La música urbana a través de los medios de comunicación: El País, El Mundo, Los 40, Cadena 100 y Vice

El presente Trabajo de Fin de Grado presenta un análisis acerca del tratamiento que tiene la música urbana en: El País, El Mundo, Los 40, Cadena 100 y Vice. Para analizar estas noticias se han elegido estos medios ya que son los de mayor tirada a nivel nacional como pueden ser El Mundo y El País, así mismo, como con las radiofórmulas Los 40 y Cadena 100, que aparentemente representan la pluralidad de la música en sus emisoras. En cambio, se ha seleccionado a Vice como medio especializado en música urbana para hacer la comparación respecto a los medios más generalistas. Para ello se han analizado todas las noticias durante el mes de abril de 2019 de todos estos medios, con la intención de ver el tratamiento que le dan cada uno de ellos a las noticias y comprobar así si el género urbano está tan infravalorado como se intuía en nuestra hipótesis. Cabe destacar que en los últimos años la música urbana ha cogido cada vez más importancia, sobretodo con el género „trap‟ que ha desarrollado un gran público tanto en España como fuera de ella, siendo el género estrella en Latinoamérica. Sin embargo, a pesar de la gran importancia que ha tomado este género en España creemos que no existe una gran representación en los medios de comunicación de este tipo de música, es por ello que hemos decidido llevar a cabo esta investigación.Universidad de Sevilla. Grado en Periodism

Across Borders: An EP and Business Preparation Project

Christian Pardo Bernal’s CE project is an R&B, Latin Trap, and Dancehall infused EP. The EP will consist of six tracks that will be utilizing production techniques and several production elements within the Latin R&B music genre. Through cross-national collaborations with producers and artists from Colombia, the United States, and Europe, this EP will show a unique yet familiar sound to all of the music mentioned above markets and tell six different emotions that say to the story behind the Artist Emoción. Moreover, the languages Spanish and English will be incorporated into each track consistently as bilingual lyrics. The mission to educate his audience will be introduced as one core value of Emocion’s artist Identity. Further, the goal of this project is to learn the best practices of artists and producers in the Latin R&B Genre and showcase an EP that introduces a unique yet familiar sound but also takes the lead in the new area of bilingual Artists like Paloma Mami.https://remix.berklee.edu/graduate-studies-production-technology/1281/thumbnail.jp

ANALYZING DECOLONIAL SUBJECTIVITIES IN REGGAETON AND LATIN-TRAP MUSIC IN PUERTO RICO: A CRITICAL DISCOURSE ANALYISIS

This project studies decolonial possibilities for subjectivities in the urban music genres of reggaeton and Latin-trap in Puerto Rico. Using Ian Parker’s critical discourse analysis to analyze the lyrics and videos of three key songs, it systematically examines subjects constructed in songs, objects, discourses, and their relationships to each other. In addition to studying reggaeton and Latin-trap lyrics, the project highlights the emergence of social themes that guide the critical discursive analysis. Psychological literature and decolonial theory supplement the analysis, bringing in important theoretical insights regarding the songs’ salient social themes, such as black pride and resistance, gender fluidity and women’s liberation, and political demonstrations against colonialism. Each of these themes is highlighted in the chosen songs and their corresponding music videos, “Bandoleros” by Don Omar and Tego Calderón, “Yo Perreo Sola” by Bad Bunny, and “El Apagón” by Bad Bunny. These songs, studied through a twenty-step methodological approach, point to emerging discourses, patterns of language, subtext, relationships of power, and histories. I argue that they have created decolonial possibilities for diverse subject-positions. Concluding statements following each discourse analysis further elaborate upon the analysis and explore the impact of social critiques, such as challenging the power of institutions and local political discourses in Puerto Rico

Construction of Identity in Diasporic Communities: Musical Artists Performance of Caribbeanness & Latinidad

This thesis highlights and explores the performances of four diasporic Caribbean artists–Jennifer Lopez, Cardi B, Bad Bunny, and Rihanna. Their performances inhabit intersectional factors of race, gender, class, sexuality, creating a multifaceted experience of moving in the world. Their existence is marked by stereotypes that criminalize and sexualize them. United States representation of these communities is riddled with stereotypes that justify racial and gender injustice. These four artists both reinforce and undo these stereotypes in fascinating ways. Using Latinx cultural theorist Isabel Molina-Guzmán along with political theorist Judith Butler\u27s theory on performativity as my theoretical guide, I conceptualize Latinidad and Caribbeanness, analyzing what performance can do in order to subvert stereotypes as they risk reinforcing them. These artists engage in gender and racial patriarchal scripts while simultaneously critiquing the norms that dictate the performances they present

