THE STRATEGIES AND MUSICAL DEVICES IN THE TRANSLATION …

THE STRATEGIES AND MUSICAL DEVICES

IN THE TRANSLATION OF OREO’S “WONDERFILLED”

INTO “PENUH KEAJAIBAN”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

RIYADI ALLEN SIHOMBING

Student number: 164214002

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2020

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii




AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

RIYADI ALLEN SIHOMBING

Student number: 164214002

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2020


iii


iv


v

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 the undergraduate thesis.

March 16, 2020

Riyadi Allen Sihombing


vi

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA

ILMIAH UNTUK KEPENTINGAN AKADEMIS

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

Nama : Riyadi Allen Sihombing

Nomor Mahasiswa : 164214002

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, mendistribusikan secara terbatas, dan mempublikasikannya di

internet atau media lain utntuk kepentingan akademis tanpa perlu meminta ijin

kepada saya maupun memberikan royalti kepada saya selama tetap

mencantumkan nama saya sebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta

Pada tanggal 16 Maret 2020

Yang menyatakan,



vii

Once the sail is set, recede not from the threat.


viii

For my father, my mother, my brother, and my sister.


ix

ACKNOWLEDGEMENTS

I would like to thank my God for the opportunity provided to me and to

my family who always believes in me from the very start; words cannot express

how thankful I am.

I would like to send my sincere gratitude to my thesis advisor Mr. Harris

Hermansyah Setiajid who has always been supportive and readily available in

the process of writing this thesis as well as to Mr. Simon Arsa Manggala for his

valuable input.

To the friends I call shrews that I spent my time with during these

college years, thank you for the laughter and banter.



x

TABLE OF CONTENTS

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

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

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

STATEMENT OF ORIGINALITY ..................................................................... v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi

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

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

ACKNOWLEDGEMENTS ................................................................................. ix

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

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

LIST OF FIGURES ........................................................................................... xiii

LIST OF TABLES ............................................................................................. xiv

ABSRACT ............................................................................................................. 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 ..................................................... 5

A. Review of Related Studies ........................................................................... 5

B. Review of Related Theories ......................................................................... 7

1. Theory of Translation ............................................................................. 7

2. Theory of Song Translation .................................................................... 8

3. Theory of Musical Devices .................................................................. 11

4. Theory of Song Translation Strategy ................................................... 13

C. Theoretical Framework .............................................................................. 18

CHAPTER III: METHODOLOGY ................................................................... 19

A. Object of the Study ..................................................................................... 19

B. Approach of the Study................................................................................ 19

C. Method of the Study ................................................................................... 20

D. Research Procedure .................................................................................... 21

1. Types of Data ....................................................................................... 21

2. Data Collection ..................................................................................... 21

3. Population and Sample ......................................................................... 22

4. Data Analysis ....................................................................................... 22

CHAPTER IV: ANALYSIS RESULTS AND DISCUSSIONS ........................ 24

A. The Musical Devices Found in “Wonderfilled” and “Penuh Kejaiban” .... 24

1. Stanza 1 ................................................................................................ 27


xi

2. Stanza 2 ................................................................................................ 31

3. Stanza 3 ................................................................................................ 33

4. Stanza 4 ................................................................................................ 35

B. The Translation Strategies to Achieve the Musical Devices ...................... 37

1. The Features ......................................................................................... 37

2. The Strategies ....................................................................................... 40

CHAPTER V: CONCLUSION ........................................................................... 56

REFERENCES ..................................................................................................... 58

APPENDICES ...................................................................................................... 60

Appendix 1 ................................................................................................. 60

Appendix 2 ................................................................................................. 62


xii

LIST OF ABBREVIATIONS

ST : Source Text

TT : Target Text

ws. : words

ss. : syllables


xiii

LIST OF FIGURES

No. Figure

Page

1 Figure 1. Example of linguistic foreignization 10

2 Figure 2. The Number of Musical Devices Found in

“Wonderfilled” (ST) and “Penuh Kejaiban” (TT)

26

3 Figure 3. Relative comparison of number of words based on

syllable count

39

4 Figure 4. The occurrences of strategies 41

5 Figure 5. The animation at 00:12 44







xiv

LIST OF TABLES

No. Table Page

1 Table 1. Example of Data Coding 22

2 Table 2. Example of Translation Strategies Analysis 23

3 Table 3. Types of Rhyme in “Wonderfilled” 26

4 Table 4. Types of Rhyme in “Penuh Keajaiban” 26

5 Table 5. Comparison of word count and syllable count

between “Wonderfilled” (ST) and “Penuh

Keajaiban” (TT)

38


xv

ABSTRACT

SIHOMBING, RIYADI ALLEN. (2020). The Strategies and Musical Devices

in the Translation of Oreo’s “Wonderfilled” into “Penuh Keajaiban”.

Yogyakarta: Department of English Letters, Faculty of Letters, Universitas

Sanata Dharma.

Jingle “Wonderfilled” is the core of Oreo‟s advertising campaign with

the same name. Meant for worldwide reach, it is translated into “Penuh

Keajaiban” for Indonesian market. As is the case with song translation,

rendering the jingle from English into Indonesian language is not as

straightforward as other types of literary texts. While the meaning must be

preserved, the musical devices should not be ignored.

There are two objectives of the present thesis. The first objective is to

find out the musical devices in “Wonderfilled” and its Indonesian version

“Penuh Keajaiban”. The second one is to identify what translation strategies are

applied to achieve the musical devices.

The present thesis is a qualitative research that employs library and

explicatory research methods. The data is taken from the lyrics of the 60-second

versions of both texts; each contains 15 lines divided into 4 stanzas. The data is

analyzed by using the theory of translation by Catford (1965); Newmark (1988);

and Nida (1964), theory of song translation by Herman and Apter (2016), theory

of song translation strategy by Åkerström (2009), and theory of musical devices

by Perrine (1969).

The result shows that 35 musical devices are found in the source text and

33 in the target text. The comparisons of each type are as follows: alliteration (8

in the source text and 9 in the target text), assonance (9 and 15), consonance (8

and 2), and rhyme (10 and 7). For the translation strategies, the result shows that

the target text applies five strategies: paraphrase (9), rhyme (5), omission (5),

reorganization (3), and source word (1). Even though the source text consists of

99 words, compared to 52 words in the target text, the syllable count for both

texts are the same (124). With the exception of the source word strategy, the

application of the other four strategies results in the occurrences of all types of

musical devices in the target text.

Keywords: song translation, translation strategy, musical devices


xvi

ABSTRAK

SIHOMBING, RIYADI ALLEN. (2020). The Strategies and Musical Devices

in the Translation of Oreo’s “Wonderfilled” into “Penuh Keajaiban”.

Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata

Dharma.

Jingle “Wonderfilled” merupakan inti dari kampanye iklan Oreo dengan

nama serupa. Jingle yang ditujukan untuk menjangkau seluruh dunia ini

diterjemahkan menjadi “Penuh Keajaiban” untuk pasar Indonesia. Seperti halnya

dengan penerjemahan lagu, menggubah jingle ini dari bahasa Inggris ke bahasa

Indonesia tidaklah semudah jenis teks literature lainnya. Meskipun makna harus

dipertahankan, piranti musikal tidak boleh diabaikan.

Terdapat dua tujuan penelitian dari skripsi ini. Yang pertama adalah

untuk menemukan piranti musikal pada “Wonderfilled” dan versi Indonesianya

“Penuh Keajaiban”. Yang kedua adalah untuk mengidentifikasi strategi

penerjemahan yang digunakan untuk memperoleh piranti musikal.

Skripsi ini merupakan penelitian kualitatif yang menggunakan metode

pustaka dan metode eksplikatori. Data yang diambil adalah lirik kedua teks versi

60 detik, dimana setiap teks terdiri dari 15 baris yang dibagi dalam 4 bait. Data

ini dianalisis dengan menggunakan teori penerjemahan oleh Catford (1965);

Newmark (1988); dan Nida (1964), teori penerjemahan lagu oleh Åkerström

(2009), teori strategi penerjemahan lagu oleh Herman dan Apter (2016), dan

teori piranti musikal oleh Perrine (1969).

Hasil penelitian menunjukkan bahwa 35 piranti musical ditemukan di

teks sumber dan 33 di teks sasaran. Perbandingan dari setiap jenis adalah:

aliterasi (8 di teks sumber dan 9 di teks sasaran), asonansi (9 dan 15),

konsonansi (8 dan 2), dan rima (10 dan 7). Dalam hal strategi penerjemahan,

hasil penelitian menunjukkan bahwa teks sumber menggunakan lima strategi:

parafrase (9), rima (5), omisi (5), reorganisasi (3), dan kata sumber (1).

Meskipun teks sumber terdiri dari 99 kata, dibandingkan 52 kata pada teks

sasaran, hitungan suku kata dari kedua teks berjumlah sama (124). Kecuali

srategi kata sumber, penggunaan empat strategi lainnya menghasilkan

kemunculan piranti musikal pada teks sasaran.

Kata kunci: song translation, translation strategy, musical devices


1

CHAPTER I

INTRODUCTION

A. Background of the Study

An advertising campaign is a series of advertisements over a period of

time with one primary theme which is often presented in the form of slogan. Since

an advertisement is a brand‟s tool of communication to the public, it is essential to

have the messages in the theme or slogan conveyed in the most clear and effective

way. Therefore, launching an advertising campaign for worldwide reach might

warrant extra works since there is a language barrier that needs to be dealt with.

Some examples of the most recognizable global advertising campaigns

launched in Indonesia are Nike‟s Just Do It (launched in 1988), McDonald‟s I’m

lovin’ it (2003), Snickers‟ You’re not you when hungry (2010), and Oreo‟s

Wonderfilled (2012). However, the brands‟ strategies to penetrate Indonesian

market with their respective global advertising campaign differ with one another.

Nike maintains the original Just Do It and does not translate the slogan into

Indonesian. McDonalds takes the same route with I’m Lovin’ It. You’re Not You

When You’re Hungry of Snickers might sound foreign in Indonesia since the

localized campaign Lo Rese Kalo Lagi Laper is more familiar. This is also the

case with Wonderfilled which is translated by Oreo into Penuh Kejaiban.

McDonalds‟ and Oreo‟s campaigns are distinctive compared to the other

two since they are put to use not only as slogans, but also as titles of jingle. In


2

Indonesia, I’m Lovin’ It is more renowned as a slogan rather than a jingle. This is

due to the fact that only vocal hook taken from the jingle is played as a musical

phrase at the end of every advertisement. Penuh Keajaiban is a contrast. The

jingle is more well-known than the slogan thanks to Oreo‟s efforts to translate the

whole lyrics into Indonesian language.

