Trang 1 BINH DUONG PROVINCIAL PEOPLE’S COMMITTEE THU DAU MOT UNIVERSITY VU THI THUONG THUONG A SYNTACTIC ANALYSIS OF DOUBLE NEGATIVE VARIATIONS: A CASE STUDY OF ENGLISH SONGS MAJOR: ENGL
INTRODUCTION
Background to the study
“Music and language are the two ways that humans communicate and express themselves through sound Since birth, babies start to listen and produce sound without distinguishing between music and language, singing, and speech.”
Due to the increasing trend of globalization, English, especially through
English songs, is gaining widespread popularity worldwide In the realm of language learning, songs are recognized as effective tools for teaching the English language Degrave’s (2019) study advocates for the incorporation of music-related methodologies in foreign language classrooms, highlighting their potential benefits in acquiring language skills Certain songs, characterized by clear pronunciation and simple sentence structures, facilitate learning, enabling learners to practice pronunciation and expand their vocabulary Singing, as a language learning method, aids in mastering the rhythm of a language, shaping speech sounds, and connecting words in natural speech patterns Numerous researchers, including
Leith (1979), Gatti-Taylor (1980), and Wardiman, M., & Dewi, A (2022), have affirmed the effectiveness of using English songs for language pedagogical purposes
In line with research in Vietnam, several studies, such as those conducted by Ho Thi Kieu Oanh & Nguyen Do Ha Anh (2017), Ha Thi Kim Linh et al
(2020), Nguyen Cam Tien & Nguyen Buu Huan (2020), Lam Thi Ngoc Dieu &
Nguyen Duy Khang (2022), have explored the application of music or songs in
English language teaching These studies consistently demonstrate the positive impact of music on second language learning, emphasizing its usefulness in enhancing the quality of English teaching in Vietnam and meeting learners’ needs and interests in a global context
English language music, being widely listened to across the globe, presents a valuable resource for language learners Notable songs such as “Nothing is impossible” by Planetshakers (2008) and “No one knows nothing” by Billy Bragg
(2013) raise interesting syntactic questions due to their unconventional grammar
The titles contain negative subjects and negative objects, a syntactic feature rarely emphasized in traditional English grammar education Beyond song titles, syntactic features, such as DN or negative concord (NC), are prevalent in song lyrics, as seen in sentences like “I’ll never do you no harm” from The Beatles’
“Oh! Darling” or “I just can't get no relief” from Queen’s “Somebody to Love”
While some studies have acknowledged the role of songs in improving
English grammar, there is a notable gap in the literature regarding the acquisition of specific syntactic structures through songs Shaffer’s (2004) study mentions the effectiveness of songs in improving pronunciation, vocabulary, and listening but notes the absence of research on learning syntactic structures through songs
Engh’s literature survey (2013) also highlights a scarcity of resources focusing on grammatical activities in song-based language lessons The present research addresses this gap by focusing on the analysis of grammar structures, particularly the phenomenon of DN, offering insights that can benefit both language pedagogy and practical language application.
Statement of the problem
Observably, there has been limited research that specifically examines the use of songs as a medium for language learning, especially with regard to the analysis of syntactic DN This gap is particularly evident in the context of
Vietnam, where research on DN structures remains scarce However, it has been observed that many Vietnamese language learners frequently incorporate song lyrics into their daily communication and even academic writing This suggests a practical interest in using songs as a language learning tool In light of these observations, there is a need to delve deeper into the practical applications of language and explore the nuances of grammar in practical use This study is motivated by a desire to investigate the phenomenon of DN in English songs, aligning with the researcher’s enthusiasm for exploring the English language as it appears in musical forms Consequently, this research paper aims to make a significant contribution to the understanding of DN, shedding light on the various
DN patterns found in English songs Furthermore, within the scope of this research, the researcher aspires to create educational materials that will raise the awareness of Vietnamese English learners regarding the grammatical structures present in English songs These insights can be applied not only to general translation but also to the specific field of song translation.
Aims of the study
In view of the effectiveness of employing songs for English language instruction in enhancing language learning quality, this study acknowledges that songs encompass a rich array of new vocabulary, phrases, and linguistic patterns
Despite extensive research on DN phenomenon, there is a significant gap in understanding the specific functions of DN within the context of English songs
While previous studies have provided general insights into DN, none have undertaken a syntactic analysis of the role of negative elements and their variations in English song lyrics Therefore, this research aims to achieve two primary objectives: (1) conduct a comprehensive study of DN variations in the context of English songs, and (2) elucidate the population of DN patterns applied in English songs The research findings aim to provide distinctive markers and characteristics for identifying DN in practical English language usage, both in general contexts and within the domain of English songs Additionally, individuals with an affinity for singing English songs can gain valuable insights into the rationale behind the incorporation of unconventional grammatical elements, such as DN, in song titles or lyrics Ultimately, the research aspires to contribute to the field of translation To fulfill these research objectives, a corpus of 100 English songs was analyzed, comprising 168 sentences or clauses extracted from song titles or lyrics by various artists obtained from websites such as Youtube.com and
Billboard.com The resulting data were categorized into 12 distinct patterns of DN structures, enabling the assessment of their educational value for language learners.
Research questions
According to the argument in the background, this paper purpose to answer following questions:
1 What are teachers’ and students’ awareness of DN?
2 What are patterns of DN popular in English songs?
Scope of the study
Regarding the grammatical phenomenon of DN, there are various aspects that can be explored, including distinctions between standard and non-standard usage, the pragmatics and semantics of DN in different contexts such as movies, poems, and literature However, this research primarily focused on the analysis of language usage patterns, specifically the use of DN in English songs
The researcher’s primary focus was on examining sentences that contain
DN within a corpus of 100 English songs The selection of songs in the corpus deliberately was a span from 1956 to 2023 to explore the variations in DN patterns, assess their prevalence, and understand their distribution The overarching aim is to bridge the divide between formal language instruction and the practical use of language in real contexts, with the ultimate goal of enhancing language learning and teaching, irrespective of whether the language used is considered standard or non-standard
Additionally, this study evaluated the awareness and attitudes of educators and students toward DN The research adopted a survey-based approach involving
10 lecturers and 90 students from the 2nd, 3rd, and 4th years at the Faculty of
Foreign Languages at Binh Duong University (for further information about
BDU ) 1 The study placed significant emphasis on how participants practically apply English language structures, including DN, in pratical situations such as in song lyrics.
Significance of the study
The researcher hopes that this research will be valuable both conceptually and practically
Conceptually, this dissertation aims to enrich the understanding of the grammatical structure of DN as it is utilized within English songs It provides a comprehensive and detailed syntactic analysis of the distribution of DN structures, shedding light on their usage within the broader context of the English language and, more specifically, within English song lyrics The outcomes of this study are poised to serve as a foundational model for future academic research endeavors addressing similar topics related to the investigation, teaching, and learning of the
Practically, the research findings have relevance for educators and translators alike It is anticipated that this paper will contribute to the pedagogical and translational aspects of teaching English grammar and translating English songs For learners interested in delving into the English language or those who aspire to sing English songs, this research aims to provide explanations that foster a deeper comprehension of the language under study By gaining insights into linguistic aspects, learners can enhance their singing abilities by grasping the
( 1 ): Link of BDU’s website: https://tuyensinh.bdu.edu.vn/ rhythm of lyrics and the broader rhythmic nuances of the language This practical dimension is expected to benefit individuals seeking to improve their language skills and musical performance.
Organization of the study
This thesis includes 5 chapters as follows:
Chapter 1: Introduction – Chapter 1 functions as the introductory section of the thesis, establishing the initial overview and context for the research It comprises seven main sections, each serving a distinct purpose within the chapter These sections are as follows: “Background to the study”,
“Statement of the problem”, “Purposes of the study”, “Research questions”,
“Scope of the study”, “Significance of the study”, and “Organization of the thesis”
Chapter 2: Literature review – This chapter provides the theoretical foundation for the study and consists of two primary sections: the theoretical framework of DN and the previous studies related to this topic The principal objective of this section is to support the researcher’s thesis by drawing upon and exploring existing studies in the field
Chapter 3: Research Methodology – Chapter 3 elucidates the research methods employed in this study This chapter provides an exploration of the meticulously crafted methods used for data collection, analysis, and presentation, all aimed at addressing the research questions The chapter comprises sections on
“Research design”, “Sample and sampling procedures”, “Research instruments”,
“Data collection and analysis procedure”, and “Reliability and validity”
This chapter offers a comprehensive presentation of the study’s findings and the subsequent discussion of those findings The findings are methodically presented in alignment with the sequence of the research questions Subsequently, the chapter provides an in-depth discussion of these findings
Chapter 5: Conclusion – This final chapter encapsulates the research findings, highlights the limitations inherent in this thesis, and proposes directions for future studies in relevant fields
Chapter 1 lays as the stage for the study by providing a comprehensive introduction to the research area It begin by presenting the background of the study, highlighting the significance of investigating DN within the unique context of English songs The chapter articulates the research problem and questions, emphasizing the need for a nuanced understanding of DN, particularly in the realm of linguistic variation found in song lyrics Furthermore, the chapter outlines the research objectives, offers a roadmap for the subsequent chapters The significance of the study is underscored, addressing gaps in existing research and the potential contributions of the current investigation Lastly, the chapter provides an overview of the research methodology, gives readers insights into how the study was conducted.
LITERATURE REVIEW
Theoretical framework
2.1.1 An overview of double negatives
In the realm of linguistic discourse, it is commonly known that two negatives cancel each other out to form a positive, but whether this holds true remains a subject of debate According to Bystrov et al (2018, p.01), despite the general rule that two negations in the same clause usually cancel each other out, resulting in an affirmative sentence, the phenomenon of DN in English remains a contentious issue While this represents the primary interpretation of a DN sentence, the researcher is curious about the existence of other reasons for using
DN in a sentence English, with all its intricate complexity and subtleties, incorporates specific purposes and explanations for this structure To delve into this matter, this section will provide a brief introduction to the concept and characteristics of negation in English sentences
As per Horn (1989), negation represents a fundamental element in both human language and cognition It serves as the linguistic mechanism employed when individuals wish to assert that something is untrue or not the case, utilizing negative words, phrases, or clauses Negation can happen in a number of ways, with the frequent deployment of negative words such as no, not, never, none, nobody, etc (based on The Cambridge Dictionary) Horn (1989) notes on the form of negative sentences: “The expression of a negative sentence is always marked in comparison to its affirmative counterpart.” In general, the expression of negation form can be categorized into two distinct strategies
The initial strategy involves the utilization of specific adverbs, such as no and not, to negate a sentence Grammatically, these negative markers are frequently employed with auxiliary verbs like do or be to reverse the intended meaning of a sentence An illustration of this is found in the song “I Ain’t Worried” (meaning “I am not worried”), a top 100 song by the artist OneRepublic released in 2022, as featured on the Billboard.com website
The second strategy involves the use of negative particles to convey sentential negation These negative particles manifest in various forms, including:
(1) Negative pronoun markers: no one, nobody, none, nothing, nowhere, as illustrated in the sentence “Nobody came to the house for several days.”
(2) Negative adverb markers: never, few, hardly, little, rarely, scarcely, seldom, as demonstrated in sentences like “There are rarely ducks in this pond.” or
“We seldom hear any noise at night.” (Cambridge Dictionary)
(3) Affixal negative markers: words employing prefixes (e.g., de-, dis-, un-) and suffixes (-less), for instance, “He was very disrespectful to the teacher.” or “This new printer is useless; it’s always breaking down.” (Cambridge
The following table presents common formations of negative forms:
Table 2 Common formation of negative forms
Negative statements are constructed by adding “not” after be, modal, and auxiliary verbs “n’t” serves as the contracted form of
“not.” In informal language, “n’t” can be added, without a space, to be, to modal verbs (excluding “may”), and to auxiliary verbs (do and have)
The contracted negative form of
She’s not feeling very well
She might not be joking It could be true
They don’t go to school on Wednesday afternoons
Living in a small flat does not make it easy to have pets
“will” is “won’t.” Additionally, the uncontracted form of “can + not” is
I hadn’t decided whether to take the train or go in the car
Negative questions are constructed using “not” or “n’t.” In the absence of a modal verb or “be,” the auxiliary verb “do” is employed along with “n’t” (don’t, do not, doesn’t, does not, didn’t, did not) In case of negative questions that begin with WH-questions, the auxiliary verb + “not” is placed after the words Who, Why, What, Which, How
Why didn’t you ask Linda?
