THE FORM OF SENSUALITY IN HISPANIC MUSIC IN AMERICAN MUSIC INDUSTRY: DISCOURSE ANALYSIS ON AMERICAN POPULAR MUSIC

https://doi.org/10.22146/rubikon.v7i1.62512

Maria Elfrieda C.S.T(1*), Ida Rochani Adi(2)

(1) 
(2) Universitas Gadjah Mada
(*) Corresponding Author

Abstract


In 2017 and 2018, Hispanic music reaches high popularity as world music. The reaction came from the American music industry, seen through the production of Hispanic music in American music industry, which brings Hispanic music as a part of American popular music. In this case, American popular musicians started to produce music that contains Hispanic music characteristics. Among all of the characteristics, the form of sensuality becomes a significant aspect in producing Hispanic music, even in American music industry. In relation to this fact, this research is conducted in order to see how the form of sensuality supports the popularity of Hispanic music. The theory of Discourse Analysis by Michel Foucault is applied to analyze sensuality as adiscourse behind the popularity of Hispanic music. As a research conducted within the frame of American Studies, this research also usesthe postmodern approach to see the new formula related to the form of sensuality in Hispanic music, especially when produced in the American music industry.

Full Text:

PDF


References

(2018) “‘Say My Name’ David Guetta, Bebe Rexha & J Balvin.” Billboard. Retrieved from www.billboard.com/music/david-guetta/chart-history/DAN/song/1097821.

(2018). “‘Goodbye’Jason Derulo X David Guetta Featuring Nicki Minaj & Willy William.” Billboard. Retrieved from www.billboard.com/music/jason-derulo/chart-history/BEL/song/1095776.

Andaluz, El Palacio. (2019 September, 26). “The Voice in Flamenco Singing.” El Palacio Andaluz. Retrieved from elflamencoensevilla.com/en/voice-in-flamenco-singing/.

Andersen, Margaret L., and Howard Francis Taylor. (2008). Sociology: Understanding a Diverse Society. Wadsworth/Thomson Learning.

B, Cardi. “Cardi B, Bad Bunny & J Balvin - I Like It [Official Music Video].” (2018 May, 29). Youtube. Retrieved from https://www.youtube.com/watch?v=xTlNMmZKwpA

Baldissarri, Cristina, et al. (2019 August, 8). “So Self-Objectified Women Believe Themselves to Be Free? Sexual Objectification and

Belief in Personal Free Will.” Frontiers in Psychology, 10(1867). Retrieved from www.frontiersin.org/articles/10.3389/fpsyg.2019.01867/full.

Bandit, Clean. (2018 November, 2). “Baby (feat. Marina & Luis Fonsi) [Official Video].” Youtube. Retrieved from https://www.youtube.com/watch?v=hlznpxNGFGQ

Bear, Poo, et al. (2017 April, 17). Luis Fonsi & Daddy Yankee (Ft. Justin Bieber) – Despacito (Remix).” Genius. Retrieved from genius.com/Luis-fonsi-and-daddy-yankee-despacito-remix-lyrics.

Brooks, Dwight E., and Lisa P. Hébert. (2006). “Gender, Race, and Media Representation.” The SAGE Handbook of Gender and Communication, edited by Julia T. Wood and Bonnie J. Dow, Sage Publications. 297–318.

Campos, Darshan Elena. (2005). “Albita’s Queer Nations and U.S. Salsa Culture.” Beyond the Frame: Women of Color and Visual Representation, edited by Neferti X. M. Tadiar and Angela Y. Davis, Palgrave Macmillan. 49–60.

Cepeda, Eduardo. (2018 August, 8). “Latin Trap Rapper Bad Bunny Is Redefining Masculinity In A Genre Steeped In Machismo.” WBUR, WBUR. Retrieved from www.wbur.org/artery/2018/08/08/latin-trap-bad-bunny-masculinity.

Dais, Jessica. (2019 March, 8). “What Is Timbre in Music and the Voice? Why Is It Important?” TakeLessons Blog. Retrieved from takelessons.com/blog/what-is-timbre-in-music-z02/.

Darville, Jordan. (2017 August, 31). “Here Are Spotify's Most Streamed Songs Of Summer 2017 In Playlists.” The FADER, The FADER. Retrieved from www.thefader.com/2017/08/31/spotify-most-streamed-songs-of-summer-2017-playlist.

Deveaux, Monique. (1994). “Feminism and Empowerment: A Critical Reading of Foucault.” Feminist Studies, 20(2), 223–247. Women's Agency: Empowerment and the Limits of Resistance.

Foucault, Michel, and Gilles Deleuze. (1980). “Intellectuals and Power.” Language, Counter-Memory, Practice: Selected Essays and Interviews, edited by Donald F. Bouchard, translated by Donald F. Bouchard and Sherry Simon, by Michel Foucault, Cornell Univ. Press. 205–217.

Foucault, Michel. (1977). Discipline and Punish: The Birth of the Prison. Vintage Books.

Genius. (2017 May, 19). “Luis Fonsi "Despacito" Official Lyrics & Meaning | Verified.” Youtube. Retrieved from https://www.youtube.com/watch?v=t9OKlHH6BwM

Gill, Rosalind. (2007 May, 1). “Postfeminist Media Culture: Elements of a Sensibility.” European Journal of Cultural Studies, 10(2), 147–166. Retrieved from journals.sagepub.com/doi/10.1177/1367549407075898.

He, Richard S. (2020 January, 9). “Selena Gomez's Road to 'Rare': How Pop's Quietest Singer Began to Raise Her Voice.” Billboard. Retrieved from www.billboard.com/articles/columns/pop/8547671/selena-gomez-rare-career-review.

