THE TRANSLATION SHIFT AND MUSICAL DEVICE ...

THE TRANSLATION SHIFT AND MUSICAL DEVICE

OCCURRENCES IN CHRISTIAN BAUTISTA’S

“TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

CLAUDIA CHYNTIA AYU ANGGRAENI

Student Number: 154214003

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2019

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

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AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

CLAUDIA CHYNTIA AYU ANGGRAENI

Student Number: 154214003

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2019


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STATEMENT OF ORIGINALITY

I certify that this undergraduate thesis contains no material which has been

previously submitted for the award of any other degree at any university, and that,

to the best of my knowledge, this undergraduate thesis contains no material

previously written by any other person except where due reference is made in the

text of undergraduate thesis.

Yogyakarta, January 31, 2019

Claudia Chyntia Ayu Anggraeni


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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH

UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma

Nama : Claudia Chyntia Ayu Anggraeni

Nomor Mahasiswa : 154214003

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan

Universitas Sanata Dharma karya ilmiah saya yang berjudul




beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan

kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan,

mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data,

mendistribusikannya secara terbatas, dan mempublikasikannya di internet atau

media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya

maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya

sebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta

Pada tanggal 31 Januari 2019

Yang menyatakan,



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“Behold I am the servant of the Lord,

let it be to me according to your word”

(Luke 1:38)


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For my family who always support me and

everyone who has helped me to get through

the hard times


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ACKNOWLEDGEMENTS

I would like to thank God who does make everything possible. When in

doubt, I found comfort. When in dark, I found a light. All of this may not happen if

it is not from Him. I thank God for His blessing and helping through everyone I

met. I am very thankful for my parents’ love and support as they have raised me

very well. I also thank my brother who always believe I can do everything I put up

to.

My gratitude also sends to my thesis advisor, Harris Hermansyah Setiajid,

M. Hum., for his advice, guidance, and support and also to my beautiful and

inspiring co-advisor, Arina Isti’anah, S.Pd, M. Hum., for giving me suggestions to

this research.

My thankful also goes to Indonesian Leadership Foundation who has

already provided me with a hope to be a bachelor, a support to be a better person,

and a second family to have. Last but not least, my gratitude goes to my friend who

was always there through the thick and thin, Elisabeth Vonni Hapsari, and to the

students of Class A of English Letters Department for all the supports.



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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

DEDICATION PAGE ........................................................................................ viii

ACKNOWLEDGEMENT ................................................................................... ix

TABLE OF CONTENTS ...................................................................................... x

LIST OF ABBREVIATIONS ............................................................................ xii

LIST OF TABLES ............................................................................................. xiii

LIST OF CHARTS ............................................................................................ xiv

ABSTRACT ......................................................................................................... xv

ABSTRAK ............................................................................................................ xvi

CHAPTER I: INTRODUCTION ........................................................................ 1

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

B. Problem Formulation .................................................................................. 3

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

D. Definition of Terms ..................................................................................... 4

CHAPTER II: REVIEW OF LITERATURE .................................................... 6

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

B. Review of Related Theories ...................................................................... 10

1. Theory of Translation Shift ................................................................... 10

2. Theory of Song Translation .................................................................. 15

3. Theory of Musical Devices ................................................................... 20

C. Theoretical Framework ............................................................................. 24

CHAPTER III: METHODOLOGY .................................................................. 25

A. Areas of Research ..................................................................................... 25

B. Object of the Study.................................................................................... 26

C. Method of the Study .................................................................................. 26

D. Research Procedure ................................................................................... 27

1. Types of Data ........................................................................................ 28

2. Data Collection...................................................................................... 28

3. Population and Sample .......................................................................... 29

4. Data Analysis ........................................................................................ 30


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CHAPTER IV: ANALYSIS RESULTS AND DISCUSSION ......................... 32

A. The Translation Shifts Found in Two Translated Songs

of Christian Bautista .................................................................................. 32

1. The Shifts Occurrence in “Till the End of Time” ................................. 35

2. The Shifts Occurrence in “Tetaplah di Hatiku” .................................... 43

B. The Musical Devices Found in Two Translated Songs

of Christian Bautista .................................................................................. 48

1. Musical Devices Occurrence in “Till the End of Time” ....................... 50

2. Musical Devices Occurrence in “Tetaplah di Hatiku” .......................... 55

CHAPTER V: CONCLUSION .......................................................................... 63

REFERENCES .................................................................................................... 65

APPENDICES ..................................................................................................... 67

Appendix 1 ..................................................................................................... 67

Appendix 2 ..................................................................................................... 68

Appendix 3 ..................................................................................................... 70


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LIST OF ABBREVIATIONS

HA : “Hingga Akhir Waktu” song lyrics

L : Lagu (Song)

PB : “Please Be Careful with My Heart” song lyrics

SL : Source Language

ST : Source Text

TE : “Till the End of Time” song lyrics

TH : “Tetaplah di Hatiku” song lyrics

TL : Target Language

TT : Target Text

Z : Stanza

Syl : Syllable


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LIST OF TABLES

No. Table Page

1. Table 1. Example of Data Coding 28

2. Table 2. Example of Translation Shift Analysis 30

3. Table 3. Example of Musical Device Analysis 30


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LIST OF CHARTS

No. Chart Page

1. Chart 1. Translation Shift in the Song “Till the End of Time” 33

2. Chart 2. Translation Shift in the Song “Tetaplah di Hatiku” 34

3. Chart 3. Musical Devices Occurrence in “Hingga Akhir Waktu”

and “Till the End of Time” 49

4. Chart 4. Musical Devices Occurrence in “Please be Careful

with my Heart” and “Tetaplah di Hatiku” 49


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ABSTRACT

Anggraeni, Claudia Chyntia Ayu. (2018). THE TRANSLATION SHIFT AND

MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S

“TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”. Yogyakarta:

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

Song translation is one of translation products which is challenging for a

translator given that the translation should not only maintain the meaning, but also

the sing-able of the song. In aiming those goals, translation shift inevitably occurs

in the translation. This research used Christian Bautista’s “Till the End of Time”,

which is originally entitled “Hingga Akhir Waktu”, and “Tetaplah di Hatiku”,

which is originally entitled “Please Be Careful with My Heart” as the data to

analyze the translation shift occurrences and their relation to the musical device

occurrences.

There are two problems to solve in this study. The first one is to find out the

translation shift occurrences in those two songs. The second one is to find the

resulted musical devices from the translation shift.

This study is a qualitative research which employs library and explicatory

method. Library method was applied to strengthen the data and analysis by gaining

factual information and experts’ theories through journal articles, books and other

sources. Explicatory method was also applied to analyze the translation shift and

the musical devices deeply.

The result shows that those two translated songs employ several types of

shift and applies many musical devices in the TT. There are five types of shift

applied in the song “Till the End of Time”: unit shift, structure shift, syntactic shift,

class shift and semantic shift. The most frequent shift found in the song is syntactic

shift with 33% occurence. Meanwhile, there are only 2 types of shift found in the

song “Tetaplah di Hatiku”. The most frequent shift found in the song is semantic

shift with around 80% occurrence in the song. Nevertheless, in terms of musical

devices, both of the songs employ rhyme, alliteration, assonance, and consonance

though the musical devices are different in the amount and position from the

original version.

Key words: translation shift, musical devices, song translation, expression shift


xvi

ABSTRAK

Anggraeni, Claudia Chyntia Ayu. (2018). THE TRANSLATION SHIFT AND

MUSICAL DEVICE OCCURRENCES IN CHRISTIAN BAUTISTA’S

“TILL THE END OF TIME” AND “TETAPLAH DI HATIKU”. Yogyakarta:

Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Penerjemahan lagu merupakan salah satu produk terjemahan yang

menantang bagi penerjemah karena terjemahannya tidak hanya harus menjaga

makna yang terkandung tapi juga musikalitas dari lagu tersebut. Dalam mencapai

hal tersebut, pergeseran penerjemahan tidak dapat dihindari pada prosesnya.

Penelitian ini menganalisis dua lagu Christian Bautista yang merupakan terjemahan

Indonesia ke Inggris dan Inggris ke Indonesia. Kedua lagu tersebut berjudul “Till

the End of Time”, yang dalam Bahasa Indonesia berjudul “Hingga Akhir Waktu”,

dan “Tetaplah di Hatiku” yang lagu aslinya berjudul “Please Be Careful with My

Heart” sebagai data untuk menemukan pergeseran penerjemahan dan relasinya

dengan perlengkapan musikal.

Terdapat dua permasalahan yang dibahas dalam skripsi ini. Yang pertama

adalah menemukan pergerean penerjemahan pada dua lagu tersebut. Yang kedua

adalah menemukan efek dari pergeseran tersebut pada perlengkapan musikal.

Penelitian ini merupakan penelitian kualitatif yang menggunakan metode

pustaka dan metode eksplikatori. Metode pustaka diaplikasikan untuk menguatkan

data dan analisis melalui informasi faktual dan teori ahli dalam jurnal, buku, dan

sumber lain. Metode eksplikatori diaplikasikan untuk menganalisis pergeseran

penerjemahan yang terjadi dan perangkat musikal yang digunakan secara

mendalam.

Hasil dari penelitian ini menunjukkan bahwa dalam kedua lagu terjemahan

tersebut ditemukan beberapa tipe pergeseran penerjemahan. Terdapat lima tipe

pergeseran yang digunakan dalam lagu “Till the End of Time”: pergeseran unit,

strukture, sintaktik, kelas, dan semantik. Pergeseran yang paling sering muncul

adalah pergeseran sintaktik hingga 33%. Sementara itu, hanya terdapat dua tipe

pergeseran yang tejadi pada lagu “Tetaplah di Hatiku”, yaitu pergeseran sintaktik

dan semantik yang mendominasi hingga 80%. Namun demikian, dalam hal

perangkat musikal, kedua lagu mengaplikasikan rima, aliterasi, asonan dan

konsonan meski tidak dalam jumlah dan posisi yang sema dengan versi aslinya.

Kata kunci: Pergeseran penerjemahan, perangkat musikal, penerjemahan lagu,

pergeseran ekspresi


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CHAPTER I

INTRODUCTION

A. Background of the study

Humankind and language are inseparable state of affairs for the fact that

human needs a language as a mean of communication, whether it is as universal as

body language or as particular as English, Japanese or Spanish. Furthermore, since

language has a bunch of variation throughout the world, there might be a problem

for a person who has lived in an area and acquire the language used there to

understand someone’s utterance in another part of the world. That is when

translation plays an important role in the means of communication. Translation

enables humankind to transfer messages in one certain language to another

language, or based in Nida & Taber, translation is an activity of “reproducing in

the receptor language the closest natural equivalent of the source-language, first in

terms of meaning and secondly in terms of style” (1974, p. 12)

Translation studies is a new field of study which is established during the

70’s era. Translation itself is a craft consisting in the attempt to replace a written

message and/or statement in one language by the same in/or statement in another

language (Newmark, 1981, p. 7). The products of translation are not only in spoken

but also in written form. We can find translation in literary works, academic journal,

film subtitles and also song lyrics.

Song translation is one of the interesting works since the translator not only

has the ability to transfer the message but also make the song still sing-able.


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Comparing to translation studies of literature, translations of sing-able songs pose

specific demands on the translator (Åkerstörm, 2009, p. 4). The translator has to

consider the musical elements, such as rhythm, note-values, and harmonies. For that

reason, song translations are not always translated as they are. Shifts in some

phrases or sentences are often found in song translation in order to fit the musical

elements.

The shifts in song translation are also interesting topic to discuss since there

is a possibility that the shifts happen not only in micro level, which is in the

grammatical and syntactical area, but also in the macro level of a language, which

is related to semantic, pragmatic, rhetoric, and other non-grammatical condition.

The example of the case is found in the song “Till the End of Time” by Christian

Bautista which is translated from Indonesian song entitled “Hingga Akhir Waktu”

by Nineball. The lyrics which is originally phrased: “Bagiku semua sangat berarti.

Kuingin kau disini bersamaku” is translated into: “Everything was seemed so right.

If you were here with me.” The TT meaning is somewhat similar to the ST but if

we deeply analyze the text in the micro level, there is a structural shift in the

translation of kuingin and if you were.

Meanwhile, the translation of the song “Tetaplah di Hatiku” by Bunga Citra

Lestari which is translated from English song entitled “Please Be Careful with My

Heart” by Christian Bautista has more shifts on the macro level as it perhaps wants

to express the song tones rather than the effect of translating it word by word. The

first line of the chorus lyrics which is originally phrased: “You are my first romance.

And I'm willing to take a chance” is translated into: “Kaulah yang pertama. Yang


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memberi arti cinta.” We can find that there is a semantic shift in the expression

used. However, in both of the examples given, the translations keep the musical

elements such as rhyme and rhythm to be the same as the ST.

