An analysis of the use of basic falling and rising tunes in some interviews from The Ellen Show = Phân tích cách sử dụng ngữ điệu xuống và lên trong một số đoạn

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES LÊ THỊ MINH NGUYỆT AN ANALYSIS OF THE USE OF BASIC FALLING AND RISING TUNES IN SOME INTERVIEWS FROM THE ELLEN SHOW PHÂN TÍCH CÁCH SỬ DỤNG NGỮ ĐIỆU XUỐNG VÀ LÊN TRONG MỘT SỐ ĐOẠN PHỎNG VẤN TRÍCH TỪ THE ELLEN SHOW M.A MINOR THESIS Field: English Linguistics Code: 60220201 HANOI – 2013 VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES LÊ THỊ MINH NGUYỆT AN ANALYSIS OF THE USE OF BASIC FALLING AND RISING TUNES IN SOME INTERVIEWS FROM THE ELLEN SHOW PHÂN TÍCH CÁCH SỬ DỤNG NGỮ ĐIỆU XUỐNG VÀ LÊN TRONG MỘT SỐ ĐOẠN PHỎNG VẤN TRÍCH TỪ THE ELLEN SHOW M.A MINOR THESIS Field: English Linguistics Code: 60220201 Supervisor: Hà Cẩm Tâm, Ph.D HANOI – 2013 DECLARATION I certify that the minor these entitled “ An analysis of the use of basic falling and rising tunes on some interviews from the Ellen Show” is the fruit of my own research and that it has not been published or summited to any other universities or institutions Signature Le Thi Minh Nguyet i ACKNOWLEDGEMENTS The first name to be mentioned here is my supervisor‟s, Dr Ha Cam Tam, who has been providing me with precious earnest advice and valuable instructions for my research implementation Without her help, there definitely would not be this thesis On conducting this research, I also received help and encouragement from my beloved family, who always stand for and by my side throughout the time I worked on this study Finally, I would like to deliver the sincere gratitude to my colleagues for their support and assistance in terms of ideas, materials as well as administration for me to fulfill the thesis ii ABSTRACT How to speak English with the appropriate intonation? How to teach and learn English intonation effectively and properly? etc They are always big questions under restless mind of English teachers and learners not only in Viet Nam but also in the English-speaking words There has been existing a traditional so-called correlation between intonation tunes and sentence types such as Declarative, Interrogative and Imperative Sentences in the practice of English teaching The current paper presents another effort to verify this myth by analyzing the use of tunes and the sentence types in the conversations selected from the most popular Television talk show in American- the Ellen Show By closely examining the bulk of 872 intonation units, this study point out the dominance of falling tunes in real-life conversations More importantly, the research results supports the correlation between certain sentence types and some specific tunes while underlines the inconsistence in the use of falling and rising tunes and other sentence types under different circumstances iii LIST OF SYMBOLS AND ABBREVIATIONS IU: Intonation Unit SC: Simplex Clause CC: Complex Clause PC: Part of Clause | Intonation Unit Boundary \ falling tune / rising tune /\ rise-fall tune \/ fall-rise tune _ level (123) | So you are thirteen years/ old| (123) Intonation Unit Number old: Tonic syllable iv LIST OF TABLE Table 1: Proportion of basic tunes 21 Table 2: Proportion of five basic tunes 22 Table 3: IU Syntactic structure 28 Table 4: Syntactic Structures of IUs 28 Table 5: Proportion of Tunes and Sentence Types in both SCs and CCs 30 Table 6: Declarative and Falling/Rising Tunes 31 Table 7: WH-Interrogative and Falling/Rising Tunes 32 Table 8: Correlation between Yes/No Interrogative and The tunes 32 Table 9: Imperatives and Falling/Rising Tunes 34 v TABLE OF CONTENTS DECLARATION i ACKNOWLEDGEMENTS ii ABSTRACT .iii LIST OF SYMBOLS AND ABBREVIATIONS .iv LIST OF TABLE v TABLE OF CONTENTS vi PART ONE: INTRODUCTION 1 RATIONALE AIMS OF THE STUDY AND RESEARCH QUESTIONS 3 SCOPE OF THE STUDY METHODS OF THE STUDY SIGNIFICANE OF THE STUDY 5.1 To the area of intonation research 5.2 To language user-learners and teachers ORGANISATION OF THE STUDY PART TWO: DEVELOPMENT CHAPTER ONE: LITERATURE REVIEW 1.1 