A organização da indústria fonográfica brasileira nas redes digitais: concentração sem centralização das empresas eletrônicas fonográficas

Marchi, Leonardo De

doi:10.15448/1980-3729.2014.1.14301

Cited by 1 publication

(4 citation statements)

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“…This article incorporates material from my previous research on the Brazilian music industry (De Marchi 2015, 2016. The music industry was taken as a case study for a broad analysis of the creative economy in developing economies in the twenty-first century.…”

Section: Notes On Methodologymentioning

confidence: 99%

“…By fiat, these companies decided to diminish the production of vinyl and magnetic tapes, leaving the digital disc as the only possibility to buy music. In so doing, record companies could charge the standard international price for each disc ($15) (Vicente 2014), which resulted in a remarkable growth for major record companies: between 1990 and 1999, there was an increase of 114.38 per cent in revenues and 46.6 per cent in unit sales (De Marchi 2016;Dias 2000), as shown in Figure 1.…”

Section: The Creative Destruction and The Crisis Of The Physical Mediamentioning

confidence: 99%

“…As record sales were sharply declining, independent musicians decided not to sign contracts with music labels but to manage their own careers instead. These autonomous artists financed the recording of their own music, distributed it for free through the internet using Creative Commons licences, hoping their fans could produce network effects by themselves (De Marchi 2016).…”

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confidence: 99%

“…The combination of a high level of piracy, the use of P2P systems and a reluctant attitude among market players resulted in a sharp decrease in record sales (about 70 per cent of units sold) and the timid performance of the digital music market: up to 2015, the digital segment represented no more than 20 per cent of total record industry revenue (De Marchi 2016.…”

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The digitalisation of the music industry in Brazil

De Marchi

2023

Journal of Legal Anthropology

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The article analyses the digitisation of the music industry in Brazil, taking into consideration the new productive structure that emerges from its ‘creative destruction’. To do so, it presents a historical overview of the record industry in the country and assesses the key components of the structural transformation of its economy in the early twenty-first century, from the sharp decrease in the consumption of CDs and DVDs to the entry of the global streaming services that presented an international modus operandi to the local music industry, or what has come to be known as the celestial jukebox. In the conclusion, it discusses the challenges for the distribution and circulation of music produced in Brazil in the global digital music market.

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Section: Notes On Methodologymentioning

confidence: 99%

Section: The Creative Destruction and The Crisis Of The Physical Mediamentioning

confidence: 99%

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confidence: 99%

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