Luận văn thạc sĩ Ngôn ngữ Anh: A functional grammar study on Taylor Swift''s song lyrics = Các đặc điểm ngôn ngữ trong lời bài hát của Taylor Swift theo quan điểm ngữ pháp chức năng

INTRODUCTION

Rationale

Language, as an integral aspect of human interaction, consistently attracts scholarly attention owing to its vital role in facilitating communication, enabling the exchange of ideas, and articulating emotions Text, which emerges as an outcome of social interaction, is intrinsically linked to both spoken and written linguistic forms, encapsulating the multifaceted nature of human communication and capturing the subtle distinctions arising in diverse social contexts (Eggins, 2004, p 2)

Within the domain of linguistic inquiry, Systemic Functional Grammar (SFG) holds a prominent position, having been developed by distinguished linguists such as Halliday (1994), Bloor and Bloor (1995), and Eggins (1994) SFG focuses on examining the grammatical structures embedded in clauses and explores the various ways in which individuals utilize language in their social lives In contrast to traditional grammar, which primarily emphasizes the rules governing proper language usage, functional grammar encompasses both spoken and written linguistic expressions and highlights the functional aspects of language Consequently, SFG provides a thorough and nuanced approach for understanding the complexities of language use across different social situations, which is crucial for a master's thesis aiming to explore language from a refined and accessible angle

Hargreaves et al (2005) argue that songs are a fundamental means of communication, offering a platform for individuals to express their thoughts, intentions, and meanings, thereby emphasizing the importance of songs in promoting human connection and understanding Song lyrics, created by composers, seek to entertain listeners, convey messages, and communicate emotions, regardless of whether they are positive or negative, highlighting the versatile nature of song lyrics and their roles in both artistic expression and personal communication By carefully choosing words, song lyrics reveal the composer's purpose in delivering specific messages, often reflecting the subject's emotions and attitudes As such, the analysis of song lyrics can provide valuable insights into the relationship between language, emotion, and meaning, making it an essential focus within the context of academic research into linguistic and communicative properties

Taylor Alison Swift, known by the name Taylor Swift, is a well-known American singer-songwriter She was born on December 13, 1989 In 2010, at the age of 20, Taylor Swift became the youngest artist in history to win the Grammy Award for Album of the Year In 2011, Swift was named Billboard's Woman of the Year She has also been named the American Music Awards Artist of the Year and the Entertainer of the Year by the Country Music Association and the Academy of Country Music, among many other accolades As of this writing, she is also the best-selling musician, with 200 million records sold Swift has achieved 111 Guinness World Records and has been honored with the Recording Artist of the Year award on three occasions by the International Federation of the Phonographic Industry She holds the record for being the female touring act that has generated the most revenue, and she is also the first person in the music industry to amass a net worth of at least one billion dollars primarily from her music-related earnings Swift is a philanthropist advocating for artists' rights and women's empowerment She has gotten credit and critical acclaim for her skillful narrative songwriting, typically inspired by her life experiences

Numerous approaches utilizing diverse frameworks and perspectives have been utilized in the study of song lyrics In recent years, interest in SFG has increased Within this area of investigation, an enormous amount of research has been carried out in an attempt to explore the language from the perspectives of metafunction: the ideational, the interpersonal, and the textual Many linguists in the world have made numerous contributions from various academic aspects For example, Purwandari, Septyana Atik, et al (2022) analyzed the song lyrics of the Energy of Asia Music Album from the Perspective of SFG Another research was conducted by Sari et al (2019), concentrating on Interpersonal Meaning The study aimed to describe the Mood Element which is used in the lyrics of Adele's album 21 Kamaliah (2021) examined the interpersonal meaning of Mood choices on song lyrics in the Folklore album of Taylor Swift Also, Rahayu (2017) conducted a study on the analysis of Theme in Selected Taylor Swift's Song Lyrics The analysis of song lyrics has also been undertaken by several scholars in Vietnam For example, Ngan (2018) reviewed attitude resources in English and Vietnamese love song lyrics Besides, Nhu (2022) analyzed the metaphor of love in Taylor Swift’s songs Trong (2022) discovered the experiential meanings in song lyrics composed by Chester Bennington Among diverse research on linguistic features tested with song lyrics, there seem to be few studies using SFG to analyze the linguistic features in song lyrics

Considering the significant role of songs in communication, the diverse functions of song lyrics, the various research methods employed in studying song lyrics, and the limited use of SFG in lyric analysis, it is apparent that further research in this area is necessary In response to this need, and with the aim of deepening our understanding of the relationship between language, meaning, and artistic expression, I have decided to pursue a master's thesis in this field By applying SFG to examine the linguistic aspects of Taylor Swift's lyrics, this research aims to emphasize the importance of this approach in analyzing song lyrics as a unique form of communication To achieve these goals and contribute to the existing body of knowledge in linguistic analysis, I have chosen to conduct a thesis titled “A Functional Grammar Study on Taylor Swift's Song Lyrics.”

Aim and Objectives

The aim of this thesis is to investigate the linguistic features in Taylor Swift's song lyrics (TSSL) using SFG developed by Halliday (1994) as an analytical framework More specifically, these linguistic features would be identified from the analysis of experiential, interpersonal, and textual features

In order to attain the aim of the study, the study is to focus on the following objectives:

- To identify the experiential features utilized in TSSL from the perspective of SFG

- To analyze the interpersonal features employed in TSSL from the perspective of SFG

- To explore the textual features used in TSSL from the perspective of SFG.

Research Questions

These three questions are answered upon completion of the thesis:

1 What experiential features are expressed in TSSL?

2 What interpersonal features are realized in TSSL?

3 What textual features are presented in TSSL?

Significance of the Study

The completion of this thesis provides not only theoretical but also practical benefits Theoretically, the outcomes of this study are helpful for future research on three metafunctions within the SFG concept The study is also expected to have possible contributions to the body of knowledge of functional grammar by bringing about insights into three metafunctions in song lyrics Practically, it serves as an inspiration for English learners and people interested in song lyrics to study more about this topic Furthermore, instructors in linguistics classes might utilize the data in this study as examples to help English learners comprehend the linguistic characteristics of the language employed in Taylor Swift's songs.