THEOREOTICAL BACKGROUND 1.1.1 Pitch 1.1.2 Tune 1.1.3 Intonation 1.1.4 Basic tunes of intonation 1.1.5 Functions of Intonation 1.1.6 Intonation Unit 10 1.1.6.1 Definition 10 1.1.6.2 Syntactic structures of IU 11 1.1.7 Sentence types in SC and CC IUs 13 1.1.7.1 Declarative sentence 13 1.1.7.2 Yes/no-interrogative 13 1.1.7.3 Wh-interrogative 13 vi 1.1.7.4 Imperative 14 1.2 PREVIOUS RESEARCH 14 1.2.1 Research on the frequency of the basic tunes 14 1.2.2 Research on the correlation between tunes and syntactic structure of utterances 14 CHAPTER TWO: THE STUDY 16 2.1 METHODOLOGY 16 2.1.1 Research Questions 16 2.1.2 Data collection 16 2.1.3 Analytical Framework 19 2.2 DATA ANALYSIS & DISCUSSION 21 2.2.1 Frequency of falling/rising tunes 21 2.2.2 Correlation between Falling/Rising tunes and IUs Sentence Types 27 2.2.2.1 Syntactic structures of IUs 28 2.2.2.2 Falling/Rising Tunes and Sentence Types in SCs and CCs 30 2.2.2.2.1.Declarative and Falling/Rising Tunes 31 2.2.2.2.2 WH-Interrogative and Falling/Rising Tunes 32 2.2.2.2.3 Yes/No Interrogative and Falling/Rising Tunes 33 2.2.2.2.4 Imperatives and Falling/Rising Tunes 34 PART THREE: CONCLUSION 37 Recapitulation 37 Implication for Teaching and Learning English 39 Limitations and Suggestions for further research 39 APPENDIX 1: List of Links for Excerpts from The Ellen Show I APPENDIX 2: SAMPLE TRANSCRIPTION ANALYSIS II vii PART ONE: INTRODUCTION To start with, in this very first part of the thesis, the readers would find background information to the study The historical context of the intonation issue with relevant theories and the justifications for implementing this study would be presented first, then come the aims and research questions of the study The third part concerns with the scope of the study, followed by the methods and significance of this research A brief description on the organization of this minor study wraps up the Introduction part RATIONALE Intonation has always been the mysterious and promising woods which has inspired a great deal of exploration, arguments and mediation to achieve a satisfactory agreement on its nature as well as values in languages Intonation, the so-called „melody of speech‟ (Roach,2001), is „what you had when the prose was spoken‟ (Couper-Kuhlen,2007) In the past fifty years, intonation has been steadily acknowledging its indispensable roles and values in communication via the tool of languages During this process, the works centering on the issues of intonation has recorded numerous changes from both theoretical and practical perspectives, some of which are currently far from a final conclusion While traditional viewpoints simply equate intonation with „the use of the pitch of the voice to convey linguistic information‟ (Gilbert, 1987), the more recent and contemporary linguists argue about a far more complex nature of intonation, as Roach (2009: 43) claims: “in its broader and more popular sense it is used to cover much the same field as „prosody‟, where variations in such things as voice quality, tempo and loudness are included.” With that vivid transformation and nonstop development as well as the increasingly important roles in linguistics, intonation is currently an appealing topic for further research It is not difficult to find that the majority of linguistics research on intonation is devoted to the functions of intonation Roach (1991: 163) defines four functions of intonation: to express emotions and attitude as we speak – attitudinal function, to produce the effect of prominence on syllables – accentual function, to recognize the grammar and syntactic structure of what is being said – grammatical function, and to signal to the listener what is “new” and (123) | So you are thirteen years/ old| (124) |\ yeah| (168) |You didn’t smell /anything| (169)|\/No| (188)| You’re gonna toturial a/gain| (189)|I \want to| This use of rising tune in Declarative IUs has been discussed for a long time as Declarative Questions This way to indirectly ask or confirm information proved to be widely used in the analyzed conversations In some other