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Music As a Satiric Element in Editing Political Speeches

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Music As a Satiric Element in Editing Political Speeches RevistaRevistaRevista dede de Comunicación Comunicación Comunicación de dela de SEECI la la SEECI. SEECI. (Julio (2015). Jul(Marzoio Año201201 5XIX).5 A(37),).ñAoñ X268-298oI X IX(37(3),6 285), 11-298-19 ISSN: 1576-3420 ISSN:ISSN: 1576--34203420 DOI: http://dx.doi.org/10.15198/seeci.2015.37.268-298 INVESTIGACIÓN/RESEARCH INVESTIGACIÓN/RESEARCHINVESTIGACIÓN / RESEARCH Recibido: 15/05/2015-----Aceptado: 02/07/2015-----Publicado: 15/07/2015 Recibido: 26/11 /2014-----Aceptado: 17/01/2015-----Publicado: 15/03/2015 MUSIC AS A SATIRIC ELEMENT IN EDITING POLITICAL NEW TELEVISION MELODRAMA ACTORS: AN EXAMPLE, BELEN SPEECHES IN YOUTUBE: THE USE OF AUTOTUNE ESTEBAN Eduardo Viñuela Suárez1: University of Oviedo. Spain 1 [email protected]ón Navarrete-Galiano Rodríguez University of Sevilla. [email protected] ABSTRACT: ProsumersABSTRACT: are constantly generating new audiovisual phenomena since the development of Web 2.0 by using audio and video software in their personal computers.The current MusicSpanish is televisionplaying aprograms relevant havepart generatedin many ofa seriesthese ofphenomena; characters thatits interactionresemble the with traditional other media, archetypes such asof visualmovie andgenres. verbal A caselanguages, is that ofis Belénexpanding Esteban, the signifyinga participant possibilities in television of these programs videos, of supportingsociety or orthe challenging heart. Due the to individualher vital meaningexperience, of eachthis youngmedia. womanIn this papersymbolizes we approach the archetype the use of of a themelodramatic plug-in AutoTune heroin. inAnalyzing order to her undermine career, we with found a satiricout that purpose she completely the meaning fits inof with speeches the components made by politiciansof the canonical in public melodrama events. This icons. is a prosumer practice that has been established all overKEY theWORD worldS :in Televisionthe last years,- society being progra a newm categorys - archetypes in the listmelodramatic of new audiovisual - new phenomena.melodramatic AutoTuning heroin. demonstrates how music has an enormous power and it is constantly used to challenge the meaning of verbal texts in politic speeches. Thus, music becomes an essential element and a powerful ideological media in most of the audiovisualNUEVOS contents PROTAGONISTAS of polintertainment. DEL I MELODRAMAam concerned with TELEVISIVO: the parameters UN that define the musicality of verbalEJEMPLO, language BELEN and the ESTEBANway they are essential in converting these speeches into music by using AutoTune. In order to study this process I analyzeRESUMEN: the AutoTuning of the speech of Rita Barberá (major of Valencia) during the opening ceremony of Fallas in February 2015, a piece made by IvánLagarto, which is theLa programaciónmost viewed AutoTunetelevisiva videoactual in española Spain up ha to generado the present una day. serie de personajes que se asemejan a los arquetipos tradicionales de los géneros cinematográficos. Un caso KEYes el WORDS:de Belén musicEsteban, – aparticipanteudiovisual – AutoTuneen los programas–prosumer televisivos– YouTube de – sociedadmultimedia o del – polintertaiment.corazón. Esta joven por su experiencia vital, simboliza el arquetipo de una heroína melodramática. Analizando su trayectoria comprobamos que se adecua por completo a los componentes de los iconos del melodrama canónico. LA MÚSICA COMO ELEMENTO SATÍRICO EN LA EDICIÓN DE PALABRASVÍDEOS DECLAVE: CONTENIDOTelevisión POLÍT - programasICO EN YOUTUBE:de sociedad EL USO- arquetipos DEL melodramáticos - nueva heroína melodramática. AUTOTUNE RESUMEN: 1. INTRODUCTION 1 Eduardo Viñuela Suárez: Professor at the University of Oviedo. His research field is the relationship1 of music with audiovisual media and urban popular music, subjects on which he has publishedRamón booksNavarrete and articles.-Galiano He: is is a Vice journalist President and of has SIBE been-Society associate for Ethnomusicology professor for four and yea Directorrs at theof theFaculty Hall ofof PopularCommunication Music at atthe the University University of ofOviedo. Seville. He has published several books, including the Correo:volume "Galdó[email protected] in the Spanish cinema", which is based on his doctoral thesis. e-mail: [email protected] 28511 285 La actividad de los prosumidores a raíz de la web 2.0 ha dado lugar a un continuo surgimiento de nuevos fenómenos audiovisuales realizados con software de edición de audio y video. La música juega un papel protagonista en muchos de ellos e interactúa con la imagen y el lenguaje verbal ofreciendo numerosas posibilidades para refrendar o subvertir los significados que cada lenguaje comunica de forma