Scope of the Study

Indeed, there are a multitude of songs composed by several renowned artists worldwide However, for this study, the researcher only examined a selection of 20 songs authored by Taylor Swift Taylor Swift's worldwide recognition and influence indicate the significance of her song lyrics She has sold millions of albums, received numerous awards, and amassed a dedicated fan base across different countries and cultures The researcher randomly selected 20 songs penned by Taylor Swift from diverse albums: “Reputation,”

“Lover,” “Folklore,” “Evermore,” “Fearless (Taylor’s Version),” “Red (Taylor’s Version),” and “Midnights.” The album has achieved extraordinary achievements, awards and ratings It is also highly applauded for its musicality, lyrics, and songwriting style Taylor Swift won three MTV Video Music Awards for “Me!” and “You Need to Calm Down” from her seventh studio album, “Lover,” after receiving a record twelve nominations At the 63rd Grammy Awards, she became the first woman and fourth artist to win Album of the Year three times with “Folklore,” her eighth studio album

“Evermore,” the ninth studio album, was a 64th Grammy Award Album of the Year nominee “Midnights,” Taylor Swift's tenth studio album, was released by Republic Records on October 21, 2022 “Midnights” set global records in all music mediums It achieved the Spotify record for the most single-day streams of an album, Swift's 11th number-one on the Billboard

200, the largest vinyl sales week of the 21st century, the best-selling album of

2022, and the most Billboard Hot 100 top-ten songs in a week

The song lyrics research is carried out based on songs downloaded from English music websites Although there are many ways to identify the linguistic features of a discourse, the study focuses on analyzing three functional features of SFG There have been many functional approaches, but the research is based on Halliday’s framework.

Organization of the Study

Chapter 1, Introduction, includes the rationale, the aim and objectives, research questions, the significance of the study, the scope of the study, and organization

Chapter 2, Literature Review, reviews the related theory about SFG

Previous studies from the perspective of the theory and song lyrics are also introduced

Chapter 3, Methodology, consists of research method, research procedures, and the procedure of data collection and data analysis for the study

Chapter 4, Findings and discussions, presents the results of the data analysis to figure out the linguistic features of three metafunctions appearing in song lyrics

Chapter 5, Conclusion and implications, summarizes the major findings, draws conclusions, implications, limitations and puts forward suggestions for further studies.

LITERATURE REVIEW

An overview of SFG

SFG has garnered considerable attention as a significant linguistic theory, primarily attributed to the pioneering contributions of Halliday (1978, 1994) and subsequent scholars This framework posits that language fulfills numerous functions in social communication, effectively establishing connections between individuals and conveying meaning (Halliday & Matthiessen, 2014) The ensuing discussion delineates the foundations and applications of SFG in various linguistic contexts while emphasizing its capacity to analyze texts and language use in terms of grammar and meanings (Eggins, 2004, p 2)

The development of SFG is anchored in the work of British linguist Michael Halliday, who endeavored to amalgamate the study of language form with that of language function (Halliday, 1978) Informed by Firth's seminal work on system-structure theory, Michael Halliday developed SFG in the early 1960s as an innovative approach to linguistics that both builds upon and transcends its theoretical antecedents This development signifies not merely a chronological extension but an epistemological advancement, as Halliday integrated Firth's foundational concepts into a more comprehensive and functional linguistic framework Contrasting traditional grammar, Halliday's approach accentuates the various purposes of language use rather than merely cataloging structural features (Bloor & Bloor, 2004) SFG primarily focuses on the grammar choices associated with meanings, referring to the purpose of the speakers or writers and the concrete forms of language (Matthiessen & Halliday, 2014, p 3)

According to Halliday and Matthiessen (2014, p 10), SFG presents language as a semiotic system that is socially embedded, which sets it apart from conventional models that primarily focus on syntax The theory places significant emphasis on the notion of "choice," asserting that linguistic choices are shaped by the social environment and are evident in the range of systematic options accessible to individuals who use language (Halliday & Matthiessen, 2014, p 23, 60) SFG utilizes a hierarchical framework that effectively separates and links various linguistic strata, including semantics, lexicogrammar, and phonology, in order to conduct a detailed analysis (Halliday & Matthiessen, 2014, p 29) Furthermore, the incorporation of the concept of "register" enables the analysis of linguistic characteristics that are linked to particular social contexts (Halliday & Matthiessen, 2014, p 30) The SFG provides a comprehensive framework for comprehending language as a dynamic system that is influenced by social processes

The three metafunctions at the core of SFG are experiential, interpersonal, and textual (Halliday, 1994) These metafunctions exemplify the various manners in which language fulfills its communicative functions within social contexts SFG determines how the speaker or writer creates meanings in spoken or written texts, with clauses having three broad functions called language metafunctions (Halliday & Matthiessen, 2014) These language metafunctions can be broken down into many linguistic realizations when constructing spoken or written texts

SFG has been utilized as a theoretical framework in a myriad of linguistic studies, spanning from multimodal discourse analysis (Kress & van Leeuwen, 2001) to cross-linguistic research (Butler, 2003) and pedagogical applications in language teaching (Derewianka, 2011) The versatility of this framework lies in its capacity to unveil the intricate connections between language, meaning, and social context, rendering it a valuable instrument for understanding the complexities of human communication Consequently, SFG is concerned with how language is functionally used as a text in context, providing resources in the form of wording to express its speech function and pointing out the language use and structure within different contexts (Matthiessen & Halliday, 2014, p 3).

The Three Metafunctions

Experiential meaning, is an important feature of ideational metafunction, enables writers to depict external realities, representing and interpreting patterns of experience in a coherent manner The ideational metafunction operates on the semantic plane and consists of two components: experiential meanings and logical meanings According to Halliday (1994), the experiential characterizes clauses as representation and concentrates on ideas and content It also demonstrates how individuals actively interpret reality by categorizing the things and events that come into their awareness

In contrast, the logical emphasizes the symbolic representation of reality and experience through language and focuses on the relationship between ideas, or as Halliday puts it, "systems which set up logical-semantic relationships between one clausal unit and another" (Halliday, 1994) This study, however, will focus solely on experiential meaning As posited by Martin et al (1997), the transitivity system pertains to the experiential metafunction within the clause, allowing individuals to conceptualize the world

Halliday (1994, p 36) characterizes the experiential meaning in the transitivity system as a resource for "construing a model of experience," encompassing three aspects: the process, the participants in the process, and the circumstances associated with the process Process types, which constitute the primary aspect, consist of six subtypes Among these, material, mental, and relational processes are particularly salient, while behavioral, verbal, and existential processes comprise the remaining categories The transitivity system, therefore, plays a crucial role in capturing experiential meaning by delineating the configuration of possible participants, processes, and circumstances

In the context of experiential meaning within SFG, material process plays a pivotal role in representing actions or events, both concrete and abstract, that involve various participants As delineated by Halliday (1994), material process entails the occurrence of an action or event in which an object 'does' something, potentially affecting another object This process captures the essence of 'doing' or 'happening' in the construction of experiential meaning

The material process encompasses several participants, each contributing to the overall structure and meaning of the action or event The Actor, as the primary participant, carries out the material action, while the Goal represents the entity impacted by the action Additionally, the Range serves to specify the scope or extent of the action, and the Beneficiary denotes the participant who benefits from the action (Halliday, 1994)