IUs, the Declarative rising IUs were used for an astonishing information such as: (102)|When I first get exposed to the hair Tutorial video on /\ Youtube| (103)| it received more than /twelve millions views| Twelve millions views were considered an impressive number with a video clip posted on the video sharing website Youtube.com This success was also the reason why the girl from the clip became so famous and was invited to the Ellen Show Alternatively, rising tune was used for a chain of IUs which served as a continuous list (214) | but you’re working at \night| (215)| you go to the /hospital | (216) | you go visit your /fans | (217)|\and| In short, as for the case of Declarative IUs, the most popular tunes used in the interviews from the Ellen Shows were falling tunes Nevertheless, the use of rising tunes in Declarative IUs, though much rarer, leads us to a conclusion about the flexibility of tune choice with this sentence type, and refute the argument that Declarative sentences are typically used with falling tunes, which has been long used by a number of EFL teachers in Vietnamese classrooms 2.2.2.2.2 WH-Interrogative and Falling/Rising Tunes Table 7: WH-Interrogative and Falling/Rising Tunes 32 Should the falling tunes and rise-fall tunes be considered as tunes with falling elements, the correlation between WH-Interrogative IUs and falling tunes will be clearly illustrated The WH-interrogative IUs was typically correlated with the falling tunes in the analyzed interviews Together, falling and rise-fall tunes accounted for nearly 93% of all WH-interrogative IUs while rise tunes only happened in 7.14% of all the WH-Interrogative IUs In fact, there were only 28 Wh-interrogative IUs, among which 26 IUs used falling tunes and only rising tunes Let‟s have a look at these two IUs (372) |Why don’t you /go| (373)| grab the /dog|(374)| and go to the \backroom| In IU (372), although the form of the sentence did match with the form of a Wh-question, the real purpose of this sentence was more of a suggestion than a request for an answer Moreover, this case was an example where long sentences were broken into shorter IUs to convey “one new piece of information at one time” The action „go‟ was the first thing in the list of actions which followed So this IU could not be used as an eligible example of WH-interrogative IUs Ellen: (43) |what you have to say /now| Selena Gomez: (44)| haaah I don’t/\ know| (45)|I don’t /\know| It‟s necessary to mention the background of this conversation Selena had denied having any special relationship with Justin Bieber the last time she showed up on the Ellen Show, but at the time of the selected interview, two of them had already brought their relationshipout Therefore, the question „what you have to say now‟ clearly did not require an answer from Selena It was more of a statement to express the dissatisfaction and sarcasm from the host Ellen towards Selena‟s lies Thus, as far as Wh-interrogative IUs were concerned, it‟s quite acceptable to say that WH-questions were typically spoken with falling tunes 2.2.2.2.3 Yes/No Interrogative and Falling/Rising Tunes Table 8: Correlation between Yes/No Interrogative and The tunes 33 Yes/No Interrogative IUs were most commonly uttered with rising tunes, which happened in 64% of all IUs in this group These IUs shared one common purpose, checking information given previously For example: In the extract “ Hair Tutorial Gone Wrong”, Ellen asked the girl who accidently burned her hair about what happened in the accident: (164)|do you /smell anything| (166)|wouldn’t you smell a /burning thing| Burning hair normally causes a special smell, that‟s also the assumption Ellen made about what happened in the accident Therefore, it would be strange that the girl moved on talking about the way to curl hair without noticing the smell The Yes/No questions in this situation were used to verify the assumption Checking assumption was found as the function of rising tune in other Yes/No questions (352)|Can we show everybody your hidden /talent| (534) | Do you take him with / you| (628)| wasn’t that / fun| (867) |Isn’t it /dirty| Meanwhile, speakers asked Yes/No questions with falling tune in 22% of all IUs with Yes/No Interrogative structure Interestingly, in most cases of Yes/No Interrogative IUs with falling tunes, they were CC IUs (323)| Was it like you just used to be a\round the crew and everybody| (332)| didn’t you just kind of go until it was too \steamy for everybody| However, in these cases, it seemed that the falling tune was not decided by the question structure at the beginning but more by the statement at the end of the IU The questions served as statements to express speakers‟ opinion rather than asking for confirmation from the listeners Moreover, CC IUs proved to be rarely used in real-life conversation, thus, it‟s generally acceptable to conclude that Yes/No Interrogative widely correlated with rising tune 2.2.2.2.4 Imperatives and Falling/Rising Tunes Table 9: Imperatives and Falling/Rising Tunes 34 The chart above clearly points out a tendency to use Imperative IUs with falling tunes, which means tunes with falling elements The falling tune itself accounted for 66,67% of all Imperative IUs while the tune of rise-fall were found in 27,78% of all the cases For example: (271)|don’t get anything \flashy| (274)| be \humble| (275)| be \humble| (442) |Let’s \bring out| (519) |let’s talk about the \puppy| (656) |Well for sure put in a camera \ now| In the IUs above, the speakers either asked listeners to something or suggest doing something, with no special feelings though When the orders or suggestions were given with emphasis on feelings, the tune rise-fall were employed For instance, when Justin Bieber got his 18th birthday present on the show, a new car, both he and Ellen got really excited and here‟s what Ellen said: (290)| Go get in your /\car| The excitement that Ellen had with the present was partly expressed with the rise preceding the final falling tunes in this IU Of all three tunes accompanying Imperative IUs, rise tunes proved to be rarest, with only 5,55% Thus, the correlation can be established between Imperative Sentence IU and falling tunes To wrap up, this chapter has drawn out the answers to two research questions of this study This first question concerning the frequency of falling and rising tunes in conversations from American media context was answered with the dominance (80% of all IUs) of the falling tunes in comparison with rising tune When it comes to the correlation between syntactic structures of the IUs and tunes, the finding only supported a partial correlation between falling/rising tunes and sentence types of IUs A considerable proportion of mismatching was found in every single sentence type While Declarative IUs were typically used with falling tunes, either fall or rise-fall, rising tune was still found in the cases of Declarative Questions Wh-question IUs proved to be correlated with falling tunes in almost all IUs Only Wh-Interrogative IUs were found going with rising tune, when repeated information and listing function were in place Yes/No question IUs were mostly accompanied with rising tunes but speakers tended to refer to falling tune in longer and more complex CC IUs Imperative IUs typically correlated with falling tunes (either fall or rise-fall tunes) Interestingly, the research revealed that in open-ended interviews from 35 the most popular interview in the talk show, people tended to speak briefly with more pauses to make Simplex Clause IU and break long Complex clause into short IUs to smoothen the communication process Thus, teaching intonation in the mutual relationship with sentence types can only cover half of all possibilities in communication, which would mislead and confuse learners when they communicate in real-life context 36 PART THREE: CONCLUSION In these very last pages of the study, the answers to two research questions of this study would be drawn concisely in the first part, Recapitulation The author goes slightly further with some proposals for potential application of the results into the practice of teaching and