1

AN INTERPERSONAL MEANING ANALYSIS OF

SONG LYRIC OF CRAIG DAVID’S

“UNBELIEVABLE”

a Final Project
submitted in partial fulfillment of the requirements for the completion of
the degree of Sarjana Pendidikan in English

by
BUSTANUL ARIFIN
06420577

ENGLISH DEPARTEMENT
FACULTY OF LANGUAGE AND ARTS EDUCATION
IKIP PGRI SEMARANG
2011

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APPROVAL

This final project entitled An Interpersonal Meaning Analysis of Song Lyric of

Craig David’s “Unbelievable”, written by Bustanul Arifin, NPM. 06420577, was
approved by the team of advisors of Department of English Language Education,
Faculty of Language and Art Education IKIP PGRI Semarang on:

Day : Monday
Date : 31 October 2011

Advisors,

First Advisor, Second Advisor,

Dra. Siti Lestari, M.Pd. Jafar Shodiq, S.Pd, M.Pd.

NIP. 19611219 198503 2 002 NPP. 956701117

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RETRIFICATION

This final project has been ratified by the team of examiners of the English
Department of Language and Arts Education IKIP PGRI Semarang on:

Day : Monday
Date : 31 October 2011

Dra. Siti Lestari, M.Pd. ( )

NIP. 19611219 198503 2 002
Examiner

Jafar Sodiq, S.Pd., M.Pd. ( )

NPP. 956701117
Examiners/advisor I

Arso Setyaji, S.Pd., M.Pd. ( )

NPP. 056901167
Examiners/advisor II

Drs. A. Wiyaka, M.Pd. ( )

NIP.19641226199031002
Head of English Department/ Secretary

Dra. Sri Suciati, M.Hum. ( )

NIP. 1965031619902002
Dean of FPBS/Chairperson

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MOTTO

 Life is hard but beautiful, please be noble adventurer in this world.

 If you fail, don’t be in despair. Take that experience to blaze your
consciousness for combat so that your glorious aspirations reached
immediately.
 The most important thing is not only to know something but to carry out
what is known.

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DEDICATION

This thesis is proudly and gratefully dedicated for:

1. My mother and father, who gives me everything I need,

2. My lovely brothers and sisters who always company me,

3. My beloved Winda Ayu Fitriani, who gives me a lot of loves, supports, and
believes.

4. All of my friends, alumnus of EDSA 2007.

5. All of the members of PKL IKIP PGRI.

6. My employers at KBU Mandiri Jaya Abadi.

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ACKNOWLEDGEMENT

Firstly, the writer would like to rise thanks to Allah SWT by saying
Alhamdulillah. In completing this thesis entitled An Interpersonal Meaning
Analysis of Song Lyric of Craig David’s “Unbelievable”, many people help for
many things; guidance, advises, supports, and prays.
Moreover, the biggest and deepest gratitude and appreciation would like to
express to:
1. Dra. Sri Suciati, M. Hum, as the Dean of Faculty of Language and Arts
Education, Institute of Teacher Training and Education PGRI Semarang, and
her staff members,
2. Drs. A. Wiyaka, M, Pd, as the Head Department of Institute of Teacher
Training and Education PGRI Semarang,
3. Dra. Siti Lestari, M.Pd, as the first advisor,
4. Jafar Sodiq, S. Pd, M. Pd., as the second advisor,
5. Arso Setyaji, S.Pd, M.Pd, as the third advisor,
6. All of the lecturers in English Department of IKIP PGRI Semarang, thank
you for everything
The thesis is of course far from being perfect. However, it is the best the

writer can do. Hopefully, there will be some worth and useful knowledge to obtain

from this study.

Semarang, Oktober 2011

The Writer

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ABSTRACT

Arifin, Bustanul. 2011 An Interpersonal Meaning Analysis of Song Lyric of Craig

David’s “Unbelievable” S-1 Thesis of English Department of IKIP PGRI
Semarang.
Language has a theory, it is grammar. We need to study grammar which
helps us to understand how a text works. There are three grammars which have
had major influence to the language. First is traditional grammar, then formal
grammar, and last is functional grammar.
The objectives of the thesis are to identify the interpersonal meaning
realized in Craig David’s song lyric 'Unbelievable'. To find out the structures of
interpersonal meaning mostly used in 'Unbelievable' song lyric. To identify the
speech functions realized by mood type in Craig David’s song lyrics
'Unbelievable'.
This research uses the Descriptive method, since it just collects and
analyses the data taken from Craig David’s song lyric “Unbelievable”.
Descriptive presents the facts and characteristics of the data systematically,
factually and accurately. In this study, population is the sentence of Craig David’s
song lyric “Unbelievable”. In this study, the writer takes the sample from the
whole lyric of Craig David’s “Unbelievable”. In this study, data resource is Craig
David’s song lyric “Unbelievable”. Since the writer uses qualitative study, so, the
key instrument is the researcher or the writer himself. The data cannot be
expressed in number but in sentences. The techniques of data analysis involve
several steps; Reading the sentences in lyric of “Unbelievable”, Listing the
sentences of the lyric of “Unbelievable”, Labeling the clauses in terms of mood
structure whether the clauses indicates declarative, interrogative, imperative
mood, and speech function. Identifying the clauses in terms of mood structure
whether the clauses indicates declarative, interrogative, imperative mood, and
speech function.
. Having been analyzed, the interpersonal meaning realized in Craig
David’s song lyric “Unbelievable” is subject, finite, predicator, complement,
mood adjunct, circumstantial adjunct, mood, and residue. And the mood types
appearing in this song lyric are declarative mood and interrogative mood, the
imperative mood does not appear. Declarative mood is the most appear in the song
lyric “Unbelievable”, and the interrogative mood completing the declarative one.
The great number of declarative mood found in the song lyric “Unbelievable”
suggest that in this song lyric, the writer or the singer or the speaker want to
giving information to the reader or the listener that he is falling in love with
someone he loves. The speech function often appears is statement which is
appearing 34 times. The speech function is typically the same with grammatical
structure, not excepted statement which is typically same with declarative, so
statement is the clause giving information too. It is explained that the singer only
gives information to his reader or his listener about his love story. The second
mostly appear is question which is typically same with interrogative type.
Question and interrogative is demanding normally ask question. Sometimes in

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interrogative mood, the speaker wants specific information and ask who, where,
which, whom, whose, what, why, and how. In this lyric the use of question is to
reinforcement the statement itself in order to dramatize the lyric.
From the analysis, some suggestions are considered for English students,
lecturers, and other researchers to succeed in teaching and studying English
functional grammar.