Chia bought some curry yesterday

Actor Process: material Goal circumstance

Chia bought Paul some curry yesterday

Actor Pr.material Beneficiary Goal circumstance

Chia bought some curry for Paul yesterday

Actor Pr material Goal Beneficiary circumstance

Within the domain of experiential meaning in SFG, mental processes serve as a critical component in the representation of conscious mental activities, including perception, cognition, and affection These processes are characterized by the engagement of a conscious participant in activities such as feeling, thinking, and perceiving (Halliday, 1994)

Mental processes involve two key participants: the Sensor, who is endowed with consciousness and actively senses, and the Phenomenon, which is the entity being sensed Halliday (1994) further categorizes mental process verbs into three primary types: cognition (e.g., thinking, knowing, understanding), affection (e.g., liking, fearing), and perception (e.g., seeing, hearing) Moreover, within the general class of mental clauses, there are four distinct subtypes: perceptive (e.g., sense, see, notice, hear), cognitive (e.g., think, believe, suppose, expect), desiderative (e.g., want, wish, desire, hope), and emotive (e.g., like, fancy, love, adore)

I saw the operation taking place

Senser Pr Mental: Perception Phenomenon

Behavioral processes relate to physiological and psychological actions like breathing, smiling, looking, watching, and listening They involve two main participants: the Behaver and the Phenomenon Unlike in mental processes, where Sensers is focused on cognition, Behavers is primarily action-oriented As posited by Halliday (2014), these processes can include other participants, such as Behaviour (Range) Typically manifesting in the present continuous tense, they do not involve indirect speech or thought but are often found in fictional narratives to introduce direct speech

Verbal processes, as defined within the scope of SFG, pertain to processes involving verbal actions, such as saying, asking, commanding, offering, stating, showing, or indicating (Eggins, 2004) These processes generally comprise four distinct participants: the Sayer, Receiver, Verbiage, and Target

According to Eggins (2004), the Sayer is the participant responsible for initiating the verbal process and may not necessarily be a conscious participant The Receiver is the individual to whom the verbalization is directed Verbiage, another participant in this process, refers to a nominalized statement encapsulating the verbal process Lastly, the Target represents the entity that is impacted by the verbal action

I ‘m always praising you to my friend

Sayer Process: verbal Target Receiver

Relational processes, as delineated by Halliday (2004), function to characterize and identify entities within a clause These processes, which encapsulate relationships of being and having between two participants, are typically realized through the verb "be" (Butt et al., 2000, p 51) Due to the various ways in which entities can be related, relational processes manifest in different types, such as intensive, circumstantial, and possessive

Each type of relational process is expressed in two distinct modes: attributive and identifying In the attributive mode, an Attribute is assigned to a specific entity, known as the Carrier Conversely, in the identifying mode, one entity (the identifier) serves to recognize another (the identified) Halliday (1994) explains that the terms Token and Value are conflated with Identified and Identifier, and this conflation may occur in either direction

The cuckoo is a bonny bird

Carrier Pr Relational: attributive Attribute

King Louis was the King of France

Identified/Token Pr.Relational: identifying Identifier/Value

Existential processes, although sharing similarities with relational processes in terms of involving a participant in a process of being, are distinct as they feature only one participant—the Existent (Halliday, 1994) These

The Arab boyfriend told her a lot of rubbish

Sayer Process: verbal Receiver Verbiage processes convey notions of existence and occurrence, often realized through the verb "be" or other verbs such as "exist" or "arise," followed by a nominal group functioning as the Existent Within an existential clause, the primary function is to introduce the Existent into the text, and the presence of "there" serves as an indicator of the process type without functioning as a location circumstance or representing a participant

May be there s some other darker pattern

Maybe some other darker pattern exists

As for circumstances, they are vitally important elements in identifying experiential meanings Basically, circumstances are recognized via adverbial groups or (repositional phrases appearing in all types of processes According to Halliday and Matthiessen (2004), there are nine different types of circumstances including Extent, Location, Manner, Cause, Contingency, Accompaniment, Role, Matter, and Angle In particularly,

- Extent expresses the interrogative forms such as time and space

- Location expresses the temporal (time) and the spatial (place), with the interrogatives of Location being where and when

- Matter is the one expressing the interrogative form which is What about

- Cause is a circumstance that indicates or explains why something happened However, Reason, along with Purpose and Behalf, is one of three sub-types

- Manner is a circumstance describing how the process is carried out

- Role tells us about be and become and it is the circumstance including

Guise and Product as subcategories

- Accompaniment denotes the circumstantial meanings of 'and', 'or', and 'not'; it relates to the interrogatives and who, what else but who/what?

- Contingency is the element which is related to cause, according to Thompson (1996)

- Angle is also linked to speech processes but in this case to the Sayer; it is like “as says”

These categories are presented in Table 2.1 (Halliday & Matthiessen,

Questions for identifying the circumstance

1 Extent For, over, across, etc

Duration, frequency (temporal), distance (spatial)

How long? How far? How often?

2 Location At, in, on, from, etc

3 Manner With, by, like, etc

How? What with? In what way? Like what? To what extent?

4 Cause Through, for, because, etc

5 Contingency In case of, etc Condition, concession, default

Questions for identifying the circumstance

7 Role As, into, etc Guise, product What as? What into?

8 Matter About, etc What about?

9 Angle According to,in the words of, etc

Source, viewpoint Who says? Who thinks?

According to Bloor (2013), "all three metafunctions operate simultaneously in the creation of meaning in relation to the context." In SFG, interpersonal meaning is crucial for communication It outlines social roles and the relationship between the speaker and the hearer, as described by Matthiessen and Halliday (2014) It is employed to enact social roles and maintain interpersonal relations Thompson (2014) notes that it serves to express viewpoints and influence behavior Analyzing interpersonal meaning can reveal language use, social relationships, and even the speaker's attitude

Previous Related Studies in Song Lyrics

2.3.1 Discourse Analysis of Song Lyrics

Song lyrics have attracted multidisciplinary research, with linguists examining language use, sociologists exploring cultural contexts, musicologists studying the relationship between lyrics and music, and psychologists investigating the impact on listeners' emotions and cognition These diverse approaches contribute to a comprehensive understanding of the complex interplay between language, music, culture, and human experience

In the realm of discourse analysis, a study was conducted by Risdianto (2016) to examine the song lyrics of “We Will Not Go Down” by Michael Heart, a piece dedicated to the Palestinian people and the Gaza conflict The study is methodologically qualitative and aims to unearth the contextual, grammatical, and lexical dimensions of the song Contextually, the song is deeply embedded in the life experiences and background of the songwriter, Michael Heart Grammatically, the study identifies eight forms of first-person plural pronouns, four second-person plural pronouns, and seven third-person pronouns, contributing to the song's cohesion and coherence Lexically, the study reveals an anaphoric repetition of the phrase "We Will Not Go Down," iterated seven times to emphasize Palestinian resilience The study concludes that the song serves as a potent medium for conveying the struggles and resistance of the Palestinian people, effectively utilizing various discourse elements to engage its audience

