the effect of jazz chant technique toward students’ production of english ... · 2020. 9. 25. ·...
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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
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UNIVERSITAS MUHAMMADIYAH MAKASSAR
FAKULTAS KEGURUAN DAN ILMU PENDIDIKAN Jl. Sultan Alauddin No. 259 Telp. (0411) 866972 Makassar 90221
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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
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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
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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.
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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
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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
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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).
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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
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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
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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
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improvement of students‟ production of English suprasegmental sounds before
and after implementing Jazz Chant.
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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
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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
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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.
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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)
38
38
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”.