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Estatística
Título: AUTHORIAL EVENTS: CHALLENGES AND OPPORTUNITIES IN THE BRAZILIAN MUSIC INDUSTRY
Autor(es): JOANA AMEIJEIRA DE MATOS
Colaborador(es): ALESSANDRA BAIOCCHI ANTUNES CORREA - Orientador
Catalogação: 06/JUN/2025 Língua(s): PORTUGUESE - BRAZIL
Tipo: TEXT Subtipo: SENIOR PROJECT
Notas: [pt] Todos os dados constantes dos documentos são de inteira responsabilidade de seus autores. Os dados utilizados nas descrições dos documentos estão em conformidade com os sistemas da administração da PUC-Rio.
[en] All data contained in the documents are the sole responsibility of the authors. The data used in the descriptions of the documents are in conformity with the systems of the administration of PUC-Rio.
Referência(s): [pt] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/TFCs/consultas/conteudo.php?strSecao=resultado&nrSeq=70788@1
[en] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/TFCs/consultas/conteudo.php?strSecao=resultado&nrSeq=70788@2
DOI: https://doi.org/10.17771/PUCRio.acad.70788
Resumo:
This study analyzes the use of proprietary events as an alternative strategy for revenue generation and engagement in the Brazilian music industry. Through a qualitative approach, including interviews with industry professionals, the research explores how established artists have been implementing and managing their own events to diversify income sources and foster more authentic connections with their audience. Findings indicate that the creative autonomy provided by these events allows musicians to express their artistic identity in a more genuine manner, thereby strengthening relationships with fans. Additionally, proprietary events create monetization opportunities through brand partnerships and exclusive merchandise sales, enhancing the financial viability of these initiatives. However, logistical and financial management challenges are also highlighted, requiring artists to develop administrative skills and assemble teams that align with their vision. The study concludes that proprietary events represent a transformation of the traditional concert model, promoting greater artistic freedom and deeper audience engagement, though they demand an adaptation to the role of manager and entrepreneur. Future research should explore the economic impact of these initiatives in the music market and compare practices with other countries.
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