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TABLE OF CONTENTS

TITLE ....................................................................................................... i

APPROVAL .................................................................................................... ii

RETRIFICATION ............................................................................................ iii

MOTTO ............ iv

DEDICATIONv

ACKNOWLEDGEMENT .............................................................................. vi

ABSTRACT .................................................................................................... vii

TABLE OF CONTENT ................................................................................... ix

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

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

B. Reasons for Choosing the Topic ........................................................ 3

C. Limitation of the Study ...................................................................... 4

D. Statements of the Problems................................................................ 4

E. Objectives of the Study...................................................................... 4

F. Significances of the Study ................................................................ 5

G. Definitions of the Key Terms ............................................................ 6

H. Outline of the Final Project............................................................... 6

CHAPTER II REVIEW OF RELATED LITERATURE ................................. 8

A. Formal And Functional Grammars .................................................... 8

B. Metafunctionq .................................................................................... 9

C. Interpersonal Meaning ....................................................................... 11

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D. Mood Systems.................................................................................... 11

E. Mood Structures................................................................................. 12

F. Residue............................................................................................... 15

G. Mood Types........................................................................................ 19

H. Speech Function................................................................................. 23

I. Song ............................................................................................... 24

J. Lyric ............................................................................................... 24

K. The Relation of Interpersonal Meaning and the Song Lyric.............. 26

L. Biography of Craig David.................................................................. 27

CHAPTER III RESEARCH METHOD ......................................................... 31

A. Design of the Study ........................................................................... 31

B. Objectives of the Study...................................................................... 31

C. Instrument of the Study ..................................................................... 32

D. Techniques of Data Collection .......................................................... 32

E. Techniques of Data Analysis.............................................................. 33

CHAPTER IV RESEARCH FINDINGS AND DISCUSSIONS..................... 34

A. Research Findings ............................................................................ 34

B. Discussions ........................................................................................ 43

CHAPTER V CONCLUSSIONS AND SUGGESTIONS .............................. 51

A. Conclusions........................................................................................ 51

B. Suggestions ........................................................................................ 52

BIBLIOGRAPHY ............................................................................................ 54

APPENDICES ................................................................................................. 53

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CHAPTER I

INTRODUCTION

A. Background of the Study

Language, either spoken or written, holds important role in every

human life. People use language as a mean of communication in every

contact, condition, and situation. Beside as a means to convey message,

ideas, knowledge, feeling, and wishes to other people. Language has a theory,

it is grammar. We need to study grammar which helps us to understand how a

text works. Theories of language or grammars are a bit like the blinds men’s

experience of something. Each ended up with a somewhat different

perspective. And like the blind men’s experience, theories of language are

inherently good or bad, right or wrong, true or false. Rather, grammars are

validated by their usefulness in describing and explaining the phenomenon

called language (Wignel, 1994, 4).

There are three grammars which have had major influence to the

language. First is traditional grammar, then formal grammar, and last is

functional grammar. Traditional grammar is focus on rules for producing

correct sentences. Formal grammars are concerned to describe the structure

of individual sentences. The central question about formal grammars attempt

to address is “how is this sentence structured?” . And functional grammars

view language as a resource for making meaning. These grammars attempt to

describe language in actual use and so focus on texts and their contexts. They

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concern with how those structures construct meaning. Functional grammar

start with question “how are the meanings of this text realized?”.

Before interpretation and production texts, it is important to know

about systemic-functional grammar, because of the way this model of

language explains the connections between context and text. Context can be

divided into two ways, context of culture and context of situation. Context of

culture determines what we can mean through: being (who we are), saying

(what we say), and doing (what we say). Meanwhile, context of situation can

be specified through use the ‘register’ variable: field that specifies what’s

going on with reference to what, tenor which refers to the social relationships

between those taking part, and mode refers to language is being used.

To reconstruct the context of situation is not so difficult, since there is

a systematic relationship between context and text. The wording of text

simultaneously encode three types of meaning: ideational, interpersonal, and

textual meaning. Ideational meaning is meaning about phenomena – about

things, about goings on, and the circumstances surrounding these happening

and doing, it has function to represent what is we want to talk about and to

locate it in time, which means selecting appropriate process types,

participant, and circumstances. Interpersonal meaning is meaning which

express a speaker’s attitudes and judgments. Its function is to the content

interpersonally relevant and appropriate, which means selecting appropriate

moods, modalities, and polarities. And textual meaning is meaning which

express the relation of language to its environment. The function is to make

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the whole message relevant to what has been said previously and to the

situational context, which means selecting appropriate thematic organization

and appropriate reference. Halliday called them as ‘metafunctions’.

This study is concern only on one of the three meaning, which is

interpersonal meaning. Wignel states interpersonal meanings are meanings

which express a speaker’s attitudes and judgments. These are meaning for

acting upon and with others. To analyze interpersonal meaning, it’s working

with Mood system. If we talk about mood it means that we talk about the

clause as exchange.

In doing analyze of interpersonal meaning we need a source to be

analyzed, the source must be a text. The text can come from written or

spoken. In this study, it concern with the written text and it is a song lyric.

Because it is simple and fun, and also in the song lyric a massage that want to

delivered by the writer or the singer to his reader or listener.

B. Reason for choosing the Problems

In this study, the writer has an opportunity to analyze literary works

especially song lyric because it is more interesting. In the other hand,

there are some people who don't really understand how to interpret the

meaning of the song lyric.

Based on the phenomenon above the writer wants to analyze the

meaning of song lyric viewed from clauses in interpersonal meaning. By

this study the writer hopes that it will be useful for the writer and the readers
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to understand interpersonal meaning.

C. Limitation of the Study

This final project entitled an interpersonal meaning analysis of

song lyric “UNBELIEVABLE” by Craig David. It focus on the analysis

Interpersonal meaning as Metalanguage. It can be characterized through the

mood structure consisting the mood types and elements.

D. Statements of the Problem

The discussion of this study is limited in the following problems:

1. How are the interpersonal meaning realized in Craig David`s song

lyric ‘Unbelievable’?

2. What are the structures of interpersonal meaning mostly used in

Craig David`s song lyric ‘Unbelievable’?

3. How are the speech function realized by mood type in Craig David`s

song lyric ‘Unbelievable’?

E. Objectives of the Study

The statements of the problems raise two objectives of the study.

They are:

1. To identify the interpersonal meaning realized in Craig David`s song

lyric ‘Unbelievable’.

2. To find out the structures of interpersonal meaning mostly used in

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Craig David`s song lyric ‘Unbelievable’.

3. To identify the speech function realized by mood type in Craig David`s

song lyrics ‘Unbelievable’.

F. Significances of the Study

The writer hopes that after this study has completed it can be

useful for the students of English Department, lectures, the reader, and the

writer they are:

1. The Scholar

For improving their listening, reading, and writing hopefully will help

them in understanding systemic functional grammar especially in

interpersonal meaning, because this media (song) is more interesting

and closer with their hobby.

