contextual meaning on my chemical romance’s songs

CONTEXTUAL MEANING ON MY CHEMICAL ROMANCE’S SONGS:

A SEMANTIC ANALYSIS

A THESIS

BY

PUTRI PAULINE STEFANI NAPITUPULU

140705155

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019

UNIVERSITAS SUMATERA UTARA

v

AUTHOR’S DECLARATION

I, PUTRI PAULINE STEFANI NAPITUPULU, DECLARE THAT I AM THE

SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS

MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO

MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR

IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR

AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS

BEEN USED WITHOUT DUE ACKNOWLEDMENTS IN THE MAIN TEXT

OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE

AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed:

Date : February 6th

, 2019


vi

COPYRIGHT DECLARATION

NAME : PUTRI PAULINE STEFANI NAPITUPULU

TITLE OF THESIS : CONTEXTUAL MEANING ON

MY CHEMICAL ROMANCE’S SONGS:

A SEMANTIC ANALYSIS

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF

DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,

UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT

USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER LAW OF

THE REPUBLIC OF INDONESIA.

Signed :

Date : February 6th

, 2019


vii

ACKNOWLEDGEMENTS

My gratitude for God Almighty for the blessing He gives to me in writing this

thesis.

First, I would like to thank the Dean of Faculty of Cultural Studies,

University of Sumatera Utara, Dr. Budi Agustono, M.S, who has supported and

helped my study during the period of study in this faculty.

Second, I would like to thank to the Head of English Department, Prof. T.

Silvana Sinar, M. A., Ph. D, and the Secretary of English Department Rahmadsyah

Rangkuti, M.A. Ph.D and the Lecturers who has taught and guided us with their

knowledge and wisdom during my study in this faculty. My special thanks go to Dr.

Deliana, M.Hum. as my supervisor and Dra. Roma Ayuni Aminoeddin Loebis, MA

as my co-supervisor for their kindness, patience, support t, guidance, time, valuable

ideas and advices in my process of writing my thesis. May God is always blessing

you. I would like to thank to Dr. Nurlela, M.Hum. as one of my examiner on my

examinations for her support, guidance, and ideas to better this thesis. And also I

would like to thank to Sir Kirno who helps me in administration process.

Third, I would like to thank my family members, my mother and my older

brother who have helped me tremendously in every steps of my life, who have

supported me and always encouraged me to do my best in pursuing my dreams. I

would also thank my grandmother who has worked very hard for us and has been my

great role model to guide us to always become better and stronger as a person. My

gratitude is also for my aunts and uncles, all of my cousins, and especially my newest


viii

brother and his wife who have always been around to support each other through our

ups and downs as a family. There was no single day passed without them working

hard to support me and every each of us to grow and develop as a family.

My special thank you for all of my friends in USU who has supported each

other during our study, especially my closest friend Almira, and Anggi who have

helped me tremendously in life through emotional and mental support and helped me

grow to be the person I am today. Words won’t be enough to illustrate how thankful

and honored I am to have them as my friends. I would also thank my friend Clarisa

and Umairoh for their support since our senior high school days until this day. And

lastly, I would also thank all of the friends I made online around the world in the past

few years who also have helped me to grow and taught me a lot about life and

supported me through my days of writing this thesis.

I realized that this thesis is far from being perfect. Without any helps and

support from all parties, this thesis would not be completed. Finally, I hope this

thesis would be useful for the readers and other researchers in the future.

Medan, February 6th

, 2019

Putri Pauline Stefani Napitupulu

Reg. No. 140705155


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ABSTRACT

The research entitled “Contextual Meaning on My Chemical Romance’s Songs: A

Semantic Analysis”. The aims of this research are to find out the types of contextual

meaning and to find out the most dominant type of contextual meaning in five of My

Chemical Romance’s songs: Welcome To The Black Parade, Teenagers, Famous

Last Words, I Don’t Love You, and Disenchanted. The research applies qualitative

method and the data are analyzed descriptively. The data are classified based on the

theory of Contextual Meaning of Lyons (1977). Based on Lyons’ theory, there are

six types of contextual meaning: Context of Person, Context of Place, Context of

Time, Context of Formality, Context of Mood, and Context of Subject-matter. The

result of this research shows that there are 256 contextual meanings found on five of

My Chemical Romance’s song lyrics. After being analyzed, there are 134 Context of

Person (55.0%), 6 Context of Place (2.3%), 16 Context of Time (6.3%), 5 Context of

Formality (2.0%), 45 Context of Mood (17.6%), and 43 Context of Subject-matter

(16.8%). The results of this research show that all types of contextual meaning can

be found in the lyrics of five of My Chemical Romance’s songs and Context of

Person is the most dominant type of contextual meaning found in the lyrics of five of

My Chemical Romance’s songs. The result of this study shows that the elements

surrounding a context play an important role to convey the meanings of song lyrics.

Keywords: Semantics, Meaning, Contextual Meaning, Song lyrics


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ABSTRAK

Penelitian ini berjudul “Contextual Meaning on My Chemical Romance’s Songs: A

Semantic Analysis”. Tujuan dari penelitian ini ialah untuk menemukan tipe makna

kontekstual dan untuk menemukan tipe makna kontekstual terdominan di lima lagu

My Chemical Romance: Welcome To The Black Parade, Teenagers, Famous Last

Words, I Don’t Love You, dan Disenchanted. Penelitian ini menerapkan metode

kualitatif dan data dianalisis secara deskriptif. Data diklasifikasi berdasarkan teori

makna kontekstual oleh Lyons (1977). Berdasarkan teori Lyons, terdapat enam tipe

makna kontekstual , yaitu: Context of Person, Context of Place, Context of Time,

Context of Formality, Context of Mood, and Context of Subject-matter. Hasil dari

penelitian ini menunjukkan bahwa terdapat 262 makna kontekstual di lirik lima lagu

My Chemical Romance. Setelah analisis dilakukan, ditemukan 134 Context of Person

(55.0%), 6 Context of Place (2.3%), 16 Context of Time (6.3%), 5 Context of

Formality (2.0%), 45 Context of Mood (17.6%), dan 43 Context of Subject-matter

(16.8%). Hasil dari penelitian juga menunjukkan bahwa Context of Person adalah

tipe makna kontekstual yang terdominan dan semua tipe makna kontekstual dapat

ditemukan di lirik lima lagu My Chemical Romance. Hasil dari studi menunjukkan

bahwa elemen-elemen yang melingkupi sebuah konteks berperan penting dalam

menyampaikan makna dari lirik lagu.

Kata kunci: Semantik, Makna, Makna Kontekstual, Lirik lagu


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TABLE OF CONTENTS

AUTHOR’S DECLARATION ………………………………………..………….. v

COPYRIGHT DECLARATION …………………………………...……………. vi

ACKNOWLEDGEMENTS ……………………………………………………... vii

ABSTRACT ……………………………………………………………………….. ix

ABSTRAK ……………………………………………………………………….… x

TABLE OF CONTENTS ………………………………………………………… xi

CHAPTER I INTRODUCTION

1.1 Background of the Study……………...……….......... 1

1.2 Problems of the Study ……………………...……….. 5

1.3 Objectives of the Study………………….…..………. 5

1.4 Scope of the Study……………………….…….......... 5

1.5 Significances of the Study………………………....... 6

CHAPTER II REVIEW OF LITERATURE

2.1 Semantics ...................……………………................. 7

2.2 Scope of Semantics……………………..………........ 8

2.2.1 Meaning ………………………….……..…….......... 8

2.2.2 Sense and Reference .……………….……....………. 9

2.3 Contextual meaning ………………...………........... 10

2.4 Types of Contextual Meaning ................................... 11

2.4.1 Context of Person ………………………….............. 12

2.4.2 Context of Place…………………...………….......... 13

2.4.3 Context of Time ……………………………….…... 14

2.4.4 Context of Formality ………………………….…… 15

2.4.5 Context of Mood………………….…………........... 17

2.4.6 Context of Subject-matter..……………………...…. 17

2.5 Related Studies…………………………………...… 18

2.6 Conceptual Framework…………………………..… 23


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CHAPTER III METHOD OF RESEARCH

3.1 Research Design ………………................................ 25

3.2 Data and Data Source …………………………….... 25

3.3 Technique of Collecting Data …...……………........ 26

3.4 Technique of Analyzing Data …………………….. 26

CHAPTER IV DISCUSSION AND FINDING

4.1 Discussion …………................................................. 28

4.1.1 Context of Person …………...................................... 29

4.1.1.1 Deictic Roles ………………………………………. 29

4.1.1.2 Social Roles ……………………………………….. 34

4.1.2 Context t of Place ……….…………………………. 35

4.1.3 Context of Time ………….………………………... 37

4.1.4 Context of Formality …….………………………… 40

4.1.5 Context of Mood ………….……........................… 42

4.1.6 Context of Subject-matter ….……………………… 51

4.2 Finding …………………………………….………. 64

CHAPTER V CONCLUSION AND SUGGESTION

5.1 Conclusion …………………………………..…….. 67

5.2 Suggestion …………………………………………. 68

REFERENCES

APPENDICIES


1

CHAPTER I

INTRODUCTION

1.1 Background of the Study

Language is very important in human life. Language is a means of

communication for human therefore human cannot function well without the

presence of language in their life. Language is a system of verbal symbol which is

used by the member of certain society to convey their messages to others

(Wardhaugh, 1977:3)

The study of language is called linguistics. It is concerned with identifying

the elements of a specific language are related to each other and go together to

express more complex meanings. The branch of linguistics that explores about

meaning of language is semantics.

Semantics is the systematic study of meanings. It is concerned with what

sentences and other Linguistics objects express, not with the arrangement of their

syntactic parts or with their pronunciation. Semantics looks at these relationships in

language and looks at how these meanings are created, which is an important part of

understanding how language works as a whole. (Palmer 1976:1)

The notion of contextual meaning plays an important role in the study of

semantics. Contextual meaning is the meaning of a lexeme or word inside a context.

The contextual meaning could be regarded to the situation, where the time, the

language usage environment. Every actual utterance is unique to the particular place

and particular time it is being spoken or written. Many expressions require for their

semantic evaluation taking into account circumstances of the utterance situation, the


2

semantic evaluation of other expressions in the same or in previous sentences, or

background assumptions shared by the interlocutors.

Context has been discussed as an object of study in linguistics for decades. It

has long been considered an essential factor for the interpretation of linguistic

expressions. In the view of Werth (1999:78) the theory of context is basically about

any elements that surround the piece of language, whether it is as little as a change in

the articulatory movement. The complete meaning of a word is always contextual,

and no study of meaning apart from a complete context can be taken seriously (Firth

1935: 37).

Contexts have their own uniqueness in their own way, but they all serve the

same purpose; to deliver a message. There are many ways to express messages and

ideas about contexts through literary works in a form of poem, novel, prose, play,

essay, and song lyrics. This thesis is focuses on contextual meaning on song lyrics.

The word ‘lyric’ derives via Latin word lyricus. It first appeared in English in

the mid-16th

century. Lyric is the poetry which was sung accompanied with musical

instrument which usually brief in length and arranged in stanzas. Lyrics can be

studied from an academic perspective, especially in the field of linguistics. Some

lyrics can be considered a form of social commentary. Lyrics often contain political,

social, and emotional, themes as well as aesthetic elements and so can communicate

culturally significant messages. The messages can be explicit, or implied through

metaphors and symbolism depending on the contexts. Lyrics strengthen the meaning

in songs as it harmonizes music and words into a more powerful form of opus.

My Chemical Romance was an American alternative rock band from Newark,

New Jersey, active from 2001 to 2014. The band released five full albums and The


3

Black Parade is the band’s third album. The album was released on October 23,

2006 through Reprise Record and it was different from their other albums for being

the only concept album among studio albums. Roy Shuker (2012) defines concept

albums and rock operas as albums that are unified by a theme, which can be

instrumental, compositional, narrative, or lyrical. In this form, the album changed

from a collection of heterogeneous songs into a narrative work with a single theme,

in which individual songs segue into one another.

The band’s line up during the time was lead vocalist Gerard Way, guitarists

Ray Toro and Frank Iero, bassist Mikey Way, and drummer Bob Bryar. The Black

Parade adopted a theme of a rock opera album centering on a dying character with

cancer known as ‘The Patient’, the story of his apparent death, experiences in the

afterlife, and subsequent reflections on his life. Upon releasing the album, the band

would perform under a pseudonym ‘The Black Parade’, wearing a set of black

marching band costumes to portray their whole band and performance as a marching

band and Gerard Way would adopt the persona of a leader of the marching band, and

the members would vary their character and performance accordingly.

