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Music Industry in Brazil

In: Film and Music

Submitted By tonico
Words 847
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Aluno: Antonio Carvalho Cabral – Mestrando
Trabalho final - RESUMO

A indústria da Música na Era Digital

O presente trabalho tem por objetivo mapear a cadeia produtiva da música na era digital, com enfoque mais específico no caso brasileiro, procurando criar um mapa descritivo desse setor, e a partir daí pensar em caminhos possíveis. Como com todo fenômeno recente, ainda estamos tentando entender as mudanças e consequências da era digital, que com o fim da necessidade do suporte físico e grandes investimento, modifica radicalmente a produção, distribuição e formas de consumir música, descentralizando e democratizando a cadeia produtiva.

Essa mudança por sua vez, não foi acompanhada pelo desenvolvimento do arcabouço legal que regula esse mercado, nem pelas grandes majors que dominam o mercado, criando um grande conflito entre as possibilidades oferecidas pela nova tecnologia, o que o sistema legal permite e o que a indústria dominante quer. Esse conflito vem pautando a formatação dos novos modelos de negócio possíveis, de um lado a indústria tradicional, lutando para manter seu modelo de negócios e seus lucros, de outro os consumidores e artistas antes excluídos do mercado, tentando criar modelos inovadores. O presente trabalho não tem por objetivo ser juiz da disputa entre Creative Commons e a IFPI (Cultura livre x cultura fechada), apenas busca fazer um mapeamento do atual mercado, das mudanças ocorridas e descrever um futuro possível.

Grande parte da fonte bibliográfica está disponível em sites como os da IFPI e ABPD, que anualmente nos alimenta com estatísticas sobre esse mercado em mutação. Existem diversos textos sobre o tema publicados diariamente na mídia, alguns artigos acadêmicos e exemplos práticos. Por ser tema recente, ainda não existe uma bibliografia mais sólida e conclusiva, o que se de um lado dificulta a consulta e as citações, nos permite trabalhar com uma maior liberdade, criando a necessidade do uso de uma metodologia a partir da análise de dados estatísticos e estudo de casos concretos, que serão aplicados sob a luz dos textos da bibliografia do curso.

A primeira parte pretende apresentar a trajetória histórica da indústria da música, demonstrando sua evolução e a importância da evolução tecnológica e dos direitos autorais na formação dessa trajetória. A segunda parte apresenta o modelo de negócios baseado na proteção do direito autoral e na venda da música através de um suporte físico. A terceira parte apresenta a ruptura desse modelo com a entrada na era digital, o conflito entre a preservação da modelo tradicional, as novas tecnologias, o sistema legal e os novos modelos.
Por fim, o trabalho apresenta possíveis caminhos para a criação de um ou mais sistemas inovadores para a cadeia produtiva da música.

Andersen, B. and Konzelmann S.Research Policy Volume 37, Issue 1, February 2008, Pages 12-28 In search of a useful theory of the productive potential of intellectual property rights University of London, Birkbeck College, United KingdombBritish Institute of Technology and Ecommerce (BITE) Available online 28 November 2007. Andersen, B. If ‘Intelectual Property Rights’ is the Answer, What is the Question? Revisiting the Patent Controversies. Econ. Innov. New Techn., 2004, Vol. 13(5), July, pp. 417–442 Freeman, C. The ‘National System of Innovation’ in historical perspective. Cambridge .Journal of Economics,. 1995, Vol.19, pp.5-24. Medeiros, C. A. O Desenvolvimento tecnológico Americano no pós-guerra como um empreendimento MilitarR. In: Fiori, J.L. (org.) O poder Americano.Editora Vozes-Petropólis-RJ: 2004. Melo, Luiz Martins “Sistema Nacional de Inovação (SNI): Uma Proposta de Abordagem Teórica”. Texto para Discussão IEI/UFRJ, n. 357. 1996 Abril. Teece, D. J. “Profiting from technological innovation; implications for integration, collaboration, licensing, and public policy”, Research and Policy, 1986, Vol. 15, 285-305. Teixeira, A. Estados Unidos: A “curta marcha” para a Hegemonia. In: Fiori, J.L. (org.) Estados e Moedas no Desenvolvimento das Nações. Editora Vozes- Petrópolis-RJ:1999.

ALBUQUERQUE, Thiago F. G. Uma breve história do P2P, 2003. Monografia (Curso de segurança de Dados) – Universidade de Brasília. Departamento de Ciência da Computação. Disponível em: <http://www.cic.unb.br/~pedro/trabs/p2p.html>. PATENTE TEM CONTROLE DE PREÇO? Equancy and Co and Tera Consultants, em IFPI 2009 Report. A música em metamorfose: um mercado em busca de novos modelos de negócio http://www.ifpi.org/content/library/DMR2012.pdf 150 ABPD – ASSOCIAÇÃO BRASILEIRA DE PRODUTORES DE DISCOS. Mercado fonográfico brasileiro. Disponível em: <http://www.abpd.org.br/estatisticas_mercado_brasil.asp>. BAIXACULTURA. Ofensiva mundial contra a “pirataria” digital. Disponível em: <http://baixacultura.org/2009/09/18/ofensiva-mundial-contra-apirataria-digital; BOSAVAGE, Jennifer. Google prestes a entrar no mercado de música? Disponível em: <http://www.resellerweb.com.br/noticias/index.asp?cod=61988>. IFPI publishes recording industry numbers 2010. Disponível em:
<http://www.ifpi.org/content/section_news/20100428.html>.
Music market statistics. Disponível em: <http://www.ifpi.org/content/section_statistics/index.html. Recording industry in numbers 2010. Arquivo PDF.Cultura
- KUSEK, David; LEONHARD, Gerd. The future of music. Boston: Berklee Press, 2005. LEMOS, Ronaldo; CASTRO, Oona. Tecnobrega – o Pará reinventando o negócio da música. Rio de Janeiro: Aeroplano, 2008. Manuel Castells Pierre Levy Lessig

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