VAN DIJK’S CRITICAL ANALYSIS OF THE SONG’S LYRIC IN TUTUR

BATIN BY YURA YUNITA

Nada Salsabila
English Departement
Universitas Negeri Padang

Abstract: Analyzing song lyrics involves understanding and conveying the overall meaning of a
song, as it serves not only as entertainment but also as a means of communicating feelings,
messages, and character development. This study employs Van Dijk's Critical Discourse
Analysis (CDA) to examine the song "Tutur Batin" by Yura Yunita. The analysis focuses on
three stages which are, the text structure, social cognition, and social context to uncover the
themes, ideologies, and power dynamics embedded in the lyrics. The stage of text itself is
divided into macrostructure, superstructure, and macrostructure. The research aims to investigate
identify how the song's discourse reflects the social cognition and context of the songwriter and
how it contributes to shaping the audience's perception and opinion.

I. INTRODUCTION

Songs have multiple functions in an individual's life, such as providing entertainment,

expressing emotions, and contributing to the development of their character. According to
Djohan (2003: 7-8), that music is a complex and universal social behavior in which contains an
expression of the human mind, ideas from the brain that contain a significant message signal. As
a source of entertainment, songs bring joy and enjoyment, provide a change from everyday life,
and enrich social gatherings through shared musical experiences. They are an essential part of
celebrations and personal enjoyment, and allow listeners to become immersed in the music. On
an emotional level, songs are powerful tools for expressing and processing feelings. Music can
have a significant impact on a person's soul due to the songwriter's use of language and
instrumentation to communicate emotions or feelings. Music can promote serenity and spiritual
growth in someone.
 Musicians express their emotions through compositions and performances, while listeners
find comfort in relatable lyrics and melodies that convey empathy. Music also acts as therapy by
regulating mood and advance emotional healing. Moreover, songs play an important role in
personality development. They reflect cultural identity, convey values and morals, and support
personal growth by encouraging self-expression and self-confidence. Participating in music
through listening, performing and creating improves social skills and cognitive development,
making singing a fundamental part of the education and personal growth process. Essentially,
songs are versatile and enrich our lives through entertainment, emotional connection and
personal growth.

Critical discourse analysis explores through the linguistic aspects of a text to provide
detailed explanations. Critical discourse analysis helps comprehend language in its context of
use.Some words in English require detailed explanations, including their purpose and usage
requirements. Critical discourse analysis (CDA) examines how social power abuse, dominance,
and inequality are expressed, reproduced, and resisted through text and talk in social and political
contexts. Dissident research and critical discourse analysis aim to investigate, expose, and
challenge social inequity (Van Dijk, 1993: 352).

Knowing that music can convey feelings, many musicians in the world and Indonesia
write lyrics containing expression and emotions as a form of catharsis and self-reflection, the
lyrics portray positive emotions such as courage, confidence and optimism, leaving listeners
inspired and encouraged. One of the talented and influential singer-songwritter in the Indonesian
music scene, Yura Yunita is known for her powerful voice, emotional lyrics, and commitment to
social causes. Yura Yunita has also created many singles, one of which author will analyze a
song entitled “Tutur Batin” that released October 22, 2021.

This research aims to describe and understand the three discourse structures of
critical analysis by Teun A. van Dijk and focuses on three stages which are, the text
structure, social cognition, and social context to uncover the themes, ideologies, and power
dynamics embedded in the lyrics. The stage of text itself is divided into macrostructure,
superstructure, and macrostructure. Aditionally, The research aims to identify how the song's
discourse reflects the social cognition and context of the songwriter and how it contributes to
shaping the audience's perception and opinion. This research is expected to be a contribution
to knowledge both theoretically and practically related to the study of critical analysis
discourse in song lyrics, especially the lyrics of the song "Tutur Batin" by Yura Yunita on
Teun van A. Dijk's theory.

