Between artists and streaming platforms

perceptions of content aggregators in digital music distribution

Authors

DOI:

https://doi.org/10.15448/1980-3729.2026.1.48790

Keywords:

Platformization, music industry, streaming, content aggregators

Abstract

The article examines how independent artists perceive content aggregators in the context of digital music distribution, considering the platformisation of cultural production. Drawing on in-depth interviews with musicians from Rio Grande do Sul, the study describes aggregators as intermediaries linking artists to services such as Spotify, Apple Music, and Deezer, and engages with the existing literature. The findings highlight the centrality of data and editorial/algorithmic playlists, as well as the role of aggregators, which are perceived as necessary but insufficient to ensure symbolic recognition and artists’ sustainability. The study concludes that aggregators operate as hybrid mediators (both technical and cultural) within an ecosystem dominated by metrics and data, which demands expanded competencies from artists and reconfigures the conditions of circulation and the value of music.

Downloads

Download data is not yet available.

Author Biographies

Vanessa Amalia Dalpizol Valiati , Feevale University, Novo Hamburgo, RS, Brazil.

Holds a PhD in Communication and Information (PPGCOM/UFRGS), an MA in Social Communication (PPGCOM/PUCRS), and a specialization in the Economics of Culture (PPGE/UFRGS). She serves as a professor and researcher in the Graduate Programs in Creative Industries and in Cultural Processes and Manifestations, as well as in the undergraduate programs in Journalism and Audiovisual Production at Feevale University. She is a recipient of a CNPq Research Productivity Fellowship (PQ-C) and serves as editor of the *Brazilian Creative Industries Journal*.

Letícia Prior Breda, Feevale University, Novo Hamburgo, RS, Brazil.

PhD candidate in the Graduate Program in Cultural Processes and Manifestations at Feevale University, holds a master’s degree in Communication from the Federal University of Rio Grande do Sul (UFRGS), and a bachelor’s degree in Journalism from Feevale University.

Camila Melo Ferrareli, Feevale University, Novo Hamburgo, RS, Brazil.

PhD candidate in the Graduate Program in Creative Industry at Feevale University; holds a Master’s degree in Creative Industry and a Bachelor’s degree in Journalism, both from Feevale University.

Jorge Otávio Pinto Pouey de Oliveira, Feevale University, Novo Hamburgo, RS, Brazil.

PhD candidate in the Graduate Program in Creative Industry at Feevale University; holds a Master’s degree in Communication Sciences from the Graduate Program in Communication (PPG-Com) at UNISINOS; specialist in Higher Education Teaching from UNISINOS; and holds a teaching degree (licentiate) in Language and Literature from PUC-RS.

References

A EXPLOSÃO do Streaming no Brasil: 75% dos brasileiros assistem a vídeos diariamente. Grupo RBS, 15 out. 2024. Disponível em: https://www.gruporbs.com.br/conteudosdenegocios/120/a-explosao-do-streaming-no-brasil . Acesso em: 26 ago. 2025

ABRAMUS. A maior associação de música e artes do Brasil. [S. l.], 2025. Disponível em: abramus.org.br. Acesso em: 29 ago. 2025.

AIROLDI, Massimo. Machine habitus: Toward a sociology of algorithms. [S. l.]: John Wiley & Sons, 2021.

AMARAL, Adriana; MONTEIRO, Camila. Esses roquero não curte: performance de gosto e fãs de música no Unidos Contra o Rock do Facebook. Revista FAMECOS: mídia, cultura e tecnologia, Porto Alegre, v. 20, n. 2, p. 446−471, 2013. Disponível em: https://doi.org/10.15448/1980-3729.2013.2.15130. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.15448/1980-3729.2013.2.15130

ARRIAGADA, Arturo; LAVÍN, Macarena; MARTÍNEZ, Ana Clara; OLIVARES, Diego. Cantando para el algoritmo: Spotify y su impacto en la producción, distribución y monetización de la música en Chile. Valparaíso: [s. n.], 2025.

AUSTRALASIAN PERFORMING RIGHT ASSOCIATION. Economic contribution of the venue-based live music industry in Australia. Sydney: APRA, 2011.

BANDEIRA, Messias Guimarães. Música e cibercultura: do fonógrafo ao MP3 – digitalização e difusão de áudio através da Internet e a repercussão na indústria fonográfica. In: LEMOS, André; PALACIOS, Marcos (org.). Janelas do ciberespaço: comunicação e cibercultura. Porto Alegre: Sulina, 2001. p. 204-217.

