J. Ignacio Gallego

This book explores how academia seeks to systematize the changes taking place in radio in its adaptation to the digital era. The individual chapters here investigate the most important issues currently under study by researchers in the medium of radio, tackling such key questions as the future of the radio spectrum, the new commercial radio business models, the function of community radio stations, and the development of university radio stations, amongst others.
As such, this volume is integral to an understanding of the compound dimensions of the sound and radio media research currently being carried out in countries as varied as the United Kingdom, Spain, Poland, Finland, Portugal, Brazil and Argentina.

With the support of RTVE Institute and the contributions of experts in radio research, both academics and professionals, the book is dedicated to analyze the main challenges and uncertainties that Spanish radio broadcasting and audio production must face. The volume offers an overview of ongoing transformations through three main sections. Whereas the first one is dedicated to policy, regulation and the market, and the second one deals with technological innovation, the last part of the book revolves around the relationships between the language of radio, programming and art.

El objeto de estudio de esta investigación se centra en el uso que hacen del podcasting las empresas radiofónicas españolas como nueva forma de distribución de contenidos y su relación con modelos de negocio que emergen en paralelo a la fórmula de difusión y negocio tradicional. Como parte central del objeto del estudio el podcasting se puede definir a nivel práctico como una formula de distribución de contenidos de audio que consiste en la descarga automatizada de estos contenidos a través de un agregador. Esta investigación partirá de un marco tecnológico-histórico para llegar a la aplicación que se hace actualmente de esta tecnología en las empresas radiofónicas españolas, centrándonos en los casos que nos parecen significativos por el nivel de aplicación que tienen actualmente. Debemos tener en cuenta a la hora de valorar nuestro objeto de estudio que este se encuentra en una fase de implantación y desarrollo, y justo en el momento de comenzar la redacción de la parte central se están renovando parte de los servicios de Internet de grandes empresas que serán revisados en el análisis por lo que se trata de un objeto de estudio en plena evolución.

En los últimos años, la aparición de nuevas tecnologías de difusión está alterando el paradigma de transmisión y recepción de los medios tradicionales. Alrededor de la radio, y en conexión con la distribución de contenidos sonoros, surge el podcasting como un nuevo concepto de difusión de contenidos bajo demanda en Internet. En estas páginas se articula un discurso en torno a la tecnología, el consumo, de qué manera le afecta la legislación actual y su relación con la empresa radiofónica y el desarrollo de nuevas formas de negocio que se están generando alrededor del podcasting y de otras formas de distribuir contenidos de audio en la Red. Partiendo de un marco en el que se realiza una foto de las nuevas formas de distribuir y consumir contenidos sonoros definiremos tecnológica e históricamente el podcasting (como concepto de referencia) para ir poco a poco introduciéndonos en la manera en que está transformando el paradigma normal de emisión de contenidos. Empresa (como emisor /distribuidor) y usuario (como oyente / creador) son reubicados en este nuevo panorama a través de diferentes puntos que nos ayudan a entender los cambios producidos. A partir de aquí iniciamos un análisis en profundidad de diferentes emisores de contenidos, nacionales e internacionales, en situaciones que son desarrolladas a través de casos concretos. El desarrollo de estos casos está ilustrado con una observación cualitativa completada con algunas conversaciones con directivos responsables de este tipo de servicios.

Resumen. Este trabajo presenta las conclusiones del mapeo del sector de la música digital España, ordenando estos procesos de intermediación como aporte para los estudios de comunicación. Partiendo del concepto de diversidad, y con una mirada desde la economía política de la comunicación y la cultura, evalúa un sector clave dentro de las industrias culturales y cuya transformación es un referente, y antecedente, para otros sectores. Palabras clave: diversidad; industria musical; intermediarios digitales; mapeo. [en] The digital music sector in Spain: mapping intermediaries.

In today's music industry, many female workers live experiences of injustice and inequality that, whether perceived or not, are caused by and simultaneously affect both the system of music production relationships and daily their lives. These experiences are already evident from the state of ignorance associated with the absence of databases and records of economic activities by disaggregated by sex in this industry. This article attempts to answer a question: how can we investigate the possible experiences of gender injustices and inequalities when there are no official records to shed light on the basic structures that order the relationships of production affecting daily life? This is even more true now that there is ample evidence of the historical inequality of women compared to men in most labour fields. Therefore, the mixed methodology we used here responds to the injustice and epistemic ignorance underlying the present structure of labour relations and family reconciliation. This approach allowed us to undertake an exploratory and descriptive analysis of the situation of women in the music industry from this initial premise. The aim of this work arose from the need to present and justify the use and procedures of a mixed qualitative and quantitative methodology as a necessary tool to research the situation of female workers in the music industry in Spain.

