THE TRANSLATION OF ENGLISH SONG “SHOUT TO THE LORD” INTO “NYANYI DAN BERSORAKLAH” IN BAHASA INDONESIA: A STUDY OF ITS ACCURACY, ACCEPTABILITY, READABILITY, AND STYLE AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By RENTO ARI NUGROHO Student Number: 054214053 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2011
Transcript
THE TRANSLATION OF ENGLISH SONG“SHOUT TO THE LORD” INTO “NYANYI DAN
BERSORAKLAH” IN BAHASA INDONESIA:A STUDY OF ITS ACCURACY, ACCEPTABILITY,
READABILITY, AND STYLE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirementsfor the Degree of Sarjana Sastra
in English Letters
By
RENTO ARI NUGROHO
Student Number: 054214053
ENGLISH LETTERS STUDY PROGRAMMEDEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERSSANATA DHARMA UNIVERSITY
YOGYAKARTA2011
i
THE TRANSLATION OF ENGLISH SONG“SHOUT TO THE LORD” INTO “NYANYI DAN
BERSORAKLAH” IN BAHASA INDONESIA:A STUDY OF ITS ACCURACY, ACCEPTABILITY,
READABILITY AND STYLE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirementsfor the Degree of Sarjana Sastra
in English Letters
By
RENTO ARI NUGROHO
Student Number: 054214053
ENGLISH LETTERS STUDY PROGRAMMEDEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERSSANATA DHARMA UNIVERSITY
YOGYAKARTA2011
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A Sarjana Sastra Undergraduate Thesis
The Translation of English Song“Shout to the Lord” into “Nyanyi dan Bersoraklah” in
Bahasa Indonesia: A Study of Its Accuracy, Acceptability,Readability and Style
By
Rento Ari Nugroho
Student Number : 054214053
Approved by
Harris H. Setiajid, S. S., M. Hum. January 13, 2011Advisor
Anna Fitriati, S. Pd., M. Hum. January 13, 2011Co-Advisor
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A Sarjana Sastra Undergraduate Thesis
The Translation of English Song“Shout to the Lord” into “Nyanyi dan Bersoraklah” in
Bahasa Indonesia: A Study of Its Accuracy, Acceptability,Readability and Style
By
Rento Ari Nugroho
Student Number : 054214053
Defended before the Board of Examiners
On January 27, 2011
And Declared Acceptable
BOARD OF EXAMINERS
Name Signature
Chairman : Dr. Fr. B. Alip, M.Pd., M.A. ______________
Member : Harris H. Setiajid, S.S., M.Hum. ______________
Member : Anna Fitriati, S.Pd., M.Hum. ______________
Member : Dr. Fr. B. Alip, M.Pd., M.A. ______________
Yogyakarta, January 31, 2011
Faculty of Letters
Sanata Dharma University
Dean
Dr. I. Praptomo Baryadi, M. Hum
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LEMBAR PERNYATAAN PERSETUJUAN
PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma:
Nama : Rento Ari Nugroho
Nomor Mahasiswa : 054214053
Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan
Universitas Sanata Dharma karya ilmiah saya yang berjudul:
THE TRANSLATION OF ENGLISH SONG “SHOUT TO THELORD” INTO “NYANYI DAN BERSORAKLAH” IN BAHASA
INDONESIA: A STUDY OF ITS ACCURACY,ACCEPTABILITY, READABILITY, AND STYLE
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 untuk kepentingan akademis tanpa perlu meminta ijin dari saya
maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya
sebagai penulis.
Demikian pernyataan ini yang saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal 31 Januari 2011
Yang menyatakan
Rento Ari Nugroho
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If you walk with God’s destiny for your life
and you are under His guide and anointing,
you obey it and never get out of it, you will
never die before your destiny is
accomplished.
-Pdp. Ribka Sri Lestari-
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“eenwaardig tegengeschenk is voor al de schatten die
jaar in jaar uit van dit door de natuur zo rijk
gezegende eiland ons toestromen”
-NBS Board, a comment on Bible translation for
Javanese-
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To be different is sometimes a pain.
I dedicate this work for all of those
who get hurt because of their
uniqueness
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In a deep and great respect to:
Darlene Zschech
Darlene’s longing to God and her worship to Himis clearly heard on her music and songs.
Michael W. Smith—Song writer, author and musician
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ACKNOWLEDGEMENTS
At the first place, I want to give thanks my God in Jesus Christ, the only
one that I give my grateful heart. And then, I would like to give thank to my
family that fully support me to reach my future: my father, my mother, my two
younger brothers, my uncle and aunt who support me to take higher education.
After that, I would like to thanks Pak Harris H. Setiajid, S.S., M.Hum.,
my advisor for his priceless helps, guidance, and advices. His patience to guide
me on writing this undergraduate thesis is one of the greatest motivations for me.
Also, I would like to thank Bu Anna Fitriati S.Pd., M.Hum., my co-advisor for her
helpful advices.
And then, I would extend my gratitude to Bu Elisa, Mbak Amie, Greg,
Ria, Tri, and her friends at PBSID Sanata Dharma University. All of your
contribution on filling my questionnaire helped me so much. Thank you!
My gratitude also for my friends in the cell-community Lion of Judah:
Keke, Ephra, Eel, and Alex Yudo. The last, but the best, I’d like to thank my
greatest supporter, Deborah Ursulani Bonatiur. All of their supports empower me
to work harder. I also would like to appreciate my community, GBI Generasi
Apostolik Sangen, Pdp. Ribka SL. Her prayers and advices guide me through my
faith-journey. Also, Pak Jarot, Pak Yo, Pak Wagimin, Bu Puji, Mbak Siska, Mas
Andi, Mas Fajar, and Yason
The last, I would thank my friends in English Letters Program, Anto,
Agathon, and all of my friends whose names cannot be mentioned here.
Rento Ari Nugroho.
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TABLE OF CONTENTS
TITLE PAGE .........................................................................................................iAPPROVAL PAGE ..............................................................................................iiACCEPTANCE PAGE …………………………………………………….…...iiiPERNYATAAN PERSETUJUAN……………………………………………..ivMOTTO PAGE .....................................................................................................vDEDICATION PAGE………………………………………………………….viiACKNOWLEDGEMENTS ……………………………………………….…...ixTABLE OF CONTENTS ………………………………………………………..xLIST OF DIAGRAMS, CHARTS, AND TABLES………………………..…xiABSTRACT ………………………………………………………………….....xiiABSTRAK ……………………………………………………………….. …...xiii
CHAPTER I: INTRODUCTION ………………………………………………1A. Background of the Study ………………………………………..…1B. Problem Formulation …………………………………………..…. 4C. Objectives of the Study..................................................................... 4D. Definition of Terms ……………………………………………...... 4
CHAPTER II: THEORETICAL REVIEW ………………………………….. 7A. Review of Related Studies ………………………………………... 7B. Review of Related Theories …………………………………….….9C. Theoretical Framework …………………………………………..19D. Research Framework …………………………………………..... 20
CHAPTER III: METHODOLOGY …………………………………………. 23A. Object of the Study ………………………………………………. 23B. Method of the Study …………………………………………...… 24C. Research Procedure ………………………………………….…...25
B. Stylistics Analysis1. Musical Devices……………………………………………….662. Sound Pattern and Rhythm………………………………….69
CHAPTER V: CONCLUSION …………………….…………………………73BIBLIOGRAPHY …………………………………………………….……..... 77APPENDICES ……………………………………………………….………... 78Appendix 1: The Original Song and Its Translation...………………….……..... 80Appendix 2: The Questionnaire.....................................................................…... 81Appendix 3: The Result of Questionnaire………………………………………..90
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LIST OF DIAGRAMS, CHARTS, AND TABLES
LIST OF DIAGRAMSDiagram 1: Diagram Research Framework of Translation
Quality Assessment on the Accuracy,Acceptability, and Readability of the Translationof Shout to the Lord into “Nyanyi danBersoraklah”……………………………………… 22
LIST OF CHARTSChart 1: Chart on Respondents’ Accuracy…………………….. 41Chart 2: Chart on Respondents’ Acceptability……………….... 52Chart 3: Chart on Respondents’ Readability…………………... 61Chart 4: Chart on Respondents’ Total Assessment……………. 62
LIST OF TABLESTable 1.1: Accuracy score and indicator
(in Nababan, 2004: pp. 54-65)……………………. 14Table 1.2 : Accuracy score and indicator
(in Nababan, 2004: pp. 54-65)……………………. 31Table 2.1: The Score and range of the category of accuracy….. 14Table 2.2: The Score and range of the category of accuracy….. 32Table 3: The modification of Nababan Accuracy’s indicator
into Acceptability indicator……………………… 42Table 4: The Score and range of the category of acceptability... 42Table 5: The modification of Nababan’s
Accuracy indicator into readability indicator……. 53Table 6: The Score and range of the category of readability.…. 54Table 7: The Musical devices comparison……………………... 65Table 8: The end-rime comparison…………………………….. 68
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ABSTRACT
RENTO ARI NUGROHO. The Translation of English Song “Shout to theLord” into “Nyanyi dan Bersoraklah” in Bahasa Indonesia: A Study of ItsAccuracy, Acceptability, Readability, and Style. Yogyakarta: Department ofEnglish Letters, Faculty of Letters, Sanata Dharma University, 2011.
Song translation is a part of translation material scopes. Although it isnearly not commonly recognized by the public since the common material totranslate is printed materials like books, in fact, the concern on song translationexists for a long time. Many famous songs had been translated into BahasaIndonesia like song “Silent Night” which was translated into Bahasa Indonesiaentitled “Malam Kudus”. From the short analysis, the song’s translation in facthas some problems. However, there is no one who has any abjection toward thetranslation of the song. That phenomenon motivates the researcher to conductresearch on the translation of another famous gospel song which is alreadytranslated into Bahasa Indonesia: the song entitled “Shout to the Lord” which wastranslated into “Nyanyi dan Bersoraklah”. Since the research is conducted toknow the quality of the translation of the song, the research focuses on accuracy,acceptability, readability and style of the song. The style here does not focus onthe entire style exploration of the song but focus on the musical devices, soundpattern and rhythm of the song.
There are two problem formulations on this undergraduate thesis. Thefirst problem formulation of this thesis assesses the accuracy, acceptability, andthe readability of the song. The second problem formulation is the evaluation ofthe musical devices on the original song and the translated song.
The methodology which is used on this research is library and fieldresearch which are combined. The library research was done to access the theoryon accuracy, acceptability, readability, musical devices, sound pattern, andrhythm. And then, the field research was done to do the data collection. After that,the analysis was conducted to find the quality of the translation work.
The result found in the first problem formulation which is related to theaccuracy is that there 2 accurate data, 8 quite accurate data but some havesignificance error, and 5 not accurate data. The accuracies score of the Indonesianversion of Shout to the Lord is 2.13 that means quite accurate or in percentage it is53.25%. In the acceptability, there are 3 data that are acceptable, 11 data are quiteacceptable, and 1 datum (AN/B15) is not acceptable and 1 datum which isunacceptable (AN/B11). The acceptability score is 1.98 that means quite accurateor in percentage it is 49.50%. For the readability, the scoring shows that there are10 data which are readable, 2 data are quite readable, and 4 data are not readable.The readability score is 1.65 that means quite readable or in percentage it is41.25%. About the musical device, sound pattern, and rhythm the research foundthat the translator has successfully transfer the message and the aesthetic aspect ofthe work. The translator does not only recreate the work but also add someaesthetic aspects which do not exist in English.
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ABSTRAK
RENTO ARI NUGROHO. The Translation of English Song “Shout to theLord” into “Nyanyi dan Bersoraklah” in Bahasa Indonesia: A Study of ItsAccuracy, Acceptability, Readability, and Style. Yogyakarta: Jurusan SastraInggris, Fakultas Sastra, Universitas Sanata Dharma, 2011.
Penerjemahan lagu adalah salah satu bagian cakupan bahan terjemahan.Walaupun hampir jarang diakui publik karena bahan umum untuk penerjemahanadalah materi cetak seperti buku. Faktanya, perhatian dalam penerjemahan lagutelah lama ada. Banyak lagu terkenal telah diterjemahkan ke Bahasa Indonesiaseperti lagu “Silent Night” yang telah diterjemahkan ke Bahasa Indonesia menjadiberjudul “Malam Kudus”. Dari analisis singkat, kenyataannya penerjemahan laguitu memiliki beberapa permasalahan. Namun, tidak ada seorangpun yangkeberatan dengan penerjemahan lagu tersebut. Fenomena ini memotivasi penelitiuntuk meneliti penerjemahan lagu rohani lain yang terkenal yang telahditerjemahkan ke Bahasa Indonesia: lagu berjudul “Shout to the Lord”diterjemahkan menjadi “Nyanyi dan Bersoraklah”. Karena penelitian dilakukanuntuk mengetahui kualitas penerjemahan lagu, penelitian berfokus pada akurasi,keberterimaan, keterbacaan, dan corak penulisan lagu. Corak di sini tidakberfokus kepada eksplorasi menyeluruh pada lagu namun berfokus pada perantimusikal, pola bunyi, dan ritme.
