“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Outros Autores: | |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UERJ |
Texto Completo: | http://www.bdtd.uerj.br/handle/1/20056 |
Resumo: | Understanding the unclear paths between recording a phonogram and listening to the audience has been an issue that has troubled the music industry since its inception. With the emergence of video games as cultural products, companies in the music sector are getting closer to game developers in an association of their products. This thesis starts from some fundamental questions: Does video games affect our musical tastes? Can we classify them as musical prescribers? If the answers are yes, how do they prescribe the songs? And how does this affect our musical listening? In a context in which the music industry is reorganized after the creative destruction of the late 1990s/early 2000s, such responses are important to think about the strategies that will be taken by companies operating in the music business. To try to answer these questions, we tried to trace the role that music came to occupy throughout the history of video games and visited some theoretical landmarks to observe how the very idea of taste, especially music taste, was treated over the centuries by philosophy, sociology and neuroscience. When considering the changes in musical taste as a result of a successful musical prescription, the transformations proposed by each of these areas will be important for us to discuss this concept, reviewing the traditional agents of musical dissemination and how they acted (and still act today) in building the taste of each listener. Thus, we chose to carry out an autoethnography of the experience of playing the Life is Strange series, which was released between 2015 and 2021 by the French studio Dontnod and distributed by the Japanese publisher Square Enix. By privileging the playing and the perception of how the musics affected the researcher himself instead of the aspects of production and reception studies, the analysis of the subjective elements that act on the issue was prioritized. Being aware of the criticisms that are often directed to this methodology, we try to escape from an essentialist analysis, by presenting a possibility of listening among many others, without pretending to cover all the changes that have arisen in the area of research in music, video games or taste musical. Finally, our objective is to put more elements into a discussion that goes through the commercial function of video game soundtracks, the formation of musical taste for them and the subjective perception of this process. |
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Marchi, Leonardo Gabriel dehttp://lattes.cnpq.br/0657867646808573Fernandes, Cíntia Sanmartinhttp://lattes.cnpq.br/4002759504735487Kischinhevsky, Marcelohttp://lattes.cnpq.br/9941594543555963Santos, Gustavo Luiz Ferreirahttp://lattes.cnpq.br/0011817346524529Franco, José Carlos Messias Santoshttp://lattes.cnpq.br/8042448829229400http://lattes.cnpq.br/3898850925501032Saldanha, Rafael Machadoprof.rafaelsaldanha@yahoo.com.br2023-07-25T20:14:20Z2022-08-26SALDANHA, Rafael Machado. “Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais. 2022. 168 f. Tese (Doutorado em Comunicação) - Faculdade de Comunicação Social, Universidade do Estado do Rio de Janeiro, Rio de Janeiro, 2022.http://www.bdtd.uerj.br/handle/1/20056Understanding the unclear paths between recording a phonogram and listening to the audience has been an issue that has troubled the music industry since its inception. With the emergence of video games as cultural products, companies in the music sector are getting closer to game developers in an association of their products. This thesis starts from some fundamental questions: Does video games affect our musical tastes? Can we classify them as musical prescribers? If the answers are yes, how do they prescribe the songs? And how does this affect our musical listening? In a context in which the music industry is reorganized after the creative destruction of the late 1990s/early 2000s, such responses are important to think about the strategies that will be taken by companies operating in the music business. To try to answer these questions, we tried to trace the role that music came to occupy throughout the history of video games and visited some theoretical landmarks to observe how the very idea of taste, especially music taste, was treated over the centuries by philosophy, sociology and neuroscience. When considering the changes in musical taste as a result of a successful musical prescription, the transformations proposed by each of these areas will be important for us to discuss this concept, reviewing the traditional agents of musical dissemination and how they acted (and still act today) in building the taste of each listener. Thus, we chose to carry out an autoethnography of the experience of playing the Life is Strange series, which was released between 2015 and 2021 by the French studio Dontnod and distributed by the Japanese publisher Square Enix. By privileging the playing and the perception of how the musics affected the researcher himself instead of the aspects of production and reception studies, the analysis of the subjective elements that act on the issue was prioritized. Being aware of the criticisms that are often directed to this methodology, we try to escape from an essentialist analysis, by presenting