BEER, David. The data gaze: Capitalism, power and perception. [S. l.]: Sage, 2018. DOI: https://doi.org/10.4135/9781526463210

BONINI, Tiziano; GANDINI, Alessandro. “First week is editorial, second week is algorithmic”: Platform gatekeepers and the platformization of music curation. Social Media+ Society, [s. l.], v. 5, n. 4, p. 2056305119880006, 2019. Disponível em: https://journals.sagepub.com/doi/10.1177/2056305119880006. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/2056305119880006

BRASILEIROS passaram a consumir mais músicas por streaming em 2020. Veja, 2021. Disponível em: https://veja.abril.com.br/economia/brasileiros-passaram-a--consumir-mais-musicas-por-streaming-em-2020/. Acesso em: 24 ago. 2025.

BUCHER, Taina. The algorithmic imaginary: Exploring the ordinary affects of Facebook algorithms. In: THE SOCIAL power of algorithms. Routledge: [s. n.], 2019. p. 30−44. DOI: https://doi.org/10.4324/9781351200677-3

CURTIN, Michael. Thinking globally. In: HOLT, Jennifer; PERREN, Alisa (ed.). Media industries: History, theory, and method. Hoboken: Wiley-Blackwell, 2009. p. 108−119.

D’ANDRÉA, Carlos Frederico de Brito. Pesquisando plataformas online: conceitos e métodos. Salvador: EDUFBA, 2020.

DE MARCHI, Leonardo. A Indústria Fonográfica Digital: formação, lógica e tendências. Rio de Janeiro: Mauad X, 2023.

ERIKSSON, Maria; FLEISCHER, Rasmus; JOHANSSON, Anna; SNICKARS, Pelle; VONDERAU, Patrick. Spotify Teardown: Inside the Black Box of Streaming Music. Cambridge: MIT Press, 2019. DOI: https://doi.org/10.7551/mitpress/10932.001.0001

FRANCISCO, Pedro Augusto P.; VALENTE, Mariana Giorgetti (org.). Do rádio ao streaming: ECAD, direito autoral e música no Brasil. Rio de Janeiro: Beco do Azougue, 2016.

GALUSZKA, Patryk. Music aggregators and intermediation of the digital music market. International Journal of Communication, [s. l.], v. 9, p. 254-273, 2015. Disponível em: https://ijoc.org/index.php/ijoc/article/view/3113/1298. Acesso em: 13 ago. 2026.

HAGEN, Anja Nylund; LÜDERS, Marika. Social streaming? Navigating music as personal and social. Convergence, [s. l.], v. 23, n. 6, p. 643-659, 2017. Disponível em: https://scispace.com/pdf/social-streaming-navigating-music-as-personal-and-social-3cj22u7wot.pdf. Acesso em: 13 ago. 2026. DOI: https://doi.org/10.1177/1354856516673298

HESMONDHALGH, David. Why music matters. Malden: Wiley-Blackwell, 2013.

HESMONDHALGH, David; MEIER, Leslie M. What the digitalisation of music tells us about capitalism, culture and the power of the information technology sector. Information, Communication & Society, [s. l.], v. 21, p. 1555–1570, 2018. Disponível em: https://www.tandfonline.com/doi/full/10.1080/1369118X.2017.1340498. Acesso em: 3 ago. 2026 DOI: https://doi.org/10.1080/1369118X.2017.1340498

HROCH, Miloš; SZCZEPANIK, Petr. Playlisting the periphery: Platform intermediaries and East-Central European music visibility in Spotify’s geography. New Media & Society, [s. l.], v. 28, n. 7, p. 3416−3435, 2025. Disponível em: https://doi.org/10.1177/14614448251346. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/14614448251346200

INTERNATIONAL FEDERATION OF THE PHONOGRAPHIC INDUSTRY (IFPI). Global Music Report. [S. l.], 2025. Disponível em: https://globalmusicreport.ifpi.org/. Acesso em: 24 ago. 2025.

ISMERIM, Flávio. Streaming domina música no Brasil com 87% de faturamento, diz relatório. CNN Brasil, 19 mar. 2025. Disponível em: https://www.cnnbrasil.com.br/entretenimento/streaming-domina-musica-nobrasil-com-87-de-faturamento-diz-relatorio/. Acesso em: 26 ago. 2025.

