Professional Documents
Culture Documents
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Ins Alberdi Alonso Rodolfo Gutirrez Palacios
Universidad Complutense de Madrid Universidad de Oviedo
Miguel Canzos Lpez Amparo Lasn Daz
Universidad de Santiago de Compostela Universidad Complutense de Madrid
Teresa Castro Martn Francisco Llera Ramo
Instituto Economa, Geografa y Demografa Universidad del Pas Vasco
Elisa Chuli Rodrigo (editora) Pablo Oate Rubalcaba (editor)
Universidad Nacional de Educacin a Distancia Universidad de Valencia
Jos Ramn Flecha Garca Carlota Sol i Puig
Universidad de Barcelona Universidad Autnoma de Barcelona
Luis Garrido Medina Benjamn Tejerina Montaa
Universidad Nacional de Educacin a Distancia Universidad del Pas Vasco
Rafael Gobernado Arribas Cristbal Torres Albero (editor)
Universidad de Mlaga Universidad Autnoma de Madrid
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M. Paz Cristina Rodrguez Vela
Directora del Departamento de Publicaciones del CIS
Comit consultivo
Carlos Alba Tercedor (UAM); Amparo Almarcha (UDC); Isidoro Alonso Hinojal (UCM); Francisco Alvira
(UCM); scar Alzaga Villaamil (UNED); Joaqun Arango (UCM); Jess Arpal Poblador (UPV); Beln Ba-
rreiro Prez- Pardo (Fundacin Alternativas); Miguel Beltrn Villalva (UAM); Jorge Benedicto Milln
(UNED); Joan Botella (UAB); Manuel Castells (Univ. de California); Pilar Del Castillo (UNED); Juan Jos
Castillo (UCM); Jos Castillo Castillo (UCM); Jos Cazorla Prez (UGR); Rosa Conde (Fundacin Caro-
lina); Ramn Cotarelo (UCM); Ismael Crespo (UM); Juan Dez Nicols (UCM); Mara ngeles Durn
(CSIC); Modesto Escobar (USAL); Jorge De Esteban (UCM); Manuel Garca Ferrando (UV); Jos A.
Garmendia Martnez (UCM); Salvador Giner (IEC); Juan Gonzlez Anleo (UAH); Luis Gonzlez Seara
(UCM); Manuel Gutirrez Estvez (UCM); Julio Iglesias De Ussel (UGR); Emilio Lamo De Espinosa
(UCM); Margarita Latiesa Rodrguez (UGR); Juan J. Linz (Univ. de Yale); Carmelo Lisn Tolosana (UCM);
Francisco Llera (UPV); Luis Lpez Guerra (UC3M); Eduardo Lpez-Aranguren (UC3M); Antonio Lpez
Pina (UCM); Rafael Lpez Pintor (UAM); Jos Mara Maravall (UCM); Enrique Martn Lpez (UCM);
Manuel Martn Serrano (UCM); Miguel Martnez Cuadrado (UCM); Amando De Miguel (UCM); Jess M.
De Miguel (UB); Isidro Molas (ICPS); Juan Monreal Martnez (UM); Jos Ramn Montero Gibert (UAM);
Ricardo Montoro Romero (UAM); M Luz Morn (UCM); Carlos Moya Valgan (UNED); Alejandro Muoz
Alonso (UCM); Po Navarro Alcal-Zamora (UNED); Alberto Oliet Pal (UMA); Benjamn Oltra (UA); Al-
fonso Ort Benlloch (UAM); Ludolfo Paramio (CSIC); Vctor Prez Daz (UCM); Jos Prez Vilario (USC);
Juan Del Pino Artacho (UMA); Manuel Ramrez Jimnez (UNIZAR); Ramn Ramos Torre (UCM); Jos E.
Rodrguez Ibez (UCM); Juan Salcedo Martnez (Univ. Europea-CEES); Julin Santamara Ossorio
(UCM); Bernab Sarabia (UPN); Cayo Sastre Garca (UVA); Eduardo Sevilla Guzmn (UCO); Ignacio
Sotelo (Univ. Libre de Berln); Jos F. Tezanos (UNED); Jos Juan Toharia (UAM); Jos R. Torregrosa
Peris (UCM); Octavio Ua Jurez (URJC); Edurne Uriarte (URJC); M ngeles Valero Lobo (UCM); Josep
Valls (UAB); Fernando Vallespn Oa (UAM); Jos Vericat (UCM); Jos Ignacio Wert Ortega (ESOMAR)
Edita
CENTRO DE INVESTIGACIONES SOCIOLGICAS (CIS)
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Depsito legal: M-14885-1978
ISSN-L: 0210-5233 / ISSN: 0210-5233 / ISSN (Versin electrnica): 1988-5903
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El papel utilizado para la impresin de este libro es al menos 60% reciclado y libre de cloro.
145 Reis
Enero-Marzo 2014
Cmo citar
Val, Fernn del; Noya, Javier y Prez-Colman, C. Martn, (2014). Autonoma, sumisin o
hibridacin sonora? La construccin del canon esttico del pop-rock espaol. Revista Espaola
de Investigaciones Sociolgicas, 145: 147-180.
(http://dx.doi.org/10.5477/cis/reis.145.147)
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
148 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 149
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
150 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
hacen Richard Peterson y Jennifer Lena en Classifica- situaran en lo alto del campo del pop y rock.
tion as Culture: Types and Trajectories of Music Genres La creencia en torno al valor del Pet Sounds
(2008): ...definimos gneros musicales como sistemas como obra se ha ido dando y consolidando
de orientaciones, expectativas y convenciones que unen
a una industria, msicos, crticos y fans en hacer lo que histricamente, ha sido un xito diferido pero
ellos identifican como un tipo particular de msica... constante, una consagracin que parece
(Lena y Peterson, 2008: 698), es decir, proponen una afirmarse con el paso del tiempo. En el rock
interpretacin de los gneros basada en las prcticas
culturales de alianzas y afinidades de gusto que se dan espaol, uno de los casos ms sonados, y al
entre diversos actores y agentes de un campo. que volveremos, es la consagracin diferida
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 151
(o retrospectiva, para usar la terminologa Schmutz (2005), por su parte, trabaja con
de Schmutz) que ha logrado en las ltimas la revista Rolling Stone y su lista de los 500
dcadas el disco Veneno (1977) del grupo discos ms importantes. Schmutz, siguiendo
Veneno. tambin a Bourdieu, distingue: a) el recono-
Sobre los especialistas, o crticos y lec- cimiento popular (legitimacin popular) a tra-
tores encuestados, von Appen y Dohering vs de las listas de venta de la revista Bill-
sealan que la constitucin de las listas pue- board, b) el reconocimiento profesional
de, bajo una perspectiva weberiana, inter- (legitimacin especfica), que se da a travs
pretarse como el resultado de la accin so- de los premios Grammy, c) el reconocimiento
cial de un grupo determinado; y en el caso de la crtica (empresarios reputacionales)
del canon del pop y rock anglosajn, un gru- que ...ayuda a elevar el estatus artstico de
po o tipo ideal constituido por sujetos varo- la msica popular... (2005: 1513), y d) las
nes del mismo grupo de edad, entre 20 y 40 instituciones de consagracin, que, segn
aos, blancos, y con un nivel alto de educa- Schmutz, sera una posicin ocupada en
cin. El caso es similar en nuestras fuentes, este caso por la revista Rolling Stone, insti-
aunque con una importante salvedad: en es- tucin que ...se ve a s misma como preser-
tas revistas podemos observar que hay una vadora y celebradora de lo mejor que su
distribucin normal de edad, sexo y nivel de mundo de arte tiene para ofrecer y suele re-
estudios entre los especialistas de cada ferirse a la significacin histrica de los lbu-
revista, si bien existen claras diferencias en- mes que consagra... (2005: 1515), y que,
tre los periodistas de cada revista en cues- por cierto, como muestra el canon trabajado
tin de edad. Los crticos que participan en por von Appen y Dohering, suele haber una
la elaboracin de la encuesta en Efeeme per- preferencia por discos antiguos.
tenecen, en varios casos (Diego Manrique, Finalmente, una manera de entender el
Jess Ordovs), a una generacin anterior a canon del pop-rock desde su produccin es
la de los que participan en la de Rolling Sto- atender a las variables o razones que los es-
ne, por ejemplo, y estas diferencias, como pecialistas tienen en cuenta para sealar un
comentaremos despus, se observan en la
orden o jerarqua dentro del campo. Gary
construccin de sus listados. Lo que s esta-
Burns (2009) seala a los Beatles como ori-
r presente en todas las revistas es la heren-
gen del canon del rock: junto a otros grupos
cia anglosajona fundada en las nociones
cannicos de los aos sesenta, los Beatles
tanto decimonnicas como continentales de
han establecido convenciones de prctica
la autonoma del arte a la hora de valorar
artstica y de entendimiento que han definido
las obras del campo: creencia en la calidad
al rock por muchos aos. Segn Burns (2009:
musical y negacin del xito econmico in-
226-227), el canon se basa en 5 puntos:
mediato3. En el caso de la prensa musical
elitista, la valoracin de obras de menor xi-
to econmico sirve a su vez para sealar la 1. que los msicos compongan sus cancio-
posicin en el campo del propio especialista: nes,
cuanto ms selectiva sea su valoracin, el 2. que el rock sea un arte,
especialista es ms especialista.
3. que su forma sea el lbum de larga dura-
cin,
3 Una diferencia notable entre las sociologas del arte 4. que los msicos toquen sus propios ins-
bourdiana y anglosajona es la menor preocupacin, en- trumentos y
tre ingleses y estadounidenses, por las posibles contra-
dicciones ideolgicas en la relacin entre xito simbli- 5. que a la vez la paleta de instrumentos
co y pecuniario en el mundo del arte de masas. musicales a utilizar sea abierta e ilimitada.
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
152 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
Como sealan Prez-Colman y Val Ripo- legitimacin se hace desde la prensa especia-
lls (2009), estas convenciones dan paso a lizada y queda plasmada en la construccin
una ideologa romntica de la autenticidad de un canon de obras, qu otro tanto ocurri-
que enlaza la msica popular contempor- r en el caso espaol? Como sealbamos,
nea con las formas de expresin cultural de- Motti Regev (2007 y 2011) identifica procesos
cimonnicas. Como veremos en el caso es- de apropiacin y resignificacin de los soni-
paol, la crtica, all donde la encontramos, dos de la industria musical angloamericana en
tambin construye un discurso de autentici- los distintos campos nacionales de produc-
dad y honestidad artstica. cin de msica popular. Sobre la base de la
guitarra, el bajo, la batera y los teclados, cada
pas, ciudad, barrio, etnia, grupo o sociedad
COSMOPOLITISMO E ISOMORFISMO suma los instrumentos y sonidos propios de
sus tradiciones indgenas.
