Bad Bunny y Bach: Mitos e imaginarios culturales

This paper explores the notion of myth and collective imaginary as manifested in the figures of Bad Bunny (1994-) and Johann Sebastian Bach (1685-1750).  Bad Bunny has been identified as the depositary of an imaginary that situates reggaeton as a musical genre that marks the moral decadence...

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Autores:
Castillo, Francisco
Tipo de recurso:
Fecha de publicación:
2021
Institución:
Universidad Santo Tomás
Repositorio:
Universidad Santo Tomás
Idioma:
spa
OAI Identifier:
oai:repository.usta.edu.co:11634/39351
Acceso en línea:
https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6498
http://hdl.handle.net/11634/39351
Palabra clave:
Bach
Bad Bunny
Mito
Reggaetón
Música Clásica
Rights
License
Derechos de autor 2021 Universidad Santo Tomás
id SantoToma2_381499f9698c7d17bcd1a9d25db9052b
oai_identifier_str oai:repository.usta.edu.co:11634/39351
network_acronym_str SantoToma2
network_name_str Universidad Santo Tomás
repository_id_str
spelling Castillo, Francisco2022-01-18T15:59:51Z2022-01-18T15:59:51Z2021-07-23https://revistas.usantotomas.edu.co/index.php/analisis/article/view/649810.15332/21459169.6498http://hdl.handle.net/11634/39351This paper explores the notion of myth and collective imaginary as manifested in the figures of Bad Bunny (1994-) and Johann Sebastian Bach (1685-1750).  Bad Bunny has been identified as the depositary of an imaginary that situates reggaeton as a musical genre that marks the moral decadence of the culture.   Bach, on the other hand, leads the canon of composers who make classical music a paradigm of cultured and elaborated Musical Art.  The discussion suggests that both representations are part of a mythology that hides complex issues such as class discrimination and violent cultural hegemonies.  The conclusions point to the demystification of both musicians as a strategy to not only appreciate their music in a more balanced way, but also to address social issues, without the fanaticism that both musical communities promote in their myths.Este artículo explora la noción de mito e imaginario colectivo, según se manifiestan en las figuras de Bad  Bunny (1994-) y de Johann Sebastian Bach (1685-1750).  Bad Bunny ha sido identificado como el depositario  de un imaginario que sitúa al reggaetón en tanto género musical que marca la decadencia moral de la  cultura.  Bach, por el contrario, encabeza el canon de compositores que hacen de la música clásica un  paradigma de Arte musical culto y elaborado.  La reflexión sugiere que ambas representaciones son parte de  una mitología que esconde problemáticas complejas como discriminación de clase y hegemonías culturales  violentas.  Las conclusiones señalan la desmitificación de ambos músicos como una estrategia para, no solo  apreciar de manera más equilibrada su música, sino para atender problemáticas sociales, sin los fanatismos  que ambas comunidades musicales promueven en sus mitos. application/pdfspaUniversidad Santo Tomás, Bogotá, Colombiahttps://revistas.usantotomas.edu.co/index.php/analisis/article/view/6498/6348Análisis; Vol. 53 Núm. 99 (2021): Los horizontes del Hip HopAnalisis; Vol. 53 No. 99 (2021): The horizons of Hip HopAnalisis; v. 53 n. 99 (2021): Los horizontes del Hip Hop2145-91690120-8454Derechos de autor 2021 Universidad Santo Tomáshttps://creativecommons.org/licenses/by-nc-sa/4.0http://purl.org/coar/access_right/c_abf2Bad Bunny y Bach: Mitos e imaginarios culturalesinfo:eu-repo/semantics/articlehttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_2df8fbb1BachBad BunnyMitoReggaetónMúsica Clásica11634/39351oai:repository.usta.edu.co:11634/393512023-07-14 16:08:37.024metadata only accessRepositorio Universidad Santo Tomásnoreply@usta.edu.co
