Phân tích các ca khúc về mẹ của nhạc sĩ Nguyễn Văn Tý từ quan điểm ngôn ngữ học chức năng hệ thống
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39
ANANALYSIS OFSONGSABOUT MOTHER
BY NGUYEN VAN TY FROM SYSTEMIC FUNCTIONAL
LINGUISTICS PERSPECTIVE
Ta Thi Thu Hang*
Faculty of Language Education and Professional Development,
VNU University of Languages and International Studies, Pham Van Dong, Cau Giay, Hanoi, Vietnam
Received 17 January 2021
Revised 10 March 2021; Accepted 20 July 2021
Abstract: This paper explores experiential meaning realized in transitivity resource and
interpersonal meaning realized in the mood and modality resources of two songs about mother by
Nguyen Van Ty. The discussion of the experiential and interpersonal meaning explored will enable the
researcher to have a better understanding of the image of mother depicted in the two songs. The
theoretical framework employed for analysis is Systemic Functional Linguistics. The data for analysis
is all clause simplexes collected from the two songs. The findings show that material process is mostly
used in both songs and followed by mental, relational and behavioural processes. There are no verbal
and existential processes found in both songs. In terms of interpersonal meaning, there is a very high
frequency of declarative clauses and a very small number of interrogative and exclamative clauses.
Although the occurrence of modality is very humble, it is deployed in both songs. It is recommended
that the two songs can be used as an effective source for students who take an interest in studying the
Vietnamese language from Systemic Functional Linguistics view.
Key words: systemic functional linguistics, experiential meaning, interpersonal meaning,
transitivity, mood and modality
1. Introduction*
texts, two researches by Nguyen (2012, 2018)
named “Transitivity Analysis of “Heroic
Mother” by Hoa Pham” and “Femininity
and Female Sexual Desires in “The Lang
Women”: An Analysis Using Halliday’s
Theory on Transitivity” also adopt
Halliday’s theory as the theoretical
A lot of linguistic approaches have
been developed in an attempt to analyze
different genres of texts effectively. Over
the past decades, a prominent linguistic
approach that has been adopted widely by a
number of researchers is Systemic
framework. Additionally, the application of
Functional Linguistics (SFL) developed by
SFL in investigating song lyrics is not the
Halliday in the 1960s. This approach has
exception. The reason for the popularity of
shown its effectiveness by being employed
SFL in text analysis is derived from the
as the theoretical framework in the analysis
differences between SFL and traditional
of other kinds of texts under both written
and spoken forms. For instance, in literary
grammar. SFL considers language as a
system of meanings (Halliday
&
Matthiessen, 2014) or a meaning-making
resource (Schleppegrell, 2004) while
traditional grammar sees language as a set
* Corresponding author.
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40
of rules. In addition, SFL is concerned with
the operation of language in different
cultural and social contexts; however,
traditional grammar deals with rules of
language in the process of writing or
speaking only. Hence, it can be concluded
that under the perspective of SFL, both
form and meaning are important and
closely related because meaning is realized
through form. For these reasons above, the
researcher has decided to employ SFL as
the theoretical framework to examine the
function of language in expressing two
strands of meanings of two songs named
Me yeu con (1956) and Tam ao chien si me
va nam xua (1973) by Nguyen Van Ty.
inner experience and we call it the
ideational metafunction. The ideational
metafunction
involves
two
other
components: that of experiential meaning in
the clause, and that of logical meaning
between clauses in clause complexes. In
this research, the unit of analysis is clause
simplex; hence, the researcher limits the
study to the experiential meaning.
Secondly, while construing, language also
establishes our personal and social
relationships with other people around us.
This function of language is called
interpersonal metafunction. Last but not
least, whether the construing and
establishing is successful or not depends on
how the discursive flow is cohesive and
continuous. It means that the speaker or the
writer has to decide sequences of discourse.
We call it textual metafunction (Halliday &
In reviewing the literature, no
research has been conducted on two mother
song lyrics by Nguyen Van Ty. This reason
has motivated the writer to conduct the
study. As mentioned above, the aim of the
study is to examine experiential and
interpersonal meanings realized through
Transitivity resource and mood and
modality, respectively. Therefore, two
research questions below will help to
clarify the aim of the study:
Matthiessen,
2014).
The
detailed
description of this model has been provided
in many researches. Hence, this part of the
study aims at focusing on describing the
aspects of SFL directly involving features
of two mother song lyrics by Nguyen Van
Ty.
Specifically,
experiential
and
interpersonal meanings will be presented
below.
a. How are two mother songs by
Nguyen Van Ty constructed in terms of
experiential meaning and interpersonal
meaning?
