Acceso usuarios
Sílvia Helena Meyer Carvalho, Annibal José Scavarda
Nowadays music constitutes a phenomenon whose complexion entangles aspects simultaneously related to society, culture, art, business, and technology. Due to the combined influence of these aspects, music production-consumption acquires some unique features. Added to that, the swift evolution and growing influence of the economic-technological association have increasingly affected music as a sociocultural phenomenon, as an art form, and as a corporative business, increasing the complexity of an already convoluted context. Given the composite and dynamic constitution of the music field, the present approach departs from a multidisciplinary analysis, establishing a methodological groundwork that comprehends conceptual and qualitative research, elaborated through exploratory study. Under a standard economic perspective, music production-consumption belongs in the structure of the music supply chain, presenting a rather uncertain status between service and good. Apart from the economic understanding, however, music comprises a wide variety of manifestations, which do not suit conventional production-consumption processes. In order to cope with the inexorable duality of this paradoxical coexistence, this study proposes a model intended to contribute to the building of a comprehensive knowledge on music production and consumption. As this model departs from some specific flows of music production and consumption, it creates an array of patterns, pinpointing their situation within the service-good spectrum. In addition, it considers Digital Revolution and globalized communications as enablers that affect the foundations of traditional music, unbalance routine flows inside the supply chain of the music industry and cause music production-consumption relationships to shift their status from product-oriented to service-oriented.
