Mujer, música y Transición. Una perspectiva desde el diario El País

Abstract

This article seeks to delve into the articles published about music by El País between 1976 and 1982 the perspective given towards female women and the women’s presence as musical journalists. We will analyze how the canon designed by the publication around music in the Transición includes or not certain female artists as well as the image that the newspaper projects of them. We will also look at the profiles of those women who did made a name for themselves in the publication as critics, such as Mercedes Domenech, Rosa María Pereda or Bel Carrasco.; En este artículo se busca indagar en los artículos relacionados con la música publicados en El País entre 1976 y 1982 la visión que se da de las artistas y la presencia de las mujeres como redactoras de información musical. Se analiza cómo el canon que esta publicación diseña en torno a la música en la Transición incluye o no a las artistas femeninas y la imagen que se proyecta de éstas. Observamos, además, los perfiles de las mujeres que consiguieron hacerse hueco en la redacción, como es el caso de Mercedes Domenech, Rosa María Pereda o Bel Carrasco. This article seeks to delve into the articles published about music by El País between 1976 and 1982 the perspective given towards female women and the women’s presence as musical journalists. We will analyze how the canon designed by the publication around music in the Transición includes or not certain female artists as well as the image that the newspaper projects of them. We will also look at the profiles of those women who did made a name for themselves in the publication as critics, such as Mercedes Domenech, Rosa María Pereda or Bel Carrasco.