2.1. Experiential Meaning and Transitivity
System
b. How is the image of mother
represented in two mother songs by Nguyen
Van Ty?
The experiential meaning is realized
through transitivity system. The transitivity
of a clause is its process type. Each process
type constitutes a distinct model or schema
for construing a particular domain of
experience. The primary options in process
type include material, mental, and relational.
In addition, there are three subtypes of
process: behavioural, verbal, and existential.
The types of process in English can be
illustrated in the following figure:
2. The Theoretical Framework
The theoretical framework adopted
in the study is SFL. SFL is a model of
language in context. According to Halliday
and Matthiessen (2014), language is
organized with three main functions.
Firstly, language construes our outer and
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41
Figure 1
that in English. However, English is an
inflecting language while Vietnamese is an
isolating language. Hence, some notable
differences between the structure of process
types in English and Vietnamese are
inevitable. Despite adopting Halliday’s
theory to analyze two songs, we still refer
to some distinct features in Vietnamese
clauses shown by Hoang (2012) during the
analysis process. Now we will proceed to
describe each process type with illustrated
examples.
The Grammar of Experience: Types of
Process
Matthiessen, 2004, p. 172)
in
English
(Halliday
&
Material process is the process of
“doing and happening” which has the
general
structure:
Actor^Process:
material^other Participants. Apart from
number and nature of participants or the
probe as in English, in Vietnamese, another
criterion is suggested by Hoang Van Van. It
is the strong tie between material verbs and
co-verbs of direction. Co-verbs of direction
consist of words such as “lên”, “đi”,
“xuống”... The following example will
clarify this point.
In Vietnamese, Hoang (2012) draws
on Halliday’s model to describe
experiential meaning in Vietnamese
clauses. Basically, the structure of process
types in Vietnamese clauses is similar to
bóng dáng bao người
đang
vươn
rising up
lên
silhouette of many people
is
Actor
Aspectual particle (Asp.ptcl) Process: material
(Nguyen, 1956)
Senser^Process: mental^Phenomenon.
Such co-verbs of direction cannot
combine with other process types.
Additionally, it is not difficult to recognize
voice in English based on grammatical
structure. However, this must be careful in
Vietnamese. Two passive particles bị, được
are considered as typical signs to
distinguish active and passive voice.
Nevertheless, in Vietnamese, two particles
also own different meanings desirable and
undesirable. In the data of the research, we
do not find the case of these two particles.
Senser should be human or any entity
endowed with “consciousness”. Like in
English, there are four main sub-types of
Mental process in Vietnamese namely:
“perceptive”, “cognitive”, “desiderative” or
“emotive”.
Mẹ
thương
Mother
loves
Senser Process: mental (emotive)
(Nguyen, 1956)
Mental process is the process of
sensing with the general structure:
Relational process is the process of
being, having and being at. There are three
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42
subtypes of relational process that come
into two modes. Based on Halliday’s
model, Hoang (2012) represents the system
of relational process as the figure below. In
his model, Halliday and Matthiessen (2014)
classify two modes named attributive and
identifying. In this figure, Hoang (2012)
replaces attributive with ascriptive.
existential. The reason is there seems not to
have a clear cut in the distinction of
different processes. Following are the
general structure of these subtypes.
Behavioural process: Behaver^Process:
behavioural^Range/Phenomenon
Verbal
process:
Sayer^Process:
verbal(^Receiver)(^Verbiage)
Figure 2
Existential: Process: existential^Existent
Relational Process in Vietnamese (Hoang,
2012, p. 238)
Vietnamese existential process often
employs verbs such as có, còn.
Nevertheless, when the nominal group
realizing existent is premodified by
indefinite numeratives such as nhiều, ít...,
the presence of verbs mentioned above is
optional (Hoang, 2012).
Besides the inherent elements
including actor and process, circumstantial
elements that clarify the material process in
terms of place, time, manner... are optional
in process type. The eight types of
circumstances that are examined by Hoang
(2012) consist of extent, location, manner,
cause, accompaniment, matter, role and
stance.
One point that needs to be noticed is
that in English, if an attribute is realized
with an epithet, the presence of “tobe” or a
linking verb is inherent. However, in
Vietnamese case, there is no presence of
this element (là).
2.2. Interpersonal Meaning and The Mood
– Modality
In addition to construing human
experience, language also helps to establish
our social relationship with other people
around us. Two most fundamental speech
roles that can be found in a conversation are
“giving (inviting to receive)” and
“demanding (inviting to give)” (Halliday &
Matthiessen, 2014). The nature of
commodity in “giving” and “demanding”
process is “information” or “goods and
services”. These roles are specified in the
following figure.
