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This behavior seems to follow similar patterns: the user makes a selection in light of expectations and circumstances revolving around the action of receiving sound. In this way, it is observed that smartphone use is greater at home (69% of the sample) than in cars (48.3%). The factor that determines selection may be control over the expense of mobile data when consumption occurs in a space without WiFi. However, this premise loses value when smartphones and public transportation are associated (56.6%). These vehicles generally do not have free access to the Internet, but smartphones are used more than in private transportation.
The fact that consuming humorous content is significantly high among the students surveyed from UAB can partly be a consequence of the penetration of a program the leading radio station in the region presents. It generates a large volume of downloads through its app and website. This circumstance is not comparable in Colombia.
Musical content applications for smartphones are downloaded the most, although they are not the only ones (Figure 5). Before delving into this matter, it is worth nothing that 30.9% of all surveyed people have stated they only had music apps on their mobile phones. Attending to the geographic factor, the percentage is higher in Colombia (32.1%) than in Spain (29.6%). These indices show the interest for sound consumption that is not exclusively musical.
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Of the 96.2% of UAB young people with downloaded musical apps, 53.9% also have them for entertainment, 37.2% have informational apps, and 21.8% have sports apps. Of the 83.7% of Utadeo young people with musical apps, 38.3% also had informative apps, 30.9% had entertainment apps and 19.1% had sports apps. From a global perspective, the volume of students with a more varied offer of content on their mobile device corresponds to UAB (12%). Independent from the percentages between both groups, a different ranking of interest can be observed between information and entertainment, although both have coincided in placing sports in third place.
Another interesting piece of data was the low volume of young users in both ecosystems with a minimum of four app downloads, combining musical and non-musical content consumption. Only 9.2% of those surveyed from UAB installed an entertainment, information and sports application in combination with a music application. Only 4.4% of those from Utadeo stated likewise. Although downloading music apps is a general practice, a significantly low percentage stated they did not have any, but did have other types of content. This circumstance has been observed in both ecosystems (6% of Colombian users and 3% of Spanish users). An approximation to their profile allows observing that young people from Utadeo presented more heterogeneous behavior than those from UAB. While the former diversely combined all kinds of apps except music ones, the latter coincided with only information, sports and entertainment.
Based on the premise that the types of downloaded applications mark consumption, students were asked what sound content platforms they used at least once a week. As expected, YouTube, followed at a distance by Spotify, led the list (Figure 6). For most surveyed students, the YouTube platform provides online sound content, although its catalogue mostly consists of audiovisual production. Intuitively, it could be determined that young people tend to consume music through this social network. However, the spectrum of audiovisual content and genres is so wide that they probably also access entertainment, general interest and other channels. In fact, the radio industry has fostered its presence in this network by placing cameras in stations. This decision corroborates the consolidation of new consumption habits. It is important to highlight that access to YouTube does not necessarily imply that the consumed content is only musical. The case of Spotify, which, until now, has been considered the quintessential music platform, is different. However, at the time this article was written, it already had an extensive catalogue of podcasts.
The apparent contradiction between what types of platforms were downloaded on smartphones and which ones were used during the week indicate that students in the academia and the radio industry give one same thing different names. Otherwise, the disparity between these results and the indices mentioned in previous paragraphs referring to non-musical content applications could not be understood. It is also observed that, independent from the nuances the percentages could introduce in each ecosystem, we may be before a generational undertaking that prioritizes products, surely consumed in conjunction with other tasks, above the platform that gave them access. In light of this data, young people seem to have appropriated technology, adapting it to their circumstances. In this way, for example, a platform such as YouTube, which provides audiovisual content, is turned into an online radio on demand by basically taking advantage of its sound dimension (Torras i Segura, 2017).
Recommendations are undoubtedly the best way to discover a podcast, according to Utadeo students (Figure 9). Random searches and subscriptions are left far behind. The latter involves a level of loyalty that both radio brands and platforms desire. Although it seems to work among students from UAB, the percentage is scarcely relevant enough to consider it a common practice. In fact, this content is preferably listened to at home, independent from the device they use. This datum allows understanding the frequency of downloads, whether that is basically weekly or scarcely daily (5% in Spain and 4% in Colombia).
Digital multi-device sound consumption seems to have ousted traditional radio and record players in both ecosystems. Although smartphones are the main device, and understanding that portability is one of its most appreciated characteristics, digital sound reception mostly occurs at home. This circumstance allows understanding why content downloading is insignificant, although the cost of data according to model and cost can also influence it.