In this study, the researcher observes those two translated songs, “Till the

End of Time” and “Tetaplah di Hatiku”, which are sung by a Philippine singer,

Christian Bautista. Despite the fact that those two songs used to make a hit in

Indonesian music chart, those two songs are used as the data due to the frequent

amount of shift occurrences in the translations. “Till the End of Time” is originally

an Indonesian song entitled “Hingga Akhir Waktu” which is sung by an Indonesian

group band named Nineball. Meanwhile, “Tetaplah di Hatiku” is originally an

English song entitled “Please Be Careful with My Heart” in Bautista’s 2009 album,

Romance Revisited: The Love Songs of Jose Mari Chan.

The shifts occur in the songs do not only appear in the micro level but also

in the macro level, which in my hypothesis, those shift and musical devices, the

repetitions used purposively to reinforce meaning in the song, are related to each

other. One may happen due to the influence of the other.

B. Problem Formulation

To make this research more specific, the researcher formulated the problems

as follows:

1. What translation shifts occur in the songs “Till the End of Time” and “Tetaplah

di Hatiku”?


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2. How are musical devices resulted from the translation shift in the songs “Till

the End of Time” and “Tetaplah di Hatiku”?

C. Objectives of the Study

Based on the research questions, the objectives of this research are divided

into two parts. The first part is to identify the shifts which occur in Christian

Bautista’s “Till The End of Time” and “Tetaplah di Hatiku”. The second part is to

find the musical devices in those songs and check the relation between the musical

devices and the translation shifts in the songs.

D. Definition of Terms

In order to avoid misunderstanding of some terms, these are some definition

of terms or expressions which will frequently appear in this thesis:

Shifts are all the mandatory actions of the translator (due to the structural

variance between the two language systems involved in the process) and the

optional ones (due to the personal and sstylistic preferences) to gain natural and

communicative interpretation of an SL text translation in another language (Al-

Zoubi & Al-Hassnawi, 2001, p. 2).

Language in poetry is used not only to convey information, the words

chosen were for sound as well as for meaning, and the sound was used as a means

of reinforcing meaning and the essential element in all music is repetition (Arp &

Johnson, 2008, p. 818) . Based on that explanation we can infer that musical


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devices are the repetitions and variations of sound which occur purposively to

reinforce meaning in a literary work.


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CHAPTER II

REVIEW OF LITERATURE

This chapter is divided into three parts. The first part is a review of other

researches which has been done before with the similar topic to this present

research. This step is done to find the similarities and the differences of this research

and the previous researches in order to avoid duplication. The second part is a

discussion of the theories applied which aims to give clear and solid ground of the

research. The last part is the theoretical framework which explains the contribution

of the theories reviewed in this research.

A. Review of Related Studies

1. Suharto’s Article “Permasalahan Musikal dan Lingual dalam

Penerjemahan Lirik Lagu” (2006)

“Permasalahan Musikal dan Lingual dalam Penerjemahan Lirik Lagu”

(Musical and Linguistic Problems in Lyrics Translation) by Suharto (2006) is an

article from a journal discussing the influence of song translation in changing the

nuance of the song due to the differences in some elements such as word stress and

equivalence. In the conclusion, Suharto mentions that the nature of translating a

song is actually the same as producing a song. The translator needs to consider (1)

what the original writer says, (2) what he/she means, (3) and how he/she delivers

it. They are all important to know the message and the style of the original writer

in translating a literature text so as translating a song. To make the translated song


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have the same nuance, the translator needs to give more attention to those elements

(2006, p. 12).

This undergraduate thesis is similar to Suharto’s research as it also discusses

the problem of translating a song. However, in his research, Suharto only focuses

on the translation shift problems and tries to peel off the findings layer by layer

while this presented thesis tries to analyze the implementation of shifts theories in

song translations.

2. Alzuhdy’s Article “Analisis Translation Shift dalam Penerjemahan

Bilingual Bahasa Inggris-Bahasa Indonesia” (2014)

“Analisis Translation Shift dalam Penerjemahan Bilingual Bahasa Inggris-

Bahasa Indonesia” (Translation Shift Analysis in Translating English-Indonesian)

by Alzuhdy (2014) is aimed to review the classic theory of translation shifts

introduced by Catford by applying them in the samples taken from English into

Bahasa Indonesia translations and vice versa (2014, p. 185). The result of the study

is that the use of translation shift theory in analyzing a translation work is still

relevant because the concept could accommodate the theory and practice of

contemporary translation. The analysis model discusses in the study can be used as

a model to analyze a translation product in further study (2014, p. 192).

This thesis is similar to Alzuhdy’s research as it also discusses translation

shift. However, Alzuhdy’s research criticized the relevancy of the shift theory

meanwhile this presented thesis tries to prove that the shift theories are still relevant

by analyzing it in song translation.


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3. Aji’s Undergraduate Thesis “Song Translation Analysis of Five Disney

Movie’s Songs” (2016)

This undergraduate thesis conducted by Aji (2016) is aimed to describe the

musical devices employed in the English and Bahasa Indonesia songs, to describe

the strategies which the translator used in translating songs, and to describe the

degree of equivalence between the English songs and Indonesian songs (2016, p.

5). To achieve those goals, Aji used descriptive qualitative method which enabled

him to describe and explore the comparison between the English and the Bahasa

Indonesia songs, looking at the musical devices used in both version of the songs,

the strategies applied, and the degree of its equivalence (2016, p. 26). As the result,

based on the five musical devices concerning in this research, most of Indonesian

lyric does not employ rhyme. Most of them have different rhythm and meter.

However, in term of assonance and consonance, both English songs and Indonesian

songs employ these. The most strategies found is Blank Verse, besides Literal

Translation, Metrical Translation, Interpretations and Rhymed Translation (2016,

pp. 68-70).

Aji’s research is similar to the present research as it also reveals the topic

through the analysis of the musical devices applied. As Aji’s research does, this

present research also compares the use of musical devices of the songs. The

difference is that Aji’s research looks for the strategies applied, while in this

presented research the shifts is analyzed. The other difference is about the number

of the data sources, Aji’s research uses five translated songs while this presented

research uses two translated songs.


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4. Christyanti’s Undergraduate Thesis “The Indonesian Translation of How

Far I’ll Go: A Study of Its Strategies and Musical Devices Applied” (2018)

This undergraduate thesis conducted by Christyanti (2018) is aimed to

identify the strategies applied in translating Moana’s song “How Far I’ll Go” into

Indonesian “Sebrapa Jauh Ku Melangkah” and to found the musical devices

employed in the song (2018, p. 4). To achieve those goals, Christyanti applied

qualitative research since it deals with descriptive data, analysis, and results.

Furthermore, to examine the text and find its strategies, Christyanti used library and

explicatory method. She chose those methods because it helped the researcher in

collecting the theories and important information to strengthen the data analysis

(2018, pp. 17-18). She used some references and look carefully to the text to

elaborate the phenomenon found in the song. The result shows that 36% of the

strategy used by the translator is omission strategy. The applications of the

translation strategies are to achieve the most singable translation since the source is

a song. Moreover, the translator still maintains the musical devices as the source

text although it is not in the same position (2018, p. 50).

Christyanti’s research is similar to the presented research due to some

reasons. First, it is because her research applies the same musical devices theory as

the presented research to analyze the topic. The second reason is because her

research also treats the lyrics as poems as the presented research doing. The

difference is that Christyanti’s research only uses one translated song from English

to Indonesian and discusses about the translation strategy meanwhile this presented


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research uses two translated songs as the sources and attempts to find translation

shifts in those songs.

B. Review of Related Theories

1. Theory of Translation Shift

Translation shift is firstly mentioned by Catford who writes “By ‘shift’ we

mean departures from formal correspondence into the process of going from SL

into TL” (1978, p. 17). By the word ‘departure’, Catford would like to point out his

argument that contents should be more prioritize. This theory then established by

Al-Zoubi and Al-Hassnawi (2001) who constructed a model in analyzing

translation shift. The model is product oriented and divided into two levels of

analysis: micro analysis and macro analysis. Micro level analysis is carried out

within the morpho-syntactic component of the model based on Systemic Grammar

(SG) and Transformational Grammar (TG) (2001, p. 3). On the other hand, macro

level analysis accounts for all variables of texture, culture, style and rhetoric, which

contribute to the occurrence of shifts at levels other than the syntactic level. It

moves within the domain of a text (2001, pp. 9-10).

a. Micro Level

Micro level analysis moves within the domain of a sentence as the

maximum unit of the syntactic description. It covers all the Catford’s classification

of translation shift which are level shift and category shift. Furthermore, Al-Zoubi

and Al-Hassnawi added one more classification of shift in the micro level which is

syntactic shift.


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i. Level Shift

The Level Shift happens if one source language item in a linguistic level

changes into a different level in the target text, from grammar to lexis (1978, p. 73).

An easy example is the use of simple present tense in an affirmative sentence in

English “I am studying” which translated into a lexical level in Indonesian “Saya

sedang belajar”

ii. Category Shift

Category Shift are departures from formal correspondence in Translation

(1978, p. 76). The Category Shift itself is divided into 4 kinds:

1) Structural Shift

This type of shift can be found easily since it is the most frequent shift

happened in a translation. “It occurs at all rank in translation. It occurs in

phonological and graphological translation as well as in total translation” (Catford,

1978, p. 6). This shift indicates there is a deviation in the grammar rule between the

SL and the TL. For example: the structure of English is S-V-O but when it is

translated into Japanese it will be S-O-V.

2) Class Shift

Class Shift occurs if one part of speech changes into another part of speech

in the target. a shift that occurs when the translation equivalent of a SL item is a

member of a different class from the original item. It means that SL has different

class with TL (Catford, 1978, p. 78). For example: an adverb quickly in a sentence


12

He runs quickly change into an adjective cepat in the Indonesian translation, Dia

berlari dengan cepat.

3) Unit/Rank Shift

This shift occurs as a change in hierarchical linguistic units of a sentence,

clause, phrase, word, and morpheme. Based on Catford, unit shift is a change of

rank, departures from formal correspondence in which the translation equivalent of

a unit at one rank in the SL is a unit at a different rank in the TL (1978, p. 79). For

example: the translation of watch (word rank) departs into jam tangan (phrase rank)

in Indonesian.

4) Intra-System Shift

This is the shift which takes place when the SL and TL possess

approximately corresponding systems but where ‘the translation involves selection

of a non-corresponding term in the TL system’ (Munday, 2001, pp. 60-61). Or in

short, Intra-System Shift translate the closest corresponding to a TT even though it

does not entirely correspond to each other due to the system deviation. For example:

the word people is translated into orang in Indonesia due to the plural and singular

system differences in English and Indonesian.

iii. Syntactic Shift

This shift happens due to the occurrence of four syntactic process in the

translation such as deletion, insertion, permutation and substitution. For an instance

in the translation of an Indonesian sentence Anda pergi atau saya pergi! into You


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go or I'll go! in English. There is an insertion of will in the TT as an effect of

syntactical process while translating it.

b. Macro Level

The macro analysis model emphasizes the existence of expression shift.

The presence of shifts is not only in the syntactical and grammatical area but also

related to other study that influence the language or the text itself. There are some

variables and background of the writer that may affect the expression used in

delivering his or her idea. Hence, expression shifts are inevitable to be performed.

The main different of macro level and the micro level is in the direction of

the analysis. Micro level comes within the domain of the sentence as the maximum

unit of the syntactic description and the macro level moves within text (Al-Zoubi

& Al-Hassnawi, 2001, pp. 9-10). There are several shifts that occur due the

contributions of the several non-syntactical components. The shifts are as explained

below.

1) Semantic Shift

Semantic shift is the semantic adjustment that a translator does to transfer

the meaning of the ST as similar as possible to the TT by considering the cultural

and conceptual differences (Al-Zoubi & Al-Hassnawi, 2001, p. 10). There are three

situations which make semantic shift occur: the existence of the reference’s

function in SL correspondence by another referent in the TL, the existence of the

referent in the TL have different function in the SL, and the reference does not exist

in the TL and there is no other reference with a parallel function (Al-Zoubi & Al-


14

Hassnawi, 2001, pp. 12-13). One of the example of the semantic shift occurrences

is the translation of ‘snow’ in the idiom as white as a snow which in Indonesian

translated into seputih kapas. The referent snow in the TL does not exist, therefore

the translator replaces the reference by another referent with the same function,

which is a white-color object. In other words, both of the referent has the similar

semantic feature which is [+white].

2) Textual Shift

Textual shift analysis carried out in terms of textual formedness which

entails variables as collocation, reiteration, ellipsis, reference, and substitution, and

the like (Al-Zoubi & Al-Hassnawi, 2001, p. 13). The analysis of the shift takes in

the form of a text which has global cohesion in addition to its local cohesion.

3) Pragmatic Shift

Pragmatic shift is the adjustment in the translator does to achieve similar

meaning of the TL in relation with the SL cultural context (Al-Zoubi & Al-

Hassnawi, 2001, p. 14). The analysis of pragmatic shift takes consideration the

relation of a text to its cultural context as a means of communication. The example

that Al-Zoubi and Al-Hassnawi mentioned is the use of religious references for

greeting and thanking by Arab speakers, e.g. /Baraka Allahu fiik/ (lit. ‘blessing of

God upon you’) which doesn’t have the corresponding formula in English

references (2001, p. 14).

