Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-06T12:43:48Z No. of bitstreams: 1 giovaniduarteverazzani.pdf: 2754732 bytes, checksum: e68a39bb43cb2a7b5ab616640a5374a7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-07T15:51:51Z (GMT) No. of bitstreams: 1 giovaniduarteverazzani.pdf: 2754732 bytes, checksum: e68a39bb43cb2a7b5ab616640a5374a7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-07T15:57:41Z (GMT) No. of bitstreams: 1 giovaniduarteverazzani.pdf: 2754732 bytes, checksum: e68a39bb43cb2a7b5ab616640a5374a7 (MD5) / Made available in DSpace on 2016-06-07T15:57:41Z (GMT). No. of bitstreams: 1 giovaniduarteverazzani.pdf: 2754732 bytes, checksum: e68a39bb43cb2a7b5ab616640a5374a7 (MD5) Previous issue date: 2013-12-03 / Quando as manifestações artísticas e literárias, produzidas a partir de espaços marginais do conhecimento e do saber, não só conquistam um público leitor já existente e tradicional na sociedade brasileira, como também possibilitam a formação de novos públicos, originários de outras classes sociais, torna-se pertinente uma análise que ultrapasse a velha dicotomia da relação entre artista/obra e mercado e que possibilite a reflexão da posição intelectual do artista/obra na sociedade moderna contemporânea. Dessa forma, a presente dissertação tem como objetivo investigar o romance Capão Pecado (FERRÉZ, 2002), obra que projeta Ferréz na cena literária contemporânea, identificando a construção de um projeto literário de luta e resistência que procura interferir na realidade cultural e social desses espaços marginais e dos sujeitos históricos que os constituem. A partir da sua primeira obra, Fortaleza da Desilusão (FERRÉZ, 1997), um livro de poemas com tendências modernistas, percebe-se uma mudança nas estratégias literárias que permitem ao autor a ampliação e conquista do seu público alvo, bem como a elaboração de uma literatura que estabeleça uma luta cultural de caráter popular. Através da sabotagem dos recursos estéticos de produções voltadas para um público massivo, como a característica folhetinesca e a reprodução do mito da ideologia familiar em Capão Pecado (FERRÉZ, 2002), Ferréz expõe as contradições inerentes às ideologias dominantes, contrastando-as com a multiplicidade de vozes e consciências que se fazem presentes na obra e possibilitando, assim, a formação do “autor como produtor” (BENJAMIN, 1994). / When artistic and cultural forms, produced from the marginal spaces of the official knowledge, not only achieves a traditional readership of the Brazilian society, but they enable the formation of new ones, originating from others social classes, it becomes relevant a analysis that goes beyond the traditional dichotomy of the relationship between the artist/work and the market, and that allows them to reflect the intellectual position of the artist / work in contemporary modern society. Therefore, the present dissertation intends investigate the novel Capão Pecado (FERRÉZ, 2002), work that reveals Ferréz in the contemporary literary scene, identifying the construction of a literary project of fight and resistance, that may interfere in the social and cultural realities of these marginal spaces and its historical subjects. From his first work, Fortaleza da Desilusão (FERRÉZ, 1997), a poetry book with modernist tendencies, it is possible to realize a change in the author’s literary strategy that allows him to extend and achieve his target audience, as well as the elaboration of a literature that establishes a cultural fight, with popular characteristics. Through the sabotage of the aesthetic resources focused on massive public, as the feuilletonistic characteristics and the reproduction of the myth of family ideology in Capão Pecado (FERRÉZ, 2002), Ferréz exposes the contradictions inherent in the dominant ideologies which contrasts it with the multiplicity of voices and consciences that are present in the work, enabling the formation of “the author as producer” (BENJAMIN, 1994).

