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This study presents an Acceptability Judgment Task (AJT) conducted with Latinx1 Spanish-English bilinguals in the United States. We take a social approach to the AJT by contextualizing code-switching (CS) within the context of reggaetón music by adding experimental labels to sentences and examine how the results vary according to enjoyment and frequency of listening to reggaetón music. Results from mixed-effects regression models show effects of sentence grammaticality and frequency of listening to reggaetón. Results do not show effects of the reggaetón label on the CS sentences, however we find higher ratings for ungrammatical sentences and lower ratings for grammatical sentences than previously shown in the AJT literature. This study highlights the importance of the social context of code-switching when investigating acceptability judgments. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ciencias Sociales (13159518) is the property of Revista de Ciencias Sociales de la Universidad del Zulia Venezuela 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 paper reads Bad Bunny's gender performance as queer in his album X100PRE. Utilising methodology proposed by Juana María Rodríguez, we focus on "queer gestures" rather than "categories of identification" to argue that Bad Bunny experiments with a markedly queer gender fluidity. We first explore the queer affect of nostalgia in the song "Como antes" and Bad Bunny's Instagram posts, then investigate the role of fashion in the "¿Quién tú eres?" video, using Umberto Eco's approach to clothing as a code that communicates gender, power, and social distinction. Finally, we examine how Bad Bunny's gender performance challenges normative masculinity in the United States from the perspective of a racialised, colonised Puerto Rican subject. This analysis reveals how gender fluidity has permeated the genre of reggaetón, traditionally linked to hypermasculinity. [ABSTRACT FROM AUTHOR]

The rebranding of reggaetón towards Latin urban has been criticized for tokenizing Afro-Caribbean linguistic and cultural practices as symbolic resources recruitable by non-Caribbean artists/executives in the interest of profit. Consumers are particularly critical of an audible phonological homogeneity in the performances of ethnonationally distinct mainstream performers, framed as a form of linguistic minstrelsy popularly termed a 'Caribbean Blaccent' that facilitates capitalization on the genre's popularity by tapping into the covert prestige of distinctive phonological elements of Insular Caribbean Spanish otherwise stigmatized. This work pairs acoustic analysis with quantitative statistical modeling to compare the use of lenited coronal sibilant allophones popularly considered indexical of Hispano-Caribbean origins in the spoken and sung speech of four of the genre's top-charting female performers. A general pattern of style-shifting from interview to sung speech wherein sibilance is favored in the former and phonetic zeros in the latter is revealed. Moreover, a statistically significant increased incidence of [-] across time shows the most recent records to uniformly deploy near-categorical reduction independent of artists' sociocultural and linguistic backgrounds. The results support the enregisterment of practices popularized by the genre's San Juan-based pioneers as a stylistic resource—a reggaetón voice—for engaging the images of vernacularity sustaining and driving the contemporary, mainstream popularity of música urbana. [ABSTRACT FROM AUTHOR]

This study presents an Acceptability Judgment Task (AJT) conducted with Latinx1 Spanish-English bilinguals in the United States. We take a social approach to the AJT by contextualizing code-switching (CS) within the context of reggaetón music by adding experimental labels to sentences and examine how the results vary according to enjoyment and frequency of listening to reggaetón music. Results from mixed-effects regression models show effects of sentence grammaticality and frequency of listening to reggaetón. Results do not show effects of the reggaetón label on the CS sentences, however we find higher ratings for ungrammatical sentences and lower ratings for grammatical sentences than previously shown in the AJT literature. This study highlights the importance of the social context of code-switching when investigating acceptability judgments.

