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Análise robusta do mercado e do consumo de discos de vinil em Portugal
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Nas últimas décadas, devido à evolução tecnológica, assistiu-se na indústria da música a uma profunda transformação, marcada pela ascensão do digital e pela massificação do streaming, que vieram substituir os formatos físicos como meio dominante de acesso a conteúdos musicais. Paralelamente, neste cenário de desmaterialização, quando o digital ganhava força no mercado, surgiu um fenómeno curioso, registando-se em 2006, pela primeira vez em anos, uma subida das vendas de discos de vinil. Outrora considerado pelo mercado como um formato extinto, o vinil ressurgiu de uma forma inesperada como um símbolo cultural e emocional que aparece para desafiar o panorama da imaterialidade e instantaneidade digital. Este fenómeno, internacionalmente conhecido como “The Vinyl Revival”, começa a aparecer em Portugal em 2019, ano em que são registados os primeiros aumentos consistentes das vendas de discos de vinil. Atualmente estas já ultrapassaram as vendas de CDs, assumindo assim um papel importante no mercado físico de música em Portugal. Esta dissertação propõe uma análise aprofundada do reaparecimento dos discos de vinil no contexto português, com o objetivo de compreender que motivações levam os consumidores a adquirir este formato físico numa era dominada pelo digital, onde o consumidor tem acesso à música a qualquer hora e em qualquer lugar sem condicionamentos de equipamentos externos ao telemóvel. Surpreendentemente, um dos fatores identificados neste estudo que incentivou este fenómeno é efetivamente esta crescente digitalização da música que leva a que as pessoas sintam cada vez mais uma necessidade de ter os produtos na mão e ter contacto direto com a música. A dimensão material e a experiência táctil de tocar e possuir fisicamente a música num vinil é desta forma a principal razão que leva os portugueses a comprar discos de vinil na atualidade. Para além disso, o vinil é visto ainda como uma peça de arte com valor para além do seu funcional, sendo frequentemente adquirido pelos consumidores não com o propósito de audição, mas sim de exibição decorativa, devido ao seu visual esteticamente atrativo, especialmente para consumidores mais jovens, que muitas vezes compram discos de vinil sem possuírem um gira-discos para a sua reprodução. Associado a este interesse visual, destaca-se também o prazer associado ao ato de colecionar, onde os consumidores procuram edições limitadas, exclusivas ou diferentes das que já possuem para acrescentarem à sua coleção, muitas vezes possuindo os mesmos discos, mas em versões diferentes. Esta acumulação de forma intencional, demonstra que, para os consumidores, o vinil é um objeto com valor afetivo e simbólico que ultrapassa a sua função prática. A nostalgia também tem um papel forte neste ressurgimento, onde o vinil é visto como um objeto com um elo ao passado, permitindo aos consumidores viverem uma época que sentem saudade ou que idealizam. Para dar respostas às questões de investigação levantadas no estudo, foi realizada uma metodologia mista que combinou a realização de um inquérito online (realizado a 117 portugueses) e duas entrevistas realizadas a profissionais da Fnac Portugal, que pretendem explorar os fatores associados à escolha do vinil no contexto português atual, nomeadamente a nostalgia, o colecionismo, a valorização do visual e a necessidade do toque. O estudo investiga ainda o modo como a principal retalhista de música e de discos de vinil do mercado nacional, a Fnac Portugal, perceciona este fenómeno e se tem adaptado a estas mudanças no mercado. Através desta análise, verificou-se que o ressurgimento do vinil em Portugal não é um fenómeno meramente passageiro ou nostálgico, mas antes uma resposta à imaterialidade digital dominante nos dias de hoje, refletindo um desejo coletivo dos portugueses por experiências mais autênticas, emocionais e significativas que o digital e o streaming não conseguem oferecer. Esta investigação, pioneira neste tema em Portugal, contribui para uma melhor compreensão do comportamento do consumidor de vinil atual e para o debate mais informado sobre este fenómeno no mundo da música.