2. The Lecturer

This study is expected to provide and add some information about

interpersonal meaning. Hopefully, after reading it the lecturers get

additional reference to teach interpersonal meaning

3. The Reader

Giving input to the readers as the reference for researching

4. The writer

Giving to the writer, hopefully from this thesis, the writer is able to

increase the knowledge in analyzing other book.

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G. Definition of the Key Terms

The definition used in this study would be useful and helpful in

other to avoid misinterpretation and misunderstanding. The terms are

necessary to be defined. The terms are as the following:

1. Analysis

Analysis study of something by examining its parts

(Oxford learner's pocket dictionary,1980:13).

2. Interpersonal meaning

Interpersonal meanings are meanings which express a speaker's

attitudes and judgments. These are meanings for acting upon and

with others. Meanings are realized in wordings through what is called

Mood and Modality. Meanings of this kind are most centrally

influenced by tenor of discourse (Gerot and Wignel, 1994:13).

3. Craig David

Craig David is a pop-male singer singing Unbelievable song.

4. Unbelievable

Unbelievable is the title of song being analyzed

F. Outline of the Final Project

The writer organizes this final project into three main parts. They

are opening, content, and closing. The first part is opening. It consists of the

title, approval, ratification, motto, dedication, statement, abstract,

acknowledgement, table of content, and appendix.

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Then, the second part is content. In this part contains the

discussion about this final project. The writer divides this part into five

chapters. Chapter one is introduction. It covers the background of the study,

reason for choosing the topic, limitation of the study, statement of the

problem, objective of the study, significance of the study, and definition of

key terms. The next, chapter two is review of the literature. It covers formal

and functional grammar, metafunction, interpersonal meaning, mood system,

and song, lyric. The third chapter is method of the research. It describes the

methodology used in the research covering the type of the research, setting

of the research, object of the research, data and data source, technique of

data collection, and technique of data analysis. Next, chapter four is research

findings and discussions. It is the chapter whereas the writer presents the

research findings and discussions. And the last chapter is conclusion and

suggestions. On this chapter, the writer gives the conclusion based on the

result of the research findings. Moreover, the writer also gives suggestions to

the students, lecturers, other researchers, and English department.

The last part of the final project is closing. It contains

bibliography of related literature and other data which support this final

project.
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CHAPTER II

REVIEW OF RELATED LITERATURE

In this chapter the writer will discuss formal and functional

grammar, metafunction, interpersonal meaning, mood system, and song, lyric.

A. Formal and Functional Grammar

Before we started to discuss about formal and functional

grammar, it is important to learn about grammar. State grammar is a theory

of language (Gerot and Wignell 1994: 2), of how language is put together

and how it works. Meanwhile, state that grammar is the true of the word that

means something like the way in which a language is organized (Butt and

Friends 1995:25).

The language, like metaphor by Gerot and Wignell as the blind

men’s experience of the elephant each ended up with a somewhat different

perspective. Theories of language or grammar are not inherently good or

bad, right or wrong, true or false. Rather, grammars are validated by their

usefulness in describing and explaining the phenomenon called language.

Formal grammar is concerning to describe the structure of

individual sentences. Such grammars view language as a set of rules which

allow and disallow certain sentences structures. Knowledge of these rules is

seen as being carried around inside the mind. The central question formal

grammar attempt to address is: “how is this sentence structured?” Meaning

is typically shunted off into the too-hard box. Beside that functional

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grammars view language as a resource for making meaning. These

grammars attempt to describe language in actual use and so focus on text

and their contexts. They are concerned not only with the structures but also

with how those structures construct meaning.

B. Metafunctions

Halliday states metafunctions are theory of the fundamental

functions of language, in which he analyzed lexicogrammar into three broad

metafunctions: ideational, interpersonal and textual. Each of the three

metafunctions is about a different aspect of the word, and is concerned with

a different mode of meaning of clauses. The ideational metafunction is

about the natural word in the broadest sense, including our own

consciousness, and is concerned with clauses as representations. The

interpersonal metafunction is about the social world, especially the

relationship between speaker and hearer, and is concerned with clauses as

exchanges. The textual metafunction is about the verbal world, especially

the flow of information in a text, and is concerned with clauses as messages.

In each metafunction an analysis of a clause gives a different kind

of structure composed from a different set of elements. In the ideational

metafunction, a clause is analysed into Process, Participants and

Circumstances, with different participant types for different process types

(as in Case Grammar). In the interpersonal metafunction, a clause is

analysed into Mood and Residue, with the mood element further analysed
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into Subject and Finite. In the textual metafunction, a clause is analysed into

Theme and Rheme

Ideational meaning is meaning about phenomenon, things (living

thing and non living thing, abstract and concrete), about going on (what the

things are or do) and the circumstance surrounding these happenings and

doings. Ideational meaning, according. Can be broken down into three

functional constituents: Participants, Process, and Circumstance. The

Participant constituent can be further described in terms of various

participants role such as Actor, Agent, Goal, Carrier, and Sayers. The

Process divides into Material, Mental, Relational (Attributive and

Identifying), Verbal, and Behavioral. Circumstance can be divided into

Time, Place, Manner, Cause, and Role(Butt and Friends 1995:43).

The interpersonal meaning is meaning which express a speaker’s

attitudes and judgments. This is meaning for acting upon and with others.

Meaning is realized in wordings through what is called Mood and Modality.

Meanings of this kind are most centrally influenced by tenor of discourse

(Gerot and Wignell, 1994: 13). Tenor comprises three component areas: the

speaker/writer, social distance, and relative social status.

The textual metafunction is about the verbal, especially the flow

of information in a text, and is concerned with clauses as messages.

Halliday's influence seems clear here: the ideational metafunction relates to

the context of culture, the interpersonal metafunction relates to the context

of situation, and the textual metafunction relates to the verbal context.

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C. Interpersonal Meaning

Interpersonal meanings are the meaning which has to do with the

ways in which we act upon one another through language, giving and

requesting information, getting people to do things, and offering to do things

ourselves, and the ways in which we express our judgment and attitudes –

about such things as likelihood, necessity, and desirability. Traditionally,

interpersonal meaning is a meaning through which social relations are

created and maintained. These interpersonal meaning are realized in the

lexicogrammar through selections from the system of Mood.

Mood, as a system that realizes the clause as an exchange, has the

main element which called element of mood. Interpersonal meaning divided

into two grammatical features they are the subject and the finite. The two

grammatical features which carry the main burden of interpersonal meaning

are the subject and finite. They combine to make the mood of the clause.

The mood system, element of mood, will be completely discussed on the

following section.

D. Mood System

Mood system is an essential thing if we want tries to analyze

interpersonal meaning. Interpersonal can be realized by the mood structure

consisting the mood elements and mood types. They represent the role

relationship between speaker and listener or between writer and reader

associated with the situation.

