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Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a reality marked by humanitarian and climate crises, there is an urgent need to review the pillars of a worldview that justifies and entrenches the catastrophe, by seeking solutions to counteract its effects. With this purpose, this article presents and analyzes some representative works of the Peruvian Renata Flores and the Colombian MC Taki Amaru, from La Mafiandina. From a critical ecofeminist perspective, the article examines how some concepts (sumak kawsay, body-territory and ch'ixi) dialogue and contribute to feminist philosophy. Through an analysis of the rappers's aesthetics (the representations of women and nature), their ethics (the vindication of a dignified life) and their political posture (the defense of one's own body), it reveals the critical and didactic potential of Latin American ecofeminism and the multiple possibilities of rap as a tool for social change, environmental pedagogy and empowerment of oppressed groups. [ABSTRACT FROM AUTHOR]

The current transformations of the music industry continue a previous process, added to the changes brought about by digitalization, audiovisual convergence, and transmedia logic. A systemic approach is necessary to locate the new conditions of musical remediation and appropriation of music by the media industry and to inquire into the turn toward the visual of the music industry, which some authors have found in recent years. The period of lockdown due to the Coronavirus (COVID-19) deepened a series of dynamics that combine the production and distribution of popular music with other sectors of the music industry. On the one hand, the video clip has become a multifaceted instrument after YouTube, which has made it possible to monetize music listening. Its forms of expansion colonize platforms, and its format and aesthetic model expand in duration in the visual album or are cloned for application to various microformats. Thanks to platformization, it acts not only as a promotional format but also as a listening medium. On the other hand, live music is a relevant diffusion field in popular music. In its retransmitted version, livestreaming of concerts consolidates another formula of innovation tending toward personalization. The paper's objectives involve reflecting on the logic of global modification of the creation and consumption of musical content in the current transmedia context and analyzing the dynamics of interaction between agents, considering the digitalization and platformization of musical content. The conclusions trace the possibilities of monetization and personalization of the experience of popular music and reflect on how the production conditions of creative agents in the current music industry and musical reception change. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kranion is the property of Publicidad Permanyer SLU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

After the global crisis of the recording industry, popular music has had to rethink itself to avoid perishing. Its alliance with transmedia business and—narrative—logic has been part of that transformation. Music video remains necessary for the multilateral and transmedia music promotion. Through these formats, users create and share content concerning the artist’s visual universe, making it viral and results exponentially. This supposes the first form of expansion of music video in its transformation into the logic of digital ecology in a post-television era. However, the music video has another aspect of growth with its extension through the visual album where each music track corresponds with a visual track; it uses mechanisms that unify the messages or references, for example, as repetitive visual motifs (thematic motifs, similar images, locations, or characters). The visual album allows another way of promoting record works: before, they were sold through two/three singles; now, an attempt is made to extend the life span of records, generating consolidated worlds of meaning. This imaginary is achieved with unity and diversity through rhetorical figures of repetition or quotes from other cultural texts, composing storytelling for music personae. Projects such as Beyoncé’s three visual albums (Beyoncé, 2013; Lemonade, 2016, and Black is King, 2020), Dirty Computer by Janelle Monaé, and El mal querer by Rosalía are examples of a new form of music albums, where the musical artist is resignified with these resources for a new concept of body and performance. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, I will address the social and cultural processes involved in the shaping and popularity of the popular idol of Peruvian tropical music--chicha --, «Papá Chacalón.» He was a singer who emerged from the most marginalized sectors of Lima society. Among his followers are mayors, prisoners serving their sentence in jail, as well as men and women from the poor neighborhoods of Lima. Several decades after his death, there is a new legion of fans, «chicheros chacaloneros» (Chacalón's followers). The popular idol, in this context, is configured based on and from the daily relationship between Chacalón and his followers. In this work, I will place special emphasis on the idol-follower relationship, the forms of social interaction, and the cultural assessments involved. I will posit that the ideas of equality and social recognition are central elements in the construction of «Papá Chacalón» as a popular idol and his continuity in the 21st century. This is an ethnographic work carried out during the anniversary festivities of Chacalón, held on April 26 (his birthdate) and June 24 (the day of his death), which also addresses how his followers organize around those dates. [ABSTRACT FROM AUTHOR]

After sketching an overview of the North American live music industry in the digital age, this article discusses the link between urban creativity and the live music industry in two cities: Mexico City and Montreal. At an early stage, the two cities privileged a modernist and monumental vision of live music. Their local music scenes developed mainly in the wake of deindustrialization and of certain economic-political crises. In the case of Montreal, it became a real pillar of the conversion into a "creative city", while in Mexico City it remained mainly relegated to the underground, crushed by hegemonic actors and structural problems (corruption, drug trafficking, inequality), except in the initial context of digital social networks. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Colombiana de Educación is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Altamira is the property of Centro de Estudios Montaneses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article shares reflections on the past of popular music and its validity in the twenty-first century through the form of a canon or list of songs considered "classical". Without restricting the concept of canon to a closed or fixed list, the author asks about those songs that have remained in time overcoming a kind of "natural selection". Through what processes of communication and cultural legitimation do these "themes" enjoy today the status of "classical", when in other times the "classical" was restricted to the so-called "serious" or "academic" music? While most of the examples analyzed come from the inventory of Argentine popular music, the article includes extensive observations on the song-making traditions of other countries. [ABSTRACT FROM AUTHOR]