Đời mẹ
Mother’s life
Carrier
nghèo
poor
Attribute (Process: relational)
(Nguyen, 1973)
It is odd to say that:
Đời mẹ là
nghèo
Carrier Process: relational Attribute
(Nguyen, 1973)
As mentioned above, three subtypes
emerging are behavioural, verbal and
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Table 1
Giving or Demanding, Goods & Services or Information (Halliday & Matthiessen, 2004, p. 107)
Commodity exchanged
Role in exchange
goods -&-services
“offer”
would you like this teapot? he’s giving her teapot
information
“statement”
giving
“command”
“question”
demanding
give me that teapot!
what is he giving her?
When we exchange information, the
clause will take the form of a proposition. A
proposition is something that can be argued.
When we exchange goods and services, the
clause will take the form of a proposal.
While we argue something IS or IS NOT in
the proposition, we argue something
Figure 3
HAPPEN or DOESN’T HAPPEN in a
proposal (Eggins, 1994). The major
grammatical
system
that
realizes
Interpersonal function is called MOOD
system. Figure 3 illustrates MOOD system
in English.
Mood System in English (Hoang, 2006, p. 55)
Besides two main choices of Mood
are Indicative and Imperative, Halliday and
Matthiessen (2014) supplement a sub-type
of declarative that is exclamative clause.
position of Subject and Finite in a clause.
However, Vietnamese does not have a finite
system; hence, mood types will be
identified based on a system of particles.
Thai (2004) has suggested common
particles in Mood types as listed below.
There are two main elements in
MOOD system: the Mood element and the
Residue. The Mood is the component
whose function in the clause is to carry the
syntactic burden of the exchange and to
carry argument forward. Two parts in the
Mood are the Subject and the Finite
operator.
-
-
-
Polar interrogative particles: phải
không, có không, hả, hở, ư, sao, hay
sao, chưa, à, chớ, chứ,...
Elemental interrogative items: khi
nào, tại sao, ai, ở đâu, làm thế nào,
chuyện gì, cái gì,...
Imperative particles: nào, đi nào,
nhé, nhá, nghe
As mentioned in the preceding
pages, English is an inflecting language
with a finite system. Therefore, to identify
mood types, the analyst will rely on the
In addition, Diep (2005) also
included
exclamation
particles.
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Specifically,
consist of words or phrases such as ô, ôi, úi,
chà, trời đất ơi...
exclamation
expressions
to/determined to). This second choice
in Modality is called Modulation. This
can be expressed by a finite operator or
by an expansion of the Predicator
through verbal group complexing.
Typically by a passive verb: You’re
supposed to do that
As illustrated in Figure 3, Mood is
involved with polarity (Yes or No).
However, there are not only two poles but
other “intermediate possibilities” between
them which is called Modality or the
assessment/the judgement of the speaker.
-
-
By an adjective: I’m anxious to help
them
Figure 4
• In a proposition, two main kinds of
Modality (Halliday & Matthiessen, 2014,
“intermediate possibilities” are “degree
p. 182)
of
(possibly/probably/certainly)
“degree of
possibilities”
and
usuality”
(sometimes/usually/always). Halliday
and Matthiessen (2014) distinguish
them from other types of Modality by
naming them Modalization. This can
be expressed by a finite modal
operator, by a modal adjunct or by
both.
• In a proposal, based on the speech
function of “demanding” or “offering”,
Halliday and Matthiessen (2014) divide
into “degree of obligation” (allowed
to/supposed to/required to) and “degree
of inclination” (willing to/anxious
Table 2
Halliday classified finite modal
operators and adverbs serving as mood
adjuncts into three degrees: low, median
and high that can be illustrated in table 2
and 3 below.
Modal Operators (Halliday & Matthiessen, 2014, p. 145)
Modal operators
Low
can, may, could, might, will, would, should,
(dare) is/was to
needn’t, doesn’t/didn’t + won’t, wouldn’t,
Median
High
must, ought to, need, has/had to
positive
mustn’t, oughtn’t to, can’t, couldn’t,
negative need to, have to
shouldn’t, (isn’t/wasn’t
(mayn’t, mightn’t, hasn’t/hadn’t to)
to)
Table 3
Adverbs Serving as Mood Adjuncts of Modality (Halliay & Matthiessen, 2014, p. 189)
Median Outer: high
Outer: low
certainly, definitely, no way (no
how)
probability probably
possibly, perhaps, maybe, hardly
sometimes, occasionally, seldom,
rarely
usuality
usually
always, never
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As mentioned in the preceding
pages, the model SFL of Halliday is drawn
on for the research; therefore, we will
follow the classification proposed by
Halliday. Finite modal operators and mood
adjuncts of modality are composed of
Table 4
probability, usuality, inclination and
obligation. Common words of these cases
will be translated into Vietnamese. The
following table illustrates some examples of
modality in Vietnamese that are equivalent
to mood adjuncts of modality.