Una vez tenidas en cuenta las posibilidades
En Espaa la llegada del rocknroll a me-
de esta perspectiva terica, pasaremos a los
diados de los cincuenta marca el punto de
datos que hemos recogido y a la manera en
partida de una historia de asimilacin y re-
que encontramos que el caso espaol puede
chazo. Regev (2007) describe la globaliza-
adaptarse o no a las premisas del caso anglo-
cin cultural del rock como un acontecimien-
norteamericano. Para ello nos fijaremos en
to de duracin prolongada que se dara en
otros trabajos de Regev (2007, 2011) en los
cuatro fases:
que desde una perspectiva descentrada (Re-
gev escribe desde Israel, no desde las cunas
del rock) se permite comprender la naturaleza 1. La prehistoria: aparecen los imitadores
de las msicas nacionales populares como un de Elvis o Pop Idols. O imitadores de los
cosmopolitismo [o mestizaje] esttico Everly Brothers, como el Do Dinmico
(2007) e isomorfismo [o similitudes de carc- en Espaa a fi nales de los aos cin-
ter] expresivo (2011), que nos podrn ayudar cuenta.
a situar el caso de la produccin de sentidos 2. Consagracin: se da con el xito de los
en el rock espaol a partir de su prensa. Se- Beatles, Rolling Stones y Bob Dylan, con
gn Regev, el contacto del rocknroll norte- la aceptacin del nuevo estilo musical,
americano primitivo con las diversas escenas del esfuerzo artstico de los msicos, del
nacionales Inglaterra, Argentina o Israel negocio de las compaas discogrficas,
termin produciendo una indigenizacin del y de la lucha entre fans y crticos por sen-
rock, una adaptacin nacional de los sonidos tar los sentidos en torno a esta nueva
propios (el music hall, el tango, etc.) a la est- msica. Ya no son imitadores, sino artis-
tica emergente del rock global. Siguiendo esta tas. En Espaa, durante esos aos se-
lnea, entonces, podemos situar dos polos y senta, todava estaramos en una fase
un punto intermedio en la valoracin de la embrionaria, en la que grupos como Los
produccin del pop-rock espaol: desde el Brincos, Los Bravos o Los Salvajes no
anglicismo propio de los primeros rockeros, terminan de separarse de las influencias
pasando por las tesis hibridacionistas de Re- forneas.
gev, llegando al polo ms espaolista de la 3. Consolidacin y dominacin: el rock real-
prensa nacional. mente triunfa como fuerza dominante de
La pregunta que gua este estudio es en- la msica nacional. Cooperacin entre
tonces: si en el mundo de la msica popular msicos de rock y msicos folk o tnicos.
anglosajona se puede observar una legitima- Hibridacin. En Espaa tenemos diversos
cin artstica (esttica y autntica) y que dicha ejemplos, como el rock andaluz (Triana,
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 153
Veneno), el rock cataln o laietano (Ice- Los 200 mejores discos del pop espaol,
berg, Companyia Elctrica Dharma), y los revista Efeeme, 50, julio/agosto de 2003.
diversos estilos ligados a estas escenas. (Encuesta realizada entre crticos de la
4. Diversificacin de estilos y gneros: con- revista).
fianza en los msicos locales para inno- Las 200 mejores canciones del pop-rock
var, inventar y desarrollar su propio pro- espaol, revista Rolling Stone, 85, no-
yecto de rock nacional/local, sin mirar a viembre de 2006. (Encuesta realizada en-
Nueva York o Londres necesariamente. tre msicos espaoles y crticos de la
En Espaa en los aos ochenta hay en la revista).
movida una mirada atenta a Inglaterra, el Los 50 mejores discos de la historia del
punk y la nueva ola, pero al mismo tiem- rock espaol, revista Rolling Stone, 119,
po esta escena consolida el rock como septiembre de 2009. (Encuesta realizada
un lenguaje juvenil mayoritario, acercn- entre crticos de la revista).
dolo a temticas e iconos propios.
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
154 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 155
caciones ignoran la msica autctona y del gue en activo, y en las que se mantiene a
entorno mediterrneo. La alternativa ha sido parte del mismo equipo de trabajo, si bien
una tristona y restrictiva anglofilia... se tiende dos de sus principales componentes, Gon-
a compensar nuestro tpico complejo de in- zalo y Juli, publicarn por su cuenta Ruta 66
ferioridad con toneladas de eurocentris- (1985), revista centrada en el rock clsico,
mo... (Lenore, 2010: 30). garajero.
A modo de resumen podemos sealar A finales de los aos ochenta, y en la d-
que la crtica de msica pop-rock aparece en cada de los noventa, las revistas especializa-
Espaa ligada al desarrollo de las revistas das se van focalizando en determinados ni-
especializadas, que surgen al tiempo que es- chos musicales. Rockdelux apoyar la
tos gneros se implantan en este pas, esto aparicin del indie espaol, marcado por el
es, en los aos sesenta. De acuerdo con auge del grunge norteamericano, defendien-
Manrique (1993: 26), el primer proyecto de do una concepcin del rock elitista, mientras
revista especializada que cuaj fue Discbo- Ruta 66, Popular 1 y Heavy rock defendern
lo (1962-1971), a la que siguieron Fonorama los sonidos menos elaborados pero ms
(1963-1968) y Fans (1965-1967). En estas contundentes. La dcada del 2000 ver la
revistas pioneras el pop-rock es concebido continuidad de estas revistas junto con la
como una msica para adolescentes, grupo aparicin de la versin espaola de la Rolling
social que es defendido con vehemencia Stone y la valenciana Efeeme, ms dedicada
ante la mirada sospechosa del franquismo. al mercado espaol y latino.
Hasta la dcada de los aos setenta no po- A grandes rasgos, y siguiendo con la ca-
demos hablar de una crtica musical cons- racterizacin que citamos de Lenore al prin-
ciente de s misma, que defienda una ideolo- cipio del punto, la crtica musical espaola
ga del rock como forma de arte y de ha mostrado, y sigue mostrando, un mayor
comunicacin. Durante esa dcada prolife- aprecio y atencin por la msica anglfona
ran las publicaciones musicales, estando que por la autctona, o que la de otros pa-
todava en activo algunas de ellas, como Po- ses europeos o latinoamericanos. La mayor
pular 1 (1973) o Disco Exprs (1968-1979), parte de las portadas de las revistas se cen-
versin hispana del New Musical Express bri- tran en grupos extranjeros, bajo el argumen-
tnico, y en la que aparecern algunos de los to de que las portadas de grupos espaoles
nombres fundamentales del periodismo de atraen a menos compradores. Pero esto no
las siguientes dcadas. En los aos ochenta quita para que exista un canon esttico del
Barcelona fue el centro neurlgico de las pu- rock espaol, basado en diversos rasgos re-
blicaciones sobre msica, si bien es en Ma- seables, que ahora veremos.
drid donde van a surgir las principales esce-
nas musicales de esos aos: la movida y el
rock urbano/heavy. De los sonidos ms du- EL CANON ESTTICO DEL POP
ros se ocupar Heavy rock (1983), publicada ESPAOL
por el equipo editorial de Popular 1 en sus
comienzos. Adems de la ya citada Popular 1, Una vez obtenidas las puntuaciones y el ran-
en la Ciudad Condal aparece Vibraciones king global de los grupos y lbumes ms in-
(1974-1981), revista que acoge a colabora- fluyentes, tenemos el canon del pop-rock
dores de Disco Exprs como Diego Manri- espaol. En la tabla 1 pueden verse los 50
que, Ignacio Juli o Jaime Gonzalo; Vibracio- hitos del gnero. Para contrastar la validez
nes inicia una saga de publicaciones que de este canon lo hemos comparado, como
continuar con Rock espezial (1981-1984), y se seal en el apartado de datos, con los
desembocar en Rockdelux (1984), que si- discos incluidos en el libro 201 discos para
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
156 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
engancharse al pop/rock espaol. De los 50 otro elemento, sealado por Regev (2007),
componentes de nuestra metalista, tan solo que sirve como vara para medir la bondad
dos, Paco Ibez y La Mode, estn fuera de de los artistas. Andrs Calamaro, msico
la citada obra. Y otros cinco grupos o solis- argentino, largo tiempo afincado en Espaa,
tas (Bunbury, Ketama, Loquillo, Quique Gon- es un ejemplo de ello en su obra Honestidad
zlez y Antonio Vega) aparecen con discos Brutal:
diferentes a los de nuestra metalista.
Dentro de los diez primeros lo que hay [] nada haca presagiar semejante volcn, un
que resaltar es la enorme presencia de gru- equivalente al White album de The Beatles to-
pos surgidos en los aos ochenta, en la lla- dos los estilos posibles en una sucesin aleatoria,
mada movida madrilea. Esta presencia se misteriosamente perfecta... Calamaro absorba el
da a lo largo de toda la lista, pero especial- rock clsico, la cancin sudamericana, el tango, el
mente en los diez primeros puestos, de los reggae, la disco music, todo lo imaginable, y de-
cuales ocupan cinco: Radio Futura (1), Ga- volva un apasionado tratado urgente de amor,
binete Caligari (4), Nacha Pop (7), Alaska & ftbol, drogas, abandonos, bromas y quebrantos
Dinarama (8) y Loquillo (10). El resto del top con una personalidad arrolladora... la imperfec-
ten lo completa un cantautor (Serrat, 2), un cin es belleza, y todo parece surgir de la nada,
flamenco (Camarn, 3, aunque con su disco genialidad instantnea [...] (Ricardo Aldarondo, en
ms cercano al pop-rock), un rockero argen- Rockdelux, 2004: 152).
tino (Calamaro, 9), y dos grupos de pop (Vai-
nica Doble, 5, y Los Brincos, 6). Pero qu sera lo espaol? Qu soni-
Siguiendo con la lnea bourdiana expre- dos tradicionales o folclricos son caracte-
sada en nuestro marco terico, lo que los rsticos de este pas? Sin ninguna duda, para
crticos espaoles, y los msicos, defienden los crticos es el flamenco. No es balad que
es el arte autctono, no mimtico. Se valoran el disco por el que Camarn est en estas
grupos que, partiendo de la herencia del listas sea La leyenda del tiempo, el disco que
pop-rock anglosajn, hayan sabido conju- abri el flamenco al rock, y en el que tomaron
garlo con ciertos sonidos o temticas pa- parte activa Kiko Veneno y Raimundo Ama-
trias. Por tanto, tal y como plantebamos dor, ilustres visitantes en nuestra lista, ya sea
anteriormente, este canon representa las te- como Veneno, en solitario, o en Pata Negra.
sis hibridacionistas de Regev (2007 y 2011). En esa lnea hay que interpretar tambin los
Radio Futura es un ejemplo de grupo que, discos o canciones ms votados en cada
partiendo de los sonidos heredados del rock una de las listas. En dos ocasiones (Efeeme
ingls, ha buscado caminos para emparentar y Rockdelux) el disco de debut de Veneno
al blues con los sonidos latinos o espaoles. fue elegido como el mejor. En el caso de Ro-
En 201 discos para engancharse al rock es- lling Stone, los elegidos como nmero uno
paol (pp. 206-207), David Saavedra define fueron El ltimo de la Fila con Enemigos de
as su cancin Semilla negra: ...ah est la lo ajeno, otro disco que busca en sonidos
Caja de Pandora de Radio Futura, el universo arbigos un discurso propio. Y tambin es
de sensaciones que marcara el puente entre importante la presencia de Omega, disco
lo que eran y lo que iban a ser. Acababan de realizado entre el cantaor Enrique Morente y
encontrar el rock latino.... Del grupo de los el grupo de rock Lagartija Nick, en el que se
hermanos Ausern se suele destacar su in- musicaron poemas de Federico Garca Lor-
corporacin de ritmos afrocaribeos, y su ca. En cualquiera de estas tres obras (La le-
habilidad para encajar textos cuidados y yenda del tiempo, Veneno y Omega) vemos
sencillos en mtricas novedosas en el rock que no son discos de flamenco puro, sino
espaol. El cosmopolitismo de los artistas es que en ellos est presente la base de la ins-
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 157
trumentacin rockera (batera, bajo, guita- [...] Veneno le da la vuelta al que inventen ellos
rras), lo que los hace asimilables al canon (que nosotros ya copiaremos) para depurar un te-
esttico del rock. Sobre el disco de Cama- rritorio que solo el flamenco... ha sabido labrar
rn, los crticos valoran su valenta en aquella con la garanta de autntica denominacin de ori-
obra, al romper con el tradicionalismo fla- gen... nada parecido a Veneno poda haber nacido
menco, y su capacidad para acercar dos g- antes de 1977 y, por descontado, en ningn otro
neros, rock y flamenco, hasta entonces ale- sitio que no fuese la Andaluca mestiza de payos
jados: y gitanos (Santi Carrillo, en Rockdelux, 2004: 178).
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
158 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
ter nico (Vainica Doble, Calamaro, Antonio Cuando comparamos las puntuaciones
Vega). Pero no solo se valora la composicin, obtenidas por cada uno en la metalista, se
tambin la interpretacin, en su ms amplio puede hablar de un canon porque el resulta-
sentido, es reconocida en Alaska y Loquillo, do est estructurado jerrquicamente, con
quienes precisamente no destacan por sus una clara priorizacin. As, por ejemplo, el
voces, sino ms bien por su capacidad para mejor valorado (Radio Futura) obtuvo un n-
rodearse de buenos compositores (Nacho mero de puntos:
Canut, Carlos Berlanga, Sabino Mndez) y
para crear un personaje creble cada vez que 3,4 veces mayor que el valorado en 30
se suben a un escenario. posicin (Tequila).
