Critical Discourse Analysis of Lonely Song Lyrics by Justin Bieber

Music is one of the means used by musicians to introduce a country's culture to the international community. In addition to the message they want to convey, their ideology and thoughts are also reflected in their songs. This study aims to determine the text analysis on Justin Bieber's song, entitled Lonely. Then, knowing the social cognition of the song Lonely created by Justin Bieber, as well as the social context in which the song developed. Text, social cognition, and social context were analyzed using Teun A. van Dijk's discourse analysis model. The research used in this study is a qualitative research type of library research. The research method used in this study is the intralingual and extralingual equivalent method. Based on the analysis that has been done, it can be concluded that the words used in the lonely song use simple words with a little figure of speech so that they are easy to understand. The social cognition of the song is based on the singer's mental awareness based on his personal experience and the social context in lonely song is a narrow view of the possible bouts of depression experienced by idols caused by society

The Role of Accent in Popular Music: An Interdisciplinary Approach

In the thirty years that have passed since Peter Trudgill first published his study of British pop-song pronunciation, and fifteen years since Paul Simpson published his follow-up study of accents in pop and rock singing (1999), there have been several changes in the way linguists approach the sociolinguistics of singing. These changes include Franz Andres Morissey's introduction of sonority as a factor behind choosing particular phonological features, and the ongoing and evolving criticism of Trudgill's original assertion that singers were (and possibly still are) trying to 'imitate' Americans. The present study argues that existing theories are insufficient, and proposes a new framework for dealing with phonological choice in song, centred around three separate but unavoidably interrelated values that influence style choice – aesthetic, sonority, and indexicality. Unlike many related studies, it places emphasis on the interdisciplinary nature of the subject, drawing upon the work of musicologists, philosophers and linguists, in an attempt to bring a fresh perspective on the phenomenon. Special attention is given to the notion that singers use accents to create (or be appropriate to) a particular aesthetic. The view is taken that music scenes act as unique speech communities that possess both socially and musically derived linguistic norms that all members accept (both performers and audience), but only few actively utilise in their language use (the singers)

The development of a valid and reliable instrument to grade the difficulty of vocal solo repertoire

"May 1996."The purpose of this study is to design a valid and reliable instrument, the Ralston Repertoire Difficulty Index (RRDI), to measure the difficulty of solo vocal repertoire. Another important aspect of this instrument is its ability to be used by all voice teachers, regardless of their level of experience in teaching in private voice studios. The instrument also was examined for its ability to discriminate among songs by categorizing repertoire into different difficulty levels. Seven criteria were selected and defined to represent the technical characteristics that contribute to the difficulty of vocal solo repertoire. A measurement instrument incorporating these characteristics was designed to evaluate each characteristic individually

Spartan Daily, February 9, 2005

Volume 124, Issue 9https://scholarworks.sjsu.edu/spartandaily/10081/thumbnail.jp

Shape-note music traditions of the Shenandoah Valley

Though over the years documents about shape-note music from Joseph Funk and Sons and the Ruebush-Kieffer companies have been spread throughout many archives, they are now being brought back together online in one digital archive. Interpreting the information contained in these documents and the ledger book of subscribers for The Southern Musical Advocate and Singer’s Friend magazine through graphs and maps makes the information contained in them easier to access for researchers. The collaboration between a physical museum site, a website, and a Omeka site allow for multiple ways to learn about the history of shape-note music in the Shenandoah Valley and how the traditions surrounding them spread throughout the United States. Stories gleaned from the records tell about who sang the shape-note music and give a personal insight into the small communities which used shape-notes in their homes and families, and churches and schools. Although shape-note music theory did not win out over round notes on the large scale as some thought they would, they represent an aspect of history which shows the spread of a specific culture during the 19th century which is still thriving in small communities throughout the Shenandoah Valley of Virginia and around the United States

"WE SHALL OVERCOME": FROM BLACK CHURCH MUSIC TO FREEDOM SONG

The music sung by protesters in the American Civil Rights Movement was inseparable from the music in black Protestant churches. Despite the firm boundaries between the sacred and the secular in black Baptist and Methodist traditions, protesters adapted sacred hymns for secular protest use. Termed freedom songs, the music bound protesters together by shared spiritual associations with the music and by a communal performance experience. This study explores the adaptation process of the freedom song using "We Shall Overcome" as a case study. An examination of the traditions of black American church institutions and the musical and textual attributes of the adapted song genres clarifies the methods by which protesters transformed sacred hymns and songs. Elements of black sacred music, simple and repetitive melodies and texts and universal themes, facilitated the adaptation of sacred hymns and songs. "We Shall Overcome" embodied all the adaptive musical characteristics inherent in freedom songs but at an elevated level. Moreover, additional functions of the black church, for example to serve as socioeconomic support to the oppressed black community in post-Civil War America, transformed social activism into a spiritual endeavor. It was inevitable that sacred traditions, namely music, aided social activism

The nearness of the remote: "The Broom of the Cowdenknows" (Child 217) revisited

"The Broom of the Cowdenknows" has been put forward by Robert Chambers as "the best specimen that can be given of that native poetry on which Scotland prides herself so much." 1 "The Brume o' the Cowdenknowes" Chambers had in mind, however, is not the tradi tional ballad, but — as he calls it — a "simple, delightful, and truly pastoral song" 2 that was first published in Allan Ramsay's Tea - Table Miscellany in 1723 and was written by a man — or more likely a woman — with the initials S.R.