Examples of Modality in Vietnamese (Adapted from Ngo, 2007, p. 96)
chắc là, có nhiều khả năng (probably), có thể (possibly)
Probability
chắc chắn (certainly), có lẽ (perhaps), có thể là (maybe)
thường là (usually), đôi khi, thỉnh thoảng (sometimes)
Usuality
luôn luôn (always), hiếm khi (seldom), chưa bao giờ, không bao giờ (never), ít khi
(rarely)
Inclination bằng lòng, vui lòng (willingly), sẵn lòng, sẵn sàng (readily), dễ dàng (easily)
dứt khoát (definitely), tuyệt đối (absolutely), có thể phải (possibly), bằng mọi giá (at all
costs), bằng mọi cách (by all means)
Obligation
In addition, Hoang (2018) has
supplemented other cases of modulation
expressing obligation and inclination in
Vietnamese that are equivalent to finite
modal operators in English such as cần
(need), nên (should), phải (must) or sẽ
(will), sẽ không (won’t), and có thể (may).
Systemic Functional Linguistics.
The researcher takes clause
simplexes as unit of analysis; therefore,
lyrics in two songs are broken into clauses
and a close analysis is carried out to
identify process types, mood types and
modality in clause simplexes. There are
several main reasons why clause simplexes
are chosen as unit of analysis. Firstly,
Halliday and Matthiessen (2014) show that
the clause is the most fundamental unit of
analysis. We see three strands of meaning
in every clause. Like English, the
Vietnamese clause that is located on the
lexicogrammatical stratum is the highest
unit of grammar analysis (Hoang, 2012).
Secondly, from the first point, it can be
concluded that the clause is an effective
unit to analyze a text.
3. Research Design and Methodology
3.1. Unit of Analysis
There are a number of certain
reasons why the author has chosen two
mother songs written by Nguyen Van Ty.
Nguyen Van Ty was born in a musical
family and famous for many great works.
Before his departure, he had made a major
contribution to Vietnamese music. Among
his compositions, the songs Me yeu con
(1956) and Tam ao chien si me va nam xua
(1973) are two popular ones that are
symbols of maternal love. Songs about
mother have always drawn attention of
listeners and learners as they not only
entertain people but also educate them in
terms of language knowledge and moral
values. In this research, the author would
like to get access to lyrics in Nguyen Van
Ty’s songs from a different perspective -
3.2. Data Collection and Analysis
The collection and analysis of two
songs are implemented in the following
steps.
Step 1: The lyrics of two songs are
collected from official videos of well-
known singers in Vietnam such as Anh Tho
and
Trong
Tan
uploaded
in
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46
ujMlrw and
Circ: rl = Circumstance of role
Circ: st = Circumstance of stance
Cli = Client
Compl = Complement
Dec = Declarative
To make sure of the accuracy of the
lyrics, the writer has made a thorough
check in different popular websites that also
upload the whole or a part of the videos.
Excl = Exclamative
Existt = Existent
Go = Goal
Id = Identified
Imp = Imperative
Inter = Interrogative
Ir = Identifier
Mod = Mood
Phen = Phenomenon
Pred = Predicator
Pro: beh = Process: behavioural
Pro: existl = Process: existential
Pro: mat = Process: material
Pro: ment = Process: mental
Pro: rel = Process: relational
Pro: vrb = Process: verbal
Rec = Receiver/Recipient
Sa = Sayer
Step 2: Two strokes (//) are used to
identify the number of clause simplexes in
two songs
Step 3: The clause simplexes in
each song are analyzed in terms of
transitivity system with 6 types of process
and mood and modality.
Ac = Actor
Sco = Scope
Attr = Attribute
Sen = Senser
Beh = Behaver/Behavioural
Car = Carrier
Subj = Subject
Ta = Target
Circ = Circumstance
Vrbge = Verbiage
Circ: accomp = Circumstance of
accompaniment
Step 4: The process types and
mood-modality of the clause simplexes in
each song will be counted and presented in
the table.
Circ: Adjct = Circumstance of adjunct
Circ: cse = Circumstance of cause
Circ: ext = Circumstance of extent
Circ: loc = Circumstance of location
Circ: man = Circumstance of manner
Circ: mat = Circumstance of matter
Step 5: The findings collected from
analysis are discussed to figure out the
features of two songs
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47
4. Findings and Discussions
There are also no verbal and existential
processes found in the song.