Translating a jingle‟s or song‟s lyrics poses an interesting challenge since

the lyrics are restricted by the music; therefore, the translation has to follow the

musical restriction. According to Low (2005), there are some aspects to be

considered in song translation which are singability, rhyme, rhythm, naturalness,

and fidelity to the sense of the source text (p. 374). A translator who is up for the

task has five choices in song translation i.e. (1) leaving the song untranslated, (2)

translating the lyrics without taking the music into consideration, (3) writing new

lyrics to the original music, (4) adapting the music to the translation, and (5)

adapting the translation to the music (Franzon, 2008, p. 373).

Comparing the lyrics of “Wonderfilled” with “Penuh Keajaiban” reveals

the difficulty that the translator faces when translating the jingle‟s lyrics. For

example, the English lyrics of

If I gave 'em to great white sharks,

Would they share 'em with baby seals?

are translated in Indonesian into

Bila si hiu datang

Kuberi Oreo lagi

Based on the Franzon‟s choice of translation above, the translator‟s choice

falls on the number (3) which is writing new lyrics to the original music. Franzon


3

(2008) states that “a totally rewritten set of lyrics in a target language may contain

only a single word, phrase, image or dramatic element taken from the source

lyrics” (p. 380). In the excerpts, only words „if‟ („bila‟) and „sharks‟ („hiu‟) are

directly translated from the ST.

The ST “Wonderfilled” and its TT “Penuh Keajaiban” are chosen as the

objects of the study because the respective version of the jingle is complete in its

entirety not as a jingle, but rather as a music video. Both jingles are accompanied

by animations that depict what the lyrics are telling about. Thus, these animations

cannot be overlooked as one of the factors that influences the translator‟s strategy

in translating the lyrics. In addition, the ST contains musical devices such as

alliteration, rhyme, etc. that complicate the translation process.

The translation of jingle “Wonderfilled” into “Penuh Keajaiban” is worth

analyzing because translating a jingle is a difficulty as the messages must be in

line with the advertising campaign. The study of songs translation with a jingle

being the object of the study is also still uncommon. Therefore, the present thesis

will give theoretical benefit, which is to enrich translation research repertoire.

B. Problem Formulation

The research questions can be formulated as follows:

1. What musical devices are found in “Wonderfilled” and its Indonesian

version “Penuh Keajaiban”?

2. What translation strategies are applied to achieve the musical devices?


4

C. Objective of the Study

Based on the research questions, there are two objectives of the study. The

first objective is to find out the musical devices in “Wonderfilled” and its

Indonesian version “Penuh Keajaiban”. The second one is to identify the

strategies of translating “Wonderfilled” into “Penuh Keajaiban”.

D. Definition of Terms

There are some terms that need to be defined first to avoid

misunderstanding. An advertising campaign, according to Belch and Belch

(2004), is a series of advertisement messages that share a single idea or theme

which make up an integrated marketing communication (as cited in (Gupta, 2012).

A jingle, in business and marketing context, can be defined as “catchy

song(s) about a product or service that usually carry the advertising theme and a

simple message” (Belch & Belch, 2015, p. 325).

A translation strategy is "translator's potentially conscious plans for

solving concrete translation problems in the framework of a concrete translation

task” (Krings, 1986, p. 268).

A musical device, in poetry and song‟s lyrics context, is the arrangement

of sounds as a means of reinforcing meanings (Perrine, 1969, p. 179).


5

CHAPTER II

REVIEW OF LITERATURE

This chapter presents the literature and theories relevant in conducting the

present thesis and consists of three parts: review of related studies, review of

related theories, and theoretical frameworks. The first part reviews three

previously done studies with similar topic. The second part reviews three theories

relevant for the present thesis. The third part explains the importance and the

application of the theories in solving the problems of the present thesis.

A. Review of Related Studies

There are three related studies reviewed for the present thesis. The first

one is Christyanti‟s undergraduate thesis The Indonesian Translation of “How

Far I’ll Go”: A Study of Its Strategies and Musical Devices Applied. The study

analyzes the strategies and musical devices applied in translating Alessia Cara‟s

song “How Far I‟ll Gointo into its Indonesian version “Seb‟rapa Jauh

Kumelangkah”, sung by Maudy Ayunda.

In conducting the thesis, Christyanti applies Mona Baker‟s theory to

analyze the translation strategies and Perrine‟s theory to analyze the musical

devices. Christyanti (2018) concludes that omission is the most frequent strategy

applied in order to achieve singability similar with the ST (p. 50). For the musical


6

devices, Christyanti (2018) concludes that end rhyme is the most frequent

occurrence in the ST and TT, even though the positions are different (pp. 50-51).

The present thesis is similar to Christyanti‟s undergraduate thesis since it

analyzes translation strategies and musical devices in song translation. The present

thesis differs from Christyanti‟s by the theory of translation strategy utilized

which is Åkerström‟s strategies. Moreover, Chrityanti‟s thesis does not include

the number of syllables and words in its analysis.

The second study is Leni and Pattiwael‟s Journal Article “Analyzing

Translation Strategies Utilized in the Translation of the Song “Do You Want to

Build a Snowman?””. This article analyzes the strategies applied in translating

Disney movie Frozen‟s song “Do You Want to Build a Snowman?” into its

Indonesian version “Yuk Buat Boneka Salju”

Leni and Pattiwael combine the theory of song translation by Åkerström

and the theory of translation in literary works by Lefevere. Leni and Pattiwael

(2019) divide the translation strategies into two: non-strategic (2) and strategic (9)

(p. 56). Lefevere‟s theory supplements two strategic translation strategies.

The present thesis is similar to Leni and Pattiwael‟s journal article by the

objective of the study, the genre of literary text, and the use of Åkerström‟s

theory. The difference lies in the analysis of musical devices. Åkerström‟s

strategies do include rhyme, but not other musical devices e.g. alliteration,

consonance, etc. Moreover, the present thesis does not apply Lefevere‟s theory in

the analysis since Åkerström‟s strategies are deemed sufficient.


7

The third study is Anggraeni‟s Undergraduate Thesis The Translation Shift

and Musical Device Occurrences in Christian Bautista’s “Till The End of Time”

and “Tetaplah di Hatiku”. The study analyzes the shifts and musical devices

applied in the translation of “Hingga Akhir Waktu” by Nineball into “Till the End

of Time” and “Please Be Careful with My Heart” by Christian Bautista featuring

Sarah Geronimo into “Tetaplah di Hatiku”.

Anggraeni uses theory of translation shift by Catford and model of

translation shift by Al-Zoubi and Al-Hasnawi. For the musical devices, Anggraeni

uses Arp & Johnson‟s book “Perrine‟s Literature: Structure, Sound, and Sense”

which is based on Perrines‟s work. Anggraeni (2019) concludes that the shifts in

translating both songs affect the musical devices as the findings show that there

are less occurrences of musical device in the target texts which happens due to the

translators‟ prioritizing meaning over form (pp. 63-64).

The present thesis is similar to Anggraeni‟s undergraduate thesis in its

objective to identify musical devices in song translation. The difference is that

Anggraeni‟s study analyzes translation shifts, while the present thesis focuses on

translation strategies. The study also analyzes song translation from Indonesian

into English language, while the present thesis is the other way around.

B. Review of Related Theories

1. Theory of Translation

Catford (1965) defines translation as “the replacement of textual material

in one language (SL) by equivalent textual material in another language (TL)" (p.


8

20). According to Newmark (1988), translation is “rendering the meaning of a text

into another language in the way that the author intended the text” (p. 5). From

these two statements, translation can be understood as reproducing the message

from one language to another.

Newmark (1988) further states that in order to reproduce the message, a

translator is tempted to transfer as many ST words to the TT as possible in many

types of text such as legal, administrative, dialect, local and cultural text (p. 5).

This practice, however, cannot be applied to singable text or song. Nida (1964)

asserts that in order to maintain the musical form, a song translator must make

certain sacrifices in content such as arranging the words, omitting or adding

certain elements, and even altering the words; all of which are deemed proper in

song translation as long as the words fit the music naturally (p. 177).

2. Theory of Song Translation

The history of song translations can be credited to the practice of

translating opera. Since an opera is meant to be performed, it requires three sets of

signs: verbal, musical, and visual (Herman & Apter, 2016, p. 5). Likewise, the

objects of the present thesis also involve these sets of signs.

Verbal sign refers to the lyrics. In some cases, translators do not translate

certain words and culture-specific words as discussed below.

a. Foreignization and domestication

Foreginization, as opposed to domestication, retains the foreign cultural

elements of the source text and does not closely conform to the target culture


9

(Herman & Apter, 2016, p. 31). Herman and Apter divide foreignization into three

(2016, p. 32):

1. spatial (referring to words and phrases from another place), e.g.

ST : Smartphone for sale!

TT : Dijual smartphone!

The word “smartphone” is left as it is in the target text, despite its being

foreign language.

2. temporal (referring to words from another era), e.g.

ST : Voleur!

TT : Thou sot!

The excerpts above are taken from French play Le Médecin Malgré Lui

(1667) by Molière and its English translation by Herman and Apter‟s (1979),

addressed by Martine towards her drunkard husband Sganarelle. Despite being a

20th

century work, the translation uses an English of 17th

century to suit the

context of the era.

3. linguistic (acknowledging that the translation is a translation). This can be

found when explanations are given to the foreign words or phrases.

Figure 1. Example of linguistic foreignization

Figure 1 is taken from an unauthorized English version of Japanese manga

One Piece chapter 938 by Eiichiro Oda, translated by Goateverlord. The translator

adds a brief explanation of the word “oroshi” above the speech bubbles. Notice


10

that the word “shogun” is not given further explanation since the word is already

well-known outside of Japan. It can be categorized into spatial and temporal

foreignization since a shogun comes from Japan and has not been in existence for

more than a century

b. Censorship and taboos

Censorship is “a prohibition enforced by some authority”, while taboo is a

“prohibition, explicit or implicit, generally agreed to by large numbers of people

within a given culture” (Herman & Apter, 2016, p. 101). Words in the ST that do

not conform to target culture are not directly translated due to these prohibitions.

Musical sign refers to the music. The interaction between the verbal and

musical sign means that the lyrics and music affect one another in song

translations (Herman & Apter, 2016, p. 181). The most apparent challenge for

translators is the verbal and musical constraints which often result in the loss of

meaning. However, since translation itself is a process of gain and loss, translators

must be able to pinpoint the most important aspect of the lyrics and retain it in the

TT (Herman & Apter, 2016, pp. 14-15).