Won’t we able to see the film?
Negative orders or commands are formed by employing “do + not” or “don’t ” + the base form of a verb
Do not open until instructed
Don’t take the car Go on your bike
The word “ain’t”, according to the Oxford Advanced Learner’s Dictionary, is categorized as a non-standard, informal short form of various verb contractions
It can represent contractions of “am not”, “is not”, “are not”, “has not”, or “have not” The usage of “ain’t” in these cases is colloquial, denoting a more relaxed, everyday way of expressing negation, as opposed to the formal and standardized
Interestingly, within the scope of the English song corpus analyzed in this study, “ain’t” showcases further versatility It can also function as a contraction of
“was not” or “were not” In this extended usage, “ain’t” functions as a contraction for auxiliary verbs and “not” with the emphasis placed more on conveying negation effectively to suit the specific context or purpose, rather than being strictly tied to a particular tense This flexibility allows songwriters to utilize “ain’t” in a way that best serves the lyrical content and meaning, highlighting the adaptable nature of the English language in songwriting
Typically, the introduction of a second negative in a word or sentence would negate the meaning brought about by the first negative, essentially creating a DN that returns the meaning to its original state The Online Oxford
Advanced Learner’s Dictionary defines this as a negative statement containing two negative words “I didn’t say nothing” is a DN because it contains two negative words “didn’t” and “nothing” This use is not considered correct in standard English.” Essentially, a DN can either affirm or obscure the meaning of a sentence For example: “Wasn’t nothing much she could say” can be understood as “She said something” (Blanchette, 2015, p.103)
While Quirk (2016) labels this as substandard English, an increasing number of people disagree with such categorization Language extends beyond the confines of grammar rules and natural logic, involving aspects such as pragmatics, sociolinguistics, and dialectology, which cannot all be addressed in this paper Despite numerous warnings against the use of DN as non-standard
English, examples are prevalent in many English song lyrics For instance, an additional “no” might be inserted to fill an empty syllable or add emphasis, as seen in “I can’t get no satisfaction.” from The Rolling Stones’ song
“Satisfaction” or “ain’t no sunshine when she’s gone.” in Bill Withers’ “Ain’t
No Sunshine” In accordance with the book “My Grammar and I (Or Should
That Be “Me”?)” (Taggart, C., & Wines, J A.’s, 2011), “DN are permissible – indeed, useful – when they convey cunning nuances of meaning.” This paper, therefore, concentrates on the effectiveness of DN in conveying meaning, adopting the theory of Taggart and Wines (2011) and exploring the DN syntactic structure based on Blanchette (2015)
2.1.2 The characteristics of double negatives
It is probably not a coincidence that one of the most familiar instances of such an expression is also the title of a song or song lyrics When Tom Jones sings
“It’s Not Unusual” to be loved by anyone, it has a different meaning than would be construed by “It’s Usual.” In addition, if we all agreed that being loved was an everyday thing, would we sing this much about it?
According to Taggart and Wines (2011), “DN are permissible – indeed, useful – when they convey cunning nuances of meaning.” Once in a while, we encounter a DN expression that is purposefully crafted because it expresses something slightly different from what the sentence would mean without the negatives Consider the following - one shining example is Tom Jones’ legendary song “It’s not unusual”:
“It’s not unusual to be loved by anyone,
It’s not unusual to have fun with anyone, But when I see you hanging about with anyone, It’s not unusual to see me cry…”
Previous studies
Teaching grammar is a longstanding concern in English as a Foreign and
Second language instruction (Mukundan & Roslim, 2009) The incorporation of songs in language classrooms for grammar teaching is recognized for its advantages, offering learners an entertaining and relaxing way to grasp structures
(Saricoban & Metin, 2001) Various linguistic studies on songs have explored aspects of English language teaching, including vocabulary, listening, speaking, phrasal verbs, and tense, exemplified by works such as Mart’s (2012) exploration of teaching phrasal verbs through songs, Ramadhanti’s (2021) focus on teaching simple past tense through songs, and Muflihah’s (2017) investigation into using songs to enhance students’ vocabulary mastery
However, a notable research limitation is the scarcity of studies addressing
DN in English songs, primarily due to its association with poor grammar and potential confusion While discouraged in formal English teaching, DN are occasionally employed in everyday casual speech and are prevalent in popular song lyrics Numerous experiments have explored the use of music to teach diverse grammar concepts, with the repetition of songs aiding natural oral expression Fagerland’s (2006) study investigated the relationship between music and grammar, specifically focusing on reflexive pronouns, the plural “s” and the structure “another and I” for English as a second language (ESL) students The test group exposed to music interventions outperformed the control group, emphasizing the effectiveness of song repetition and natural intonation in aiding grammatical structures
John McWhorter (2020) explores the DN question “DN in English: Are they really wrong?” By referencing historical grammar rules articulated in the works of Robert Lowth and Lindley Murray during the 1700s, McWhorter posits that DN were historically prevalent in English In the past, it was acceptable to use constructions like “I can’t sing anything” indicating that DN were permissible, especially when emphasizing certain expressions, without being deemed ungrammatical or incorrect
Bitton (2021) asserts that DN is marked by the presence of two grammatical negations within the same clause, offering for various interpretations Using the example of “I can’t get no satisfaction”, the negation occurs twice, emphasizing the speaker’s inability to achieve satisfaction The deployment of two negatives intensifies the negative idea, making it more emphatic However, when analyzing
Obama’s statement “Time is not unlimited” (Brett, 2012), the negative elements offset each other, resulting in a weak positive interpretation, implying that time is indeed limited A nuanced understanding of the grammar and usage of these conflicting meanings is crucial when dealing with DN Bitton recommends that the versatility of DN, observable in both rock songs and presidential speeches, highlights its adaptability across diverse writing styles The capacity of DN to enhance writing with flair and add nuance to meaning underscores its flexibility
In Vietnam, numerous researchers have explored the advantages of incorporating music into second language teaching and learning, with a focus on enhancing pronunciation, vocabulary, listening skills, communicative competencies, and offered pedagogical insights For instance, a study conducted by Ho Thi Kieu Oanh & Nguyen Do Ha Anh (2017) compared rhetorical devices in children's songs in English and Vietnamese The outcomes provided valuable insights for teachers and learners on understanding and effectively using rhetorical devices in teaching and learning both languages More recently, Ha Thi Kim Linh et al., (2020) highlighted the significant positive effects of integrating music into second language learning Their research demonstrated that using music is an exceptionally useful tool for enhancing language skills, particularly in developing students’ pronunciation and communication abilities Concurrently, Nguyen Cam
Tien & Nguyen Buu Huan (2020) introduced a novel method to enhance the quality of English teaching and learning in Vietnam, aligning with the needs and interests of learners in the global context The findings indicated positive effects on young learners’ vocabulary acquisition and language learning In a related study, Lam Thi Ngoc Dieu & Nguyen Duy Khang (2022) investigated the use of
English songs for teaching listening skills to young learners Their research affirmed that employing English songs is among the most effective techniques for improving young learners’ communicative competencies, particularly in listening skills However, there is a notable gap in research attention towards syntactic structures, such as the DN structure In Vietnamese, there are few references relevant to the DN phenomenon
Ngo Huu Hoang (1999) compares DN in Vietnamese and English He states that there are numerous ways to express negativity in language, including the use of negative operators and constructions Virtually every linguistic community worldwide has developed unique forms of DN, and this phenomenon serves as a testament to the complex nature of human thought His findings presented that there are various specialized variations, two of which are double negation and surplus negation Both the Vietnamese and English languages offer ways to create
DN through the interaction of two negative operators His article initially addresses this topic with reference to English-Vietnamese data, and the findings presented provide insights for broader research In terms of meaning, this usage of
DN is logically interpreted as conveying a positive meaning, typically employed for pragmatic and stylistic purposes The purpose of using DN is to accentuate the meaning, introduce nuanced elements, and convey the speaker’s intention, which is context-dependent In practice, these expressions are used so frequently that they have become well-established conventions Therefore, it would be incorrect to label them as non-standard or illogical
What is more, the English magazine “Internet Olympiads of English” (IOE,
2016), published by the Ministry of Education and Training of Vietnam, previously introduced the concept of DN and provided practical exercises for learners This educational magazine emphasized to students that during exams, they should use standard English However, in their daily lives, such as when listening to conversations, music, or movie dialogues, they may come across non- standard linguistic forms like DN It is crucial for students to understand that grasping DN is more about comprehension than actual usage
Recently, Bui Kim Lan’s (2018) article investigates the expression of DN in
Vietnamese language The researcher underscores that both affirmation and negation serve as fundamental linguistic elements in any language Numerous concepts can be conveyed in either affirmative or negative forms By conducting an analysis of DN structures, including “Negative Subject”, “Negative Predicates”,
“Negative Subject + Negative Predicates”, “Clause of Negative Complex
Sentence”, and making comparisons between the expression of “Double negative and Affirmative Form” the researcher demonstrates that the Vietnamese language system exhibits a greater prevalence of negative expressions compared to affirmative ones This prevalence is a common phenomenon due to the flexible nature of each pair of negative words, which can be combined with various modal or generalized words to generate diverse semantic nuances Consequently, in
METHODOLOGY
Research design
A descriptive design was utilized in conducting the study to explore teachers and students’ perceptions of the principles of DN, and their perceptions towards the DN variations used in English songs Descriptive research was chosen for it is used to describe achievements, attitudes, behaviors and other characteristics of a group of subjects (Shumacher, 2001, p 283) Moreover, in this study, the researcher used a mixed-method approach (i.e the combination of quantitative and qualitative methods) because according to Schumacher (2001), it is increasingly recognized that both quantitative and qualitative methods are valuable and a combination of the two methods can be found in almost every applied social research Quantitatively, the research relied primarily on the questionnaire; Qualitatively, the research relied primarily on the observation as each source of data has its own strengths and weaknesses, Patton (2002) recommends that multiple sources of information be used in data collection because no single source of information can be trusted to provide a comprehensive perspective According to Creswell (2012, p.626), moreover, “qualitative research is an inquiry approach useful for exploring and understanding a central phenomenon” In alignment with the problem statement, this study specifically concentrated on the central phenomenon observed within the domain of syntactic analysis of sentence structures in English songs Therefore, the employment of the two instruments in data collection enabled the researcher of the study to compensate for the strengths and weaknesses of each data source.