En la historia, diferentes géneros musicales han incorporado a la mujer como sujeto de disputa, burla, deseo y de exaltación de sus atributos físicos y personalidad. En esta investigación se analiza el rol de género de la mujer en el contenido de las canciones de reggaetón que encabezaron los 3 primeros lugares de la lista Hot Latin Song Chart de Billboard de los años 2021, 2022 y 2023. Se analizó el contenido de las letras las cuales se procesaron con el programa Atlas.ti. La investigación se sustentó en la teoría fundamentada de tipo emergente-constructivista. Los resultados indican que las letras de las canciones analizadas presentan pobreza lingüística, en el imaginario construido en su contenido se tiene a la mujer como objeto de deseo sexual y su rol ante esta situación suele ser de mujer complaciente o empoderada. La comparación de los roles de género en las letras presenta a una mujer como figura sexual y a un hombre autoritario, violento y dominante. En conclusión, el predominio de roles de género negativos en las canciones analizadas se evidencia en mensajes con connotación sexual explícita, sin importar a los compositores e intérpretes que son los niños, jóvenes y adolescentes sus principales escuchas.

This research analyses the image of women in the most listened music videos made by women in reggaeton, a genre known for the sexualization of women. The main purpose is to learn whether female artists recreate those gender stereotypes, or whether they offer alternate discourses. Through the triangulation of the narrative analysis, it has been determined that female reggaeton artists maintain the visual imagery that sexualises women, although almost half of the songs show a new image for women, who enjoy sex as a way to free themselves. The singers equal themselves to the male visual discourse and take symbols of power linked to active attitudes. [ABSTRACT FROM AUTHOR]

El posicionamiento del reggaetón como uno de los géneros más importantes en la escena musical mainstream ha provocado la inclusión de temáticas impensadas para un estilo de música que en sus orígenes se caracterizaba por reforzar estereotipos masculinos a través del machismo, la hipersexualización y la virilidad mientras la mujer era relegada a la cosificación y al sometimiento. Considerando un impulsor de este cambio a Bad Bunny, se pretende cuestionar cómo desarticula los valores masculinos hegemónicos y la homofobia del género en el videoclip Yo perreo sola (2020). Se pretende analizar si presenta una subversión de la heteronormatividad y si contribuye a una visión más fluida de la masculinidad y feminidad. Desde una perspectiva basada en la teoría queer y estudios LGBTIQ+ se realizará un análisis crítico del discurso de la canción y del texto audiovisual de su videoclip. Aunque se encontraron elementos contradictorios en el objeto de análisis, se concluye que la canción alienta a las mujeres a apropiarse de aquellos espacios en los que han sido censuradas, empoderando el uso de su autonomía en la pista de baile a través del perreo siendo valiosa la intención del artista de abordar temas invisibilizados en este género abriendo la puerta a una posible revolución del reggaetón.

The rebranding of reggaetón towards Latin urban has been criticized for tokenizing Afro-Caribbean linguistic and cultural practices as symbolic resources recruitable by non-Caribbean artists/executives in the interest of profit. Consumers are particularly critical of an audible phonological homogeneity in the performances of ethnonationally distinct mainstream performers, framed as a form of linguistic minstrelsy popularly termed a ‘Caribbean Blaccent’ that facilitates capitalization on the genre’s popularity by tapping into the covert prestige of distinctive phonological elements of Insular Caribbean Spanish otherwise stigmatized. This work pairs acoustic analysis with quantitative statistical modeling to compare the use of lenited coronal sibilant allophones popularly considered indexical of Hispano-Caribbean origins in the spoken and sung speech of four of the genre’s top-charting female performers. A general pattern of style-shifting from interview to sung speech wherein sibilance is favored in the former and phonetic zeros in the latter is revealed. Moreover, a statistically significant increased incidence of [-] across time shows the most recent records to uniformly deploy near-categorical reduction independent of artists’ sociocultural and linguistic backgrounds. The results support the enregisterment of practices popularized by the genre’s San Juan-based pioneers as a stylistic resource—a reggaetón voice—for engaging the images of vernacularity sustaining and driving the contemporary, mainstream popularity of música urbana.

