Música, redes e tecnologia na periferia: um estudo acerca dos impactos tecnológicos na produção de rap na Zona Sul de São Paulo

Abstract

The impacts of technological innovations on music production are historical and go along with the sector since the invention of its first sound equipment, the gramophone. Presently, the paradigm of information and communication technologies has brought significant changes in the processes, formats and forms of production, distribution and consumption of music. The main purpose of this work is to ascertain these impacts by specifically analyzing the production of rap music in the district of Grajaú, south of São Paulo. The choice of this location is justified because it is a peripheral territory in a large metropolis and the objetcive is to verify if the technological impacts in the production of music are also manifested in the urban peripheral zones. In order to achieve this goal, we hypothesize that these impacts occur in a broad sense, modifying processes and cost structure that allow greater insertion of individuals in the music market, including those located in peripheral areas; in addition, we also consider as hypothesis the fact that these impacts generate diverse organizational forms of production, in a network format and with the presence of non-economic, cultural and community aspects. For the development of our research, we used the methodology of social networks analysis, with primary data collection at the place in question. 26 interviews with musicians and local producers were maid. The main results can be summarized as follows: a) TICs generate impacts on the format, processes and enable greater participation of agents in the music market, reducing production costs and increasing access to production technology. These impacts can be seen in the specific case analyzed, suggesting that recent technological innovations also reach the periphery. b) the production of local music presents itself as non-vertical organizations, based on networks, with economic and community relations. In the results it was possible to perceive that the musical production in Grajaú does not follow the capitalist logic of obtaining profits and presents strong identity characteristics and community and collaborative aspects larger than the economic ones.