Abstract

Since the 2000s, a progressive politicization of Chilean society has taken place, driven above all by young people. In this context, independent musicians emerge with a set of values linked to self-management and with a logic of otherness opposed to the large multinational industry, and not so much to activism. This article analyzes how, from the musical and sound aspect of a sample of 18 songs composed by the same number of authors between 2005 and 2018, the com-munication of discontent and the desire for generational changes is articulated. The methodo-logy used is the musical semiotic analysis because, as pointed out by Frith (2014), Van Leeuwen (1999), and Machin (2010), the conventions and shared associations-particularly in Western societies-allow both the organization of the sound such as rhythms and harmonic decisions may be susceptible to study as communication resources. The findings show a stance that occurs from musicality and in which gender identities and a new identity hybridization, are vindicated, diverse and in dialogue with the Latin American but also with the Anglo-Saxon.