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ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) NOV CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 14 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2020 $NOT B200 172; HS 1, 14 BLACKBEAR AK 4, 11; H100 67; MO 1, 20; RKA TASHA COBBS LEONARD GA 5, 6, 17, 18; FITZ AND THE TANTRUMS A40 39 ILLENIUM EA 17; AK 19; DA 2; DES 8, 21; LADY GAGA B200 136; EA 1, 2, 25; STX 6; AC 21 SAVAGE B200 11; RBA 7; RLP 7; H100 55, 1, 31; RO 4, 11 GS 25 FIVE FINGER DEATH PUNCH IND 41; RKA 34 RO 20 12; DES 3, 19, 20 83; RBH 15, 27; RP 15; RS 14, 23; STM 47 BLACK COFFEE DA 27 COCHREN & CO. CA 17; CST 28 FKJ ARB 19 IL VOLO CX 12 KENDRICK LAMAR B200 72, 93; PCA 10, 18; 24KGOLDN HS 19; A40 17; AK 1; DA 15; DES BLACKPINK B200 42; WM 1; DES 20 J. COLE B200 106; PCA 27 THE FLAMING LIPS CX 13 IMAGINE DRAGONS B200 149; PCA 44 RBA 36, 47; RBH 48 10; H100 1; HA 1; HD 6; MO 12; ODS 5; RKA 9; BLACK STONE CHERRY DLP 19 NAT KING COLE HOL 11; JZ 4, 11 FLEETWOOD MAC B200 23, 94; PCA 2, 19; IMANBEK DES 11 MIRANDA LAMBERT CA 35; CS 38, 43 RO 1; RP 11; RS 1; STM 6 THE BLACK EYED PEAS LA 19; LPS 13 COLORADO SYMPHONY ORCHESTRA CX 13 HD 7; STM 34 TAME IMPALA MO 16; RKA 15; RO 38 CHRIS LANE CS 6, 14; H100 64; HA 25 LOS 2 DE LA S LT 50; RMS 14 BLAC YOUNGSTA B200 34; RBA 19; RLP 17 LUKE COMBS B200 4, 28; CA 1, 2; DLP 11; CS LARRY FLEET CS 60 INTERNET MONEY B200 29; IND 5; RBA 16; TORY LANEZ H100 24; HA 39; ODS 18; RBH 9; 2PAC B200 90; PCA 16; RBA 46 BENNY BLANCO A40 18; H100 21; HA 46; HD 2, 7, 9, 12, 16, 34, 37; H100 18, 41, 56; HA 26, FLIPP DINERO HS 23 RLP 15; H100 7; HA 38; ODS 4; RBH 3; RP 8; RP 6; RS 8; STM 17 347AIDAN RO 27 4; ODS 16; STM 14 49; HD 2, 20; ODS 9; STM 8, 45 FLORIDA GEORGIA LINE CA 44; CS 22, 24, 50; RS 3; STM 4 LANY A40 32 42 DUGG RP 16 PRISCILLA BLOCK CS 43 PERRY COMO HOL 19 CST 29; HD 32 I PREVAIL RKA 20; RO 48 LARKIN POE BL 15 50 CENT H100 39; HA 23; RBH 11; RP 2; RS 10 BOBBY “BORIS” PICKETT AND THE CRYPT- CONAN GRAY B200 162; H100 84 LUIS FONSI LA 28; LPA 3; LPS 6; LT 49 IR-SAIS LT 38 ZARA LARSSON DA 23 6LACK H100 92; RBH 31 KICKERS B200 145; PCA 41; HD 3; HSS 12 LOS CONTACTO LT 42; RMS 27 FOO FIGHTERS RKA 38 BURL IVES HOL 23 LAUREN ALAINA CS 5, 7; H100 36; HA 22 9TH WONDER CJ 6 ANDREA BOCELLI CX 8 ADAN CONTERO RMS 20 FOR KING & COUNTRY B200 50; CC 2, 10; DLP -J- DONALD LAWRENCE GA 25 -A- JOE BONAMASSA BL 1, 11 BRADLEY COOPER STX 6 6; HOL 2; IND 9; INT 9; CA 12; CST 38, 43 ALAN JACKSON CC 11; HOL 47 JARROD LAWSON CJ 13 A7S DA 10; DES 5, 36 BON IVER AK 12; RO 12 BEVERLY GLENN-COPELAND CX 15 JAMES FORTUNE GS 8 JACK HARLOW B200 86; RBA 44; H100 24, MAJOR LAZER EA 10, 16; DES 33, 37, 38 A BOOGIE WIT DA HOODIE B200 132, 166 BON JOVI B200 188; AC 16 SHEMEKIA COPELAND BL 2 FOSTER THE PEOPLE DES 39 54; HA 39; ODS 18, 