Journal of Language and Politics - Online First

This article considers the sonic construction of place in English folk music recordings. Recent shifts in the political context have stimulated renewed interest in English identity within folk music culture. Symbolic struggles over folk’s political significance highlight both the contested nature of English identity and music’s semantic ambiguity, with texts being interpolated into discourses of both ethnic purity and multiculturalism. Following research in popular music, sound studies and multimodal communication this article explores the use of field recording to explore questions of place and Englishness in the work of contemporary folk artists. A multimodal analysis of Stick in the Wheel’s From Here: English Folk Field Recordings ( 2017 ) suggests that a multimodal approach to musical texts that attends to the semantic affordances of sound recording can provide insight into folk music’s role in debates over the nature of English identity.

Although the UK has a centuries-old history of subversive singing, since the election of a Conservative-led government in 2010 and imposition of austerity-based economic and social policies, the number of choirs with a political philosophy and mission has grown. The website CampaignChoirs lists around thirty political choirs committed to a left-wing, green or anarchist agenda, which is reflected in the music and related actions. This paper takes as its case study the Leeds-based Commoners Choir and considers how its musical decisions enable it to communicate protest politics. Using critical discourse analysis, this study adds to the dialogue on musical discourse by focusing on the speech acts contained within the lyrics; the social impact of the Commoners’ performances; and the use of dialect to root the works within a distinctly northern culture. It concludes that careful consideration of discourse can demonstrate a more measurable authenticity in an artistic act of protest.

This paper deconstructs how religious musical eulogies, as the most important discursive practices of Shi’a rituals ( Ghaffari 2019 ), were used as “war songs” serving to construct the Iranian national identity during the 1980–1988 Iraq-Iran war. These musical practices (in)formed the wider ideological and persuasive rhetoric of Iranians. In this paper, I analyse the textual and musical features of the audio-recorded versions of ten well-known war songs. The Discourse-Historical Approach ( Reisigl and Wodak 2016 ) is used to analyse the discursive strategies and persuasive rhetorical tools within the lyrics. I draw on Machin (2010) , Machin and Richardson (2012) and van Leeuwen (1999) to analyse various features of voice and the modality of sounds. This paper concludes that, by reflecting the power of religious discourse in the non-religious and highly nationalistic occasion of war, Iranian war songs were inspired by the religious eulogies in encouraging the Iranian nation to attend the war fronts.

While Singapore’s education system claims to implement meritocratic ideals, official statistics indicate that Malay students in Singapore have been underperforming when compared to other ethnic groups (MOE 2012). This statistical representation raises the possibility of a politically induced, systemic inequality as a point of investigation. To investigate this seeming contradiction between the rhetoric and practice of equal educational opportunity, this paper proposes a philosophical and analytical synthesis for examining the 1979 policy report that provides the fundamental basis for Singapore’s streaming education system. In examining this policy development, the analysis draws upon a combination of Foucault’s archaeological method and Critical Discourse Analysis as a way of understanding conditions that made possible the continuous re-construction of new but unequal representation of learners. The findings suggest that complex relations between capability identification, justice, and ethics set the conditions for the appearance and transformation of subject positions necessary to legitimise unequal structural access.

This paper aims to examine the ways in which official Chinese written monologues implicitly trigger alignment with the public in the wake of national social crises. Our understanding of alignment encompasses the attitude of creating an authoritative line of discourse, which in turn triggers the responsive alignment of the receivers with the decision makers. We believe that alignment is a fundamental concept to understand how linguistic politeness operates in political monologues such as gong’gao. Such texts are rich in forms of deference such as honorifics and other ritual phrases used towards Chinese politicians. The reason why such forms of politeness deserve special attention in language and politics is that they are not interpersonal, and their use correlates with implicit communication.

Our paper argues that British singer Billy Bragg performs protest songs that cleverly draw upon musical forms underpinning his positioning as a voice of, and for, the ordinary person, ultimately disenfranchised by governmental adherence to neoliberal policies. While political songs are a product of their time, many of them can also transcend that historical moment and have a longer shelf-life in terms of their capacity to inform political thinking and action. Our song(s) of choice in this paper do so not just in terms of the relevance of their ‘literal’ message but also in how they draw upon traditional structures of feeling and generic elements of folk song to underpin this sense of ‘grass-roots’ critique via a modified, acoustic ballad form and a performance style. This serves to authenticate and legitimate the singer and his message and, in turn, allows Bragg to accumulate political and cultural capital.

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.