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-10-05T11:00:29Z No. of bitstreams: 1 leonardoribeirobarbosa.pdf: 1081276 bytes, checksum: f6dfaff1e5d80e03b86c45d9397dbe09 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-10-09T19:57:57Z (GMT) No. of bitstreams: 1 leonardoribeirobarbosa.pdf: 1081276 bytes, checksum: f6dfaff1e5d80e03b86c45d9397dbe09 (MD5) / Made available in DSpace on 2017-10-09T19:57:57Z (GMT). No. of bitstreams: 1 leonardoribeirobarbosa.pdf: 1081276 bytes, checksum: f6dfaff1e5d80e03b86c45d9397dbe09 (MD5) Previous issue date: 2017-06-22 / O objetivo deste estudo foi analisar o desenvolvimento da sociologia da cultura no meio acadêmico brasileiro, pari passu a evolução da indústria cultural no Brasil. Para tanto, investigamos a evolução das pesquisas científicas realizadas nos programas de pós-graduação brasileiros, particularmente as teses e dissertações, que tiveram como objeto principal a música popular brasileira (MPB) e a indústria cultural. A hipótese central é a de que os conceitos trazidos pela Escola de Frankfurt, notadamente o de indústria cultural, foram instrumentos capitais para a formação de um pensamento social brasileiro sobre o tema da cultura e suas relações com o mercado, possibilitando a construção de um campo de sociologia da cultura e da arte no país, respaldando as investigações sobre a organização da produção artística e cultural em suas relações com o mercado. Nessa trajetória, expusemos a chamada Teoria Crítica de Theodor W. Adorno (1903-1969) e Max Horkheimer (1895-1973) da Escola de Frankfurt; em seguida, investigamos quando e como as ideias da Escola de Frankfurt — sobre o conceito de indústria cultural, apresentados por Adorno e Horkheimer — chegaram ao Brasil. Por fim, realizamos um levantamento sobre a produção científica brasileira sobre o tema, desde a década de 1980 — época em que surgem as primeiras teses e dissertações sobre o assunto — até o ano de 2015, apresentando as abordagens dos trabalhos mais diretamente ligados ao tema. Nossas observações revelam que a academia brasileira se apropriou do conceito de indústria cultural, utilizando-o para analisar a nova realidade do país, sendo que este permanece atual em vários aspectos, se constituindo em uma ferramenta importante para a compreensão do desenvolvimento da sociologia da cultura e da indústria cultural brasileira. / The aim of this study was to analyze the development on Sociology of Culture in the Brazilian academic environment, pari passu the evolution of the cultural industry in Brazil. In order to do so, we investigated the evolution of the scientific research carried out in Brazilian Graduate Programs, particularly theses and dissertations, whose main purpose was Popular Brazilian Music (MPB) and the cultural industry. The central hypothesis is that the concepts brought by the Frankfurt School, notably that of "cultural industry", were capital instruments for the formation of a brazilian social thought on the subject of culture and its relations with the market, making possible the construction of a field on Sociology of Culture and Art in the country, and supporting research on the organization of artistic and cultural production in its relations with the market. In this trajectory, we exposed the so-called "Critical Theory" by Theodor W. Adorno (1903-1969) and Max Horkheimer (1895-1973) Frankfurt School founders, and then investigated when and how the ideas of the Frankfurt School - related to "cultural industry" presented by Adorno and Horkheimer - arrived in Brazil. Finally, we carried out a survey of the Brazilian scientific production on the subject, since the 1980s - when the first theses and dissertations were published on the subject - until the year 2015, presenting the approaches of the works most directly related to the theme. Our observations reveal that the Brazilian Academy has appropriated the concept of cultural industry, using it to analyze the new reality of the country and that it remains current under several regards, serving as background for understanding the development of Sociology of Culture and of Brazilian cultural industry.

O mercado de videogames brasileiro e internacional apresenta forte crescimento e oportunidades de geração de emprego e renda. Este trabalho propõe um modelo de análise para a indústria de videogames brasileira que permita, tanto aos dirigentes do setor como ao governo, analisar políticas e ações que contribuam para o desenvolvimento da indústria de jogos eletrônicos no Brasil. Partindo do conceito de Economia Criativa, foram encontrados aspectos que impactam diretamente o desenvolvimento das indústrias criativas e os resultados que são esperados deste desenvolvimento. Numa pesquisa exploratória, sete destes aspectos (Tecnologia, Demanda, Governo, Propriedade Intelectual, Capital Humano, Empreendedorismo Criativo e Clusters Criativos) foram selecionados para o modelo como variáveis latentes e três foram as resultantes propostas (Faturamento, Emprego e Exportação). O resultado mostra que estas sete macrovariáveis do modelo e seus subitens são importantes para a indústria criativa de videogames e têm impactos diferenciados. A criação de um Índice permitiu identificar as variáveis prioritárias e sugerir políticas, com resultados esperados de curto e longo prazo. Tais resultados abrem portas para estudos comprobatórios, como a utilização de variáveis que possam operacionalizar modelos quantitativos de análise, assim como servem para que os dirigentes do setor possam entender melhor a necessidade de coordenação, ação conjunta e políticas de apoio ao crescimento de emprego, renda e exportações do setor. / The growth of the video game market in Brazil and globally is growing strongly and creating employment and income opportunities. This thesis presents an analytical model for the Brazilian video game industry allowing both industry leaders and the government to analyze policies to develop the local video game industry. Based on Creative Economy concepts, an exploratory survey identified seven of these aspects (Technology, Demand, Government, Intellectual Property, Human Capital, Creative Entrepreneurship and Creative Clusters) were selected for the model as latent variables and three were studied as resulting (dependent) variables (Revenue, Employment and Exports). The results shows that the seven variables of the model and its items are considered important for the creative videogame industry and have different impacts on it. An indicator allowed us to separate the variables according to perceived importance and suggest priority policies, with their expected short and long term results. These results open doors for empirical studies of variables that can operationalize quantitative models, as well as serving industry policymakers to better understand the need for coordination and supporting government policies to promote industry competitiveness, job creation and exports.

