THE EFFECT OF JAZZ CHANT TECHNIQUE TOWARD STUDENTS’

PRODUCTION OF ENGLISH SUPRASEGMENTAL SOUNDS AT THIRD

SEMESTER IN UNIVERSITAS MUHAMMADIYAH MAKASSAR

(Pre-Experimental Research)

A THESIS

“Submitted to the Faculty of Teacher Training and Education Muhammadiyah

University of Makassar in Partial Fulfillment of Requirement for the Degree of

Sarjana Pendidikan in English Department”

ESSE HARTINA

10535652715

ENGLISH EDUCATION DEPARTMENT

FACULTY OF TEACHERS TRAINING AND EDUCATION

UNIVERSITAS MUHAMMADIYAH MAKASSAR

2020

ii

iii

UNIVERSITAS MUHAMMADIYAH MAKASSAR

FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN Jl. Sultan Alauddin No. 259 Telp. (0411) 866972 Makassar 90221

iv

SURAT PERNYATAAN

Saya yang bertanda tangan di bawahini:

Nama : Esse Hartina

NIM : 10535 6527 15

Program : English Education Department

Title : The Effect of Jazz Chant Technique Toward Students’

Production of English Suprasegmental Sounds at Third

Semester in Universitas Muhammadiyah Makassar

Dengan ini menyatakan bahwa skripsi yang saya buat di depan Tim

penguji adalah hasil karya saya sendiri bukan hasil ciptaan orang lain dan

dibuatkan oleh siapapun.

Demikianlah pernyataaan ini saya buat dengan sebenar-benarnya dan saya

bersedia menerima sanksi apabila pernyataan ini tidak benar.

Makassar, Januari 2020

Yang Membuat Pernyataan

Esse Hartina

UNIVERSITAS MUHAMMADIYAH MAKASSAR

FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN Jl. Sultan Alauddin No. 259 Telp. (0411) 866972 Makassar 90221

v

SURAT PERJANJIAN

Saya yang bertanda tangan di bawah ini:

Nama : Esse Hartina

NIM : 10535 6527 15

Program : English Education Department

Faculty : Teachers Training and Education

Dengan ini menyatakan perjanjian sebagai berikut:

1. Mulai dari penyusunan proposal sampai dengan selesainya skripsi saya,

saya akan menyusun sendiri skripsi saya, tidak dibuatkan oleh siapa pun.

2. Dalam menyusun skripsi, saya akan selalu melakukan konsultasi dengan

pembimbing.

3. Saya tidak akan melakukan penjiplakan (plagiat) dalam menyusun skripsi

ini.

4. Apabila saya melanggar perjanjian saya seperti yang tertera pada butir 1, 2

dan 3 maka saya bersedia menerima sanksi sesuai dengan aturan yang

berlaku.

Demikian perjanjian ini saya buat dengan penuh kesadaran.

Makassar, Januari 2020

Yang Membuat Perjanjian

Esse Hartina

vi

MOTTO

Selalu ada harapan bagi mereka yang berdoa

dan selalu ada jalan bagi mereka yang berusaha.

Sesungguhnya bersama kesulitan ada kemudahan.

(QS Al-Insyirah:6)

I dedicate this thesis to:

My late beloved parents,

My beloved sisters and brothers,

My beloved friends and readers.

vii

ABSTRACT

Esse Hartina, 2020. The Effect of Jazz Chant Technique toward Students‟

Production of English Suprasegmental Sounds at Third Semester in Universitas

Muhammadiyah Makassar (Guided by Nurdevi Bte Abdul and Sitti Maryam

Hamid)

This research was aimed to compare and to investigate the effeciency of

using Jazz Chant technique in improving students‟ production of English

suprasegmental sounds at third semester in Universitas Muhammadiyah

Makassar.

This research was pre-experimental design quantitative method. The sample

group of this research were twenty students of English Department in Universitas

Muhammadiyah Makassar at third semester of academic year 2020. The research

intrument of this research was speaking test. In collecting the data, the researcher

used Cluster Random Sampling Technique.

The research findings were using Jazz Chant technique, the average mean

score of the students‟ production in English suprasegemental sounds in terms of

English intonation, English rhythm, and English stress of the students‟ posttest

had a higher score than the pretest. Furthermore, the result indicated that, the

average score of the pretest was significantly different from the post test. Thus, it

can be concluded that there was an improvement of students‟ production in

English suprasegmental sounds by using Jazz Chant technique.

Keyword: Jazz Chant Technique, Students’ Production, and English

Suprasegmental Sounds

viii

ABSTRAK

Esse Hartina, 2019. Pengaruh Tehnik Jazz Chant Terhadap Bunyi

Suprasegmental dalam Bahasa Inggris yang Dihasilkan Mahasiswa. (Dibimbing

oleh Nurdevi Bte Abdul and Sitti Maryam Hamid)

Penelitian ini bertujuan untuk membandingkan dan meneliti keefektifan

penggunaan tehnik Jazz Chant dalam meningkatkan bunyi suprasegmental dalam

Bahasa Inggris yang dihasilkan mahasiswa pada semester tiga di Universitas

Muhammadiyah Makassar.

Penelitian ini adalah penelitian pre-eksperimen dengan metode kuantitatif.

Sampel penelitian ini diambil dari 20 mahasiswa jurusan Pendidikan Bahasa

Inggris di Universitas Muhammadiyah Makassar pada semester tiga tahun ajaran

2020. Instrumen penelitian ini menggunakan tes berbicara. Dalam pengumpulan

data, peneliti menggunakan tehnik pengambilan sampel secara acak.

Hasil dari penelitian dengan menggunakan tehnik Jazz Chant

menunjukkan, nilai rata-rata hasil bunyi suprasegmental yang dihasilkan

mahassiwa pada bagian intonasi, irama, dan penekanan dalam Bahasa Inggris

pada hasil tes akhir lebih tinggi dibadingkan tes awal. Oleh karena itu, hasil

mengindikasikan bahwa nilai rata-rata dari tes awal sangat berbeda dengan hasil

tes akhir. Dengan demikian, dapat disimpulkan bahwa terdapat peningkatan bunyi

suprasegmental dalam Bahasa Inggris yang dihasilkan mahasiswa dengan

menggunkan tehnik Jazz Chant

Kata kunci: Tehnik Jazz Chant, Hasil Mahasiswa, Bunyi Suprasegmental

ix

ACKNOWLEDGEMENT

Bismillahi Rahmani Rahiim

Alhamdulillahi rabbil ‟Alamin, the researcher would like to express her

most profound gratitude to Allah Subhanahu wa ta‟ala, for his blessing and

mercies so that the writer could start and finish writing this research report as who

has given guidance, mercy, and good health. Salam and shalawat are delivered to

the greatest prophet Muhammad Sallallahu‟alahi wasallam who has brought the

human being from darkness into the lightness.

Futher, the researcher‟s greatest thanks go to my big families and even

more special to my late beloved father, H. Muhammad Jeng and my late beloved

mother, Hj. Indo Lawang, because of them, the researcher can be a strong

woman in facing her daily life. The researcher also devotes profound thanks to the

10 sibligs, Hj. Indo Herni, Hj. Indo Esse, Hj. Hasna, Baharuddin, Indo Illang,

Kamaruddin, Amiruddin, Banri Lorensa, Abd. Kadir, Dandi Saputra and

unforgettable all of my brothers and sisters-in-law, thanks a lot for love, care, and

support that have been given during this. I love you so much...

During writing this thesis, the researcher realizes that she recieved much

assistance, suggestion and advice from the number person. Without the

suggestion, advice and assisstance of people, this thesis would never have existed.

Therefore the researcher would also like to express her appreciation and sincere

thanks to them especially to the following:

1. Rector of Universitas Muhammadiyah Makassar, Prof. Dr. H. Abd Rahman

Rahim, S.E., MM.

x

2. Dean of Faculty of Teacher Training and Education (FKIP), Erwin Akib,

M.Pd., Ph.D.

3. Head of English Education Department, Ummi Khaerati Syam, S.Pd.,

M.Pd.

4. The researcher‟s greatest thanks are due to the first consultant Nurdevi Bte

Abdul, S.Pd,. M.Pd., and the second consultant Sitti Maryam Hamid,

S.Pd., M.Pd. thanks so much for their valuable, advice, and great suggestion

during the writing of this thesis.

5. Thanks you so much to all of the lectures of English Education

Department and all of the staffs for their guidance, support and help during

the researcher as the student in Universitas Muhammadiyah Makassar.

6. The researcher‟s classmate in English Department 2015 and other best friends

that can not be mention one by one. Thanks for the nice motivation, time,

suggestion, and togetherness. Big thanks for you all.

7. All of people who has taken a part in finishing this thesis which couldn‟t be

mentioned by the researcher one by one.

Finally, by reciting Alhamdulillahi Rabbil „Alamiin, the researcher can

finish this thesis successfully. Suggestions, corrections and advice very necessary

to the researcher for reader in future. May Allah Subhanahu wa ta‟ala blesses our

prays and efforts. Aamiin...

Makassar, 22 January 2020

The Researcher

Esse Hartina

xi

LIST OF CONTENTS

COVER ........................................................................................................... i

APPROVAL SHEET ..................................................................................... ii

COUNSELLING SHEET .............................................................................. iii

SURAT PERNYATAAN ............................................................................... v

SURAT PERJANJIAN .................................................................................. vi

MOTTO .......................................................................................................... vii

ABSTRACT .................................................................................................... viii

ACKNOWLEGEMENT ................................................................................ x

LIST OF CONTENTS ................................................................................... xii

LIST OF TABLES ......................................................................................... xiii

LIST OF APPENDICES................................................................................ xiv

CHAPTER I : INTRODUCTION

A. Background ................................................................... 1

B. Research Problems ....................................................... 4

C. Objective of the Research ............................................. 4

D. Significances of the Research ....................................... 4

E. Scope of the Research ................................................... 5

CHAPTER II : REVIEW OF LITERATURE

A. Previous of Related Studies .......................................... 6

B. Some Pertinent Ideas .................................................... 11

C. Conceptual Framework ................................................ 28

D. Research Hypothesis .....................................................

CHAPTER III : RESEARCH METHOD

A. Research Design ........................................................... 29

B. Research Variable and Operational Defenition ........... 29

C. Population and Sample ................................................

D. Research Instrument .................................................... 30

xii

E. Procedure of Data Collection........................................ 31

F. Data Analysis ................................................................ 32

CHAPTER IV : RESEARCH FINDINGS AND DISCUSSION

A. RESEARCH FINDINGS .............................................. 34

B. DISCUSSION ............................................................... 44

CHAPTER V : CONCLUSION AND SUGGESTION

A. CONCLUSION ............................................................ 48

B. SUGGESTION ............................................................. 49

BIBLIOGRAPHY

CURRICULUM VITAE

xiii

LIST OF TABLES

Table Pages

3.1 Scoring of students English rhythm ................................................................ 45

3.2 Scoring of students English stress ................................................................... 45

3.2 Scoring of students English intonation ........................................................... 45

3.4 Classification students achievement score ...................................................... 46

4.1 The mean score of students‟ production in term of English intonation .......... 48

4.2 The mean score of students‟ production in term of English rhythm ............... 48

4.3 The mean score of students‟ production in term of English stress ................. 49

4.4 The percentage of students‟ production in term of English intonation ........... 50

4.5 The percentage of students‟ production in term of English rhythm................ 51

4.6 The percentage of students‟ production in term of English stress .................. 52

4.7 T-test of students production in term of English intonation ........................... 53

4.8 T-test of students production in term of English rhythm ............................... 53

4.9 T-test of students production in term of English stress .................................. 54

xiv

LIST OF APPENDICES

Appendix 1: Pre-test

Appendix 2: Post-test

Appendix 3: The English Suprasegmental Sounds Test Result

Appendix 4: Documentation

1

CHAPTER I

INTRODUCTION

In this chapter, the researcher presented five sub chapters; those are

background of the research, the research promblems, the objective of the research,

the significant of the research, and s cope of the research.

A. Background

In terms of speaking, teachers should be concerned about the micro skills

in English. One of the micro skills is pronunciation. Pronunciation, it is one of

problems in learning teaching, and communicating process. Many students as a

foreign language have major difficulties with English pronunciation even after

years of learning the language. This often results in them facing difficulties in

areas such as finding employment.

