The impact of Spanish university radio stations that operate on iVoox
(2011-2021): presence, number of plays, and formats used to present
audio content
El impacto de las radios universitarias españolas en iVoox (2011-2021):
presencia, escuchas y forma de presentar los contenidos sonoros
doxa.comunicación |
nº 38, pp. 453-479
| 453
January-June of 2024
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
de Lorenzo Rodríguez, I. and Lus Garate, E. (2024). e impact of Spanish university radio stations that operate on iVoox (2011-2021): presence,
number of plays, and formats used to present audio content.
Doxa Comunicación
, 38, pp. 453-479.
https://doi.org/10.31921/doxacom.n38a2027
Ignacio de Lorenzo Rodríguez.
Professor at the School of Communication and the ISSA School of Applied Management
of the University of Navarra. Ignacio de Lorenzo is also Director of the University Rankings Unit at this institution. He
holds a degree in Journalism, a PhD in Communication from the University of Navarra, and a specialisation in Big
Data. His areas of research focus on journalism reection and its history in Spain, university radio, rankings of higher
education institutions, and the use of data for the strategic management of universities.
University of Navarra, Spain
[email protected]
ORCID: 0000-0001-6891-5440
Eva Lus Garate.
Coordinator of
Radio Universidad de Navarra
, where she oversees the programming. She also manages
the voluntary work of student collaborators from the degrees of Journalism and Audio-Visual Communication, in
addition to working as a lecturer for the practical training classes related to Radio Communication, Genres, Programmes,
and Production. Moreover, Professor Garate lectures in English for the subject entitled Multimedia Communication,
which is aimed at students of the Screen Studies and Global Journalism programmes. Since 2022, she has held the
position of president of
ARU
(
Asociación de Radios Universitarias de España
) [the association of university radio
broadcasters of Spain]. As such, Professor Garate is also the Spanish representative of the organisation known as the
RIU
(
Red Internacional Universitaria
) [international university network], in her role as the institution’s vice-president,
and is also part of the European work group entitled, World College Radio Day.
University of Navarra, Spain
[email protected]
ORCID: 0000-0003-1380-6460
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 30/06/2023 - Accepted: 30/11/2023 - Early access: 18/12/2023 - Published: 01/01/2024
Recibido: 30/06/2023 - Aceptado: 30/11/2023 - En edición: 18/12/2023 - Publicado: 01/01/2024
Abstract:
is paper examines the presence and impact of Spanish university
radio stations that operate on the iVoox platform by analysing more
than 64,000 programmes using techniques involving Big Data. e
initial ndings show that iVoox is a key player in disseminating the
Resumen:
Este trabajo examina la presencia y el impacto de las radios univer
-
sitarias españolas en la plataforma iVoox a través del análisis, con
técnicas de Big Data, de más de 64.000 programas. Los resultados
muestran primero que iVoox es un importante difusor de contenidos
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The impact of Spanish university radio stations that operate on iVoox (2011-2021): presence, number of plays...
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
1. Introduction
We are currently immersed in the third phase of podcasting, which is known as “big podcasting” (Quah, 2019), or the
“
audication era
” (Espinosa de los Monteros, 2020). is is a period in which the dissemination of sound content in the form
of podcasts has reached the pinnacle of its development in terms of formats, production and, above all, its success with the
audience. is has been stated by Terol et al. (2021) in their analysis of these platforms in the Spanish-speaking market, further
adding that 20 years after the birth of the podcast, “we are witnessing an unrelenting expansion of audio in an ecosystem
where traditional industry players, digital native projects, and technology companies with a global presence are competing”
(2021:476).
e rise of podcasting has caused a disruptive change that has forced a reaction by the old players, who have been forced to
take immediate action in order to harness the opportunities oered by the new medium, as well as to compete with formidable
newcomers in the audio content market. Among these traditional players is university radio, whose origins in Spain can be
traced back to before the digital expansion at the end of the 20th century, with the launch of the rst eight ventures (Martín
Pena, 2013). Over the last ten years, the university radio sector has undergone profound changes in many aspects: the
production of content, the way it is disseminated, and its relationship with audiences, among others. ese global changes
have been reected in a timely manner by academic thought in this area of broadcasting. For example, Marta Lazo et al. (2021)
has examined the role of university radio as an educational project in the digital environment. Other researchers have explored
the opportunities oered by the new media for the dissemination of science (Contreras Pulido and Parejo Cuéllar, 2013). Still
others have taken a more specic approach in examining how the new formats aect programming, which has been a key
focus of academic reection in the last two decades, and something that we will examine in greater depth in this study.
Among other reasons, the interest in university radio programming is justied by its potential connection with the purposes
of these university actors. Academic research aimed at university radio in Spain has established public service as the core of
its mission (Aguaded and Contreras, 2011a:409). us, university broadcasters should not limit themselves to being closed
laboratories, or simply “intramural” radio, and should aspire to reach beyond the university community. ey must have an
audio content of these stations, which has led the broadcasters to
meticulously maintain their presence on this platform by separating
the content into various channels and programmes, adding specic
descriptions, and tagging their audios. Moreover, a group of
broadcasters that continually appears on the platform with a higher
level of programme production has also been identied, which has a
strong impact as well. Finally, it has been noted that the more topic-
oriented programmes of these broadcasters, especially those focusing
on cultural dissemination, have a greater impact on this channel.
Keywords:
University radio; podcasting; big data; iVoox; listeners; social impact;
universities.
sonoros de estas emisoras, que justica que la mayoría de ellas hayan
cuidado su presencia en la herramienta, separando los contenidos en
diferentes canales y programas, añadiendo descripciones especícas y
etiquetando los audios. Además, se identica un grupo de emisoras
con aparición continuada en la plataforma y mayor producción de
programas, que también obtienen mayor impacto. Por último, se indi
-
ca que los programas de estas emisoras más centrados temáticamente,
especialmente los que se jan en la divulgación cultural, tienen un ma
-
yor impacto en este canal.
Palabras clave:
Radio universitaria; podcasting; big data; iVoox; oyentes; impacto so
-
cial; universidades.
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impact. As stated by De Lorenzo as far back as 2011, we cannot forget that university radio stations are media, rst and foremost,
so their main work instrument is radio programmes. us, the public service aspect advocated by Aguaded and Contreras is
essentially achieved through the radio programmes produced: broadcasters educate and disseminate culture through them;
students are trained as future professionals by producing programmes; and nally, the broadcast becomes the starting point
for interacting with audiences. In any case, in order for university radio stations to full their objectives and make an impact,
they must rst ensure that people listen to their programmes (Aguaded and Contreras, 2011b:6).
