컨트리음악의 미국음악화에 대한 기호인류학적 연구
Semiotic Anthropological Examination into the Americanization of Country Music
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This paper is an inquiry into the cultural process of musical nationalism in American country music. Using three carefully selected samples of popular country music that have been previously identified to have a nationalistic or patriotic overtone, it examines how their lyrics semiotically define, redefine, and assert country music as ‘American’ and ‘patriotic’ music. If musical nationalism can be considered a utilization of music to further the causes of nationalism and nationalistic movements, it is necessary to inquire how such processes are culturally constructed at the level of music. By analyzing the history and the lyrical discourses of so-called nationalistic or patriotic songs, this paper reveals that country music employs several different semiotic and pragmatic strategies to culturally define, socioeconomically delimit, and make political claims about ‘who is an American,’ ‘what is Americanness,’ and ‘how to act as an American,’ in order to enroll hearers as co-participants in the realization of musical nationalism. In addition, this paper argues that despite these analyzable differences, country music as a genre has embraced a metaculture of tradition; and replicating through music and throughout time, the notion that country music ‘is’ or ‘must be’ American music.
Abstract
This paper is an inquiry into the cultural process of musical nationalism in American country music. Using three carefully selected samples of popular country music that have been previously identified to have a nationalistic or patriotic overtone, it examines how their lyrics semiotically define, redefine, and assert country music as ‘American’ and ‘patriotic’ music. If musical nationalism can be considered a utilization of music to further the causes of nationalism and nationalistic movements, it is necessary to inquire how such processes are culturally constructed at the level of music. By analyzing the history and the lyrical discourses of so-called nationalistic or patriotic songs, this paper reveals that country music employs several different semiotic and pragmatic strategies to culturally define, socioeconomically delimit, and make political claims about ‘who is an American,’ ‘what is Americanness,’ and ‘how to act as an American,’ in order to enroll hearers as co-participants in the realization of musical nationalism. In addition, this paper argues that despite these analyzable differences, country music as a genre has embraced a metaculture of tradition; and replicating through music and throughout time, the notion that country music ‘is’ or ‘must be’ American music.
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