Code switching between vietnamese and english in vietnamese rap songs chuyển mã giữa tiếng việt và tiếng anh trong các bài hát rap tiếng việt

HUE UNIVERSITY UNIVERSITY OF FOREIGN LANGUAGES FACULTY OF ENGLISH GRADUATION THESIS CODE-SWITCHING BETWEEN VIETNAMESE AND ENGLISH IN VIETNAMESE RAP SONGS TON TUE THANH Major: Linguistics Supervisor: Dr.TRUONG BACH LE HUE, MAY 2022 ĐẠI HỌC HUẾ TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA TIẾNG ANH KHOÁ LUẬN TỐT NGHIỆP ĐẠI HỌC CHUYỂN MÃ GIỮA TIẾNG VIỆT VÀ TIẾNG ANH TRONG CÁC BÀI HÁT RAP TIẾNG VIỆT Sinh viên: Tôn Tuệ Thanh Lớp: AnhK15D Mã sinh viên: 18F7511496 Chuyên ngành: Ngữ văn Cán hướng dẫn: TS Trương Bạch Lê Huế, tháng 5/2022 Statement of Authorship I certify that the results obtained in this thesis are my original work and not copied by others All of the references are valid and properly mentioned Hue City, May 9th 2022 Signature of Student Ton Tue Thanh iii Abstract In the subject of linguistics, code-switching is a familiar notion It has a lot of interest from researchers in related subjects There are many aspects of code-switching that have not been investigated and researched Therefore, the researcher has done additional research in this area The goal of this paper is to look into code-switching in the entertainment sector, namely code-switching between Vietnamese and English in Vietnamese rap songs To undertake code-switching classification, this study is based on Poplack's (1979) and Gumperz's (1982) theories The linguistic aspects of codeswitching are also discussed The findings show that intra-sentential switching is the most common type of switching in songs, next is inter-sentential switching The codeswitching kinds discussed in the results section, however, not cover all of the codeswitching types discussed in the theory part Because of the differences in language between rap songs and conversations, metaphorical and situational code-switching in rap songs are not used Furthermore, this research also discusses why musicians adopt code-switching in their songs Finally, the researcher expects that more researchers will explore this subject more thoroughly and thoroughly in the future iv Tóm tắt khố luận Trong chủ đề ngôn ngữ học, chuyển mã khái niệm quen thuộc Nó nhiều quan tâm nhà nghiên cứu vấn đề liên quan Có nhiều khía cạnh chuyển mã chưa nghiên cứu tìm hiểu Do đó, nhà nghiên cứu định thực nghiên cứu bổ sung lĩnh vực Mục tiêu nghiên cứu xem xét chuyển đổi mã lĩnh vực giải trí, cụ thể chuyển mã tiếng Việt tiếng Anh hát rap tiếng Việt Để thực phân loại chuyển mã, nhà nghiên cứu dựa lý thuyết Poplack (1979) Gumperz (1982) Bên cạnh đó, khía cạnh ngôn ngữ chuyển mã thảo luận Các phát cho thấy chuyển mã thông tin câu kiểu chuyển đổi phổ biến hát, chuyển mã ngồi câu Tuy nhiên, kiểu chuyển mã thảo luận phần kết không bao gồm tất kiểu chuyển mã thảo luận phần lý thuyết Do khác biệt ngôn ngữ hát rap đoạn hội thoại, việc chuyển mã theo kiểu ẩn dụ tình hát rap khơng sử dụng Ngồi ra, nghiên cứu thảo luận lý nhạc sĩ áp dụng chuyển đổi mã hát họ Cuối cùng, nhà nghiên cứu kỳ vọng rằng, tương lai có nhiều nhà nghiên cứu tiến hành điều tra nghiên cứu chủ đề cách sâu sắc kỹ lưỡng v Acknowledgements I would want to offer my heartfelt gratitude to everyone who assisted me in finishing my thesis First and foremost, I want to thank the Faculty of English at Hue University's University of Foreign Languages for providing me with an excellent chance to conduct this research I would like to express my deep gratitude to my supervisor, Dr.Truong Bach Le This thesis could be accomplished in the most spectacular way thanks to his dedicated assistance and helpful instruction I would like to thank my family and friends for providing me with drive and encouragement Finally, I hope that this thesis will be beneficial and interesting to students studying code-switching in the future vi Table of contents Statement of Authorship iii Abstract iv Tóm tắt khố luận v Acknowledgements vi Table of contents vii List of tables ix List of charts x Chapter Introduction 1.1 Background 1.2 Aims of the