Academic literature on the topic 'Latin pop (Music)'

Luis Fonsi and Daddy Yankee’s song “Despacito” shattered numerous records to become one of the most successful Spanish-language songs in U.S. pop music history. Declared 2017’s “Song of the Summer,” the “Despacito” remix featuring Justin Bieber prompted discussions about the racial dynamics of crossover for Latin music and Latina/o artists. However, little attention was paid to the ways that “Despacito”’s success in the Latin music market demonstrated similar racial dynamics within Latin music, especially in the song’s engagement with reggaeton, a genre originally associated with Black and working-class communities. This paper examines the racial politics that surround “Despacito”’s success in both the Latin mainstream and the U.S. mainstream. We argue that “Despacito” reinforces stereotypes of blackness in the Latin mainstream in ways that facilitate reggaeton’s crossover. In turn, Fonsi himself becomes attributed with similar stereotypes, especially around hypersexuality, that represent him as a tropical Latina/o racialized other in the United States. Through close readings of media coverage of “Despacito” alongside the song’s music video, we argue that it is critical to look at “Despacito”’s success in both the Latin mainstream and the U.S. mainstream in order to examine the complex and contradictory process of crossing over.

Since the beginning of the last century, Latin American music has been succes in the U.S. music industry because its intrinsic musical characteristics and its involvement within the film industry. Through the U.S. and Europe, it has been influencing popular music around the world; including Indonesia, Malaysia, Singapore, and India, countries that also contributed to the diffusion of Latin styles in Indonesia. The corpus of original works of Indonesian-Latin music is quite huge and has great quality; particularly audio recordings done in the 1950s and 1960s that mixed Latin, Western, and regional musical elements to create new musical forms know as lagu daerah (regional songs) and pop daerah (regional pop). This article aims to provide some understandings of this complex diffusion process utilising mainly a bibliographical research method (books, journals, digital news, etc.), interviews, and listening-based information from old audio recordings. My hipothesis is that Latin American music has been well accepted in Indonesia, espetially in Java and Sumatra, due to historical crossroads that spread musical and cultural similarities in both regions. In order of its importance in Indonesian-Latin music, these are: the conection of Asia and America during the Spanish, Portugal, and Holand colonial era; the Islamic influence in Indonesia, India, Malaysia, and the Iberic peninsula; the influence of Dutch music in Indonesia and German music in Latin America; the role of African music in Latin America and the probable two side influences between Africa and Indonesia; and the inmigration to Amerika from Nusantara-Oceania sailors in prehistoric times.

Abstract Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. The case of the Middle Ages shows that religious control over Latin led to a massive unintelligible experience of ritual singing, which reflected a strong class divide and created a demand for music rituals in vernacular languages. In the case of contemporary French popular music, asemantical practices of language are employed by artists in order to explore alternative, sacred dimensions of language that challenge nationhood.

Investigating why Latin American music came to be the sound-track of the independence era, this contribution offers an overview of musical developments and cultural politics in certain sub-Saharan African countries since the 1960s. Focusing first on how the governments of newly independent African states used musical styles and musicians to support their nation-building projects, the article then looks at musicians’ more recent perspectives on the independence era.

This article has examined how the Hallyu phenomenon is integrated into a transnational global cultural landscape, focusing on Chilean reception of K-pop. It analyzed how Hallyu fans engage with a social media-saturated environment in Chile, mapping out transnational pop cultural flows within the digital media environment through which the participatory culture of media users is spread. What is interesting is that Chilean society, in general, shows negative attitudes toward K-pop fans. More importantly, while many Chileans consider K-pop fans weird and strange, often disparaging their family members and friends for liking such music, the marginalization of K-pop fans in Chile promotes a greater sense of bonding among them through the affinity spaces of social media. Under this circumstance, most of our interviewees explained that digital media plays a vital role in the dissemination of K-pop in Chile and Latin America. Unlike Hallyu fans in other regions, K-pop fans in Chile have developed cultural intimacy specific to digital site-media, primarily in the realm of social media, and K-pop generates the creation of affinity spaces via different social media platforms.

Historian Eric Zolov writes about rock music, the “global sixties” and other pop culture topics in Mexico and Latin America. As editor of Iconic Mexico he and seventy-three other scholars present 100 “of the most iconic elements of Mexican history, culture and politics” (xi). The topics range from the globally familiar (Tequila, Bullfighting, Chile Pepper, Gringo) to the exotic and muy mexicano (Lucha Libre, Malinche, Superbarrio, Jesus Malverde).

AbstrakDalam dunia yang berkembang pesat, media audio semakin komplek. Karena itulah diperlukan sebuah mekanisme penentuan jenis lagu (genre) yang tepat secara efektif dan efisien. Pencarian secara manual sudah tidak efektif dan efisien lagi karena banyaknya data yang tersimpan. Zero Crossing Rate (ZCR), Average Energy (E) dan Silent Ratio (SR) adalah 3 Feature Extraction yang digunakan untuk klasifikasi pencarian 12 genre.Tiga dimensi adalah bentuk visualisasi pengukuran tingkat kemiripan sebuah data berdasarkan hasil klasifikasi yang diinput oleh user. Dalam penelitian ini pengujian klasifikasi menggunakan metode 3, 6, 9 dan 12 genre melalui jarak terdekat (Euclidean Distance). Hasil pengujian yaitu menunjukkan bahwa 3 genre yaitu Balada, Blues dan Classic menunjukkan = 96,67%, 6 genre yaitu Balada, Blues, Classic, Harmony, Hip Jop dan Jazz menunjukkan = 70% dan 9 genre yaitu Balada, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin dan Pop menunjukkan = 53,33% serta 12 genre = 33,33% Kata Kunci— Zero Crossing Rate (ZCR), Average Energy (E), Silent Ratio (SR), Euclidean Distance Abstract Music genre is getting complex from time to time. As the size of digital media grows along with amount of data, manual search of digital audio files according to its genre is considered impractical and inefficient; therefore a classification mechanism is needed to improve searching. Zero Crossing Rate (ZCR), Average Energy (E) and Silent Ratio (SR) are a few of features that can be extracted from digital audio files to classify its genre. This research conducted to classify digital audio (songs) into 12 genres: Ballad, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin, Pop, Electronic, Reggae and Rock using above mentioned features, extracted from WAV audio files. Classification is performed several times using selected 3, 6, 9 and 12 genres respectively. The result shows that classification of 3 music genres (Ballad, Blues, Classic) has the highest accuracy (96.67%), followed by 6 genres (Ballad, Blues, Classic, Harmony, Hip Hop, Jazz) with 70%, and 9 genres (Ballad, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin, Pop) with 53.33% accuracy. Classification of all 12 music genres yields the lowest accuracy of 33.33%. Keywords— Zero Crossing Rate (ZCR), Average Energy (E), Silent Ratio (SR), Euclidean Distance

The article discusses the phenomenon of the emergence of modern fusion musical style (English fusion – «alloy», «melting», «mixture»), as an organic combination of various styles and directions of pop-jazz-rock cultures, as well as a creative search for a musical dialogue with traditions and various genres of academic, ethnic and folk music of the countries of Asia, Africa, Europe, Latin America, as the basis of fusion style is the support for combining elements of traditions of different musical cultures.