dc.title.spa.fl_str_mv Bad Bunny y Bach: Mitos e imaginarios culturales
title Bad Bunny y Bach: Mitos e imaginarios culturales
spellingShingle Bad Bunny y Bach: Mitos e imaginarios culturales
Bach
Bad Bunny
Mito
Reggaetón
Música Clásica
title_short Bad Bunny y Bach: Mitos e imaginarios culturales
title_full Bad Bunny y Bach: Mitos e imaginarios culturales
title_fullStr Bad Bunny y Bach: Mitos e imaginarios culturales
title_full_unstemmed Bad Bunny y Bach: Mitos e imaginarios culturales
title_sort Bad Bunny y Bach: Mitos e imaginarios culturales
dc.creator.fl_str_mv Castillo, Francisco
dc.contributor.author.none.fl_str_mv Castillo, Francisco
dc.subject.proposal.spa.fl_str_mv Bach
Bad Bunny
Mito
Reggaetón
Música Clásica
topic Bach
Bad Bunny
Mito
Reggaetón
Música Clásica
description This paper explores the notion of myth and collective imaginary as manifested in the figures of Bad Bunny (1994-) and Johann Sebastian Bach (1685-1750).  Bad Bunny has been identified as the depositary of an imaginary that situates reggaeton as a musical genre that marks the moral decadence of the culture.   Bach, on the other hand, leads the canon of composers who make classical music a paradigm of cultured and elaborated Musical Art.  The discussion suggests that both representations are part of a mythology that hides complex issues such as class discrimination and violent cultural hegemonies.  The conclusions point to the demystification of both musicians as a strategy to not only appreciate their music in a more balanced way, but also to address social issues, without the fanaticism that both musical communities promote in their myths.
publishDate 2021
dc.date.issued.none.fl_str_mv 2021-07-23
dc.date.accessioned.none.fl_str_mv 2022-01-18T15:59:51Z
dc.date.available.none.fl_str_mv 2022-01-18T15:59:51Z
dc.type.coarversion.fl_str_mv http://purl.org/coar/version/c_970fb48d4fbd8a85
dc.type.coar.fl_str_mv http://purl.org/coar/resource_type/c_2df8fbb1
dc.type.drive.none.fl_str_mv info:eu-repo/semantics/article
dc.identifier.none.fl_str_mv https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6498
10.15332/21459169.6498
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/11634/39351
url https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6498
http://hdl.handle.net/11634/39351
identifier_str_mv 10.15332/21459169.6498
dc.language.iso.none.fl_str_mv spa
language spa
dc.relation.none.fl_str_mv https://revistas.usantotomas.edu.co/index.php/analisis/article/view/6498/6348
dc.relation.citationissue.spa.fl_str_mv Análisis; Vol. 53 Núm. 99 (2021): Los horizontes del Hip Hop
dc.relation.citationissue.eng.fl_str_mv Analisis; Vol. 53 No. 99 (2021): The horizons of Hip Hop
dc.relation.citationissue.por.fl_str_mv Analisis; v. 53 n. 99 (2021): Los horizontes del Hip Hop
dc.relation.citationissue.none.fl_str_mv 2145-9169
0120-8454
dc.rights.spa.fl_str_mv Derechos de autor 2021 Universidad Santo Tomás
dc.rights.coar.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.rights.uri.spa.fl_str_mv https://creativecommons.org/licenses/by-nc-sa/4.0
rights_invalid_str_mv Derechos de autor 2021 Universidad Santo Tomás
https://creativecommons.org/licenses/by-nc-sa/4.0
http://purl.org/coar/access_right/c_abf2
dc.format.mimetype.none.fl_str_mv application/pdf
dc.publisher.spa.fl_str_mv Universidad Santo Tomás, Bogotá, Colombia
institution Universidad Santo Tomás
repository.name.fl_str_mv Repositorio Universidad Santo Tomás
repository.mail.fl_str_mv noreply@usta.edu.co
_version_ 1800786422585622528

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