As plataformas de streaming e as condições de trabalho do músico no século XXI
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Data
2022-11-16
Autores
Gonçalves Neto, Luiz Antonio [UNESP]
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
Durante as duas primeiras décadas de 2000, houve uma popularização da
Internet, da pirataria de músicas e, posteriormente, a superação da pirataria
através das plataformas de streaming. Neste trabalho, primeiramente se
analisou a literatura a respeito do assunto, contemplando-se os pesquisadores
Márcia Tosta Dias, Brian J. Hracs, Lee Marshall e David Hesmondhalgh.
Hesmondhalgh busca contestar Lee Marshall e os pesquisadores da década de
2010 com duas alegações principais: o problema dos músicos não são as
plataformas de streaming, mas sim as leis dos direitos autorais que protegem
os direitos das grandes gravadoras, e que não há como afirmar que houve
piora ou melhora de condições de trabalho. Por conseguinte, nesta tese foram
pesquisados estudos de condições de trabalho no Canadá, Estados Unidos,
Austrália, Brasil e União Europeia e chegou-se à conclusão de que realmente
não houve mudança nas condições de trabalho durante a década de 2010 e
apenas temos apontamentos frequentes em todos os estudos para duas
situações: artistas que têm uma taxa maior de trabalho autônomo e artistas que
têm uma maior taxa de contratos de curta duração, trabalho de meio período e
mais de um emprego. Portanto, embora importante, o streaming não causou
um impacto importante em remuneração ou em condição de trabalho.
Throughout the two decades of 2000´s there was an increase of Internet usage, piracy of music and lately the arise of streaming platforms to overcome the piracy. On this thesis, at first was analyzed literature about about the theme including researchers such as Márcia Tosta Dias, Briam J. Hracs, Lee Marshall and David Hesmondhalgh. Hesmondhalgh tries to contest Lee Marshall and the researches of the second decade of 2000´s with two main arguments: The problem of musician are not the streaming platforms but the copyright laws that will protect the major labels and there is not how to prove that there was a deterioration of working conditions. Then, on this thesis was researched the working conditions in Canada, United States, Australia, Brazil and European Union and came to a conclusion that there is no evidence of changes in working condition in the 2010´s with frequent arguments in all the reports for two problems: artists who has higher percentage of autonomous work and artists who has higher percentage of part time work and more than one job. Then, althrough important, the streaming did not impact salary or working conditions for musicians and artists.
Throughout the two decades of 2000´s there was an increase of Internet usage, piracy of music and lately the arise of streaming platforms to overcome the piracy. On this thesis, at first was analyzed literature about about the theme including researchers such as Márcia Tosta Dias, Briam J. Hracs, Lee Marshall and David Hesmondhalgh. Hesmondhalgh tries to contest Lee Marshall and the researches of the second decade of 2000´s with two main arguments: The problem of musician are not the streaming platforms but the copyright laws that will protect the major labels and there is not how to prove that there was a deterioration of working conditions. Then, on this thesis was researched the working conditions in Canada, United States, Australia, Brazil and European Union and came to a conclusion that there is no evidence of changes in working condition in the 2010´s with frequent arguments in all the reports for two problems: artists who has higher percentage of autonomous work and artists who has higher percentage of part time work and more than one job. Then, althrough important, the streaming did not impact salary or working conditions for musicians and artists.
Descrição
Palavras-chave
Internet, Plataformas de streaming, Indústria fonográfica, Direitos autorais, Internet, Streaming platforms, Phonographic industry, Copyright