The songs on this album provide appropriate data for this research to find

contextual meaning. Here are some examples of contextual meaning in My Chemical

Romance’s songs on the data:

1. He said "Will you defeat them

2. The awful names that they stick

Above, the vocalist, Gerard Way wrote two phrases that contain contextual

meaning. The first phrase contains three Context of Person. The pronoun He is used

to fulfill the deictic role as the subject of the action said. Next, the pronoun you


4

fulfills the deictic role as the target of the utterance said by He and as the referent to

the Son, and the next pronoun, them is used to fulfill the deictic role as the target of

the action defeat. On the second phrase, a Context of Subject-matter is found in one

of the word used. The word stick is homonymous and belongs to at least two forms:

as a noun with a meaning a thin piece of wood that has fallen or been cut off a tree

and as a verb with a meaning adhere or cling to something. In this utterance the

word stick has the meaning adhere or cling to something because the surrounding

word, they creates the subject-matter of the utterance fits for the word stick to

function as a verb.

There are many contextual meanings which can be found on the lyrics of the

songs from My Chemical Romance. The lyrics are rich with elements and messages

that the band wanted to deliver to the listener. The album itself was the most

successful and well-known album from the band and had given such big influence to

countless of people from the day it was released until today, including the writer

herself. The writer has a strong connection and memories towards the album.

The writer chooses the songs from the album The Black Parade because the

songs are a part of a concept album that has a purpose to deliver a message from a

narrative formed by the collection of songs. The writer sees the songs from this

album applicable to be analyzed within semantics theory because the songs are

creating meanings to express from the relationship of the linguistics elements and

one of them is contextual meanings. The five particular songs that are used on this

thesis contain many contextual meanings and they are the most famous songs from

the most famous album by the band, which implies how influential these particular

songs to the listeners and fans.


5

The writer wants to analyze how these meanings are created through

semantic theory as an important part of understanding how language works as a

whole and what the members of the band feel when they wrote these lyrics that time,

and to whom they want to show their feelings and arguments; and how they wrote

them by analyzing the contextual meaning in the song lyrics.

1.2 Problems of the Study

According to the background of the study above, there are some questions

that attract the writer to make them as the problems of this paper, they are as follows:

1. What types of contextual meaning are found in My Chemical

Romance’s songs?

2. What is the most dominant type of contextual meanings used in My

Chemical Romance’s songs?

1.3 Objectives of the Study

Based on the problems above, the objectives of this thesis are:

1. To find out the types of contextual meaning found in My Chemical

Romance’s songs.

2. To find out the most dominant type of contextual meaning in My

Chemical Romance’s songs

1.4 Scope of the Study

There are many kinds of semantic features and types of meanings that can be

analyzed from any literary work. Therefore, to limit the discussion of this thesis in

order to get a satisfactory and detailed result, the writer focuses this thesis to analyze

the contextual meaning found in the lyrics from My Chemical Romance’s songs.


6

The writer gives a limitation for this thesis to five of the most famous songs

among fourteen songs taken from their most successful album from 2006, ’The Black

Parade’. They are ‘Welcome To The Black Parade’, ‘Teenagers’, ‘Famous Last

Words’, ‘I Don’t Love You’, and ‘Disenchanted’.

This thesis refers to Lyons’s theory (1977) which classifies contextual

meaning into six types: Context of Person, Context of Place, Context of Time,

Context of Formality, Context of Mood, and Context of Subject-matter.

1.5 Significances of the Study

The study’s goal is designed to find the contextual meaning in song lyrics and

the percentage of the occurrence on the data. The findings of this study will be a

great contribution to benefit the society considering that linguistics plays an

important role in science and communication. The study of contextual meaning in

song lyrics can be a learning paradigm in the bachelor degree and lower education

level schools to enhance the readers’ knowledge and skills in linguistics as well,

especially in the field of semantics. Thus, the result of this study will be of great

benefit to the English Department on universities as a contribution on a research in

the field of semantics. This study will serve as a proof of the capability of song lyrics

to be analyzed with semantic theory as a research for current students and future

students of English Department. This study will also benefit English teachers as a

provided information regarding the method of analyzing song lyrics as a type of

literary work that is very familiar to the general public linguistically for further

teaching material for their students. The readers of this thesis will be able to

understand how to classify and describe semantic components (contextual meaning)

of a word, phrase, and sentence.


7

CHAPTER II

REVIEW OF LITERATURE

2.1 Semantics

Semantics is a branch of linguistics that explores about meaning of language.

It is one of the main branches of contemporary linguistics. It could be found in any

language since every language serves the purpose of delivering meaning but he term

semantics is a recent addition to English. It was known since 1984 by American

Philological Association in an article named Reflected Meanings: A Point in

Semantics, but the subject of meaning has interested philosophers for thousands of

years. The Greek philosophers were the first people known to have debated the

nature of meaning.

Semantics is technical term used to refer to the study of meaning of linguistic

expressions. The language can be a natural language such as English or artificial

computer language. The study of semantics is concerned with what sentences and

other linguistics objects express, not with the arrangement of their syntactic parts or

with their pronunciation. Semantics is generally designed as the study of meaning

(Lyons, 1977:1) Semantics looks at these relationships in language and looks at how

these meanings are created, which is an important part of understanding how

language works as a whole. (Palmer, 1976:1)

Any person who can speak a language has the amazing capacity to reason

about a meaning of a sentence if it follows the basic grammatical rules of the said

language even though the sentence is a completely new sentence to the person. The


8

arrangement of words and selection of vocabularies combine systematically to form a

meaningful expression. Varying in the arrangement will result in the level of strength

of meaning the expression hold.

Semantics probably won‟t solve the problem of finding out the meaning of a

word that someone does not understand, but it has a lot to say about the patterns of

lexical elements that intertwine each other to create various possibilities of outcome

from a language.

2.2 Scope of Semantics

From the definitions of Semantics above everyone can settle into a very

general agreement that it is a systematic study of meaning of language, even though

each linguist has different ways of how to it is described.

In general, there are at least two major approaches in knowing how meaning

in a language is studied. The first is linguistic approach and the second is

philosophical approach. Linguistics is concerned with identifying the meaningful

elements of language; how such elements from humans go together to express more

complex meaning. While philosophers of language are concerned about how we

know and accept what combination of elements is true and related to other facts.

The scope of semantics can be generalized into three basic terms: meaning,

sense, and reference.

2.2.1 Meaning

The word „meaning‟ is one of the most discussable terms in English

language. The word itself is derived from the word „mean‟. What kind of things


9

means something? We could say, almost everything, ranging from words, signs, to

body gestures. They all share one thing in common, that is they stand for something

else, thus a meaning. Meaning is a complex phenomenon involving relationship

between a language and the mind of its speakers and the practical use to which it put

(Nikelas,1988:231). Words don't necessarily have fixed independent meanings. The

form of a word and the meaning of that word don‟t match or parallel to each other

and the relationship between them is completely arbitrary.

Meaning has a number of definitions as suggested by several semanticists.

Linguists state that „meaning‟ is a word of the ordinary, everyday vocabulary of

English (Lyons, 1977:4).

2.2.2 Sense and Reference

Sense and Reference are two different aspects of meaning. They are related to

each other. The sense of an expression is the thought it expresses, while its reference

is the object it represents. A referring expression is a word or group of words which

represents something in the real world. Reference has to do with the correspondence

between word and world. The meaning comes from the fact that the words represent,

or symbolize, or indicate, or refer to some real object in the real world.

Reference deals with the relationship between the linguistic elements, words,

sentences, etc, and the non-linguistic world of experience and sense refers to the

complex system of relationship that holds between the linguistics elements

themselves (mostly the words); it is concerned only with the intralinguistic relations

(Palmer, 1976:30). For example:

“The husband of Melania Trump is the President who succeeded Barack

Obama.”


10

From the statement above, the senses are The husband of Melania Trump and

the President who succeeded Barack Obama, and the reference is the current

president of USA, Donald Trump.

2.3 Contextual Meaning

Every utterance that is produced on particular occasion serves a meaning to

deliver, but any utterance could hold more than one meaning, given the context that

follows the utterance. In certain situations, the utterance that is produced is very

highly determined by several factors of the moment, which we can call contextual.

Palmer (1981:43) uses the term context to replace the term „reference‟ for two

reasons: first, that it is more ambiguous and narrower in a sense of denotation of

words and, secondly that the term context is more familiar within linguistics

discussion.

First, it is argued that the meaning of an utterance can be known despite of

any context that present, and that the speaker of a certain language must know the

meaning of their utterance before they can use it in any given context. The speaker is

expected to know the fact that the utterance is ambiguous or anomalous by their own

knowledge; thus showing that meaning is independent of context; therefore linguists

can, and must study it without reference to context. This statement creates the

question: how that we know the meaning of an utterance independently of the

context? How do we know when two utterances can be used interchangeably in a

similar situation? In this case, we have to set up the relationship between sentences

without even considering what it is that they refer to.


11

Context is dynamic in character. A context is not just one possible world-

state, but at least a sequence of world-state and these situations do not remain

identical in time, but change, hence, a context is a course of event (Dijk, 1977:192).

2.4 Types of Contextual Meaning

The study of context is a difficult topic to be discussed in a bachelor degree

thesis. Every linguists and scholars seem to have their own view on the subject; in

giving the definition, limitation of the study, classification of contexts, and so on.

Therefore, the writer of this thesis has compiled definitions and classifications from

several linguists which the writer believes complement each of the linguist‟s view of

the study of linguistic context in the field of semantics.

Dash (2008:2) on his research paper define context as an immediate linguistic

environment (rarely detached or isolated) in which a particular word occurs. Dash

has classifies context into four types: Local Context, Sentential Context, Topical

Context, and Global Context; adding two more types from Miller and Leacock

(2000) classifications of contexts (Local context and T opical context).

In his journal, Friedreike Moltmann (2003) explains that context plays an

important role in the semantics of natural language. Moltmann roughly distinguishes

context into two kinds: external and internal context. External and internal contexts

differ in the way they are characterized, but also in the way they change, and in the

role they play for the meaning of sentences. External notions of context include

utterance contexts and indices (sequences of coordinates that can be shifted in the

presence of an intensional operator). Internal contexts consist in what the


12

interlocutors take for granted in the context of conversation or in other ways driven

by the information given in the discourse.

Lyons (1977) on his book defines context as a theoretical construct which

linguist and any participant of linguistic-event then use any factors that could

influence the meaning of utterances into a consideration in delivering points across.

These factors, when necessary, make explicit reference to the time and place of

utterances, and sometimes the factors are within the participant‟s traits as human

being with the ability to socialize and each participant‟s knowledge of the subject

matter. From his book, the writer of this thesis concludes six major types of contexts

as a basis to precede this research.

2.4.1 Context of Person

In any utterance, each of the participants must know their role and status

linguistically. According to Lyons (1977), there are two kinds of linguistically

relevant roles: deictic and social roles. Deictic roles are derived from the normal

language-behaviour of the speaker in addressing his utterance to another person with

using personal or demonstrative pronoun in referring to himself, to the addressee(s)

or to other persons and object. The pronouns used are determined by the participation

of the speaker and target or addressee at the time of the utterance, not by means of a

name or description. Although this role is not found on every language, but most

languages, including English have it on its grammar.

(1) I will pick you up from school in an hour.

In English normal language-behaviour, the use of I and you by the speaker‟s

assumption of the role of the speaker in relation to the target and by his referring to


13

himself as the person fulfilling this deictic role. The target of the utterances must be

able to identify the referent of I and also the referent of you, thus implying that the

target knows that they are being targeted.

Social roles are recognized by the members of society as culture specific

functions institutionally. These roles are generally connected with the social status of

the participants; that each participant in the current situation must know, or make

assumptions about, his status in relation to the other: for example: the function of

being a priest, a parent, a customer, etc. This will determine the selection of

pronouns and associated components of the grammatical structure of utterances by

the participants.

Sex and age are also the determining factors in choosing the selections of

pronouns and other grammatical components. The terms someone uses to address

someone of the different sex or by a younger person to an older person may differ

from the terms used by people of the same sex or age, even when the events were of

similar situations. Social roles are typically reciprocal to each participant. For

example: the function of doctor-to-patient and patient-to-doctor, the function of

teacher-to-student and student-to-teacher, and so on. For example:

(2) I will submit my essay papers on your desk, Ma’am.

The use of the pronoun Ma’am represents the sex and age of the target: a

female who is older than the speaker. The phrase submit my essay papers realizes the

social function between a student to a teacher


14

2.4.2 Context of Place

The location of the ongoing language-event is also crucial in interpreting the

meaning and also in the selection of vocabulary used. The speaker and target usually

share the same location in live conversation, but there are also times when the

participants are separated by location, for example: in long distance phone calls. The

speaker and the target are expected to know the location of the target and the target

to know the location of the speaker if the participants do not share the same location

during the event. By knowing the location, it is easier to make sense of the meaning

of the utterances. The place can be stated explicitly or not thorough the event.

(3) It is very cold where I live.

(4) Can you collect the balls from the field?

(5) The winter in Malaysia is not as cold as she thought.