research 1.3 Research questions 1.4 The scope of the study 1.5 Significance of the Study 1.6 Organization of the Study Chapter Literature review 2.1 Theoretical background 2.1.1 Definition of code-switching 2.1.2.1 Tag switching 2.1.2.2 Inter-sentential switching 2.1.2.3 Intra-sentential switching 2.1.2.4 Other types 2.2 Reasons for using code-switching in songs 2.3 Previous studious on code-switching 11 Chapter Methodology 13 3.1 Introduction 13 3.2 Research procedures 13 3.3 Data collection 14 3.4 Data analysis 20 Chapter Findings and discussion 21 vii 4.1 The types of code-switching used in rap songs 22 4.2 Linguistic features used in each type of code-switching 23 4.2.1 Intra-sentential switching 23 4.2.1.1 Intra-sentential switching on word level 25 4.2.1.2 Intra-sentential switching on phrase level 30 4.2.1.3 Intra-sentential switching on sentence level 33 4.2.2 Inter-sentential switching 35 4.2.2.1 Inter-sentential switching on word level 36 4.2.2.2 Inter-sentential switching on phrase level 39 4.2.2.3 Inter-sentential switching on sentence level 42 4.2.3 Tag switching 45 4.2.3.1 Tag switching on word level 47 4.2.3.2 Tag switching on phrase and sentence level 50 4.3 The purpose of using code-switching 51 4.3.1 Increasing emotions 51 4.3.2 Avoiding being vulgar 52 4.3.3 Making the lyrics shorter 52 4.4 Summary 53 Chapter Conclusion 54 5.1 Summary of research findings 54 5.2 Limitation of the study 55 5.3 Conclusion 55 References 57 Appendix 60 viii List of tables Table List of rap songs of Vietnam using in this research 20 Table Frequency and percentage of type of code-switching in rap songs 22 Table Statistics on the occurrence of levels in the intra-sentential switching classification 24 Table Frequency and percentage of type of words in intra-sentential switching 26 Table Frequency and percentage of type of phrases in intra-sentential switching 30 Table Frequency and percentage of type of sentences in intra-sentential switching 33 Table Statistics on the occurrence of levels in the inter-sentential switching classification 35 Table Frequency and percentage of type of sentences in inter-sentential switching 37 Table Frequency and percentage of type of phrases in inter-sentential switching 39 Table 10 Frequency and percentage of type of sentences in inter-sentential switching 43 Table 11 Statistics on the occurrence of levels in the tag switching classification 45 Table 12 Frequency and percentage of type of words in tag switching 47 ix List of charts Chart The type of code-switching in rap songs 23 Chart Percentage of levels in the intra-sentential switching classification 25 Chart Percentage of type of words in intra-sentential switching 26 Chart Percentage of type of phrases in Intra-sentential switching 31 Chart Percentage of levels in the inter-sentential switching classification 36 Chart Percentage of type of words in inter-sentential switching 37 Chart Percentage of type of phrases in inter-sentential switching 40 Chart Percentage of levels in the tag switching classification 46 Chart Percentage of type of words in tag switching 48 x Looking at the table above (Table 11), the researcher can come to the conclusion that in tag switching, the most used word with 42 instances Meanwhile, the phrase or sentence is only singular with instances and instances To make it easier to be understood, the researcher also provides the data into 15.68% 1.96% 82.36% Word Phrase Sentence Chart Percentage of levels in the tag switching classification chart Based on the chart above (Chart 8), the results show that words accounting for the highest percentage (82.36%), phrases and sentences only account for a small part (1.96% and 16.68%) In a sentence, tag switching can occur in independent elements Tag switching is sometimes called emblematic switching where the switch is simply an interjection, sentence filler, and also discourse marker Below, the researcher proceeds to give evidence to find the linguistic features used in tag switching 46 4.2.3.1 Tag switching on word level Words are used most in tag switching, accounting