Hinofotis & Baily (1980) notes that up to a certain proficiency standard,

the fault which most severaly impairs the communication process in EFL/ESL

students is pronunciation, not vocabulary or grammar. This is true despite the fact

that research by the likes of Davis (1999), for example reveals that an area of

concern and indeed one of the top priorities of ESL students after completing

elementary English courses is pronunciation. It is important at this point in time to

make a distinction between speaking and pronunciation as it is sometimes

wrongly applied interchangeably.

Generally, if teachers want to change the way students pronounce words,

we have to change the way they think about the component sounds of those

words, this goes not just for individual sounds, but also for bigger elements of

2

speech, such as syllables, stress patterns and rhythm. Those compenent will help

a speaker delivers what the speaker wants to deliver because, if pronunciation is

not correct, the audience will not understand the meaning and will not understand

what the speaker wants to convey.

English pronunciation is still ignored at many EFL classrooms. When

teaching pronunciation it is impossible to have a lesson that is only focused on

pronunciation practice because pronunciation is unfortunately taken as an

additional activity in some university courses. The other problem is that more

emphasis is given to individual sounds. Gilbert (2008) stated that there are two

main reasons why English pronunciation is ignored in EFL classes. The first

reason is that many EFL teachers lack sufficient time in their pronunciation

classes and if they have enough time more attention is paid to drills that

disappoint both students and teachers to learn and teach English pronunciation.

The second reason deals with psychological factors that have a key role in

learning pronunciation because students are not certain about their English

pronunciation as they are about their grammar and lexis knowledge. These

psychological obstacles are unconscious and prohibit students from improving

their understandability.

Besides, English pronunciation does not have a good position in the

curriculum design of many universities. This sentence does not express that

English pronunciation is not so important. The important point here is that the

curriculum designers have not paid attention to its significance in English

language teaching. On the contrary, pronunciation is an integral part of English

3

language learning. It involves the elements of consonants, vowels, rhythm, and

intonation that facilitate the process of communication. This means that English

pronunciation is an important part of gaining communicative competence. If non-

native speakers‟ pronunciation falls below the threshold level while their

vocabulary and grammar are satisfactory, they are not able to communicate

efficiently (Wong, 1987). When teachers pay attention to the connection between

pronunciation and listening comprehension, the significance of English

pronunciation would be more distinct. While listeners expect that spoken English

follows certain patterns of rhythm and intonation, speakers should use these

patterns to communicate effectively. If the rhythm and intonation are not the

same, listeners cannot gain the meaning. Listeners should know the organization

of speech and the patterns of intonation to interpret speech correctly. It is

concluded that pronunciation learning helps learners develop their abilities to

understand spoken English.

With regard to its pronunciation, English was quite difficult for

Indonesian, no exception students of English Education Department of

Universitas Muhammadiyah Makassar. In some cases the difficulties are due to

the fact that irregular spelling of the language offers poor guidance to its

pronunciation (Syafei, 1988). The letters of the word in English does not

represent on its sound and it is not always easy for students of whatever L1 to see

how a written English word should be pronounced, or how a word they have only

heard should be written. In other hand, Kelly (2001) states that in English the

4

relationship between spelling and the pronunciation is more complex, however the

English spelling is not as it seems.

In addition of the statement above, the source of pronunciation difficulty

is due to English as the second perhaps the third language of the students of

English Education Department. In fact, the students of English Education

Department are mostly use their mother tongue while Bahasa Indonesia as either

second or first language. This multi-lingual background means that the

participants had more than just their first language sounds as their clearance as

they came to learning English (Mathew, 1997).

The aspects of pronunciation that can be taught consist not only the

segmental features like how to pronounce vowels and consonants but also the

suprasegemental features such as rhythm, stress pattern and intonation. The

teacher needs to realize how important pronunciation is. Students who cannot

pronounce well cannot express what they intend to and may lose their confidence

too. Realizing the importance of pronunciation, teachers should be able to

convince students therefore they have willingness to improve their English

pronunciation. In addition, the students need to practice for improving their

pronunciation as close to a native speaker as possible.

According to results of research were obtained by Gilakjani (2011) with

the title of A Study on the Situation of Pronunciation Instruction in ESL/EFL

Classroom study, he mentioned some of the main problems were faced by ESL

and EFL students they are lack of exposure to target language, lack of motivation,

less pronunciation skill, and lack of attention, rhythm, intonation and word stress

5

in English. Error pronunciation of students in learning English can hamper

communication. In pronunciation, students also need to understand about

suprasegmental features in enhancing the quality of pronunciation mastery. It is

not only developing the correctness of pronunciation but more about

understanding the meaning of speakers. The emphasis on one word in the English

conversation sentence certainly has a strong meaning to be conveyed. While

intonation will determine whether the sentence has the meaning of the question,

command or statement. Stress and intonation in English are part of

suprasegmental features. Clark, et.al (2007) inform that suprasegmentals can be

refered as prosodic features or nonsegmental features. They are features of spoken

language such as pitch, rhythm, and tempo which are not easily identified as

discrete segments. According to Longman Dictionary of Applied Linguistic

(Richard, et.al, 1985), suprasegmentals are units which extend over more than one

sound in an utterance such as stress and tone. Stress is the emphasis on a

particular syllable in one word. Every word that has two or more syllables always

has stress when reading it in one of its syllables. Not only in words is stress but

also in sentences. It would sound strange if in one sentence there is no stress in

one or several words in it. Because the stress on certain words in a sentence can

make others more easily understand what is being said. Intonation in speaking is

very essential besides the correct way of pronouncing words. Intonation makes

others better to recognize and even differ sentence in statement, question or

instruction. The intonation can be divided into two types: (1) rising intonation

which is regularly used in the sentence in question with the yes/no question and

6

the expression "indecision" or "amazement", (2) Falling intonation is used in the

customary statement and Wh-question. Previous research on English

pronunciation was conducted by Lawrence (2004) with the aim of raising students

awareness about the importance of intonation as they learn English with their

teachers, Zhang's research focused on examining sociocultural and psychological

trends in the selection of phonological models. The results showed that students'

responses in learning aspects of English pronunciation such as the suprasegmental

feature were very important and necessary to understand the meaning in social

interaction. Based on the background of the problem and statement are mentioned

the research is focused on Teaching English Pronunciation on Suprasegmental

features (stress and intonation) on students of English Department that exist in

phonetics and phonology class.

Therefore, the researcher gave an innovation to help the students in

Universitas Muhammadiyah Makassar to improve their suprasegmental sounds by

using a new technique to teach them how to pronunce words, phrases, or

sententeces in easy and effective way. In this case, Jazz Chant could be one of the

appropriate technique.

A Jazz Chant is a rhythmic expression of natural language which links

the rhythms of spoken American English to the rhythms of traditional American

jazz. The rhythm, stress, and intonation pattern of the chant should be an exact

replica of what the students would hear from an educated native speaker in natural

conversation (Graham, 2006: 5).

7

Jazz Chants considerably improve students‟ listening and speaking skills.

This is probably the most important point. They practice stress and rhythm, are

highly motivating and encourage role playing and pair activities. They strengthen

language structures and the ability to speak every day spoken English. Chants are

simple, provide the language children really use and are repetitive, which, mainly

in case of very young learners, is quite necessary. They are suitable for all ages,

teachers must only choose the right accompanying activities. They help students

to remember difficult words or phrases. And last but not least, children are

themselves while singing, clapping or shouting. (Zhang, 2011: 564)

A recent study shows that a Jazz Chant introduce and reinfornace

function of language functions and structures of everyday spoken language. This

research also shows that a Jazz Chant provide an innovative, exciting, and

effective way of improving students‟ speaking and listening skills. Students can

hear natural English rather than the teacher‟s pronunciation all the time, and they

can keep the sounds in their mind (Quito & Peralta, 2010: 41).

According to Brewster, et.al (2002: 163), using songs, rhymes, and

chants in language teaching is particularly usefull for practicing pronunciation

which includes individual sounds and sounds in conencted speech, features

relating to stress, rhythm, and intonation. In addition, Kung (2013: 18) shows that

the use of Jazz Chants can improve students‟ speaking skill. A Jazz Chant can

give the students interest and motivation in speaking English. Two findings can

thus be identified at this points: to begin with, the use of Jazz Chants not only

improved EFL learners‟ listening, but also speaking skill. Second, the use of Jazz

8

Chants could give students more confidence in speaking English from authentic

input they received during this study.

Based on the background above, teaching pronunciation for students in

Universitas Muhammadiyah Makassar should use favorable technique. Thus, the

researcher conducted a research in this scope by using a Jazz Chant to improve

students‟ production of English suprasegmental sounds and make students more

confident in pronouncing words in easy and joyful way.

B. Research Problems

Based on the previous background, the researcher formulated research

questions as follow:

Was the use of Jazz Chant effective to improve students‟ production in

English rhythm, English stress, and english intonation at the third semester in

Universitas Muhammadiyah Makassar?

C. Objective of the Research

Based on the previous research problems, the researcher formulated three

also research objective to find out whether or not:

The use of Jazz Chant was effective to improve students‟ production in

English rhythm, English stress, and english intonation at third semester in

Universitas Muhammadiyah Makassar.

D. Significances of the Research

By doing this research, the researcher hoped that the result of this

research was useful to add insight and also as a reference to find out the more easy

9

and effective way to improve students‟ suprasegmental sounds in English. This

research could be a benefit for the students to improve their English

suprasegmental sounds. Moreover, the activities provided were expected to

motivate and encouraged the students to join the learning class. Besides, this

research could give more chances for students to improve their English

suprasegmental sounds. Jazz Chant also make students felt that english was fun

and joyful. Besides, this research would help English teacher to teach

pronunciation easily and effectively. It was also expected for the teacher to inspire

and motivated the teachers to more creative in developing teaching materials for

students‟ English suprasegmental sounds in English. This research could be a

useful tool to gain a new reference for other researchers who were going to

conduct a research that focus on the designing a set of teaching materials.

E. Scope of the Research

This research was limited on the effect of Jazz Chant technique toward

students‟ production of English suprasegmental sounds at third semester in

Universitas Muhammadiyah Makassar. In conducting this research, the researcher

used pre-experimental research therefore the reseacher took one class only focus

on the pronunciation subject class. The researcher only focused on the English

suprasegmental sounds in pronunciation because students needed to understand

about the suprasegmental features in enhancing the quality of pronunciation

mastery, therefore stress, rhtyhm, and intonation become researcher‟ focus in

conducting this research using one types of Jazz Chant to distinguish the

10

improvement of students‟ production of English suprasegmental sounds before

and after implementing Jazz Chant.

11

CHAPTER II

REVIEW OF LITERATURE

The whole parts of this chapter discussed all things related to the

theories of the topic discussed in this research. They consists of the previous of

related studies, some pertinent ideas related to the variables research, and

coceptual framework.

A. Previous of Related Studies

There were many studies conducted in English teaching for students by

using Jazz Chants. In this sub chapter, the researcher presented some previous

studies which were done by some previous researcher:

According to Praksono (2017: 32-33), said that Jazz Chants are very

good and suitable method in English teaching especially speaking because it is

very helpful in motivating the students to speak English more. In addition, its are

readable and understandable, the topic are well organized and sutable to teach

speaking class.

Futhermore Lumintu (2015: 64-65), stated that Jazz Chants improved

young learners mastery of body parts vocabulary at fifth grade SDN Sekaran 2 in

the academic year of 2014/2015. They enjoyed singing Jazz Chants so they could

remember body parts vocabulary easily. Learning vocabulary using Jazz Chants

could make a good atmosphere in the class.

Moreover Dintep (2012: 70), stated that the average scores achievement

of the students before studying speaking Jazz Chants, is equal to 3.09 or in good

12

12

level. But, when using Jazz Chants in teaching English speaking skill, the

achievement of the students is higher, the average scores is equal to 3.83 or in

very good level with statical significance level, indicating that Jazz Chants have

efficiency in developing English speaking skill, because Jazz Chants are poems

that use Jazz rhythms to illustrate the natural stress and intonation patterns of

conversational American English.