The current digital landscape is based on platform capitalism and on the cloud concept in which different services (music platforms, instant messaging services, live music companies, sellers, device companies, music major labels, radio players) try to control music/sound circulation. The new century started with the development of new devices — the iPod, smartphones, AI speakers — and distribution modes (podcasting, streaming) and the emergence of voice interaction to control devices. In this context, this paper develops a value chain defining the diverse key intermediaries in the management, accumulation, distribution, and access to information phases.

En el escenario actual se aprecian dos tendencias claves a la hora de situar a los diferentes actores de la industria musical digital. Por un lado, la consolidación de los servicios de streaming, que transforman de manera directa la forma de consumir música al sustituir la mercancía basada en el soporte -ya sea físico o digital- por el acceso y la suscripción. Esta evolución en la forma de consumir/acceder a la música cambia su concepción como mercancía en su movimiento hacia la nube y nos libera de la propiedad física con la promesa de delegar la colección musical, la prescripción y el descubrimiento a los servicios digitales[2]. La nube genera una sensación de control de acceso en cualquier lugar y en cualquier momento que enmarca la otra tendencia fundamental, la generación de datos y el control de estos, estableciendo una doble lógica sobre los usuarios de este tipo de servicios de los que son clientes, a partir de la cuota de suscripción y son convertidos en mercancía, a partir de la explotación de los datos generados.

La aprobación por parte de UNESCO de la Convención sobre la protección y promoción de la diversidad de las expresiones culturales (UNESCO, 2005) es un importante elemento que ha dado impulso a los intentos de medir la diversidad en las industrias culturales (UIS, 2011). En este marco, este trabajo aborda las relaciones entre la industria musical y la radio musical en España desde una perspectiva crítica y a través de un análisis de los datos disponibles sobre oferta y consumo de música grabada (listas de ventas, listas de radiofórmulas, composición de los mercados radiofónico y fonográfico) en diferentes momentos clave marcados por la emergencia de nuevos soportes y dispositivos (CD, Mp3, internet).

Este trabajo tiene por objetivo fundamental analizar la evolución de la diversidad del mercado discográfico español desde el final de la década de 1970 hasta la actualidad, a través del estudio de las listas de éxitos musicales radiofónicos, la configuración empresarial del sector fonográfico y radiofónico, y las listas de fonogramas más vendidos.

UNESCO’s approval of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO, 2005) has been an important element in catalyzing any attempt tomeasure the diversity of cultural industries (UIS, 2011). Within this framework, this article analyzes the relations between the music and radio industries in Spain from a critical perspective through the analysis of available data on recorded music offer and consumption (sales lists, radio-formula lists,
the characteristics of the phonographic and radio markets) in different key moments due to the emergence of new formats and devices (CDS, Mp3, Internet). The main goal of this work is to study the evolution of the Spanish record market in terms of diversity from the end of the 1970s to the present, through the study of radio music hits lists and, the business
structure of the phonographic and radio sectors, and phonograms top sales lists.

La crisis de los modelos tradicionales de financiación, el nuevo
rol de las audiencias y el desarrollo de las redes digitales han
transformado la producción, la distribución y el consumo de
productos culturales, incluyendo los contenidos sonoros y
radiofónicos.
A partir de un cambio en el modelo tradicional de riesgo e
inversión, el crowdfunding introduce al oyente en la circulación y la financiación de diferentes proyectos. De esta manera, este trabajo analiza la viabilidad y la sostenibilidad de esta forma de financiación centrando su atención en diferentes proyectos desarrollados en España alrededor de los contenidos radiofónicos.

The new digital paradigm has supposed not only a change in the process of production, distribution and consumption music. It has changed some of the traditional ideas around media programming and the selection of music. We know that the audience are transforming her radio and music consume habits. Related with these transformations, the traditional music radio programming is currently being reconsidered. This chapter will try to analyse the infuence of the audience in the co-creation of playlists and its new role as music gatekeeper thanks to new on-line services, social networks and music radio new practices.Chapter in Radio Audiences and Participation in the Age of Network Society. Eds: Bonini, T. / Monclus, B. (Routledge, 2015)
http://www.routledge.com/books/details/9780415739153/

Until relatively recently, the subject of social relationships, constituted in and through audience practices, has been a minor part of audience research studies. This chapter explores how social relationships and forms of audience agency change and / or evolve, through the usage of both traditional and ‘new’ media. In a media environment where traditional and new media worlds collide, the potential of audience practices to rework, not only media-audience relationships, but also wider social relationships, is now an important research theme. Two key examples of mediated relationships between social actors in conditions brought about through transformations in media culture are considered. We look at the evolution of audience ‘prosumption’ or ‘produsage’ (Bruns 2007), as well as at audience ‘activism’ (de Jong, Shaw and Stammers 2005). These examples are identified as illustrating new dynamics of social interaction, which may have the potential to contribute to larger, integrative social networks that transcend the existing boundaries of the traditional concept of audience. Against the background of traditional approaches to social relationships in the context of audience studies, we examine in both case studies the respective roles of the technologies, the social actors and the emergent social relationships concerned.