learning intonation of English Then, the real success of this research would be determined by surrounding it with the limitations and the research gaps still exposed in the field Recapitulation In this minor research, an effort was made to bring to light the answers to the research questions of frequency of falling and rising tunes in real-life conversations and the correlation between these two tunes and sentence types at the level of Intonation Unit (IUs) The data of the current study was collected from 10 excerpts of interviews selected from “Most Popular Videos” section on the official website of the talk show “The Ellen Show” In total, there were 872 IUs recorded, all of which were analyzed to obtain the frequency of falling and rising tunes However, given that only 57% of all IUs corresponded with a complete sentence, including Simplex Clauses IUs and Complex Clauses IUs, the issue of correlation between sentence types and falling and rising tunes only was explored using these 493 IUs while the other smaller half of all IUs was considered ineligible As for the first research question, the findings tend to support the superiority of falling tunes to rising tune in the analyzed excerpts from a talk show based in America More than 80% of all IUs recorded keep the company with tunes consisting of falling element (fall and rise-fall) Falling and rise-fall tunes could be categorized into one group of falling tunes due to the common role of addressing new and unknown information In most cases, rise-fall tune are found as the emphatic version of falling tune when strong feelings interfere with the conversation Specifically speaking, falling tune counted for more than half of all IUs The fact that falling signal new information (either delivering or asking) while rising signal given or repeated information partly explains the dominance of the falling tunes In the context of interviews in particular and communication in general, new information would definitely of more importance and frequency This result is quite in line with the finding claimed by Tench (1996) that “a higher proportion of falls is found in unprepared unrehearsed speech, up to 65%” 37 Subsequently, the issue of correlation between sentence types and falling/rising tunes was handled using a bridge, which was the IU syntactic structure classification At this preparatory step, an unexpected outcome was revealed, pointing out the tendency to shorten IUs in American talk show context There are only about 57% of all IUs corresponding to sentences, the majority of which fell into the group of Simplex Clauses There was no one-toone correspondence between sentence and intonation unit Speakers tended to avoid making long and complicated IUs and break long sentences into smaller parts to deliver one message at one time Thus, it might be concluded that using long and complex utterances in real-life context is not always practical and natural Moreover, teaching intonation in the relationship with sentence types only can scratch the surface of English language, which would mislead learners of English Therefore, it‟s crucial for teachers of English intonation to extend their intonation teaching beyond mere correlation between sentence types and tunes to guarantee a practical and proper use of tunes and styles of English in authentic environment This finding, to some extent, matches the report from Chafe (1994) cited by Iwasaki (1996) that “about 60% of substantive IUs in his English data are single-clauses, or out Simplex Clauses.” In response to the second research question on the correlation between Falling/Rising Tunes and sentence types in IUs, it was shown in the data that there was no absolute correlation between either falling or rising tune and any sentence type There was a great number of mismatching cases found in every single sentence type Firstly, Declarative IUs were typically used with falling tunes, either fall or rise-fall, although rising tune was still found in the numerous cases of Declarative Questions Secondly, Wh-question IUs proved to be typically