A study of Pompeu Fabra University (UPF) concludes that the Sexism in the lyrics of the songsMore popular in Spain, especially in the last decade, reports the UPF this Monday in a statement.
The work has analyzed the lyrics of more than 2,000 songs in the contemporary music of Spain between 1960 and 2022 and the results have concluded that 51% of the analyzed songs contain lyrics with sexist expressions.
To develop this study, researchers have created a computational model to automatically detect sexism in songs, combining machine learning and artificial intelligence (AI) techniques.
The main author of the article, Laura Casanovashe has assured that the results are shocking since they show that, although there have been advances in equality and feminist struggle, “the lyrics of many songs continue to perpetuate harmful stereotypes.”
In addition, he added that the study shows that AI can be “a great tool to analyze a large amount of data rigorously” and can be key to continuing to investigate and addressing this problem and other similar in the future, in relation to this New Computational Model.
“The lyrics of many songs continue to perpetuate harmful stereotypes”
Laura Casanovas
Main author of the study
The study supervisor, Carlos Castillodirector of the Science and Social Computing (WSSC) web group of the UPF Department of Engineering, stressed that the increase in machismo in the songs of recent years is manifested above all in the «hypersexualization and objectification of the woman’s body or with ideas related to possession and control by men ».
Influence of the historical context
In the study different causes of the increase are pointed out: a part refers to the influence of the social and historical context in artistic production and recalls that Spanish society has not yet detached from “The historical heritage of traditional gender stereotypes” Despite the rise of the feminist movement especially since 2018, according to the statement.
In addition, it points out the growing replacement of the radio with the ‘streaming’ platforms as the main channel of music consumption, and that in these there are no filter or selection criteria applied by those responsible for the musical spaces of the radios.
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