However, until the present time the study of university radio programming has been limited by the diculty of making the
transition from analysing programmes (genre, topic, duration, student participation, etc.) to examining their impact. e rst
factor impeding this transition is the diculty of quantifying the impact of a university radio station’s programming. For years,
research on university radio stations in Spain has been more concerned with the ways in which they have an impact than with
specifying the results of their activity with gures. us, in the early stages, researchers considered the legal acknowledgement
of these broadcasters as the main way for them to make an impact, or as an impediment if legal recognition did not exist.
Obtaining FM broadcasting licences was seen as the most direct and clearest way out of the amateur broadcasting quagmire.
e licence was the “real Gordian knot” of the future of university radio, according to Ortiz Sobrino, “which would determine
its survival and, above all, its social impact” (2018:15). Who would have thought that the digital revolution, often seen as a
threat to the industry, would be the Alexandrian sword that would break the licence constraint? Marta Lazo et al. make the
following assessment:
“e migration of university radio stations to the Internet has put an end to the problems described above [...] and it oers not only
legal coverage, but also the economic and operational exibility denied to radio broadcasters by FM. Broadcasting on the Internet
has a much lower cost, is more exible, and is simpler than conventional broadcasting” (Marta Lazo et al., 2021: 156).
anks to podcasting, university broadcasters were no longer so dependent on the FM antenna, and could reach generations
who used
Spotify
,
iVoox
, and
Apple podcast
on their mobile phones more than the conventional radio app (Miller, 2017: vi and
vii). Spanish university radio stations had already been pioneers in experimenting with these new channels since their origins
(Fidalgo, 2012), yet among all the digital tools available,
iVoox
became one of the main ways for university radio stations to
disseminate content. Moreover, in many cases it became their main broadcasting channel. Marta Lazo et al. (2021:158) have
reported that out of 32 broadcasters in their study, 20 used
iVoox
as a tool for storing and disseminating audio content. Since
its launch in 2011,
iVoox
has oered broadcasters a way to play their content, not only on the
iVoox
platform or mobile app, but
also through the
iVoox
widget on their own websites. Just two years after being founded,
iVoox
was already a major channel
of dissemination by university radio stations, given that 54% of them had already had a channel on the platform, while their
presence on other online sites was much lower, such as
iTunes
(13%),
Spotify
and
SoundCloud
, on which they were not present
(Martín Pena et al., 2023:264). ese gures for the rapid expansion of podcasting contrast with the fact that it was not until
2019 that
Apple
started to replace
iTunes
with
Apple podcast
. Moreover, in this same year
Spotify
made a full commitment to
this format by acquiring
Gimlet Media
and
Anchor
.
iVoox
, which is the true “Iberian exception” to this market, promotes itself as the leading Spanish-language podcast and radio
platform. Although the
Digital News Report
2023 (Amoedo et al., 2023:165) states that podcast consumption in Spain through
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iVoox
is on a downward trend (from 20% in 2021 to 16% in 2023), today it is the third platform in this country.
Spotify
(30%)
and
YouTube
(29%) are the only platforms ahead of
iVoox
, followed by
Google podcast
(13%). All the others have less than 10%.
e growth of these tools among university radio stations, which Martín Pena et al. (2023:268) have dened by the term
platformisation
, has far-reaching implications for these radio producers. One is specically the direct benet resulting from
an increase of research into university radio programming, which is clarifying how the impact of university radio is occurring:
“Consequently, platformisation is much more than a scenario. It is a fundamental part of the strategy for getting to know the audience,
because it denes their practices, reveals the dynamics of production and content circulation and, most of all, because this approach
allows us to observe
the digital footprints left by the audience
” (López et al., 2023:2, italics added by the authors).
e reason for this novel development is that previous studies of university radio programmes have faced at least three
challenges in gathering impact and audience data. e rst was the diculty of recording in detail, as well as encompassing the
reality of sound, which by its very nature evolves over time from day to day, and from season to season. e second impediment
was the local nature of university radio stations, along with their variety and number, which meant that the data was dispersed,
and in many cases ephemeral. A signicant part of previous studies gathered information on the content of university radio
stations by asking their directors about their programming, which was a management challenge, or by reviewing the available
websites, which were not always up to date or complete. e third obstacle, possibly as a consequence of the above, is that
researchers have been faced with the diculty of obtaining quantitative impact data regarding plays, likes, and comments.
As university radio stations are not included in the
Estudio General de Medios
(EGM)
[General Media Study] they do not have
demoscopic information on their listeners. Moreover, until recently the sources for evaluating their own impact were indirect,
and in many cases subjective.
Consequently, the embracement of
iVoox
by university broadcasters oers an opportunity to overcome these diculties. Firstly,
iVoox
oers the advantage of compiling on its platform a register of the complete programming of most Spanish university
radio stations. Secondly, it oers information on the number of plays, likes, and comments on all uploaded programmes. For
these reasons,
iVoox
allows us to access the
digital footprints
, as indicated by López et al.
As mentioned above, this research builds upon previous attempts to analyse the programming of Spanish university radio
stations, all of which are useful. Although the authors do not intend to carry out an exhaustive review of such research, they
would like to establish some points in common. Most previous research has concluded that this programming either is, or
should be, alternative, a term that has also been used to dene the entire university broadcasting sector. According to Marta
Lazo and Martín Pena (2014:16), González Conde (2000) had already mentioned university radio stations as alternative,
referring to
Radio Complutense
, and Gallego (2007) also used the term to describe the sector. is concept has also been used
outside Spain with regard to college radio stations, yet in the United States and Canada, as two examples, it focuses specically
on the music that is broadcast on these stations (see Freeman 2022:352 or Desztich and McClung, 2007:199). In Spain, Aguaded
and Contreras (2011b:6) were the rst to specically emphasise that, in the struggle for impact and audience share, university
radio programming must do things dierently by trying to develop content and programmes that are alternative. However,
the denition of this term as applied to programming, which has had some success in research literature, does not have one
unique meaning: sometimes it refers to more specialised content (Aguaded and Contreras 2011b:6); in other cases, it is dened
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by its opposition, or complementarity, to what is produced by commercial radio or, in other words, alternative is any content
that is not being produced in that eld (Espino Narváez, 2014:32); nally, alternative has been referred to more recently as
programmes that are alternative because of what they achieve, as when they “assist in developing communication that is fairer
and more democratic, which is at the service of citizens” (López et al. 2023:2, citing Vázquez, 2012). In any case, in his approach
to Canadian college radio, Fauteux (2015) had already described the diculty of dening alternativeness in this sector.