Un elemento muy valorado por los crti- 1,7 veces mayor que el valorado en 10
cos, casi a la misma altura que la cuestin posicin (Loquillo).
sonora, son los textos. En el caso de Vainica
1,3 veces mayor que el valorado en 5 po-
Doble las crticas se suelen referir ms a su
sicin (Vainica Doble).
habilidad como escritoras que como msi-
cas:
Llamativamente, cuando comparamos las
[...] Hay magia, luces y profundidad en las cancio- propiedades estructurales del canon espaol
nes de Taquicardia. Hay humor... hay hermosos con las del canon internacional obtenido por
estribillos... hay parbolas, metforas y sincdo- von Appen y Dohering vase la tabla 2,
ques [...] (Luis Lapuente en Efeeme, 2004: 36). nos encontramos con una estructuracin se-
mejante en trminos de jerarqua del gusto,
Alaska y Dinarama tambin son tenidos aunque en el primero, el espaol, hay una
en cuenta por el contenido emocional de sus menor distancia entre el primero y el ltimo,
textos, y por la reivindicacin implcita de la y en este sentido, sera ms igualitario. En el
homosexualidad que haca el tndem Berlan- ranking internacional, el mejor valorado (Los
ga-Canut: Beatles) obtuvo un nmero de puntos:
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 159
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160 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
Por ltimo, hemos utilizado otro criterio moderno, el uso de la irona, la visibilizacin
valorativo en funcin de si los grupos inclui- de la homosexualidad, de una cultura un tan-
dos en la lista tuvieron en su momento, o han to naif, han hecho de esta escena un hito
tenido despus, un impacto importante a ni- cultural, que tambin queda reflejado en el
vel de ventas o de celebridad en la msica canon musical.
espaola, o bien si son grupos reconocidos
por sus pares, y por la crtica, pero descono-
cidos para el gran pblico. Llamemos a los VALIDEZ INTERNA: DIFERENCIAS
primeros mainstream y a los segundos under- ENTRE MAINSTREAM
ground. En este segundo caso consideramos Y UNDERGROUND E IMPACTO
que su presencia en estas listas refuerza el GENERACIONAL
papel de los crticos como figuras no media-
Hemos subrayado en el apartado anterior que
das por los gustos populares. El resultado es
despus de controlar otras variables, el hecho
que dentro del canon solo 16 grupos (el 32%)
de ser un grupo underground o de culto no es
son underground. En algunos de los casos se
un buen predictor de lograr entrar el canon,
puede observar que, en gran medida, la pre-
eso s, siempre despus de controlar el efecto
sencia de estas bandas se debe a la influen-
del gnero, es decir, la pertenencia o no a la
cia de las revistas Efeeme y Rockdelux, de las
movida. Lo anterior no impide que haya dife-
que ya sealamos unos gustos ms centra-
rencias significativas en el canon de los cuatro
dos en las bandas minoritarias.
rankings cuando diferenciamos entre revistas
Para comprobar la robustez de las ante- mainstream (Rolling Stone) y revistas under-
riores conclusiones pareca necesario reali- ground, ms exclusivas (Efeeme y Rockde-
zar un anlisis multivariante que nos ayudase lux). El canon mainstream (tabla 4) es distinto
a indicar qu variables eran ms determinan- del canon underground (tabla 5).
tes en la conformacin del canon: el origen De hecho, cuando comparamos los ran-
geogrfico, el sexo, el gnero o la escena kings y cnones que resultaran de analizar
musical. estos dos grupos de revistas por separado,
El anlisis de regresin mltiple, que pue- encontramos diferencias significativas. Des-
de verse en la tabla 3, confirma el efecto de luego hay un canon compartido, lo que
movida. Despus de controlar el efecto de refuerza las conclusiones obtenidas hasta
las otras variables, la que mejor predice la ahora y la validez interna de los resultados,
probabilidad de pertenecer al canon es la pero tambin emergen importantes diferen-
pertenencia a la movida: la beta es de 0,29 cias que permiten hablar de dos campos, en
significativa al 0,05. En comparacin, las trminos de Bourdieu, o de dos mundos
otras cinco variables apenas tienen poder distintos del arte pop-rock en Espaa, si
explicativo. preferimos hablar en los trminos de Howard
La importancia de esta escena radica en Becker.
una doble cuestin: la esttica, que ya se ha Tanto si hablamos de mainstream como
sealado, por su hibridacin de elementos de underground, hay un claro consenso que,
forneos con elementos de la cultura popular insistimos, permite hablar de canon. En nin-
espaola, y la sociopoltica. La movida ac- guno de los dos casos se pone en cuestin
tualiz la vida cultural y social de una parte la vala de los tres primeros del ranking glo-
de la juventud espaola, en un contexto his- bal (Radio Futura, Serrat o Camarn), que
trico, la Transicin, en el que romper con tambin ocupan los puestos destacados de
ciertas ataduras del franquismo era funda- los dos rankings resultados de separar valo-
mental. La reivindicacin por lo nuevo, por lo raciones mainstream y valoraciones under-
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 161
ground. Tambin hay coincidencias en las y Dohering (2006), que es la cuestin gene-
valoraciones de Gabinete Caligari o Alaska, racional. As, podemos observar que en la
que entran entre los diez primeros en ambos lista elaborada en Efeeme predominan en los
subrankings. primeros puestos varios grupos (CRAG, Vai-
Ahora bien, lo anterior no impide que nica Doble, Veneno) de los aos setenta, que
tambin emerjan importantes diferencias en generacionalmente representan a periodis-
las valoraciones de otros grupos cuando tas como Jess Ordovs o Diego Manrique,
abandonamos los diez primeros puestos: que a su vez participan en la elaboracin de
dicha lista. Si la comparamos con el listado
Vainica Doble, Kiko Veneno/Pata Negra o elaborado por Rolling Stone, sobre los 50
Cnovas, Rodrigo, Adolfo y Guzmn es- mejores discos del pop espaol, apenas hay
tn entre los mejor valorados en el ran- rastro de grupos de los aos setenta, mien-
king underground, pero caen a posicio- tras que artistas de los aos noventa como
nes medias de la tabla en el ranking Andrs Calamaro o Los Planetas estn en
mainstream. posiciones altas, cuestin que concuerda
con la generacin de los periodistas que par-
En cambio, Brincos, Calamaro, ltimo de
ticipan en ese listado, como Daro Manrique
la Fila, Nacha Pop, Burning o Sabina en-
(hijo de Diego Manrique), Manuel Pin o
tran en el top manta, si se nos permite
Beatriz G. Aranda, educados sentimental-
la expresin para referirnos al top ten del
mente en el indie de los aos noventa.
ranking mainstream, pero, sin embargo,
estn situados en posiciones muy bajas
del ranking de las revistas underground.
VALIDEZ EXTERNA: VARIACIONES
GENERACIONALES
Es importante subrayar que tanto under-
E INTERNACIONALES
ground como mainstream son igual de dife-
renciadores. Tomemos el caso de los segun- Como prueba de control de esta matriz he-
dos mejor valorados en cada caso. El mos utilizado otra encuesta, realizada por el
segundo mejor valorado en el ranking under- diario El Pas, Cien msicos hispanoameri-
ground, Veneno, cae a la 21 posicin en el canos eligen las 100 canciones que cambia-
mainstream. El segundo mejor valorado en el ron su vida. Nos va a servir como contraste
ranking mainstream, Los Brincos, cae a la de los resultados obtenidos en nuestra me-
23 posicin en el underground. Por lo tanto, talista resultante de los cuatro rankings (dos
hay simetra en las valoraciones. de Rolling Stone, ms el de Efeeme y el de
En definitiva, hay un canon de grupos Rockdelux).
cuya vala es aceptada por todos, y en este Los resultados de El Pas vase la ta-
sentido se puede hablar de la validez interna bla 6 confirman algunos de los datos ex-
de los resultados. Lo anterior no impide que puestos aqu. De los 50 primeros clasifica-
las diferencias en el posicionamiento de los dos, 16 eran espaoles y 34 extranjeros.
crticos y las revistas, la diferencia entre Pues bien, dentro de los espaoles, los tres
mainstream y underground, permita hablar artistas principales coinciden con los de
tambin de una segmentacin del campo nuestra metalista: Camarn de la Isla, Serrat
musical en Espaa que hace que los reco- y Radio Futura tienen dos canciones dentro
nocidos por los primeros no lo sean tanto por del listado de El Pas.
los segundos, y al revs. Tambin hay otro dato interesante. En
A su vez estas diferencias obedecen tam- cuanto a los msicos extranjeros reconoci-
bin a una cuestin sealada por von Appen dos por los msicos espaoles, Beatles,
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162 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
Beach Boys y Nirvana alcanzan los primeros aportar elementos propios, autctonos. Den-
puestos, de forma que se reproduce el canon tro de estos elementos autctonos es el fla-
internacional identificado por von Appen y menco el que ms rditos produce. Apenas
Dohering (tabla 2). En este sentido, se puede hay rastro de otras msicas folclricas en la
decir que los msicos espaoles de pop- lista.
rock hablan la misma lingua franca de sus Est claro que hay una escena y una po-
pares en el extranjero. ca que estn sobrerrepresentadas en el ca-
Por otra parte, cuando analizamos el ca- non: la msica de la movida. En parte hay una
non de El Pas, adems del gnero musical explicacin generacional: los crticos ahora
del artista, la generacin influye en la selec- en ejercicio son los jvenes que protagoniza-
cin del canon, al igual que ocurra con los ron o se socializaron en la movida. La movida
crticos. Por ejemplo, un grupo como El Can- ha promovido a la movida, aunque los perio-
to del Loco, centrado en el pop-rock juvenil, distas ms jvenes que no la vivieron tam-
y cuyos miembros nacieron a finales de los bin la han votado. Su influjo sobrepasa ge-
aos setenta y primeros aos ochenta, cen- neraciones. A pesar de lo anterior, tampoco
tran sus votaciones en grupos de rock de los hay que excluir los factores de clase. Hemos
aos ochenta y noventa, mientras que Bur- visto que en el canon hay una mayor presen-
ning, grupo formado a mediados de los se- cia del rock o el pop, gneros de clase media,
tenta, y cuyos miembros son de mediados de en detrimento del rock duro, el punk, el heavy
los aos cincuenta, dirigen sus votos a ban- metal o la rumba, todos ms asociados a las
das de los aos setenta. clases bajas. Estos datos confirman las hip-
tesis planteadas por von Appen y Dohering
(2006: 24) sobre la homogeneidad de la crti-
CONCLUSIONES ca musical alemana y su relacin con los
A partir de este anlisis, hay varias conclusio- gustos. En el caso espaol tambin pode-
nes que se pueden extraer, tanto en el plano mos afirmar que la crtica musical propone un
terico como en el emprico. En primer lugar, canon que excluye la produccin y el consu-
hay que decir que encontramos un patrn mo musical de las clases bajas, en pos de
claro y distinto de preferencias musicales sonidos ms ligados a las clases medias.
que permiten hablar de un canon. La compa- An hoy es raro que la prensa musical o ge-
racin de la muestra que hemos manejado neralista haga mencin a festivales de reg-
con otros listados y rankings, con los mismos gaeton, techno o rock urbano.
resultados, confirma la validez externa: Sin embargo, la movida fue un movimien-
existe un canon del pop-rock espaol. Cues- to interclasista, con una gran efervescencia
tin a investigar en futuros trabajos es hasta de todos los tipos de msica, de todas las
qu punto las audiencias comparten este ca- clases sociales, como corresponda a una
non de la crtica musical. coyuntura de cambio social, cultural y polti-
A pesar de la anglofilia percibida dentro co: la Transicin. Lo que ha sucedido es que
de la crtica musical, sealada por Lenore las clases medias han logrado imponer sus
(2010) y Manrique (1993), lo que el canon gustos para producir el canon. Esto confirma
confirma son las tesis hibridacionistas o las tesis de Bourdieu. Tambin plantea la
glocalistas de Regev (2007 y 2011). La cr- cuestin de si la movida en su conjunto se ha
tica musical espaola entiende el pop-rock a aburguesado o es la burguesa de la movida
partir de los discursos e ideas importados la que ahora, ya madura, impone su canon.
desde el mundo anglosajn, pero valorando Adems de la clase, hay otros elementos
la capacidad de determinados grupos por que influyen en la conformacin de este ca-
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 163
non, como la variable generacional. En los jerarquas estticas a su vez reproducen es-
listados podemos ver una brecha generacio- quemas generacionales y, sobre todo, de
nal que afecta a la conformacin de los mis- clase, como siempre ha subrayado Bourdieu.
mos. En el publicado en la revista Efeeme
los grupos de los aos setenta (Veneno, Vai-
nica Doble, Cnovas y Ca) tienen una con-
sideracin que no vemos en el resto de lis- BIBLIOGRAFA
tados, y esto est relacionado con la Appen, Ralf von y Dohering, Andr (2006). Nevermind
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en cannicos y a otros en perifricos. Estas Beginning. New York: Peter Lang.