autónoma. En este artículo abordamos el empleo del plug-in AutoTune por parte de los prosumidores para subvertir el significado de los discursos políticos con una intención satírica, una práctica que en los últimos años se ha consolidado alcanzado una dimensión mundial. Esta práctica demuestra cómo la música se utiliza de forma constante para generar un significado diferente, muchas veces contrario, al que expresa el contenido textual de un discurso, funcionando como una herramienta fundamental del polintertaiment con grandes implicaciones ideológicas. Abordamos los parámetros que definen la musicalidad del lenguaje hablado como punto de partida para la creación musical con el AutoTune en esta tipología de vídeos, y profundizamos en este fenómeno con el análisis pormenorizado del ejemplo con mayor repercusión en España en los últimos años: la reciente musicalización que Iván Lagarto hizo del discurso que Rita Barberá pronunció en la Crida de las fallas de 2015. PALABRAS CLAVE: música – audiovisual – AutoTune – prosumidores – YouTube – multimedia – polintertaiment 1. INTRODUCTION The transformation in recent years have experienced the means of production, distribution and audiovisual consumption has driven new approaches by researchers in this field of study. Aspects such as the generalization of digital language and the development of Web 2.0 has revolutionized the analysis of visual phenomena that circulate on the web with an emphasis on communication processes, rather than on a detailed study of the elements that make up the audiovisual text. This evolution has become the visual language in order to study new disciplines while it has served to strengthen the role of others that began to develop decades ago and, as in the case of audiovisual musicology, are not an autonomous discipline, but rather a "node between disciplines" (Neumeyer, 2013, p. 3), a meeting point for converging views on the perspectives and analysis methodologies. The study of music in the visual language has adapted quickly to the new situation; so, in recent years they are being published articles and collective works that address a wide range of phenomena. Many of the researchers who were leaders in the study of visual music in the eighties and nineties (Claudia Gorbman, Michel Chion, Philip Tagg, AnahidKassabian) have distanced themselves from the analysis of music in film, television or video to address the role of music in the feature transmediality of audiovisual phenomena that today are circulating massively andvirally on the Internet. In this new context it is difficult to establish stable borders between different audiovisual genres, especially when the synergies between genres and 286 Revista de Comunicación de la SEECI. (Julio, 2015). Año XIX (nº 37), 285-298 286 media have broken categories into multiple phenomena that occur, develop and La actividad de los prosumidores a raíz de la web 2.0 ha dado lugar a un continuo consolidate or disappear very quickly on the Internet. For example, Mathias Bonde surgimiento de nuevos fenómenos audiovisuales realizados con software de edición Korsgaard has tried to analyze the evolution of video making a list with about thirty de audio y video. La música juega un papel protagonista en muchos de ellos e phenomena developed from music video in recent years, among which are some interactúa con la imagen y el lenguaje verbal ofreciendo numerosas posibilidades well-established as the lip dub, shred or mashup. Despite the effort to categorize this para refrendar o subvertir los significados que cada lenguaje comunica de forma situation, the author is aware that "although extensive, this list is by no means autónoma. En este artículo abordamos el empleo del plug-in AutoTune por parte de complete; latest music video phenomena to constantly take shape through a los prosumidores para subvertir el significado de los discursos políticos con una bewildering proliferation of practices that are too numerous to follow "2 (2013, p. intención satírica, una práctica que en los últimos años se ha consolidado alcanzado 504). una dimensión mundial. Esta práctica demuestra cómo la música se utiliza de forma constante para generar un significado diferente, muchas veces contrario, al que Although in the new music video categories mentioned Bonde Korsgaard, those expresa el contenido textual de un discurso, funcionando como una herramienta implemented by prosumers are more numerous and enjoy great popularity in the fundamental del polintertaiment con grandes implicaciones ideológicas. Abordamos network. The author proposes a redefinition of the video clip as an audiovisual genre los parámetros que definen la musicalidad del lenguaje hablado como punto de through the concept of remediation (Bonde Korsgaard, 2013, p. 508). This brings us partida para la creación musical con el AutoTune en esta tipología
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