<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852023000202626</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2023.26.2.6</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Video musical y nueva lógica en la ecología de los medios: extensión del formato hacia el álbum visual]]></article-title>
<article-title xml:lang="en"><![CDATA[Music Video and New Logic of Media Ecology: Extending the Format Toward the Visual Album]]></article-title>
<article-title xml:lang="pt"><![CDATA[Vídeo musical e nova lógica na ecologia dos meios: extensão do formato ao álbum visual]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sedeño-Valdellós]]></surname>
<given-names><![CDATA[Ana María]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Málaga  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2023</year>
</pub-date>
<volume>26</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852023000202626&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852023000202626&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852023000202626&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Tras la crisis mundial de la industria discográfica de los años noventa, la música popular y su industria han tenido que repensarse. Su alianza con el negocio transmedia y su lógica narrativa han sido parte de esa transformación. El vídeo musical sigue siendo necesario para la promoción multilateral y transmedia de la música: a través de estos formatos, los usuarios se involucran en la creación de contenidos en relación con el universo visual del artista y los comparten y hacen virales. Esto supone una primera forma de expansión del vídeo musical en su transformación dentro de la lógica de la ecología digital en una era postelevisiva. Sin embargo, el video musical tiene otra vertiente de expansión con su extensión a través del álbum visual, que supone una correspondencia de cada pista musical con una pista visual, donde utiliza mecanismos que unifican los mensajes o referencias, por ejemplo, como motivos visuales repetitivos (motivos temáticos, similares imágenes, lugares o personajes). El álbum visual permite otra forma de promocionar los trabajos discográficos: antes se vendían a través de dos o tres sencillos; ahora se intenta alargar la vida útil de los trabajos discográficos, generando mundos de sentido consolidados. Este imaginario propio se logra con una combinación de unidad y diversidad a través de figuras retóricas de repetición o de citas de otros textos culturales, componiendo narraciones o storytellings personales. Proyectos como los tres álbumes visuales de Beyoncé (Beyoncé, 2013, Lemonade, 2016 y Black is King, 2020), Dirty Computer de Janelle Monaé y El mal querer de Rosalía son ejemplos de una nueva forma de hacer álbumes musicales, donde el artista musical se resignifica y aporta recursos para un nuevo concepto del cuerpo y la performance.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract After the global crisis of the recording industry, popular music has had to rethink itself to avoid perishing. Its alliance with transmedia business and-narrative-logic has been part of that transformation. Music video remains necessary for the multilateral and transmedia music promotion. Through these formats, users create and share content concerning the artist&#8217;s visual universe, making it viral and results exponentially. This supposes the first form of expansion of music video in its transformation into the logic of digital ecology in a post-television era. However, the music video has another aspect of growth with its extension through the visual album where each music track corresponds with a visual track; it uses mechanisms that unify the messages or references, for example, as repetitive visual motifs (thematic motifs, similar images, locations, or characters). The visual album allows another way of promoting record works: before, they were sold through two/three singles; now, an attempt is made to extend the life span of records, generating consolidated worlds of meaning. This imaginary is achieved with unity and diversity through rhetorical figures of repetition or quotes from other cultural texts, composing storytelling for music personae. Projects such as Beyoncé&#8217;s three visual albums (Beyoncé, 2013; Lemonade, 2016, and Black is King, 2020), Dirty Computer by Janelle Monaé, and El mal querer by Rosalía are examples of a new form of music albums, where the musical artist is resignified with these resources for a new concept of body and performance.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Após a crise mundial da indústria discográfica dos anos 1990, a música popular e sua indústria vêm tendo que ser repensadas. Sua parceria com o negócio transmídia e sua lógica narrativa vêm sendo parte dessa transformação. O vídeo musical continua sendo necessário para a promoção multilateral e transmídia da música: por meio desses formatos, os usuários se envolvem na criação de conteúdos com relação ao universo visual do artista e os compartilham e se tornam virais. Isso supõe uma primeira forma de expansão do vídeo musical em sua transformação dentro da lógica da ecologia digital numa era pós-televisiva. Contudo, o vídeo musical tem outra vertente de expansão com sua extensão mediante o álbum visual, que supõe uma correspondência de cada faixa musical com uma faixa visual, em que utiliza mecanismos que unificam as mensagens ou referências, por exemplo, como motivos visuais repetitivos (motivos temáticos, imagens semelhantes, lugares ou personagens). O álbum visual permite outra forma de promover os trabalhos discográficos: antes se vendiam por meio de dois ou três singles; agora trata-se de prolongar a vida útil dos trabalhos discográficos gerando mundos de sentido consolidados. Esse imaginário próprio se consegue com uma combinação de unidade e diversidade mediante figuras retóricas de repetição ou de citações de outros textos culturais, compondo narrativas ou storytellings pessoais. Projetos como os três álbuns visuais de Beyoncé (Beyoncé, 2013, Lemonade, 2016, e Black is King, 2020), Dirty Computer de Janelle Monaé e El mal querer de Rosalía são exemplos de uma nova forma de fazer álbuns musicais, em que o artista musical se ressignifica e contribui com recursos para um novo conceito do corpo e da performance.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Álbum visual]]></kwd>
<kwd lng="es"><![CDATA[ecología de los medios]]></kwd>
<kwd lng="es"><![CDATA[música popular]]></kwd>
<kwd lng="es"><![CDATA[narrativa transmedia]]></kwd>
<kwd lng="es"><![CDATA[video musical]]></kwd>
<kwd lng="es"><![CDATA[música pop]]></kwd>
<kwd lng="es"><![CDATA[medios de comunicación de masas]]></kwd>
<kwd lng="es"><![CDATA[televisión]]></kwd>
<kwd lng="en"><![CDATA[Visual album]]></kwd>
<kwd lng="en"><![CDATA[media ecology]]></kwd>
<kwd lng="en"><![CDATA[popular music]]></kwd>
<kwd lng="en"><![CDATA[transmedia narrative]]></kwd>
<kwd lng="en"><![CDATA[music video]]></kwd>
<kwd lng="en"><![CDATA[pop music]]></kwd>
<kwd lng="en"><![CDATA[mass media]]></kwd>
<kwd lng="en"><![CDATA[television]]></kwd>
<kwd lng="pt"><![CDATA[Álbum visual]]></kwd>
<kwd lng="pt"><![CDATA[ecologia dos meios]]></kwd>
<kwd lng="pt"><![CDATA[musica popular]]></kwd>
<kwd lng="pt"><![CDATA[narrativa transmídia]]></kwd>
<kwd lng="pt"><![CDATA[vídeo musical]]></kwd>
<kwd lng="pt"><![CDATA[musica pop]]></kwd>
<kwd lng="pt"><![CDATA[mídia de massa]]></kwd>
<kwd lng="pt"><![CDATA[televisão]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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