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E. Mood Structure

As the explaining above, one of mood structure is mood

structure. The mood structure it`s consist of Subject which is realized by

a nominal group, and finite which is part of the verbal group (Gerot and

Wignell, 1994: 25).

I didn’t

Who did

Michael did

Subject Finite

Mood

The significance of the subject-finite relation sometimes can be seen in

the effect of the subject on the finite. When the nominal group in the

subject role are changes, from singular to plural or from first person to

third person, the finite may reflect the change in its form.

I am

Subject Finite (present)

You/we/they are

Subject Finite (present)

He/she/it is

Subject Finite (present)

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a. Subject Element

(Halliday, 1985: 72) says the subject, when it first appears, may be

nominal group. If it personal pronoun, like he, it is simply repeated

each time. If it is anything else, your father, then after the first

occurrence it is replaced by the personal pronoun corresponding to it.

So your father becomes he, my sister becomes she, the bag become it.

And according to Gerot and Wignell, subject can be identified that

upon which the speaker rest his case in exchange of good and service.

To identify the subject of the clause is to add the clause by tag test.

Traditionally, noun phrase also has function as the subject.

b. Finite Element

Finite element is one of the small numbers of verbal operators

expressing or primary tense, modality, and polarity (Gerot and

Wignell, 1994: 25). Finite can be in to be or verbal group form.

Butt and friends argues that the finite is a part of the verbal group

which encodes primary tense or speaker’s opinion. So the finite has

two main interpersonal roles in the verbal group; it can be sign of time

on relation of the speaker’s or a modal sign of the speaker’s opinion.

Table 1. Finite Verbal Operators

Temporal Operator
Past Present Future
did, was does, it Will/ shall
had, used to has would/ should
Modal Operator
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Low Medium High

can, may will must to, ought to
could. might would, should, is to, need, has to, had to
was to

1) Primary tense means past, present or future at the moment of

speaking. Through primary tense, we can argue over when an

event did/ will/ should occur.

For example:

I knew him since two years ago

The knowing was before the time of speaking.

The party will start on six o’clock

The starting is after the time of speaking.

2) Modality indicates the speaker’s judgment of the probabilities

or the obligations involved in what he or she is saying.

For example:

The special guest may come after the show

You should make your own note

Each finite verbal operator has two form of polarity, they are

positive (was, has, can, etc.) and negative (isn’t, wasn’t, can’t,

etc.).
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3) Polarity is expressed in finite element

For example:

He is a handsome boy – positive polarity

He is not a handsome boy – negative polarity

F. Residue

Besides the elements of mood that have been discussed there is

other element of mood structure which called residue. According to Gerot

and Wignell residue is the remainder of each clause. Halliday states that

Residue consist of functional element of the three kinds: predicator,

complement, and adjunct. Three can be only one predicator, one or two

complement, and an indefinite number of adjuncts up to about seven.

Henry Ford built his first car in his backyard

Subject Finite Predicator Complement Adjunct

(past)

Mood Residue

a) Predicator

Predicator is present in non-elliptical or major clause, the predicator

it self is the rest of verbal group, including any other auxiliaries, the

bit which tells what’s doing, happening or being.

There are two verbs in English which in simple past and simple

present tense appear as finite only, without being fused with a

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distinct element as predicator. These are ‘be’ and ‘have’.

Table 1.2. Simple Past and Present Form of Be and Have

Past Present
be was, were am, is, are
have had have, has

The elephant had four legs

Subject Finite Complement

Mood Residue

It was a simple task

Subject Finite Complement

Mood Residue

b) Complement

The second element of Residue is Complement. Complement

complete the argument set up in the clause, so it can answers the

question is/ had what, to whom, did to what. Thus, in the example

provided in previous discussion, the following items are

complements: these potential to be subject.

Henry Ford built his first car in his backyard

= his first car answer the question: do to (build) what?

The car had four bicycle wheels.

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= four bicycle wheels answer question: had what?

It was a slow process.

= a slow process answer the question: is what:

c) Adjunct

The last element of residue is adjunct. Adjunct (Butt and friends,

1995: 69) is adverbial groups, nominal groups and prepositional

phrases which acted as circumstances for the experiential meaning of

a clause.

Meanwhile, Halliday states that an adjunct is an element which has

not got the potential of being subject.

Adjunct itself according to Gerot and Wignell (1994: 34) has four

kinds of adjunct. They are:

1) Circumstantial adjunct: Adjunct which answer the question how,

when, where, and by whom.

For example:

Henry Ford build his first car in his backyard of his home.

= in his backyard of his home answer the question ‘where’

The symphony was played badly by an amateur orchestra.

= badly answer the question ‘how’.

2) Conjunctive adjunct: adjunct which is include items such as for

instance, anyway, moreover, meanwhile, therefore, nevertheless

3) Comment adjunct: adjunct which is express the speaker’s

comment on what he or she is saying. Comment adjunct include

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such as frankly, apparently, hopefully, broadly speaking,

understandably, and to my surprise.

Unfortunately however they were too late

Comm. adjunct Conj. Subject Finite complement

adjunct

Mood Residue

4) Mood adjunct: adjunct which is on the other hand, both express

interpersonal meanings and do fall within mood structure, more

particularly within the mood element. Mood adjunct relate

specifically to the meaning of the finite verbal operators. It

expressing usuality, obligation, inclination or time

G. Mood Types

Changing the position of subject and finite will change the mood

type in turn since the position of subject and finite in the clause realizes

the mood. According to Gerot and Wignell (1994: 38) there are two types

of mood. They are:

a. Indicative mood

The order of the subject and finite realizes with two kinds of

indicative mood, they are declarative and interrogative.

1) Declarative

Declarative is a kind of sentence that makes a statement of

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declaring something. In the example below will show the

structures of declarative.

Unmarked: subject + finite

The car had four bicycle wheels

Subject Finite Complement

Marked: Finite + Subject

Then came the production line

Predicator Finite Subject

Residue Mood

From the structure above, we conclude that in declarative there are

three kinds of characteristics of the structure in building declarative

mood. They are as follows:

a) Fusion

Fusion structure happens when the finite elements are fused to

the lexical verb. It often happens when the verb is in present

and past form. The fusion becomes apparent in the mood tag as

example.

He drinks a cup of coffee at afternoon, doesn’t he?

S F Pred. Compl. Tag

Mood: Decl. Residue

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The mood tag on the example above shows that the clause is in

simple present tense using the finite does. Since the subject is

the singular third person, he. The finite is fused to the

predicator, so the verb eat become eats.

the didn’t
Farah visited in April
museum she?

