Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais
Ano de defesa: | 2015 |
---|---|
Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Tese |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal de São Carlos
Câmpus São Carlos |
Programa de Pós-Graduação: |
Programa de Pós-Graduação em Engenharia de Produção - PPGEP
|
Departamento: |
Não Informado pela instituição
|
País: |
Não Informado pela instituição
|
Palavras-chave em Português: | |
Palavras-chave em Inglês: | |
Área do conhecimento CNPq: | |
Link de acesso: | https://repositorio.ufscar.br/handle/ufscar/7630 |
Resumo: | This doctoral dissertation seeks to explain the changes in the music market in the last decade using the Field Theory, by Fligstein and McAdam (2012). Thus, we consider the music market a strategic field of action, which, according to the authors is in frequent adjustment and are subject to external shocks. In this way, through events in nearby fields, the development of innovations that allowed the unauthorized sharing and downloading content over the internet has had a profound impact on the music market, and later on other cultural goods markets. Initial reactions of the incumbent actors have been through strategies that had already been used in earlier times: law suits, educational campaigns and pressuring the government in favor of a stronger legislation. Thus, the reactions of incumbent actors were acoording to what explains the theory, the use of strategies known to restore the status quo. However, due to the crisis that shook the ability of incumbent actors to reproduce their advantages, new players entered the market. In addition, incumbent actors gave way and changed their business models, establishing relations with the new entrants, and adopting new business models leveraging the internet as a means of distribution, dissemination and others. Record companies also started expande their activtities, working with artist's career management. Thus, according to the analysis of the work, we concluded that there was a change in the business model, and that in the Brazilian case these changes followed the international trends. Through research field we conclude that Brazilian companies have adopted the distribution of digital music through online stores and through cell phone companies, streaming services as well as the actors have adopted the 360 contracts. |
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Toyama, Míriam CostaAlves Filho, Alceu Gomeshttp://lattes.cnpq.br/7885557554922569Côrtes, Mauro Rochahttp://lattes.cnpq.br/8988613760967305http://lattes.cnpq.br/6429216929986209cd4b05c9-94a6-4f67-9113-1fcc851c48eb2016-10-04T18:00:52Z2016-10-04T18:00:52Z2015-08-28TOYAMA, Míriam Costa. Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais. 2015. Tese (Doutorado em Engenharia de Produção) – Universidade Federal de São Carlos, São Carlos, 2015. Disponível em: https://repositorio.ufscar.br/handle/ufscar/7630.https://repositorio.ufscar.br/handle/ufscar/7630This doctoral dissertation seeks to explain the changes in the music market in the last decade using the Field Theory, by Fligstein and McAdam (2012). Thus, we consider the music market a strategic field of action, which, according to the authors is in frequent adjustment and are subject to external shocks. In this way, through events in nearby fields, the development of innovations that allowed the unauthorized sharing and downloading content over the internet has had a profound impact on the music market, and later on other cultural goods markets. Initial reactions of the incumbent actors have been through strategies that had already been used in earlier times: law suits, educational campaigns and pressuring the government in favor of a stronger legislation. Thus, the reactions of incumbent actors were acoording to what explains the theory, the use of strategies known to restore the status quo. However, due to the crisis that shook the ability of incumbent actors to reproduce their advantages, new players entered the market. In addition, incumbent actors gave way and changed their business models, establishing relations with the new entrants, and adopting new business models leveraging the internet as a means of distribution, dissemination and others. Record companies also started expande their activtities, working with artist's career management. Thus, according to the analysis of the work, we concluded that there was a change in the business model, and that in the Brazilian case these