Relevant bibliographies by topics / Spanish popular music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Spanish popular music'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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Journal articles on the topic "Spanish popular music"

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Bermúdez, Silvia, and Jorge Pérez. "INTRODUCTION: SPANISH POPULAR MUSIC STUDIES1." Journal of Spanish Cultural Studies 10, no. 2 (2009): 127–33. http://dx.doi.org/10.1080/14636200902990661.

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Martins, Carlos Alberto. "Popular music as alternative communication: Uruguay, 1973–82." Popular Music 7, no. 1 (1988): 77–94. http://dx.doi.org/10.1017/s0261143000002543.

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Uruguay is a country of immigrants. By the middle of the last century little remained of its original inhabitants or their culture. To Spanish influences were added others, mainly of European origin, which together formed the hybrid culture which is twentieth-century Uruguay.
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Jordán González, Laura F., and Douglas Kristopher Smith. "How did popular music come to mean música popular? <br>http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.3en." IASPM Journal 2, no. 1-2 (2012): 19–33. http://dx.doi.org/10.5429/561.

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The field of popular music studies has grown to include participation from many different parts of the world, comprised of cultural-linguistic spaces that view popular music in a dissimilar and sometimes contradictory light. That said, there have been situations where two or more very different definitions of popular music exist side by side, further complicating the coherence of the field. Focusing on Spanish-speaking Latin America, we set out to examine what popular music and música popular have meant in some of their respective sociolinguistic spaces, and argue that disparities of legitimac
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O'Brien, Michael. "Activism, Authority, and Aesthetics: Finding the Popular in Academies of Música Popular." IASPM Journal 5, no. 1 (2015): 36–53. http://dx.doi.org/10.5429/ij.v5i1.721.

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"Música popular" in Spanish comprises an overlapping but distinct category from its English language cognate popular music. Latin American scholars and musicians alike recognize the category as fundamentally linked to subaltern or counterhegemonic subjectivities, and música popular occupies a complex relationship to hegemonic institutions (the state, educational institutions, and the culture industry) in populist democracies like that of contemporary Argentina. Perhaps nowhere are these tensions between populism and hegemony more apparent than in state-sponsored schools of popular music that b
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Kiko, Mora. "Sounds of Spain in the Nineteenth Century USA: An Introduction." Música Oral del Sur, no. 12 (November 19, 2015): 333–62. https://doi.org/10.5281/zenodo.4636748.

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Resumen: Este art&iacute;culo analiza la introducci&oacute;n de la m&uacute;sica popular espa&ntilde;ola en EEUU durante el siglo XIX, utilizando peri&oacute;dicos, revistas y partituras de las editoriales de la &eacute;poca como fuentes primarias, y atendiendo especialmente al &aacute;rea de Nueva York. El car&aacute;cter historiogr&aacute;fico de esta investigaci&oacute;n tiene la intenci&oacute;n de servir como un trabajo preliminar que permita una posterior comprensi&oacute;n de las particularidades de la m&uacute;sica espa&ntilde;ola en su contacto con la cultura norteamericana. El art&ia
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González-Varga, Marina, and María Jesús Pena-Castro. "Performing Gender in Late Spanish Folk Revival." Journal of World Popular Music 11, no. 1 (2024): 22–48. http://dx.doi.org/10.1558/jwpm.26150.

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This article focuses on modern musical practices from Art al Quadrat, A Banda da Loba and Nun Tamos Toes which relate in a variety of ways to the idea of tradition and folklore. These musical practices represent a part of the folk revival process, revitalizing a countercultural movement, which portrays a clash of ideologies and identities. Identities and ideologies related with feminism are acted out through performance aesthetics, its staging, and musical references. Adapting, renewing and introducing new gender models and innovative main characters as part of the musical discourse are some o
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LOMBARDÍA, ANA. "FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’." Eighteenth Century Music 17, no. 2 (2020): 177–99. http://dx.doi.org/10.1017/s147857062000007x.

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ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including styl
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Brittin, Ruth V. "Young Listeners’ Music Style Preferences." Journal of Research in Music Education 61, no. 4 (2013): 415–30. http://dx.doi.org/10.1177/0022429413509108.

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Listeners ( N = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number of languages they spoke, and the number of musical styles the adults in their family listened to at home. There were significant but small correlations between degree of identification with pinpointed cultures and preference for the four popular songs chosen to
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Christoforidis, Michael. "Serenading Spanish Students on the Streets of Paris: The International Projection of Estudiantinas in the 1870s." Nineteenth-Century Music Review 15, no. 1 (2017): 23–36. http://dx.doi.org/10.1017/s1479409817000064.

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Spanish estudiantina plucked string ensembles achieved immense popularity in the last two decades of the nineteenth century and were an important catalyst in the creation of the sonority of a variety of European and American popular musics. Such ensembles had precedents in Spanish student groups dating back to the Renaissance and the rondallas (or groupings of plucked instruments) that were associated with popular outdoor serenades. However, the modern estudiantina movement can be traced back to 1878, and was consciously framed as a modern historical construct. A large grouping of youths and f
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Till, Rupert, and Jan Fairley. "Que viva la música popular! International Association for the Study of Popular music, 14th Biennial Conference, 25–29 June 2007, Mexico City." Popular Music 27, no. 1 (2007): 151–54. http://dx.doi.org/10.1017/s0261143008001530.

