Digital Ecosystem and Content Platformization: Logics of Distribution and Transmedia Music Consumption in New Audiovisual Formats and Livestreaming
DOI:
https://doi.org/10.5294/pacla.2024.27.1.6Keywords:
Media ecology, mass media, pop music, transmedia narrative, television, music videoAbstract
The current transformations of the music industry continue a previous process, added to the changes brought about by digitalization, audiovisual convergence, and transmedia logic. A systemic approach is necessary to locate the new conditions of musical remediation and appropriation of music by the media industry and to inquire into the turn toward the visual of the music industry, which some authors have found in recent years. The period of lockdown due to the Coronavirus (COVID-19) deepened a series of dynamics that combine the production and distribution of popular music with other sectors of the music industry. On the one hand, the video clip has become a multifaceted instrument after YouTube, which has made it possible to monetize music listening. Its forms of expansion colonize platforms, and its format and aesthetic model expand in duration in the visual album or are cloned for application to various microformats. Thanks to platformization, it acts not only as a promotional format but also as a listening medium. On the other hand, live music is a relevant diffusion field in popular music. In its retransmitted version, livestreaming of concerts consolidates another formula of innovation tending toward personalization. The paper’s objectives involve reflecting on the logic of global modification of the creation and consumption of musical content in the current transmedia context and analyzing the dynamics of interaction between agents, considering the digitalization and platformization of musical content. The conclusions trace the possibilities of monetization and personalization of the experience of popular music and reflect on how the production conditions of creative agents in the current music industry and musical reception change.
Downloads
References
Antolín Prieto, R. y Clemente, J. (2017). YouTube as a significant tool for the brand communication strategy: case study of engagement, insight and creativity of the five most relevant campaigns worldwide video platform. Comunicación y hombre, 13, 201-216. https://doi.org/10.32466/eufv-cyh.2017.13.223.201-216
Areiza-Padilla, J. A. y Galindo-Becerra, T. (2022). The importance of e-service quality in the livestreaming music concert business, Cogent Social Sciences, 8(1). https://doi.org/10.1080/23311886.2022.2051791
Auslander, P. (2008). Liveness: Performance in a mediatized culture. Routledge. https://doi.org/10.4324/9780203938133
Baltruschat. D. (2010). Global media ecologies: networked production in film and television. Routledge. https://doi.org/10.4324/9780203850985
Baym, N. K. (2018). Playing to the crowd: Musicians, audiences, and the intimate work of connection. New York University Press.
Barlow, J. y Morrow, G. (2021). Ephemeral income: Considering Covid-prompted loss of ephemerality in live music through the dichotomy between labour income and capital income. Popular Music History, 14(1), 60-75. https://doi.org/10.1558/pomh.19828
Bennett, L. (2012). Patterns of listening through social media: online fan engagement with the live music experience. Social Semiotics, 22(5), 545-57. https://doi.org/10.1080/10350330.2012.731897
Beuscart, J.-S., Coavoux, S. y Garrocq, J.-B. (2022). Listening to music videos on YouTube. Digital consumption practices and the environmental impact of streaming. Journal of Consumer Culture, 0(0). https://doi.org/10.1177/14695405221133266
Breese, J. L., Fox, M. A. y Vaidyanathan, G. (2020). Live music performances and the internet of things. Issues in information Systems, 21(3), 179-188.
Brembilla, P. (2019). The values of music as a transmedia asset. En Freeman, M. y Rampazzo Gambarato, R. (eds.), The Routledge Companion to Transmedia Studies (pp. 82-89). Routledge. https://doi.org/10.4324/9781351054904-9
Brennan, M., Behr, A., Webster, E., Frith, S. y Cloonan, M. (2016). Live concert performance: An ecological approach. Rock Music Studies, 3(1), 5-23. https://doi.org/10.1080/19401159.2015.1125633
Burgess, J. y Green, J. (2018). YouTube: Online video and participatory culture. John Wiley & Sons.
Burns, L. y Lafrance, M. (2002). P.J. Harvey, Is This Desire? (1998). En Burns, L. y Lafrance, M (eds.). Disruptive divas. Feminism, Identity and Popular Music (pp. 44-86). Routledge.