S F Pred. Circ. Adj. Circ. Adj. Tag

Mood: decl. Residue

The example above indicates declarative mood in simple past

form. Since the tag used is the finite did. The finite element,

did, is fused to the predicator, so the verbs changes into visited.

b) Non-fusion

Non-fusion happens when the finite elements and the lexical

verb are not fused. Those elements are be and have in simple

present and simple past tense.

Now a Blackberry is the popular in the

day phone world

Adj. S F Comp. Circ. Adj.

Mood: decl.

Residue

The example above indicates the declarative in non-fusion

structure since it uses the finite element is. It represents to be in

simple present.
 21

c) Elliptical

Elliptical structure means there is an element which is left out

in a clause. It can be subject, finite, or predicators. This

structure often appears in response of conversation.

2) Interrogative

Interrogative is a kind of mood which discusses about question.

The structure of interrogative mood is divided into four types.

(Gerot and Wignell, 1994: 39-42).

a) Polar (Yes/ No Question): Finite + Subject

The polar structure is used to express the question in yes/ no

question form. The answer of it is in yes/ no. this polar question

expects the addressee to confirm or deny information. The

example below will make clear.

Henry
Did build his car in the backyard?
Ford

Finite Subject Pred. Comp. Circ. Adj.

Mood Residue

b) Wh-Question: Querying Subject – Wh/ Subject + Finite

Wh. Question / querying subject is used to ask the subject. It is

usually initialized by Who-element which functions as a subject

in the mood element, as in the following example.

 22

Who built a car in his backyard?

S/ Wh- F Pred. Comp. Circ. Adj.

Mood Residue

c) Querying Residue: Wh + Finite + Subject, where C/ Wh

(Complement is queried) or A/ Wh (Adjunct is queried)

Querying residue is a type of question which asks about residue.

It is also initialized by Wh-elements but they do not function as

a subject.

The example below will make it clearer.

What did Henry Ford build?

Compl. /Wh Fin Subject Pred.

Mood

Residue

d) Exclamatives: Wh + Subject + Finite + Pred., where C/ Wh or

A/ Wh

Exclamative is a sentence that expresses strong feelings, strong

emphasis or emotion of the speaker.

What big eyes you have!

Complement/ Wh Subject Finite

Residue Mood
 23

3) Imperative mood

In imperatives the mood element may consist of Subject + Finite,

Subject only, Finite only, or they may have no mood element.

There will always be a predicator.

Don’t you put it there (Subject + Finite)

Let’s put it there (Subject)

Don’t put it there (Finite)

Put it there (No subject or finite)

H. Speech Function

Halliday states there are four basic types of speech function; they

are statement, question, offer, and demanding. In some registers, the

expected response is a supporting move; the confronting responses are

more common. Incorporating this interactive dimension, we can

summarize as below

Initiating Speech
Responding Speech Function
Function

Support Confronting

Offer Accepted Rejection

Command Compliance Refusal

Statement Acknowledgement Contradiction

Question Answer Disclaimer

 24

Basically, the speech functions that including to semantic

category and mood types that including to grammatical one are the same,

such as shown in the table below:

Speech Functions Typical Mood in Clause

Statement Declarative mood

Question Interrogative mood

Command Imperative mood

Offer Modulated Interrogative mood

Answer Elliptical declarative mood

Acknowledgement Elliptical declarative mood

accept Minor clause

Compliance Minor clause

I. Song

Song as Hornby’s state is short piece of music with words that

you sing. In music, song composition that contains vocal parts (lyric) that

are performed (sung), commonly accompanied by musical instruments,

exception in the case of accapela songs. The lyric of song are typically of

poetic, rhyming nature, although they may be religious verse or free prose.

Song also typically for a solo singer although they may be in form of duet,

trio, or larger ensemble involving more voices.

Song is also a kind of literary work. Its composer wrote it and its

elements are the same with poetry. Listening to a song is something

 25

pleasant. Most people like song because they like their lyric. They are not

always have a difficult meaning that difficult to be understood but also the

easier meaning.

J. Lyric

Lyric is a group of clause or structure or sentence produces.

Singing a song lyric can be another way for the singer or the writer to

communicate his idea or feeling. It is very different with any other type of

writing like narrative, descriptive, and etc. But song and poetry are

originally one of arts, and even today the two forms remain closely related.

We celebrate the beauty of poem by praising its music just as compliment

a great song lyric by calling it ‘poetic’. The simple distinction which

separated the two arts is: lyric in the song combined with music to create

collaboration total work, whereas in a poem the author must create all the

effects by words alone.

It is said that song lyric is a kind of poetic literally. Song lyric is a

category of a poem that express direct personal feeling and strong emotion

in imaginative. It is difficult to categorize whether it is a poem as a song

lyric. Even though, they are basically the same, sometimes a song lyric

doesn’t always try to mean anything, but a poem always try to be

meaningful.

Based on the explanation above, we all know that basically a

lyric of a song is the same as lyric of a poem. The difference is that a lyric
 26

of a song written and combined with music, but a poem lyric is just

written.

We also meet the poem as a word on page and song we generally

hear as sound in the air. A poem is designed to make someone think, and

sing along. Song lyric tend to need help from music to express them but

poem are better heard and read against silent. However, we can say that a

song lyric and poem lyric are the same. A song lyric describes and point

out feelings, experiences, imaginations, and so on. A lyric is sort poem

about a feeling and emotion, or a single idea. A reflective poem is longer,

more thoughtful, and more complicated.

It powerful lyric combined with a nice music, the result will be

so great and can be more memorable, interesting and exactly wonderful as

the writer has just explained above. There are two main parts of song we

generally know, it is as following:

a. Intro

Intro is an introduction of music or writing. (Hornby,

2003:228)

b. Refrain

Refrain is the words, phrases or lyrics repeated at interval in a

song or song like a poem.

The way of analyzing a song lyric can be done in the similar way

of analyzing a poem. In analyzing son lyrics a poem it is important to

separate the words temporally from the music. Before transcribing the
 27

lyric into the page it is better to listen to the music.

And finally lyric is very different with any other type of writing

like narrative, descriptive, etc. Lyric is written with short clause or

structure or sentences produce song to sing. And the writer will be analyze

the lyric of a song singing by Craig David entitled “Unbelievable”.

K. The Relation of Interpersonal Meaning and The Song Lyric

A song is created for being consumed by mostly young and old

people. And lyric represent a system of meanings that consumers may use

to define their self-concept and personal and social identities. People listen

a song may be to interpreted the lyric of the music genre and use their

meaning to define themselves and the roles of others in their lives.

Song is created by human as expression from their heart to

communicate their idea or feeling. They wrote it became a lyric. Lyric is a

group of clause or structure or sentences produce song to sing. Every

written text has a discourse, and discourse itself has three meaning that is

ideational meaning, interpersonal meaning, and textual meaning.