23; RBH 9, 14; RP 6; RS 8, ANGELA B. LECANZO RIVERA TSS 19 AC/DC B200 67; PCA 8; RKA 4; RO 18 BONNIE X CLYDE DES 44 CHENCHO CORLEONE LT 37 FOUSHEE RBS 22 13; STM 17, 24 LECRAE CC 30; CST 46 ADELE B200 120; PCA 32 CHRIS BOTTI CJ 14 CHRIS CORNELL MO 25; RKA 7; RO 33 PETER FRAMPTON BL 14 JACKBOYS B200 128 BRENDA LEE HOL 24 LA ADICTIVA BANDA SAN JOSE DE BOY PABLO MO 34; RKA 44 CORPSE RO 31, 34 KIRK FRANKLIN GA 8, 9, 13, 14; CA 12; GS 6 MICHAEL JACKSON B200 38; PCA 3; RBA 21; LEELAND CC 50 MESILLAS LT 31; RMS 1 BRANDY ARB 9 JOEL CORRY DA 14; DES 4 MICHAEL FRANTI & SPEARHEAD A40 37 RBL 4; H100 48; HD 5; STM 30 LOS LEGENDARIOS LR 16; LT 17 ADJE DES 31 BRANDON LAKE CA 11; CST 6, 45 JIM COUNTRYMAN BL 13 AUSTIN FRENCH CA 16; CST 25 JACKSON WANG DA 18; DES 46 JOHN LEGEND HOL 29; AC 25; ARB 12; CST 50 ADRIAN CHAPARRO RMS 31 TONI BRAXTON ARB 7, 15 ROBERT COUNTS CS 50 FRENCH MONTANA HD 9 THE JACKSONS HOL 38 LELE PONS LT 28 CHRISTINA AGUILERA AC 10 BRENT FAIYAZ B200 185; IND 34; RBL 25 GRAHAM COXON MO 36 FRONT COUNTRY BG 15 JACQUEES RBS 13 ARI LENNOX ARB 16 AJR A40 7; AK 2; H100 26; HA 19; HD 11; MO GARY BREWER & THE KENTUCKY CREEDENCE CLEARWATER REVIVAL B200 FUERZA REGIDA RMA 18 BONEY JAMES CJ 10 CARIN LEON RMS 22 31; RO 2 RAMBLERS BG 4 60; IND 12; PCA 6 FUTURE B200 53; RBA 29; RLP 24; RBH 41; JAMESON RODGERS H100 57; HA 33 SG LEWIS DES 32 ALABAMA HOL 50 LEE BRICE CS 2, 4, 37; H100 27; HA 17; HD 23 ELVIS CRESPO TSA 15 STM 28 NICKY JAM LT 27 LIL BABY B200 8, 183, 199; RBA 5; RLP 5; DA RAUW ALEJANDRO LA 25; LR 8, 9; LT 10, BRING ME THE HORIZON B200 46; DLP 5; AK BING CROSBY HOL 10, 22, 32, 42 -G- CHRIS JANSON CS 54 10; DES 36; H100 12, 66; ODS 6; RBH 5, 18, 16, 17, 25; RO 16, 17, 26, 28, 30, 36, 37 42; RP 13, 16, 19; RS 5, 17; STM 5, 39 11, 25, 38 MILEY CYRUS A40 24; AC 29; H100 82; HD 38 KENNY G CJ 3, 4, 15; HOL 49 KEITH JARRETT JZ 10 BROOKS & DUNN CA 39 ALESSO DES 17 NOAH CYRUS HS 6; CS 51 JASON ALDEAN B200 122; CA 11, 31; IND 23, LIL DURK B200 40; RBA 22; RLP 19; H100 3, GARTH BROOKS CS 39 ANA GABRIEL LPA 9 92; HA 7; ODS 12; RBH 1, 31, 42; RBS 10; RP EL ALFA LA 47 -D- JUAN GABRIEL LPA 8 50; CS 5, 8; H100 28; HA 27; HD 34; STM 41 JIMMIE ALLEN HS 22; CS 51 BROTHERS OSBORNE CA 49; CS 28, 35 JAWSH 685 A40 2; AC 18; DA 28; H100 6; HA 1; RS 2; STM 9 D-SOL DA 4 GALANTIS DA 18; DES 46 THE RANCE ALLEN GROUP GA 16 BLANCO BROWN CS 29 5; HD 18; STM 27 LIL MOSEY B200 160 DABABY B200 15, 113; RBA 11; RLP 11; A40 RORY GALLAGHER BL 9 ALL TIME LOW AK 11; MO 1; RKA 1; RO 11 CHRIS BROWN B200 102, 138; RBL 12, 17; J BALVIN LA 12, 15, 35; LRS 12, 14; H100 91; LIL TJAY B200 123; H100 53; RBH 13, 45; RS ARB 13; H100 15; HA 9; RBH 7; RBS 2, 23; RP 19; DA 30, 40; H100 12, 13, 24, 29, 88, 90; HA KANY GARCIA LPS 20, 23 12; STM 26 ALMOST MONDAY MO 32 13, 30, 39, 45; HD 22; ODS 6, 18, 22; RBH 5, LPS 