a possibility of listening among many others, without pretending to cover all the changes that have arisen in the area of research in music, video games or taste musical. Finally, our objective is to put more elements into a discussion that goes through the commercial function of video game soundtracks, the formation of musical taste for them and the subjective perception of this process.Entender os caminhos nebulosos entre a gravação de um fonograma e a audição do público é uma questão que incomoda a indústria fonográfica desde o seu princípio. Com a emergência dos videogames como produtos culturais, as empresas do setor musical se aproximam cada vez mais das desenvolvedoras de jogos numa associação de seus produtos. A presente tese parte de algumas perguntas fundamentais: Os videogames atuam sobre os nossos gostos musicais? Podemos classificá-los como prescritores musicais? Se as respostas forem positivas, como eles prescrevem tais músicas? E como isso afeta nosso ouvir musical? Num contexto em que a indústria fonográfica se reorganiza após a destruição criadora do final dos anos 1990/ início dos anos 2000, tais respostas se mostram importantes para pensarmos nas estratégias que serão tomadas pelas empresas que atuam no mercado musical. Para tentar responder estes questionamentos, buscamos traçar o papel que a música foi ocupando ao longo da história dos videogames e visitamos alguns marcos teóricos para observar como a própria ideia de gosto, sobretudo gosto musical, foi tratada ao longo dos séculos pela filosofia, sociologia e neurociência. Pensando nas mudanças do gosto musical como resultado de uma prescrição musical bem-sucedida, as transformações propostas por cada uma dessas áreas serão importantes para que possamos discutir esse conceito, revendo os agentes tradicionais de divulgação musical e como eles agiam (e agem até hoje) na construção do gosto de cada ouvinte. Assim, optamos por realizar uma autoetnografia da experiência de jogar a série Life is Strange, lançada entre 2015 e 2021 pelo estúdio francês Dontnod e distribuída pela publicadora japonesa Square Enix. Ao focar no jogar e na percepção de como as músicas afetaram o próprio pesquisador ao invés dos aspectos da produção e dos estudos da recepção, priorizou-se a análise dos elementos subjetivos que atuam sobre a questão. Ciente das críticas que muitas vezes são dirigidas a essa metodologia, tentamos fugir de uma análise essencialista, apresentando uma possibilidade de escuta dentre tantas outras, sem a pretensão de abarcar todas as mudanças surgidas no campo de pesquisas em música, videogames ou gosto musical. Por fim, nosso objetivo é colocar mais elementos para uma discussão que passe pela função comercial das trilhas sonoras de videogames, a formação do gosto musical por elas e a percepção subjetiva desse processo.Submitted by Barbara Marques CEH/A (barbara_marques@id.uff.br) on 2023-07-25T20:14:20Z No. of bitstreams: 1 Tese - Rafael Machado Saldanha - 2022 - Completa.pdf: 3279509 bytes, checksum: 4f1706f9202a310f50f4035b21f7cae3 (MD5)Made available in DSpace on 2023-07-25T20:14:20Z (GMT). No. of bitstreams: 1 Tese - Rafael Machado Saldanha - 2022 - Completa.pdf: 3279509 bytes, checksum: 4f1706f9202a310f50f4035b21f7cae3 (MD5) Previous issue date: 2022-08-26application/pdfporUniversidade do Estado do Rio de JaneiroPrograma de Pós-Graduação em ComunicaçãoUERJBrasilCentro de Educação e Humanidades::Faculdade de Comunicação SocialMusicVideo gamesAutoethnographyMusical prescriptionMusical tasteMúsicaVideogamesAutoetnografiaPrescrição musicalGosto musicalCIENCIAS SOCIAIS APLICADAS::COMUNICACAO::TEORIA DA COMUNICACAO“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais“Life is Strange brought me here”: an analysis on the use of Life is Strange games as musical prescribersinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UERJinstname:Universidade do Estado do Rio de Janeiro (UERJ)instacron:UERJORIGINALTese - Rafael Machado Saldanha - 2022 - Completa.pdfTese - Rafael Machado Saldanha - 2022 - Completa.pdfapplication/pdf3279509http://www.bdtd.uerj.br/bitstream/1/20056/2/Tese+-+Rafael+Machado+Saldanha+-+2022+-+Completa.pdf4f1706f9202a310f50f4035b21f7cae3MD52LICENSElicense.txtlicense.txttext/plain; charset=utf-82123http://www.bdtd.uerj.br/bitstream/1/20056/1/license.txte5502652da718045d7fcd832b79fca29MD511/200562024-02-26 16:49:07.056oai:www.bdtd.uerj.br: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Biblioteca Digital de Teses e Dissertaçõeshttp://www.bdtd.uerj.br/PUBhttps://www.bdtd.uerj.br:8443/oai/requestbdtd.suporte@uerj.bropendoar:29032024-02-26T19:49:07Biblioteca Digital de Teses e Dissertações da UERJ - Universidade do Estado do Rio de Janeiro (UERJ)false |
dc.title.por.fl_str_mv |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
dc.title.alternative.eng.fl_str_mv |
“Life is Strange brought me here”: an analysis on the use of Life is Strange games as musical prescribers |
title |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
spellingShingle |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais Saldanha, Rafael Machado Music Video games Autoethnography Musical prescription Musical taste Música Videogames Autoetnografia Prescrição musical Gosto musical CIENCIAS SOCIAIS APLICADAS::COMUNICACAO::TEORIA DA COMUNICACAO |
title_short |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
title_full |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
