Aims and objectives:This study focuses on Nick Villarreal (1951–2017), a bilingual and bicultural conjunto musician from San Antonio. It ascertains the frequency, formal features, and socio-pragmatic functions of the Spanish/English code-switching found in his songs.Methodology:Quantitative and qualitative approaches are utilized to explore Nick Villarreal’s use of code-switching in song lyrics.Data and analysis:Nick Villarreal’s commercially available discography (178 non-repeated tracks) was classified by matrix language. All instances of code-switching were identified and classified by type, syntactic category, and function. Song themes were inductively analyzed.Findings:Most of Nick Villarreal’s lyrics are in Spanish (73%), while 22% contain code-switching. Lexical insertions are the most common type of switches (65%). Villarreal also employs other contact phenomena, such as fully nativized borrowings, and syntactic and semantic calques. His virtuosity is apparent in his humorous bilingualism, especially in the creative nominalizations of English clauses as nicknames (e.g., la I-didn’t-do-it). The main function performed by switches is poetic—that is, stylistic uses of language, such as rhyming, joking, and puns. He conveys authenticity through code-switching and other enregistered linguistic sources such as border slang, or caló, and working-class/rural Mexican Spanish. He shows loyalty toward a working-class rural Spanish-speaking audience of conjunto that shares his background, while simultaneously appealing to second-generation Mexican Americans through his use of English and references to Anglo culture.Originality:Only recently have scholars begun to describe the linguistic features of borderland styles. This study focuses on an artist who has never received scholarly attention before but who turned his music into a meaningful vehicle for linguistic and cultural anti-assimilatory subversion.Implications:Villarreal employs strategies common to other borderlands bilingual musicians while innovating creatively. He actively stylizes the local to evoke a sense of authenticity and is thus a meaningful example of the intersection between language representation, class allegiance, linguistic attitudes, and cultural stance.

中文翻译：

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“我的英语和西班牙语”：德克萨斯州的西班牙语-英语语码转换与艺术家 Nick Villarreal 合作


目的和目标：本研究重点关注来自圣安东尼奥的双语和双文化联合音乐家尼克·维拉瑞尔（Nick Villarreal，1951-2017）。它确定了他的歌曲中西班牙语/英语语码转换的频率、形式特征和社会语用功能。方法论：采用定量和定性方法来探索 Nick Villarreal 在歌词中使用语码转换。数据和分析：Nick Villarreal 的商业唱片（178 首非重复曲目）按矩阵语言分类。所有语码转换实例均按类型、句法类别和功能进行识别和分类。对歌曲主题进行了归纳分析。调查结果：Nick Villarreal 的大部分歌词都是西班牙语（73%），而 22% 包含语码转换。词汇插入是最常见的开关类型 (65%)。比利亚雷亚尔还采用了其他接触现象，例如完全本土化的借用以及句法和语义的演算。他的精湛技艺体现在他幽默的双语能力中，尤其是创造性地将英语从句命名为昵称（例如，la I-didn't-do-it）。开关所执行的主要功能是诗意的，即语言的风格使用，例如押韵、开玩笑和双关语。他通过语码转换和其他注册语言来源（例如边境俚语或 caló 以及工人阶级/农村墨西哥西班牙语）来传达真实性。他对与他有共同背景的讲西班牙语的农村工人阶级观众表现出忠诚，同时通过使用英语和提及盎格鲁文化来吸引第二代墨西哥裔美国人。 原创性：直到最近，学者们才开始描述边疆风格的语言特征。 这项研究的重点是一位艺术家，他以前从未受到过学术关注，但他将自己的音乐变成了语言和文化反同化颠覆的有意义的工具。启示：比利亚雷亚尔在创造性创新的同时采用了其他边境双语音乐家常见的策略。他积极地将当地风格化，以唤起一种真实感，因此是语言表征、阶级忠诚、语言态度和文化立场之间交叉的有意义的例子。