4) Rhetoric Shift

Rhetoric shift if the shift which arise with some major rhetorical devices,

e.g., metaphor, idiomatic expressions, foregrounding, and metonym (Al-Zoubi &


15

Al-Hassnawi, 2001, p. 16). The analysis of this shift focus on the usage of rhetoric

devices since it is related to conceptual experiences and ideology.

5) Stylistic Shift

Stylistic shift occurs when two or more TL expressions are available at the

translator’s disposal to express the same SL meaning (Al-Zoubi & Al-Hassnawi,

2001, p. 16). When there are several options in the TL expression, it becomes the

translator advantage to apply the most correspondence meaning based on his or her

style. However, the term style here is only understand as linguistic term due to its

wideness and unrestricted meaning in literary context.

2. Theory of Song Translation

In doing this research, an understanding of song translation characteristics

is needed. Åkerstörm, by using twelve songs from three musicals: “CHESS”,

“MAMMA MIA!” and “Kristina från Duvemåla” (two songs from each musical)

with their translated versions, analyzed the translation strategies and specific

features used in song translation (2009, p. 13). Though her research, we can analyze

the influence of the song translation characteristics in the occurrences of translation

shift. In her work, there are ten features that she analyzed which explained as below

with additional the examples from this presented research data.

a. Word Count

The word count in the original song and the translation song is not always

in the same count. This may happen because the ST or the TT has more complex

language system or the equivalences used are idiomatic (Åkerstörm, 2009, p. 14).


16

The example is from the first stanza of the song “Hingga Akhir Waktu” by Nineball

and “Till the End of Time” by Christian Bautista:

ST : Ku coba untuk melawan hati (22 letters/5 words = an average 4.4

letter per word)

TT : I try to resist what my heart feels (28 letters/8 words = an average 3.5

letter per word)

As we can see, there are only 5 words in the ST, yet, it translated into 8 words.

Åkerstörm also mentioned in her research that English translation contain more

words could be because English words are generally shorter than other languages

(2009, pp. 14).

b. Syllables vs Words

In song translation, the number of words is less important than the number

of syllables since it is related to the beat of the song and the music (Åkerstörm,

2009, pp. 15). This is an example from the first stanza of the song “Hingga Akhir

Waktu” by Nineball and “Till the End of Time” by Christian Bautista:

ST : Tepiskan sepiku bersamamu (10 syllables vs 3 words)

TT : You'd brush away this loneliness from me (10 syllables vs 7 words)

Those two lines have different count in the wordings, yet they still share the same

syllables due to maintain the rhythm. However, it is also possible to use different

syllable count with a consequence doubling the beat for one of the syllable or

making it sound longer. Here is an example from the first stanza of the song

“Hingga Akhir Waktu” by Nineball and “Till the End of Time” by Christian

Bautista:

ST : Ku coba untuk melawan hati (10 syllables vs 5 words, 10 beats)

TT : I try to resist what my heart feels (9 syllables vs 8 words, 10 beats)


17

In those lines, both of the word count and the syllable count are different. The TT

song has only 9 syllables which is shorter, yet it is sung for two beats so it has the

same total beats as the original one to match the song tempo.

c. Word-for-word Translation

The use word-for-word translation is a strategy that a song translator may

employ as it is important to convey the same message in a song to the translated

one. The example of the strategy can be seen in an example from the second stanza

of the song “Hingga Akhir Waktu” by Nineball and “Till the End of Time” by

Christian Bautista:

ST : Tak kan pernah ada yang lain di sisi

TT : There will never be another by my side

The words in the ST are translated exactly in the same meaning or at least in the

similar one, like the word ‘tak kan pernah’ which translated into ‘never’ and the

word ‘sisi’ into ‘side’. However, this strategy in translating a song is rare, the

amount of the syllables are more important as it latter must fit the music

(Åkerstörm, 2009, pp. 16-17).

d. Additions of Words

In order to deliver the harmony, the word count or the syllable with the

rhyme, song translator also like to add word(s) into the translation. For an example

from the first stanza of the song “Hingga Akhir Waktu” by Nineball and “Till the

End of Time” by Christian Bautista:

ST : Ku coba untuk melawan hati (5 words)

TT : I try to resist what my heart feels (8 words)


18

There are additions in the TT which are the possessive pronoun ‘my’ and the word

‘feels’. Meanwhile, the ST only mentions the word which is equivalent to ‘heart’,

yet the translator decided to add more words to justify the word ‘heart’ itself. But

Åkerstörm also states that this strategy is rare in her findings. Furthermore it is not

the only strategy that suit best for translating songs (Åkerstörm, 2009, pp. 18-19).

e. Omission of Words

Similar to addition, there’s also a possibility to omit word(s) in the process

of the translation to suit the musical element. Here an example from the second

stanza the song “Please Be Careful with My Heart” by Christian Bautista ft. Sarah

Geronimo and “Tetaplah di Hatiku” by Bunga Citra Lestari ft. Christian Bautista:

ST : You are my first romance

TT : Kaulah yang pertama

The target text does not tranlsated the word ‘romance’ as it may be already

understood by the context of the song which is a romantic song. Furthermore, the

same statement is also mentioned by Åkerstörm as it the additon strategy (2009, pp.

18-19).

f. Use of Metaphors

Songs sometimes use metaphors in order to give aesthetic value to the text;

however, the translation should also use metaphorical expression in the TL to

deliver the same idea and same beauty of the song. Åkerstörm stated that a metaphor

is something that being expressed in the format of a picture (2009, p. 20). The

example provided is from example from the fourth stanza of the song “Please Be

Careful with My Heart” by Christian Bautista ft. Sarah Geronimo and “Tetaplah di

Hatiku” by Bunga Citra Lestari ft. Christian Bautista:


19

ST : I’ll be gentle with your heart

I’ll caress it like the morning dew

TT : Tak akan ku berpaling

Hanya kau satu di hatiku

Since the use of metaphor is optional, it is depended on the writer style to use it or

not. The same thing also goes to the translator. The translation may contain

metaphor or present non-metaphorical meaning. However, if it has metaphor

meaning anyway, the meaning may or may not perfectly the same as it is in the ST.

This phenomenon happens due to the difference cultural perceiving in the SL and

TL.

g. Use of Rhymes

Another feature that become one of the peculiar characteristic of a song is

the use of rhymes in the lyrics, the translation supposed to find the suitable diction

to make rhyming sound to keep the aesthetic value. In her research, Åkerstörm

found out that meter is influence the rhyme a lot and that the corresponding rhyme

in the TT cannot always the true rhymes (2009, p. 22). Here is an example from the

second stanza of the song “Please Be Careful with My Heart” by Christian Bautista

ft. Sarah Geronimo which employ true rhymes and “Tetaplah di Hatiku” by Bunga

Citra Lestari ft. Christian Bautista which doesn’t employ true rhymes.

ST : You are my first romance

And I'm willing to take a chance

That 'till life is through

I'll still be loving you

TT : Kaulah yang pertama

Yang memberi arti cinta

'tuk selamanya

tetap di hatiku


20

h. Reorganization of Words and Lines of Text

This might also possible to occur to clarify or emphasize the meaning of the

words or lines, or happen due to the differences in the language system. These are

examples from the song “Hingga Akhir Waktu” by Nineball and “Till the End of

Time” by Christian Bautista:

ST : Tak kan pernah ada yang lain di sisi

TT : There will never be another by my side

As we can see, the word ada does not appear in the middle of the TT as it is in the

ST. This phenomenon is happened due to the difference in the language system

between Indonesian and English.

i. Use of Paraphrases

In translating a song, paraphrasing might also be one of the strategies to

make a successful translation. In her research, Åkerstörm found that this strategy is

the most common strategy used (2009, p. 24). Below is the example of the strategy

from the first stanza of the song “Hingga Akhir Waktu” by Nineball and “Till the

End of Time” by Christian Bautista:

ST : Ku coba untuk melawan hati

TT : I try to resist what my heart feels

The example above shows that the translator can also reform the lyrics based on

his/her perception. The translator of that song paraphrase the word hati (heart) and

add more detail of whose heart and what it does.

j. Use of Source Words in the Translations

In the translation process, there is also a possibility that the translator cannot

find the best equivalence of a word and decides to keep the SL to maintain the


21

meaning. However, unlike the paraphrases strategy, this strategy is rarely used

(Åkerstörm, 2009, p. 27). It is proven by the absent of the example in the Åkerstörm

data, nor in the data of this presented research.

3. Theory of Musical Devices

Giving aesthetics nuance to the song, musical devices play such an

important role to a song. Quite like poetry, musical devices are also needed in

writing a song in order to make the song sing-able and interesting. There are four

aspects in Musical Devices based on Perrine’s Literature: Structure, Sound, and

Sense which are: alliteration, assonance, consonance, and rhyme (Arp & Johnson,

2008, pp. 818-821). Those aspects are explained as below:

a. Alliteration

Alliteration is the repetition of the initial consonant sounds (Arp & Johnson,

2008, p. 820). It is common to find alliteration in texts such as song, poetry, or even

news headlines. The example is the consonant sound [t] in the initial of the word

tried and true. Another examples are in the phrases such as safe and sound, fish or

fowl, and rhyme or reason, which have a repetition of consonant [s], [f], and [r].

b. Assonance

Assonance is the repetition of the vowel sounds (Arp & Johnson, 2008, p.

820). The example can be seen in mad as hatter. In those word there is a repetition

in the vowel [æ] in the first syllable of [mæd] and [ˈhætə]. Moreover, assonance

may also occur in one word as in slapdash. There is a repetition in the [æ] vowel

sound in the first and second syllable of [ˈslæpdæʃ].


22

c. Consonance

Consonance is the repetition of final consonant sounds (Arp & Johnson,

2008, p. 820). The example is in the phrase first and last which there is a repetition

of consonants [s] and [t] in the last sound. Another examples are in the phrases such

as odds and ends, short and sweet, a stroke of luck, or struts and frets. There are

repetitions in the sound [ds], [t], [k], and [ts] from those phrases.

d. Rhyme

Rhyme is the repetition of the accented vowel sound in any succeeding

consonant sounds (Arp & Johnson, 2008, p. 820). Rhyme is one of particular

feature that often found in aesthetic works. It usually becomes the main

characteristics of literary works, especially in poetry and song lyrics. There are five

types of rhyme based on the amount of syllable and the position of the occurrence.

i. Masculine Rhyme

Masculine Rhyme is the rhyming sound in one syllable (Arp & Johnson,

2008, p. 820). The example can be find in the one-syllable words such as decks

[dɛks] and sex [sɛks] which share a rhyming sound [ɛks], or in two-syllable words

like support [səˈpɔːt] and retort [rɪˈtɔːt] but only share a rhyme in one of the

syllables which is [ɔːt].

ii. Feminine Rhyme

Feminine Rhyme is rhyming sound in two or more syllables (Arp &

Johnson, 2008, p. 820). For example, is in the two-syllable words, turtle [ˈtɜrtəl]


23

and fertile [ˈfɜrtəl], or in the three-syllable words, spitefully [ˈspaɪtfʊli] and

delightfully [dɪˈlaɪtfʊli]

iii. Internal Rhyme

Internal Rhyme is the rhyming sound in one or more words in within the

line (Arp & Johnson, 2008, p. 821). For example in the work The Raven (Allan-

Poe, 1984) we can find a line saying “While I nodded, nearly napping, suddenly

there came a tapping,..” (line 3, par. 1). The word napping [ˈnæpɪŋ] and tapping

[ˈtæpɪŋ] is rhyming in within one line.

iv. End Rhyme

End Rhyme is the rhyming sound in the end words of the lines (Arp &

Johnson, 2008, p. 821). For example, let us take a look at a poem entitled In

Flanders Field (1915) by John McCrae below:

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below (stanza 1)

In that poem, the ending words of every line is rhyming. As we can see blow [bloʊ],

row [roʊ], and below [bɪˈloʊ] are rhyming in the vowel [oʊ]. The same as the word

fly [flaɪ] and sky [skaɪ] which has the same vowel rhyme [aɪ]. The pattern of the

rhyme is A-A-B-B-A.


24

v. Approximate Rhyme

This type of rhyme includes words with any kind of sound similarity, from

close to fairly remote (Arp & Johnson, 2008, p. 821). It is always seemed like a

rhyme but never perfectly rhyming when it is pronounced. We can see the example

in Emily Dickinson’s work I Never Saw A Moor (1052) below.

I never saw a moor;

I never saw the sea;

Yet I know how the heather looks;

And what a billow be (stanza 1)

The last words in line two and four, which are [si] and [bi], are rhyming perfectly.

However, the last words in in line one and three, which are [mʊr] and [lʊks], are

only similar in the nucleus sound not the coda.

C. Theoretical Framework

There are three theories applied in this research: theory of translation shift,

theory of song translation, and theory of musical devices. The first theory is this

present research’s main topic as it gives basic knowledge about its definition and

classification. The second theory is important to make us know the characteristics

of song translation and the problems the translator faced in translating a song. The

last theory, the musical devices theory, helps us understand the stylistic tools of a

song which create the aesthetical text.