4.1 Findings
The percentage of processes in two
songs shows that the outstanding similarity
between two songs is the rank of processes.
Specifically, material process is found
highest among the processes. At the second
position are mental and relational
processes. The next position belongs to
behavioural process while both verbal and
existential are not found in two songs. In
the next part (Data discussion), the
researcher will give an in-depth discussion
about the findings.
4.1.1. Transitivity in Two Songs
Table 5
Process Types in the Song “Me yeu con”
Process types Number Percent
Pro: mat
Pro: beh
Pro: ment
Pro: rel
6
3
32%
16%
26%
26%
0%
5
5
Pro: vrb
Pro: existl
Total
0
4.1.2.
Mood
Patterns
and
0
0%
Modality in Two Songs
19
100%
Table 7
As can be seen from table 5,
material process accounts for the largest
percentage (32%). At the second rank are
mental and relational processes with 26%
for each. Behavioural process makes up
16% ranking third among processes. There
are no verbal and existential processes
found in the song. Table 6 illustrates the
number and the percentage of process types
in the song “Tam ao chien si me va nam
xua.”
Mood Patterns in the Song “Me yeu con”
Mood patterns Number Percent
Dec
Inter
Imp
17
1
89%
5%
0
0%
Excl
Total
1
5%
19
100%
Table 7 provides the information
about the percentage of mood patterns in
the first song. It can be seen that the author
used mostly declarative sentences in the
song (89%). Interrogative and exclamative
types are used once for each. Imperative
sentence is not found in the song.
Table 6
Process Types in the Song “Tam ao chien si
me va nam xua”
Process types Number Percent
Pro: mat
Pro: beh
Pro: ment
Pro: rel
8
2
44%
11%
22%
22%
0%
Table 8
4
Mood Patterns in the Song “Tam ao chien
si me va nam xua”
4
Pro: vrb
Pro: existl
Total
0
Mood patterns Number Percent
0
0%
Dec
Inter
Imp
18
0
100%
0%
18
100%
It can be observed that in the second
song, the highest percentage (42%) is
material process while both mental and
relational processes comprise 22% for each.
Behavioural process ranks third with 11%.
0
0%
Excl
Total
0
0%
18
100%
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48
Table 8 shows a rather interesting
result with 100% of declarative clauses. In
short, two tables reveal two noticeable
features. First, declarative mood accounts
for the highest proportion. Second, there is no
presence of imperative mood in both songs.
occurrences
of
modalization
and
modulation are very modest. Three
instances of modalization expressing
probability “hình như”, “sẽ” together with
usuality “thuong” and one instance of
modulation expressing obligation “phải”
are found in two songs.
In terms of modality, the
Table 9
Types of Modality in Two Songs
Modalization
Modulation
Songs Number of clauses
Probability Usuality Obligation Inclination
S1
19
18
2
0
0
1
0
1
0
0
S2
4.2. Discussions
In this part, the writer will not
mention these findings again but
demonstrate remarkable features in two
songs about mother in wartime by Nguyen
Van Ty.
Con
sẽ góp phần
You will contribute
Ac
Pro: mat
4.2.1. Transitivity Discussion in
Two Songs
đi
go
trên con đường mới
on the new road
As shown in table 5 and 6, the
difference in the number of material process,
mental process as well as relational process
in the two songs is not considerable. The
frequency of each process is understandable
with the content of each song.
Pro: mat Circ: loc (spatial)
It can be said that the victory of the
resistance has brought the mother new hope
for the bright future of her child. She draws
a picture in mind about what her child can
do to contribute to the country. The actor in
the second and third example is “Con”,
which shows that the child will become the
future owner of the country and the main
force to build a stronger country. The
circumstantial element of spatial “trên con
đường mới” implies a new future waiting
for the child.
Material process in the first song is
expressed in the following verbs “giành,
ôm, góp phần, rung, ôm ấp, đi”. As
mentioned above, two songs are about
mothers in the war period. The material
clauses in the first song are used to describe
the success of the resistance and the
mother’s belief in what the child can
contribute to his/her country in the future.
đất
nước
về cho
đời
Kháng chiến đã giành
In addition, mental process presents
a mother’s love for her child with verbs
such as “thương, thấy, có hay, thấy.” These
mental verbs fall into three subgroups:
emotive, perceptive and cognitive.
The
won
country
for life
resistance
Pro:
mat
Ac
Go
Circ: cse
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49
equal to the number of mental process.
Relational clauses found in the song are
classified into subgroups: intensive
attributive and intensive identifying modes.
These relational clauses are employed to
describe the hardship of the resistance as
well as a mother’s pregnancy period.
