MusiqueCeltiqueV1, Main, Exploration, bibRecord, 000145

Voice, place and genre in popular song performance

Identifieur interne : 000145 ( Main/Exploration ); précédent : 000144; suivant : 000146

Voice, place and genre in popular song performance

Auteurs : Nikolas Coupland [Royaume-Uni]

Source :

Journal of Sociolinguistics [ 1360-6441 ] ; 2011-11.

RBID : ISTEX:5987AE81C601271121E4F6922FFA8B2643231E43

Descripteurs français

Wicri :
- topic : Instrument de musique, Classe sociale.

English descriptors

KwdEn :
- American charts, American research press, Andy bennett, Associational resonances, Barry shank, Bauman, Blackwell, Blackwell publishing, Briggs, Cambridge university press, Case studies, Chess records, Chorus line, Chuck berry, Chuck berry version, Classic rock, Communicative virtuosity, Copper kettles, Copperline, Copperline half, Country music, Coupland, Critical perspectives, Cultural forms, Cultural scenes, Cultural spaces, Daddy dance, Dennis preston, Dialect indexicality, Different genres, Early career, English linguistics, Ephemeral performative transgression, First kiss, Folk linguistics, Folk music, Frith, Gain approval, Genre, Genre norms, Georgia peach, Good evening ladies, Goode, Guitar riff, Historical development, Indexicalities, Indie rock, Intertextual gaps, James taylor, Jason toynbee, Johnny gogogogo, Lyric line, Many decades, Maybellene, Moon shine, More detail, Morgan creek, Music genres, Music norms, Musical instrument, Nikolas, Nikolas coupland, Open road, Original lyrics, Other dimensions, Other hand, Other ways, Oxford university press, Performance style, Performer, Place meanings, Popular music, Popular music genres, Popular music performance, Popular music performers, Popular music studies reader, Popular music voice, Popular song, Popular songs, Pronunciation, Punk, Punk performance, Punk rock, Randy americana, Rhythmic structure, Richard bauman, Richard middleton, Romantic love, Routledge, Shank, Singer identity, Social class, Social identities, Sociolinguistic, Sociolinguistics, Song lyrics, Soul reader, Specific genre, Studio recording, Textual analysis, Third person, Trudgill, Vernacular, Vernacular culture, Vernacular experience, Vernacularity, Week hercules, World music, Young love.
Teeft :
- American charts, American research press, Andy bennett, Associational resonances, Barry shank, Bauman, Blackwell, Blackwell publishing, Briggs, Cambridge university press, Case studies, Chess records, Chorus line, Chuck berry, Chuck berry version, Classic rock, Communicative virtuosity, Copper kettles, Copperline, Copperline half, Country music, Coupland, Critical perspectives, Cultural forms, Cultural scenes, Cultural spaces, Daddy dance, Dennis preston, Dialect indexicality, Different genres, Early career, English linguistics, Ephemeral performative transgression, First kiss, Folk linguistics, Folk music, Frith, Gain approval, Genre, Genre norms, Georgia peach, Good evening ladies, Goode, Guitar riff, Historical development, Indexicalities, Indie rock, Intertextual gaps, James taylor, Jason toynbee, Johnny gogogogo, Lyric line, Many decades, Maybellene, Moon shine, More detail, Morgan creek, Music genres, Music norms, Musical instrument, Nikolas, Nikolas coupland, Open road, Original lyrics, Other dimensions, Other hand, Other ways, Oxford university press, Performance style, Performer, Place meanings, Popular music, Popular music genres, Popular music performance, Popular music performers, Popular music studies reader, Popular music voice, Popular song, Popular songs, Pronunciation, Punk, Punk performance, Punk rock, Randy americana, Rhythmic structure, Richard bauman, Richard middleton, Romantic love, Routledge, Shank, Singer identity, Social class, Social identities, Sociolinguistic, Sociolinguistics, Song lyrics, Soul reader, Specific genre, Studio recording, Textual analysis, Third person, Trudgill, Vernacular, Vernacular culture, Vernacular experience, Vernacularity, Week hercules, World music, Young love.