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Diecisiete aos y un da en la prensa musical.
10 Si uno atiende a la trayectoria de esta revista, ahora Rockdelux, 100: 24-27.
pgina web, sorprende que msicos como Andrs Ca-
lamaro, Quique Gonzlez o Loquillo no tuvieran ms
Noya, Javier (coord.) (2003). Cultura, desigualdad y
presencia en el listado que public, ya que habitualmen- reflexividad. La sociologa de Pierre Bourdieu.
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Prez Colman, Cristian Martn y Del Val Ripolls, Cosmopolitanism in Popular Music. American
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cin cultural autnomo: autenticidad y produc-
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(2002). The Pop-Rockization of Popular Music. Los 100 mejores discos espaoles del siglo XX.
En: Hesmondhalgh y Negus (eds.). Studies in Rockdelux, 223, noviembre de 2004.
Popular Music. London: Arnold; New York: Oxford
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phism: Blurring the National, the Exotic, and the ol. Rolling Stone, 119, septiembre de 2009.
RECEPCIN: 11/06/2012
REVISIN: 20/11/2012
APROBACIN: 17/07/2013
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 165
TABLA 1. Metalista
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166 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 167
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168 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 169
ANOVA(b)
Suma de Media
Modelo gl F Sig.
cuadrados cuadrtica
Regresin 22.211,171 6 3.701,862 1,953 0,095(a)
1
Residual 77.712,808 41 1.895,434
Total 99.923,979 47
Coeficientes(a)
Coeficientes
Coeficientes no estandarizados t Sig.
estandarizados
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170 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 171
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172 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 173
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174 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
TABLA 6. Encuesta Cien msicos hispanoamericanos eligen las 100 canciones que cambiaron su vida,
realizada por el diario El Pas
Extranjero Hispanoamericano
1 Ne me quitte pas, Jacques Brel
2 God only knows, The Beach Boys
3 Help!, The Beatles
4 Como el agua, Camarn de la Isla
5 Mediterrneo, Joan Manuel Serrat
6 A hard days night, The Beatles
7 There is a light that never goes out, The Smiths
8 A day in a life, The Beatles
9 Strawberry Fields Forever, The Beatles
10 La leyenda del tiempo, Camarn de la Isla
11 Like A Rolling Stone, Bob Dylan
12 What s Going On?, Marvin Gaye
13 Twist And Shout, The Beatles
14 Smells Like Teen Spirit, Nirvana
15 Volver, Carlos Gardel
16 A Change Is Gonna Come, Sam Cooke
17 California Dreamin, The Mamas & The Papas
18 Ojal, Silvio Rodrguez
19 Cum On Feel The Noize, Slade
20 In my life, The Beatles
21 King Creole, Elvis Presley
22 Whole lotta love , Led Zeppelin
23 Malos tiempos para la lrica, Golpes Bajos
24 Rain, The Beatles
25 Tumbling Dice, The Rolling Stones
26 Yesterday, The Beatles
27 Almoraima, Paco de Luca
28 Ballroom blitz, Sweet
29 La Estatua del jardn botnico, Radio Futura
30 La Foule, Edith Piaf
Romance de curro El Palmo, Joan Manuel
31
Serrat
32 Space Oddity, David Bowie
33 Trouble, Elvis Presley
34 Blowin in the wind, Bob Dylan
35 Dont Think Twice, Its Alright, Bob Dylan
36 Get On Your Knees, Los Canarios
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 175
TABLA 6. Encuesta Cien msicos hispanoamericanos eligen las 100 canciones que cambiaron su vida,
realizada por el diario El Pas (Continuacin)
Extranjero Hispanoamericano
37 I want you back, Jackson 5
38 Imagine, John Lennon
39 Laura va, Luis Alberto Spinetta
40 Spanish Stroll, Mink DeVille
41 Black Is Black, Los Bravos
42 Free Bird, Lynyrd Skynyrd
43 Lo bueno y lo malo, Ray Heredia
44 Sleep Walk, Santo & Johnny
45 Strangers In the Night, Frank Sinatra
46 Suspiros de Espaa, Concha Piquer
47 Bridge Over Troubled Water, Simon & Garfunkel
48 Creep, Radiohead
49 El sitio de mi recreo, Antonio Vega
50 Escuela de calor, Radio Futura
Total 34 16
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176 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
TABLA 7. Los 100 mejores discos espaoles del siglo XX, revista Rockdelux
1. Veneno, Veneno
2. La leyenda del tiempo, Camarn
3. Mediterrneo, Serrat
4. Heliotropo, Vainica Doble
5. Deseo carnal, Alaska y Dinarama
6. Omega, Morente & Lagartija Nick
7. Blues de la frontera, Pata Negra
8. Qualsevol nit pot sortir el sol, Sisa
9. Grandes xitos, Alaska y los Pegamoides
10. Songhai, Ketama / Toumani Diabate / Danny Thompson
11. Seora azul - Cnovas, Rodrigo, Adolfo y Guzmn
12. No slo de rumba vive el hombre, Albert Pla
13. La ley del desierto / La ley del mar, Radio Futura
14. Dioptra 1 y 2, Pau Riba
15. El patio, Triana
16. Un soplo en el corazn, Family
17. El ritmo del garage, Loquillo y Trogloditas
18. Una semana en el motor de un autobs, Los Planetas
19. Hermanos carnales, Surfin Bichos
20. Cuatro Rosas, Gabinete Caligari
21. Honestidad Brutal, Andrs Calamaro
22. Nuevo da, Lole y Manuel
23. Viatge a taca, Llus Llach
24. Fuente y caudal, Paco de Luca
25. Alenar, Maria del Mar Bonet
26. chate un cantecito, Kiko Veneno
27. Lujo ibrico, Mala Rodrguez
28. Encuentros, Orquesta Andalus de Tnger & Juan Pea Lebrijano
29. En la gua, en el listn, Derribos Arias
30. Borreroak baditu milaka aurpegi, Negu Gorriak
31. En el Olympia, Paco Ibez
32. Vanguardia y pureza del flamenco, Smash/Agujetas con Manolo Sanlcar
33. El eterno femenino, La Mode
34. Poco ruido y mucho duende, Manzanita
35. Bat hiru, Mikel Laboa
36. A Santa Compaa, Golpes Bajos
37. El acero del partido/Hroe del trabajo, Esplendor geomtrico
38. Nacha Pop, Nacha Pop
39. Quien no corre, vuela, Ray Heredia
40. 4.02.42, Ovidi Montllor
41. El fin de la dcada, Burning
42. Cecilia 2, Cecilia
43. Ilegales, Ilegales
44. Los Brincos, Los Brincos
45. A Vctor Jara, Raimon
46. Rock and roll, Tequila
47. Bambino y su combo flamenco, Bambino
48. Una temporada en el infierno, Fangoria
49. Msica dispersa, Msica dispersa
50. Gipsy rock, Las Grecas
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 177
TABLA 8. Los 200 mejores discos del pop espaol, revista Efeeme
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
178 Autonoma, sumisin o hibridacin sonora? La construccin del canon esttico del pop-rock espaol
TABLA 9. Las 200 mejores canciones del pop-rock espaol, revista Rolling Stone
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
Fernn del Val, Javier Noya y C. Martn Prez-Colman 179
TABLA 10. Los 50 mejores discos de la historia del rock espaol, revista Rolling Stone
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, Enero - Marzo 2014, pp. 147-180
doi:10.5477/cis/reis.145.147
Citation
Val, Fernn del; Noya, Javier y Prez-Colman, C. Martn, (2014). Autonomy, Submission or Sound
Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock. Revista
Espaola de Investigaciones Sociolgicas, 145: 147-178.
(http://dx.doi.org/10.5477/cis/reis.145.147)
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
148 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 149
Music, where cultural fields were used to ex- step from being a heteronomous cultural
plain pop music and the links of rock music production to an autonomous, or at least,
to the classic parameters of modern art: au- relatively autonomous, cultural production.
tonomous creativity, masterpieces and aes- Rock moved from being a field of production
thetic authenticity. A decade later Ralph von coming from the margins of culture, fed by
Appen and Andr Dohering (2006) analysed cultural characteristics and practices histori-
the case of Anglo-American pop-rock. Taking cally linked with popular strata and in prin-
Regevs work into account, they collated ciple lacking artistic legitimation ability (ini-
more than 30 lists of the type The 100 Great- tially the Afro-American population in the
est Albums of All Time in order to show that United States and the working class in the
there was an established canon that tended United Kingdom, or the gypsy population in
to enshrine in the first place works produced Spain), and also linked to the Baby Boom
in the 1960s. For his part, Vaughan Schmutz generation (the population density of Ameri-
(2005) used one of these lists (in particular, can youth of the 1950s, British youth of the
The 500 greatest albums of all time (Rolling 1960s, or Spanish youth of the 1980s), to be-
Stone 2003)) and, taking into account the ing an autonomous cultural production (al-
Bourdieuian forms of recognition, he re- though weak, according to Bourdieu) in
searched the ways in which these works which rock was no longer linked to its popu-
were retrospectively consecrated according lar roots, musically, socially and culturally,
to sales, academy prizes and the opinion of and established itself as an artistic end in,
the specialist press, in the case of the United and of, itself.
States. He concluded that the weight of Bourdieu did not necessarily have any ex-
criticism is crucial for the consecration of a plicit intention of applying his theoretical
work, and that the age of the work also helps model to the field of popular music1. Howe-
its establishment into the canon. In a similar ver, he proposed a science of cultural works
Bourdieuian line, there is a study by Lindberg that aims both the material production of the
et al. (2005) on rock criticism, dealing with work and the production of the value of the
the Anglo-American rock press and its es- work as well. The producer of the value of
tablishment as a field of cultural production, the work of art is not the artist but the field of
which achieved considerable autonomy be- production as a universe of belief which pro-
tween the end of the 1960s and the first half duces the value of the work of art as a fetish
of the 1970s. This study contributes towards by producing the belief in the creative power
the understanding of part of the interaction of the artist (2002: 339, emphasis in original).
between the actors in the field of rock and In the case of rock, the universe of belief as
how works are accepted into the canon a system of objective relationships is given
through their reception by the specialist by what Lindberg et al. (2005) called the field
press (or specific recognition, in the of criticism, something that can be under-
Bourdieuian sense) and how also certain stood as an alliance between the works pro-
voices gain authority and become gate- ducers, and the producers of meaning
keepers in the press (such as was the case
with US writers such as Lester Bangs and
Greil Marcus, or Spanish writers such as Di- 1 The validity of Bourdieus work on the formation of the
ego A. Manrique and Jess Ordovs). literary field in France in the second half of the ninete-
enth century has led to this model being used in other
To consider that a canon exists in rock is artistic fields: Prez Colman and del Val Ripolls (2009)
one of the effects of the legitimation of rock on the field of rock; Hesmondhalgh (2006) on the media
and culture industry, and Lindberg et al. (2005) on rock
as a field of cultural production and of its in- criticism as a field of production of judgement and values
creasing status. In Bourdieuian terms, it is a on rock, the universe of belief.
