Perante o excesso de informação, agregar...
O que pode fazer a industria da rádio para competir com a net
«Radio needs to become a service provider for portable media players so listeners can customize the traffic they want to hear on their device, for example. In a session during Sunday’s Broadcast Engineering Conference, Wilson said radio’s current, inefficient frequency allocation would need to be re-worked to permit such customization. He would co-locate channels and use single-frequency networks to make more efficient use of spectrum.
He expects pushback from the FCC and broadcasters on such a frequency re-allocation, but he said radio needs to adapt to changing times to survive.» RWONline, Wilson: Radio Needs to Adapt or Face Obsolescence, 14/4/08
30 por cento dos telemóveis dos EUA têm rádio
Contar páginas visitadas e não escuta
«It wasn’t that long ago that terrestrial stations which stream crossed the 30% mark, and then the 33% level, and now John Blackledge at JPMorgan says “traffic at the terrestrial operators’ sites grew 3.8%” in February. While “traffic was down at all but six of the Internet radio operators.” Remember that we’re not talking about “listening”, or hours tuned or other measurements. This is unique visitors to Internet radio sites, sourced to Commscore Media Metrix and JPMorgan’s own estimates, and there are probably other sets of numbers out there. But Blackledge says the trend is clear: “We continue to expect unique visitors [to AM/FM-based station sites] to continue to post sequential and year-over-year growth in 2008.” Looking at all traffic: CBS-owned Last.fm jumped 39%, to hit 1.9 million unique visitors. (Expect more to come from closer ties between the CBSRadio stations and cousin Last.fm.) CBS sites grew 7%, Citadel/ABC sites grew 15%, NPR slipped 9% (“after record traffic in January”), while Clear Channel was off 1%. But Clear Channel still commands “an 18% share”, all by itself. Live365 was off 14%, Windowsmedia.com slipped 6%, though Pandora was 2% better».
Efeitos da música
«(...) music can relieve tension; provide escape or distraction from problems; relieve loneliness; fill the time when there is nothing much to do; ease the drudgery of repetitive menial tasks and chores; fill uncomfortable silence; provide topics of conversation; make parties more lively; teach new vocabulary; articulate political attitudes; and perform many other uses for the listener (Christenson & Roberts, 1998). It is, in other words, an equipment with many uses» (Roberts et al, 2001: 398)
«For most kids, most of the time, music is a source of pleasure. They listen not to analyze lyrics and learn about the world, not to sort out emotions and feelings, not to facilitate social interaction, but simply because they like it. To be sure, popular music does teach them things, does help them to sort out emotions and feelings, does facilitate social interaction» (Roberts el at, 2001: 410)
Uma oportunidade para a rádio (a música)?
[confusão positiva ou negativa para a rádio?]
Roberts e Christenson perguntaram a um grupo de jovens (pré e universitários) que meio escolheriam para levar para uma ilha deserta, dando como opções um receptor de televisão, livros, videojogos, computador, jornais, gravador video e cassetes video, revistas, rádio e gravações musicais (e formas de as tocar). . Since radio is almost exclusively a music medium among adolescents, radio and recordings were combined into a single "music" category». (Roberts, 2001: 395). A musica veio em primeiro lugar em todas as opções e combinações; a televisão em segundo. «More than 800/0 of :he total sample made music one of their first three choices, and music was the first choice or nearly half.»
We agree with Keith Roe that, "in terms of both the sheer amount of time devoted to it and the meanings assumes, it is music, not television, that is the most important medium for adolescents" (Roe, 1987,pp.215-216) (Roberts et al 2001: 395)
«It should also be noted that music-listening estimates based only on radio use (e.g., Brown et al., 1986; Brown et al, 1990; Greenberg, Ku, & Li, 1989; Lyle & Hoffman, 1972) will produce lower figures than those that include questions about CD and tape playback and time spent watching music videos» (397)
«(...) most studies have a tendency to underestimate young people’s popular music listening. Music is often a secondary, backgroound activity appearing in the adolescent’s environment without any conscious decision to introduce it. (...) Obviously, music’s tendency to slip between foreground and background raises questions about what kind of "listening" should be counted as true exposure» (397) (USADO EM GERAÇÂO IPOD)
ROBERTS, Donald F. e CHRISTENSON, Peter G., (2001), Popular Music in Childhood and Adolescence, in Dorothy G. Singer e Jerome L. Singer (edi), Handbook of Children and the Media, Thousand Oaks, CA: Sage, pp 395-413
Os videojogos e o desenvolvimento de competências cognitivas
«Subrahmanyam and Greenfield (l994) found that practice on a computer game (Marble Madness) reliably improved spatial performance (e.g., anticipating targets, extrapolating spatial paths) compared with practice on a computerized word game. Similarly, Okagaki and Frensch (1994) reported that ractice on the the computer game Tetris (a game that requires the rapid rotation and placement of seven different-shaped blocks (...)) significantly improved undergraduate students' mental rotation time and spatiaI visualization time on computerized spatial performance tests (...).Another study explored the role of interactive games in developing strategies for keeping track of events at multiple locations on screen. In a task where an icon could appear either of two locations (but with unequal probabilities), the researchers found that expert video game players had faster response times than novices at both high - and low - probability positions of the icon. (Subrahmanyam et al, 2001: 83-84)
[isto irá relacionar-se com as novas utilizações/tendencias do segundo choque; os videojogos têm caracteristicas que fazem mudar o comportamento e as exigências dos novos consumidores]
SUBRAHMANYAM, Kaveri, KRAUT, Robert, GREENFIELD, Patricia e GROSS, Elisheva (2001) in Dorothy G. Singer e Jerome L. Singer (edi), Handbook of Children and the Media, Thousand Oaks, CA: Sage, pp 73-99
A história não se repete?
