TRANSLANGUAGING IN MUSIC: CONCEPTUALIZING MODES OF INTERACTION IN GLOBAL CONTACT ZONES

TRANSLANGUAGING IN MUSIC: CONCEPTUALIZING MODES OF INTERACTION IN GLOBAL CONTACT ZONES

Author:  Gritsenko, E.S. & Aleshinskaya, E.V.

Affiliation:  Linguistics University of Nizhny Novgorod, National Research Nuclear University MEPhI (Moscow Engineering Physics Institute)

Abstract:  English has become an indispensable element of the Russian musical discourse. It permeates all stages of “life” of the musical product from creation and dissemination through perception and evaluation. However, the actual manifestations of English, and the scope and intensity of its use, may vary considerably from genre to genre. The paper examines the indexical value of English and highlights the meaning-making potential of language choice (Russian and/or English, and/or other local languages) in the discursive practices of the popular TV show “The Voice – Russia” (“Golos”): rehearsals, performances, show-hosting and performance discussions. Methodologically the study is based on Fairclough’s theory of global discourses, genres and styles [Fairclough 2006], the concept of language as a mobile resource [Blommaert 2003; Blommaert 2010], and the notions of translingual practice [Canagarajah 2010] and translanguaging – i.e. using different semiotic resources “to potentialize meaning-making, cognitive engagement, creativity and criticality” [Garcia 2014: 42]. Research material includes official video recording(s) of “Golos”, the contents of relevant forums and interviews with contestants and coaches. The study demonstrates the appropriateness of the concepts “TRANSLANGUAGING” and “TRANSLINGUAL PRACTICE” in relevance to dynamic language relationships in global contact zones.

Keywords:  globalization, sociolinguistics, musical discourse, translingual practice, creativity

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Pages:  73-80