25

CHAPTER III

METHODOLOGY

This chapter discusses the methodology applied in this presented research

in order to answer the research questions. There are four parts in this chapter. In the

first part, the areas of research are explained as it restricts the scope of research. In

the second part, the researcher provides the object being analyzed in this study. In

the third part, the researcher elaborates the methods applied in this study. Lastly, in

the end of this chapter, the procedure of the analysis process is presented, including

the types of data, the data collection, the population and sample, and the data

analysis.

A. Areas of Research

This research focused on the analysis of the translation shifts on two

translated songs “Till the End of Time” and “Tetaplah di Hatiku” by Christian

Bautista and discovered the musical device occurrences. In conducting the research,

the songs were treated as poems since they have the same characteristics as them.

For example, they have verses, lines, stanzas and they also employ rhyme to add

aesthetic values. Hence, the area of research is classified as Genre Translation.

What is defined by genre here is both traditional literary genres such as drama,

poetry and prose as well as other well established and clearly defined type of text

for translation such as, multimedia texts, religious texts, children’s literature,


26

tourism texts, technical text and legal document (Williams & Chesterman, 2002, p.

9).

B. Object of the Study

The objects of this study were the translation shifts and musical devices in

Christian Bautista’s songs “Till the End of Time” which is translated from

Indonesian song “Hingga Akhir Waktu” by Nineball and “Tetaplah di Hatiku”

which is translated from English song “Please Be Careful with My Heart” by

Christian Bautista featuring Sarah Geronimo. Both the original version and the

translated version are examined and analyzed to identify the shifts and the musical

devices which are occurrences and it is done from line per line and stanza per stanza.

C. Method of the Study

This research is a qualitative research which employed library and

explicatory method. The qualitative research was applied because the data, the

analysis and the findings are formed in description. Based on George, qualitative

research is a research which results are captured in words, images, or non-numeric

symbol (2008, p. 7).

Furthermore, to examine the translation shifts and the musical devices, the

researcher used library and explicatory method. Library method was applied to

strengthen the data and analysis by gaining factual information and experts’ theories

through journals, books and other sources. It is also mentioned by George that

library method involves identifying and locating sources that provide factual


27

information and personal/expert opinion on a research question; necessary

component of every other research method at some point (2008, p. 7). Explicatory

method was also applied due to the researcher’s need to be able to categorize the

translation shift and the musical devices, therefore, a close reading and analysis is

required. In that case, this method is suitable because “it entails a careful, close, and

focuses examination of a single major text” (George, 2008, p. 7).

D. Research Procedure

1. Types of Data

The data collected in this present research were categorized as objective

data. The data were taken from the lyrics of two translated songs in which the

researcher analyzed both the original and the translated versions. The first song is

“Till the End of Time” by Christian Bautista from his album “Captured” which is

released in Indonesia in 2008. It is translated from Indonesian song “Hingga Akhir

Waktu” by Nineball which released in 2007 and labeled by Aquariuz Musikindo.

Meanwhile, the second song is “Tetaplah di Hatiku” by Bunga Citra Lestari

featuring Christian Bautista which released in 2010 and produced by the same label

as Nineball’s song. The original song is an English song entitled “Please Be Careful

with My Heart” which is originally produced by Jose Mari Chan. However, it is

remade by Christian Bautista featuring Sarah Geronimo in 2009 in his album

“Romance Revisited: The Love Songs of Jose Mari Chan”. Both of the original and

the translated version became hits on some music charts in Indonesian and


28

International which make them more interesting to set them as the data. The total

of the data consists of 84 lines and formed in 9 stanzas.

2. Data Collection

On arranging this research, the researcher analyzed both the original song

lyrics and the translated lyrics. The researcher took the whole lyrics in the songs as

the population of the research and observed them line by line to find out the shifts

and the musical devices occurrences. The researcher used qualitative data to

achieve the goals of the study which are to find out the shifts occur, the cause of

them and compare the Indonesian-English and English-Indonesian translation. All

the data were collected and listed in a table such as below.

Table 1. Example of Data Coding

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

1/ST/Z1

/HA/L1

Ku coba untuk

melawan hati 5/10

1/TT/Z1

/TE/S1

I try to resist

what my heart

feels

8/9 Unit

Shift

in which,

1 : Number of the whole data (the first number of the data)

ST : Source Text (“Hingga Akhir Waktu” by Nineball and “Please Be

Careful with My Heart” by Christian Bautista ft. Sarah Geronimo)

TT : Target Text (“Till the End of Time” by Christian Bautista and

“Tetaplah di Hatiku” by Bunga Citra Lestari ft. Christian Bautista)

Z1 : Number of stanza

HA : “Hingga Akhir Waktu” song lyrics


29

TE : “Till the End of Time” song lyrics

PB : “Please Be Careful with My Heart” song lyrics

TH : “Tetaplah di Hatiku” song lyrics

L1/S1 : The first song, “Hingga Akhir Waktu” by Nineball which is

translated into “Till the End of Time” by Christian Bautista

L2/S2 : The second song, “Please Be Careful with My Heart” by Christian

Bautista ft. Sarah Geronimo which is translated into “Tetaplah di

Hatiku” by Bunga Citra Lestari ft. Christian Bautista

1 : Number of the data of song 1 (the second number of the data)

Syl : Syllable count

3. Population and Sample

The total population of the data from the combination of ST and TT are 84

lines. There are 14 lines which are collected from “Hingga Akhir Waktu” song lyric

and there are also 14 lines collected from the translated version, “Till the End of

Time”. Both of the songs are formed in 4 stanzas. Meanwhile, in the song “Please

Be Careful with My Heart”, there are 28 lines collected and it is formed in 5 stanzas.

The song “Tetaplah di Hatiku” is also formed in 28 lines and 5 stanzas. All the data

are formed as phrases or short sentences and related to one another. There is no

sampling in this research because all the data are analyzed line by line and stanza

by stanza to examine the shifts, the song translation characteristics, and the musical

devices occurrences. In conducting this research, the data are analyzed and treated

as poems due to their similarity in how the writer uses certain style to express the

word.


30

4. Data Analysis

The data analysis is arranged in two major parts in order to answer the

problem formulation. The first part is identification and categorization of the

translation shifts based on Catford (1965) and Al-Zoubi and Al-Hassnawi’s Model

for Shift Analysis in (2001). The table below is the example of the data analysis by

applying those two shift theories.

Table 2. Example of Translation Shift Analysis

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

1/ST/Z1

/HA/L1

Ku coba untuk

melawan hati 5/10

1/TT/Z1

/TE/S1

I try to resist

what my heart

feels

8/9 Unit

Shift

The shift occurred in the datum above is categorized as unit/rank shift. The

word hati in the ST is classified as word unit, yet it is translated into a clause what

my heart feels in the TT. That changing in word unit into clause unit is categorized

as unit/rank shift. The application the shift helps the syllable count of the TT similar

to the ST though the last syllable is still sung for two beats since the count is not

the same.

In the second part, musical devices in the songs are analyzed according to

Arp and Johnson’s (1970). The data below are the example of the musical devices

analysis.

Table 3. Example of Musical Devices Analysis

ST Rhyme TT Rhyme

Ku coba untuk melawan hati A I try to resist what my heart

feels A

Tapi hampa terasa B But I'm falling into pieces B


31

ST Rhyme TT Rhyme

Di sini tanpamu C Drifting further away from you C

Bagiku semua sangat berarti

lagi A Everything won't seem right D

Kuingin kau di sini A If you were here with me E

Tepiskan sepiku bersamamu C You'd brush away this

loneliness from me E

In the data above, both of the ST and TT applied rhyme techniques in the

song lyrics. However, the translated song is unable to maintain the pattern of the

ST. Another musical device applied in the songs are assonance, alliteration and

consonance. In the first line of the ST we can find a repetition of the vowel [a] in

the word coba, melawan and hati. There is also a repetition of [t] sound in the word

tapi and terasa in the second line. In the TT we can also find vowel repetition in

the soung [i] in the word resist and feels. Consonance also occurs in those word

which is the repetition of the sound [s].


32

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSION

This chapter discusses the findings of the analysis. The elaborations are

divided into two parts. Translation shift analysis of the object of the study is

explained in the first part. In the second part, the discussion on musical devices used

in the songs is presented. Those two discussion will answer the questions in the

problem formulation.

A. The Translation Shifts Found in Two Translated Songs of Christian

Bautista

In this part, the translation shifts applied in the “Hingga Akhir Waktu”, “Till

the End of Time”, “Please Be Careful with My Heart”, and “Tetaplah di Hatiku”

lyrics are analyzed. There are 42 data found in those songs analyzed using Catford’s

Translation Shift Theory and Al-Zoubi and Al-Hassnawi’s Model of Translation

Shift analysis. J.C. Catford divides shifts into two: level and category which focus

on grammatical aspect such as changing in the structure, parts of speech, rank/unit

or in the intra system (1978, pp. 76-79). Moreover, Al-Zoubi and Al-Hassnawi

develop the theory with an argument that shifts occur not only in the grammatical

aspect but also in the macro level: semantic component, textual component,

pragmatic component, rhetorical component, and stylistic component (2001, pp. 9-

19). In the micro level, they add another type of shift which they call syntactic shift


33

as it is based on the occurrence of shift in every transformational syntactic process

such as deletion, insertion, permutation, and/or substitution in the deep analysis

process (2001, p. 9).

This section is explained in two parts. The first one is the analysis of the

shifts occurrence in the song “Hingga Akhir Waktu” by Nineball and “Till the End

of Time” by Christian Bautista. The second part is the shift analysis of the song

“Please Be Careful with My Heart” by Christian Bautista ft. Sarah Geronimo and

“Tetaplah di Hatiku” by Bunga Citra Lestari ft. Christian Bautista.

The results of the shift analysis are presented in the pie charts below. There

are several types of shifts which occur in the data. Those are unit shift, class shift,

syntactic shift, structure shift, and semantic shift. The details of the occurrences are

described and explained in the next subchapter.

Chart 1. Translation shifts in the Soon “Till the End of Time”

From the chart above, it is seen that several shifts are found in the translation

of “Hingga Akhir Waktu” and “Till the End of Time”. The occurrence of the unit

shift is 22% as it occurs 3 times. The occurrence of the level shift is 6% as it only

occurs once. The occurrence of semantic shift is in 28% as it occurs 5 times. The

22%

6%

33%

11%

28%

Unit Shift Level Shift Syntactic Shift Class Shift Semantic Shift


34

occurrence of class shift is not as big as the unit shift which is only 11% as it occurs

twice. The most frequent shift occur is syntactic shift which is 33% or since it occurs

6 times in the song lyrics.

Chart 2. Translation Shifts in the Song “Tetaplah di Hatiku”

Unlike the previous chart, there are only two types of shift found in the

songs “Please Be Careful with My Heart” and “Tetaplah di Hatiku”. Those two

types are syntactic shift and semantic shift. Syntactic shift occurs four times in the

translation as the same as 14%. The semantic shift is dominating the translation

shift occurrence since it occurs 24 times in the song lyrics or 86%. They are

categorized as semantic shift since they express the same nuance and atmosphere

despite of the choice of words differences. Thus, the shift called as macro level shift

due to the changing in expression rather than structural system.

Due to the lots number of semantic shift occurrences, there is a possibility

that the translation is considered as an adaptation. However, an adaptation is still

categorized as a translation product though it is more focus on the audience

preference. The use of adaptation strategy phrases the text differently to create

certain effect to the audience.

14%

86%

Syntactic Shift Semantic Shift


35

1. The Shifts Occurrence in the Songs “Hingga Akhir Waktu and Till the End

of Time”

In these two songs, the translation shifts are quite varied. The researcher

finds five types of shift in these songs. Those types are unit shift, structure shift,

syntactic shift, class shift, and semantic shift.

a. Unit Shift

There are three shift occurrences categorized as unit/rank shifts in these

songs. Those three unit shifts are explained as below:

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

1/ST/Z1

/HA/L1

Ku coba untuk

melawan hati 5/10

1/TT/Z1

/TE/S1

I try to resist

what my heart

feels

8/9 Unit

Shift

The shift which occurs in the datum above is categorized as unit shift since

the word hati in the ST is translated into a clause unit what my heart feels in the TT.

