Key Components of Musical Discourse Analysis

Evgeniya Aleshinskaya

doi:10.2478/rela-2013-0007

Authors

Evgeniya Aleshinskaya Lobachevsky State University, Nizhniy Novgorod, Russia

DOI:

https://doi.org/10.2478/rela-2013-0007

Abstract

Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social context’, and ‘text’. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse.

Author Biography

Evgeniya Aleshinskaya, Lobachevsky State University, Nizhniy Novgorod, Russia

Evgeniya Aleshinskaya is Candidate of Philological Sciences, Assistant Professor, State University of Nizhniy Novgorod named after N.I. Lobachevsky in Russia. She teaches graduate courses in English as a Second (Foreign) Language, English for Special Purposes, translation, and English stylistics. For ten years she has researched aspects of contemporary musical terminology, focusing on its semantics, onomasiology, cognitive peculiarities, and use in and beyond musical discourse. Her current research projects investigate various genres of musical discourse, as well as style and linguistic hybridity in globalized musical discourse.

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