DOCSLIB.ORG

Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños De

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños De Georgia State University ScholarWorks @ Georgia State University World Languages and Cultures Theses Department of World Languages and Cultures 4-21-2009 El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños Ashley Elizabeth Wood Follow this and additional works at: https://scholarworks.gsu.edu/mcl_theses Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Wood, Ashley Elizabeth, "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/mcl_theses/6 This Thesis is brought to you for free and open access by the Department of World Languages and Cultures at ScholarWorks @ Georgia State University. It has been accepted for inclusion in World Languages and Cultures Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EL REGUETÓN: ANÁLISIS DEL LÉXICO DE LA MÚSICA DE LOS REGUETONEROS PUERTORRIQUEÑOS by ASHLEY ELIZABETH WOOD Under the Direction of Carmen Schlig ABSTRACT This paper examines some of the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon and highlights two linguistic studies that focus on reggaeton in addition to providing general background information about the genre. In the analysis section, 20 words that are commonly found in reggaeton songs are analyzed using two accredited dictionaries and three “urban dictionaries” in order to determine their meanings, uses and origins. INDEX Puerto Rico, Reggaetón, Reguetón, Calle 13, Daddy Yankee, Latin WORDS: American music, Reggae, Rap, Hip hop, US relations with commonwealths, Spanish linguistics, Semantics of lyrics. EL REGUETÓN: ANÁLISIS DEL LÉXICO DE LA MÚSICA DE LOS REGUETONEROS PUERTORRIQUEÑOS by ASHLEY ELIZABETH WOOD A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2009 Copyright by Ashley Elizabeth Wood 2009 EL REGUETÓN: ANÁLISIS DEL LÉXICO DE LA MÚSICA DE LOS REGUETONEROS PUERTORRIQUEÑOS by ASHLEY ELIZABETH WOOD Comité Chair: Carmen Schlig Committee: Victoria Rodrigo Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2009 iv Quisiera dedicar esta tesis a mi esposo y mejor amigo, Daniel Labrador. Nada de esto habría sido posible sin tu apoyo inquebrantable y paciencia constante. Te agradezco infinitamente por demostrarme la belleza de lo puertorriqueño a través de tu amor y dedicación a tus raíces. v ACKNOWLEDGEMENTS Me gustaría agradecer a mi director y mentor, Carmen Schlig por todo el trabajo que ha hecho para ayudarme a realizar esta meta. Tambien quisiera agradecer a Victoria Rodrigo, Héctor Fernández, Fernando Reati y Oscar Moreno por sus consejos y sugerencias durante los 3 años que trabajaba en este trabajo. Con su dedicación e interés en mi trabajo, ha sido posible investigar este tema y hacer estudios del campo que nunca habrían sido posibles sin la instrucción y participación de ellos. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS............................................................................................................ v LIST OF TABLES......................................................................................................................... ix LIST OF FIGURES ........................................................................................................................ x I. LOS COMPONENTES DEL HABLA PUERTORRIQUEÑA.............................................. 3 Los anglicismos .............................................................................................................. 6 II. CARACTERÍSTICAS LINGÜÍSTICAS GENERALES DEL ESPAÑOL PUERTORRIQUEÑO .................................................................................................................. 10 Fonología ...................................................................................................................... 10 Morfología .................................................................................................................... 11 Sintaxis.......................................................................................................................... 11 Ortografía de la palabra “reguetón”.............................................................................. 12 III. ESTUDIOS PREVIOS SOBRE LAS CARACTERÍSTICAS LINGÜÍSTICAS DEL REGUETÓN................................................................................................................................. 14 IV. HISTORIA DEL REGUETÓN............................................................................................. 16 Los comienzos del género............................................................................................. 16 La crítica del reguetón .................................................................................................. 19 El contenido del reguetón ............................................................................................. 20 V. ANALISIS DE PALABRAS Y FRASES EN LA LETRA DEL REGUETÓN................... 25 Introducción .................................................................................................................. 25 Metodología del estudio................................................................................................ 26 La encuesta.................................................................................................................... 28 Método de Analizar y Presentar los Resultados ........................................................... 29 vii Palabras de origen inglés .............................................................................................. 31 A fuego...................................................................................................................... 31 Cangri........................................................................................................................ 34 Feca........................................................................................................................... 36 Janguear .................................................................................................................... 38 Pichar ........................................................................................................................ 39 Rankear ..................................................................................................................... 42 Va sin jockey............................................................................................................. 43 Palabras de origen árabe ............................................................................................... 45 Acicalar..................................................................................................................... 45 Arrebatarse................................................................................................................ 47 Cafre.......................................................................................................................... 49 Palabras de origen desconocido.................................................................................... 51 Bellaquear ................................................................................................................. 51 Dembow.................................................................................................................... 53 Guillado..................................................................................................................... 55 Perreo/Perrear ........................................................................................................... 58 Palabras de origen europeo (del español, francés o latín)............................................. 60 Al garete.................................................................................................................... 60 Caco .......................................................................................................................... 62 Corillo ....................................................................................................................... 64 Fantasmeo ................................................................................................................. 66 Guayar....................................................................................................................... 68 viii Palabras de origen africano........................................................................................... 71 Pangola...................................................................................................................... 71 VI. CONCLUSIONES ................................................................................................................ 74 Limitaciones del estudio ..............................................................................................