title_fullStr |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
title_full_unstemmed |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
title_sort |
“Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais |
author |
Saldanha, Rafael Machado |
author_facet |
Saldanha, Rafael Machado prof.rafaelsaldanha@yahoo.com.br |
author_role |
author |
author2 |
prof.rafaelsaldanha@yahoo.com.br |
author2_role |
author |
dc.contributor.advisor1.fl_str_mv |
Marchi, Leonardo Gabriel de |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/0657867646808573 |
dc.contributor.referee1.fl_str_mv |
Fernandes, Cíntia Sanmartin |
dc.contributor.referee1Lattes.fl_str_mv |
http://lattes.cnpq.br/4002759504735487 |
dc.contributor.referee2.fl_str_mv |
Kischinhevsky, Marcelo |
dc.contributor.referee2Lattes.fl_str_mv |
http://lattes.cnpq.br/9941594543555963 |
dc.contributor.referee3.fl_str_mv |
Santos, Gustavo Luiz Ferreira |
dc.contributor.referee3Lattes.fl_str_mv |
http://lattes.cnpq.br/0011817346524529 |
dc.contributor.referee4.fl_str_mv |
Franco, José Carlos Messias Santos |
dc.contributor.referee4Lattes.fl_str_mv |
http://lattes.cnpq.br/8042448829229400 |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/3898850925501032 |
dc.contributor.author.fl_str_mv |
Saldanha, Rafael Machado prof.rafaelsaldanha@yahoo.com.br |
contributor_str_mv |
Marchi, Leonardo Gabriel de Fernandes, Cíntia Sanmartin Kischinhevsky, Marcelo Santos, Gustavo Luiz Ferreira Franco, José Carlos Messias Santos |
dc.subject.eng.fl_str_mv |
Music Video games Autoethnography Musical prescription Musical taste |
topic |
Music Video games Autoethnography Musical prescription Musical taste Música Videogames Autoetnografia Prescrição musical Gosto musical CIENCIAS SOCIAIS APLICADAS::COMUNICACAO::TEORIA DA COMUNICACAO |
dc.subject.por.fl_str_mv |
Música Videogames Autoetnografia Prescrição musical Gosto musical |
dc.subject.cnpq.fl_str_mv |
CIENCIAS SOCIAIS APLICADAS::COMUNICACAO::TEORIA DA COMUNICACAO |
description |
Understanding the unclear paths between recording a phonogram and listening to the audience has been an issue that has troubled the music industry since its inception. With the emergence of video games as cultural products, companies in the music sector are getting closer to game developers in an association of their products. This thesis starts from some fundamental questions: Does video games affect our musical tastes? Can we classify them as musical prescribers? If the answers are yes, how do they prescribe the songs? And how does this affect our musical listening? In a context in which the music industry is reorganized after the creative destruction of the late 1990s/early 2000s, such responses are important to think about the strategies that will be taken by companies operating in the music business. To try to answer these questions, we tried to trace the role that music came to occupy throughout the history of video games and visited some theoretical landmarks to observe how the very idea of taste, especially music taste, was treated over the centuries by philosophy, sociology and neuroscience. When considering the changes in musical taste as a result of a successful musical prescription, the transformations proposed by each of these areas will be important for us to discuss this concept, reviewing the traditional agents of musical dissemination and how they acted (and still act today) in building the taste of each listener. Thus, we chose to carry out an autoethnography of the experience of playing the Life is Strange series, which was released between 2015 and 2021 by the French studio Dontnod and distributed by the Japanese publisher Square Enix. By privileging the playing and the perception of how the musics affected the researcher himself instead of the aspects of production and reception studies, the analysis of the subjective elements that act on the issue was prioritized. Being aware of the criticisms that are often directed to this methodology, we try to escape from an essentialist analysis, by presenting a possibility of listening among many others, without pretending to cover all the changes that have arisen in the area of research in music, video games or taste musical. Finally, our objective is to put more elements into a discussion that goes through the commercial function of video game soundtracks, the formation of musical taste for them and the subjective perception of this process. |
publishDate |
2022 |
dc.date.issued.fl_str_mv |
2022-08-26 |
dc.date.accessioned.fl_str_mv |
2023-07-25T20:14:20Z |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
SALDANHA, Rafael Machado. “Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais. 2022. 168 f. Tese (Doutorado em Comunicação) - Faculdade de Comunicação Social, Universidade do Estado do Rio de Janeiro, Rio de Janeiro, 2022. |
dc.identifier.uri.fl_str_mv |
http://www.bdtd.uerj.br/handle/1/20056 |
identifier_str_mv |
SALDANHA, Rafael Machado. “Life is Strange brought me here”: uma análise sobre o uso dos jogos da série Life is Strange como prescritores musicais. 2022. 168 f. Tese (Doutorado em Comunicação) - Faculdade de Comunicação Social, Universidade do Estado do Rio de Janeiro, Rio de Janeiro, 2022. |
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Centro de Educação e Humanidades::Faculdade de Comunicação Social |
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Universidade do Estado do Rio de Janeiro |
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