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Dados Internacionais De Catalogação-Na-Puplicação (CIP) UNIVERSIDADE FEDERAL DO ESPÍRITO SANTO CENTRO DE CIÊNCIAS JURÍDICAS E ECONÔMICAS PROGRAMA DE PÓS-GRADUAÇÃO EM ECONOMIA ELVIRA CAROLINA SCAPIN MARTINS UMA ANÁLISE EVOLUCIONÁRIA SOBRE O PROCESSO DE DESTRUIÇÃO CRIADORA: A TRANSIÇÃO DA INDÚSTRIA DA MÚSICA PARA UMA ECONOMIA DE REDES DA MÚSICA VITÓRIA - ES 2016 Dados Internacionais de Catalogação-na-publicação (CIP) (Biblioteca Central da Universidade Federal do Espírito Santo, ES, Brasil) Martins, Elvira Carolina Scapin, 1990- M386a Uma análise evolucionária sobre o processo de destruição criadora : a transição da indústria da música para uma economia de redes da música / Elvira Carolina Scapin Martins. – 2016. 115 f. : il. Orientador: Ednilson Silva Felipe. Dissertação (Mestrado em Economia) – Universidade Federal do Espírito Santo, Centro de Ciências Jurídicas e Econômicas. 1. Economia evolucionária. 2. Inovações tecnológicas. 3. Música – Indústria. 4. Destruição criadora. I. Felipe, Ednilson Silva, 1973-. II. Universidade Federal do Espírito Santo. Centro de Ciências Jurídicas e Econômicas. III. Título. CDU: 330 ELVIRA CAROLINA SCAPIN MARTINS UMA ANÁLISE EVOLUCIONÁRIA SOBRE O PROCESSO DE DESTRUIÇÃO CRIADORA: A TRANSIÇÃO DA INDÚSTRIA DA MÚSICA PARA UMA ECONOMIA DE REDES DA MÚSICA Dissertação apresentada ao Programa de Pós- Graduação em Economia da Universidade Federal do Espírito Santo como requisito para obtenção de título de Mestre em Economia Orientador: Prof. Dr. Ednilson Silva Felipe VITÓRIA – ES 2016 AGRADECIMENTOS Gostaria de agradecer, primeiramente, à minha mãe, Nelvi Scapin, e aos meus irmãos, Atilio Scapin e Adriano Scapin, por serem meu porto seguro. À CAPES pelo apoio financeiro, sem o qual eu não conseguiria realizar o mestrado e este trabalho. Ao meu orientador, Prof. Dr. Ednilson Silva Felipe, pelas orientações prestadas e por toda a sua paciência e compreensão ao longo deste trabalho. Ao Prof. Dr. Arlindo Villaschi por aceitar participar dessa banca e pelas contribuições prestadas nas qualificações, o que ajudou a enriquecer este trabalho. Ao Dr. Alessandro Maia de Orlando Pinheiro por aceitar participar dessa banca. Aos demais professores do Programa de Pós-Graduação da UFES pelas aulas e o conhecimento adquirido. À Liliana, por ser um exemplo de secretária, sempre preocupada com o bom funcionamento do mestrado. Aos amigos que fiz que ao longo do mestrado, Lígia Lóss Corradi, Leonel Barros, Felipe Aleixo, Vinicius Baptista, Meiryelle Santos, Pamella Damasceno, Paulo Henrique Amâncio Reis e Silvia Guido. Às minhas queridas Deilda Rangel Muniz e Erika Rangel e ao Vanildo dos Reis Muniz pelo acolhimento e hospitalidade oferecidos na república que eles administram. Aos entrevistados, Moisés Trindade, Félix Robatto, Rubens Stanislaw, Eriton Monteiro Barbosa (Bob), Moisés Junior (Guga), Luciano Salles, Na Figueredo e Ed Guerreiro, por toda atenção, ajuda e informações prestadas para a elaboração deste trabalho. Por último, às minhas irmãs postiças Caroline Lima e Gleice Kelly que são verdadeiros anjos na minha vida. “[...] enquanto os formatos mudaram, a música continua. Em um mundo em constante mudança, a música é algo de valor duradouro.” Plácido Domingo (Presidente do IFPI) “[…] innovation is about much more than new products. It is about reinventing business processes and building entirely new markets that meet untapped customer demand” Sam Pamisano (CEO da IBM) RESUMO Este trabalho faz uma análise evolucionária sobre a reestruturação que a indústria da música vem presenciando desde o ano 2000. Compreende-se que a indústria da música está passando por um processo de mudança e de ruptura econômica e institucional acarretado principalmente pelo surgimento e disseminação das novas tecnologias de informação e comunicação (TIC). As inovações digitais e virtuais provocaram uma “tempestade” de destruição criadora ao afetar o principal produto que movimentava essa indústria, no caso, o disco, que está sendo substituído por outras modalidades de consumo da música, como o download, o streaming e os shows. Essa revolução tecnológica gerou uma crise na indústria fonográfica, ao afetar suas instituições e um modelo de negócios que perdurava desde a década de 1950. Se as grandes gravadoras perderam seu poder sobre o processo de inovação no seu mercado e viram suas receitas diminuírem, por outro lado, foi presenciado o surgimento de uma rede de serviços com novos atores econômicos e novos modelos de negócios ligados as novas tecnologias de informação e comunicação. Logo, observa-se que a indústria fonográfica está gradualmente sendo substituída por uma rede serviços da música. O objetivo desde trabalho é compreender a dinâmica desta transição sob a ótica evolucionária, de forma a entender a relação dos agentes desta indústria (gravadoras e músicos) com os novos intermediários