Load more

Recommended publications
  • Carrie Undérwo. D's Crossover Dreams >P.35
    Carrie Undérwo. d's Crossover Dreams >P.35 #BXNCTCC 1111111111111111111111111111111111111111111 11/11111 #ßL2408043# APR06 A04 B01 )7 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 9080 -3402 NOV FOR'1ORE THAN 110 YEARS 19 R &B SinerjSongwriter SONY I3 IVI G Turns Jail Time Into Under Fire Over CD Copy- Protection >P.7 Hit Debut Album >P.30 11 N1 Illegal P212 (X) R\' Networks INVADES Face The NEW YORK IVIt,iSic; >P.? The CMAs Take Their Act On The Road >P.32 1 I1_IVI MUSIC', Can `Rent' & `Producers' Revive Soundtrack Biz? $6 99US S8.S9.A >P.27 US $6.99, CAN $8.99 UK £5.50, EURCPE 8.95, JAPAN V2,500 www.billboard.com www.billboard.biz www.americanradiohistory.com KEYSHIA COLE CERTIFIED GOLD DEBUT ALBUM "THE WAY _' IS' TOP SELLIN MALE R &B ARTIST 3 Vibe Award Nomt #1 Video at f - "I Should Have Cheated" Top 5 ringtone sales - "I Should Have Cheated" Top 5 (and gaining) at Urban radio - "I Should Have Cheated" Top 10 arum on Billboard R &B/Hip -Hop Chart TUNE INTO VIBE AWARDS TO SEE KEYSHIA PERFORM "I SHOULD HAVE CHEATED" TUESDAY, NOVEMBER 15TH ON UPN Executive Producers: Ron Fair, Manny Halley, and Keyshia Cole "I Should Have Cheated" AM Produced by: Daron_ Jones and Ron Fair / Written by: Daron Jones and Q. Parker REC Mixed by: Ron Fair and Tal Herzberg Management: Arthur Spivak for The Firm / ".2,U!: AY.1A Fnviili www.americanradiohistory.com YOU CAN'T AFFORD TO MISS THIS BILLBOARD EVENT DIGITAL ENTERTAINMENT 8 MEDIA DEM PO CONLEAENCE m z 2005 Billbearel NOVEMBER 19, 2005 TIE.is a 1.111111111115.1 VOLUME 117, NO.