The forms of interaction between verbal and musical sign are rhythm,

rhyme and closure, and repetition. Rhythm can be defined as a pattern of time, and

is divided into syllable, stress, and burden. The most obvious way to achieve a

singable translation is by matching the syllable count of the ST, though this is not

always possible. Stress is “the relative force with which a syllable is pronounced”

and burden is “the length of time and/or physical effort required to say or sing a

particular syllable” (Herman & Apter, 2016, p. 184).


11

Rhyme and closure refers to a closure of lyrics‟ verse and musical phrase

that is marked by rhyme (Herman & Apter, 2016, p. 188). The TT might contain

less, the same, or more rhyme than the ST depending on the translator‟s strategy.

Repetition in songs occurs both verbally and musically. Verbal repetition may

involve phrase or single word in different stanzas and musical repetition usually

occurs at the end of a song. Repetition presents a golden opportunity for

translators to incorporate other aspects of the ST (Herman & Apter, 2016, p. 201).

Visual sign refers to what the eyes capture from the performance. When

visual elements cannot be changed, translators occasionally modify the translation

to accommodate the visual elements (Herman & Apter, 2016, p. 5)

3. Theory of Musical Devices

Poetry and song‟s lyrics are written in similar technique in which the

words are chosen for the sound as a means to reinforce the meaning (Perrine,

1969, p. 177) Repetition and variation of sound are the essential elements in

applying musical devices (Perrine, 1969, pp. 177-178). Based on the structure of

sound repetition, musical devices can be categorized as follows.

a. Alliteration

Alliteration is “the repetition of initial consonant sounds” (Perrine, 1969,

p. 179), e.g. the phrase “safe and sound” in which the initial consonant [s] sound

is repeated. Other examples are “Captain Cook”, “gone girl” and “think twice” in

which the initial consonant [k], [g] and [t] sounds are repeated.


12

b. Assonance

Assonance is “the repetition of vowel sounds” (Perrine, 1969, p. 179), e.g.

the phrase “time and mind” in which the vowel [aɪ] sound is repeated. Other

examples are “back in black”, “sin city” and “mad hatter” in which the vowel [æ],

[ɪ] and [æ] sounds are repeated.

c. Consonance

Consonance is “the repetition of final consonant sounds”, e.g. the phrase

“bad bread” in which the final consonant [d] sound is repeated. Other examples

are “look back”, “short and sweet” and “first and last” in which the final

consonant [k], [t] and [st] sounds are repeated.

d. Rhyme

Rhyme is “the repetition of the stressed vowel sound and all succeeding

sounds” (Perrine, 1969, p. 180), e.g. “sick” and “pick” in which the vowel sound

[ɪ] and the succeeding and final consonant (the coda) sound [k] are repeated.

Based on the number of syllable, rhyme can be categorized into masculine and

feminine rhyme. Masculine rhyme involves only one syllable (Perrine, 1969, p.

180), e.g. “crack” and “slack” in which the [æk] sound is repeated. Feminine

rhyme involves two or more syllables of which the first syllable is stressed and the

succeeding syllable is unstressed (Perrine, 1969, p. 180), e.g. “hire” and “desire”

in which the [aɪər] sound is repeated.

Based on the position on the line, rhyme can be categorized into internal

and end rhyme. Internal rhyme is the rhyme that occurs within the line (Perrine,

1969, p. 180). It can occur in the same line or across multiple lines, for example:


13

Then fancies flee away! I‟ll fear not what men say

I‟ll labor night and day to be a pilgrim.

The excerpts above are taken from Percy Dearmer‟s revision of John

Bunyan‟s poem “To Be a Pilgrim”. The repetition of [eɪ] sound occurs in the first

line (“away” and “say”) and across the first and second line (“away” and “day”).

End rhyme occurs at the end of two or more lines. It is also called perfect

rhyme if the repeated vowel sound and its succeeding sounds are identical. If the

repeated sounds share only similarity, either close or remote, it can be called

approximate rhyme. The examples of approximate rhyme can be found in

alliteration, assonance, and consonance, or their combinations as well as half-

rhyme (feminine rhyme with only half of the words rhymes: the stressed syllables,

e.g. “lightly” and “frightful” with repeated [aɪt] sound, or the unstressed syllable,

e.g. “yellow” and “willow” with repeated [loʊ] sound) (Perrine, 1969, p. 180).

4. Theory of Song Translation Strategy

Åkerström (2009) proposes ten features and strategies in song translation,

two of which are the features and eight of which are the strategies (p. 5). The two

features of song translation are word count and syllables vs. words. The word

count feature is a comparison between the number of words in the ST and TT

(Åkerström, 2009, p. 13).

Example 1. ST: Let it go! Let it go! (6 words/6 syllables)

TT: Lepaskan! Lepaskan! (2 words/6 syllables)

The excerpts above are taken from the songs “Let It Go” and “Lepaskan”.

The ST is a repetition of two imperative sentences that contains the causative verb


14

“let” paired with “go” with the object “it” in between. The TT contains only the

verb “lepas” with suffix “–kan” to make the sentence imperative.

The syllables vs. words feature is a comparison between the number of

syllables in the ST and TT as well as their word counts. In song translation,

syllable count is more important than word count since the lyrics are meant to be

sung and, in turn, must fit the music (Åkerström, 2009, p. 15). In the example 1,

the ST is made up of entirely by monosyllabic words: “let”, “it”, and “go”. The

TT is able to match the syllable count of the ST even though it only has one word

that is repeated twice: “lepaskan”.

The two features above are relevant to the present thesis since equivalent

words in target language do not always contain the same syllable count.

Therefore, a translator must carefully pick the right strategy in order to make a

singable translation without ignoring the meaning and the musical devices.

There are eight strategies of song translation based on Åkerström (2009),

which are word-for-word translation, addition of words, omission of words, use of

metaphors, use of rhymes, reiorganization of words and lines of text, use of

metaphors and use of source language words in the translations. The explanations

are as follows.

a. Word-for-word translation

This strategy is applied by translating the lyrics of ST word by word into

the TT. The application of this strategy might be common in two closely related

languages (Åkerström, 2009, p. 17). As English and Indonesian language are not

closely related, this strategy can be difficult to apply although it does occur.


15

Example 2. ST: Jesus, I belong to you (5 words/7 syllables)

TT: Yesus, aku milikmu (3 words/7 syllables)

The excerpts above are taken from the songs “With All I Am” and “Di

TanganMu”. In the ST, the preposition “to” is a part of prepositional verb “belong

to”. It shows possession which can be translated into “milik”. In the TT, the

pronoun “kamu” is linked with the preceding word by turning it into suffix “-mu”,

thus becoming “milikmu”.

b. Addition of words

This strategy is applied by adding new word(s) into the TT which is/are

not present in the ST. It usually occurs when the ST has fewer syllables than the

TT after all the words are translated. The contents in the TT are not the same with

what are conveyed in the ST (Åkerström, 2009, p. 18).

Example 3. ST: Tuk mencintai aku tulus dan apa adanya (7 ws./15 ss.)

TT: And take me as I am now and forever more (10 ws./12 ss.)

The excerpts above are taken from the song “Virus” and its English

version. The TT adds a new element with the phrase “now and forever more”

which indicates that the request to be taken at the exact moment until eternity.

c. Omission of words

This strategy is applied by omitting the word(s) in the ST when translated

into the TT. It usually occurs when the ST has more syllables than the TT after all

the words are translated. A strategy can be categorized as omission if the TT is

“too far from the original text” (Åkerström, 2009, p. 20).

Example 4. ST: In quietness and trust (4 words/6 syllables)

TT: Dalam keheningan (2 words/6 syllables)


16

The excerpts above are taken from the songs “Still” and “Lingkupiku”.

The TT does not include the translation of “trust” which, if done, will add more

syllables to the line. The omission, however, results in a missing piece of message

originally conveyed in the ST.

d. Use of metaphors

This strategy is applied by expressing a person or object in the format of a

picture that has similar characteristics (Åkerström, 2009, p. 20). A translator

might not translate a metaphor if another strategy is perceived more important.

Example 5. ST: When the oceans rise and thunders roar (7 ws./9 ss.)

TT: Di saat badai bergelora (4 ws./9 ss.)

The excerpts above are taken from the songs “Still” and “Lingkupiku”.

The ST is a metaphor for hard times which is translated into the TT with

corresponding metaphor despite using different expressions: “oceans rise and

thunders roar” and “badai bergelora”.

e. Use of rhymes

This strategy is applied by repeating similar sound at the end of different

lines or within the same line (Åkerström, 2009, p. 22). A translator might use this

strategy regardless of whether the ST has a rhyme pattern.

Example 6. ST: It's so easy to let your imagination go (8 words/13 syllables)

When you play with Oreo (5 words/7 syllables)

TT: Imajinasikan cara yang kamu mau (5 words/13 syllables)

Nikmati oreomu (2 words/7 syllables)

The excerpts above are taken from other Oreo‟s jingles i.e. “Play with

Oreo” and “Nikmati Oreo Sesukamu”. Each line in the ST ends with [oʊ] sound to

create rhyme pattern of a-a which is maintained in the TT by repeating [u] sound.


17

f. Reorganization of words and lines of text

This strategy is applied by repositioning word(s) to another line

(Åkerström, 2009, p. 24).

Example 7. ST: So take me as You find me (7 words/7 syllables)

All my fears and failures (5 words/7 syllables)

TT: Kau rela menerima (3 words/7 syllables)

Aku apa adanya (3 words/7 syllables)

The excerpts above are taken from the songs “Mighty to Save” and

“Sanggup S‟lamatkan”. The TT is translated only from the first line of the ST.

The first line is the translation of “So take me” and the second one is “as You find

me”. Therefore, the second line of the TT is reorganization of words originally

taken from the first line of the TT.

g. Use of paraphrases

This strategy is applied by expressing meaning by using other words while

still maintaining the original meaning (Åkerström, 2009, p. 28). It also includes a

translator‟s interpretation to the lyrics as long as the TT still maintains the original

idea found in the ST (Åkerström, 2009, p. 26).

Example 8. ST: As the deer panteth for the water (7 words/9 syllables)

TT: S‟perti rusa rindu sungai-Mu (4 words/9 syllables)

The excerpts above are taken from the songs “As the Deer” and “S‟perti

Rusa Rindu Sungai-Mu”. In the TT, “sungai-Mu” is not the literal translation of

“the water”, but rather a paraphrase of Indonesian word “air”. This paraphrase is

based on a reference to a bible verse that the translator is knowledgeable about.


18

h. Use of source language words in the translations

This strategy is applied by keeping the original words untranslated in the

TT (Åkerström, 2009, p. 27). It can occur when the target language lacks

equivalent words.