Dubboff, J. (2016). Beyoncé’s new album Lemonade will reportedly drop on iTunes Sunday Night. Vanity Fair. https://www.vanityfair.com/culture/2016/04/beyonce-lemonade-album-release
Fendler, U. (2022). The transmedial aesthetics of K-Pop music videos: References to western film cultures. En Jackson, A. (ed.), The two Koreas and their global engagements (pp. 161-182). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-90761-7_7
Fidler, R. (1998). Mediamorfosis. Comprender los nuevos medios. Granica.
Gare, M. (2017). Defining the visual album by way of animal collective’s ODDSAC: Identifying the musicological exchange between music and images based in audio visual and music video analysis [Tesis de Maestría, University of Utrech]. https://dspace.library.uu.nl/handle/1874/353759
Garland, E. (2020). The impact of the coronavirus outbreak on the independent music industry has been swift and devastating. Vice. https://www.vice.com/en_uk/article/akw8xk/how-to-support-independent-music-coronavirus
Gillespie, T. (2015). Platforms intervene. Social Media + Society, 1(1). https://doi.org/10.1177/2056305115580479
Havens, T. y Lotz, A. (2017). Understanding media industries. Oxford University Press.
Holt, F. (2010). The economy of live music in the digital age. European Journal of Cultural Studies, 13(2), 243-261. https://doi.org/10.1177/1367549409352277
Islas, O. (2009). Understanding cultural convergence through media ecology [La convergencia cultural a través de la ecología de medios]. Comunicar, 33, 25-33. https://doi.org/10.3916/c33-2009-02-002
Jeon, J., Kim, S. y Oh, J. (2022). How do you watch music video: “Watching or Listening?”. En 2022 IEEE International Conference on Big Data (Big Data). IEEE Xplore. https://doi.org/10.1109/BigData55660.2022.10020805
Kjus, Y., Spilker, H. S. y Kiberg, H. (2022). Liveness online in deadly times: How artists explored the expressive potential of live-streamed concerts at the face of Covid-19 in Norway. First Monday, 27(6). https://doi.org/10.5210/fm.v27i6.12398
Kretschmer, T. y Peukert, C. (2020). Video killed the radio star? Online music videos and recorded music sales. Information Systems Research, 31(3), 776-800. https://doi.org/10.1287/isre.2019.0915
Kyncl, R. y Peyvan, M. (2017). Streampunks: How YouTube and the new creators are transforming our lives. Random House.
Macrossan, P. (2021). Rethinking singing on screen: The case for contemporary American ‘screensong’ across the film musical, music television and the music video. Popular Music, 40(2), 210-229. https://doi.org/10.1017/S0261143021000271
Magaudda, P. y Solarola, M. (2020). Platform studies and digital cultural industries. Sociólogica, 14, 267-293. https://doi.org/10.6092/issn.1971-8853/11957
Maloy, S. (2023). Presentamos Clips: empieza a usar los videos de formato corto en Spotify. Spotify for Artists, 8 de marzo. https://artists.spotify.com/es-419/blog/spotify-clips-get-started-short-form-video-stream-on
McIntosh, H. (2015). Vevo and the business of online music video distribution. Popular Music and Society, 39(5), 1-14. https://doi.org/10.1080/03007766.2015.1065614
Miguélez-Juan, B. (2023). Music branded content: the video clip as an advertising medium at the service of automotive brands. En Miguélez-Juan, B. y Bonales-Daimiel, G. (eds.), Handbook of research on the future of advertising and brands in the new entertainment landscape (pp. 105-134). IGI Global. https://doi.org/10.4018/978-1-6684-3971-5.ch005
Nieborg, D. B. y Poell, T. (2018). The platformization of cultural production: Theorizing the contingent cultural commodity. New Media & Society, 20(11), 4275-4292. https://doi.org/10.1177/1461444818769694
Perrone, I. y Zukerfeld M. (2007). Disonancias del capital. música, tecnologías digitales y capitalismo. Ediciones Cooperativas.