    [Show full text]
  • Hip-Hop Superstar Daddy Yankee Sued for Copyright Infringement
    Hip-Hop Superstar Daddy Yankee Sued For Copyright Infringement Hip-Hop artist Daddy Yankee has been sued for copyright infringement because of a song appearing on his multi-platinum album, “Barrio Fino.” The plaintiff, Victor M. Lopez, Jr., alleges that Daddy Yankee used without permission one of Lopez’s musical compositions for the song, “Salud Y Vida.” Los Angeles, California (PRWeb) August 6, 2007 -- Reggaeton superstar Daddy Yankee has been sued for copyright infringement in the United States District Court for the Central District of California (CV07-5060 DDP (AGRx)). Victor M. Lopez, Jr., a Latin hip-hop songwriter and performer, alleges in the lawsuit that Daddy Yankee used a musical composition belonging to Lopez for use on “Salud Y Vida,” a track on Daddy Yankee’s breakthrough album “Barrio Fino.” Daddy Yankee and the record companies that helped produce and distribute his album, including Universal Music, also included Lopez’s musical composition on a DVD, a music video, and other products. According to Lopez’s lawyers, Peter Afrasiabi and Chris Arledge of the law firm Turner Green Afrasiabi & Arledge LLP, the defendants’ theft of Lopez’s music is particularly shocking in light of the fact that there is no dispute as to Lopez’s authorship. Indeed, the album cover for “Barrio Fino” gives Lopez songwriting credit. “Daddy Yankee’s representatives tried to negotiate a deal with Lopez to include the song on the “Barrio Fino” album, but when negotiations broke down, they simply used the composition without permission,” explained Afrasiabi. According to Arledge, Lopez intends to recover copyright infringement damages from Daddy Yankee, all of the record companies involved in the project, and the retailers and others who have profited from Lopez’s allegedly stolen work.
    [Show full text]
  • The Meanings of Marimba Music in Rural Guatemala
    The Meanings of Marimba Music in Rural Guatemala Sergio J. Navarrete Pellicer Ph D Thesis in Social Anthropology University College London University of London October 1999 ProQuest Number: U643819 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U643819 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis investigates the social and ideological process of the marimba musical tradition in rural Guatemalan society. A basic assumption of the thesis is that “making music” and “talking about music” are forms of communication whose meanings arise from the social and cultural context in which they occur. From this point of view the main aim of this investigation is the analysis of the roles played by music within society and the construction of its significance as part of the social and cultural process of adaptation, continuity and change of Achi society. For instance the thesis elucidates how the dynamic of continuity and change affects the transmission of a musical tradition. The influence of the radio and its popular music on the teaching methods, music genres and styles of marimba music is part of a changing Indian society nevertheless it remains an important symbols of locality and ethnic identity.
    [Show full text]
  • Festival Lunario Tierra Adentro, Segundo Lanzamiento De Independientes
    Ciudad de México, martes 16 de mayo de 2017 FESTIVAL LUNARIO TIERRA ADENTRO, SEGUNDO LANZAMIENTO DE INDEPENDIENTES Reunirá ocho propuestas de la nueva generación de músicos de la escena mexicana A ellas se sumarán dos DJ sets, a cargo de artistas con una larga trayectoria El encuentro se realizará el 9 y 10 de junio en el foro alterno del Auditorio Nacional Debido al éxito de su primera edición el año pasado, al convertirse en la plataforma de lanzamiento de la nueva generación de músicos de la escena independiente nacional, el Festival Lunario Tierra Adentro se llevará a cabo por segunda ocasión los próximos 9 y 10 de junio en el foro alterno del Auditorio Nacional. Esta vez serán ocho proyectos musicales provenientes de seis entidades del país, los que demostrarán sobre el escenario que están listos para ser un relevo generacional que refresque la escena de la música independiente actual. Se sumarán dos DJ sets, uno cada noche, a cargo de músicos con una larga trayectoria en el panorama de nuestro país. El 9 de junio podrán escucharse las propuestas de la rapera zapoteca Mare Advertencia Lirika (Oaxaca), el hip hop de Serko Fu (Durango), la mezcla de synthpop, ritmos tropicales y electrónica de Capullo (Aguascalientes), los sonidos urbanos y latinos con influencias de global bass, trap, tribal, moombahton y dembow de Ghetto Kids (CDMX). El DJ set de la noche será de Paco Ayala (Molotov). El 10 de junio llegarán la música electrónica tropical de Borchi y su doble redoble (CDMX), exponente del freestyle-world music-global bass; también el folk pop de Dromedarios mágicos (Chihuahua), el rock alternativo de Dolphant (Guadalajara) y el rock con matices de folk y pop de Kill Aniston (CDMX).
    [Show full text]
  • UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
    USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc.