In addition Peralta & Quito (2010: 41) stated that Jazz Chants are an

attractive strategy for children in teaching ESL. It is a fun material for both

teachers and students in the classroom because the chants are rhythmic and short.

Also, Jazz Chants provide students with the natural stress and intonation patterns

of conversational American English. Chants improve their abilities in speaking

and listening skills while reinforcing the basic grammatical structures of everyday

life situations. The research also shows that Jazz Chants provide an innovative,

excitingand effective way of improving students‟ speaking and listening skills.

Students can hear natural spoken English rather than the teachers‟ pronunciation

all the time, and they can keep the sounds in their minds. It is a good way to

increase Students Taking Time and reduce Teachers Talking Time.

Based on the perception above, the researcher concluded that all the

research findings discuss about the effeciency of using Jazz Chants in English

teaching process in improving students‟ ability especially in speaking skill. The

similarities of the previous research with this research was using Jazz Chants to

improve English learning teaching process. The distinguishable research for the

previous research was this research only focus on one type of Jazz Chant and this

13

13

research had conducted at the third grade students in Universitas Muhammadiyah

Makassar which the researcher only focus on the students poduction of English

suprasegmental sounds.

B. Some Pertinent Ideas

1. Concept of Suprasegmental Sounds

Speaking skill has the meaning pronunciation of suprasegmentals, then

pronunciation belong to speaking skill because pronunciation includes stress,

intonation, and rhythm. Pronunciation is the basic element of speaking, the

knowledge of pronunciation is important for development of speaking skill. It

helps to check and control the use of the language correctly. The elements are

as follows:

a. Stress

Many teachers advocate starting with stress as the basic building block

of pronunciation teaching. Stress refers to the prominence given to certain

syllables within words, and to certain syllables or words within utterances. It

is signalled by volume, force, pitch change and syllable length, and is often

the place where we notice hand movements and other gestures when we are

watching someone talking. One noticeable feature of English is the reduced

nature of unstressed syllables. Thus, not only are stressed syllables longer,

louder, more forceful and at a different pitch, but unstressed ones are often

different in quality.

14

14

Poms, et.al (1994: 224) stated that speakers must stress certain syllables

in words; otherwise the words will be misunderstood or sound strange. Stress

patterns go beyond the word level. Just as it is awkward sounding to stress the

syllables in a word incorrectly or to stress them all equally, it is unnatural

sounding to stress all the words in a sentence equally or improperly. Effective

use of strong and weak emphasis in phrases and sentence will help you

achieve your goal of sounding like a native English speaker.

Stress is the emphasis put on a given syllable while pronouncing it.

Stress is one of the most important features of English pronunciation and is a

constant source of trouble to students. In English pronunciation, there are

sentence stress and word stress.

1. Sentence stress

“Sentence Stress” need not be referred to as the particular anxiety

an ESL students experience when attempting to pronounce a

particularly wordy sentence in English. Sentence Stress is actually

the “music” of English, the thing that gives the language its

particular “beat” or “rhythm”. In general, in any given given

English utterance there will be particular words that carry more

“weight” or “volume” (stress) than others. From a speaking

perspective, Sentence Stress will affect the degree to which an ESL

student sounds “natural”. In terms of listening, it affects how well

students can understand the utterance they hear.

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2. Word Stress

Whereas Stentence Stress refers to the process whereby particular

words are stresses within an overall sentence, Word Stress refers to

the process whereby particular syllables (or parts of words) are

stressed within an overall word. In general, Sentence Stress is more

of a consideration for overall fluency – Wors Stress tends to have

more of a phonological and morphemic importance. (“Teaching

Sentence Stress”. Retrieved Juny 26, 2019, from

www.englishraven.com)

In conclusion in English, do not say each syllable with the same

force or strength. In one word, accentuate one syllable. One syllable

very loudly and all the other syllables very quietly, for example

(“What is Word Stress”. Retrieved Juny 26, 2019, from http://www.englis

hclub.com)

A note on Sentence Stress and English “rhythm”

It is important to remember that an English sntence will have a certain

number of beats. Stressed (content) words always take up an entire”beat”,

while “unstressed” function words fall between the beats – irrespective of

Word Stress Shape Total Syllables

Pho to graph 3

Pho to grapher 4

Pho to graph ic 4

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how many function words have been grouped together. The time between

beats is always the same. For this reason, function words are often spoken

faster and with less volume – they are literally being squeezed” into the gap

between regular stressed beats. In the example below, all of the function

words (or group of function words) take the same amount of time to

pronounce, irrespective of the number of sounds or syllables they include.

Doing a simple rhythmic clap or thump in time to the spoken sentence

willdemonstrate how this happens.

Examples:

Beat 1 Beat 2 Beat 3

I am to the

Beat 1 Beat 2 Beat 3 Beat 4

You‟re on the but you to me.

Beat 1 Beat 2 Beat 3 Beat 4

He‟s so it‟s for him to me.

Figure 1: Teaching Sentence Stress

(“Teaching Sentence Stress”. Retrieved Juny 26, 2019, from

www.englishraven.com)

talking students. clever

sitting desk aren’t listening

quickly difficult hear writing

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Stress is important at three different levels:

1. Word level – multisyllabic words have one or more syllables that

are stressed.

2. Sentence level – the most important words tend to be stressed

3. Contrastive stress – the most important words carry greater

stress.

Consider the example below:

LYNda shouldn‟t TAKE the STUDents to the PARty

The stressed syllables are marked with capital letters. Each two-syllable

word in this utterance must have one syllable that is stressed. This is word

level stress, and it is fixed for any word, although there are some variations

between different varieties of English. Those words which are more important

for communicating the speaker‟s meaning, usually the content words, tend to

be stressed (these are underlined in the example), while those which are less

important, usually the grammatical words, are unstressed. In addition, one of

these stressed syllables or words is usually more important than the others,

and this is called the „tonic‟. When we speak, we tend to group words

together in chunks that make sense, called „sense groups‟ or „tone groups‟.

Thus the example above would normally be said as one sense group. Sense

groups are often bounded by short pauses, and are said under a single

intonation contour or tune. Within each of these, there is usually one tonic,

although there may be a second tonic syllable at the end which also carries

significant pitch change (Clennell 1997). The tonic is important because it

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carries not only the major stress, but also the major pitch change, and it

changes according to the speaker‟s intended meaning. So if the speaker

wanted to emphasise that fact that it is Lynda rather than some other person

who should not take the students, then the LYN of Lynda would be more

strongly stressed than other stressed syllables in the utterance. If, however,

the speaker wanted to emphasise that Lynda should not take them but could

perhaps bring them back, then take would be the most strongly stressed

syllable in the utterance. This is sometimes called contrastive stress, and is

marked with italics in the example. As noted above, however, an important

aspect of teaching stress is its converse – an absence of stress. It is often

failure to unstress syllables appropriately that makes learners‟ pronunciation

difficult to understand because, unlike other languages, English tends to

maintain a rhythm from stressed syllable to stressed syllable by unstressing

and therefore reducing the syllables in between. This rhythm gives English its

characteristic pattern. The reduced vowel „schwa‟ /ɘ/ is very common in

English and deserves special attention. The „a‟ at the end of „LYNda‟, the

„ents‟ at the end of „STUDents‟ and the words „to‟ and „the‟ in the above

example would all be pronounced with a schwa. Although the rhythm of

English cannot be called strictly stress-timed, it nevertheless presents real

problems for learners, particularly if they speak an L1 which is syllable-timed

– that is, where each syllable has stress, or where the stress patterns of words

are predictable. Work on stress and unstress at each of the three levels is

therefore essential for many learners, and the stress pattern should be taught

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along with every new multisyllabic word. Teachers may find Rogerson and

Gilbert (1990) and Zawadzki (1994) helpful for both the theory and practice

in this area.

Stress is the emphasis put on a given syllable while pronouncing it.

Stress is one of the most important features of English Pronunciation and is a

constant source of troble to students.

b. Intonation

Intonation is the true of a language or pattern of pitch changes that

occur over a wordgroup or grammatical units, and it is used to convey

meanings. As many researchers have provided the following defenitions of

intonation.

According to Underhill (1994: 47) and Kenworthy (1987 : 85-125)

defined the meaning of intonation as a major feature of communication,

suprasegmental (prosodic) features of speech have usually been avoided in

the design of syllabuses for teaching English.

Futhermore, Scrivener (2006 : 295) described intonation as the music of

the language, and it is used as a kind of oral equivalent of written

punctuation. It is closely connected to prominence, for the main movement of

intonation begins at the tonic syllable. This movement can be upwards (a

rise), downwards (a fall), a rise with a fall (a rise-fall), a fall with a rise ( a

fall-rise) or flat. Intonation has a definite effect on meaning and also gives us

information about the speaker‟s attitude.

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For Murcia (2004: 120), intonation is the medolic line or pitch pattern.

The interplay of these pronunciation features becomes evident as we note

that the pitch movement within an intonation contour occurs on the prominent

element:

Zahra : Are you READY yet?

Raihana: No, I need to call DAVE first.

Zahrah : Why‟s THAT?

Raihana: Because HE‟S the one.

Who‟s giving us a LIFT!

Likewise, Matthews (1996: 197) said that stress gives its rhythm, while

intonation provides its melody. Intonation is the rising and falling that makes

the melody or tune. English speaker generally use one of two basic intonation

patterns when asking questions, depending the type of question, rising

intonation is usually used at the end of yes no questions. This means the pitch

is raised on the last syllable or word that is stressed in sentence. This high

pitch, then, is maintained to the end of question.

Moreover, Poms, et.al (1994: 274) stated that intonation refers to use of

melody and the rise and fall of the voice when speaking. Correct use of

intonation is necessary to convey your message correctly and to sound like a

native English speaker.

Another defenition has been termed by Hirst and Albert (1998: 1) who

termed intonation as universal because many of the linguistic and

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paralinguistic functions of intonation system seem to be shared by languages

of widely different origins.

On the other Cutler and Ladd (1983: 79-92) stated, in recent years there

has been an increasing awareness of he importance of intonation not only for

phoneticians and linguists but also for psycholinguists.

Intonation Units

An “intonation unit” is a peace of utterance, a continuous stream of

sounds, bounded by a fairly perceptible pause. Pausing in some sense is a way

of packaging the information such that the lexical items put together in an

intonation unit form certain psycological and lexic-grammatical realities.

Typical examples would be the inclusion of subordinate clauses and

prepositional phrases in intonation units. It is proposed here that any feature

of intonation should be analyzed and discussed against a background of this

phenomenon: tonic stress placement, choke of tones and keys are applicable

to almost all intonation units. Closely related with the notion of pausing is

that a change of meaning may be brought about certain pauses in a stream of

speech can have significant meaning variations in the message to be

conveyed. Consider the example below in which slashes correspond to

pausses (Roach, 1983: 146)

Intonation of American English

Pitch is raising and lowering the voice while speaking. The use of pitch

is called intonation. The most well known use for English intonation is to

communicate basic grammar, such as the use of a falling pitch on the

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sentence, “You‟re coming.” Compared to a rising pitch at the end of question

form, “You‟re coming?”

Statement intonation You’re coming.

Question intonation You’re coming?

Beyond that simple example, intonation is a complex world of personal

choice and context-driven options. Understanding English intonation patterns

will increase not only your spoken English pronunciation competence but

your English listening comprehension as well.

The terms “intonation” and “pitch” are often used intechangeably when

talking about the “highness” or “lowness” of our voice when we speak. The

difference between the terms is not very significant, in short, intonation is the

use of pitch, just as mathematics is the use of numbers or photography is the

use of light and color. Intonation is a boarder term thatn pitch. Being able to

percieve pitch (the highness of lowness of our voices) leads to the use of

correct intonation.

(“pronunciation Tips”. Retrieved Juny 27, 2019, from www.englishclub.com

Intonation, or change of pitch, is crucial in signalling speaker meaning,

particularly interpersonal attitudes. As we saw in the previous section, pitch

changes are crucially linked with stress. Since intonation patterns are

language-specific, learners will need to acquire new ones for English in order

to avoid inappropriate transfer from their first language, and thus perhaps

inadvertently causing offence. There have been three major approaches to

intonation theory: the grammatical approach (which relates intonation to

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grammatical functions), an approach that focuses on the link between

intonation and attitude, and the discourse approach (which emphasises

speakers and their intentions in longer stretches of discourse).