On sentence (3), the utterance is grammatically and semantically correct. The

speaker says where I live, meaning that both of the participants know the location of

where the speaker is referring to, even though he does not mention it explicitly and

from the notion, we can conclude that the participants are not currently on the same

location. On sentence (4), it is explicitly mentioned the field as a location, even

though it is not said which field the target shall go to. Both participants have the

knowledge of the exact location the speaker mentioned (which field), thus the target

knows what kind of ball he needs to collect. On sentence (5), the speaker mentions

the location explicitly and very clearly: Malaysia, but even though the sentence is

grammatically correct, it does not make sense semantically due to the geographical

criteria of the country Malaysia which does not has a winter season.


15

2.4.3 Context of Time

The other important type of context that influences how the participants

interpret meanings from utterances and in choosing the selection of vocabulary too

use is time. Just like the other previous types, knowing the time of the utterances to

makes more sense of the utterances. For example:

(6) Good Afternoon!

(7) Merry Christmas!

The use of both greetings is similarly dependent upon the speaker‟s

knowledge of the time at which he is producing them. The greetings become

semantically appropriate given the correct time, which are afternoon for Good

Afternoon! and during Christmas holiday for Merry Christmas!

The Context of Time can also be not explicitly mentioned on the utterance.

Some selection of vocabulary can give the target more insight of the time when the

utterance took place. For example:

(8) It was dark outside when I looked at the window.

Normally, the words dark and outside give the target an insight of the time

the speaker was on: on evening or night, specifically after sunset, for the sun as a

source of outdoor light are not present anymore.

2.4.4 Context of Formality

Formality means the rigid observance of rules of convention or etiquette. In

every language-event, participants must be able to categorize or make an assumption


16

in terms of degree of formality. The scale of formality occurs in probably all

languages.

There are two basic forms of formality registers: informal and formal. The

informal register is the one we use with friends, family, and when meeting people at

casual venues. The formal register is reserved for professional settings, like

classrooms, workplace, and interviews.

Joos (1967) has classified the degrees of formality in English, which each is

said to correlate with systemic phonological, grammatical, and lexical differences:

Frozen: languages that never changes, which sometimes include old

grammar or vocabulary i.e. religious books and scripts, national

anthems, Bill of Rights, etc.

Formal: languages that follow the form and rules of standard English

with the purpose to announce or state important information i.e.

research paper, academic presentation, a judge‟s pronouncement, or a

religious sermon.

Consultative: more casual standard English with the purpose to get

help i.e. news reports, employee to employer conversation, a doctor‟s

appointment, etc

Casual: languages between people in the same group or team which

follow the rules and “norms” of the group i.e. lunch with friends, a

school dance, or dinner with friendly coworkers.


17

Intimate: languages between very close relationship with lovers,

friends, or family i.e. pet names, nick names, inside jokes.

The degree of the formality of utterances can be seen and analyzed by the

selection of vocabularies used. For example:

(9) The phonemes of a language are conventionally represented by means of

letters enclosed within a pair of oblique strokes.

(10) He called Libby outside to join the party.

On sentence (9), the selection of vocabularies used follows the form and rules

of Standard English and also in a manner of describing information off of a research

paper; therefore it is a formal state of formality. On sentence (10), the word Libby as

a nick name used by the speaker shows the level of intimacy between the

participants, which is in an intimate state of formality.

2.4.5 Context of Mood

Mood context deals with the state of mind or feelings of the participants

during the conversation. The current state of mind of a speaker and the target can

affect the interpretation of meaning and the production of vocabularies. For

example:

(11) Don’t you dare leaving this room while I’m still talking!

(12) I immediately regret what I just said to her.

On sentence (11), we can conclude that the speaker is feeling angry and

infuriated by the use of Don’t you dare to the target to pose a threat. On sentence

(12), the speaker is showing a feeling of shame from the use of the word regret.


18

2.4.6 Context of Subject-matter

The subject-matter of one language may reflect or be brought about by

several different but mutually reinforcing factors. In utterances, the participants must

know the importance of subject-matter as one of the determining factor in the

selection of vocabulary or dialect to use; and also how to make their utterance

appropriate to the subject-matter.

Crystal and Davy (1969) define subject-matter as one of the factor among

many which contributes to a province‟s (the features of language which identify an

utterance with those variables in an extralinguistic context which are defined with

reference to the kind of occupational or professional activity being engaged in)

definition, and in any case has predictive power only in a minority of extremely

specialist situations.

Understanding the subject-matter is important in understanding the meaning

of utterances which has homonymous or polysemous lexemes in it. The subject-

matter of an utterance is determined by the terms of the occurrence surrounding the

lexeme. For example:

(13) He made a polite bow as the prime minister entered the room.

The word bow has several meaning, and in this case, it has the role as a noun.

The noun bow belongs to at least two fields: one field about a type of weapon made

for shooting arrows, and the other one field about a body gesture made by inclining

the head or bending forward at the waist to show respect. In this case, we can

conclude that the sentence is about the body gesture from the selections of words

surrounding the homonymous lexeme.


19

2.5 Related studies

These are some theses and journals that discuss semantic analysis on

contextual meaning and theses that discuss song lyrics to support this paper. They are

as follows:

Çetinavcı (2014) in his research paper entitled Contextual factors in guessing

word meaning from context in a foreign language focused to investigate whether

Turkish EFL learners use contextual clues in guessing process or not. A vocabulary

guessing test was administered to the subjects who were the students attending prep

classes at the School of Foreign Languages of Uludag University. The results showed

that unknown words in a rich context were guessed more successfully than unknown

words presented in a poor context. The similarity of Çetinavcı‟s research with this

present thesis is that both discuss the importance of context as the framework in the

study of meaning. The difference of the two are that Çetinavcı‟s research used the

theory of Paribakht & Wesche (1999) while this current thesis uses Lyons‟ (1977)

theory and both researches have different problems and objectives.

Cuccio, et al. (2014) in their research article entitled How the Context

Matters. Literal and Figurative Meaning in the Embodied Language Paradigm

focused to test the hypothesis that embodied simulation occurring during linguistic

processing is contextually modulated depending on the context of utterance, leads to

the activation of different effector-specific brain motor areas. They used motor

responses with the hand or the foot of the participants to the presentation of

ambiguous idioms containing action-related words when these are preceded by

context sentences. Their research suggested that motor activation during the

processing of action related words is not fixedly associated to the literal meaning of


20

words but depends on the context of utterance. Their data supported the general

claim that automatic mechanisms can be sensitive to the context. The similarity of

Cuccio, et al.‟s research with this present thesis is that both discuss the role of

context of utterance as the framework in the study of meaning. The differences of the

two are that Cuccio, et al.‟s research used data from motor movement produced by

the participants and aim to test the hypothesis of the direct connection of utterances

with certain contexts and movement of the subjects‟ foot and hand, while this current

thesis uses data from song lyrics and aim to find the type and the most dominant type

of contextual meaning on the lyrics of five My Chemical Romance‟s songs and both

researches have different problems and objectives.

Lestari (2016) in her thesis entitled An Analysis Contextual Meaning of Songs

by Shane Filan focused on describing contexts and contextual meaning devices on

the lyrics of ten Shane Filan‟s songs. She used the contextual meaning theory by

Mansoer Pateda (2010) and concluded that there were six types of contexts found on

the data, such as context of organs, context of purpose, mood context of speaker or

listener, Context of Time, and object context. The similarities of Lestari‟s thesis with

this present thesis are that both theses discuss contextual meaning and both theses

analyze lyrics from music albums as the main data, but this current thesis is using

Lyons‟ (1977) theory while Lestari uses Mansoer Pateda”s (2010) theory, and this

current thesis has different problems and objectives.

Margaretha (2014) in her thesis entitled An Analysis of Meaning Properties

and Relation in the Paramore's Song Album Brand New Eyes used Palmer‟s theory

(1976) found and conclude meaning properties into meaningfulness (49.31%),

anomaly (19.17%), contradictory (1.36%), ambiguity, and redundancy(5.47%), with

meaningfulness as the dominant; and Leech‟s theory (1997) found and concluded


21

meaning relations into synonymy (12%), polysemy (36%), homonymy (6%),

hyponymy (12%), and antonymy (18%), with polysemy as the dominant. The only

similarity of Margaretha‟s thesis with this present thesis is that both theses analyze

lyrics from music albums as the main data.

Nourladeen (2015) in his research paper entitled Meaning and Context-Three

Different Perspectives explored the link between meaning and context in the

linguistic context from three different perspectives: communication, teaching and

translation. He concluded that context considers a major factor at addressing

meaning and meaning occupies an integral role at establishing context. The similarity

of Nourladeen‟s research with this present thesis is that both discuss the importance

of context as the framework in the study of meaning. The difference of the two are

that Nourladeen‟s research used several theories, such as Christiansen & Dahl‟s

(2005) and Kreidler‟s (1998) while this current thesis uses Lyons‟ (1977) theory and

both researches have different problems and objectives.

Parveen (2016) ) in his research paper entitled Meaning and External Context

in Linguistics focused on differentiating between what a word inherently mean and

that it can be used to mean in a particular context using three approaches. Parveen

used a random sample from interviewing five people. He concluded that different

aspects are involved in the word comprehension with context, therefore, three

theories and behaviorism played a vital role in the semantics. The similarity of

Parveen‟s research with this present thesis is that both discuss the importance of

context as the framework in the study of meaning. The difference of the two are that

Parveen‟s research used several theories, such as Palmer‟s (1976) and Yule‟s (2006)

while this current thesis uses Lyons‟ (1977) theory and both researches have

different problems and objectives.


22

Winters et al. (2015) in their research paper entitled Languages adapt to their

contextual niche explored how context links short-term language use with the long-

term emergence of different types of language systems. Using an iterated learning

model of cultural transmission, the current study experimentally investigates the role

of the communicative situation in which an utterance is produced (SITUATIONAL

CONTEXT) and how it influences the emergence of three types of linguistic

systems: UNDERSPECIFIED languages, HOLISTIC systems, and SYSTEMATIC

languages. Winters et al. used discrimination task in a communication game and

manipulated whether the feature dimension shape was relevant or not in

discriminating between two referents. The experimental languages gradually evolved

to encode information relevant to the task of achieving communicative success,

given the situational context in which they are learned and used, resulting in the

emergence of different linguistic systems. They concluded that language systems

adapt to their contextual niche over iterated learning. The similarity of Winters et

al.‟s research with this present thesis is that both discuss the importance of context as

the framework in the study of meaning. The difference of the two are that Winters et

al.‟s research used several theories, such as Silvey, Kirby & Smith (2014) and

Christiansen & Chater (2008) while this current thesis uses Lyons‟ (1977) theory and

both researches have different problems and objectives.


23

2.6 Conceptual Framework

Contextual Meaning in My

Chemical Romance‟s songs

What types of contextual

meaning are found in My

Chemical Romance‟s songs?

Theory of Contextual Meaning by

Lyons (1977)

Descriptive Qualitative

Discussion

Six types of Contextual Meaning The most dominant type of

Contextual Meaning

Findings

141 Context of Person

6 Context of Place

16 Context of Time

5 Context of Formality

45 Context of Mood

43 Context of Subject-

matter

Context of Person (55,0%)

What is the most dominant

type of contextual meanings

used in My Chemical

Romance‟s songs?


24

The framework above describes how this present thesis is conducted. This

present thesis answers two following problems: finding the type of contextual

meaning found in My Chemical Romance‟s songs and finding the most dominant

type of contextual meaning used in My Chemical Romance‟s songs.

The theory of contextual meaning proposed by Lyons (1977) is used to

identify the words and phrases in the lines of lyrics that have the criteria to be

considered to belong in the type of contexts: Context of Person, Context of Place,

Context of Time, Context of Formality, Context of Mood, and Context of Subject-

matter to answer the first problem.

To answer the second problem, the next step in conducting this present thesis

is calculating the data to find the dominant type of Contextual Meaning found in the

source of data by Bungin‟s formula (2005:171-172). This thesis is researched using

descriptive qualitative method.

The last step is to discuss the types of contextual meaning found in My

Chemical Romance‟s songs and the most dominant type of contextual meaning found

in My Chemical Romance‟s songs with the findings that there are six types of

contextual meaning found: 141 Context of Person, 6 Context of Place, 16 Context of

Time, 5 Context of Formality, 45 Context of Mood, 43 Context of Subject-matter,

and Context of Person (55,0%) is the most dominant type of contextual meaning

found in My Chemical Romance‟s songs.


25

CHAPTER III

METHOD OF RESEARCH

This chapter presents the research methods in conducting this current thesis.

This research method covers the research design, data and data source, techniques of

collecting data, and techniques analyzing data.

3.1 Research Design

The writer of this thesis uses methodology and some supporting theories, and

relevant documentations in conducting the research. Qualitative research is

conducted through intense and prolonged contact with participants in a naturalistic

setting to investigate the everyday and exceptional lives of individuals, groups,

societies, and organizations (Miles & Huberman, 2014:29). This thesis is a

descriptive research because it focuses on describing the phenomenon of contextual

meaning including the detailed explanation of occurrences, participants, actions, and

situations. The writer uses qualitative method to connect the extension of the lines of

lyrics in My Chemical Romance’s songs to study the contextual meaning in the form

of words and phrases which are the main concern in this research.

