Music consumption in Brazil: an analysis of streaming reproductions

Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The a individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as se universitário and international pop have great national reach. However, other national genres and artists with less popularity have a relevant and distinct demand in some Brazilian cities. Our analysis indicates both the maintenance of the traditio model. Therefore, a regionalization of the musical taste in Brazil is evidenced,which suggests a potential of musical niches in the context of the streaming market.

Music is one of the cultural segments that most adapts and innovates, as observed in the recent rise of streaming services. The consumption of digital music has altered the dynamics of the market and the way people enjoy it. The aim of this article is to show trends and tastes of Brazilian individuals, taking into account musical genres. For this purpose, it uses data of playlists collected from the Spotify streaming platform through its API. The results show that genres such as se universitário and international pop have great national reach. However, other national genres and artists with less popularity have a relevant and distinct demand in some Brazilian cities. Our analysis indicates both the maintenance of the traditional consumption as the rise of the mass model. Therefore, a regionalization of the musical taste in Brazil is evidenced,which suggests a potential of musical niches in the context of the streaming market. consumption; music; genre; streaming Consumo de música no Brasil: uma análise de reproduções de streaming A música é um dos segmentos culturais que mais se adapta e inova, tal como observa na recente ascensão dos serviços de streaming. O objetivo deste artigo é mostrar gostos dos indivíduos, levando em consideração os gêneros musicais. Para tal, foram utilizados dados da plataforma Spotify. Os resultados apontam que gêneros como sertanejo universitário e pop internacional possuem grande alcance nacional. Porém, outros gêneros nacionais possuem uma demanda relevante e distinta em algumas cidades brasileiras. Evidencia regionalização do gosto musical no Brasil, o que sugere um potencial de nichos musicais quando do de streaming.

Introduction
Music is one of the most primitive forms of cultural However, it wasn't until the twentieth century that it began to be marketed as a consumer good. Since then, the music market has become more and more dynamic and creative in terms of musicians' production and listeners' consumption (CVETKOVSKI, THROSBY, 2002). Throsby (2002) points out that there is a paradox in relation to music, precisely because of this dichotomy between the past, linked to cultural expression and creativity, and the present, associated with market ideologies and mass production.
Leyshon (2014) states that the history of music from the late 1990s is a good example of innovation and adaptability: sharing and downloading

Music consumption in Brazil: an analysis of streaming reproductions
Music is one of the most primitive forms of cultural expression.
However, it wasn't until the twentieth century that it began to be marketed as a consumer good. Since then, the music market has become more and more dynamic and creative in terms of musicians' production and listeners' consumption (CVETKOVSKI, 2004;THROSBY, 2002). Throsby (2002) points out that there is a paradox in relation to music, precisely because of this dichotomy between the past, linked to cultural expression and creativity, and the present, associated with market ideologies and mass Leyshon (2014) states that the history of music from the late 1990s is La música es uno de los segmentos culturales que más se adapta y innova, tal como se nte ascensión de los servicios de streaming. El objetivo de este artículo es mostrar tendencias y gustos de los individuos, teniendo en cuenta los géneros musicales. Para esto, se utilizaron datos de la plataforma Spotify. Los resultados apuntan que géneros como sertanejo universitario y pop internacional poseen gran alcance nacional. Sin embargo, otros géneros nacionales poseen una demanda relevante y distinta en algunas ciudades brasileñas. Se evidencia, en Brasil, lo que sugiere un potencial de nichos

Music consumption in Brazil: an analysis of streaming reproductions
of files, the crisis in physical sales, and, more recently, the rise of streaming platforms and subscriptions.

Music consumption described by
To             approximately 500%, while that of was about 43%. Figure 6 includes the popularity of artists as an analysis variable. In order to better present the information, some genres were aggregated by similarity. In this sense, reclassification is also subject to criticism and misunderstanding. However, again, it is emphasized that, in the diverse environment of music, a fixed framing of genres is a difficult task, and this work does not propose to address such complexity of classifications.    As observed, there is a pattern of consumption of various musical styles in each of these cities, not just one or two genres. Peterson (1992)  As observed, there is a pattern of consumption of various musical styles in each of these cities, not just one or two genres. Peterson (1992) refers to individuals who consume various types of cultural goods or activities as omnivores, not selves to a single taste. City playlists are mere representations of the songs that users listen to in the streaming service. Aguiar and Waldfogel (2015) suggest, through correlation analyses, that Spotify's various rankings are good of their general use. Thus, for the capitals presented, due to the heterogeneity of genres, a possible omnivorous pattern regarding the consumption of music in these cities is indicated. As observed, there is a pattern of consumption of various musical styles in each of these cities, not just one or two genres. Peterson (1992)  All the capitals shown in Figure   8 have a specific consumption pattern for certain genres. In some of the according to the propositions of Peterson (1992).
This univorous consumption can be explained by the tradition and history of some genres in these places.
In Rio de Janeiro (Figure 8a), for example, as Vicente (2014)      • Deep funk carioca: Rio de Janeiro; • Forró and brega: Recife, Fortaleza; • MPB and national rock: Florianópolis, Aracaju (SE), Natal (RN); • Nativist and rock gaúcho Alegre; • Pop and techno: Floria Curitiba (PR); • Samba and pagode: Rio de Janeiro;   It is possible to relation between the musical label and a supposed taste of the listener (...). In virtual terms, the genres and their settings in the songs describe not only who the consumers are, but also the possibilities of meaning of a certain type of music for a particular audience. In the labeling there is a certain way of sharing experience and musical knowledge.
Thus, we would initially imagine that sertanejo universitário predominate in the whole of Brazil; however, it is observed that the genres of market niches also have a relevant local appreciation when inserted in t digital service.

Final remarks
We believe that this work