Home Analysis according to 7 standards of Text Linguistics

By ESRA Özdemir

Analysis according to 7 standards of Text Linguistics

Cohesion:

 Recurrence is the direct repetition of the elements.

Indies, the music of Stereolab, fan, fan club, Babylon, electronic, band, audience, Britain, Turkey

The writer uses these recurrences to provide the continuity of the text. There are partial recurrences in the text. Using the same basic word component but shifting them to a different word class is called partial reccurrence.

• successful-success
• inspirational-inspiration
• concert promoter-concert promotion
• Britain-British
• Turkey-Turkish

Paralleism is re-using surface formats but filling them with different expressions.

• we try to bring what we like, and what in musical terms, we think is important
• moreover, Stereolab live is never the same as Stereolab on record.
• We have a lot brass on records, a lot of strings sometimes, and lots of electronics.
• We try to just do it with the instruments we have, and if we can’t do that, we try to do something else that will achieve a similar sort of result.
• .... may not be moneymakers that keep the music industry alive financially but they are hat keeps pop music alive artistically.

Repeating a structure and its content but omitting some of the surface expression constitutes ellipses.

• young people are listening to Stereolab on the radio, and we know they also buy their albums.
• They might not actually have a fan club, but they do have an unoffical web site ..... as well as an official site ...
• But it’s a bout throwing things at the world and seeing what sticks.

Cohesion is also supported by tense and aspect. The link between the sentences are provided with the correct usage of the tenses. There is logical link between the sentences.

Conjunctions are used a lot in text. They are used to link two things which have the same status.

• MTV and the Internet, Britain and Turkey
• Both the audience and the reverb
• Depeche Mode and Oasis
• Breakbeat and acid jazz
• Mixmaster Morris and Ashley Beedle

Disjunctions links things that have alternative status. There are several examples.

• whether the audience is in South America, Japan or Russia

Contrajunctions are also used in the text

• but it’s really a bout
• but they are what keeps pop music alive artistically.........

Proforms are the economical, short words empty of their own particular content which can stand in the surface text, in place of more determinate, content-activating expressions. The writer avoids using proforms. The writer repeats the name of the band instead of using a proform.

• while they may not have – and, frankly, never will ....
• .... or at least they are missing out
• .... buy their albums .....
• .... we distribute them and shock them ....

The writer generally uses full name of the band because of his intention. All these cohesive devices above contribute the compactness and efficiency of the text.

Coherence: the harmony of  concepts and relations. It’s the continuity of senses in a text.

• star, band, pop music, alternative music, music industry, instruments, audience, fan, fan club, live music, on record, concert, promotion, moneymaker, financially, organisation

are the objects that brings the continuity of senses in the text.

The occurences Stereolab on record, in concert, live, in the studio can be regarded as events. The occurence (music) in the studio is different from the one on record.

There examples of secondary concepts;

• agent: Stereolab, Kod Müzik’s Necati Tüfenk, The British Council
• attribute: Stereolab has six members
• location: in concert, in Babylon, in the studio, Turkey, Britain
• time: two nights at Babylaon in May, next February
• motion: come to İstanbul, bring Stereolab to İstanbul, througout İstanbul

In the whole text there lots of items which closely associate with the main item. There is spread activation in the text.

 Music of Stereolab

Members         types of music              fan/audience                 Kod Muzik’s &                                                                                             The British Council

*on guitar         *alternative                  *fanclub                       *Kod shop

 *on vocal        *acid jazz                    *membership               *organisations/concerts

 *on bass         *rok n’ roll                  *website                     

 *on percussion *jazz                          *un/official

Intentionality and Acceptability:

The text producer has the intention of giving information about Stereolab and the organisation of Kod Müzik and The British Council of bringing Stereolab to Turkey.

Illocutionary act: conventional activities accomplished by discourse. Promises can be examples for illocutionary acts.

• It will continue next February, when the British Counciland Kod Muzik present a Festival of Modern

Perlocutionary acts: achieving of effect on text recievers. Convincing can be given as an example.

• In Istanbul, says Kod Muzik’s Necati Tüfenk “there is already a fan base for the music of Stereolab. Young people are listening to Stereolab on the radio, we know they also buy their albums, since we distribute them and stock them...”
• We try to bring what we like, and what, in musical terms, we think is important. Our aim is more to introduce new bands, instead of bringing a band that the Turkish audience is already aware of.

Conversational implicatures derived from a general principal of conversation plus a  number of maxims which speakers will normally obey. The general principle is called cooperation principal. The maxims support this principal. The examples of maxims are below:

• Maxim of Quantity: Is there anyone alive on this planet who hasn’t heard of the Beatles? Probably noy.
• Maxim of Quality: But Stereolab? Well, that’s another story. Well they may not have – and, frankly, never will-reach Lennon and Mc Cartney star status...
• Maxim of Relation: The knowledge given in the text is related to the topic and the intention of the writer (giving information a bout Stereolab and Kod Muzik’s and the British Council’s organisation of bringing them to Turkey) is achieved . ıt’s relevant.
• Maxim of Manner: The information a bout Stereolab is plainly served. It’s brief and orderly. There is no obscurity of expression or ambiguity.

