1887
Volume 18, Issue 4
  • ISSN 1569-2159
  • E-ISSN: 1569-9862
USD
Buy:$35.00 + Taxes

Abstract

Abstract

Political communication is expressed in politicians’ speeches, campaign advertisements and government statements. Politics are also articulated in music, in both traditional political contexts such as anthems and party political broadcasts as well as less traditional contexts including songs, promotional videos and live performances. There is a wide spectrum of opinions as to exactly what are relations between music and politics, though most scholars acknowledge it can communicate meanings, though again, what these are remains contentious. One way to better understand relations between music and politics and meanings expressed in music is to closely examine these issues through the prism of discourses analysis. Through such an examination, not only what is being communicated becomes clear, but also how this is done, contributing to the fields of political communication, musicology and discourse studies.

Loading

Article metrics loading...

/content/journals/10.1075/jlp.18065.way
2019-05-29
2024-10-06
Loading full text...

Full text loading...

References

  1. Abousnnouga, Gill, and David Machin
    2010 “Analysing the Language of War Monuments.” Visual Communication9(2): 131–149. doi:  10.1177/1470357210369884
    https://doi.org/10.1177/1470357210369884 [Google Scholar]
  2. Adorno, Theodore
    1941 “On popular music.” Studies in Philosophy and Social Science. New York: Institute of Social Research, 17–48, accessed2 February 2016, www.icce.rug.nl/~soundscapes/DATABASES/SWA/On_popular_music_1.shtml
    [Google Scholar]
  3. Almond, Gabriel, and G. Bingham Powell, Jr.
    1966Comparative Politics: A Developmental Approach. Boston: Little, Brown.
    [Google Scholar]
  4. Attali, Jacque
    1977Noise: The Political Economy of Music. Minnesota: Minnesota University Press.
    [Google Scholar]
  5. Capple, Steve, and Reebee Garofalo
    1977Rock ‘n’ Roll Is Here to Pay: The History and Politics of the Music Industry. Chicago: Nelson-Hall.
    [Google Scholar]
  6. Cook, Norman
    1998Music: A Very Short Introduction. Oxford: Oxford University Press.
    [Google Scholar]
  7. 1994 “Music and meanings in the commercials.” Popular Music13(1): 35–38. 10.1017/S0261143000006826
    https://doi.org/10.1017/S0261143000006826 [Google Scholar]
  8. 1990Music, Imagination and Culture. Oxford: Clarendon Press.
    [Google Scholar]
  9. Cook, Norman and Mark Everist
    1999Rethinking Music. Oxford: Oxford University Press.
    [Google Scholar]
  10. De Cleen, Benjamin, and Nico Carpentier
    2010 “Contesting the populist claim on ‘the People’ through popular culture: The 0110 concerts versus the Vlaams Belang,” Social Semiotics20(2): 175–196. doi:  10.1080/10350330903565899
    https://doi.org/10.1080/10350330903565899 [Google Scholar]
  11. Entman, Robert
    1989Democracy without citizens: Media and the decay of American politics. New York: Oxford University Press.
    [Google Scholar]
  12. Fairclough, Norman
    2003Analysing Discourse: Textual Analysis for Social Research. London: Routledge. 10.4324/9780203697078
    https://doi.org/10.4324/9780203697078 [Google Scholar]
  13. 1989Language and Power. Harlow: Pearson Education.
    [Google Scholar]
  14. Fiske, John
    1989Understanding popular culture, London: Routledge.
    [Google Scholar]
  15. Fraley, Todd
    2009 “I got a natural skill…: Hip-hop, authenticity, and whiteness,” Howard Journal of Communications20(1): 37–54. doi:  10.1080/10646170802664979
    https://doi.org/10.1080/10646170802664979 [Google Scholar]
  16. Frith, Simon
    1996Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press.
    [Google Scholar]