The contemporary sexual landscape witnesses a discernible shift towards the pursuit of individualized pleasure within sexuality, diverging from conventional notions of stable relationships. This transformation is notably propelled by societal shifts, including increased moral permissiveness and widespread adoption of digital technologies, notably dating applications and websites. In this milieu, the current study aims to investigate the influence of reggaetón on the sexual attitudes and behaviors of Generation Z individuals, particularly regarding their perceptions of romantic relationships, gender roles, and sexuality. Through a comprehensive literature review, this inquiry illuminates the profound impact of music, specifically reggaetón, on the construction of sexual identity and attitudes towards sexuality among young adults. The findings underscore the significant role played by reggaetón in shaping the perceptions of youth concerning relationships and sexuality, primarily through its lyrical content, which frequently glorifies the objectification of women and promotes toxic masculinity. Furthermore, the visual elements accompanying reggaetón further reinforce these messages, thereby influencing the way in which young individuals conceptualize and engage in interpersonal relationships. In conclusion, the study emphasizes the pressing need for artists and the music industry at large to acknowledge and embrace their ethical responsibility in promoting representations of sexuality. [ABSTRACT FROM AUTHOR]

This article discusses Latina women in reggaeton, a notoriously sexist music genre that can nevertheless encompass feminist goals of sexual agency, albeit in a narrow band defined and policed by capital. That contradiction is evident in the lyrics, videos, and media interviews of an avowedly feminist, straight reggaetonera, Becky G. Drawing on the genre's textuality and political economy, we argue that her media interviews, performances, and video "Sin Pijama" ["No Pajamas"] incarnate a commodified visual narrative that reifies masculine fantasies while exploring female agency and sexuality. Becky G presents herself as autonomous even as she embraces a hyper-sexuality that reproduces patriarchal normativity. [ABSTRACT FROM AUTHOR]

Reggaetón music is very popular among Spanish speaking young people of high school-age. Thus, we intend to examine the values of (in)equality between women and men transmitted in the lyrics of this music genre. Using a Maxqda software-assisted Thematic Analysis methodology, the lyrics of 65 reggaetón songs with the most commercial success during 2020 have been analysed. The results suggest that the most commercialised reggaetón continues to reproduce certain traditional masculine stereotypes (machismo). In the discussion we compare and contrast alternative approaches and positions concerning the reggaetón genre. We feel it is necessary that educational spaces adopt a critical and consciousness raising approach to reggaetón due to the powerful influence exerted on young people regarding sexual stereotypes.

This paper studies the lyrics of reggaeton songs. Reggaeton is a popular genre nowadays, especially among young people. Its songs contain a very rich and sometimes surprising vocabulary. That was the reason for choosing this topic: to understand this genre of songs and their lyrics. Thus the purpose of this paper is to discover the meaning of the words used in the songs of this genre, to clarify the main vocabulary characteristics and to point out to the differences between the Spanish spoken in Latin America and Spain. In the analysis, specialized dictionaries were used to reveal the meaning of particular expressions. Attention was paid to expressions which are different from European Spanish as well as to English borrowings (anglicisms). Fifteen reggaeton songs from three countries (Puerto Rico, Cuba and Colombia) were chosen. Our findings showed that in each group (Puerto Rican, Cuban and Colombian), words typical of each of these countries were used in the songs. Anglicisms were also present, although to a different extent in each group.

