Digitalização e Cadeia Global de Valor da Música: uma Abordagem Evolucionária para Emergência dos Agregadores no Mercado Brasileiro
DOI:
https://doi.org/10.1590/s0102-6992-201934010004Palavras-chave:
Indústrias Criativas, Cadeia Global de Valor, Música, Agregadores Digitais, BrasilResumo
O artigo analisa os impactos da digitalização sobre a Cadeia Global de Valor da Música, com foco no mercado brasileiro. Nesse sentido, observa-se a crise das gravadoras majors e a emergência dos agregadores digitais nessa cadeia de valor. Com esse objetivo principal, adapta-se o conceito de governança da abordagem da GVC ao contexto das indústrias criativas de acordo com o referencial téorico da economia evolucionária, combinando a microeconomia vebleniana com a macroeconomia neoschumpeteriana. Conclui-se que a ascensão dos agregadores passa pela bem-sucedida adaptação ao novo paradigma tecnológico e ao desenvolvimento de novos instrumentos de formação de hábitos de consumo, garantindo a estruturação de expectativas tanto dos consumidores quanto de firmas como gravadoras independentes e plataformas de streaming.
Downloads
Referências
AGLIETTA, M. Capitalism at the turn of the century: regulation theory and the challenge of social change. New Left Review, n. 232, London, Nov./Dez. 1998. [ Links ]
ANDERSON, C. The long tail: why the future of business is selling less of more. New York: Hyperion, 2006. [ Links ]
ANDERSON, P.; TUSHMAN, M. Technological discontinuities and organizational environments. Administrative Science Quarterly, v. 31, n. 3, p. 439-465, 1986. [ Links ]
ARGYROUS, G.; SETHI, R. The theory of evolution and the evolution of theory: veblen’s methodology in contemporary perspective. Cambridge Journal of Economics, v. 20, p. 475-495, 1996. [ Links ]
ASSOCIAÇÃO BRASILEIRA DOS PRODUTORES DE DISCO. Mercado brasileiro de música. Rio de Janeiro: ABPD, 2016. [ Links ]
ATKISON, G.; OLESON, T. Institutional inquiry: the search for similarities and differences. Journal of Economic Issues, v. 30, n. 3, p. 701-718, 1996. [ Links ]
BAIR, J. Global commodity chain: genealogy and review. In: Bair, J. (Ed.). Frontiers of commodity chain research, p. 1-35. Redwood City (CA): Stanford University Press, 2009. [ Links ]
BOURREAU, M.; GENSOLLEN, M.; MOREAU, F. The impact of a radical innovation on business models: incremental adjustments or big bang? Industry and Innovation, v. 19, n. 5, p. 415-435, 2012. [ Links ]
BOURREAU, M.; GENSOLLEN, M.; MOREAU, F.; WAELBROECK, P. “Selling less of more?” The impact of digitization on record companies. Journal of Cultural Economics, v. 37, p. 327-346, 2013. [ Links ]
CAVES, R. Creative industries: contracts between art and commerce. Cambridge (MA): Harvard University Press, 2000. [ Links ]
COASE, R. H. The nature of the firm. Economica, New Series, v. 4, n. 16, p. 386-405, 1937. [ Links ]
CONCEIÇÃO, O. A. C. O conceito de instituição nas modernas abordagens institucionalistas. Revista de Economia Contemporânea, v. 6, n. 2, p. 119-146, 2002. [ Links ]
____. A abordagem regulacionista e o meio ambiente institucional. IV Encontro Nacional de Economia Política, Porto Alegre, 1999. [ Links ]
DOLATA, U. The music industry and the Internet: a decade of disruptive and uncontrolled sectoral change. SOI Discussion Paper, v. 2, p. 1-31, 2011. [ Links ]
DOLFSMA, W. Institutional economics and the formation of preferences: the advent of pop music. Cheltenham (UK): Edward Elgar, 2004. [ Links ]
DOSI, G. Technological paradigms and technological trajectories: a suggested interpretation of the determinants and directions of technical change. Research Policy, v. 11, n. 3, p. 147-162, 1982 [ Links ]
DOSI, G.; NELSON, R. An introduction to evolutionary theories in economics. Journal of Evolutionary Economics, v. 4, n. 3, p. 153-172, 1994. [ Links ]
ELBERSE, A. Blockbusters: hit-making, risk-taking, and the big business of entertainment. New York: Henry Holt and Company, 2013. [ Links ]
FRANCISCO, P.; VALENTE, M. Música e gestão coletiva no Brasil: direitos autorais, Ecad e o ambiente digital, 2016 (no prelo). [ Links ]
FREEMAN, C.; PEREZ, C. In: DOSI et alii. Technical change and economic theory , p. 38-66. London: Pinter Publishers, 1988. [ Links ]
GALUZSKA, P. Music aggregators and intermediation of the digital music market. International Journal of Communication, v. 9, p. 254-273, 2015. [ Links ]
GEREFFI, G. Global commodity chains: new forms of coordination and control among nations and firms in international industries. Competition and Change, v. 1, n. 4, p. 427-439, 1996. [ Links ]
____. Global production systems and Third World development. In: STALLINGS, B. (Ed.). Global change, regional response: the new international context of development, p. 100-142. Cambridge (UK): Cambridge University Press, 1995. [ Links ]
____. The organization of buyer-driven global commodity chains: how U.S. retailers shape overseas production networks. In: GEREFFI, G.; KORZENIEWICZ, M. (Orgs.). Commodity chains and global capitalism, p. 95-122. Westport (CT): Praeger, 1994. [ Links ]
GEREFFI, G.; HUMPHREY, J.; STURGEON, T. The governance of global value chains. Review of International Political Economy, v. 12, n. 1, p. 78-104, 2005. [ Links ]