  17. 1988Music for Pleasure. Routledge: New York.
    [Google Scholar]
  18. 1981Sound Effects: Youth, Leisure and the Politics of Rock‘n’roll. New York: Pantheon.
    [Google Scholar]
  19. Garofalo, Reebee
    1986Rockin’ Out: Popular Music in the U.S.A. New York: Pearson.
    [Google Scholar]
  20. Grossberg, Lawrence
    1992We Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture. New York: Routledge.
    [Google Scholar]
  21. 1987 “Rock and roll in search of an audience.” InPopular Music and Communication, edited byJames Lull, 175–197. Beverly Hills: Sage.
    [Google Scholar]
  22. Hebdige, Dick
    1979Subculture: The Meaning of Style. Suffolk: Metheun & co.
    [Google Scholar]
  23. Hesmondhalgh, David, and Keith Negus
    2002Popular Music Studies. London: Arnold.
    [Google Scholar]
  24. Hess, Franklin
    2010 “From American form to Greek performance: The Global Hip-Hop poetics and politics of the Imiskoumbria.” InLanguages of Global Hip Hop, edited byMaria Terkourafi, 162–193. London: Continuum.
    [Google Scholar]
  25. Huq, Rupa
    2002 “Raving not drowning: Authenticity, pleasure and politics in the electronic dance scene.” InPopular Music Studies, edited byDavid Hesmondhalgh and Keith Negus, 167–85. London: Arnold.
    [Google Scholar]
  26. Jamieson, Kathleen Hall
    1992Dirty politics: Deception, distraction and democracy. New York: Oxford University Press.
    [Google Scholar]
  27. Jenkins, Henry
    2006Fans, bloggers and gamers: Media consumers in a digital age. New York: New York University Press.
    [Google Scholar]
  28. Korczynski, Marek
    2014Songs of the factory: Pop Music, Culture and Resistance. New York: Cornell University Press.
    [Google Scholar]
  29. Kress, Gunther
    2010Multimodality: A Semiotic Approach to Contemporary Communication. London: Taylor and Francis.
    [Google Scholar]
  30. Kress, Gunther, and Robert Hodge
    1979Language as Ideology. London: Routledge.
    [Google Scholar]
  31. Kress, Gunther, and Theo van Leeuwen
    1996Reading Images: The Grammar of Visual Design. Oxon: Routledge.
    [Google Scholar]
  32. 2001Multimodal Discourse. London: Hodder Education.
    [Google Scholar]
  33. Krzyżanowski, Michał
    2017 “Discourse and Communication in the European Union: A multi-focus perspective of Critical Discourse Studies.” InContemporary Critical Discourse Studies, edited byChris Hart and Piotr Cap, 407–432. London: Bloomsbury.
    [Google Scholar]
  34. 2016 “Recontextualisation of neoliberalism and the increasingly conceptual nature of discourse: Challenges for critical discourse studies.” Discourse and Society27(3): 308–321. doi:  10.1177/0957926516630901
    https://doi.org/10.1177/0957926516630901 [Google Scholar]
  35. Krzyżanowski, Michał, and Bernhard Forchtner
    2016 “Theories and concepts in critical discourse studies: Facing challenges, moving beyond foundations.” Discourse and Society27(3): 253–261. doi:  10.1177/0957926516630900
    https://doi.org/10.1177/0957926516630900 [Google Scholar]
  36. Laclau, Ernesto
    2005On Populist Reason. London: Verso.
    [Google Scholar]
  37. Lee, Jamie
    2010 “Globalizing keepin’ it real: South Korean Hip-Hop Playas.” InLanguages of Global Hip Hop, edited byMaria Terkourafi, 139–161. London: Continuum.
    [Google Scholar]
  38. Lorraine, Leu
    2006 “Music and national culture: Pop music and resistance in Brazil.” Portuguese Cultural Studies1(1): 36–44.
    [Google Scholar]
  39. Machin, David
    2016 “The need for a social and affordance-driven multimodal critical discourse studies.” Discourse and Society27(3): 322–334. doi:  10.1177/0957926516630903
    https://doi.org/10.1177/0957926516630903 [Google Scholar]