Scholars' increasing interest in studying the musical genre reggaetón reflects el género' s rising global popularity. These studies have revolved around issues such as its origin and its connection to blackness, as well as migration, political repression, and the representation of women. The political upheaval in Puerto Rico during the summer of 2019 encapsulates reggaetón's undeniable role in Puerto Rican society. However, it has typically been thought of only as a space for denouncing oppression. In this analysis I propose that reggaetón serves as a decolonial tool not only to denounce systemic violence, but also as an alternative instrument to create knowledge, and as an archive to record and portray socio-political realities of marginalized communities in Puerto Rico. Using qualitative methods and a decolonial feminist framework, I analyze the music and performance of two urban Puerto Rican artists, Villano Antillano and Cita. After providing background on how music has served as a tool of resistance in Puerto Rico, as well as a brief history of reggaetón in Puerto Rico, I analyze how social realities are presented in the lyrics of both singers. This study invites us to see emergent urban artists as subjects with agency who push back against the conventions of the genre, and their music as alternative archives upon which marginalized communities interpret, build, understand, and negotiate their social and political realities. El creciente interés de los académicos por estudiar el reggaetón refleja la creciente popularidad mundial del género urbano. Dichos estudios han girado en torno a aspectos como su origen y conexión con la negritud así como la migración, la represión política y la representación de las mujeres. Las protestas políticas en Puerto Rico durante el verano de 2019 resaltan el innegable rol del reggaetón en la sociedad puertorriqueña. Sin embargo, comúnmente el género se ha pensado solo como un espacio de denuncia ante la opresión. En este análisis propongo que el reggaetón sirve como una herramienta decolonial no solo para denunciar la violencia sistémica, sino también como instrumento alterno para crear conocimiento y como archivo para registrar y retratar realidades sociopolíticas de las comunidades marginalizadas en Puerto Rico. Utilizando métodos cualitativos y un marco feminista descolonial , analizo la música y el performance de dos artistas urbanas puertorriqueñas, Villano Antillano y Cita. Después de proporcionar antecedentes sobre cómo la música ha servido como herramienta de resistencia en Puerto Rico y una breve historia del reggaetón, analizo cómo se presentan las realidades sociales en las letras de ambas exponentes. Finalmente, punutalizo que este estudio nos invita a ver a las artistas urbanas emergentes como sujetes con agencia que se oponen a las convenciones del género, y su música como archivos alternativos sobre los que las comunidades marginadas interpretan, construyen, entienden y negocian sus realidades sociales y políticas. L'intérêt croissant des chercheurs pour l'étude du reggaeton reflète la popularité mondiale grandissante de ce genre de musique urbain. Ces études se sont concentrées sur des aspects tels que ses origines et son lien avec la négritude, ainsi que sur la migration, la répression politique et la représentation des femmes. Les manifestations politiques qui ont eu lieu à Porto Rico au cours de l'été 2019 soulignent le rôle indéniable du reggaeton dans la société portoricaine. Cependant, le genre a été considéré uniquement comme un espace de dénonciation face à l'oppression. Dans cette analyse, je suggère de considérer que le reggaeton serve d'outil décolonial non seulement pour dénoncer la violence systémique, mais aussi comme instrument alternatif pour créer des connaissances et comme archive pour enregistrer et dépeindre les réalités sociopolitiques des communautés marginalisées à Porto Rico. En utilisant des méthodes qualitatives et un cadre féministe décolonial, j'analyse la musique et la performance de deux artistes urbains portoricains, Villano Antillano et Cita. Après avoir expliqué comment la musique a servi d'outil de résistance à Porto Rico et présenté un bref historique du reggaeton, j'analyse la manière dont les réalités sociales sont présentées dans les paroles des deux artistes. Enfin, je souligne que cette étude nous invite à considérer les artistes urbains émergents comme des sujets dotés d'un pouvoir d'action qui s'opposent aux conventions du genre, et leur musique comme des archives alternatives sur lesquelles les communautés marginalisées interprètent, construisent, comprennent et négocient leurs réalités sociales et politiques. [ABSTRACT FROM AUTHOR]

Reggaetón music is very popular among young people of school-age. Thus, we intend to examine the values of equality transmitted in the lyrics of this music genre. Using critical discourse analysis and assisted by the Maxqda software package we analysed the lyrics of 65 of the most popular reggaetón songs of 2020. Results suggest that reggaetón reprises certain traditional masculine stereotypes (machismo). In our discussion we compare alternative approaches and positions concerning the reggaetón genre. We feel it is necessary that educational spaces adopt a critical and consciousness raising approach to reggaetón due to the powerful influence exerted on young people by this product of the culture industry. [ABSTRACT FROM AUTHOR]

Copyright of Ideas y Valores is the property of 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.)