This article raises the possibility of studying authorial Latin American and Brazilian popular music of the late twentieth century as a great unity, due to the existence of networks, collaborations, circuits, and common influences. By authorial popular music we mean music in which the artist is aware of and has control over the material in which he works, to the point of straining the very musical genre in which he operates. It is not about a single author but a multiple one, arising from the intermedial character of this music, formed by lyrics, music, vocality, and recording, to which are added video clip, cover art and associated discourses. This intermedia dialogues with the historical moment in which it unfolds, questioning the listener from its multiple materiality. [ABSTRACT FROM AUTHOR]

Copyright of Sinfonia Virtual is the property of Sinfonia Virtual and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of IC: Revista Científica de Información y Comunicación is the property of Universidad de Sevilla, Departamento de Periodismo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia 396 is the property of Pontificia Universidad Catolica de Valparaiso, Instituto de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Investigaciones Feministas is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sinfonia Virtual is the property of Sinfonia Virtual and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Throughout the 70s, exiled artists of the New Chilean Song -in primis, the band Inti-Illimani-promoted a mass audience of Latin American folk music genres. In the discourse that accompanied Chilean success in the Italian media of the time, we find little insistence on explicit exoticism. Instead, in the newly imported musical genres, there is a certain desire to acknowledge a project of renewal regarding social song, shared by the Italian leftist culture of that time. The New Chilean Song seemed to be an advanced and exemplary realization of that project. By examining a wide range of documents from that time, we understand how the success attributed to Chilean / Andean music in Italy is linked not only to well-known political factors or to the fascination for that novel sound, but also to the ability of some artists to generate interactions in the reception context opened as a result of exile. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Información y Comunicación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Politica: Ideas, Procesos y Movimientos Sociales is the property of Departamento De Historia del Pensamiento y de los Moviemientos Sociales y Politicos (Madrid) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Musical Chilena is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Documentacion Multimedia is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Popular music offers an exceptional opportunity to connect with reality and reflect on its problems. The objective of this work is to study how gender violence is treated in songs in Spain, relating musical styles with the description of the cycle of violence. We use a quantitative methodology based on the content analysis of a sample of 210 songs with this theme accumulated over the last four decades. The results show that as society internalizes the seriousness of the problem, gender violence becomes a constant in the discourse of popular music. [ABSTRACT FROM AUTHOR]

This article is dedicated to one of the personalities of the Ecuadorian musical scene, the singer-songwriter Jaime "Chamo" Guevara. Guevera has practically become a symbol and icon, a lighthouse of the Ecuadorian culture and counterculture, and a representative par excellence of the urban trova. His popularity is due to his very particular songs, which cover diverse musical genres such as rock, blues, country, and which also covers the musical universe of folk music, among others. We cannot forget to mention his politics as a committed artist and activist, through his political-cultural positions and his active defense of human rights. Guevara openly stands against all types of violence. Through strong doses of urticant humor, he constantly confronts dominant power. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article that is presented deals with the subject related to the musical appreciation directed to the local popular music. Appreciating music from an integrative perspective guarantees the analysis of development contexts and technical-musical specificities of a particular work. The popular music of the town in this case is the reflection of experiences, everyday life and the needs that arise from the inhabitants of that locality from the most listened to musical phenomena and the unstoppable process of interactions and ways of creating that experience Our culture. [ABSTRACT FROM AUTHOR]

The dialogues between popular music and literature in 20th century Caribbean narrative from the Nineties articulate new alternatives to official discourses. These confluences define the novels La Estrategia de Chochueca and Papi by Dominican writer, artist, and performer, Rita Indiana Hernández. Through the re-reading of these works I seek to demonstrate that the author's narrative claims sectors marginalized by the Dominican officialdom and provide keys to an alternative identity discourse built over political instability and migratory movements between The Dominican Republic and New York. [ABSTRACT FROM AUTHOR]

Articulating, on one hand, some recent studies on popular music from different Latin-American countries and, on the other hand, some searches in publications like song books, and gossip magazines, a research is conducted about the mobility of popular musics through different countries in the region. It identifies the increase, presence and dialogue of the travelling musics with those deemed as national musics during the 1930s. In this decade, the cultural industry of the radio, records and cinema consolidated under an intermedial process as the entertainment and broadcasting spaces that, excluding the cinema, transcend the public spaces to settle into the private spheres. [ABSTRACT FROM AUTHOR]

Copyright of Ensayos. Historia y Teoría del Arte is the property of Instituto de Investigaciones Esteticas - Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Preliminary research on Peruvian salsa and salsa in Peru, highlighting historical and conceptual elements such as the transnationality of certain musical genres, the formation of local scenes and markets, their roots and identity implications, etc., up to the present day and going back to the beginnings of tropical music in the country, around the 1920s. [ABSTRACT FROM AUTHOR]

Copyright of Historia Contemporanea is the property of Historia Contemporania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia Contemporanea is the property of Historia Contemporania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of América Latina Hoy is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music is an important artefact that helps people to construct identities and territorial links, establishing shared imaginaries and symbols that, on their turn, structure ideas about places such as neighbourhoods, cities, and nations. At the same time, music marks distinctions between them, mostly through negative feelings; rejections and prejudices against genres and territories. In this article, the cases of Brazilian genres samba, forró and sertanejo are analysed, taking them as markers of specific territories and spaces in the nation's hierarchies. Therefore, they can be thought as agents of music conflicts which are intermingled with symbolic and geographic struggles. [ABSTRACT FROM AUTHOR]