Terdapat dua perumusan masalah dalam skripsi ini. Perumusan masalahyang pertama adalah menilai akurasi, keberterimaan, dan keterbacaan lagu.Perumusan masalah yang kedua adalah evaluasi peranti musikal pada lagu asli danlagu terjemahan.
Metodologi yang digunakan dalam penelitian ini adalah studi pustakadan lapangan yang dikombinasikan. Studi pustaka dilakukan untuk mengaksesteori akurasi, keberterimaan, keterbacaan, dan peranti musical. Kemudian, studilapangan dilakukan untuk mengumpulkan data. Lebih lanjut, analisis dilakukanuntuk menilai kualitas karya terjemahan.
Hasil dari perumusan masalah yang pertama adalah terdapat 2 data yangakurat, 8 data yang cukup akurat namun memiliki kesalahan yang signifikan, dan5 data yang tidak akurat. Nilai akurasi versi Bahasa Indonesia “Shout to the Lord”adalah 2,13 yang berarti cukup akurat dan dalam persentase adalah 53,25%.Dalam keberterimaan, terdapat 3 data yang berterima, 11 data cukup diterima, 1data yang tidak diterima(AN/B15) dan 1 data yang sama sekali tidak diterima(AN/B11). Nilai keberterimaan adalah 1,98 yang berarti cukup diterima ataudalam persentase adalah 49,50%. Untuk keterbacaan, penilaian menunjukkanbahwa terdapat 10 data yang mudah dipahami, 2 data cukup mudah dipahami, dan4 data yang tidak mudah dipahami. Nilai keterbacaan adalah 1,65 yang berarticukup mudah dipahami atau dalam persentase adalah 41,25%. Mengenai perantimusikal, pola bunyi, dan ritme, peneliti menemukan bahwa penerjemah telahberhasil mentransfer pesan dan aspek estetis dari karya. Penerjemah tidak hanyaberhasil mengkreasi ulang karya, namun juga menambahkan aspek estetis yangtidak terdapat dalam Bahasa Inggris.
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CHAPTER I
INTRODUCTION
A. Background of the Study
Song translation is a part of translation material scopes. Although it is
not commonly recognized by the public since the common material to translate is
printed materials such as books, in fact, the concern on song translation exists for
a long time, for example “Silent Night” which is translated into “Malam Kudus”
in Bahasa Indonesia. Those songs, either original song or translated song are
really famous in Indonesia. When Christmas comes, those songs are broadcasted
widely through various media. As the result, public becomes familiar to those
songs.
Since the song is really famous, the problem arises: does the public
really concern on the translation of the song? If the song is analyzed:
Silent night, holy nightAll is calm, all is brightRound yon Virgin Mother and ChildHoly infant so tender and mildSleep in heavenly peaceSleep in heavenly peace(Joseph Mohr, 1818)
translated into:
Malam Kudus, sunyi senyap;Dunia terlelapHanya dua berjaga terusAyah bunda mesra dan kudus;Anak tidur tenangAnak tidur tenang(YAMUGER/Pan. Lit. K. A. J, 1980)
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It is clear that the song is not translated accurately. On the first line on
the translated song, the order of the phrases is reversed while the word “night” on
the second place is deleted. On the second line, the word “all” is translated into
“dunia” whereas the words “calm” and “bright” are translated into one word
“terlelap.” On the third line, “Round yon Virgin Mother and Child” is translated
into “Hanya dua berjaga terus.” On the fourth line, “Holy infant so tender and
mild” is translated into “Ayah bunda mesra dan kudus.” And then, on the line 5
and 6, “Sleep in heavenly peace” is translated into “Anak tidur tenang.”
From the brief analysis above, it can be concluded that the translated
song misses so many meanings and words. Considering that it is a gospel or
religious song, the enormous sum of the loss meaning is needed to be questioned.
What is abnormal here is the respond of the public to the “problem” on the
translation process does not appear. There is no significant protest toward the
translation of the song, although the translated song is not exactly the same like
the original song, the public accept it without any objection. It becomes the
biggest curiosity to write the thesis: how is the quality of the song translation in
Indonesia?
Considering that there are so many song translations in Indonesia, one of
the good ways to present the research on song translation is to choose the newest
and the most popular song recently. Therefore the thesis will discuss the
translation of the song “Shout to the Lord” which is translated into “Nyanyi dan
Bersoraklah” in Bahasa Indonesia. The song is chosen because it is well known
throughout the world; moreover the translated version in Bahasa Indonesia
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becomes one of the most successful translated songs. Moreover, the song is the
newest contemporary gospel song which is the most popular in the modern era.
The translated song entitled “Nyanyi dan Bersoraklah” is sung by many singers
and recorded into many albums in Indonesia.
The song “Shout to the Lord” came from an English speaking country
which is close to Indonesia—Australia. The songwriter is a famous worship leader
and gospel singer Darlene Zscech from Hillsong Church. As the song is very
popular:
Saya semula diminta untuk menulis buku ini karena ada begitu banyakorang ingin mengetahui bagaimana “Shout to the Lord”, sebuah laguyang ditulis oleh seorang wanita Australia, dapat menjadi lagupenyembahan favorit di seluruh penjuru dunia. (Zscech: 2003: 14, BahasaIndonesia version)
At the first place I was asked to write this book since there are so manypeople wanted to know how “Shout to the Lord,” a song written by anAustralian woman becomes the most favourite worship song around theglobe. (Zscech: 2003: 14, translated)
the song is very popular so that many people amazed and the will to find out
further about the song appeared.
Unfortunately, after several efforts, the researcher cannot identify the
translator. Therefore, this research will focus on the works themselves. However,
the curiosity still invites the discussion of the translation process of the song.
Since the song is famous, how about the accuracy, acceptability, and readability of
the song? Also, about the style, it is interesting to discuss the style as the musical
devices, sound pattern, and rhythm since the material to discuss are a song. The
research is conducted from the motivation that there must be “something” behind
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the famous song and its translation. Whether “something” is good translation or
bad translation, the research will find it out.
B. Problem Formulation
There are two problems formulated in this research, namely:
1. How are the accuracy, readability, and acceptability of the translated song?
2. How is the style in the term of musical devices, sound pattern and rhythm of
the source language song compared to the translated song?
C. Objectives of the Study
By the problems formulated above, the objective of this study is to
identify the quality of the translation work on its accuracy, readability, and
acceptability. Also, the style on the musical devices, sound pattern, and rhythm of
the original and translated work will be analyzed to identify whether they have
some changes or not. The changes are very important to identify since the song
has some distinctive characteristics that differs it with a poem. Also, the changes
are assumed to affect the way the song is performed.
D. Definition of Terms
The terms used in the research are:
Song According to Longman Dictionary of Contemporary English, song is
defined as: a short piece of music with words for singing.
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Accuracy According to Nababan (2004:61) the accuracy of the translation
is related to how far the content of the source text can be delivered correctly into
the target language.
Acceptability It is also mentioned as the commonness, or it is a term
which is considered common and genuine inside a particular community. It
means, a terminology or idiom is considered common in a community, but for the
other communities that terminology or idiom is considered as uncommon. Since
its characters are really relative, the examination of the acceptability of a
translated text is conducted by requesting the members of certain community to
appraise that translation work; whether it is considered as common or uncommon
in their community. For example, to examine the acceptability of the translation
work of the medical text, thus, the person who is requested to appraise is the
doctor community, not the lawyer (Setiajid: 2007: 8)
Readability Elkins revealed that
“Readibility is simply how easy a piece is to comprehend. This is thesingle most important characteristics of your manuscript (2001: 1)”
from the statement above, the readability is about a comprehension of a text, to
understanding easily a translated text in the target language context.
Style Peter Verdonk, on his book, Stylistics defines style in language as
the analysis of distinctive expression in language and the description of its
purpose and effect. (Verdonk 2002: 4)
Musical Devices According to Longman Dictionary of Contemporary
English, music is the arrangement of sounds made by instruments or voices in a
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way that is pleasant or exciting. And then, the definition of musical is connected
with music or consisting of music. Whereas, the definition of device is a special
way of doing something that makes it easier to do. Therefore, the definition of
musical devices is a special way of doing the arrangement of sounds.
Sound Patterning Longman dictionary of Contemporary English defines
sound as something that you hear, and defines patterning as the development of
fixed ways of behaving, thinking, doing thing etc. as a result of copying and
repeating actions, language etc. Therefore, sound patterning can be defined as the
development of fixed ways of something that you can hear.
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CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
Discussing the translation quality assessment of the Indonesian translation
of Umberto Eco’s The Name of the Rose which is translated by Ani Suparyati and
published by Jalasutra in Yogyakarta, Harris H. Setiajid (2007) focuses his
assessment on accuracy, readability and acceptability of the translation of the
Christian terms in the novel. He finds two phenomena in this study that in the
target text appears translation which is accurate but unaccepted by the reader; and
also translation which is inaccurate but also unaccepted by the reader.
Diah Puspitaratri, in her undergraduate thesis, Translation Quality
Assessment: A Study on the Accuracy, Naturalness and Acceptability of the
Translation of Leo Tolsoy’s “After the Dance” into Bahasa Indonesia “Setelah
Pesta Dansa” by Anton Kurnia (2010), analyzes the accuracy, naturalness, and
acceptability of the translation work
Her research found out that in the final result of the research and analysis,
the translation text “Setelah Pesta Dansa” translated by Anton Kurnia – the
Indonesian version of an English short story written by Leo Tolstoy “After the
Dance” – is declared as an “Inaccurate, Natural and Accepted Translation” due to
its final assessment scores on the accuracy level. In her research, she also gives
some revisions on the result of the inaccuracies in the translation work. Moreover,
it is interesting how the readers in Indonesia accept the translation work that is
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inaccurate but natural; it indicates that the reader has the possibility to accept a
translation work which is inaccurate as long as it fulfills the naturalness of the
translation.
Peter Verdonk (2002: 57-65) in his book entitled “Stylistics” gives an
example of interpreting of a complete poem. He interprets the poem entitled
‘“Clearances”: In memoriam M. K. H., 1911-1984’. At the first place, he reveals
the person or the characters in the poem and finds the relationship among the
characters. He tries to identify the characters in the poem and relate them with the
real person in the author’s life. After that he moves to the relationship between the
linguistics texture of the poem and the information that there are real persons who
are in the poem can substantiate and extend the impression. He also discussed the
musical devices of the poem that help the interpretation of the poem.
The research that the writer will conduct is aimed to find out the
translation quality in the Indonesian translation of Shout to the Lord which is
translated into Nyanyi dan Bersoraklah. The translation quality is based on the
accuracy, acceptability and readability. Furthermore, the thesis will compare the
style on the source text and the target text. The difference between this research
and the one which was conducted by Harris H. Setiajid is in the material and focus
to analyze. The writer will discuss on the song instead of the novel. Also, the
writer will focus on the style especially on the musical devices while Setiajid
focuses on the Christian terms. Therefore, this research will not only give
attention on the quality of the translation work but also focus on the style in
musical devices.
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Furthermore, the research is different from what is done by Diah
Puspitaratri. While Diah discusses a novel, the writer will discuss a song which is
considered as a poem. Related with what Peter Verdonk discussed on his book,
the differences with what the writer will do is on the stylistics discussion of the
poem. While Verdonk discusses almost all aspect of style, the writer will only
discuss the musical devices that somehow lay on the repetition of some aspects on
the work like the rime, alliteration, assonance, and consonance.
B. Review of Related Theories
1. Definition of Translation
According to Nida and Taber in The Theory and Practice of Translation,
translating consists of reproducing in the receptor language the closest natural
equivalence of the source language message, first in terms of meaning and
secondly in terms of style. Therefore, a translation is a reproduction of the
message of the Source Text toward Target Text. Beside that in the translation
process, the priority is the meaning in the first place and the style in the second
place.
Another definition of translation comes from Peter Newmark from his
book entitled Approaches to Translation; he stated that translation is a craft
consisting in the attempt to replace a written message and/or statement in one
language by the same message and/or statement in another language. It can be
concluded that a translation is an effort to send the message from Source Text into
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Target Text by replacing the content in the source language with the same content
in the target language.
2. Definition of A Good Translation
In the translation process, it is not only the meaning which is needed to be
kept, there are more than that. As A. F. Lord Woodhouselee Tytler who is quoted
by Roger T. Bell in Translation and Translating: Theory and Practice states:
that in which the merit of the original work is so completely transfusedinto another language, as to be as distinctly apprehended, and as stronglyfelt, by a native of the country to which that language belongs, as it is bythose who speak the language of the original works (1991: 11).