KJUS, Yngvar. Twists and turns in the 360 deal: Spinning the risks and rewards of artist–label relations in the streaming era. European Journal of Cultural Studies, [s. l.], v. 25, n. 2, p. 463−478, 2021. Disponível em: https://journals.sagepub.com/doi/10.1177/13675494211044731. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/13675494211044731

LITT, Eden. Knock, knock. Who’s there? The imagined audience. Journal of Broadcasting & Electronic Media, [s. l.], v. 56, n. 3, p. 330−345, 2012. Disponível em: https://doi.org/10.1080/08838151.2012.705195. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1080/08838151.2012.705195

MAGUIRE, Jennifer Smith; MATTHEWS, Julian. Are we all cultural intermediaries now? An introduction to cultural intermediaries in context. European Journal of Cultural Studies, [s. l.], v. 15, n. 5, p. 551−562, 2012. Disponível em: https://doi.org/10.1177/1367549412445. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/1367549412445762

MEIER, Leslie M.; MANZEROLLE, Vincent R. Rising tides? Data capture, platform accumulation, and new monopolies in the digital music economy. New Media & Society, [s. l.], v. 21, n. 3, p. 543−561, 2019. Disponível em: https://journals.sagepub.com/doi/10.1177/1461444818800998. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/1461444818800998

McCOURT, Tom. Collecting music in the digital realm. Popular Music and Society, [s. l.],v. 28, n. 2, p. 249-252, 2005. Disponível em: https://www.tandfonline.com/doi/abs/10.1080/03007760500045394. Acesso em: 13 ago. 2026. DOI: https://doi.org/10.1080/03007760500045394

MORRIS, Jeremy Wade. Music Platforms and the Optimization of Culture. Social Media + Society, [s. l.], v. 6, n. 3, 2020. Disponível em: https://journals.sagepub.com/doi/full/10.1177/2056305120940690. Acesso em: 13 ago. 2026. DOI: https://doi.org/10.1177/2056305120940690

NIEBORG, David B.; POELL, Thomas. The platformization of cultural production: theorizing the contingent cultural commodity. New Media & Society, [s. l.], v. 20, n. 11, p. 4275–4292, 2018. Disponível em: https://journals.sagepub.com/doi/10.1177/1461444818769694. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/1461444818769694

NUNES, Luís Filipe da Mata. Consumo de música: os social media e os serviços de streaming. 2015. 53 f. Dissertação (Mestrado em Marketing) − Instituto Superior de Economia e Gestão, Universidade de Lisboa, Lisboa, 2015. Disponível em: http://hdl.handle.net/10400.5/10684. Acesso em: 12 ago. 2026.

ONERPM. Conhecimento é poder. [S. l.], 2025a. Disponível em: onerpm.com. Acesso em: 27 ago. 2025.

ONERPM. Música é poder: Amplifique-a. [S. l.], 2025b. Disponível em: onerpm.com. Acesso em: 27 ago. 2025.

POELL, Thomas; NIEBORG, David; VAN DIJCK, José. Platformisation. Internet Policy Review, [s. l.], v. 8, n. 4, p. 1–13, 2019. Disponível em: https://doi.org/10.14763/2019.4.1425. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.14763/2019.4.1425

PREY, Robert. Locating power in platformization: Music streaming playlists and curatorial power. Social Media + Society, [s. l.], v. 6, n. 2, p. 1–11, 2020. Disponível em: https://doi.org/10.1177/2056305120933291. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/2056305120933291

PREY, Robert. Nothing personal: algorithmic individuation on music streaming platforms. Media, Culture & Society, [s. l.], v. 40, n. 7, p. 1086−1100, 2018. Disponível em: https://journals.sagepub.com/doi/10.1177/0163443717745147. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/0163443717745147

SÁ, Simone Pereira. Se vc gosta de Madonna também vai gostar de Britney! Ou não? Gêneros, gostos e disputa simbólica nos Sistemas de Recomendação Musical. E-Compós, Brasília, v. 12, n. 2, p. 1−20, maio/ago. 2009. Disponível em: https://doi.org/10.30962/ec.395. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.30962/ec.395

SHEPPARD, Eric. Limits to globalization: The disruptive geographies of capitalist development. Oxford: Oxford University Press, 2016. DOI: https://doi.org/10.1093/acprof:oso/9780199681167.001.0001