    [Show full text]
  • LA BOMBA DEL CHOTA, Una Explosión De Saberes, Propuesta Para El Aprendizaje Integral
    PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA DE EDUCACIÓN MUSICAL ALVARO MIGUEL ROSERO PONCE LA BOMBA DEL CHOTA, una explosión de saberes, propuesta para el aprendizaje integral. Director: Dr. Fernando Palacios Mateo. PhD QUITO, febrero 2019 PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR DECLARACIÓN y AUTORIZACIÓN Yo, ALVARO MIGUEL ROSERO PONCE, C.I.100152111-9 autor del trabajo de graduación titulado: “LA BOMBA DEL CHOTA, UNA EXPLOSIÓN DE SABERES, PROPUESTA PARA EL APRENDIZAJE INTEGRAL”, previa a la obtención del grado académico de LICENCIADO EN CIENCIAS DE LA EDUCACIÓN MENCIÓN EDUCACIÓN MUSICAL en la Facultad de Ciencias de la Educación: 1.- Declaro tener pleno conocimiento de la obligación que tiene la Pontificia Universidad Católica del Ecuador, de conformidad con el artículo 144 de la Ley Orgánica de Educación Superior, de entregar a la SENESCYT en formato digital una copia del referido trabajo de graduación para que sea integrado al Sistema Nacional de Información de la Educación Superior del Ecuador para su difusión pública respetando los derechos de autor. 2.- Autorizo a la Pontificia Universidad Católica del Ecuador a difundir a través de sitio web de la Biblioteca de la PUCE el referido trabajo de graduación, respetando las políticas de propiedad intelectual de Universidad. Quito, 14 de febrero de 2019 DIRECTOR: Dr. Fernando Palacios Mateos, PhD LECTORES Mgtr. Fernando Avendaño León. Mgtr. Marcelo Luje Morales. Agradecimientos Con este trabajo de investigación agradezco la gran oportunidad de estudiar y la generosidad con la cual me fueron compartidos muchos saberes, valores y conocimientos. A las personas que formaron parte de esta propuesta: dirigiendo, escuchando, leyendo, conversando, escribiendo, corrigiendo, fotografiando, tocando, jugando, soñando, construyendo, grabando para todos un abrazo.
    [Show full text]
  • Edición Especial ICONO - Revista Anual De La Biblioteca Enrique A
    Números 25-26, noviembre 2020 BIBLIOTECA ENRIQUE A. LAGUERRE Edición Especial ICONO - Revista Anual de la Biblioteca Enrique A. Laguerre Universidad de Puerto Rico en Aguadilla Esta Revista está indizada en el prestigioso índice Latindex. Revista ICONO es una publicación anual de la Biblioteca de la Universidad de Puerto Rico en Aguadilla. Es una revista interdisciplinaria con un perfil académico, dirigida a bibliotecarios, profesores y estudiantes universitarios. Los artículos son originales, revisados por los pares (peer review) y por los evaluadores externos, que son miembros de la Junta editora de la Revista. Los artículos expresan las opiniones de sus autores, no necesariamente la opinión de la editorial de la revista. Su contenido puede ser reproducido citando la fuente. Dirija su correspondencia a: ICONO Universidad de Puerto Rico en Aguadilla Biblioteca Enrique A. Laguerre P. O. Box 6150 Aguadilla, Puerto Rico 00604-6150 http://uprag.edu/ http://biblioteca.uprag.edu Portada: Entrada Biblioteca Enrique A. Laguerre, Universidad de Puerto Rico en Aguadilla I C O N O Editorial Nos complace presentarles esta edición especial de ICONO que incluye los números veinticinco y veintiséis de los años 2019 y 2020 respectivamente. La revista ICONO es una publicación anual de la Biblioteca Enrique A. Laguerre de la Universidad de Puerto Rico en Aguadilla y por espacio de dieciocho años continua divulgando el quehacer intelectual de nuestro país. Este proyecto no sería posible sin la dedicación y el compromiso de todos nuestros colaboradores; para ellos nuestro agradecimiento y respeto. A nuestros lectores los invitamos a disfrutar cada uno de los trabajos que aparecen en esta edición.