It can be concluded that a good translation should deliver the content like
the original text. By doing so, the understanding between the Target Text readers
is the same like the Source Text readers. Besides, he introduces three laws of
translation:
i. That the translation should give a complete transcript of the ideas of the
original work.
ii. That the style and manner of writing should be of the same character with that
of the original
iii. That the translation should have all the ease of original composition. (Tytler in
Bell, 1991: 11)
Therefore, that besides the meaning, the style and manner of the writing
have the same significance to make a translation work can be mentioned as a good
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translation. Also, the original composition should be kept, that means a
translation work should have the same composition as the translated work.
3. Accuracy
According to Newmark in his book A Textbook of Translation states that
to assess the translation work, the aspect that should be assessed is the accuracy
on the pragmatic and referential. The accuracy on the pragmatics means that the
translated work should be able to communicate nicely the content from the
original text to translated text. Therefore, the accuracy on the referential is that the
translated text is accurate and does not have any mistakes. (Newmark 1988: 188)
Alan Duff as quoted by Harris Setiajid on his workbook on Translation 1
states that the translation should reflect accurately the meaning of the original text.
Further he explains that nothing should be arbitrarily added or removed, though
sometimes part of the meaning can be transposed. (Duff 1989)
He proposed following questions to help the assessment of accuracy of the
translation work:
a. Is the meaning of the original text clear? If not, where does the uncertainty lie?
b. Are any words loaded, that is, are there any underlying implications?
c. Is the dictionary meaning of a particular word the most suitable one?
d. Does anything in the translation sound unnatural or forced?
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4. Acceptability
About the acceptability, Setiajid states that the acceptability can be named
as prevalence, thus, a certain idiom or terminology can be considered as
prevalence and common in the certain community. It means, an idiom or
terminology can be considered as common in certain community but can be
considered as unnatural in the other communities. Since its characteristics which
are relative, the assessment on the acceptability of a translation work can be
conducted by asking the members of certain community to asses a certain
translation work whether it can be considered as common or uncommon in their
community. For example, to assess the acceptability of medical text, the
community which is asked to assess is the community of physician, not the
community of the lawyer. (Setiajid 2007: 8)
5. Readability
Some translation experts define readability as following. Bell proposed:
Translation is the expression in another language, preserving semantic andstylistics equivalences. (Bell 1991: 5)Here, Bell states that the equivalences on the semantic and stylistics is the
concern on the readability.
Whereas Sakri states that
Keterbacaan adalah derajad kemudahan oleh sebuah teks untuk dipahamimaksudnya. (Sakri 1994: 165)
Readability is the degree of facilitation of a text to be understood itspurpose. (Translated)
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On the statement above, readability means the order of facility for the
reader in the target language to understand the purpose of the original work.
Also, Elkins states that
Readability is simply how easy a piece is to comprehend. This is the singlemost important characteristic of your manuscript. (Elkins 2001: 1)
According to Elkins, readability is how easy the reader will understand the
translation work. Also, it is the most important thing on the translation work
which is translated by the translator.
From the three statements above, readability can be concluded as the
naturalness of the translated work, the easiness of the translated work to be read in
the target language, and how easy a translated work can be understood.
6. Translation Quality Assessment
According to Peter Newmark (1988: 186), a comprehensive criticism of a
translation has to cover 5 topics: (1) a brief analysis of the source language text
stressing its intention and its functional aspects; (2) the translator’s interpretation
of source language text’s purpose, his translation method and the translation’s
likely readership; (3) a selective but representative detailed comparison of the
translation with the original; (4) an evaluation of the translation— (a) in the
translator’s terms, (b) in the critic’s terms; (5) where appropriate, an assessment of
the likely place of the translation in the target language culture or discipline.
M. R. Nababan (2004: 61-62) proposed two instruments to assess the
translation work’s quality. In the first place is accuracy rating instrument with
scale 1-4 as described by following indicators:
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Score Accuracy Indicator1 The content of the ST is conveyed accurately to the TT. The sentences
can be understood clearly. Rewriting is not needed.
2 The content of the ST is conveyed accurately to the TT. The sentencescan be understood clearly, but a little restructuring and rewriting areneeded.
3 The content of the ST is not conveyed accurately to the TT. Someproblems related with diction, phrases, clauses, and other sentenceelements. Some restructuring and rewriting are needed.
4 Some ST sentences are not translated into TT. Deliberately omitted.The TT content is different from ST.
Table 1.1. Accuracy score and indicator (in Nababan, 2004: pp. 54-65)
Besides, he also asses the translation quality assessment with the second
instrument that is readability-rating instrument, He divided this instrument into 2
categories those are open and closed with the scale 1-4, which are: 1 (very
readable), 2 (readable), 3 (less-readable), 4 (unreadable). The categories in range:
Score Range Category
1 1,00-1,50 Accurate
2 1,51-2,50 Quite accurate
3 2,51-3,50 Not accurate
4 3,51-4,00 Inaccurate
Table 2.1 The score and range of the category of accuracy
The benefit of the open categories is that the answer gained will be more
accurate since the assessors are asked to give any reasons on every their
assessment.
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7. Translating A Song as A Poem
Songs have close relationship with the poems. Sometimes song is said as
the singing poem. The relationship appears as the poem that becomes a song or
vice versa:
Many familiar poems began life as songs, but today, their tunes forgotten,they survive only in poetry anthologies. Shakespeare studded his playswith songs, and many of his contemporaries wrote verses to fit existingtunes. Some poets were themselves musicians (like Thomas Campion),and composed both words and music. (Kennedy 1999: 792)
From the statement above, it is clear that song has some differences
compared with the poems. When the song lost its tunes, it could become a poem.
But, when a poem is filled with some tunes, it could be a song like what
Shakespeare did.
However, X. J. Kennedy and Dana Gioia in the book entitled Literature:
An Introduction to Fiction, Poetry, and Drama states that:
In analysing song lyrics as poetry, it is important to separate the wordstemporarily from their music……A song is no less powerful as song just because the words don’t standon their own as poetry. A song is meant to be sung—transposing songlyrics onto the page changes their function. This exercise helps youunderstand lyrics as poetry, but do not scrutinize them unfairly relative totheir original purpose. (Kennedy and Gioia, 1999: 806-807)
from the statement above, it can be concluded that, although a song can be treated
as a poetry, still, it has its own purpose—as a song that needs to be sung, not read.
If a song is analyzed as poetry, the music should be removed and the researcher
should only focus on the lyrics as pure poetry, not a song anymore. However, still,
the song has its purpose, to be sung, not to be read. Therefore, after analysis with
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poetry’s method, the song should be returned to its purpose and treated as a real
song. For example, it needs to fulfill the metrical pattern of a song.
About the poems translation, Chan Wei Sin (2000:109) in her article Form
and Spirit in Poetry Translation stated:
It is imperative to realize that as far as poetry translation is concerned,form cannot be reproduced. But how about spirit? What do we mean byspiritual resemblance? And if spiritual resemblance can be achieved, howshould we achieve it? The answers to these questions are hard to come by.But we can certainly achieve some degree of spiritual resemblance bypaying attention to the reproduction of ideas rather than form. We mustobserve the way the ideas have been expressed and how they can beidiomatically and stylistically rendered in the target text.
It is stated that the author wanted to say that it is quite difficult to transfer the
spirit of an art work like poetry. A way to deal with it is by concerning on the
ideas of the art work. Then, after understanding the ideas, it can be expressed on
the target language.
From that closeness, and the limitation of the sources on the song
translation subjects, the process of translating poems nearly can be used to analyze
the songs translation. Therefore; these reviews have some reviews on the poem, or
poetic translation. About the poetic translation:
In poetic translation, more weight is put on the artistic and subjective side.Transcreation, transformation and transposition, therefore, form asignificant role in it. The consequence of it is that not only the semanticinformation of the original poem is conveyed but also its aestheticinformation including the shape, the construction and the aesthetic state ofit. (Chan 2003: 4)
The most important factors in the poetic translation beside the transfer of the
message are the transfer of the artistic and subjective side of the work. Here, the
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sense of the creativity of the translator is absolutely needed. Aesthetic points are
dominantly used here.
As a part of the analysis on style on the translating of a poem, Burton
Raffel states in his article Translating Medieval European Poetry,
…The translator of medieval poetry must try to think, and then to write,like the poet he is translating, and not like any other poet... (1989: 28)
the statement above fulfill the statement by peter Verdonk that defines style in
language as distinctive linguistics expression. Here, the translation work on
poetry should be distinctive like the original work. The distinctive point here is
based on the poet or song writer mind.
Simpson’s statement in his book Stylistics a Resource Book for Students:
Stylistics is a method of textual interpretation in which primacy of place isassigned to language. The reason why language is so important tostylistics is because the various forms, patterns, and levels that constitutelinguistic structure are an important index of the function of the text. Thetext’s functional significance as discourse acts in turn as a gateway to itsinterpretation. (Simpson 2004: 2)
According to Simpson, language is so important to stylistics because some
parts of the language like forms, patterns, and level that constitute linguistics
structure are an important index of the function of the text. Therefore, the
functional significance of the text is the key to interpret a literary work. In this
research, the research will try to find one of the aspects in the stylistics that is the
pattern. The pattern here refers to the sound pattern. The researcher will try to find
whether the translation of the song changes the sound pattern or not.
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8. The Theories on Musical Devices, Sound and Rhythm
Laurence Perrine (1999: 716-719) on his book entitled Sound and Sense
proposed some aspects on musical devices
1) Alliteration
Alliteration is the repetition of initial consonants sounds
2) Assonance
Assonance is the repetition of vowel sounds.
3) Consonance
Consonance is the repetition of final consonant sounds.
4) Rime
Rime is the repetition of the accented vowel sound and all succeeding sounds.
There are some types of rime:
a. Masculine is a rime in which the rime sounds involve only one syllable.
b. Feminine a rime in which the rhyme sounds involve two or more syllables.
c. Internal rhyme is a rime when one or both riming words are within the line.
d. End rhyme is a rime when both riming words are at the ends of lines.
Furthermore, about sound and rhythm in the poem, Paul Simpson (2004:
113) suggested some ways to explore the sound and rhythm of the poem:
Identify any significance aspects of sound patterning in the poem. Doesthe poem display a dominant metrical pattern? Or is its versificationbased more on the rhythm of natural speech than on a formal metricalscheme? In other words, is the poem written in the free verse?...
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…Does the poem contain any significant features of sound symbolismlike onomatopoeia? If so what, what is the function of these devices inthe poem?
From the statement above, it can be concluded that to discuss the sound
and rhythm, at the first place the researcher needs to identify the sound patterning
of the poem, or we need to find whether it is written in free verse or not. And then,
the researcher needs to find whether the poem has onomatopoeia or not. If
onomatopoeia is found, the researcher should find their function in the poem.
About the free verse, Richard Bradford in his book entitled Stylistics
defines free verse as a verse which is only free in the sense that it does not
conform to traditional patterns of metre and rime (Bradford 1997: 21-22). He
divides free verses into three categories:
i) Poetry which continues and extends the least restrictive elements of
traditional poetry, particularly those of the ode and blank verse.
ii) Poems in which the line structure reflects the apparent spontaneity of ordinary
speech.
iii) Poems in which the unmetrical line variously obstructs, deviates from our
interferes with the movements of syntax.
What is meant by the movement of syntax is the continuities of grammar
(Bradford 1997: 23).
C. Theoretical Framework
The definition of the translation comes from Nida and Taber (1982), while
the statement that a translation is an effort is from Newmark (1988). The
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definition of good translation and the laws on how to make a good translation
from Tytler were needed as the foundation of understanding to discuss the topic.
The five topics on comprehensive criticism of a translation give the
consideration on how the translation works should be criticized while Nababan
proposed his rating indicator to validate the data of the translation quality
assessment. The indicator proposed by Nababan will be modified to assess the
acceptability and readability.
Kennedy’s statement gives strong foundation that a song can be treated as
a poem and followed by the using the poem’s theory on translation proposed by
Chan Sin Wei. Sin Wei also underlines the importance of the spirit in the poem’s
translation and its artistic also subjective side of the work.
Simpson’s definition about stylistics will be an important part to support
stylistics analysis of the song, especially on the musical devices. The theories of
musical devices from Perrine will help to analyze the musical devices on the
poem. While Verdonk gives an example on how to interpret a poem, Simpson
gives some aspects that help to interpret the song through the sound patterning
and rhythm.
D. Research Framework
In the next page is the research framework of the research. At the first
place, the researcher tried to assess the accuracy of the translation by giving
source text and target text to the respondents. Next, the assessment of the
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acceptability and readability is conducted by giving the translated text to the
respondents. After that, the researcher tried to find the changes in the style of the
Diagram 1Diagram Research Framework of Translation Quality Assessment on the
Accuracy, Acceptability, and Readability of the Translation of Shout to theLord into “Nyanyi dan Bersoraklah”
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CHAPTER III
METHODOLOGY
A. Object of the Study
The object of the study is an English song entitled “Shout to the Lord”
which was translated into Bahasa Indonesia entitled “Nyanyi dan Bersoraklah”.