Examples 9. ST: Mamma mia, here I go again (6 words/9 syllables)

TT: Mamma mia, är jag där igen? (6 words/9 syllables)

The excerpts above are taken from the songs “Mamma Mia” in English

and Swedish version. “Mamma mia” itself is not originally English, but rather an

Italian expression of surprise or excitement. It is maintained in the TT as the

expression is the title of the original song as well as the central theme of it.

C. Theoretical Frameworks

There are three theories applied in conducting the present thesis. Theory

of translation functions as the basis for understanding the meaning of translation.

Theory of song translation (Herman & Apter, 2016) functions as the basis for

understanding the fundamental elements of song translations. Theory of

foreignization in song translation (Herman & Apter, 2016) functions as the basis

for understanding why the source text element is retained in the target text.

Theory of musical devices (Perrine, 1969) functions as the basis for analyzing the

musical devices found in a song‟s lyrics. Theory of song translation strategy

(Åkerström, 2009) functions as the basis for determining the strategies of

translating a song‟s lyrics.


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CHAPTER III

METHODOLOGY

This chapter covers the methodology in conducting the present study and

consists of four parts: areas of research, object of the study, method of the study,

and research procedure. The first part describes in brief the area of translation

study. The second part describes the object being studied for the present thesis.

The third part describes the method taken in conducting the present thesis. The

fourth part describes the procedure in collecting the data.

A. Areas of Research

The present thesis is concerned with the analyses of the musical devices

and strategies applied in the translation of Oreo‟s jingle “Wonderfilled” into

“Penuh Keajaiban”. A jingle is a genre of literary text of which the lyrics are

written in a similar fashion to poetry. Therefore, the area of the present thesis is

genre translation since it includes “both traditional literary genres such as drama,

poetry, and prose fiction as well as other clearly defined types of text for

translation such as multimedia texts, religious texts, children‟s literatures, tourism

texts, technical texts, and legal documents” (Williams & Chesterman, 2002, p. 9).

B. Object of the Study

The objects of the present thesis are the lyrics of the 60-second version of


20

Oreo‟s jingle “Wonderfilled” as the ST and “Penuh Keajaiban” as the TT.

“Wonderfilled”, performed by Owl City, debuted in 2013 in an animated 90-

second TV commercial that marked the start of Oreo‟s Wonderfilled campaign. It

is divided into 5 stanzas for a total of 21 lines. The jingle‟s lyrics and music are

written by The Martin Agency creative director Dave Muhlenfeld and its

animation is created by Martin Allais.

The 60-second version of “Wonderfilled” is sung by Japanese band Sekai

no Owari‟s lead singer Nakajin. This version removes the first stanza of the 90-

second version; therefore, it is not used for the present thesis. The animation,

intended for worldwide release, undergoes alteration by replacing all English

words with other animated images. “Penuh Keajaiban”, sung by Pungky Purnanto,

debuted in Indonesia in 2015. The Indonesian version is translated by Devera

Faridz from the 60-second version of “Wonderfilled”. The animation for TV

commercial uses the altered version that contains no animated English words.

The present thesis uses the entire lyrics of the 60-second versions.

“Wonderful” has 15 lines which are divided into 4 stanzas. Likewise, “Penuh

Keajaiban” consists of 15 lines in 4 stanzas.

C. Method of the Study

The method of present thesis is qualitative research that is reinforced with

library and explicatory research methods. A qualitative research pertains to “any

research whose results are captured in words, images, and nonnumeric symbols”

(George, 2008, p. 7). The present thesis is qualitative research since the data and


http://lookbook.adage.com/Agencies/Martin-Agency

21

the findings are described in the form of words rather than number or figures. The

results will be presented in the form of measurement i.e. numbers of occurrences

of the translation strategies and musical devices. Nonetheless, its purpose is for a

more structured analysis, rather than a basis for analysis.

The library research method is applied in the present thesis since it

“involves identifying and locating sources that provide factual information or

personal/expert opinion on a research question” (George, 2008, p. 6). The present

thesis utilizes the relevant theories and studies previously done by the academics

in the translation studies. The explicatory research method “entails a careful,

close, and focused examination of a single major text in an attempt to understand

one or more aspects of it” (George, 2008, p. 6). This method is utilized in

analyzing the musical devices and translation strategies of the objects of the study.

D. Research Procedure

1. Type of Data

There is one type of data in the present study which is categorized into

objective data. The data are taken from the lyrics of Oreo‟s jingle “Wonderfilled”;

performed by Japanese band Sekai no Owari‟s lead singer Nakajin; as the ST and

its Indonesian version “Penuh Keajaiban”; performed by Pungky Purnanto; as the

TT. Each version‟s lyrics are divided into 4 stanzas for a total of 15 lines.

2. Data Collection

The data were collected from the internet by searching for the written

lyrics, followed by listening closely to both jingles to eliminate possible errors


22

from the written source. Afterwards, the lyrics were divided stanza by stanza for

the analysis of musical devices and line by line for the analysis of the translation

strategies. All the collected data are coded in a table as exemplified below,

Table 1. Example of Data Coding

No. Data ST WC/SC No. Data TT WC/SC

1/ST/S1/L1 Wonder if I

gave an Oreo 6/9 1/TT/S1/L1

Bayangkanku

beri Oreo 3/9

in which:

1 : Number of the entire data

ST : Source Text (“Wonderfilled”)

TT : Target Text (“Penuh Keajaiban”)

S : Number of stanza

L : Number of line in given stanza

WC : Word Count

SC : Syllable Count

3. Population and Sample

The present thesis does not use sampling as the entire population of data is

used for the analysis. The population is the total amount of lines between both

texts. “Wonderfilled” consists of 15 lines and “Penuh Keajaiban” also consists of

15 lines. Thus, the population amounts to 30 lines.

4. Data Analysis

The data analysis is presented into two parts based on the problem

formulation of the present thesis. The first part covers the analysis musical devices


23

found in the ST and the TT by applying Perrine‟s theory. The example of the

musical devices analysis is provided below.

“Wonderfilled”

Cause cream does wondrous things a

Inside a chocolate sandwich dream a

“Penuh Keajaiban”

Kar‟na krimnya sangat a

Nikmat dalam sandwich coklat a

This example is taken from Stanza 2 where the ST applies rhyme pattern

of a-a in which the italized a represents approximate rhyme. The TT translation,

however, applies perfect rhyme pattern of a-a. In-depth analysis of the musical

devices found in stanza 3 is presented in the following chapter.

The second part covers the analysis of translation strategies by applying

Åkerström‟s theory. The analysis of translation strategies is exemplified below.

Table 2. Example of Translation Strategies Analysis




Bayangkanku

beri Oreo 3/9

The strategy applied for this datum is paraphrase. The word “wonder” in

the source text pertains to “a desire to know” (Cambridge Dictionary) and its

literal translation is “bertanya-tanya” or “ingin tahu”. The target text is

paraphrased into “bayangkan” which KBBI Daring defines as “menggambarkan

dalam pikiran”. The closest translation of this word in English language is

“imagine”. Further analysis is presented in the next chapter.


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CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This chapter discusses the findings of the present thesis and is divided into

2 main parts based on the problem formulation. The first part covers the

discussion of musical devices found in the jingle‟s original English version

“Wonderfilled” and its Indonesian version “Penuh Keajaiban”. The second part

covers the discussion of the strategies applied in translating the jingle.

A. The Musical Devices Found in “Wonderfilled” and “Penuh Kejaiban”

The analysis of musical devices in the present thesis is conducted stanza

by stanza. Each version of the jingle contains four stanzas. The present thesis uses

the theory of musical devices by Perrine (1969) that consist of alliteration

(repetition of initial consonant sounds), assonance (repetition of vowel sounds),

consonance (repetition of final consonant sounds), and rhyme (repetition of vowel

sounds and all the suceeding sounds) (pp. 179-180).

In total, there are 35 musical devices found in the source text, slightly

higher than those of the target text with 33 occurrences. Although these numbers

are almost identical, the chart shows that the musical devices found in the source

text are more evenly distributed as compared to the target text. The range is from

8-10 occurrences in the source text, but from 2-15 occurrences in the target text.

The findings are summarized in the chart below.


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Figure 2. The Number of Musical Devices Found

in “Wonderfilled” (ST) and “Penuh Kejaiban” (TT)

Assonance in the source text occurs around 67% lower compared to the

target text. The phenomenon has its origin in the fact that Indonesian language

does not have many vowel sounds variation as opposed to English language that

has plenty. Consonance occurs four times as many in the source text, indicating

the target text; with only 2 occurences; does not put too much attention on this

musical device.

Minor differences are found in alliteration and rhyme. For alliteration, the

source text has only one less than the target text. Both versions utilize alliteration

as the line‟s opener, although it is found more frequently in the source text. For

rhyme, the source text has two more than the target text. Since there are various

types of rhymes, its breakdown is provided in the tables below, starting from the

source text.

0

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

Alliteration Assonance Consonance Rhyme

ST

TT


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Table 3. Types of Rhyme in “Wonderfilled”

Syllable Position

Masculine

Rhyme

Feminine

Rhyme Total

Internal Rhyme 3 0 3

End

Rhyme

Perfect 3 1 4

Approximate 3 0 3

Total 9 1 10

There is one feminine rhyme found in the source text which comes from

the repetition of the same word “Oreo”, while masculine rhyme makes up the

majority of rhymes with eight occurrences. End rhyme occurs seven times, while

there are only three internal rhymes, two of which come from repetitions of the

same words “I” and “them”. To compare the findings, the breakdown of rhymes

found in the target text is provided below.

Table 4. Types of Rhyme in “Penuh Keajaiban”

Syllable Position

Masculine

Rhyme

Feminine

Rhyme Total

Internal Rhyme 1 0 1

End

Rhyme

Perfect 4 1 5

Approximate 1 0 1

Total 6 1 7

Similar to the source text, there is also one feminine rhyme found in the

target text which comes from the repetition of the same word “Oreo”. Masculine

rhyme also makes up the majority with seven occurrences. End rhyme occurs six


27

times, far more frequent than internal rhyme that occurs once by the repetition of

the same word “bayangkanku”. It can be inferred from this that the target text

emphasizes the importance of rendering end rhyme, even though the patterns are

not similar.

The discussion for the musical devices which are found in “Wonderfilled”

and “Penuh Keajaiban” is presented below, starting from the first stanza until the

last one. For the sake of convenience, the musical devices are presented in

subsection based on its types i.e. alliteration, assonance, consonance, and rhyme.