Este trabalho tem como objetivo discutir o modelo de moradia mínima destinado ao povo sob as condições do sistema capitalista neoliberal e apontar suas latentes contradições sociais e ambientais. Para isso, busca-se construir uma revisão histórica que recupera as origens da habitação operária durante o desenvolvimento da cidade industrial, ou seja, o momento em que a questão da moradia se estabelece enquanto uma dimensão de conflito. E, a partir disso, refletir sobre o modo como a habitação mínima foi sendo assimilada dentro do desenvolvimento do capital, inclusive através do movimento moderno, de modo a desmobilizar as resistências sociais através de uma cultura pautada pelo consumo. A presente pesquisa se concentra no esforço de desnaturalizar algumas das questões constitutivas do imaginário que cercam a questão da moradia a fim de apontar a gravidade dos efeitos da lógica econômica, que se baseia na acumulação de capital e que distancia a habitação de sua real finalidade enquanto direito social. / The aim of the present investigation is to discuss minimum housing standards intended to a society under the conditions of the neoliberal capitalism system and to highlight its social and environmental latent contradictions. So, this work seeks to construct a historical review that recovers the origins of the workers dwellings during the development of the industrial city, in other words, this is the moment when the housing issue is established as a dimension of conflict. From this, reflecting on how minimal housing has been assimilated by the currency development, including by the the modern movement, in order to demobilize social resistance through a culture based on consumption. Therefore, this research focuses on the effort to rethink the common sense that surrounds the housing issue, aiming to emphasize the impact of the economic effects, which is based on capital accumulation and that distances the housing from its real purpose as a social right.

This project proposes a user-focused approach to study the algorithm logic of on-demand apps, using Netflix as a case study. The main research interest is the perception that the user has about the suggestion and recommendation logic of Netflix. In order to gather the information, a walkthrough method on Netflix was applied as well as personal, in-depth think aloud interviews were carried out. The sample consisted on a selection of heavy users, millennials ex-pats living in Singapore and working in the creative industry to get specific insights on their relationship with the algorithm.  To analyze the gathered material, qualitative content analysis was carried out. This kind of study is important within today’s contemporary media environment to have integral approach to users perceptions instead of just analytical figures and numbers. The theoretical context used to enlight some of the conclusions discussed on this research were based on the study of media in everyday life, global cultural industry studies, as well as algorithm culture and the science and technology studies. How algorithms are perceived have major repercussions not only on on-demand apps, technology business models or entertainment industry but also an intense influence on the way people consume content. Re-thinking the user as a co-producer of information and knowledge, considering some of the implications this phenomenon might have on the creative industry and how that affects on our daily life are some of the issues this research elaborated on. It can be said that the selected sample appreciates the suggestion logics and it has multiple functionalities: recommendation, curation, entertainment, companionship and leisure. Netflix Originals are very well validated; being one of the main attractions of the app. Interface, functionality and features are also items that the sample positively highlights. The accuracy perception of the algorithm is good, although low when compared to other countries where the sample used the app. The same applies to the amount of content and titles available, being these last two, issues that Netflix could improve.   This research was conducted for 8 months, from October 2016 to May 2017, for Sodertorn University – Stockholm, Sweden, with the guidance and support of Associate Professor Anne Kaun.