Intonation is the tune of a language or the pattern of pitch changes that

occur over a word group or grammatical units, and it is used to convey

meanings. There are some researchers have providedthe following defenition

of intonation. According to Underhill (1994: 47) and Kenworthy (1987: 85-

125) defined the meaning of intonation as a major feature of communication,

suprasegmental (prosodic) features of speech have usually been avoided in

the design of syllabuses for teaching English.

Clennell (1997) identifies some major functions that are important for

learners:

1. Information marking (prominent stress)

2. Discourse marking (given/new)

3. Conversational management (turn-taking/collaborating)

4. Attitudinal or affect marking (mood/feeling)

5. Grammatical/syntactic marking (clause boundaries/word classes)

6. Pragmatic marking (illocutionary force/intention of the speaker).

The way in which intonation works is highly complex, and teachers will

not have the time to explore the theory in depth with learners. However, there

are some simple patterns that can be identified and practised even for

beginner learners. The major changes of pitch take place on stressed syllables,

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particularly on the tonic syllable. Five major patterns of tones can be

identified: fall, rise, fall-rise, rise-fall and level:

1. A falling pattern usually indicates that the speaker has finished, at

least temporarily.

2. A rising intonation signals a question or continuation. This

difference can signal meaning even in short exchanges. Thus, if

someone calls me and I answer „Yes‟ with a rising tone, I signal

that I am opening interaction with them, but if I say „Yes‟ with a

falling tone, this may indicate that I do not wish to speak to them,

and may even be interpreted as rude. Thus questions to which the

speaker knows the answer will be said with a falling tone, while

questions in which new information is sought are usually said

with a rising tone (Clennell 1997). Often, „Yes-No‟ questions will

have a rising tone, and „wh‟ questions will have a falling tone, but

this is only true some of the time, since the way speakers make

these questions depends crucially on their intention and how the

question fits into the rest of what they are saying. In Australia,

many speakers use what is called a „high rising terminal‟ that is,

their intonation rises, even where they may be expected to signal

finality at the end of an utterance. This seems to be associated

with the signal of solidarity, and is more often found among less

powerful speakers.

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3. A fall-rise tone signals definiteness combined with some

qualification; what Yallop (1995) calls a „No, but…‟

interpretation. Thus, if someone asks if I am busy, and I am

suspicious that this is a prelude to asking me to do a job, I may

answer „No‟ but with a fall-rise tone to indicate my mixed

feelings.

4. A rise-fall is usually used to signal strong feelings of surprise or

approval or disapproval. In general, larger movements in pitch

signal higher emotion and more interest.

5. A level tone signals boredom, routine or triviality, and thus is the

tone that teachers use for routines such as the class roll. Yet this is

the tone that many learners may use if they do not pay attention to

their intonation. It is therefore particularly important to help

learners to overcome any tendency they may have to use this tone

inadvertently. Also important in intonation is the notion of „key‟

or the relative pitch chosen by a speaker. Contrasts in intonation

are usually perceived in relation to the key. Thus, the first stressed

syllable of new information may be said at a higher pitch,

criticism may be offered at a lower pitch and so on. Indeed, one

relatively simple way of approaching intonation in theclassroom

is through the identification and practice of stressed syllables and

their relative pitch. More details on tones and how they are used

in speech can be found in Yallop (1995), and some practice

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activities can be found in Gilbert (1994) and Hancock (1995).

Clennell (1997) provides a useful description of how intonation is

used to signal what is important in what is said, the force or

attitude with which something is said, how we use intonation to

distinguish between new and old information, and how we use

pitch change to signal turn-taking and other conversational

management strategies. He also suggests some teaching ideas

appropriate for more advanced learners, but which could be

adapted for use with lower levels.

To sum up, intonation is device in vocal communication. It reveals

many facets of the communication process taking into consideration all

factors present in the discourse context. Therefore, it is an indispensable part

of speech. Tones are important discourse startegies to communicate

effectively.

c. Rhythm

Every language in the world has a characteristic rhythm. English tends

to be a stress-timed language with rhythmic patterns based on a fairly regular

reccurence stressed syllables. (Browne and Huckin, 1987: 41-57).

According to Poms, et.al (1994: 240) stated that rhythm is created by

the strong stressed or beats in a sentence. Every spoken sentence contains

syllables or words that recieve primary stress. Like the beats in music, strong

stressed occur regularly to create a rhythm. Certain words within the sentence

must be emphasized while others are spoken more rapidly. This frequently

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causes sounds to be reduced, changed, or completely omitted to keep the

sentence flowing, words are linked together into phrases and separated by

pauses to convey meaning clearly. Effective use of rhythm will help to

achieve more natural-sounding speech.

In addition, according to Couper-Kuhlen (1993: 175-189) said that

rhythm occurs in any production of connected English speech, whether

monologe or dialogue, planned or spontaneous, formal or informal.

Rhythm is a basic principle of English speech rhythm that stressed and

unstressed syllables alternate rather regularly, that is “the stressed syllables

occur at perceptually regular time intervals, and thus the timing of rhythm

units is achieved by relative isochrony of the stressed which carry the

rhythmic impluse.” (Adams, 1979: 87) for rhythmical purposes, the speaker

must adjustdelivery to ensure utterance of the stressed yllables is in time,

virtually regardless of how many syllables there may be between stresses.

(Orton, 2000: 1)

In addition, Kuroiwa (1994: 234) commented that rhythm can also be

utilized effectively as supplements to regular classroom work to teach the

highly technical skills of-like American English pronunciation.

Moreover, Gong (2002: 26) pointed out that some studies have shown

that misuse or lack of English rhythm in speech is a major factor that inhibits

communication. Rhythm plays a central role in language acquisition and

competent alnguage use. The rhythm of English is particular and the mastery

of it is considered one of the most widely encountered difficulties for foreign

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learners of English. However, due to important position of rhythm it is

suggested that the teaching of rhythm is essential in language classrooms.

In China, English rhythm is one of the biggest challenges facing

Chinese learners of English. Due to the influence of their mother tongue,

many learners often misgroup phrasing, fail to link sounds, have irregular

pausing, or tend to stress every word, making them sound strange and

unnatural. (Gong, 2002: 35)

Rhythm refers to the organization of timing in speech, and it has been

shown to be different across languages (Ramus et al. 1999). Spanish, together

with languages such as Italian, has been classified as a syllable-timed

language, as opposed to stress-timed languages like English or Dutch. In

stress-timed languages stressed syllables are significantly longer than

unstressed syllables, creating the sensation of a Morsetype rhythmic effect; by

contrast, syllable-timed languages like Spanish create a stronger perception of

equal prosodic saliency across syllables.

Work on linguistic rhythm has strongly correlated the differences in

rhythmic percept found between languages with a set of language-specific

phonetic and phonological properties, of which the two most often cited are

syllabic structure and vowel reduction. While stress-timed languages like

English have a greater range of syllable structure types, allowing for more

complex codas and onsets, and also exhibit vowel reduction, syllabletimed

languages like Spanish, by contrast, tend to have a significant proportion of

open syllables and no vowel reduction. It has been suggested that the

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coexistence of these sets of phonological properties is responsible for

promoting either a strong saliency of stressed syllables in relation to other

syllables – yielding the “stress-timed” effect – or the percept of equal salience

between syllables – yielding the “syllable-timed” effect. Apart from this

tendency, cross-linguistic studies on speech rhythm have investigated the

timing (or duration patterns) of speech and have found differences in overall

timing patterns across languages, as well as what has been called “rhythm

metrics” (Prieto et al. 2012) In a recent study, Prieto et al. (2012) showed that

when syllable structure properties are controlled for, timing patterns for

Spanish and English can be traced back to the duration measures of

prominent positions (e.g. accented, nuclear accented, and stressed syllables)

and edge positions (e.g. distances to phrasefinal positions).

To summarize, rhythm plays a central role in communication. English

has a particular rhythm, which is considered one of the biggest difficulties

facing ESL/EFL students. Therefore, it is necessary that rhythm be taught in

language classrooms to help the students become more competent speakers of

English.

However, in conducting this research, the researcher only focus on the

suprasegmental sounds in English. This part has been separated into three

main topics, each focus on the stress, rhythm, and intonation in English.

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2. The Concept of Jazz Chant

a. The Definition of Jazz Chant

According to Graham (2006), a Jazz Chant is a rhythmic presentation of

natural language, linking the rhythms of spoken American English to the

rhythms of traditional American jazz. The rhythms, stress, and intonation

pattern of the chant should be an exact replica of what student would hear

from educated native speaker in natural conversation.

Futhermore, Liisa (2008:79) Jazz chants are poems that use jazz rhythms

to illustrate the natural stess and intonation patterns of conversational

American English. They help the students to learn pronunciation, speech

rhythm, grammar structures, atc. Learning the speech patterns by heart helps

students to active and improve their language skills.

Moreover, Scrivener (2006: 285) has similar view about the jazz chant as

a poem or dialogue particularly suitable for reciting aloud; if often involves

strong rhythms, clear everyday conversation, often exaggerated feeling and a

lot of repetition. Teachers aim to help students to learn them by hear so that

they can say them confidently with suitable pronunciation.

For Yates (2002:5) a jazz chant is a kind of rhthmic spoken chant that

can be done with the class in unison. They are popular with learners, giving

them a sense of the rhythm of certain kind of English. In addition Graham

(1992: 97-106) who originated the term jazz chants stated that a jazz chant is

a fragment of authentic language presented with special attention to its

inherent natural rhythm. It has a very clear and strong one-two-three-four-

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beat, next it is easy for students to practice the sentence rhythm through jazz

chants. To establish the tempo, students can count out the rhythm by

clapping, finger sanpping, or tapping on the desk.

Otherwise, Forster (2006: 63-68) discussed that jazz chants has long been

recognized as fun and child-friendly tools in both first and second language

acquisition. There will be an improvement in English speech rhythms,

intonation, and pronunciation.

For the several definiton by some experts, the reseacher can conclude

that A Jazz Chant is a poem that use jazz rhythms to illustrate the natural

stress and intonation patterns of conversational American English. Jazz

chants provide innovative and exciting ways to improve the student‟s

suprasegmental sounds while reinforcing the language structures of everyday

situation.

b. The Advantages of Jazz Chant

There are three advantages of using Jazz Chants in language teaching

(Graham, 2006) those advantages are:

1. Rhythm and Intonation

Unlikely nursery rhymes, rapping, and songs, jazz chanting has the

rhythm, stress, and intonation pattern of how a native speaker speaks in

natural conversation. It can be constructed and taught by anyone by

emphasizing natural stress and intonation. The connection between spoken

American English and the natural rhythm of jazz is that they both have the

basic 4-beat rhythm (Graham, 2006).

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Keeping the rhythm of a Jazz Chant is crucial. Sometimes there is no

word spoken on a beat, but other signals such as a clap, tap, or pause can be

used to indicate the rhythm. The first beat is the first stressed word, which is

not always the first word of the line. (Graham, 2006).

2. Grammar and Vocabulary

According to Graham (2006), Jazz Chants can reinforce grammar,

develope and practice vocabulary. It can also be used to practice the patterns

of everyday coversation.

3. Memorization

Jazz Chants is a powerful aid to memory. Graham (2006) states that

using rhythm to introduce new vocabulary offers students a very fast track for

learning. She also stated that it is possible to include multiple repetition or

words and phrases without the drudgery of repetitive drills because of the

enjoyment in doing chanting. Reilly and Ward (2002) also argued that when

words are linked to rhythm and music the seem to have more emotive and

personal significance and are remembered better.

Apart from the three advantages mentioned above, Graham (2006) states

that teachers and students do not need to be musicians or have that musical

talent to perform a chant. The rhythm, stress, and intonation can be acquired

by practice either in a big or small group with interaction and role-playing

opportunities. Once teachers or students practiced the chants, they will

discover that it is a simple and fun way to teach and learn English. Graham

(2006) states that Jazz Chants can be used in classes of any size and with all

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age groups which do not require any special materials. The rhythmical

attraction of chanting is common to all humans, young or old. A jazz chant

can be upgraded by adding songs, movements, poetry, and storytelling. The

kinesthetic element is specially important in this age group, which is reluctant

to sit still for every long.

