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| Campo DC | Valor | Lengua/Idioma |
|---|---|---|
| dc.creator | Hadjis Labarca, Ulises | - |
| dc.date | 2021-01-15 | - |
| dc.date.accessioned | 2023-03-15T20:34:21Z | - |
| dc.date.available | 2023-03-15T20:34:21Z | - |
| dc.identifier | https://revistas.ucm.es/index.php/TEKN/article/view/68748 | - |
| dc.identifier | 10.5209/tekn.68748 | - |
| dc.identifier.uri | https://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/181118 | - |
| dc.description | Streaming has dominated the consumption of music and audiovisual media over the last five years. 80% of music in Mexico is now consumed through streaming (Gutiérrez, 2019) YouTube, Netflix and Spotify present an unquestionable hegemony in the Western world. This article shows how consumption through the streaming of music tracks, in conjunction with non-possession, opens up a new space in the world of music production and distribution, which in many aspects changes the creation of composers. The article also considers the power dynamics of the recommendation algorithm on various platforms. | en-US |
| dc.description | En los últimos 5 años el streaming ha dominado el consumo de música y medios audiovisuales. Supone el 80% de la música en México (Gutiérrez, 2019). Asimismo YouTube, Netflix y Spotify presentan una hegemonía incuestionable en el mundo occidental. El ángulo que me interesa mostrar aquí es cómo el consumo a través del streaming de tracks musicales inaugura un nuevo espacio en el mundo de la producción y distribución de música, que en muchos aspectos cambia la creación de compositores. También reparamos en la dinámica de poder que se encuentra bajo el algoritmo de recomendación en varias plataformas. | es-ES |
| dc.description | Nos últimos 5 anos, o streaming tem dominado o consumo de música e a mídia audiovisual. 80% da música no México é consumida através do streaming (Gutiérrez, 2019). Da mesma forma, YouTube, Netflix e Spotify apresentam uma hegemonia inquestionável no mundo ocidental. A perspectiva que estou interessado em mostrar aqui é como o consumo através do streaming de faixas musicais, mais sua não-posse, inaugura um novo espaço no mundo da produção e distribuição musical, que em muitos aspectos muda a criação dos compositores. Também as dinâmicas de poder encontradas sob a dinâmica da recomendação de algoritmos em várias plataformas. | pt-BR |
| dc.description | Nos últimos 5 anos, o streaming tem dominado o consumo de música e a mídia audiovisual. 80% da música no México é consumida através do streaming (Gutiérrez, 2019). Da mesma forma, YouTube, Netflix e Spotify apresentam uma hegemonia inquestionável no mundo ocidental. A perspectiva que estou interessado em mostrar aqui é como o consumo através do streaming de faixas musicais, mais sua não-posse, inaugura um novo espaço no mundo da produção e distribuição musical, que em muitos aspectos muda a criação dos compositores. Também as dinâmicas de poder encontradas sob a dinâmica da recomendação de algoritmos em várias plataformas. | pt-PT |
| dc.format | application/pdf | - |
| dc.language | eng | - |
| dc.publisher | Grupo de Investigación Cultura Digital y Movimientos Sociales. Cibersomosaguas | es-ES |
| dc.relation | https://revistas.ucm.es/index.php/TEKN/article/view/68748/4564456555481 | - |
| dc.relation | /*ref*/Allen Anderson, P. (2015). Neo-muzak and the business of mood. Critical Inquiry, 41(4), 811-840. https://doi.org/10.1086/681787 Benjamin, W. (2005). The work of art in the age of mechanical reproduction. Los Angeles: UCLA School of theater. Benjamin, W. (2008). The work of art in the age of its technological reproductibility and other wrtings on media. London: Harvard University Press. Cheney-Lippold, J. (2011). A New Algorithmic Identity Soft Biopolitics and the Modulationof Control. Theory, Culture & Society, 28(6), 164-181. https://doi.org/10.1177/0263276411424420 Crowe, C. (2003). My number one. Retrieved from. http://www.theuncool.com/journalism/rs937-my-number-1-pet-sounds/. DeNora, T. (2004). Music in everyday Life. London: Cambridge University press. Drott, E. (2018). Why the next song matters: streaming, recomendation, scarcity. Twentieth-Century Music. 