Even though a large majority of young people consider gender-based violence as a serious social problem, in recent years opinions are increasing that tend to deny or limit the importance of genderbased violence in youth relationships. This research try to discover if the content of urban music songs that are currently extraordinarily successful among young audiences have a responsibility in the normalization of gender violence. To do this, analysed the use and consumption that young Spaniards make of Reggaeton and Trap songs based on a survey of 1000 individuals of both sexes, aged between 15 and 25 years. The intersection of sociodemographic, cultural and educational variables with the characteristics of urban music consumption, the theme of the songs and the form of exhibition lead us to conclude that Reggaeton and Trap songs, based on continuous novelty and violent and sexist lyrics, are one of the most powerful influences when it comes to transmitting values to young people who are very attracted to these sounds in a stage of personal development where they question the values transmitted by the family and the educational system. [ABSTRACT FROM AUTHOR]

Since the end of the 19th century, under the cloak of hygienic concerns, Puerto Rican elites have devised eugenic practices and methods in order to marginalize, manage, and control certain sectors of the population. Throughout the 20th century, these discourses have been internalized by the Puerto Rican population; reflections of which can be seen in popular culture, including trap and reggaetón. The purpose of this paper is to explore how hygienic practices (rooted in eugenic ideas) have permeated Puerto Rican society and, in turn, are replicated in trap and reggaetón as a way of gendering, racializing, and discriminating against certain groups. In an effort to identify these contemporary eugenic ideas, this article categorizes and analyzes current topics touched upon by trap and reggaetón singers such as Tego Calderón, Jowell y Randy, Anuel AA, and Bryant Myers, among others. Through categories such as desired body type, prospective partners' 'cleanliness'—in regard to 'feminine' and 'personal' hygiene—, potential contraceptive use, and the usage of racist stereotyping, we illustrate how eugenic ideas slip into contemporary understandings of gender and race in Puerto Rico. By performing an in-depth analysis of selected songs, we explore the ways in which ideas surrounding 'race science' have been normalized in Puerto Rican culture, demonstrating how these ideas connect to broader racializing and gendered processes. Desde finales del siglo XIX, bajo el manto de las preocupaciones higiénicas, las élites puertorriqueñas han ideado prácticas y métodos eugenésicos para marginar, administrar y controlar a ciertos sectores de la población. A lo largo del siglo XX, estos discursos han sido interiorizados por la población puertorriqueña; los cuales se pueden ver reflejados en la cultura popular, incluyendo el trap y el reggaetón. El propósito de este artículo es explorar cómo las prácticas higiénicas (enraizadas en ideas eugenésicas) han permeado la sociedad puertorriqueña y, a su vez, se replican en el trap y el reggaetón como una forma de generizar, racializar y discriminar a ciertos grupos. En un esfuerzo por identificar estas ideas eugenésicas contemporáneas, este artículo categoriza y analiza temas actuales abordados por cantantes de trap y reggaetón como Tego Calderón, Jowell y Randy, Anuel AA y Bryant Myers, entre otros. A través de categorías como el tipo de cuerpo deseado, la "limpieza" de las posibles parejas —en lo que respecta a la higiene "femenina" y "personal"—, el uso potencial de anticonceptivos y el uso de estereotipos racistas, ilustramos cómo las ideas eugenésicas se deslizan en la comprensión contemporánea del género y la raza en Puerto Rico. Al realizar un análisis en profundidad de canciones seleccionadas, exploramos las formas en que las ideas en torno a la "ciencia racial" se han normalizado en la cultura puertorriqueña, demostrando cómo estas ideas se conectan con procesos de género y racialización más amplios. Depuis la fin du XIXe siècle, sous le couvert de préoccupations hygiéniques, les élites portoricaines ont imaginé des pratiques et des méthodes eugéniques afin de marginaliser, gérer et contrôler certains secteurs de la population. Tout au long du XXe siècle, ces discours ont été intériorisés par la population portoricaine ; dont on peut voir des reflets dans la culture populaire, y compris le trap et le reggaetón. Le but de cet article est d'explorer comment les pratiques hygiéniques (enracinées dans les idées eugénistes) ont imprégné la société portoricaine et, à leur tour, sont reproduites dans le trap et le reggaetón comme un moyen de sexuer, de racialiser et de discriminer certains groupes. Dans un effort pour identifier ces idées eugénistes contemporaines, [End Page 78] cet article catégorise et analyse les sujets actuels abordés par les chanteurs de trap et de reggaetón tels que Tego Calderón, Jowell y Randy, Anuel AA et Bryant Myers, entre autres. À travers des catégories telles que le type de corps souhaité, la « propreté » des partenaires potentiels —en ce qui concerne l'hygiène « féminine » et « personnelle » —, l'utilisation potentielle de contraceptifs et l'utilisation de stéréotypes racistes, nous illustrons comment les idées eugéniques se glissent dans les compréhensions contemporaines du genre et de la race à Porto Rico. En effectuant une analyse approfondie de chansons sélectionnées, nous explorons la manière dont les idées entourant la « science raciale » ont été normalisées dans la culture portoricaine, démontrant comment ces idées se connectent à des processus plus larges de racialisation et de genre. [ABSTRACT FROM AUTHOR]