To complicate matters even further, according to Álvarez Villa and Ramírez Queralt (2005), alternative does not necessarily
mean experimental. us, although these authors describe university radio as alternative, they found only a slight presence
of experimental formats and content in university radio programming. Moreover, they found that creativity in university radio
was limited to music or ction.
In short, the eort to distinguish themselves from the commercial sector would require specic content more closely linked
to culture, university information, and the dissemination of science. According to Perona (2012), the programmes that were
becoming more prevalent on university radio focused on social aspects (equality, solidarity, and human rights), as well as
scientic research, cinema, new technology, employment, travel, and book reviews. Music and its dissemination have also
played a prominent role in the programming of Spanish university radio stations. Moreover, Martín Pena and Piñeiro (2020:201)
argue that the programming of university stations has a strong edu-communicational and didactic aspect, which is especially
aimed at future communication professionals.
Another novelty provided by university radio programming does not refer to the topics, but to the format, which is the so-called
mini magazine
. As pointed out by Perona (2012), this type of programme combines various sub-genres such as interviews,
talk shows, news, and debates into a relatively short time space. According to this author, the mini magazine is “one of the
methods for transmitting content that is most highly valued by university radio stations” (2012:44). e short time frames
that comprise the mini magazines can also become independent within university radio through micro spaces, which are not
exclusive to the sector. ese types of short, independent sound programmes, which are often interspersed in blocks of music,
could be considered an optimal tool in the search for both quality based on original content developed with more care and its
dissemination in social media, as well as for innovative teaching (De Lorenzo, 2012).
us, based on these premises in relation to university radio programming, this paper explores the way in which
iVoox
has been
embraced by these Spanish sound producers, how it is reected in their programmes, and the impact obtained in the process.
With the use of big data techniques, this approach will allow us not only to acquire the necessary techniques for an analysis
based on
iVoox
data, but also to draw conclusions that can be extrapolated outside the eld of university radio stations.
iVoox
oers the opportunity for the authors of this paper to conrm their ndings in relation to the previous programming aspects
based on objective indicators and a comprehensive approach.
2. Methodology
e rst step was to dene the research questions of this study and associate them with specic indicators that could be
obtained from the
iVoox
platform, which are as follows:
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Table 1. Research questions and indicators used for the analysis
Research question
Indicators used
1. How has
iVoox
been embraced by Spanish university
radio stations?
1.
Percentage of use of the platform among university
broadcasters
2.
Distribution of utilisation of the dierent broadcasting
formats oered by
iVoox
: opening a channel or using the
widget integrated into the website
3.
Use of other alternative or complementary platfor
-
ms
2. How is the programming uploaded to
iVoox
by Spanish
university radio stations?
1.
Evolution of loaded programming: number of program
-
mes and hours
2.
Grouping of broadcasters according to programme
production, hours, and evolution
3.
Frequency of programme duration, especially micro
spaces and mini magazines
4.
Monitoring of the platform’s standard rules:
a.
Grouping of content into channels.
b.
Description of programmes
c.
Use of tags
3. What is the impact of university radio stations through
iVoox
?
1.
Evolution of the number of plays obtained over time by
university radio stations
2.
Grouping of the stations according to the number of
plays obtained
3.
Number of plays of the programme durations
4.
Number of plays per station
5.
Number of plays by category
Source: created by the authors
e rst stage of the research was to review the existing literature on the programming of university radio stations which, on
the one hand, provided support for the theoretical framework presented in the introduction to this paper. On the other hand,
it has allowed the authors to determine the sample of radio stations to be analysed. e lists of Marta Lazo and Segura (2012)
and Perona (2012) were used as a starting point to establish as complete an overview as possible of all Spanish university radio
stations, which was veried by the history of university radio stations in Martín Pena et al. (2023). Firstly, 40 stations were
identied. Next, the content dissemination methods used by each radio station were studied, reviewing their websites and
checking whether
iVoox
was among their channels, or whether it was their main channel. In addition, the use of the platform’s
widget on their websites was veried, which allows university stations to oer the content of their channels on
iVoox
without
the user having to enter
ivoox.com
.
<p>[Enlace de URL / hc (has AS)]</p>
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Ignacio de Lorenzo Rodríguez and Eva Lus Garate
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Of the nal number of 30 stations identied as
iVoox
users, two of them (
Unizar
and
Universidad de Vigo
) were removed from
the list because they were channels that oered only one programme rather than their entire radio production. us, the list of
iVoox
radio stations for the analysis was as follows:
Table 2. Spanish university radio stations analysed with a presence on
iVoox
1.
Europea Radio (Europea
1
)
2.
Inforadio (Inforadio)
3.
iradioUCAM (UCAM)
4.
Ondacampus (Ondacampus)
5.
Radio Campus Universidad la laguna (ULL)
6.
Radio CEU (CEU)
7.
Radio de la UA (UA)
8.
Radio UAL (UAL)
9.
Radio UMH (UMH)
10.
Radio Universidad de Navarra (Navarra)
11.
Radio Universidad de Salamanca (Salamanca)
12.
Radio Universitaria de León (León)
13.
Radio UOC (UOC)
14.
Radio UPF (UPF
)
15.
Radio UPV (UPV)
16.
Radio URJC (URJC)
17.
Radio US (RadiUS)
18.
Radio UVA (UVA)
19.
R
à
dio VOX-UJI (UJI)
20.
RUAH (RUAH)
21.
Uburadio (UBU)
22.
UNEATLANTICO Radio (UNE)
23.
UNED (UNED)
24.
Uniradio Huelva (UniRadio Huelva)
25.
Uniradio Jaén (UniRadio Jaén)
26.
Universidad de Loyola (Loyola)
27.
Universidad de Murcia (Murcia)
28.
UVic Ràdio (UVIC)
Source:
iVoox
, created by the authors
e second step was to extract the necessary data from the platform in order to carry out the research, which required
consideration of how content is structured in that environment.