(será um erro entender a Internet como uma espécie de meio que vem concorrer com os clássicos; a Internet não concorre com um, mas com todos. Mas a Internet concorre, integrando os anteriores, juntando-os, convergindo, criando algo de novo, fazendo coexistir os antigos mas de forma diferente, alterando-os; se a Internet fosse um meio concorrente, a história poderia repetir-se; assim, do que estamos a falar é de uma nova categoria, de uma nova ideia de comunicação)
«The history and evolution of media resemble that of species in nature: The introduction of a new medium (species) typically changes the uses and interactions among the existing media. This is not surprising given that the system consisting of media and ecological systems are both based on very similar principles (e.g., the survival of the fittest). (...) This is, in fact, how media have evolved as well Following the introduction of movies over a short span of time, they enjoyed their golden age, accompanied by relatively little change, until radio came along. The evolution of radio, television, and interactive media has followed the same general pattern. (...).
To survive radio’s challenge, the motion picture industry was forced to move to sound and later to color films. More direct and compelling challenges to movies came from television. Television provided the same entertainment function that movies provided but with the added convenience of delivering programs directly to homes. To survive this threat, the movie industry had to cooperate with television by providing materials for broadcasting. As for radio, it had to reinvent itself to survive the television challenge. Radio was forced to move from being a staple at the center of the living room to becoming portable and physically going to where television could not. The television industry, in an effort to survive with multimedia, introduced high-definition television, a breakthrough toward the computerization of home television sets. This digital technology is expected to provide multimedia Internet services for the television networks and local stations. Radio, too, has taken the step toward digital broadcasting in what is referred to as digital audio broadcasting. (PAIK, 2001: 24-25)
O impacto da Internet nos jovens
«Research in this area, however, is still in its infancy, and so little can be said with great certainty» (PAIK, 2001: 19)
As razões que levam os jovens a ouvir (gratificações)
«Such a heavy use of radio among adolescents exists even in present times, and it has been explained by many as providing teenagers with acceptable social cues; as gIvIng them something of interest to discuss with their friends (Brown, Eicher, & Petrie, 1986); as an important source for socialization (Adoni, 1979; Mendelsohn, 1964); and even as a way of rebellion against parental norms and a search for identification with peers rather than with adults (Golinko, 1984). Regardless of the explanations, it appears that television did not significantly affect (and has not affected) the time children and adolescents spent with radio. (...)I. Christenson and DeBenedittis (1986) asked first through fifth graders why they liked to listen to radio. More than 83% gave a response that referred to the musical content of the medium, and only 25% referred to seeking information. In their study, no significant gender or age difference in gratification was found. (...)Program choices are often not determined by any program or listener attribute but, rather, by the time (and location) of listening. [The study speculates that some of these programs are not the child's choice but that of their parents. In fact, these were programs heard in the car while driving].
(...)Wells and Hakanen (1991) found a gender difference in gratification. They found that female teenagers made greater use of music for mood management (mood enhancing or tranquilizing) than their male counterparts. For males, the most highly rated function ( radio was to get excited. This is very similar to the findings of Larson, Kubey, and Colletti (1989), who found that males listen to music that excites them, while females prefer ballads and love songs.» (PAIK, 2001: 12-13)
A relação (histórica) entre jovens e rádio
«In the mid-1930s, children 9 to 12 years old listened to radio approximately 2 to 3 hours a day (DeBoer, 1937; JersiId, 1939). Lyness (1952) surveyed third-, fifth-, seventh-, ninth-, and eleventh-grade students in 1950 who lived in cities that had newspapers, radio stations, and movie theaters (but no television yet). All the children, except third-grade boys, named named radio as their most frequently engaged in activity at home in the evening. Overall, for girls time spent listening to radio increased with age, while for boys it decreased after the peak around fifth or seventh grade.
