Pirataria musical : entre o ilícito e o alternativo

• Autor(a) principal: Santos, Christiano Rangel dos
• Data de Publicação: 2010
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFU
• Texto Completo: https://repositorio.ufu.br/handle/123456789/16378
• topic: Pirataria musical; Música popular; Indústria fonográfica; Indústria cultural; História social; Música e sociedade - Brasil; Música popular -Brasil - História e crítica; Direitos autorais - Brasil; Music piracy; Popular music; Music industry; Culture industry; CNPQ::CIENCIAS HUMANAS::HISTORIA

This work aims to analyze musical piracy in the fields of making, distribution, and consume. Even though media focuses its attention on the debate upon the music files exchange on the Internet, which is still inaccessible to the great of Brazilians, the main focus of this work is the CD and DVD piracy that makes possible to the majority of Brazilians to buy musical releases they want. The high rates of piracy from late 1990s onward have led music industry in Brazil to a deep crisis, above all because of pirated CDs and DVDs. This situation differs from what happens in central countries where music market suffers especially from the illegal on-line access to music records. The aim of this master s degree s dissertation, however, is to treat of piracy by focusing on questions which go beyond the legal implications of such a social practice. Its primordial purpose refers to the cultural mediating role pirate market plays, whether as a way of spreading music or as forms of musical experience it makes possible. To the inquiry of such questions field work has proved to be an important methodological procedure, for it permits to understand facets not covered by data and information that media commonly presents and by the almost always statistical formal reports music industry publishes. Field inquiries took place in Uberlândia between 2007 and 2008. Although they are discussed in a local and national perspective, such a discussion aims to think of piracy in a wider spectrum, so that to encompass both the illegal music commerce in other Brazilian regions and the relation between piracy market and the emergence or consolidation of regional musical scenes. Such a relation is assessed from the point of view of the so-called tecnobrega a style typical of the state of Pará s cities outskirts and música sertaneja a style similar to country music , both of them associated with the powerful circuit of rodeo musical concerts and farming/agricultural shows and festivals.