correlated with falling tunes in almost all IUs Only Wh-Interrogative IUs were found going with rising tune, when repeated information and listing function were addressed Thirdly, Yes/No question IUs were mostly kept company by rising tunes but speakers were inclined to falling tune in longer and more complex CC yes/no Interrogative IUs Last but not least, Imperative IUs typically correlated with falling tunes (either fall or rise-fall tunes) Once again, the figures of the current research highlight the idea from McCarthy (1991) that “there is no one-to-one relationship between sentence type and tone” Any sentence type may be used with either falling or rising tune, depending on the speakers‟ intention and feelings 38 Implication for Teaching and Learning English Given the crucial role in English communication and the difficult-tohandle nature of intonation tunes in English teaching and learning practice, especially in the context of Viet Nam, the researcher believe that her work would be of value in practical applications for her own career as well as other English language teachers First of all, the conclusions concerning frequency of falling and rising tunes and correlation between sentence types and the tunes would help the teachers critically improve their understanding of English intonation Hopefully, they are able to use intonation more appropriately and build up their confidence in teaching English intonation to their students Teachers then would make good model for the learners to absorb intonation tunes naturally However, English teachers and learners should be alert of the fact that English intonation could not be mastered merely with the rule of correlation between sentence types and tunes It would be alien and unnatural to communicate with full sentences all the time in authentic context due to the fact that English speakers prefer delivering one message at one time to long and complicated utterances Therefore, referring authentic material in learning English intonation, maximizing the time amount for listening and speaking to native English speakers would be the most sufficient way to teach and learn English intonation Moreover, the collection of excerpts selected from the talk show together with the thoroughly-transcribed tape script would serve as a teaching material for teachers whenever they have to deal with any aspects of intonation in English language Limitations and Suggestions for further research Despite claiming that the research manages to answer the research questions, the author herself is able to identify several limitations to her study Reliability should be firstly mentioned as a call for improvement The researcher did make an effort to maximize the reliability of the research by asking for peer checking the transcription and the intonational analysis of the excerpts from two native English Master candidates from University of Sydney However, were she to have more time and financial condition, this factor would be further improved Moreover, this problem is a commonly unavoidable challenge to any research involving personal observation of the study object 39 Furthermore, the process of analysis reveals numerous research issues that need examining This study only focuses on tune choice in IUs of Simplex Clauses and Complex Clauses while other IU types also deserve a better investigation into the use of tunes and other prosodic components Research on intonation of English in the context of Vietnamese users or the effect of English intonation on the intonation in native language in case of Vietnamese learners are very promising topics for further research into the field of intonation All in all, the research has deepened and sharpened the author‟s understanding of falling and rising tunes with sentences in real-life communication Hopefully the study could also contribute a small part to the enormous literature about the language and English, in particular the component of intonation In the coming future, it is hoped to inspire some further research into the use of English intonation from the researcher herself and also other fellow young researchers in Viet Nam 40 Brazil, D (1997) The REFERENCES communicative value of intonation in English.Cambridge: Cambridge University Press Boersma, P.