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Time and Memory in Reggae MusicThe Politics of Hope$
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Sarah Daynes

Print publication date: 2010

Print ISBN-13: 9780719076213

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719076213.001.0001

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Interpreting songs: Notes on methodology

Interpreting songs: Notes on methodology

Chapter:
(p.36) 2 Interpreting songs: Notes on methodology
Source:
Time and Memory in Reggae Music
Author(s):

Sarah Dayens

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719076213.003.0003

This chapter reflects on a very simple question: how do sociologists of music analyse songs and interpret lyrics? In the 1950s and 1960s, the analysis of lyrics was the principal activity of sociologists of popular music in the United States: they worked on the songs themselves, and were not concerned with the artists or their audiences. Popular music has often been the soundtrack of protest movements, if only because it represents the people as opposed to the elite: blues, rock, folk, soul, reggae, rap and so on are all musical styles that affirm a ‘different’ identity, even when they do not maintain a strong tie with social or political movements nor transmit an ideological message through their lyrics. Love songs still form the majority of the music charts, and this is true for reggae as well. An analysis of reggae charts in Jamaica shows this quantitative domination. The chapter offers an analysis in terms of meaning – without categorising semantic vehicles – and based on a corpus of songs that includes, but goes beyond, Bob Marley.

Keywords:   reggae, lyrics, popular music, love songs, Jamaica, Bob Marley, music charts

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