L. Biography of Craig David

A hot new signing to Wild Star, Craig David is setting an exciting

new standard for UK talent and the world. Imagine the results of the

combined influences of a youth spent listening to hip hop and R’n’B while

being witness to the emergence of the UK’s vibrant new garage scene. At
 28

only 19 years of age multi-talented Craig is the cream of a new breed of

artist emerging.

Hailing from Southampton, Craig spent most of his younger days

with his notebook and pen in hand, scribbling his lyrics while laying down

melodies on his Dictaphone. He often slipped the provocative eye of his

mum, venturing out to indulge in his favorite past time: music. At 14 years

of age Craig was MC-ing on his local pirate station, PCRS 106.5 FM as

well as at the biggest clubs in his area eventually moving onto the decks

himself. His set was RNB but he soon found himself pulled to the energy

of the garage room by the heavy reggae baselines and +8 accelerate

tempos. It was here that he teamed up with Mark Hill (one half of the

Artful Dodger crew) his music began to evolve.

Craig’s material had already made it onto the shelves after his

mother had pusses him into entering a national writing competition, which

he won. Given only the music, Craig put the finishing touches to ‘I’m

ready/ the B-side of Damage no: 3 charts hit ‘Wonderful Tonight’. He had

began working in the studio travelling up to London every weekend it was

here that he recorded his first record, ‘Human’ his R’n’B infused version

of the human league hit.

However it was his new partnership with Mark Hill that spurned

his first hit ‘Had Ya Gonna Do’ which eventually became ‘Rewind’.

Signed by Public Demand this tune fact became an anthem on the

underground and they were performing at top clubs around the country.
 29

The word was spreading and Craig’s vocal and writing talents were in

much demand. It wasn’t long before his deal with Wild Star was signed.

While growing up, Craig’ tastes were acquired from diet of

Terrance Trent D’Arcy, Michael Jackson, and Stevie Wonder courtesy of

his mother. He now names R Kelly, Usher, Donell Jones, Faith Evans,

Cannibus, and so on. He has a vast record collection that would make any

veteran DJ proud, however being only 19 his house is starting to get a little

crowded Mark and Craig have their own successful garage show on

Capital Radio that goes out between 11pm and 12pm on Saturday night. A-

list at Radio 1, Capital and Kiss FM and no.2 in the national charts for

eight weeks, ‘Rewind’ was the first of many chart entries for Craig David.

However make no mistake, Craig David is most certainly an R’n’B artist

first, whose influences mirror the mood of the youth of today.

‘Fill Me In’ the follow up the “Rewind’ collaboration stormed the

national charts, going straight in at no.1 making Craig David the youngest

British male solo artist to have a number one.

This was Craig David’s debut solo effort, providing the perfect

introduction to his R’n’B material which overflows with rich textured

arrangements, chord changes, contagious melodies, vocal acrobatics and

lyrics that we can all relate to however old. ‘7 Days’ is the second single

from the album scheduled for released on the 24th July.

Having scrapped his notebook for a laptop, Craig continues to

write material for his debut album, ‘Born to Do It’ set for release on 14th
 30

August. His immense talent coupled with his charm and youthful

enthusiasm will leave you in no doubt that we have a new voice, a new

sound and the epitome of an artist for the millennium, a true poet for a new

time.
 31

CHAPTER III

METHOD OF THE RESEARCH

A. Design of the Study

Research is a process of solving a problem, and the method is the

way how the problem is expressed and how the research is carried out. This

research uses the Descriptive method, since it just collects and analyses the

data taken from Craig David’s lyric song “Unbelievable”. According to

Soegeng (2006: 135) descriptive presents the facts and characteristics of the

data systematically, factually and accurately.

B. Objects of the Study

1. Population

Population, according to Arikunto (2006: 130) is the whole research

subject.

Population traditionally is a set of all elements processing one or more

attributes of entries. Meanwhile, Sudjana (1992: 106) states population is a

total number of all values as the result of counting or measuring either

quantitative about certain characteristics of all numbers.

In this study, population is the sentence of song lyrics “Unbelievable” by

Craig David.

2. Sample

Sample is some representatives of the population which will be

31
 32

investigated. Then, we can conclude that sample is a small part of

population which can investigate.

In this study, the writer takes the sample from the whole lyric of

“Unbelievable” by Craig David.

3. Data resources

In doing study, to find the data is so easy, since data can be in a form of

discourse, sentence, clause, phrase or word, obtained from the magazines,

newspaper, book, literary works, etc.

In this study, data resource is song lyric “Unbelievable” by Craig David.

C. Instrument of the Study

Since the writer uses qualitative study, so, the key instrument is the

researcher or the writer him/herself. This human instrument functions to

determine the focus of the study, choose the source of the data, collect the

data, analyze the data, interpret the data, and draw conclusion based on the

finding.

D. Techniques of Data Collection

In conducting this study, the writer applies documentation method.

According to Sugiyono (2008: 205) document can be in term of writing,

picture or personal monumental works such as life histories, stories,

biography, rules, picture, photo, statue, film, and soon. And here the research

used the text of song lyric “UNBELIEVABLE” By Craig David.

 33

To collect the data, this research involves several steps. They are:

1. Listening to the song of Craig David “Unbelievable”

2. Reading the lyric repeatedly to get the feeling of the song and understand

what it tells about and to analyze the interpersonal meaning.

3. Collecting and reading some references which is related to the subject.

E. Techniques of Data Analysis

After collecting the data, the result of the analysis is elaborated in

descriptive way. The data cannot be expressed in number but in sentence.

The techniques of data analysis involve several steps. They are:

1. Reading the sentence in lyric of “Unbelievable”

2. Listing the sentences of the lyric of “Unbelievable”

3. Labeling the clauses in terms of mood structure whether the clauses

indicates declarative, interrogative or imperative mood. Besides

classifying the mood structure, it was also classified the clauses which

referred to the outside of mood-residue structure. Then, those kinds of

mood structure are classified into that each category.

4. Identifying the clauses in terms of mood structure whether the clauses

indicates declarative, interrogative or imperative mood. Besides

classifying the mood structure, it was also classified the clauses which

referred to the outside of mood-residue structure. Then, those kinds of

mood structure are classified into that each category.

 34

CHAPTER IV

RESEARCH FINDING AND DISCUSSION

This chapter consists of two sub-chapters. The first sub-chapter

will present the research findings. Then, the second sub-chapter will present the

discussion of the research findings.

A. Research Findings

First of all, we should do analyzes to know the structure and the

meaning of the song lyric. Here is analyzes based on lyric of Craig David’s

song titled “Unbelievable”.

Always said I would know

Mood Fin. Pred. Subject Finite Pred.

Adj.

Mood Residue Mood Residue

Where to find love

Adj/ Wh Pred. Compl.