Abstract

Earlier sociolinguistic studies have conceptualised popular song as a field of phonological variation where singers do or do not maintain features of their national or regional accents in singing. The present paper explores a wider agenda for the sociolinguistics of popular song, theorised as a diverse field of performance organised according to genre. Following initiatives in the sociology of popular music (particularly Simon Frith's research), voice is interpreted as the repertoire of meaning‐making options available to performers. Voice subsumes dialect indexicality, but also the management of singer identity and singer‐audience relations through the performance of lyrics, rhythmic and bodily modalities. Place is understood as the specific socio‐cultural contexts that are explicitly or implicitly voiced, including contexts of performance and reception. By performing within or against generically structured stylistic norms, performers construct and disseminate different vernacular values and identities. Live tracks from three different, broadly‐defined genres are considered in detail – classic rock and roll (Chuck Berry's Maybellene), folk/country (James Taylor's Copperline), and punk rock (the Sex Pistols’Johnny B. Goode).

Url:

https://api.istex.fr/document/5987AE81C601271121E4F6922FFA8B2643231E43/fulltext/pdf

DOI: 10.1111/j.1467-9841.2011.00514.x

Affiliations:

Royaume-Uni

Links toward previous steps (curation, corpus...)

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to stream Istex, to step Curation: 000543
to stream Istex, to step Checkpoint: 000031
to stream Main, to step Merge: 000144
to stream Main, to step Curation: 000145

Le document en format XML

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<term>Guitar riff</term>
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<term>Soul reader</term>
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<term>Vernacular culture</term>
<term>Vernacular experience</term>
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<term>Associational resonances</term>
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<term>Bauman</term>
<term>Blackwell</term>
<term>Blackwell publishing</term>
<term>Briggs</term>
<term>Cambridge university press</term>
<term>Case studies</term>
<term>Chess records</term>
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<term>Cultural scenes</term>
<term>Cultural spaces</term>
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<term>English linguistics</term>
<term>Ephemeral performative transgression</term>
<term>First kiss</term>
<term>Folk linguistics</term>
<term>Folk music</term>
<term>Frith</term>
<term>Gain approval</term>
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<term>Genre norms</term>
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<term>Good evening ladies</term>
<term>Goode</term>
<term>Guitar riff</term>
<term>Historical development</term>
<term>Indexicalities</term>
<term>Indie rock</term>
<term>Intertextual gaps</term>
<term>James taylor</term>
<term>Jason toynbee</term>
<term>Johnny gogogogo</term>
<term>Lyric line</term>
<term>Many decades</term>
<term>Maybellene</term>
<term>Moon shine</term>
<term>More detail</term>
<term>Morgan creek</term>
<term>Music genres</term>
<term>Music norms</term>
<term>Musical instrument</term>
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<term>Nikolas coupland</term>
<term>Open road</term>
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<term>Social identities</term>
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<term>Sociolinguistics</term>
<term>Song lyrics</term>
<term>Soul reader</term>
<term>Specific genre</term>
<term>Studio recording</term>
<term>Textual analysis</term>
<term>Third person</term>
<term>Trudgill</term>
<term>Vernacular</term>
<term>Vernacular culture</term>
<term>Vernacular experience</term>
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<front><div type="abstract" xml:lang="en">Earlier sociolinguistic studies have conceptualised popular song as a field of phonological variation where singers do or do not maintain features of their national or regional accents in singing. The present paper explores a wider agenda for the sociolinguistics of popular song, theorised as a diverse field of performance organised according to genre. Following initiatives in the sociology of popular music (particularly Simon Frith's research), voice is interpreted as the repertoire of meaning‐making options available to performers. Voice subsumes dialect indexicality, but also the management of singer identity and singer‐audience relations through the performance of lyrics, rhythmic and bodily modalities. Place is understood as the specific socio‐cultural contexts that are explicitly or implicitly voiced, including contexts of performance and reception. By performing within or against generically structured stylistic norms, performers construct and disseminate different vernacular values and identities. Live tracks from three different, broadly‐defined genres are considered in detail – classic rock and roll (Chuck Berry's Maybellene), folk/country (James Taylor's Copperline), and punk rock (the Sex Pistols’Johnny B. Goode).</div>
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Voice, place and genre in popular song performance

Voice, place and genre in popular song performance

Source :

Descripteurs français

English descriptors

Abstract

Links toward previous steps (curation, corpus...)

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri