Desde a década de sessenta os guitarristas de rock são considerados ícones da cultura musical popular. Venerados por uma comunidade fiel de entusiastas, alguns deles são chamados de deuses, heróis e mitos. Suas histórias pessoais e artísticas são constantemente narradas e celebradas na mídia, tanto nos meios de comunicação tradicionais quanto nos ambientes digitais. E toda essa adoração pode ser visualizada concomitantemente no culto tecnológico à guitarra elétrica, um dos instrumentos musicais mais vendidos no mundo. Mesmo que tantos fãs, jornalistas e críticos musicais construam discursos fantásticos para se referir aos guitarristas heróis, uma investigação mais aprofundada sobre a estrutura dos arquétipos e símbolos presentes no compartilhamento de sentido entre os amantes do rock é uma tarefa ainda inacabada. Nossa hipótese parte do princípio de que diversos mitos e narrativas heroicas são atualizados continuamente nas práticas culturais contemporâneas cuja experiência transforma e orienta a visão de mundo dos atores sociais envolvidos na sua disseminação. Essa comunhão em torno da imagem sagrada dos guitar heroes extrapola a esfera artística e se constitui em um estilo de vida com significações múltiplas, sejam elas, comportamentais, estéticas e sexuais. O objetivo é compreender como essas representações sociais refletem e atualizam a própria visão idealizada de que como a sociedade se vê. Outro objetivo é enfatizar a importância desse fenômeno na prática de consumo associada à guitarra elétrica onde o mito desempenha uma função simbólica essencial. / Since the sixties, rock guitarists have been considered icons of popular music culture. Venerated by a faithful community of enthusiasts, some of them are called gods, heroes and myths. Their personal and artistic stories are constantly narrated and celebrated in the media, both in traditional media and in digital environments. And all this worship can be seen concomitantly in the technological cult of electric guitar, the one of the best-selling musical instruments in the world. Even though so many fans, journalists and music critics create fantastic speeches to refer to guitar heroes, further research into the structure of the archetypes and symbols present in the sharing of meaning among rock lovers is a task rarely addressed and still unfinished. Our hypothesis sustain that various heroic myths and narratives are continuously updated in contemporary cultural practices whose experience transforms and guides the world view of the actors-net involved in its dissemination. This communion around the sacred image of guitar heroes goes beyond the artistic sphere and constitutes a lifestyle with multiple meanings, that is, behavioral and aesthetic. The objective is to understand how these social representations reflect and actualize the idealized vision of how society sees itself. Another objective is to emphasize the importance of this phenomenon in the practice of consumption associated with electric guitar where the myth plays an essential symbolic function.

Desde a década de sessenta os guitarristas de rock são considerados ícones da cultura musical popular. Venerados por uma comunidade fiel de entusiastas, alguns deles são chamados de deuses, heróis e mitos. Suas histórias pessoais e artísticas são constantemente narradas e celebradas na mídia, tanto nos meios de comunicação tradicionais quanto nos ambientes digitais. E toda essa adoração pode ser visualizada concomitantemente no culto tecnológico à guitarra elétrica, um dos instrumentos musicais mais vendidos no mundo. Mesmo que tantos fãs, jornalistas e críticos musicais construam discursos fantásticos para se referir aos guitarristas heróis, uma investigação mais aprofundada sobre a estrutura dos arquétipos e símbolos presentes no compartilhamento de sentido entre os amantes do rock é uma tarefa ainda inacabada. Nossa hipótese parte do princípio de que diversos mitos e narrativas heroicas são atualizados continuamente nas práticas culturais contemporâneas cuja experiência transforma e orienta a visão de mundo dos atores sociais envolvidos na sua disseminação. Essa comunhão em torno da imagem sagrada dos guitar heroes extrapola a esfera artística e se constitui em um estilo de vida com significações múltiplas, sejam elas, comportamentais, estéticas e sexuais. O objetivo é compreender como essas representações sociais refletem e atualizam a própria visão idealizada de que como a sociedade se vê. Outro objetivo é enfatizar a importância desse fenômeno na prática de consumo associada à guitarra elétrica onde o mito desempenha uma função simbólica essencial. / Since the sixties, rock guitarists have been considered icons of popular music culture. Venerated by a faithful community of enthusiasts, some of them are called gods, heroes and myths. Their personal and artistic stories are constantly narrated and celebrated in the media, both in traditional media and in digital environments. And all this worship can be seen concomitantly in the technological cult of electric guitar, the one of the best-selling musical instruments in the world. Even though so many fans, journalists and music critics create fantastic speeches to refer to guitar heroes, further research into the structure of the archetypes and symbols present in the sharing of meaning among rock lovers is a task rarely addressed and still unfinished. Our hypothesis sustain that various heroic myths and narratives are continuously updated in contemporary cultural practices whose experience transforms and guides the world view of the actors-net involved in its dissemination. This communion around the sacred image of guitar heroes goes beyond the artistic sphere and constitutes a lifestyle with multiple meanings, that is, behavioral and aesthetic. The objective is to understand how these social representations reflect and actualize the idealized vision of how society sees itself. Another objective is to emphasize the importance of this phenomenon in the practice of consumption associated with electric guitar where the myth plays an essential symbolic function.

The aim of this study is to investigate the interrelationships between place and taste through a multi-sited ethnography of music consumption. Place and taste are important theoretical constructs that have been studied extensively across the humanities and social sciences. Yet, there is a scarcity of research that attempts to bring together these constructs in the fields of marketing and consumer research and beyond. In particular, prior consumer culture theory (CCT) research has not taken into account the spatial processes through which consumers enact, perform and further develop their tastes in the market place. More significantly, little empirical research illustrates how different consumption spaces tend to orchestrate and shape consumers’ tastes. As such, this study focuses on the context of music consumption and aims to explore spatial taste formation processes via consumers’ aesthetic experiences in popular (festival) and classical (concert hall) music places within the fields of indie and classical music consumption respectively. The emergent findings are structured upon four chapters (papers) and develop specific research objectives which revolve around the overarching aim of the study, namely the exploration of the interrelationships between place and taste. This study brings together both structural and experiential dimensions of taste and highlights the ontological significance of phenomenological understandings of space and place for marketing and consumer research.