Even when television became the main mass medium, the amount of time that children and young adolescents spent listening to radio was very similar to earlier radio days. Confirming radio's consistent listenership, Lyle and Hoffman (1972) report that, even when television was the most favored medium, among their subjects, half of the first graders and 80% of the sixth graders reported listening to radio on the preceding day. Furthermore, 24 % of tenth graders reported listening 5 hours or more a day. This study shows that, regardless of television's dominance, at least children were still enjoying radio. Furthermore, they found that, with increasing age, more time was spent with radio and less withtelevision. » (PAIK, 2001: 11-12)
A elevada penetração da rádio
«(...)by 1930, 46% of American households had a radio, and 10 years later that number had grown to more than 80%. By 1970, radio ownership had already reached 98%, nearly the current ownership rate (99%). Of course, one may question the appropriateness of radio ownership as a measure of radio's popularity, for it is entirely possible that a great many radios simply sat unused, collecting dust. However, as seen (...), the increase in ownership is matched by a comparable increase in the number of radio stations» (Paik, 2001: 11)
PAIK, Haejung (2001), The History of Children's Use of Electronic Media in Dorothy G. Singer e Jerome L. Singer (edi), Handbook of Children and the Media, Thousand Oaks, CA: Sage, pp. 7-27
Gostos rapidamente obsoletos?
«A construção de programas de música leva a duas consequências: criação de redes sociais que trocam ficheiros com músicas, especializando o grupo com estéticas e gostos próprios e de grupo de fãs que se pode fechar; abandono da escuta da rádio, por ser um sistema orientado do programador para o ouvinte; actualização permanente, possível num período da vida (final do secundário e durante os primeiros anos de universidade), mas de menor intensidade no período seguinte (profissão, família), o que torna o gosto estético adquirido rapidamente obsoleto.» (Rogério Santos, UM PROJECTO DE PÓS-DOUTORAMENTO – QUE ME LEMBREI DE ESBOÇAR HOJE MAS NÃO VOU FAZER (2), 9/04/08) (ou seja, até que ponto estes comportamentos, identificados como sendo típicos da geração iPod, são meramente geracionais, conjunturais, ou perdurarão, estruturalmente?)
Perfil sociodemográfico dos jovens em Portugal
(de acordo com o recenseamento geral da população de 2001)
8-17: 12,1%
18-24: 11,3%
25-34: 16,8 %
35-44: 15,7%
45-64: 26,3%
65+: 17,8%
(8-17 + 18-24 + 25-34 = 40,2%)
Uma rádio (EUA) que compra redes sociais
«(...) Radio One Inc., which is pinning future growth on Internet outlets, has acquired social networking company Community Connect Inc. for $38 million. (...) It said Community Connect's sites have more than 20 million members. (...) Radio One (NASDAQ: ROIA) owns and operates 53 radio stations in 16 markets, including four Baltimore stations: WERQ-FM 92Q Jams, WOLB-AM 1010, WWIN-AM 1440 and WWIN-FM Magic 95.9. Its stations primarily target African-American and urban listeners» fonte: «Radio One buys social networking company for $38M», Baltimore Business Journal - by Jeff Clabaugh, 11/04/08
Entender a rádio de várias formas ou clarificar do que estamos a falar?
«According to the respondents in the study, AM/FM radio listening comprised only 62 percent of the hours they spent listening to the radio in the week prior to being surveyed. The total share of listening to AM and FM radio increases to 70 percent when listening to AM/FM streaming is included. Online streaming represents 16 percent of all reported time spent with radio, split evenly between AM/FM streaming and Internet-only radio. Satellite radio and the music channels offered through cable and satellite TV systems each account for an 11 percent piece of the pie. Among this sample of online consumers, listening to podcasts represent only 1 percent of total time spent with radio.Hanson added, "What this study highlights is that while Arbitron data may show that AM/FM listening is declining slightly each year, the bigger picture is this: Listening to radio in all of its forms is almost certainly growing significantly."» fonte FMQB, Online Consumers Flock To New Forms Of Radio, 11/04/08
[A questão aparentemente metodológica e apenas académica (escolástica?) sobre o que é a rádio - e a necessidade de nos entendermos sobre o que é ou não rádio apresenta-se decisiva na medida em que o que se decidir que é rádio determinará o entendimento sobre tudo o resto]