Publications
Article | In the interstices of the subfield: self-edition and entrepreneurship among folk musicians in Portugal in the 21st century
Pedro Nunes, integrated researcher at INET-md, is the author of a new article titled "Nos interstícios do subcampo: Autoedição e empreendedorismo em músicos folk em Portugal no século XXI" (In the interstices of the subfield: self-edition and entrepreneurship among folk musicians in Portugal in the 21st century) published by Sociologia: Problemas e Práticas, on open access.
Gathering information through a set of semi-directed interviews with a sample of musicians within the particular universe of rural folk music, Pedro Nunes aims to understand the meaning of their practices. The author does so in relation to publishing and its articulation with other activities these musicians develop to disseminate their production. I take as theoretical anchors Bourdieu and Becker's theses on, respectively, the fields of cultural production and the artistic worlds, as well as recent studies on the DIY modes of music production and dissemination.
Gathering information through a set of semi-directed interviews with a sample of musicians within the particular universe of rural folk music, Pedro Nunes aims to understand the meaning of their practices. The author does so in relation to publishing and its articulation with other activities these musicians develop to disseminate their production. I take as theoretical anchors Bourdieu and Becker's theses on, respectively, the fields of cultural production and the artistic worlds, as well as recent studies on the DIY modes of music production and dissemination.
Abstract of the article:
This article addresses the practices and values of a sample of self-edited musicians, within the peculiar universe of rural folk music in Portugal, in the context of the last two decades in which music production has suffered the impact of the phenomena of digitalization and disintermediation. Taking as theoretical anchors the theses of Bourdieu and Becker on the fields of cultural production and artistic worlds, respectively, as well as recent studies on DIY (do-it-yourself) musical cultures, characterized by an adherence to a set of practices and values which are autonomous in relation to the dominant circuits of music production, and using semi-directed interviews with a sample of musicians, we aim to understand the meaning of their practices in relation to publishing and its articulation with other activities which they develop to disseminate their music. We conclude that adherence to DIY modes of music production and distribution among these musicians, although evident in many cases, is not total or unconditional, either due to more institutional connections within a subfield of popular music production, or due to the advantages that many still find in establishing partnerships with labels and distributors.This article addresses the practices and values of a sample of self-edited musicians, within the peculiaruniverse of ruralfolkmusic in Portugal, in the context of the last two decades in which music production hassuffered the impact of the phenomena of digitalization and disintermediation. Taking as theoretical anchors thetheses of Bourdieu and Becker on the fields of cultural production and artistic worlds, respectively, as well asrecent studies on DIY (do-it-yourself) musical cultures, characterized by an adherence to a set of practices andvalues which are autonomous in relation to the dominant circuits of music production, and using semi-directedinterviews with a sample of musicians, we aim to understand the meaning of their practices in relation topublishing and its articulation with other activities which they develop to disseminate their music. We concludethat adherence to DIY modes of music production and distribution among these musicians, although evident inmany cases, is not total or unconditional, either due to more institutional connections within a subfield ofpopular music production, or due to the advantages that many still find in establishing partnerships with labelsand distributors.This article addresses the practices and values of a sample of self-edited musicians, within the peculiaruniverse of ruralfolkmusic in Portugal, in the context of the last two decades in which music production hassuffered the impact of the phenomena of digitalization and disintermediation. Taking as theoretical anchors thetheses of Bourdieu and Becker on the fields of cultural production and artistic worlds, respectively, as well asrecent studies on DIY (do-it-yourself) musical cultures, characterized by an adherence to a set of practices andvalues which are autonomous in relation to the dominant circuits of music production, and using semi-directedinterviews with a sample of musicians, we aim to understand the meaning of their practices in relation topublishing and its articulation with other activities which they develop to disseminate their music. We concludethat adherence to DIY modes of music production and distribution among these musicians, although evident inmany cases, is not total or unconditional, either due to more institutional connections within a subfield ofpopular music production, or due to the advantages that many still find in establishing partnerships with labelsand distributors.This article addresses the practices and values of a sample of self-edited musicians, within the peculiaruniverse of ruralfolkmusic in Portugal, in the context of the last two decades in which music production hassuffered the impact of the phenomena of digitalization and disintermediation. Taking as theoretical anchors thetheses of Bourdieu and Becker on the fields of cultural production and artistic worlds, respectively, as well asrecent studies on DIY (do-it-yourself) musical cultures, characterized by an adherence to a set of practices andvalues which are autonomous in relation to the dominant circuits of music production, and using semi-directedinterviews with a sample of musicians, we aim to understand the meaning of their practices in relation topublishing and its articulation with other activities which they develop to disseminate their music. We concludethat adherence to DIY modes of music production and distribution among these musicians, although evident inmany cases, is not total or unconditional, either due to more institutional connections within a subfield ofpopular music production, or due to the advantages that many still find in establishing partnerships with labelsand distributors.
