نوع مقاله : مقاله پژوهشی
نویسندگان
دانشگاه هنر ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Over the past two decades, the rise of social media within the digital landscape has fundamentally transformed the modes of music production and consumption. These platforms have not only influenced musical processes but have also played a significant role in redefining and reshaping concepts such as musical fetishism. This study investigates the impact of social media on the evolving manifestations of fetishism in music and its reproduction through non-musical categories, drawing upon the theoretical framework of Theodor W. Adorno. The central research question explores how social media contribute to the formation of musical fetishism and examines the user’s position within this process. To address this question, the study employs a descriptive-analytical approach based on library research, alongside a netnographic (online ethnographic) method to analyze user interactions on the Instagram platform. In this context, the virtual activities of a prominent figure in Iran’s mainstream popular music scene are examined to identify concrete patterns in the reproduction of fetishistic relations within this digital environment. The findings suggest that social media platforms—through their algorithmic mechanisms and multimodal affordances (such as video, image, audio, and text)—intensify the atomization of music. As a result, musical fetishism extends beyond the artistic work itself, permeating non-musical and social dimensions. Consequently, music is not only consumed as a cultural commodity but is also redefined and reproduced in relation to users’ identity-related, social, and personal affiliations.
کلیدواژهها [English]
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