Detalhes bibliográficos
| Ano de defesa: |
2021 |
| Autor(a) principal: |
Pinto, João Mário Ferreira |
| Orientador(a): |
Silva, Tânia Elias Magno da |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Não Informado pela instituição
|
| Programa de Pós-Graduação: |
Pós-Graduação em Sociologia
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Não Informado pela instituição
|
| 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://ri.ufs.br/jspui/handle/riufs/15565
|
Resumo: |
The structural changes in labour worldwide, derived mainly from technological advances and productive innovations given in the midst of market competition, are also expressed through music - generally conceived as a domain of culture and apart from the economic sphere - and its producers. With the advent of portable audio interfaces and innovations in the field of media, musicians began to establish a direct relationship both with the production of phonograms and with the production of their own public images - productive roles previously hegemonized by the major companies in the music industry. However, this context was accompanied in parallel by the critical devaluation of phonograms - which until then were supported by tangible forms such as CDs and vinyls - and their production, despite having been democratized, does not directly impact sales in a way they could be reverted in income for musicians. These variables stand some thoughts. In this sense, there are two: 1) how is meaning attributed to the production of phonograms by musicians in a context in which the sale of records has become unviable as a source of income?; 2) how could the public image of musicians, idealized above all in the figure of the artist, become commodities? How, finally, do these issues affect musician's social relationships? |
