Recerca sobre mediació tecnològica del gust musical

Durant el curs 2010-11 des del GRECS farem una recerca sobre com els canvis radicals en la mediació tecnològica del gust musical afecten la complexa relació entre geografies musicals i posicions socials articulades al voltant de les tensions entre els tres ‘ethos’ normatius del treball, el consum i l’autenticitat en la segona modernitat. Aquesta recerca, que farà Roger Martínez durant la seva residència a l’IN3, consistirà en una comparació històrica amb el treball empíric que va fer per la seva tesi doctoral Taste in music as a cultural production fa deu anys, just abans que es generalitzés la revolució resultant de la introducció de la banda ampla d’Internet, dels llocs d’intercanvi P2P, dels reproductors MP3 i l’I-Pod,  de les xarxes socials i de l’escolta en streaming. A través d’aquesta comparativa es podrà analitzar les importants moficiacions que s’han produït en la manera com els joves accedeixen, escolten i experimenten la música i les geografies musicals, i també el funcionament de l’economia política de la música.

DESCRIPCIÓ DEL PROJECTE:

Technological mediation of the cultural production of musical geographies

This project explores the changes in the production of musical geographies before and after the revolution in the music field triggered by information and communication technologies. The goal is to determine how the radical changes in the technological mediation of taste in music affect the complex relationship between musical geographies and social position as articulated throughout the tensions between the three normative ‘ethos’ of work, consumption and authenticity in the second modernity era. This is achieved through a comparison with the empirical research project carried out ten years ago, Taste in Music as a Cultural Production.

The research project will consider whether the great revolution in the means of production, distribution and consumption of music which has been going on for a decade now, associated to technological innovations (broadband; P2P file sharing; blogs; websites; social networks like MySpace, Tuenti, Fotolog, Facebook, Twitter and YouTube; iPod and other MP3 players; and streaming sites like Spotify and Last FM) has substantially changed the way we collectively produce music geographies. This will be done from the point of view of young people’s trajectories through these geographies and the obvious and dramatic restructuring of the political economy of music. We are particularly interested in seeing how the different patterns of consumption, production and distribution in the new technological context relate to:

1. The tension and balance between mainstream and alternative.
2. The way homologies between musical tastes and social positions are accessed, disseminated and culturally produced.
3. The development of different meanings, explicit or implicit, of the idea of authenticity and its various connections to “normative provocation”.
4. Time and space: the tension between what is new and what is not in the relationship between the global and the local.

These objectives are to be pursued through a qualitative study of both the experience of young people in three secondary schools and a sample of workers in the music industry in Barcelona.

Paul Willis i el conceptes d’homologia, circuit integral i possibilitats objectives

Roger Martínez – Al seminari d’avui hem discutit l’aproximació de Paul Willis al que anomena “anàlisi sociosimbòlica” i els conceptes d’homologia, de circuit integral i de possibilitats objectives, que resumeix de manera sintètica en aquest vídeo de presentació de la seva participació al curs d’especialització Canvis en Cultura i Societat.