Both of them have the same meaning despite of the utterance differences. The shift

occurs in order to overtake the beat of the song. The application the shift helps the

syllable count of the TT to be similar to the ST. Yet the last syllable is still sung for

two beats since the syllable count in the TT, which is 9, is one syllable less than the

ST, which is 10.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

6/ST/Z1/

HA/L1/6

Tepiskan sepiku

bersamamu 3/10

6/TT/Z1/

TE/S1/6

You'd brush

away this

loneliness from

me

7/10 Unit

Shift


36

11/ST/Z2

/HA/L1/5

Tepiskan sepiku

bersamamu... 3/10

11/TT/Z2

/TE/S1/5

And brush away

this loneliness

from me 7/10

Unit

Shift

Another example of the unit shift is in the data above. The word tepiskan in

the ST is translated into a verb phrase brush away in the TT. That shift from word

unit to phrase unit is also categorized as Unit/Rank Shift. However, if we look at

the number of the rhythm, both of them have the same number. In the second datum,

there is a changing in the phrase You’d to a conjunction and in the TT, yet, he

following phrase are still the same. In this example, it is obvious that the use of the

rank is to achieve the same syllable count as the ST.

b. Level Shift

There is only one shift in this type which occurs in the song. The datum is

presented and explained below. It is taken from the line 5 of stanza 1.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

5/ST/Z1/

HA/L1/5

Kuingin kau

disini 3/7

5/TT/Z1/

TE/S1/5

If you were here

with me 6/6

Unit

Shift

The datum above experiences level shift since there is a change in a lexis

level in the ST into a grammatical level in the TT. The word “ingin” or in English

means “want, wish, long, or desire” is change into the second type of conditional

form using if and were which indicate an unreal or impossible situation. The

occurrence of the shift in this example is also as an attempt to gain the similar


37

syllable count, yet the last syllable needs to be sung for two beats since it fails to

get the same count.

c. Syntactic Shift

There are six syntactic shifts found in these two songs. Those six changing

are categorized as syntactic shift due to the occurrence of four syntactic process in

the translation such as deletion, insertion, permutation and substitution. The

explanation about the changings is below.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

6/ST/Z1/

HA/L1/6

Tepiskan sepiku

bersamamu 3/10

6/TT/Z1/

TE/S1/6

You'd brush

away this

loneliness from

me

7/10 Syn-

tactic

shift

11/ST/Z2

/HA/L1/5

Tepiskan sepiku

bersamamu... 3/10

11/TT/Z2

/TE/S1/5

And brush away

this loneliness

from me 7/10

Syn-

tactic

shift

Besides experiencing unit shift, the data above experience two syntactic

shifts. First, there is an insertion in the process of translation which can be seen by

the addition of the word you’d and and in the beginning of the TT in line 6 of stanza

1 and line 5 of stanza 2. The second one, the possessive pronoun ku in the ST is also

substituted to this in the ST. Those syntactical process is happened to suit the

amount of the syllable count as the ST.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

7/ST/Z2/

HA/L1/1

Tak `kan pernah

ada yang lain di

sisi 8/10

7/TT/Z2/

TE/S1/1

There will never

be another by

my side 11/8

Syn-

tactic

shift


38

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

9/ST/Z2/

HA/L1/3

Dan tak `kan

mungkin ada

yang lain di sisi 9/13

9/TT/Z2/

TE/S1/3

And there can

never be another

by my side 11/12

Syn-

tactic

shift

In the data above, there is an insertion of there in line 1 and 3 stanza 2 of

the TT as English needs a subject to make a sentence. It is different from the ST

tendency to omit a subject or even a predicate to form a sentence because

Indonesian language is not a verb-focus language. Another syntactic shift also

occurs in the insertion of my in the TT to specify the side that the specification of

sisi does not occur in the ST. In this example, the shift occurrence fails to make the

syllable count the same as the ST although it already adds several words and as the

consequences, the singer needs to double the note while sing one of the syllable.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

10/ST/Z2

/HA/L1/4

Ku ingin kau di

sini 5/7

10/TT/Z2

/TE/S1/4

I need you here

with me 6/6

Syn-

tactic

shift

13/ST/Z3

/HA/L1/2

Kuingin kau di

sini 5/7

13/TT/Z3

/TE/S1/2

I need you here

with me 6/6

Syn-

tactic

shift

There is an insertion of phrase with me in the TT which does not exist in the

ST. However, the insertion still fails to gain the same the syllable counts. Hence,

due to the differences the singer needs to sing one of the syllable longer to match

the beat of the song

c. Class Shift


39

There are only two class shifts occurring from those two songs. Those two

findings are similar one another except that there is a change in the diction of the

two lines which is not related to the shift finding.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

6/ST/Z1/

HA/L1/6

Tepiskan sepiku

bersamamu 3/10

6/TT/Z1/

TE/S1/6

You'd brush

away this

loneliness from

me

7/10 Class

shift

11/ST/Z2

/HA/L1/5

Tepiskan sepiku

bersamamu... 3/10

11/TT/Z2

/TE/S1/5

And brush away

this loneliness

from me 7/10

Class

shift

A class shift occurred in the data above as it can be seen in the word sepi in

the ST is categorized as an adjective in the Kamus Besar Bahasa Indonesia (KBBI)

or Indonesian Dictionary, however, it has a function as a noun in that line since it

is followed by a possessive pronoun ku. Therefore, in the TT the adjective word

sepi is translated into loneliness which is a noun form of lonely. The shift is

happened to equalize the syllable count.

d. Semantic Shift

Semantic shift occurs five times in the analysis of these two songs. The

shifts mostly occur due to the needs of maintain the word meter and the deep

meaning of the original song. One of the case example is as explained as below.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

2/ST/Z1/

HA/L1/2

Tapi hampa

terasa 3/7

2/TT/Z1/

TE/S1/2

But I'm falling

into pieces 5/6

Se-

man-

tic

shift


40

The datum above shows that the expressions used in the ST and TT are

different, yet the nuance is the same. The meaning of both expressions carried is as

hopeless as it should be. The expression hampa terasa in the ST is translated into

falling into pieces in the TT. Hampa means “sepi” or “a feeling of desolation or

lonely” (KBBI Daring, 2018). Thus, it has similar meaning to the idiom falling into

pieces, which means “unable to think clearly and control emotions because of

unpleasant experience” (Cambridge Dictionary, 2018). Those expressions share a

semantic feature which is [+sad]. The shift is occurred to get the syllable count

similar to the ST to make the song still sing-able with the ST beats.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

3/ST/Z1/

HA/L1/3 Di sini tanpamu 3/6

3/TT/Z1/

TE/S1/3

Drifting further

away from you 5/8

Se-

man-

tic

shift

The expressions used in the ST and TT are totally different in the third line

of stanza one. However, both the expressions carried same meaning. The expression

tanpa in the ST means “tidak dengan” or “without” (KBBI Daring, 2018).

Meanwhile the verb phrase occurs in TT, drifting away, share the same semantic

features with the word tanpa. The word drift in the dictionary means “move slowly”

(Cambridge Dictionary, 2018) while away means “somewhere else, or to or in a

different place, position, or situation” (Cambridge Dictionary, 2018). Those words

share [+situation] semantic feature. However, the occurrence of the shift is only


41

make the word and syllable count not the same as the ST. Thus, the singer has to

sing four of the syllables half the beat.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

4/ST/Z1/

HA/L1/4

Bagiku semua

sangat berarti

lagi 5/12

4/TT/Z1/

TE/S1/4

Everything

won't seem right 4/6

Se-

man-

tic

Shift

12/ST/Z3

/HA/L1/1

Bagiku semua

sangat berarti

lagi 5/12

12/TT/Z3

/TE/S1/1

Everything was

seem right..

once again 6/8

Se-

man-

tic

Shift

There are two expressions repeated in stanza 1 and 3, yet it is added by the

phrase once again at the ending of stanza 3 which makes it different from the

previous stanza although the expressions in stanza 1 and 3 of the ST are the same.

However, what we need to highlight is the translation of the phrase sangat berarti.

In the first stanza, it is translated into won’t seem right, but in the third stanza, it is

translated into was seem right. Despite the grammatical error, the expression in the

TT in the first stanza uses a form of negative statement of future arrangement, yet

the third one uses passive form. The use of future arrangement in the first stanza

infers that the translator focused on the word lagi at the ending of the lyric and

interprets that it is a hope for the future. Thus argument also supported since there

is no additional phrase once again to translate the word lagi. Meanwhile, the use of

passive form in the third stanza infers that the translator focused to the word bagiku

in the beginning of the lyric and interpreted that as a flashback activity done by the

speaker.


42

However, the translation of the word berarti into right has similar meaning.

Arti, based on dictionary, means “makna” (KBBI Daring, 2018) or meaning, while

the use of affix {ber-} means having. Therefore, berarti can be understood as

having a meaningful perception. Meanwhile, the word right based on dictionary

means “correct” (Cambridge Dictionary, 2018). Those words share similar

semantic feature which is [+value]. However, the semantic shift applied in this lines

are still unable to maintain the word count and the syllable count of the ST. Due to

that reason, the singer should sing some of the syllable in longer beat.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

8/ST/Z2/

HA/L1/2

Segenap jiwa

hanya untukmu 4/10 8/TT/Z2/

TE/S1/2

Because all I am

is just for you 8/9 Sema

ntic

shift

In the datum above, the phrase segenap jiwa is translated into all I am in the

TT. Literally the word segenap is equivalent to the word all in TL as it is mentioned

in the dictionary that segenap means “seluruh, semua, selengkapnya” (KBBI

Daring, 2018). However figuratively, the phrase all I am means all the life and soul

of human which equivalent to the phrase segenap jiwa. Therefore, both of the

expressions are applied [+human] but segenap jiwa [+belonging] and all I am [-

belonging]. Although there is already a shift to double the word count, it still doesn’t

achieve the same syllable count so the singer still needs to double beat of the last

syllable.


43

2. The Shift Occurrence in the Song “Please Be Careful with My Heart” and

“Tetaplah di Hatiku”

In this English-Indonesian song translation, there are only two shifts found.

Those types are syntactic shift and semantic shift. Syntactic shift occurs whenever

there is a syntactical changing in the process of translation and semantic shift occurs

when the expression of the lyric is seemingly the same though it uses another choice

of words.

a. Syntactic Shift

Syntactic Shift occurs only four times in the translation process of “Please

Be Careful with My Heart” and “Tetaplah di Hatiku”. Three of them occur in the

chorus part of the song or in stanza 2 and one of them is in the stanza 5. The data

are presented below.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

19/ST/Z2

/PB/S1/1

You are my first

romance 4/6

19/TT/Z2

/TH/L1/1

Kaulah yang

pertama 3/6

Syn-

tactic

shift

41/ST/Z5

/PB/S1/1

You are my first

romance (and

you are my last) 9/11

41/TT/Z6

/TH/L1/1

Kaulah yang

pertama (yang

selamanya) 5/11

Syn-

tactic

shift

In the data above, a syntactic process of deletion occurs in the first line of

stanza 2 and stanza 6. As we can see, the word romance in the ST is omitted in the

TT. This process happens probably due to the translator’s attempt to maintain the

syllable count of the ST.


44

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

21/ST/Z2

/PB/S1/3

That 'till life is

through 5/5

21/TT/Z2

/TH/L1/3 'tuk selamanya 2/5

Syn-

tactic

shift

Another example of the syntactic process which occurs in the translation is

in the third line of the chorus in stanza 2. The word that omitted in the TT since it

is obligatory to have a subject in the ST system, which is English, unlike in the TT

system which a subject is sometimes can be omitted. That is happened perhaps to

keep the syllable count the same as the ST, which is 5 in both lyrics.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

38/ST/Z4

/PB/S1/5

I'll be right

beside you

forever 6/9

38/TT/Z5

/TH/L1/5

Ku akan s’lalu

disampingmu 4/9 Syn-

tactic

shift

Besides insertion and deletion, substitution also occurs in the song

translation. The word forever in the ST is substitute by the word s’lalu in the TT.

The translation shift is occurred as the translator wants to balance the TT’s syllable

count as in the ST, which is 9.

b. Semantic Shift

Almost all the shift occurred in the song are semantic shifts. There are 24

semantic shifts which occur in the song translation. The ST and TT have different

choice of words and create different meaning, however, both of them semantically


45

share the same context meaning and nuance which can be proven by the semantic

features shared. The six examples of the analysis are as seen as below.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

15/ST/Z1

/PB/S1/1

If you love me

like you tell me 8/8

15/TT/Z1

/TH/L1/1

Kekasihku

sayangku 2/7

Se-

man-

tic

shift

That example is taken from the first line of the first stanza. In the ST, the

lyrics begins with a conditional sentence, while in the TT starts with phrases which

express a calling to a partner. However, the use of word love in the ST is equivalent

to the word sayang in the TT. Although one has function as a verb and the other

one has function as a noun, both of them share semantic features which are

[+romantic], [+emotive], and [+relationship]. Thus features prove that both of the

songs share similar conditions which influence the shift. The shift itself happens to

balance the number of the syllable of the ST and TT. However, the syllable count

in TT is still out of number which the impact is to double a beat for one of the

syllable when it is sung.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

16/ST/Z1

/PB/S1/2

Please be careful

with my heart 6/7

16/TT/Z1

/TH/L1/1

Ku ingin kau

tahu 4/6

Se-

man-

tic

shift

26/ST/Z2

/PB/S1/8

Please be careful

with my heart 6/7 26/TT/Z3

/TH/L1/4

Tetaplah di

hatiku 4/7

Se-

man-

tic

shift


46

In another case, there are two translations found in the TT though the ST is

the same. The data above are taken from the second line of the first stanza and the

last line of stanza three which is the chorus. Both of the translation have different

choice words, but the same expression. The ST conveys an expression of request

which is pointed by the use of please in the beginning of the line. In the second line

of stanza 1, it is translated into another form of request by using the word ingin

though the rest of the words are inequivalent due to the urge of the translator to

relate it with the previous and the next line. In the fourth line of the stanza, it is

translated into a stronger type of request or even consider as a command. It is proven

by the omission of the subject which usually use to form a command and the use of

–lah which is attached to the verb tetap as a softener or a stronger in imperative

construction (Sneddon, Adelaar, Djenar, & Ewing, 2012, p. 328). Despite of the

different dictions, those three translations share [+request] semantic feature. The

shifts themselves occur as the attempt to keep the syllable count of the ST to fit the

music. The first version is still a syllable less than the ST, then one of the syllable

needs to be sung twice the beat by the singer.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

22/ST/Z2

/PB/S1/4

I'll still be

loving you 5/6 22/TT/Z2

/TH/L1/4 Tetap di hatiku 3/6

Se-

man-

tic

shift

In the line four stanza 2, the structure of the ST is completely change in the

translation. However, the word loving conveys the same meaning as the word hati.