3.2 Data and Data Source

The data of this analysis is the lines of lyrics in terms of words, phrases, and

sentences which had contextual meaning from My Chemical Romance’s songs. The

data will be analyzed with the theory of contextual meaning by Lyons (1977).


26

The data source is taken from five of the most famous songs among fourteen

songs taken from their most successful album from 2006, ’The Black Parade’. They

are ‘Welcome To The Black Parade’, ‘Teenagers’, ‘Famous Last Words’, ‘I Don’t

Love You’, and ‘Disenchanted’ retrieved from a website of song lyrics

http://www.azlyrics.com (January 2019).

3.3 Technique of Collecting Data

There are four steps in collecting data: observation, questionnaire, interview,

and documentation. The writer applies documentation method in conducting this

thesis. Here are the steps of collecting data used by the writer:

1. Retrieving the lyrics of five selected songs from The Black Parade

album.

2. Reading carefully the lyrics of the five selected songs from The Black

Parade album.

3. Identifying words, phrases, and sentences that meet the criteria of

contextual meaning on every lyric.

4. Marking tables of the data to display the data findings.

3.4 Technique of Analyzing Data

In this analysis, descriptive qualitative method is applied to analyze the data.

In descriptive research, the data tabulation is based on analyzing percentage and

trend analysis. Miles and Huberman (2014) define the data analysis in qualitative

research consists of four concurrent flows of data analysis activity: data

condensation, data display, conclusion drawing and verification.. These are the

procedure of analyzing the source of data:


27

1. Listening to the five selected songs from The Black Parade album.

2. Focusing on the lines of lyrics to find the data (words and phrases)

that can be identified to contain contextual meaning.

3. Simplifying and abstracting the data processes by organizing

contextual meaning for each type based on Lyon’s Theory

about the six types of contextual meaning: Context of Person, Context

of Place, Context of Time, Context of Formality, Context of Mood,

and Context of Subject-matter.

4. Calculating the data to find the dominant type of Contextual Meaning

found in the source of data by Bungin’s formula (2005:171-172):

Types of Contextual Meaning (in percentage)

𝒏 =𝒇𝒙

𝑵× 𝟏𝟎𝟎%

n : The percentage of one type of contextual meaning

fx: The amount of context in one type of contextual meaning

N : The number of all data

5. Drawing conclusion by doing recheck and verification to data found

in order to validate the answers of problems.


28

CHAPTER IV

DISCUSSION AND FINDING

This chapter consists of two subchapters related with the problems of study in

this present thesis. The first subchapter discusses the discussion of types of

contextual meaning to answer the first problem of this thesis. The second subchapter

shows the finding of the data in percentage to answer the second problem of this

thesis.

4.1 Discussion

In order to find lines of lyrics that contain any contextual meaning, the writer

does an analysis by classifying the collected data based on the types of contextual

meaning found. The data is taken from the lyrics of five of My Chemical Romance’s

songs from the album The Black Parade in the form of lines of words. To identify if

a line or a part of the lyric contains contextual meaning according to Lyons’ theory,

we have to identify each line from every song and find out if the words or phrases on

those lines of lyrics fulfill the criteria of containing a contextual meaning. Then, we

can identify which type of contextual meaning the context belongs to answer the first

problem of this thesis.

There are six types of contextual meaning: Context of Person, Context of

Place, Context of Time, Context of Formality, Context of Mood, and Context of

Subject-matter which all present on the lyrics of five of My Chemical Romance’s

songs and below, the writer presented the findings and discussion of each type.


29

4.1.1 Context of Person

Context of Person in a sentence or utterance is the pronouns that are being

used by the participants. Each participant in the sentence or utterance must know or

at least makes an assumption of their role and status as. Linguistically, there are two

kinds of roles in English, Deictic Role and Social Role (Lyons, 1977:574). Context

of Person are used on these lines on lyrics to highlight the fulfillment of the social

and deictic roles and status of the participants involved.

There are 98 lines of lyrics that contain Context of Person with 141 Context

of Person: 134 Deictic Roles and 7 Social Roles found in the lyrics of five of My

Chemical Romance’s songs. To make this analysis efficient to read and comprehend,

the writer chose a few Context of Person containing Deictic Role and Social Roles

from the lines of lyrics to discuss as representative as discussed below:

4.1.1.1 Deictic Role

1. When I was a young boy [1]

(Welcome to the Black Parade)

The pronoun I is used to fulfill the deictic role as the speaker of the utterance

and as the referent of the young boy.

2. My father took me into the city [2]


The pronoun me is used to fulfill the deictic role as the person uttering the

sentence and as the target of the action took.

3. He said, "Son when you grow up [3]



30

The pronoun He is used to fulfill the deictic role as the subject of the action

said and the next pronoun you is used to fulfill the deictic role as the target of the

utterance (Son).

4. Would you be the savior of the broken [4]


The pronoun you is used to fulfill the deictic role as the target of the utterance

said by He and as the referent to the Son who is the speaker of the utterance.

5. He said "Will you defeat them [5]


The pronoun He is used to fulfill the deictic role as the subject of the action

said. Next, the pronoun you fulfills the deictic role as the target of the utterance said

by He and as the referent to the Son, and the next pronoun, them is used to fulfill the

deictic role as the target of the action defeat.

6. The plans that they have made?" [6]


The pronoun they is used to fulfill the deictic role as the target of the

utterance said by He and as the referent to the people on previous line your demons

and all the non-believers.

7. "Because one day I'll leave you [7]


The pronoun I is used to fulfill the deictic role as the subject and you as the

object of the action leave.

8. A phantom to lead you in the summer [8]


The pronoun you is used to fulfill the deictic role as the target of the action

who will receive the phantom.

9. Sometimes I get the feeling she's watching over me [9]



and as the subject of the action get the feeling. Next, the pronoun she is used to fulfill


31

the deictic role as the subject of the action watching over. The pronoun me is used to

fulfill the deictic role as the person uttering the sentence and as the target of the

action watching over.

10. And other times I feel like I should go [10]


The first I pronoun is used to fulfill the deictic role as the speaker of the

utterance and as the subject of the action feel like. Next, the later I pronoun is used to

fulfill the deictic role as the subject of the action should go.

11. And when you're gone we want you all to know [11]


The first pronoun you is used to fulfill the deictic role as the target of the

utterance and it is modified by the adjective gone. Next, the pronoun we is used to

fulfill the deictic role as the speaker of the utterance and as the subject of the action

want. The later pronoun you is used to fulfill the deictic role as target of the utterance

and as the object of the action to know.

12. We'll carry on [12]


The pronoun We is used to fulfill the deictic role as the speaker of the

utterance and as the subject of the action carry on.

13. And though you're dead and gone believe me [13]



and it is modified by the adjective dead. Next, the pronoun me is used to fulfill the

deictic role as the speaker of the utterance and as the object of the action believe.

14. And in my heart I can't contain it [14]



and as the subject of the action can’t contain.


32

15. A world that sends you reeling from decimated dreams [15]



and as the object of the action sends.

16. Your misery and hate will kill us all [16]


The pronoun us is used to fulfill the deictic role as the speaker of the

utterance and as the object of the action kill.

17. And though you're broken and defeated [18]



and it is modified by the adjective broken.

18. On and on we carry through the fears [19]


The pronoun we is used to fulfill the deictic role as the speaker of the

utterance and as the subject of the action carry.

19. Take a look at me cause I could not care at all [20]


Both of the pronouns me and I are used to fulfill the deictic role as the

speaker of the utterance, while me functions as the object of the action look, I

functions as the subject of the action could not care.

20. Go and try, you'll never break me [22]


The pronoun you is used to fulfill the deictic role as the target and me as the

speaker of the utterance. Also, you functions as the subject and me as the object of

the action break.

21. I won't explain or say I'm sorry [24]



33

Both of the pronouns I are used to fulfill the deictic role as the speaker of the

utterance. The first I functions as subject of the action explain, and the later I is

modified by the adjective sorry.

22. I'm unashamed, I'm gonna show my scar [25]



utterance. The first I is modified by the adjective unashamed, and the later I

functions as subject of the action gonna show.

23. I'm just a man, I'm not a hero [27]



utterance. The first I functions as the subject of the noun phrase I’m just a man, and

the later I functions as subject of the noun phrase I’m not a hero.

24. They're gonna clean up your looks [30]

(Teenagers)

The pronoun They is used to fulfill the deictic role as the target of the

utterance and as the subject of the action gonna clean up.

25. Because they sleep with a gun [32]

(Teenagers)

The pronoun they is used to fulfill the deictic role as the target of the

utterance and as the subject of the action sleep.

26. You're never gonna fit in much, kid [40]

(Teenagers)

The pronoun You is used to fulfill the deictic role as the target of the utterance

and it as the subject of the action fit in.

27. Honey if you stay, I'll be forgiven [55]

(Famous Last Words)


and it is modified by the adjective forgiven.

28. That gave me heartache to sing [82]

(Disenchanted)


34

The pronoun me is used to fulfill the deictic role as the speaker of the

utterance and as the object of the action gave.

29. Well, if you think that I'm wrong [92]

(Disenchanted)


and as the subject of the action think and the pronoun I is used to fulfill the deictic

role as the speaker of the utterance and it is modified by the adjective wrong.

4.1.1.2 Social Roles

1. He said, "Son when you grow up [1]


The word Son fulfills the social role of a father of the speaker (He) and social

function between a father – son. It also shows the sex and age of the target (you): a

male, younger than the speaker.



The word man and hero are used to show a contrast in social role of the

speaker that he is just an ordinary person (man) instead of an extraordinary person

(hero).

3. Just a boy, who had to sing this song [28]


The word boy fulfills the speaker’s social role as a person’s son or a male

child or youth. It also shows the sex and age of the speaker: a young male youth.

4. And keep an eye on you, son [33]

(Teenagers)

The word son fulfills the social role of a father of the speaker and social

function between a father – son. It also shows the sex and age of the target (you): a

male, younger than the speaker.


(Teenagers)


35

The word kid fulfills the social role of an adult to a child or young person. It

also shows the age of the target (You): younger than the speaker but not the gender of

the person since kid is a gender neutral form to address a person.


(Famous Last Words)

The word Honey fulfills the social role of a lover of the target (you) and

social function between lovers (you and I).

7. But baby when they knock you [73]

(I Don’t Love You)

The word baby fulfils the social role of a young woman or a person whom the

speaker has a romantic relationship with and social function between lovers.

4.1.2 Context of Place

Context of Place is the space of the sentence or utterance takes place.

Knowing the location of the sentence or utterance plays an important role in the

selection of vocabulary used in the language exchange by the participants (Lyons,

1977:578).

Context of Place in an utterance shows a tangible location and it can be stated

either explicitly or implicitly. Based on findings of the data above, there are 6

Context of Place found in the lyrics from My Chemical Romance’s songs titled

Welcome to the Black Parade, Teenagers, Famous Last Words, I Don’t Love You,

and Disenchanted as discussed below:

1. My father took me into the city

To see a marching band [99]


On these lines of lyric, the speaker directly states a name of a location, the

city but do not specify the name of the city. The line then followed by the phrase to


36

see a marching band, which gives the context that the city do not mean an actual city,

but in the downtown area of a city where it is busier and events usually held.

2. So many

Bright lights, they cast a shadow [100]

(Famous Last Words)

Above, the speaker does not state a name of a location explicitly, but the

speaker use the phrase to give a clue of a location. The place the speaker is saying

that there are many bright lights, or sources of illumination, lighting up a space with

many objects around to create shadows. Added with the rest of the lines of lyric of

the song, the speaker is known to be a patient in a hospital, therefore the place the

speaker is referring to is a hospital building.

3. Nothing you can say can stop me going home [101]

(Famous Last Words)

The speaker of the utterance above states a name of a location explicitly. The

word home means that the speaker refers to his house where he resides.

4. 'Cause I see you lying next to me [102]

(Famous Last Words)

On the utterance above, the speaker states a name of a location explicitly:

next to me. It means that the speaker refers to the space right beside him, on the same

room space at the same time to the target.

5. It was the roar of the crowd

That gave me heartache to sing [103]

(Disenchanted)

On the utterance above, the speaker do not state the location on exact word,

but certain words the speaker use give us a clue of a name of a location. The speaker

is going to sing in a location where a roar of a crowd exists in the same time and

space. From these clues, it can be concluded that the place of the utterance is in a

stage of a concert because it is a place where someone can perform an activity such


37

as singing with a crowd of people enjoying the performance in a same time and

space.

6. I spent my high school career

Spit on and shoved to agree [104]

(Disenchanted)

The speaker of the utterance above stated one of his experiences as high

school career, which is referring to the time when the speaker was attending high

school as a student. From this clue, a name of a location arises, which is a high

school campus.

4.1.3 Context of Time

Context of Time is also influential in the process of interpreting meaning

because the time of when the sentence or utterance is happening is one of the factors

in selection the vocabulary used in the language exchange by the participants (Lyons,

1977:578).