&Weenink, D (2011) Praat: Doing phonetics by computer [Computer Software] Amsterdam: Department of Language and Literature, University of Amsterdam Retrieved fromhttp://www.praat.org/ Couper-Kuhlen, E.(2003) Intonation and Discourse: Current Views from Within The Handbook of Discourse Analysis.Blackwell Publishing.Blackwell Reference Online.13 December 2007http://www.blackwellreference.com/subscriber/tocnode?id=g97806312 05968_chunk_g97806312059682 Cruttenden, A (1986) Intonation.Cambridge: Cambridge University Press De Bot, K.&Mailfert, K (1982) The teaching of intonation: Fundamental research and classroom applications TESOL Quarterly, 16, 71-77 Gardner, R (2008) Conversation Analysis and orientation to learning.Journal of Applied Linguistics.Volume 5-3 2008, 229-244 Guo,J & Shi, F (2011) The Fluctuation scale of the Intonation of Statement and Declarative Question in English.Proceedings of the XVIIth International Congress of Phonetic Science Hasselgård, H & Lysvåg, P & Johansson, K.A.S (2012) English Grammar - Theory and Use Second edition Universitetsforlaget Hayes, B (2009) Introductory Phonology.WestSussex: Blackwell Publishing 10 Huynh, L T (2012) Question intonation patterns in a real-life conversation and in textbook dialogs TESOL Working Paper,Series 10, 83-92 Hawaii Pacific University.http://www.hpu.edu 11 Iwasaki, S (1996) The syntactic and functional structures of intonation unit in Thai The Fourth International Symposium on Language and Linguistics, 750-761 Thailand: Institute of Language and Culture for Rural Development, Mahidol University 12 Kumaki, K (2003) A Study of English Intonation in High School Textbooks in Japan.MA Dissertation UK: University of Birmingham 13 Ladd, R (2008) IntonationalPhonlogy.Cambridge: Cambridge University Press 14 Lane, L (2010) Tips for Teaching Pronunciation: A Practical Approach Pearson Longman 41 15 Megdad, B.I.S (2012) Difficulties Facing English Department Juniors at IUG in Learning Intonation Master Thesis The Islamic University of Gaza 16 Pejčić, A (2012) What We Believe? Prosodic Correlates of Persuasive Speech in Serbian and English Political Discourse Master Thesis University of Niš 17 Oladipupo, R.O (2010) The Intonation of Noun Phrase Subjects and ClauseModifying Adverbials in Nigerian English.African Research Review Vol 4(3b), 167-178 18 Reed, B.S (2009) Units of interaction: „Intonation phrases‟ or „turn constructional phrases‟?.Proceedings of IDP 09 19 Roach, P (1991) English Phonetics and Phonology: Practical Course (1st Ed) Cambridge: Cambridge University Press 20 Roach, P (2001).English Phonetics and Phonology: Practical course ( 3rd Ed).Cambridge: Cambridge University Press 21 Roach, P (2009) English Phonetics and Phonology: Practical course (4th Ed),Cambridge: Cambridge University Press 22 Snow, D & Balog, H.L (2002) Do children produce the melody before the words? A review of developmental intonation research.Lingua 112, 1025-1058 23 Tench, P (1996) The Communicative Value of the tone system of English Proceedings of the 9th International Symposium on Theoretical and Applied Linguistics, , p149-165 Thessaloniki: Aristotle University 42 APPENDIX 1: List of Links for Excerpts from The Ellen Show http://www.youtube.com/watch?v=qiqQSGC4LT4 http://www.youtube.com/watch?v=OVzbds5tOOw http://www.youtube.com/watch?v=OZZhy5aWV7w http://www.youtube.com/watch?v=t5jw3T3Jy70 http://www.youtube.com/watch?v=FwSrehJD8IE http://www.youtube.com/watch?v=Cy8yzzA8l10 http://www.youtube.com/watch?v=mPPOHVLcrIg http://www.youtube.com/watch?v=2xY1pNqOLoY http://www.youtube.com/watch?v=9JkURGcpRN8 10 http://www.youtube.com/watch?v=9C88Ydagh0Q I APPENDIX 2: SAMPLE TRANSCRIPTION ANALYSIS http://www.youtube.com/watch?v=qiqQSGC4LT4 Title: Selena Gomez Gives Details on Justin Bieber! E: (1)|Do you know \how much I love /you| (2)| I‟ve \seen you | (3)|You‟ve been on here four \times| (4)|I