This research was presented to the Pos Graduation Program in Education, specifically to the Master Degree level, in the Centro de Educação (Center of Education) at UFSM (Federal University of Santa Maria), for the line of research on Education and Art. The approach of this work is about the relations between education and cultural industry and their implications in the actual context starting from the diagnosis of the dialectic to the convenient cultural formation while pseudo culture, by Theodor W. Adorno, and of the action communicative theory, by Jürgen Habermas, who emphasizes the public space transformation. The purpose is analyses the concept of cultural industry as a mechanism of aesthetization to the experienced world. In the sense to aid the reversion to the cultural processes of appropriation, it makes use of the hermeneutic reconstructive dialog proposing some outlook for education in order that human being can dialogue and interact with the challenges that results from this context. In this way, this research proposes the work to decode images as a tool to think in better strategies for the formation of civic judgment. The discussion hypothesis proposes the idea that pedagogical changes which can contribute to destabilize the unidimensionality given to the communication, by the distorted practice, must pass by reeducation to the meaning of comprehend. This approach allows other comprehension meanings opening, immersed in the expressed messages, once presupposes participation in a community governed by communicative action, that it contemplates a way of double hand and that itinerary of has not only gone, but also ways in return. Thus the educative practice, through the ontextualized interventions in the experienced world, opens other ways of comprehension to the meanings plurality that emerge form the cultural patrimony, mainly the recognize of the other alterity and the differences, considering the complexity of the daily emergent values from the new interactive media. / Esta pesquisa foi apresentada ao Programa de Pós-Graduação em Educação, nível de Mestrado, do Centro de Educação, da Universidade Federal de Santa Maria, para a linha de pesquisa: Educação e Arte. O trabalho versa sobre as relações entre educação e indústria cultural e suas implicações no contexto atual a partir do diagnóstico da dialética da formação cultural, apropriada enquanto pseudocultura, de Theodor W. Adorno, e da teoria da ação comunicativa, de Jürgen Habermas, que enfatiza os processos de transformação do espaço público. O objetivo é analisar o conceito de indústria cultural como mecanismo de estetização do mundo vivido. Para tal, utiliza o diálogo hermenêutico reconstrutivo no sentido de auxiliar a reversão dos processos de apropriação do cultural, propondo algumas perspectivas à educação, a fim de que os indivíduos possam dialogar e interagir com os desafios resultantes desse contexto. Assim, a pesquisa propõe o trabalho de decodificação de imagens como forma de repensar melhores estratégias para a formação da opinião pública. A hipótese de discussão propõe a idéia de que as mudanças pedagógicas que podem contribuir para desestabilizar a unidimensionalidade dada à comunicação, pela prática sistematicamente distorcida, deve passar por uma reeducação dos sentidos do compreender. Essa proposta permite a abertura de outros sentidos da compreensão imersos nas mensagens expressas, uma vez que pressupõe a participação numa comunidade regida pela ação comunicativa, que contempla uma via de mão dupla e que não tem apenas itinerários de ida, mas também caminhos de volta. Desse modo, a prática educativa, através de intervenções contextualizadas no mundo vivido, abre outras formas de compreensão da pluralidade de sentidos que emergem do acervo cultural, principalmente o reconhecimento da alteridade do outro e das diferenças, considerando a complexidade dos valores emergentes do cotidiano das novas mídias interativas.

