Entre loops y embrujos: «Paraguaya» de Juana Molina, una propuesta de análisis multimodal
This paper proposes a multimodal analysis of the song «Paraguaya» by Juana Molina (2017), seen as a «process» and as a «textual cluster» (González, 2021). The starting point is the approach to the album Halo, delimiting its musical characteristics and general themes. A semantic analysis of the lyric...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2025
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/15148 |
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| Sumario: | This paper proposes a multimodal analysis of the song «Paraguaya» by Juana Molina (2017), seen as a «process» and as a «textual cluster» (González, 2021). The starting point is the approach to the album Halo, delimiting its musical characteristics and general themes. A semantic analysis of the lyrics of Paraguaya is carried out, linking it to the ritual practice of the littoral payé and the album cover design. The ironic aspect is also addressed, identifying it as a recurrent intertextual element in Molina's work. The melodic–rhythmic loop present in the accompaniment is analyzed as well, establishing links between the meaning of the text and the repetitive construction of certain kinds of ritual music.
Taking as a reference the conceptions of Frith (2014) and Hoppin (2000) around rhetoric and the process of musicalization of words, the melody of «Paraguaya» is analyzed focusing on the use of the recitative as a tool to emphasize the ceremonial character of the lyrics. Then, some aspects of the official video clip are approached, paying attention to the relationship between image and sound in the process of construction of meaning. Finally, a comparative analysis is proposed between the original version and «Paraguaya Punk», made by Molina herself (2019), taking into account its formal, instrumental, melodic and textual particularities, as well as its relationship with the «punk» genre.
In synthesis, the work is constituted as the proposal of a possible way of listening and construction of meaning of the song, understanding that this process implies the interrelation of multiple factors, many of them exceeding the strictly sonorous or musical. It is also a first analytical approach to the work of Juana Molina, which until now has not been addressed as an object of musicological study.
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