The music genres reggaeton and dembow have attained worldwide popularity. Their song lyrics and music videos often display sexually explicit contents, conveying the sexual objectification and degradation of women. To test possible effects of this content on sexually harassing behaviour, Dominican males were randomly assigned to watch reggaeton music videos (n = 34), dembow music videos (n = 31) or no videos (n = 32). Afterwards, two forms of sexually harassing behaviour towards a (computer-simulated) woman, gender harassment and unwanted sexual attention, were assessed using a computer chat paradigm. Participants' short-term mating orientation, hostile and benevolent sexist attitudes, acceptance of modern myths about sexual aggression (AMMSA), music preferences and previous exposure to sexist music were also assessed. Results did not show any effects of the music video manipulation on harassing behaviour but revealed correlational links among music preferences, short-term mating orientation, AMMSA, sexist attitudes and displays of unwanted sexual attention. Results are discussed in relation to previous research on the effects of music and attitudinal predictors of sexual harassment conducted in Europe and the USA. [ABSTRACT FROM AUTHOR]

This article describes how videoclips can be used to re-signify a song and even a music genre. Reggaeton is a music style with almost thirty years in the music market. It has been considered a symbol of sexism due to its lyrics and videos that present male artists in hedonistic situations where women are shown as pleasure objects. In 2019, Bad Bunny launched the videoclip of the song Caro. Presenting a visual narrative that shows a girl playing the role of the singer, this video contributed to change the sexualized image of women in this music style. Through the images, the video tells a story of inclusion and redemption from historically discriminated communities. This visual narrative, at some point unlinked to the original song and genre, has positioned this artist as an important referent of the LGBTQ+ community and has relaunched reggaeton as a genre with which people of these communities identify and share values. In order to understand this phenomenon, and based on the media models of Lars Elleström, Nicholas Cook, and other authors, we present an analysis of the videoclip Caro considering the interaction of music, lyrics, and visuals. From this analysis, it is possible to assert that music videos can be rich and complex forms of mediality. By implementing changes in the semiotic modality, the video clip of Caro overlaps and creates media integration; which according to Elleström "is the fundamental condition for mediality as such." Thanks to manipulation during media integration in video clips, artists re-signify and adapt their products to current social requirements even without changing the music and lyrics of their songs. [ABSTRACT FROM AUTHOR]

This essay explores how popular culture depicts the distorted historical narrative and classist cultural schemes built by the capitalist-colonial system, the state institutions, and the dominant elites in Puerto Rico. It does so by analyzing a lyrical battle or tiraera between urban music exponents Residente and Tempo, who in the process, give a voice to two different marginalized sectors they identify with. In the case of Residente, he is an open defender of the vilified and persecuted pro-independence Puerto Rican movement, while Tempo describes himself as a man who grew up in an underprivileged and poor environment. Yet despite their attempt to challenge the status quo, the tiraera of both artists nevertheless reproduces some of the dominant cultural hegemonic discourses. On the one hand, Tempo perpetuates the vilifying discourse encouraged by the colonial government against pro-independence political dissent in Puerto Rico, and on the other, Residente attacks his counterpart by validating the canonical norms imposed by a Eurocentric-conservative academia and middle-class values. My argument asserts that the exchange between the artists mirrors how popular culture displays the complexities and contradictions of the capitalist-colonial system and the elitist cultural hegemony, while challenging the homogenizing narrative perpetuated by the status quo. Therefore, this war of rhymes, as many other popular expressions, works as a historical document that allows us to explore the current Puerto Rican socio-political context from the perspective of the excluded and the silenced. [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.)