The songwriter of the source text song is Darlene Zscech, a woman who is also a
worship leader for Hillsong Church Australia. About the popularity of the original
song:
Karena lagu tersebut dikeluarkan tahun 1993, lagu ini sudah direkam dilebih dari lima puluh album dan diterjemahkan ke dalam banyak bahasa,termasuk Hongaria, Denmark, Prancis, Italia, Mandarin, Jepang,Indonesia, dan Swedia. Lagu ini sudah dinyanyikan di kebaktian gereja,konvensi, konser, pernikahan, dan bahkan pemakaman. Ketika pertamakali dikeluarkan, ini adalah lagu yang pergerakannya paling cepatdalam sejarah Christian Copyright License (CCLI), yang mewakilipopularitas dari semua lagu yang dinyanyikan di gereja-gereja. Lagu inidinyanyikan di tempat-tempat yang menakjubkan, seperti Vatikan danGedung Putih. Evander Holyfield disiarkan secara global sedangmenyanyikan “Shout to the Lord” di ruang ganti pakaiannya tepatsebelum pertandingan kejuaraan dunia melawan Mike Tyson pada tahun1997. (Zschech 2003: 14-15)
Since the song was first published in 1993, this song had been recordedin more than 50 albums and translated into many languages includedHungarian, Danish, French, Italian, Chinese, Japanese, Bahasa Indonesia,and Swedish. The song has been sung in the churches’ services,conventions, concerts, wedding ceremony, and even in the funerals.When it was first published, this was the fastest moving song in thehistory of CCLI (Christian Copyright License) that represented thepopularity of all songs that are sung in the churches. The song is sung inthe wonderful places like Vatican, and the White House. EvanderHolyfield was broadcasted globally to sing “Shout to the Lord” in hisdressing room right before the big match versus Mike Tyson in 1997.(Zscech: 2003: 15 translated)
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The song is very popular so that it can go through the various
denominations of the Christianity, and even the Catholic Church as the main
stream of the Christianity in the world. It shows that the song has values which are
well accepted by the people especially the Christians. And about the Bahasa
Indonesia version, according to the Google searching, it has been sung by various
Indonesian Gospel song singers like Letjie Sampingan, Welyar Kauntu, and many
more. Moreover, the song is sung in various events in Indonesia like the churches’
qualitative data. After that, the researcher compared the findings. The fact that
data analyzed by different respondents produce different results, thus later, the
researcher tried to understand the reasons for the differences. Consistency in
overall patterns of data from different analysts can contribute significantly to the
overall credibility of findings. The following anagram will explain the application
of source triangulation.
Respondent 1
Raw data Questionnaire Respondent 2 Data
Respondent 3
It was done by distributing the questionnaire to nine respondents. The
first three respondents are the experts in English: a professional translator, a
linguistics expert, and a literary expert. They were asked to assess the data on
accuracy. And then, the next three respondents are Christians (the possible users
of the data): A singer (worship leader), an active member of the congregation, and
less-active member of the congregation. They were asked to assess the data on
acceptability. The last three respondents are the users of Bahasa Indonesia: PBSID
students. Finally, after the questionnaire was collected, the next steps were to
process the findings.
3. Data Collection
Data collection on this research was done in two ways: They were
document analysis and questionnaire. In the document analysis, the researcher
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collected some data about stylistics in order to analyze the style in the original and
the translated work. About the questionnaire, the researcher gave a questionnaire
to each respondent; based on what translation quality assessment they belong.
4. Data Analysis
Several processes were needed to conduct the research. In the first place,
the translation quality assessment on the accuracy, acceptability, and readability
was conducted based on the Nababan’s indicator. Each line of the song’s lyrics
was listed in the questionnaire and given score 1-4 to assess the grade of the
translation quality. After that, each item was given notes as suggestion on a better
translation. Lastly, the assessed data’s score was accumulated in order to get the
final score of the data’s accuracy, acceptability, and readability.
The next step, in order to answer the second problem formulation, the
researcher analyzed the musical devices, sound patterning and rhythm in the
original song and then in the translated song and compare them to find the
changes or unchanged in the translation process. These changes or unchanges are
very important. Although it is needed to treat the song as pure poem in analysis,
however, the song is meant to be sung, not to be read. Therefore, after the poetry
theories are applied, the song is returned to its function and the analysis show the
impact of the changes toward the way it is performed. After conducting this part,
the researcher will find the style on musical devices, sound patterning, and rhythm
of one of the most popular translated songs.
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Finally, some conclusions were drawn from the discussion in answering
the problem formulations. The conclusions were meant to show the translation’s
quality assessment and the style in the translation work.
30
CHAPTER IV
ANALYSIS
The analysis chapter is divided into two main parts. The first part will
discuss the translation quality assessment on the accuracy, acceptability, and
readability of the song. After that the research will move into second part which is
the discussion on the style of the original song and the translated song.
The first part mainly discusses the translation accuracy, acceptability,
and readability found in the TT, so called the data, assessed by nine respondents
based on accuracy indicator and category proposed by M.R. Nababan, and
acceptability also readability which are modified to fix the indicator by M.R.
Nababan in order to score their accuracy, acceptability, and readability.
The second part will discuss the style of the original and the translated
works. At the first, the researcher will analyze the style in the original song to
identify some distinctive features which will be identified in the translated song;
whether they are changed or not.
A. The Translation Quality Assessments
1. Accuracy
In order to be a good translation, accuracy is needed. In the research, the
researcher will use the indicator and score which is proposed by M.R. Nababan to
find the accuracy in the song.
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There are four options to determine the accuracy in the song. The score 1
indicates an accurate translation which is clear for the respondents and rewriting is
not needed. Score 2 means the translation is accurate but rewriting and
restructuring of the words are needed. Score 3 indicates that the translation is not
accurate; there are some problems related to the diction and the sentence elements.
Whereas score 4 states that the translation is totally differed from the source text;
some elements are skipped or deleted.
To guarantee the data validity, the questionnaires are given to three
respondents: a Linguistics expert, a Literary expert, and a professional translator.
By conducting that, it is expected that the data on accuracy to be objective.
The step after collecting data from the respondents is calculating the
data. The sum from the score given by the respondents is divided by the number
of the respondents to find the average score. For example, if the score is 1, 2, and
2 then the average is (1+2+2):3=1, 6.
The indicator is:
Score Accuracy Indicator1 The content of the ST is conveyed accurately to the TT. The sentences
can be understood clearly. Rewriting is not needed
2 The content of the ST is conveyed accurately to the TT. The sentencescan be understood clearly, but a little restructuring and rewriting areneeded.
3 The content of the ST is not conveyed accurately to the TT. Someproblems related with diction, phrases, clauses, and other sentenceelements. Some restructuring and rewriting are needed.
4 Some ST sentences are not translated into TT. Deliberately omitted. TheTT content is different from ST.Table 1.2. Accuracy score and indicator (in Nababan, 2004: pp. 54-65)
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The scoring for the data is:
Score Range Category
1 1,00-1,50 Accurate
2 1,51-2,50 Quite accurate
3 2,51-3,50 Not accurate
4 3,51-4,00 Inaccurate
Table 2.2. The score and range of the accuracy category of accuracy
The followings are the accuracy score of each item that had been
calculated and the accuracy category of each item. The respondents are a
linguistics expert, a literary expert, and a professional translator. From the
research it is known that the translation work is given score 2.1. The three
respondents give average score 2.1, 1.9, and 2.4.
The result of the research shows that the accuracy in the translation of the
song Shout to the Lord into Nyanyi dan Bersoraklah is 2.1. From total 16 data,
there are 2 data that are accurate, 8 data which are assessed as quite accurate but
have significance error, and 5 data which are assessed as not accurate.
1 DZ/Title Shout to the Lord
AN/Judul Nyanyi dan Bersoraklah
Score: 2.7
The first datum which is not accurate is data no 1, “Shout to the Lord” is
the title of the song which is translated into “Nyanyi dan Bersoraklah”. Here, the
translation has some loss and gain.
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Word “Lord” is not translated whereas the translated song gets “nyanyi”
which does not exist in the source text. It is so terrible that the purpose in which
the song is written is not translated. The song is a worship song, meaning that the
song is intended to worship the Lord or God. It is important to put the addressee
of the song as the translation here is the title. The source text “Shout to the Lord”
is suggested in Bahasa Indonesia to be: “Bersoraklah bagi Tuhan!”
2 DZ/L1 My Jesus, my Savior
AN/B1 Yesusku, Penyelamatku
Score: 1
The three respondents give score 1 for this datum that means there is no
problem on it. The datum is translated properly.
3 DZ/L2 Lord, there is none like You
AN/B2 Tiada yang s'perti Engkau
Score: 1.7
The datum is considered as quite accurate because the word “Lord” is not
translated. In fact, if the word “Lord” is translated, it still fulfils the metre of the
song. So, the deletion of that word is questionable for the respondents so that they
considered that as quite accurate. The suggestion for this datum is: Tiada yang
s’perti Engkau, Tuhan.
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4 DZ/L3 All of my days, I want to praise
AN/B3 Setiap hari ku memuji
Score: 3
All respondents give score 3 for the datum AN/B3 (AN: Anonim (Bahasa
Indonesia) or Anonymous in English) because it has some significant errors. The
first is the translation of “all of my days” into “setiap hari”. The English for
“setiap hari” is “every day”, not “all of my days”. The correct translation for “All
of my days” is “seumur hidupku” or “sepanjang hidupku”. Moreover, the sentence
“I want to praise” is just translated into “ku memuji” which lost the word “want”
which means “ingin” in Bahasa Indonesia. Therefore, the respondents give score 3
that means no accurate. The suggestion is: “Seumur hidupku, ku ingin memuji”
5 DZ/L4 The wonders of Your mighty love
AN/B4 Keajaiban kasihMu
Score: 2.3
The datum AN/B4 is considered as not accurate because it skips the word
“mighty” and change the forms of the words. The word “wonders” which is in
plural form is translated into “keajaiban” which is in singular form. The song
intended to worship God by stating His wonders will be lost of its “feel” if the
meaning of the word is deviated. Therefore, the change of plural forms into
singular forms is considered not accurate. The interesting aspect here is, since the
translation work is a song, it is important to keep the metre. Therefore, the
suggestion of the good translation work will allow the change of the plural form
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into singular form: “Keajaiban kasihMu yang besar”, with the consideration that
the translated work should fulfil the metre pattern. If the datum is translated
completely, it will be more difficult to fill the metre pattern.
6 DZ/L5 My Comfort, my Shelter
AN/B5 Penghibur, Pelindung
Score: 2
The translation of the datum AN/B5 is considered as quite accurate by the
respondents because it changes the sense of the word. The word “Comfort” which
is translated into “Penghibur” is at a glance is accurate but lost the sense of the
goodness of God. One of the respondents notes that the translation of “comfort”
into “Penghibur” has the same effect that is “less unhappy” and the term “shelter”
is seen as the place of comfort. In fact, since the author of the song states that she
is inspired by the Book of Psalm on writing the song, the word “penghibur” and
“pelindung” exist in the Bible in Bahasa Indonesia. The problem is the sense of
the translation. There is nothing wrong with the word “pelindung”. The problem is
on the word “Penghibur”. The word “Penghibur” has tendency to be negative in
Bahasa Indonesia.
If the source text song is closely noted, the words “Comfort” and “Shelter”
refer to place (belongs to someone, in this case is God), not person. Therefore, the
suggestion for this data will be: “Penghiburan dan perlindunganku.”
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7 DZ/L6 Tower of refuge and strength
AN/B6 Menara kekuatan
Score: 3
The respondents asses that the datum AN/B6 is not accurate because it
didn’t translate the word “refuge” into target language. The suggestion for the
translation of the data is “Menara perlindungan dan kekuatan”
8 DZ/L7 Let every breath, all that I am
AN/B7 Biarlah semua yang bernafas
Score: 3
When one of the three respondents notes that the translation of the datum
AN/B7 is too general, it is clear that the translation is not accurate. Therefore, the
respondents give average score 3. The translator of the song refers to the Psalm
150: 6 “Let every thing that hath breath praise the LORD” (King James Version).
The truth is, since the song is the personal relationship with God, it should refer to
the personal, not general. The data should be translated like: “Biarlah setiap nafas,
yang aku punya”
9 DZ/L8 Never cease to worship You
AN/B8 Tak berhenti menyembahMu
Score: 1
The datum AN/B8 is given score 1 by the respondents. Therefore, it is an
accurate translation and there is no problem on it.
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10 DZ/L9 Shout to the Lord, all the earth let us sing
AN/B9 Nyanyi dan bersoraklah bagi Dia
Score: 2.7
The datum AN/B9 contains a phrase from the title, “Shout to the Lord”.
