The characteristic features of cockney pronunciation in the speech of Nash

The characteristic features of cockney pronunciation in the speech of Nash

The middle part of the 20th century saw artists sing in an American accent, yet with the materialization of the music genre indie, various artists started singing in their home accents, indexing accuracy, position, and autonomy from big record labels. Kate Nash is the top example of a person who adopted Cockney to start her music profession and gain supporters. Kate Nash was born in a middle-class family in London by an English father and an Irish mother. Having studied at the BRIT School in south London, she learned the RP accent. Living in London made her proverbial with the cockney pronunciation and adopted it at the commencement of her career. Kate Nash was motivated by the achievement of Lily Allen, who had taken the same accent. Despite her efforts to articulate Cockney throughout, it is not the same accent in London. Specifically, Nash uses a combination of RP, Estuary English, and Cockney. Lots of people think that she is extra poshy and that her efforts to take on proper Cockney failed. By deploying numerous instances of youth language, Nash addresses young people and indexes accuracy and resistance to the consistency of popular music. This way, it is easy to acknowledge that a change of approach towards nonstandard diversity of English is happening, and tat sociolinguistic indexically of class may become inferior, causing a geographic and communal spread of ex-working class features.

The characteristic features of cockney pronunciation in the speech of Nash are; g-dropping such as in words like talkin, enjoyin, and trying as well as the glottal stops in expressions like li?e, Star?ed and recent?ly. However, Nash fails to use h-dropping, and she articulates /h/ sound in lots of terms such as head and has among others. Besides, Nash uses monophthongization partially and occasionally pronounce words in a new estuary words English way like ara?nd, aba?t a?tside, among others. The same cockney features are evident in terms such as somehae, fae:nd. On the other hand, her pronunciation seems to show inconsistency in the word such as whenev? And numb. Things, however, become different in enquiring about her accent on an interview.

How British pop or indie music has been shown to resist American pronunciation for several sounds

There are some reasons why pronunciation is disappearing in songs and why those singing accents appear to evade to American. Mostly, the reasons are rooted in phonetics, the speed at which artists sing and articulate, and the air pressure from one’s vocal cords. The American pronunciation is moderately neutral. For the last 50 years, English has turned out to be extensively used in the world. One of the most distinctive features of popular culture is the materialization of pop or indie music, which came from the U.S as well as the UK and still has a massive demand up to date. The youths often create and articulate identity in accordance with genres repeatedly attributed to their societal backdrop and surrounding.

British pop or indie music has been shown to resist American pronunciation for several sounds. Despite the fact that most British artists sound American, some still refuse to completely adopt the American accent. For the British, general American English was the leading range in pop music for years. America has been dominant and many British artists like Beatles and the rolling stones took on their accent in their signing. With time, the British music accent changed and there was surfacing of new British music genres such as punk and indie-rock which became grittier as compared to the pop that was dominant in the charts and repeatedly associated with lower classes. In particular, the culture of the youth saw an increasingly positive status became attributed to both local and urban language often linked to the lower lass. The change in expression of identity In British music that came after was obvious in more British accents. This to a great extent caused a peculiar occurrence. The British artist started to integrate a fake working class or local accent into their music and in so doing resulted in an overstated and sometimes false British lower-class character. With adoption of the new shift, it became hard to go back to the dominant American accent. British artists became knowledgeable and thought that singing in their own accent could as well be great and that they could as well gain fans if they expressed their feelings or songs in their own accents.

Mock accents in the British pop music come back with every new decade. However, globalization plays a most important role in the change among youths in acceptance of local accents and integration of dialect local features in RP. With the emergence of technology, it was quite easy to incorporate regional https://studygroom.com/tannenbaum-and-carls-arguments/dialect into the British use of RP. Concerning indie music, the reputation of hip-hop remained constant even with emergence of many other sub-genres. The conventional achievement had an unusual outcome on these genres. This way, artists started to differentiate themselves by combination of diverse music genres but more artists. In this case the artists used class accents which were not constantly their own. This was a shift towards resisting American pronunciation for several sounds British. Pop music obtained a legality of its own which was recognized in their linguistic behavior.

Another aspect that has made the British pop or indie music resist American pronunciation for several sounds is language and class. Often with development of a certain class especially upper class, a culture is likely to shift from their traditional way of doing things to a more modern one that can distinguish them from the middle or lower classes. For instance, the British thoughts towards RP have altered over the last few years. RP was subject to change and begun to spread by the start of the 20th century when it displayed various differences. The older generation called the shift conservative and the young upper class and proficient people called it highly developed. In the same way, every British accent has been characterized in the media in current years including city, civil service and academic world. As some young speakers with local accents consider it obligatory to adapt their speech, the American one becomes extinct among the British singers. Without a doubt, many analysts propose that younger RP speakers time and again g to the level of disguising their middle-class pronunciation by integrating local features into their language.