A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais
Autor(a) principal: | |
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Data de Publicação: | 2024 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
dARK ID: | ark:/38995/0013000003jq3 |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/13537 |
Resumo: | Currently, with regard to the production, circulation and consumption of music, there are large corporations that exercise a monopoly in the area, involving the interfaces between radio broadcasting and streaming. Music, like other cultural products, mediates educational processes that constitute tastes, ways of thinking and dealing with the world, supporting processes of human formation and semi-formation. To carry out this work, the theoretical framework comes from Karl Marx, to understand the bases of merchandise and fetish, from Theodor Adorno and Max Horkheimer, as well as other authors who debate the relationship between music, cultural industry and educational processes. This work aims to understand which Brazilian songs are most played on radio and digital platforms, understand the rationality of these songs in relation to the cultural industry and reveal the links with the formation and semi-formation processes. To develop this research, we analyzed the lists of the ten most played songs on radio (fusion and web), identified by the Collection and Distribution Office (Ecad), and on the Spotify digital platform, which is the most listened to in Brazil this year. The reference year was 2021. The songs Batom de Cereja and Facas, from the country music (sertanejo) segment, present a standardization, demonstrated in the repetition of choruses and the overlapping of tones, to cause frisson and a similar rhythm. The songs portray the theme of heartbreak, as well as alcoholic beverages, in their plot, revealing a pauperization of language. The socio-psychological characteristics that instigate the illusory subjectivity of social belonging and the cult of the artists' personality are also present in both songs. These and other characteristics instigate a semi-formation process. The analyzes carried out in this dissertation regarding music as a commodity and the cultural industry, thus made it possible to reflect on the educational processes mediated by music and the socioeconomic aspects of flexible capitalism, which directly impact human formation, determining the way of listening and consume music. |
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Chaves, Juliana de Castrohttp://lattes.cnpq.br/3451634243455443Chaves, Juliana de CastroResende, Anita Cristina AzevedoNogueira, Monique Andrieshttp://lattes.cnpq.br/7738874208508768Oliveira, Fabiano Olinto de2024-10-11T17:01:43Z2024-10-11T17:01:43Z2024-01-24OLIVEIRA, F. O. A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais. 2024. 62 f. Dissertação (Mestrado em Educação) - Faculdade de Educação, Universidade Federal de Goiás, Goiânia, 2024.http://repositorio.bc.ufg.br/tede/handle/tede/13537ark:/38995/0013000003jq3Currently, with regard to the production, circulation and consumption of music, there are large corporations that exercise a monopoly in the area, involving the interfaces between radio broadcasting and streaming. Music, like other cultural products, mediates educational processes that constitute tastes, ways of thinking and dealing with the world, supporting processes of human formation and semi-formation. To carry out this work, the theoretical framework comes from Karl Marx, to understand the bases of merchandise and fetish, from Theodor Adorno and Max Horkheimer, as well as other authors who debate the relationship between music, cultural industry and educational processes. This work aims to understand which Brazilian songs are most played on radio and digital platforms, understand the rationality of these songs in relation to the cultural industry and reveal the links with the formation and semi-formation processes. To develop this research, we analyzed the lists of the ten most played songs on radio (fusion and web), identified by the Collection and Distribution Office (Ecad), and on the Spotify digital platform, which is the most listened to in Brazil this year. The reference year was 2021. The songs Batom de Cereja and Facas, from the country music (sertanejo) segment, present a standardization, demonstrated in the repetition of choruses and the overlapping of tones, to cause frisson and a similar rhythm. The songs portray the theme of heartbreak, as well as alcoholic beverages, in their plot, revealing a pauperization of language. The socio-psychological characteristics that instigate the illusory subjectivity of social belonging and the cult of the artists' personality are also present in both songs. These and other characteristics instigate a semi-formation process. The analyzes carried out in this dissertation regarding music as a commodity and the cultural industry, thus