La vuelta de un formato que parecía obsoleto¿Por qué seguimos escuchando vinilos?

  1. FERNÁN DEL VAL
Journal:
Telos: Cuadernos de comunicación e innovación

ISSN: 0213-084X

Year of publication: 2019

Issue Title: GEOTECNOLOGÍA

Issue: 110

Pages: 78-85

Type: Article

More publications in: Telos: Cuadernos de comunicación e innovación

Abstract

Vinyl was a dying format ten years ago. Since then its sales have not stopped increasing. How has this format invert its obsolescence for the first time in the history of the music industry

Bibliographic References

  • Appen, R. V. y A. Dohering. (2006): “Nevermind the Beatles, here’s Exile 61 and Nico: ‘The top 100 records of all time’ – a canon of pop and rock albums from a sociological and an aesthetic perspective”, en Popular Music, vol. 25 (1). Pp 21-39.
  • Bartmanski, D. y Woodward, I (2015): “The vinyl: The analogue medium in the age of digital reproduction”, en Journal of Consumer Culture. Vol 15, Issue 1. Pp. 3 – 27
  • Gracon, David (2010): Exiled records and over-thecounterculture: a cultural political economic analysis of the independent record store. Dissertation presented to the School of Journalism and Communication and the Graduate School of the University of Oregon, Oregon, University of Oregon Libraries.
  • Guerra, P. (2011): “Alta fidelidade: um roteiro com paragens pelas lojas de discos independentes em Portugal na última década (1998-2010)”, en Sociologia, Revista da Faculdade de Letras da Universidade do Porto. Vol. XXI. Pp. 23-48.
  • Hayes, D. (2006): “Take Those Old Records off the Shelf”: Youth and Music Consumption in the Postmodern Age”, en Popular Music and Society, 29: 1. Pp. 51-68
  • Hracs, Brian J. and Jansson, J. (2017): “Death by streaming or vinyl revival? Exploring the spatial dynamics and value-creating strategies of independent record shops in Stockholm”, en Journal of Consumer Culture. First Published December 6, 2017.
  • Hendricks, Jerome M. (2015): “Curating Value in Changing Markets: Independent Record Stores and the Vinyl Record Revival”, en Sociological Perspectives. Vol 59, Issue 2, pp. 479 – 497.
  • Lepa, S y Tritakis, S. (2016): “Not Every Vinyl Retromaniac is a Nostalgic A social experiment on the pleasures of record listening in the digital age”, en Medien & zeit. 4. Pp. 16-32.
  • Magaudda, P. (2011): “When materiality ‘bites back’: Digital music consumption practices in the age of dematerialization”, en Journal of Consumer Culture, 11 (1). Pp. 15-36.
  • Nokelainen, T., y Dedehayir, O. (2014): “Technological adoption and use after mass market displacement: The case of the LP record”, en Technovation. Pp. 1-8.
  • Osborne, R. (2013): Vinyl: A History of the Analogue Record. Surrey: Ashgate.
  • Promusicae (2015): Mercado de la música grabada en España.
  • Regev, Motti (1994). “Producing artistic value: the case of rock music”, en the Sociological Quarterly, vol. 35, nº 1. Pp. 85-102.
  • Reynolds, S. (2012): Retromanía. La adicción del pop a su propio pasado. Buenos Aires: Caja Negra.
  • Shuker, R. (2004): “Beyond the ‘high fidelity’ stereotype: Defining the (contemporary) record collector”, en Pyleropular Music, 23(3). Pp. 311-330.
  • Sonnichsen, T. (2013): Emotion, place, and record collecting in Los Angeles: A post-modernist interpretation. MA, California State University, Long Beach.
  • Val, F. (2010): “El canto del loco: el debate sobre la autenticidad en el rock”, en Noya, Val y Pérez Colman (Coords). MUSYCA. Música, sociedad y creatividad artística. Madrid, Biblioteca Nueva. Pp. 145-158.
  • Yochim, E. y Biddinger, M. (2008): `It kind of gives you that vintage feel’: vinyl records and the trope of death” en Media, Culture & Society. Vol 30, Issue 2, pp. 183-195