Frameworks for Song Analysis

1) Linguistic Analysis: Myers-Scotton’s Classic Matrix Language Frame

Myers-Scotton’s (1993) Classic Matrix Language Frame (or MLF) model designed to examine conversational CS, will be used to examine the

syntactical characteristics of the codeswitching within the CE song lyrics, to which will be added a general categorisation of codeswitching into

intersentential codeswitching, intrasentential codeswitching and tag switching after the work of Poplack, and others. The syntactical analysis will be

employed to investigate the linguistic patterns of CS and to show the relative frequency of intersentential codeswitching (switching between sentences and paragraphs) and that of intrasentential codeswitching (switching within the sentence unit: phrases and isolated words).

The MLF model is suitable for examining the syntactical frequency and linguistic patterning of codeswitching within the CE songs for several reasons. Firstly, as indicated in the Literature Review chapter, it is appropriate for the grammatical study of these CE songs, where there is a clear ‘Matrix

Language’ (Chinese), and an obvious ‘Embedded Language’ (English). Secondly, there have been previous studies that have employed this approach to examine the grammatical aspects of CS, to which the findings in this thesis may be compared. For instance, other research into the syntactical aspects of CS songs indicates that intersentential codeswitching predominates, and that with intrasentential codeswitching, content morphemes, particularly nouns, are likely to be of higher frequency than system morphemes. It also seems that there may be a loss of inflection within some embedded language units, such as noun phrases. These all can be examined in relation to the data discovered on the syntactical characteristics of CS in this thesis.

2) General Pragmatic Theories

To investigate the metaphorical or pragmatic functions of CS within the songs, a general pragmatic framework is used, based on Gumperz’s general

codeswitching functions in 1982, pragmatic in the sense that the intention is to discover ‘linguistic phenomena in relation to their usage in forms of

behaviour’ (Verschueren,1999, p. 7). However, the theory of pragmatic analysis developed by Yu (2001) that most of the Chinese scholars have used is not employed, as there is a belief that some of what is discussed under such a framework could be more suitably addressed in a separate section on

stylistic94 or sociocultural aspects, and this section is intended to address linguistic functions. This framework is employed to compare the functions discovered in this study with the work of previous scholars on this issue, but also to discover what the most essential functions there are in the period of this study, and will pay attention to both Chinese and international findings on the discourse functions of CS, particularly those found in codeswitched song lyrics.

3) Stylistic Structure and Stylistic Modes

Employing the terminology of ‘stylistic mode’ created by Hymes (1972), an examination will be made of the vocal presentation of the English within the

94 _{This is the case with the examination of ‘Characteristics of Music’ in Zhang Hua (2005), which could be}

song, and whether the mode of singing differs between the English and Chinese. Whether the use of English codeswitching within Chinese pop songs can be predicted based on the genre of the song, which Hymes calls an aspect of ‘stylistic structure’ will also be investigated. It is important to examine this as, although this study does not examine CS from the perspective of the discipline of music, in looking at the stylistic aspects of the songs the

importance of the musical aspects of the songs and their relevance in a song’s popularity must not be overlooked. The research conducted by other scholars has also indicated that the vocal presentation of the English in many songs may differ from the Chinese, for example, that English has often been used to perform rap.

4) Literary Stylistics

For exploration into the literary characteristics and poetic patterning in the use of English lyrics within the Chinese and how they aid the song’s popularity, aspects of literary theory and terminology appropriate for the study of songs, such as chorus etc, but also of the study of poetry are used. The investigation also builds on the work of Chan (2009), and Bentahila and Davies (2002), Davies and Bentahila (2008a, 2008b), Sarkar, Winer and Sarkar (2005) and that of Chinese scholars, who have identified certain patterning within CS songs, and will employ the methodology of literary stylistics used in Leech

poetic patterning of the song as form, since as Bentahila and Davies have noted, a song is, like most poetry, a literary text designed to be performed orally.95 It may also be observed that Schendl (1997) analyses the CS in macaronic songs and poems together, since he recognizes the similarity of the two genres.

5) Identity Formation and Accommodation Theory

How codeswitching within the song is related to identity construction is examined through the ideas of Gao Liwei (2007) and Yang Mei-hui (1997), who, together with a number of Chinese scholars, believe the use of CS is related to a construction of personal identity in audience or singer/songwriter. The relationship between the expressed identity of the singer in the song and the audience will be explored using the Accommodation Theory of Giles and Smith (1979).

6) Global/Local Aspects of Codeswitching

In addition, it is important to consider the globalisation/localisation dichotomy of the English within the song lyrics in relation to the ideas of Pennycook (2003, pp. 523-524) and Appuradai (1996, 2000). Any instances of localised

95 _{Not all poetry is designed to be spoken or performed, and this kind of poetry shares many qualities with}

visual art. One fine example of this is Appollinaire’s poem Il Pleut ‘It’s Raining’. For a fine discussion of visual poetry, see http://www.poetryfoundation.org/journal/article.html?id=177216

language are at the same time ‘glocalised’,96

for many of these songs are listened to by a transnationalised grouping of ‘Chinese’ and Chinese diaspora on the world stage, which will be invaluable when generalising the findings of this case study into the use of English in Chinese songs. In addition, when examining the use of English within Asia, it is important to consider the work of J. Lee (2004, 2006) whose concepts of ‘crossing’ and ‘English as Cultural Attache’ are particularly relevant.