Introduction

Abstract

In Argentina, until quite recently, the way in which the relationship between young people and music was conceptualized was very limited, either because that was the point of view employed by academicians or because social reality itself asked for such a framework. In a nutshell, most academic accounts of young people’s music were based on lyrics and their reception that more often than not rendered an image of young people that, through the use of “culture,” constructed dissidences, questionings, and rebellions that did not have other outlets. This kind of approach, almost exclusively focused on youth rebellion, was linked to a particular academic tradition (innovative in the 1970s and 1980s) that today requires a rewriting in order to take into account other musical aspects of the everyday experience of Argentine youth, and, at the same time, be able to inscribe such a practice using different registers than the ones used in the past.