made it possible to reflect on the educational processes mediated by music and the socioeconomic aspects of flexible capitalism, which directly impact human formation, determining the way of listening and consume music.Na atualidade, no que diz respeito à produção, à circulação e ao consumo da música, há grandes corporações que exercem o monopólio da área, envolvendo as interfaces entre radiofusão e streaming. As músicas, assim como outros produtos culturais, medeiam processos educativos que constituem gostos, formas de pensar e de lidar com o mundo, respaldando processos de formação humana e semiformação. Para a realização deste trabalho, o referencial teórico parte de Karl Marx, para entender as bases da mercadoria e do fetiche, de Theodor Adorno e Max Horkheimer, além de outros autores que debatem a relação entre música, indústria cultural e processos educacionais. Este trabalho propõe conhecer quais são as músicas brasileiras mais tocadas em rádios e plataformas digitais, compreender a racionalidade dessas músicas em relação à indústria cultural e revelar as ligações com processos de formação e semiformação. Para o desenvolvimento desta pesquisa, analisou-se as listas das dez músicas mais tocadas em rádios (fusão e web), apontadas pelo Escritório de Arrecadação e Distribuição (Ecad), e na plataforma digital Spotify, que é a mais escutada no Brasil no ano. O ano de referência foi 2021. As músicas Batom de Cereja e Facas, do segmento sertanejo, apresentam uma padronização, demonstrada na repetição dos refrãos e na sobreposição de tons, para causar frisson e ritmo similar. As canções retratam o tema da desilusão amorosa, bem como o da bebida alcoólica, em seu enredo, revelando uma pauperização da linguagem. As características sociopsicológicas que instigam a subjetividade ilusória de pertencimento social e o culto à personalidade dos artistas também estão presentes nas duas músicas. Essas e outras características instigam um processo de semiformação. As análises realizadas na nesta dissertação a respeito da música como mercadoria e a indústria cultural, possibilitaram, assim, refletir sobre os processos educativos mediados pela música e os aspectos socioeconômicos do capitalismo flexível, que impactam diretamente na formação humana, determinando a forma de ouvir e consumir música.OutroporUniversidade Federal de GoiásPrograma de Pós-graduação em Educação (FE)UFGBrasilFaculdade de Educação - FE (RMG)Attribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessPlataforma digital musicalRádioSemiformaçãoIndústria culturalMúsica midiáticaEducaçãoDigital music platformSemi-formationCultural industryMedia musicEducationCIENCIAS HUMANAS::HISTORIAA racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitaisinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisreponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGLICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.bc.ufg.br/tede/bitstreams/dc287bb6-1cb7-4b4d-af69-c98dfc67647f/download8a4605be74aa9ea9d79846c1fba20a33MD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8805http://repositorio.bc.ufg.br/tede/bitstreams/5aac2c86-282c-405d-94a4-9cd3a0ebcef8/download4460e5956bc1d1639be9ae6146a50347MD52ORIGINALDissertação - Fabiano Olinto de Oliveira - 2024.pdfDissertação - Fabiano Olinto de Oliveira - 2024.pdfapplication/pdf557119http://repositorio.bc.ufg.br/tede/bitstreams/77691418-77a3-4cd7-a4cc-f948fa98c8d9/download465532e668f0b1dd8f65926c3395d23bMD53tede/135372024-10-11 14:01:44.234http://creativecommons.org/licenses/by-nc-nd/4.0/Attribution-NonCommercial-NoDerivatives 4.0 Internationalopen.accessoai:repositorio.bc.ufg.br:tede/13537http://repositorio.bc.ufg.br/tedeRepositório InstitucionalPUBhttp://repositorio.bc.ufg.br/oai/requesttasesdissertacoes.bc@ufg.bropendoar:2024-10-11T17:01:44Repositório Institucional da UFG - Universidade Federal de Goiás (UFG)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 |
dc.title.none.fl_str_mv |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
title |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
spellingShingle |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais Oliveira, Fabiano Olinto de Plataforma digital musical Rádio Semiformação Indústria cultural Música midiática Educação Digital music platform Semi-formation Cultural industry Media music Education CIENCIAS HUMANAS::HISTORIA |
title_short |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
title_full |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
title_fullStr |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
title_full_unstemmed |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
title_sort |
A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais |
author |
Oliveira, Fabiano Olinto de |
author_facet |
Oliveira, Fabiano Olinto de |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Chaves, Juliana de Castro |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/3451634243455443 |
