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Popular music has long been used to entertain, provoke, challenge
and liberate but also to oppress and control. Can popular music be
political? What types of popular music work best with politics? How
can songs, videos, concerts or any other musical commodity convey
ideas about power, politics and identity? Using Multimodal Critical
Discourse Studies (MCDS), this book reveals the deeply political
role played by popular music. Lyndon Way demonstrates how MCDS can
provide important and timely insights on the political nature of
popular music, due to its focus on how communication takes place,
as well as its interest in discourse and how ideologies are
naturalised and legitimised. The book considers the example of
contemporary Turkish society, with its complex and deep ideological
divisions increasingly obvious under the stewardship of President
Recep Tayyip Erdogan and his centre-right political party, in power
since 2002. It looks at how the authorities seek to harness and
control popular music and considers a wide range of popular music
genres including rock, rap, protest and folk music. It shows how
official promotional videos, protest cut-and-paste offerings,
party-political election songs, live music events and internet
discussions about popular music emerge as sites of power and
resistance in certain venues and particularly across social media.
Throughout the book, Lyndon Way shows that popular music is also
deeply political.
We communicate multimodally. Everyday communication involves not
only words, but gestures, images, videos, sounds and of course,
music. Music has traditionally been viewed as a separate object
that we can isolate, discuss, perform and listen to. However, much
of music's power lies in its use as multimodal communication. It is
not just lyrics which lend songs their meaning, but images and
musical sounds as well. The music industry, governments and artists
have always relied on posters, films and album covers to enhance
music's semiotic meaning. Music as Multimodal Discourse: Semiotics,
Power and Protest considers musical sound as multimodal
communication, examining the interacting meaning potential of sonic
aspects such as rhythm, instrumentation, pitch, tonality, melody
and their interrelationships with text, image and other modes,
drawing upon, and extending the conceptual territory of social
semiotics. In so doing, this book brings together research from
scholars to explore questions around how we communicate through
musical discourse, and in the discourses of music. Methods in this
collection are drawn from Critical Discourse Analysis, Social
Semiotics and Music Studies to expose both the function and
semiotic potential of the various modes used in songs and other
musical texts. These analyses reveal how each mode works in various
contexts from around the world often articulating counter-hegemonic
and subversive discourses of identity and belonging.
This book examines the historical formation and contemporary
circulation of competing variants of Turkish Cypriot nationalisms
as they are articulated in Turkish Cypriot radio news. Presently,
there is an ideological struggle between two versions of Turkish
Cypriot nationalism in the Turkish Republic of Northern Cyprus
(TRNC). 'Turkish nationalism' sees TRNC as part of a pan-Turkish
nation while 'Pro-federation' nationalism sees TRNC as part of an
inclusive Cypriot identity. TRNC radio is one site where national
discourses can be accessed and evaluated. Critical Discourse
Analysis is used to reveal how discourses in news stories shape the
way events appear, contributing to prevailing nationalisms.
Analysis is contextualised with newsroom studies. This study
challenges the myth that national discourses are uniform
expressions and allegiances in news media. Instead, the data
reveals national discourses are internally fractured, politically
differentiated and temporal, supporting interests associated with
each station at the expense of contributing to a solution-friendly
atmosphere which frees residents from a life of embargoes, fear and
isolation.
Popular music has long been used to entertain, provoke, challenge
and liberate but also to oppress and control. Can popular music be
political? What types of popular music work best with politics? How
can songs, videos, concerts or any other musical commodity convey
ideas about power, politics and identity? Using Multimodal Critical
Discourse Studies (MCDS), this book reveals the deeply political
role played by popular music. Lyndon Way demonstrates how MCDS can
provide important and timely insights on the political nature of
popular music, due to its focus on how communication takes place,
as well as its interest in discourse and how ideologies are
naturalised and legitimised. The book considers the example of
contemporary Turkish society, with its complex and deep ideological
divisions increasingly obvious under the stewardship of President
Recep Tayyip Erdogan and his centre-right political party, in power
since 2002. It looks at how the authorities seek to harness and
control popular music and considers a wide range of popular music
genres including rock, rap, protest and folk music. It shows how
official promotional videos, protest cut-and-paste offerings,
party-political election songs, live music events and internet
discussions about popular music emerge as sites of power and
resistance in certain venues and particularly across social media.
Throughout the book, Lyndon Way shows that popular music is also
deeply political.
We communicate multimodally. Everyday communication involves not
only words, but gestures, images, videos, sounds and of course,
music. Music has traditionally been viewed as a separate object
that we can isolate, discuss, perform and listen to. However, much
of music's power lies in its use as multimodal communication. It is
not just lyrics which lend songs their meaning, but images and
musical sounds as well. The music industry, governments and artists
have always relied on posters, films and album covers to enhance
music's semiotic meaning. Music as Multimodal Discourse: Semiotics,
Power and Protest considers musical sound as multimodal
communication, examining the interacting meaning potential of sonic
aspects such as rhythm, instrumentation, pitch, tonality, melody
and their interrelationships with text, image and other modes,
drawing upon, and extending the conceptual territory of social
semiotics. In so doing, this book brings together research from
scholars to explore questions around how we communicate through
musical discourse, and in the discourses of music. Methods in this
collection are drawn from Critical Discourse Analysis, Social
Semiotics and Music Studies to expose both the function and
semiotic potential of the various modes used in songs and other
musical texts. These analyses reveal how each mode works in various
contexts from around the world often articulating counter-hegemonic
and subversive discourses of identity and belonging.
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