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Article | Das recolhas ao álbum como “cartão de visita”: estratégias e reinvenções na pequena edição de música popular de matriz rural em Portugal no século XXI
Pedro Nunes, integrated researcher at Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-md) published the article "Das recolhas ao álbum como “cartão de visita”: estratégias e reinvenções na pequena edição de música popular de matriz rural em Portugal no século XXI" (From collections to the album as a “visiting card”: strategies and reinventions in the small edition of rural folk music in Portugal in the 21st century) in TRANS - Transcultural Music Review, available on open access.
This article aims to give an account of the transformations that have occurred in the edition of rural folk music in the 21st century. The author takes into consideration music publishing by small independent labels and self-published by musicians. These opt for independent, so-called do-it-yourself (DIY) modes of music production apart from the intermediation work carried out by labels and distributors. Two fundamental phenomena are observed in this evolution: on the one hand, the assumption by small publishers and self-publishing musiciansof various roles related to the production and dissemination of music; on the other, the status of the phonogram and how it is approached by labels and musicians having in mind the decrease in the consumption of music on physical format.
Abstract:
This article explores the practices and values in small-scale music publishing in Portugal in the new contexts of digitalization and disintermediation of music production. I focus on a restricted subfield of small-scale music production: rural folk music. In this regard, we will consider music publishing by small independent publishers and self-publishing by musicians who opt for do-it-yourself (DIY) models of music production outside the intermediary work carried out by record labels and distributors. Our analysis will be informed, in constant and sustained critical dialogue, by Bourdieu's (1983) notions of the field of cultural production, Becker's (1974) notions of artistic worlds, as well as various recent studies on DIY modes of music production (Bennett 2018, Guerra 2018, Haenfler 2018, Haynes & Marshall 2018, Tarassi 2018, Threadgold 2018, Schmidt 2019, Jones 2021).
