| Resumo: | The Web 2.0 was presented in the early 2000s as the participative internet, a chance for users to take the floor, broadcast themselves and interact through blogs, wikis and social media. It was not only the access to, for instance, information and culture, but rather the affordance of consumers to create content, to become prosumers in an internet that appeared to be more democratic. This is the context for the creation of YouTube (2005), an online video platform that rapidly became the main medium for music consumption and that contributed to develop a rhetoric of unmediated and immediate success that rearticulated the romantic discourses particularly persistent in mainstream popular music, especially at a time when the TV talentshows became ubiquitous in mass media. At the same time, YouTube became the arena for prosumers to implement remix practices and share user-generated content that resulted in numerous viral music phenomena, created and circulated outside of the music industry circuit: mash-ups, lipdubs, flashmobs, shred videos, music videos without music… Since YouTube was created in 2005 many things have changed in its policy, becoming less democratic and more corporate in each modification. The aim of this chapter is to analyze how this corporatization contradicts the participatory rhetoric of online audiovisual media and imposes restrictions to the circulation of music by amateur prosumers. We establish three different periods in the evolution of music on the online audiovisual platforms, attending to technology advances, legal policies and musical practices: 1) the early years of YouTube (2005-2009), 2) the consolidation and commodification of musical videomemes in multichannel networks (2009-2017) and 3) the development of new musical practices on social media and video apps like TikTok (2018-2021). We analyze paradigmatic examples in order to explore the dynamics that have characterized the circulation of music in each period. We argue that official and amateur music videos are interdependent and have experienced a constant feedback that is central in the negotiations of music meaning. Thus, these interactions need to be studied to understand the way music circulates and is produced, consumed and prosumed in the digital era.
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