Figure 1. Structure of the content on
iVoox
ϱ͘
ZĂĚŝŽ "ĂŵƉƵƐ hŶŝǀĞƌƐŝĚĂĚ ůĂ ůĂŐƵŶĂ ;h>>Ϳ
ϲ͘
ZĂĚŝŽ "'h ;"'hͿ
ϳ͘
ZĂĚŝŽ ĚĞ ůĂ h$ ;h$Ϳ
ϴ͘
ZĂĚŝŽ h$> ;h$>Ϳ
ϵ͘
ZĂĚŝŽ hD, ;hD,Ϳ
ϭϬ͘
ZĂĚŝŽ hŶŝǀĞƌƐŝĚĂĚ ĚĞ EĂǀĂƌƌĂ ;EĂǀĂƌƌĂͿ
ϭϭ͘
ZĂĚŝŽ hŶŝǀĞƌƐŝĚĂĚ ĚĞ ^ĂůĂŵĂŶĐĂ
;^ĂůĂŵĂŶĐĂͿ
ϭϮ͘
ZĂĚŝŽ hŶŝǀĞƌƐŝƚĂƌŝĂ ĚĞ >ĞſŶ ;>ĞſŶͿ
ϭϯ͘
ZĂĚŝŽ hK"
;hK"Ϳ
ϭϰ͘
ZĂĚŝŽ hW& ;hW&
Ϳ
ϭϵ͘
Ză
ĚŝŽ sKy
Ͳ
h:/ ;h:/Ϳ
ϮϬ͘
Zh$, ;Zh$,Ϳ
Ϯϭ͘
hďƵƌĂĚŝŽ ;h!hͿ
ϮϮ͘
hE'$d>$Ed/"K ZĂĚŝŽ ;hE'Ϳ
Ϯϯ͘
hE'% ;hE'%Ϳ
Ϯϰ͘
hŶŝƌĂĚŝŽ ,ƵĞůǀĂ ;hŶŝZĂĚŝŽ ,ƵĞůǀĂͿ
Ϯϱ͘
hŶŝƌĂĚŝŽ :ĂĠŶ ;hŶŝZĂĚŝŽ :ĂĠŶͿ
Ϯϲ͘
hŶŝǀĞƌƐŝĚĂĚ ĚĞ >ŽLJŽůĂ ;>ŽLJŽůĂͿ
Ϯϳ͘
hŶŝǀĞƌƐŝĚĂĚ ĚĞ DƵƌĐŝĂ ;DƵƌĐŝĂͿ
Ϯϴ͘
hsŝĐ ZăĚŝŽ ;hs/"Ϳ
Source:
iVoox
, created by the authors
The second step was to extract the necessary data from the platform in order to carry out
the research, which required consideration of how content is structured in that
environment.
Figure 1: Structure of the content on
iVoox
Source: created by the authors
On
iVoox
, a content producer groups audio files (editions) into programmes and then
assembles these programmes into channels, following the diagram in Figure 1. Therefore,
to identify the impact of a broadcaster, we needed to locate all the editions of the
program
mes that had been included in the channels, along with the data we were
interested in compiling in each case. Starting with all the university radio stations
identified, together with their channels on
iVoox
, a
Python
programme was created. With
th
e aid of software packages
Selenium
(version 3.141) and
Beautifulsoap
(version 4.12),
it was possible to go down the list of all the radio stations, as indicated by the arrows in
the figure, through all the programmes, and ultimately find the editions published on
iVoox
. The following information was obtained from each of the available editions by
web scraping
(extracting text by using HTML):
Comentado [34]:
En la versión española aquí he
hecho una referencia al gráfico: "como indica la flecha
del gráfico"
Comentado [35R34]:
He añadido ...as indicated by the
arrows in the figure... aunque esa cláusula no aparece
en el original.
Source: created by the authors
On
iVoox
, a content producer groups audio les (editions) into programmes and then assembles these programmes into
channels, following the diagram in Figure 1. erefore, to identify the impact of a broadcaster, we needed to locate all the
editions of the programmes that had been included in the channels, along with the data we were interested in compiling in
each case. Starting with all the university radio stations identied, together with their channels on
iVoox
, a
Python
programme
was created. With the aid of software packages
Selenium
(version 3.141) and
Beautifulsoap
(version 4.12), it was possible to go
down the list of all the radio stations, as indicated by the arrows in the gure, through all the programmes, and ultimately nd
1
Hereafter, we will use the short version of the stations’ names (in brackets) to refer to them.
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The impact of Spanish university radio stations that operate on iVoox (2011-2021): presence, number of plays...
ISSN: 1696-019X / e-ISSN: 2386-3978
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the editions published on
iVoox
. e following information was obtained from each of the available editions by
web scraping
(extracting text by using HTML):
Table 3. Data extracted from each edition of a programme
VaribleDescription
Title
Title of the specic edition of the podcast
Description
Description of that edition. It was analysed with fuzzy logic to classify it as generic or specic
Tags
List of all the tags assigned to the edition
Categories
List of the categories applied to the specic channel
Duratione
iVoox
format was transformed (minutes: seconds) into seconds
Comments
Number of comments made about the edition
Downloads
Number of times the edition was downloaded
Likes
Number of likes obtained
Publication datePublication date of the podcast
Programme
Name of the podcast in which the edition is included
University radio
station
Name of the university radio station
iVoox
URL
Webpage address where you can listen to this edition of the programme, which can serve as a
reference
Source:
iVoox
, created by the authors
Given the complexity and volume of the data, to ensure its quality and comprehensiveness, a total of three extractions were
made: in March 2020, March 2021, and June 2023. As the data capture was performed in real time, directly from the
iVoox
website, there was a possibility that part of the data would not load correctly on some occasions, or that access to the pages
where each edition is shown would not be complete.
is situation justied the three extractions of all the content (incorporating the new loaded programmes in the second and
third extractions), even though this triple access meant obtaining data that was repeated. us, some 209,594 records were
included in a database created for this purpose.
To consolidate the information, the rst step was to eliminate the repeated data from among the dierent extractions by using
the values of the radio station, the programme title and edition, the description, and the duration in order to discriminate the
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dierent editions of the programmes gathered. In numerous cases where several recordings of the same programme were
available, only the most up-to-date and complete version was used.
On the other hand, a series of ltering tasks were also carried out in order to isolate the sample required from the noise, and
to ensure that it accurately reected the sound production of the university broadcasters analysed. As such, programmes
of less than 60 seconds and more than three hours were excluded, as they were considered to be commercials or indicative
programmes, in one case, and the other was complete broadcasts of events. All programmes referring to
Euroconexión
or
ARU
(Asociación de Radios Universitarias)
, were also limited, as the authors considered that these oer content produced for the
exchange of material within these associations, and it was thought that they are broadcast on several stations at the same time.
