Abstract
The aim of this research is to set up a consistent theorical arrangement concerning the socio-linguistic and socio-phonetic aspects of contemporary commercial music (CCM), which appears to be more and more uneven and manifold, also taking into account the previous research by Trudgill (1983), Simpson (1999) and others. The massive use of phonetic variation and style switching in contemporary Western singing style is here analyzed mainly focussing on its phonetic, cognitive and semantic relevance. Some examples of metric, socio-linguistic and stylistic variation are provided afterwards, so that a global diagram of linguistic habits might be traced. Other collateral aspects are recollected, mostly concerning the effects of CCM experience on L2 users.
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