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
150 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
around these works. This is an alliance which, the canon and as a classic). von Appen and
according to Regev (1994), would drive an Dohering approach the international pop-rock
artistic and aesthetic legitimation process. canon by way of various lists (see Table 2) and
From the Bourdieuian analysis of the as- surveys on how the works are assessed, and
sessment of works produced in the literary found an extended canon that consecrated
field and clearly applicable to the construc- works and artists from the 1960s, which they
tion of an aesthetic morality in rock, a model explained from a sociological and aesthetic
emerges of a dual structure that explains the perspective. Sociologically, based on the
nature of artistic assessment as a sign of the common provisions of the subjects (the critics
autonomy of the field: ... at the end of the or fans interviewed), the dialectics identity-
nineteenth century, the hierarchy among distinction, and the influence of the culture
genres (and authors) according to specific industry. Aesthetically, albums were analysed
criteria of peer judgement is almost exactly by the first three artists included in the meta-
the inverse of the hierarchy according to list that they created, namely: the Beatles (Re-
commercial success (Bourdieu, 2002: 175). volver), the Beach Boys (Pet Sounds) and Nir-
This is a romantic assessment of the success vana (Nevermind). The Beatles occupied three
of the work, not only as recognition by peers of the top five places: the first, second and
in the field, but also as a denial of financial fourth place; Nirvana, the third place; and the
reward. The genres in the field are ordered by Beach Boys, the fifth place.
the type of response in the welcome and re- Using the example of the Beach Boys
ception of the works produced (in the literary Pet Sounds album (1966), they seem to refer
case of Bourdieus study: theatre and poetry to what Bourdieu would call a dualist struc-
are polar points according to commercial ture of the value of the works produced.
success, on the one hand, and artistic suc- Whilst album sales were noticeably too low
cess, on the other; in the case of popular at the time to make it into a commercial suc-
music, pop and rock as separate genres2, cess, its artistic values (as shown by the dif-
embody similarly opposing positions). Imme- ferent surveys in specialist magazines)
diate success is suspect, and a longer period placed it at the top of the pop and rock field.
of time is necessary, as the autonomy in the The belief about the value of Pet Sounds as
field becomes consolidated, for works to a work has taken place and consolidated
succeed in imposing on the public the rules over time, it has been a deferred but steady
of their own perception that the works bring success, a consecration into the canon that
along (Bourdieu, 2002: 129). seems to have been affirmed with the pass-
This is what von Appen and Dohering ing of time. In Spanish rock, one of the most
(2006) and Schmutz (2005) have found, that notorious cases, which we will return to, is
the deferred consecration (or retrospective
canon and classic often occur jointly, that the
to use Schmutzs terminology) of the album
passage of time consecrates the work (into
Veneno (1977) by the group Veneno in the
last decades.
2 We use the definition of musical genres as used by Concerning the specialists, or critics
Richard Peterson and Jennifer Lena in Classification as and readers surveyed, von Appen and Dohe-
Culture: Types and Trajectories of Music Genres (2008) ring remarked that, from a Weberian pers-
we define music genres as systems of orientations, ex-
pectations and conventions that bind together an indus- pective, the creation of the lists can be inter-
try, performers, critics and fans in making what they preted as the result of the social action of a
identify as a distinctive sort of music. That is, they pro- particular group; in the case of British and
pose an interpretation of genres based on cultural prac-
tices of alliances and affinities of taste as given among American pop and rock, a group or ideal type
various actors and agents in a field. composed of male individuals of the same
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 151
age-group, between 20 and 40 years-old, ting, that, according to Schmutz was a posi-
white, and with a high level of education. It is tion occupied in this instance by Rolling
a similar case in our sources, although with Stone, an institution that sees itself as a pre-
one important difference; in these magazines server and celebrator of the best its art world
one can see a normal distribution of age, sex has to offer and accentuates the historical sig-
and education level of the experts in each nificance of the albums it consecrates. (2005:
magazine, despite clear differences between 1515). Incidentally, as shown by the canon in
the journalists of each magazine in terms of the work of von Appen and Dohering, there
age. The critics who participate in the prepa- also seems to be a preference for old albums.
ration of the survey in Efeeme belong, in Finally, a way of understanding the pop-
various cases (Diego Manrique, Jess Ordo- rock canon from the point of view of its pro-
vs) to a previous generation from those who duction, is to concentrate on the variables or
participate in the Rolling Stone survey, for reasons that the specialists take into account
example, and these differences, as will be when signalling an order or hierarchy in the
discussed later, can be seen in the construc- field. Gary Burns (2009) identified the Beatles
tion of their lists. What can be seen in all of as the origin of the rock canon: together with
the magazines is an Anglo-American heritage other canonical groups from the 1960s, the
(based on both the notions of the nineteenth Beatles established conventions of artistic
century and continental notions of the au- practice and understanding that defined rock
tonomy of art) when it comes to assessing for many years. According to Burns (2009:
the works in the field: a belief in music qua- 226-7) the canon is based on 5 points:
lity and the spurning of immediate economic
success3. In the case of the elitist music 1. that musicians compose their own songs,
press, the assessment of works with low
economic success serves to signal the posi- 2. that rock is an art,
tion in the field of the specialist: the more 3. that its form is the long-playing album,
selective the assessment, the more spe- 4. that the musicians play their own instru-
cialised the specialist is. ments,
Schmutz (2005) worked with the Rolling 5. And that at the same time the palette of
Stone magazine and its list of the 500 most instruments used is open and unlimited.
important albums. Schmutz, also following
Bourdieu, distinguished between: a) popular As noted by Prez Colman and Val Ripo-
recognition (popular legitimation) from the lls (2009), these conventions lead the way
sales lists published in Billboard magazine, b) to a romantic ideology of authenticity that
professional recognition (specific legitima- ties contemporary popular music to nine-
tion), as shown by the Grammy prizes, c) teenth century cultural forms of expression.
critical recognition (reputational business peo- As we will see in the Spanish case, criticism,
ple) which, as he says, helps to elevate the wherever found, also constructs a discourse
artistic status of popular music (2005: 1513) of authenticity and artistic honesty.
and d) the institutions that do the consecra-
COSMOPOLITANISM AND
3 A notable difference between Bourdieauian and Anglo- ISOMORPHISM
American sociologies of art, is the lower level of concern
on the part of the English and Americans about the pos- Once the possibilities of this theoretical
sible ideological contradictions in the relationship bet-
ween symbolic and pecuniary success in the world of perspective have been outlined, the data co-
mass art. llected will now be the focus of attention, and
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
152 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
the way in which the Spanish case may be of a history of assimilation and rejection. Re-
found to be adaptable or not to the premises gev (2007) describes the cultural globalisa-
of the Anglo-American case. In order to do tion of rock as a long-term event occurring in
this, other works by Regev will be examined four phases:
(2007, 2011) in which he writes from a decen-
tralised perspective (Regev writes from Israel, 1. Prehistory: Elvis or Pop Idols imitators
not from the heartland of rock). This allows appeared, or Everly Brothers imitators,
for the understanding of the nature of na- such as the Do Dinmico in Spain at the
tional popular musics as aesthetic cosmo- end of the 1950s.
politanism [or miscegenation] (2007) and as 2. Consecration: The success of The Beat-
expressive isomorphism [or similarities of les, The Rolling Stones and Bob Dylan
character] (2011), which can help in situating brought the acceptance of a new musical
the production of meanings in Spanish rock style, the artistic effort of musicians, the
as portrayed in the press. According to Re- business of record companies, and the
gev, the contact of primitive American fight between fans and critics to lay the
rocknroll with different national scenes meanings of this new music. They were
(England, Argentina and Israel) brought about no longer imitators, but artists in their
an indigenisation of rock, a national adapta- own right. During the 1960s, Spain was
tion of their own sounds (Music Hall, Tango, still in an embryonic state, with groups
etc.) to the emerging global rock aesthetic. such as Los Brincos, Los Bravos and Los
Following this line, then, two opposite sides Salvajes not leaving foreign influences
of the spectrum and a middle ground can be behind.
identified when rating the production of
Spanish pop-rock: from the Anglicism of the 3. Consolidation and domination: Rock rea-
first rockers, through Regevs hybridisationist lly succeeded as a prevailing force of na-
theses, and reaching the most Spanish nation- tional music. Cooperation between rock
alist end of the spectrum in the Spanish press. musicians and folk and ethnic musicians.
Hybridisation. Spain has many examples,
The guiding question of this study then
such as Andalusian rock (Triana, Veneno),
is this: if in the Anglo-American popular
Catalan or Laietan rock (Iceberg, Com-
music world an artistic legitimation can be
panyia Elctrica Dharma), and the various
seen (that is aesthetic and authentic) and if
styles linked to these music scenes.
this legitimacy is derived from the specia-
list press, and is reflected in the construc- 4. Diversification of styles and genres: Trust
tion of a canon of works, does this take in local musicians to innovate, invent and
place in the Spanish case? As we noted, develop their own national/local rock pro-
Motti Regev (2007 and 2011) identified ap- jects, without necessarily looking to New
propriation and re-signification processes York or London. In Spain during the
of sounds of the Anglo-American music in- 1980s, within the movement called La
dustry in the different national fi elds of Movida, there was a tendency to look in-
popular music production. Building on the tently towards England, punk and the
foundation of guitar, bass, drums and key- new wave, but at the same time this sce-
boards, each country, city, neighbourhood, ne consolidated rock as a mainstream
ethnic community, group or society adds youth language, incorporating into it their
its own instruments and sounds from its own themes and icons.
indigenous traditions.
In Spain, the arrival of rocknroll halfway Pop-rock music is anchored in a certain
through the 1950s marked the starting point treatment of national musics: The Beatles in
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 153
some cases played Music Hall music on As control case we also used, namely, the
electric instruments; Bob Dylan electrified survey Cien msicos hispanoamericanos
American folk music, as could be said of Bob eligen las 100 canciones que cambiaron su
Marley in Jamaica and Kiko Veneno in Spain. vida (100 Latin-American musicians choose
And all together they form a global canon of the 100 songs that changed their lives), car-
pop-rock music. Hybridisation, miscegena- ried out by the newspaper El Pas, which was
tion or indigenisation is justified as local au- published on 22nd March, 2009. In addition,
thenticity or national uniqueness and it can as a comparative text, the book 201 discos
be empirically seen in that the music is sung para engancharse al pop/rock espaol (201
in the vernacular language, it talks about lo- records to get into Spanish pop/rock)
cal issues (historical, political, social, etc.), (Lesende and Neira, 2006) was employed.
the metropolis is mixed with national folklore This book, a contemporary of some of the
and local instruments are used. surveys referenced, served to collate our list
and also to confirm the importance and re-
cognition that the records and bands that
THE DATA appear in it have for the critics.
These magazines have been chosen be-
In order to construct our meta-list, 4 hit lists
cause, in general, they are publications which
have been used, published by different Spa-
see rock as a broad genre, are not focused
nish music magazines:
on specific subgenres, and represent a wide
Los 100 mejores discos espaoles del range of the music criticism spectrum in
siglo XX (The 100 greatest Spanish re- Spain. The significant influence they have on
cords of the 20th century), Rockdelux the Spanish music world has also been taken
magazine, issue 223, November 2004. into account, although each of the maga-
(Taken from a survey by the magazines zines is aimed at a different type of public5.
critics)4.
In the case of Rolling Stone, it is the
Los 200 mejores discos del pop espaol Spanish edition of one of the major maga-
(The 200 greatest Spanish pop records), zines in rock history. Published since 1967 in
Efeeme magazine, issue 50, July / August the United States, its defence of rock as an
2003. (Taken from a survey by the maga- artistic form has been decisive in the creation
zines critics). of an aesthetic and ethical ideology for this
Las 200 mejores canciones del pop-rock music genre, as was mentioned before. One
espaol (The 200 best Spanish pop-rock of its most noticeable characteristics is the
songs), Rolling Stone magazine, issue continuous development of collections of
85, November 2006. (Taken from a survey lists of various flavours on the world of rock6.
by the magazines critics). Since 1999 the PRISA group have been pu-
Los 50 mejores discos de la historia del blishing a Spanish version using local jour-
rock espaol (The 50 greatest albums in
the history of Spanish rock), Rolling Stone
magazine, issue 119, September 2009.