A comparison between the dierent extracts showed that broadcasters are not consistent in uploading content, and on some
occasions, there is a gap of time between the date of production and the upload to the platform. On the other hand, even
though
iVoox
was launched in 2010, and the rst university broadcasters began using the platform in 2011, many of them
uploaded content from previous years. As such, in order to clearly reect the production in the rst years, the time limits were
set from 2011 to 2021.
us, the total sample consisted of 64,094 dierent programme editions, with a total of 43,419 hours of programming. By
contrasting this information with the aforementioned literature review, the authors arm that this study is the most extensive
and detailed analysis to date regarding the programming of Spanish university radio stations.
Before analysing the results obtained, it bears mentioning the impact indicators and the justication for using the number of
plays as the reference variable. ere are three possibilities oered on
iVoox
to measure the impact of a programme: plays,
likes, and comments. In total, the content published by the university radio stations has been played 9.2 million times (145 on
average), received 63.1 thousand likes (0.98 on average), and some 15.3 thousand comments (an average of 0.24).
us, one like is attained for every 146 plays and, to obtain one comment, an average of 603 plays are necessary. is concurs
with assertions made by Gallardo Camacho and Pulido Núñez (2022), who point out the diculty of gaining audience
participation in digital radio. e plays indicator will be used as the reference for two reasons. Firstly, because of the high
correlation between these three impact variables, especially between plays and likes (0.97 Pearson), and likes and comments
(0.70 Pearson), although it is a bit lower between comments and plays (0.65). Secondly, because likes and comments oer
less information for analysis, as many programmes fail to score on both indicators (82% do not receive any likes and 95% have
never achieved a single comment).
3. Results
3.1. e use of iVoox by Spanish university radio stations
Regarding the rst research question, the denition of the sample as described above made it possible to collect data on how
iVoox
is used by Spanish university radio stations to broadcast programmes.
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Figure 2. Podcasting,
iVoox
use, and alternatives in Spanish university radio stations
Figure 2: Podcasting,
iVoox
use, and alternatives in Spanish university radio stations
Source: created by the authors using
Flourish
software based on university radio websites
and
iVoox
Of the university broadcasters originally identified, 35 provide archives in podcast
format, regardless of whether they maintain a live stream or not. As shown in Figure 2,
30 of these broadcasters (85%) have a channel on
iVoox
to publish content, and in 53%
of the cases (16 out of 30), it is the only channel they have for broadcasting their content.
Other options
,
that are sometimes used as a complement
,
include public sound
broadcasting tools such as
Spotify
and
Soundcloud
, among others (17.5% of all
broa
dcasters use them, but only 2 exclusively), and other systems developed ad hoc by
the broadcasters themselves (30% in
-
house, according to the figure). Based on the above
-
mentioned timeline of when the different platforms appeared, some university radio
sta
tions (2) initially used
iVoox
technology to broadcast their podcast content, yet in
recent seasons they have moved to
Spotify
as well.
3.2. Programming uploaded to iVoox by Spanish university radio stations.
The second research question regarding how the programming produced by Spanish
university radio stations is uploaded to the
iVoox
platform, we must first examine the
evolution of what has been produced over the 11 years analysed.
Source: created by the authors using
Flourish
software based on university radio websites and
iVoox
Of the university broadcasters originally identied, 35 provide archives in podcast format, regardless of whether they maintain
a live stream or not. As shown in Figure 2, 30 of these broadcasters (85%) have a channel on
iVoox
to publish content, and in
53% of the cases (16 out of 30), it is the only channel they have for broadcasting their content. Other options, that are sometimes
used as a complement, include public sound broadcasting tools such as
Spotify
and
Soundcloud
, among others (17.5% of all
broadcasters use them, but only 2 exclusively), and other systems developed ad hoc by the broadcasters themselves (30%
in-house, according to the gure). Based on the above-mentioned timeline of when the dierent platforms appeared, some
university radio stations (2) initially used
iVoox
technology to broadcast their podcast content, yet in recent seasons they have
moved to
Spotify
as well.
3.2. Programming uploaded to iVoox by Spanish university radio stations.
e second research question regarding how the programming produced by Spanish university radio stations is uploaded to
the
iVoox
platform, we must rst examine the evolution of what has been produced over the 11 years analysed.
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Figure 3. Evolution of the number of programmes and hours produced by Spanish university radio stations that have appeared on
iVoox
Source:
iVoox
, created by the authors
By taking a comprehensive view, it can be seen in Figure 3 that the output of university broadcasters over time has been
increasing since 2011, both in total programme production and in hours produced, with the gures doubling from 2011 to
2021. e gure also indicates that since 2019, the gap has widened between output and hours produced, the origin of which
will be outlined further along.
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Figure 4. Histogram of the duration frequency of programme uploaded to
iVoox
by Spanish university radio stations (ve-minute ranges)
Source:
iVoox
, created by the authors
Figure 4 shows several areas where programmes durations are most frequent: in the micro space area between one minute
and 20 minutes; around half an hour; around one hour, where the highest total value appears; and, much lower, is two hours
of programming (115-120 in the gure). Generally speaking, when producing programmes, university broadcasters do not
strictly adjust to the duration of traditional radio programming formats (half an hour, one hour, or two hours). By considering
a margin of plus or minus 3 minutes over these limits, only 27% of all programmes are grouped in these durations, with this
lack of time discipline remaining relatively constant from 2011 to 2021.
If we consider the evolution of these four groups over time, with a laxer consideration of the durations of these blocks
2
, Figure
5 conrms that micro spaces and one-hour programmes have been signicant in all periods, but that half-hour programmes
have increased in recent years (rising by 17 percentage points if we compare 2011 with 2021), to the point of surpassing one-
hour programmes in 2020. e total production of micro spaces has been decreasing, from 39% of all production to 20%.
ese changes in the duration of the content published explain the divergent development seen in the foregoing regarding the
number of programmes and total hours produced from 2019 onward.
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Figure 5. Evolution of the programmes according to the duration per group
Source:
iVoox
, created by the authors
e radio station with the most audio content published on
iVoox
is
Navarra
, followed by
Ondacampus
and
Inforadio
.