Sample and sampling procedures
For the purpose of this research study, a mixed-method approach was adopted, necessitating the involvement of two primary groups of participants: one for quantitative analysis and another for qualitative analysis This approach allows for a comprehensive examination of DN in song lyrics, addressing two key research questions
In the qualitative aspect of the study, the researcher collected a corpus of
168 sentences or clauses extracted from the titles or lyrics of 100 English songs
(See Appendix 1) The songs were sourced from popular platforms including
Youtube.com, Azlyrics.com, and Billboard.com The selection criteria for these songs encompassed those published between 1963 and 2023 that featured variations within the English grammar These sentences or clauses were used as the basis for the qualitative analysis of DN variations in English songs Selecting songs from the years 1963 to 2023 served the purpose of confirming their popularity over an extended period This approach ensured that individuals involved in English teaching and learning have substantial and immediate exposured to the real-world usage of English language structures By including songs from various eras, the research captured the evolution and enduring relevance of DN variations in English grammar, which was valuable for both educators and learners
Sampling: Due to the population size and limitations in terms of time for the thesis, it was not feasible to collect data from all individuals, so a sample had to be chosen Additionally, while there existed a probability sampling frame, the elements were dispersed and not conducive to the distribution and retrieval of questionnaires Therefore, non-probability sampling was used in this study
Sample Size: According to Hair et al (1998), a general rule for factor analysis is to have a sample size at least five times the number of observed variables Thus, with the 18 items used in the author’s study, the required sample size for data collection should be around 90 to 120 samples After preparing the quantitative questionnaire and identifying the target respondents, the researcher proceeded to distribute the survey to collect data
The quantitative phase of the research involved 95 participants comprising second-year, third-year, fourth-year students majoring in English (who completed the subjects - Practical Grammars), and 10 teachers at BDU-FFL were included in this group The total number of samples in this phase was 105
Teacher participants: 10 lectures were chosen as the sample due to their valuable contributions to the study All of these individuals were employed in the Foreign Language Faculty of BDU and possessed extensive experience in teaching the English language They hold master’s degrees in either English language or Teaching English to Speakers of Other Languages (TESOL) The sample screening process was conceptualized with the assumption that these teachers, having more experience in understanding and applying DN, would provide more fitting responses, leading to more accurate and reliable data After thorough consideration of the criteria, 10 lectures who met the requirements were carefully invited and selected for the investigation In terms of teaching experience, the majority of them have taught English for more than 5 years and they are the age of 30 to 55
Student participants: Initially, a group of 95 students majoring in English at BDU-FFL, comprising second-year, third-year, and fourth-year students, were chosen as participants for this study These students were reasonably comparable in terms of age, gender, and their experience in learning English However, after the questionnaires were collected, 90 of them were completely and appropriately filled out, resulting in a total of 90 student respondents The following tables present the demographic details of these student respondents
The tables below display the demographic information of the participants
Table 3.1 Frequency and percentage of participants’ gender
Valid Frequency Percent Valid Percent Cumulative Percent
As it can be seen in Table 3.1, the data shows the gender distribution of 100 participants There are 34 male participants and 66 female participants In other words, 34% are male and the other 66% are female These percentages highlight the proportion of each gender within the total participant group
Table 3.2 Frequency and percentage of participants’ age
Table 3.2 displays the age distribution of students, revealing that 31% of students fall within the 18 to 19-year-old range, 23% are between 20 and 21 years old, 34% are aged 22 to 23, and a mere 2% of students are 24 years old or older
This data underscores that the majority of students are situated in the 18-23 age bracket Furthermore, the data also indicates that teacher age distribution consists of 1% of teachers aged 31 to 35, 3% of teachers falling within the 36 to 40 age range, and 6% of teachers aged 41 or older Teachers make up 10% of the total participants in the survey
Table 3.3 Frequency and percentage of students’ years and teachers’ experimence
Table 3.3 displays the frequency and percentage distribution of students’ academic years and teachers’ years of teaching experience Firstly, the data related to students’ academic years reveals that 38% of the students are in their second year, while 26% are in their third year, and an additional 26% are in their fourth year Moving on to the data concerning teachers’ teaching experience, it indicates that 2% of teachers have taught for a duration ranging from 1 to 5 years Similarly,
2% of teachers have teaching experience spanning from 6 to 10 years, 2% have taught for 11 to 15 years, and 4% have teaching experience exceeding 15 years.
Research instruments
In this study, two distinct data collection instruments were utilized: a questionnaire for gathering quantitative data and an analysis of English songs for collecting qualitative data
The decision to utilize questionnaires as the primary method of data collection in this survey is grounded in several advantages As pointed out by
Burns (1999), questionnaires offer a convenient means to gather responses from a large number of participants Furthermore, research by Seliger and Shohamy
(2000) highlights the cost-effectiveness of questionnaires in comparison to other data collection methods Additionally, the simultaneous distribution of questionnaires to all research subjects tends to yield more accurate data Therefore, a questionnaire was developed specifically for this study to address its unique objectives The questionnaire comprised three sections, as detailed in Appendix 3:
Part one aimed to collect demographic information, part two included 18 items related to teachers’ and students’ perceptions of DN variations, and part three investigated teachers’ and students’ awareness of the popularity of DN variations
The researcher used the 5-level Likert scale of Rensis Likert (1932) to design questionnaire items, offering response options ranging from 1 (Strongly Disagree) to 5 (Strongly Agree) From the survey results obtained, the researcher used SPSS software, Version 20.0 to evaluate the level of scale reliability through Cronbach’s
Alpha coefficient and Exploratory Factor Analysis (EFA)
For certain types of quantitative analysis and basic statistical calculations, it is recommended to employ both observation and Excel for data analysis Apart from the surveys, the research also opted for observation as it permits a detailed examination of a phenomenon in close proximity with the presence of various contextual variables, as noted by Selinger and Shohamy (2000) The primary benefit of this approach lies in its ability to eliminate subjective bias during observation Unlike surveys, it is not reliant on respondents’ willingness to participate, as it requires no active cooperation from them Additionally, it empowers researchers to capture real-time occurrences within the observed context In way of observation, the researcher investigated the negative markers, then focused on the titles and lyrics which contain two negative elements in a sentence (See Appendix 1) The data for this research was gathered through the application of document and content analysis techniques Tavakoli (2012, p.180) defines document analysis as the examination of written or text-based artifacts
(such as textbooks, novels, journals, newspapers, transcripts, letters) or non- written records (like photographs, websites, musical performances, images)
For document or content analysis, the computer software Excel was used to find hits and structures attached to keywords of DN the study aims at Excel is a widely used spreadsheet software that offers various tools and functions for organizing, analyzing, and visualizing data This analysis could involve linguistic techniques and statistical methods In this research, a quantitative approach was utilized to explore the frequencies and purposes of 12 DN pattern variations The corpus, which consisted of 168 sentences from 100 English songs, encompassed both song titles and lyrics presented in full sentences or with omitted subjects The data was compiled in a Microsoft Excel file for analysis The researcher applied
Excel functions like IFERROR, SUM, and PERCENTAGES to determine the frequencies of negative markers in each pattern, addressing the study’s two research questions To ensure the reliability of the findings, a double-check was performed using the FIND function in Microsoft Word to collect and analyze the frequencies of negative markers in each pattern The data collected from the corpus of song observation was also used to support the quantitative data collected from the questionnaire By analyzing the survey results and the findings from the song data, the study has provided a comprehensive insight into the phenomenon of
Data collection and analysis procedure
The steps undertaken during the process of data collection included:
The data collection process occurred in February of 2023 and comprised the following steps: Firstly, a corpus of songs containing DN features (two negative markers) was collected Then, the corpus was analyzed to identify patterns of DN
Secondly, a questionnaire was developed based on the research questions and the patterns identified in the corpus The corpus, consisting of 168 DN sentences/clauses, served not only as qualitative evidence for the study but also as illustrations to elucidate the research
The data source (Appendix 1) was sourced from well-known music websites such as YouTube.com and Billboard.com Additionally, the researcher accessed the website Azlyrics.com to obtain complete song lyrics, including information about artists and publication years The researcher systematically highlighted negative markers in each sentence/clause and classified them based on predetermined selection criteria The pattern list was then categorized into 12 types of DN structures, which would be expounded upon in the next chapter In summary, data analysis involves three steps: data reduction, data display, and conclusion drawing (Miles & Huberman, 1994) The data was organized in a
Microsoft Excel table to calculate the frequencies and percentages of each pattern present in the data source
Questionnaires were administered at BDU-FFL around July 2023 To secure access to participants and collect data, the researcher initiated an initial meeting with teachers to discuss the research purposes Teachers and their students were invited to partake in the study Consent forms were provided to teachers and students through Google Form during their break times to minimize disruption to their classes
Quantitative data obtained from the questionnaires underwent analysis using descriptive statistics via the Statistical Package for the Social Sciences
(SPSS® Version 20.0 for Windows) Every item in the questionnaire was processed using this software, particularly for items rated on a five-point Likert scale Initially, SPSS calculated Cronbach’s Alpha to assess the reliability of participant responses Subsequently, mean scores for groups of items in the questionnaire were determined using SPSS These mean scores were then compared to derive answers to the research questions The outcomes from both corpus analysis and the questionnaire will collectively enhance the overall validity of the present study.
Reliability and validity
Given the inherent subjectivity in recording personal viewpoints and opinions, maintaining reliability and validity is a critical consideration in this study (Chisnall, 1997) The utilization of both questionnaires and observations allowed for a triangulation approach, adding robustness to the research design
Furthermore, Flick (2009, p 444) asserts that this approach reinforces reliability through the comparisons possible between different data sets Specifically, statistical outcomes from the questionnaires can be cross-referenced with qualitative data obtained through observations, providing a means to validate the research findings
Patton (2002) emphasizes that in qualitative research, the researcher’s competence directly influences the study’s reliability, making it an outcome of study validity To ensure a sufficient pool of illustrations for the hypotheses, the research primarily sourced samples from reputable music platforms such as
YouTube.com and Billboard.com These globally recognized websites, with substantial visitor numbers, contribute to the trustworthiness of the data The current corpus of songs including 100 songs and 168 sentences/ clauses represent how DN are commonly used and understood in everyday language, it contributes to the validity of the phenomenon within the song lyrics as well as common linguistic practices The data collection employed stratified sampling, a method that divides the population into distinct groups or strata (Thompson, 2012) The goal is to ensure that units within each stratum are as similar as possible, allowing for a probability sample to be drawn from each group based on shared characteristics Stratified sampling enables the researcher to categorize song titles and lyrics into homogeneous groups, facilitating the analysis of findings during the research implementation
The reliability of this study is strengthened by the assessment of tangible entities at BDU-FFL, coupled with the analysis of the collected survey data
Firstly, the individuals who took part in the survey did so voluntarily, ensuring the objectivity and validity of the study’s results Secondly, to ensure the validity and reliability of the study’s findings, a pilot questionnaire was administered in June
2023 This pilot involved four teachers of BDU-FFL and three different classes comprising 10 students from second to fourth academic years This step also helped to limit errors while analyzing data The questionnaire used in the pilot consisted of three sections: Part 1 gathered demographic information, Part 2 included 20 items measuring students’ and teachers’ perceptions of DN, and the final 12 types of DN patterns in Part 3 investigated participants’ awareness of DN variations (refer to Appendix 2) Throughout the pilot survey, the researcher provided detailed guidance to all students, resulting in clear understanding and exemplary performance Subsequent to the pilot survey, adjustments were made to align with research criteria and incorporate teacher recommendations Specifically, two items were removed in part 2, and some abbreviations were clear The finalized questionnaire retained Part 2 with 18 items and Part 3 with 9 items
(Appendix 3) The main survey commenced in the latter part of July 2023
Additionally, for the student questionnaire, the items were translated into
Vietnamese to enhance clarity and accessibility (as shown in Appendix 4)
Furthermore, Cronbach’s Alpha indexes were calculated to assess the internal consistency of the questionnaire The ensuing tables display these indexes, indicating a notably high level of consistency These steps were pivotal in refining the questionnaire, ensuring it aligns with research standards, and affirming the reliability of the data collected in the subsequent main survey
Cronbach’s Alpha indexes of the questionnaire items divided into four categories (Appendix 5) At the initial factor rotation, it was observed that the data structure was still not suitable After removing four inappropriate items and running the analysis again, the researcher identified an appropriate data structure for the research dataset The results of the reliability test for the scales indicate that all scales have Cronbach’s Alpha coefficients falling within the range of 0.74 ≤ alpha ≤ 0.85, and the Corrected Item-Total Correlation coefficients of the observed variables in each scale are all greater than 0.3 Therefore, the observed variables within each scale exhibit significant correlations with each other, and the scales demonstrate high reliability The summary of Cronbach’s Alpha of the questionnaire items is presented in Table 3.4
Table 3.4 Cronbach’s Alpha indexes of the questionnaire items
Cronbach’s Alpha Indexes of items divided into four categories
Categories No of Items Cronbach’s Alpha
Proficiency in DN interpretation and pragmatic 2, 5, 8, 11, 13 742
After assessing the alpha reliability coefficient, the scales were further evaluated using the EFA factor analysis method for the independent variable scales The obtained results, with a KMO coefficient = 692 and a significant
Barlett test result with a Sig = 000 (< 05), indicate that the application of EFA analysis is appropriate (Appendix 5)
In Chapter 3, the research meticulously outlines the employed methodology, offers a detailed account of the participants, instruments, and procedures involved in data collection and analysis The chapter serves as a guide to the systematic approach adopted in the study, emphasizes the importance of research design, the identification of research instruments, and the step-by-step elucidation of data collection and analysis procedures By clearly presenting the methodology, the chapter ensures the reliability and validity, providing a robust foundation for the subsequent investigation into the nuanced patterns of DN in English songs The findings of the study is presented in the following chapter.