changes followed the international trends. Through research field we conclude that Brazilian companies have adopted the distribution of digital music through online stores and through cell phone companies, streaming services as well as the actors have adopted the 360 contracts.No presente trabalho busca-se explicar as modificações ocorridas no mercado de música de massa na última década utilizando como referencial teórico a Teoria dos Campos de Fligstein e McAdam (2012). Considera-se o mercado de música um campo de ação estratégica que, de acordo com os autores, está em frequente ajuste e sujeito a choques externos. Transformações em campos próximos, como o desenvolvimento de inovações que permitiram o compartilhamento e download não autorizado de conteúdo através da internet, tiveram impacto profundo sobre o mercado de música e, posteriormente, sobre outros mercados de bens culturais. As reações iniciais dos atores incumbentes constituíram estratégias que já haviam utilizado em momentos anteriores: processos, campanhas educativas e pressões sobre o governo. Tais reações são explicadas pela teoria dos campos: a utilização de estratégias conhecidas a fim de restabelecer o status quo. Entretanto, as mudanças abalaram a capacidade dos atores incumbentes de reprodução de suas vantagens quando entraram novos atores no mercado. Além disso, os atores incumbentes cederam e modificaram seus modelos de negócios, estabelecendo relações com os novos entrantes e adotando modelos de negócios que utilizavam a internet como meio de distribuição, divulgação entre outros. As gravadoras também passaram a atuar de forma mais abrangente, trabalhando com a administração da carreira do artista. Desta forma, de acordo com a análise feita neste trabalho, conclui-se que houve mudanças no modelo de negócios e que, no caso brasileiro, essas mudanças seguiram as tendências internacionais. A pesquisa de campo realizada possibilitou mostrar que as empresas brasileiras adotaram a distribuição de música digital através de venda online, através de empresas de telefonia celular e serviços de streaming, assim como parte dos atores adotaram os contratos 360°. O presente trabalho utiliza pesquisa bibliográfica e estudo de caso para analisar o objeto de estudo.Não recebi financiamentoporUniversidade Federal de São CarlosCâmpus São CarlosPrograma de Pós-Graduação em Engenharia de Produção - PPGEPUFSCarIndústria fonográficaMercado brasileiro de músicaTeoria dos camposModelos de negóciosBrasilian music marketBrasilian music industryTheory of fieldsBusiness modelsENGENHARIASReconfiguração do mercado brasileiro de música : os incumbentes e os novos capitaisinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisOnline600600a9ae19f1-cd33-455e-866c-5ec36972adcdinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFSCARinstname:Universidade Federal de São Carlos (UFSCAR)instacron:UFSCARORIGINALTeseMCT.pdfTeseMCT.pdfapplication/pdf3476416https://repositorio.ufscar.br/bitstream/ufscar/7630/1/TeseMCT.pdf6845703b450e9fbf4fc6b94ebbf91fbeMD51LICENSElicense.txtlicense.txttext/plain; charset=utf-81957https://repositorio.ufscar.br/bitstream/ufscar/7630/2/license.txtae0398b6f8b235e40ad82cba6c50031dMD52TEXTTeseMCT.pdf.txtTeseMCT.pdf.txtExtracted texttext/plain699450https://repositorio.ufscar.br/bitstream/ufscar/7630/3/TeseMCT.pdf.txt312637f912742ababac4fe56b24b5f87MD53THUMBNAILTeseMCT.pdf.jpgTeseMCT.pdf.jpgIM Thumbnailimage/jpeg5907https://repositorio.ufscar.br/bitstream/ufscar/7630/4/TeseMCT.pdf.jpge19f4c8967821ba7ddd5cbf6d1efe7a8MD54ufscar/76302023-09-18 18:30:52.597oai:repositorio.ufscar.br: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Repositório InstitucionalPUBhttps://repositorio.ufscar.br/oai/requestopendoar:43222023-09-18T18:30:52Repositório Institucional da UFSCAR - Universidade Federal de São Carlos (UFSCAR)false |
dc.title.por.fl_str_mv |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
title |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
spellingShingle |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais Toyama, Míriam Costa Indústria fonográfica Mercado brasileiro de música Teoria dos campos Modelos de negócios Brasilian music market Brasilian music industry Theory of fields Business models ENGENHARIAS |
title_short |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
title_full |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
title_fullStr |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
title_full_unstemmed |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
