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Social networks as a promotional
space for Spanish radio content. The
case study of the on-demand
programming of Cadena SER and
COPE
Rafael Galán Arribas
Francisco-Javier Herrero-Gutiérrez
Cruz-Alberto Martínez-Arcos
Sonia Casillas Martín
Social Networks
Ditrendia
On average, social
networks have the
highest participation
level
Thanks to Big Data,
the radio industry
can easily identify
listeners’ demands.
The future of radio requires interaction on social networks
Distribution of podcasts
• Smartphones and
social networks have
been intuitively allied
for the exponential
distribution of podcasts
at zero cost.
This alliance and the
incorporation of
young listeners has
made the industry to
consider a
paradigm shift.
Podcasting is the engine of a new
concept on the Internet
In this study we analyse the two most played full-service radio
stations in Spain, according to the latest report issued by the
General Media Survey (EGM) [10]: Cadena SER and COPE.
Our objects of study are the radio programmes that have
not been broadcast on traditional radio.
METHODS
• The study relies
exclusively on
quantitative techniques.
• Sample: Spanish radio
programmes that are
distributed exclusively on
the Internet
• The second phase focused
on the analysis of the
presence of the selected
programmes in the social
networks Facebook and
Twitter
• The first result is the number of followers in the social
networks Facebook and Twitter of the radio programmes
produced by COPE and Cadena SER
RESULTS
Second, we counted the number of posts made on Facebook,
contemplating various variables, both for COPE and SER. The
same counting was carried out on Twitter
The next part of the analysis focused on measuring, over a
period of 28 days, the level of interaction of the selected
programmes from both radio stations on Facebook and Twitter.
DISCUSSION AND CONCLUSIONS
• First of all, it is interesting that Twitter has much more impact
on both stations as the main social network.
• The most followed COPE programmes are about football
(Facebook) and cycling (Twitter); While the most followed SER
programmes are about football (Facebook) and basketball
(Twitter).
• With regards to the use of Facebook, both networks make a
medium to low use of their accounts in this social network
• By way of conclusion and based on the obtained data, it can be
said that the selected radio programmes find in Facebook and
particularly in Twitter a useful tool for self-promotion .
• It is worth noting that not all programmes make the most out
of their pages on social networks .
• In general terms, the use is very heterogeneous across
programmes and there are no similar patterns or common line
of use.
• It is necessary to continue
reflecting on the diverse use that
radio programmes make of
social networks, especially to
continue assessing the
enormous showcasing power
of social networks.
Thank you very much for you attention!
Bibliography and Webography
• [1]	T.	Piñeiro-Otero,	T.	2015.	De	la	radio	convencional	a	la	móvil.	Usabilidad,	
multimedialidad y	distribución	de	contenidos	en	las	radioAPPs	portuguesas.	Observatorio	
(OBS*),	9(3),	47-66.	http://obs.obercom.pt/index.php/obs/article/view/836/734	DOI:	
http://dx.doi.org/10.15847/obsOBS932015836
• [2]	Informe	Mobile	en	España	y	en	el	Mundo	2017.	En	internet:	
https://www.amic.media/media/files/file_352_1289.pdf
• [3]	J.	Rivera	y	T.	Ballesteros.	2012.	100	claves	para	la	radio	en	línea.	Luces	para	un	nuevo	
escenario	radiofónico.	CIESPAL.	Manuales	didácticos.
• [4]	R.	Galán	y	F.	Javier	Herrero.	La	radio	española	en	el	contexto	de	la	convergencia.	
Análisis	de	los	programas	de	Onda	Cero	y	Cadena	SER	creados	para	ser	consumidos
• exclusivamente	online.	Revista	de	la	Asociación	Española	de	Investigación	de	la	Comunicación.	
[S.l.],	v.	4,	n.	7,	p.	46-67,	mar.	2017.	ISSN	2341-2690.	Disponible	en:	
<http://revistaeic.eu/index.php/raeic/article/view/79>.	Fecha	de	acceso:	23	jun.	2018	En	
internet:	http://revistaeic.eu/index.php/raeic/article/view/79
• [5]	R.	Berry.	2006.		Will the iPod		kill the radio		star?		Profiling podcasting		as	radio.	
Convergence:		The		International		Journal of		Research		into New		Media	Technologies,	12:	2,	pp.	
143–62.
• [6]	Gallego	Pérez,	J.	(2012).	Podcasting	in	Spain:	A	new	business	model	or a	reflection	of	
traditional	radio?.	Radio	Journal:	International	Studies in	Broadcast &	Audio	Media,	10(1),	23-34.
• [7]	M.	Edmond.	2015.	All platforms considered:	Contemporaryradio	and	transmedia	engagement.	
New	Media	&	Society,	17(9),	1566-1582.
• [8]	R.	Franquet.	2008.	Radio	digital	en	España:	Incertidumbres	tecnológicas	
y	amenazas	al	pluralismo.	Documentos	De	Trabajo	(Laboratorio	De	
Alternativas),	(132),	1.	En	internet:	http://goo.gl/DK1zh8
• [9]	J.	Pluskota.	2015.	The	perfect technology:	Radio	and	mobility.	Journal of	
Radio	&	Audio	Media,	22(2),	325-336.	