In the same vein, Amenorvi's study (2019) employs a multimodal analytical framework to explore the theme of survival in Bob Marley's 1979 album, “Survival.” The research is qualitative and focuses on the album's cover design, literary devices, and other aesthetic elements The study finds that the album cover is replete with symbolism, featuring the flags of 48 independent African nations and Papua New Guinea, along with the depiction of a slave ship, thereby encapsulating the historical struggles and resilience of the African diaspora Literary devices such as repetition, allusion, and metaphor are also employed to project the theme of survival The study concludes that the album serves as a powerful medium for conveying the theme of survival, from the historical struggles of slavery to the contemporary issues facing the African diaspora

Similar to this study but different in the theoretical framework, Alek et al (2020) employ Fairclough's Critical Discourse Analysis to scrutinize the intended meanings and implications of Taylor Swift's song "Look What You Made Me Do," both lyrically and visually The research aims to elucidate the song's impact on language learning, given its popularity among adolescents The findings reveal that the song employs various figurative expressions, such as metaphors, irony, and paradox, to convey a transformation in Swift's public persona from an innocent figure to a more powerful and assertive individual Symbolic elements, like the use of animals (snakes and ravens) and color schemes (black, red, and gold), further accentuate this transformation The study concludes that the song serves as a complex semiotic landscape, offering multiple layers of meaning that can be integrated into language learning curricula, though with caution due to its sociocultural implications

Nhu (2022) explores the use of metaphor in Taylor Swift's songs, focusing on how love is represented and conveyed through figurative language Utilizing a comprehensive analysis of Swift's lyrics, the study highlights the various metaphorical expressions employed to depict love, as well as their impact on the listener's interpretation and emotional response The findings demonstrate that Swift's songs contain a diverse range of metaphors, portraying love in multifaceted and nuanced ways that resonate with listeners' experiences and emotions Furthermore, the study emphasizes the importance of metaphor in enriching the meaning and expressive power of song lyrics

2.3.2 Functional Grammar Analysis of Song Lyrics

Lyrics play an important role in the semantics and structure of many pieces of music Regarding discourse analysis from the standpoint of functional grammar, a multitude of studies have been conducted across various disciplines

First, Marwati (2017) utilizes SFG to analyze the figurative language in the song lyrics of Taylor Swift's album "Speak Now" and explores its application in teaching reading to eleventh-grade students in senior high school The findings of the study indicate that the diverse array of figurative language present in Swift's lyrics offers valuable opportunities for developing students' reading skills and comprehension, particularly in recognizing and understanding the nuances of figurative language By incorporating these song lyrics into the teaching of reading, educators can enhance student engagement and promote a deeper understanding of linguistic elements

In the same way, Ngan (2018) conducts a comparative investigation of attitude resources in English and Vietnamese love song lyrics, utilizing the SFG as the primary theoretical framework The study aims to explore the similarities and differences in the expression of attitudes in the lyrics of both languages The findings reveal that while both English and Vietnamese love song lyrics share some common attitude resources, they also exhibit distinct cultural and linguistic characteristics Furthermore, the results show that the selection of attitude resources in love song lyrics can significantly impact the conveyed message and the emotional response of the listeners

It does not cease at that, the study by Sari et al (2019) employs Systemic Functional Linguistics (SFL) to analyze the interpersonal meaning in the lyrics of Adele's song "Don't You Remember" from her album "21."

Utilizing a descriptive qualitative method, the researchers dissect the song's clauses based on Mood-Residue elements such as Subject, Finite, Predicator, Complement, and Adjunct The findings reveal that out of 28 analyzed clauses, only four lacked aspects of interpersonal meaning, accounting for 85.7% of the data that could be scrutinized for mood and residue This high percentage underscores the rich interpersonal meaning conveyed through the song, thereby affirming the efficacy of SFL in analyzing such media

In addition, Trong (2022) also examines the experiential meanings in song lyrics composed by Chester Bennington, applying SFL as the theoretical and methodological framework The study delves into the linguistic features, focusing on how Bennington's lyrics convey his personal experiences, emotions, and perspectives on various topics The findings reveal that Bennington's songs are rich in experiential meanings, displaying a diverse range of linguistic features that enable listeners to connect with the artist's inner world and empathize with the emotions and experiences expressed in the lyrics The thesis underscores the importance of understanding experiential meanings in song lyrics and their potential application in fields such as language teaching and the study of popular culture

In summary, this chapter has reviewed the overall picture of SFG, focusing on the three metafunctions of a language This review is of great importance for the writer to apply SFG as a theoretical framework in her analysis in the following chapter Moreover, this chapter also provides a brief summary of previous studies that are closely connected to the current topic.

RESEARCH METHODOLOGY

Research Methods

In order to conduct the thesis, qualitative and quantitative approaches were employed to process and describe the features of the data In detail, the qualitative approach served to realize three functional features comprising experiential, interpersonal and textual one in TSSL The frequency of the three features was quantitatively investigated and compared to reveal an overall picture of the data in question.

Data Collection and Description

The data collection process was carried out as follows: Initially, the researcher randomly selected 20 songs penned by Taylor Swift from diverse albums: “Reputation,” “Lover,” “Folklore,” “Evermore,” “Fearless (Taylor’s Version),” “Red (Taylor’s Version),” and “Midnights,” and compiled a table containing details such as song titles, artists, composers, albums, and years of release This information was sourced from Wikipedia Subsequently, the researcher obtained the lyrics of these songs from www.azlyrics.com The subject matter of these songs varies widely, encompassing themes such as love someone at first sight (Willow), confessions to a crush (Message In A Bottle), sharing your innermost thoughts after the party (New Year’s Day), and apologies to a lover (Cornelia Street), among others.

Data Analysis

Following data collection, the analysis was conducted based on the research questions, focusing on three metafunctions: experiential, interpersonal, and textual

In the experiential metafunction, attention was given to the Transitivity system's six process types: material, mental, behavioral, verbal, relational, and existential The frequency of each type was calculated and presented through charts Furthermore, examples were provided to support the analysis and contribute to the qualitative study

Regarding the interpersonal metafunction, the analysis centered on mood and modality The occurrences of each item were displayed through charts and tables, facilitating a qualitative discussion and interpretation of the interpersonal metafunction

Finally, in the textual metafunction, three prominent types of themes—Topical Theme, Interpersonal Theme, and Textual Theme—were examined and synthesized The distribution of these themes was presented using examples and charts, providing a clear and engaging representation of the findings.