title_sort |
Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais |
author |
Toyama, Míriam Costa |
author_facet |
Toyama, Míriam Costa |
author_role |
author |
dc.contributor.authorlattes.por.fl_str_mv |
http://lattes.cnpq.br/6429216929986209 |
dc.contributor.author.fl_str_mv |
Toyama, Míriam Costa |
dc.contributor.advisor1.fl_str_mv |
Alves Filho, Alceu Gomes |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/7885557554922569 |
dc.contributor.advisor-co1.fl_str_mv |
Côrtes, Mauro Rocha |
dc.contributor.advisor-co1Lattes.fl_str_mv |
http://lattes.cnpq.br/8988613760967305 |
dc.contributor.authorID.fl_str_mv |
cd4b05c9-94a6-4f67-9113-1fcc851c48eb |
contributor_str_mv |
Alves Filho, Alceu Gomes Côrtes, Mauro Rocha |
dc.subject.por.fl_str_mv |
Indústria fonográfica Mercado brasileiro de música Teoria dos campos Modelos de negócios |
topic |
Indústria fonográfica Mercado brasileiro de música Teoria dos campos Modelos de negócios Brasilian music market Brasilian music industry Theory of fields Business models ENGENHARIAS |
dc.subject.eng.fl_str_mv |
Brasilian music market Brasilian music industry Theory of fields Business models |
dc.subject.cnpq.fl_str_mv |
ENGENHARIAS |
description |
This doctoral dissertation seeks to explain the changes in the music market in the last decade using the Field Theory, by Fligstein and McAdam (2012). Thus, we consider the music market a strategic field of action, which, according to the authors is in frequent adjustment and are subject to external shocks. In this way, through events in nearby fields, the development of innovations that allowed the unauthorized sharing and downloading content over the internet has had a profound impact on the music market, and later on other cultural goods markets. Initial reactions of the incumbent actors have been through strategies that had already been used in earlier times: law suits, educational campaigns and pressuring the government in favor of a stronger legislation. Thus, the reactions of incumbent actors were acoording to what explains the theory, the use of strategies known to restore the status quo. However, due to the crisis that shook the ability of incumbent actors to reproduce their advantages, new players entered the market. In addition, incumbent actors gave way and changed their business models, establishing relations with the new entrants, and adopting new business models leveraging the internet as a means of distribution, dissemination and others. Record companies also started expande their activtities, working with artist's career management. Thus, according to the analysis of the work, we concluded that there was a change in the business model, and that in the Brazilian case these changes followed the international trends. Through research field we conclude that Brazilian companies have adopted the distribution of digital music through online stores and through cell phone companies, streaming services as well as the actors have adopted the 360 contracts. |
publishDate |
2015 |
dc.date.issued.fl_str_mv |
2015-08-28 |
dc.date.accessioned.fl_str_mv |
2016-10-04T18:00:52Z |
dc.date.available.fl_str_mv |
2016-10-04T18:00:52Z |
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info:eu-repo/semantics/publishedVersion |
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dc.identifier.citation.fl_str_mv |
TOYAMA, Míriam Costa. Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais. 2015. Tese (Doutorado em Engenharia de Produção) – Universidade Federal de São Carlos, São Carlos, 2015. Disponível em: https://repositorio.ufscar.br/handle/ufscar/7630. |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufscar.br/handle/ufscar/7630 |
identifier_str_mv |
TOYAMA, Míriam Costa. Reconfiguração do mercado brasileiro de música : os incumbentes e os novos capitais. 2015. Tese (Doutorado em Engenharia de Produção) – Universidade Federal de São Carlos, São Carlos, 2015. Disponível em: https://repositorio.ufscar.br/handle/ufscar/7630. |
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https://repositorio.ufscar.br/handle/ufscar/7630 |
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Universidade Federal de São Carlos Câmpus São Carlos |
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Programa de Pós-Graduação em Engenharia de Produção - PPGEP |
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Universidade Federal de São Carlos Câmpus São Carlos |
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