  40. 2013 “What is multimodal critical discourse studies?” Critical Discourse Studies10(4): 347–355. doi:  10.1080/17405904.2013.813770
    https://doi.org/10.1080/17405904.2013.813770 [Google Scholar]
  41. 2010Analysing Popular Music. London: Sage.
    [Google Scholar]
  42. 2007Introduction to Multimodal Analysis. London: Hodder Education.
    [Google Scholar]
  43. Machin, David and Andrea Mayr
    2013How to Do Critical Discourse Analysis: A Multimodal Introduction, London: Sage.
    [Google Scholar]
  44. Machin, David, and John.E. Richardson
    2012 “Discourses of unity and purpose in the sounds of fascist music: A multimodal approach.” Critical Discourse Studies9(4): 329–345. doi:  10.1080/17405904.2012.713203
    https://doi.org/10.1080/17405904.2012.713203 [Google Scholar]
  45. Machin, David, and Theo van Leeuwen
    2016 “Multimodality, politics and ideology.” Journal of Language and Politics15(3): 243–258. doi:  10.1075/jlp.15.3.01mac
    https://doi.org/10.1075/jlp.15.3.01mac [Google Scholar]
  46. Mazzoleni, Gianpietro, and Winfried Schulz
    1999 “‘Mediatization’ of Politics: A Challenge for Democracy?”, Political Communication16 (3): 247–261. doi:  10.1080/105846099198613
    https://doi.org/10.1080/105846099198613 [Google Scholar]
  47. McKerrell, Simon, and Lyndon Way
    2017 “Understanding music as multimodal discourse.” InMusic as Multimodal Discourse: Media, Power and Protest, edited byLyndon Way and Simon McKerrell. 1–20. London: Bloomsbury.
    [Google Scholar]
  48. Molek-Kozakowska, Katarzyna
    2013 “The late night TV show as a strategic genre.” InAnalysing genres in political communication – Theory and practice, edited byP. Cap and U. Okulska. 321–344. Amsterdam: John Benjamins. 10.1075/dapsac.50.13mol
    https://doi.org/10.1075/dapsac.50.13mol [Google Scholar]
  49. Norris, Sigrid
    2004Analyzing Multimodal Interaction. Abingdon, Oxon: Routledge Falmer. 10.4324/9780203379493
    https://doi.org/10.4324/9780203379493 [Google Scholar]
  50. Peddie, Ian
    2011Popular Music and Human Rights Volume 2: World Music. Farnham: Ashgate.
    [Google Scholar]
  51. Richardson, John E.
    2007Analysing Newspapers: An Approach from Critical Discourse Analysis. London: Palgrave Macmillan. 10.1007/978‑0‑230‑20968‑8
    https://doi.org/10.1007/978-0-230-20968-8 [Google Scholar]
  52. Shuker, Roy
    2001Understanding Popular Music. London: Routledge.
    [Google Scholar]
  53. Stravinsky, Igor
    1936Chroniques de ma vie [Chronicles of my life]. Paris: Denoel et Stael.
    [Google Scholar]
  54. Street, John
    2013 “The sound of geopolitics: Popular music and political rights.” Popular Communication: The International Journal of Media and Culture11(1): 47–57. doi:  10.1080/15405702.2013.748316
    https://doi.org/10.1080/15405702.2013.748316 [Google Scholar]
  55. 1988Rebel Rock: The Politics of Popular Music. Oxford: Basil Blackwood.
    [Google Scholar]
  56. Tagg, Phillip
    1984 Understanding musical time sense: Concepts, sketches and consequences, accessed5 April 2008, www.tagg.org/articles/xpdfs/timesens.pdf
  57. 1982 “Nature as a musical mood category”. Nordens working paper seriesaccessed5 April 2008, www.tagg.org/articles/xpdfs/nature.pdf
    [Google Scholar]
  58. Terkourafi, Maria
    (ed.) 2010Languages of Global Hip Hop. London: Continuum.
    [Google Scholar]
  59. van Dijk, Teun
    1993 “Principles of critical discourse analysis.” Discourse & Society4(2): 249–283. doi:  10.1177/0957926593004002006
    https://doi.org/10.1177/0957926593004002006 [Google Scholar]
  60. Van Leeuwen, Theo
    2017 “Critical Discourse Analysis and Multimodality.” InContemporary Discourse Studiesedited byChristopher Hart and Piotr Cap. 281–295. London: Bloomsbury.
    [Google Scholar]
  61. van Leeuwen, Theo
