Dataset for the analysis of gender inequality in albums and singles charts in the Spanish's music industry

The data originates from Promusicae’s official website, which provides weekly and yearly charts for albums, singles, and additional music-related content categories. The paper associated to this sample is available here: Sánchez-Olmos, C. (2025). Gender Inequality in Spain’s Official Music Charts: Neither Representation nor Success for Female Artists (2008–2020). Journalism and Media, 6(1), 10. https://doi.org/10.3390/journalmedia6010010 This dataset features the top 50 from 2008 to 2020, comprising 1300 recording units with an equal split between albums (650) and singles (650) (Figure 1). Promusicae represents Spanish record labels affiliated with the International Federation of the Phonographic Industry (IFPI) and is responsible for publishing these official charts. The analysis period started in 2008 when Promusicae published its first top 50 singles chart, which was later expanded to a top 100 format in 2015. Since Promusicae has published the singles chart since 2008, this year marks the beginning of the analysis period, ending in 2020. Both charts were downloaded in Excel format from the Promusicae website. All albums and singles are coded to feature the following variables: artist, title, year of chart appearance, gender (soloist or band), position on the chart, and success achieved. The gender of the featured position is also coded in the single chart. This code has its limitations. First, the use of binary gender coding fails to capture the diversity of sexual identities (de Boise, 2019). Furthermore, several methods for categorising mixed bands were identified based on the roles of men and women (including composers, singers, or instrumentalists). However, to facilitate discussion, we chose the categories proposed by Lafrance et al. (2011). Consequently, the final coding includes five distinct categories: male artists, male bands (entirely composed of men), female artists, female bands (consisting solely of women), and male–female groups (mixed duos, trios, or bands featuring both women and men).本数据集源自Promusicae官方网站，该平台提供专辑、单曲及其他音乐相关类别的周度与年度榜单。本样本对应的研究论文可通过以下链接获取： 桑切斯-奥尔莫斯，C.（2025）.《西班牙官方音乐榜单中的性别不平等：2008-2020年女性艺术家既无代表性也无成就》.《新闻与媒体》，6(1)，10. https://doi.org/10.3390/journalmedia6010010 本数据集涵盖2008年至2020年间的Top 50榜单，共包含1300条录音作品记录，其中专辑与单曲各占一半，分别为650条（图1）。Promusicae是隶属于国际唱片业协会（International Federation of the Phonographic Industry, IFPI）的西班牙唱片厂牌联盟，负责发布上述官方榜单。本次分析的时间跨度始于2008年，彼时Promusicae发布了其首份单曲Top 50榜单，该榜单后于2015年扩容至Top 100规模。鉴于Promusicae自2008年起便开始发布单曲榜单，因此本次分析以2008年为起始节点，截止至2020年。 两份榜单均以Excel格式从Promusicae官网下载。所有专辑与单曲均被编码为以下变量字段：艺术家、作品标题、榜单上榜年份、艺人性别（独唱艺人或乐队）、榜单排名以及所取得的成绩。在单曲榜单中，主唱艺人的性别同样被编码记录。 本次编码存在一定局限性。首先，采用二元性别编码无法涵盖多元性别身份的多样性（de Boise, 2019）。此外，研究团队曾尝试基于男女成员的角色（包括作曲者、演唱者或器乐演奏者）对混合性别乐队进行分类。但为便于讨论，研究团队最终选用了拉弗朗斯等人（Lafrance et al., 2011）提出的分类标准。因此，最终的编码体系包含五类明确的类别：男性独唱艺人、全男性乐队、女性独唱艺人、全女性乐队以及男女混合组合（包含男女二重唱、三重唱或同时拥有女性与男性成员的乐队）。