According to Brewster, et.al (2002), songs, rhymes, and chants can be

used in many different ways. It can be used as warmes, as a transition from

one activity to the next, closers, to introduce, practice and revise new

language, to change mood, to get everyone‟s attention, to channel high levels

of energy or to intergrate with storytelling, topic work or cross-cultural work.

c. Types of Jazz Chant

There are many types of Jazz Chant. They can be divided into two main

groups; topic Jazz Chant and grammar/structure Jazz Chant. Topic Jazz Chant

connected to some specific theme, such as family, nature, seasons, animals,

food, transports, etc. Whereas the role of grammar/structure Jazz Chant is

about some English grammar or structure such as; different verbs,

prepositions, tenses, imperatives, to be going to, and etc. In this research, the

researcher will use grammar Jazz Chant because it is appropriate for The

English students, beside it will be able increase students‟ basic gramatical

structures knowledge. Grammarchant is a lively review of basic grammatical

stuctures. Each unit opens with a “grammarchant” which presents a basic

aspect of grammar, followed by a series of related chants that reinforce the

structure (Graham, 2019).

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Teaching using Jazz Chants do not need any talent or know how to play

an instrument. Jazz Chants are designed to be easy and simple, so teacher and

young learners can use it without difficulties. Jazz Chants can be used in a

large classroom and small classroom. Teacher can divide their students in

groups, so there is an interaction between students and role-playing

opportunities.

d. Creating Jazz Chant

Creating jazz chant is not difficult. According to Kustantinah & Himatu

(2014), jazz chants are simple because it deals with natural spoken language.

Three is no special skill needed in composing the chants. Graham (2006) also

provided five steps of how to made jazz chants. The step are as follow:

1. Select a topic

Your choice will depend on the needs of the students

2. Write down useful words associated with the topic you have chosen

Sellect interesting, fun, and useful words for the students to know less

than ten words. A children‟s picture dictionary can be a very useful tool in

selecting words.

3. Group your words according to the number of syllabes in each.

This is very important because the syllable count will determine the

rhythm and music of the final chant. Most of the words used in jazz chants

are consist of one, two, three syllables. For example, if the topic is

transportation, the words would be bus (one), taxi (two), pedicab (three).

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4. Make a list of words which rhyme with each of the chosen words in

your list.

These rhyming words can come from any topic area. They do not need to

be related to the topic you have chosen. They must simply rhyme. For

example, cat: bat, hat, rat ...

5. Make a list of descriptive words that might be used with your topic.

Group these words acording to syllable count. For example, if you have

chosen the topic „food‟, the list would be like this:

Fresh (1-syllable adjective)

Frozen (2-syllable adjective)

Delicious (3-syllable adjective)

According to Reilly and Ward (2002), songs, chants, and rhymes help the

development of children‟s language because it encourage children to explore

the sound of words. They are particularly useful in a stress-timed language

because the rhythm forces the learners to put stress in the right places, so that

the learners will be able to observe the strong and the weak forms (Reilly and

Ward, 2002).

In terms of speaking skills, jazz chants are focused not only into the

fluency but also into the pronunciation which include the pattern of the rhytm,

stress, and intonation. Slowly the learners‟ pronunciation is improved at the

same time as they concertrating on sound rather than meaning.

e. The Use of Jazz Chant in Classroom

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Jazz chants help non-native speakers get the “feel” of american English.

The students learn the stress, rhythm and intonation patterns by “doing” them.

It is a very effective and enjoyable way to learn. The step of teaching Jazz

Chants are as follows:

Step in teaching a Jazz:

1. Be sure students know all the key vocabulary

2. Write the chant on the board

3. Read the entire chant to the class

4. Read one line at a time and have students repeat the line until they

can say most of the words.

5. Add the rhythm (clapping, marching, pounding the table or a drum),

let the class do the rhythm and say it at same time.

Abdellah (2001: 61-62) proposed the steps help in presenting a chant to

the students as follows:

1. Review the main stucture in the chant.

2. Chant is to familiarize students with it

3. Say one line at the time and ask students to repeat after you.

4. Say the line again, clapping or snapping your fingers where the

language is stress as indicated by the asterisk

5. Have students repeat the chant several times with clapping or

snapping of fingers.

6. Write the chant on the white or blackboard or a chart.

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Many chants are designed for two groups. For these, devide the class

into two groups. Group A chants the lines on the left. Group B

chants lines on the right. In a question-answer chant, for example,

Group A would ask the question and group B answer them.

(Abdellah, 2001: 62)

Sample Jazz Chant

Basic greetings, girls, boys

Girls Boys

Hello, boys We are fine, thanks

Hello, boys We are fine, thanks

How are you? We hope you are, too

Hello, girls

Hello, girls

How are you?

We are fine, thanks

We are fine, thanks

We hope you are, too (Abdellah, 2001: 61-62)

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C. Conceptual Framework

Figure 2: Conceptual Framework

The conceptual framework above describe about all of the research

which conducted by the researcher. The tittle of this research was “The

Effect of Jazz Chant Technique toward Students’ Production of English

Suprasegmental Sounds at Third Semester in Universitas Muhammadiyah

Makassar. Therefore, in conducting this research, the researcher used pre-

experimental research in form of quantitative method.

Pronunciation

Suprasegmental Sounds

Intonation

Stress

Rhtyhm

Jazz Chants

Improvement of

Students Pronunctiation

Vocabulary Chant

Grammar Chant

39

39

The theoretical framework was pronunciation which divided in two

aspects namely segmental features (like how to pronounce vowels and

consonants) and the suprasegemental features (such as rhythm, stress and

intonation). In conducting this research, the researcher focused on the

suprasegmental features only, that it consists of stress, rhythm, and intonation.

In this case, the researcher gave an innovation to improve students‟

production of English suprasegmental sounds by using a new technique in easy

and effective way by using Jazz Chant. Jazz chants is differentiated between two

types, namely topic Jazz Chants and grammar/structure Jazz Chants but in

conducting this research, the researcher will use grammarchants to measure the

improvement of students pronunciation before and after implementing the

technique.

D. Research Hypothesis

According to the aforementioned research question, the researcher

formulated three hypotheses as follow:

H0 (Null hypothesis) there is no significant result of the students‟ production of

English intonation, English rhythm, and English stress before and after giving

treatment.

H1 (Alternative hypothesis) there is a significant different of the students‟

production of English intonation, English rhythm, and English stress before and

after giving treatment.

40

40

CHAPTER III

RESEARCH METHOD

In this chapter, the researcher explained about research design, research

variable and operational defenition, research population and sample, research

instrument, procedure of collecting data, and data analysis.

A. Research Design

The research design of this research was pre-experimental design

quantitative method in form of experimental design.

This design was presented as follows:

O1 X O2

Where:

O1 = Pre-test

X = Treatment

O2 = Post-test

(Gay, 2006: 225)

1. Pretest

Before doing the treatment, the students were given a pretest to know

their prior knowledge. In this case, the researcher gave pretest before presenting

Jazz Chant technique, pretest was administered to the students by spending an

hour. The aim of pre-test was to know the students‟ prior knowledge before giving

a treatment.

41

2. Treatment

a. The treatment was carried out six meetings. The researcher gave materials

about suprasegmental sounds that was stress, intonation, and rhythm

anyway. Each sub material the researcher explained two times meeting.

b. The activities will carry out during the teaching/learning process in the

control group‟s class include:

1. The researcher distributed the jazz chant to the students and ask

the students to read the chant.

2. The researcher read the jazz chant and the students listen to her

carefully.

3. The researcher read through the chant part by part and ask the

students to repeat.

4. The students read the chant together with the researcher

accompaniment several times.

5. The students worked in groups and then try to memorize the chant.

In this class the researcher‟ role was really important and the

researcher was very careful about their suprasegmental sounds.

the researcher checked the pronunciation of every word through

the dictionary. In order to check the effect of the treatment, the

researcher will gave a posttest. Then, the researcher conducted the

posttest in one separate session after finishing the project. The

objective of the posttest was to know whether the students make

improvement on their rhythm, intonation and stress recognition or

42

not after giving the treatment. After conducting the posttest, the

researchers did the analysis.

c. In the next stage, the researcher made the analysis on important

suprasegmental sounds such as: rhythm, stress, and intonation. The data

analysis of this study included the following steps:

1. Transcribing the students‟ suprasegmental sounds: In this step,

the researcher made the transcription of the students‟ sound by

listening to their voices several times to make it clear. To get the

empirical data, the researcher played the recording several times

to make the transcription of students‟ suprasegmental and then

transcribe the recording sounds.

2. Comparing the transcription: After transcribing the students‟

voices, the researcher gave an assessment based on the rubric

assessment.

3. Posttest

Post test gave after the students did the task of speaking materials. In this

case, the researcher gave post test to be carried out and for finding out the

students‟ achievement which related to the students‟ production of English

suprasegmental sounds after implementing Jazz Chant technique. The aim of post-

test was to know whether Jazz Chant technique was effective to give the

significant improvement of the students‟ production of English suprasegmental

sounds or not.

43

B. Research Variable and Operational Defenition

In this research, the research variable consisted of two variables. The first

variable was Jazz Chant as independent variable and the second variable was

students‟ suprasegmental sounds. The operational defenition of Jazz Chant was a

simple technique exercise which students repeat rhythmically both phrases or

sentence and suitable for all ages. Next, the operational defenition of

suprasegmental sound was known also as prosodic feature of the pronunciation

which includes rhythm, stress, and intonation in order to more clarify what stated

by the speaker.

C. Population and Sample

The population of this research was the third semester in Universitas

Muhammadiyah Makassar in academic year 2018/2019, which consisted 8

classes. Each class consist of 20 students and the total of population was 160

students. Clearly, the population can be seen in the following table.

NO CLASSES STUDENTS

1. Class A 20

2. Class B 20

3. Class C 20

4. Class D 20

5. Class E 20

6. Class F 20

7. Class G 20

8. Class H 20

Total 160

44

The sample of this research used Cluster Random Sampling Technique,

because the population was too large. Meanwhile, the technique was used to give

some opportunity for the population to become the research samples. Besides, the

member of the sample took class F only with 20 students as the sample of this

research.

D. Research Instrument

In conducting this research, the researcher used a test as the instrument

and voice recorded as a helping tool in collecting the data. In a test, the

researcher gave pre-test, treatment, and post-test. The pre test included a list

of sentences (yes/no question and W+H question and dialogue to find out

students‟ suprasegmental sounds (rhythm, stress, and intonation). This test

ran before starting the treatment. The students were asked to read through the

lists sentence and diaologue and the researcher recorded their voices. Like the

pre-test, the post-test comprised a list of sentence and dialogue to find out the

effect of Jazz Chant toward students‟ production of English suprasegmental

sounds (rhythm, stress, and intonation). Then, the students asked to read

through the lists of words and sentences and the researcher recorded their

voices.

45

E. Procedure of Data Collection

The procedure of data collection in this research as follows:

1. The data collection did by giving a pretest to the students in both groups. The

researcher asked the students to read through the list of sentence and dialogue

before giving a treatment.

2. The researcher also recorded the students‟ voices to get the empirical data.

The objective of this test was to know the students‟ level in pronouncing

English words before doing exercise.

3. Next, the researcher interpreted the results of the data was obtained by

comparing the students‟ suprasegmental achievement on pretest and posttest.

The interpretation was used to describe the improvement of the students‟

achievement in pronouncing English words. The researcher gave several roles

to the students for creating a short performance. The item scored was the

pronunciation level, whether the pronunciation excellent, good, fair, less,

poor.

F. Data Analysis

In conducting this research, the procedure of data analysis was collected

from result pre-test, treatment, post-test result and after collecting the data, the

researcher took several steps in analyzing the data.

1. Scoring the students answer of pretest and posttest by classifying the

students‟ score. In classifying the students‟ score, the researcher used scoring

of pronunciation.

46

Scoring of Rhythm, Stress, and Intonation

Table 3.1: Scoring of Students English Rhythm

Classification Score Criteria

Excellent 5 Rhythm is almost always clear and accurate

Good 4 Rhythm is almost clear and accurate, but not only

occassionally difficult to understand.