1, 9; LR 5, 7, 20; LT 3, 5, 20, 27, 37 25; STM 35 NIO GARCIA LA 7; LRS 7; LR 15; LT 7; TSS 16 CHARLES JENKINS & FELLOWSHIP LIL UZI VERT B200 31, 78; RBA 17, 38; RLP 16 ALOE BLACC AC 15; ARB 27 6, 9, 29, 30; RP 4, 6, 7, 13; RS 5, 6, 8, 25; STM KELONTAE GAVIN GS 15 KANE BROWN B200 61, 197; CA 5, 20, 34; 5, 17, 18, 46 CHICAGO GS 16 LIL WAYNE B200 169; H100 24; HA 39; ODS ALOK DES 42 A40 11; CS 42, 47; H100 22; HA 18; HD 29; BECKY G LA 38; LT 23 18; RBH 9; RP 6; RS 8; STM 17 DADDY YANKEE H100 91; LR 4, 7, 13; LT 3, 15 CARLY RAE JEPSEN INT 19 ALUNA DA 35 STM 33 G-EAZY A40 28 LINKIN PARK B200 142; PCA 40 DAFT PUNK EA 19, 24 JOHNSON JEREMIAH BL 4 COFFEY ANDERSON HD 42 ZAC BROWN BAND B200 181; CA 16; IND 33 GENTE DE ZONA TSA 18; TSS 24 JEREMIH ARB 1; H100 74; HA 32; RBH 20; LINNEY DA 32 ANGELE HD 31 BRRAY LR 15; LT 7 LAUREN DAIGLE B200 194; CC 3, 6; HOL 40; IND 36; CST 1 BRANDON PATRICK GEORGE CL 14 RBS 3 DUA LIPA B200 47; A40 8, 19; AC 6, 11; DA 30; LOS ANGELES AZULES RMA 14 BRS KASH H100 87; RBH 28; RP 24; RS 24 H100 29, 50; HA 16, 30; HD 22, 31; LPS 1; LR DALEX LR 25; LT 45 CRECER GERMAN RMS 7 FRED JERKINS GS 19 ANGELS & AIRWAVES DES 21 5; LT 5; STM 46 SAM BRUNO DA 31 STAN GETZ JZ 15 JERRY DI LA 45; LT 16 ANITTA LPS 8; LR 18; LT 29 DAN + SHAY CA 22; A40 22; CS 12, 13; H100 LIQUID MIND NA 10 LUKE BRYAN B200 200; CA 21, 50; CS 23, 33 58; HA 34; HD 50; HSS 6 G HERBO IND 40 PEDRO JESUS TSS 20 ANTHONY COLON TSS 18 LITTLE BIG TOWN CS 27, 41; HD 33 PHILLIP BRYANT GS 21 DANNY FELIX RMS 40 JOAO GILBERTO JZ 15 JHAY CORTEZ LA 11; LRS 11; H100 9; HD 12; MARC ANTHONY TSA 10, 11, 13, 16; TSS 4 LIZZO B200 124; PCA 34 BTS B200 119; IND 22, 44; WM 4, 5, 7, 13; HOPE DARST CST 17 BRANTLEY GILBERT CS 39 LR 22; LT 1, 22; ODS 3; STM 3 ANUEL AA B200 75; LA 2, 43; LRS 2; LR 13, A40 16; AC 21; DA 20; H100 16; HA 14; HD LOCASH CS 56 CRAIG DAVID DES 29 JOHNNY GILL ARB 25 JHENE AIKO B200 52; RBA 28; RBL 6; ARB 12; 15; LT 7, 15, 25, 41 1; STM 37 KEYONDRA LOCKETT GS 9 JORDAN DAVIS CS 25, 26 HELENE GRIMAUD CL 12 H100 77; HA 41; RBH 22, 47; RBS 4; RP 22, 23 STEVE AOKI DA 8 MICHAEL BUBLE B200 131; HOL 6; JZ 1, 7, LOGIC INT 20 MILES DAVIS JZ 6 NINO SEGARRA TSS 22 JHORRMOUNTAIN DES 31 APOLLO LTD CST 40 13; PCA 37 KAREEN LOMAX DES 23 DEVIN DAWSON CS 5, 7; H100 36; HA 22 GIVEON HS 3; ARB 14; RBS 17 J.I THE PRINCE OF N.Y HS 15 ARCANGEL LA 9; LRS 9; LR 25; LT 34, 45 ALEX BUENO TSS 5 LONDON SYMPHONY ORCHESTRA CL 1 DAYGLOW MO 4; RKA 5 ROBERT GLASPER CJ 6 KARI JOBE CC 39; CST 5, 49 ARIANA GRANDE B200 1, 63; DLP 1; HOL 39; LOS BUKIS RMA 16 LONR.
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    1 Manifestaciones De Violencia Contra Las Mujeres En El Trap

