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Academic literature on the topic 'Reggaeton songs'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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Journal articles on the topic "Reggaeton songs"

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Noli Peschiera, Alessandra, Derrick Raphael Pacheco, Stephanie Bonilla, and Sindy Chapa. "Rhythm and resonance: An analysis of female representation in reggaeton music." Journal of Cultural Marketing Strategy 9, no. 2 (2025): 183. https://doi.org/10.69554/rnug8987.

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The present study explored how women are represented in the genre of reggaeton music. Employing a quantitative content analysis methodology and based on a sample of reggaeton playlists curated by Spotify, the study analysed the representation of women in the songs in terms of objectification and sexual agency. The results showed that most reggaeton artists were male and a majority of the songs mentioned women in objectifying ways. No significant differences were found between male and female singers in terms of objectifying women. Female artists were, however, significantly more likely than ma

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Vaňková, Pavlína. "Studying the vocabulary of reggaeton song lyrics." Topics in Linguistics 23, no. 2 (2022): 63–88. http://dx.doi.org/10.2478/topling-2022-0012.

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Abstract 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

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3

Araüna, Núria, Iolanda Tortajada, and Mònica Figueras-Maz. "Feminist Reggaeton in Spain: Young Women Subverting Machismo Through ‘Perreo’." YOUNG 28, no. 1 (2019): 32–49. http://dx.doi.org/10.1177/1103308819831473.

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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

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Bastos de Souza, Nathan. "MÁQUINA DE FAZER O MESMO:." Cadernos de Linguagem e Sociedade 21, no. 1 (2020): 158–72. http://dx.doi.org/10.26512/les.v21i1.30963.

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In this paper we studied the discourses about the reggaeton in newspapers of great virtual circulation in Brazil. The theoretical basis is the concept of stereotype developed by Amossy and Pierrot, Gamarnik and Burke and the analysis methodology is based on the indicative paradigm by Ginzburg. We selected some texts that circulated during 2017 in the newspapers Folha de São de Paulo, O Globo and El País. Our analysis allows us to affirm that reggaeton and its singers are stereotyped because there is a crystallized and previous image that links Latin music to sexuality and it induces to devalue

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Rivera-Rideau, Petra, and Jericko Torres-Leschnik. "The Colors and Flavors of My Puerto Rico." Journal of Popular Music Studies 31, no. 1 (2019): 87–108. http://dx.doi.org/10.1525/jpms.2019.311009.

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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 wor

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García Pérez, José. "Hombres, mujeres y reguetón: una aproximación pragmalingüística." Philologica Canariensia, no. 30 (2024) (June 22, 2024): 215–40. http://dx.doi.org/10.20420/phil.can.2024.674.

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This paper focuses on how male reggaeton singers depict women in their songs. Our aim is to find out the features of this depiction and, on the other hand, to compare our results with the results obtained in a previous work of songs of female singers. To make it possible, the pragmatic perspective is adopted as methodological model, to identify which linguistic units are the accurate ones to explain our topic. Thus, the analysis of the most popular male singers in Spain between 2018 and 2021 has revealed that personal pronouns and possessives are the units that indicate how is the conception o

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Díez-Gutiérrez, Enrique-Javier, Eva Palomo-Cermeño, and Benjamín Mallo-Rodríguez. "(In)Equality and the Influence of Reggaeton Music as a Socialisation Factor: A Critical Analysis." Gender Studies 21, no. 1 (2022): 66–85. http://dx.doi.org/10.2478/genst-2023-0005.

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Abstract 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 con

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Campo, Sandra Soler. "An Approach to Reggaeton’s Songs: A Co-Educational and Pedagogical Proposal with Teenagers." International Education Studies 13, no. 7 (2020): 12. http://dx.doi.org/10.5539/ies.v13n7p12.

