Detalhes bibliográficos
| Ano de defesa: |
2018 |
| Autor(a) principal: |
Silva, Igor Fediczko
 |
| Orientador(a): |
Araújo, Rafael |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Ciências Sociais
|
| Departamento: |
Faculdade de Ciências Sociais
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/21759
|
Resumo: |
This work presents a historical contextualization of the creation of mp3 and the beginning of piracy, thus proposing an analysis of the relation between digital music, mp3 and the reduction of profits of the record companies. With the digital music space has arisen to create the streaming model currently used predominantly. With digital music and streaming, artists, producers, songwriters and other creators have changed their way of making music on the field with strategies, ways of acting and different ways of consuming and producing music. With the uberization concept, this new medium of production has shown artists that streaming is not an economically profitable model to sell their music and albums, and artists are looking for new ways to relate and relate their work within the platforms, looking for another type of gain: the playlists. Through interviews with different actors, from different positions within the musical field, the present work investigates the understanding that these musicians, producers and composers have about this new business model within the streaming services |