SILVA, Pedro Perfeito; VALIATI, Leandro. Digitalização e cadeia global de valor da música: uma abordagem evolucionária para emergência dos agregadores no mercado brasileiro. Revista Sociedade e Estado, [s.l.], v. 34, n. 1, p. 85−106, jan. /abr. 2019. Disponível em: https://doi.org/10.1590/s0102-6992-201934010004. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1590/s0102-6992-201934010004

SOCIEDADE BRASILEIRA DE ADMINISTRAÇÃO E PROTEÇÃO DE DIREITOS INTELECTUAIS (SOCINPRO). Home. Rio de Janeiro, 2025. Disponível em: socinpro.org.br. Acesso em: 29 ago. 2025.

SPOTIFY bate novo recorde e passa de 276 milhões de assinantes premium. UBC, 30 jul. 2025. Disponível em: https://www.ubc.org.br/publicacoes/noticia/23456/spotify-bate-novo-recorde-e-passa-de-276-milhoesde-assinantes-premium. Acesso em: 30 ago. 2025.

THROSBY, David; ZEDNIK, Anita. Do you really expect to get paid? An economic study of professional artists in Australia. Sydney: Australia Council for the Arts, 2010.

TRATORE. Distribuição digital para artistas independentes. São Paulo, 2025a. Disponível em: tratore.com.br. Acesso em: 27 ago. 2025.

TRATORE. Sobre a Tratore. São Paulo, 2025b. Disponível em: tratore.wpcomstaging.com/sobre-a-tratore. Acesso em: 27 ago. 2025 DOI: https://doi.org/10.15603/2176-0969/pi.v27n27pe2025-008

UNIÃO BRASILEIRA DE COMPOSITORES (UBC). Início. [S. l.], 2025. Disponível em: ubc.org.br. Acesso em: 29 ago. 2025.

VAN DER VLIST, Fernando N.; HELMOND, Anne. How partners mediate platform power: mapping business and data partnerships in the social media ecosystem. Big Data & Society,[s. l.], v. 8, n. 1, p. 1-16, 2021. Disponível em: https://journals.sagepub.com/doi/10.1177/20539517211025061. Acesso em: 13 ago. 2026. DOI: https://doi.org/10.1177/20539517211025061

VAN DIJCK, José; POELL, Thomas; DE WAAL, Martijn. The platform society: Public values in a connective world. Oxford: Oxford University Press, 2018. DOI: https://doi.org/10.1093/oso/9780190889760.001.0001

VAN ES, Karin; POELL, Thomas. Platform imaginaries and Dutch public service media. Social Media+ Society, [s. l.], v. 6, n. 2, p. 1−10, 2020. Disponível em: https://journals.sagepub.com/doi/10.1177/2056305120933289. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/2056305120933289

VONDERAU, Patrick. The Spotify effect: digital distribution and financial growth. Television & New Media, [s. l.], v. 20, n. 1, p. 3−19, 2019. Disponível em: https://journals.sagepub.com/doi/10.1177/1527476417741200. Acesso em: 3 ago. 2026. DOI: https://doi.org/10.1177/1527476417741200

WALSH, Michael James. ‘I’m also slightly conscious of how much I’m listening to something’: music streaming and the transformation of music listening. Media, Culture & Society, [s. l.], v. 46, n. 4, 745-761, 2023. Disponível em: https://journals.sagepub.com/doi/full/10.1177/01634437231219142. Acesso em: 13 ago. 2026. DOI: https://doi.org/10.1177/01634437231219142

WEBSTER, Jack. The promise of personalisation: exploring how music streaming platforms are shaping the performance of class identities and distinction. New Media & Society, [s. l.], v. 25, n. 8, p. 2140-2162.2021. Disponível em: https://journals.sagepub.com/doi/10.1177/14614448211027863. Acesso em: 13 ago. 2026. DOI: https://doi.org/10.1177/14614448211027863

Published

2026-11-06

How to Cite

Dalpizol Valiati , V. A., Prior Breda, L., Melo Ferrareli, C., & Pinto Pouey de Oliveira, J. O. (2026). Between artists and streaming platforms: perceptions of content aggregators in digital music distribution. Revista FAMECOS, 33(1), e48790. https://doi.org/10.15448/1980-3729.2026.1.48790

Issue

Section

Dossiê: Plataformização da Produção Cultural no Brasil