The 60´s and 70´s were marked by protests against the cultural industry, with music traffic through MP3. To destroy online piracy, streaming platforms have emerged, offering âfreeâ music. With this in mind, the general objective of the present research is to reflect on how the consumption of music interferes with its own representation. To this end, the following specif-ic objectives were established: a) to gather bibliog-raphy on the theme âfree musicâ; b) investigate how information science can benefit people through the Internet of Things; c) highlight capitalism generated in the music market and the main points about streaming platforms and music sales. It is concluded that every technological performance of music is marked by the interest of the market (which has influenced and continues to influence cultural choices).@en
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To destroy online piracy, streaming platforms have emerged, offering âfreeâ music. With this in mind, the general objective of the present research is to reflect on how the consumption of music interferes with its own representation. To this end, the following specif-ic objectives were established: a) to gather bibliog-raphy on the theme âfree musicâ; b) investigate how information science can benefit people through the Internet of Things; c) highlight capitalism generated in the music market and the main points about streaming platforms and music sales. It is concluded that every technological performance of music is marked by the interest of the market (which has influenced and continues to influence cultural choices).] => 0 ) [1] => Array ( [The 60´s and 70´s were marked by protests against the cultural industry, with music traffic through MP3. To destroy online piracy, streaming platforms have emerged, offering “free” music. With this in mind, the general objective of the present research is to reflect on how the consumption of music interferes with its own representation. To this end, the following specif-ic objectives were established: a) to gather bibliog-raphy on the theme “free music”; b) investigate how information science can benefit people through the Internet of Things; c) highlight capitalism generated in the music market and the main points about streaming platforms and music sales. It is concluded that every technological performance of music is marked by the interest of the market (which has influenced and continues to influence cultural choices).] => 0 ) ) [es] => Array ( [0] => Array ( [Los años 60 y 70 estuvieron marcados por protestas contra la industria cultural, con tráfico de música a través de MP3. Para acabar con la piratería en línea, han surgido plataformas de transmisión que ofrecen música “gratis”. Con esto en mente, el objetivo gene-ral de la presente investigación es reflexionar sobre cómo el consumo de música interfiere en su propia representación. Para ello, se establecieron los siguientes objetivos específicos: a) reunir bibliografía sobre el tema “música libre”; b) investigar cómo la ciencia de la información puede beneficiar a las personas a través del Internet de las Cosas; c) resaltar el capitalismo generado en el mercado de la música y los puntos principales sobre las plataformas de streaming y las ventas de música. Se concluye que toda actuación tecnológica de la música está marcada por el interés del mercado (que ha influido y sigue influyendo en las elecciones culturales).] => 0 ) ) [pt] => Array ( [0] => Array ( [As décadas de 1960 e 1970 foram marcadas por protestos contra a indústria cultural, com o tráfico da música por meio de MP3s. Para reprimir a pirataria online, surgiram plataformas de streaming que oferecem música “gratuita”. Com isso em mente, o objetivo geral desta pesquisa é refletir sobre como o consumo de música interfere na sua própria representação. Para isso, foram estabelecidos os seguintes objetivos específicos: a) coletar bibliografia sobre o tema “música livre”; b) investigar como a ciência da informação pode beneficiar as pessoas por meio da Internet das Coisas; c) destacar o capitalismo gerado no mercado da música e os principais pontos sobre plataformas de streaming e venda de música. Conclui-se que toda performance tecnológica da música é marcada pelo interesse do mercado (que influenciou e continua influenciando as escolhas culturais).] => 0 ) ) ) [hasID] => Array ( [nn] => Array ( [0] => Array ( [oai:ojs.ibersid.eu:article/4840] => 0 ) ) ) [hasRegisterId] => Array ( [pt] => Array ( [0] => Array ( [https://www.ibersid.eu/ojs/index.php/ibersid/article/view/4840] => 0 ) [1] => Array ( [10.54886/ibersid.v16i2.4840] => 0 ) ) ) [hasSource] => Array ( [pt] => Array ( [0] => Array ( [Ibersid: journal of information and documentation systems (ISSNe 2174-081X; ISSN 1888-0967); Vol. 16 No. 2 (2022); 145-153] => 0 ) ) [es] => Array ( [0] => Array ( [Ibersid: revista de sistemas de información y documentación; Vol. 16 Núm. 2 (2022); 145-153] => 0 ) ) [nn] => Array ( [0] => Array ( [2174-081X] => 0 ) [1] => Array ( [1888-0967] => 0 ) ) ) [hasTitle] => Array ( [en] => Array ( [0] => Array ( [The free consumption of music on streaming platforms] => 0 ) ) [es] => Array ( [0] => Array ( [El consumo gratuito de música en plataformas de streaming] => 0 ) ) [pt] => Array ( [0] => Array ( [O consumo gratuito da música nas plataformas de streaming] => 0 ) ) ) [hasUrl] => Array ( [pt] => Array ( [0] => Array ( [https://www.ibersid.eu/ojs/index.php/ibersid/article/view/4840/4342] => 0 ) ) [nn] => Array ( [0] => Array ( [https://www.ibersid.eu/ojs/index.php/ibersid/article/view/4840] => 0 ) [1] => Array ( [https://www.ibersid.eu/ojs/index.php/ibersid/article/view/4840/4342] => 0 ) ) ) [prefLabel] => Array ( [pt] => Array ( [0] => Array ( [Oai:ojs.ibersid.eu:article/4840#00096] => 0 ) ) ) [hasDOI] => Array ( [nn] => Array ( [0] => Array ( [10.54886/ibersid.v16i2.4840] => 0 ) ) ) )
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