1. Stanza 1

“Wonderfilled”

Wonder if I gave an Oreo a

To a vampire in a creepy show a

Would he not act so undead b

Would he thirst for milk instead? b

I‟ve just got a feeling that it might c

Work out all right c


Bayangkanku beri Oreo a

„Tuk si vampir yang menyeramkan b

Akankah dia berubah? b

Dengan susu segelas B

Kurasa semua kan jelas B

Menyenangkan b

The analysis of the findings is presented below based on the four types of

musical device in accordance with Perrine‟s theory (1969).

a. Alliteration

There is one occurrence of alliteration found in the source text which is the

repetition of initial consonant sound [w] as found in the group of words “wonder”


28

in line 1, “would” in line 3 & 4, and “work” in line 6. One important similarity

that these words share is that they are all the opener of their respective line,

meaning that four out of six lines begin with [w] sounds. Contrary to the source

text, the target text begins every line in stanza 1 with different sounds, whether it

is vowel or consonant sound.

Alliteration does occur in the target text; all of which are within the same

line. The first one is the repetition of initial consonant [b] sounds in “bayangkanku

beri” in line 1. The second one is the repetition of initial consonant [s] sounds in

“susu segelas” in line 4.

b. Assonance

There are three occurrences of assonance found in the source text, two of

which are within the same line and one across multiple lines. The first and second

ones are the repetitions of vowel [ɪ] sounds. In line 4, the [ɪ] sound is repeated in

“milk instead”. In line 5, the [ɪ] sound is repeated in “feeling that it”. The third

one is the repetition of vowel [aɪ] sounds in the pairing of word “I” in line 1 and

“vampire” in line 2, both of which, when the jingle is sung, mark the halfway

point of their respective line. This case might be considered an approximate

internal rhyme; however, since Perrine (1969) puts emphasis on approximate

rhyme at the end of line (p. 180), the present thesis categorizes this as assonance.

In the target text, assonance occurs eight times. Two are found in line 2:

the repetition of vowel [i] sounds in “si vampir" and [a] sounds in “vampir yang

menyeramkan”. One is found in line 3: the repetition of vowel [a] sounds in

“akankah dia berubah”. Two are found in line 4: the repetition of vowel [ə] and


29

[a] sounds in “dengan susu segelas”. Three are found in line 5: the repetition of

vowel [u] in “kurasa semua”, [ə] sounds in “semua kan jelas”, and [a] sounds in

“kurasa semua kan jelas”.

c. Consonance

There are six occurrences of consonance found in the source text; five of

which are within the same line and one across multiple lines. Interestingly, four of

them repeat the same final consonant [t] sounds. The first one is found in line 3 in

“not act”. The second one is found in line 5 in “just got a feeling that it might”.

The third one is found in line 6 in “out all right”. The fourth one is akin to internal

rhyme, but cannot be considered one since the repeated sound is only

approximate. The words “not” (line 3), “thirst” (4), “got” (5), and “out” (6) are the

halfway point of their respective line and end in [t] sounds.

The other two occurrences repeat the final consonant [d] sounds. The first

one is found in the pairing of “would” and “undead”; respectively the opening and

closing word of line 3. The first one is found in the pairing of “would” and

“instead”, respectively the opening and closing word of line 4.

Consonance only occurs once in the target text, which is found in the

repetition of final consonant [h] sounds in “akankah dia berubah” in line 3. This is

a contrast to the source text that, in addition to the occurrences within the same

line, utilizes consonance as substitute for internal rhyme.

d. Rhyme

The source text has a rhyme pattern of a-a-b-b-c-c, meaning that there are

three occurrences of end rhyme. The first one is the a-a pattern which repeats the


30

final [oʊ] sounds in the words “Oreo” and “show”. The second one is the b-b

pattern which repeats the final [ɛd] sounds in the words “undead” and “instead”.

The third one is the c-c pattern which repeats the final [aɪt] sounds in the words

“might” and “right”. All three rhymes are categorized as masculine rhyme since

each involves only one syllable and as perfect rhyme since the repeated sound is

identical.

There is one internal rhyme found in the source text, which is the

repetition of [ɑt] sounds in the pairing of word “not” (line 3) and “got” (line 5).

This is also categorized as masculine rhyme since only one syllable is involved. It

is worth mentioning that other musical devices are applied the middle of lines:

assonance of [aɪ] in line 1-2 and consonance of [t] in line 3-6. If these repetitions

of sound occur at the end of line, these can be considered approximate rhymes to

create a pattern of a-a-b-b-b-B, in which the b-b pattern represents perfect rhyme.

The target text applies rhyme pattern of a-b-b-B-B-b. The letter b

represents the similarity that the sound possesses at the end of each line, which is

the vowel [a] sound. The b-b pattern is the repetition of [an] sounds in the pairing

of word “menyeramkan” and “menyenangkan”. These words repeat [kan] sounds;

however, the onset [k] sounds are not essential in the categorization of perfect

rhyme. The B-B pattern is the repetition of [as] sounds in the pairing of word

“segelas” and “jelas”. These words repeat [las] sounds; however, the onset [l]

sounds are not essential in the categorization of perfect rhyme. The symbol “b”

represents [ah] sound in the word “berubah” which creates approximate rhyme


31

with “b” ([an] sound) and “B” ([as] sound). Therefore, there are two perfect and

one approximate end rhymes found in this stanza.

2. Stanza 2

“Wonderfilled”

Cause cream does wondrous things a

Inside a chocolate sandwich dream a


Kar‟na krimnya sangat a

Nikmat dalam sandwich coklat a



a. Alliteration

There is one occurrence of alliteration found in the source text which

repeats the initial consonant [k] sounds in “cause cream”, the translation of which

is also the sole alliteration found in the target text which repeats initial consonant

[k] sounds in “kar‟na krimnya”.

b. Assonance

There are two occurrences of assonance found in the source text; one of

which is within the same line and one across multiple lines. The first one is the

repetition of vowel [ʌ] sounds in “does wondrous” in line 1. The second one is the

repetition of vowel [ɪ] sounds in “things” and “inside”. Both words do not share

the same position in their respective line (either at the start or in the middle), but it

is considered assonance since both are sung in sequence.


32

Assonance occurs two times in the target text; all of which are within the

same line and repeat the vowel [a] sounds. The first one is applied in line 1‟s

“kar‟na krimnya sangat” and the second one in line 2‟s “nikmat dalam sandwich

coklat”.

c. Consonance

There is one occurrence of consonance found in the source text which

repeats the final consonant [z] sounds in “cause cream does wondrous things” in

line 1. One consonance is also found in the target text; across multiple lines but

the words are in sequence, much like the case of assonance of [ɪ] in the source

text. The words “sangat” and “nikmat” repeats the final consonant [t] sounds.

d. Rhyme

The source text has a rhyme pattern of a-a, meaning that there is one

occurrence of approximate end rhyme. The first line ends in [ɪŋz] sound, while the

second line ends in [i:m] sound. Neither the vowel nor the consonant sounds are

the same, but they have enough similarities for the pairing of sound to be

categorized as approximate rhyme. The vowel sounds are front unrounded, though

[ɪ] is near-high, while [i:] is high. The consonant sounds are voiced nasal, though

[n] is alveolar, while [m] is bilabial. This is categorized as masculine rhyme since

it involves only one syllable.

The target text has a rhyme pattern of a-a which represents perfect end

rhyme. This rhyme is achieved by repeating the [at] sounds at the end of each line

with the words “sangat” and “coklat”.


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3. Stanza 3

“Wonderfilled”

If I gave them to great white sharks a

Would they share them with baby seals? b

Would they call up a giant squid for a friendly meal? b


Bila si hiu datang a

Kuberi Oreo lagi b

Bisakah dia bersahabat dan berbagi? b



a. Alliteration

There are four occurrences of alliteration found in the source text, two of

which are within the same line and two across multiple lines. The first one is the

repetition of initial consonant [ð] in “they share them” in line 2. The second one is

the repetition of initial consonant [w] sounds in “would” and “with” in line 2. The

third one is the repetition of initial consonant [w] sounds in the same words

“would” at the start of line 2 and 3. The third one is the repetition of initial

consonant [s] sounds in the pairing of word “sharks” and “seals” at the end of line

1 and 2.

In the target text, alliteration occurs two times by repeating initial

consonant [b] sounds: one within line, one across multiple lines. The first

occurrence is at the start of line 1 and 3 in the words “bila” and “bisakah”. The

second one is within line 3 in the words “bisakah”, “bersahabat”, and “berbagi”.

Alliteration might be the reason why the word “would” is paraphrased into

“bisakah” in this stanza.


34

b. Assonance

There are four occurrences of assonance found in the source text; all of

which are within the same line. The first one is the repetition of vowel [eɪ] sounds

in “gave” and “great” in line 1. The second one is the repetition of vowel [ɛ]

sounds in “share them” in line 2. The third one is the repetition of vowel [i]

sounds in “baby seals” in line 2. The fourth one is the repetition of vowel [i]

sounds in “friendly meal” in line 3.

In the target text, assonance occurs five times. One is found in line 1

which is the repetition of vowel [i] sounds in “bila si". Another one is found in

line 2 which is the repetition of vowel [i] sounds in the words “kuberi” and “lagi”.

The remaining three are found in line 3 which are the repetition of vowel [i]

sounds in “bisakah” and “berbagi”, vowel [ə] sounds in “bersahabat dan berbagi”,

and vowel [a] sounds in “bisakah dia bersahabat dan berbagi”.

c. Consonance

There is one occurrence of consonance found in the source text which

repeats the final consonant [t] sounds in “great white” in line 1. There is no

consonance found in the target text.

d. Rhyme

The source text has a rhyme pattern of a-b-b, meaning that there is one

occurrence of end rhyme. The pattern of b-b represents [i:lz] sound which ends

line 2, and [i:l] sound which ends line 3. It is categorized as approximate rhyme

since line 2 adds final consonant [z] sound, thus the repetition of sound becomes


35

non-identical. Internal rhyme occurs once in the repetition of [ɛm] sounds in the

pairing of the same word “them” in the middle of line 1 and 2.

The target text has a rhyme pattern of a-b-b which is similar to the source

text, albeit it uses perfect instead of approximate rhyme. The b-b pattern is

achieved by the repetition of [i] sounds in the pairing of word “lagi” and

“berbagi” at the end of line 2 and 3. These words repeat [gi] sounds; however, the

onset [g] sounds are not essential in the categorization of perfect rhyme.

4. Stanza 4

“Wonderfilled”



What if I gave an Oreo to you? a




Dunia penuh keajaiban b

Kalau kuberi Oreo „tuk kamu c




a. Alliteration

There are two occurrences of alliteration in the source text; all are across

multiple lines. The first one is the repetition of initial consonant [w] sounds in the

repeated words “wonder” at the start of line 1, 2, and 4 as well as “what” at the

start of line 3. The second one is the repetition of initial consonant [g] sounds in

the repeated words “give” that start the second half of line 1, 2, and 4.