da música gravada e refletir sobre as principais tendências da nova realidade do mercado da música gravada. Palavras-chave: Economia Evolucionária, Destruição Criadora, Inovação, Instituições e Indústria da Música. ABSTRACT This research is an evolutionary analysis of the music industry restructuring that has been occurring since 2000. It understands that the music industry is going through a process of change and disruption in economic and institutional spheres brought about by the emergence and spread of new information and communication technologies (ICT). Digital and virtual innovations caused a "storm" of creative destruction that affected the main product that moved this industry, the disc, which is being replaced by other consumer forms of music, such as download, streaming and shows. This technological revolution originated a crisis in the music industry and its institutions and changed a business model that had existed since the 1950s. If the record companies loosed their power over the innovation process in your market and have seen their revenue decrease, on the other hand, it has seen the emergence of services network with new economic actors and new business models linked to new information and communication technologies. Thus, it is observed that the recording industry is gradually being replaced by network music services. The objective of this research is to understand the dynamics of this transition in the evolutionary perspective, in order to understand the relationship of the agents of this industry (record labels and musicians) with the new intermediates of recorded music and reflect on the main trends of the new reality of the global recorded music market. Key-Words: Evolutionary Economics, Creative Destruction, Innovation, Institutions and Music Industry SUMÁRIO 1. INTRODUÇÃO ................................................................................................................ 10 2. O PROCESSO DE DESTRUIÇÃO CRIADORA: UMA INVESTIGAÇÃO EVOLUCIONÁRIA ................................................................................................................. 14 2.1. INTRODUÇÃO ......................................................................................................... 14 2.2. SCHUMPETER, AS INOVAÇÕES E A DESTRUIÇÃO CRIADORA. ................. 16 2.3. TRAJETÓRIAS E MUDANÇAS TECNOLÓGICAS .............................................. 23 2.4. A INCOMPATIBILIDADE ENTRE A ESFERA TÉCNICO-ECONÔMICA E A ESFERA INSTITUCIONAL ................................................................................................ 32 2.5. AS EMPRESAS NO PROCESSO DE DESTRUIÇÃO CRIADORA ...................... 40 2.6. CONSIDERAÇÕES FINAIS .................................................................................... 46 3. A EVOLUÇÃO TECNOLÓGICA E INSTITUCIONAL DA INDÚSTRIA MUSICAL 48 3.1. INTRODUÇÃO ......................................................................................................... 48 3.2. A ERA ANALÓGICA: A CONSTRUÇÃO E A CONSOLIDAÇÃO DA INDÚSTRIA FONOGRÁFICA ........................................................................................... 49 3.2.1. O SURGIMENTO DOS FONOGRAMAS ........................................................ 49 3.2.2. O IMPACTO DA RADIODIFUSÃO ................................................................ 52 3.2.3. A ERA DE OURO DO LP E A TECNOLOGIA MAGNÉTICA ...................... 55 3.3. A ERA DIGITAL E O PARADIGMA DAS TECNOLOGIAS DE INFORMAÇÃO E COMUNICAÇÃO (TIC) ................................................................................................... 60 3.3.1. O SURGIMENTO DA TECNOLOGIA DIGITAL ........................................... 61 3.3.2. O IMPACTO DA INTERNET E DOS FORMATOS VIRTUAIS .................... 65 3.4. CONSIDERAÇÕES FINAIS .................................................................................... 72 4. A DESTRUIÇÃO CRIADORA NA ERA DIGITAL – O NOVO CENÁRIO DO MERCADO DA MÚSICA ....................................................................................................... 75 4.1. INTRODUÇÃO ......................................................................................................... 75 4.2. O PROCESSO DE DESTRUIÇÃO CRIADORA NAS MAJORS ............................ 76 4.3. A ASCENÇÃO DO CENÁRIO INDEPENDENTE ................................................. 83 4.4. AS NOVAS OPORTUNIDADES ESTRATÉGICAS PARA OS ARTISTAS INDEPENDENTES .............................................................................................................. 87 4.5. A QUESTÃO INSTITUCIONAL REGULATÓRIA PARA OS ARTISTAS .......... 94 4.6. CONSIDERAÇÕES FINAIS .................................................................................. 100 5. CONSIDERAÇÕES FINAIS ........................................................................................
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