Cette thèse étudie comment la critique humoristique de l'actualité dans les médiasaudiovisuels de masse français est devenue un genre médiatique à part entière. Le travail« sérieux », « invisible », aux finalités « visibles », parfois surexposées, des « humoristesd'actualité », s'inspirant de la tradition des bouffons d'antan, revisite quotidiennement lesmises en récit journalistiques en les décalant, par « déboîtement ». Le croisement de troisspécialités sociologiques (des médias, du travail et de la critique), le recours à des entretienssemi-directifs (n=43) et à des corpus médiatiques conséquents (presse écrite et séquencesaudiovisuelles) permettent de décrire des trajectoires, des statuts, des savoirs-faire et des rôlesconstitutifs d'une expérience artistique et professionnelle. En interaction avec leurs deuxprincipales sources d'inspiration (professionnels de la politique et journalistes), les humoristesd'actualité produisent une critique réflexive, contestataire ou dénonciatrice. Cette critiquespécifique, méthode de dévoilement aux règles implicites et explicites, constitue une « carteblanche » pour aller le plus loin possible, malgré les risques (pressions, licenciements, procès,etc.), les polémiques régulières, les tentatives de construction de « lignes jaunes »(philosophique, politique, journalistique), et les controverses à la visibilité parfois maximale(affaire Strauss-Kahn), qui pèsent plus ou moins sur la définition des normes du travail(censure, autocensure, etc.). L'imagination créatrice des humoristes d'actualité participepleinement du processus de « publicisation critique » de la démocratie, et teste son idéal deliberté d'expression. / This thesis explores how the news humorous critic in the French audiovisual mass media hasbecome a media genre in its own right. The "serious", "invisible" work, made for "visible"ends, sometimes overexposed, of these "news humorists" who are inspired by the tradition ofjesters of old, regularly revisits journalistic narratives, and shifting them by "pulling-out"(déboîtement). The crossing of three sociological literatures (media, work and criticism),semi-structured interviews (n = 43) and a substantial media corpus (print media andaudiovisual sequences) allows us to describe the trajectories, statutes, know-how andconstituent roles of an artistic and professional experience. Interacting with their two mainsources of inspiration (elected officials and journalists), news humorists are producing a criticthat can be reflexive, protestive or reprobative. This specific critic, unveiling method, withimplicit and explicit rules, constitutes a "carte blanche" to go as far as possible, despite therisks (pressures, layoffs, lawsuits, etc.), regular polemics, attempts to set "yellow lines"(philosophical, political, journalistic), and controversies with high visibility (the Strauss-Kahncase), all of this weighing more or less on the definition of work standards (censorship, selfcensorship,etc.). The creative imagination of news humorists then fully participates in theprocess of "critical publicisation" of democracy, and tests its ideal of freedom of expression.

Le constat d’une difficulté est à l’origine de cette thèse : est-il encore possible de parler de clôture de la fiction face au fonctionnement contemporain des franchises fondées sur le développement transmédiatique d’univers transfictionnels ? Cette thèse traite des problématiques de création dans le cadre des industries culturelles : quelles sont les influences de l’industrie sur la création d’une fiction ? Quelles sont les influences de la fiction sur les médiations et les représentations de l’industrie ? Quelles sont les conséquences de l’industrialisation sur les circulations de la fiction ? Comment comprendre la permanence d’une figure d’auteur dans un régime de création collective ? L’étude se structure autour de quatre hypothèses principales, correspondant à autant de parties : tout d’abord, il est désormais nécessaire de parler de « fictions industrialisées », dans la mesure où la fiction, ses formes et ses contenus sont façonnés par l’industrie. Réciproquement, on constate l’émergence d’une « industrie narrativisée » : l’industrie participe de la création culturelle mais devient aussi objet culturel marqué par les codes de la fiction. La proposition de la notion de « fiction totale » rend nécessaire de repenser les notions de participation et de convergence qui, paradoxalement, ne sont pas incompatibles avec le concept d’autorité ; ainsi, il semble que l’ouverture de la fiction soit le symptôme d’un verrouillage institutionnel accru. Enfin, cette thèse pose l’hypothèse de l’émergence d’une nouvelle forme d’auctorialité, fondée sur l’assimilation de la figure d’auteur à un triple produit. / One main question originated this PhD Thesis : is it still possible to talk about the closure of a fiction when contemporain franchises work on continual developments and expansions ? This document questions the concept of fiction through the notion of cultural industry. How is the creation of fiction influenced by its industrial environment ? What consequences does fiction have on its industrial environment ? What does industrialisation do to the circulation of fiction ? How does evolve the notion of authorship in this collective environment for creation ? Our study is structured around four main hypothesis, which are each studied in a dedicated part of this thesis : firstly, we underline the relevance of the notion of « industrialised fictions » ; indeed, fictional contents and formats’ evolutions are deeply linked to industrial developments. Furthermore, these contents and formats are sometimes shaped accordingly to their potential industrial developments. Reciprocally, we emphasize the notion of « narrated industry » : industry participates in cultural creation and is a cultural creation contaminated by fiction. A new notion is therefore necessary : the « totalizing fiction ». We worked on a renewed approach for the notions of convergence and participatory cultures which are, paradoxically, strongly linked to the concept of authority : the oppenness of fiction would be the symptom of an institutional lockout. Finally, this thesis defines the appareance of a new form of authority, shaped on the assimilation of authorship to a product : the author is produced as a figure, as a comercial and cultural object and as a self-creation.