    (ed.) 2012The Critical analysis of Musical Discourse (special Edition) Critical Discourse Studies9(4).
    [Google Scholar]
  62. 2008Discourse and practice – New tools for Critical Discourse Analysis. New York: Oxford university press. 10.1093/acprof:oso/9780195323306.001.0001
    https://doi.org/10.1093/acprof:oso/9780195323306.001.0001 [Google Scholar]
  63. 1999Speech, Music, Sound. London: Macmillan Press. 10.1007/978‑1‑349‑27700‑1
    https://doi.org/10.1007/978-1-349-27700-1 [Google Scholar]
  64. 1993 “Genre and field in critical discourse analysis: a synopsis.” Discourse and Society4(2): 193–223. 10.1177/0957926593004002004
    https://doi.org/10.1177/0957926593004002004 [Google Scholar]
  65. van Leeuwen, Theo, and Ruth Wodak
    1999 “Legitimising immigration: A discourse historical approach.” Discourse Studies1(1): 83–118. 10.1177/1461445699001001005
    https://doi.org/10.1177/1461445699001001005 [Google Scholar]
  66. Vatikiotis, Pantelis
    2014 “New media, democracy, participation and the political”, Interactions: Studies in Communication and Culture5(3): 293–307.
    [Google Scholar]
  67. Veloso, Francisco, and John Bateman
    2013 “The multimodal construction of acceptability: Marvel’s Civil War comic books and the PATRIOT Act”. Critical Discourse Studies10(4): 427–443. doi:  10.1080/17405904.2013.813776
    https://doi.org/10.1080/17405904.2013.813776 [Google Scholar]
  68. Von Hippel, Eric
    2005Democratising innovation. Cambridge: The MIT Press. 10.7551/mitpress/2333.001.0001
    https://doi.org/10.7551/mitpress/2333.001.0001 [Google Scholar]
  69. Way, Lyndon
    2018Popular Music and Multimodal Critical Discourse Studies: Ideology, control and resistance in Turkey since 2002. London: Bloomsbury. 10.5040/9781350016477
    https://doi.org/10.5040/9781350016477 [Google Scholar]
  70. 2016 “Visual images in Turkish pop: The subversive role of cultural hybrids.” Visual Communication15(2): 147–165. 10.1177/1470357215624387
    https://doi.org/10.1177/1470357215624387 [Google Scholar]
  71. 2016a “Protest music, populism, politics and authenticity: the limits and potential of popular music’s articulation of subversive politics.” Journal of Language and Politics15(4): 422–446. doi:  10.1075/jlp.15.4.03way
    https://doi.org/10.1075/jlp.15.4.03way [Google Scholar]
  72. Williams, Angela
    2010 “We ain’t terrorists but we Droppin’ Bombs’: Language use and localization in Egyptian hip hop.” InLanguages of Global Hip Hop, edited byMaria Terkourafi, 67–95. London: Continuum.
    [Google Scholar]
  73. Williams, Raymond
    1988Key Words. London: Fontana Press.
    [Google Scholar]
  74. 1963Culture and Society. Harmondsworth: Penguin.
    [Google Scholar]
  75. Wodak, Ruth
    2001 “What CDA is about – a summary of its history, important concepts and its development.” InMethods of Critical Discourse Analysisedited byRuth Wodak and Michael Meyer, 1–13. London: Sage.
    [Google Scholar]
  76. Wodak, Ruth, and Bernhard Forchtner
    2014 “Embattled Vienna 1683–2010: Right-wing populism, collective memory and the fictionalisation of politics.” Visual Communication13(2): 231–255. 10.1177/1470357213516720
    https://doi.org/10.1177/1470357213516720 [Google Scholar]
  77. Zbikowski, Lawrence
    2015 “Words, music, and meaning.” InSemiotic de la musique, edited byP. A. Brandt and J. R. do Carmo, Jr., 143–164. Liege: Presses universitaires de Liege-Sciences humaines.
    [Google Scholar]
/content/journals/10.1075/jlp.18065.way
Loading
  • Article Type: Research Article
Keyword(s): discourse; discourse analysis; music; political communication; politics; popular culture
This is a required field
Please enter a valid email address
Approval was successful
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error