36

In the target text, alliteration occurs four times, three of which are within

the same line and one across multiple lines. The first and second ones are the

repetitions of initial consonant [b] sounds in the repeated words “bayangkanku

beri” in line 1 and 4. The third one is the repetition of initial consonant [k] sounds

in the “kalau” “kuberi”, and “kamu” in line 3. The fourth one is the repetition of

[b] sounds in the repeated words “bayangkanku” at the start of line 1 and 4.

b. Assonance

There is one occurrence of assonance found in the source text which is the

repetition of vowel [u] sounds in the phrase “to you”. Since the lyrics are mostly

made of repetitions, the case of assonance across multiple lines can best be

categorized as rhyme. For example, the repetition of vowel [aɪ] sounds in the

middle of line 1, 2, and 4 is categorized as internal rhyme. Assonance occurs

once in the target text by repeating the vowel [u] sounds in the phrase “dunia

penuh” in line 2.

c. Consonance

Similar to assonance, consonance is not found in the source text due to

repetition of words. For example, the repeated words “wonder” in line 1, 2 and 4

repeat not only the final consonant [r] sounds, but also the vowel [ə] sounds. No

consonance is found in the target text either.

d. Rhyme

The source text has a rhyme pattern of a-a-a-a, meaning that there are two

end rhymes: one perfect and one approximate. The a-a-a pattern represents the

repetition of [ɪoʊ] sounds at the end of line 1, 2, and 4 in the repeated words


37

“Oreo”. It is categorized as feminine rhyme since the sounds involve two

syllables. The symbol “a” represents [u] sound at the end of line 3 in the word

“you” and creates approximate rhyme with [oʊ] sounds, taken from the last

syllable of [ɪoʊ] sounds. It is categorized as approximate rhyme since both [u]

and [oʊ] are back rounded vowels and as masculine rhyme since it only involves

one syllable. One internal rhyme occurs in the source text by repeating [aɪ] sounds

in the words “I” which are positioned in the middle of line 1, 2, and 4.

The target text has a rhyme pattern of a-b-c-a. The a-a pattern is achieved

through the repetition of [eo] sounds in the words “Oreo” at the end of line 1 and

4. This is categorized as feminine rhyme since it involves two syllables. One

internal rhyme also occurs in the target text by repeating [u] sounds in the words

“bayangkanku” which are positioned in the middle of line 1 and 4. This is

categorized as masculine rhyme since it only involves one syllable.

B. The Translation Strategies to Achieve the Musical Devices

The analysis of translation strategies in the present thesis is conducted line

by line. Since there are 15 lines in both versions, the number of data for

“Wonderfilled” is 15, and so is “Penuh Keajaiban”. The present thesis uses the

translation strategies proposed by Åkerström (2009). Therefore, this part is further

divided into two subparts.

1. The Features

There are two features in song translation which are word count and

syllables vs. words (Åkerström, 2009, pp. 13-15). These features, in short,


38

compare the number of words as well as syllables and how these numbers affect

translators‟ decision in applying particular strategies. They represent the

interaction between the verbal and the musical sign.

Word count is related to the verbal signs since it focuses on the meaning.

Word is counted as one continuous unit as it is written, meaning contraction or

short form (e.g. “I‟ve” or “bayangkanku”) is counted as one word. The features in

the translation of “Wonderfiled” into “Penuh Keajaiban” are summarized in the

table below.

Table 5. Comparison of word count and syllable count

between “Wonderfilled” (ST) and “Penuh Keajaiban” (TT)

Line Word Count Syllable Count

ST TT ST TT

1 6 3 9 9

2 7 5 9 9

3 6 3 7 7

4 6 3 7 7

5 8 4 9 9

6 4 1 4 4

7 5 4 6 6

8 5 3 8 8

9 8 4 8 7

10 7 3 8 8

11 11 5 12 12

12 6 3 9 9

13 6 3 9 9

14 8 5 10 11

15 6 3 9 9

Total 99 52 124 124

The target text contains significantly fewer words than the source text,

only making up around 53% of the source text. However, the number of syllables


39

in the target text matches exactly the syllable count of the source text, though, it

should be noted that line 9 and 14 do not match the syllable count of the source

text. Nevertheless, the deviation counts only at one syllable. Whereas line 9 omits

one syllable, line 14 adds one syllable which results in the same syllable count in

total.

Syllable count is related to the musical signs since the lyrics must fit the

musical notes. Syllable is counted as it is sung, not as it is normally pronounced

(e.g. “dia” in “Penuh Keajaiban” has one syllable instead of two). The occurrence

of words based on the number of syllable(s) is presented in the figure below.

Figure 3. Relative comparison of number of words based on syllable count

The source text contains one-, two-, and three-syllable words while the

target text adds four- and five-syllable words into its diction. The source text has

no less than 79 one-syllable words or almost 80% of total words. Two-syllable

0%

10%

20%

30%

40%

50%

60%

70%

80%

One Two Three Four Five

ST

TT


40

words occur 15 times and three-syllable 5 times. Interestingly, “Oreo” is the only

word that has three syllables in the source text, meaning that the word is repeated

5 times throughout the jingle.

In comparison, the number of monosyllabic words found in the target text

is 9 or 17% of total words. Two- and three-syllable words constitute the majority

of lyrics with 21 and 16 words respectively. Four- and five-syllable words, which

do not appear in the source text, occur five times and once respectively for a total

of approximately 12%, as compared to 0% in the source text.

English language is not generally considered a monosyllabic language.

Still, its vocabularies do have considerable amount of one-syllable words, as

evident from the source text. On the contrary, Indonesian language does not

possess vast amount of one-syllable words. In fact, the target text only contains

four genuine one-syllable words: “si” (twice), “yang”, and “dan”.The other five

are either clipped words (“„tuk” and “„kan”) or monosyllabic as it is sung (“dia”).

In order to maintain the syllable count, the target text cuts 47 words from

the original the source text. The number is high, both in absolute and relative

term. Loss of some meanings in the target text is inevitable, but the translator can

pick a strategy that she sees fit to make the translation remain faithful while

maintaining the musical devices.

2. The strategies

There are eight strategies in song translation which are word-for-word

translation, addition, omission, metaphor, rhyme, reorganization, and source word

(Åkerström, 2009, p. 5). Even though the analysis of translation strategy in the


41

present thesis is conducted line per line, the number of strategies applied is

accumulated. In the case of rhyme strategy, the occurrence is counted by the

number of pairing since a rhyme can only occur by repetition of two or more

words. In total, there are 22 strategies applied in 15 lines, meaning that there are

lines with multiple strategies applied. In total, there are 5 lines that apply a single

strategy while the other 10 apply multiply strategies. The occurrences of strategies

in the translation of “Wonderfilled” into “Penuh Kejaiban” are summarized in the

figure below.

Figure 4. The occurrences of strategies

There are three strategies which are not put into use. Word-for-word

translation is more common in two closely related languages (Åkerström, 2009, p.

17). It is no surprise that this strategy is not applied since the syllable count of the

target text will far exceed the syllable count of the source text. Addition strategy is

Paraphrase

Omission

Rhyme

Reorganization

Source Word

0 1 2 3 4 5 6 7 8 9


42

not necessary since the target text is already short in words. Metaphor strategy is

not applied simply because the source text does not contain any metaphors.

Paraphrase is by far the most common strategy applied with 9 occurrences.

Rhyme and omission come second with 5 occurrences, followed by reorganization

(3), and source word a single occurrence. The application of strategies is

discussed below based on the order of the line.




Bayangkanku

beri Oreo 3/9

Datum 1/TT/S1/L1 applies paraphrase strategy. As a verb, “wonder”

means “to ask yourself questions or express a wish to know about something”

(Cambridge Dictionary) and can be literally translated into “ingin tahu”. The

target text is paraphrased into “bayangkan” which is defined as “menggambarkan

dalam pikiran” (KBBI Daring). The closest translation of this word in English

language is “imagine”. To conclude, the source text wants to know what would

happen if an Oreo were given to particular person or entity, while the target text

persuades the audiences to imagine the event. Although the choices of words are

different, both texts have the same idea: envisioning a hypothetical situation.

Paraphrasing the lyrics into “bayangkanku beri” also results in the

occurrence of alliteration by repeating the [b] sounds, which is the only musical

device found in the target text. This means that the alliteration of [w] sounds

in”wonder”, assonance of [aɪ] sounds in “I”, and perfect rhyme of [oʊ] sounds in

“Oreo” in the ST are not rendered in the target text.


43


1/ST/S1/L2

To a vampire

in a creepy

show

7/9 1/TT/S1/L2

„Tuk si vampir

yang

menyeramkan

5/9

Datum 1/TT/S1/L2 applies paraphrase and rhyme (paired with datum

1/TT/S1/L6) strategy. The word “show” is omitted which results in a different

interpretation. In the target text, the quality of “creepy”, which is translated into

“menyeramkan”, is given to the vampire, while in the source text it is given to the

show. However, this can still be considered a paraphrase since “show” does not

give any significant meaning throughout the jingle other than to create a rhyme. In

short, whether it is the vampire or the show, both texts visualize a situation where

Oreo meets creepiness. In addition, the word “a” is paraphrased into “si”, rather

than “seorang”, to match the syllable count.

The word “vampir” itself is a foreignization but not considered a source

word strategy since it has gone through the process of naturalization. A vampire is

a mythological creature originated from abroad. This foreign element is retained

in the target text since this creature is already well-known in Indonesia, not to

mention the fact that the visual signs show animation of a vampire.

Paraphrasing the lyrics into “menyeramkan” and placing it at the end of

the line result in the occurrences of assonance by repeating the [a] sounds and

perfect rhyme by repeating the [an] sounds. Paraphrasing the lyrics into “si

vampir” also results in the occurrence of assonance by repeating the [i] sounds.

However, the assonance of [aɪ] sounds in “vampire” is not rendered in the target

text.


44


1/ST/S1/L3 Would he not

act so undead? 6/7 1/TT/S1/L3

Akankah dia

berubah? 3/7

Datum 1/TT/S1/L3 applies paraphrase strategy. The phrase “act not so

undead” is paraphrased into a single word “berubah”. In folklore, vampire is a

creature who is already dead but comes back to life, hence “undead”. A literal

translation of undead is “mayat hidup”. While this phrase is not necessarily

prohibited; either by censorship or taboo, the translator might feel it does not

conform to the young target audience.

Figure 5. Screenshot of the advertisement at 00:12

The visual signs of this line describe the nature of the undead, in which the

vampire opens his eyes inside his own coffin and proceeds to fly in his bat form in

search of his next victim. The Indonesian version relies on the visual signs to

describe this nature while paraphrasing the verbal signs.

Paraphrasing the lyrics into “berubah” and placing it at the end of the line

result in the occurrences of approximate rhyme by repeating the [a] sounds. It also


45

creates consonance by repeating the [h] sounds. This means that the target text

renders consonance found in the source text albeit with different [t] sounds.


1/ST/S1/L4

Would he

thirst for milk

instead?

6/7 1/TT/S1/L4 Dengan susu

segelas? 3/7

Datum 1/TT/S1/L4 applies omission and rhyme (paired with datum

1/ST/S1/L5) strategy. The target text omits the words “would”, “he”, and “thirst”

which are vital in giving meaning. The word “would” is actually the premise of

the jingle itself: What would happen if I gave an Oreo to a certain person or

entity? The word “he” refers to the vampire as the recipient of Oreo. The word

“thirst” is related to the characterization of a vampire (feeding on humans‟ blood),

which subsequently is not translated since the character (“he”) is left untranslated.

Figure 6. The animation at 00:16

The visual signs show animation of the vampire drinking milk in a bottle

instead of a glass („segelas”). The target text does not follow this animation by not

translating it into the more faithful word such as “botol”. It might look like


46

ignorance; however, the choice of the word “segelas” functions as a pairing of

perfect rhyme with the end of succeeding line to repeat the [as] sounds. The word

“segelas” also results in alliteration of [s] sounds and assonances of [ə] and [a]

sounds in the target text. This means that the target text renders assonance found

in the source text, albeit with different [ɪ] sounds. However, the omission of the

word “would” and “thirst” means that alliteration and consonance are not rendered

in the target text.


1/ST/S1/L5

I‟ve just got

this feeling

that it might

8/9 1/TT/S1/L5 Kurasa semua

„kan jelas 4/9


1/TT/S1/L4) strategy. The entirety of the target text is a paraphrase. The phrase

“I‟ve just got this feeling” is paraphrased into a single word “Kurasa” while the

subject “it” is paraphrase into “semua”. The word “‟kan” is added into the target

text to maintain syllable count, but this is not considered addition strategy since it

does not change the original meaning.

The word “might” is paraphrased into “jelas” of which its level of

certainty is higher than the source text. The target text uses paraphrase instead of

the more faithful translation (e.g. “mungkin”) to repeat the [as] sound from the

preceding line in order to create a perfect rhyme (“segelas”-“jelas”). The target

text also renders assonance from the source text, albeit with more occurrences;

three against one; and different sounds; [u], [ə], and [a] against [ɪ].


47


1/ST/S1/L6 Work out all

right 4/4 1/TT/S1/L6 Menyenangkan 1/4

Datum 1/TT/S1/L4 applies omission and rhyme (paired with datum

1/TT/S1/L2) strategy. The target text does not maintain the original meaning of

the source text which can be translated into “bekerja dengan baik” or “berhasil”.

The visual signs might serve as the basis for translating the phrase into

“menyenangkan” since the animation shows the vampire and a female human are

cheerfully dancing together.


In addition, paraphrasing the lyrics into the word “menyenangkan” creates

perfect rhyme with datum 1/TT/S1/L2; still in the same stanza; which repeats the

[an] sounds (“menyeramkan”-“menyenangkan”). In contrast with datum

1/TT/S1/L4, datum 1/TT/S1/L6 takes advantage of the animation to create the

rhyme. However, the omission strategy means that the alliteration of [w] sounds

in “work” and the consonances of [t] sounds in “out” and “alright” are not

rendered in the target text.


48


1/ST/S2/L1

Cause cream

does wondrous

things

5/6 1/TT/S2/L1 Kar‟na

krimnya sangat 3/6


1/TT/S2/L2) strategy. The paraphrase strategy is applied by changing the structure

of the sentence. While the source text uses Subject – Verb – Object structure, the

target text uses Subject – Subject Complement structure to describe the subject.

This datum and the next datum are linked one to another due to repositioning of

the object of the source text (“wondrous things”) to the next line. The use of

“krim” in the target text is not considered a source word strategy since it has gone

through naturalization process.

This datum closes with the word “sangat” to create perfect rhyme with the

succeeding line by repeating the [at] sounds. The alliteration of [k] sounds in the

source text (cause cream) is perfectly rendered in the target text (kar‟na krimnya).

The assonance of [ʌ] sounds found in the source text is rendered in the target text,

albeit with different [a] sounds.


1/ST/S2/L2

Inside a

chocolate

sandwich

dream

5/8 1/TT/S2/L2

Nikmat dalam

sandwich

coklat

4/8

Datum 1/TT/S2/L2 applies paraphrase, rhyme (paired with datum

1/TT/S2/L1), reorganization, and source word strategy. The target text repositions

the translation of “wondrous things” to this line and paraphrases it into “nikmat”


49

to describe Oreo‟s cream. The word sandwich, of which its literal translation is

“roti lapis”, is left as it is in the target text. A sandwich is a food originated in the

western world but has spread all over the world including Indonesia; therefore it is

already familiar to the target audience.

The word “coklat” closes datum 1/TT/S2/L2 to create perfect rhyme with

the ending word of datum 1/TT/S2/L1 (“sangat”) by repeating the sound [at]. This

means that the target text renders the approximate rhyme of the source text into

perfect rhyme. The reorganization strategy results in the occurrence of consonance

of [t] sounds in “sangat” and “nikmat” in the target text. This is the rendition of

assonance of [ɪ] sounds in “things” and “inside” found in the source text.


1/ST/S3/L1

If I gave them

to great white

sharks

8/8 1/TT/S3/L1 Bila si hiu

datang 4/7

Datum 1/TT/S3/L1 applies paraphrase strategy. The first half of this datum

is repositioned to the next line and only the second half (“to great white shark”) is

translated into the same line of the target text. The target text paraphrase “great

white sharks” into “si hiu”. The source text defines the exact type of the sharks

(the great while) while the target text does not. This is not considered an omission

strategy since it has no significance in giving meaning to the whole text. The

target text also adds article “si”, but this is not considered an addition strategy for

the same reason as the previous case.


50


The word “datang” is added to the target text, but it is not considered an

addition strategy since the content in the target does not undergo great alteration.

If anything, this word reinforces the visual signs which depict animation of a

shark leaping out of water and coming towards the lens to grab an Oreo, thus no

new meaning is added to the source text.

Paraphrasing the lyrics into “si hiu” results in the occurrences of assonance

by repeating the [i] sounds. This assonance is rendered from the target text, albeit

with different [eɪ] sounds from different source words: “gave” and “great”.


1/ST/S3/L2

Would they

share them

with baby

seals?

7/8 1/TT/S3/L2 Kuberi Oreo

lagi 3/8

Datum 1/TT/S3/L2 applies omission, rhyme (paired with datum

1/TT/S3/L3), and reorganization strategy. The whole target text is a translation of

the first half of datum 1/ST/S3/L1 (“If I gave them” in which “them” refers to

Oreo), hence the reorganization strategy.


51


The omission strategy occurs in removal of the phrase “baby seals”. Its

translation does not appear either in this line or in the subsequent line. It is

considered an omission since seals are actually one of sharks‟ favorite foods,

especially the pups who are easy target. The idea behind the lyrics is to see an

interaction between a predator and its prey if Oreo is thrown into the mix. The

visual signs play a big role in omitting this phrase since the animation depicts

three baby seals that rest on an ice floe.

The omission of “baby seals” in the target text and the choice of the word

“lagi” to close the line serve one main purpose, which is to create perfect rhyme

with the succeeding line by repeating the [i] sounds. In addition, it also creates

assonance of [i] sounds with the word “kuberi”. Due to the way it is paraphrased,

however, the alliteration in the source text are not rendered in the target text.


1/ST/S3/L3

Would they

call up a giant

squid for a

friendly meal?

11/12 1/TT/S3/L3

Bisakah dia

bersahabat dan

berbagi?

5/12


52

Datum 1/TT/S3/L3 applies paraphrase, rhyme (1/TT/S3/L2), and

reorganization strategy. This datum is unique since it is the translation of both

datum 1/ST/S3/L2 and 1/ST/S3/L3. Each datum consists of a hypothetical

situation (“would they […]?”). The word “would” is paraphrased into “bisakah”

instead of repeating “akankah” as found in datum 1/TT/S1/L3. The target text

combines these situations by using conjugation “dan” as in “bersahabat dan

berbagi”. The phrase “call up […] for a friendly meal?” is paraphrased into

“bersahabat” and the translation into “berbagi” is reorganization from the previous

line‟s “share”.


The omission strategy occurs in the removal of the phrase “a giant squid”.

Like baby seals, a giant squid has specific relationship with the great white shark

that is important in giving meaning to the jingle. Being able to grow up to 13

meters in length, a giant squid might pose a danger even to the great white. It

inhabits the deep sea and rarely swims up to the surface waters, opposite of the

great white that occasionally dives down only for certain reasons. The idea behind

the lyrics is to see an interaction between two creatures from different habitat that


53

might be hostile towards each other, again, if Oreo is thrown into the mix. The

omission is made possible by the visual signs that depict animation of a giant

squid that joins the sharks and seals on the ice floe and proceeds to embrace them

all with its tentacles.

Datum 1/TT/S3/L3 ends in the word “berbagi” which creates perfect

rhyme with the ending word of datum 1/TT/S3/L2: “lagi”. These two words make

a repetition of [gi] sound; however, the onset [g] sounds are not essential in the

categorization of perfect rhyme. Moreover, the reorganization of “berbagi” to this

line as well as the paraphrases into “bisakah” and “bersahabat” create alliteration

of [b] sounds despite the absence of alliteration within this line in the source text.

The combination of reorganization and paraphrase strategy in these three words

also results in three occurrences of assonance [i], [ə], and [a] sounds. In

comparison, there is only one occurrence of assonance in the source text.




Bayangkanku

beri Oreo 3/9


1/TT/S4/L4) strategy. The discussion of the paraphrase strategy can be found in

datum 1/TT/S1/L1 since datum 1/TT/S4/L1 is a repetition of datum 1/TT/S1/L1.

Datum 1/ST/S4/L1 itself is a repetition of datum 1/ST/S1/L1, meaning that the

same translation is applied for both data. This datum ends with the word “Oreo”

which creates perfect rhyme with the last line of stanza 4.


54




Dunia penuh

keajaiban 3/9

Datum 1/TT/S4/L2 applies omission strategy since the meaning of the

target text is far too different from the source text. Datum 1/ST/S4/L2 is a

repetition of datum 1/ST/S4/L1, which, in turn, is a repetition of datum

1/ST/S1/L1. Rather than repeating the translation, datum 1/TT/S4/L2 incorporates

the most important aspect of the jingle (and the advertising campaign) that has not

been mentioned before: “keajaiban”.