RESEARCH FINDINGS AND DISCUSSION
Research Findings
The research questionnaire aimed to investigate the comprehension of DN, specifically their variations in the context of English songs, among both teachers and students The results obtained from the questionnaires are presented in the subsequent two subsections
4.1.1.1 Teachers and students’ awareness of double negatives
This set of these questions were designed to assess the familiarity of teachers and students with DN patterns in English song contexts The scale offered participants a clear method to express their confidence level and understanding concerning the application of DN
Enhancement of awareness of DN definition
Table 4.1 Descriptive statistics of teachers’ and students’ awareness of
Items No Min Max Mean Std
(A1) 1 I am familiar with the concept of DN in language 100 1.00 5.00 3.2900 71485
(A2) 4 I can accurately explain the grammatical rules related to
(A3) 7 I understand the nuances and variations of DN in different contexts (e.g., formal writing, colloquial speech, song lyrics…)
(A4) 10 I can recognize instances negative markers are formed in a sentence, particularly in the context of
The data presented in Table 4.1 illustrates a solid understanding of DN phenomenon among the respondents It indicates that the respondents generally possess a sound understanding of DN phenomenon The mean scores suggest that most respondents exhibit a moderate level of awareness of DN phenomenon, with scores falling within the range of 3.17 to 3.34 This indicates that the majority of respondents have a reasonably good grasp of DN concepts
In particular, they exhibit familiarity with the fundamental concept of grammar features related to DN (item 1) with a mean score of 3.29 Additionally, they display knowledge in explaining the grammatical rules associated with DN
(item 4), as indicated by a mean score of 3.26 These scores suggest that they have a solid foundation in understanding the basic principles of DN
In various real-life contexts, such as formal writing, colloquial speech, and song lyrics, respondents can readily identify instances where negative markers are employed in a sentence (item 10) with a mean score of 3.17.Although this score is not exceptionally high, it does indicate a reasonable ability to recognize DN in practical situations However, the scores also imply that respondents might face some challenges when it comes to identifying and comprehending the specific rules and principles governing the use of double negation in language The scores, while moderate, do not indicate a very high level of proficiency in this regard
Additionally, respondents have a relatively profound understanding of the nuances and variations of DN in different contexts (item 7), as indicated by the mean score of 3.34 It would suggest that their awareness of the nuances of DN in different linguistic situations is a positive aspect
Enhancement of awareness of DN intended meaning
Table 4.2 Descriptive statistics of teachers’ and students’ awareness of
Items No Min Max Mean Std
(B1) 2 I can interpret the intended meaning of DN in different linguistic contexts
(B2) 5 I can interpret the pragmatic implications of DN variations in different linguistic contexts
(B3) 8 I recognize the purposes for which DN are often used to emphasize a positive meaning or rhetorical effectiveness
(B4) 11 I am aware of how DN contribute to the emotional impact of English songs
(B5) 13 I believe that artists intentionally use DN variations to create unique and memorable lyrics
The data presented in Table 4.2 demonstrates that a significant portion of the respondents have a solid comprehension of the reasons behind using DN in various linguistic situations Specifically, they possess the ability to not only grasp the intended meaning of DN (item 2) with a mean score of 3.24 but also interpret the practical implications of DN variations in diverse linguistic contexts (item 5) with a notably higher mean score of 3.72 This suggests that they can interpret the basic linguistic concept of DN and the nuanced effects of DN in various situations
It is particularly noteworthy is that they not only recognize the objectives for which DN is frequently employed, such as emphasizing a positive meaning or enhancing rhetorical effectiveness (item 8) with an impressive mean score of 4.09, but they also exhibit proficiency in understanding how DN contributes to the emotional impact of songs (item 11) with a mean score of 3.54 This proficiency is especially evident in the unique context of English songs This indicates a strong recognition of the strategic use of DN in language, especially in terms of creating emotional depth and resonance in song lyrics
In essence, the data suggests that respondents are quite knowledgeable about DN, both in terms of its intended meaning and its practical implications, and they excel in recognizing the specific purposes and emotional influences of DN in the context of English songs
Enhancement of teachers’ and students’ proficiency toward DN applying
Table 4.3 Descriptive statistics of teachers’ and students’ proficiency toward
Items No Min Max Mean Std
(C4) 12 I am confident in my ability to comprehend the grammatical concept and apply it in practice
(C5) 14 I explore the use of DN in literature, songs, or colloquial language to enhance my understanding
(C6) 16 I regularly practice using DN to reinforce my comprehension and prevent errors when applying DN in communication
The descriptive statistics table 4.3 related to teachers’ and students’ proficiency in applying DN reveal several noteworthy points DN is typically considered non-standard English grammar, which might explain why it does not receive significant attention from educators, and in some cases, its use might even be discouraged This lack of attention to DN could be a contributing factor to the survey results, which show that the participants do not highly agree in terms of applying or practicing DN, both inside and outside of an academic environment
Specifically, the analysis indicates that the participants are not very confident in their ability to understand the grammatical concept of DN and apply it in practice, as reflected by item 12 with a mean score of 3.22 This means that many participants may struggle with grasping the intricacies of DN and using it effectively
Moreover, the data suggests that the respondents do not frequently practice using DN to enhance their comprehension and minimize errors when applying DN in communication, as demonstrated by item 16 with a mean score of 3.22 This implies that participants might not actively work on improving their proficiency in using DN, despite their awareness of the phenomenon
Additionally, exploring the use of DN in literature, songs, or colloquial language to deepen their understanding is not a prominent focus for these participants, as shown by item 14 with a mean score of 2.94 This indicates that they may not be actively seeking opportunities to gain a deeper understanding of
DN through various sources, such as literature or songs
Overall, the analysis highlights that participants might be aware of DN but may not be very proficient in applying it in practice, possibly due to its non- standard nature and the limited attention it receives in educational settings
Enhancement of teachers’ and students’ attitude toward DN phenomenon
Table 4.4 Descriptive statistics of teachers’ and students’ attitude toward
Items No Min Max Mean Std
(D1) 17 I am excited about exploring the diversity of variations in English songs, particularly the differences in DN variations
(D2) 18 I am considering delving into the nuances and variations of DN to improve my language proficiency
The data presented in Table 4.4 indicates that a majority of the respondents are genuinely interested in the subject of DN grammar and express a desire to explore it further in the future This reflects a positive and enthusiastic attitude towards DN
Discussion
This study has a dual focus, aiming to investigate both teachers’ and students’ awareness of DN phenomenon and the popularity of DN patterns within the context of English songs To achieve these objectives, the study sought answers to two primary research questions: (1) What is teachers’ and students’ awareness of DN? and (2) What are patterns of DN popular in English songs?
The research employed questionnaires, observations, and structural analysis as the main research tools to gather and analyze data
The findings of this study indicate that the majority of the respondents possess an understanding of the principles underlying DN and the various patterns associated with them Notably, they exhibit a positive attitude toward exploring this grammar point further in the future This suggests that there is a foundation of knowledge and interest in DN phenomenon among both teachers and students, paving the way for potential further research and exploration in this area The results of the data analysis can be summarized as follows:
At first, the survey provides a comprehensive view of the respondents’ awareness of DN phenomenon The majority of participants possess some degree of knowledge about DN, although their levels of understanding vary The result indicates a general grasp of the concept It also implicates teachers’ and students’ understanding the nuances and variations of DN in different contexts, including formal writing, colloquial speech, and song lyrics They can also recognize instances where negative markers are formed in a sentence, such as the presence of a negative auxiliary and a negative adverb at the same sentence “I ain’t never going back there” The combination of “ain’t” and “never” creates a powerful negation, suggesting a resolute decision not to go back to a particular place The singer is expressing a strong sentiment that there is no possibility or intention of going back to the mentioned location The DN construction contributes to the emphatic and decisive tone of the song lyrics
The second finding indicates that teachers and students exhibit a moderate level of proficiency in understanding the intended meaning of DN, as well as the pragmatic implications of its variations Notably, they have a significant level of recognition for the purposes of using DN to emphasize positive meanings or to enhance rhetorical effectiveness Within the specific context of English songs, participants possess a moderate awareness of how DN contributes to emotional impact This awareness might be attributed to the role of DN in adding emotional depth to English songs, which resonates with the listeners For instance, the line
“You that never done nothing but build to destroy.” in Bob Dylan’s song, particularly it serves a crucial role in emphasizing and intensifying the negation Bob Dylan’s intention with this song is seen as educational, aiming to prompt listeners to actively engage with the emotions it evokes In standard English, the line can be more conventionally expressed as “You who have never done anything.” The use of DN in the original line, “never done nothing” is employed for emphasis, magnifying the negation This intensification underscores a robust accusation or criticism directed at the subject, emphasizing their perceived lack of action or contribution within the context of the song “Masters of War” The
DN contributes to the song’s powerful and accusatory tone, making it an effective tool for conveying the message and evoking emotions in the listeners
The third factor, however, imposes a constraint on teachers and students looking to enhance their proficiency and minimize errors They tend not to actively explore the application of this grammar concept, leading to a lack of confidence in their ability to employ DN effectively for improved comprehension and error reduction in communication This can be ascribed to the fact that DN, being non-standard in English, is not extensively emphasized in education In academic settings, educators often prioritize the teaching of grammar rules and structural usage Students are repetitively instructed in these aspects to the point where they can recite them from memory and apply them mechanically, often without grasping the underlying principles This approach poses challenges for students when attempting to utilize their vocabulary and grammatical structures to articulate ideas or engage in real-life conversations Exploration of grammar concepts in various settings, such as literature, songs, or everyday language, to enrich comprehension, is not a prominent focus As an example, Raymond Murphy (2007, p 166-167) discusses negative grammar in his book “Essential Grammar in Use” (3rd edition) and highlights that students are typically discouraged from using constructions like “He doesn’t know nothing.” Instead, students are expected to memorize the structures of “negative verb + anybody/ anyone/ anything” and “positive verb + nobody/ no-one/ nothing” There are limited resources that inform students about situations in which such informal phrasing might occur
Table 4.21 The contents of “Essential Grammar in Use (3rd edition)” book by
Remember: negative verb + anybody/ anyone/ anything positive verb + nobody/ no-one/ nothing
He doesn’t know anything (not) He doesn’t know nothing
Don’t tell anybody (not) Don’t tell nobody
Negative verb + any = positive verb + no
They haven’t got any children (or) They’ve got no children
(not) They haven’t got no children
Dell Hymes (1972) emphasized the importance of comprehending external contexts to understand what occurs within an educational context He stressed in the introduction of the book “Functions of Language in the Classroom” that the key to understanding language within a context is to initiate the study not with language itself but with the context and subsequently establish a scientific connection between the two (p xix) Therefore, changes are needed to create motivation for reevaluating English language teaching, including teaching materials and practice Through various contexts, teachers can integrate cultural elements into English language lessons, enabling students to access their culture and language more effectively