Additionally, the growth of the child and
the mother’s happiness are also expressed
in relational clauses. The intensive
attributive in two songs has the structure:
Carrier^Attribute (an epithet). The
intensive identifying is present one time in
the first song with the structure:
Identified^Process: relational^Identifier.
In the case of the intensive identifying, the
process is realized by the word “như”.
Mẹ
Mother
Sen
thương
loves
Pro: ment (emotive)
có hay
con
Do you
Sen
know
Pro: ment (cognitive)
Out of five instances of mental
verbs, the word “thương” repeats two times
emphasizing love the mother saves for her
child. The circumstantial element of
temporal “từ khi mới lọt lòng” is also
deployed to indicate that the mother has
cherished her child since he/she was in the
womb.
The number of relational process is
Chín tháng so chín năm
gian khó
hard
đến khôn cùng
Nine months compared with nine years
extremely
Car
Attr (Pro: rel) Circ: man (quality)
Bóng đất nước
như
hình bóng dáng con tôi
The shadow of country is like the shadow of my child
Id
Pro: rel
Ir
The occurrences of verbal and
existential processes are not found in the
song.
army shirts of mothers’ for their children,
soldiers and the soldiers’ participation in
the resistance. It is the reason why material
clauses are mainly found in the song.
Material clauses depict the activities of both
of the mothers and soldiers.
The rank of processes in the second
song is the same as that of the first song.
The song tells a story about the sewing
Tấm áo ấy
This army shirt
Sco
bấy lâu nay
con thường
often
vẫn mặc
for ages
I
wear
Circ: loc (temporal) Ac Circ: ext Pro: mat
vá
áo
sew
shirt
Pro: mat Sco
Các con
ra đi
đã mấy chiến trường
VNU JOURNAL OF FOREIGN STUDIES, VOL. 37, NO. 4 (2021)
50
You
have gone a number of battlefields
Pro: mat Circ: loc (spatial)
Ac
In the first song, readers and
listeners witness a mother’s love for her
child through mental process. In the second
song, mental clauses are employed not only
to show the mothers’ love for their children
but the children’s sentiment for their
mothers. All mental verbs belong to
emotive type “quý, thương, nhớ(x2).”
Tấm áo ấy
That army shirt
Sco
bấy lâu nay
con
I
quý
hơn cơm gạo
for ages
love
more than rice
Circ: loc (temporal) Sen Pro: ment Circ: man (comparison)
The circumstance of manner
(comparison subtype) “hơn cơm gạo” is
adopted to show the degree of love that the
child saves for the army shirt sewn by his
mother.
Noticeably, 100% declarative clauses are
used in the second song Tam ao chien si me
va nam xua.
Through the highest frequency of
declarative clauses, it can be concluded that
two songs mainly aim at giving information
or telling a story about maternal love in
wartime. There is almost no interactive
activity in the song except the only
interaction between the mother and her
Behavioural processes appear two
times in the song with near-material verbs
“trông, thức”. This type of process shows
more the mother’s sacrifice to her child.
It is reasonable why there is a high
frequency of material, mental and relational
processes in both songs. Firstly, as
mentioned above, two songs are about
mothers in wartime. The participation of
both mothers and children in the resistance
is depicted in different ways through
material process. Mental and relational
processes are used effectively in presenting
the sentiment of mothers for children and
vice versa. Moreover, relational processes
also characterize the growth of children as
well as their stronger power with mothers’
child
through
interrogative
clause.
However, this is one-sided interaction
without the response from the addressee.
con
do you know
Subj Pred Interrogative particle
có hay
chăng
As mentioned in the theoretical
framework, Vietnamese language does not
have
finite
elements;
therefore,
interrogative clauses are identified by polar
particles. In this case, the signal to realize
the interrogative clause is particle
“có...chăng.” Interrogative mood is used
when the speaker wants to ask for
information. The clause is written under the
form of interrogative and the mother seems
to ask for the confirmation from her child
(whether her child is aware of her love or
not). From a different perspective, it is also
a way to emphasize the love for her child.
However, this aspect does not belong to the
scope of the study; hence, the writer does
not discuss in detail. The exclamative
clause appears once in the song when the
protection.
Especially,
types
of
circumstances are used effectively by the
composer Nguyen Van Ty with the aim of
clarifying and emphasizing the inner and
outer experience shown through process
types.
4.2.2. The Mood and Modality
Discussion in Two Songs
4.2.2.1. The Mood
In terms of mood patterns and
modality, both table 7 and 8 illustrate the
dominance
of
declarative
clauses.
VNU JOURNAL OF FOREIGN STUDIES, VOL. 37, NO. 4 (2021)
51
mother talks about her child’s future after
the success of the resistance.
his/her country after liberation.