Context of Time in an utterance shows a time frame of the utterance

happening or a time frame of something on the utterance which can be stated either

explicitly or implicitly. There are 16 Context of Time occurring in the lyrics from

My Chemical Romance’s songs titled Welcome to the Black Parade, Teenagers,

Famous Last Words, I Don’t Love You, and Disenchanted as discussed below:

1. When I was a young boy [105]


The speaker of the utterance above states a time frame When I was a young

boy, which means he is referring to a period of time on his childhood in the past.




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The speaker of the utterance above states a time frame summer, which means

he is referring to a period of time on the season summer around June to August in the

northern hemisphere.



The speaker of the utterance above states a time frame when you’re gone,

which means he is referring to a period of time in the future when the target is no

longer with the speaker.

4. Now I know [108]

(Famous Last Words)

The speaker of the utterance above states a time frame now, which means he

is referring to the current time he is uttering the line.

5. Well, when you go [109]


The speaker of the utterance above states a time frame when you go, which

means he is referring to a period of time in the future when the target is no longer

with the speaker.

6. And maybe when you get back [110]


The speaker of the utterance above states a time frame when you get back,

which means he is referring to a period of time in the future when the target is comes

back to the speaker.



The speaker of the utterance above states a time frame when they knock you,

which means he is referring to a hypothetical period of time in the future of the target

being in the situation the speaker uttered.

8. Better get out while you can [112]



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The speaker of the utterance above states a time frame while you can, which

means he is referring to a limited period of time he decided from the time he uttered

the phrase to a time in the future.

9. "I don't love you like I did yesterday." [113]


The speaker of the utterance above states a time frame yesterday, which

literally means a time on the day before, but in this utterance, the speaker is referring

to a period time in the past when the speaker still loves the target.

10. Better get up while you can [114]


Same as the previous Context of Time, the speaker of the utterance above

states a time frame while you can, which means he is referring to a limited period of

time he decided from the time he uttered the phrase to a time in the future.

11. Well, I was there on the day

They sold the cause for the queen [115]

(Disenchanted)

The speaker of the utterance above states a time frame on the day they sold

the cause for the queen, which means he is referring to a hypothetical period of time

in the past of him being in the situation the speaker uttered.

12. And when the lights all went out

We watched our lives on the screen. [116]

(Disenchanted)

The speaker of the utterance above states a time frame when the lights all

went out then we would watch our lives on the screen, which means he is referring to

a very short period of time between life and death.

13. How can you listen all night long? [117]

(Disenchanted)

The speaker of the utterance above states a time frame all night, which means

he is referring to a period from sunset to sunrise when the target listened to the

speaker.


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14. Now will it matter after I'm gone? [118]

(Disenchanted)

The speaker of the utterance above states a time frame after I’m gone, which

means he is referring to a hypothetical period of time in the future after now which is

when the speaker is no longer present.

15. You're just a sad song with nothin' to say

About a life-long wait for a hospital stay [119]

(Disenchanted)

The speaker of the utterance above states a time frame a life-long wait, which

means he is referring to a period of time from someone’s birth to his death or simply

someone’s life time.


Spit on and shoved to agree [120]

(Disenchanted)

The speaker of the utterance above states a time frame my high school career,

which means he is referring to a 3 or 4 years period of time attending high school as

a student in the past.

4.1.4 Context of Formality

Context of Formality focuses on the participants’ systemic phonological,

grammatical and lexical differences in a sentence or utterance (Lyons, 1977:580).

Joos (1967) has classified the degrees of formality in English into five categories:

‘frozen’, ‘formal’, ‘consultative’, ‘casual’, and ‘intimate’.

Context of Formality in an utterance shows the degree of formality of the

conversation and show the kind of relationship the speaker and target share. Based

on findings of the data above, there are 5 Context of Formality occurring in the lyrics

from My Chemical Romance’s songs titled Welcome to the Black Parade,

Teenagers, Famous Last Words, I Don’t Love You, and as discussed below:


41

1. He said, "Son when you grow up

Would you be the savior of the broken

The beaten and the damned?" [121]


The word Son above is used to address the speaker in a conversation between

him and his father. This addressing term by a father to his son shows the relationship

between the speaker and the target: a parent-child relationship. Therefore, the

utterance is in the mode of intimate degree of formality.

2. Because they sleep with a gun

And keep an eye on you, son [122]

(Teenagers)

The word son above is used by the speaker in a conversation between him

and a younger person as the target. This addressing term by an adult to a younger

person shows how the speaker is imposing a parental figure in talking to the younger

person, which shows how close they are emotionally. Therefore, the utterance is in

the mode of intimate degree of formality.


(Teenagers)

The word kid above is also a variation of addressing a younger person that is

used to by the speaker in a conversation between him and a younger person as the

target. This addressing term by an adult to a younger person shows how the speaker

is imposing a parental figure in talking to the younger person, which shows how

close they are emotionally. Therefore, the utterance is in the mode of intimate degree

of formality.


(Famous Last Words)

The word Honey above is used by the speaker as a nickname for the target. It

shows the relationship between the speaker and the target: a romantic relationship.

Therefore, the utterance is in the mode of intimate degree of formality.


42



On the utterance above, the speaker uses the word baby to address the target.

It shows the relationship between the speaker and the target: a romantic relationship.

Therefore, the utterance is in the mode of intimate degree of formality.

4.1.5 Context of Mood

Context of Mood focuses with the variations of vocabulary used by the

participants in a sentence or utterance that is showing their state of mind or feelings

(Lyons, 1977:581). It shows the state of mind or feelings of the participants during

the conversation which draws the mood of the conversation and it can be stated

either explicitly or implicitly. There are 45 Context of Mood occurring in the lyrics

from My Chemical Romance’s songs titled Welcome to the Black Parade,

Teenagers, Famous Last Words, I Don’t Love You, and Disenchanted as discussed

below:

1. Sometimes I get the feeling she's watching over me

And other times I feel like I should go [126]


The phrase she’s watching over me above is considered a Context of Mood

because it shows the speaker’s feeling of uneasiness and distraught. It is then

followed by the speaker’s thought that I should go which shows he is feeling

perturbed.

2. A world that sends you reeling from decimated dreams [127]



43

The phrase reeling from decimated dream above is considered a Context of

Mood because it displays the target’s feeling on the situation: the feeling of shaken

and great grief with the phrase.

3. Defiant to the end we hear the call [128]


On this utterance, the word Defiant is considered a Context of Mood because

it shows his feeling towards the situation: feeling aggressive and challenged.

4. Take a look at me cause I could not care at all [129]


The phrase I could not care at all is considered a Context of Mood because

he speaker uses it to explicitly show his feeling of carelessness on the utterance.

5. Do or die, you'll never make me

Because the world will never take my heart

Go and try, you'll never break me [130]


On the lines above, the speaker uses three phrases to express his feeling to the

target: you’ll never make me, the world will never take my heart, and you’ll never

break me which are considered a Context of Mood because they show his feeling of

disaffected and firm he is towards the situation.

6. I won't explain or say I'm sorry [131]


The selection of words above are considered a Context of Mood because

they shows the feeling of the speaker, which is a secretive mood as portrayed by the

word won’t explain and then it is followed with say I’m sorry to deepen the mood

into an unapologetic and rebellious feeling .




44

The selection of words above are considered a Context of Mood because they

show the feeling of the speaker, which is a proud feeling as portrayed by the word

unashamed and a following confident feeling by the phrase show my scar.

8. Give a cheer for all the broken [133]


The phrase Give a cheer on the line above is considered a Context of Mood

because it shows the speaker’s intention to encourage and show enthusiastic feeling

for the target.

9. I Don't Care! [134]


On the line above, the speaker explicitly states I Don’t Care to express

indifference and to indicate that the outcome of a situation has no significance for

him.


And keep an eye on you, son [135]

(Teenagers)

The phrase keep an eye on you above are considered a Context of Mood

because they are used by the speaker to tell the target that someone is being careful

and attentive in watching the target’s behavior to the point of paranoia supported by

the phrase sleep with a gun.

11. They're gonna rip up your heads,

Your aspirations to shreds [136]

(Teenagers)

The phrase rip up your head is considered a Context of Mood because it is

used metaphorically in trying to equate the agony feeling like having their head

ripped from shredded aspirations.

12. They said all teenagers scare the living shit out of me [137]

(Teenagers)

The phrase scare the living shit out of me is considered a Context of Mood

because it is used by the speaker to convey how petrified he feels in the utterance.


45

13. They could careless as long as someone'll bleed [138]

(Teenagers)

The word careless above is considered a Context of Mood because it is used

so show the person they’s feeling of indifference and the lack of significance the

outcome of a situation for them.

14. So darken your clothes or strike a violent pose [139]

(Teenagers)

The phrases darken your clothes and strike a violent pose above are

considered a Context of Mood because they are used by the speaker to persuade the

target to feel rebellious against the rules they are used to live in and make a dramatic

courageous change.

15. But if you're troubled and hurt [140]

(Teenagers)

The two adjectives used by the speaker above are considered a Context of

Mood because they show the target’s mood during the utterance, troubled and hurt

which means the target is feeling distressed and pained from his/her experience.

16. Now I know

That I can't make you stay

But where's your heart? [141]

(Famous Last Words)

The phrases I know, I can’t make you stay, but where’s your heart are

considered a Context of Mood because they show the speaker’s feeling of disbelief

and disappointment towards the speaker.

17. But can I speak? [142]

(Famous Last Words)

The phrase can I speak and the word incomplete are considered a Context of

Mood because they are used to show the speaker’s feeling of helplessness towards

the situation.

18. Well is it hard understanding

I'm incomplete [143]

(Famous Last Words)


46

The phrase is it hard understanding and the word incomplete are considered a

Context of Mood because they are used to show the speaker’s feeling of helplessness

towards the situation.

19. A life that's so demanding

I get so weak [144]

(Famous Last Words)

The words demanding and so weak are considered a Context of Mood

because they are used to show the speaker’s feeling of helplessness and weakness on

the utterance.

20. A love that's so demanding

I can't speak [145]

(Famous Last Words)

The words demanding and can’t speak are considered a Context of Mood

because they are used to show the speaker’s feeling of helplessness and

speechlessness on the utterance.

21. I am not afraid to keep on living

I am not afraid to walk this world alone [146]

(Famous Last Words)

On the utterances above, the speaker uttered not afraid twice which are

considered a Context of Mood, on his decision to continue living and venture the

world to emphasize the confident and assured feeling he has.


(Famous Last Words)

The phrase Nothing you can say can stop me going home is considered a

Context of Mood because it shows the speaker’s adamant feeling towards the

situation.

23. My eyes are shining bright [148]

(Famous Last Words)

The phrase eyes are shining bright is considered a Context of Mood because

it shows the speaker’s feeling of great determination towards his decision.


47

24. These bright lights have always blinded me [149]

The phrase always blinded me is considered a Context of Mood because it is

used to show the speaker’s feeling of discomfort towards the situation.

25. With words I thought I'd never speak [150]

(Famous Last Words)

The phrase I thought I'd never speak is considered a Context of Mood

because it is used to show the speaker’s feeling of shock and amazement towards the

situation.

26. So never think, I'll make you try to stay [151]


The phrase never think, I'll make you is considered a Context of Mood

because it is used to show the speaker’s alarming feeling towards the target.

27. Well, after all this time that you still owe

You're still a good-for-nothing I don't know [152]


The phrase a good-for-nothing I don't know and the word owe are considered

a Context of Mood because they are used to show the speaker’s feeling of rejection

and agony towards the uselessness of the target on the utterance.

28. So take your gloves and get out

Better get out while you can [153]


The phrases take your gloves and get out and while you can are considered a

Context of Mood because they are used to show the speaker’s feeling of misery and

agony on the utterance.

29. When you go

Would you even turn to say,

"I don't love you like I did yesterday." [154]



48

The statement Would you have turn to say "I don't love you like I loved you

yesterday." above is considered a Context of Mood because it shows the speaker’s

challenging the target while also feeling the sorrow and sadness of the situation.

30. Sometimes I cry so hard from pleading [155]


The phrase I cry so hard from pleading above is considered a Context of

Mood because it shows the speaker’s feeling of anguish and pain towards the

situation.

31. So sick and tired of all the needless beating [156]


The phrase so sick and tired above is considered a Context of Mood because

it shows the speaker’s feeling of weary and drained towards the situation.

32. Well, after all the blood that you still owe

Another dollar's just another blow [157]


The phrases blood that you still owe and just another blow above are

considered a Context of Mood because they show the speaker’s feeling of detest

towards the speaker.

33. So fix your eyes and get up

Better get up while you can [158]


The phrases fix your eyes and get up and get up while you can above are

considered a Context of Mood because they show the speaker’s feeling to encourage

and persuade the speaker.

34. When you go

Would you have the guts to say

"I don't love you like I loved you yesterday." [159]


The statement Would you have the guts to say "I don't love you like I loved

you yesterday." above is considered a Context of Mood because it shows the


49

speaker’s challenging the target while also feeling the sorrow and sadness of the

situation.