However, the translation is considered as not accurate by the respondents as they
give score 2.7. If the analysis is conducted, the inconsistency of the translator of
the song will be revealed. At the beginning s/he translated the title “Shout to the
Lord” into “Nyanyi dan Bersoraklah”. The inconsistency is, in this data s/he
translated the phrase “Shout to the Lord” into “Nyanyi dan bersoraklah bagi Dia”.
Moreover, what makes the respondents asses the data as not accurate is that the
sentence “All the earth let us sing” is not translated. The suggestion for this
translation is: “Bersoraklah bagi Tuhan, s’luruh bumi nyanyilah!”
11 DZ/L10 Power and majesty, praise to the King
AN/B10 Pujian hormat kuasa bagi Raja
Score: 2
The three respondents give score 2 that means the datum AN/B10 is quite
accurate. In this data, the translator translated the word “majesty” into “hormat”.
In fact, the suitable word for “majesty” is “keagungan”. Therefore, the suggestion
for this translation is: Kuasa dan pengagungan, pujian bagi Raja”
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12 DZ/L11 Mountains bow down and the seas will roar
AN/B11 Gunung tunduk laut bergelora
Score: 2
The datum AN/B11 is given score 2 (quite accurate) by the respondents.
However, one of the respondent comments that the word “roar” should be
translated into “bergemuruh”, not “bergelora”. Therefore, the suggestion for this
translation is: Gunung tunduk dan laut ‘kan bergemuruh”
13 DZ/L12 At the sound of Your name
AN/B12 Mendengar namaMu
Score: 1.3
In this datum, the respondents give score 1.3 that means the translation is
accurate although there are some curiosity towards the translation of this data.
From the three respondents, only one respondent gives score 2, whereas the other
respondents give score 1. At the first place, the translator didn’t translate the
preposition “at”. And then, word “mendengar” appears whereas the source text
didn’t have it. The suggestion of this datum’s translation is: “Demi mendengar
namaMu”
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14 DZ/L13 I sing for joy at the work of Your hands
AN/B13 Ku bersuka atas perbuatanMu
Score: 2.3
Datum AN/L14 is considered as not accurate because it has some loss: the
phrase “sing for joy” is only translated into “bersuka”. In fact, if “sing for joy” get
appropriate translation, it should be: menyanyi (karena) sukacita. Moreover, the
word “hands” is not translated. One of the three respondents gives comment that
the word “Your hands” is better to be translated into “KaryaMu” instead of
“PerbuatanMu”, whereas the phrase “sing for joy” is better to be translated into
“berkidung/ bermazmur karena sukacita”. However, the researcher’s suggestion of
this datum’s translation is: “Ku bermazmur karena karyaMu”
15 DZ/L14 Forever I'll love You, forever I'll stand
AN/B14 S'lamanya ku kasihi Engkau Tuhan
Score: 2.3
In this part of the datum, there is a sentence which is not translated. The
sentence “forever I'll stand” is not translated. Also, the word “You” in the source
song get a gain as it is translated into “Engkau Tuhan”. Here, the source text states
clearly that “You” here refers to God, but the translated song emphasizes its
meaning by adding word “Tuhan”. Moreover, the phrase “forever I’ll stand” is not
translated. Therefore, the translation is considered as not accurate. Suggestion:
“S’lamanya ku cinta Kau, ku ‘kan setia”
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16 DZ/L15 Nothing compares to the promise I have in You
AN/B15 Tiada janji s'perti yang ada padaMu
Score: 1.7
The datum AN/B15 is given score 1.7 by the respondents that means the
translation of the datum is quite accurate. One of the reasons why the respondents
asses the datum as quite accurate is that the translation of the phrase “promise I
have in You” into “yang ada padaMu”. The suggestion for the translation of the
datum is “Tiada bandingnya, janji yang ku punya dalamMu”
From accuracy score of each item, then it can be calculated that the
accuracies score of the Indonesian version of Shout to the Lord:
ΣXM= N
M= mean (the average point), X= total number of accuracy scores, N=
total number of the data
34M= 16
M= 2.13 (quite accurate)
In percentage it would be
Σ = M (mean) x 100%4
Σ = 2.13 x 100%4
Σ = 53.25%
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Thus, the accuracies score of the Indonesian version of Shout to the Lord
is 2.13 that means quite accurate or in percentage it is 53.25%.
In chart, the accuracy will be:
Chart 1:
Chart on Respondents' Accuracy
0
0,5
1
1,5
2
2,5
3
3,5
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Data Number
Ac
cu
rac
yS
co
re
Respondent 1 Respondent 2
Respondent 3 Average
Acceptability
A translation is a good translation if it is accepted by the readers or users
in the target language. Therefore, to assess the acceptability of the translation of
the song, three respondents are asked to determine the acceptability of the
translated song. The three Christians respondents of different level of their
contribution on the services at the church are; a worship leader, an active member
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of the congregation (church goers), and a less-active member of the congregation,
they are given a questionnaire on the acceptability of the song.
The indicator used to create the questionnaire is based on the M.R.
Nababan’s indicator which is modified to assess the acceptability.
Score Indicator1 The translation work is very natural and proper, and usually used to sing
the song.2 The translation work is little bit clumsy and little bit improper.3 The translation work is clumsy and improper.4 The translation work is very clumsy and sound glib. There are some
parts which are not translated.Table 3. The modification of Nababan Accuracy’s indicator into
Acceptability indicator
The grade of the scoring and the range is:
Score Range Category
1 1,00-1,50 Acceptable
2 1,51-2,50 Quite acceptable
3 2,51-3,50 Not acceptable
4 3,51-4,00 Unacceptable
Table 4. The score and range of the acceptability category of acceptability
Here are the result and the analysis.
There are 3 data that are acceptable, 11 data are quite acceptable, 1 datum
is not acceptable and 1 datum which is unacceptable. The average score of the
first respondent is 2.3, the second respondent give 2.1 whereas the third
respondent give 1.6. The total average score for the acceptability of the translated
song is 1.9 that means the translated song is quite acceptable.
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1 AN/Judul Nyanyi dan Bersoraklah
Score: 2.0
Datum AN/Judul is given score 2.0 by the respondents that means the
translated song is quite acceptable. It is interesting to discuss the score given by
the respondents. The first respondent who is a worship leader gives score 2 (quite
acceptable), the second respondent who is an active member of the congregation
give score 3 (not acceptable), and the third respondent who is a less-active
member of the congregation give score 1 which is acceptable. The various ranges
of the score given by the respondents are suspected based on the background of
the respondents.
For a worship leader whose job in the church is leading the members of
the congregation to worship God, the knowledge of the Christianity terminology
is expected to be excellent or at least s/he has more knowledge of the Christianity
than the common members of the congregation. On the other side, the active
member of the congregation is expected to have more knowledge on the
Christianity terminologies than the less-active member of the congregation. Their
knowledge of the Christianity is expected to determine the acceptability level of
the translated song.
In fact, in the result of the data collection, the worship leader give score
2 (quite acceptable), the active member of the congregation give score 3 (not
acceptable), and the less-active member of the congregation give score 1
(acceptable). The data collection shows that somehow the knowledge of the active
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member of the congregation is more than the worship leader. The next analysis is
expected to strengthen that statement.
2 AN/B1 Yesusku, Penyelamatku
Score: 1.7
The data collection shows that the first and the third respondent give
score 1 whereas the second respondent give score 3. The gap between the scores
given is interesting to be analyzed. Here, the possibility why the second
respondent give score 3 is located on the background of the respondents. The
second respondent comes from traditional church whereas the common
terminology used is “Juru Selamat” than “Penyelamat”. But, overall, the data is
given score 1.7 that means the translation work is quite acceptable.
3 AN/B2 Tiada yang s'perti Engkau
Score: 2
On this datum, the three respondents give score 2 (quite acceptable). If
the datum is analyzed, there is nothing wrong with the transfer of the meaning.
The possible answer why all respondents consider this data as quite acceptable is
the sense of the sentence. The Christian Faith believes that God is the centre of the
faith. He is the Alpha and Omega (Book of Revelation 1:8). It is clear that for the
Christian, God is incomparable. There is nothing can be placed in God’s position.
Perhaps, the respondents see the data AN/B2 not as an expression of amazement
but more on the feeling of questioning the power of God. The faith is clear, and
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then, the song should not to question the fact that God is the centre of everything,
incomparable.
4 AN/B3 Setiap hari ku memuji
Score: 1.3
On this datum, only the first respondent gives score 2, whereas the
others give score 1. Again, the background of the respondents determines their
decisions to assess the datum. The most possible answer why the first respondent
gives score 2 is that the duty of a worship leader in the charismatic churches to
worship God all the time, day and night (in this case, not only through daily intern
services but also any other services s/he is involved). So, maybe the exclamation
that the Christian should praise God every day is not enough.
5 AN/B4 Keajaiban kasihMu
Score: 1.3
From the three respondents, only the third respondent who is a less-
active member of the congregation gives score 2. The other respondents give
score 1. The possible reason why the third respondent give score 2 is related to the
religious life. The first and the second respondent are expected to have a better
religious life than the third respondent who rarely goes to the church, so that the
third respondent is assumed to have limited relationship with God.
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6 AN/B5 Penghibur, Pelindung
Score: 1.7
The first and the third respondent gives score 1 whereas the second
respondent gives score 3. The first and the third respondent that are very different
in their religious life give the same assessment toward the datum. The question
here, why are the different backgrounds of the first and third respondent can lead
to the same assessment? The possible answer is that, somehow the religious life of
the first and the second respondent is not the same like what is assumed by the
public (the member of the congregation). Although a worship leader is expected to
have closer understanding to the Bible and relationship with God, but somehow
the common members of the congregation are possible to have better
understanding and close relationship with God. That’s why; the second
respondent has more attention to the terminology used on the data AN/B5.
The terminology “Penghibur” is related to the entertainment terms. It is
assumed that to see God as an entertainer is not acceptable. The term “Penghibur”
is too harsh to praise the goodness of God. That’s the possible reason why the
second respondent considers the datum as not acceptable.
7 AN/B6 Menara kekuatan
Score: 2.3
The score for the datum AN/B6 is 2.3 means the datum is quite
acceptable. At a glance, there is nothing wrong with the datum. But, if the data is
analyzed furthermore, the phrase “menara kekuatan” is not familiar in the Bible
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which is commonly used by the Christian in Indonesia. About the strength, the
most common term is “God is my strength (Exodus 15:2, Psalm 18:2), or “Mighty
fortress”. Therefore, the term “menara kekuatan” is uncommon in the Bahasa
Indonesia Bible.
8 AN/B7 Biarlah semua yang bernafas
Score: 1.7
Datum AN/B7 is considered as quite acceptable by the respondent. They
only give average score 1.7. It shows that the respondent cannot fully accept the
translation. In the Bible in Bahasa Indonesia, the terminology related to the datum
is written in the Psalm 150: 6. The Bible in Bahasa Indonesia “Terjemahan Baru”,
Mazmur 150:6: Biarlah segala yang bernafas memuji TUHAN. It supports the
acceptability of the datum. It is the same like what is in the King James Version
Bible: Let everything that hath breath praise the LORD. But, the newest Bible
translation, like “Contemporary English Version”: Let every living creature praise
the LORD; and “Today’s English Version”: Praise the LORD, all living creature,
whereas the newest Bible translation in Bahasa Indonesia “Alkitab Bahasa
Indonesia Sehari-hari”: ‘Hendaklah semua makhluk hidup memuji TUHAN”. The
most possible answer why the respondents consider that the data is only quite
accurate is because they refer to the newest Bible translation.
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9 AN/B8 Tak berhenti menyembahMu
Score: 1.7
Similar with the previous data, data AN/B8 is assumed to have no
mistakes. But, the respondents only consider it as quite acceptable. The possible
reason is, in the Bahasa Indonesia Bible, the term “tak berhenti menyembah” only
refers to the idolatry (Wahyu 9:20). The most common term is just “Menyembah”
or “Sujud menyembah”. The explanation is that the life of the believers should not
only worship God in the services but also through their daily lives. To worship
God in the services all the time is considered as not a good thing to do.
10 AN/B9 Nyanyi dan bersoraklah bagi Dia
Score: 2.3
Datum AN/B9 is given score 2.3 by the respondents that means the
datum is quite acceptable. The main reason is on the Mazmur 33:3 “Nyanyikanlah
bagi-Nya nyanyian baru; petiklah kecapi baik-baik dengan sorak-sorai”. The word
“Nyanyi” or “Nyanyikanlah” never bound into one sentence or phrase (or verse)
in the Bible except for Mazmur 33:3. However, in the Mazmur 33:3, the word
“Nyanyikanlah” is related to “nyanyian baru”, not “bersoraklah”. The word
“bersoraklah” is related with “Petiklah kecapi”. Therefore, the respondents
consider the datum as quite acceptable.
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11 AN/B10 Pujian hormat kuasa bagi Raja
Score: 2
The datum gets score 2 from the respondents. Therefore, it cannot be
assumed as fully accepted. The analysis leads to discuss the senses of the datum.