Last but not least, this survey reveals an interesting result regarding the positive attitude of teachers and students toward DN Participants demonstrate a high level of enthusiasm for further exploration of DN Initially, when the researcher introduced the concept of DN and its variations during the survey, many respondents found it to be unusual In particular, students expressed a strong curiosity about the various patterns of DN, especially in the context of English songs However, as the researcher explained the study’s objectives and provided some examples of DN found in song lyrics, students gradually recognized that they had encountered DN before, either in English lessons or in
English movies, stories, or songs The majority of participants agree with the statement that there is a gap between English grammar theory and its real-world usage Consequently, they express a keen interest in exploring the diversity of
DN patterns, particularly in English songs Furthermore, most participants are open to delving into the nuances and variations of DN to enhance their language proficiency This positive attitude suggests that they are motivated to deepen their understanding of DN and its role in English language usage
Populations of DN pattern variations
When discussing “English grammar variations” people often refer to changes or diversity in the structure of the English language This may encompass variations in how grammatical elements such as sentences, clauses, and parts of speech are used In the context of the research on DN in English songs, English grammar can refer to changes or diversity in how DN are used in songs This could include variations in sentence structure, the placement of negative words, or how DN are combined to convey meaning within the context of a song
The analysis based on a corpus of 100 songs released between 1965 and
2023 confirms the enduring popularity of DN over more than half a century This finding has significant implications for English users and, particularly, those involved in English teaching and learning Firstly, the prevalence of DN in song lyrics over such a long period suggests that DN is deeply ingrained in the English language and culture It highlights the continued relevance and usage of DN in real-life linguistic contexts English language users, including learners and educators, can benefit from this observation as it emphasizes the importance of understanding and being aware of DN Furthermore, this result contributes to a better understanding of the English language, especially for those who are concerned with English teaching and learning It provides a substantial and authentic source of exposure to the actual usage of English grammatical structures in different contexts This exposure can aid learners in grasping the practical aspects of the language, beyond just theoretical knowledge In essence, the longevity of DN in song lyrics signifies its continued significance in the English language, which can be a valuable resource for learners and educators alike It underscores the need for a comprehensive understanding of DN and its applications in various real-world settings
The use of DN patterns in the context of songs offers a unique linguistic and stylistic tool for songwriters to convey emotions, create memorable lines, and resonate with listeners Each of those 12 patterns has contributed distinct implications in terms of linguistic and stylistic
In terms of linguistic implication:
DN patterns can intensify the negation in a particular context DN patterns can add linguistic art and depth to lyrics, often challenging listeners to interpret the intended meaning Furthermore, these patterns can contribute to the rhythm and rhyme scheme of the song, adding to its musicality
In terms of stylistic implications:
DN patterns often carry a stronger emotional impact They can be used to express frustration, anger, defiance, or disappointment, depending on the context The strong negation and uniqueness of DN structures can make song lyrics more- memorable and catchy Songwriters use these patterns to tell stories or convey messages effectively within the constraints of songwriting DN patterns can engage the audience, making them think about the lyrics’ deeper meaning or the artist’s perspective
CONCLUSIONS AND RECOMMENDATIONS
Conclusions
This research paper delved into the exploration of DN variations within the context of English songs and assessed the awareness and attitudes of both teachers and students toward these variations It offered a comprehensive overview of DN patterns, their frequencies, and their potential functions within the realm of English songs The study’s primary goals were to provide a better understanding of the grammatical structure of DN in English songs and to examine how popular DN patterns are used in this specific context It used a combination of the corpus-based analysis and the survey data to achieve these objectives
The research identified the most prevalent DN patterns in song lyrics and illustrated the frequency of each pattern, ranging from the most to the least common The analysis presented suggests that the study identified a total of 12 pattern variations, with each pattern featuring two negative markers within every sentence These patterns varied widely in frequency, ranging from as low as 1% to as high as 39% This discrepancy in frequency across patterns reflects the diversity of DN variations, showcasing their popularity in the context of English songs The incorporation of two negative markers from different categories, including Negative Auxiliary, Negative Determiner (no), Negative Pronoun, Negative Adverb, and Negative Adjective, gives rise to a rich array of language variations Interestingly, patterns with multiple negative markers, such as pattern
13 to 15, emerged, featuring more than two negative markers in a single sentence
These variations play a significant role in effectively conveying both content and emotions in English songs In essence, the presence and diversity of DN patterns in song lyrics highlight their importance in enhancing the expressiveness and communicative power of the English language in a musical context
In connection with the corpus analysis, the survey data added to and enriched the findings obtained from the analysis of the song corpus The survey shed light on the participants’ awareness of DN and their attitudes towards this linguistic phenomenon The findings suggested that the participants had a moderate understanding of DN, indicating that they were not entirely unfamiliar with this grammatical phenomenon This awareness stemmed from recognizing the presence and diversity of 12 DN patterns in song lyrics They recognized that the presence and diversity of DN patterns in song lyrics played a crucial role in enriching the expressiveness and communicative capacity of the English language in the context of music Moreover, this seems to imply that, although they possessed awareness of DN, their confidence in using it proficiently might have been uncertain The lack of confidence may be attributed to the non- standard characteristics of DN in English Notwithstanding their reserved confidence, participants demonstrated an inclination towards DN grammar, expressing an intent to delve deeper into its exploration in the future This suggests an openness to learning and comprehending this grammatical aspect
Generally, this research paper has illuminated the intricacies of DN variations in English songs and their implications for language education The combined results of the corpus analysis and the survey helped provide a more comprehensive picture of the participants’ knowledge, attitudes, and readiness to engage with DN It effectively bridges the gap between formal language learning and real-world language usage, shedding light on a unique facet of English grammar, particularly in a musical context.
Implications
The findings of this study carry significant implications, both conceptually and practically, for the field of DN phenomenon and their use within English songs This research has illuminated a noteworthy distinction: while DN is rarely employed in academic English, it is a prevalent and enduring feature in English song lyrics spanning many decades It is important to acknowledge that the use of songs as a language learning tool is a popular method, yet, as pointed out by Engh (2013, p.1), it often lacks the requisite theoretical underpinning Students routinely engage with trending songs, diligently memorizing lyrics and, on occasion, directly incorporating them into their writing, which may result in inadvertent errors like “I’ll never do you no harm” or “No One knows nothing” in their essays Although this study does not specifically address strategies for averting such mistakes, it delivers not only a comprehensive understanding of this phenomenon to English language users but also theoretical frameworks that can guide future research in addressing these challenges
In terms of concepts, this research contributes to an enhanced understanding of the intricate grammar of DN as it appears in English songs It involves a general syntactic analysis of the diverse DN structures, shedding light on their use and prevalence within the broader spectrum of the English language Specifically, individuals can gain a more profound comprehension of the definition and variations of DN in the context of English songs through this study
DN is not solely associated with conveying a negative meaning; it also serves to emphasize positive meanings or rhetorical effects This would be seen as a fundamental knowledge that allows students to differentiate between situations where formal or informal language is appropriate for use Furthermore, the findings from this research can serve as a valuable model for academic endeavors, particularly in the domains of composing and translating within the context of the English language This lays the groundwork for prospective research in the realms of research, teaching, and language learning
Practically, this research holds substantial significance for educators, students, translators, composers, and individuals interested in English songs
For educators, this paper serves as a valuable pedagogical resource It extends the scope of teaching English grammar from theory to practical application, bridging the gap between formal grammatical knowledge and real- world usage Educators can utilize this research as an example to enhance students’ comprehension and prevent grammatical errors
For translators, composers, and enthusiasts of English songs, this paper contributes to the interpretation and translation of English songs DN are considered non-standard English yet are prevalent in spoken communication Therefore, when translating, it is essential to carefully consider the context to convey the intended meaning accurately In the case of composers and artists,
DN can be employed as a creative tool to achieve specific artistic purposes By incorporating DN structures into their works, they can effectively convey emotions in songs or emphasize their desired expressions DN can be harnessed to create nuanced meanings, such as irony, sarcasm, humor, or determination, allowing artists to convey complex ideas indirectly
For learners and those passionate about exploring the English language or aspiring to sing English songs, this study aims to provide explanations that enhance their language understanding Students can distinguish between formal and informal language use in various situations This deeper comprehension enables learners to enhance their singing abilities by capturing the rhythm of song lyrics and the broader rhythmic aspects of the language This practical dimension is expected to be of great benefit to those looking to improve their language proficiency and musical performance Notably, while taking the test, students are advised to employ standard English However, in everyday situations such as listening to conversations, music, or movie dialogues, one may encounter linguistic forms that grammar textbooks classify as non-standard It’s important for students to recognize that comprehending various linguistic forms is more about knowledge than active usage.
Limitation of the study
Within the limitations of this master’s thesis, it is important to note that the paper could not cover all aspects of DN phenomenon, and several issues still exist, such as corpus size, language proficiency, and research methodology
Firstly, due to time constraints, this study employed a relatively small corpus of 100 songs While this sample size offered valuable insights, a larger and more diverse corpus would provide a more comprehensive understanding of the use of DN in English songs
Secondly, the research focused on analyzing 12 DN patterns, each containing two negative markers in every sentence, while the study did not explore the remaining patterns (P13, P14 and P15) involving multiple negative structures It is possible that there are additional variations and complexities not addressed in this study
Thirdly, this research primarily focused on the perceptions and understanding of DN among Vietnamese teachers and students Expanding the research to include participants from different linguistic backgrounds could provide a more cross-cultural perspective on this phenomenon
Finally, it is worth mentioning that only two research instruments were used to collect data The survey relied on self-reporting, which may introduce response bias To enhance the validity and reliability, it would be beneficial to employ additional research instruments in the study.
