“LISTENING IS EVERYTHING”

connected listening paths in the articulations between playlists, pre-saves and musical recommendations on Spotify

Authors

DOI:

https://doi.org/10.22478/ufpb.2763-9398.2022v16n.60663

Keywords:

Online Music Consumption Platforms, Playlists/Pre-saves, Listening Paths

Abstract

This work proposes a reflection on the negotiations between productive practices in the music universe, online platforms, algorithms and recommendation systems based on the articulation between pre-save and playlists. It is interesting to think how the centrality of playlists in contemporary listening paths impacts on the strategies of musical production and dissemination. Thus, this article pays attention to new relationships between datification of music consumption and recommendations practices of online platforms.

Downloads

Download data is not yet available.

Author Biographies

Victor de Almeida Nobre Pires, Universidade Federal de Alagoas

Professor at the Federal University of Alagoas (UFAL) - Campus Sertão. PhD in Communication from the Graduate Program in Communication at the Federal University of Pernambuco (PPGCOM/UFPE). Researcher linked to the Music and Audiovisual Analysis Laboratory (LAMA/UFPE). Author of the books "Traces of Live Music: from stages to the living room concerts" (Editora Appris, 2019, portuguese) and "Beyond Post-Rock: contemporary music scenes and the new Brazilian instrumental music" (Edufal, 2015, portuguese) and organizer of the collections "Urban Circuits and Media Stages: Cultural Perspectives of Live Music" (Edufal, 2017, portuguese) and "Ten Years Like a Thousand: Massive Popular Media and Music in Internet Times" (Editora Simplíssimo, 2011, portuguese).

Jeder Janotti Jr, UFPE

Jeder Silveira Janotti Junior is a CNPq Researcher, level 1D, a professor at the Postgraduate Program in Communication at UFPE, where he coordinates the Laboratory for Analysis of Music and Audiovisual (L.A.M.A).

References

CHODOS, Asher Tobin. What Does Music Means to Spotify? An Ensay on Musical Significance in The Era of Digital Curation. INSAM Journal of Contemporary Music, Art and Technology, n. 2, p. 36-64, July 2019.

D´ANDRÉA, Carlos. Pesquisando plataformas online: conceitos e métodos. Salvador: Edufba, 2020.

DALY, Rhian. Musicians criticise Spotify CEO for saying it’s “not enough” to release albums “every 3-4 years”. NME, [on-line], 2 ago. 2020. Disponível em: . Acesso em: 8 mar. 2021.

DEAHL, Dani. Charli XCX explains how streaming is changing songs. The Verge, [on-line], 20 set. 2019. Disponível em: . Acesso em: 26 jan. 2021.

DINES, David. Dicas tratore: o que é um pre-save? Blog Tratore, [on-line], 8 maio 2019. Disponível em: . Acesso em: 9 fev. 2021.

DREDGE. Stuart. Kobalt explains its Laura Marling Spotify ‘pre-save’ campaign. Music Ally, [on-line], 1 dez. 2016. Disponível em: . Acesso em: 26 jan. 2021.

ERIKSSON, Maria et al. Sportify teardown: inside the black box of streaming music. Cambridge: MIT Press, 2019.

FIGUEIREDO, Carolina Dantas de; BARBOSA, Renata Regina M. de Oliveira . Spotify e a Construção do Gosto: uma breve análise sobre a oferta de playlists pela plataforma. Signos de Consumo, São Paulo, v. 11, n. 2, p. 28-39, jul./dez. 2019.

FORDE, Eamonn. 'They could destroy the album': how Spotify's playlists have changed music for ever. The Guardian, [on-line], 17 ago. 2017. Disponível em: . Acesso em: 26 jan. 2021.

JANOTTI JUNIOR, Jeder Silveira. Gêneros musicais em ambientações digitais. Belo Horizonte: Selo PPGCOM UFMG, 2020.

JUNQUEIRA, Felipe. TIM e Deezer renovam parceria e cai o preço da assinatura para clientes Controle. Canal Tech, [on-line], 23 jul. 2020. Disponível em: . Acesso em: 7 mar. 2021.

KAFKA, Peter. Watch what happens when Spotify gives unknown music acts a big push. Vox, [on-line], 28 mar. 2017. Disponível em: . Acesso em: 7 mar. 2021.

KASSABIAN, Anahid. Ubiquitious listening: affect, attention and distribuited subjectivity. Los Angeles: University of California Press, 2013.

LUCCAS, Regis Wendel Rabelo. What the F*ck Spotify? Rupturas na performance de gosto e a atividade algorítmica na Retrospectiva 2019. In: ENCONTRO ANUAL DA ASSOCIAÇÃO DOS PROGRAMAS DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO, 29., Campo Grande. Anais... Brasília: Compós, 2020. p. 1-19.

MARIMAI. Como criar uma campanha de pre save no Spotify, Deezer e Apple Music. Assim que rola, [on-line], 11 jun. 2020. Disponível em: . Acesso em: 11 fev. 2021.

MILLER, Chance. Tim Cook on Apple Music: Human curation is key, not ‘bits-and-bytes’. 9to5MAC, [on-line], 7 ago. 2018. Disponível em: . Acesso em: 7 mar. 2021.

PEREIRA DE SÁ, Simone Pereira de. Cultura Digital, Videoclipes e a Consolidação da Rede de Música Brasileira Pop Periférica. Revista Fronteiras, São Leopoldo, v. 21, n. 2, p. 21-32, maio/ago. 2019.

ROBLEY, Chris. 3 things you’re doing wrong on Spotify as a musician. DIY Musician – CDBaby, [on-line], 1 nov. 2017. Disponível em: . Acesso em: 8 mar. 2021.

SCATAMBURLO, Bianca; CAMPOS, Nara. A Era do Áudio: Tendências do consumo de Streaming de Áudio no Brasil. ComScore, [on-line], 29 jul. 2020. Disponível em: . Acesso em: 11 fev. 2021.

SPOTIFY. 5 Fast Facts About Spotify and Samsung’s Partnership Expansion. Spotify – For the Record, [on-line], 8 mar. 2019. Disponível em: . Acesso em: 7 mar. 2021.

VAN DIJCK, José. The culture of connectivity: a critical history of social media. Oxford University Press, 2013.

VAN DIJCK, José; POELL, Thomas; WAAL, Martijn de. The Plataform Society. New York: Oxford University Press, 2018.

Downloads

Published

2022-12-13

How to Cite

PIRES, V. de A. N.; JANOTTI JR, J. “LISTENING IS EVERYTHING”: connected listening paths in the articulations between playlists, pre-saves and musical recommendations on Spotify. Culturas Midiáticas, [S. l.], v. 16, 2022. DOI: 10.22478/ufpb.2763-9398.2022v16n.60663. Disponível em: https://periodicos.ufpb.br/ojs/index.php/cm/article/view/60663. Acesso em: 25 may. 2024.

Issue

Vol. 16 (2022): Edição anual de publicação contínua

Section

Articles

License

Copyright (c) 2022 Victor de Almeida Nobre Pires, Jeder Janotti Jr

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

A submissão de originais para Revista Culturas Midiáticas implica na transferência, pelos autores (as), dos direitos de publicação impressa e digital. Os direitos autorais para os artigos publicados são do autor (a), com direitos da Revista Culturas Midiáticas sobre a primeira publicação. Em virtude de sermos um periódico de acesso aberto, permite-se o uso gratuito dos artigos em aplicações educacionais, científicas, não comerciais, desde que citada a fonte (por favor, veja a Licença Creative Commons no rodapé desta página).