Capítulo 7. Giro hacia lo visual en las nuevas lógicas de la industria musical. Livestreaming, plataformización y auge de la inteligencia artificial (IA)
DOI:
https://doi.org/10.52495/c7.emcs.43.c49Palabras clave:
livestreaming, industria musical, inteligencia artificial, plataformización, videoclip, álbum visualResumen
La industria musical continúa con su lógica de expansión de estrategias que giran su negocio hacia el vídeo, como parte de la convergencia de medios. Su extrema maleabilidad como formato lo hace central en todas las adaptaciones al medio visual para lograr una mediación ubicua de la música: la escucha se media visualmente a través de todo tipo de plataformas y formatos. El texto revisa algunas de estas formas de plataformización musical, como las nuevas propuestas en torno al vídeoclip, el álbum visual, el livestreaming de actuaciones en directo o las posibilidades de generación de contenido con inteligencia artificial.
Descargas
Citas
Aniftos, Rania (21, 10 2022). «Taylor Swift Attends Her Own Funeral in Spooky ‘Anti-Hero’ Music Video: Watch. Swift previously said that ‘Anti-Hero’ is ‘one of my favorite songs I’ve ever written.’» Billboard. https://www.billboard.com/music/pop/taylor-swift-anti-hero-music-video-watch-1235158994/
Acción cultural de España (2024). Anuario AC/E de cultura digital 2023. ¿Viajan los contenidos digitales en español? Madrid: Telefónica.
Anderton, Chris (2020): «From Woodstock to Glastonbury to the Isle of Wight: The Role of Festival Films in the Construction of the Countercultural Carnivalesque», Popular Music and Society, vol. 43, num. 2, pp. 201-215. https://doi.org/10.1080/03007766.2019.1687670
Antolín Prieto, Rebeca; Clemente, Jorge (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, vol. 13, pp. 201-216.
Apolo Valdivia, Pedro Rolando (2022): «El futuro de la industria musical en la era de la inteligencia artificial». Artnodes, vol. 30. https://doi.org/10.7238/artnodes.v0i30.399485
Avdeeff, Melissa (2019): «Artificial Intelligence & Popular Music: SKYGGE, Flow Machines, and the Audio Uncanny Valley», Arts, vol. 8, num. 4, pp. 1-13. https://doi.org/10.3390/arts8040130
Barlow, Josh; Morrow, Guy (2021). «Ephemeral income: Considering Covid-prompted loss of ephemerality in live music through the dichotomy between labour income and capital income». Popular Music History, vol. 14, num. 1, pp. 60-75.
Baym, Nancy (2010): Personal Connections in the Digital Age. Malden: Polity Press.
Ben-Achour, Sabri (2016). «What visual albums say about today’s music industry». Marketplace. https://www.marketplace.org/2016/08/19/how-album-length-videos-work-financially/
Beuscart, Jean-Samuel; Coavoux, Samuel; Garrocq, Jean-Baptiste. (2022): «Listening to music videos on YouTube. Digital consumption practices and the environmental impact of streaming», Journal of Consumer Culture, vol. 23, num. 3,pp. 654-671.https://doi.org/10.1177/14695405221133266
Breese, Jennifer. L.; Fox, Mark; Vaidyanathan, Ganesh (2020): «Live music performances and the internet of things», Issues in information Systems, vol. 21, num. 3, pp. 179-188.
Burgess, Jean; Green, Joshua (2009). YouTube: Online Video and Participatory Culture. Polity Press
Caston, E. (2021). «Gatekeepers of culture in the music video supply chain», en P. Macdonald (ed.) The Routledge Companion to Media Industries. Oxfordshire: Routledge. https://www.routledgehandbooks.com/doi/10.4324/9780429275340-38
Click, Mellisa; Lee, Hyunji; Willson Holladay, Holly (2013). «Making Monsters: Lady Gaga, Fan Identification, and Social Media». Popular Music and Society, vol. 36, num. 3, pp. 360-379, http://dx.doi.org/10.1080/03007766.2013.798546
Fernández, Jose Luis (2013): Postbroadcasting. Innovación en la industria musical. Buenos Aires: La crujía.
Fidler, Roger (1999): Mediamorfosis. Comprender los nuevos medios. Barcelona: Granica.