[pt] O presente trabalho tem como objetivo analisar e refletir sobre o modo como as tecnologias digitais afetam as experiências musicais de crianças de 5 e 6 anos. Os principais referenciais teóricos são autores da Teoria Crítica, como os frankfurtianos Adorno, Horkheimer e Benjamin, que trazem o debate sobre a Indústria Cultural e os efeitos dos avanços tecnológicos no campo da arte. Para a pesquisa de campo também foram abordados teóricos da Sociologia da Infância, como Corsaro e Sarmento, a fim de se discutir sobre as concepções de infância e criança que apoiam a entrada em campo da presente investigação. A coleta de dados se deu em uma instituição federal de Educação Infantil do Rio de Janeiro, a partir de observações e conversas, individuais e em pequenos grupos, com as crianças. Também foram analisadas as plataformas que mais apareceram nas falas das crianças sobre música: Youtube e TikTok. Dentre os resultados encontrados, é possível destacar a predominância de vivências musicais por meio da mídia digital, principalmente no uso de aparelhos smartphones e tablets. Também foi verificado que a questão da fetichização da música ainda está presente no contexto digital, percebida na valorização dos “artistas” de acordo com aspectos não- artísticos, como sua imagem, aparência, roupas e vida pessoal, e na mercantilização da música a partir de propagandas e vendas de produtos ligados àquela celebridade. A questão do gosto como prerrogativa pessoal também é discutida, uma vez que a exposição exagerada de determinados artistas é identificada, além das sugestões apresentadas aos usuários serem influenciadas por questões financeiras e pelo sucesso prévio daquele conteúdo. Outro aspecto identificado é o uso de fórmulas que padronizam os conteúdos musicais, além de afetar a percepção dos ouvintes, que se acostumam a determinados padrões, muitas vezes rejeitando novos materiais. Por fim, foi sinalizado que, apesar das possibilidades trazidas pelas tecnologias digitais, como a mobilidade para se escutar música em qualquer lugar e o acesso a um repertório imenso de músicas e artistas, a tecnologia digital em si não garante às crianças experiências musicais verdadeiras. Muitas vezes, as vivências com a música em um contexto digital se tornam pontuais, efêmeras, distraídas, com pouco tempo para análise, reflexões e escuta atenta. Nesse sentido, o presente trabalho defende que escola, família e sociedade se questionem acerca do uso desmedido das mídias digitais, sugerindo reflexões sobre esse uso e sobre os cuidados a serem tomados, principalmente, com relação à mediação daqueles que atuam diretamente na educação das crianças, visando garantir experiências musicais emancipadoras. / [en] The research aims to analyze and discuss the way digital technology affects preschool children s musical experience. Based on critical theorists, like Adorno, Horkheimer and Benjamin, this thesis debates culture industry, technological advancements, and their effects on arts. Sociologists of childhood, like Corsaro and Sarmento, also contributed with conceptions of children e childhood that were helpful to this study. The case study was conducted in a federal preschool institution located in Rio de Janeiro, observing 5 to 6 years old children, and using individual and small group interviews. In addition, were analyzed the platforms that children most related to music: Youtube and Tiktok. Observations and interviews showed the growth of digital media in children s relation with music, mainly smartphones and tablets. Also, the research has provided contributions about the fetish character of music in the context of digital technology. It was noticed that artists are evaluated based on non-musical aspects, like their image, clothes, and personal life, besides advertisements of products related to the celebrity. The idea of personal taste was also debated, once it was detected a great exposure of certain artists if compared to others, and as well as suggestions of videos, influenced by its success and economical interests. Additionally, it was noticed some formulas which standardize music, affecting the perception of listeners, who become used to those standards and sometimes end up rejecting new materials. Finally, it was signalized that, although digital technology offers many possibilities, like listening to music anytime and anywhere and searching songs from all around the world, it doesn t guarantee musical experience for real to children. Many times, the relationship with music becomes punctual, ephemeral, distracted, with no time to analyze, reflect and listen carefully. Therefore, this research defends that those who are responsible for children s education – school, family, society – reflect about the excessive use of digital medias and think about precautions and mediation to guarantee emancipatory musical experiences.

No description available.