Based in a sociophonetic analysis of lyrics performed by eight male Reggaeton artists of Puerto Rican origin, this study combines raciolinguistic and variationist frameworks to examine the frequency of occurrence and underlying linguistic, musicological, and poetic factors conditioning the distribution of the lateral variant of syllable- and word-final alveolar tap /ɾ/. Given that this trait is regarded as a distinctive characteristic of Puerto Rican Spanish capable of indexing in-group membership alongside positive assessments of Puerto Rican national identity, the study explores the implementation of this feature in popular performances of Puerto Ricanness in the context of global Latin Urban Music (Delgado Díaz et al. 2021, Medina Rivera 1997, Valentín Márquez 2015).The results show that lateralization is more frequently used by contemporary reggaetoneros like Bad Bunny and Ozuna, whose professional careers began in an era in which Reggaeton enjoyed global accessibility, contrasted to the pioneering artists of the genre such as Daddy Yankee and Nicky Jam, who use the variant significantly less frequently. Additionally, the results suggest that, while the most recent tracks performed by newer artists exhibit the highest rates of occurrence, the inverse is true for artists whose careers began in the early 2000s before the global consumption of Reggaeton, who are documented as decreasing use of [l] in what is interpreted as an attempt to distinguish their works from younger performers. This work contributes to the growing literature regarding the linguistic construction of performative identities permeating the popular music industry, offering insight into the racialization of [l] as a distinct Puerto Rican feature relative to expressions of ethnonational pride

Este artículo trata del framing lingüístico de Medellín como ciudad del reggaetón en el discurso mediático en línea, partiendo de la teoría de semántica de esquemas (frame semantics theory) de Fillmore (1977). Los esquemas más destacados que se aplican a Medellín son los de centralidad, casa y música, mientras su importancia global como centro musical se enfatiza con términos pertenecientes al esquema mundo. El uso de los esquemas de crimen y drogas sugiere que el pasado de Medellín relacionado con las drogas se integra en su nuevo perfil cultural. Otro componente de la imagen nueva de Medellín son los habitantes de la ciudad: los medios los presentan como seguidores importantes de los/las reggaetonero/as locales y los describen con un vocabulario claramente positivo que pertenece a los esquemas de amor, apoyo y casa. Aunque algunos de los textos analizados evocan estereotipos negativos sobre el reggaetón, la mayoría de los medios presentan la escuela reggaetonera de Medellín a través de los esquemas de éxito, poder y negocio.

Reggaeton music influences the vision and values of school-age adolescent students. This research work focused on analyzing the texts and, therefore, the values and ideology that reggaeton songs convey. Through the methodology of CDA (Critical Discourse Analysis) and the MAXQDA software, the ideological axes of the discourse of the 64 most listened to songs composed and sung by men have been studied to find out if they contribute to the promotion of equality or, on the contrary, reinforce sexist stereotypes. Although the results of the analysis are contrasted with other positions that defend a liberating and rebellious reggaeton, even feminist and empowering, it is concluded that the most commercial reggaeton, which is most reproduced on social networks and the media and mainly reaches adolescents, recovers and reproduces the most traditional stereotypes of machismo. For this reason, it is considered necessary that the formal educational space incorporates a critical view of these products of the cultural industry that powerfully influence youth and establish a part of their referents and values.

Copyright of Borealis: An International Journal of Hispanic Linguistics is the property of Nordic Council for Reindeer Husbandry Research 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 work deals with a study of anglicisms present in the composition of the musical text of reggaeton genre in the province of Santiago de Cuba. Its main objective is to demonstrate the effectiveness of the linguistic analysis of anglicisms in songs of this musical genre. The novelty of the article lies in the integration of formal, semantic and sociocultural levels, applied to English terms present in the selected discourse, which allows teachers the use of this knowledge to contribute to the aesthetic-humanistic training in foreign language students. [ABSTRACT FROM AUTHOR]

The purpose of this study is to increase the development possibility of K-pop music by analyzing K-pop music and analyzing the use of world music in it. As a research method, we will first look at the world music elements Puerto Rico's reggaeton, Jamaica's toasting, and the melody of Indian music. After that, we analyze two songs, Hyo-yeon's and Hyun-A & Dawn's , with rhythm and melody elements to find out the utilization of World Music. As a result of the study, it was found that it rhythmically showed the type of Dembow rhythm derived from Puerto Rico's reggaeton, and melody followed the form of Jamaican toasting and the melody of Arabic music. This study is meaningful in presenting the possibility of development and various directions of K-pop in the future by analyzing the use of world music used in K-pop music. Through the convergence of various world music and K-pop, I hope that K-pop music will become a culture that is supported by a wider public. [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.)