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The International Association for the Study of Popular Music’s biennial international conference took place in July this year in Mexico City. The facilities in the Universidad Iberoamericana, a modern private Jesuit University in the city’s business quarter, were excellent, with video projection and a good sound system in all the air-conditioned rooms. The plenary sessions were translated to and from Spanish and also video recorded and streamed onto the Internet, with a blog where watchers could leave comments.
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Dissertations / Theses on the topic "Spanish popular music"

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Boschi, Elena. "'Playing' cultural identities in and out of the cinematic nation : popular songs in British, Spanish, and Italian cinema of the late 1990s." Thesis, University of Liverpool, 2010. http://livrepository.liverpool.ac.uk/3515/.

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The questions I set out to address in the thesis originate at the point where film music scholarship on identifications via popular songs and film scholarship on the necessity to look beyond national identity in cinema, intersect. By analysing the processes through which popular songs bring meaning into films, and focussing on how their meaning and other textual factors intersect in the film, I argue that soundtracks construct identities that are not uncovered through considerations of films as visual texts. To explore these processes, I chose to focus on films from three European national cin
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Gómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.

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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.

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Novillo, Perez Cecilio Jose, and Perez Cecilio Jose Novillo. "La Movida Madrileña and the Rock Radical Vasco as Political and Social Agents in Post-Franco Spain: Their influence on Popular Musical Practices of 21st-Century Spain." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626715.

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In Spain, the era of political transition to democracy known as La Transición during the 1970s and 1980s led to changes in Spanish popular music (i.e., pop, rock, punk) which became the musical representation of the new democracy’s social and political changes. Two different musical movements of that period, La Movida Madrileña and Rock Radical Vasco, established boundaries between official mainstream music and its musical counterculture counterpart, underground, and subversive musical practices within Spanish democracy. This thesis examines the nature of those musical practices, their song ly
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Oyarzún, Sepúlveda Inti. ""Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129190.

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Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so,
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Morgan, Melanie Josephine. "Regional Mexican radio in the U.S. : marketing genre, making audiences." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3196.

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This dissertation investigates how Regional Mexican radio in the U.S. tracks and drives changes in Mexican-American identity by combining different musical genres to create composite portraits of its audiences. Regional Mexican radio, which plays a mixture of ranchera, norteño, banda, and other regional Mexican genres to target a largely working-class audience of recent immigrants, is currently the most popular Spanish-language format in the U.S. Programmers for these stations act as mediators, navigating the public relation between notions of Latino identity constructed by national Spanish-la
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Lin, Yu-Ying, and 林郁穎. "The discussion about Spanish folk song themes, music analysis and the singing interpretation for Falla''s "Siete Canciones populares Espanolas"." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/50820242918862481954.

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Books on the topic "Spanish popular music"

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Gómez, Lidia López. Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347.

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León, Benarós, ed. Cancionero popular argentino. Centro Editor de Cultura Argentina, 2000.

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Leonardo, Reyes Silva, and Colegio de Bachilleres del Estado de Baja California Sur., eds. Cancionero popular sudcaliforniano. Colegio de Bachilleres del Estado de Baja California Sur, 1997.

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A, Víctor Rago. Poesía popular llanera. Dirección de Cultura, Universidad Central de Venezuela, 1993.

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Benítez, Adolfo E. Jiménez. El cancionero popular sefardí y la tradición hispánica. Ediciones Zoé, 1994.

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René, Villanueva, ed. Música popular de Michoacán. Instituto Politécnico Nacional, 1998.

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Vega, Pedro Malavet. Historia de la canción popular en Puerto Rico (1493-1898). P. Malavet Vega, 1992.

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Antonio, Bigott Luis, Consejo Nacional de la Cultura (Venezuela), and Nueva Esparta (Venezuela), eds. El canto popular margariteño. Consejo Nacional de la Cultura, 1997.

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Loaiza, Patricia. Mil lunas. Caïmán, 1998.

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Martin, Ricky. Vuelve. Sony, 1998.

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Book chapters on the topic "Spanish popular music"

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Goldberg, K. Meira. "Forces of freedom." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-5.

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Alonso, Celsa. "Copla and Flamenco in Spanish Republican cinema." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-4.

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Lluís i Falcó, Josep, and Yaiza Bermúdez Cubas. "Canción española in cinema." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-13.

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Díaz González, Diana. "The kids take to the screen." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-12.

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Encabo, Enrique. "From Spain to Germany (and back to Spain)." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-7.

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Miranda, Laura. "The spirit of (almost) forgotten Spain." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-16.

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Arce, Julio. "Singing in misery." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-8.

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López González, Joaquín. "Popular music and ideology in Spanish musical cinema in the 1950s." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-9.

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Matía Polo, Inmaculada. "From mythification to eroticism." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-15.

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Viñuela, Eduardo. "Pop songs in Spanish musical films during the 21st century." In Popular Music in Spanish Cinema. Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-19.

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