15(3), 325–357. Cambridge University Press. https://doi.org/10.1017/S1478572218000245 Eriksson, M., Fleischer, R., Johansson, A., Snickars, P and Vonderau, P. (2019). Spotify Teardown: Inside the Black Box of Streaming Music. London: The MIT press. Flichy, P. (2007). The internet imaginaire. Boston: MIT Press. Foucault, M. (1978). The history of sexuality: an introduction. New York: Pantheon Books. Frith, S. (1986). Why songs have words. Sociological Review Monograph Series: 34(1), 77-106. https://doi.org/10.1111/j.1467-954X.1986.tb03315.x Galindo, B. (2002). Vasos Comunicantes. Madrid: SGAE. Galloway, A. (2004). Protocol. London: MIT PRESS. Gutiérrez, V. (2019). El disco ha muerto. ¡Viva el streaming! El Economista. Retrieved from https://www.eleconomista.com.mx/arteseideas/El-disco-ha-muerto-viva-el-streaming-20190424-0149.html Hennion, A. (2010). Gustos musicales: de una sociología de la mediación a una pragmática del gusto. Comunicar 17(34), 25-33. https://doi.org/10.3916/C34-2010-02-02 Hesmondhalgh, D. (2019). Comunicación personal vía correo electrónico. Fecha: 6-4-2019. Hogan, M. (2015). How music playlists are curating the future of music. Pitchfork. Retrieved from https://pitchfork.com/features/article/9686-up-next-how-playlists-are-curating-the-future-of-music/ Latour, B. (2005). Reassembling the social. London: Oxford. Kreps, D. (2019). Myspace Lost All Music Uploaded to Site Prior to 2015. Rolling Stone. Retrieved from https://www.rollingstone.com/music/music-news/myspace-lost-music-809455/ Kowalski, R. (1979). Algorithm = Logic + Control. Comunications of the ACM, 22(7). https://doi.org/10.1145/359131.359136 Manovich, L. (2016). Designing and Living Instagram Photography: Themes, Feed, Sequences, Branding, Faces, Bodies. Retrieved from http://manovich.net/content/04-projects/097-designing-and-living-instagram-photography/instagram_book_part_4.pdf Marshall, L. (2015). ‘Let’s keep music special. F—Spotify’: on-demand streaming and the controversy over artist royalties. Creative Industries Journal, 8(2), 177-189. https://doi.org/10.1080/17510694.2015.1096618 Morris, J. (2015). Curation by code: Infomediaries and the data mining of taste. European Journal of Cultural Studies, 18(4-5) 446–463. https://doi.org/10.1177/1367549415577387 Napoli, p and Caplan, R. (2017). Why media companies insist they're not media companies, why they're wrong, and why it matters. First Monday, 22 (5). https://doi.org/10.5210/fm.v22i5.7051 Resnikoff, P. (2018). Apple Is Shutting Down iTunes Music Downloads on March 31st, 2019, Sources Say. Digital Music News. Retrieved from: https://www.digitalmusicnews.com/2018/04/06/apple-shutting-itunes-music-downloads/ Platoni, K. (2006). Pandora's Box: Can a company's musicological data mining breathe new life into the music industry? East Bay Express, January 11. Retrieved from: https://www.eastbayexpress.com/oakland/pandoras-box/Content?oid=1080116 Prey, R. (2018). Nothing personal: algorithmic individuation on music streaming platforms. Media, Culture & Society, 40(7) 1086–1100. https://doi.org/10.1177/0163443717745147 Srnicek, N. (2017). Platform capitalism. Polity Press. London. | - |
| dc.rights | Derechos de autor 2021 Teknokultura. Revista de Cultura Digital y Movimientos Sociales | es-ES |
| dc.source | Teknokultura. Journal of Digital Culture and Social Movements; Vol. 18 No. 1 (2021): Miscellany; 3-12 | en-US |
| dc.source | Teknokultura. Revista de Cultura Digital y Movimientos Sociales; Vol. 18 Núm. 1 (2021): Miscelánea; 3-12 | es-ES |
| dc.source | Teknokultura. Revista de Cultura Digital e Movimentos Sociais; v. 18 n. 1 (2021): Miscelânea; 3-12 | pt-BR |
| dc.source | 1549-2230 | - |
| dc.subject | hegemony | en-US |
| dc.subject | recommendation algorithms | en-US |
| dc.subject | songwriting | en-US |
| dc.subject | Spotify | en-US |
| dc.subject | hegemonia | es-ES |
| dc.subject | algoritmos de recomendación | es-ES |
| dc.subject | composición de canciones | es-ES |
| dc.subject | Spotify | es-ES |
| dc.subject | hegemonia | pt-BR |
| dc.subject | algoritmos de recomendação | pt-BR |
| dc.subject | composição de canções | pt-BR |
| dc.subject | Spotify | pt-BR |
| dc.subject | hegemonia | pt-PT |
| dc.subject | algoritmos de recomendação | pt-PT |
| dc.subject | composição de canções | pt-PT |
| dc.subject | Spotify | pt-PT |
| dc.title | Music streaming and its consequences within the dynamics of power, consumption and creation | en-US |
| dc.title | Music streaming and its consequences within the dynamics of power, consumption and creation | es-ES |
| dc.title | O streaming de música e suas consequências nas dinâmicas de poder, consumo e criação | pt-BR |
| dc.title | O streaming de música e suas consequências nas dinâmicas de poder, consumo e criação | pt-PT |
| dc.type | info:eu-repo/semantics/article | - |
| dc.type | info:eu-repo/semantics/publishedVersion | - |
| dc.type | Karpeta | es-ES |
| Aparece en las colecciones: | Facultad de Ciencias Políticas y Sociología - UCM - Cosecha | |
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