Herman, James Patrick. (2019 November, 27). “Hitmaker of the Month: How Geffen's Neil Jacobson Took 'Taki Taki' to the Finish Line.” Variety, Variety. Retrieved from variety.com/2019/music/news/dj-snake-taki-taki-selena-gomez-ozuna-cardi-b-about-the-hit-song-1203113681/.

King, Angela. (2004). “The Prisoner of Gender: Foucault and the Disciplining of the Female Body.” Journal of International Women's Studies, 5(2), 29–39.

Kingz, Weezy, et al. (2018 April, 6). “Cardi B, Bad Bunny & J Balvin – I Like It.” Genius. Retrieved from genius.com/Cardi-b-bad-bunny-and-j-balvin-i-like-it-lyrics.

Larson, Stephanie Greco. (2006). Media & Minorities: The Politics of Race in News and Entertainment. Rowman & Littlefield.

Lopez, Jennifer. (2018 May, 24). “Dinero ft. DJ Khaled, Cardi B.” Youtube. Retrieved from https://www.youtube.com/watch?v=aEM2kOrrNJI

Luis Fonsi. (2017). “Despacito – Remix.” Despacito Feat. Justin Bieber (Remix), Republic Records (RBMG/Def Jam Recordings), Spotify. Retrieved from https://open.spotify.com/album/3Gq2Dme9nesdgoqNNlcN8O

Madanikia, Yasaman, and Kim Bartholomew. (2014 July, 1). “Themes of Lust and Love in Popular Music Lyrics from 1971 to 2011.” SAGE Open, 4(3). Retrieved from journals.sagepub.com/doi/10.1177/2158244014547179.

Mitchell, John, et al. (2017 March, 10). “Pitbull & J Balvin (Ft. Camila Cabello) – Hey Ma (Spanish Version).” Genius. Retrieved from genius.com/Pitbull-and-j-balvin-hey-ma-spanish-version-lyrics.

Mohombi, et al. (2017 September, 28). “J Balvin & Willy William (Ft. Beyoncé & Blue Ivy Carter) – Mi Gente (Beyoncé Remix).” Genius. Retrieved from genius.com/J-balvin-and-willy-william-mi-gente-beyonce-remix-lyrics.

Molanphy, Chris. (2018 January, 27). “America's New No. 1 Song Is the ‘Crazy in Love’ of Its Moment.” Slate Magazine, Slate. Retrieved from slate.com/culture/2018/01/why-camila-cabellos-havana-is-no-1-on-the-hot-100.html.

Music Business Worldwide. (2017 July, 20). “Despacito Storms Past 5bn Streams Milestone as Latin America Takes Flight.” Music Business Worldwide. Retrieved from www.musicbusinessworldwide.com/despacito-storms-past-5bn-streams-milestone-latin-america-takes-flight/.

Negrón-Muntaner Frances. (2004). Boricua Pop: Puerto Ricans and the Latinization of American Culture. New York Univ. Press.

Nija, et al. (2017 November, 17). “Flo Rida (Ft. Maluma) – Hola.” Genius. Retrieved from genius.com/Flo-rida-hola-lyrics.

Pérez Louis A. (2012). On Becoming Cuban: Identity, Nationality, and Culture. University of North Carolina Press.

Pitbull, J Balvin. (2017 March, 10). “Hey Ma ft Camila Cabello (Spanish Version | The Fate of the Furious: The Album). Youtube, uploaded by Warner Música. Retrieved from https://www.youtube.com/watch?v=UWLr2va3hu0

Pump, Lil. (2018 November, 16). “XXXTENTACION & Lil Pump ft. Maluma & Swae Lee - "Arms Around You" (Official Music Video).” Youtube. Retrieved from https://www.youtube.com/watch?v=tLNOce4Y4uc

Rapir, Jess. (2020 March, 27). “Camila Cabello, Ariana Grande Different Speaking And Singing Voices Explained.” Business Times, Business Times. Retrieved from www.btimesonline.com/articles/129261/20200327/camila-cabello-ariana-grande-different-speaking-and-singing-voices-explained.htm.

Riley, Sarah, et al. (2008). “A Critical Review of Postfeminist Sensibility.” European Journal of Cultural Studies, 10(2), 147–166.

Robinson, Peter. (2017 November, 11). “‘Whisperpop’: Why Stars Are Choosing Breathy Intensity Over Vocal Paint-Stripping.” The Guardian, Guardian News and Media. Retrieved from www.theguardian.com/music/2017/nov/11/whisperpop-why-stars-choosing-breathy-intensity-over-vocal-paint-stripping.

Sabath, Mike, et al. (2018 April, 20). “Liam Payne & J Balvin – Familiar.” Genius. Retrieved from genius.com/Liam-payne-and-j-balvin-familiar-lyrics.

Sowell, Gary. (2014). Afro Latin Rhythm Romance Dance. AuthorHouse.

Wong, Brittany. (2020 April, 15). “Here's What Makes A Voice Sexy (Or Deeply Unsexy).” HuffPost, HuffPost. Retrieved from www.huffpost.com/entry/sexy-voice-science-men-and-women_l_5d1bba71e4b07f6ca5857392.



DOI: https://doi.org/10.22146/rubikon.v7i1.62512

Article Metrics

Abstract views : 1162 | views : 908

Refbacks

  • There are currently no refbacks.


Copyright (c) 2020 Rubikon : Journal of Transnational American Studies

Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Indexed by:

   Crossref Google Scholar JournalStories Main logo  OAI logo  

View My Stats

ISSN & E-ISSN