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The current transformations of the music industry continue a previous process, added to the changes brought about by digitalization, audiovisual convergence, and transmedia logic. A systemic approach is necessary to locate the new conditions of musical remediation and appropriation of music by the media industry and to inquire into the turn toward the visual of the music industry, which some authors have found in recent years. The period of lockdown due to the Coronavirus (COVID-19) deepened a series of dynamics that combine the production and distribution of popular music with other sectors of the music industry. On the one hand, the video clip has become a multifaceted instrument after YouTube, which has made it possible to monetize music listening. Its forms of expansion colonize platforms, and its format and aesthetic model expand in duration in the visual album or are cloned for application to various microformats. Thanks to platformization, it acts not only as a promotional format but also as a listening medium. On the other hand, live music is a relevant diffusion field in popular music. In its retransmitted version, livestreaming of concerts consolidates another formula of innovation tending toward personalization. The paper's objectives involve reflecting on the logic of global modification of the creation and consumption of musical content in the current transmedia context and analyzing the dynamics of interaction between agents, considering the digitalization and platformization of musical content. The conclusions trace the possibilities of monetization and personalization of the experience of popular music and reflect on how the production conditions of creative agents in the current music industry and musical reception change. [ABSTRACT FROM AUTHOR]

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’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’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. [ABSTRACT FROM AUTHOR]