Research Procedures

The study used Halliday's theory, as a framework to investigate the linguistic features in song lyrics However, in order to figure out the meanings, the researcher had to follow detailed steps

First, the researcher reviewed the relevant previous studies to find the appropriate ways to go as well as ensure reliability and validity Next, collecting data from an online reliable website, twenty full song lyrics of these selected songs were downloaded to serve the study from the link www.azlyrics.com

Secondly, the writer counted the number of clauses and coded as follows Song lyric 1 to Song lyric 20 were coded with S1 to S2 and Clause 1 to Clause n were coded with C1 to Cn After that, the author started identifying the components of experiential metafunction, interpersonal metafunction and textual metafunction employed in each clause

Finally, the researcher analyzed the data collected by making statistics and demonstrating with charts to discuss the linguistic features of each type.

Validity and Reliability

The validity and reliability were taken as the priority from the data selecting step to the analyzing one In order to guarantee the validity and reliability of the study, a myriad of the theoretical frameworks from famous linguists were applied In details, any information quoted in this study was definitely reliable as they were extracted from prestigious linguists Furthermore, the selected data are collected from the reliable website Lastly, by different methods, the findings of the study were concluded after a long process of specific analyzing, explaining, discussing with full of evidence, statistics illustrated by charts or tables

In summary, chapter 3 clarifies the data-gathering instruments of the research, research procedure, and research methods which are utilized for collecting and processing the data Following is Chapter 4, where the findings and discussion of the study are presented.

FINDINGS AND DISCUSSION

Experiential Metafunction in TSSL

The foundation for interpreting the experiential metafunction in language lies within the system of transitivity, particularly the system of process In the analysis process of TSSL, the author adopts this framework to delve into the underlying structures and experiences conveyed through the lyrics This section scrutinizes the three key elements at the core of this metafunction: process, participant, and circumstance As introduced in Chapter 2, six distinct types of processes govern the unfolding narratives in TSSL These processes include material, relational, mental, existential, behavioral, and verbal processes

To gain a comprehensive understanding of the experiential metafunction present in TSSL, the researcher analyzes the distribution of these six process types within her lyrical content The findings of this analysis will be presented in Figure 4.1, illustrating how these processes are utilized and distributed in her songs

Frequency of process type in TSSL

This figure shows the thematic and experiential choices made by Taylor Swift in her song lyrics, helping readers uncover the unique qualities of her lyrical expressions in the context of love and relationships

As depicted in Figure 4.1, the singer employs all six types of processes within her TSSL What is particularly striking is the prevalence of Relational and Material processes, constituting the highest proportions at 37.5% and 31.8%, respectively Subsequently, the Mental process claims a significant share, contributing to 17% of the total processes In contrast, the remaining process types occupy substantially smaller proportions Specifically, the Verbal process is nearly twice as prevalent as the Existential process, at 9.5% and 2.3%, respectively The Behavioral process, on the other hand, registers

Relational Material Mental Verbal Existential Behavioural

Percentage the lowest percentage, accounting for merely 1.9%

The dominance of Relational and Material processes in TSSL suggests a deliberate choice of "doing words" and "being words" to convey actions and establish connections between entities, be it in terms of identifying or describing them In contrast, the Behavioral and Existential processes are less frequent, indicating that the singer rarely delves into descriptions of behavior or the existence of animate or inanimate elements within her songs The prominence of the Mental process, constituting nearly 20%, underscores Taylor Swift's frequent use of "mental verbs" to express ideas, thoughts, or opinions, providing a profound glimpse into the emotional and cognitive aspects of the individuals featured in her song lyrics Additionally, while the Verbal process is utilized to a lesser extent, it serves to express the dialogue and quotations of characters within Taylor Swift's lyrical narratives

To offer a more comprehensive perspective on the experiential metafunction found in TSSL, the subsequent sections will present detailed descriptions and examples of each process type, providing a deeper understanding of the unique linguistic characteristics and narrative qualities embedded within her songs

The Relational process, a critical element in the linguistic makeup of TSSL, plays a pivotal role in encoding relationships of being and having between two participants Within this process, participants are characterized, identified, or situated, allowing for the exploration of the intricate web of human connections and emotions It is essential to acknowledge that the utilization of this process involves two primary modes: the attributive mode and the identifying mode The attributive mode further unfolds into three fundamental sub-types, including the intensive, possessive, and circumstantial modes, each lending a unique perspective to the narrative The linguistic tools responsible for realizing the Relational process encompass verbs such as "be, become, seem, stay, keep, have," which allow the conveyance of complex relationships and attributes within the lyrics of TSSL

As illustrated in Figure 4.1, the Relational process emerges as the most dominant process type in the dataset, constituting a substantial 37.5% of the total processes This striking prevalence underscores the deliberate employment of the Relational process by Taylor Swift to offer precise definitions, explanations, and explicit descriptions of various concepts, individuals, and emotions, as she crafts the rich tapestry of relationships and sentiments within her songs

A noteworthy observation is the recurrent usage of the verb "be" as both an attributive and identifying process within the content of TSSL This dual role of "be" accentuates its adaptability and versatility in shaping and defining relationships, attributes, and identities, while conveying nuanced and profound meanings that resonate with her audience

The subsequent sections will delve into the specific sub-types and manifestations of the Relational process in TSSL, accompanied by detailed examples that offer a comprehensive understanding of its pivotal role within her lyrical narratives

S4.C10: And so I became the butt of the joke

And so I became the butt of the joke

Token Pro: Relational: Identifying Value

S5.C15: Darling, you’re the one I want

Darling you ‘re the one I want

Within TSSL, the presence of identifying relational processes plays a significant role, constituting approximately 20% of the total processes This usage reveals the artist's intention to provide clarity in the identification of various elements, be they individuals or inanimate objects, within her lyrical narratives The employment of the identifying mode of the Relational process contributes to enhancing the lucidity of the information conveyed to the listeners, fostering a deeper connection with the themes and emotions explored in her songs

For instance, Taylor Swift employs a series of "be" verbs in her songs to precisely identify and distinguish between elements This approach allows her to create clear distinctions, drawing parallels between familiar aspects of life and elements related to personal experiences or relationships An example can be seen in the song called Lover, In the line “This is our place”, The word "is" in this sentence serves to indicate a state or condition It shows that "this" (referring to a location or a moment) exists in the state of being "our place" It is used to express a sense of belonging or ownership, suggesting that the location or moment mentioned in the song holds special significance to the people involved The use of "is" helps in precisely identifying and describing the relationship between the subject and the subject complement, which, in this case, is "our place"

The use of identifying relational processes within TSSL contributes to a deeper understanding of the complex emotions, relationships, and life experiences woven into her lyrics, enhancing the overall impact of her music on her audience

