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Análisis Comparativo De La Comunicación En Redes Sociales De Los Festivales De Música En Europa

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Análisis Comparativo De La Comunicación En Redes Sociales De Los Festivales De Música En Europa Trabajo de Fin de Grado - Universidad Pompeu Fabra Facultad de Comunicación - Publicidad y Relaciones Públicas Análisis comparativo de la comunicación en redes sociales de los festivales de música en Europa Autora: Lenina Blanes Batllori ​ Tutor: Carlos Alberto Scolari ​ Fecha: Junio 2020 ​ Trabajo de fin de grado - Lenina Blanes Resumen RESUMEN Vivimos en una sociedad donde las redes sociales han adquirido un papel importante a la hora de comunicar los bienes y servicios de una empresa u organización. Este trabajo se centra en los festivales de música y cómo éstos se comunican en Facebook, Instagram, Twitter y YouTube. Se ha hecho un análisis comparativo de 6 festivales europeos de música electrónica, profundizando en las narrativas que construyen así como la estrategia y valores que transmiten. Para ello se han analizado las diferentes publicaciones para promocionar la edición de 2019 en las redes sociales de cada festival. Como método se ha empleado un análisis de los relatos de marca (B. Remaury, 2005), el posicionamiento semiótico de la marca en el mapping de valores de consumo (A. Semprini, 1995) y la intertextualidad y relación con otros textos (Sorókina, 2006). Después del análisis se ha podido ver que los festivales que conforman la muestra presentan similitudes y diferencias a la hora de narrar y posicionarse pero que en la mayoría de casos predominan los relato de tiempo, lugar, personaje y saber hacer y los valores como la diversión, amistad, felicidad y unión. Palabras clave: Festivales de música, redes sociales, comunicación online, semiótica, ​ relato de marca, mapping semiótico, intertextualidad, storytelling. RESUM Vivim en una societat on les xarxes socials han adquirit un paper important a l'hora de comunicar els béns i serveis d'una empresa o organització. Aquest treball es centra en els festivals de música i com aquests es comuniquen a Facebook, Instagram, Twitter i YouTube. S'ha fet una anàlisi comparativa de 6 festivals europeus de música electrònica, aprofundint en les narratives que construeixen així com l'estratègia i valors que transmeten. Per fer-ho s'han analitzat les diferents publicacions per promocionar l'edició de 2019 a les xarxes socials de cada festival. Com a mètode s'ha emprat una anàlisi dels relats de marca (B. Remaury, 2005), el posicionament semiòtic de la marca al mapping de valors de consum (A. Semprini, 1995) i la intertextualitat i relació amb altres textos (Sorókina , 2006). Després de l'anàlisi s'ha pogut veure que els festivals que conformen la mostra presenten similituds i diferències a l'hora de narrar i posicionar-se, però que en la majoria de casos predominen els relat de temps, lloc, personatge i saber fer i els valors com la diversió , amistat, felicitat i unió. Paraules clau: Festivals de música, xarxes socials, comunicació online, semiótica, relat de ​ marca, mapping semiòtic, intertextualitat, storytelling. 1 Trabajo de fin de grado - Lenina Blanes Resumen ABSTRACT We live in a society where social networks have acquired an important role in communicating the goods and services of a company or organization. This thesis focuses on music festivals and how they communicate on Facebook, Instagram, Twitter and YouTube. A comparative analysis of 6 European electronic music festivals has been carried out, focusing on the narratives they build as well as the strategy and values they convey. For ​​ this, different publications have been analyzed to promote the 2019 edition on each festival’s social media. The method used has been an analysis of brand storytelling (B. Remaury, 2005), the semiotic positioning of the brand in the mapping of consumer values (A. Semprini, 1995) and intertextuality and connection with other texts (Sorókina, 2006). ​​ After the analysis, it has been seen that the sample festivals show similarities and differences when it comes to narrating and positioning themselves and that in most cases the storytelling based on time, space, character and know-how and values such as fun, ​​ friendship, happiness and union prevail. Keywords: Music festivals, social media, online communication, semiotics, brand ​ storytelling, semiotic mapping, intertextuality, storytelling. 