II. THEORITICAL REVIEW

Critical Discourse Analysis
Discourse refers to the exchange or discussion between a person (the speaker) and
another individual (listener). Apart from that, discourse always takes place in a communication
situation that requires a speaker, a message, and a message receiver (Ahmadi F & Fauziya, 2019:
120). Critical discourse analysis is a theoretical framework that examines how discourse relates
to social and cultural developments (Silaswati, 2019: 2). Critical discourse analysis focuses on
relevant topics. It not only considers the discourse itself and its characteristics, but also focuses
on social issues such as racism, sexism, and other forms of domination and abuse of power. The
aim is to explore whether and how these texts and conversations contribute to divisions (van
Dijk, 2009: 111; Wodak & Meyer, 2001: 96).
Teun A. Van Dijk's Discourse Analysis Structure Model
Teun A. Van Dijk groups it into three, there are text structure, social cognition, and social
context.
Text Structure
The term of text is generally used to refer to written language (Jacob: 1075-1076). Halliday and
Hasan describes that a text has texture and this is what distinguish it from something that is not a
text (Levinson and Yule: 91).
In order to understand a text, Van Dijk devided it into three levels, namely macro structure,
superstructure and micro structure
 Macro Structure: Macro structure refers to the overall concept of a text that can be
understood by looking at the topics discussed in the text.
  Suprastructure : The superstructure includes a series of schematics consisting of
various schematic elements that are related toeach other (Setiawan et al., 2022:
231).
 Microstructure is understood as the meaning of discourse that can be seen by analyzing
words, propositions, sentences, sentences, paraphrasing, etc
Social Cognition
Social cognition, as defined by Teun A. Van Dijk, refers to the cognitive processes
involved in perceiving, interpreting, and responding to social information.
Social Context
Social context, as defined by Teun A.Van Dijk, refers to the broader social environment
in which discourse takes place. It includes social, cultural, historical, and political factors that
influence the creation and interpretation of texts and conversations. Van Dijk emphasizes that
social context is an important aspect of discourse because it shapes how people understand and
represent social situations, and how they construct and interpret meaning.

III. METHODS

In this research, qualitative and descriptive methods are used to investigate and identify how the
song's discourse reflects the social cognition and context of the songwriter and how it contributes
to shaping the audience's perception and opinion. The researcher uses Critical Discourse
Analysis (CDA) as the framework for their research. The CDA utilized is based on Van Dijk's
hypothesis. The hypothesis is developed in three stages: text, socio cognition, and context. Text
has three stages: macrostructure, superstructure, and macrostructure. To begin the research, all
lyrics from Yura Yunita’s song "Tutur Batin" were collected. The next step is to choose the
music lyrics required for study.

IV. FINDINGS AND DISCUSSION

Song Lyric of “Tutur Batin”

Bagaimanakah kabar diriku? Baik-baik saja

Sedikit ku takjub, namun, nyatanya sudah kuduga

Kau yang ke sana-kemari, kau anggap aku tak cukup

Semua kesempatan dan langkahku coba kau tutup

Tutur batinku tak akan salah

Silakan pergi, ku tak rasa kalah

Namun, percayalah, sejauh mana kau mencari

Takkan kau temukan yang sebaik ini

Kau yang ke sana-kemari, kau anggap aku tak cukup

Semua kesempatan dan langkahku coba kau tutup

'Kan kubuat jalanku sendiri

Tutur batinku tak akan salah

Silakan pergi, ku tak rasa kalah

Namun, percayalah, sejauh mana kau mencari

Takkan kau temukan yang sebaik ini

Aku tak sempurna

Tak perlu sempurna

Akan kurayakan apa adanya

Aku tak sempurna

Tak perlu sempurna

Akan kurayakan apa adanya

Aku tak sempurna

Tak perlu sempurna

Akan kurayakan apa adanya

Tutur batinku tak akan salah

Silakan pergi, ku tak rasa kalah

Namun, percayalah, sejauh mana kau mencari

Takkan kau temukan yang sebaik ini

Takkan kau temukan yang sebaik ini

Jiwa yang terbaik itu hanya

Aku

a. Text Structure
The song lyrics of "Tutur Batin" can be analyzed through the lens of Teun A. van

Dijk's theory of text structure, which focuses on the macrostructures that shape the

overall organization and coherence of a text. In the context of this song, the text structure

plays a crucial role in conveying the themes of self-affirmation and empowerment.

Van Dijk's theory highlights the significance of repetition in reinforcing key ideas

within a text. In "Tutur Batin," we observe the repetition of phrases such as "Tutur

batinku tak akan salah" and "Aku tak sempurna, tak perlu sempurna," which serve to

emphasize the singer's unwavering self-belief and acceptance of imperfections. This

repetitive pattern not only creates a sense of conviction but also contributes to the overall

coherence of the song by establishing a consistent thematic thread.

Furthermore, the progression of the lyrics in "Tutur Batin" showcases a clear

development of ideas, another aspect emphasized in van Dijk's theory of text structure.

