“The Market Defines it”: Structure and Adaptation in the Working Dynamics of Brazilian Musicians at the Turn of the 20th and the 21st Centuries
In this article, we analyze the corroborated transformations in the characteristics of musicians’ work in Brazil, from the beginning of the 20th century to contemporaneity. Concluded and on-going research and dialogue with scientific literature have supported the current investigation. In light of t...
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| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2023
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/10477 |
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| Sumario: | In this article, we analyze the corroborated transformations in the characteristics of musicians’ work in Brazil, from the beginning of the 20th century to contemporaneity. Concluded and on-going research and dialogue with scientific literature have supported the current investigation. In light of the reflections on the structural elements impacting the organization of the working activities of such agents, little autonomy is perceived in delimiting the organizational dynamics of work by musicians in the area, who are led to adapt themselves to economic, social and/or political demands during the different historical periods analyzed. Taking into account such adaptations, we propose a typology of three working forms recognized as distinctive – although not exclusive – of each of such periods: specialized work (from the beginning of the 20th century until, approximately, the 1980s); flexible work (end of the 20th century); and multitasking (beginning of the 21st century). Based on these reflections, we have verified a tendency towards increasing workers’ accountability for the processes and results of their work –from specialized to multitasking–, which represent a deterioration of labor conditions, and which are worsened in contemporary times by the digitalization of the production and consumption of musical activities. Therefore, there is a reality that contradicts the discourse of reinvention, constantly reproduced by agents and institutions linked to the musical field in order to emphasize the autonomy of musicians in conducting the transformations linked to their work practices. |
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