Residue

Always thought I ’d be ready

Mood Adj. Pred. Subject Finite Pred. Compl.

Mood Residue Mood Residue

34
 35

And strong enough

Predicator Adjunct

Residue

But sometimes I just felt

Adjunct Subj. Mood Adj. Fin. Pred.

Mood

Residue

I could give up

Subject Finite Predicator

Mood Residue

But you came and change my whole world now

Subj. Fin. Pred. Fin. Pred. Compl. Mood. Adj.

Mood Residue Residue

Mood

I ’m somewhere I ‘ve never been before

Subj. Fin. Adj. Subj. Fin. Mood Adj. Fin. Adj.

Mood Residue Mood Residue

 36

Now I see

Adj. Subj. Pred.

Mood

Residue

What love means

Compl./ Wh Subject Fin. Pred.

Mood

Residue

It ’s so unbelievable

Subj. Finite Mood Adj. Pred.

Mood Residue

And I don’t want to let it go

Subj. Fin. Pred. Pred. Compl. Adj.

Mood Residue

Something so beautiful

Subject Mood Adj. Compl.

Mood Residue
 37

Flowing down like a waterfall

Predicator Adj. Compl.

Mood

I feel like you ’ve always been,

Subj. Pred. Subj. Fin. Mood. Adj. Fin.

Mood Residue Mood Residue

Forever a part of me

Adjunct Residue

Residue

And it’s so unbelievable to finally be in love

Subj. Fin. M.Adj. Pred. Mood Adj. Pred. Compl.

Mood Residue Mood Residue

Somewhere I ’d never thought I ’d be,

Adj. Subj. Fin. Mood Adj. Pred. Subj. Fin. Pred.

Mood Mood Residue

Residue
 38

In my heart, in my it ’s so clear now.

head,

Compl. Compl. Subj. Fin. Mood adj. Pred. Adj.

Residue Residue Mood Residue

Hold my hand

Pred. Compl.

Residue

you ’ve got nothing to fear now

Subj. Fin. Pred. Compl. Pred. Adj.

Mood Residue

I was lost and you ’ve rescued me

Subj. Fin. Pred. Subj. Fin. Pred. Compl.

Mood Residue Mood Residue

Somehow – I ’m alive

Adj. Subj. Fin. Pred.

Mood

Residue
 39

And I ’ve never been here before

Subj. Fin. Mood adj. Fin. Compl. Adj.

Mood Residue

Now I see, what love means

Adj. Subj. Pred. Compl. /Wh Subj. Fin. Pred.

mood Mood

Residue Residue

When I think of what I have,

Adj. /Wh Subj. Pred. Compl. /Wh Subj. Pred.

Mood Mood

Residue Residue

And this change I nearly lost,

Adj. Subj. Mood Adj. Pred.

Mood

Residue

I Can help but break down, and cry

Subj. Fin. Pred. Compl. Compl.

Mood Residue
 40

Now I see, what love means

Adj. Subj. Pred. Compl. /Wh Subj. Fin. Pred.

mood Mood

Residue Residue

Having been analyzed, in the song lyric “Unbelievable” is found five

mood system, they are: declarative, imperative, interrogative, minor clause,

elliptical declarative.

The result of mood analysis of the song lyric

“Unbelievable” is presented in the following.

Table 1. Mood types and Speech Function

NO. UTTERANCE MOOD TYPES Speech Function

1. Always said Declarative Statement

2. I would now Declarative Statement

3. where to find love Interrogative Question

4. Always thought Declarative Statement

5. I’d be ready Declarative Statement

6. And strong enough Declarative Statement

7. I just felt Declarative Statement

8. I could give up Declarative Statement

9. But you came Declarative Statement

10. And you changed my Declarative Statement

whole world now.

 41

11. I’m somewhere Declarative Statement

12. I’ve never been before Declarative Statement

13. Now I see Declarative Statement

14. What love means Interrogative Question

15. It’s so unbelievable Declarative Statement

16. And I don’t want to let it Declarative Statement

go

17. Something so beautiful Declarative Statement

18. Flowing like a waterfall Declarative Statement

19. I feel like you always Declarative Statement

been,

20. Forever part of me Declarative Statement

21. And it’s so unbelievable Declarative Statement

22. To finally be in love Declarative Statement

23. Somewhere I’d never Declarative Statement

thought I’d be

24. In my heart, in my head Declarative Statement

25. It’s so clear now. Declarative Statement

26. Hold my hand, Declarative Statement

27. You’ve got something to Declarative Statement

fear now

28. I was lost Declarative Statement

 42

29. And you’ve rescue me Declarative Statement

somehow

30. I’m alive Declarative Statement

31. And I never been here Declarative Statement

before

32. Now I see, Declarative Statement

33. What love means Interrogative Question

34. When I think of, Declarative Statement

35. What I have Interrogative Question

36. And it’s change I nearly Declarative Statement

lost,

37. I can’t help but break Declarative Statement

down, and cry

38. Now I see, Declarative Statement

39. What love means. Interrogative Question

Table 2. Result in Number

NO. MOOD TYPES Speech Function TOTAL

1. Declarative Statement 34

2. Interrogative Question 5

3. Imperative Commend 0

Total 39
 43

In the research finding such as appear in the table above, it shows

that from the song lyric appear for dominant mood types, they are

declarative, interrogative, minor clause, and elliptical declarative. And

having been analyzing declaratives is frequently appear and dominating the

text. It appears 30 times from the whole 40 sentences. Interrogative appears

5 times, and imperative does not appear.

B. Discussions

The following section will reveal the interpretation of each

feature which is apparent in the song lyric “Unbelievable” based on the

findings.

1. Declarative Mood

Declarative mood is the clause giving information, the subject

precedes finite. In this exchange of information, the subject and the finite

are both present or can be easily recovered from proceeding text. The

order of subject and finite in the mood bock shout whether information

is given or demanded.

The declarative mood can be shown by the subject and the finite

‘I’ and ‘had’ as finite.

I ’d be ready

Subject Finite Pred. Compl.

Mood Residue
 44

As the stated before, declarative mood have three kinds of

structure. They are fusion, non-fusion, and elliptical declarative.

a. Fusion

Fusion structure happens when the finite elements are fused to

the lexical verb. It often happens when the verb is in present and past

form.

1. But sometimes I just felt

Adjunct Subj. Mood Adj. Fin. Pred.

Mood

Residue

2. But you came

Subj. Fin. Pred.

Mood Residue

3. changed my whole world now

Fin. Pred. Compl. Mood. Adj.

Residue

Mood

The three examples above show the fusion structure which is

using simple past form. They includes to the fusion structure because

the finite elements fuses to the predicator. Such in the example 1, the
 45

finite did fuse with the predicator feel, so the verb change into felt. In

the example 2, the finite did fuse with the predicator come, so verb

come become came. In the example 3, the finite did fuse with the

predicator change, so verb become changed.