Peoples can give praise (pujian) or honour (hormat) to the king. But, can they
give power? Power belongs to the king. The peoples do not give it to the King.
12 AN/B11 Gunung tunduk laut bergelora
Score: 3.7
The data AN/B11 gets the worst score on acceptability from the
respondents. The respondents consider this datum as unacceptable. The fact is the
terminology used does not exist in the Bible! The most common terminology
related to the word “gunung” is “gunung-gunung beranjak” (Yesaya 54: 10),
64:1) and “laut” is “Biarlah langit bersukacita dan bumi bersorak-sorak, biarlah
gemuruh laut serta isinya” (Mazmur 96:11). Here, a good translation should not
only deliver the message but also need to fit the context of the users or readers.
The translator should recognize the most common terminology which is familiar
to the users or readers.
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13 ANB12 Mendengar namaMu
Score: 1.3
On the assessment of this datum, only the first respondent gives score 2,
whereas the other respondents give score 1. The main reason is the point of view
of the respondents. About hearing the name of the God, the second and third
respondents are accustomed to hear the name of God is mentioned or shouted in
the church. In fact, the first respondent who is a worship leader is not accustomed
to hear the name of God but to sing or shout it. Therefore, the first respondent
gives different score.
14 AN/B13 Ku bersuka atas perbuatanMu
Score: 2
All of the three respondents give various score: first respondent gives
score 3, second respondent gives score 2 and the third respondent gives score 1.
The first and the second respondents think that the using of the word “perbuatan”
is too harsh to praise God whereas the third respondent sees that as a normal term.
The second respondent gives note on the questionnaire that it is too harsh. He
suggests the word “karya”.
15 AN/B14 S'lamanya ku kasihi Engkau Tuhan
Score: 2
The datum AN/B14 gets score 2 (quite acceptable). Once again, the
datum gets various score: the first respondent gives score 3, the second respondent
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gives score 2 and the third respondent gives score 1. The background of the
respondents, in this case is the religious life of the respondents influence their
decision on scoring the datum. The first and the second respondents is assumed to
know exactly how hard it is to love God since they are the persons who deeply
participate in the religious life.
16 AN/B15 Tiada janji s'perti yang ada padaMu
Score: 2.7
The datum AN/B15 is considered as not acceptable by the respondents.
The first and the second respondents give score 3 whereas the third respondent
give score 2. The main reason here is to compare something extraordinary that
comes from God is not acceptable.
From acceptability score of each item, then it can be calculated that the
acceptability scores of the Indonesian version of Shout to the Lord entitled
“Nyanyi dan Bersoraklah”:
ΣXM= N
M= mean (the average point), X= total number of accuracy scores, N=
total number of the data
31.7M= 16
M= 1.98 (quite acceptable)
In percentage it would be
Σ = M (mean) x 100%4
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Σ = 1.98x 100%4
Σ = 49.50%
Thus, the acceptability score of the Indonesian version of Shout to the
Lord is 1.98 that means quite accurate or in percentage it is 49.50%.
In chart, the acceptability is presented by the following chart:
Chart 2:
Chart on Respondents' Acceptability
0
0.5
1
1.5
2
2.5
3
3.5
4
4.5
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Data Number
Accep
tab
ilit
yS
co
re
Respondent 1 Respondent 2Respondent 3 Average
2. Readability
There are some differences between English and Bahasa Indonesia,
therefore, the readability between them is assumed to be also different. The
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translation process will influence the readability of the source song and target
song. By conducting the assessment on the readability of the translated song, the
readability of the user in Bahasa Indonesia will be known.
Readability can be concluded as the naturalness of the translated work, the
easiness of the translated work to be read in the target language, and how easy a
translated work can be understood.
The assessment on the readability of the translated song involves three
respondents who are the students of PBSID, FKIP, Sanata Dharma University.
Their process in learning Bahasa Indonesia will help to assess the readability of
the translated song since Bahasa Indonesia is a developing language. The first
respondent is a Charismatic Christian, the second is a Catholic, and the third is a
Moslem. By choosing different background of religion, it is expected to get
objective data collection.
The indicator which is used to assess the readability of the song comes
from the accuracy indicator proposed by M.R. Nababan which is modified by the
researcher.
Score Indicator1 The translation work is easily to be understood by the readers. The
result of the translation fully can be understood by the readers.2 The translation work can be understood by the readers but it can not be
fully understood by the readers.3 The translation work is hardly can be understood by the readers. The
readers can only understand some parts of the translation work.4 The translation work is absolutely difficult to be understood by the
readers. The readers are totally blank towards the translation work.There are some parts which are not translated.Table 5. The modification of Nababan’s Accuracy indicator into
readability indicator.
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The grade of scoring and the range of the readability are:
Score Range Category
1 1,00-1,50 Readable
2 1,51-2,50 Quite readable
3 2,51-3,50 Not readable
4 3,51-4,00 Unreadable
Table 6. The score and range of the readability category of readability
The three respondents give various ranges of scores. The first respondent
gives average score 1.9, the second respondent gives score 1.8, and the third
respondent gives score 1.4. It is interesting that the first respondent gives the
lowest grade of readability, the second respondent who is a Catholic give little bit
lower that the first respondent who is a Charismatic Christian, whereas the third
respondent who is a Moslem gives the highest score on readability. It is assumed
that the background knowledge of the respondents on the Christianity
terminologies; the respondents who have Christianity background and knowledge
is more critical to the readability of the data, whereas the respondent from non-
Christian is assumed to assess the data from the background and point of view of
non-Christian.
The scoring shows that there are 10 data which are readable, 2 data are
quite readable, and 4 data are not readable. The overall average score for the data
collection on readability assessment is 1.7 that is quite readable. Here is the
discussion on each item of the data.
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1 AN/Judul Nyanyi dan Bersoraklah
Score: 1
The respondents give average score 1 that means the datum is readable
for them.
2 AN/B1 Yesusku, Penyelamatku
Score: 1
There is no problem on the datum AN/B1 so that the respondents give
average score 1 (readable).
3 AN/B2 Tiada yang s'perti Engkau
Score: 1
The respondents assume that the datum AN/B2 is readable so that there
is no problem on that.
4 AN/B3 Setiap hari ku memuji
Score: 1.3
From the three respondents, only the first respondent who gives lowest
score, that is 2, whereas the other respondents give score 1.
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5 AN/B4 Keajaiban kasihMu
Score: 1.3
The first and the second respondents give score 1 (readable) whereas the
third respondent gives score 2 (quite readable). The possible answer is the
Moslem background of the respondent that has less understanding about the
miracle of God’s life which is familiar to the Christian.
6 AN/B5 Penghibur, Pelindung
Score: 2.3
The first and the second respondents consider the datum AN/B5 not
readable, whereas the third respondent sees that datum as readable (1). The first
and the second respondents think that the use of the word “Penghibur” is not
proper to describe one of the roles of God in the human being’s life.
7 AN/B6 Menara kekuatan
Score: 2.7
The datum AN/B6 is considered as not readable by the first and second
respondents whereas the third respondent consider that as quite readable. For the
first and the second respondents who have Christianity background, the term
“menara kekuatan” is rarely recognized. The more common terminology are
“gunung” (gunung kudus, gunung batu, gunung Sion, gunung batu kekuatan),
“bukit batu”, “kubu pertahananku”, “Kota bentengku”, and “Kota perlindungan”.
For the third respondent whose background is Moslem, the most closely
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terminology related to word “menara” is “menara masjid” that is functioned to
announce the time to worship Allah, not the tower of strength.
8 AN/B7 Biarlah semua yang bernafas
Score: 1.3
The respondents whose backgrounds are Christianity will be easy to
understand the datum AN/B7 because it is related to a verse in the Bible that is
Psalm 150:6. In other words, the datum AN/B7 is adapted from that verse. The
Christians are assumed to be more familiar to something that comes from the
Bible that they use.
9 AN/B8 Tak berhenti menyembahMu
Score: 1.3
The three respondents who have religious life will be easy to understand
the terminology related to worship God. It assumed that as the believers, they
should not stop to worship God.
10 AN/B9 Nyanyi dan bersoraklah bagi Dia
Score: 1
There is no problem on the readability of this datum.
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11 AN/B10 Pujian hormat kuasa bagi Raja
Score: 2.7
The three respondents consider that datum as not readable. It is clear that
they interpret the datum as “power and majesty, praise to the King”. For them, to
give praise and honour to a King is easy to understand. But, they are confused
with the term “kuasa bagi Raja” because, as they know, a King has already the
power so that he does not need anyone to give him the power.
12 AN/B11 Gunung tunduk laut bergelora
Score: 2.3
The respondents who have Christianity background are confused to
understand the datum because that terminology does not exist on the Bible. The
most common terminology related to the word “gunung” is “gunung-gunung
beranjak” (Yesaya 54: 10), “gunung melompat-lompat” (Mazmur 29:6) and “laut”
is “Biarlah langit bersukacita dan bumi bersorak-sorak, biarlah gemuruh laut serta
isinya” (Mazmur 96:11). Therefore, they cannot understand the datum. They give
score 3 whereas the third respondent whose background is Moslem can
understand that as an expression of amazement.
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13 AN/B12 Mendengar namaMu
Score: 1.3
There is no problem for the respondents whose backgrounds are
Christian to understand the data. Only the third respondent who is a Moslem that
assess the datum as quite readable.
14 AN/B13 Ku bersuka atas perbuatanMu
Score: 2
All of the respondents agree that the datum is quite readable because
they see it is not proper to call the work of God with the word like “perbuatan”
which is seen as too harsh. The sense from the word “perbuatan” tends to be
considered as negative assumption as noted by one of the respondents.
15 AN/B14 S'lamanya ku kasihi Engkau Tuhan
Score: 1.3
Clearly, there is nothing wrong with the datum except the second
respondent who gives score 2. The possible reason is the second respondent
perhaps prefers to use “mengasihi” than just “kasihi”.
16 AN/B15 Tiada janji s'perti yang ada padaMu
Score: 2.7
The first and the second respondents give score 3 whereas the third
respondent gives score 2. The respondents do not understand the phrase “Tiada
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janji s'perti yang ada padaMu” especially the word “ada”. They prefer to “Tiada
janji s’perti yang Engkau miliki”
From Readability score of each item, then it can be calculated that the
readability scores of the translated work:
ΣXM= N
M= mean (the average point), X= total number of accuracy scores, N=
total number of the data
26.5M= 16
M= 1.65 (quite readable)
In percentage it would be
Σ = M (mean) x 100%4
Σ = 1.65 x 100%4
Σ = 41.25%
Thus, the acceptability score of the Indonesian version of Shout to the
Lord is 1.65 that means quite accurate or in percentage it is 41.25%. The Score on
readability of the respondents are presented by following chart:
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Chart 3:
Chart on Respondents' Readability
0
0.5
1
1.5
2
2.5
3
3.5
1 3 5 7 9 11 13 15
Data Number
Re
ad
ab
ilit
yS
co
re
Respondent 1 Respondent 2Respondent 3 Average
To give complete understanding about the translation quality of the song,
the chart in the following page presents the total average score on accuracy,
acceptability, and readability:
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Chart 5:
Chart on Respondents Total Assesment
0
0,5
1
1,5
2
2,5
3
Res
pondent 1
Res
pondent 2
Res
pondent 3
Ave
rage
Sources
Sc
ore
Accuracy
Acceptability
Readability
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B. The Stylistics Analysis
Paul Simpson suggests six ways to explore styles in a poem (2004: 113).
However, since the research is discussing the song that is treated as a poem, the
stylistics discussion mainly focused on the sound, or, the musical devices. The
benefit of using only the sound or musical devices than using all of the aspects is
that this research is expected to be preliminary research on stylistics research of
the song translation.
About musical devices, Laurence Perrine in his book entitled Sound and
Sense put musical devices as an important part on the discussion of a poem. He
said that an essential element in all music is repetition. (Perrine, 1969: 717)
Perrine states that repetition cannot be separated from the music because
it is one of the most important aspects. Some properties on musical devices that
are based on the repetition according to Perrine are: Alliteration, Assonance,
Consonance, and Rime. Therefore, the analysis on the musical devices is
conducted based on the musical devices proposed by Perrine. Also, the sound
pattern and rhythm analysis will be based on Paul Simpson method.
Paul Simpson’s theory is intended to explore the language style used by
the song writer and the translator. The researcher will discuss the musical devices,
sound pattern, and rhythm on the source language song and target language song.
It is absolute that the translation process produced some changes. In this
case, those changes found by the researcher is intended to identify the tendency of
the song translation in Indonesia since the song analyzed in this research is one of
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the most famous song. The changes also identify whether the translation created
some changes on how the song is sung or not.
The researcher does not criticize the translation of the musical devices,
sound pattern and rhythm since the effort to keep them during translation is a hard
work effort. The reason is that each language has its own sound, and it is nearly
impossible to find the same meaning and sound in the same time and position.