El artículo presenta los resultados de un estudio realizado con discográficas y distribuidoras independientes que actúan en el mercado de la música popular en España. Con la finalidad de obtener una suerte de fotografía de la situación de este sector y analizar sus tendencias, se administró una encuesta online durante el primer semestre de 2011 a este tipo de empresas. El estudio dirigido por investigadores del Departamento de Periodismo y Comunicación Audiovisual de la Universidad Carlos III de Madrid, contó con el apoyo de la Unión Fonográfica Independiente. El artículo incide, principalmente, en las diversas actividades y estrategias que desarrollan los sellos y distribuidoras independientes, las cuales incluyen una activa
presencia en las nuevas redes y plataformas digitales. Los resultados de la investigación se presentan en el siguiente orden: a) perfil de las empresas, b) presencia internacional, c) promoción y publicidad, y d) internet y servicios online.

This article introduces the main results of a survey performed on independent record and distribution companies of popular music in Spain. The goal of this research was to obtain a panorama of this sector and to analyze its present tendencies. An online survey was conducted during the first semester of 2011 by researchers of the Journalism and Media Studies Department at Carlos III University of Madrid, with the support of the Spanish Association and Independent Phonographic Union, best known by the acronym UFI. The article emphasizes mainly the different activities and strategies developed by independent record labels and distribution companies. These companies show a very active presence on the new digital networks and platform services. The results of the research are introduced in the following order: a) profile of the companies, b) international presence, c) advertisement and promotional strategies, and d) internet and online services

En el actual escenario de convergencia mediática, las nuevas formas de tratar los contenidos de audio, y en especial los vinculados a la radio tradicional, deben ser observadas dentro del desarrollo del Internet móvil. La actual popularización de las líneas 3G y la aparición de las últimas plataformas de consumo marcan un nuevo escenario competitivo en el que el podcasting y las aplicaciones paralelas se convierten en un nuevo medio a tener en cuenta.
Abstract:

In the current panorama of media convergence, the new ways of dealing with audio content, especially in terms of traditional radio, should be examined in light of the expansion of mobile internet. The popular assimilation of 3G lines and the new consumer platforms have set up a new competitive arena in which podcasting and parallel applications have become the new media to take note of.

In recent years, the launch of new diffusion technologies has changed the transmission and reception paradigm of traditional media. The podcast has arisen as a new way of distributing on-demand radio material and other related audible content on the Internet. This article discusses the technology, consumption, copyright and new business models in relation to podcasting as a radio enterprise. The text specifically analyses Spanish public and private radio companies, in order to draw a picture of the relationship between podcasting and radio.

From its early beginnings as a single idea to its current status as an organisation of 27 member states, the European Union has suffered from the lack of a common cultural identity. This debility has greatly hindered the progress of European consolidation and convergence, which to the present day has been manifested mainly through economic and policy agreements. The European Union has achieved many goals during the last 25 years, including the implementation of a common currency that has led to a real economic union between member states and the transfer of various national competences to European institutions. However, the construction of a real European civil society has proved to be a greater challenge; Europeans still cling to their individual national, regional and local identities and have not developed a greater sense of European citizenship.
The Euranet Project—an initiative to create a pan-European radio network—began in December 2007 as a joint proposal put forth by 13 national and regional radio stations operating in 12 European countries. Its stated mission when it went on air on April 1, 2008 was to broadcast European news from a transnational perspective to local communities within the European Union. As an independent radio network comprised of member stations spread out across Europe that generates a steady stream of quality Eurocentric information, Euranet serves the EU as an alternative to an official, centralised institutional radio service managed and broadcast from Brussels.
Euranet makes a particularly interesting object of study from a researcher’s point of view, as it offers a cross-sectional view of multidisciplinary issues that are central to both European convergence and communications studies. From the perspective of convergence, Euranet constitutes the first successful pan-European radio project to recognise and address the diversity of European member states. It has been specifically designed to adapt to different radio markets and deliver tailor-made messages to
local audiences. From a communication perspective, it’s an example of how the technology and inherent synergies of Internet can be exploited to promote listener interaction and improve the dissemination of content online. Euranet has embraced web-based technologies such as streaming
and podcasting and uses its connection with university radio stations to focus on youth as a key target audience. Euranet also represents a significant shift in European Commission media policy; radio now functions as a key part of the Commission’s communication strategy to forge social cohesion in Europe and foster a sense of pan-European citizenship.
Euranet currently offers radio programming in 15 languages through a network of 18 radio stations located in 16 EU member states. It annually broadcasts 110,000 minutes (approximately 2,000 hours) of contents devoted to topics related to the European Union. Individual stations have complete freedom to determine the content of their programming. Each station daily produces between 30 and 60 minutes of Eurocentric content that is distributed throughout a variety of news and entertainment
programs devoted to sport, travel and European culture. At the present time, it serves an audience of nearly 15 million listeners.
This paper presents a critical evaluation of Euranet’s first four years of operations and speculates on the future of the network beyond the expiration of the European Commission’s current 6 million euro annual funding commitment in 2013. It also offers an evaluation of various aspects of Euranet’s operations (programming, web strategy, web 2.0. tools) and the role it has played in the construction of a European identity.

