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APLNG 210 Group Project

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hannah hyman

on 19 April 2010

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Transcript of APLNG 210 Group Project

Main ideas English In Popular Music East Asia Crossing "Speakers' use of apparently outgroup linguistic styles and code
alternation by people who are not accepted members of the group
associated with the second language they employ" Strategic use of linguistic resourses other than one's own
"Physical" crossing
Skillfull mixing
Flexability and mobility
Importing and exporting of semiotic products between countries Latin America Conclusion Facts In a list from the top 50 Japanese pop songs back in 2005 24 (48%) of the titles were English and 18 (36%) of the Artist names were English Fantastic Plastic Machine - Electric Lady Land
X-Japan - Endless Rain
High and mighty color - Over Rate at which English lyrics appear within a survey of 307 songs from the Oricon weekly top-50 charts of 2000 Songs containing English and Japanese lyrics 142 (62%)
Songs containing no English lyrics 79 (35%)
Songs entirely in English 6 (3%) Purpose/Use of English Creating a superficial sophisticated image
Carries some connotation the the speaker
or topic is modern Western, chic, or
Argued to be a way to circumvent some of
the sociolinguistic limitations of Japanese Musical filler
Single words and phrases
Clauses and sentences
Code ambiguation So, Saint name Saint name, Burning love oimotometeru [seeking]
SennenþSennen [1000 yearsþ1000 years] Crazy Love ichigeki mune-ni abite
[getting a stroke on the chest]
– from ‘‘Hallelujah, Burning Love’’/Hiromi Go
(English ‘‘Saint name’’ mimics the Japanese text sennen ‘1000 years’)

don’t U Think? I wana [trap] B wiy U
[don’t you think? I want to be with you]
– from ‘‘Gibusu’’ [A Plaster Cast]/Ringo Shiina
(Japanese wana ‘trap’ is meant to be read as English wanna ‘want to’)

I, I, I, I Tender
– from ‘‘Atto Iu Ma-no Yume-no Tonight’’ [Night of Dreams]/The Southern All Stars
(sounds like Japanese aittendaa ‘I love you!’)

I, I, I, I Surrender
– from ‘‘Atto Iu Ma-no Yume-no Tonight’’ [Night of Dreams]/The Southern All Stars
(sounds like Japanese aisarendaa, a simplified form of aishitendan ‘I’ll be loved!’)

Skipped Beat, Skipped Beat
– from ‘‘Sukippu Biito (Skipped Beat)’’ [Skip Beat]/Kuwata Band
(sounds like Japanese sukebee ‘a lecher’)

Ima ni-mo yuugata Hold on me [Almost, you’ve got a hold on me]
– from ‘‘Yuugata Hold On Me’’ [You’ve Got A Hold On Me]/The Southern All Stars
(Japanese yuugata ‘evening’ is meant to be read as English you gotta ‘You’ve got a’) SKHH contains ‘Koreanized’ English expression that are available neither in Standard American usage nor in AAE, indicating that South Korean hip-hoppers do not simply carbon-copy American hip-hop lyrics: they add their own flavour. Some examples..... all round player: Jack of all trades
B-bomb dropper: skilful hip-hop artist
B-girl: avid female hip-hop music fan
blender: artist who can perform in more than two genres
B-party sound hip-hop music played for dancing at gatherings
clubba: a frequent night club goer
hiphoper n’ rocker: a musician who does both hip hop and rock’n’ roll
K-Zone: Korea
overground mainstream music English is a creative force in Korean entertainment media and is associated with modern, young, liberal and defiant identities "In particular, bilingualism and linguistic versatility in the form of crossing into languages other than one’s own can be viewed as empowering, insofar as it creates opportunities for Koreans to participate in the global economy and not as mindless capitulation to domination by the U.S." After the liberation of Korea from Japanese rule during WWII, English became a required subject in all secondary-level schools (Chloe 1996).

1997: the Korean Ministry of Education and Human Resources Development enforced the introduction of EFL at the beginning of 3d grade.

At least half of the younger generation (aged 15-40) are Korean-English bilinguals.

"In South Korea, English has become not only the most important foreign language, but also an essential tool for education, power and success" (Shim 1994)

English crossing allows young Korean-English bilinguals to freely express socially repressed feelings (Lee 2002) English is used in popular music to make statements about social status, education, and identification.

"It is not that people use language varieties because of who they are, but rather that we perform who we are by amongst other things) using varieties of language." - Pennycook, 2003
Cultural Expression
-Identification (as part American, educated, worldly, sounding “cool”)
-Learning methods
-Sound- connotations

-code switching, mixing and ambiguity
-idea borrowing
-Local (within the country)
-Abroad (within the continent)
-Overseas (in Spain, Europe, America etc eg. -I know you want me) -Hiding meaning with Spanish, eg: inappropriate Pitbull lyrics
-giving meaning: love sadness and other emotions are often regarded as more sincere in other languages
-Using English as a medium of teaching is also an interesting aspect of the puzzle because it does a variety of different things: it allows the learner to hear a natural, native accent, and also lets him or her hear proper grammar, idioms, colloquialisms, and to learn about concepts he or she would not usually be exposed to Manifestation uses of English in Latin American music: effect and spread of English using music JAPAN SOUTH KOREA Questions? Calle 13: Atrévete-te-te
code mixing Rakim y Ken- Y: Down (A)1 Why why sokcel epnun saranga (Why why hopeless love)2
Bye bye honca namun nay maum (Bye bye my heart is left lonely)
-----“Ttenan ne” [You’ve already left] by Kim Hyun Jung

(B)1 Wow! yekami kwaynchana (Wow! I have a good feeling about us)
2 Wuli mwuenka toylkekatha Wow! (Things between us might work out Wow!)-----“Wow” by Yoo Seung Jun 1 Hip hopun nay mwudemul phanun (Digging up my own grave, hip hop is a)
2 cangsongkok (funeral march)
3 I can’t help myself (I can’t help myself)
4 I’m in love with hip hop (I’m in love with hip hop)
5 Naykey paracima. Nal kwusokhacima (Don’t expect much of me. Don’t confine me.)
6 Chiyelhan ikose (In this cut-throat competition)
7 Hip hopuy ppulilul naylinun (Pioneering and getting established in hip hop)
8 Messengerin nanun hip hoper (I am a messenger, hip hop artist)
9 Yo hip hop hamyen kulmko (Yo if one does hip hop, he will starve.)
10 Double timeulo tala nun nen salko (And you who demand double pay will live.)
11 Cause I just want to rock with the mic (Cause I just want to rock with the mic)
12 That’s all I got. It’s my life. (That’s all I got. It’s my life.)
-----“My life” by Yoon Hee Joong “No other single source has spread the English language around the youth of the world so rapidly and so pervasively” (Crystal, 102).
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