Both of them are [+emotive] or related to a certain feeling when it is used. Besides,


47

the word still in the ST means “continuing” (Cambridge Dictionary, 2018) which

is the same as the word tetap in the TT; or “unchanged” (KBBI Daring, 2018). The

shift is happened to maintain the syllable count the same as the ST.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

29/ST/Z3

/PB/S1/3

Promise I'll be

always true 5/7 29/TT/Z4

/TH/L1/3

Tak akan ku

berbagi 4/7

Se-

man-

tic

shift

The datum above is taken from the third line of stanza four. In the datum,

the phrase will be always true is translated into tak akan berbagi in the TT. True

based on the dictionary means “not false, real, sincere, and accurate” (Cambridge

Dictionary, 2018). Meanwhile, berbagi means “membagi sesuatu bersama” (KBBI

Daring, 2018) or “share”. The word is completely inequivalent to the ST. However,

if we look at it as a whole line, both of them have similar characteristic which is

[+future]. The shift occurrence here is also due to the number of word and syllable

in the ST. The song translation as much as possible pursuing to make the word

count or at least the syllable count the same as the ST. That attempt is happened to

fit the music, especially the beat count of the song.

Number

of Data ST

Word

/ Syl

Count

Number

of Data TT

Word

/ Syl

Count

Shift

35/ST/Z4

/PB/S1/2

Trust my love is

real for you

(I hope that your

love is real)

7/7 35/TT/Z5

/TH/L1/2

Yakinkan di

hatimu (Selalu

Untukku) 4/7

Se-

man-

tic

shift


48

The above example is taken from the second line of stanza 5. In the example,

both of the ST and TT use different choice of words, yet both of them share similar

meaning. The TT uses adverb di hatimu after the verb. Meanwhile, in the ST, the

verb is followed by a clause my love is real for you which function as a noun. In

terms of meaning, the word love and hati share semantic feature [+emotive] as they

usually related to a feeling in the usage. The shift happens probably to maintain the

number of the syllable, which is 7.

B. The Musical Devices Found in Two Translated Songs of Christian Bautista

After analyzing the shifts, the researcher comes to answer the second

problem. In this part, the musical devices of “Hingga akhir Waktu”, “Till The End

of Time”, “Please Be Careful with My Heart”, and “Tetaplah di Hatiku” lyrics are

analyzed. This analysis is important to see the relation between the translation shift

and the musical devices. Due to the changing of forms and meanings in the text,

there is a very high probability that the musical devices also change in the song,

whether they are more or less than the ST. It is also possible that they are different

located the same or differently.

In this analysis, the researcher treats the song lyrics as poems and uses

Perrine’s Literature: Structure, Sound, and Sense by Arp & Johnson (2008) to

categorize the musical devices. There are four musical devices that frequently

applied in a poem writing: alliteration, assonance, consonance, and rhyme (2008,

pp. 818-821). Musical devices are used as the attempt to give aesthetic value to the

song by using several repetitions. The application of those musical devices in the

songs are showed in the chart below.


49

Chart 3. Musical Devices Occurrence in “Hingga Akhir Waktu” and “Till the

End of Time”

In the diagram above, it can be seen that both of the songs employ musical

devices in the lyrics. In the song “Hingga Akhir Waktu”, alliteration occurs 7 times,

assonance occurs 6 times, rhyme occurs 9 times and no consonance occurrence.

Meanwhile the song “Till The End of Time” employs alliteration for only one time,

assonance 8 times, consonance 3 times, and rhyme for 6 times.

Chart 4. Musical Devices Occurrence in “Please Be Careful with My Heart”

and “Tetaplah di Hatiku”

The same as the previous diagram, musical devices also occur in the song

“Please Be Careful with My Heart” and “Tetaplah di Hatiku”. There are 5

alliteration occurrences, 12 assonance occurrences, 11 consonance occurrences and

14 rhyme occurrences in the song “Please Be Careful with My Heart”. However,

the number of those musical devices are found less in the song “Tetaplah di Hatiku”.

76

0

9

1

8

3

6

0

2

4

6

8

10

Aliteration Assonance Consonance Rhyme

Hingga Akhir Waktu

Till The End of Time

5

12

6

14

2

10

1

7

0

2

4

6

8

10

12

14

16

Aliteration Assonance Consonance Rhyme

Please Be Careful with My

Heart

Tetaplah di Hatiku


50

1. Musical Devices Found in “Hingga Akhir Waktu” and “Till the End of

Time”

There are three stanzas from those two songs being analyzed in this part.

The analysis presents stanza by stanza and the description covers the alliteration,

assonance, consonance end/or the rhyme applied. Based on the analysis, both of the

song applied those musical devices in the songs even though the translation does

not fully copy the pattern of the musical devices.

ST Rhyme

Pattern TT

Rhyme

Pattern

Ku coba untuk melawan hati A I try to resist what my heart

feels A

Tapi hampa terasa B But I'm falling into pieces B

Di sini tanpamu C Drifting further away from

you C


lagi A Everything won't seem right D

Kuingin kau di sini A If you were here with me E

Tepiskan sepiku bersamamu C You'd brush away this


In stanza 1, all musical devices are applied. If we look at the rhyme device,

the TT is unable to maintain the ST rhyme pattern. The ST patterns as A-B-C-A-A-

C while the TT patterns A-B-C-D-E-E. The song “Hingga Akhir Waktu” employs

end rhyme in lines 1, 4, and 5. It can be seen in the occurrence of the same vowel

[i] in the end sound of hati, lagi, and sini. End rhyme can also be seen in lines 3 and

6 in the end sound of the word tanpamu and bersamamu. Those two words end by

the same vowel which is [u]. Meanwhile, “Till the End of Time” employs end

rhyme in lines 5 and 6 in the end vowel [i] in the word me. The rest of the lines are

not rhyming.


51

Another musical device employed is alliteration. We can see the application

of alliteration in the song “Hingga Akhir Waktu” in line two in the consonance [t]

in the word tapi and terasa. In line 4 in the phrase semua sangat where the repetition

of [s] occurred. In the line 5, there is also a repetition of consonance [k] in the initial

word of kuingin kau. Moreover, the song “Till the End of Time” employs

alliteration of [f] sound in the initial of the word further and from in line 3.

The application of assonance also occurs. It is proven by the occurrence of

the vowel [a] repetition in the words melawan hati in line 1 and tapi hampa terasa

in line 2. A repetition of the vowel [ɪ] in the song Till the End of Time in line 2 in

the word falling and into.

ST Rhyme

Pattern TT

Rhyme

Pattern

Tak `kan pernah ada yg lain

di sisi A

There will never be another

by my side F

Segenap jiwa hanya untukmu C Because all I am is just for

you C

Dan tak `kan mungkin ada yg

lain disisi A

And there can never be

another by my side F

Ku ingin kau disini A I need you here with me E

Tepiskan sepiku

bersamamu... C

And brush away this


Same as stanza 1, the rhyme of the TT in the stanza 2 is also unable to

maintain the ST rhyme pattern. The stanza 2 of the song “Hingga Akhir Waktu”

has A-C-A-A-C rhyme pattern while the song “Till the End of Time” has F-C-F-E-

E rhyme pattern. The ST employs end rhyme in line 1, 3 and 4 as the end vowel of

the line is repeating the sound [i]. It also employs end rhyme [u] in line 2 and 5 in

the word untukmu and bersamamu. Meanwhile, the TT employs rhymes except for

line 2. In line 1 and 3, there is a repetition of rhyme [aɪd] from the word side which


52

occurs twice. In line 4 and 5, there is a repetition of sound [i] from the word me

which also occurs repeatedly.

Aliteration only appears in line 4 kuingin kau which has the same initial

sound [k]. However, assonance and consonance devices frequently occur in the

songs. The example of the assonance can be seen in the first line of the ST stanza

2, which is the repetition of the sound [a] in the phrase tak kan pernah ada yang

lain. The other example is in line 1 of the TT stanza 2. In that line, the repetition of

schwa vowel occurs in the word never and another. Diphthong [aɪ] also occurs in

line 3 of TT stanza 2 in the word by my side. Meanwhile, consonant repetition also

occurs in the TT the repetition of the consonant sound [r] in line 3 in the words

there, never, and another.

ST Rhyme

Pattern TT

Rhyme

Pattern

Bagiku semua sangat

berarti A Everything won't seem right D

Kuingin kau disini A If you were here with me E

Bagiku semua sangat

berarti lagi A

Everything won't seem right

once again G

Kuingin kau disini A If you were here with me E

In stanza 3, the application of the rhyme is totally different in terms of

pattern. The ST applies A-A-A-A pattern while the TT applies D-E-G-E pattern.

However, both of the texts employs end rhyme in the lyrics which means the beauty

of the song is still maintained. In the ST, it can be clearly seen that the rhyme is

occurred in the repetition of vowel [i] in the end of the last word syllables.

Meanwhile, the TT rhyme is less distinct than the ST. The end sound of the first

line is in the sound [aɪt] in the word right. The second and the fourth lines have the


53

same rhyme which is in the vowel [i] from the word me. The third line is actually

repeating the first line, yet it has additional phrase which affects the end sound is

not as rhyming as the first sound. The end sound of the third line is the sound [ɛn]

from the word again.

Another musical device that the song still maintain is the application of

alliteration. If we look at it closely, alliteration [k] occurs in the second line of the

ST kuingin kau. The repetition of consonant [s] in the initial word is also happen in

the third line in the phrase semua sangat. Meanwhile in the TT, there is no initial

sound repetition in one line, but since the third and fourth lines are actually a

repetition of the first and second line, most of the initial words are completely

reoccur.

Assonance also occurs in these songs. It is proven by the use of several

vowel repetitions. For example, [a] sound is repeated time after time in line 1 and

3. Meanwhile in line 2 and 4 sound [i] occurs repeatedly. In the TT, schwa sound

is also found repeatedly in the word everything and was. However, the most

frequent vowel that occurs again is the sound [i] which we can see the occurrence

in lines 1 until 4, in the words everything, seem, need, here, and me. The repetition

of consonant also occurs in this stanza. The sound [r] occurs time to time in line 2

and 4 in the words were and here.

ST Rhyme

Pattern TT

Rhyme

Pattern

Tak `kan pernah ada yang

lain di sisi A

There will never be another

by my side F

Segenap jiwa hanya untukmu C Because all I am is just for

you C


54

ST Rhyme

Pattern TT

Rhyme

Pattern

Dan tak `kan mungkin ada yg

lain di sisi A

And there can never be

another by my side F

Ku ingin kau di sini A I need you here with me E

Tepiskan sepiku

bersamamu... C

You'd brush away this


Hingga akhir waktu ... C Till the end of time... H

Similar to the previous stanza, in the last stanza, the musical device of rhyme

also applied in different pattern. The ST pattern is A-C-A-A-C-C, while the TT

pattern is F-C-F-E-E-H. However, both of the songs employ end rhyme in the lyrics.

The end rhyme found in the ST is in the sound [i] in line 1, 3, and 4 in the word sisi

and sini. The last words in line 2, 5, and 6 which are untukmu, bersamamu, and

waktu also have the same vowel sound [u]. On the other hand, end rhyme [aɪ] also

occurs in lines 1, 3, and 6 in the TT in the word side and time. Another example is

the repetition of rhyme [i] in the last word of line 4 and 5 me.

Other musical devices such as alliteration, assonance, and consonance also

occur in the songs. Alliteration is found in line 4 of the ST in the word kuingin kau

which has the repetition of the sound [k] in the initial of the words. Different from

alliteration which only occur once, assonance is frequently found in both text.

Repetitions of vowel sound [a] occur in the first line of the ST and repetitions of

vowel sound [i] in line 1, 3, and 4 in the word lain, di, sisi, ingin, and sini. In the

other hand, in the TT, a repetition of schwa [ə] vowel occurs in line first line of the

TT in the word never and another. The repetition of the diphthongs [ai] also occurs

in line 1 and 3 in the phrase by my side. Last but not least, [i] sound also found

repeatedly in line 4 in the phrase here with me. Meanwhile, the consonance device


55

occurs once in the TT. The consonant [r] occurs repeatedly in line 1 and 3 in the

word there, never, and another.