Conventional implicatures are determined by the conventional meaning of the words/names used.

• ...... ongoing collabration between Kod Muzik and the British Council. (the British Council is in the organisation therefore the organisation must be OK)

Acceptibility is the text recievers’ attitude in communication. The writer encodes the message briefly, orderly and it is served well, it is decoded easily. Cause it’s a journal taken from the British Council New Letters there aren’t any ungrammaticak sentences.

Informativity and situationality are also important factors for acceptibilty. The information is sufficient and the situation is appropriate therefore it is decoded easily.

Informativity: we use the term informativity to designate the extent to which a presentation is new or unexpected for the recievers.

The tittle : “Meet Stereolab” → It is 3rd order informativity. It’s interesting and demands much attention because the reader has the question “What’s Stereolab?” in mind.

Subtitle: “Stereolab were not, and stil ...” John Robinson → It becomes clear. The reader downgrades the informativity level from 3rd order to 2nd order. It is forward downgrading because the reader waits to consider later occurences like: “Stereolab is one of the in a long line of British music exports running through the likes of the Rolling Stones........”

There is no need to pay highly skilled act of attentioon may be but the reader should always do forward-downgrading because it’s told a bout new people, places and organisations. Every knowledge the reader acquires is continually used as a bridge to annex further knowledge.

• Kod Müzik’s Necati Tüfenk                                       Stereolab

↓                                                                         ↓

        concert promoter                                                      a band

                        ↓                                                                          ↓

            person who is important                                              six members

            for the organisation

• text type: journal
• definiteness: The Beatles, The Sex Pistols, The Internet (well-known and unique)
• Indefiniteness: fan club, un/official site, brandnew keyboardist, band ( first mention)
• Beliefs: Stereolab is an innovative and risk taking band, they keep pop music alive artistically.

  Kod Müzik’s Necati Tüfenk introduces new bands.

• Plan: The British Council and Kod Müzik will present a new festival.
• Normal Ordering Strategies: The author explains the events in the same temporal order in which they happen.

General information a bout the group is given. It’s told about their performance in Turkey.(Stereolab did managae to succeed in attracting enough people in İstanbul to sell out two nights at Babylon in May). Then it’s told about the future plans (It will continue next February, when the British Council and Kod Müzik present a Festival of Music that ....)

If the text is full of new information it is highly informative. Even though I already have information about the music styles and the music industry it is highly informative because I haven’t heard about the band Stereolab and the organisation before.

Intertextuality: The production and reception of a given text depends upon the participants’ knowledge of the other texts. The text is relevant to the other texts in the same discourse. The text takes its place in music discourse.

“Vocal, guitarist, lyricist, rock n’ roll, pop music, acid jazz, concert, audience” are all the units of the music discourse.

The text is affected from the previous texts;

• .... running throug the likes of AC/DC, David Bowie.....

The text starts “Is there anyone alive on this planet who hasn’t heard of the Beatles? Probably not. But the Stereolab? Well, that’s another story...”

From the introduction reciever can understand that in the text the emphasis will be on new information about Stereolab and the ideas of the author which are related to the other text. Below the Beatles is an exampla of this.

It is told a bout Stereolab’s performance in Turkey, the performance ( the past text) affects the written text.

• ....... reach Lennon, and Mc Cartney star status, ........
• Of course anyone who still calls it “pop music”... (The word “still” links the sentence to the previous text)

Situationality: is a general term for the factors which render a text relevant to a current or recoverable situation of occurance.

The dominant function of the text is giving information a bout the band Stereolab and also the organisation of Kod Müzik and The British Council. The text producer has a goal in mind so that situation management is carried out in the text. The author guides the situation according to his goals so it’s highly mediated.

• The goal: to make recievers interested in the music of Stereolab

    to inform people a bout the organization of the British Council, Kod Müzik.

   “Stereolab is one of the latest in along line of British Music exports

     running through the likes of the Rolling Stones....that have virtually

     defined the changinggenres of pop music for nearly half a century.”

    “Stereolab did manage to succeed in attracting enough people....”

Goal negotiation is obtaining the compliance and cooperation of others. The author uses planboxes (Schrank and Abelson) to achieve his goal.

• the writer invokes a theme to achieve his goal. (theme: in discourse mentioning what’s already known)

theme: music

• after invoking the theme, he informs people of a reason why they should listen Stereolab (why they should be cooperative). If the reciever is interested in, s/he accepts the reason and maybe buy the record of Stereolab.

The situation changes according to the readers’ nationality. It’s more appropriate especially for the Turkish and English readers. Reading the journal in the British Council’s magazine or in British Music Magazine NME can change the situation.

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