Kaufman, Gil (2022): «Taylor Swift Challenges Fans to Expose Their Insecurities For YouTube Shorts #TSAntiHeroChallenge The singer dropped the video for her album-favorite track on Friday morning», Billboard. https://www.billboard.com/music/pop/taylor-swift-tsantiherochallenge-youtubeshorts-1235159113/
Garland, Emma (2020): «The impact of the coronavirus outbr eak 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, Tarleton (2015): «Platforms Intervene», Social Media + Society, num. 1-2. https://doi.org/10.1177/2056305115580479
Harrison, Cara (2014). «The visual album as a hybrid art-form: A case study of traditional, personal, and allusive narratives in Beyoncé». PhD diss. University of Lunds.
Holt, Fabian (2010): «The Economy of Live Music in the Digital Age», European Journal of Cultural Studies, vol. 13, num. 2, pp. 243-261. https://doi.org/10.1177/1367549409352277
Holt, Fabian (2018): «EDM Pop: A Soft Shell Formation in a New Festival Economy», in St. John, Graham (ed.). Weekend Societies: Electronic Dance Music Festivals and Event-Cultures, pp. 25-44. New York: Bloomsbury Academic.
Internacional Federation of the Phonographic Industry (IFPI) (2022): IFPI Global Music Report: Global Recorded Music Revenues. Londres: IFPI.
Kjus, Yngvar; Spilker, Hendrik Storstein; Kiberg, Håvard (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, vol. 27, num. 6. https://doi.org/10.5210/fm.v27i6.12398
Lee, Daniel; Baker, William; Haywood, Nick. (2020): «Coronavirus, the cultural catalyst», Working in Music. https://wim.hypotheses.org/1302
Magaudda, Paolo; Solarola, Marco (2020): «Platform studies and digital cultural industries», Sociólogica, vol. 14, pp. 267-293. https://doi.org/10.6092/issn.1971-8853/11957
Maloy, Sarah (2023): Presentamos Clips: Aprende a usar los videos de formato corto en Spotify», Spotify for artists https://artists.spotify.com/es-419/blog/spotify-clips-get-started-short-form-video-stream-on
Martín Prada, Juan (2023): Teoria del arte y cultura digital. Madrid: Akal.
McIntosh, Heather (2015): «Vevo and the Business of Online Music Video Distribution», Popular Music and Society, vol. 39, num. 5, pp. 1-14. https://doi.org/10.1080/03007766.2015.1065614
Park, J.; Park, JooSeok; Park, JaeHong (2018). «The effects of user engagements for user and company generated videos on music sales: Empirical evidence from YouTube», Frontiers in Psychology, 9.
Peirson-Hagger, Ellen (2020): «Can Live Streaming Save the Music Industry in Lockdown?», New Statesman, 7. https://www.newstatesman.com/culture/music-theatre/2020/04/can-live-streaming-save-music-industry-lockdown
Poell, Thomas; Nieborg, David; Duffy, Brooke Erin (2021): Platforms and cultural production. Cambridge: Polity.
Polo, Juan Diego (2023a): «Nueva polémica del uso de inteligencia artificial, caso Drake y The Weeknd» Whatsnew (19 abril 2023) https://wwwhatsnew.com/2023/04/19/nueva-polemica-del-uso-de-inteligencia-artificial-en-la-musica/
Polo, Juan Diego (2023b): «Las mejores opciones para crear música con inteligencia artificial». Whatsnew (24 febrero 2023). https://wwwhatsnew.com/2023/02/24/crear-musica-con-inteligencia-artificial/
Prey, Robert. (2016): «Musica Analytica: The Datafication of Listening», In Raphaël Nowak; Andrew Whelan (eds.). Networked Music Cultures, pp. 31-48. Nueva York: Palgrave MacMillan.
Richardson, John; Gorbman, Claudia; Vernallis, Carol (eds.) (2013): The Oxford Handbook of new audiovisual aesthetics. New York: Oxford University Press.
Scolari, Carlos (2015): Ecología de los medios: entornos, evoluciones e interpretaciones. Barcelona: Gedisa.
Zhang, Quian; Negus, Keith (2021): «Stages, Platforms, Streams: The Economies and Industries of Live Music after Digitalization», Popular Music and Society, vol. 44, num. 5, pp. 539-557. https://doi.org/10.1080/03007766.2021.1921909
Publicado
Cómo citar
Número
Sección
Licencia
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial 4.0.
Los artículos publicados en la revista se distribuyen con la Licencia Creative Commons Atribución-NoComercial-SinDerivadas 4.0 Internacional