4.2.2.2. Modality
Tương lai
đẹp
lắm
Based on Halliday and Matthiessen
(2014), modality is analyzed for
modalization and modulation. Modalization
is further analyzed for probability and
usuality while modulation is for obligation
and inclination. Table 9 shows that the
usage of modality in two songs is in a
limited number. In the song Me yeu con,
two instances of probability (modalization)
are found with mood adjunct “hình như”
and modal operator “sẽ”. This kind of
modalization in the song illustrates the
degree of uncertainty. In other words, it is
the prediction as well as the hope of the
mother.
con
Your future beautiful
Exclamative
particle
Subj
Compl
In Vietnamese language, the
exclamative clause can be mistaken for the
declarative clause for its similarity in terms
of form. Hence, a number of typical
particles listed to distinguish the
exclamative from the declarative clause. In
this case, the particle “lắm” acts as a
distinguishing signal. This clause is written
as the praise for the future of the child who
will make great contributions to building
Thoáng
thấy đó
hình như
bóng… càng nhanh
see
perhaps
Circ: Adjct Pred Mod (probability)
The mother also believes that in the
future, her child will devote his/her youth
and energy to build a wealthier country.
Compl
In the second song, two instances of
modality are found, one of usuality
(modalization) and one of obligation
(modulation). The adjunct of frequency
“thường” is deployed because it expresses
how soldiers are attached to the army shirt
sewn by mothers.
Con
You
sẽ
góp phần
contribute
Pred
will
Subj Mod (probability)
Tấm áo ấy
This army shirt
Compl
bấy lâu nay con
for ages
thường
vẫn mặc
wear
I
often
Circ: Adjct Subj Mod (usuality)
Pred
The second instance with modal
operator “phải” is arranged in high degree
group according to the classification of
Halliday and Matthiessen (2014). This not
only presents that the mothers feel a strong
sense of responsibility towards soldiers,
some of whom are their children and
considered as their children but shows their
deep love for the soldiers.
nên các mẹ già
so the old mothers
Subj
lại phải
must
Mod (obligation) Pred Circ: Adjct
thức
thâu đêm
stay up over night
VNU JOURNAL OF FOREIGN STUDIES, VOL. 37, NO. 4 (2021)
52
5. Conclusion
forward in the research, the researcher can
reach the conclusion about the image of
mother represented in two songs by Nguyen
Van Ty and answer to the second question
“How is the image of mother represented in
two mother songs by Nguyen Van Ty?”
Three prominent features of the mother
during wartime are observed in these two
songs. Firstly, they are caring and devoted
mothers. This point is indicated through
material processes, behavioural processes
and modality expressing obligation.
Regardless of the hardship of life and war,
the mothers try their best to take care of
their children from the smallest things such
as sewing the army shirt. Secondly, they are
optimistic mothers. This point is revealed
through material processes and modality
expressing probability. With the success of
the resistance, they believe that their
children can do to build a better country
and they also imagine how their children’s
future will be brighter. Thirdly, mental
processes show that they love their children
more than anything.
5.1. The Image of Mother in Two Songs by
Nguyen Van Ty
Regarding the findings in part 4, the
writer now can answer two questions raised
in the aim of the study. For the first
question, “How are two mother songs by
Nguyen Van Ty constructed in terms of
experiential meaning and interpersonal
meaning?” the analysis shows that the
highest frequency of material process is
employed in both songs. It appears entirely
reasonable because two songs are
composed during wartime; hence, material
clauses focus on describing the activities
(outer experience) of both mothers and
soldiers at that time. In addition, the usage
of mental and relational processes also
contributes to depicting the sentiment
between mothers – children and mothers –
soldiers along with sketching the hardship
of mothers in wartime and the suffering of
battles. A small proportion of behavioural
process that belongs to near material group
is figured out in two songs. Most of
behavioural verbs are employed to depict
the behaviour and activity of mothers
towards their children. With regard to
interpersonal meaning, the writer can reach
the conclusion that there is the usage of a
large number of declarative clauses and an
extremely small number of modal elements
in two songs. This indicates that the
composer Nguyen Van Ty would like to tell
readers and listeners the two stories of
maternal love in wartime. In other words,
he aims to convey the message of how the
wartime in Vietnam is and how the image
of mothers in the wartime is. Although the
number of modality expressing probability
and obligation is humble, such modality
expressions are of great contribution to
depicting mothers’ hope and prediction
together with emphasizing the attachment
between mothers and soldiers.
It can be concluded that the
intentional usage of process types, mood
and modality types in two songs by Nguyen
Van Ty has brought the success in depicting
the image of mother in wartime in Vietnam.
They are heroic mothers who devote their
whole life and youth to their children and
their country.
