Evolución de la heteronormatividad a partir de una categorización de los estereotipos de género. Análisis de los videoclips musicales más populares

Representations of masculinity and femininity within the most listened-to commercial music and its evolution, based on a system of our own elaboration of 11 analytical categories of gender stereotypes that explore gender binarism, are examined. In so doing, qualitative and quantitative content analyses of 50 video clips of the most listened-to songs in two periods (2009 and 2019) are carried out. From a post-feminist critical perspective (Gill, 2007, 2017), the study verifies that gender binarism is maintained over time, albeit with important nuances in both years. The results conclude that the most prominent stereotypes are Western hegemonic femininity, associated above all with romantic narratives (mainly in 2009), and Western pariah femininity including dialogs with elements of greater sexualization (especially in 2019). On the other hand, Western Protestant masculinity is present in most of the songs associated with musical genres such as rap or hip-hop, in both periods; while Occidental assured masculinity, which is evident in 2019, is associated with the need to maintain the heteronormative and hegemonic representation of masculinity, even when not fitting the sexuality of the artist. The article concludes that, in ten years, there is an evolution of the heteronormativity among the most popular music videos, where dominant masculinity stereotype continues to be the heterosexual hegemonic masculinity model, in both the romantic and sexual context, while the representation of femininity shows some confrontation with the traditional model. This study contributes to other work on masculinities and femininities as it establishes categories that may be applied to different cultural products and social realities. Resumen Se examinan las representaciones de masculinidad y feminidad dentro de la música comercial más escuchada y su evolución, a partir de la elaboración propia de un sistema de 11 categorías analíticas de estereotipos de género que exploran el binarismo de género. Para ello, se lleva a cabo un análisis de contenido cualitativo y cuantitativo de 50 videoclips de las canciones más escuchadas en dos cortes temporales (año 2009 y año 2019). Partiendo de la perspectiva crítica postfeminista (Gill, 2007, 2017), se comprueba que el binarismo de género se mantiene en el tiempo, aunque con importantes matizaciones en ambos años. Los resultados concluyen que entre los estereotipos más destacados se encuentran: la feminidad hegemónica occidental, asociada sobre todo a narrativas románticas (principalmente en el año 2009), y la feminidad paria occidental, que dialoga con elementos de mayor sexualización (sobre todo en 2019). Por su parte, la masculinidad protestante occidental se encuentra presente en la mayoría de las canciones de géneros musicales como el rap o el hip hop en ambos periodos de tiempo; mientras que la masculinidad asegurada, que se evidencia en 2019, se asocia con la necesidad de mantener su representación heteronormativa y hegemónica, aunque la sexualidad del artista no encaje en ella. A partir de la muestra analizada, el artículo concluye que, en diez años, ha habido una evolución de la heteronormatividad en los videoclips musicales más populares, donde el estereotipo de masculinidad dominante sigue siendo el modelo de masculinidad hegemónico heterosexual, tanto en el plano romántico como en el sexual; mientras que la representación de la feminidad muestra algunas confrontaciones con el modelo tradicional. El estudio supone una aportación a los estudios sobre masculinidades y feminidades pues establece categorías que pueden aplicarse a diferentes productos culturales y realidades sociales.

Teaching Creativity with Outside-the-Box Projects

The projects in this chapter are designed to teach musical originality. They strike a balance between regimented sequences and playful open-endedness. The goal of the projects is to foster students’ development of their own unique voices by leading them from executing teachers’ instructions to setting and attaining their own creative goals. The projects include unconventional musical forms: untimed abstract soundscapes, vaporwave tracks based on samples of commercial music and advertisements, turning finely edited video clips into a “beatboxed” drum pattern, creating music using samples of existing songs, and, finally, having students design their own projects. Throughout, the aim is to move beyond simply teaching technical skills and toward fostering imaginative thinking, the expression of emotions through sound, authenticity of voice, and irreverence. Another aim is to empower teachers to use tools and techniques unconventionally, and to adapt creative deviation methods to their own project planning and curriculum design.

Jazz without Boundaries

This chapter looks at the spread of jazz—both geographically and institutionally. Almost from the start, jazz seemed destined to travel beyond its birthplace in New Orleans, but the pace of that expansion has accelerated in recent decades. Europe, which once looked to the United States for jazz role models, is increasingly self-sufficient, and other regions are also developing strong, homegrown jazz scenes. At the same time, jazz has broken down other barriers, entering schools and universities, and enjoying the support of influential nonprofit organizations such as Jazz at Lincoln Center. This shift has led to the rise of a new generation of musicians who have learned their craft in formal jazz education programs, and in many instances also teach at them, but also operate with fluency in the world of commercial music and popular culture. Artists discussed in this chapter include Brad Mehldau, Regina Carter, Esbjörn Svensson (and his band e.s.t.), and Joshua Redman.

Across the Great Divide: Popular Music Studies and the Public

This contribution reflects on the historical and present condition of the academic field of popular music studies' relationship to the non-academic public, particularly within the context of increased institutional demands for scholarly ‘public engagement'. I begin by discussing various reasons why a continued, sustained engagement with non-academic voices and communities should remain a central priority of popular music studies. I then move to a discussion of certain vantage points and modes of expertise that popular music scholars can offer to broader musical publics, particularly as relating to the political economy of commercial music media and urgent necessities of historical archiving and preservation. In closing, I argue that a renewed commitment to ‘public engagement' also offers a more robust engagement with our field’s own history, and might serve as a way of honouring its intellectual pioneers, many of whom did foundational work well outside the traditional boundaries of the academy.

Equalizer Elements (Intermediate)

From commercial music production to audio-visual art practices, any sonic creation needs to present a balanced output for an immersive and captivating listening experience. This activity focuses on the frequency domain with equalizer (EQ) to achieve timbres that are precise and balanced. Using a DAW to EQ gives leaners an important tool for creating music, especially in the area of music production. It also encourages the user to experiment with some of the fundamental concepts of EQ for unique results. By engaging in this lesson, students gain experience listening to music not just in terms of pitch and rhythm, but as timbres that are malleable with EQ.

Musicking with Music-Generation Software in Virtutes Occultae

This article explores concepts of compositional meaning that arise from cocreative composing with music-generation software. Drawing from an analysis of the 2017 electroacoustic composition Virtutes Occultae, the composer discusses the implications of computer-generated music for the role of the composer. After an overview of how the music-generation software he developed contributed to the creation of Virtutes Occultae, the composer makes comparisons between his process and the use of generative commercial music software to create music, in order to draw distinctions between creating computer-generated music to extend aesthetic sensibilities and creating computer-generated music that iterates based on established commercial styles. Finally, the composer proposes future paths for further investigation involving the development of new musical styles through computer-generated music and reactive computer improvisation.