Acredito, se quiser: uma análise do processo criativo do músico independente

• Autor(a) principal: Massa, Bruno de Santa Cecília
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da ESPM
• Texto Completo: http://tede2.espm.br/handle/tede/597
• topic: música; independente; processo criativo; tecnologia; music; independent; creative process; technology; CIENCIAS SOCIAIS APLICADAS::ECONOMIA

This technical report analyzes the creative process of independent musicians, and intends to understand and analyze how the technologies of information and communication interfere, especially artistically and public-wise, in the production of their phonograms. In order to achieve that, in-depth and semi-structured interviews were made with musicians that don’t count on the support of recording companies. Among the discoveries, it was detected, for example, that these musicians don’t have the pretension to sound necessarily original, yet loyal to their artistic values and, consequently, contemplating the eager from their public. According to the interviewed ones, through the attempt of sounding personal e truthful, it could be possible to attain the desired universality. Besides, it could be concluded that the internet (especially YouTube) has a main role on the development of new skills and expertise in the constant process of capacitating and enhancing of the many inherent abilities expected from the contemporary musician. Also, all of them showed deep interest in knowing the stages of the creative processes of their peers because, although they cannot reproduce some method exactly like it was designed, through the observation and analysis of their procedures, it is possible to obtain ideas that could be availed on their own processes. In the final part of the work, it was possible to point out that the increasing demand by the public for the musicians to produce more and more content directly and indirectly related to their artistic craft, combined with the large availability of digital resources that aid the conception, production and releasing of music, has abbreviated the maturation time of production. It was also argued that there is a demand by the very musicians, as well as their public and the academy itself, that other artists (musicians, in this case) produce more content related to the creative process of their work. Finally, there is a suggestion that the term “independent” be discussed and reappraised, since it gives a margin for the assumption of an autonomy of the musicians that still does not present itself as a real possibility