Let\u27s Dance Hasta el Amanecer: The Functions of Code-switching in Hispanic \u27Spanglish\u27 Music by Bilingual Singers

This study examines the role code-switching plays in the creation of song lyrics by Hispanic Bilingual artists that feature more than one language. It points out what functions the switches fulfill and what patterns they produce. Furthermore, it also investigates whether these patterns are affected based on the matrix language of the song. The data collected comes from a variety of songs from different genres that fall under the musical term ‘Latin Music’. The data also includes artists from different geographical backgrounds and genders. The study focuses on thirty Hispanic bilingual artists that include both English and Spanish in their songs. The purpose of this study is to observe the use of code-switching by these artists and determine the frequency of each function of code-switching. The results indicate that on average, the expressive function of code-switching is the most commonly used code-switch function used by Hispanic bilingual artists. It was also found that the referential functions occurred with more frequency in song lyrics with Spanish as the matrix language. This was determined to be because of the continued incorporation of English social media words in song lyrics. In this study, the referential function did not show up at all in lyrics with English as the matrix language. Additionally, English matrix songs were found to contain more instances of code-switching than those of Spanish matrix songs. This was shown as there being an underlining desire for Hispanic bilinguals to ‘call back’ to their cultural roots, by incorporating Spanish into predominantly English songs

‘Boom-ch-boom-chick’: Entangled (Hi)stories in the German Mainstream Rap of 2018 and 2019

From April 2018 to December 2019, 25 German rap songs with remarkably similar sonic patterns reached the number-one position in the all-genre single charts in Austria. The article takes these songs as starting point for retracing the processes which led to the entering of this music into the glocal mainstream frame of cultural debate. It disentangles the historical backdrops, social and identity practices, as well as aesthetics that postmigrant rap artists in Austria and in Germany have successfully intermingled into their own narratives. The article argues that the two dominating beats, ‘trap’ and ‘dembow’, were able to carry and connect these idiosyncratic encounters against the background of their postcolonial charge and international popularity wave.From April 2018 to December 2019, 25 German rap songs with remarkably similar sonic patterns reached the number-one position in the all-genre single charts in Austria. The article takes these songs as starting point for retracing the processes which led to the entering of this music into the glocal mainstream frame of cultural debate. It disentangles the historical backdrops, social and identity practices, as well as aesthetics that postmigrant rap artists in Austria and in Germany have successfully intermingled into their own narratives. The article argues that the two dominating beats, ‘trap’ and ‘dembow’, were able to carry and connect these idiosyncratic encounters against the background of their postcolonial charge and international popularity wave.From April 2018 to December 2019, 25 German rap songs with remarkably similar sonic patterns reached the number-one position in the all-genre single charts in Austria. The article takes these songs as starting point for retracing the processes which led to the entering of this music into the glocal mainstream frame of cultural debate. It disentangles the historical backdrops, social and identity practices, as well as aesthetics that postmigrant rap artists in Austria and in Germany have successfully intermingled into their own narratives. The article argues that the two dominating beats, ‘trap’ and ‘dembow’, were able to carry and connect these idiosyncratic encounters against the background of their postcolonial charge and international popularity wave

Spartan Daily, October 25, 2023

Volume 161, Issue 28https://scholarworks.sjsu.edu/spartan_daily_2023/1071/thumbnail.jp

How Latinx Music can affect Latinx music Consumers in the United States

When thinking of culture, Music is one of the elements that is related to, or used to help describe a place and the people that reside in the specific location. Latinx Culture is a fundamental tool that is used to not only describe a location but remind those who once immigrated to the United States their roots. Latinx Culture is what keeps Latinx people in the United States connected with their country of origin, with friends and families who are still in Latin America, and unite Latinx people when they feel like they are on their own. The purpose of this research is to analyze how Latinx musicians produce work based on their lives as latinos, through the meanings of transnationalism, acculturation and colorism. This research will also explain if Latinx music affects those who also consume it, especially if they are of Latinx background. From researching transnationalism in Latinx music, the politics of Latinx music in the United States and Interviewing Students of Latinx descent to analyze what categorizes Latinx music and how it impacts Latinx day to day lives. Overall Latinx music is a foundation to the lives of Latinos in the United States. It is used to express how Latinx feel, their dreams, their hopes and also their identity.  Purchase College SUNYArts ManagementBachelor of ArtsRicciardi, Laur

Spartan Daily, April 21, 2021

Volume 156, Issue 33https://scholarworks.sjsu.edu/spartan_daily_2021/1032/thumbnail.jp

Bad Bunny, Good Scapegoat: How \u27El Conejo Malo\u27 Is Stirring a \u27Moral Panic\u27 in Post-Hurricane Puerto Rico

Article examines the Moral Panic around the music of trap artist Bad Bunny in Puerto Ric