Therefore, the researcher will only analyze the way the translator recreate the
musical devices, sound pattern and rhythm. And then, the musical devices, sound
pattern and rhythm of the source and target song are compared. The comparison
here is intended to identify characteristics on how the song is performed.
The musical devices analysis is conducted in order to identify the
changes. The changes here are important to identify since it affects the aesthetic
aspects of the song. The analysis does reveal the effort of the translator to transfer
the aesthetic aspects.
The sound pattern and rhythm analysis is conducted on the purpose that
the song, although it can be treated purely as a poem, it still has its own purpose
as a song: to be sung and not to be read. The sound pattern and rhythm analysis
reveals the changes on how the original song and the translated song are sung. The
changes are important because it determines the form of the song.
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Source Language Song ER Target Language Song ER
Shout to the Lord Nyanyi dan Bersoraklah
My Jesus, my Savior a Yesusku Penyelamatku a
Lord, there is none like You b Tiada yang s'perti Engkau a
All of my days, I want to praise c Setiap hari ku memuji b
The wonders of Your mighty love a Keajaiban kasihMu a
My Comfort, my Shelter a Penghibur, Pelindung a
Tower of refuge and strength a Menara Kekuatan b
Let every breath, all that I am b Biarlah semua yang bernafas b
Never cease to worship You c Tak berhenti menyembahMu a
Shout to the Lord, all the earth let
us sing
a Nyanyi dan bersoraklah bagi
Dia
a
power and majesty, praise to the
King
a Pujian hormat kuasa bagi Raja a
Mountains bow down and the seas
will roar
b Gunung tunduk laut bergelora a
At the sound of Your name c Mendengar namaMu b
I sing for joy at the work of Your
hands
a Ku bersuka atas perbuatanMu a
Forever I'll love You, forever I'll
stand
a S'lamanya ku kasihi Engkau
Tuhan
b
Nothing compares to the promise
I have in You
b Tiada janji s'perti yang ada
padaMu
a
ER: End RimeTable 7. The musical devices comparison
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1. Musical Devices
a. Alliteration
The alliterations in the source language song appear in the “My Jesus,
My Savior”, “My Comfort, My Shelter”, “Power and majesty, Praise to the King”,
“Forever I’ll love You, forever I’ll stand”. In the target language song, they
appear in “Keajaiban kasihMu”, “Penghibur, Pelindung”.
From the data above, it can be concluded that the source language song
has more alliteration, but the effort of the translator to keep the alliteration need to
be appreciated.
b. Assonance
The assonances in the source language song appear in “All of my days, I
want to praise”, “Mountains bow down”, “Work of Your hands”. Whereas in the
target language appear in “Yesusku, Penyelamatku”, “setiap hari, ku memuji”,
“Penghibur, Pelindung”, “Biarlah semua, yang bernafas”, “Pujian hormat, kuasa
bagi Raja”, “gunung tunduk”, “Janji s’perti”.
The target language song has more assonance than the source language
song. It shows that the translator has creatively created more assonance.
c. Consonance
The source language song has consonance in “All of my days, I want to
praise” and the target language song does not have any consonance. The translator
was unable to find any consonance in his/her translation work.
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d. Rime
Perrine (1969) defines rime as the repetition of the accented vowel sound
and all succeeding sounds. The followings are the rimes found in the work:
i. Masculine
Masculine is a rime in which the rime sounds involve only one syllable
according to Perrine (1969). The source language song has them in “My Jesus, my
Savior”, “All of my days, I want to praise”, “My Comfort, my Shelter”, “bow
down”, “work of your hands” and the target language song does not have any
masculine.
ii. Feminine
Perrine (1969) states that feminine are rime in which the rime sounds
involve two or more syllables. The feminine rime in the source language song
appear in “Forever I'll love You, forever I'll stand” whereas the target language
song has it in “Menara kekuatan”.
iii. End Rime
End Rime is a rime when both riming words are at the ends of lines,
stated by Perrine (1969). Perrine said that end rime is probably the most
frequently used and most consciously sought-after sound repetition in English
poetry. Because it comes at the end of the line, it receives emphasis as musical
effect and perhaps contributes more than any other musical resource except
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rhythm and meter to give poetry its musical effects as well as its structure.
(Perrine 1969: 719) Here, it can be said that end rime hold significance role
towards a poem’s musical effect because it is most clearly seen because of its
position at the end of a line.
The following table shows the end rime pattern of the source and target
language song:
Source Language Song Target Language Song
Stanza 1 a-b-c-a a-a-b-a
Stanza 2 a-a-b-c a-b-b-a
Stanza 3 a-a-b-c a-a-a-b
Stanza 4 a-a-b a-b-a
Table 8. The end-rime comparison
From the table above, it can be concluded that the translator has
successfully keep the rime in the translation work although the rimes are not
exactly the same, but the musical devices are kept properly. Most of the rime on
the original song appears as words like “my” and “forever” whereas the translated
song has more various rimes. Therefore, the translated song has more musical
devices than the original song. Here, the translator is able to recreate the poem in
creative ways. The translator does not delete the aesthetic aspects of the song but
create more aesthetic aspects.
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2. Sound Pattern and Rhythm
At this part of the analysis, at the first place the researcher need to find
the metrical pattern of the song/poem. Since the title is not sung by the user, the
title will not be discussed. Here are the discussions:
i. The pattern on source language song
My Jesus, my Savior, 6 syllablesLord, there is none like You 6 syllablesAll of my days, I want to praise 8 syllablesThe wonders of Your mighty love. 8 syllables
My comfort, my shelter, 6 syllablesTower of refuge and strength 7 syllablesLet every breath, all that I am 8 syllablesNever cease to worship You. 7 syllables
Shout to the Lord, all the earth Let us sing 10 syllablespower and majesty, praise to the King 10 syllablesMountains bow down and the seas will roar 9 syllablesAt the sound of Your name 6 syllables
I sing for joy at the work of Your hands 10 syllablesForever I’ll love You, forever I’ll stand 11 syllablesNothing compares to the promise I have in You 12 syllables
The lines of the poem/song vary between 6 and 12 syllables. The lyrics
show the praise and worship to God; therefore it reflects the ordinary speech or
natural speech. Not like Bahasa Indonesia, English has limited addressee to
express respect or honor. The possible reason why the song writer use the word
“You” instead of “Your Highness” (although God in Christianity is also
recognized as King, as the song also mentioned it) is that the song writer at this
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point sees God as a friend. In this case, the natural speech indicates that this
song/poem is written in free verse. Moreover, the movements of the syntax also
strengthen the indication that it is a free verse. The syntax movements are in the
line 3-4, 7-8, and 11-12. Therefore, the movements of the syntax are not
consistent. Here, the song has no onomatopoeia. All the words used exist in the
language system.
About the stanza pattern, the pattern of the original song consists of 4
stanzas. Stanza 1 to 3 has 4 lines on each stanza whereas the last stanza only has
3. The complex permutation of line length and rime schemes creates the feeling of
flexibility and improvisation. As the refrain, stanza 3 and 4 has different numbers
of lines. It indicates the flexibility and improvisation of the song.
ii. Sound pattern on translated song
Yesusku Penyelamatku 7 syllablesTiada yang s'perti Engkau 7 syllablesSetiap hari ku memuji 8 syllablesKeajaiban kasihMu 8 syllables
Penghibur, Pelindung 6 syllablesMenara Kekuatan 7 syllablesBiarlah semua yang bernafas 8 syllablesTak berhenti menyembahMu 8 syllables
Nyanyi dan bersoraklah bagi Dia 10 syllablesPujian hormat kuasa bagi Raja 11 syllablesGunung tunduk laut bergelora 10 syllablesMendengar namaMu 6 syllables
Ku bersuka atas perbuatanMu 10 syllablesS'lamanya ku kasihi Engkau Tuhan 11 syllablesTiada janji s'perti yang ada padaMu 12 syllables
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Like the original song, the translated song’s lines of the song/poem vary
between 6 and 12 syllables although some lines have more syllables than the
original song. The interesting point here is that the line structures reflect the
formal speech. The formal speech is indicated by the using of the words like
“Engkau”, “Tiada”, “bersuka”. It is not weird since the song is intended to
worship God, so that the line structure is made to formal in order to honor or
respect God. The indication is the using of the word: Engkau. In Bahasa
Indonesia, the word Engkau is used to call the respected person.
In this translated song, there are movements of syntax, especially on line
3-4, 7-8, and 11-12. Therefore, the song is considered as free verse also. The
inconsistent movements of syntax show the flexibility and improvisation of the
song like its original song. The translator has repeated the pattern on the original
song to the translated work. The translated song also has no onomatopoeia so that
there is no sound symbolism.
From the musical devices, sound pattern, and rhythm analysis, it can be
concluded that at the first place, the translated song has more musical devices than
the original song. It shows the creativity of the translator. However, this
creativeness, although it is positive (it give more sense of exciting to the song by
adding more rimes), can be considered as a gain in the translation process. Next,
the translated song has more feeling on respect and honor to God than the original
song. The indication is the using of the word Engkau that indicates higher level
than kau or kamu whereas the original song plainly used “You”. Third, both songs
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are written in free verse. While the original song has ordinary speech and
movements of syntax, the translated song has formal speech and movements of
the syntax. The movements of the syntax indicate the flexibility and improvisation
on the song. The last, both of the original and translated songs have no
onomatopoeia, therefore, there is no sound symbolism. Overall, like in the
musical devices, the translator is successfully recreating the song. He or she does
not delete the aesthetic aspects but recreate them in certain ways that it does not
change the soul of the song.
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CHAPTER V
CONCLUSION
In this research, the curiosity to find the quality of the song translation in
Indonesia motivates the research to do the research. To find the quality, the
researcher applied the translation quality assessment and stylistics analysis to the
translation work. The translation quality assessment is related to the accuracy,
acceptability, and readability of the translation work, whereas the stylistics
analyses focus on the translation of the musical devices. By conducting those
analyses, the research reveals the quality of the translated song in Indonesia.
The song “Shout to the Lord” was chosen because it represents the most
famous translated song throughout the world. It had been translated into many
languages included Bahasa Indonesia. In Indonesia, the song becomes famous and
has been sung by many gospel singers. To do analysis on the song, the song is
treated like a poem since an expert stated that a song can be treated like a poem.
The lyrics of the song are written as a poem, consist of 4 stanza and 16 lines
(include the title; the lines will be 15 if the title is excluded).
To assess the data validity on accuracy, acceptability, and readability of
the translation work, the questionnaires were given to 9 respondents which
specification: 3 respondents on accuracy. The respondents are a Linguistics
expert, a Literary expert, and a professional translator. And then, 3 respondents on
acceptability with the different level of participation on the church activities: a
worship leader, an active member of the congregation, and a less-active member
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of the congregation. Also, there are 3 respondents on readability that include a
Charismatic Christian, a Catholic, and a Moslem.
There were 16 data include the title that have been analyzed. After the
analysis, the researcher found that there are 2 data that are accurate, 8 data which
are assessed as quite accurate but some have significance error, and 5 data which
are assessed as not accurate. The accuracies score of the Indonesian version of
Shout to the Lord is 2.13 that means quite accurate or in percentage it is 53.25%.
The most common problems on the accuracy are deleting and gaining.
Some respondents assess the data as quite accurate and not accurate because the
translated work loss some meaning. In other words, there are some words which
are not translated. Also, the translated work got some words which are not in the
source language song.
On the acceptability, there are 3 data that are acceptable, 11 data are
quite acceptable, and 1 datum is not acceptable and 1 datum which is
unacceptable. The acceptability score of the Indonesian version of Shout to the
Lord is 1.98 that mean quite accurate or in percentage it is 49.50%.
Related to the acceptability, the main problem is the terminologies used
by the translator on the translated work. Some respondents cannot accept certain
terminologies since they are unfamiliar or too harsh. On this term, the background
of the respondents played significance roles.
And about the readability, the scoring shows that there are 10 data which
are readable, 2 data are quite readable, and 4 data are not readable. The readability
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score of the Indonesian version of Shout to the Lord is 1.65 that means quite
readable or in percentage it is 41.25%.
The problem on the readability is related to the background of the
respondents to understand the song. The respondents who have Christianity
backgrounds could easily understand many parts of the work. The respondent who
has non-Christian background has some difficulties to understand the song.
On the stylistics analysis which is focused on the musical devices, the
researcher found that the translated work proved that the translator has the effort
to keep the musical devices. Although the musical devices are not exactly the
same like the source language song, however, the translated work has successfully
brought the music or the aesthetic aspects of the original work. Moreover, the
translated song has more “creativeness” like the addition of higher level of the
addressee and rimes. Also, both songs are written in free verses and have no
onomatopoeia.