This paper is based on a published PhD Thesis presented on 2010 January under the title  Podcasting:  Sound Content Distribution and New Business Models in the Spanish radio enterprise. 
In recent years the launch of new diffusion technologies has changed the transmission and reception paradigm of traditional media. From radio, and related to audible contents distribution, has arisen the podcast as a new way of spreading content on demand on the Internet. The Thesis articulates information about technology, consumption, new copyright uses, and the connection of new business models relating to podcasting on the radio enterprise. Starting with an analysis of international radio, the text further centres attention on Spanish public and private radio companies, in order to provide a picture about podcasting relation to radio and finally to propose
an integration model.
This integration model is based in conclusions that revolved around the idea that podcasting  is well integrated into Spanish radio stations (in our study 40 % of 46 stations integrate podcast in the web offer with the presence of the five national biggest operators –Cadena Ser, Onda Cero, Cope, RNE, Punto Radio-), but is not used as a new  medium and normally reflects  on-air contents and traditional ways of production. Podcasting in Spain it has developed with new independent services such as iVoox and count with different handicaps like the lack of a new and adapted copyright legislation, the difficult usability and the absence of a clear business model that gives conservative managers little motivation to stray from the traditional models of radio enterprise.  Apart from this problem, web services have no integrated user generated contents, it could observe an heterodox panorama regarding audience measurement and the bursting of new possible competitors for attention of the audience: creators (personal podcast, television and
newspapers web services, companies podcasting services…) and new distributors and audio filters (ivoox, itunes, spotify…).   
With these conclusions as reference I want to suggest a model of a podcasting service that could be introduced into the web service provision of traditional and generalist radio station with a target from 25 to 45 years old and it is operating in the Spanish market

ES] Surgido de la cultura underground, el Do It Yourself (DIY) o Hazlo tu mismo se convirtió en una forma de creación y distribución cultural que tuvo su mayor repercusión en los albores del movimiento punk, convirtiéndose a partir de ese momento en una alternativa a la creación mainstream. Producción, promoción, sellos, radios libres, fanzi-nes, festivales… no dependen de los grandes sellos y sí del buen hacer de los creadores que en muchos casos acababan asimilados por el gran mercado.
En los tiempos actuales las herramientas digitales han evolucionado y la capacidad de expansión del DIY es mucho mayor y los intermediarios se ven amenazados. Del fanzine al blog, de la radio libre al pod-casting, la creación de espacios de promoción en diferentes herramientas, las "nuevas radios", la larga cola, el fenómeno fan, todo esto marca un antes y un después en la nueva cultura digital del DIY.
[EN] The ‘Do it yourself’ (DIY) became a new way to create and distribute music in the 70s. Emerged from the underground culture, had a significant impact at the beginning of the punk movement that turned into an alternative to mainstream creation. Production, promotion, record labels, alternative radios, fanzines and festivals depended no more on multinational corporation labels and only on the effort of the artists (in many cases later assimilated into the mainstream). Nowadays, digital tools have evolved, and the DIY expansion is greater, but intermediaries feel threatened by the record industry. From fanzine to blog, from free radios to podcasting, the creation of different promotion spaces with different tools, the "new radios", the ‘long tail’, the fan phenomena, all these events turned out to be a break-even point in the new DIY digital culture.

La radio y la televisión locales en la comunidad de Madrid se preparan para el futuro digital. Mientras tanto, la situación de la oferta radiodifusora ha variado respecto a las últimas décadas debido a la incorporación de los grupos empresariales de la comunicación a este mercado local, al igual que ocurre en el conjunto de la geografía autonómica española. Pero ¿cuál es ese panorama? ¿Conocemos cuantas emisoras de radio y televisión locales
emiten en Madrid? Este análisis pretende, mediante la exposición de datos concretos, mostrar cuál es esa realidad y permitir avanzar en el estudio de la radiodifusión en la Comunidad de Madrid.

La otra pantalla. Redes sociales, móviles y la nueva televisión Elena Neira Barcelona Editorial UOC, 2015 149 páginas 14 € Big Data. Eje estratégico de la industria audiovisual Eva Patricia Fernández (ed.) Barcelona Editorial UOC, 2016 169 páginas 18 €