Los ritmos de la provocaciónestudio discursivo del rap, trap y reguetón en español

Laburpena

Music is one of the richest and most rewarding human expressions for most people. Not only does it provoke emotions, feelings, and experiences almost in a therapeutic way, but it also constitutes a fundamental pillar of culture. Nevertheless, as it reflects our mindset, beliefs, and feelings of affection and disaffection in social life, there is no consensus on the reception of such expressions. Urban music, as part of this heritage, is often a controversial issue since its quality as a cultural product and as an element of influence of certain mentalities, especially in the younger population, is sometimes questioned. In Spain, more than half of the artists listen weekly on the main music platforms belong to urban genres, some of these songs (and artists) have been considered sexist since its content is thought to perpetuate attitudes of patriarchy and the gender system. From the interrelation of these premises derives the justification for research papers that focus on the discursive expressions of the artists. In this way, this doctoral thesis attempts to contribute to discourse studies through a multidisciplinary analysis of the lyrics of three musical genres: rap, trap and reggaeton. The introductory chapter describes the origins of the mentioned genres, their identifying features, the phenomenon of the importation of this music into Spain, the development of a personal scene, and the presence and rise of female voices in musical styles that, historically, have been developed by men. After defining the objectives in the second chapter, the third chapter explains the theoretical framework from the linguistic, pragmatic, sociolinguistic and discursive perspectives. Then, the fourth chapter describes the status of the issue regarding the most relevant studies on the musical genres and we can see a discontinuity in the publication of studies about the examination of their texts. The fifth chapter presents the methodology used in the process of developing this research work. It describes that, from a pre-selection of almost nine hundred songs classified according to various criteria such as the topics, linguistic and pragmatic aspects, the reflection of social and interpersonal relationships, how woman are treated, etc., a final corpus of sixty songs was delimited to carry out a systematized and homogeneous multidisciplinary analysis of theses characteristics that allowed us to study the distinctive features of the three urban genres. The analysis of the texts is carried out in the sixth chapter, which is organized into respective sections for each area of knowledge (lexical, morphosyntactic, pragmatic and discursive levels). In rap, trap and reggaeton we have noticed the abundance of slang vocabulary and a great permeability of loanwords, as well as an undeniable linguistic creativity of the artists. The pragmatic level reflects the characteristics of the singers, and it allows for the reconstruction of a conceptual framework of hierarchy, where artists of both genres are placed at the top of the pyramid. From that position, their speeches frequently manifest an intentional force with an effect close to the instruction or subjugation of their recipients. The polyphonic richness is a clear indication that the function of music goes beyond mere entertainment and articulates, on numerous occasions, messages of criticism, protest, and recognition. Regarding the discourse of the female artists in the corpus, we observe two possible interpretations: on the one hand, the texts, with a high presence of sexual content, convey a role of women as objects of desire, obeying the perpetuation of the creative molds of these genres by men; on the other hand, the lyrics of these songs are consciously projected by women as another expression of feminism that pursues empowerment through sexual freedom. We close the research with some conclusions in the seventh chapter, as well as the bibliography used in the thesis in the eighth chapter, and the incorporation of transcriptions, both in their standard and semi-phonetic form in the annexes, which also include other material illustrating the analysis and results.