The song begins by acknowledging challenges and external perceptions of inadequacy, as

seen in lines like "Kau yang ke sana-kemari, kau anggap aku tak cukup." However, as

the song unfolds, there is a shift towards self-assertion and self-value, culminating in the

declaration "Jiwa yang terbaik itu hanya aku." This progression reflects a coherent
 narrative arc that guides the listener through a journey of self-discovery and

empowerment.

The analysis also conducted by examining the macrostructure, superstructure, and

microstructure of the lyrics. The macrostructure refers to the overall theme or message of

the lyrics, which in this case is about self-acceptance and empowerment. The

superstructure involves the organization and arrangement of the lyrics within the song,

which builds up to a climax with the chorus repeating the message of self-acceptance and

empowerment. The microstructure includes the individual words and phrases within the

lyrics, which use metaphors, similes, and other literary devices to convey the message of

self-acceptance and empowerment. Additionally, the analysis also considered social

cognition and social context, which are crucial aspects of Van Dijk's theory.

Overall, the text structure of "Tutur Batin" aligns with van Dijk's theoretical

framework by demonstrating how the organization of the lyrics, through repetition and

thematic progression, contributes to the communication of the song's central messages of

self-assurance and self-acceptance. By analyzing the text structure in this way, we gain a

deeper understanding of how the song effectively conveys its themes and resonates with

the audience on a profound emotional level.

b. Social cognition

Social cognition refers to the mental awareness of the songwriter, including their

background beliefs, ideologies, behaviors, knowledge, and value norms. In analyzing the

song lyrics of "Tutur Batin" through a socio-cognitive lens, we can apply Teun A. van

Dijk's theory to understand how social structures and cognitive processes intersect within

the text. Van Dijk's framework emphasizes the role of social cognition in shaping
 individuals' understanding of themselves and others. In the context of the song, the lyrics

reflect a complex interplay between self-perception, societal expectations, and

empowerment.

The lyrics of "Tutur Batin" delve into themes of self-worth and resilience in the

face of external judgments and challenges. Through phrases like "Kau yang ke sana-

kemari, kau anggap aku tak cukup," the song addresses the impact of societal

perceptions on one's self-image. This resonates with van Dijk's emphasis on how social

structures influence individuals' cognitive processes and self-concept.

Moreover, the repeated affirmations of "Tutur batinku tak akan salah" and

"Aku tak sempurna, tak perlu sempurna" suggest a cognitive reframing of

imperfections as strengths and a rejection of societal norms of perfection. This reflects a

socio-cognitive process of self-empowerment and self-acceptance, where the individual's

internal dialogue challenges external judgments and constructs a positive self-narrative.

By applying van Dijk's theory to the analysis of "Tutur Batin," we can uncover

the intricate dynamics between social influences and cognitive responses embedded in

the song's lyrics. The socio-cognitive analysis reveals how the text navigates the

complexities of self-perception, societal expectations, and empowerment, offering a

nuanced exploration of identity and agency within a social context.

c. Social context

In examining the song lyrics of "Tutur Batin" through a socio-contextual lens

informed by Teun A. van Dijk's theory, we can explore how social structures and

contexts shape the themes and messages conveyed in the text. Van Dijk's framework
emphasizes the importance of considering the broader societal influences that impact

language use and communication.

Within the lyrics of "Tutur Batin," there are elements that reflect societal norms

and expectations, particularly in the references to external judgments and perceptions.

Lines such as "Kau yang ke sana-kemari, kau anggap aku tak cukup" allude to the

societal pressures and criticisms that individuals may face in their interactions with

others. This aligns with van Dijk's focus on how social structures influence language and

discourse, shaping the ways in which individuals express themselves and navigate social

relationships.

Furthermore, the themes of self-empowerment and self-acceptance in the song

can be viewed through the socio-contextual lens of van Dijk's theory. By asserting

phrases like "Tutur batinku tak akan salah" and "Aku tak sempurna, tak perlu

sempurna," the lyrics challenge conventional societal notions of perfection and worth.

This can be seen as a form of resistance against societal norms and an assertion of

individual agency and self-value within a specific social context.

Through the socio-contextual analysis of "Tutur Batin" using van Dijk's theory,

we gain insights into how the song engages with and responds to the social structures and

norms that shape individuals' experiences and identities. By considering the broader

societal influences embedded in the lyrics, we can appreciate the nuanced interplay

between language, society, and individual agency reflected in the song's message of self-

affirmation and empowerment.