Music can influence many facets of the personal and social life of young people, promoting the construction of common identities. In recent years, reggaeton has gone from being an expressive phenomenon of popular sectors to becoming a global sign of youth identity. Studies on reggaeton and youth have focused on investigating the supposed negative effects that listening to this type of music could have on the young population. But we also find proposals that highlight alternative readings to assess the gender issue in reggaeton. Our study resumes the analysis of the production of different focus groups with young people that have allowed us to explore the construction of gender relations among reggaeton consumers. We have identified three discursive repertoires that highlight the viral character of reggaeton, its educational capacity and the possibility that, paradoxically, it could become a feminist vehicle. [ABSTRACT FROM AUTHOR]

This paper explores the notion of myth and social imaginary as manifested in the figures of Bad Bunny (1994- ) and Johann Sebastian Bach (1685-1750). Bad Bunny has been identified as the depositary of an imaginary that puts reggaeton as a musical genre that marks the moral decadence of the culture. Bach, by contrast, leads the canon of composers who make classical music a paradigm of cultured and elaborate musical art. The reflection suggests that both representations are part of a mythology that hides complex issues such as class discrimination and violent cultural hegemonies. The conclusions point to the demystification of both musicians as a strategy to not only appreciate their music in a more balanced way, but also to address social issues without the fanaticism that both musical communities promote in their myths. [ABSTRACT FROM AUTHOR]

This study took place in Habana, Cuba over approximately 1 year, wherein the researcher collaborated with Reggaeton artists. While scholarship in multimodality has explored its potentials for literacy pedagogy, developing new literacies, and expanding identity possibilities, less research has focused on the creation of the spaces, tools, and resources required for composing multimodal products and on the liberatory dimensions of multimodality. This study highlights the backstories of these production processes, including the innovative use(s) of spaces and tools, the resources leveraged in order to construct and distribute multimodal media, and the ways artists made meaning together. The findings elucidate the ways the artists leveraged their ingenuity, collaboratively developed digital literacy practices, and produced multimodal texts to create new possibilities. [ABSTRACT FROM AUTHOR]

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.)

The purpose of this study is to analyze the music of the Moombaton genre and to find out the characteristics of Jamaican music in it. I analyzed Lewis Poncy's and BTS's rhythmically, melodically and instrumentally to find the characteristics of Jamaican music. As a result, the rhythm features a Dembow rhythm and reggae rhythm derived from traditional Jamaican music. and As a feature of the melody, toasting, a unique Jamaican expression method, was used. Instrumental features include Latin American percussion, South American melodic instruments, and the use of tr-808. This study is meaningful in creating another fusion genre by finding the elements of Jamaican music in the current popular genre of EDM. [ABSTRACT FROM AUTHOR]

This article explores the feminist potential of the Spanish 'reggaeton' movement led by young women through the song lyrics and public discourses of artists Brisa Fenoy, Ms Nina and Tremenda Jauría. These three singers and composers have been categorized as belonging to reggaeton genre, in a context in which Feminism is widespread among young people in Spain. Reggaeton is commonly considered (both in popular culture and academic studies) a sexist musical style, inherently male-centred in the way its songs and its 'perreo' dancing style are performed, and also in the pleasure provided to their audiences. Three feminist music projects from diverse backgrounds give voice to the artists themselves and use this music style as a parody and as a way of responding to everything they dislike about reggaeton and society, while at the same time resignifying this music genre and opening up an opportunity to deliver a feminist message. [ABSTRACT FROM AUTHOR]