Resumen en inglés

It is widely accepted that streaming platforms, mainly Spotify, have replaced the radio, tv and other media outlets as the gatekeepers of the music industry. Their editorial teams and algorithms widely affect the global listening agenda. However, there are a growing number of artists who had hit songs mainly due to their viral success on new Web 2.0 platforms (social media), such as TikTok. In this sense, there is a lack of empirical and theoretical account to understand the role these new platforms have on music curation. Based on an iterative process of sense-making and codification supported by a digital ethnographic method, this research analyses four remote interviews with key industry experts, public interview transcripts, grey literature, and field notes from online unobtrusive observation, in order to investigate how these new Web 2.0 platforms can affect the listening agenda of music consumers. The analysis suggests that the platformization of music curation extends towards a subset of Web 2.0 platforms configured as short form video applications (Social Media 3.0), to now define their users and algorithms as a gatekeeping force in the industry. Based on the user's self-reliance, consumer criteria and judgment in music curation has molded an entire catalog of global hits. In this context, editorial logics have extended from industry experts (traditional and newer curators) to the market (consumers). This change in the industry's curatorial logic is more important than ever, as a new route in the value chain emerges, and the playing field levels towards a fairer gameplay between the major labels and the independents (indie labels and artists).