Fair 3 Rhythm errors sometimes make it difficult to

understand the student.

Less 2 Hard to understand

Poor 1 Cannot understand what the student says.

(Rasinki, 2004)

Table 3.2: Scoring of Students English Rhythm

Classification Score Criteria

Excellent 5 No errors in stress, nearly native stress.

Good 4 Few stress errors (1-2) but easily understood.

Fair 3 Poor stress causes some missunderstanding.

Less 2 Poor stress interferes with being understood.

Poor 1 Difficult understand due to lack of stress

47

Table 3.3: Scoring of Students English Intonation

Classification Score Criteria

Excellent 5 Intonation are almost always clear and accurate

Good 4 Intonation are almost clear and accurate, but not

only occassionally difficult to understand.

Fair 3 Intonation errors sometimes make it difficult to

understand the student.

Less 2 Voice is too quite to hear.

Poor 1 Cannot understand what the student says.

(Rasinki, 2004)

2. Scoring the students answer of pretest and posttest by using this formula.

Score =

x 10

(Depdikbud in Abdullah, 2006: 6)

Classification of Students’ Achievement Score

Table 3.4: Classification Students Achievement Score

Score Category

8.1 - 10 Excellent

6.1 - 8.0 Good

4.1 - 6.0 Fair

2.1 - 4.0 Less

00 - 2.0 Poor

(Depdikbud in Abdullah, 2006: 30)

48

3. To find out the mean score of the students‟ tests, the researcher applied this

formula:

=

Gay (2006: 320)

Where:

= main score

∑X = total score

N = the number of Sample

4. Calculating the value t-test to indicate the significance of the difference

between the two means. The following was employed:

t =

√

Where:

t = Test of significant

= Test mean of difference between the pair of score

= The sum of the D (the difference between two pair score)

( ) = Square the sum of the D

N = The number of subject

(Gay, 2006: 331)

49

CHAPTER IV

RESEARCH FINDINGS AND DISCUSSION

This chapter consists of the findings of the research and discussion of the

research. The finding of the research is cover classification of the result of the data

collected through the test. In the discussion part, the researcher presented the

interpretation of the finding.

A. Research Findings

The findings of the research that the teaching using Jazz Chant techinque

could improve students‟ production of English suprasegmental features. The

research reports are based on the analysis of the data by using the test (Pretest and

Posttest) for further interpretation of the data analysis are given below:

1. The Improvement of Students’ production in English Suprasegmental

Sounds

a. The mean score of students‟ production in term of English intonation by

using jazz chant.

Students‟ production of English intonation had different in pre-test

and post-test. In pre-test the students still lack of intonation in English

but after applied the Jazz Chant technique, the students get better in their

English intonation. The improvement of students‟ production

achievement viewed from English Intonation can be seen in table 4.1.

50

Table 4.1: The Mean Score of Students’ Production in Term of

English Intonation

Variable The Students’ Score

Improvement

Pre-test Post-test

Students‟ Production

in Term of English

Intonation

7.4

8.8

1.4

The table showed that the mean score of the students‟ production

in term of English intonation achievement before giving a treatment was

7.4 and the mean scores of the students‟ production in term of English

Intonation achievement after giving a treatment was 8.8. Therefore, the

improvement of the students‟ production in term of English intonation

from the pretest to posttest was 1.4.

b. The mean score of students‟ production in term of english rhythm by

using Jazz Chant.

The mean score and improvement of the students‟ production in

term of English Rhythm before and after applied Jazz Chant could see in

the following table 4.2:

Table 4.2. The Mean Score of Students’ Production in Term of

English Rhythm.

Variable The Students’ Score

Improvement

Pre-test Post-test

Students‟

Production in Term

of English Rhythm

7.1

8.3

1.2

51

The table showed that the mean score of the students‟ production

in term of English Rhythm achievement before giving a treatment was

7.1 and the mean scores of the students‟ production in term of English

Rhythm achievement after giving a treatment was 8.3. Therefore, the

improvement of the students‟ production in term of English Rhythm from

the pretest to posttest was 1.2.

c. The mean score of students‟ production in term of english stress by using

jazz chant.

The mean score and improvement of the students‟ production in

term of English Stress by using Jazz Chant technique could see in the

following table 4.3:

Table 4.3. The Mean Score of Students’ Production in Term of

English Stress.

Variable The Students’ Score

Improvement

Pre-test Post-test

Students‟

Production in Term

of English Stress

7

8.6

1.6

The table showed that the mean score of the students‟ production

in term of English Stress achievement before giving a treatment was 7

and the mean scores of the students‟ production in term of English Stress

achievement after giving a treatment was 8.6. Therefore, the

improvement of the students‟ production in term of English Stress from

the pretest to posttest was 1.6.

52

2. The Rate Percentage of Students’ Scores Through the Test

The classification of the students score in terms of English intonation,

English rhythm, and English stress was presented in following table.

Table 4.4: The Percentage of Students’ Production in Term of

English Intonation

No. Classification Score

Pre-test Post-test

Freq % Freq %

1. Excellent 8.1 – 10 0 0 19 95

2. Good 6.1 - 8.0 20 100 1 5

3. Fair 4.1 - 6.0 0 0 0 0

4. Less 2.1 - 4.0 0 0 0 0

5. Poor 00 - 2.0 0 0 0 0

Total 20 100 20 100

The table showed that the percentage of the students‟ production

achievement in term of English intonation indicated that 20 (100%)

students got good classification, and none of the student got poor, less,

fair, and excellent classification.

After the researcher gave a treatment by using Jazz Chant

technique in teaching students‟ production of English suprasegmental

sounds in term of English Intonation, the percentage of the students‟

production in term of English intonation increase became where 1

student (5%) got good classification, 19 students (95%) got excellent

53

classification, and none of the students got fair, less, and poor

classifications.

Table 4.5: The Percentage of Students’ Production in Term of

English Rhythm

No. Classification Score

Pre-test Post-test

Freq % Freq %

1. Excellent 8.1 – 10 0 0 16 80

2. Good 6.1 - 8.0 17 85 4 20

3. Fair 4.1 - 6.0 3 15 0 0

4. Less 2.1 - 4.0 0 0 0 0

5. Poor 00 - 2.0 0 0 0 0

Total 20 100 20 100

The table showed that the percentage of the students‟ production

of English suprasegmental sounds achievement in term of English

Rhythm indicated that 3 students (15%) got fair classification, 17

students (85%) got good classification, and none of the students got poor,

less and excellent classification.

After the researcher gave a treatment by using Jazz Chant

technique in teaching teaching students‟ production of English

suprasegmental sounds in term of English rhtyhm, the percentage of the

students‟ production in terms of English rhythm increase became where

54

4 students (20%) got good classification, 16 students (80%) got excellent

classification, and none of the students got fair, less, and poor

classification.

Table 4.6: The Percentage of Students’ Production in Term of

English Stress

No. Classification Score

Pre-test Post-test

Freq % Freq %

1. Excellent 8.1 – 10 0 0 17 85

2. Good 6.1 - 8.0 20 100 3 15

3. Fair 4.1 - 6.0 0 0 0 0

4. Less 2.1 - 4.0 0 0 0 0

5. Poor 00 - 2.0 0 0 0 0

Total 20 100 20 100

The table showed that the percentage of the students‟ production

achievement in term of English stress indicated that 20 (100%) students

got good classification, and none of the student got poor, less, fair, and

excellent classification.

After the researcher gave a treatment by using Jazz Chant

technique in teaching students‟ production of English suprasegmental

sounds in term of English stress, the percentage of the students‟ students‟

production in terms of English stress increase became where 3 students

55

(15%) got good classification, 17 students (85%) got excellent

classification, and none of the students got fair, less, and poor

classification.

3. The Effectiveness of Using Jazz Chant Technique

To know the effectiveness of using Jazz Chant technique to improve the

students‟ suprasegmental sounds in term of English intonation, English rhythm,

and English stress, the researcher used t-test analysis. The result of the data

analysis t-test of the students‟ production of English suprasegmental sounds

through Jazz Chant technique was shown in the table below:

Table 4.7. T-test of Students’ Production in Term of English

Intonation by Using Jazz Chant Technique

Variable t-test t-table Comparison Classification

English

Intonation 11.9 2.093

t-test > t-table

11.9 > 2.093

Significantly

Different

The researcher compared t-test value and t-table value to know

whether the use of Jazz Chant technique in teaching students‟ production

toward English intonation was significant, to find out the degree of

freedom (df) the researcher used formula N – 1 (20-1=19), for the level

the significant (p) = 0.05 and df =19, t-table got score 2.093. After

calculating the t-test value, it got score 11.9. Therefore the value of t-test

and t-table was (11.9 > 2.093). It means that there was different result of

the value of t-test and t-table.

56

Table 4.8. T-test of Students’ Production in Term of English

Rhythm by Using Jazz Chant Technique

Variable t-test t-table Comparison Classification

English

Rhythm 3.10 2.093

t-test > t-table

3.10 > 2.093

Significantly

Different

The researcher compared t-test value and t-table value to know

whether the use of Jazz Chant technique in teaching students‟ production

toward English rhythm was significant, to find out the degree of freedom

(df) the researcher used formula N – 1 (20-1=19), for the level the

significant (p) = 0.05 and df =19, t-table got score 2.093. After

calculating the t-test value, it got score 3.10. Therefore the value of t-test

and t-table was (3.10 > 2.093). It means that there was different result of

the value of t-test and t-table.

Table 4.9. T-test of Students’ Production in Term of English Stress

by Using Jazz Chant Technique

Variable t-test t-table Comparison Classification

English

Stress 4.8 2.093

t-test > t-table

4.8 > 2.093

Significantly

Different

The researcher compared t-test value and t-table value to know

whether the use of Jazz Chant technique in teaching students‟ production

toward English stress was significant, to find out the degree of freedom

(df) the researcher used formula N – 1 (20-1=19), for the level the

57

significant (p) = 0.05 and df =19, t-table got score 2.093. After

calculating the t-test value, it got score 4.8. Therefore the value of t-test

and t-table was (4.8 > 2.093). It means that there was different result of

the value of t-test and t-table.

4. Hypothesis Test

The result of statistical analysis at the level significant 0.05 with degree of

freedom (df) = N-1, where df = 20-1 and df = 19, indicated that there was a

significant difference between the mean score of post-test and pre-test. In addition

the t-test value was bigger than t-table value of the English intonation (11.9 >

2.093), the English rhythm (3.10 > 2.093), and the English stress (4.8 > 2.093). It

means that there was significant difference between the students‟ production of

English suprasegmental sounds before and after using Jazz Chant technique.

Therefore, the null hypothesis was rejected, while alternative hypothesis was

accepted.

B. Discussion

In this part, the discussion dealing with the interpretation of findings

derived from the result of finding about observation result of the students‟

production of English suprasegmental sounds in terms of English intonation,

English rhythm, and English stress.

1. The Improvement of the Students’ Production of English

Suprasegmental sounds Achievement

In improving students‟ production of English suprasegmental sounds

achievement in terms of English intonation, English rhythm, and English stress,

58

the researcher used Jazz Chant technique. Where using Jazz Chant technique

could help the students to improve their pronunciation, specifically in English

suprasegmental sounds.

The students thought that the teaching English suprasegmental sounds

through using Jazz Chant technique was very helpful to improve the students‟

production of English suprasegmental sounds. The effectiveness of this technique

is that it made increase students‟ self confidence in pronuncing both word, phrase,

or sentences and how to make the interesting pronunciation in order to more easier

to understand what the sudents convey.

The data had been showed in pre-test there were any students‟ get

inadequate score. In pre-test, some students found many difficulties in

pronuncing. It made them could not distinguish between verb, adjective, and

noun. It was too different with post-test that some of students got higher than the

value in pre-test. The students got a significant development after giving

treatment. The students could improve their vocabulary.

From the result of pre-test, the mean score of the students‟ production of

English suprasegmental sounds achievement. In term of English intonation, the

result of the post-test was 8.8. In term of English rhythm, the result of the post-test

was 8.3. Next, in term of English stress, the result of the post-test was 8.6, its can

be classified average.