5 Other important Spanish rock music magazines, such
as Ruta 66 and Heavy Rock, have not been taken into
(Taken from a survey by the magazines account, as we are not aware that they have published
critics). a music list of this type, and also because they are fo-
cused on very specific music scenes (particularly Heavy
Rock).
6 Some of these lists can be accessed on the Spanish
4 The lists of each magazine showing the first 50 recor- edition of the magazines web page: http://www.rollings-
dings can be seen in Tables 7, 8, 9 and 10. tone.es/specials/index/lista.
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
154 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
nalists, with occasional texts being translated ing a Romantic, anti-populist, aesthetic ideo-
from the American version. logy.
This monthly magazine tries to appeal to Surveys from these magazines have been
a very wide section of the population and so used to form the matrix in this study, taking
it reaches much further than a specialised the first 50 bands of each list, giving 50 points
audience. It uses striking covers, tackles to- to the bands occupying the first place in each
pics other than pop and rock, especially pol- of them, and deducting 1 point as we go
itics, and its interviews are more focused on down the list (49 to the second, 48 to the
bands that form part of the musical main- third). The results are shown in Table 1. The
stream rather than discovering new talents. list from each of the magazines can be seen
This is obvious in the make-up of its lists, in in Tables 7, 8, 9 and 10.
which already well-known groups are conse-
crated, which form part of the sentimental
education and popular list of songs of the PRECARIOUS CRITICISM
country.
The panorama of popular music criticism in
The magazine Efeeme was first seen in Spain is so impoverished that there is not a
November 1998, conducted by the journa- single book, nor even an article of more than
lists Juan Puchades and Diego Manrique. Its ten pages devoted to reflecting on it. With
purpose has been to reclaim music produced this categorical statement Vctor Lenore
in Spain and Latin America, as well as French (2010: 30) roundly criticised the Spanish mu-
and Italian pop music, without forgetting the sic press. His is one of the few articles that
main rock stars. Without being an exclusivist reflect on the matter, together with another
magazine, the list used here shows the inte- piece published by Diego Manrique (1993),
rest Efeemes critics have in rescuing certain perhaps the most outstanding music critic in
bands from oblivion7. Until 2007 it was pu- Spain. In both cases the conclusions were
blished monthly. From 2007 onwards, it was pessimistic: Spanish rock is not culturally
redesigned into a musical web portal, with rooted and, at best, it is a fad. Part of the fault
daily updates. for this, says Lenore, is due to the critics who
When the monthly Rockdelux was first are committed to mimic anglophile tastes:
published in Barcelona in 1984, it stood out the great majority of publications ignore local
for having very strict criteria, which occa- and Mediterranean music. The alternative
sionally lead it to be labelled as snobbish or has been pathetic, restrictive Anglophile mu-
elitist, as it is a magazine that analysed rock sic the tendency is to compensate for our
in a more complex way than other publica- inferiority complex with tonnes of eurocentri-
tions and it concentrates on alternative cism (Lenore, 2010: 30).
bands. Rockdelux is the most signifi cant As a summary, it could be highlighted that
example to understand how a cultural field Spanish pop-rock music criticism is linked to
of production (despite initially being a me- the development of specialist magazines that
dium of mass communication (Frith, 1980), arose when these genres first appeared in
with a massive reach), could end up propos- Spain in the 1960s. According to Manrique
(1993: 26), the first specialist magazine that
caught on was Discbolo (1962-1971), fol-
7 Throughout several years Juan Puchades, using arti- lowed by Fonorama (1963-1968) and Fans
cles and interviews, has carried out important work to (1965-1967). In these pioneering magazines
rescue bands from the 1970s such as Cnovas, Rodrigo,
Adolfo and Guzmn and the Argentinian Moris from be- pop-rock was conceived as music for teena-
ing forgotten. gers, a social group that was vehemently de-
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 155
fended under the suspicious gaze of the rock music criticism has shown, and conti-
Franco regime. It was not until the 1970s that nues to show, a greater appreciation of, and
it was possible to say that music criticism concentration on, Anglophile music, rather
was aware of itself, and defended an ideology than local music, or music from other Euro-
of rock as a form of art and communication. pean countries or Latin America. The majo-
During this decade, music publications proli- rity of the magazines front pages show fo-
ferated, some of which remain to this day, reign bands, based on the argument that front
such as Popular 1 (1973) and Disco Expres pages of Spanish bands attract fewer buyers.
(1968-1979), Spanish version of the British But, as will be seen, this does not deny that a
New Musical Express, in which those who Spanish rock aesthetic canon exists that is
were to be the most important names in jour- based on certain noteworthy traits.
nalism of the following decades appeared. In
the 1980s Barcelona was the nerve centre of
music publications, although it was in Madrid THE SPANISH POP ROCK CANON
where the main music movements in these
years were located: La Movida and urban/ Once the ratings and global ranking of the
heavy rock. The hardest sounds found their most influential bands and albums were ob-
place in Heavy rock (1983) published by Po- tained, they resulted in the Spanish Pop-
pular 1 editorial team when it first started. As Rock canon. Table 1 shows the 50 hits of this
well as the aforementioned Popular 1, Vibra- genre. In order to test the validity of this ca-
ciones (1974-1981) was also published in non, it was compared with the albums includ-
Barcelona. It was a magazine that attracted ed in the book 201 discos para engancharse
contributors from Disco Expres such as Diego al pop/rock espaol. Of the 50 bands on our
Manrique, Ignacio Juli and Jaime Gonzalo. list, only 2, Paco Ibez and La Mode, were
Vibraciones started a series of publications not included in the book. Another 5 bands or
that continued with Rock espezial (1981- soloists (Bunbury, Ketama, Loquillo, Quique
1984), and culminated with Rockdelux (1984), Gonzlez and Antonio Vega) appeared with
which is still being published with part of the different albums than those on our list.
same editorial team. Two of the main prota- Throughout the list and especially within
gonists, Gonzalo and Juli, however, went on the first ten places, what stands out is the
to publish Ruta 66 (1985), a magazine fo- great presence of bands from the 1980s from
cused on classic garage rock. At the end of what has been called La Movida. Music from
the 1980s and during the 1990s the specialist this movement occupies 5 of the first 10
magazines became focused on various musi- places: Radio Futura (1st), Gabinete Caligari
cal niches. Rockdelux helped in the rise of (4th), Nacha Pop (7th), Alaska & Dinarama
Spanish indie music, marked by a boom of (8th), and Loquillo (10th). The rest of the top
American grunge, and defended the concep- ten was completed by a singer (Serrat, 2nd),
tion of an elitist rock. Route 66, Popular 1, a flamenco musician (Camarn, 3rd although
and Heavy rock, on the other hand, suppor- with his most rocky album), an Argentinian
ted less elaborate, stronger sounds. The de- rocker (Calamaro, 9th), and two pop groups
cade from 2000 to 2010 saw the continuity of (Vainica Doble, 5th, and Los Brincos, 6th).
these magazines, together with the appea- Following the Bourdieuian perspective
rance of the Spanish version of Rolling Stone outlined in the theoretical framework, the art
and the Valencian Efeeme, which is more fo- supported by Spanish critics and musicians
cused on the Spanish and Latin markets. is autochthonous, not mimetic art. The bands
Broadly speaking, and following Lenores which are valued are those that stem from
characterisation quoted earlier, Spanish pop the Anglo-American rock-pop legacy, but
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156 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
manage to combine this with certain national visitors to our list, whether as Veneno, as so-
themes or sounds. As was mentioned earlier, loists or in Pata Negra. Along these lines, it is
this canon represents Regevs hybridisation also necessary to look at the most voted al-
theory in action (2007 and 2011). Radio Fu- bums and songs in each list. On two occa-
tura is an example of a band that started out sions (Efeeme and Rockdelux) Venenos de-
with an English rock sound, but have sought but album was chosen as being the best. For
ways of linking blues with Latin and Spanish Rolling Stone, the top band was El ltimo de
sounds. In 201 discos para engancharse al la Fila, with Enemigos de lo Ajeno, another
rock espaol (p. 206-207) David Saavedra album that looked to Arabic sounds in order
defines the bands song Semilla negra like to find its own discourse. The album called
this: there is Radio Futuras Pandoras Omega is also important. It was made by the
Box, the universe of sensations that gapped singer Enrique Morente and the rock band
the bridge between what they were and what Lagartija Nick, which set to music poems by
they would be. They had just found Latin Federico Garcia Lorca. None of these three
Rock. The features that are usually high- works (La leyenda del tiempo, Veneno and
lighted about the Ausern brothers band are Omega) were pure Flamenco albums, since
their integration of Afro-Caribbean rhythms basic rock instrumentation was used (drums,
and their ability to insert carefully crafted and bass, guitars), making them a part of the rock
simple lyrics in metrics new to Spanish rock. aesthetic canon. The critics valued Ca-
Regev (2007) also noted the cosmopolita- marns courage in breaking with flamenco
nism of artists as another element that can traditions in the referred album, and his end-
be used as a yardstick in measuring the qua- ing of the traditional estrangement of the two
lity of artists. Honestidad Brutal by Andrs genres of rock and flamenco, with his ability
Calamaro, an Argentinian musician based in to bring them closer together:
Spain for a long time, is an example of this:
his libertarian spirit set the standard: the hig-
nobody could have predicted such a volcano, hest authority of the cante [Flamenco singing]
an equivalent to The Beatles White Album all had broken the barrier that was holding back fla-
possible styles in a random, mysteriously perfect menco (the great Spanish music reserve) from
order Calamaro absorbed classic rock, South outside influences. That sweet contamination
American songs, tango, reggae, disco, everything sprouted so many diverse and generous species
imaginable, and fused it into a passionate treatise that it is impossible to count (Lesende and Neira
of love, football, drugs, abandonment, jokes and (eds.), 2006: 149).
affliction with an overwhelming personality im- as in those far-off days when Dylan received
perfection is beauty, and everything seems to threats for using electric instruments, Camarn de
come from nowhere, instant genius(Ricardo Al- la Isla was one of those brave men destined to
darondo, in Rockdelux, 2004: 152). change the course of music, whilst attracting ex-
tremely harsh criticism from his own people
(Iker Seisdedos, in Rolling Stone, 2006: 42).