for 82.36 percent of the time (with 41 instances) The table below shows what kind of words are used in the switching process, according to the selected songs Number Type of word Frequency Percentage noun 19.51% verb 17.67% adjective 2.43% adverbial 9.75% conjunction 0 pronoun 2.43% exclamation 21 50.63% 42 100% TOTAL Table 12 Frequency and percentage of type of words in tag switching The researcher saw from the table above (Table 12) that the sorts of terms used are numerous, but their frequency is low With 21 instances, exclamation is the most commonly used word Other terms, such as nouns with instances, verbs with instances, adverbs with instances, and adjectives and pronouns with only instance, are scarce There is no conjunction To make it easier to be understood, the researcher also provides the data into chart 47 19.51% 17.67% 50.63% 9.75% 2.43% 2.43% noun verb adjective adverbial conjunction pronoun exclamation Chart Percentage of type of words in tag switching Based on the chart above (Chart 9), the results show that exclamation accounting for the highest percentage (50.63%) The percentages of verbs and nouns are 17.67% and 19.51% While, the remaining words account for a relatively small percentage Adverbs account for 9.75%, adjective and pronoun account for 2.43% And the conjunction has no percentage since it doesn't appear in the datastore To make the explanation be clearer, the researcher gives the analysis of the example below: 42) (N82L25) Please, đừng vội vàng nói lời ngồi tai [exclamation] [Lời đường mật – Lyly, Hieuthuhai] 43) (N100L1-3) No, no, no, no Oh, baby girl Yah, yah 48 [exclamation] [Va vào giai điệu – MCK] In excerpts (42) and (43), the italic words are the English words, they start before the Vietnamese sentence and functioned as a exclamation word such as “oh”, “no”, “yeah”, “yah”, “please” They are inserting a tag from Vietnamese to English 44) (N92L4-6) Hôm câu chia tay em nói ngang ngược Uhm, alright [adjective] [OK – Binz] 45) (N97L43) Cool cool, giơ tay lên cần [adverbial] [CUA – Hieuthuhai] 46) (N86L14) Wait, anh bay bổng học hàng không [verb] [Sang xịn mịn – Gill] 47) (N38L9) mặc mày mạt sát,f*ck [verb] [Don’t waste my time – Lil Wuyn] In excerpts (44), (45),(46), (47), other words are also used like "alright, cool, wait, f*ck" to switching The replacement of a Vietnamese word with an English word, in other words, is a tag with independent meaning 49 4.2.3.2 Tag switching on phrase and sentence level In tag switching, sentences and phrases account for too little number The researcher has combined everything into one In terms of phrases, only the adverbial phrase is used, in one instance In terms of sentences, there are use instances In which, all use single sentences with exclamative functions (6 instances), and interrogative and declarative function (1 instance) Below, the researcher will give examples and analysis to clarify the above results 48) (N98L48-50) Bởi khơng đơi vơ lý Wow [simple sentence – exclamative sentence] Alright? [simple sentence – interrogative sentence] [1-800-LOVE – Hieuthuhai] 49) (N41L28) Holy sh*t! tao tới [simple sentence – exclamative sentence] [Noi may nghe – Lil Wuyn] 50) (N8L20) Ra chơi đi, yes or no? [Adverbial phrase] [Người người đừng - Đức Phúc, Suboi] In excerpts (48), (49), (50), the adverb phrase "yes or no" is used at the end of a sentence The sentences "Wow, Alright?, Holy sh*t!” act as a stand-alone sentence The transcoding process involves replacing Vietnamese speech with an English word The content of the replaced phrases and sentences is independent 50 In general, phrase and sentence-based transcoding is not popular in selected rap songs when it comes to tag switching The term type is used more frequently, and it is mostly used as an exclamation Tag switching is less common in the selected song database than other types of code-switching like intra-sentential or inter-sentential switching 4.3 The purpose of using code-switching The researcher summarizes and presents justifications for employing codeswitching based on the collected data for each