 V. CONCLUSION

From the result of above research, it can be concluded that, the in-depth analysis of
"Tutur Batin" by Yura Yunita using Van Dijk's Critical Discourse Analysis (CDA) has provided
a profound understanding of the intricate layers woven into the song's lyrics. Through the
exploration of text structure, social cognition, and social context, this study has illuminated the
themes of self-acceptance, empowerment, and emotional expression conveyed in the music.

The examination of the text structure unveiled a meticulously crafted narrative arc that
guides listeners on a journey of self-discovery and empowerment. By dissecting the
macrostructure, superstructure, and microstructure of the lyrics, we uncovered how the
organization, repetition, and literary devices employed in the song contribute to effectively
communicating messages of self-assurance and self-acceptance. This analysis not only deepens
our comprehension of the song's central themes but also underscores the emotive power of music
in resonating with audiences on a profound level.

Furthermore, the exploration of social cognition provided valuable insights into the
songwriter's, Yura Yunita's, mental awareness and how her beliefs, ideologies, and values are
mirrored in the lyrics. The portrayal of positive emotions such as courage, confidence, and
optimism in the song serves as a wellspring of inspiration and encouragement for listeners,
showcasing the transformative potential of music in fostering empowerment and resilience.

Moreover, the consideration of social context underscored the broader societal influences
that shape the creation and interpretation of the song. By delving into the cultural, historical, and
political factors that inform the music, we gain a richer understanding of how "Tutur Batin"
reflects and responds to the social structures and norms that mold individuals' experiences and
identities. Music, as a universal language, not only entertains but also serves as a conduit for
cultural expression, personal growth, and social cohesion.

In conclussion, this study contributes to the existing scholarship by showcasing the

potency of music, particularly exemplified in "Tutur Batin," in conveying messages of self-
acceptance, empowerment, and emotional resilience. Through the lens of Van Dijk's CDA, we
have unraveled the complexities of the song's discourse, highlighting the interplay between text
structure, social cognition, and social context in shaping audience perception and fostering a
deeper appreciation for the profound impact of music on individuals and society at large.
 REFERENCES

Djohan. 2003. Psikologi Musik. Yogyakarta: Penerbit Buku Baik Yogyakarta.

Eriyanto. 2011. Analisis Wacana: Pengantar Analisis Teks Media. Yogyakarta: Percetakan

LkiS.

Van Dijk, Teun A. 1989. Discourse, Power and Acces. Dalam Text and Practices: Reading In

Critical Discourse Analysis. London and New York: Routledge

Miles, M. B., Huberman, M., & Saldana, J. (1994). Qualitative Data Analysis: A Methods

Sourcebook. United Kingdom: SAGE Publications, Inc.

Astuti, F. (2017). Analisis Wacana Kritis pada Lirik Lagu Tohoshinki: Wasurenaide dan Kiss

the Baby Sky [Universitas Diponegoro].

Azlyrics. (2019). Isyana Sarasvati Lyrics: Lexicon. Isyana Sarasvati Lyrics: Lexicon.

https://www.azlyrics.com/lyrics/isyanasarasvati/lexicon.html

Eriyanto. (2011). Analisis Wacana Pengantar Analisis Teks Media. PT LkiS Printing

Cemerlang.
 APPENDICES

Tutur Batin Lyric

Bagaimanakah kabar diriku? Baik-baik saja

Sedikit ku takjub, namun, nyatanya sudah kuduga

Kau yang ke sana-kemari, kau anggap aku tak cukup

Semua kesempatan dan langkahku coba kau tutup

Tutur batinku tak akan salah

Silakan pergi, ku tak rasa kalah

Namun, percayalah, sejauh mana kau mencari

Takkan kau temukan yang sebaik ini

Kau yang ke sana-kemari, kau anggap aku tak cukup

Semua kesempatan dan langkahku coba kau tutup

'Kan kubuat jalanku sendiri

Tutur batinku tak akan salah

Silakan pergi, ku tak rasa kalah

Namun, percayalah, sejauh mana kau mencari

Takkan kau temukan yang sebaik ini

Aku tak sempurna

Tak perlu sempurna

Akan kurayakan apa adanya

Aku tak sempurna

Tak perlu sempurna

Akan kurayakan apa adanya

Aku tak sempurna

Tak perlu sempurna

Akan kurayakan apa adanya

Tutur batinku tak akan salah

Silakan pergi, ku tak rasa kalah

Namun, percayalah, sejauh mana kau mencari

Takkan kau temukan yang sebaik ini

Takkan kau temukan yang sebaik ini

Jiwa yang terbaik itu hanya

Aku