Recommendations of the study
Considering the identified limitations, this section proposes recommendations for future research within the scope and constraints of the current study
Subsequent studies could benefit from employing a larger and more diverse corpus of English songs to comprehensively understand the distribution and frequency of DN patterns across genres and time periods
Researchers may explore multiple negative patterns (P13, P14, and P15) or delve into less common or emerging patterns Expanding the corpus would provide a broader overview of DN usage in song lyrics and could extend to other mediums such as movies, magazines, and newspapers
Cross-cultural analyses could be emphasized by broadening participant diversity to include individuals from various linguistic backgrounds Such research would deepen the examination of how DN is perceived and applied in different cultural contexts, extending to effective pedagogical methods for teaching DN
Future investigations could enhance study validity and reliability by employing a more varied set of research instruments
By addressing these limitations and pursuing the outlined recommendations can contribute to a more holistic understanding of the role of
DN in English songs and its implications for language education This research has the potential to significantly impact language learners comprehension and usage, offering valuable insights into teaching and learning strategies related to this grammar point and influencing language proficiency and communication skills
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APPENDIX 1: THE CORPUS OF ENGLISH SONGS (SAMPLES)
APPENDIX 3: QUESTIONNAIRES – FINAL (ENGLISH VERSION)
APPENDIX 4: QUESTIONNAIRES – FINAL (VIETNAMESE VERSION) APPENDIX 5: SPSS RESULT
APPENDIX 6: THE STATISTICS OF DN VARIATION SAMPLES IN THE CORPUS OF ENGLISH SONGS
APPENDIX 7: THE APPLICATION FOR CONDUCTING A SURVEY
APPENDIX 1: THE CORPUS OF ENGLISH SONGS (SAMPLES)
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
1 I can’t get no satisfaction I can’t get no satisfaction
2 I can’t get no girl reaction
3 We don’t need no education Another Brick in the Wall Pink Floyd 1979
4 I can’t get no sleep Insomnia Faithless 1996
5 Got nothing to hide no more Shape of My
6 There ain’t no rest for the wicked Ain’t No Rest for the Wicked
7 There ain’t nothing in this world for free
8 My forbidden lover, I don’t want no other
9 Ain’t no mountain high enough
Ain’t No Mountain High Enough
Marvin Gaye and Tammi Terrell
10 I never wanted nothing more Never Wanted
11 You can’t tell me nothing Can’t Tell Me
12 I don’t belong to no one Dream Attack New Order 1989
13 Ain’t no sunshine when she’s gone Ain’t No
14 Ain’t no other man on the planet does what you do
It wouldn’t be nothing, nothing without a woman or a girl
16 It won’t do you no good Won’t Do No
17 Ain’t got no friends Ain’t Got No
18 I can’t hardly wait Can’t hardly wait Westerberg
19 Ain’t done nothing wrong Ain’t Done
20 No one knows nothing anymore
No One Knows Nothing Billy Bragg 2013
21 You ain’t seen nothing yet You Ain’t Seen
22 I ain’t got nothing I ain’t got nothing Deitrick
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
23 I ain’t never going back there
24 I don’t feel nothing wrong Bump and Grind R Kelly 1993
She didn’t say nothin’ at all Johnnie Ray 2006
26 You ain’t got no legs
But You Ain’t Got No Legs Lieutenant Dan
27 I ain’t got no time for that Playinwitme
28 Don’t nobody want none Don’t Nobody
29 Don’t need nobody Don’t Need
30 We ain’t done nothing wrong Lonely Too Long Patty
31 I’ll never do you no harm Oh! Darling The Beatles 1969
32 I ain’t afraid of no ghost Ghostbusters Ray Parker Jr 1984
33 I wasn’t looking for nobody when you looked my way
34 I just can’t get no relief Somebody to
35 There ain’t no chains strong enough to hold me
I’ll Be There JJ Cale 1974
36 Ain’t no breeze big enough to slow me
37 There ain’t no jail tight enough to lock me
38 Ain’t no man big enough to stop me
39 There ain’t no rope stout enough to bind me
40 Don’t need no politicians to tell me things I shouldn’t be
Do Anything You Wanna Do
41 Neither no opticians to tell me what I oughta see
No one tells you nothing even when you know they know
43 Ain’t no stopping us now Ain’t No
44 Don’t come around here no more
Don’t Come Around Here no More
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
45 This ain’t no love This Ain’t No
46 There ain’t no grave can hold my body down Ain’t No Grave
47 Ain’t got no - I got life
Ain’t Got No - I Got Life Nina Simone 1968
58 I ain’t got nobody, ain’t nobody got me
59 Don’t nobody want me, I can plainly see
60 Nobody can’t take that away from me
Ain’t Got No Troubles Eden Brent 2010
62 I don’t want for nothin’ (I don’t want for nothing.)
63 I ain’t got no troubles on my mind
64 Don’t ask me no questions Don’t Ask Me No
65 D.C won’t do you no good D.C Won’t Do
66 Just can’t hold it back no more
We’ve Got It Goin’ On
67 I can’t hardly stand it I Can’t Hardly
68 There will never be no love at all One Foundation
69 Nobody don’t like Christmas Nobody Don’t
70 Don’t nobody scream it like you Trust Brent Faiyaz 2018
71 I ain’t got no one to talk to
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
72 That love don’t love nobody
Love Don’t Love Nobody The Spinners 1974
73 That love don’t love no one
74 That love don’t love no more
75 Nobody don’t enter tomorrow Tomorrow Danny Brace 2021
76 I’ve never met nobody like you
77 You’re never not on my mind, oh my, oh my
78 I’m never not by your side, your side, your side
79 I’ll never not be your ride, or die, alright
80 I don’t trust nobody, not even her
I don’t trust nobody, not even her
81 It ain’t gonna hurt nobody to get on down
Ain’t Gonna Hurt Nobody Brick (Band) 1977
82 Ain’t nobody loves me better than you Ain’t Nobody Felix Jaehn 2015
83 You don’t want this no more Do Better Chris Brown 2014
84 There ain’t no mountain high enough Ain’t No
86 Ain’t no river wide enough
87 She ain’t feeling no stress FelixThe1st -
88 She don’t wanna love on nobody
89 I just can’t take no more
91 I just can’t wait no more
92 It just ain’t safe no more
93 I just can’t waste no more
95 This ain’t no holy place no more
96 I’ll never put you in second place no more
97 I don’t wanna see that look on your face no more
99 That ain’t the case no more
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
Release d year disgrace no more
101 I can’t get no satisfaction cause this wound is deep I Can’t Get
102 Can’t get nothing without your love!
103 I don’t need nothing at all Don’t Need
104 I’ve never seen nothing like you
Never seen nothing like you
105 This ain’t no luck luck luck
Nothing Like This Before Rayelle 2020
106 You ain’t seen nothing like this
107 (Tell me why,) ain’t nothing but a heartache I Want It That
108 (Tell me why,) ain’t nothing but a mistake
109 Can’t nothing beat my mother’s love
110 Can’t nothing shake what she’s made of
111 Can’t nothing bring me down Happy Pharrell
112 Can’t nobody take my pride
Can’t Nobody Hold Me Down Sean Combs 1977
113 Can’t nobody hold me down
114 Can’t nothing hold me down
116 Ain’t nobody Ain’t Nobody Chaka Khan
117 Ain’t nobody can love me like you do Ain’t Nobody Clare
118 Ain’t nobody does me better Ain’t Nobody LL Cool J 1995
119 There ain’t nobody gonna miss me when I’m gone Ain’t Nobody
Gonna Miss Me When I’m Gone
120 There ain’t nobody gonna mourn for me too long
121 You don’t mean nothing at all to me Say It Right Nelly
122 There ain’t nothing about you
123 You ain’t got to buy nothing
124 We don’t have to go nowhere
125 I ain’t got no money but I Long Haired Charlie 1974
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
Release d year damn sure got it made Country Boy Daniels
126 I ain’t asking nobody for nothing
127 I don’t want much of nothing at all
128 There ain’t nothing gonna keep me from you
Ain’t Nothing Gonna Keep Me From You
129 There ain’t nothing to it Ain’t Nothin’ to
130 I don’t see nobody but you Double take Dhruv 2021
131 Nothing’s not wrong Stupidly Happy XTC 2019
134 I don’t wanna not get stoned
135 I don’t wanna not get high
136 I’m not gonna not knock things down
137 Don’t nothing come to a sleeper but a dream
Tell It Like It Is
138 Don’t wanna hear nobody speak
139 Can’t let no grass grow under my feet
140 I ain’t gonna tell ya (you) nothing fake
142 You ain’t got nothing good to say
143 Don’t say nothing at all
145 Ain’t nobody mad at you babe
146 We don’t need no education
We don’t need no education Pink Floyd 1979
147 We don’t need no thought control
148 You ain’t giving nothing up to nobody
Don’t Give It Up Linda
150 You ain’t getting nothing yet
151 The world don’t owe me nothing
N.o Sentences (Titles/ Lyrics) Songs Composers/ singers
152 You (that) never done nothing Master of War Bob Dylan 1963
153 Oh my name, it ain’t nothin’
(nothing) With God On Our
154 Ain’t no tongue can tell
155 While others say don’t hate nothing at all
It’s Alright, Ma (I’m Only Bleeding)
157 You ain’t got nothing, you got nothing to lose
158 You ain’t going nowhere You Ain’t Goin’
159 Didn’t want no one to hold you
160 Ain’t nothing gonna to break my stride
161 I don’t want nobody else Don’t Want
I don’t want no scrub TLC 1999
163 A scrub is a guy that can’t get no love from me
164 Ain’t nobody gonna hold me down
Can’t Nobody Hold Me Down
165 I don’t owe nobody nothing I don’t owe nobody nothing
166 People just ain’t no good People Ain’t No
Nick Cave and the Bad Seeds
167 It ain’t no use to sit and wonder why, babe
Don’t Think Twice, It’s All Right
168 I ain’t never seen nobody like you I Ain’t Never Johnny Cash 2014
APPENDIX 2: QUESTIONNAIRE FOR TEACHERS’ AND STUDENTS’ AWARENESS OF
In various English songs, there is a Double Negatives (DN) phenomenon in the lyrics, which involves a minimum of two negative markers in each sentence Examples include “I can’t get no satisfaction” by Rihanna, “We don’t need no education” by Pink Floyd, and “You never done nothing”by Bob Dylan.
This questionnaire is used to collect the necessary information for accomplishing a study entitled “A Syntactical Analysis of Double Negative Variations: A Case Study of English Songs”
This questionnaire consists of THREE parts:
2 Teachers’ and students’ perception of DN
3 Teachers’ and students’ knowledge of DN pattern variations
Your answers is kept strictly confidential and the given information is only used for research purposes.Thank you for your cooperation
Email: vttthuong@bdu.edu.vn
2.1 If you are teachers: □ 25-30 □ 31-35 □ 36-40 □ 41-over 2.2 If you are students: □ 18-19 □ 20-21 □ 23-24 □ 25-over
PART II: TEACHERS’ AND STUDENTS’ KNOWLEDGE OF DN
Please tick your choice in the grid according to the scale:
1 (Strongly Disagree); 2 (Disagree); 3 (Undecided); 4 (Agree); 5 (Strongly Agree)
1 I am familiar with the concept of double negatives in language
2 I can accurately explain the grammatical rules related to double negatives
3 I understand the variations of double negatives in different contexts
I can interpret the nuances of double negatives in different contexts (e.g., formal writing, colloquid speech, song lyrics…)
5 I can recognize instances negative markers are formed in a sentence, particularly in the context of English
□ One - Five years □ Six - Ten years
□ Eleven - Fifteen years □ More than 15 years
□ Third year □ Fourth year songs
6 I understand the intended meaning of using double negatives in language
7 I can interpret the pragmatic implications of double negatives variations in different linguistic contexts
I recognize the purposes for which double negatives are often used to emphasize a positive meaning or rhetorical effectiveness
9 I am aware of how double negatives contribute to the emotional impact of English songs
10 I can explain the implications of double negatives variations in different contexts
11 I believe that artists intentionally use double negatives variations to create unique and memorable lyrics
12 I recognize how double negatives variations contribute to the mood or tone of a English song
13 I can identify different patterns of double negatives variations commonly used in song lyrics
14 I am confident in my ability to use double negatives correctly in my own writing and speech
15 I feel confident in dealing with the possible ambiguity of double negatives in language
16 I am confident in my ability to comprehend the grammatical concept and apply it in practice
I explore the use of double negatives in literature, songs, or colloquial language to enhance my understanding
I regularly practice using double negatives to reinforce my comprehension and prevent errors when applying double negatives in written and spoken communication
I am excited about exploring the diversity of variations in English songs, particularly the differences in double negatives variations
I am considering delving into the nuances and variations of double negatives to improve my language proficiency
PART III: STUDENTS’ PERCEPTION ABOUT DOUBLE NEGATIVES’ VARIATIONS
The subsequent 12 patterns (P1 - P12) represent variations of double negatives found in the corpus of English songs Which of these do you commonly observe in terms of language?
You can choose more than one answer
P1 Neg-Aux + Neg-Adv I ain't never going back there P2 Neg-Aux + Neg-Pro I don't feel nothing wrong
We don't need no education.
P4 Neg-Adv + Neg-Pro I've never met nobody like you
P6 Neg-Pro + Neg-Det (No)
Got nothing to hide no more
P7 Neg-Pro + Neg-Pro No one knows nothing
I'll never do you no harm.