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Currently there is a great variety of musical styles that coexist in our society. We can access music in very different ways and with immediacy never before imagined. For teenagers, music is a key element in defining their identity, socializing and taking refuge in their inner world.   This communication focuses on the analysis of songs from the Reggaeton music genre and the way in which students receive them. The co-educational proposal carried out in a private secondary school in Barcelona will be explained. Its main objectives will be, on the one hand, to foster a critical spiri

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Loureiro-Rodríguez, Verónica. "Y yo soy cubano, and I’m impatient." Spanish in Context 14, no. 2 (2017): 250–72. http://dx.doi.org/10.1075/sic.14.2.05lou.

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Abstract This article examines Cuban-American rapper Pitbull’s use of Spanish in his seven English albums, drawing from the literature on lyrical code-switching and Sarkar and Winer’s (2006) socio-pragmatic framework for the analysis of multilingual code-switching in Quebec rap. It was found that Pitbull’s highest rates of Spanish language use appear in songs with hegemonic masculinity as main topic, and that Spanish switches are used mostly for emphasis/translation, and for enacting a hypersexual, hypermasculine identity consistent with rap and reggaeton expectations of masculinity. Pitbull’s

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Guerra, Paula, Carles Feixa Pàmpols, Shane Blackman, and Jeanette Ostegaard. "Introduction: Songs that Sing the Crisis: Music, Words, Youth Narratives and Identities in Late Modernity." YOUNG 28, no. 1 (2020): 5–13. http://dx.doi.org/10.1177/1103308819879825.

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In this special edition on popular music, we seek to explore Simon Frith’s (1978, The sociology of rock, London, UK: Constable, p. 39) argument that: ‘Music’s presence in youth culture is established but not its purpose’. ‘Songs that sing the crisis’ captures contemporary accounts, which build upon popular music’s legacy, courage and sheer determination to offer social and cultural critique of oppressive structures or political injustice as they are being lived by young people today. Young people have consistently delivered songs that have focused on struggles for social rights, civil rights,

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Books on the topic "Reggaeton songs"

1

Tomas, Zaker Zaker. Bad Bunny Songs Coloring Book: Join the Legendary Latin Trap and Reggaeton Star Show Through Stunning Pages of Bad Bunny All the Songs Coloring Book. Independently Published, 2020.

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Arcángel. Sentimiento, elegancia & maldad. 2013.

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Book chapters on the topic "Reggaeton songs"

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Torres-Toukoumidis, Angel, Cristian Orlando Coronel Quezada, Jenny Pontón, and Isidro Marín-Gutiérrez. "Computational Analysis of Latin Music Songs Through Tokenization. Case of Female Artists and Reggaeton." In Communication and Applied Technologies. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6347-6_47.

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Hamessley, Lydia R. "New Perspectives on “Jolene”." In Dolly Parton's Jolene. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197760345.003.0008.

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Abstract There are over 200 covers of “Jolene.” This chapter explores six examples. Mindy Smith’s recording is inspired by the mountain music sounds that recall Dolly’s musical heritage. Her cover was purported to be Dolly’s favorite. The chapter then considers examples in which artists reimagine the world of the song in ways that help them identify with the song’s assumed white, female narrator: South African–based band The Congo Cowboys; garage-rock band The White Stripes; gay Black artist Lil Nas X; Gloria Ann Taylor, a Black funk, soul, and R&B singer from the 1970s; and a cumbia cover

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Sloan, Nate, Charlie Harding, and Iris Gottlieb. "Finding Home in the Harmonic Diaspora." In Switched On Pop. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056650.003.0015.

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Chapter 14 listens to Lusi Fonsi and Daddy Yankee’s “Despacito,” which reinvigorated the market for Latin pop and mainstreamed the sound of reggaetón for a new generation, hybridizing new and classic forms of Puerto Rican music into an international smash hit. The song’s success is due in part to a more subtle feature: its use of a classic chord progression called the Axis, which has the unique property of being able to generate two tonal homes at once. It is impossible to say whether “Despacito” is in a major key or a minor key, a pleasantly disorienting effect that also sets to music the mig

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