In the source text, the title “Wonderfilled” is represented by “wonder”

which is paraphrased into “bayangkan” in the target text. The word “wonder” is a

verb in the lyrics, but a noun in the title. The problem is there is no single word in

Indonesian language that simultaneously can capture the meaning of “wonder” as

verb and noun. The solution the translator takes is to have two different

translations of “wonder” (the verb is “bayangkan” and the noun is “keajaiban”)

and to integrate “keajaiban” into one of the repeated lines, which is datum

1/TT/S4/L2 that happens to have the word “wonder” in the source text.

The omission strategy results in assonance of [u] sounds in the phrase

“dunia penuh”. However, since the ending word “Oreo” is also omitted, this line

does not create rhyme with any other line.


1/ST/S4/L3

What if I gave

an Oreo to

you?

8/10 1/TT/S4/L3

Kalau kuberi

Oreo „tuk

kamu

5/11


55

Datum 1/TT/S4/L3 applies paraphrase strategy. The paraphrase occurs by

replacing the structure of the sentence. Whereas the source text is an interrogative

sentence, the target text is a declarative sentence. The target text does not lose the

original meaning, thus the removal of ”what” in the target text is not considered

an omission strategy.

The paraphrase strategy results in the alliteration of [k] sounds in the

words “kalau”, “kuberi”, and “kamu”. The assonance of [u] sounds in the phrase

“to you” in the source text is rendered in the target text also with the same sound

and translated phrase “‟tuk kamu”.




Bayangkanku

beri Oreo 3/9


1/TT/S4/L1) strategy. The discussion of the paraphrase strategy can be found in

datum 1/TT/S1/L1 since datum 1/TT/S4/L4 is a repetition of datum 1/TT/S1/L1.

Datum 1/ST/S4/L4 itself is a repetition of datum 1/ST/S1/L1, meaning that the

same translation is applied for both data. The word “Oreo” closes datum

1/TT/S4/L4 and creates perfect rhyme with the ending word of datum 1/TT/S4/L1

(also “Oreo”) by repeating the sound [eo].


56

CHAPTER V

CONCLUSION

The present thesis analyses the translation of Oreo‟s jingle “Wonderfilled”

into “Penuh Kejaiban”. These objects are appropriate for translation analysis

because, as per the theory of translation by Nida (1964), making sacrifices in

content is considered proper practice in translating song. There are two objectives

of the study. The first one is to find out the musical devices in “Wonderfilled” and

its Indonesian version “Penuh Keajaiban”. The second one is to identify the

translation strategies which are applied to achieve the musical devices.

For the first objective, the findings show that there are 35 musical devices

found in the source text and 33 in the target text. This phenomenon occurs

because not all musical devices in the source text are rendered in the target text. It

can be seen from the case of consonance with its rare 2 occurrences in the target

text; four times less than those in the source text. For example, the consonance in

datum 1/ST/S3/L1 is not rendered in datum 1/TT/S3/L1. Assonance occurs 67%

more frequently in the target text because Indonesian language does not possess as

many vowel sounds as English. Alliteration is utilized almost equally since its

occurrence is not much different between the source text (9) and the target text

(8). End rhyme can be clearly heard in the source text; therefore the target text

renders this musical device, albeit with the different patterns. Internal rhyme,

however, occurs only once in the target text compared to three in the source text.


57

Masculine rhyme makes up the majority of rhyme in both texts, in fact, feminine

rhyme only occurs due to repetition of the word “Oreo”.

For the second objective, the findings show that the target text applies

translation strategies that can render the musical devices from the source text.

Paraphrase strategy is the most frequently applied since the lyrics can be reworded

without changing the meaning of the source text. It results in the occurrences of

alliteration, assonance, consonance, and rhyme in the target text. Rhyme strategy

is the joint second most frequent strategy. It is applied so that the target text can

render the perfect rhymes which are extensively utilized in the source text.

Omission is the other second most frequent strategy. It is applied in order for the

target text to match the syllable count of the source text. It results in the

occurrences of assonance and rhyme in the target text. Reorganization strategy is

applied due to the target text‟s attempt to translate multiple lines into one. It

results in the occurrences of alliteration, assonance, consonance, and rhyme in the

target text. Source word strategy is applied since there is a word well-known to

the target audiences. It results in no musical devices in the target text.


58

REFFERENCES

Åkerström, J. (2009). Translating Song Lyrics: A Study of the Translation of the

Three Musicals by Benny Andersson and Björn Ulvaeus. Flemingsberg:

Södertörns University.

Anggaraeni, C. C. (2019). The Translation Shift and Musical Device Occurrences

in Christian Bautista's "Till the End of Time" and "Tetaplah di Hatiku".

Yogyakarta: Universitas Sanata Dharma.

Belch, G. E., & Belch, M. A. (2015). Introduction to Advertising and Promotion

(10th ed.). New York: McGraw Hill.

Cambridge Dictionary. (n.d.). Retrieved November 20, 2019, from

https://dictionary.cambridge.org/

Catford, J. C. (1965). A Linguistic Theory of Translation. London: Oxford

University Press.

Christyanti, S. A. (2018). The Indonesia Translation of "How Far I'll Go": A

Study of Its Strategies and Musical Devices. Yogyakarta: Universitas

Sanata Dharma.

Franzon, J. (2008). Choices in Song Translation. The Translator, 14(2), 373-399.

George, M. W. (2008). The Elements of Library Research: What Every Student

Needs to Know. Princeton: Princeton Uiversity Press.

Gupta, R. (2012). Advertising Principles and Practice. New Delhi: S. Chand

Publishing.

Herman, M., & Apter, R. (2016). Translating For Singing: The Theory, Art, and

Craft of Translating Lyrics. London: Bloomsbury Publishing.

KBBI Daring. (n.d.). Retrieved November 20, 2019, from

https://kbbi.kemdikbud.go.id

Krings, H. P. (1986). Translation Problems and Translation Strategies of

Advanced German Learners of French (L2). In J. House, & S. Blum-Kulka

(Eds.), Interlingual and Intercultural Communication: Discourse and

Cognition in Translation and Second Language Acquisition Studies (pp.

262-276). Tübingen: Gunter Narr.


59

Leni, C., & Pattiwael, A. S. (2019). Analyzing Translation Strategies Utilized in

the Translation of Song “Do You Want to Build a Snowman?”. Journal of

Language and Literature, 19(1), 55-64.

Low, P. (2005). The Pentathlon Approach to Translating Songs. In D. L. Gorlee

(Ed.), Song and Significance: Virtues and Vices of Vocal Translation (pp.

185-212). New York: Rodopi.

Newmark, P. (1988). A Textbook of Translation. New York: Prentice Hall

International.

Nida, E. (1964). Toward a Science of Translating: With Special Reference to

Principles and Procedures Involved in Bible Translating. Leiden: Brill.

Oreo Asia. (2015, August 6). Oreo Penuh Keajaiban_60s [Video file]. Retrieved

from https://www.youtube.com/watch?v=D1LM0L0l_kE

Oreo Malaysia. (2015, August 2). Oreo Wonderfilled Anthem ENG 60s [Video

file]. Retrieved from https://www.youtube.com/watch?v=B35PsaDY5Sc

Perrine, L. (1969). Sound and Sense: An Introduction to Poetry (3rd ed.). New

York: Harcourt, Brace & World, Inc.

Williams, J., & Chesterman, A. (2002). The Map: A Beginner's Guide to Doing

Research in Translation Studies. Manchester: St. Jerome Publishing.


60

APPENDICES

APPENDIX 1. "Wonderfilled" and “Penuh Kejaiban” Jingle’s Lyrics

WONDERFILLED

Writer : Dave Muhlenfeld

Singer : Nakajin

Wonder if I gave an Oreo

To a vampire in a creepy show

Would he not act so undead?

Would he thirst for milk instead?

I've just got this feeling that it might

Work out all right

Cause cream does wondrous things

Inside a chocolate sandwich dream

If I gave them to great white sharks

Would they share them with baby seals?

Would they call up a giant squid for a friendly meal?



What if I gave an Oreo to you?


PENUH KEAJAIBAN

Translator : Devera Faridz

Singer : Pungky Purnanto

Bayangkanku beri Oreo

„Tuk si vampir yang menyeramkan

Akankah dia berubah

Dengan susu segelas?

Kurasa semua „kan jelas

Menyenangkan

Karna krimnya sangat

Nikmat dalam sandwich coklat

Bila si hiu datang


61

Kuberi Oreo lagi

Bisakah dia bersahabat dan berbagi?


Dunia penuh keajaiban

Kalau kuberi Oreo „tuk kamu



62

APPENDIX 2. ST and TT Data




Bayangkanku

beri Oreo 3/9

1/ST/S1/L2

To a vampire

in a creepy

show

7/9 1/TT/S1/L2

„Tuk si vampir

yang

menyeramkan

5/9

1/ST/S1/L3 Would he not

act so undead? 6/7 1/TT/S1/L3

Akankah dia

berubah 3/7

1/ST/S1/L4

Would he

thirst for milk

instead

6/7 1/TT/S1/L4 Dengan susu

segelas? 3/7

1/ST/S1/L5

I've just got

this feeling

that it might

8/9 1/TT/S1/L5 Kurasa semua

„kan jelas 4/9

1/ST/S1/L6 Work out all

right 4/4 1/TT/S1/L6 Menyenangkan ¼

1/ST/S2/L1

Cause cream

does wondrous

things

5/6 1/TT/S2/L2 Karna krimnya

sangat 4/6

1/ST/S2/L2

Inside a

chocolate

sandwich

dream

5/8 1/TT/S2/L2

Nikmat dalam

sandwich

coklat

3/8

1/ST/S3/L1

If I gave them

to great white

sharks

8/8 1/TT/S3/L1 Bila si hiu

datang 4/7

1/ST/S3/L2

Would they

share them

with baby

seals?

7/8 1/TT/S3/L2 Kuberi Oreo

lagi 3/8

1/ST/S3/L3

Would they

call up a giant

squid for a

friendly meal?

11/12 1/TT/S3/L3

Bisakah dia

bersahabat dan

berbagi?

5/12



Bayangkanku

beri Oreo 3/9



Dunia penuh

keajaiban 3/9


63

1/ST/S4/L3

What if I gave

an Oreo to

you?

8/10 1/TT/S4/L3

Kalau kuberi

Oreo „tuk

kamu

5/11



Bayangkanku

beri Oreo 3/9


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