HARVEY, D. The condition of postmodernity: an enquiry into the origins of cultural change. Cambridge (MA): Blackwell Publishers, 1989. [ Links ]
HEILBRONER, R. L. The problem of value. In: HEILBRONER, R. L. Behind the veil of economics, p. 104-133. New York: Norton, 1988. [ Links ]
HODGSON, G. Institutions and individuals: interaction and evolution. Organization Studies, v. 28, n. 1, p. 95-116, Jan. 2007. [ Links ]
____. What are institutions? Journal of Economic Issues, Ano XL, n. 1, p. 1-25, Mar. 2006. [ Links ]
____. The evolution of institutions: an agenda for future theoretical research. Constitutional Political Economy, n. 13, p. 111-127, 2002. [ Links ]
____. The approach of institutional economics. Journal of Economic Literature, Ano XXXVI, p. 166-192, Mar. 1998. [ Links ]
____. From micro to macro: the concept of emergence and the role of institutions. International seminar “Institutions and economic development: towards a comparative perspective on State reform”. Rio de Janeiro: UFRJ, 12-14 Nov. 1997. [ Links ]
____. Thorstein Veblen and post-Darwinian economics. Cambridge Journal of Economics, v. 16, n. 3, p. 285-301, Set. 1992. [ Links ]
HOPKINS, T. K.; WALLERSTEIN, I. Commodity chains in the world economy prior to 1800. Review, v. 10, n. 1, p. 157-170, 1986. [ Links ]
INTERNATIONAL FEDERATION OF THE PHONOGRAPHIC INDUSTRY. Global music report. London: Ifpi, 2016. [ Links ]
____. Recording industry in number: the recorded music market in 2011. London: Ifpi, 2012. [ Links ]
LEE, J. Global commodity chains and global value chains. In: Danemark, R. A. (Ed.). The international studies encyclopedia, p. 2987-3006. Oxford: Wiley-Blackwell, 2010. [ Links ]
LI, J. The development of the digital music industry in China during the first decade of the 21st century with particular regard to industrial convergence. International Journal of Music Business Research, v. 2 n. 1, 2013. [ Links ]
MATOS, M. Perspectivas de investimento na indústria musical. Rio de Janeiro: BNDES, 2008. [ Links ]
MOREAU, F. The Disruptive nature of digitization: the case of the recorded music industry. International Journal of Arts Management, v. 15, n. 2, 2013. [ Links ]
NELSON, R. Recent evolutionary theorizing about economic change. Journal of Economic Literature, v. 33, n. 1, p. 48-90, 1995. [ Links ]
NORDGARD, D. Assessing music streaming and industry disruptions, 2016 (no prelo). [ Links ]
NORTH, D. Understanding the process of economic change. Princeton (NJ): Princeton University Press, 2005. [ Links ]
PEREZ, C. Technological revolutions and techno-economic paradigms. Working Papers in Technology Governance and Economic Dynamics, n. 20, 2009a. [ Links ]
____. The double bubble at the turn of the century: technological roots and structural implications. Cambridge Journal of Economics, n. 33, p. 779-805, 2009b. [ Links ]
PORTER, M. The competitive advantage of nations. New York: Free Press, 1990. [ Links ]
POTTS, J. New technologies and cultural consumption. In: GINSBURGH, V.; THROSBY, D. (Eds.). Handbook of the economics of arts and culture, v. 2, p. 215-240. Oxford (UK); San Diego (CA): North Holland, 2014. [ Links ]
SAMUELS, W. The present state of institutional economics. Cambridge Journal of Economics, v. 19, n. 4, p. 569-590, 1995. [ Links ]
SOLOW, R. M. A Contribution to the theory of economic growth. The Quarterly Journal of Economics, v. 70, n. 1, p. 65-94, 1956. [ Links ]
TOWSE, R. Economics of music publishing: copyright and the market. Journal of Cultural Economics, 2016 (no prelo). [ Links ]
THROSBY, D. The music industry in the new millennium: global and local perspectives. Paris: Unesco, 2002. [ Links ]
TSCHMUCK, P. Creativity and innovation in the music industry. Springer: Heidelberg, 2012. [ Links ]
UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT (UNCTAD). Creative economic report 2010. Creative economy: a feasible development option. Genève: Unctad, 2010. [ Links ]
UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION (UNESCO). Cultural times: the first global map of cultural and creative industries. Paris: United Nations Educational, Scientific and Cultural Organization, 2015. [ Links ]
VEBLEN, T. The theory of the leisure class: an economic study of institutions. New York: B. W. Huebsch, 1989. [ Links ]
WIKSTRÖM, P. A typology of music distribution models. International Journal of Music Business Research, v. 1, n. 1, 2012. [ Links ]
____. The music industry: music in the cloud. Cambridge (UK): Polity Press, 2010. [ Links ]
WILLIAMSON, O. Hierarquies, markets and power in the economy: an economic perspective. Industrial and Corporate Change, v. 4, n. 1, p. 21 -49, 1995.
.jpg)
