 IM/L2/C.13/D.13 I want to touch the other side I want to touch the other side √ 14 IM/L2/C.14/D.14 And no one thinks they are to blame no one thinks they are to blame √ 15 IM/L2/C.15/D.15 Why can’t we see that when we bleed we bleed the same? why can’t see we that when we bleed we bleed the same √ can’t 16 IM/L2/C.16/D.16 I can’t get it right I can’t get it right √ can’t 17 IM/L2/C.17/D.17 Get it right get it right √ 18 IM/L2/C.18/D.18 Since I met you I met You √ 19 IM/L2/C.19/D.19 Loneliness be over be over loneliness √ 20 IM/L2/C.20/D.20 When will loneliness be over? when will be over loneliness √ will 21 IM/L2/C.21/D.21 Loneliness be over be over loneliness √ 22 IM/L2/C.22/D.22 When will loneliness be over? when will be over loneliness √ will 65 APPENDIX 2 Surat Pernyataan Triangulasi 56 Surat Pernyataan Yang bertandatangan dibawah ini, saya: Nama : Indah Dwi Sulistyorini, S.S N[vI : 072lll4l0l8 Pekerjaan : Alumnus Sl Balnsa dan Sastra Inggds Universitas negeri Yogyakarta menyatakan telah melakukan fiangulasi data sehubungan dengan analisis data yang dilakukan oleh Rowiatun Amri Marhamatr dalam penelitian yang berju*tl "Interperrsonal Meanfug Analysis of Muse Song Lyrics in Bloch Holes and Revelstbns'Album (A Study Bssed on $5rstemic tr'unctional Linguistics|'. Demikian surat ini dibuat untrk dipergunakan sesuai de,ngan keperluannya Yogyakarta 16 Juni 2014 Yang Membuat Pernyataarl M Indah Dwi Sulistyorini, S.S 67 Surat Pernyataan Yang bertanda tangan dibawah ini, saya: Nama : MiftahulFurqo4 S.S NIM : A72lll4l0l2 Pekerjaan : Alumnus Sl Batnsa dan Sasfia Inggis Universitas Negeri Yogyakafia menyatakan telah melakukan tiangulasi data sehubungan dengan analisis data yang dilakukan oleh Rowiatun Amri Marhamah dalam penelitian yang berjttrl "Interpersonel Meaning Analysis of Muse Song Lyrics in Black Hoks and Revelaiins'Album (A Study Based on Systemic Functional Linguistics)". Demikian surat ini dibuat untuk dipergunakan sesuai dengan keperluannya Yoryakarta 16 Juni 2014 Yang Mernbuat Pernyataan, MiffahulFurqoa S.S