dc.contributor.referee1.fl_str_mv |
Chaves, Juliana de Castro |
dc.contributor.referee2.fl_str_mv |
Resende, Anita Cristina Azevedo |
dc.contributor.referee3.fl_str_mv |
Nogueira, Monique Andries |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/7738874208508768 |
dc.contributor.author.fl_str_mv |
Oliveira, Fabiano Olinto de |
contributor_str_mv |
Chaves, Juliana de Castro Chaves, Juliana de Castro Resende, Anita Cristina Azevedo Nogueira, Monique Andries |
dc.subject.por.fl_str_mv |
Plataforma digital musical Rádio Semiformação Indústria cultural Música midiática Educação |
topic |
Plataforma digital musical Rádio Semiformação Indústria cultural Música midiática Educação Digital music platform Semi-formation Cultural industry Media music Education CIENCIAS HUMANAS::HISTORIA |
dc.subject.eng.fl_str_mv |
Digital music platform Semi-formation Cultural industry Media music Education |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::HISTORIA |
description |
Currently, with regard to the production, circulation and consumption of music, there are large corporations that exercise a monopoly in the area, involving the interfaces between radio broadcasting and streaming. Music, like other cultural products, mediates educational processes that constitute tastes, ways of thinking and dealing with the world, supporting processes of human formation and semi-formation. To carry out this work, the theoretical framework comes from Karl Marx, to understand the bases of merchandise and fetish, from Theodor Adorno and Max Horkheimer, as well as other authors who debate the relationship between music, cultural industry and educational processes. This work aims to understand which Brazilian songs are most played on radio and digital platforms, understand the rationality of these songs in relation to the cultural industry and reveal the links with the formation and semi-formation processes. To develop this research, we analyzed the lists of the ten most played songs on radio (fusion and web), identified by the Collection and Distribution Office (Ecad), and on the Spotify digital platform, which is the most listened to in Brazil this year. The reference year was 2021. The songs Batom de Cereja and Facas, from the country music (sertanejo) segment, present a standardization, demonstrated in the repetition of choruses and the overlapping of tones, to cause frisson and a similar rhythm. The songs portray the theme of heartbreak, as well as alcoholic beverages, in their plot, revealing a pauperization of language. The socio-psychological characteristics that instigate the illusory subjectivity of social belonging and the cult of the artists' personality are also present in both songs. These and other characteristics instigate a semi-formation process. The analyzes carried out in this dissertation regarding music as a commodity and the cultural industry, thus made it possible to reflect on the educational processes mediated by music and the socioeconomic aspects of flexible capitalism, which directly impact human formation, determining the way of listening and consume music. |
publishDate |
2024 |
dc.date.accessioned.fl_str_mv |
2024-10-11T17:01:43Z |
dc.date.available.fl_str_mv |
2024-10-11T17:01:43Z |
dc.date.issued.fl_str_mv |
2024-01-24 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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OLIVEIRA, F. O. A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais. 2024. 62 f. Dissertação (Mestrado em Educação) - Faculdade de Educação, Universidade Federal de Goiás, Goiânia, 2024. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/13537 |
dc.identifier.dark.fl_str_mv |
ark:/38995/0013000003jq3 |
identifier_str_mv |
OLIVEIRA, F. O. A racionalidade das músicas brasileiras mais tocadas em rádios e plataformas digitais. 2024. 62 f. Dissertação (Mestrado em Educação) - Faculdade de Educação, Universidade Federal de Goiás, Goiânia, 2024. ark:/38995/0013000003jq3 |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/13537 |
dc.language.iso.fl_str_mv |
por |
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por |
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Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess |
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Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ |
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openAccess |
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Universidade Federal de Goiás |
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Programa de Pós-graduação em Educação (FE) |
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UFG |
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Brasil |
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Faculdade de Educação - FE (RMG) |
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Universidade Federal de Goiás |
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