P9 Neg-Pro + Neg-Det (No)
Neither no opticians to tell me what I oughta see
P10 Neg-Pro (S) + Neg-Aux Nobody don't like Christmas
I'll never put you in second place no more
You don't want this no more.
FOR TEACHERS’ AND STUDENTS’ AWARENESS OF
In various English songs, there is a Double Negatives (DN) phenomenon in the lyrics, which involves a minimum of two negative markers in each sentence Examples include “I can’t get no satisfaction” by Rihanna, “We don’t need no education” by Pink Floyd, and “You never done nothing” by Bob Dylan.
This questionnaire is used to collect the necessary information for accomplishing a study entitled “A Syntactical Analysis of Double Negative Variations: A Case Study of English Songs”
This questionnaire consists of THREE parts:
2 Teachers’ and students’ perception of DN
3 Teachers’ and students’ knowledge of DN pattern variations
Your answers are kept strictly confidential and the given information is only used for research purposes.Thank you for your cooperation
Email: vttthuong@bdu.edu.vn
2.1 If you are teachers: □ 25-30 □ 31-35 □ 36-40 □ 41-over
PART II: TEACHERS’ AND STUDENTS’ KNOWLEDGE OF DOUBLE NEGATIVES
Please tick your choice in the grid according to the scale:
1 (Strongly Disagree); 2 (Disagree); 3 (Undecided); 4 (Agree); 5 (Strongly Agree)
1 I am familiar with the concept of DN in language
2 I can accurately explain the grammatical rules related to
3 I understand the nuances and variations of DN in different contexts (e.g., formal writing, colloquial speech, song lyrics…)
4 I can recognize instances negative markers are formed in a sentence, particularly in the context of English songs
5 I understand the intended meaning of using DN in language
2.2 If you are students: □ 18-19 □ 20-21 □ 23-24 □ 25-over
□ One - Five years □ Six - Ten years
□ Eleven - Fifteen years □ More than 15 years
6 I can interpret the pragmatic implications of DN variations in different linguistic contexts
7 I recognize the purposes for which DN are often used to emphasize a positive meaning or rhetorical effectiveness
8 I am aware of how DN contribute to the emotional impact of English songs
9 I believe that artists intentionally use DN variations to create unique and memorable lyrics
10 I recognize how DN variations contribute to the mood or tone of an English song
11 I can identify different patterns of DN variations commonly used in song lyrics
12 I am confident in my ability to use DN correctly in my own writing and speech
13 I feel confident in dealing with the possible ambiguity of
14 I am confident in my ability to comprehend the grammatical concept and apply it in practice
15 I explore the use of DN in literature, songs, or colloquial language to enhance my understanding
16 I regularly practice using DN to reinforce my comprehension and prevent errors when applying DN in written and spoken communication
17 I am excited about exploring the diversity of variations in English songs, particularly the differences in DN variations
18 I am considering delving into the nuances and variations of DN to improve my language proficiency
PART III: STUDENTS’ PERCEPTION ABOUT DOUBLE NEGATIVE’S VARIATIONS
The subsequent 12 patterns (P1 - P12) represent variations of double negatives found in the corpus of English songs Which of these do you commonly observe in terms of language?
You can choose more than one answer
P1 Neg-Aux + Neg-Adv I ain't never going back there P2 Neg-Aux + Neg-Pro I don't feel nothing wrong
We don't need no education.
P4 Neg-Adv + Neg-Pro I've never met nobody like you
P6 Neg-Pro + Neg-Det (No)
Got nothing to hide no more
P7 Neg-Pro + Neg-Pro No one knows nothing
I'll never do you no harm.
P9 Neg-Pro + Neg-Det (No)
Neither no opticians to tell me what I oughta see
P10 Neg-Pro (S) + Neg-Aux Nobody don't like Christmas
I'll never put you in second place no more
You don't want this no more.
Note: “ain’t” = auxiliary verb + not
BẢNG KHẢO SÁT DÀNH CHO SINH VIÊN
Trong một số bài hát tiếng Anh có chứa hiện tượng Phủ định kép (PĐK) trong lời bài hát, tức trong mỗi câu sẽ xuất hiện tối thiểu hai yếu tố phủ định Ví dụ: bài “I can’t get no satisfaction” của Rihanna, “We don’t need no education” của
Pink Floyd, hoặc “You never done nothing” của Bob Dylan.
Bảng khảo sát này được thiết kế để thu thập dữ liệu về mức độ hiểu của sinh viên về hiện tượng ngữ pháp PĐK và các biến thể PĐK trong ngữ liệu các bài hát tiếng Anh để hoàn thành nghiên cứu “Phân tích cú pháp các biến thể của phủ định kép: Nghiên cứu trong ngữ liệu bài hát tiếng Anh” Các bạn vui lòng đọc kỹ từng mục và đưa ra câu trả lời Câu trả lời của các bạn sẽ được giữ bí mật Cảm ơn sự hợp tác của các bạn
PHẦN I THÔNG TIN CÁ NHÂN
PHẦN II: KIẾN THỨC CỦA SINH VIÊN VỀ PHỦ ĐỊNH KÉP
Các bạn vui lòng đánh dấu (√) vào một trong các mức nhận định của các bạn theo thang sau đây:
1 (Hoàn toàn không đồng ý); 2 (Không đồng ý); 3 (Không có ý kiến );
1 I am familiar with the concept of DN in language
(Tôi thông thạo khái niệm PĐK trong tiếng Anh.)
2 Tuổi: □ 18-19 □ 20-21 □ 23-24 □ từ 25 tuổi trở lên
3 Sinh viên năm: □ Năm hai □ Năm ba □ Năm tư
I can accurately explain the grammatical rules related to
(Tôi có thể giải thích chính xác các quy tắc ngữ pháp liên quan đến PĐK.)
I understand the nuances and variations of DN in different contexts (e.g., formal writing, colloquial speech, song lyrics…)
(Tôi hiểu rõ các sắc thái và biến thể của PĐK trong các ngữ cảnh khác nhau (ví dụ: văn viết, văn nói, lời bài hát…)
I can recognize instances negative markers are formed in a sentence, particularly in the context of English songs
(Tôi có thể phát hiện nay lập tức những dấu hiệu (yếu tố) phủ định xuất hiện trong câu, đặc biệt là trong những bài hát tiếng Anh.)
5 I understand the intended meaning of using DN in language
I can interpret the pragmatic implications of DN variations in different linguistic contexts
(Tôi có thể giải thích ý nghĩa ngữ dụng của các biến thể
PĐK trong các ngữ cảnh khác nhau.)
I recognize the purposes for which DN are often used to emphasize a positive meaning or rhetorical effectiveness
(Tôi xác định được mục đích mà PĐK thường được sử dụng để nhấn mạnh nghĩa khẳng định hoặc hiệu quả tu từ.)
I am aware of how DN contribute to the emotional impact of English songs
( Tôi hiểu được tác dụng của PĐK góp phần tạo nên cảm xúc trong các bài hát tiếng Anh như thế nào.)
I believe that artists intentionally use DN variations to create unique and memorable lyrics
(Tôi tin rằng các nghệ sĩ cố tình sử dụng các biến thể
PĐK để tạo ra những ca từ độc đáo và dễ nhớ.)
10 I recognize how DN variations contribute to the mood or tone of an English song
( Tôi nhận ra cách các biến thể của PĐK góp phần tạo nên tâm trạng hoặc giai điệu của một bài hát như thế nào.)
I can identify different patterns of DN variations commonly used in song lyrics
(Tôi có thể xác định các cấu trúc khác nhau của biến thể
PĐK được sử dụng phổ biến trong lời bài hát.)
I am confident in my ability to use DN correctly in my own writing and speech
(Tôi tự tin vào khả năng sử dụng PĐK chính xác trong bài viết và lời nói của mình.)
I feel confident in dealing with the possible ambiguity of
(Tôi có thể tự tin chỉ ra được tính mơ hồ tiềm ẩn trong cách sử dụng PĐK.)
I am confident in my ability to comprehend the grammatical concept and apply it in practice
( Tôi tự tin trong khả năng hiểu rõ về cả khái niệm ngữ pháp của PĐK và cách áp dụng nó vào thực tế.)
I explore the use of DN in literature, songs, or colloquial language to enhance my understanding
(Tôi khám phá việc sử dụng PĐK thông qua các tác phẩm văn học, bài hát hoặc ngôn ngữ giao tiếp thường nhật để nâng cao hiểu biết của mình.)
I regularly practice using DN to reinforce my comprehension and prevent errors when applying DN in written and spoken communication
(Tôi thường xuyên thực hành sử dụng PĐK để củng cố kiến thức và hạn chế phạm lỗi ngữ pháp trong cả khi nói và viết.)
I am excited about exploring the diversity of variations in English songs, particularly the differences in DN variations
(Tôi hứng thú khám phá sự đa dạng của các biến thể trong các bài hát tiếng Anh, đặc biệt là sự khác biệt trong các biến thể PĐK.)
18 I am considering delving into the nuances and variations of DN to improve my language proficiency
(Tôi đang cân nhắc khám phá kỹ hơn các hiện tượng và biến thể của PĐK để nâng cao trình độ ngôn ngữ của mình.)
PHẦN III: KIẾN THỨC CỦA SINH VIÊN VỀ CÁC BIẾN THỂ CẤU
TRÚC CỦA PHỦ ĐỊNH KÉP
Phần này tìm hiểu về kiến thức của người học về các cấu trúc biến thể của hiện tượng ngữ pháp PĐK 12 cấu trúc sau đây là các biến thể xuất hiện trong ngữ liệu bài hát mà nhà nghiên cứu đã phát hiện ra Theo bạn, những cấu trúc nào thường xuất hiện nhất)
P1 Neg-Aux + Neg-Adv I ain't never going back there
P2 Neg-Aux + Neg-Pro I don't feel nothing wrong
P3 Neg-Aux + Neg-Det (No) + N We don't need no education
P4 Neg-Adv + Neg-Pro I've never met nobody like you
P5 Neg-Aux + Neg-Det (No) + Adj It ain't no good
P6 Neg-Pro + Neg-Det (No) + Adv Got nothing to hide no more
P7 Neg-Pro + Neg-Pro No one knows nothing
P8 Neg-Adv + Neg-Det (No) + N I'll never do you no harm
P9 Neg-Pro + Neg-Det (No) + N Neither no opticians to tell me what I oughta see P10 Neg-Pro (S) + Neg-Aux Nobody don't like Christmas
P11 Neg-Adv + Neg-Det (No) + Adv I'll never put you in second place no more
P12 Neg-Aux + Neg-Det (No) +
You don't want this no more
Note: “aint” = Auxiliary verb + not
Category 1: Proficiency in DN Knowledge
Table A1 Reliability statistics of participants proficiency in DN Knowledge
Cronbach’s Alpha* No of Items
* Correlation is significant at the 0.7 level (acceptable)
Table A2 Total statistics of participants proficiency in DN Knowledge
Scale Variance if Item Deleted
Cronbach’s Alpha if Item Deleted
* Correlation is significant at the 0.3 level (acceptable)
Category 2: Proficiency in DN interpretation and pragmatic
* Correlation is significant at the 0.7 level (unacceptable)
Table B.2 Total statistics of participants proficiency in DN interpretation and pragmatic (First rotation)
Scale Variance if Item Deleted
Cronbach’s Alpha if Item Deleted
Table B1 Reliability statistics of participants proficiency in DN interpretation and pragmatic (First rotation)
Cronbach’s Alpha * No of Items
* Correlation is significant at the 0.3 level (unacceptable)
* Correlation is significant at the 0.7 level (acceptable)
Table B.4 Total statistics of participants proficiency in DN interpretation and pragmatic (second rotation)
Items Scale Mean if Item
Scale Variance if Item Deleted
Cronbach’s Alpha if Item Deleted
* Correlation is significant at the 0.3 level (acceptable)
Category 3: Proficiency in DN applying
Table B.3 Reliability statistics of participants proficiency in DN interpretation and pragmatic (second rotation)
Cronbach’s Alpha * No of Items
Table C2 Total statistics of participants proficiency in DN applying
Scale Variance if Item Deleted
Cronbach’s Alpha if Item Deleted
* Correlation is significant at the 0.3 level (unacceptable)
Table C1 Reliability statistics of participants proficiency in DN applying
* Correlation is significant at the 0.7 level (unacceptable)
Table C3 Reliability statistics of participants proficiency in DN applying
* Correlation is significant at the 0.7 level (acceptable)
Table C4 Total statistics of participants proficiency in DN applying
Items Scale Mean if Item
Scale Variance if Item Deleted
Cronbach’s Alpha if Item Deleted
* Correlation is significant at the 0.3 level (acceptable)
Category 4: Participants attitude toward DN phenomenon
* Correlation is significant at the 0.7 level (acceptable).