S8.C35: Cold was the steel of my axe to grind for the boys who broke my heart

Cold was the steel of my axe to grind for the boys who broke my heart

S14.C10: I could be the one that you dream of

I could be the one that you dream of

Attributive relational processes are particularly prevalent in TSSL, constituting a significant portion, approximately 80%, of the total processes employed This prevalence suggests that Taylor Swift frequently utilizes this type of relational process to provide detailed descriptions of the characteristics, ownership, or circumstances of the entities and emotions depicted in her songs

Within attributive relational processes, there are two essential participants involved: the Carrier and the Attribute These participants play distinct roles in conveying meaning within the lyrics of Taylor Swift's song The attributive relational process unfolds through three primary subtypes, each adding a layer of complexity to the narratives Two exhaustive illustrations of the attributive relational process are presented below

S4.C1: My love was as cruel as the cities I lived in

My love was as cruel as the cities I lived in

Carrier Pro: Relational: Attributive Attribute

Besides, possessive subtype of attributive relational process also appears in some lyrics This subtype is usually realized with the verb “had” as follows:

S5.C10: Kiss me once ‘cause you know I had a long night

The final subtype of attributive relational process is the circumstance It is displayed in the following examples

S2.C3: Candle wax and Polaroids are on the hardwood floor

Polaroids are on the hardwood floor

S3.C22: You are in my head

You are in my head

S7.C5: We were a fresh page on the desk

We were a fresh page on the desk

Interpersonal Metafunction in TSSL

This section will provide an in-depth analysis of the elements conveying interpersonal meaning in TSSL Mood and modality are two common subtypes utilized to express this aspect

As outlined in chapter 2, the Mood system is part of the interpersonal metafunction of language and is the grammatical basis for an interactive move in discussion The grammar of interpersonal meaning can be analyzed using the Mood system, consisting of Mood and Residue The Mood consists of two main elements: Subject, represented by a nominal group, and Finite, which is a part of a verbal group The Residue is composed of functional pieces of three types: Predicator, Complement, and Adjunct There are four primary mood types: Declarative, Interrogative, Imperative, and Exclamative However, in TSSL, only three of these types are employed, with no instances of the Exclamative mood in the lyrics The figure 4.3 below illustrates the distribution of Mood types in TSSL

From Figure 4.3, it is evident that there is a significant disparity in the usage of Mood types in TSSL Declarative Mood is the prevailing type, constituting nearly 88% of the total Conversely, the Imperative Mood represents only a minor fraction, accounting for approximately 9% in total The lowest percentage is attributed to Interrogative Mood, making up just 3%

As previously discussed, the high prevalence of Declarative Mood in TSSL indicates that her songs are essentially monologues, not dialogues The focus of the singer is to convey meaningful information and knowledge about

Declarative Interrogative Imperative the themes present in her song lyrics Although Imperative and Interrogative Moods are present in the data in smaller proportions, they play a crucial role in establishing a connection between the artist and her audience

With a total occurrence of 1374 times in TSSL, the Declarative Mood is the most frequently used type The following examples extracted from the songs will illustrate how the Declarative Mood is employed in the data:

S7.C5: We were a fresh page on the desk

We were a fresh page on the desk

Subject Finite Predicate Complement Adjunct

She uses Declarative in the example above so as to successfully introduce the context in which the story relating to the topic of the song Cornelia Street is told Looking at this example, it is easy to realize the structure of this Declarative mood: Subject – Finite Other examples are:

S2.C10-C13: You squeeze my hand three times in the back of the taxi I can tell that it's gonna be a long road I'll be there if you're the toast of the town, babe Or if you strike out and you're crawling home

You squeeze my hand three times in the back of the taxi

Subject Finite Predicate Complement Adjunct

I can tell that it's gonna be a long road

I ‘ll be there if you're the toast of the town, babe

You strike out and you're crawling home

Likewise, in addition to initiating her songs with declarative statements, Taylor can also impart wisdom and life lessons, as illustrated in the instances from Song 2 In the first instance, declarative mood clauses are used to convey a sense of renewal and the opportunity to create something new and different It means that a situation or a phase in someone's life represented a new beginning, like starting with a blank or clean slate It suggests that whatever came before was left behind, and the person or people involved were ready to start anew In the second example, declarative statements are employed to provide the singer's commitment to being there for their partner, regardless of the outcomes Whether their partner becomes very successful Throughout her songs, Taylor Swift shares valuable advice and personal experiences using declarative mood sentences

Notably, the examples provided include not only complete declarative sentences but also instances of elliptical declaratives found in TSSL These elliptical declaratives lack a subject in the clause and are exemplified in the following cases:

S4.C10-11: I became the butt of the joke and (I^) wounded the good and

I became the butt of the joke and wounded the good and trusted the wicked

Full declarative Elliptical declarative Elliptical declarative

While the number of interrogative clauses in TSSL is considerably smaller compared to declarative clauses, appearing only 65 times, they still play a significant role in conveying interpersonal meaning in the songs

Asking questions offers a clear advantage by engaging listeners’ imagination and encouraging them to contemplate the discussed topic, as demonstrated in Song 3 The questions you provided are from the song

"Delicate" by Taylor Swift In the context of the song, these questions convey a sense of uncertainty and vulnerability in a romantic relationship These questions indicate that the person is grappling with their feelings and is concerned about how their partner perceives their level of emotional openness and the progression of their relationship It is a reflection of the complexities and insecurities that can come with the early stages of romance

Furthermore, Taylor Swift frequently employs interrogative clauses to remind listeners of everyday sounds they encounter By introducing questions during her discourse, she fosters a sense of closeness and involvement, making listeners feel like they are active participants in the topic under discussion

S3.C15-20: Is it cool that I said all that? Is it chill that you're in my head? 'Cause I know that it's delicate Is it cool that I said all that? Is it too soon to do this yet?

Questions can also be seen somewhere in other songs like Song 6

S6.C6-7: Can I go where you go? Can we always be this close forever and ever?