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Figure 6. Total number of productions and hours of programming by broadcaster
Source:
iVoox
, created by the authors
e fact that the
Navarra
programming model has been based on micro spaces for many years misrepresents this account.
us, according to the cumulative duration of the programmes, the highest positions go to
Inforadio
,
RUAH
and
Ondacampus
.
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Figure 7. Heat map of production in minutes by according to each broadcaster
Figure 7: Heat map of production in minutes by according to each broadcaster
Source:
iVoox
, created by the authors
The heatmap shown in Figure 7 was obtained by summing the number of minutes
produced monthly by each broadcaster, putting the figures into a table, and assigning each
cell a shade of grey according to the number of minutes produced (between 0 and 15,790
mi
nutes per month). This type of figure is commonly used to analyse large amounts of
data
in order to track the strength of a value. The darker areas of the figure indicate the
months with the highest production in minutes, whereas the lighter areas correspond to
those with the lowest production. This figure allows us to clarify certain aspects regarding
the differences between the broadcasters studied as follows:
1.
There is one group of broadcasters who have consistently produced and uploaded
programmes to
iVoox
since 2011: these include
Inforadio
,
RUAH
,
Ondacampus
,
Europea, León, UNED, Navarra
, and
UA
.
2.
Another group has also produced and uploaded a considerable amount of content,
but more sporadically, at least since 2011: these include
Uniradio Jaén, UJI,
URJC, Salamanca, UAL, UVIC,
RadiUS
, UPF, UNE, UBU, ULL
, and
UPV
.
3.
Finally, another cluster of radio stations have produced and uploaded considerably
less content to
iVoox
, and with less continuity as well, such as
Murcia
,
UOC
,
Loyola
or
CEU
, or have joined
iVoox
later, such as
UCAM
and
UMH
.
The figure also allows two details to be observed: firstly, all radio stations either do not
produce content in the summer months, or they reduce their production considerably, as
there are clear gaps in the middle of the years. Nevertheless, this is logical given the
distribution of the academic year
.
Secondly
, of the broadcasters who had been producing
content continuously (25), only 12% (3) stopped production during the worst period of
the pandemic, which was the confinement. This is the reason for the absence of gaps in
the first months of 2020. This is consistent with the actions of many other university radio
Comentado [55]:
OK, pero es mejor escribirla así: ...to
analyse large amounts of data in order to track...
Comentado [56]:
OK.
Comentado [57]:
OK.
Source:
iVoox
, created by the authors
e heatmap shown in Figure 7 was obtained by summing the number of minutes produced monthly by each broadcaster,
putting the gures into a table, and assigning each cell a shade of grey according to the number of minutes produced (between
0 and 15,790 minutes per month). is type of gure is commonly used to analyse large amounts of data in order to track the
strength of a value. e darker areas of the gure indicate the months with the highest production in minutes, whereas the
lighter areas correspond to those with the lowest production. is gure allows us to clarify certain aspects regarding the
dierences between the broadcasters studied as follows:
ere is one group of broadcasters who have consistently produced and uploaded programmes to
iVoox
since 2011: these
include
Inforadio
,
RUAH
,
Ondacampus
,
Europea, León, UNED, Navarra
, and
UA
.
Another group has also produced and uploaded a considerable amount of content, but more sporadically, at least since 2011:
these include
Uniradio Jaén, UJI, URJC, Salamanca, UAL, UVIC,
RadiUS
, UPF, UNE, UBU, ULL
, and
UPV
.
Finally, another cluster of radio stations have produced and uploaded considerably less content to
iVoox
, and with less
continuity as well, such as
Murcia
,
UOC
,
Loyola
or
CEU
, or have joined
iVoox
later, such as
UCAM
and
UMH
.
e gure also allows two details to be observed: rstly, all radio stations either do not produce content in the summer months,
or they reduce their production considerably, as there are clear gaps in the middle of the years. Nevertheless, this is logical
given the distribution of the academic year. Secondly, of the broadcasters who had been producing content continuously (25),
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only 12% (3) stopped production during the worst period of the pandemic, which was the connement. is is the reason
for the absence of gaps in the rst months of 2020. is is consistent with the actions of many other university radio stations
in other countries, such as the United States (see Knopper, 2020, and Minsker et al., 2020). For some broadcasters, such as
Salamanca
,
Navarra
,
Huelva
,
UVIC
,
RadioUS
or
ULL
, the lockdown was an opportunity to produce more content than usual,
compared to the same months of the previous year.
As noted above,
iVoox
is designed to allow a sound producer to group his or her content into dierent podcasts, or channels
with their own autonomy and categorisation (Sellas, 2012). An alternative to this type of arrangement is to include all editions
of the programmes produced under the banner of a generic podcast, such as
UNED
’s Science and Technology podcast, instead
of singling out one podcast for each programme. However, this practice has been very limited among the university radio
stations analysed.
Only three stations have oered their sound content using this method: UJI with 3,708 spaces;
UNED
(in this case in three
blocks,
Ciencia y Tecnología
[Science and Technology -423 spaces],
Ciencias Sociales y Económicas
[Social Science and
Economics -2,638], and
Humanidades
[Humanities -755]); and
CEU
(with very few programmes [6]). e rest of the stations
preferred to follow the logic of one programme, one podcast.
Two other aspects also reveal more about how the content is presented on the podcasting platform than about the programmes
themselves. Firstly, the descriptions of the programmes. e spaces were automatically classied using fuzzy logic from
Python’s FuzzyWuzzy
0.18 package, based on whether the description was generic (appearing in more than one edition of a
programme) or specic (not repeated). e majority of the university radio stations lled a the specic description of each of
their spaces on
iVoox
in 70.95% of all cases. Afterward, the labelling of the programme editions was checked, and the correct
number of labels were added. On average,
iVoox
spaces receive 3.97 tags, but more than 20.88% have no tags at all.
3.3. e impact achieved by Spanish university radio stations on iVoox
e third research question leads us to associate the aspects mentioned with the impact achieved. Despite the fact that the
programmes produced were played an average of 145 times, the distribution of plays shows that most of the programmes
(78.44%) were listened to between 0 and 50 times. However, the average is much higher for a long tail of spaces (21.56%)
ranging from 50 listens to a record 126,185 plays.