2 Trabajo de fin de grado - Lenina Blanes Índice ÍNDICE 1. INTRODUCCIÓN 4 1.1 Justificación del tema 4 1.2 Objetivos 4 2. MARCO TEÓRICO 5 2.1 El concepto de marca 5 2.1.1 Evolución del concepto de marca 5 2.1.2 Definición de marca 6 2.1.3 Posicionamiento de marca 9 2.2 Los festivales de música 10 2.2.1 Industria cultural y creativa 10 2.2.2 Industria musical 11 2.2.3 El concepto de festival y evento 11 2.2.4 Historia y evolución de los festivales de música 13 2.2.4.1 Historia y evolución de los festivales de música en España 14 2.3 La revolución digital 15 2.3.1 Web 2.0 16 2.3.2 Redes sociales 17 2.4. Storytelling 18 3. METODOLOGÍA 21 3.1 Muestra 21 3.2 Método 23 3.2.1 El relato de marca 23 3.2.2 Posicionamiento semiótico de la marca 26 3.2.3 Intertextualidad 31 3.3 Plantilla de análisis 33 4. RESULTADOS 34 4.1 Mysteryland 34 4.2 Tomorrowland 38 4.3 Barcelona Beach Festival 44 4.4 Medusa Sunbeach Festival 51 4.5 A Summer Story 57 4.6 Untold 63 5. CONCLUSIONES 68 5.1 Interpretación de los resultados 68 5.2 Limitaciones y futuras investigaciones 71 5.3 Futuro de la música en vivo y festivales de música 72 6. BIBLIOGRAFÍA Y WEBGRAFÍA 74 3 Trabajo de fin de grado - Lenina Blanes Introducción 1. INTRODUCCIÓN 1.1 Justificación del tema El tema escogido proviene de una inquietud de la autora por profundizar en la comunicación de los festivales de música después de asistir a varios de ellos. Los sectores de la música y la comunicación están muy relacionados ya que ambos necesitan el uno del otro por lo que este trabajo se centra en la comunicación online, concretamente en las redes sociales de los festivales de música electrónica en Europa. Ambos sectores están en constante desarrollo así que es interesante ver cómo se han ido adaptando a las nuevas tecnologías, en qué punto se encuentran y cómo se diferencian y aumentan su visibilidad dentro de su ámbito en cuanto a comunicación. Hoy en día las redes sociales son una herramienta muy utilizada y necesaria en todo plan de comunicación. Éstas han cambiado la forma de comunicar de las marcas y permiten acercarse al público de manera más próxima y directa. Para los festivales de música son un canal principal a la hora de realizar sus comunicaciones y promocionar el evento. La autora ha decidido centrarse en los festivales de música electrónica en Europa para delimitar el campo de estudio y poder ver claramente las similitudes y diferencias en las diferentes publicaciones de cada festival. Además, no hay muchas investigaciones al respecto por lo que también es interesante poder hacer aportaciones nuevas al tema. 1.2 Objetivos El objetivo principal del trabajo es analizar la comunicación y estrategias empleadas por los festivales de música en el ámbito online, concretamente en las redes sociales, para la promoción de la edición de 2019. Este objetivo se puede concretar en los siguientes objetivos secundarios: 1. Hacer un estudio comparativo de la comunicación de la edición de 2019 de diferentes festivales de música a través de sus redes sociales. 2. Analizar las características de las narrativas que los festivales de música construyen en sus redes sociales para la promoción de la edición 2019. 3. Analizar qué estrategia comunicativa y qué valores emplean los festivales de música para la promoción de la edición 2019. 4 Trabajo de fin de grado - Lenina Blanes Marco teórico 2. MARCO TEÓRICO 2.1 El concepto de marca 2.1.1 Evolución del concepto de marca El concepto de marca siempre ha estado presente y ha ido evolucionando a lo largo del tiempo. Si miramos el origen de la palabra marca, brand en inglés, que a su vez deriva de la ​ palabra nórdica brandr, vemos que proviene del verbo quemar. (Keller, 2008). En otros ​ ​ idiomas como el alemán, por ejemplo, significa fuego, lo que va muy relacionado con los orígenes del término marca y su función de marcaje. Podemos identificar como primeros antecedentes a los artesanos y ganaderos. Los artesanos marcaban sus elaboraciones con un símbolo simple y reconocible mientras que los ganaderos marcaban a fuego a su ganado. De este modo identificaban la propiedad y se daba una garantía de calidad del producto. En algunos elementos también se encontraban símbolos distintivos para determinar la procedencia o la familia a la que pertenecían (Keller, 2008). En este momento la función principal era policial, para que en caso de robo por los piratas se pudiera saber el origen de la mercancía (Costa, 2004). ​ Durante la Edad Media las marcas colectivas identificaban a los gremios y corporaciones y así evitaban que los artesanos y sus marcas individuales invadieran el territorio de otra corporación. De este modo se protegían ante la usurpación y falsificación aunque todavía no se había desarrollado la mentalidad de competencia comercial tal y como la conocemos hoy en día. La función de la marca era entonces de identidad, determinar el origen y calidad, y de control económico del Estado (Costa, 2004). La Revolución Industrial en el siglo XIX fue un momento clave donde las marcas empezaron a adquirir cierto protagonismo con el inicio de la fabricación en serie y el aumento de la competencia. Por lo tanto, la función de diferenciación tomó un papel importante donde las marcas pasaron a tener un valor relativo, y no absoluto, respecto al resto (Costa, 2004). Cuando se empezaron a intercambiar y comercializar productos todo esto cobró aún más importancia para poder diferenciarse y conseguir la confianza de los consumidores (Muñoz, 2013).
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