form of code-switching and the specified language features The reasons given below may be the answer for many artists using code-switching in their songs 4.3.1 Increasing emotions The use of exclamatory phrases or sentences enhances the expressiveness of the lyrics To further understand this point of view, consider the following examples: 51) (N98L48-50) Bởi khơng đơi vơ lý Wow [1-800-LOVE – HIEUTHATHU] 52) (N63L19) Yeh baby anh yêu em nhiều [Anh OK – MCK] 53) (N65L10) Anh khơng reply em có tí âu lo yeah [Suy – MCK] 54) (N100L12-16) Oh no, yeah [Va vào giai điệu – MCK] Exclamation words like "wow", “yeah”, “oh no” show surprise, excitement, joy, and other emotions When Vietnamese words are replaced with English terms, the songs become more dynamic and appealing to listeners Tag switching might 51 function to express shock, amazed, attracted, but related to the song, tag switching may functions to beautify the song and balance the rhythm and sound 4.3.2 Avoiding being vulgar When you need to express certain crude notions, replacing Vietnamese words with English words is a good alternative The lyrics maintain the rhythm while also making the music more respectful of the listener To demonstrate this, the following instances are given: 55) (N3L2) Vì sống tao gắn liền moneу and bitch, đời bể dâu [Color of life – Lil Shady] 56) (N40L31) Hey b*tch [RAP CHO – SMO, Lil Wuyn] 57) (N57L25) Thằng bạn em tức anh fuck nhỏ crush [Phép màu – B Ray] 58) (N32L50-57) "Popo like shit, mother fucker" [Khu tao sống – Wowy] English terms like "bitch", “fuck”, “shit” express a negative, vulgar sense in the examples above When mixed with Vietnamese language, however, the rap song will be less affected by the negative connotation while still expressing what the artist wants to say 4.3.3 Making the lyrics shorter In reality, some English terms are significantly shorter and easier to understand than Vietnamese words The researcher provides the following examples: 59) (N60L55) Em ko phải crush, em không phai thứ khó cai 52 [Đừng tin her – B Ray] 60) (N46L29) Nhìn anh lúc fresh [Bigcityboy – Binz] 61) (N46L29) Em mang makeup từ sáng đến tối [ Sao – Binz] 62) (N77L78-85) Anh king em queen [Ala ela – Gducky, Karik] Some Vietnamese terms and phrases are replaced with the English words stated above It seems that the singers turn to English words to simplify words For example, “crush” is for “người thầm thích”, “fresh” is for “tươi mới”, “makeup” for “trang điểm”, “king” for “vua”, “queen” for “nữ hoàng The vocalists switched to English because English words had fewer syllables than Vietnamese words Furthermore, the researcher believes that switching from Vietnamese to English has a significant impact on the song's melody and rhythm The use of English and Vietnamese alternately encourages listeners to pay attention to the song while also providing special and unique aspects for the tune 4.4 Summary To summarize, the findings of the study have revealed a number of intriguing facts about code-switching in Vietnamese rap songs Intra-sentential switching is the most prevalent sort of code-switching, with more fields appearing than the other two In these circumstances, however, metaphorical and situational code-switching are not used It could be owing to the artist's nature or the need for a greater level of foreign language proficiency In terms of linguistic characteristics, the researcher discovered that the sorts of words, as well as the types of phrases and sentences utilized in the songs, are diverse 53 Chapter Conclusion In chapter 4, the study's findings were provided; in this chapter 5, the research paper will be summarized and concluded This chapter will be divided into three sections The first section will summarize the findings of the researcher The second section will also discuss the constraints that the research has not overcome The researcher will present the research's final conclusion in the final section 5.1 Summary of research findings Research question 1: What are the types of code-switching used in rap songs in Vietnam? Following an