feel like we‟re \close| (5)|I feel like we‟re \friends| (6)|/right| S: (7)|\yes| E: (8)|You‟ll never\ hurt me|(9)|You‟ll never \lie to me| S: (10)| I would \never| E: (11)|\No| (12) |the last time you‟re \here| (13) |just wanna to re\mind you| (14)|We‟re talking about \Justin| (15)| and \last time you here| (16)|this is what you \said| S(17)|oh \no| Back in time: E: (18)|So you‟re busy \girl|(19)|You‟ve got CDs /out| (20) |you’ve got a clothing /line |You‟re an ambassador| (21)| /right| Uhm (22)| I don‟t know\| (23)| how you have \time| (24)| to date Justin \Bieber| S: (25)|/What| (26)|\Oh| (27)_brother| (28)|He‟s /\little| (29)_oh|(30)| /\No| (31)|/\ no| (32)| he‟s like my little /\brother| (33)|I /\don’t| (34)|that‟s /\weird to me| E: (35)|You‟re a /cute couple|(36)|I‟m just /\saying| S: (37)|\Thank| E (38)|\Yeah| Back to present S: (39) |They‟ll take me to /\jail| E: (40)|He‟s like your little /brother| S: (41)|\Yeah great thing to \say|(42)|/huh| E: (43) |what you have to say /now| S (44)| haaah I don‟t/\ know| (45)|I don‟t /\know| E: (46)| Well, You‟re trying to hide it \sealed| (47) |/ right| (48)|But \then|(49) |now you‟ve made it \public| (50)|You went to the vanity Fair /party| (51) |\and| (52)|made me a \fool| S: (53)|I \didn‟t| (54)|No I \really /didn‟t| E: (55)| \Yes you did| II S: (56)|I /\promise| (57)|I \promised you| (58)|I \didn‟t| (59) |He‟s just…he‟s \sweet| E: (60)|He‟s sweet as can /\be| (61)|But he‟s \not like your little brother| (62)|is /he| S: humhum E: (63)| \No| (64)|No he‟s \not|(65)|he‟s a fantastic /guy| (66)|I‟m glad /\that you‟re|… (67)| coz it‟s /\hard| (68)|You cant try to hide that for/\ever| (69)|and you can‟t go a/\round |(70)|That‟s \/crazy| (71)| both huge \/stars| (72)| and you \cant| (73)|you \can’t hide from us| S: (74)|I \didn’t lie to you| (75)|I didn‟t \though| (76)| I will \say that| E: (77)|/ No| S: (78) |\No| E: (79)|Well you \didn’t blatantly lie|(80)| \But| (81)|/ but| (82) | a little brother is not someone you wanna /date| (83)|You \don’twanna date your …| S: (84)|well\ no| E: (85)|\no| S: (86) |That would be \weird| (87) |and \wrong| E: (88)|That would be \wrong| (89)|and \ weird| (S laughed )… (90)|in \so many ways| (91)|I got you a little \gift| (92)|cause I know that you‟re a\part from Justin and | (93)|… I don‟t want you to miss him too \much| souhm S: (94) |/\What|(95) |Oh /\no |oh E: (96)|/what|(97) | I just … so when you \sleep at night| … S: (98) |Oh \thank you|… E: (99)|You‟re /welcome| S: (100)|He‟s gonna make me sleep with it \every night| (101)|\Thank you for that| III Syntactic structure of IU Structure SC IU 2, 3, 8, 9, 10, 13, 14, 16, 18, 19, 20, 22, 28, 32, 33, 34, 35, 36, 39, 40, 43, 44, 45, 46, 49, 50, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 64, 65, 68, 69, 70, 72, 73, 74, 75, 76, 79, 83, 86, 88, 91, 93, 99, 100 1, 4, 5, 66, 82 12, 15, 23, 24, 52, 67, 87, 89, 90, 92, 97 6, 7, 11, 17, 21, 25, 27, 30, 31, 37, 38, 41, 47, 48, 51, 63, 71, 77, 78, 80, 81, 84, 85, 94, 95, 96, 98, 101 26, 29, 42 CC PC Words Other Number 54 11 28 Sentence types of SC Types Declarative Fall 2, 8, 9, 10, 13, 14, 16, 18, 19, 20, 22, 46, 49, 53, 55, 58, 59, 61, 64, 69, 72, 73, 74, 75, 76, 79, 83, 86, 88, 91, 93, 100 WH interrogative Yes/No Interrogative Imperative Rise 35, 40, 50, 28, 65, 99 36, 54, 68 Rise fall Fall rise 32, 33, 34, 70 39, 44, 45, 56, 57, 60, Level Rise fall Level 43 62 Sentence types of CC Types Declarative Fall Rise 82 66 WH interrogative Yes/No Interrogative Imperative IV Fall rise ... frequently are falling and rising tunes used in the selected interviews from the Ellen Show? Is there a correlation between the falling and rising tunes and sentence types at the level of intonation... HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES LÊ THỊ MINH NGUYỆT AN ANALYSIS OF THE USE OF BASIC FALLING AND RISING TUNES IN SOME INTERVIEWS FROM THE. .. Tâm, Ph.D HANOI – 2013 DECLARATION I certify that the minor these entitled “ An analysis of the use of basic falling and rising tunes on some interviews from the Ellen Show? ?? is the fruit of my own