    [Show full text]
  • HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
    HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc.
    [Show full text]
  • Daddy Yankee, Gasolina
    Daddy Yankee, Gasolina yo..yo..mucha gasolina en el verano de mix 107.7! subelo que esto es barrio fino! (DA-DDY-YAN-KEE!) zumbale mambo pa ke mi gata prenda lo motores zumbale mambo pa ke mi gata prenda lo motores zumbale mambo pa ke mi gata prenda lo motores que se prepararen que lo que viene es pa q le den duro! mamita yo se que tu no temes masticarr(duro!) lo que me gusta es que tu te dejas llevarr(duro!) to los weekenes ella sale a vasilarr(duro!) mi gata no para de janguiar porq a ella le gusta la gasolina(dame mas gasolina!) como le encanta la gasolina(dame mas gasolina!) 2x ella prende la turbina no discrimina no se pierde ni un party de marquesina se ascicala hasta pa la esquina luce tan bien que hasta la sombra le combina asesina, me domina anda en carro,motora, y limosina llega su tanque de adrenalina cuando escucha reggaeton en la cocina a ella le gusta la gasolina(dame mas gasolina!) como le encanta la gasolina(dame mas gasolina!) 2x yo aqui yo soy de los mejores no te me ajores en la pista nos llaman los matadores que hace q cualquiera se enamoren cuando baila al ritmo de los tambores, esto va pa toa la gata de to colores pa la mayores, toa la menores para la ke son mas arreta que los casadores pa la q son mas zorras q los cazadores pa las mujeres q no apagan sus motores (subelo que esto es barrio fino!) tenemos tu y yo algo pendiente tu me debes algo y lo sabes conmigo ella se pierde no le rinde cuentas a nadieee2x zumbale mambo pa ke mi gata prenda lo motores zumbale mambo pa ke mi gata prenda lo motores zumbale mambo pa
    [Show full text]
  • Creolizing Contradance in the Caribbean
    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • 17LG Nominees ENGLISH
    Nominee_Export Latin Academy of Recording Arts & Sciences, Inc. List of Nominees for the 17th Annual Latin GRAMMY Awards Nominee Name Category #s Combined Category Names A Corte Musical 42 Best Classical Album Enrique Abdón Collazo 18 Best Traditional Tropical Album Sophia Abrahão 4 Best New Artist Raúl Acea Rivera 18 Best Traditional Tropical Album Dani Acedo 47 Best Short Form Music Video Héctor Acosta "El Torito" 17 Best Contemporary Tropical Album Dario Adames 11 Best Pop/Rock Album Mario Adnet 31 Best Latin Jazz Album Antonio Adolfo 31 Best Latin Jazz Album Adrián 6 Best Traditional Pop Vocal Album Raul Agraz 31 Best Latin Jazz Album Gustavo Aguado 17 Best Contemporary Tropical Album Lino Agualimpia Murillo 19 Best Tropical Fusion Album Pepe Aguilar 1 Record Of The Year José Aguirre 15 Best Salsa Album Lisa Akerman Stefaneli 44 Best Recording Package Bori Alarcón 2 Album Of The Year Pablo Alborán 1, 2, 5 Record Of The Year, Album Of The Year, Best Contemporary Pop Vocal Album Rolando Alejandro 2 Album Of The Year Álvaro Alencar 2 Album Of The Year Alexis 7 Best Urban Fusion/Performance Alexis y Fido 7 Best Urban Fusion/Performance Omar Alfanno 20 Best Tropical Song Sergio Alvarado 47 Best Short Form Music Video Page 1 Nominee_Export Andrea Álvarez 10 Best Rock Album Diego Álvarez 48 Best Long Form Music Video Julión Álvarez 23 Best Banda Album Laryssa Alves 39 Best Brazilian Roots Album Lizete Alves 39 Best Brazilian Roots Album Lucy Alves & Clã Brasil 39 Best Brazilian Roots Album Lucy Alves 39 Best Brazilian Roots Album Jorge Amaro 11 Best Pop/Rock Album Remedios Amaya 30 Best Flamenco Album Elvis "Magno" Angulo 15 Best Salsa Album Juan Alonzo V.
    [Show full text]