Pires, K. y Simon, G. (2015). YouTube live and twitch: a tour of user-generated live streaming systems. En Proceedings of the 6th ACM multimedia systems conference (pp. 225-230). ACM Digital Library. https://doi.org/10.1145/2713168.2713195
Piazzolla, S., Medina, I. G. y Navarro-Beltrá, M. (2021). El ‘brand placement’ en los videos musicales: efectividad en Reino Unido, España e Italia. Index Comunicacion, 11(2), 135-163. https://doi.org/10.33732/ixc/11/02Brandp
Poell, T., Nieborg, D. y Van Dijck, J. (2019). Platformisation. Internet Policy Review, 8(4), 1-13. https://doi.org/10.14763/2019.4.1425
Ruberg, B. y Lark, D. (2021). Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch. Convergence, 27(3), 679-695. https://doi.org/10.1177/1354856520978324
Sánchez Olmos, C., Segarra Saavedra, J. y Hidalgo Marí, T. (2021). ‘Brand Placement’ en los videoclips del Billboard Hot 100: ¿integración o imposición de marcas? Tripodos, 44, 63-81. https://doi.org/10.51698/tripodos.2019.44p63-81
Scolari, C. (2008). Hipermediaciones: elementos para una teoría de la comunicación digital interactiva. Gedisa.
Sedeño Valdellós, A. (2019). El álbum visual como proyecto transmedia: videoclip y experiencia transmedia en la música popular. Journal of Sound, Silence, Image and Technology, 2, 104-115. http://jossit.tecnocampus.cat/index.php/jossit/article/view/anasedeno/34
Sedeño-Valdellós, A. (2021). Proyectos musicales y nuevas formas de la visualidad performativa: el álbum visual Black is King de Beyoncé. Hipertext.net, 22, 75-84. https://doi.org/10.31009/hipertext.net.2021.i22.07.
Sedeño-Valdellós, A. M. (2023). Video musical y nueva lógica en la ecología de los medios: extensión del formato hacia el álbum visual. Palabra Clave, 26(2), e2626. https://doi.org/10.5294/pacla.2023.26.2.6
Sher, S.T.-H. y Su, N. M. (2023). From screens to projector, wall, and TVs: Conceptualizing livestreams as design material for direct and indirect viewership experiences. Proceedings of the ACM on Human-Computer Interaction, 7(1), 1-22. https://doi.org/10.1145/3579489
Simon, P. (2011). The age of the platform: how Amazon, Apple, Facebook and Google have redefine business. Simon Hris Consulting LLC.
Sjöblom, M., y Hamari, J. (2017). Why do people watch others play video games? An empirical study on the motivations of Twitch users. Computers in Human Behavior, 75, 985-996. https://doi.org/10.1016/j.chb.2016.10.019
Spanu, M. y Rudent, C. (2022). La captation et ses paradoxes. Réflexions sur la mise en vidéo des concerts à l’ère de la plateformisation de la musique. Communiquer, 35. https://doi.org/10.4000/communiquer.9958
Stage, C. (2012). Screens of intensification: on DIY concert videos of Lady Gaga and the use of media interfaces as tools of experience intensification. Journal of Aesthetic and Culture, 4(1), 1-11. https://doi.org/10.3402/jac.v4i0.18161
Tschmuck, P. (2016). From record selling to cultural entrepreneurship: the music economy in the digital paradigm shift. En Wikström, P. y DeFillippi, R. (eds.), Bussiness innovation and disruption in the music industry (pp. 13-32). Edward Elgar. https://doi.org/10.4337/9781783478156.00007
Van Dijck, J. y Poell, T. (2013). Understanding social media logic. Media and Communication, 1(1), 2-14. https://doi.org/10.17645/mac.v1i1.70
Van Dijck, J., Poell, T. y De Waal, M. (2018). The platform society. Oxford University Press. https://doi.org/10.1093/oso/9780190889760. 001.0001
Wang, M. y Li, D. (2020). What motivates audience comments on live streaming platforms? PLoS One, 15, e0231255. https://doi.org/10.1371/journal.pone.0231255
Wongkitrungrueng, A., Dehouche, N. y Assarut, N. (2020). Live streaming commerce from the sellers’ perspective: implications for online relationship marketing. Journal of Marketing Management, 36, 488-518. https://doi.org/10.1080/0267257X.2020.1748895
Zhang, M., Fang, Q., Wang, G. A. y Luo, C. (2020). The impact of live video streaming on online purchase intention. The Service Industries Journal, 40(9-10), 656-681. https://doi.org/10.1080/02642069.2019.1576642
Zhang Q. y Negus, K. (2021). Stages, platforms, streams: the economies and industries of live music after digitalization. Popular Music and Society, 44(5), 539-557. https://doi.org/10.1080/03007766.2021.1921909
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Ana Sedeño-Valdellós
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution 4.0 International License.
1. Proposed Policy for Journals That Offer Open Access
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.