2. Musical Devices Found in “Please Be Careful with My Heart” and “Tetaplah

di Hatiku”

There are five stanzas from these two songs that being analyzed in this part.

Stanza by stanza are analyzed to explain the musical devices applied. Based on the

analysis, all musical devices are employed in both of the songs even though the

pattern is not equally the same.

ST Rhyme

Pattern TT

Rhyme

Pattern

If you love me like you tell

me A Kekasihku sayangku A

Please be careful with my

heart B Ku ingin kau tahu A

You can take it just don't

break it C Hati ini 'kan selalu A

Or my world will fall apart B Menantikan cintamu

A

As we can see in the datum above, the first stanza is unable to apply the

rhyme pattern entirely. The ST has A-B-C-B pattern, meanwhile, the TT has A-A-

A-A pattern. The ST employed several types of rhyme. End rhyme is found in the

end sound of the second line of the ST, which is ended by the sound [ɑrt], is repeated

in the fourth line. Internal rhyme also applied in the first line which is in the sound

[mi] in the middle and the end of the line. Meanwhile the third line repeats the sound

[eɪk ɪt] in the middle and in the end of the line. Approximate rhyme also occurs

since the second and fourth line rhyming perfectly, but the first and the third line


56

only have same nucleus [ɪ] but not really produce the same sound when they are

pronounced due to the coda [t] in the third line. The TT in the other way repeats the

same end sound from the first line until the fourth line, which is the sound [u].

Alliteration, assonance and consonance are also applied in both of the lyrics.

Alliteration occurs in line 4 of the ST which is in the initial sound of the word world

and will. Meanwhile, in the TT the sound [k] is repeated in the initial word of ku

and kau in the second line. Assonance in the ST occurs in the sound [ɪ] which occurs

multiple times in line 2 in the words please, be, and with. The schwa sound also

occurs twice in the words world and apart in line 4. In the TT, the sound [a] and [u]

keep repeating from line 1-4. In line 1 for example, the sound [a] occurs several

times in the words kekasihku, sayangku. Meanwhile in line 2 the sound [u] is found

frequently in the words ku, kau, and tahu. There is also a repetition of consonant [t]

in the words take, it, just, don’t, and it. The last line also applied [l] repetition in the

words will, and fall.

ST Rhyme

Pattern TT

Rhyme

Pattern

You are my first romance D Kaulah yang pertama B

And I'm willing to take a

chance D Yang memberi arti cinta B

That 'till life is through E 'tuk selamanya B

I'll still be loving you E tetap di hatiku A

I will be true to you E Ingin memelukmu A

Just a promise from you will

do E Mendekap hangat cintamu A

From the very start B 'tuk selamanya B


heart B

tetaplah di hatiku

A

The rhyme pattern of the ST and TT are different as we can see in the above

table. The ST applies D-D-E-E-E-E-B-B pattern while the TT applies B-B-B-A-A-


57

A-B-A pattern. However, both of them employ end rhyme. The ST rhymes are

[æns], [u] and [ɑrt]. The repetition of the sound [æns] is found in line 1 and 2, in

the words romance and chance. The repetition of the sound [u] is found in the words

through, you, and do, in line 3 until 6. The repetition of the sound [ɑrt] is found in

line 7 and 8, in the words start and heart. In the other hand, in the TT, repetitions

occur in two sound which are [a] and [u]. The repetition of rhyme [a] occurs in line

1, 2, 3, and 7, in the words pertama, cinta, and selamanya. The repetition of the

sound [u] occurs in line 4, 5, 6, and 8, in words hatiku, milikmu, and cintamu.

Other musical devices also occur in those two songs. In the sense of

alliteration, there is only once occurrence in the ST and none in the TT. That one

occurrence is in the sound [t] in the initial words of that, till, and through in line 3.

Unlike alliteration, assonance occurs in both songs. In the ST, the repetition of

vowel sound [ɪ] and [u] occurs. The vowel sound [ɪ] occurs in line 4 in the words

still, be, and loving, meanwhile the vowel sound [u] occurs in line 5, in the words

true, to, and you. In the TT, a repetition of the sound [a] occurs in the first line, in

the phrase kaulah yang pertama. A repetition of the vowel sound [i] also occurs in

the second line, in the words memberi, arti, and cinta. In the sense of consonance,

a repetition of consonant sound [l] occurs in the line 4 of the ST, in the words I’ll,

and still.

ST Rhyme

Pattern TT

Rhyme

Pattern

I love you and you know I do E Kuberi semua untukmu A

There'll be no one else for me A Dengan kesungguhanku A

Promise I'll be always true E Tak akan ku berbagi C

For the world and all to see A Meskipun engkau jauh D


58

ST Rhyme

Pattern TT

Rhyme

Pattern

Love has heard some lies

softly spoken F Ku kan s'lalu merindukanmu A

And I have had my heart

badly broken F

Ku kan tetap selalu

menjagamu A

I've been burned and I've

been hurt before G

Jangan ada kata berpisah

E

In this stanza, both of the songs have completely different rhyme pattern.

The ST has E-A-E-A-F-F-G pattern while the TT has A-A-C-D-A-A-E. The rhymes

applied is classified as end rhyme. In the ST, a repetition of sound [u] occurs in line

1 and 3, in the words do and true. A repetition of sound [i] occurs in line 2 and 4,

in words me and see. Sound [ən] also is found repeatedly in line 5 and 6, in words

spoken and broken. Meanwhile, in the TT, a repetition of sound [u] occurs in line

1, 2, 5, and 6, in the words untukmu, kesungguhanku, merindukanmu and

menjagamu.

Alliteration is only found in the ST. A repetition of the sound [h] in initial

words such as have, had, and heart is found in line 6. Another repetition is found

in line 7 which is the repetition of sound [b] in the initial words such as been,

burned, and before

Different from alliteration, assonance occurs in both songs. In the ST, there

are repetitions of sound [u], [ə], and [ɪ]. The repetition of the sound [u] occurred in

line 1, in the words you and do. The repetition of the schwa sound occurred in line

4 and 6, in the words for, the, world, and, to, and and, have, had, broken. In the TT,

there are repetitions of the sounds [u] and [a]. The repetition of the sound [u] is

found in almost all line except for the line 3. For example, it occurs in the words


59

kuberi and untukmu in line 1. The repetition of [a] sound occurs in line 3, 4, and 6.

For example, in line 3, the sound is repeated in the words tak, akan, and berbagi.

Last but not least, consonance device occurs in the sounds of [s], [d], and

[n] in the ST. The sound [s] is found in line 5 in the words has and lies. The sound

[d] is repeated in line 6 in the words and, and had. However, in the TT, there is only

one consonant repetition which is the sound [h] which occurs multiple times in line

4 and 7 in the words jauh and berpisah.

ST Rhyme

Pattern TT

Rhyme

Pattern

So I know just how you feel H Pegang erat janjiku A

(how I feel) H (janjimu) A

Trust my love is real for you E Yakinkan di hatimu A

(I hope that your love is real) H (Selalu untukku) A

I'll be gentle with your heart B Tak akan ku berpaling F

I'll caress it like the morning

dew E Hanya kau satu di hatiku A

I'll be right beside you forever I Ku akan selalu di sampingmu A

I won't let our world fall apart B Tak ku biarkan kau jauh D

From the very start B Tuk selamanya B

I'll be careful with your heart B Tetaplah di hatiku A

Rhyme patterns of the ST and the TT in the fourth stanza are also different

one another. The pattern of the ST is H-H-E-H-B-E-I-B-B-B meanwhile the TT A-

A-A-A-F-A-A-D-B-A. The ST employs end rhyme except for line 7, while in the

TT, line 5, 7, and 8 are not rhyming. In the ST, the end rhyme [il] in line 1, 2, and

4, in the words feel and real. The end rhyme [u] is occurs in line 3 and 6, in the

words you and dew. Lastly, the end rhyme [ɑrt] occurs repeatedly in line 5, 8, and


60

10, in words heart, apart, and start. However, in the TT, there is only a repetition

of end sound [u] in almost all the lines. It occurs in the words janjiku, janjimu,

hatimu, untukku, hatiku, and di sampingmu.

Alliteration is not found in both of the songs in this stanza, yet other musical

devices such as assonance and consonance are occurred. Assonance is found in line

3, 4, and 7 of the ST. In line 3 and 4, the vowel [ə] is found repeatedly in the phrases

is real for and that your love is real. In line 7, diphthong [aɪ] is repeated in the words

I, right, and beside. Meanwhile, in the TT, the repetition of vowel [a] and [u] occurs

frequently. The vowel [a] occurs almost in every line. For example, in line 1, it

occurs in the words pegang, erat and janjiku. The vowel [u] occurs in line 6 and 8

in the words kau, satu, hatiku and ku, kau, jauh. In the sense of consonance, the

repetition of consonant [r] is found several times in line 3 and 8 in the words such

as for and forever. In lines 3 and 9 there is a repetition of consonant [t] in the words

trust, right and start.

ST Rhyme

Pattern TT

Rhyme

Pattern

You are my first romance D Kaulah yang pertama B

(And you are my last) I (Dan selamanya) B

And I'm willing to take a

chance D Yang memberi arti cinta B

(I’ve learned from the past) I (Untuk diriku) A

That 'till life is through E 'tuk selamanya B

I'll still be loving you E tetap di hatiku A

I will be true to you E Ingin memelukmu A

Just a promise from you

will do

(only to you)

E Mendekap hangat cintamu A


61

ST Rhyme

Pattern TT

Rhyme

Pattern

From the very start B 'tuk selamanya B


heart

(I’ll be careful with your

heart)

B tetaplah di hatiku

A

The last stanza is actually a repletion of the second stanza as it is the chorus

of the song. However, this stanza has some additional phrases, the one showed in

parentheses, which are sung by the second singer. Same as the other stanzas, this

stanza also doesn’t maintain the rhyme pattern. The ST pattern is D-I-D-I-E-E-E-

E-B-B while the TT pattern is B-B-B-A-B-A-A-A-B-A. The rhymes in both of the

songs are mostly similar to stanza 2 except for line 2 and 4, which are the additional

phrases. In the ST, line 2 and 4 applied an end rhyme [æst] from the words last and

past. Meanwhile, in the TT, line 2 and 4 are unrhymed each other but is rhyming to

other lines. Line 2 is ended by the sound [a] which is rhyming with line 1, 3, 5, and

9. Line 4 is ended by the sound [u] which is rhyming with line 6, 7, 8, and 10.

Similar to stanza 2, musical devices such as alliteration, and assonance. In

the additional phrases, however, there is only assonance device that occurs in the

TT. The vowels which keep repeating are [a] and [u]. The vowel [a] is found in the

words dan and selamanya, while the vowel [u] is found in the words untuk and

diriku.

Based on the discussion above, it reveals that both of the songs employ

musical devices in the translated version. However, the musical devices in the song

are not in the same places or amount than the ST. Due to the influence of the


62

translation shift, the total amount of musical devices in the TT are less than the ST.

In the song “Till the End of Time”, there are 18 musical devices applied or three

devices less than the ST which has 22 musical devices. The same case also goes to

the song “Tetaplah di Hatiku” with 20 musical devices or seventeen devices less

than the ST which has 37 musical devices. This fact reveals that the translators of

those songs prioritize the meaning and the form of the song first than the musical

devices.


63

CHAPTER V

CONCLUSION

Based to the analysis conducted, both of the problems are answered in this

study. There are two objectives of this research which are divided into two parts.

The first part is to identify the shifts occur in Christian Bautista’s “Till the End of

Time”, which is Indonesian to English translation, and “Tetaplah di Hatiku”, which

is English to Indonesian translation. The second part is to find the musical devices

in those songs and check the relation between the musical devices and the

translation shifts in the songs.

Based on the analysis, there are various types of shifts occur in the songs.

The shift occurrences do not only cover in the micro level, such as in the level or

category shift, but also in the macro level or in the expression shift. There are five

types of translation shift occur in “Till the End of Time”. Those are unit shift, level

shift, semantic shift, class shift and syntactic shift. The most frequent shift occur is

syntactic shift which is 33% of the data. Meanwhile, in the song “Tetaplah di

Hatiku” there are only two types of translation shift which occur. Those are

syntactic shift and semantic shift. The semantic shift is dominating the translation

shift occurrence or 86% of the data. The large amount of semantic shift in the song

also indicates that the translation may recognize as an adaptation since it does not

maintain the messages of the ST.


64

The results of the musical devices analysis reveals that all musical devices;

alliteration, assonance, consonance and rhyme, can be found in the songs. The most

frequent musical devices in the song “Till the End of Time” are assonance, 8 times,

and rhyme in its ST, 9 times. The most frequent musical device in the song

“Tetaplah di Hatiku” is assonance, 10 times, and rhyme in its ST, 14 times.

However, due to the influence of the translation shift, the total amount of musical

devices in the TT are less than the ST. This fact reveals that the translators of those

songs prioritize the meaning and the form of the song first than the musical devices.