Based on the result of the data, the researcher concluded that after the

treatment by using Jazz Chant, the students were in excellent category. It means

59

that by Jazz Chant technique in teaching English suprasegmental sounds, the

students can improve their intonation, rhtyhm, and their stress in English.

On the other hand, the result of the post-test showed that the students had

significant progress, many of the students got excellent classification. In other

words, the students production of English suprasegmental sounds increased by

using Jazz Chant technique. Therefore, using Jazz Chant technique in this research

had a big influence in improving students‟ English intonation, students‟ English

rhythm, and students English stress.

The data described the most of them success to improve their score into

the students‟ achievement in vocabulary in terms of English intonation, English

rhythm, and English stress by using Jazz Chant technique. The improvement is

also following by the significance. The t-test value students‟ English intonation

(11.9), the t-test value students‟ English rhtyhm (3.10), the t-test value students‟

English stress (4.8). All is greater than t-table (2.064) for the degree of freedom

(0.05), it means that the null hypothesis (Ho) was rejected and alternative

Hypothesis (H1) was accepted.

2. The Effectiveness of Using Jazz Chant Technique to Improve the

Students’ Production of English Suprasegmental Sounds.

To improve the students‟ production of English suprasegmental sounds in

terms of English intonation, English rhythm, and English stress, the researcher

used Jazz Chant technique. Where the using Jazz Chant in this research, the

researcher used grammar Chant because it is appropriate for the English students.

60

Besides, it imroved students‟ production of English suprasegmental sounds, also it

increased students‟ basic gramatical structures knowledge.

The findings of this research similar to Graham (2019) found that

Grammarchant was a lively review of basic grammatical stuctures. Each unit

opened with a “grammar chant” which presenting a basic aspect of grammar,

followed by a series of related chants that reinforce the structure. Moreover,

Zhang (2011) in his research found that by using Jazz Chant, students

considerably improved and highly motivating and encouraged role playing and

pair activities. Thus, the stregthen language structures and the the ability to speak

and everyday spoken English.

Furthermore Quito & Peralta (2010) found that Jazz Chant introduced

and reinfornaced function of language functions and structures of everyday

spoken language. This research also showed that Jazz Chant provide an

innovative, exciting, and effective way. Students could hear natural English rather

than the teacher‟s pronunciation all the time, and they could keep the sounds in

their mind. In addition Brewster et.al (2002) found that the used of Jazz Chant in

language teaching was particularly usefull for practicing pronunciation which

included individual sounds and sounds in connected speech, features relating to

stress, rhythm, and intonation.

The data had been showed that in pre-test there were many students get‟

inadequate score. In pre-test most of students found any difficulties in pronuncing

some sentences, it was different with the post-test some of them got the higher

than the value in pre-test.

61

Based on the discussion above, the researcher can concluded that there

was different result between pre-test and post-test in teaching English

suprasegmental sounds through Jazz Chant technique. The researcher could

inform that teaching English suprasegmental sounds by using Jazz Chant was a

good way to improve the students‟ production of English suprasegmental sounds

at third semester in Universitas Muhammadiyah Makassar.

62

CHAPTER V

CONSLUSION AND SUGGESTION

There are two sub-chapters in this section. They are conclusion and

suggestion. the conclusion based on the data analysis and findings in the previous

chapter. The suggestion based on the findings and conclusion of this research.

A. Conclusion

Based on the findings on the previous chapter, the researcher formulated

some conclusion about the difference between before and after implementing the

Jazz Chant technique in teaching English suprasegmental sounds in terms of

English intonation, English rhythm, and English stress. It would briefly

formulated in two points, they were: Using Jazz Chant technique was effective to

improve students‟ production of English suprasegmental sounds because there

was a higher score of the post-test than the students‟ pre-test.

Furthermore there was significant improvement between the students‟

production of English suprasegmental sounds before and after using Jazz Chant

technique. Thus, the conclusion was null hypothesis was rejected, while the

alternative hypothesis was accepted.

63

B. Suggestion

Based on the conclusion above, the researcher presented some suggestion

as follows:

1. The English teachers are suggested to apply Jazz Chant technique in

teaching and learning process, especially in teaching English

suprasegmental sounds material. The Jazz Chant will expectedly help the

students in improving students‟ production of English suprasegmental

sounds in terms of English intonation, English rhythm, and English

stress.

2. In teaching English suprasegmental sound, teachers can also use Jazz

Chant in a form of a role play and help the students in constructing their

own chants.

3. For the future researchers can apply two types of Jazz Chant namely

topic Jazz Chant and grammar chant to improve students‟ production of

English suprasegmental sounds achievement in terms of English

intonation, English rhythm, and English stress.

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Appendix 1

Pre-test

Taks 1: You will record your answers. Please read the question below aloud,

and try to pronounce them clearly and naturally!

Session 1 (Yes/No Question)

Are you sure it‟s not his?

Are you a student?

Are you a good student?

Do you write very well?

Do you speak very well?

Are you always late to the class?

Are you usually on time?

Do you know marry?

Do you know her little brother?

Session 2 (Wh-Question)

What‟s the matter?

What‟II I do?

Whose computer is this?

Where do you study?

What time is it?

Late for what?

How about tomorrow?

What are you going to have?

What kind of bread?

Taks 2: You will record your answers. With your patner, please read the

dialogue below aloud, and try to pronounce the word clearly and naturally!

Khanza: What‟s the matter?

Hafsah : My computer‟s down. What‟II I do?

Khansa: Listen to me! I‟m taking to you. Whose computer is this?

Hafsah: It‟s mine!

Khansa: Are you sure it‟s not his?

Hafsah: No, no, it‟s mine!

Khansa: Are you a student?

Hafsah: Yes, I am!

Khansa: Are you a good student?

Hafsah: Yes, I am!

Khansa: Do you write very well?

Hafsah: No, I don‟t.

Khansa: Do speak very well?

Hafsah: Yes, I do.

Khansa: Are you always late to class?

Hafsah: No, I‟m not.

Khansa: Are you usually ontime?

Hafsah: Yes, I am.

Khansa Where do you study?

Hafsah: I study at Universitas Muhammadiyah Makassar.

Khansa: Do you know Maria?

Hafsah: How is Maria?

Khansa: Maria is the most tall staff in UBC room.

Hafsah: Oh, of course I do.

Khansa: Do you know her little brother?

Hafsah: Yes, I do. I know her brother, her mother, and her father too.

Khansa: Upssss...What time is it? Hurry up! Hurry up! Please hurry up! I‟m late,

I‟m late, I‟m terrible late.

Hafsah: Late for what?

Khansa: Late for campus.

Hafsah: It‟s Sunday!

Khansa: Oh my god, I forgot it. Are you free for lunch?

Hafsah: Not today.

Khansa: How about tomorrow?

Hafsah: Let see tomorrow.

Khansa: What are you going to have?

Hafsah: I‟d like a grilled cheese sandwich.

Khansa: What kind of bread?

Hafsah: Rye bread. I‟d like a grilled cheese sandwich on rye bread.

Khansa: Oh, okay. See you tomorrow

Hafsah: See you..

Appendix 2

Post-test

Taks 1: You will record your answers. Please read the question below aloud,

and try to pronounce them clearly and naturally!

Session 1 (Yes/No Question)

Are you sure it‟s not his?

Are you a student?

Are you a good student?

Do you write very well?

Do you speak very well?

Are you always late to the class?

Are you usually on time?

Do you know marry?

Do you know her little brother?

Session 2 (Wh-Question)

What‟s the matter?

What‟II I do?

Whose computer is this?

Where do you study?

What time is it?

Late for what?

How about tomorrow?

What are you going to have?

What kind of bread?

Taks 2: You will record your answers. With your patner, please read the

dialogue below aloud, and try to pronounce the word clearly and naturally!

Khanza: What‟s the matter?

Hafsah : My computer‟s down. What‟II I do?

Khansa: Listen to me! I‟m taking to you. Whose computer is this?

Hafsah: It‟s mine!

Khansa: Are you sure it‟s not his?

Hafsah: No, no, it‟s mine!

Khansa: Are you a student?

Hafsah: Yes, I am!

Khansa: Are you a good student?

Hafsah: Yes, I am!

Khansa: Do you write very well?

Hafsah: No, I don‟t.

Khansa: Do speak very well?

Hafsah: Yes, I do.

Khansa: Are you always late to class?

Hafsah: No, I‟m not.

Khansa: Are you usually ontime?

Hafsah: Yes, I am.

Khansa Where do you study?

Hafsah: I study at Universitas Muhammadiyah Makassar.

Khansa: Do you know Maria?

Hafsah: How is Maria?

Khansa: Maria is the most tall staff in UBC room.

Hafsah: Oh, of course I do.

Khansa: Do you know her little brother?

Hafsah: Yes, I do. I know her brother, her mother, and her father too.

Khansa: Upssss...What time is it? Hurry up! Hurry up! Please hurry up! I‟m late,

I‟m late, I‟m terrible late.

Hafsah: Late for what?

Khansa: Late for campus.

Hafsah: It‟s Sunday!

Khansa: Oh my god, I forgot it. Are you free for lunch?

Hafsah: Not today.

Khansa: How about tomorrow?

Hafsah: Let see tomorrow.

Khansa: What are you going to have?

Hafsah: I‟d like a grilled cheese sandwich.

Khansa: What kind of bread?

Hafsah: Rye bread. I‟d like a grilled cheese sandwich on rye bread.

Khansa: Oh, okay. See you tomorrow

Hafsah: See you...

APPENDIX 3

THE ENGLISH SUPRASEGMENTAL SOUNDS TEST RESULT

A. The students’ achievement of pre-test in terms of Intonation, Rhythm,

and Stress in English.

Name Intonation Rhythm Stress Total Mean

Score

S1 8 7.1 7 22.1 7.3

S2 7.6 7.5 6.1 21.2 7

S3 6.9 6 7.6 20.5 6.8

S4 6.8 6 7.6 20.4 6.8

S5 7.6 7.5 6.1 21.2 7

S6 6.1 7.6 7.5 21.2 7

S7 6.9 6 7.9 20.8 6.9

S8 7.6 7.5 6.9 22 7.3

S9 6.5 7.1 7.1 20.7 6.9

S10 8 7.1 6.9 22 7.3

S11 7.6 7.6 7.5 22.7 7.5

S12 8 7.1 7.6 22.7 7.5

S13 8 7.2 7.2 22.4 7.4

S14 8 7.1 6.9 22 7.3

S15 6.1 7.6 7.5 21.2 7

S16 7.5 7.6 6.1 21.2 7

S17 8 6.9 6.5 21.4 7.1

S18 8 7.1 7 22.1 7.3

S19 7.9 7.9 6.9 22.7 7.5

S20 7.5 7.3 6.9 21.7 7.2

TOTAL 148.6 142.8 140.8 432.2 143.1

Average 7.4 7.1 7 7.15

Data analysis of Pre-test of students’ production in suprasegmental sounds

in terms of Intonation, Rhythm, and Stress in English

1. Intonation

X = ∑x

N

Where:

X : Mean score

∑x: The sum of all score

N : The number of students

2. Rhythm

X = ∑x

N

X = 142.8 = 7. 1

20

Where:

X : Mean score

∑x: The sum of all score

N : The number of students

3. Stress

X = ∑x

N

X = 140.8 = 7

20

Where:

X : Mean score

∑x: The sum of all score

N: The number of students

B. The students’ achievement of post-test in terms of Intonation, Rhythm,

and Stress in English.

Name Intonation Rhythm Stress Total Mean

Score

S1 9.3 8.5 9 26.8 8.9

S2 9 8.3 8.5 25.8 8.6

S3 8.5 8.3 8.5 25.3 8.4

S4 8.5 8.3 8.3 25.1 8.4

S5 9.3 8.5 9.1 26.9 8.9

S6 8 8.1 8.1 24.2 8.1

S7 8.9 8.5 8.2 25.6 8.5

S8 8.4 8.1 8 24.5 8.2

S9 8.2 8.1 8 24.3 8.1

S10 9.5 8.4 9.2 27.1 9.1

S11 9 8.9 8.9 26.8 8.9

S12 9.2 8.7 9 26.9 8.9

S13 9.3 8.5 9 26.8 8.9

S14 9 8 8.9 25.9 8.6

S15 8.5 8 8 24.5 8.2

S16 8.2 8.1 8.2 24.5 8.2

S17 8.9 8.2 9 26.1 8.7

S18 9 8.5 9 26.5 8.8

S19 8.5 8 8.1 24.6 8.2

S20 8.1 8 8.5 24.6 8.2

TOTAL 175.6 166 171.5 512.8 170.8

Average 8.8 8.3 8.6 8.54

Data analysis of Post-test of students’ production in English suprasegmental

sounds in terms of Intonation, Rhythm, and Stress in English.

