Resumen:
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From time immemorial, music has served humanity as a necessary cathartic instrument of atonement and as a powerful purveyor of ideology. Rhapsodes, bards, troubadours, lyrical singers or modern pop stars have always expressed their own thoughts, values, identities or someone else’s messages through song. The audience, willingly accepts those ideas which unconsciously (or not) puts into practice. This way, the social roles of communities were defined and, in turn, reflected by lyric singing or pop songs. The main linguistic approach to analyse how ideology is encoded in songs and the effect these messages have on society is Critical Discourse Analysis (CDA). The analysis of songs from a discursive perspective brings together society, history and music (Filardo-Llamas & Iglesias, 2010) and offers a more accurate view of the idiosyncrasy of a country. In particular, what my thesis tries to investigate is the impact of popular love-themed songs on the construction of gender over the last sixty years. To be more precise, I narrowed down the line of research so that the prime aim was to concentrate the sociolinguistic analysis on the evolution of male and female roles —regarding loving relationships—through the music of two different societies, Spain and the USA/UK. Music, as a cultural product and literary genre, mirrors social change and influences society. As Lakoff (1975: 50) puts it, to be able to do linguistics, linguists must involve themselves with sociology. The theoretical framework on which my study is based comprises the following central approaches to be applied to the analysis of the social evolution of the expression of love through popular songs: Gender, Critical Discourse Analysis and Transitivity...
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