In recent years, the launch of new diffusion technologies has changed the transmission and reception paradigm of traditional media. The podcast has arisen as a new way of distributing on-demand radio material and other related audible content on the Internet. This article discusses the technology, consumption, copyright and new business models in relation to podcasting as a radio enterprise. The text specifically analyses Spanish public and private radio companies, in order to draw a picture of the relationship between podcasting and radio.

The aim of this article is to report, summarize and spread the results of a largescale European research project funded by EBU Radio in 2011 to map best practices in social media and European public radio, focusing on the way successful public service radio formats have incorporated social media in their production flow. The kEywords radio studies social media Facebook Twitter 1. 2. 3. 4. 5. RJ_12.1&2_Bonini_89-108.indd 89 8/24/15 11:37:34 AMF i r s t P r o o f L a y o u t @ I n t e l l e c t L t d 2 0 1 4

The current digital landscape is based on platform capitalism and on the cloud concept in which different services (music platforms, instant messaging services, live music companies, sellers, device companies, music major labels, radio players) try to control music/sound circulation. The new century started with the development of new devices — the iPod, smartphones, AI speakers — and distribution modes (podcasting, streaming) and the emergence of voice interaction to control devices. In this context, this paper develops a value chain defining the diverse key intermediaries in the management, accumulation, distribution, and access to information phases.

Resumen. La aprobación por parte de UNESCO de la Convención sobre la protección y promoción de la diversidad de las expresiones culturales (UNESCO, 2005) es un importante elemento que ha dado impulso a los intentos de medir la diversidad en las industrias culturales (UIS, 2011). En este marco, este trabajo aborda las relaciones entre la industria musical y la radio musical en España desde una perspectiva crítica y a través de un análisis de los datos disponibles sobre oferta y consumo de música grabada (listas de ventas, listas de radiofórmulas, composición de los mercados radiofónico y fonográfico) en diferentes momentos clave marcados por la emergencia de nuevos soportes y dispositivos (CD, Mp3, internet). Este trabajo tiene por objetivo fundamental analizar la evolución de la diversidad del mercado discográfico español desde el final de la década de 1970 hasta la actualidad, a través del estudio de las listas de éxitos musicales radiofónicos, la configuración empresarial del sector fonográfico y radiofónico, y las listas de fonogramas más vendidos. Palabras clave: diversidad; industria musical; radio; música popular. [en] A look into diversity in the radio and music industry in Spain Abstract. UNESCO's approval of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO, 2005) has been an important element in catalyzing any attempt to measure the diversity of cultural industries (UIS, 2011). Within this framework, this article analyzes the relations between the music and radio industries in Spain from a critical perspective through the analysis of available data on recorded music offer and consumption (sales lists, radio-formula lists, the characteristics of the phonographic and radio markets) in different key moments due to the emergence of new formats and devices (CDS, Mp3, Internet). The main goal of this work is to study the evolution of the Spanish record market in terms of diversity from the end of the 1970s to the present, through the study of radio music hits lists and, the business structure of the phonographic and radio sectors, and phonograms top sales lists.

The aim of this article is to analyse the synergies established between the podcast industry and the music industry (mainly labels and publishers). To this end, it examined the strategies of majors and indies in the development of specific series and services, the acquisition of production companies and the establishment of agreements with the large platforms and advertisers and developed a taxonomy of the content generated by these companies. These strategies have several objectives that will be studied from the political economy of cultural and media industries point of view: the promotion of artists, the exploitation of the historical catalogue in a transmedia development that puts songs into circulation generating income from reproduction and public communication rights and, of course, the opening of new businesses that generate profits from the two fundamental income channels: data and advertising. Consequently, the music companies managing audio objects and generating contents that compete in the new paradigm.