Аннотация:Ever since becoming technically mediated, concert music served as a model to assess the achievements of high acoustic fidelity, both in radio broadcasts, as in domestic hearing in reproducers.After various processes of technological mediation, through listening to records and similar (LP, DVD, Blu-ray etc), consumption of concert music is extended to virtual environments: streaming transmissions provide to the public concert music in a way unprecedented, since it does not have as a reference point the material object, aside from the fact that they offer the reception in real time, live.The different forms of reception on which this service is based have attracted the interest of researchers from different areas of knowledge.In the case of music, it unfolds in a field of study in music; specifically in sonology.This work intends to present a study on the reception of online concert music, through a comparative analysis of the preferences by the consuming public of that service and what is actually offered to them by these services.Two aspects will be analyzed in detail: systems of "recommendation" and "digital curation", since they are the way in which the service is generated and managed.Frequently used in digital platforms for listening to popular music, little is known about the operational functioning of this service, in the case of concert music.This research thus aims to evaluate how this methodology is applicable to the concert music repertoire.The main objective of this research is scrutinizing the processes of this new way of listening, which depends on the critical interaction between subscribers and the service provider.In short, to understand in more detail the particular aspects that constitute the operation of streaming services.