In addition to declarative and interrogative clauses, imperative clauses also play a role in establishing a connection between the singer and the listener They are typically used to offer advice and issue commands to the listeners Imperative clauses come in two varieties, each with distinct purposes: one is about inviting others to participate in an activity together, and the other involves giving direct commands In the songs, the first type often employs the "Let" structure, creating a friendly and respectful tone to engage with the listeners

S20.C25: Let the only flashing lights be the tower at midnight

The other variety of imperative clauses initiates with Finite verbs like

"believe," "imagine," "think," and so on The utilization of these imperative clauses enables Taylor to encourage, inspire, and motivate the listeners to make positive changes in their lives

S4.C27: I once believed love would be black and white

In this type of imperative clause, the singer’s role is to provide advice related to the songs’ themes through appropriate and polite suggestions Meanwhile, the listeners are expected to receive and acknowledge the messages conveyed by the singer

Textual Metafunction in TSSL

As Halliday (1994) points out, an essential component for realizing Textual metafunction in a text is the Thematic structure, which consists of two main elements: Theme and Rheme Theme is considered the starting point of a clause, and Rheme is what follows Within Theme, there are three types: topical, interpersonal, and textual themes

Topical theme is the theme of a clause that typically ends with the first constituent, which can be a participant, circumstance, or process This theme can be expressed through a nominal group, a prepositional phrase, or an adverbial group When the element occupying the theme position of a clause is the same as the grammatical subject, it is referred to as an unmarked theme

If an element other than the subject is in the theme position, it is known as a marked theme Table 4.4 provides the distribution of unmarked and marked themes in this analysis

Occurrence of Unmarked and Marked Themes in TSSL

Table 4.4 reveals that topical theme is present in all the analyzed clauses, with 94.34% unmarked themes and 5.66% marked themes Taylor predominantly employs unmarked topical themes, which helps her effectively convey the songs’ content to the listeners Specifically, this approach allows the singer to provide comprehensive information with clear descriptions, making it easier for listeners to comprehend the discussed knowledge The following examples illustrate this

S8.C21: Something wrapped all of my past mistakes in barbed wire

Something wrapped all of my past mistakes in barbed wire

In linguistic terms, an "unmarked topical theme" refers to the component at the beginning of a clause that is typically aligned with the subject of the clause It is called "unmarked" because it directly links to the grammatical subject, and it is a common structure in language In the context of your sentence, "Something wrapped all of my past mistakes in barbed wire," the unmarked topical theme would be "Something," which is both the beginning of the clause and the subject of the sentence Other unmarked topical themes are also performed obviously in other talks like:

S10.C16: My pain fits in the palm of your freezing hand

My pain fits in the palm of your freezing hand

S16.C11: This scene feels like what I once saw on a screen

This scene feels like what I once saw on a screen

From the examples provided above, it is evident that unmarked themes function as the subjects of the clauses These subjects can encompass people such as "we", object like “my pain”, or abstract entities like "something"

In contrast, marked topical themes in TSSL are expressed through adverbial groups, prepositional phrases, complement, and they make up a relatively small portion, accounting for 5.66% of the themes used in the lyrics For instance:

S3.C7: Dive bar on the East Side, where you at?

Dive bar on the East Side where you at?

S5.C21-22: In the winter, in the icy outdoor pool, when you jumped in first, I went in too

In the winter, in the icy outdoor pool, when you jumped in first,

“Dive bar on the East Side" emphasizes the location, specifically the fact that the bar is on the East Side "In the winter, in the icy outdoor pool" emphasizes both the time (winter) and the location (an icy outdoor pool)

S3.C59-60: Sometimes when I look into your eyes, I pretend you're mine, all the damn time

Sometimes when I look into your eyes

I pretend you're mine, all the damn time

S4.C12: Clearing the air, I breathed in the smoke

Clearing the air I breathed in the smoke

S17.C45: That was the night I nearly lost you

That was the night I nearly lost you

By using these Marked Themes, the singer places extra emphasis on the location and time, making them more prominent in the listener's mind In the context of the song, these marked themes help create a vivid and specific image of the scene

When the singer employs prepositional phrases in the Theme position, the intention is to shift the focus of the message towards aspects like time, place, matter, and so on, rather than emphasizing the entities involved Furthermore, alongside topical themes, interpersonal and textual themes are also present in TSSL, albeit in lower proportions The distribution of these different theme types is outlined in Table 4.5

Occurrence of Interpersonal and Textual Themes in TSSL

Interpersonal theme, located before the Topical Theme, serves to indicate the relationships among participants in the text and the position or perspective presented within the clause It encompasses elements such as the finite verb in interrogative clauses preceding the subject, vocative terms, and mood adjuncts In TSSL, these themes are utilized to a lesser extent, comprising only 4.9% of the total thematic elements Nonetheless, they play a crucial role in expressing the relationships among text participants Some examples of interpersonal themes identified in TSSL are exemplified below:

S3.C45-48: Sometimes I wonder when you sleep Are you ever dreaming of me? Sometimes when I look into your eyes I pretend you're mine, all the damn time

Sometimes I wonder when you sleep

Interpersonal theme Unmarked Topical Theme Rheme

S4.C18-19: Maybe you ran with the wolves and refused to settle down Maybe I've stormed out of every single room in this town

Maybe you ran with the wolves and refused to settle down

Maybe I 've stormed out of every single room in this town

It is worth noting that the majority of interpersonal themes in the data take the form of finite verbs For example,

S6.C5-6: Can I go where you go? Can we always be this close forever and ever?

Can I go where you go?

Can we always be this close forever and ever?

S16.C42: Can this be a real thing, can it?

Can this be a real thing, can it?

S20.C7: Did you see the photos?

Did you see the photos?

This observation aligns with the analysis of interrogative moods in the mood system, emphasizing the use of finite elements to maintain engagement with the listeners Additionally, there are no vocative terms employed as interpersonal themes in the data

As indicated in Table 4.5, Textual themes hold the second-highest occurrence rate in TSSL, at 30.2% Textual themes perform a linking function, connecting clauses to their surrounding context in the text They encompass four primary types: Structural conjunctions, Relatives, Conjunctives, and Continuatives Textual themes almost invariably constitute the initial part of the Theme To provide a clearer understanding of Textual themes, the following examples illustrate their usage

S20.C5: And all the outfits were terrible

And all the outfits were terrible

Textual Theme Unmarked Topical Theme Rheme

S19.C20: But you weren't even listening

But you weren't even listening

S13.C17-19: Then through the phone came all your tears And I said,

"Leave those all in our past"

Then through the phone came all your tears

And I said, "Leave those all in our past"

Based on the analysis conducted, the majority of Theme structures in the data consist of a simple Theme, typically featuring only a Topical Theme Nevertheless, there are instances of multi-Themes as well Regarding the Topical Theme, it is evident that Unmarked Topical Themes are prevalent in TSSL, significantly outnumbering Marked Topical Themes Consequently, the majority of clauses in the songs adhere to the standard structure The inclusion of Textual Themes contributes to enhancing the coherence and cohesion of the songs, making it easier for listeners to follow the narratives Conversely, Interpersonal Themes are sparingly used in TSSL, suggesting a limited presence of questions within the songs, as Taylor Swift predominantly focuses on providing information about the topics under discussion

In summary, this chapter has concluded the analysis of the language's three metafunctions within the data The prevalence of relational and material processes underscores that the language in the lyrics primarily serves to depict relationships between entities and the external world The dominance of declarative mood, with few modality elements, indicates that the singer’s primary goal is to convey information with minimal emphasis on personal viewpoints or attitudes while maintaining a connection with the listeners Regarding the textual metafunction, it is evident that the language in the songs emphasizes the placement of information within the theme position and ensures message coherence through the use of textual themes.

