Popular music constructs cultural narratives about romantic love, makes visible meanings of being a man and a woman, and practices related to gender violence. In this article we analyze the construction of romantic love as well as couple ideals in the lyrics of Sinaloa norte\u00f1a and banda music. We conducted a thematic content analysis of 29 romantic ballads. We present the results in the categories of couple search, daily coexistence, eroticism, and separation from the couple. We conclude that myths and beliefs about romantic love are disseminated in the lyrics of the songs. These meanings recreate roles and interactions established by gender mandates, and crystallize conditions of violence and inequality between men and women.<\/p>\n\n\n\n
Keywords: love<\/a>, qualitative research<\/a>, Mexico<\/a>, popular music<\/a>, gender violence<\/a><\/p>\n\n\n\n Popular music creates cultural narratives about romantic love, it makes cultural narratives on being men and women visible, as well as it does with practices related to gender violence. This article analyzes the construction of romantic love, as well as ideals of couples in the lyrics of northern<\/em> music and band<\/em> Sinaloa<\/em>. We carried out a thematic content analysis on 29 romantic ballads. We presented results in the categories of the search of a partner; everyday life together; eroticism and the splitting of couples. We concluded that song lyrics spread myths and beliefs on romantic love. These meanings recreate roles and interactions established by gender mandates, and they crystallize conditions of violence and inequality between men and women.<\/p>\n\n\n\n Keywords: gender violence, love, popular music, qualitative research, Mexico.<\/p>\n\n\n\n Popular music provides access to ways of living and allows the understanding of society. Its users appropriate it, transform it, generate identities, construct cultural stereotypes and gender roles (Finnegan, 2002; Hormigos-Ruiz et al<\/em>., 2017). In Mexico, norte\u00f1o music1<\/a> and the Sinaloense band2<\/a> have given voice to different socio-cultural experiences; they have crossed borders and increased their popularity by spreading sentimental and romantic content, beliefs, symbols, values and aspirations of youth populations (DeNora, 2017; J. L. Valenzuela et al<\/em>., 2017). The taste is so deep-rooted that Mexico has the recognition of \"musical heart of Latin America\" (Narv\u00e1ez, 2017).<\/p>\n\n\n\n Burgos and Simonett (2020) propose that banda and norte\u00f1o musicians and composers maintain their trajectory from a transnational logic. Their production impacts both sides of the border between Mexico and the United States. The transnational scope has been given by the circulation of music through information and communication technologies among which digital social networks stand out together with those of migration (Ragland, 2009); the promotion and flow of performers born or residing in the United States with family ties in Mexico -or vice versa-; also because Sinaloa, California and Arizona have been articulated as epicenters of musical production and consumption.<\/p>\n\n\n\nconstruction of romantic love, ideals of couples and gender relations from the lyrics of <\/span>northern<\/span><\/em> music and <\/span>sinaloense band<\/span><\/em><\/h2>\n\n\n\n
\n\n\n\n