Table D2 Total statistics of participants attitude toward DN phenomenon
Items Scale Mean if Item
Scale Variance if Item Deleted
Cronbach’s Alpha if Item Deleted
* Correlation is significant at the 0.3 level (acceptable)
Table D1 Reliability statistics of participants attitude toward DN phenomenon
Kaiser-Meyer-Olkin Measure of Sampling Adequacy .692 Bartlett's Test of Sphericity
(KMO > 0.5 and Sig < 0.05 are acceptable)
Extraction Method: Principal Component Analysis
Rotation Method: Varimax with Kaiser Normalization
THE STATISTICS OF DN VARIATION SAMPLES IN THE
2 P1 (23) I ain’t never going back there
4 P1 (77) You’re never not on my mind, oh my, oh my
5 P1 (78) I’m never not by your side, your side, your side
6 P1 (79) I’ll never not be your ride, or die, alright
7 P1 (134) I don’t wanna not get stoned
8 P1 (135) I don’t wanna not get high
9 P1 (136) I’m not gonna not knock things down
10 P2 (7) There ain’t nothing in this world for free
11 P2 (8) My forbidden lover, I don’t want no other
12 P2 (11) You can’t tell me nothing
13 P2 (15) It wouldn’t be nothing, nothing without a woman or a girl
15 P2 (21) You ain’t seen nothing yet
18 P2 (25) She didn’t say nothin’ (nothing) at all
21 P2 (30) We ain’t done nothing wrong
22 P2 (33) I wasn’t looking for nobody when you looked my way
23 P2 (58) I ain’t got nobody, ain’t nobody got me
24 P2 (59) Don’t nobody want me, I can plainly see
25 P2 (62) I don’t want for nothin’ (I don’t want for nothing.)
26 P2 (70) Don’t nobody scream it like you
27 P2 (72) That love don’t love nobody
28 P2 (80) I don’t trust nobody, not even her
29 P2 (81) It ain’t gonna hurt nobody to get on down
30 P2 (82) Ain’t nobody loves me better than you
31 P2 (88) She don’t wanna love on nobody
32 P2 (102) Can’t get nothing without your love!
33 P2 (103) I don’t need nothing at all
34 P2 (106) You ain’t seen nothing like this
35 P2 (107) (Tell me why,) ain’t nothing but a heartache
36 P2 (108) (Tell me why,) ain’t nothing but a mistake
37 P2 (109) Can’t nothing beat my mother’s love
38 P2 (110) Can’t nothing shake what she’s made of
39 P2 (111) Can’t nothing bring me down
40 P2 (112) Can’t nobody take my pride
41 P2 (113) Can’t nobody hold me down (oh, no )
42 P2 (114) Can’t nothing hold me down
44 P2 (117) Ain’t nobody can love me like you do
45 P2 (118) Ain’t nobody does me better
46 P2 (119) There ain’t nobody gonna miss me when I’m gone
47 P2 (120) There ain’t nobody gonna mourn for me too long
48 P2 (121) You don’t mean nothing at all to me
49 P2 (122) There ain’t nothing about you
50 P2 (123) You ain’t got to buy nothing
51 P2 (124) We don’t have to go nowhere
52 P2 (127) I don’t want much of nothing at all
53 P2 (128) There ain’t nothing gonna keep me from you
54 P2 (129) There ain’t nothing to it
55 P2 (130) I don’t see nobody but you
58 P2 (137) Don’t nothing come to a sleeper but a dream
59 P2 (138) Don’t wanna hear nobody speak
60 P2 (140) I ain’t gonna tell ya (you) nothing fake
62 P2 (142) You ain’t got nothing good to say
63 P2 (143) Don’t say nothing at all
65 P2 (145) Ain’t nobody mad at you babe
67 P2 (150) You ain’t getting nothing yet
68 P2 (151) The world don’t owe me nothing
69 P2 (153) Oh my name, it ain’t nothin’ (nothing)
70 P2 (155) While others say don’t hate nothing at all
71 P2 (157) You ain’t got nothing, you got nothing to lose
73 P2 (160) Ain’t nothing gonna to break my stride
75 P2 (164) Ain’t nobody gonna hold me down
77 P3 (2) I can’t get no girl reaction
78 P3 (3) We don’t need no education
80 P3 (6) There ain’t no rest for the wicked
81 P3 (9) Ain’t no mountain high enough
82 P3 (12) I don’t belong to no one
83 P3 (13) Ain’t no sunshine when she’s gone
84 P3 (14) Ain’t no other man on the planet does what you do
86 P3 (26) You ain’t got no legs Lieutenant Dan
87 P3 (27) I ain’t got no time for that
88 P3 (32) I ain’t afraid of no ghost
89 P3 (34) I just can’t get no relief
90 P3 (35) There ain’t no chains strong enough to hold me
91 P3 (36) Ain’t no breeze big enough to slow me
92 P3 (37) There ain’t no jail tight enough to lock me
93 P3 (38) Ain’t no man big enough to stop me
94 P3 (39) There ain’t no rope stout enough to bind me
95 P3 (40) Don’t need no politicians to tell me things I shouldn’t be
96 P3 (43) Ain’t no stopping us now
98 P3 (46) There ain’t no grave can hold my body down
99 P3 (47) Ain’t got no - I got life
111 P3 (63) I ain’t got no troubles on my mind
112 P3 (64) Don’t ask me no questions
113 P3 (71) I ain’t got no one to talk to
114 P3 (73) That love don’t love no one
115 P3 (84) There ain’t no mountain high enough
117 P3 (86) Ain’t no river wide enough
118 P3 (87) She ain’t feeling no stress
119 P3 (101) I can’t get no satisfaction cause this wound is deep
120 P3 (105) This ain’t no luck luck luck
122 P3 (125) I ain’t got no money but I damn sure got it made
123 P3 (139) Can’t let no grass grow under my feet
124 P3 (146) We don’t need no education
125 P3 (147) We don’t need no thought control
126 P3 (154) Ain’t no tongue can tell
127 P3 (159) Didn’t want no one to hold you
129 P3 (163) A scrub is a guy that can’t get no love from me
130 P3 (167) It ain’t no use to sit and wonder why, babe
132 P4 (76) I’ve never met nobody like you
133 P4 (104) I’ve never seen nothing like you
134 P4 (152) You (that) never done nothing
135 P5 (16) It won’t do you no good
136 P5 (65) D.C won’t do you no good
138 P5 (166) People just ain’t no good
139 P6 (5) Got nothing to hide no more
140 P7 (20) No one knows nothing anymore
141 P7 (42) No one tells you nothing even when you know they know
142 P8 (31) I’ll never do you no harm
143 P8 (68) There will never be no love at all
144 P9 (41) Neither no opticians to tell me what I oughta see
145 P10 (60) Nobody can’t take that away from me
149 P11 (96) I’ll never put you in second place no more
150 P12 (44) Don’t come around here no more
151 P12 (66) Just can’t hold it back no more
152 P12 (74) That love don’t love no more
153 P12 (83) You don’t want this no more
154 P12 (89) I just can’t take no more
156 P12 (91) I just can’t wait no more
157 P12 (92) It just ain’t safe no more
158 P12 (93) I just can’t waste no more
160 P12 (97) I don’t wanna see that look on your face no more
162 P12 (99) That ain’t the case no more
163 P12 (100) I finally don’t wanna be a disgrace no more
164 P13 (126) I ain’t asking nobody for nothing
165 P13 (148) You ain’t giving nothing up to nobody
167 P14 (95) This ain’t no holy place no more
168 P15 (168) I ain’t never seen nobody like you
APPENDIX 7: THE APPLICATION FOR CONDUCTING A SURVEY
I've lived here seven years
I've lived here for so long
This is where you held my hand
And this is where you squeezed it too tight
I ain't never goin' back there
You won't see me again
I learned to feel your love
I learned to feel your abuse
This is where you held me back
And this is why I'm leaving you
So I ain't never goin' back
And I ain't never goin' back
No, I am never goin' back
You won't see me again
I love you and I hate you
This is my last time here
This is my last time here, cause
I am never goin' back, no
You will not see me
You will not see me again
2 Ain't No Rest for the Wicked
I was walking down the street
When out the corner of my eye
I saw a pretty little thing approaching me
She said, I've never seen a man
Who looks so all alone
Uh, could you use a little company?
… If you pay the right price
Your evening will be nice
And you can go and send me on my way
I said, "You're such a sweet young thing
Why'd you do this to yourself?"
She looked at me and this is what she said
… "Oh, there ain't no rest for the wicked
Money don't grow on trees
There ain't nothing in this world for free
Oh, no there ain't no rest for the wicked
Until we close our eyes for good"
I'm still walking down the street
When I saw the shadow of a man creep out of sight
And then he swept up from behind
He put a gun up to my head
He made it clear he wasn't looking for a fight
… He said, "Give me all you've got
I want your money not your life
But if you try to make a move, I won't think twice"
I told him, "You can have my cash But first you know I got to ask
What made you want to live this kind of life?"
… He said, "There ain't no rest for the wicked
Money don't grow on trees
There ain't nothing in this world for free
I can't hold back Though you know, I wish I could
Oh no there ain't no rest for the wicked
Until we close our eyes for good" Yeah…
3 We don't need no education
We don't need no education
We don't need no thought control
No dark sarcasm in the classroom
Teacher, leave them kids alone
Hey, teacher, leave them kids alone
All in all, it's just another brick in the wall
All in all, you're just another brick in the wall
We don't need no education
We don't need no thought control
No dark sarcasm in the classroom
Teachers, leave them kids alone
Hey, teacher, leave us kids alone
All in all, you're just another brick in the wall
All in all, you're just another brick in the wall
If you don't eat yer meat, you can't have any pudding How can you have any pudding if you don't eat yer meat? You! Yes, you behind the bike stands
Baby, please try to forgive me
Stay here don't put out the glow
Hold me now don't bother
If every minute it makes me weaker
You can save me from the man that
Looking back on the things I've done
I was trying to be someone
I played my part, kept you in the dark
Now let me show you the shape of my heart
Sadness is beautiful, loneliness that's tragical
So help me I can't win this war, oh no
Touch me now, don't bother
If every second it makes me weaker
You can save me from the man I've become
Looking back on the things I've done
I was trying to be someone (trying)
I played my part, kept you in the dark (in the dark)
Now let me show you the shape of my heart
Got nothing to hide no more
I don't know where to start
But to show you the shape of my heart
I'm lookin' back on things I've done
I never wanna play the same old part I'll keep you in the dark (keep you in the dark)
Now let me show you the shape of my heart Looking back on the things I've done
I was trying to be someone (trying to be someone)
I played my part, kept you in the dark
Now let me show you the shape of my heart (now let me show you the shape of my heart)
Looking back on the things I've done
I was trying to be someone
I played my part, kept you in the dark
Now let me show you the shape of Show you the shape of my heart.