Demasiadamente humano o trabalho musical enquanto estro recalcitrante da vida material

Abstract

The article aims to point out ways to unveil the fetishized relationships between music, society, work and capital. Under capitalism, the forms of musical production historically shape and respond to consumption needs and wealth generation. In this sense, music as a commodity hides a series of material processes ranging from the conception of the mu-sical work to its respective forms of circulation. From the live show to streaming, the re-spective forms of distribution of merchandise forge meanings and streamline cultural processes that, although increasingly virtualized, do not lose their concreteness with ma-terial life, since it is human work.