From all analysis, it can be concluded that overall, the translation quality
of the song is quite good since the total score shows that it is
(1.6+1.9+1.7):3=1.73. (1=good. 2=quite good. 3=not good. 4=bad). This quality is
helped by the musical devices which are kept in the work and the recreation
process conducted by the translator. The translator gave more senses to the
translation work like rimes and higher level of the addressee.
Overall, the quality of the translated song represented by one of the most
famous songs, in this research is “Shout to the Lord” which is translated into
“Nyanyi dan Bersoraklah”, is quite good, whereas the musical devices which are
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kept in the translated song help the song to be accepted by the audience in
Anonymous. “Nyanyi dan Bersoraklah.” http://gema.sabda.org/nyanyi_dan_bersoraklah_ terjemahan _shout_to_the_lord> (April 19, 2010)
Anonymous. The New Testament of Our Lord and Saviour Jesus Christ withPsalms and Proverbs, King James Version. Philadelphia: NationalPublishing Company, 1986.
Bell, R. Translation and Translating Theory and Practice. New York: Longman.1991.
Chan, Sin Wei. “Some Crucial Issues on the Translation of Poetic Discourse fromChinese to English”. GEMA Online Journal of Language Studies. Vol.3(2) 2003. Pp. 1-4
Duff, Alan. Translation. Oxford: Oxford University Press, 1989.
Elkins, Alicia Karen. Readability. www.geocities.com. (23 September 2010)
Gadsby, Adam. Ed. Longman Dictionary of Contemporary English. Harlow:Pearson Education Limited. 2001.
Kennedy, X. J., and Dana Gioia, “Song.” Literature: An Introduction to Fiction,Poetry, and Drama. New York: Longman, 1999.
Nababan, M.R. Strategi Penilaian Kualitas Terjemahan. In Jurnal Linguistik Bahasa.Surakarta: Universitas Sebelas Maret, 2004, pp. 54-65.
Newmark, Peter. A Textbook of Translation. Hertfordshire: Prentice HallInternational (UK) Ltd., 1988.
Newmark, Peter. Approaches to Translation. Oxford: Pergamon Press Ltd., 1981.
Nida, E. A. and Taber, C.R. The Theory and Practice of Translation. Leiden: E.J.Brill, 1969.
Perrine, Laurence. Sound and Sense, An Introduction to Poetry. New York:Harcourt Brace&World Inc, 1969
Puspitaratri, Diah. Translation Quality Assessment: A Study on the Accuracy,Naturalness and Acceptability of the Translation of Leo Tolsoy’s “Afterthe Dance” into Bahasa Indonesia “Setelah Pesta Dansa” by AntonKurnia. Unpublished Thesis. Yogyakarta: Sanata Dharma University,2010.
Raffel, Burton. “Translating Medieval European Poetry”. The Craft ofTranslation. ed. John Biguenet. Chicago: The University of ChicagoPress, 1989, pp. 28-53
Sakri, Adjat. Bangun Kalimat Bahasa Indonesia. Bandung: Penerbit ITB.
Setiajid, Harris H., Penilaian Kualitas Terjemahan: Studi Kasus TerjemahanIstilah gerejawi Novel The Name of the Rose Karya Umberto Eco olehAni Suparyati. Unpublished Research Report. Yogyakarta: Kopertis,2007.
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Simpson, Paul. Stylistics, A Resource Book for Student. London: Routledge, 2004.
Sutopo, H.B. Metodologi Penelitian Kualitatif: Dasar Teori dan Terapannyadalam Penelitian. Surakarta: Sebelas Maret University Press, 2002.
Verdonk, Peter. Stylistics. Oxford: Oxford University Press. 2002.
Yayasan Musik Gereja. Malam Kudus. Kidung Jemaat. Jakarta: Yayasan MusikGereja. 2000
My Jesus, my Savior,Lord, there is none like YouAll of my days, I want to praiseThe wonders of Your mighty love.
My Comfort, my Shelter,Tower of refuge and strengthLet every breath, all that I amNever cease to worship You.
Reffrain:
Shout to the Lord, all the earth let ussingpower and majesty, praise to theKingMountains bow down and the seaswill roarAt the sound of your name
I sing for joy at the work of YourhandsForever I'll love You, forever I'llstandNothing compares to the promise Ihave in You
Nyanyi dan bersoraklah
Yesusku PenyelamatkuTiada yang s'perti EngkauSetiap Hari Ku MemujiKeajaiban kasihMu
Penghibur, PelindungMenara KekuatanBiarlah semua yang bernafasTak berhenti menyembahMu
Reffrain:
Nyanyi dan bersoraklah bagi DiaPujian hormat kuasa bagi RajaGunung tunduk laut bergeloraMendengar namaMu
Ku bersuka atas perbuatanMuS'lamanya ku kasihi Engkau TuhanTiada janji s'perti yang ada padaMu
81
APPENDIX 2
The Questionnaires
Responden Yth,
Terima kasih atas kesediaan Anda untuk mengisi kuesioner ini. Kuesioner ini
dirancang untuk mengetahui tingkat keakuratan penerjemahan lagu “Shout to
the Lord” yang diterjemahkan menjadi “Nyanyi dan Bersoraklah.”
Responden dimohon bantuannya untuk mengisi kuesioner ini dengan
memberikan penilaian atas tingkat keakuratan penerjemahan ini yang
menggunakan skala 4 dengan indikator sebagai berikut:
Skala Indikator1 Lagu dalam bahasa sumber secara akurat tersampaikan ke dalam bahasa
sasaran. Hasil terjemahan terasa jelas bagi penilai dan tidak diperlukanpenulisan kembali (rewriting).
2 Lagu dalam bahasa sumber secara akurat tersampaikan ke dalam bahasasasaran. Hasil terjemahan bisa dengan jelas dipahami oleh penilai, tetapipenulisan kembali dan perubahan susunan kata diperlukan.
3 Lagu dalam bahasa sumber tidak secara akurat tersampaikan ke dalambahasa sasaran. Ditemukan beberapa masalah dalam pemilihan butir-butirkata dan hubungan antar frasa, klausa, dan elemen-elemen kalimat.
4 Lagu dalam bahasa sumber diterjemahkan menyimpang atau sama sekalitidak terjemahkan ke dalam bahasa sasaran, yaitu sengaja dihilangkan.
Kuesioner ini disebarkan dalam rangka penulisan skripsi saya yang
berjudul The Translation of English Song “Shout to the Lord” into “Nyanyi dan
Bersoraklah” in Bahasa Indonesia: A Study of Its Accuracy, Acceptability,
Readability, and Style.
Terima kasih atas kesediaan Anda mengisi kuesioner ini.
Tuhan Memberkati
Hormat saya,
Rento Ari NugrohoProgram Studi Sastra InggrisFakultas SastraUniversitas Sanata Dharma Yogyakarta
82
1
Kuesioner Keakuratan
Mohon beri tanda centang (√) pada kolom yang telah Anda pilih dan tuliskankomentar Anda jika dirasa perlu di tempat kosong yang telah tersedia dibawah tiap nomor.Keterangan:
(1) Terjemahan sangat akurat(2) Terjemahan akurat(3) Terjemahan tidak akurat(4) Terjemahan sangat tidak akurat
No Source text Terjemahan 1 2 3 41. Shout to The Lord Nyanyi dan Bersoraklah
2. My Jesus, my Savior Yesusku Penyelamatku
3. Lord, there is none likeYou
Tiada yang s'perti Engkau
4. All of my days, I want topraise
Setiap hari ku memuji
5. The wonders of Yourmighty love
Keajaiban kasihMu
6 My comfort, my shelter Penghibur, Pelindung
7 Tower of refuge andstrength
Menara Kekuatan
8 Let every breath, all that Iam
Biarlah semua yangbernafas
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1
9 Never cease to worshipYou
Tak berhentimenyembahMu
10 Shout to the Lord, all theearth Let us sing
Nyanyi dan bersoraklahbagi Dia
11 power and majesty, praiseto the King
Pujian hormat kuasa bagiRaja
12 Mountains bow down andthe seas will roar
Gunung tunduk lautbergelora
13 At the sound of your name Mendengar NamaMu
14 I sing for joy at the workof your hands
Ku Bersuka atasperbuatanMu
15 Forever I'll love you,forever I'll stand
S'lamanya ku kasihiEngkau Tuhan
16 Nothing compares to thepromise I have in You
Tiada janji s'perti yang adapadaMu
TERIMA KASIH
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1
Responden Yth,
Terima kasih atas kesediaan Anda untuk mengisi kuesioner ini. Kuesioner ini
dirancang untuk mengetahui tingkat keberterimaan (kealamiahan)
penerjemahan lagu “Shout to the Lord” yang diterjemahkan menjadi “Nyanyi
dan Bersoraklah.”
Responden dimohon bantuannya untuk mengisi kuesioner ini dengan
memberikan penilaian atas tingkat keberterimaan penerjemahan ini yang
menggunakan skala 4 dengan indikator sebagai berikut:
Skala Indikator1 Terjemahan sangat alamiah dan wajar dan biasa digunakan dalam
menyanyikan lagu tersebut2 Terjemahan terasa sedikit janggal dan agak tidak wajar.3 Terjemahan tidak alamiah dan tidak wajar.4 Terjemahan terasa sangat janggal dan mengada-ada. Ada bagian yang tidak
diterjemahkan.
Kuesioner ini disebarkan dalam rangka penulisan skripsi saya yang
berjudul The Translation of English Song “Shout to the Lord” into “Nyanyi dan
Bersoraklah” in Bahasa Indonesia: A Study of Its Accuracy, Acceptability,
Readability, and Style.
Terima kasih atas kesediaan Anda mengisi kuesioner ini.
Tuhan Memberkati
Hormat saya,
Rento Ari NugrohoProgram Studi Sastra InggrisFakultas SastraUniversitas Sanata Dharma Yogyakarta
85
1
KUESIONER KEBERTERIMAAN
Mohon beri tanda centang (√) pada kolom yang telah Anda pilih dan tuliskankomentar Anda jika dirasa perlu di tempat kosong yang telah tersedia dibawah tiap nomor.Keterangan:
(1) : Sangat alami(2) : Alami(3) : Tidak alami(4) : Sangat tidak alami
No Kutipan Terjemahan 1 2 3 41. Nyanyi dan bersoraklah
2. Yesusku, Penyelamatku
3. Tiada yang s'perti Engkau
4. Setiap hari ku memuji
5. Keajaiban kasihMu
6. Penghibur, Pelindung
7. Menara Kekuatan
8. Biarlah semua yang bernafas
9. Tak berhenti menyembahMu
10. Nyanyi dan bersoraklah bagi Dia
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11. Pujian hormat kuasa bagi Raja
12. Gunung tunduk laut bergelora
13. Mendengar namaMu
14. Ku bersuka atas perbuatanMu
15. S'lamanya ku kasihi Engkau Tuhan
16. Tiada janji s'perti yang ada padaMu
TERIMA KASIH
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Responden Yth,
Terima kasih atas kesediaan Anda untuk mengisi kuesioner ini. Kuesioner ini
dirancang untuk mengetahui tingkat keterbacaan penerjemahan lagu “Shout to
the Lord” yang diterjemahkan menjadi “Nyanyi dan Bersoraklah.”
Responden dimohon bantuannya untuk mengisi kuesioner ini dengan
memberikan penilaian atas tingkat keterbacaan penerjemahan yang menggunakan
skala 4 dengan indikator sebagai berikut:
Skala Indikator1 Terjemahan dapat dipahami dengan mudah oleh pembaca. Hasil terjemahan
sepenuhnya dapat dipahami oleh pembaca.2 Terjemahan dapat dipahami oleh pembaca, namun, terjemahan tersebut tidak
sepenuhnya dipahami oleh pembaca.3 Terjemahan sulit dipahami oleh pembaca. Pembaca hanya mampu
memahami sedikit saja4 Terjemahan sangat sulit dipahami oleh pembaca. Pembaca sepenuhnya buta
terhadap hasil terjemahan tersebut. Ada istilah yang tidak diterjemahkan.
Kuesioner ini disebarkan dalam rangka penulisan skripsi saya yang
berjudul The Translation of English Song “Shout to the Lord” into “Nyanyi dan
Bersoraklah” in Bahasa Indonesia: A Study of Its Accuracy, Acceptability,
Readability, and Style.
Terima kasih atas kesediaan Anda mengisi kuesioner ini.
Tuhan Memberkati
Hormat saya,
Rento Ari NugrohoProgram Studi Sastra InggrisFakultas SastraUniversitas Sanata Dharma Yogyakarta
88
1
KUESIONER KETERBACAANMohon beri tanda centang (√) pada kolom yang telah Anda pilih dan tuliskankomentar Anda jika dirasa perlu di tempat kosong yang telah tersedia dibawah tiap nomor.Keterangan:
(1) : Sangat mudah dipahami(2) : Mudah dipahami(3) : Sulit dipahami(4) : Sangat sulit dipahami
No Kutipan Terjemahan 1 2 3 41. Nyanyi dan bersoraklah
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