1. Intonation

X = ∑x

N

Where:

X : Mean score

∑x: The sum of all score

N : The number of students

2. Rhythm

X = ∑x

N

X = 166 = 8.3

20

Where:

X : Mean score

∑x: The sum of all score

N : The number of students

3. Stress

X = ∑x

N

X = 171.5 = 8.6

20

Where:

X : Mean score

∑x: The sum of all score

N: The number of students

C. The Raw Score of the Students’ production in English Intonation

achievement in Pre-Test and Post-Test

No. RESPONDENTS

PRE-TEST POST-TEST

D D2

X1

X12

X2 X22

X2-X1 (X2-

X1)2

1 S1 8 64 9.3 86.49 1.3 1.69

2 S2 7.6 57.76 9 81 1.4 1.96

3 S3 6.9 47.61 8.5 72.25 1.6 2.56

4 S4 6.8 46.24 8.5 72.25 1.7 2.89

5 S5 7.6 57.76 9.3 86.49 1.7 2.89

6 S6 6.1 37.21 8 64 1.9 3.61

7 S7 6.9 47.61 8.9 79.21 2 4

8 S8 7.6 57.76 8.4 70.56 0.8 0.64

9 S9 6.5 42.25 8.2 67.24 1.7 2.89

10 S10 8 64 9.5 90.25 1.5 2.25

11 S11 7.6 57.76 9 81 1.4 1.96

12 S12 8 64 9.2 84.64 1.2 1.44

13 S13 8 64 9.3 86.49 1.3 1.69

14 S14 8 64 9 81 1 1

15 S15 6.1 37.21 8.5 72.25 2.4 5.76

16 S16 7.5 56.25 8.2 67.24 0.7 0.49

17 S17 8 64 8.9 79.21 0.9 0.81

18 S18 8 64 9 81 1 1

19 S19 7.9 62.41 8.5 72.25 0.6 0.36

20 S20 7.5 56.25 8.1 65.61 0.6 0.36

TOTAL 148.6 1.112.08 175.3 1.540.43 26.7 40.25

D. The Significance Difference of the Students’ Production in Term of

English Intonation Achievement by Using Jazz Chant between the Score

of Pre-Test and Post-Test

t =

√

t =

√

1.3

√

1.3

√

1.3

√

1.3

√

11.9

E. The Raw Score of the Students’ production in English Rhythm

achievement in Pre-Test and Post-Test

No. RESPONDENTS

PRE-TEST POST-TEST

D D2

X1

X12

X2 X22

X2-X1 (X2-X1)2

1 S1 7.1 50.41 8.5 72.25 1.4 1.96

2 S2 7.5 56.25 8.3 68.89 0.8 0.64

3 S3 6 36 8.3 68.89 2.6 6.76

4 S4 6 36 8.3 68.89 2.6 6.76

5 S5 7.5 56.25 8.5 72.25 1 1

6 S6 7.6 57.76 8.1 65.61 0.5 0.25

7 S7 6 36 8.5 72.25 2.5 6.25

8 S8 7.5 56.25 8.1 65.61 0.6 0.36

9 S9 7.1 50.41 8.1 65.61 1 1

10 S10 7.1 50.41 8.4 70.56 1.3 10.24

11 S11 7.6 57.76 8.9 79.21 1.3 10.24

12 S12 7.1 50.41 8.7 75.69 1.6 2.56

13 S13 7.2 51.84 8.5 72.25 1.3 10.24

14 S14 7.1 50.41 8 64 0.9 0.81

15 S15 7.6 57.76 8 64 0.4 0.16

16 S16 7.6 57.76 8.1 65.61 2.1 0.25

17 S17 6.9 47.61 8.2 67.24 1.3 10.24

18 S18 7.1 50.41 8.5 72.25 1.4 1.96

19 S19 7.9 62.41 8 64 0.1 0.01

20 S20 7.3 53.29 8 64 0.7 0.49

TOTAL 142.8 1.025.4 166 1.379.06 25.4 72.18

F. The Significance Difference of the Students’ Productionin Term of

English Rhythm Achievement by Using Jazz Chant between the Score of

Pre-Test and Post-Test

t =

√

t =

√

1.27

√ ( )

1.27

√

1.27

√

1.27

√

3.10

G. The Raw Score of the Students’ production in Term of English Stress

achievement in Pre-Test and Post-Test

No. RESPONDENTS

PRE-TEST POST-TEST

D D2

X1

X12

X2 X22

X2-X1 (X2-

X1)2

1 S1 7 49 9 81 2 4

2 S2 6.1 37.21 8.5 72.25 2.4 5.76

3 S3 7.6 57.76 8.5 72.25 0.9 0.81

4 S4 7.6 57.76 8.3 68.89 0.7 0.49

5 S5 6.1 37.21 9.1 82.81 3 9

6 S6 7.5 56.25 8.1 65.61 0.6 0.36

7 S7 7.9 62.41 8.2 67.24 0.3 0.09

8 S8 6.9 47.61 8 64 1.1 1.21

9 S9 7.1 50.41 8 64 0.9 0.81

10 S10 6.9 47.61 9.2 84.64 2.3 5.29

11 S11 7.5 56.25 8.9 79.21 1.4 1.96

12 S12 7.6 57.76 9 81 1.4 1.96

13 S13 7.2 51.84 9 81 1.8 3.24

14 S14 6.9 47.61 8.9 79.21 2 4

15 S15 7.5 56.25 8 64 0.5 0.25

16 S16 6.1 37.21 8.2 67.24 2.1 4.41

17 S17 6.5 42.25 9 81 2.5 6.25

18 S18 7 49 9 81 2 4

19 S19 6.9 47.61 8.1 65.61 1.2 1.44

20 S20 6.9 47.61 8.5 72.25 1.6 2.56

TOTAL 133.9 996.62 171.5 1.474.21 30.7 57.89

H. The Significance Difference of the Students’ Production in Term of

English Stress Achievement by Using Jazz Chant between the Score of

Pre-Test and Post-Test

t =

√

t =

√

1.6

√

1.6

√

1.6

√

1.6

√

4.8

I. T-Table

tTable

cum.

prob

one-

tail

two-

tails

t.50 t.75 t.80 t.85 t.90 t.95

t.975 t.99 t.995 t.999 t.9995

0.50 0.25 0.20 0.15 0.10 0.05 0.025 0.01 0.005 0.001 0.0005

1.00 0.50 0.40 0.30 0.20 0.10 0.050.02 0.01 0.002 0.001

df

1

2

3

4

5

0.000 1.000 1.376 1.963 3.078 6.314 12.71 31.82 63.66

318.31 636.62

0.000 0.816 1.061 1.386 1.886 2.920 4.303 6.965 9.925

22.327 31.599

0.000 0.765 0.978 1.250 1.638 2.353 3.182 4.541 5.841

10.215 12.924

0.000 0.741 0.941 1.190 1.533 2.132 2.776 3.747 4.604

7.173 8.610

0.000 0.727 0.920 1.156 1.476 2.015 2.571 3.365 4.032

5.893 6.869

6

7

8

9

10

0.000 0.718 0.906 1.134 1.440 1.943 2.447 3.143 3.707

5.208 5.959

0.000 0.711 0.896 1.119 1.415 1.895 2.365 2.998 3.499

4.785 5.408

0.000 0.706 0.889 1.108 1.397 1.860 2.306 2.896 3.355

4.501 5.041

0.000 0.703 0.883 1.100 1.383 1.833 2.262 2.821 3.250

4.297 4.781

0.000 0.700 0.879 1.093 1.372 1.812 2.228 2.764 3.169

4.144 4.587

11

12

13

14

15

0.000 0.697 0.876 1.088 1.363 1.796 2.201 2.718 3.106

4.025 4.437

0.000 0.695 0.873 1.083 1.356 1.782 2.179 2.681 3.055

3.930 4.318

0.000 0.694 0.870 1.079 1.350 1.771 2.160 2.650 3.012

3.852 4.221

0.000 0.692 0.868 1.076 1.345 1.761 2.145 2.624 2.977

3.787 4.140

0.000 0.691 0.866 1.074 1.341 1.753 2.131 2.602 2.947

3.733 4.073

16

17

18

19

20

0.000 0.690 0.865 1.071 1.337 1.746 2.120 2.583 2.921

3.686 4.015

0.000 0.689 0.863 1.069 1.333 1.740 2.110 2.567 2.898

3.646 3.965

0.000 0.688 0.862 1.067 1.330 1.734 2.101 2.552 2.878

3.610 3.922

0.000 0.688 0.861 1.066 1.328 1.729 2.093 2.539 2.861

3.579 3.883

0.000 0.687 0.860 1.064 1.325 1.725 2.086 2.528 2.845

3.552 3.850

21

22

23

24

25

0.000 0.686 0.859 1.063 1.323 1.721 2.080 2.518 2.831

3.527 3.819

0.000 0.686 0.858 1.061 1.321 1.717 2.074 2.508 2.819

3.505 3.792

0.000 0.685 0.858 1.060 1.319 1.714 2.069 2.500 2.807

3.485 3.768

0.000 0.685 0.857 1.059 1.318 1.711 2.064 2.492 2.797

3.467 3.745

0.000 0.684 0.856 1.058 1.316 1.708 2.060 2.485 2.787

3.450 3.725

26

27

28

29

30

0.000 0.684 0.856 1.058 1.315 1.706 2.056 2.479 2.779

3.435 3.707

0.000 0.684 0.855 1.057 1.314 1.703 2.052 2.473 2.771

3.421 3.690

0.000 0.683 0.855 1.056 1.313 1.701 2.048 2.467 2.763

3.408 3.674

0.000 0.683 0.854 1.055 1.311 1.699 2.045 2.462 2.756

3.396 3.659

0.000 0.683 0.854 1.055 1.310 1.697 2.042 2.457 2.750

3.385 3.646

40

60

80

100

1000

0.000 0.681 0.851 1.050 1.303 1.684 2.021 2.423 2.704

3.307 3.551

0.000 0.679 0.848 1.045 1.296 1.671 2.000 2.390 2.660

3.232 3.460

0.000 0.678 0.846 1.043 1.292 1.664 1.990 2.374 2.639

3.195 3.416

0.000 0.677 0.845 1.042 1.290 1.660 1.984 2.364 2.626

3.174 3.390

0.000 0.675 0.842 1.037 1.282 1.646 1.962 2.330 2.581

3.098 3.300

Z 0.000 0.674 0.842 1.036 1.282 1.645 1.960 2.326 2.576

3.090 3.291 0% 50% 60% 70% 80% 90% 95% 98% 99% 99.8% 99.9% Confidence Level

APPENDIX 4

DOCUMENTATION

Image 1: Process Giving Pre-test Image 2: Process Giving Post-test

Image 1: Process Giving Pre-test Image 2: Process Giving Post-test

Image 3: Process Giving a Treatment in the Class

Image 3: Process Giving a Treatment in the Class

CURRICULUM VITAE

The researcher, Esse Hartina was born in Raddae,

on Oktober 29, 1996, Kecamatan Penrang, Kabupaten

Wajo. She is the tenth child of the elevent siblings, 5

brothers and 5 sisters from lovely couple of her parents

H. Muhammad Jeng and Hj. Indo Lawang. She started her

school at SDN 227 Doping and graduated in 2008. She continued her Junior High

School at SMPN 2 Penrang and graduated in 2011. Her Senior High School at

SMAN 1 Penrang and graduated in 2014. In 2015, she was registered and

accepted as the student of English Department, Faculty of Teacher Training and

Education at Universitas Muhammadiyah Makassar.

At the end of her study, She could finish her thesis with the tittle “The

Effect of Jazz Chant Technique toward Students’ Production of English

Suprasegmental Sounds at Third Semester in Universitas Muhammadiyah

Makassar”.