The Role of Women in Music Production in Spain During the 1960s: Maryní Callejo and the “Brincos Sound” (original) (raw)
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Popular music in Spain: current lines of research and future challenges
2020
Popular music studies in Spain already have a longstanding history. Their roots are to be found in the academic activity of the 1990s, especially within musicology, anthropology and communication studies. Since then, numerous lines of research have been developed, from the study of local pop rock to the connection of musicology with feminism and queer studies. The intrinsic multidisciplinary nature of popular music studies has facilitated the emergence of many different discussions, in particular the one related to current cultural and social transformations.
Spanish Popular Music through Latin American eyes
En Silvia Martinez y Héctor Fouce (eds). Made in Spain. London and New York: Routledge. Pp. 187-195., 2013
The relationship that Spain has with its ancient colonies in Latin America is a complex one. Unlike the relationship that the United States has with Australia and United Kingdom, for instance, Spain is not a military ally of any of the big Latin American countries. Commercial exchanges are perceived by the common citizen as an affair of the economical elites and the presence of Spanish banks and corporations are seen suspiciously as a neocolonial activity. Asymmetrical economic relations make that immigrants from Latin American countries to are mostly unqualified workers while Spaniards travelling to the Americas do so in search of exoticism or commercial advantages […] Independently of the above considerations, the fact of sharing a common language has facilitated the consumption of cultural products such as literature, music, cinema and television series on both sides without regard to their provenance. Only the characteristics of the product and the entertainment or satisfaction value they offer counts. We have a situation where a web of complex and paradoxical relationships oscillates between the recognition of a common culture and the need of asserting historical differences. It is in this unstable scenario that the diffusion, reception and consumption of Spanish urban popular music takes place. Perhaps for this reason many songs produced in Spain have not been really understood in Ibero-America. Nevertheless some of them have been cultural and vital landmarks for thousands of individuals. They have been a defining element in the mechanisms of construction of the identity and the subjectivity of successive generations in sundry social groups. They are an integral part of the private life of many individuals and of the history of Latin American music. In this article I shall examine some facets of this complex relationship. I will emphasize above all, the processes and types of transnationalism of Spanish music in Latin America in cases that go from the reproduction of stereotypes of Spanish culture to the constitution of real transnational musical scenes lacking any marks of national culture and sharing a mental imagery and worlds of signification.
"From the end of the 1950s on, Spain starts a new approach to Latin America coinciding with the opening of the Franco´s Regime to the world, producing a renewal of the concept of the Hispanic identity and the promotion of a cultural legacy supposedly uniform. During the decade of the 1960s, different official initiatives in the field of music were held in Madrid, such as the celebration of the I International Biennial of Contemporary Music (1964), the celebration of the XXXIX SIMC Festival (1965) and especially the organization of the American and Spanish Music Festival (1964-1970). The eclectic orientation of these encounters would allow young spanish composers to have a first-hand experience of the wide musical reality coming from the countries the other side of the Atlantic. At the same time, they also let the Regime focus on representative figures of the Spanish tradition, originating a cultural and ideological clash, which was reflected in the musical critic of the time. This paper will study the reception of the diverse American vanguard currents in this precise period, and the use that both sides made of terms such as Nationalism, Universality, Tradition and Vanguard. We will analyse the programme of the Festivals, the opinion of the composers implied in them, and their impact recorded in diverse periodical publications. Thus, our intention is to deepen in the state in which the Spanish musical scene was immersed in the 1960s and its complex relationship with the official cultural orientation promoted by the Regime."
This paper provides an approach to the aesthetic canon of Spanish pop-rock, which is understood as being the musicians, bands and works which have had the most influence on this musical genre in Spain. Using Bourdieu’s sociology of art and its application to popular music studies, surveys have been analysed that were carried out by both Spanish music critics and musicians. The hypothesis posed is whether an autochthonous aesthetic canon exists, and whether this is determined by an Anglo-American influence. From lists or rankings published whether in books or in general or specialist magazines, these data were combined to obtain a meta-ranking, which was tested by using certain statistical tests. From this, some characteristics particular to the Spanish aesthetic canon have been obtained, as well as some which are shared with the English-speaking canon.
University of Westminstr - PhD Thesis, 2019
This attempt at writing a social history of recording and sound technology industries from 1949 to 1963, focuses on the relations between different kinds of players intertwined in the sphere of domestic production of records and local assembly of sound hardware in Colombia. It departs from unpacking the idea of a Golden Age in reference to the period of study, in order the describe and analyse the period through evidence collected during rigorous, systematic and exhaustive archive work, including journalistic and institutional primary sources of various kinds, and qualitative as well as quantitative data. The analysis is guided by a social history work plan delineated by Eric Hobsbawm, which begins by sketching a picture of the relational complex studied and understanding its movement through time, is followed by the abstraction of patterns of change and continuity, and finally by the analysis of social tensions involved in the historical process. The work gives special attention to: changes in mode of production when contrasting the 1949-1963 era with the previous two decades; gradual changes in mode of production during the 1950s; changes associable to effects of a mid1950s economic crisis in the country; the relations between key cities Medellín, Bogotá, Cartagena and Barranquilla; and to the different sorts of tensions between players related to the sphere of production.
Dance reggaeton like you own it: The political aesthetics of neoperreo in contemporary Spain
In my paper I will explore the reception of reggaeton and Caribbean music in Spain during the XXIst century. This reception has suffered a dramatic turn in the last decade. From its origins in the late nineties in Puerto Rico, reggaeton quickly expanded overseas and became widely popular on the peninsular context. Famous Puerto Ricans reggaeton stars as Daddy Yankee or Don Omar became familiar for the general audience and the rhythms of this particular genre of Caribbean music was incorporated into the Spanish sound. This integration of reggaeton into Spanish music became twofold, showing the conflictual relation that the contemporary Spanish national identity has regarding its history of colonization in America: while on the one side reggaeton seemed to appeal to the Hispanic or latino essence of the country making Spanish people embrace reggaeton as something owned and distinctive of Spain´s national character; reggaeton on the other side was considered to be as a degrading and cheap style of music related with low forms of culture due to its latino origins. This way, although reggaeton was the most common sound in most radios and night clubs during the decade of the 2000s, it was pretty uncommon to see a Spanish artist singing reggaeton or defining his music as close to reggaeton even if there was a clear influence. In the last years, however, the contradictive relation of Spanish culture with reggaeton has suffered a critical change thanks to the appearance of young Spanish artist who have considered a different approach in their relation with latino music. Young rappers as Ms Nina, Kaydy Cain or C. Tangana have openly defined their music as latina coining the term neoperreo, which alludes to a revival of old school reggaeton in the Spanish music. On my paper I will try to analyze the political aesthetics of these new artists in relation with the politics of identity in Spain. My analysis of this new musical phenomenon will show the appearance of a new identity between Spanish millennials which emerges in the context of the neoliberal crisis of the Spanish state and seeks to negotiate new ways of relating with Latinoamerica.