What love means

Compl./ Wh Subject Fin. Pred.
Mood
Residue

The example above indicates that the clause is the fusion

element using simple present tense with finite does. The finite is

fused with the predicator, so the verb mean change into means.

b. Non-Fusion

Non-fusion happens when the finite elements and the lexical

verb are not fused. Those elements are be and have in simple present

and simple past tense.

1. I ’d be ready

Subject Finite Pred. Compl.

Mood Residue

2. you ’ve got nothing to fear now

Subj. Fin. Pred. Compl. Pred. Adj.

Mood Residue
 46

The clauses above indicate the non-fusion structure since the

finite element does not fuse with the predicator. The example 1, the

finite is had, it represent have in simple past form. And the lexical

verb is be. The subject is I. In the second example, the finite is have

which shows the simple present and the predicator got. The subject is

you.

5. And it is so Unbelievable

Subj. Fin. M.Adj. Pred.

Mood Residue

The example above indicates the non-fusion structure because

the finite element does not fuse to the predicator. The clause above is

using finite is, it is represent be in simple present tense, and the

predicator so. And the subject it.

c. Elliptical

Elliptical structure means there is an element which is left out

in a clause. It can be subject, finite, or predicators. This structure

often appears in response of conversation.

2. (I can find love) In my heart

Subj. Fin. Pred. Compl. Circ. Adj

Mood Residue
 47

The clause above indicates the declarative mood in elliptical

declarative structure. Since there are some elements of mood, such as

subject and finite, are left out in the clause. In the clause above, the

subject and the finite of that clause are left out so they are on the

bracket. It means that the writer only said the circumstantial adjunct

that is in my heart. The subject is I and the finite is can.

From the analyze above, it can be concluded that the

elliptical declarative structure is related to the interrogative mood. It

means that the elliptical declarative structure as the answer of the

interrogative. Since the element which appears is circumstantial

adjunct as the previous example.

2. Interrogative

Interrogative mood is demanding normally ask question.

Sometimes they ask in polar interrogative which expect a yes or no

response. Sometimes in interrogative mood, the speaker wants specific

information and ask who, where, which, whom, whose, what, why, and

how. In other case, the speaker signals that he or she is asking for

information by putting the finite before the subject.

Querying residue is a type of question which asks about residue.

It is also initialized by Wh-elements, such as predicator, complement,

circumstantial adjunct, but they do not function as a subject.

 48

1. Where will (I) find love?

Adj/ Wh Pred. Subj. Compl. Adj.

Residue

2. 2what love means?

Compl. /Wh Subj. Fin. Pred.

Mood

Residue

In the examples 1 above indicates that the interrogative mood in

the circumstantial adjunct querying residue. Since the mood structure of

that clause implies the interrogative mood that is finite will followed by

subject I . Then, word question where interrogative wh. Question

indicates and asks about the element of residue.

In the example 2, indicates that the interrogative mood in the

wh. querying residue. Since the mood structure of that clause implies the

interrogative mood that is finite does followed by subject love. Then,

word question what interrogative wh. Question indicates and asks about

the element of residue, complement.

3. Imperative

Imperative mood is demanding goods and services may give order or

 49

commands. In the most common form of this type of exchange there is

no apparent subject or finite but if they wish, the speaker can make their

demands more emphatic by adding a subject or finite.

In this song lyric which is analyzed, the writer does not find imperative

mood. Because in all of this song lyric the writer or the singer or the

speaker just declare about how the writer or the singer or the speaker

falling in love with someone. So, there is no order or command in this

song lyric.

4. Speech Functions

Having been analyze the speech function of this song lyric only found two

kinds of speech function; they are statement and question. This song lyric

is not conversation text, so the speech function often appears is statement

which is appearing 34 times. The speech function is typically the same

with grammatical structure, not excepted statement which is typically

same with declarative, so statement is the clause giving information too. It

is explained that the singer only gives information to his reader or his

listener about his love story.

 I’d be ready and strong enough ─ Statement

 But you came and you changed my ─ Statement

whole world now

 I’ve never been before ─ Statement

 And I don’t want to let it go ─ Statement

 50

 I can’t help but break down, and cry ─ Statement

The second mostly appear is question which is typically same with

interrogative type. Question and interrogative is demanding normally ask

question. Sometimes in interrogative mood, the speaker wants specific

information and ask who, where, which, whom, whose, what, why, and

how. In this lyric the use of question is to reinforcement the statement

itself in order to dramatize the lyric.

 where to find love ─ Interrogative

 What I have ─ Interrogative

 What love means ─ Interrogative

 51

CHAPTER V

CONCLUSION AND SUGGESTION

In this last chapter will present the conclusion and the suggestion.

The conclusion covers the conclusion of the presenting the research result. And

the suggestion consists of the suggestion or advice to the teacher, students, and

other researchers.

A. Conclusion

Based on the research finding and discussion of the previous

chapter to answer the statements of the problem, some conclusions can be

drawn as the following:

1. Having been analyzed, the interpersonal meaning realized in Craig David’s

song lyric “Unbelievable” is subject, finite, predicator, complement, mood

adjunct, circumstantial adjunct, mood, and residue. And the mood types

appearing in this song lyric are declarative mood and interrogative mood,

the imperative mood does not appear.

2. Declarative mood is the most apparent in the song lyric “Unbelievable”,

and the interrogative mood completing the declarative one. The great

number of declarative mood found in the song lyric “Unbelievable”

suggest that in this song lyric, the writer or the singer or the speaker want

to giving information to the reader or the listener that he is falling in love

51
 52

with someone he loves.

3. The speech function often appears is statement which is appearing 34

times. The speech function is typically the same with grammatical

structure, not excepted statement which is typically same with declarative,

so statement is the clause giving information too. It is explained that the

singer only gives information to his reader or his listener about his love

story. The second mostly appear is question which is typically same with

interrogative type. Question and interrogative is demanding normally ask

question. Sometimes in interrogative mood, the speaker wants specific

information and ask who, where, which, whom, whose, what, why, and

how. In this lyric the use of question is to reinforcement the statement

itself in order to dramatize the lyric.

B. Suggestion

By considering the result of this study, some suggestions are

forwarded to:

1. Students

The result of the research can be used as a reference in studying

functional grammar especially about interpersonal meaning.

2. Lecturers

The result of this study can be used as additional reference in the

teaching functional English grammar especially about interpersonal

meaning.
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3. Other Researcher

Hope this study can be used to other researcher concerning to the

interpersonal meaning. They can enhance by conducting the similar topic

viewed from other points of view to get more accurate analysis.

4. The English Department

Hope this study will be one of the contributions to be an English teaching

material relating with functional grammar especially interpersonal

meaning