Through all the analysis and the findings above, we can conclude that in

every song translation, translation shift will always occur. There are two different

source language used as the data in this research and it reveals that translation shift

occurs no matter what the SL is. The occurrence of the shift also affects the

occurrences of musical devices. However, in translating song translation, word

count and syllable count are need to get an attention. Translation shift may make

the word count or/and the syllable count of the TT shorter or longer than the ST. In

one hand it can be used to maintain the beat of the song, if it is done purposively.

In other hand, it requires the singer to sing the syllable quicker or longer if there is

a difference in the word or syllable count in the TT with the same beat count as ST.


65

REFERENCES

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Allan-Poe, E. (1984, November 16). Retrieved from Tel Aviv University:

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Christyanti, S. A. (2018). The Indonesian Translation of How Far I’ll Go: A Study

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KBBI Daring. (2018, December 5). Retrieved from KBBI Daring:

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Suharto. (2006). Permasalahan Musikal dan Lingual dalam Penerjemahan Lirik

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in Translation Studies.


67

APPENDICES

APPENDIX 1. "Hingga Akhir Waktu” and “Till The End of Time” Song

Lyrics

Hingga Akhir Waktu

Nineball

Ku coba untuk melawan hati

Tapi hampa terasa

Di sini tanpamu

Bagiku semua sangat berarti lagi

Kuingin kau di sini

Tepiskan sepiku bersamamu

Tak `kan pernah ada yg lain di sisi

Segenap jiwa hanya untukmu

Dan tak `kan mungkin ada yg lain di sisi

Ku ingin kau di sini

Tepiskan sepiku bersamamu...


Kuingin kau di sini

Bagiku semua sangat berarti lagi

Kuingin kau di sini

Tak `kan pernah ada yg lain di sisi

Segenap jiwa hanya untukmu

Dan tak `kan mungkin ada yg lain di sisi

Ku ingin kau di sini

Tepiskan sepiku bersamamu...

Hingga akhir waktu ...



Till the End of Time

Christian Bautista

I try to resist what my heart feels

But I'm falling into pieces

Drifting further away from you

Everything won't seem right

If you were here with me


68

You'd brush away this loneliness from me

There will never be another by my side

Because all I am is just for you

And there can never be another by my side

I need you here with me

And brush away this loneliness from me

Everything was seem so right

If you were here with me

Everything was seem right.. once again


There will never be another by my side

Because all I am is just for you

And there can never be another by my side


You'd brush away this loneliness from me

Till the end of time...

Till the end of time…

Till the end of time…

APPENDIX 2. “Please Be Careful with My Heart” and “Tetaplah di Hatiku”

Song Lyrics.

Please Be Careful with My Heart

Christian Bautista ft Sarah Geronimo

If you love me like you tell me

Please be careful with my heart

You can take it just don't break it

Or my world will fall apart

You are my first romance




I will be true to you

Just a promise from you will do

From the very start

Please be careful with my heart

I love you and you know I do

There'll be no one else for me

Promise I'll be always true

For the world and all to see

Love has heard some lies softly spoken

And I have had my heart badly broken


69

I've been burned and I've been hurt before

So I know just how you feel

(how I feel)

Trust my love is real for you

(I hope that your love is real)

I'll be gentle with your heart

I'll caress it like the morning dew

I'll be right beside you forever

I won't let our world fall apart

From the very start

I'll be careful with your heart

You are my first (and you are my last) romance


(I've learned from the past)



I will be true (I will be true) to you

Just a promise from you will do (only to you)

From the very start

(from the very start)

From the very start

(from the very start)

From the very start

Please be careful with

(I'll be careful with)

my heart (your heart)

Tetaplah di Hatiku

Bunga Citra Lestari ft Christian Bautista

Kekasihku sayangku

Ku ingin kau tahu

Hati ini 'kan selalu

Menantikan cintamu

Kaulah yang pertama

Yang memberi arti cinta

'tuk selamanya

tetap di hatiku

Ingin memelukmu

Mendekap hangat cintamu

'tuk selamanya

tetaplah di hatiku

Kuberi semua untukmu

Dengan kesungguhanku


70

Tak akan ku berbagi

meskipun engkau jauh

Ku kan s'lalu merindukanmu

Ku kan tetap selalu menjagamu

Jangan ada kata berpisah

Pegang erat janjiku

(janjimu)

Yakinkan di hatimu

(Selalu Untukku)

Tak akan ku berpaling

Hanya kau satu di hatiku

Ku akan s’lalu disampingmu

Tak ku biarkan kau jauh

'tuk selamanya

ku tetap di hatimu

Kaulah yang pertama (yang selamanya)

Yang memberi arti cinta (untuk dirimu)

'tuk selamanya

tetap di hatiku

Ingin memelukmu

Mendekap hangat cintamu

'tuk selamanya ('tuk selamanya)

'tuk selamanya ('tuk selamanya)

'tuk selamanya tetaplah di hatiku

Tetaplah di hatimu…

'tuk selamanya

Ku tetap di hati...mu…

APPENDIX 3. The Translation Shift Analysis

A. "Hingga Akhir Waktu” and “Till The End of Time” Data Found

No. Number of

Data ST

Number of

Data TT

Shift

Applied

1. 1/ST/Z1/H

A/L1/1

Ku coba untuk

melawan hati

1/TT/Z1/TE

/S1/1

I try to resist

what my heart

feels

Unit Shift

2. 2/ST/Z1/H

A/L1/2

Tapi hampa

terasa

2/TT/Z1/TE

/S1/2

But I'm falling

into pieces

Semantic

Shift

3. 3/ST/Z1/H

A/L1/3 Di sini tanpamu

3/TT/Z1/TE

/S1/3 Drifting further

away from you

Semantic

Shift

4. 4/ST/Z1/H

A/L1/4

Bagiku semua

sangat berarti

lagi

4/TT/Z1/TE

/S1/4 Everything

won't seem right

Semantic

Shift


71

No. Number of

Data ST

Number of

Data TT

Shift

Applied

5. 5/ST/Z1/H

A/L1/5 Kuingin kau

disini

5/TT/Z1/TE

/S1/5 If you were here

with me

Level

Shift

6. 6/ST/Z1/H

A/L1/6

Tepiskan sepiku

bersamamu

6/TT/Z1/TE

/S1/6

You'd brush

away this

loneliness from

me

Unit Shift

Class Shift

Syntactic

Shift

7. 7/ST/Z2/H

A/L1/1

Tak `kan pernah

ada yg lain di

sisi

7/TT/Z2/TE

/S1/1

There will never

be another by

my side

Syntactic

Shift

8. 8/ST/Z2/H

A/L1/2 Segenap jiwa

hanya untukmu

8/TT/Z2/TE

/S1/2 Because all I am

is just for you

Semantic

shift

9. 9/ST/Z2/H

A/L1/3

Dan tak `kan

mungkin ada yg

lain disisi

9/TT/Z2/TE

/S1/3

And there can

never be another

by my side

Syntactic

shift

10. 10/ST/Z2/H

A/L1/4

Ku ingin kau

disini

10/TT/Z2/T

E/S1/4

I need you here

with me

Syntactic

Shift

11. 11/ST/Z2/H

A/L1/5 Tepiskan sepiku

bersamamu...

11/TT/Z2/T

E/S1/5

And brush away

this loneliness

from me

Unit shift

Class shift

Syntactic

Shift

12. 12/ST/Z3/H

A/L1/1

Bagiku semua

sangat berarti

lagi

12/TT/Z3/T

E/S1/1

Everything was

seem right.. once

again

Semantic

Shift

13. 13/ST/Z3/H

A/L1/2

Kuingin kau

disini

13/TT/Z3/T

E/S1/2

I need you here

with me

Syntactic

Shift

14. 14/ST/Z4/H

A/L1/1 Hingga akhir

waktu ...

14/TT/Z4/T

E/S1/1

Till the end of

time... Unit shift

B. “Please Be Careful with My Heart” and “Tetaplah di Hatiku” Data Found

No. Number

of Data ST

Number

of Data ST

Shift

Apllied

15. 15/ST/Z1/

PB/S1/1

If you love me

like you tell me

15/TT/Z1/

TH/L1/1

Kekasihku

sayangku

Semantic

Shift

16. 16/ST/Z1/

PB/S1/2

Please be

careful with

my heart

16/TT/Z1/

TH/L1/1

Ku ingin kau

tahu

Semantic

Shift

17. 17/ST/Z1/

PB/S1/3

You can take it

just don't break

it

17/TT/Z1/

TH/L1/1

Hati ini 'kan

selalu

Semantic

Shift


72

18. 18/ST/Z1/

PB/S1/4

Or my world

will fall apart

18/TT/Z1/

TH/L1/1

Menantikan

cintamu

Semantic

Shift

19. 19/ST/Z2/

PB/S1/1

You are my

first romance

19/TT/Z2/

TH/L1/1

Kaulah yang

pertama

Syntactic

Shift

20. 20/ST/Z2/

PB/S1/2

And I'm

willing to take

a chance

20/TT/Z2/

TH/L1/2

Yang memberi

arti cinta

Semantic

Shift

21. 21/ST/Z2/

PB/S1/3

That 'till life is

through

21/TT/Z2/

TH/L1/3 'tuk selamanya

Syntactic

shift

22. 22/ST/Z2/

PB/S1/4

I'll still be

loving you

22/TT/Z2/

TH/L1/4 tetap di hatiku

Semantic

Shift

23. 23/ST/Z2/

PB/S1/5

I will be true to

you

23/TT/Z3/

TH/L1/1

Ingin

memelukmu

Semantic

Shift

24. 24/ST/Z2/

PB/S1/6

Just a promise

from you will

do

24/TT/Z3/

TH/L1/2

Mendekap

hangat cintamu

Semantic

Shift

25. 25/ST/Z2/

PB/S1/7

From the very

start

25/TT/Z3/

TH/L1/3 'tuk selamanya

Semantic

Shift

26. 26/ST/Z2/

PB/S1/8

Please be

careful with

my heart

26/TT/Z3/

TH/L1/4

tetaplah di

hatiku

Semantic

Shift

27. 27/ST/Z3/

PB/S1/1

I love you and

you know I do

27/TT/Z4/

TH/L1/1

Kuberi semua

untukmu

Semantic

Shift

28. 28/ST/Z3/

PB/S1/2

There'll be no

one else for me

28/TT/Z4/

TH/L1/2

Dengan

kesungguhanku

Semantic

Shift

29. 29/ST/Z3/

PB/S1/3

Promise I'll be

always true

29/TT/Z4/

TH/L1/3

Tak akan ku

berbagi

Semantic

Shift

30. 30/ST/Z3/

PB/S1/4

For the world

and all to see

30/TT/Z4/

TH/L1/4

meskipun

engkau jauh

Semantic

Shift

31. 31/ST/Z3/

PB/S1/5

Love has heard

some lies softly

spoken

31/TT/Z4/

TH/L1/5

Ku kan s'lalu

merindukanmu

Semantic

Shift

32. 32/ST/Z3/

PB/S1/6

And I have had

my heart badly

broken

32/TT/Z4/

TH/L1/6

Ku kan tetap

selalu

menjagamu

Semantic

Shift

33. 33/ST/Z3/

PB/S1/7

I've been

burned and I've

been hurt

before

33/TT/Z4/

TH/L1/7

Jangan ada

kata berpisah

Semantic

Shift


73

34. 34/ST/Z4/

PB/S1/1

So I know just

how you feel

(how I feel)

34/TT/Z5/

TH/L1/1

Pegang erat

janjiku

(janjimu)

Semantic

Shift

35. 35/ST/Z4/

PB/S1/2

Trust my love

is real for you

(I hope that

you're love is

real)

35/TT/Z5/

TH/L1/2

Yakinkan di

hatimu (Selalu

Untukku)

Semantic

Shift

36. 36/ST/Z4/

PB/S1/3

I'll be gentle

with your heart

36/TT/Z5/

TH/L1/3

Tak akan ku

berpaling

Semantic

Shift

37. 37/ST/Z4/

PB/S1/4

I'll caress it

like the

morning dew

37/TT/Z5/

TH/L1/4

Hanya kau satu

di hatiku

Semantic

Shift

38. 38/ST/Z4/

PB/S1/5

I'll be right

beside you

forever

38/TT/Z5/

TH/L1/5

Ku akan s’lalu

disampingmu

Syntactic

shift

39. 39/ST/Z4/

PB/S1/6

I won't let our

world fall apart

39/TT/Z5/

TH/L1/6

Tak ku biarkan

kau jauh

Semantic

Shift

40. 40/ST/Z5/

PB/S1/7

I'll be careful

with your heart

40/TT/Z5/

TH/L1/7

ku tetap di

hatimu

Semantic

Shift

41. 41/ST/Z6/

PB/S1/1

You are my

first (and you

are my last)

romance

41/TT/Z5/

TH/L1/1

Kaulah yang

pertama (yang

selamanya)

Syntactic

shift

42. 42/ST/Z6/

PB/S1/2

And I'm

willing to take

a chance

(I've learned

from the past)

42/TT/Z5/

TH/L1/2

Yang memberi

arti cinta

(untuk dirimu)

Semantic

Shift


THE TRANSLATION SHIFT AND MUSICAL DEVICE ...

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