SOUNDTRACK AND IDENTITIES IN THE GENERATION "Y"

Main Article Content

Josep Gustems Carnicer
Diego Calderón Garrido
Adrien Faure Carvallo
Alba Montoya Rubio

Abstract

Television has had an undeniable importance in the 90s in Spain, especially for children and young people who belong to the so-called generation “Y” or “Millennials”. This age has grown in parallel with domestic technology and social networks, making audiovisual environments their natural habitat. In this context, the television series of animation of that time caused a great influence in this generation that was then growing and learning. Our study aims to analyze the sound characteristics of the openings of the 20 cartoons of children's animation most seen in Spanish television in the 90s. This analysis will be done by applying a sound-music template validated and used in previous research by other authors. With all this, we characterize the sound landscape that accompanied this generation in its infancy, distinguishing between different sound profiles. To do this, the presence or absence of certain sound and musical elements, original or manipulated by postproduction techniques, aimed at different audiences according to sex, age, emotions, motivation for technology or social relationships are analyzed. So, it is proposed to deepen and sustain the heterogeneity present in the individuals of this generation, fleeing from homogenizing clichés, enabling different ways of approaching their social identity and the richness they represent for current Spanish society, based on the sound that accompanied them and marked in their childhood.

Downloads

Download data is not yet available.

Article Details

How to Cite
Gustems Carnicer, J., Calderón Garrido, D., Faure Carvallo, A., and Montoya Rubio, A. (2019). SOUNDTRACK AND IDENTITIES IN THE GENERATION "Y". Revista de Comunicación de la SEECI, (49), 159–174. https://doi.org/10.15198/seeci.2019.49.159-174
Section
Articles
Author Biographies

Josep Gustems Carnicer, Universidad de Barcelona

PhD in pedagogy, Higher degree in music, Full professor of didactics of musical expression (UB), with 200 publications on sound and education.

Diego Calderón Garrido, Universidad Internacional de la Rioja

Degree in Music, Doctor of Art History. Professor Contracted Doctor in the UNIR, with 50 articles on the sound fact.

Adrien Faure Carvallo, Universitat de Barcelona

Graduated in Musicology by the UAB, master's degree in Secondary Teacher Training (UB). Associate professor (UB).

Alba Montoya Rubio, Universitat de Barcelona

PhD in History and Theory of Arts (UB), Bachelor of Audiovisual Communication (UPF), Master “Music as interdisciplinary art” (UB-URV-ESMUC), associate professor (UB).

References

Adorno, T. W. (2004). Filosofía de la nueva música. Madrid: Akal.

Alonso, M. H.; Gonzálvez, J. E. & Muñoz, A. B. (2016). Ventajas e inconvenientes del uso de dispositivos electrónicos en el aula: percepción de los estudiantes de grados de comunicación. Revista de Comunicación de la SEECI, 41, 136-154.

Baetens, J. (2012). Beyond the Soundtrack: Representing Music in Cinema. Leonardo, 41(4), 406-407. doi: http://dx.doi.org/10.1162/leon.2008.41.4.406

Blacking, J. (2006) ¿Hay música en el hombre? Madrid: Alianza.

Boer, D.; Ficher, R.; Strack, M.; Bond, M. H.; Lo, E. & Lam, J. (2011). How shared preferences in music create bonds between people: values as the missing link. Personality and Social Bulletin, 37(9), 1159-1171. doi: http://dx.doi.org/10.1177/0146167211407521

Bolton, R. N.; Parasuraman, A.; Hoefnagels, A.; Migchels, N.; Kabadayi. S.; Gruber, T. & Solnet, D. (2013). Understanding generation Y and their use of social media: A review and research agenda. Journal of Service Management, 24(3), pp. 245-267. doi: http://dx.doi.org/10.1108/09564231311326987

Brown, A. R. (2008). Popular Music Cultures, Media and Youth Consumption: Towards an Integration of Structure, Culture and Agency. Sociology Compass, 2(2), 388-408. Doi: http://dx.doi.org/10.1111/j.1751-9020.2008.00103.x

Burstein, D. (2013). Fast Future: How the Milenial Generation is Shaping Our World. Boston: Beacon Press.

Cuellar, C. (1998). Cine y música: el arte al servicio del arte. Valencia: Publicaciones de la UPV.

Delalande, F. (2004). La enseñanza de la música en la era de las nuevas tecnologías. Comunicar, 23, 20-24.

De Moragas, M. (1991). Teorías de la comunicación. Barcelona: Gustavo Gili.

García-Leguizamón, F. (2010). Educación en medios ayer y hoy: tópicos, enfoques y horizontes. Magis. Revista Internacional de Investigación en Educación, 2(4), 279-298. Disponible en https://goo.gl/QZLR7B

Gustems, J. & González, O. (2012). La Música en la programació infantil de la Televisió pública de Catalunya. Prodiemus, 2012, 10-23.

Hershatter, A. & Epstein, M. (2010). Millenials and the world of work: an organization and management perspective. Journal of Business Psychology, 25 (2), 211-223. doi: http://dx.doi.org/10.1007/s10869-010-9160-y

Hyllegard, K.; Yan, R.; Ogle, J. & Attmann, J. (2011). The influence of gender, social cause, charitable support, and message appeal on Gen Y’s responses to cause-related marketing. Journal of Marketing Management, 27(1-2), 100-123.

Márquez-Domínguez, C.; Ramos-Gil, Y-T. & Moreno-Gudiño, B-P. (2018). La generación millennial se identifica con “la pera del olmo”. Revista Mediterránea de Comunicación, 9(2), 159-172.

Ocaña, A. & Reyes, M. L. (2010). El imaginario sonoro de la población infantil andaluza: análisis musical de “la Banda”. Comunicar, 35(XVIII), 193-200.

Porta, A. (2004). Contenidos musicales buscan currículum. Comunicación y Pedagogía: Nuevas tecnologías y recursos didácticos, 197, 31-36.

Porta, A. (2007). Músicas públicas, escuchas privadas. Barcelona: Publicacions de la UAB.

Porta, A. (2011). La oferta musical de la programación infantil de «TVE» como universo audible. Comunicar, 37(XIX), 177-185.

Porta, A. (2014). Explorando los efectos de la música del cine en la infancia. Arte, Individuo y Sociedad, 26(1), 83-99.

doi: http://dx.doi.org/10.5209/rev_ARIS.2014.v26.n1.40384

Porta, A. & Ferrández, R. (2009). Elaboración de un instrumento para conocer las características de la banda sonora de la programación infantil de televisión. Relieve, 15, 2.

Prensky, M. (2001). Digital Natives, Digital Immigrants. On the Horizon, 9(5), 1-6. doi: http://dx.doi.org/10.1108/10748120110424816

Ruiz Cartagena, J. J. (2017). Millennials y redes sociales: estrategias para una comunicación de marca efectiva. Miguel Hernández Communication Journal, 8, 347-367.

Selfhout, M. H. W.; Branje, S. J. T.; Ter Bogt, T. F. M. & Meeus, W. H. J. (2009). The role of music preferences in early adolescents’ friendship formation and stability. Journal of Adolescence, 32, 95-107. doi: http://dx.doi.org/10.1016/j.adolescence.2007.11.004

Tajfel, H. (1978). Differentiation between social groups. Londres: Academic Press.

Twenge, J. M. (2009). Generational changes and their impact in the classroom: Teaching generation me. Medical Education, 43(5), 398-405. doi: http://dx.doi.org/10.1111/j.1365-2923.2009.03310.x

Wesner, M. S. & Miller, T. (2008). Boomers and Millenials have much in common. Organizational Development, 26(3), 89-96.