CONCLUSIONS AND IMPLICATIONS

Conclusions

This thesis is conducted to investigate three key metafunctions— experiential, interpersonal, and textual—in TSSL The study is based on the framework of SFG, developed by Halliday (1994) and further elaborated by Halliday and Matthiessen (2004) By using a combination of qualitative and quantitative methods, the writer comes to the following conclusion

In conclusion, the analysis of the Experiential metafunction in TSSL has revealed several key insights The transitivity system in the data demonstrates the utilization of all six types of processes, with a particular emphasis on the Relational process This process is primarily employed to convey factual information and establish relationships between entities Material processes are also popular, providing detailed descriptions of actions and events in the lyrics Within the Circumstances category, Circumstances of Location are the most prevalent, offering information about time and place

Moving to the Interpersonal metafunction, it is shown that the declarative mood is significantly more common than the interrogative and imperative moods This underscores Taylor’s intention to inform and educate her listeners The modality system is also utilized to express the singer’s attitudes and judgments, with a focus on lsow certainty and the frequency of activities in the songs

Lastly, the Textual metafunction, conveyed through Thematic structure, showcases the presence of three kinds of Themes: Topical, Interpersonal, and Textual Unmarked Topical Themes are more frequent than Marked Topical Themes, indicating comprehensive coverage of the topics discussed Interpersonal and Textual Themes play a crucial role in connecting clauses and maintaining coherence and cohesion throughout the song lyrics

Overall, this analysis sheds light on the linguistic choices and strategies employed by Taylor Swift in her lyrics to effectively communicate and engage with her listeners, delivering inspirational content through a well- structured and informative approach.

Implications

When doing this study, the writer hopes to give many helpful, valuable, and insightful messages concerning Taylor Swift's songs to the viewers and people From the detailed analysis of each metafunction under functional grammar, this study can help investigators, learners of English, and those concerned grasp more about the linguistic features of language used in TSSL The researchers can have one more material that assists their further research related to this field Moreover, this study is also suggested to teachers who can use the examples and illustrations from the data analysis in order to make their lessons related to Functional Grammar.

Limitations and Suggestions for Further Researches

Within the expansive domain of functional grammar, this research study examines explicitly three metafunctions in TSSL The limited scope of this inquiry may not fully satisfy the informational needs of learners interested in a comparative analysis between linguistic features in English and those in Vietnamese, given that the study's corpus solely consists of English lyrics Additionally, the sample size for this research is circumscribed, thus constraining the generalizability of its findings to all musical compositions within the genre

For future studies, researchers could compare the three metafunctions in both English and Vietnamese contexts, using more genre as the subject matter This could aid in translation and deepen our understanding of functional grammar across languages Additionally, expanding the study to include a range of genre could enrich the dataset and make the findings more broadly applicable.

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APPENDIX A LIST OF TAYLOR SWIFT’S SONGS AS

Adapted from Wikipedia (“List of songs by Taylor Swift”, n.d.)

No Song Singer(s) Composer(s) Album Year

You Want" Taylor Swift Taylor Swift

Day" Taylor Swift Taylor Swift

Taylor Swift Max Martin Shellback

4 "Daylight" Taylor Swift Taylor Swift Lover 2019

5 "Paper Rings" Taylor Swift Taylor Swift

6 "Lover" Taylor Swift Taylor Swift Lover 2019

Street" Taylor Swift Taylor Swift Lover 2019

String" Taylor Swift Taylor Swift

9 "The Lakes" Taylor Swift Taylor Swift

Taylor Swift Jack Antonoff Aaron Dessner

11 “Willow” Taylor Swift Aaron Dessner

12 "Gold Rush" Taylor Swift Taylor Swift

Taylor Swift featuring Keith Urban

Taylor Swift Brad Warren Brett Warren

Taylor Swift Max Martin Shellback

15 "Maroon" Taylor Swift Taylor Swift

Taylor Swift featuring Lana Del Rey

Taylor Swift Lana Del Rey Jack Antonoff

War" Taylor Swift Taylor Swift

Taylor Swift Jack Antonoff Zoở Kravitz Mark Spears Jahaan Sweet Sam Dew

20 "Paris" Taylor Swift Taylor Swift

1 Clause division in Song lyric 1

CALL IT WHAT YOU WANT (SONG 1)

[3] They took the crown but it's alright

[4] All the liars are calling me one

[5] Nobody's heard from me for months

[6] I'm doing better than I ever was

[8] My baby's fit like a daydream

[9] Walking with his head down

[10] I'm the one he's walking to

[11] So call it what you want, yeah

[12] Call it what you want to

[13] My baby's fly like a jet stream

[14] High above the whole scene

[15] Loves me like I'm brand new

[18] All my flowers grew back as thorns

[19] Windows boarded up after the storm

[20] He built a fire just to keep me warm

[21] All the drama queens taking swings

[22] All the jokers dressing up as kings

[23] They fade to nothing when I look at him

[24] And I know I make the same mistakes every time

[26] At least I did one thing right

[31] Yeah, you know I did one thing right

[32] Starry eyes sparking up my darkest night

[41] (Call it what you want, call it what you want, call it) [42] So call it what you want, yeah

[44] I want to wear his initial on a chain 'round my neck [45] Chain 'round my neck

[46] Not because he owns me

[47] But 'cause he really knows me

[48] Which is more than they can say, I

[49] I recall late November, holding my breath

[50] Slowly I said, "You don't need to save me

[51] But would you run away with me?"

[52] Yes (would you run away?)

[65] (Call it what you want, call it)

[66] (Call it what you want, call it what you want, call it) [67] (Call it what you want, call it what you want, call it) [68] (Call it what you want, call it what you want, call it) [69] (Call it what you want, call it what you want, call it) [70] (Call it what you want, call it what you want, call it) [71] (Call it what you want, call it what you want, call it) [72] Call it what you want, yeah

2 Frequency of Occurence of processes

3 Frequency of Occurence of Mood and Modality

Clause Mood choice Modal verbs Modal Adjunct

4 Frequency of Occurence of Themes

Tiêu đề	A Functional Grammar Study on Taylor Swift's Song Lyrics
Tác giả	Huỳnh Hoài Thương
Người hướng dẫn	Assoc. Prof. Dr. Nguyễn Thị Thu Hiền
Trường học	Quy Nhon University
Chuyên ngành	English Linguistics
Thể loại	Thesis
Năm xuất bản	2023
Thành phố	Quy Nhon

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