35. I hate the ending myself,

But it started with an alright scene. [160]

(Disenchanted)

The words hate and alright are considered a Context of Mood because they

show the speaker’s feeling of resentment of the situation even though he felt good at

the beginning.


That gave me heartache to sing. [161]

(Disenchanted)

The word heartache is considered a Context of Mood because it shows the

speaker’s feeling of bitterness and during the situation.

37. It was a lie when they smiled

And said, "You won't feel a thing." [162]

(Disenchanted)

The phrase a lie when they smiled is considered a Context of Mood because it

shows the speaker’s feeling of remorse of being deceived by someone on the

situation.

38. And as we ran from the cops

We laughed so hard it would sting [163]

(Disenchanted)

The phrase laughed so hard it would sting is considered a Context of Mood

because it shows the speaker’s feeling of great happiness and freedom during the

situation.

39. If I'm so wrong

How can you listen all night long? [164]

(Disenchanted)

The statement above is considered a Context of Mood because it shows the

speaker’s feeling of distrust and disbelief towards the speaker.


50

40. Now will it matter after I'm gone?

Because you never learn a goddamned thing. [165]

(Disenchanted)


speaker’s feeling of letdown and disappointment towards the speaker.


About a life-long wait for a hospital stay [166]

(Disenchanted)


speaker’s feeling of being mislead and deceived towards the speaker.

42. Well, if you think that I'm wrong,

This never meant nothing to you [167]

(Disenchanted)

The phrase if you think that I'm wrong this never meant nothing to you is

considered a Context of Mood because it shows the speaker’s feeling of

disappointment and hurt towards a situation the speaker.


Spit on and shoved to agree

So I could watch all my heroes sell a car on TV [168]

(Disenchanted)

The phrase Spit on and shoved to agree is considered a Context of Mood

because it shows the speaker’s feeling of rage and displeasure towards a situation in

the past.

44. So go

Go away

Just go, run away. [169]

(Disenchanted)

The phrases So go, Go away, and Just go run away are considered a Context

of Mood because they show the speaker’s feeling of frustration towards the speaker.

45. But where did you run to? And where did you hide?


51

Go find another way [170]

(Disenchanted)

The statements But where did you run to? And where did you hide? and Go

find another way are considered a Context of Mood because they show the speaker’s

feeling of anger and disappointment to the speaker.

4.1.6 Context of Subject-matter

In the English vocabulary, some particular words have more than one

meaning, either related (polysemy) or completely different (homonymy). The

Context of Subject-matter of a sentence or utterance is determined by the terms

surrounding these certain word, depends on the situation it is concerned with (Lyons,

1977:582). There are certain words in the English vocabulary that have more than

one meaning, either related (polysemy) or completely different (homonymy). The

elements surrounding the words which are categorized as homonymy or polysemous

are the key element in understanding the meaning of Context of Subject-matter on

the lines on lyrics

There are 43 Context of Subject-matter occurring in 38 lines of lyrics from

My Chemical Romance’s songs titled Welcome to the Black Parade, Teenagers,

Famous Last Words, I Don’t Love You, and Disenchanted as discussed below:



The word lead is homonymous and belongs to at least two forms: as a noun

with a meaning a soft, heavy, ductile bluish-grey metal, the chemical element of

atomic number 82 and as a verb with a meaning to guide or conduct. In this utterance

the word lead has the meaning to guide or conduct because the surrounding words, to


52

and you create the subject-matter of the utterance fits for the word lead to function as

a verb.

2. And through it all, the rise and fall, the bodies in the streets [172]


The word fall is homonymous and belongs to at least two forms: as a noun

with a meaning to come down, to drop or descend and as a noun (in Canada and

USA) with a meaning the season of the year between the autumnal equinox and the

winter solstice. In this utterance the word fall functions as a noun and has the

meaning to come down, to drop or descend because fall is preceded by the phrase the

rise emphasizing on the opposite effect of the two words.



The word know [nō] is homonymous (homophone) with the word no [nō].

When listening to this part of the lyric, we can conclude the word that is meant to be

used is know which means be aware of through observation, inquiry, or information

instead of the word no which means expressing a negative response because the

sound [nō] is preceded by preposition to.

4. So paint it black and take it back [174]


The word back is homonymous and belongs to at least two forms: as a noun

with a meaning the rear surface of the human body from the shoulders to the hips

and as an adverb with a meaning to return to an earlier or normal position or

condition. In this utterance the word back has the meaning to return to an earlier or

normal position or condition because the surrounding words, take and it create the

subject-matter of the utterance fits for the word back to function as an adverb.

5. Let's shout it loud and clear [175]



53

The word clear is homonymous and belongs to at least two forms: as an

adjective with a meaning easy to perceive, understand, or interpret and as an adverb

with a meaning remove an obstruction or unwanted item or items from. In this

utterance the word clear functions as an adjective and has the meaning easy to

perceive, understand, or interpret because clear is preceded by another adjective

loud to emphasize the meaning of the utterance.

6. We want it all, we wanna play this part [176]


The word play is homonymous and belongs to at least two forms: as a verb

with a meaning engage in (a game or activity) for enjoyment and as a noun with a

meaning a dramatic work for the stage or to be broadcast. In this utterance the word

play has the meaning engage in (a game or activity) for enjoyment because the

surrounding word, wanna (want to) create the subject-matter of the utterance fits for

the word play to function as a verb.



The word show is homonymous and belongs to at least two forms: as a verb

with a meaning offer, exhibit, or produce (something) for inspection and as a noun

with a meaning a play or other stage performance, especially a musical. In this

utterance the word show functions as a verb and has the meaning offer, exhibit, or

produce (something) for inspection because the surrounding words , gonna (going to)

and my scar create the subject-matter of the utterance fits for the word show to

function as a verb.




54

The word man is homonymous and polysemous and belongs to at least two

forms: as a noun with a meaning an adult human male and as a verb with a meaning

(of personnel) work at, run, or operate (a place or piece of equipment) or defend (a

fortification). In this utterance the word man has the meaning an adult human male

because man is preceded by the determiner a which creates the subject-matter of the

utterance fits for the word man to function as a noun.

9. Just a boy, who had to sing this song [179]


The word sing is homonymous and belongs to at least two forms: as a verb

with a meaning perform (a song, words, or tune) by making musical sounds with the

voice and as a noun with a meaning an act or spell of singing. In this utterance the

word sing has the meaning perform (a song, words, or tune) by making musical

sounds with the voice because the surrounding words, to and this song create the

subject-matter of the utterance fits for the word sing to function as a verb.

10. With all the lies in the books [180]

(Teenagers)

The word lies is homonymous and belongs to at least two forms: as plural

form of a noun lie with a meaning to convey a false image or impression and as

third-person singular simple present indicative form of a verb lie with a meaning

to rest in a horizontal position on a surface. In this utterance the word lies has the

meaning to convey a false image or impression because lies is preceded by the words

all the which create the subject-matter of the utterance fits for the word lies to

function as a noun.

Next, the word books is homonymous and belongs to at least two forms: as

plural form of a noun book with a meaning a written or printed work consisting of

pages glued or sewn together along one side and bound in covers; and as third-

person singular simple present indicative form of a verb book with a meaning reserve


55

accommodation for (someone). In this utterance the word books has the meaning a

written or printed work consisting of pages glued or sewn together along one side

and bound in covers because books is preceded by the words in the which create the

subject-matter of the utterance fits for the word books to function as a noun.

11. Another cog in the murder machine [181]

(Teenagers)

The word murder is homonymous and belongs to at least two forms: as a verb

with a meaning kill (someone) unlawfully and with premeditation and as the

collective noun for a group of crows. In this utterance the word murder functions as a

verb and has the meaning kill (someone) unlawfully and with premeditation because

this utterance is not talking about any kind of animal.

12. They could care less as long as someone'll bleed [182]

(Teenagers)

The word long is homonymous and belongs to at least two forms: as an

adjective with a meaning lasting or taking a great amount of time and as a verb with

a meaning have a strong wish or desire. In this utterance the word long functions as

an adjective and has the meaning lasting or taking a great amount of time because

long is surrounded by as...as which makes phrase as long as functions as a

comparative adjective.

13. The awful names that they stick [183]

(Teenagers)

The word stick is homonymous and belongs to at least two forms: as a noun

with a meaning a thin piece of wood that has fallen or been cut off a tree and as a

verb with a meaning adhere or cling to something. In this utterance the word stick

has the meaning adhere or cling to something because stick is preceded with the

word they which creates the subject-matter of the utterance fits for the word stick to

function as a verb.


(Teenagers)


56

The word fit is homonymous, but in this case, the word is followed by in

which create a phrasal verb fit in which means be socially compatible with other

members of a group. This meaning is the most suitable meaning for the word fit

based on the subject-matter of this utterance.

Next, the word kid is homonymous and belongs to at least two forms: as a

noun with a meaning a young goat and as another kind of noun with a meaning a

child or young person. In this utterance the word kid functions as the later noun and

has the meaning a child or young person because this utterance is not talking about

any kind of animal.

15. Now I know [185]

(Famous Last Words)





sound [nō] is followed by pronoun I.

16. So many

Bright lights, they cast a shadow [186]

(Famous Last Words)

The word lights is homonymous and belongs to at least two forms: as plural

form of a noun light with a meaning source of illumination, especially an electric

lamp; and as third-person singular simple present indicative form of a verb light with

a meaning make (something) start burning; ignite. In this utterance the word lights

has the meaning source of illumination, especially an electric lamp because the

surrounding words, so many and bright create the subject-matter of the utterance fits

for the word lights to function as a noun.


57

Next, the word cast is homonymous and belongs to at least two forms: as a

verb with a meaning cause (light or shadow) to appear on a surface and as a noun

with a meaning the actors taking part in a play, film, or other production. In this

utterance the word cast has the meaning cause (light or shadow) to appear on a

surface because the surrounding words, lights and shadow create the subject-matter

of the utterance fits for the word cast to function as a verb.

17. But can I speak? [187]

(Famous Last Words)

The word can is homonymous and belongs to at least two forms: as a modal

verb with a meaning be able to and as a noun with a meaning a cylindrical metal

container. In this utterance the word can has the meaning be able to because the

surrounding words, I and speak create the subject-matter of the utterance fits for the

word can to function as a modal verb.

18. Well is it hard understanding [188]

(Famous Last Words)

The word well is homonymous and belongs to at least two forms: as an

exclamation with a meaning to indicate that one is waiting for an answer or

explanation from someone and as a noun with a meaning a shaft sunk into the

ground to obtain water, oil, or gas. In this utterance the word well has the meaning to

indicate that one is waiting for an answer or explanation from someone because it is

followed by a question is it hard understanding which create the subject-matter of

the utterance fits for the word well to function as an exclamation.


(Famous Last Words)



container. In this utterance, both of the can words has the meaning be able to

because the first can is surrounded by words, you and say, and the second can is


58

followed with the word stop which create the subject-matter of the utterance fits for

both of the can words to function as modal verb.

20. Can you see [190]

(Famous Last Words)



container. In this utterance the word can has the meaning be able to because it is

followed with the words, you and see create the subject-matter of the utterance fits

for the word can to function as a modal verb.

21. Of a jet black hotel mirror [191]

(Famous Last Words)

The word jet is homonymous and belongs to at least two forms: as a noun

with a meaning a rapid stream of liquid or gas forced out of a small opening and as a

noun modifier for the colour black with a meaning glossy black colour. In this

utterance the word jet has the function as a modifier because it is followed with the

word black, therefore the subject-matter of the utterance fits for jet to function as

noun modifier.

22. These bright lights have always blinded me [192]

(Famous Last Words)

The word lights is homonymous and belongs to at least two forms: as a noun

with a meaning as plural form of light: source of illumination, especially an electric

lamp; and as a verb with a meaning third-person singular simple present indicative

form of light: make (something) start burning; ignite. In this utterance the word

lights has the meaning as plural form of light: source of illumination, especially an

electric lamp because the lights is preceded by the word bright which creates the

subject-matter of the utterance fits for the word lights to function as a noun.

23. I see you lying next to me [193]

(Famous Last Words)


59

The word lying is homonymous and belongs to at least two forms: as present

participle form of the verb lie with a meaning to rest in a horizontal position on

a surface and as an adjective with a meaning not telling the truth. In this utterance

the word lying has the meaning to rest in a horizontal position on a surface because

the surrounding words, you and next to me create the subject-matter of the utterance

fits for the word lying to function as a verb.

24. Well, when you go [194]



exclamation with a meaning to mark the resumption or end of a conversation, etc.

and as a noun with a meaning a shaft sunk into the ground to obtain water, oil, or

gas. In this utterance the word well has the meaning to mark the resumption or end of

a conversation, etc. because it is followed by a statement when you go which create

the subject-matter of the utterance fits for the word well to function as an

exclamation.