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Figure 8. Histogram of the distribution of plays
Source:
iVoox
, created by the authors. Outliers have been limited to 50,000 plays
Figure 8 shows a positive asymmetric distribution, with an extreme bias to the right, or in other words, most of the values are
below the mean and a small group has a high impact.
is distribution indicates the need to separate the total compilation of programmes into two groups: the rst is a high-impact
group, comprised of any programme edition with an extreme value with regard to the total (an outlier); the second group
comprises the rest of the content. To dene an outlier, we employed the usual rule of considering this to be any value that is
three times the inter-quartile distance of the distribution as follows: Q3+(Q3-Q1)*3, or in other words, 41+(41-5)*3=149 plays.
According to this rule, the two groups are composed as shown in Table 3:
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Table 3. Impact groups
EditionsPlays
No.%No.%AverageMinimumMaximum
High impact
6,3109.84%8,025,70486.50%1,271.90
150126,185
Low impact
57,78490.16%1,252,14013.50%21.660149
Total
64,094100%9,277,844100%144.750126,185
Source:
iVoox
, created by the authors
e high-impact group, which has only 9.84% of the total number of programmes, obtains 86.50% of the total number of plays.
e overall average of 145 plays for each programme is therefore not representative of the total, as it results from the presence
of this high-impact group. us, the median of 12 plays is more representative of this distribution. When separating the two
groups, the evolution of the impact according to the date of uploading the programmes on the platform is clearer, as can be
seen in the following gure:
Figure 9. Evolution of the annual average number of plays over time
Source:
iVoox
, created by the authors
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It seems logical that older programmes
3
have more plays, as they have been on the platform for a longer period of time. e
dierence between the two groups is clear: the high-impact group has an average of 573 editions per year (with a maximum
of 1,101), and its impact reaches nearly 2 million cumulative plays in any given year, whereas the low-impact group, with an
average of 5,253 editions per year (with a maximum of 8,400), never exceeds 160,000 total plays per year.
Figure 10. Average and median number of plays according to the duration of the space
Source: iVoox, created by the authors
Regarding the median of programme duration, programmes lasting more than one hour have the greatest impact (24 plays).
e dierence in relation to the average shown in Figure 10 is due to the presence of a series of high-impact content productions
in the half-hour category, which distort the gures. In both cases, micro spaces have the least impact for all groups, using any
measure of central tendency.
In order to understand the impact of each of the university radio stations, it is interesting to cross-reference the number of
spaces produced with the impact they have obtained, as shown in Figure 11.
3
In any case, it is important not to confuse the programme upload date (the one used here) with the production date of the programme, which is unknown in the
case of iVoox.
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Figure 11. Number of plays and production by broadcaster
Source: iVoox, created by the authors
is gure allows us to dierentiate between three groups of broadcasters:
1. e rst group has an impact of less than 150,000 plays, and usually with an output of less than 3,000 programme editions
(except for
UJI
and
León
). Most of the radio stations are in this group, which is marked in the gure with a light grey colour.
2. e second group has a higher production (usually more than 3,000 editions, except for
UAL
and
UA
), and is more capable
of accumulating plays (with more than 150,000). is group includes
Inforadio
,
Europea
,
UniRadio Jaén
,
UAL
,
UA
, and
Navarra
. In the gure, they appear in a darker shade of grey.
3. e last group of radio stations is located between the two groups in terms of production, yet they accumulate 500,000
plays, which is much higher than the other two. is group includes
RUAH
,
UNED
and
Ondacampus
.
It is interesting to note that
Ondacampus
is the station with the highest number of plays, yet it does not have the largest
percentage of high-impact productions, with a ranking of fourth. e data suggest that in addition to producing a high volume
of content, this station also accumulates a massive number of plays from many of its programmes, with an average of 818 per
programme and a median of 48 plays. e radio station with the largest percentage of high-impact productions is
UOC
(60%,
from a short production of 56 programme editions), followed by
UNED
(44%),
UNE
(31%),
Ondacampus
(27%) and
RUAH
(21%).
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Figure 12. Impact and number of productions based on the top 27 categories
Source: iVoox, created by the authors
According to the categorization of their programmes by the university radio managers themselves, two fairly generic categories
4
,
Magazine y Variedades
[magazine and variety], and
Mundo y Sociedad
) [world and society], are at the top of the university
radio production, followed by two more specialised subjects, which are
Polideportivo
[sports] and
Cine, TV, y espectáculos
[lm, TV and shows]. Curiously, despite reports from other studies regarding the number of programmes produced, music
does not appear until the fth position with
Músicas del Mundo y Otras
[world music and others]. is could be due to the
fact that although radio stations broadcast a lot of music, often as llers between spaces, these musical interludes are not
considered to be properly packaged spaces to be uploaded to
iVoox
.
is production data based on category contrasts with the impact obtained. If one looks at the categories of programmes with
the highest impact in terms of plays, we see that most of them have a more specialised topic, such as
Historia y Humanidades
,
[history and humanities],
Misterio y Otras Realidades
, [mysteries and other realities],
Ciencia y Naturaleza
, [science and
nature],
Pop Rock
[pop and rock music], and
Arte y Literatura
[art and literature]. e largest percentage of high-impact
programme editions can be found in the following themes:
Misterio y otras realidades
[mysteries and other realities] (55%);
4
ese categories are mandatory for any iVoox programme and are chosen by the user who uploads a given podcast (with all its editions) to
iVoox
. e analysis of
the two impact groups by topic show similar patterns in both groups and the separate conclusions are very similar to the joint analysis.
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Historia y humanidades
[history and humanities] (42%);
Experimental y New
Age
(35% from very few programmes);
BSO y
Clásica
[BSO and classic] (30%);
Internet y Tecnología
[the Internet and technology] (27%); and
Ciencia y naturaleza
a [science
and nature] (22%).
With regard to the way programmes are included on iVoox
5
, specic descriptions have a direct benecial eect on impact: in
other words, the average impact is higher in programmes with specic descriptions (162 plays on average) than those with
generic descriptions (102), with a p-value<0.001. In terms of tagging, the spaces that had at least one tag received more than
twice as many plays as those that had none (74 listens versus 163, p-value<0.001), but, however, there does not seem to be a
linear relationship between the two: the more tags, the more plays (R2=0.008).
4. Conclusions
Following the analysis of the data collected and the comparison with the existing literature, it is possible to answer the research
questions posed.
Firstly, with regard to the embracement and use of
iVoox
by Spanish university radio, it has been conrmed that a majority of
broadcasters (85%) have taken advantage of the opportunity oered by the platform for the dissemination of audio content.