But what are the Spanish features? What
traditional or folk sounds are characteristic of
Spain? Without a doubt, for critics, it is fla- Similar points were highlighted about the
menco. It is not trivial that the album that album called Veneno, which is not amongst
makes Camarn be on the lists is La Leyenda the ten most voted for, despite being the
del tiempo, the album that brought rock to highest ranked by Efeeme and Rockdelux,
flamenco, in which Kiko Veneno and Raimun- because it is absent from the rankings by
do Amador took part. Both are illustrious Rolling Stones critics and that of the musi-
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 157
cians. When it was released it was under- lingualism, the product of a dual family identity
rated by both critics and the public, but jour- that Serrat did not want to renounce to, whilst the
nalists like Jess Ordovs and Diego orthodox left in full cry criticised politics with cre-
Manrique (who were in Disco Expres at the dentials, his lack of an affiliation an inspired and
time) eagerly defended the album. Thirty inspiring album and, yes, independent to the
years later, these critics still hold the same bone. The sound of freedom(Juan Manuel Frei-
view and this serves to justify their own re, in Rockdelux, 2004: 174-75).
tastes:
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158 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
They did not limit themselves to merely mechani- 1,9 times higher than the 10th position
cally copying from abroad: they implemented it in (Radiohead).
their environment, creating a rough hybrid style 1,3 times higher than the 5th position
combining anglophile and typically local features (Beach Boys).
with a very, very suggestive undercurrent ano-
ther great step forward is in the lyrics. Canut
Como pudiste hacerme esto a m, is one of the THE DETERMINANT VARIABLES OF
most glorious and unforgettable starts in a Spanish THE CANON
album the delicate and polished touches of the
strings, the precision of the melody, the crafted We turn now to the full meta-list of the 50
lyrics Deseo carnal shows, in spite of its appa- musicians in order to analyse the variables
rent levity, an exact treatise of love and other cala- that could be behind the choice. Six variables
mities, about dependency and loneliness wi- have been taken into account: by genre or
thout resorting to cumbersome intellectual music scene, year, sales, geography (Madrid
excuses. Sociologically, Deseo Carnal deserves a or non-Madrid based), nationality status
separate study just to explain how an eminently (Spanish or foreign) and sex.
gay album leaked into mainstream Spanish socie- Starting with the genre or scene8, in sum-
ty ... (Juan Cervera, in Rockdelux, 2004: 170-71). mary, there are 11 bands linked to La Movida,
another 11 rockers (which would be 13 if we
When the points obtained in our meta-list add the 2 urban -rock bands in the list), 8
are compared, it can be considered as a ca- flamenco/flamenco-rock bands, 7 pop
non, since the results form a hierarchical bands, 6 singer-songwriters, 3 indie bands,
structure, with a clear order of priority. So, for and 2 folk-rock bands. What is immediately
example, the highest ranked (Radio Futura) noticeable is the total absence of heavy rock
obtained a number of points that were: or heavy metal bands, such as Barn Rojo or
3.4 times higher than the 30th position (Te- 8 It is difficult to make a clear distinction between mu-
quila) sical genres within the pop-rock world since, as noted
by Regev (2002), the whole of the popular music field
1.7 times higher than that of 10 th has been pop rockicized. For this reason the concept
position(Loquillo) of music scene has also been used, which sometimes
works as a more precise label than that of genre. An
1.3 times higher than that obtained by 5th example of this is La Movida, a music scene which
position (Vainica Doble) brought together genres, in which the weight of the
brand is so strong that it is above the sub-genres that
were included within it. The same happened with urban
Strikingly, when we compare the structu- rock and with indie. Musicians have been grouped by
ral propertiens of the Spanish canon with genres in the following way: La Movida: Radio Futura,
Gabinete Caligari, Nacha Pop, Alaska & Dinarama, Lo-
those of the international canon obtained by quillo, Golpes Bajos, Alaska y los Pegamoides, Parlisis
von Appen and Dohering (see Table 2), a si- Permanente, Los Secretos, Derribos Arias, La Mode.
Rock: Andrs Calamaro, Burning, El ltimo de la Fila,
milar structure is found in terms of the hierar-
Los Rodrguez, Tequila, Miguel Ros, Hroes del Silen-
chy of taste. However, in the last ranked, and cio, Bunbury, Antonio Vega, Moris, Quique Gonzlez.
therefore it is more egalitarian. In the interna- Urban Rock: Leo, Extremoduro. Flamenco: Camarn,
Kiko Veneno, Veneno, Triana, Pata Negra, Morente y
tional ranking, the highest ranked (The Beat- Lagartija Nick, Paco de Luca, Ketama. Pop: Vainica
les) obtained poinst that were : doble, Los Brincos, Los Canarios, Los Bravos, Alejandro
Sanz, Lone Star, Miguel Bos. Indie: Los Planetas, Fa-
mily, Surfin Bichos. Singers-songwriters: Paco Ibez,
5,1 times higher than the 30th position Albert Pla, Pau Riba, Joaqun Sabina, Sisa, Serrat.
(Oasis). Folk-rock: CRAG, Solera.
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 159
Obs, which in the 1980s had a very impor- the sex variable, the bands are overwhel-
tant impact on Spanish youth. Something mingly composed of men, something that is
similar happened with rumba bands, such as a constant in rock world. There are only two
Los Chichos and Los Chunguitos, and punk solely female, or bands having an important
or Basque radical rock bands, such as La female presence, Vainica Doble and Alaska
Polla Records and Eskorbuto. The absence (in their various re-creations).
of these groups could be related to the ho- Lastly, another assessment criterion was
mogeneity of the social class of the critics, as used in terms of whether the bands included
mentioned at the beginning of the paper. in the list either had (in their time or later) a
These three scenes (heavy metal, rumba and significant impact regarding sales or they
radical punk) have based their authenticity achieved celebrity status in Spanish music;
on certain aspects of social class or ethnicity or whether they were recognised and valued
(the working class, in the case of heavy met- by their peers and by critics, but escaped the
al and punk, gypsies in the case of rumba), attention of the general public. The former
on hard sounds (again punk and heavy me- have been labelled as mainstream whilst the
tal), or crude sounds (rumba), although they latter have been called underground. For un-
had great commercial success, especially derground musicians, we consider that their
rumba. Some, or all, of these three elements presence in these lists reinforces the role of
(social class, sound, and commercial suc- critics as figures who are not influenced by
cess) could be the reason for them not to be popular tastes. The result of this analysis is
included in the meta-list: the critics had ei- that within the canon, only 16 groups (32%)
ther not valued, or neglected, the social, aes- are underground. In some cases it can be
thetic and economic components of these seen that, to a large extent, the presence of
scenes. these bands is due to the influence of maga-
If the bands are grouped by decades, the zines such as Efeeme and Rockdelux, which,
result is that 34% of the bands published their as has already been noted, are more focused
first work in the 1980s, 26% in the 1970s, on minority bands.
26% in the 1990s, 10% in the 1960s and only In order to test the robustness of these
4% after 2000. These results can be com- conclusions, it seemed necessary to perform
pared with those of Rolling Stone magazine in a multivariate analysis in order to help indi-
their list of The 200 best Spanish pop rock cate those variables which most determined
songs, where there is also a normal Gauss the formation of the canon: geographic ori-
bell-curve distribution, with the 1980s being gin, sex, genre or musical scene.
the decade with the most songs, the sample
The multiple regression analysis can be
becoming reduced as it moves sideways.
seen in Table 3, and confirms the Movida
In terms of the place of origin of the effect. After controlling for the effect of the
bands, the majority (24) come from, or were other variables, the greatest predictor of
based in Madrid, almost all of them being the probability of being in the canon is be-
Spanish nationals, with the exception of Ar- longing to La Movida: the beta is 0.29 and
gentina (Moris and Calamaro9). Regarding it is significant at 0.05. In comparison, the
other five variables have little explanatory
power.
9 There are another two bands on the list, Tequila and
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160 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
The importance of this scene lies on two in Spain, if the terms of Howard Becker are
issues: the aesthetic one, as has been no- preferred.
ted, due to its hybridisation of foreign ele- Talking of either mainstream or under-
ments with elements of Spanish popular ground, there is still a clear consensus that
culture, and socio-politics. La Movida mo- allows us to hold that a canon exists. In nei-
dernised the cultural and social life of a part ther of the two cases is the worth of those in
of the Spanish youth within a specific his- the top three places in the global ranking
torical context, namely, the Transicin (the questioned (Radio Futura, Serrat and Ca-
move from dictatorship to democracy) in marn), who also occupy prominent posi-
which breaking the shackles of Francos tions in the two rankings which result from
dictatorship was essential. The demand for separating the mainstream and underground
the new, the modern, the use of irony, the ratings. There are also parallels in the ratings
visibility of homosexuality, of a culture obtained by Gabinete Caligari and Alaska,
somewhat naf, made this scene a cultural who are in the top ten in both sub-rankings.
milestone, which was also reflected in the
The above does not deny the fact that
music canon.
important differences also emerge in the
rankings of other bands which are outside of
the top ten places:
INTERNAL VALIDITY: DIFFERENCES
BETWEEN MAINSTREAM
AND UNDERGROUND. Vainica Doble, Kiko Veneno/Pata Negra
GENERATIONAL IMPACT and Cnovas, Rodrigo, Adolfo y Guzmn
are amongst the highest rated in the un-
As was highlighted above, after controlling derground ranking, but fall to occupying
for the other variables, it was found that places in the middle of the table in the
being in a cult or underground band was not mainstream ranking.
a good predictor of entering into the canon,
However, Los Brincos, Calamaro, El lti-
and always after controlling for the effect of
mo de la Fila, Nacha Pop, Burning and
the genre, that is, belonging or not to La
Sabina appear in the top ten of the main-
Movida. This does not prevent significant
stream ranking, but they are in very low
differences from occurring in the canon of
positions in the underground magazines
the four rankings when differentiating be-
ranking.
tween mainstream magazines (Rolling Stone)
and underground, more exclusive magazines
(Efeeme and Rockdelux).The mainstream It is important to stress both the under-
canon (Table 4) is different from the under- ground and mainstream have an equally
ground canon (Table 5). differentiating effect. Taking into account the
In fact, when comparing the rankings and second ranked in each, in the case of the
canons resulting from analysing these two underground, this was Veneno, which fell to
groups of magazines separately, significant 21st position in the mainstream ranking. In
differences are found. Of course there is a the mainstream ranking the second ranked
shared canon, something that reinforces the was Los Brincos, which fell to 23rd place in
conclusions obtained so far and the internal the underground ranking. Therefore there is
validity of the results, but important diffe- symmetry in the ratings.
rences also emerge that make it possible to There is a canon of bands whose worth is
consider them as two fields, in Bourdieus accepted by all, and there is an internal vali-
terms, or two different pop rock art worlds dity of the results in this regard. Neverthe-
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 161
less, the differences in positioning by the cri- of the main artists were in our meta-list: Ca-
tics and magazines, the differences between marn de la Isla, Serrat and Radio Futura had
the mainstream and the underground may two songs in the list devised by El Pas.
also result in the labelling of a segmentation There is another interesting fact regarding
of the music field in Spain, which means that foreign musicians ranked by Spanish musi-
those recognised by one side (mainstream) cians. The Beatles, The Beach Boys and Nir-
are not recognised so much by the other (un- vana reached the top positions, which repro-
derground) and vice versa. duced the international canon identified by
These differences are also partly due to a von Appen and Dohering (Table 2). It can
division along generational lines, as men- therefore be said that Spanish pop-rock mu-
tioned by von Appen and Dohering (2006). In sicians talk the same lingua franca as their
the list published by Efeeme several bands foreign peers.
from the 1970s dominate the top positions Additionally, when the canon from El Pas
(CRAG, Vainica Doble, Veneno). From a ge- was analysed, as well as the musical genre
nerational point of view, these represent jour- of the artist, the generation influences the
nalists such as Jess Ordvas and Diego selection of the canon, as happened with the
Manrique, who in turn participated in, and critics. For example, a youth pop-rock band
developed, the list. If this is compared with such as El Canto de Loco, whose members
Rolling Stones list of the best 50 Spanish were born at the end of the 1970s/beginning
pop albums, there are hardly any bands from of the 1980s, voted for rock bands from the
the 1970s, whilst the artists from the 1990s, 1980s and 1990s. However, Burning, a band
such as Andrs Calamaro and Los Planetas formed in the mid-1970s, whose members
are in high positions, something that is con- were born in the mid-1950s, cast their votes
sistent with the generation of journalists in- for bands from the 1970s.
volved in that list, such as Daro Manrique
(Diego Manriques son), Manuel Pin and
Beatriz G. Aranda, all of whom were senti- CONCLUSIONS
mentally educated in the 1990s indie.
Various conclusions can be drawn from this
analysis, both theoretical and empirical.
EXTERNAL VALIDITY: GENERATIONAL Firstly, a clear, distinct pattern of music pre-
AND INTERNATIONAL VARIATIONS. ferences exists which constitutes a canon. A
comparison of the sample used in this study
As a control test of this matrix another survey with other lists and rankings, with the same
was used that was carried out by El Pas: results, confirms the external validity of the
Cien msicos hispanoamericanos eligen las existence of a Spanish pop-rock canon.