In recent decades, due to technological developments, the music industry has undergone a profound transformation, marked by the rise of digital and the massification of streaming, which have replaced physical formats as the dominant means of accessing musical content. At the same time, in this scenario of dematerialization, when digital was gaining strength in the market, a curious phenomenon emerged in 2006, when for the first time in years, sales of vinyl records started to rise. Once considered by the market to be an extinct format, vinyl made an unexpected reappearance as a cultural and emotional symbol that appeared to challenge the panorama of immateriality and digital instantaneity. This phenomenon, internationally known as “The Vinyl Revival”, began to appear in Portugal in 2019, the year in which the first consistent increases in vinyl record sales were recorded. Now they have overtaken CD sales, assuming an important role in the physical music market in Portugal. This dissertation proposes an in-depth analysis of the reappearance of vinyl records in the Portuguese context, with the aim of understanding what motivates consumers to acquire this physical format in an era dominated by digital, where consumers have access to music at any time and in any place without the constraints of equipment external to the cell phone. Surprisingly, one of the factors identified in this study that has encouraged this phenomenon is in fact the growing digitalization of music, which means that people increasingly feel the need to hold products in their hands and to have direct contact with the music. The material dimension and the tactile experience of touching and physically owning music on vinyl is therefore the main reason why the Portuguese buy vinyl records today. In addition, vinyl is also seen as a piece of art with value beyond its functional nature and is often purchased by consumers not for the purpose of listening, but rather for decorative display, due to its aesthetically attractive look, especially for younger consumers, who often buy vinyl records without owning a record player to play them on. Associated with this visual interest, there is also the pleasure associated with collecting, where consumers look for limited, exclusive or different editions to add to their collection, often owning the same records, but in different versions. This intentional accumulation shows that, for consumers, vinyl is an object with affective and symbolic value that goes beyond its practical function. Nostalgia also plays a strong role in this resurgence, where vinyl is seen as an object with a link to the past, allowing consumers to experience an era they miss or idealize. In order to answer the research questions raised in the study, a mixed methodology was used, combining an online survey (carried out among 117 Portuguese) and two interviews with professionals from Fnac Portugal, which aim to explore the factors associated with the choice of vinyl in the current Portuguese context, namely nostalgia, collecting, appreciation of the visual and the need for touch. The study also investigates how the main music and vinyl record retailer in the national market, Fnac Portugal, perceives this phenomenon and has adapted to these changes in the market. Through this analysis, it was found that the resurgence of vinyl in Portugal is not merely a passing or nostalgic phenomenon, but rather a response to today's dominant digital immateriality, reflecting a collective Portuguese desire for more authentic, emotional and meaningful experiences that digital and streaming cannot offer. Accordingly, this pioneering research contributes to a better understanding of current vinyl consumer behavior and to a more informed debate about this phenomenon in the music world.
In recent decades, due to technological developments, the music industry has undergone a profound transformation, marked by the rise of digital and the massification of streaming, which have replaced physical formats as the dominant means of accessing musical content. At the same time, in this scenario of dematerialization, when digital was gaining strength in the market, a curious phenomenon emerged in 2006, when for the first time in years, sales of vinyl records started to rise. Once considered by the market to be an extinct format, vinyl made an unexpected reappearance as a cultural and emotional symbol that appeared to challenge the panorama of immateriality and digital instantaneity. This phenomenon, internationally known as “The Vinyl Revival”, began to appear in Portugal in 2019, the year in which the first consistent increases in vinyl record sales were recorded. Now they have overtaken CD sales, assuming an important role in the physical music market in Portugal. This dissertation proposes an in-depth analysis of the reappearance of vinyl records in the Portuguese context, with the aim of understanding what motivates consumers to acquire this physical format in an era dominated by digital, where consumers have access to music at any time and in any place without the constraints of equipment external to the cell phone. Surprisingly, one of the factors identified in this study that has encouraged this phenomenon is in fact the growing digitalization of music, which means that people increasingly feel the need to hold products in their hands and to have direct contact with the music. The material dimension and the tactile experience of touching and physically owning music on vinyl is therefore the main reason why the Portuguese buy vinyl records today. In addition, vinyl is also seen as a piece of art with value beyond its functional nature and is often purchased by consumers not for the purpose of listening, but rather for decorative display, due to its aesthetically attractive look, especially for younger consumers, who often buy vinyl records without owning a record player to play them on. Associated with this visual interest, there is also the pleasure associated with collecting, where consumers look for limited, exclusive or different editions to add to their collection, often owning the same records, but in different versions. This intentional accumulation shows that, for consumers, vinyl is an object with affective and symbolic value that goes beyond its practical function. Nostalgia also plays a strong role in this resurgence, where vinyl is seen as an object with a link to the past, allowing consumers to experience an era they miss or idealize. In order to answer the research questions raised in the study, a mixed methodology was used, combining an online survey (carried out among 117 Portuguese) and two interviews with professionals from Fnac Portugal, which aim to explore the factors associated with the choice of vinyl in the current Portuguese context, namely nostalgia, collecting, appreciation of the visual and the need for touch. The study also investigates how the main music and vinyl record retailer in the national market, Fnac Portugal, perceives this phenomenon and has adapted to these changes in the market. Through this analysis, it was found that the resurgence of vinyl in Portugal is not merely a passing or nostalgic phenomenon, but rather a response to today's dominant digital immateriality, reflecting a collective Portuguese desire for more authentic, emotional and meaningful experiences that digital and streaming cannot offer. Accordingly, this pioneering research contributes to a better understanding of current vinyl consumer behavior and to a more informed debate about this phenomenon in the music world.
Descrição
Palavras-chave
Discos de vinil Ressurgimento do vinil Portugal Nostalgia Toque Visão Colecionismo Comportamento do consumidor Vinyl records The vinyl revival Touch Vision Collecting Consumer behavior
Contexto Educativo
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Licença CC
Sem licença CC