Most university stations use
iVoox
as a repository for their les and for playing audios, both in the tool itself and on their own
websites as well (27%). Although the broadcasters continue to experiment with other digital tools, which are still in the minority,
the platformisation outlined by Martín Pena et al. (2023) has been fully achieved. University radio stations have found
iVoox
to be a great ally for broadcasting their content at zero cost, yet they have surrendered the freedom that their own podcast
instruments would give them. is general embracement of
iVoox
has also led to a commitment by university broadcasters:
most of them have taken care of their presence on
iVoox
by carefully following rules established by this community, whether
implicitly or explicitly, thereby enhancing their impact. Consequently, these radio stations separate the content into dierent
programmes (92.5%), rather than oering them indiscriminately combined in a generic podcast. ey also add specic
descriptions to the published editions (70%) and include tags to describe the content (79%).
Regarding the second research question related to the
iVoox
spaces of Spanish university radio stations, a large amount of
programming has been uploaded to the tool over the years, with more than 64,000 programmes and growing. Furthermore,
the analysis of this programming shows that there is a group of nine radio stations that have been present on
iVoox
for many
years longer and not only have they produced more editions of programmes, but they have had a stronger impact as well. ese
include
UNED
,
Ondacampus
,
RUAH
,
Europea Radio
,
Radio Universidad de Navarra
,
Uniradio Jaén
,
UAL
,
Radio de la UA
and
Inforadio
. e relevant analysis of the reasons with regard to budgets, student mobilisation, facilities and communication
strategies that have ensured the continuity, greater production and impact of this group, is outside the scope of this research.
Nevertheless, this should be noted as a possible topic for future research.
5
No inuence on impact was found in the grouping of content (broadcasters that publish everything on a generic podcast) or on continuity (programmes that have
been on air longer and are broadcast with some regularity).
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University radio stations have taken advantage of the freedom oered by the digital environment to abandon the traditional
time space duration, which started and, moreover, from the beginning of the period analysed. On
iVoox
, there is no need to
adjust programmes with the hourly news bulletins, nor to put together a puzzle to compose a morning or afternoon grid.
Nevertheless, the duration of the spaces depends on other criteria. is research sheds light on previous studies regarding
the types of programmes on university radio: despite supporting the importance of micro spaces (De Lorenzo, 2012 or Marta
Lazo and Martín Pena, 2014), or the preference of these stations for one-hour spaces, -if we consider the minimagazines
outlined by Perona (2012:44) as programmes of such length-, the data indicate that there is great diversity in terms of duration.
Although one-hour programmes are the most common, they never exceed 40% of the total number of spaces, and in recent
years they have been overtaken by half-hour spaces in the annual distribution. In any case, neither the micro spaces nor the
one-hour programmes have the strongest impact. e lower average impact of micro spaces conrms what some professionals
in the sector have suspected in recent years (Ubate, 2019): outside social media, listeners prefer to consume products that
are less eeting and longer lasting, which enables longer stories to be told. is also explains the increase in half-hour spaces
mentioned above.
Regarding the third question posed related to the impact of university radio stations, some conclusions have already been
oered in the previous points. is study has conrmed the presence of a group of high-impact programmes: in fact, while
these comprise approximately 10% of all programming, they account for 86% of all plays. Although this programming does not
belong exclusively to the stations with the longest history and strongest impact, this specic group of stations produces 90%
of all such programmes. Two hypotheses can now be posed that will have to be resolved by future studies outside the limits of
this research: rstly, whether the distribution into two high-impact groups occurs in other sectors such as commercial radio
or free podcasts; and secondly, whether the plays gures obtained are similar to those of comparable broadcasters, such as
community or local radio. It would also be benecial to analyse the factors that make these spaces so attractive to audiences.
As mentioned above, the alternative nature of university radio programmes should be claried. However, it is necessary to re-
examine the assertion that university programming is alternative in the sense of being “specialised”. Spanish university radio
stations have classied their programmes on
iVoox
as generalist from a topic point of view, such as
Magazine y Variedades
[magazines and miscellaneous],
Mundo y Sociedad
[the world and society], and
Noticias y Sucesos
[news and events], which
concurs with the assertions of Perona (2012:43), and Marta and Segura (2012), as to what comprises the thematic heart of
university radio programming. Despite the reality reected in
iVoox
, the relevance of these radio stations’ commitment to
being alternative in their programmes with regard to topics is supported by this research, due to the greater impact obtained
in the most thematically-focused programmes, such as
Historia y Humanidades
[history and humanities],
Misterio y Otras
Realidades
[mysteries and other realities],
Ciencia y Naturaleza
[science and nature],
Pop Rock
[pop and rock], and
Arte y
Literatura
[art and literature]). e success of these issues is in line with the aim of cultural dissemination that has traditionally
been assigned to university radio stations. As argued by Gallardo Camacho and Pulido Núñez (2022), this also indicates that
listeners search for podcasting content that is generally more entertaining, rather than just pure and direct information, while
continuing to increase the production of educational and training content, as pointed out by Pérez Alaejos, Martín Valiente
and Hernández Prieto (2016), and Espino Narváez (2014: 29).
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As outlined above, this research paves the way for multiple analysis options, an example of which would be to study transversal
aspects attributed to university radio stations with the type of impact measured in the exploration herein. us, with regard
to the social value of university radio, as pointed out by Martín Pena and Piñeiro (2020), it would be benecial to discover
whether these programmes with social themes, in addition to dealing with civic issues, are played more or less than others,
such as programmes that are pure entertainment. e same can be said of programmes that are educational, cultural, or edu-
communicative in nature, which have also been described by these same authors. us, by associating purpose and impact, it
would be possible to overcome a certain introspection in the analyses of university radio programming, which focus more on
what the broadcasters do to full their public service mandate than on the real and quantiable impact they achieve through
their programming. Incorporating true impact into this area of university radio research would undoubtedly oer multiple
benets.
5. Acknowledgements
is work has been translated into English by Charles Arthur, to whom we are grateful for his meticulous work.
6. Specic contributions by each author
Name and surname
Conception and work designEva Lus Garate and Ignacio de Lorenzo Rodríguez
Methodology
Ignacio de Lorenzo Rodríguez
Data collection and analysisEva Lus Garate and Ignacio de Lorenzo Rodríguez
Discussion and conclusionsEva Lus Garate and Ignacio de Lorenzo Rodríguez
Writing, formatting, review, version approval Eva Lus Garate and Ignacio de Lorenzo Rodríguez
7. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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