100 canciones que cambiaron su vida (100 Something to be investigated in future re-
Latin-American musicians choose the 100 search is the extent to which audiences
songs that changed their lives). This serves share the critics musical canon.
as a contrast to the results obtained in our Despite the perceived anglophilia in mu-
meta-list compiled from the four rankings sic criticism, noted by Lenore (2009) and
(two from Rolling Stone, plus those from Manrique (1993), the canon confirms Regevs
Efeeme and Rockdelux). (2007 and 2011) hybridisationist and glo-
The results from El Pas (see Table 6) con- calist theses. Spanish music criticism cons-
firm some of the data discussed here. From tructs its understanding of pop-rock from the
the first 50 places, 16 were Spanish and 34 ideas and discourses imported from the An-
foreign. From the Spanish contingent, three glo-American world, but at the same time
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162 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
values the capacity of certain bands to bring such as the generation variable. In the lists a
autochthonous elements to their music. Fla- generation gap can be seen that affects the
menco is the autochthonous element that composition of the lists. In the list published
brings the most outcomes. There are few by Efeeme, the groups from the 1970s (Vene-
traces of any other folk-type music in the list. no, Vainica Doble, Casanovas y ca) have a
It is clear that there is a scene and a pe- status that is not apparent in the other lists,
riod that is over-represented in the canon: the and it is related to the presence of journalists
music of La Movida. In part this is due to such as Diego Manrique and Jess Ordo-
generational explanation: the current critics vs10, who are generationally represented in
were the young who supported, or were so- these bands. Rolling Stones list represents
cialised in, this movement. La Movida has the opposite pole: young journalists, born in
promoted La Movida, although the younger the 1970s and 1980s, who eulogise the indie
journalists, who did not experience this pe- and rock bands from the 1990s. The other
riod, also voted for it. Its influence goes variable to take into account is genre (sex).
across generations. Despite this, class fac- Few women feature in the list, and few
tors should not be overlooked. In the canon women participated in its development.
there is a greater presence of pop and rock,
Another result of the study again supports
genres of the middle class, something detri-
Bourdieu when he saw the structure of the
mental to hard rock, heavy metal or rumba,
aesthetic field as a line that divides popular
music genres more associated with the wor-
king classes. These data confirm the hypo- culture from cult culture; in the case of pop-
theses put forward by von Appen and Doher- rock, the underground from the mainstream.
ing (2006: 24) about the homogeneity of It has been seen in this study that there are
German music criticism and its relationship some artists consecrated by all, the Serrat-
to tastes. In the Spanish case it can also be Camarn-Ausern triumvirate. Despite this,
stated that music criticism proposes a canon each field, the popular-mainstream, and the
that excludes the production and consump- cult-underground, have objects of worship
tion of working-class music, in favour of that are not shared by the other field.
sounds linked more to the middle classes. It This brings us to our final theoretical con-
is still today unusual for the music or general clusions. It is interesting to see how Spanish
press to mention reggaeton, techno, or urban society, one of the most open, dynamic and
rock festivals. democratic in all its aspects, or in any case,
However, La Movida was an inter-class much more than the France analysed by
movement, with a great explosion of all types Bourdieu in all of his works, ultimately repro-
of music, from all social classes, as befitted a duces cultural distinctions that turn some
context of social, cultural and political change: bands into members of the canon and leaves
the transition to democracy in Spain. What others in the periphery. These aesthetic hie-
has happened is that the middle classes have rarchies also reproduce generational patterns
managed to impose their tastes on the pro- and, above all, class patterns, something that
duction of the canon. This confirms Bourdieus was always highlighted by Bourdieu.
theses. It also raises the question of whether
La Movida as a whole has been gentrified or
whether La Movidas bourgeoisie, now ma- 10 If one looks at the history of the magazine, now a
ture, have imposed their own canon. webpage, it is surprising that musicians such as Andrs
Calamaro, Quique Gonzlez and Loquillo are not better
As well as class, there are other elements represented in the published lists, as they normally re-
that influence the formation of the canon, ceive a lot of attention.
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 163
Frith, Simon (1980). La sociologa del rock. Madrid: (2011). Pop-Rock Music as Expressive Isomor-
Ediciones Jcar. phism: Blurring the National, the Exotic, and the
Cosmopolitanism in Popular Music. American
Hesmondhalgh, David (2006). Bourdieu, The Media Behavioral Scientist, 20 (10): 1-16.
and Cultural Production. Media, Culture and
Schmutz, Vaughn (2005). Retrospective Cultural
Society, 28 (2): 211-232.
Consecration in Popular Music. The American
Lena, Jennifer C. and Peterson, Richard A. (2008). Behavioral Scientist, 48 (11): 1510-1523.
Classification as Culture: Types and Trajectories
of Music Genres. American Sociological Review,
73: 697-718. Magazines
Lenore, Vctor (2010). Crtica musical en Espaa: la Los 100 mejores discos espaoles del siglo XX.
eterna precariedad. Etno. Revista de msica y Rockdelux, 223, november, 2004.
cultura, 2: 30-32. Los 200 mejores discos del pop espaol. Efeeme,
Lesende, Tito and Neira, Fernando (coords.) (2006). 50, july/august, 2003.
201 discos para engancharse al pop/rock espa- Las 200 mejores canciones del pop-rock espaol.
ol. Madrid: Fundacin Autor. Rolling Stone, 85, november, 2006.
Lindberg, Ulf et al. (2005). Rock Criticism from the Los 50 mejores discos de la historia del rock espa-
Beginning. New York: Peter Lang. ol. Rolling Stone, 119, setember, 2009.
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164 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
TABLE 1. Meta-list
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 165
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166 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 167
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168 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
ANOVA(b)
Sum of the
Model df Mean square F Sig.
Squares
Regression 22,211.171 6 3,701.862 1.953 0.095(a)
1
Residual 77,712.808 41 1,895.434
Total 99,923.979 47
Coefficients(a)
Standardised
Non-standardised coefficients t Sig.
coefficients
Standard
B Standard error Beta B
error
(Constant) 1854.983 1258.151 1.474 0.148
GENRE: MOVIDA 29.828 16.091 0.296 1.792 0.051
YEAR .896 0.634 .199 1.413 0.165
MADRID 12.229 14.180 0.134 .862 0.394
UNDERGROUND 22.505 14.227 .233 1.582 0.121
FEMALE 42.673 27.842 0.226 1.533 0.133
NOT SPANISH 0.910 32.338 0.004 0.028 0.978
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 169
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170 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
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Fernn del Val, Javier Noya y C. Martn Prez-Colman 171
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
172 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 173
TABLE 6. Survey Cien msicos hispanoamericanos eligen las 100 canciones que cambiaron su vida (A hundred
Latin-American musicians choose the 100 songs that changed their lives). by EL PAS newspaper.
Foreign Spanish-America
1 Ne me quitte pas, Jacques Brel
2 God only knows, The Beach Boys
3 Help!, The Beatles
4 Como el agua, Camarn de la Isla
5 Mediterrneo, Joan Manuel Serrat
6 A hard days night, The Beatles
7 There is a light that never goes out, The Smiths
8 A day in a life, The Beatles
9 Strawberry Fields Forever, The Beatles
10 La leyenda del tiempo, Camarn de la Isla
11 Like A Rolling Stone, Bob Dylan
12 What s Going On?, Marvin Gaye
13 Twist And Shout, The Beatles
14 Smells Like Teen Spirit, Nirvana
15 Volver, Carlos Gardel
16 A Change Is Gonna Come, Sam Cooke
17 California Dreamin, The Mamas & The Papas
18 Ojal, Silvio Rodrguez
19 Cum On Feel The Noize, Slade
20 In my life, The Beatles
21 King Creole, Elvis Presley
22 Whole lotta love , Led Zeppelin
23 Malos tiempos para la lrica, Golpes Bajos
24 Rain, The Beatles
25 Tumbling Dice, The Rolling Stones
26 Yesterday, The Beatles
27 Almoraima, Paco de Luca
28 Ballroom blitz, Sweet
29 La Estatua del jardn botnico, Radio Futura
30 La Foule, Edith Piaf
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174 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
TABLE 6. Survey Cien msicos hispanoamericanos eligen las 100 canciones que cambiaron su vida (A hundred
Latin-American musicians choose the 100 songs that changed their lives). by EL PAS newspaper.
Foreign Spanish-America
37 I want you back, Jackson 5
38 Imagine, John Lennon
39 Laura va, Luis Alberto Spinetta
40 Spanish Stroll, Mink DeVille
41 Black Is Black, Los Bravos
42 Free Bird, Lynyrd Skynyrd
43 Lo bueno y lo malo, Ray Heredia
44 Sleep Walk, Santo & Johnny
45 Strangers In the Night, Frank Sinatra
46 Suspiros de Espaa, Concha Piquer
47 Bridge Over Troubled Water, Simon & Garfunkel
48 Creep, Radiohead
49 El sitio de mi recreo, Antonio Vega
50 Escuela de calor, Radio Futura
Total 34 16
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 175
TABLE 7. Los 100 mejores discos espaoles del siglo XX (The best 100 Spanish albums of the 20th century).
Rockdelux magazine
1. Veneno, Veneno
2. La leyenda del tiempo, Camarn
3. Mediterrneo, Serrat
4. Heliotropo, Vainica Doble
5. Deseo carnal, Alaska y Dinarama
6. Omega, Morente & Lagartija Nick
7. Blues de la frontera, Pata Negra
8. Qualsevol nit pot sortir el sol, Sisa
9. Grandes xitos, Alaska y los Pegamoides
10. Songhai, Ketama / Toumani Diabate / Danny Thompson
11. Seora azul - Cnovas, Rodrigo, Adolfo y Guzmn
12. No slo de rumba vive el hombre, Albert Pla
13. La ley del desierto / La ley del mar, Radio Futura
14. Dioptra 1 y 2, Pau Riba
15. El patio, Triana
16. Un soplo en el corazn, Family
17. El ritmo del garage, Loquillo y Trogloditas
18. Una semana en el motor de un autobs, Los Planetas
19. Hermanos carnales, Surfin Bichos
20. Cuatro Rosas, Gabinete Caligari
21. Honestidad Brutal, Andrs Calamaro
22. Nuevo da, Lole y Manuel
23. Viatge a taca, Llus Llach
24. Fuente y caudal, Paco de Luca
25. Alenar, Maria del Mar Bonet
26. chate un cantecito, Kiko Veneno
27. Lujo ibrico, Mala Rodrguez
28. Encuentros, Orquesta Andalus de Tnger & Juan Pea Lebrijano
29. En la gua, en el listn, Derribos Arias
30. Borreroak baditu milaka aurpegi, Negu Gorriak
31. En el Olympia, Paco Ibez
32. Vanguardia y pureza del flamenco, Smash/Agujetas con Manolo Sanlcar
33. El eterno femenino, La Mode
34. Poco ruido y mucho duende, Manzanita
35. Bat hiru, Mikel Laboa
36. A Santa Compaa, Golpes Bajos
37. El acero del partido/Hroe del trabajo, Esplendor geomtrico
38. Nacha Pop, Nacha Pop
39. Quien no corre, vuela, Ray Heredia
40. 4.02.42, Ovidi Montllor
41. El fin de la dcada, Burning
42. Cecilia 2, Cecilia
43. Ilegales, Ilegales
44. Los Brincos, Los Brincos
45. A Vctor Jara, Raimon
46. Rock and roll, Tequila
47. Bambino y su combo flamenco, Bambino
48. Una temporada en el infierno, Fangoria
49. Msica dispersa, Msica dispersa
50. Gipsy rock, Las Grecas
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176 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
TABLE 8. Los 200 mejores discos del pop espaol (The best 200 albums of Spanish pop).
Efeeme magazine.
Reis. Rev.Esp.Investig.Sociol. ISSN-L: 0210-5233. N 145, January - March 2014, pp. 147-178
Fernn del Val, Javier Noya y C. Martn Prez-Colman 177
TABLE 9. Las 200 mejores canciones del pop rock espaol (The best 200 songs of Spanish pop rock).
Rolling Stone magazine
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178 Autonomy, Submission or Sound Hybridization? The Construction of the Aesthetic Canon of the Spanish Pop-Rock
TABLE 10. Los 50 mejores discos de la historia del rock espaol (The best 50 albums in Spanish rock
history). Rolling Stone magazine
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