Por uma partitura integradora: orquestrando a prática e o gosto no consumo musical

Álvaro Leonel de Oliveira Castro, Daniel Carvalho de Rezende, Mozar José de Brito

Resumo


Objetivo: apresentar uma estrutura conceitual que promova a interlocução entre as práticas de consumo e o gosto no contexto das cenas musicais.

Método: realizou-se uma revisão integrativa da literatura existente sobre o tema, adotando a abordagem sugerida por Torraco (2016).

Originalidade/Relevância: consiste no entendimento de que o ouvinte passivo-ativo pode desempenhar práticas de internalização e externalização do gosto em uma cena musical. Isto ocorreria por meio de um processo de constituição mútua, dependente da integração entre objetos, ações e significados que viabilizam a prática musical.

Resultados: a estrutura conceitual apresentada situa que, em uma cena musical, o processo de aprendizagem em face a formação de um regime de gosto pode ser guiado por ouvintes ativos e/ou plataformas digitais. Dessa forma, o gosto é julgado em face às experiências do ouvinte, que aprimora sua capacidade e se torna um ser particular em uma cena musical. Esse indivíduo desempenha performances do gosto em uma cena musical, seja na esfera das comunidades virtuais; ao ritualizar práticas musicais; ou ao frequentar espaços estéticos apropriados. Isto causaria implicações para o gosto musical do ouvinte, podendo, ainda, gerar um novo gosto.

Contribuições teóricas: propõe-se uma alternativa para a compreensão das práticas de consumo que retratam os gostos dos praticantes, evidenciando a música como um elemento central nesse processo. Sugere-se uma agenda de pesquisa no âmbito das cenas musicais, contemplando as múltiplas práticas musicais que constituem a internalização e a externalização do gosto.


Palavras-chave


Teoria da prática; Gosto; Consumo; Música; Revisão integrativa

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DOI: https://doi.org/10.5585/remark.v20i4.18041

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