5.2. Future Research
The research investigates two songs
by Nguyen Van Ty at the rank of clause
with two strands of functions including
experiential and interpersonal meanings. A
lot of work needs to be done to explore
other aspects as well as give a more in-
depth insight into two songs. For instance,
in addition to the rank of clause, the rank of
group can be examined. The lexical choice
in two songs is also a noticeable point.
Especially, the circumstantial elements are
deployed to depict the image of mothers in
By answering the first question put
VNU JOURNAL OF FOREIGN STUDIES, VOL. 37, NO. 4 (2021)
53
Hoang, V. V. (2012). An experiential grammar of
the Vietnamese clause. Vietnam Education
Publishing House.
two songs. For instance, the circumstance
of temporal and spatial is common in
material process while the circumstance of
manner (degree) is used in mental and
relational processes. I hope that the future
researches on two songs will fill the gaps
mentioned above.
Hoang, V. V. (2018). “Bánh trôi nước” and three
English versions of translation: A systemic
functional comparison. VNU Journal of
Foreign
Lyrics.vn. (2009). Mẹ yêu con.
Studies,
34(4),
1-35.
Despite some certain limitations, the
research has gained the practical
significance to learners and scholars taking
an interest in SFL and translation. For
people who are interested in SFL, this
research is a useful source for them to see
how experiential meaning and interpersonal
meaning are realized through Transitivity
and Mood resources in Vietnamese clauses.
For people who study translation, this
reminds them about ensuring the process
types as well as modality expressions that
are adopted intentionally by the author
during the process of translating.
NCT. (2018, March 1). Tấm áo chiến sĩ mẹ vá năm
xưa.
Ngo, D. P. (2007). Hợp phần nghĩa liên nhân của
câu trong ngữ pháp chức năng hệ thống.
Vietnam National University Press, Hanoi.
Nguyen, H. C. (2016, Mach 2). Lời bài hát mẹ yêu
con: Một khúc sử thi về tình mẫu tử của
nhạc sĩ Nguyễn Văn Tý. Tinmoi.
Nguyen, T. H. (2012). Transitivity analysis of
“heroic
International
Linguistics,
mother”
by
Journal
2(4),
Hoa
of
Pham.
English
85-100.
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VNU JOURNAL OF FOREIGN STUDIES, VOL. 37, NO. 4 (2021)
54
PHÂN TÍCH CÁC CAKHÚC VỀ MẸ
CỦANHẠC SĨ NGUYỄN VĂN TÝ
TỪ QUAN ĐIỂM NGÔN NGỮ HỌC CHỨC NĂNG HỆ THỐNG
Tạ Thị Thu Hằng
Khoa Đào tạo và Bồi dưỡng Ngoại ngữ,
Trường Đại học Ngoại ngữ, ĐHQGHN, Phạm Văn Đồng, Cầu Giấy, Hà Nội, Việt Nam
Tóm tắt: Bài viết phân tích nghĩa kinh nghiệm được hiện thực hóa qua quá trình Chuyển tác
và nghĩa liên nhân được hiện thực hóa qua Thức và Tình thái trong lời hai ca khúc về mẹ của tác giả
Nguyễn Văn Tý. Kết quả của quá trình Chuyển tác, Thức và Tính thái sẽ cung cấp cho người viết hiểu
biết tốt hơn về hình ảnh người mẹ trong thời chiến được khắc họa trong hai bài hát. Khung lí thuyết
được sử dụng trong nghiên cứu là lí thuyết ngôn ngữ chức năng hệ thống. Đơn vị dữ liệu là tất cả các
cú đơn được thu thập trong lời của hai bài hát. Kết quả nghiên cứu chỉ ra rằng xét về nghĩa kinh
nghiệm, hầu hết các cú được sử dụng trong hai bài hát là cú vật chất và không có cú tạo lời hay tồn tại
được tìm thấy trong hai bài hát. Xét về nghĩa liên nhân, cú khẳng định được dùng với tần suất cao
nhất. Số cú nghi vấn và cảm thán được tìm thấy rất ít và không có sự xuất hiện của cú mệnh lệnh. Mặc
dù sự xuất hiện của tình thái rất khiêm tốn trong hai bài hát, tuy nhiên chúng được sử dụng một cách
rất hiệu quả. Kết quả nghiên cứu của hai bài hát có thể là nguồn tham khảo rất hữu ích đối với những
sinh viên quan tâm đến phân tích tiếng Việt từ góc độ ngôn ngữ chức năng hệ thống.
Từ khóa: ngôn ngữ chức năng hệ thống, nghĩa kinh nghiệm, nghĩa liên nhân, chuyển tác, thức,
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