• [10]	Estudio	General	de	Medios.	Resumen	General.	Año	móvil	2017.	En	
internet:	
https://www.aimc.es/a1mcc0nt3nt/uploads/2018/04/resumegm118.pdf

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Social networks as a promotional space for Spanish radio content. The case study of the on-demand programming of Cadena SER and COPE

  • 1. Social networks as a promotional space for Spanish radio content. The case study of the on-demand programming of Cadena SER and COPE Rafael Galán Arribas Francisco-Javier Herrero-Gutiérrez Cruz-Alberto Martínez-Arcos Sonia Casillas Martín
  • 3. Ditrendia On average, social networks have the highest participation level
  • 4. Thanks to Big Data, the radio industry can easily identify listeners’ demands.
  • 5. The future of radio requires interaction on social networks
  • 6. Distribution of podcasts • Smartphones and social networks have been intuitively allied for the exponential distribution of podcasts at zero cost.
  • 7. This alliance and the incorporation of young listeners has made the industry to consider a paradigm shift.
  • 8. Podcasting is the engine of a new concept on the Internet
  • 9. In this study we analyse the two most played full-service radio stations in Spain, according to the latest report issued by the General Media Survey (EGM) [10]: Cadena SER and COPE.
  • 10. Our objects of study are the radio programmes that have not been broadcast on traditional radio.
  • 11. METHODS • The study relies exclusively on quantitative techniques.
  • 12. • Sample: Spanish radio programmes that are distributed exclusively on the Internet • The second phase focused on the analysis of the presence of the selected programmes in the social networks Facebook and Twitter
  • 13. • The first result is the number of followers in the social networks Facebook and Twitter of the radio programmes produced by COPE and Cadena SER RESULTS
  • 14. Second, we counted the number of posts made on Facebook, contemplating various variables, both for COPE and SER. The same counting was carried out on Twitter
  • 15. The next part of the analysis focused on measuring, over a period of 28 days, the level of interaction of the selected programmes from both radio stations on Facebook and Twitter.
  • 16. DISCUSSION AND CONCLUSIONS • First of all, it is interesting that Twitter has much more impact on both stations as the main social network. • The most followed COPE programmes are about football (Facebook) and cycling (Twitter); While the most followed SER programmes are about football (Facebook) and basketball (Twitter).
  • 17. • With regards to the use of Facebook, both networks make a medium to low use of their accounts in this social network • By way of conclusion and based on the obtained data, it can be said that the selected radio programmes find in Facebook and particularly in Twitter a useful tool for self-promotion . • It is worth noting that not all programmes make the most out of their pages on social networks . • In general terms, the use is very heterogeneous across programmes and there are no similar patterns or common line of use.
  • 18. • It is necessary to continue reflecting on the diverse use that radio programmes make of social networks, especially to continue assessing the enormous showcasing power of social networks.
  • 19. Thank you very much for you attention!
  • 20. Bibliography and Webography • [1] T. Piñeiro-Otero, T. 2015. De la radio convencional a la móvil. Usabilidad, multimedialidad y distribución de contenidos en las radioAPPs portuguesas. Observatorio (OBS*), 9(3), 47-66. http://obs.obercom.pt/index.php/obs/article/view/836/734 DOI: http://dx.doi.org/10.15847/obsOBS932015836 • [2] Informe Mobile en España y en el Mundo 2017. En internet: https://www.amic.media/media/files/file_352_1289.pdf • [3] J. Rivera y T. Ballesteros. 2012. 100 claves para la radio en línea. Luces para un nuevo escenario radiofónico. CIESPAL. Manuales didácticos. • [4] R. Galán y F. Javier Herrero. La radio española en el contexto de la convergencia. Análisis de los programas de Onda Cero y Cadena SER creados para ser consumidos
  • 21. • exclusivamente online. Revista de la Asociación Española de Investigación de la Comunicación. [S.l.], v. 4, n. 7, p. 46-67, mar. 2017. ISSN 2341-2690. Disponible en: <http://revistaeic.eu/index.php/raeic/article/view/79>. Fecha de acceso: 23 jun. 2018 En internet: http://revistaeic.eu/index.php/raeic/article/view/79 • [5] R. Berry. 2006. Will the iPod kill the radio star? Profiling podcasting as radio. Convergence: The International Journal of Research into New Media Technologies, 12: 2, pp. 143–62. • [6] Gallego Pérez, J. (2012). Podcasting in Spain: A new business model or a reflection of traditional radio?. Radio Journal: International Studies in Broadcast & Audio Media, 10(1), 23-34. • [7] M. Edmond. 2015. All platforms considered: Contemporaryradio and transmedia engagement. New Media & Society, 17(9), 1566-1582.
  • 22. • [8] R. Franquet. 2008. Radio digital en España: Incertidumbres tecnológicas y amenazas al pluralismo. Documentos De Trabajo (Laboratorio De Alternativas), (132), 1. En internet: http://goo.gl/DK1zh8 • [9] J. Pluskota. 2015. The perfect technology: Radio and mobility. Journal of Radio & Audio Media, 22(2), 325-336. • [10] Estudio General de Medios. Resumen General. Año móvil 2017. En internet: https://www.aimc.es/a1mcc0nt3nt/uploads/2018/04/resumegm118.pdf