    Volumen 100 (1) 2021: 1-20 Enero-Junio DOI 10.15517/rr.v100i1.41332 Manifestaciones de violencia contra las mujeres en el trap latinoamericano Manifestations of violence against women in the Latin American trap Keylor Robles Murillo1 1Estudiante de la Universidad de Costa Rica, Costa Rica, [email protected] https://orcid.org/0000-0002-1493-5582 Fecha de recepción: 4 de abril del 2020 Fecha de aceptación: 14 de octubre del 2020 Resumen Introducción La música se ha convertido en un objeto de estudio para las Ciencias Sociales, ya que se enfatiza su relación con el tipo de sociedad en que se enmarca, así como su proceso de creación y consumo. Por este motivo, el trap latinoamericano representa un campo de estudio en el cual se pueden estudiar las manifestaciones de violencia contra las mujeres. Objetivo A partir de esta idea, el objetivo consiste en analizar las manifestaciones de la violencia física, psicológica, sexual y feminicida contra las mujeres presentes en las letras de canciones del trap latinoamericano. Método En esta investigación de corte cualitativo, se empleó el método del Análisis Crítico de Discurso mediante la técnica de la revisión documental. La muestra de canciones se conforma por cien canciones de los siguientes artistas: Anuel AA, Bad Bunny, Bryant Myers, Darell, Farruko y Noriel. Además, la información se analizó mediante la triangulación hermenéutica, apoyándose en el programa Atlas.ti 8. Resultados Como parte de los resultados, se identifica una gran cantidad de mensajes alusivos a las manifestaciones de violencia física, psicológica, sexual y feminicida contra las mujeres en las canciones estudiadas.
  • I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For

    I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For

    ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent.
  • How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram

    How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUSB ScholarWorks California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 9-2018 Performing Stereotypical Tropes on Social Media Sites: How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram Ariana Arely Cano California State University - San Bernardino, [email protected] Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Communication Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Cano, Ariana Arely, "Performing Stereotypical Tropes on Social Media Sites: How Popular Latina Performers Reinscribe Heteropatriarchy on Instagram" (2018). Electronic Theses, Projects, and Dissertations. 756. https://scholarworks.lib.csusb.edu/etd/756 This Thesis is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. PERFORMING STEREOTYPICAL TROPES ON SOCIAL MEDIA SITES: HOW POPULAR LATINA PERFORMERS REINSCRIBE HETEROPATRIARCHY ON INSTAGRAM ! ! A Thesis Presented to the Faculty of California State University, San Bernardino ! ! In Partial Fulfillment of the Requirements for