analysis of 100 rap songs, the researcher discovered 1152 instances of code-switching Intra-sentential switching is the most common form, accounting for 62.23 percent of instances (717), followed by inter-sentential switching (384 instances, 33.33 percent), and tag switching have 51 instances (accounting for 4.44 percent ) As a result, all three types of code-switching can be seen in the song Because code-switching in conversation differs from song lyrics, as discussed in Chapter 2, which is why situational and metaphorical codeswitching are not used Research question 2: How are linguistic features expressed in English lyrics? The next part also notices and analyzes linguistic aspects There will be multiple levels of usage at the level of words, phrases, and sentences with each sort of code-switching Words contain 496 examples (69.18 percent) with intrasentential switching, phrases have 189 instances, and sentences have 29 instances The researcher discovered that nouns are the most commonly used words after performing a word level analysis (with 336 instances out of 496 instances) Other terms such as verbs, adjectives, adverbs, exclamation, pronoun, and so on are also utilized There are noun phrases, adjective phrases, verb phrases, and other types of 54 phrases The simple sentence is the one with the most proportion and a declarative function at the sentence level Research question 3: What are the reasons leading to the use of code-switching in rap songs in Vietnam? Finally, the researcher discovered the reasons for code-switching in rap songs after evaluating and sketching research results As discussed in Chapter 1, code-switching has become a new trend in the entertainment business in Vietnam As a result, the study discovered that many artists employ English rather than Vietnamese for various purposes First, singers use exclamation words like "wow," "yeh," and "yes" to make the music more vivid and emotional Second, when artists want to employ terms with bad meanings, code-switching will avoid vulgarity In order to make the lyrics shorter, English words have been substituted The songs' melodies and rhythms become smoother, more fascinating, and appealing to listeners 5.2 Limitation of the study The study was still incomplete in every way, according to the researcher Although scholars have looked at decoding the properties of code-switching in music However, the attitudes of music listeners, particularly English learners, have not been investigated As a result, the researcher expects that additional researcher will investigate this topic in the future, in order to discover how code-switching impacts English students and to form a positive or negative opinion about it 5.3 Conclusion Research results have brought many interesting things to researchers Aside from the many sorts of code-switching, the researcher discovered that codeswitching in Vietnam has become exceedingly varied, with a wide range of applications Code-switching has acted as a support, providing better clarity and explanation for certain terms, jargon, and phrases Furthermore, code-switching in songs enables songwriters to transmit specific values, beliefs, attitudes, and 55 emotions in their songs, enhancing the power of the lyrics and allowing listeners to relate to themselves and better understand the songs Finally, the researcher believes that this research will serve as a foundation for future research on the peculiarities of code-switching in rap songs 56 References Alcnauerová, Z (2013) Code-switching and Code-mixing as Persuasive Strategies in Advertising Masaryk University Faculty of Arts Department of English and American Studies Babalola, E & Taiwo, R (2009) Code-switching in contemporary Nigerian hiphop music Itupale Online Journal of African Studies, 1, 1.26 Bao , T.D (2011) Vay mượn, chuyển di, chuyển mã, hòa mã thích ứng thực tiễn tiếp ngơn tiếng Việt châu Úc http://lib.ussh.vnu.edu.vn/jspui/bitstream/123456789/2712/1/65.pdf Bokamba E (1989) Are there Syntactic Constraints on Code-mixing? 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