25. And maybe when you get back [195]


The word back is homonymous and belongs to at least two forms: as a noun

with a meaning the rear surface of the human body from the shoulders to the hips

and as an adverb with a meaning to return to an earlier or normal position or

condition. In this utterance the word back has the meaning to return to an earlier or

normal position or condition because back is preceded by the words you get which

create the subject-matter of the utterance fits for the word back to function as an

adverb.

26. Well, after all this time that you still owe [196]





60



a conversation, etc. because it is followed by a statement after all this time that you

still owe which create the subject-matter of the utterance fits for the word well to

function as an exclamation.

27. You're still a good-for-nothing I don't know [197]






sound [nō] is followed by the words I don’t.

28. Better get out

While you can [198]




container. In this utterance the word can has the meaning be able to because can is

preceded by the words while you create the subject-matter of the utterance fits for the

word can to function as a modal verb.

29. Would you even turn to say [199]


The word even is homonymous and belongs to at least two forms: as an

adverb which is used to emphasize something surprising or extreme and as a noun

with a meaning the end of the day; evening. In this utterance the word even has the

function to emphasize something surprising or extreme because the surrounding

words, you and turn create the subject-matter of the utterance fits for the word even

to function as an adverb.


61

30. So sick and tired of all the needless beating [200]


The word sick is homonymous and belongs to at least two forms: as an

adjective with a meaning disappointed, mortified, or miserable and as a verb with a

meaning set someone to pursue, keep watch on, or accompany (another). In this

utterance the word sick has the function disappointed, mortified, or miserable

because sick is followed by the word tired which create the subject-matter of the

utterance fits for the word sick to function as an adjective.

31. But baby when they knock you

Down and out [201]


The word down is homonymous and belongs to at least two forms: as an

adverb with a meaning in or into a weaker or worse position, mood, or condition and

as a noun with a meaning fine, soft hair on the face or body of a person. In this

utterance the word down has the meaning in or into a weaker or worse position,

mood, or condition because the surrounding words, knock you and and out create the

subject-matter of the utterance fits for the word down to function as an adverb.

32. Well, I was there on the day [202]

(Disenchanted)





a conversation, etc. because it is followed by a statement I was there on the day

which create the subject-matter of the utterance fits for the word well to function as

an exclamation.

33. And when the lights all went out [203]

(Disenchanted)


62

The word lights is homonymous and belongs to at least two forms: as plural

form of a noun light with a meaning source of illumination, especially an electric

lamp; and as third-person singular simple present indicative form of a verb light with

a meaning make (something) start burning; ignite. In this utterance the word lights

has the meaning source of illumination, especially an electric lamp because the

surrounding words, the and all went out create the subject-matter of the utterance fits

for the word lights to function as a noun.

34. It was a lie when they smiled [204]

(Disenchanted)

The word lie is homonymous and belongs to at least two forms: as a noun

with a meaning to convey a false image or impression; and as a verb with a meaning

to rest in a horizontal position on a surface. In this utterance the word lies has the

meaning to convey a false image or impression because lie is preceded by the

determiner a which creates the subject-matter of the utterance fits for the word lie to

function as a noun.

35. How can you listen all night long [205]

(Disenchanted)



container. In this utterance the word can has the meaning be able to because the

surrounding words, How and you listen create the subject-matter of the utterance fits

for the word can to function as a modal verb.

Next, the word long is homonymous and belongs to at least two forms: as an

adjective with a meaning lasting or taking a great amount of time and as a verb with

a meaning have a strong wish or desire. In this utterance the word long functions as

an adjective and has the meaning lasting or taking a great amount of time because


63

long is preceded by the words all night which create the subject-matter of the

utterance fits for the word long to function as an adjective.

36. So I could watch all my heroes sell a car on TV [206]

(Disenchanted)

The word watch is homonymous and belongs to at least two forms: as a verb

with a meaning follow closely or maintain an interest in and as the collective noun

for a group of nightingales. In this utterance the word watch functions as a verb and

has the meaning follow closely or maintain an interest in because this utterance is not

talking about any kind of animal.

37. We'll show 'em what we all mean [207]

(Disenchanted)

The word show is homonymous and belongs to at least two forms: as a verb

with a meaning to explain or demonstrate something to and as a noun with a meaning

a play or other stage performance, especially a musical. In this utterance the word

show has the meaning to explain or demonstrate something to because it is followed

by a clause what we all mean which create the subject-matter of the utterance fits for

the word show to function as a verb.

Next, the word mean is homonymous and belongs to at least two forms: as an

adjective with a meaning unkind, spiteful, or unfair and as a verb with a meaning

intend to convey or refer to (a particular thing). In this utterance the word mean has

the meaning intend to convey or refer to (a particular thing) because mean is

preceded by the words what we all which create the subject-matter of the utterance

fits for the word mean to function as a verb.

38. But where did you run to? And where did you hide? [208]

(Disenchanted)

The word hide is homonymous and belongs to at least two forms: as a verb

with a meaning to conceal oneself and as a noun with a meaning the skin of an

animal, especially when tanned or dressed. In this utterance the word hide has the


64

meaning to conceal oneself because hide is preceded by the words where did you

which create the subject-matter of the utterance fits for the word hide to function as a

verb.

4. 2 Finding

After collecting and discussing My Chemical Romance’s songs Welcome to

the Black Parade, Teenagers, Famous Last Words, I Don’t Love You, and

Disenchanted, we can identify which type of contextual meaning iis the most

dominant type to answer the second problem of this thesis. The number of data

found:

Types Of Contextual Meaning Amount Percentage

Context of

Person

Deictic Role 134

55.0%

Social Role 7

Context of Place 6 2.3%

Context of Time 16 6.3%

Context of

Formality

Frozen 0

2.0%

Formal 0

Consultative 0

Casual 0

Intimate 5

Context of Mood 45 17.6%

Context of Subject-matter 43 16.8%

Total 256 100%


65

In this analysis, Context of Person occurs dominantly in the data (55.0%),

then followed by Context of Mood (17.6%), Context of Subject-matter (16.8%),

Context of Time (6.3%), Context of Place (2.3%), and last is Context of Formality

(2.0%).

Context of Person turns to be the most dominant type of contextual meaning

on the data, because the songs writer, Gerard Way uses a lot of pronouns in

addressing the role and status between the characters on the songs. He addresses

himself as the speaker on most occasion and other characters involved in his story as

the target which is determined by the participation of the speaker and target at the

time of the utterance.

The second most dominant type of contextual meaning is Context of Mood,

because the state of mind or feelings of the participants of the story are very

influential in affecting the interpretation of meaning. The album itself is a rock

concept album, so it is not a far-fetched prediction to find numerous numbers of

terms visualizing emotions and feelings.

The third most dominant type of contextual meaning is Context of Subject-

matter, because the fact that the album is a post-modern rock album targeted for a

general public, therefore the words and phrases used on the lyrics are informal in

nature, which also tends to be homonymous and polysemous in meaning.

The last three least dominant types of contextual meaning are Context of

Time, Context of Place, and last is Context of Formality. It is because the five songs

used on this thesis each happened few places and during one period of time. The

song writer, Gerard Way only needs to use few terms to illustrate the time, place, and

degree of formality on his songs, which make these types of contextual meaning the

least concern when it comes to song lyrics; not because time, place, and degree of


66

formality are not important, but because it only took very few of them to visualize

the contexts on the song lyrics.


67

CHAPTER V

CONCLUSION AND SUGGESTION

This last chapter consists of two subchapters. The first subchapter is the

conclusion of the data analysis that has been analyzed by the writer in the previous

chapter and the second subchapter is the suggestion by the writer of this thesis. The

explanation of each subchapter is presented below:

5.1 Conclusion

Having described the contextual meaning of five of My Chemical Romance’s

songs in this thesis, supported with the examples and analysis in the previous

chapter, the writer draws the two conclusions:

The utterances on the lines of lyrics should be analyzed by using the theory of

contextual meaning by Lyons (1977) in order to classify a word or phrase in the

utterance contains one or more contexts. First, in this thesis, there are six types of

contextual meaning namely Context of Person, Context of Place, Context of Time,

Context of Formality, Context of Mood, and Context of Subject-matter all occur in

the lyrics.

Second, in this thesis, Context of Person occurs 141 times or 55.0% and

becomes the most dominant type in the data, then successively followed by Context

of Mood that occurs 45 times or 17.6% and Context of Subject-matter occurs 43

times or 16.8%, Context of Time occurs 16 times or 6.3%, Context of Place occurs 6

times or 2.3%, and Context of Formality occurs 5 times or 2.0%.


68

From the collected data, it is concluded that the Context of Person is the most

dominant type of contextual meaning and all types of contextual meaning can be

found in the lyrics of five of My Chemical Romance’s songs. The band uses words

and phrases that are rich in contextual meaning, which is why they are very

expressive in conveying all the characters in the lyrics of their songs.

5.2 Suggestion

There are many kind of literary works that we encounter in our daily life that

are semantically analyzable. In this chance, the writer would like to suggest the

readers who are interested in the topic to carry out further research on semantics,

especially in the field of contextual meaning on other literary works such as poetry,

prose, novel, essay etc.

Based on the research that has been done, it is known that in the song lyrics,

there are many words and phrases that contain contextual meaning. In this study, the

writer is limited by the theory of John Lyons (1977) that is used to discuss the song

lyrics, so there is only a few types of context and contextual meaning can be

discussed in this study. Whereas there are also other perspectives and methods in

analyzing context in literary works that the writer did not use in this study.

From the explanation above, the writer suggests for future researchers that is

researching about context and contextual meaning can use different theories with the

same data so that all types of contextual meaning found in the song lyrics can be

discussed completely. Researchers can also conduct research on different data with

different theories so that readers know the difference of the roles of contextual

meaning in a literary work such as song lyrics, to the contextual meaning used in


69

advertisements, poetry, novel, etc., so the readers can understand about the type of

contextual meaning and the roles in a literary work better. Furthermore the readers

will no longer have difficulty to interpret the meaning of the sentences that used

contextual meaning. The writer of this thesis also suggest that this research can be

used for non research purpose also, such as English teachers as a provided

information regarding the method of analyzing song lyrics as a type of literary work

that is very familiar to the general public linguistically for further teaching material

for their students.


REFERENCES

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Çetinavcı, B,. M. 2014. Contextual factors in guessing word meaning from context

in a foreign language. Procedia - Social and Behavioral Sciences 116, 2670 –

2674.

Crystal, D and Davy, D. 1969. Investigating English Style. Blooming-ton: Indiana

University Press.

Cuccio V, Ambrosecchia M, Ferri F, Carapezza M, Lo Piparo F, et al. 2014. How the

Context Matters. Literal and Figurative Meaning in the Embodied Language

Paradigm. PLoS ONE 9(12): e115381.doi:10.1371/journal.pone.0115381

Dash, N. S. January 2008. Context and Contextual Word Meaning. Retrieved from

https://www.researchgate.net/publication/228339051_Context_and_Contextu

al_Word_Meaning (January 2019)

Dijk, Teun A. van. 1977.Text and Context.London. Lonngman.

Firth, J. R. 1935. The Technique of Semantics. London: Oxford University Press.

Joos, M. 1967. The Five Clocks. New York. Harcourt, Brace & World

Lestari, M. D. 2016. An Analysis Contextual Meaning of Songs by Shane Filan

(Thesis) Surabaya: Fakultas Adab dan Humaniora UINSA. (Unpublished).

Lyons, John. 1977. Semantics Volume I. London: Cambridge University Press.

Lyons, John. 1977. Semantics Volume II. London: Cambridge University Press.

Margaretha. 2014. An Analysis of Meaning Properties and Relation in the

Paramore's Song Album Brand New Eyes. (Thesis) Medan: Program Sarjana

University of North Sumatera. (Unpublished).

Miles, M. B. and Huberman, A. M. 1992. Analisis Data Kualitatif: Buku Sumber

Tentang Metode-metode Baru. Jakarta: Penerbit Universitas Indonesia.

Moltmann, F. 2003. Context, Complex Sentences, and Propositional Content.

University of Stirling.


Nouraldeen, A,. S. 2015. Meaning and Context-Three Different Perspectives.

British Journal of English Linguistics, 3(2), 13-17.

Palmer, F. R. 1976. Semantics : A New Outline. London : Cambridge University

Press.

Palmer, F. R. 1981. Semantics. London : Cambridge University Press.

Parveen, A. 2016. Meaning and External Context in Linguistics. International

Journal of Sciences: Basic and Applied Research (IJSBAR) 25(1), 40-53.

Shuker, Roy. 2012. Popular Music Culture: The Key Concepts: Routledge.

Wardhaugh, R. 1977. Introduction to linguistics : New York: McGraw-Hill.

Werth, P. 1999. Text Worlds: Representing Conceptual Space in Discourse. London:

Longman.

Winters, J., Kirby, S., & Smith, K. 2015. Languages adapt to their contextual

niche. Language and Cognition, 7(3), 415-449. doi:10.1017/langcog.2014.35

Yule, G. 2010. The Study of Language. London: Cambridge University Press.

___________September 2009. My Chemical Romance (MCR) Lyrics. Retrieved from

https://www.azlyrics.com/m/mychemicalromance.html (January 2019).


https://books.google.com/books?id=kAHJBQAAQBAJ

APPENDICIES

No. Lines of lyrics Type of context

1. When I was a young boy Context of Person (Deictic

Role)

2. My father took me into the city Context of Person (Deictic

Role)

3. He said, "Son when you grow up Context of Person (Deictic

Roles, Social Role)

4. Would you be the savior of the broken Context of Person (Deictic

Role)

5. He said "Will you defeat them Context of Person (Deictic

Roles)

6. The plans that they have made?" Context of Person (Deictic

Role)

7. "Because one day I'll leave you Context of Person (Deictic

Role)

8. A phantom to lead you in the summer Context of Person (Deictic

Role)

9. Sometimes I get the feeling she's watching

over me

Context of Person (Deictic

Role)

10. And other times I feel like I should go Context of Person (Deictic

Role)

11. And when you're gone we want you all to

know


Role)

12. We'll carry on Context of Person (Deictic

Role)

13. And though you're dead and gone believe

me


Role)

14. And in my heart I can't contain it Context of Person (Deictic

Role)

15. A world that sends you reeling from

decimated dreams


Role)

16. Your misery and hate will kill us all Context of Person (Deictic

Role)

17. Defiant to the end we hear the call Context of Person (Deictic

Role)

18. And though you're broken and defeated Context of Person (Deictic

Role)

19. On and on we carry through the fears Context of Person (Deictic

Role)

20. Take a look at me cause I could not care at

all


Role)


21. Do or die, you'll never make me Context of Person (Deictic

Role)

22. Go and try, you'll never break me Context of Person (Deictic

Role)

23. We want it all, we wanna play this part Context of Person (Deictic

Role)

24. I won't explain or say I'm sorry Context of Person (Deictic

Role)

25. I'm unashamed, I'm gonna show my scar Context of Person (Deictic

Role)

26. Listen here, because it's who we are Context of Person (Deictic

Role)

27. I'm just a man, I'm not a hero Context of Person (Deictic

Role, Social Role)

28. Just a boy, who had to sing this song Context of Person (Social

Role)

29. I Don't Care! Context of Person (Deictic

Role)

30. They're gonna clean up your looks Context of Person (Deictic

Role)

31. To make a citizen out of you Context of Person (Deictic

Role)

32. Because they sleep with a gun Context of Person (Deictic

Role)

33. And keep an eye on you, son Context of Person (Deictic

Role, Social Role)

34. So they can watch all the things you do Context of Person (Deictic

Role)

35. They're gonna rip up your heads Context of Person (Deictic

Role)

36. They said all teenagers scare the living shit

out of me


Role)

37. They could care less as long as someone'll

bleed


Role)

38. Maybe they'll leave you alone, but not me Context of Person (Deictic

Role)

39. The awful names that they stick Context of Person (Deictic

Role)

40. You're never gonna fit in much, kid Context of Person (Deictic

Role, Social Role)

41. But if you're troubled and hurt Context of Person (Deictic

Role)

42. What you got under your shirt Context of Person (Deictic

Role)

43. Will make them pay for the things that they

did


Role)


44. Now I know Context of Person (Deictic

Role)

45. That I can't make you stay Context of Person (Deictic

Role)

46. And I know Context of Person (Deictic

Role)

47. There's nothing I can say Context of Person (Deictic

Role)

48. Bright lights, they cast a shadow Context of Person (Deictic

Role)

49. But can I speak? Context of Person (Deictic

Role)

50. I'm incomplete Context of Person (Deictic

Role)

51. I get so weak Context of Person (Deictic

Role)

52. I can't speak Context of Person (Deictic

Role)

53. I am not afraid to keep on living Context of Person (Deictic

Role)

54. I am not afraid to walk this world alone Context of Person (Deictic

Role)

55. Honey if you stay, I'll be forgiven Context of Person (Social

Role, Deictic Role)

56. Nothing you can say can stop me going

home


Role)

57. Can you see Context of Person (Deictic

Role)

58. 'Cause I'm out here Context of Person (Deictic

Role)

59. These bright lights have always blinded me Context of Person (Deictic

Role)

60. I say Context of Person (Deictic

Role)

61. I see you lying next to me Context of Person (Deictic

Role)

62. With words I thought I'd never speak Context of Person (Deictic

Role)

63. Well, when you go Context of Person (Deictic

Role)

64. So never think, I'll make you try to stay Context of Person (Deictic

Role)

65. And maybe when you get back Context of Person (Deictic

Role)

66. I'll be off to find another way Context of Person (Deictic

Role)

67. Well, after all this time that you still owe Context of Person (Deictic

Role)


68. You're still a good-for-nothing I don't know Context of Person (Deictic

Role)

69. Better get out while you can Context of Person (Deictic

Role)

70. When you go would you even turn to say, Context of Person (Deictic

Role)

71. "I don't love you like I did yesterday." Context of Person (Deictic

Role)

72. Sometimes I cry so hard from pleading Context of Person (Deictic

Role)

73. But baby when they knock you Context of Person (Social

Role, Deictic Role)

74. Is where you ought to stay Context of Person (Deictic

Role)

75. Well, after all the blood that you still owe Context of Person (Deictic

Role)

76. Better get up while you can Context of Person (Deictic

Role)

77. Would you have the guts to say Context of Person (Deictic

Role)

78. Well, I was there on the day Context of Person (Deictic

Role)

79. They sold the cause for the queen Context of Person (Deictic

Role)

80. We watched our lives on the screen. Context of Person (Deictic

Role)

81. I hate the ending myself Context of Person (Deictic

Role)

82. That gave me heartache to sing Context of Person (Deictic

Role)

83. It was a lie when they smiled Context of Person (Deictic

Role)

84. And said, "You won't feel a thing." Context of Person (Deictic

Role)

85. And as we ran from the cops Context of Person (Deictic

Role)

86. We laughed so hard it would sting Context of Person (Deictic

Role)

87. If I'm so wrong Context of Person (Deictic

Role)

88. How can you listen all night long? Context of Person (Deictic

Role)

89. Now will it matter after I'm gone? Context of Person (Deictic

Role)

90. Because you never learn a goddamned thing. Context of Person (Deictic

Role)

91. You're just a sad song with nothin' to say Context of Person (Deictic

Role)


92. Well, if you think that I'm wrong, Context of Person (Deictic

Role)

93. This never meant nothing to you Context of Person (Deictic

Role)

94. I spent my high school career Context of Person (Deictic

Role)

95. So I could watch all my heroes sell a car on

TV


Role)

96. We'll show 'em what we all mean Context of Person (Deictic

Role)

97. But where did you run to? And where did

you hide?


Role)

98. Price you pay Context of Person (Deictic

Role)

99. My father took me into the city

To see a marching band Context of Place

100. So many

Bright lights, they cast a shadow Context of Place


home Context of Place

102. 'Cause I see you lying next to me Context of Place


That gave me heartache to sing Context of Place


Spit on and shoved to agree Context of Place

105. When I was a young boy Context of Time

106. A phantom to lead you in the summer Context of Time


know Context of Time

108. Now I know Context of Time

109. Well, when you go Context of Time

110. And maybe when you get back Context of Time

111. But baby when they knock you Context of Time

112. Better get out while you can Context of Time

113. "I don't love you like I did yesterday." Context of Time

114. Better get up while you can Context of Time

115. Well, I was there on the day

They sold the cause for the queen Context of Time

116. And when the lights all went out

We watched our lives on the screen. Context of Time

117. How can you listen all night long? Context of Time


118. Now will it matter after I'm gone? Context of Time


About a life-long wait for a hospital stay Context of Time


Spit on and shoved to agree Context of Time

121.

He said, "Son when you grow up

Would you be the savior of the broken

The beaten and the damned?"

Context of Formality


And keep an eye on you, son Context of Formality

123. You're never gonna fit in much, kid Context of Formality

124. Honey if you stay, I'll be forgiven Context of Formality

125. But baby when they knock you Context of Formality

126.

Sometimes I get the feeling she's watching

over me

And other times I feel like I should go

Context of Mood

127. A world that sends you reeling from

decimated dreams Context of Mood

128. Defiant to the end we hear the call Context of Mood

129. Take a look at me cause I could not care at

all Context of Mood

130.

Do or die, you'll never make me

Because the world will never take my heart

Go and try, you'll never break me

Context of Mood

131. I won't explain or say I'm sorry Context of Mood

132. I'm unashamed, I'm gonna show my scar Context of Mood

133. Give a cheer for all the broken Context of Mood

134. I Don't Care! Context of Mood


And keep an eye on you, son Context of Mood

136. They're gonna rip up your heads,

Your aspirations to shreds Context of Mood

137. They said all teenagers scare the living shit

out of me Context of Mood


bleed Context of Mood

139. So darken your clothes or strike a violent

pose Context of Mood

140. But if you're troubled and hurt Context of Mood

141.

Now I know

That I can't make you stay

But where's your heart?

Context of Mood


142. But can I speak? Context of Mood

143. Well is it hard understanding

I'm incomplete Context of Mood

144. A life that's so demanding

I get so weak Context of Mood

145. A love that's so demanding

I can't speak Context of Mood

146. I am not afraid to keep on living

I am not afraid to walk this world alone Context of Mood


home Context of Mood

148. My eyes are shining bright Context of Mood

149. These bright lights have always blinded me Context of Mood

150. With words I thought I'd never speak Context of Mood

151. So never think, I'll make you try to stay Context of Mood

152. Well, after all this time that you still owe

You're still a good-for-nothing I don't know Context of Mood

153. So take your gloves and get out

Better get out while you can Context of Mood

154.

When you go

Would you even turn to say,

"I don't love you like I did yesterday."

Context of Mood

155. Sometimes I cry so hard from pleading Context of Mood

156. So sick and tired of all the needless beating Context of Mood

157. Well, after all the blood that you still owe

Another dollar's just another blow Context of Mood

158. So fix your eyes and get up

Better get up while you can Context of Mood

159.

When you go

Would you have the guts to say

"I don't love you like I loved you yesterday."

Context of Mood

160. I hate the ending myself,

But it started with an alright scene. Context of Mood


That gave me heartache to sing. Context of Mood

162. It was a lie when they smiled

And said, "You won't feel a thing." Context of Mood

163. And as we ran from the cops

We laughed so hard it would sting Context of Mood

164. If I'm so wrong

How can you listen all night long? Context of Mood

165. Now will it matter after I'm gone?

Because you never learn a goddamned thing. Context of Mood



About a life-long wait for a hospital stay Context of Mood

167. Well, if you think that I'm wrong,

This never meant nothing to you Context of Mood

168.

I spent my high school career

Spit on and shoved to agree

So I could watch all my heroes sell a car on

TV

Context of Mood

169.

So go

Go away

Just go, run away.

Context of Mood

170.

But where did you run to? And where did

you hide?

Go find another way

Context of Mood

171. A phantom to lead you in the summer Context of Subject-matter

172. And through it all, the rise and fall, the

bodies in the streets Context of Subject-matter


know Context of Subject-matter

174. So paint it black and take it back Context of Subject-matter

175. Let's shout it loud and clear Context of Subject-matter

176. We want it all, we wanna play this part Context of Subject-matter

177. I'm unashamed, I'm gonna show my scar Context of Subject-matter

178. I'm just a man, I'm not a hero Context of Subject-matter

179. Just a boy, who had to sing this song Context of Subject-matter

180. With all the lies in the books Context of Subject-matter

181. Another cog in the murder machine Context of Subject-matter


bleed Context of Subject-matter

183. The awful names that they stick Context of Subject-matter

184. You're never gonna fit in much, kid Context of Subject-matter

185. Now I know Context of Subject-matter

186. So many

Bright lights they cast a shadow Context of Subject-matter

187. But can I speak? Context of Subject-matter

188. Well is it hard understanding Context of Subject-matter


home Context of Subject-matter

190. Can you see Context of Subject-matter


191. Of a jet black hotel mirror Context of Subject-matter

192. These bright lights have always blinded me Context of Subject-matter

193. I see you lying next to me Context of Subject-matter

194. Well, when you go Context of Subject-matter

195. And maybe when you get back Context of Subject-matter

196. Well, after all this time that you still owe Context of Subject-matter

197. You're still a good-for-nothing I don't know Context of Subject-matter

198. Better get out

While you can Context of Subject-matter

199. Would you even turn to say Context of Subject-matter

200. So sick and tired of all the needless beating Context of Subject-matter

201. But baby when they knock you

Down and out Context of Subject-matter

202. Well, I was there on the day Context of Subject-matter

203. And when the lights all went out Context of Subject-matter

204. It was a lie when they smiled Context of Subject-matter

205. How can you listen all night long Context of Subject-matter

206. So I could watch all my heroes sell a car on

TV Context of Subject-matter

207. We'll show 'em what we all mean Context of Subject-matter

208. But where did you run to? And where did

you hide? Context of Subject-matter


contextual meaning on my chemical romance’s songs

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