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近几年来,随着网络电台、数字图书等各种新媒体形态的出现,传统的广播音乐节目受到巨大的冲击,要求相关人员积极转变广播音乐节目的内容并采取有效策略,促进广播音乐节目与新媒体的有机融合,以适应时代发展趋势。本文分析了新媒体环境下广播音乐节目面临的发展困境,指出了新媒体环境下广播音乐节目内容的转变策略,提出了广播音乐节目与新媒体的有效融合方式。 相似文献
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新兴媒体纷至沓来,分流广播音乐节目受众,强劲冲击着广播音乐节目,在此背景下,广播音乐节目能否发掘自身优势、锐意创新,成为其在激烈的竞争中屹立不倒的关键。本文将从广播音乐节目的内容转型方面,探讨新媒体时代广播音乐节目的发展方向。 相似文献
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新媒体已成为当代社会的主流媒体,并以数字化、交互性、即时性、共享性等特点影响着人们的生产生活方式,在许多方面对传统媒体带来了革命性的冲击。在新媒体时代,广播音乐节目也面临着信息传播形式多样化、受众群体年轻化、音乐节目多样化等挑战,并陷入了生存和发展困境。为此,应通过革新节目内容、创新节目形式等方式,化解广播音乐节目所面临的挑战。 相似文献
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一个是听觉的艺术,一个是听觉的媒体,音乐与广播在特征属性上的不谋而合,使得音乐节目自广播诞生之日起,便成为其发展过程中不可或缺的一部分。在新媒体时代环境下,广播音乐节目是否还有着往日的优势,是否能保持昔日风采？未来广播音乐节目将如何生产与发展？ 相似文献
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音乐与广播的珠联璧合,使广播音乐节目成为最受听众欢迎的节目类型之一,一直占有着广播节目的重要一席,同时对社会音乐生活也发挥着举足轻重的作用。在当今社会,随着科学技术的提高和唱片工业的发展,广播音乐节目的类型越来越多样,所传播的音乐内容也越来越广泛。据有关资料介绍,国内音乐电台和综合台的音乐类节目,按照节目形式的不同,主要可以划分为欣赏类音乐节目、杂志类音乐节目、娱乐类音乐节目、情感类音乐节目。 相似文献
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随着广播日益趋于专业化,各地专业的音乐电台也随之兴起.从各地的调查来看,音乐广播的收听率一直保持良好态势,广播音乐节目主持人也随之颇受关注.音乐节目主持人有着他们自身的特点,和听众之间的互动交流也有着不同于其他主持人的特色.本文将从广播音乐节目主持人特点谈起,之后分析了主持人和听众互动的内容,最后提出广播音乐节目主持人与听众进行有效交流的几点建议. 相似文献
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Brian C. Gregory 《Journal of Radio & Audio Media》2016,23(2):288-305
This article examines the educational and social impact of an instructional radio program, called the Music Appreciation Hour (MAH), broadcast on the NBC network from the 1920s to the 1940s. Walter Damrosch, who came from a musical family and had previously conducted the New York Symphony, envisioned the possibility to use radio to teach music to American schoolchildren by tapping into its aural and emotional qualities. Through archival materials, including correspondence, teachers’ manuals, student notebooks, and program evaluations, it is argued that while Damrosch positioned himself with a new progressive movement that espoused student-centered education, he instead became an appealing on-air “personality” to student listeners and the network. This research serves as an important example of some of the ongoing tensions between education, entertainment, and the mass media. 相似文献
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Mark Glantz 《Journal of Radio & Audio Media》2016,23(1):36-49
In an effort to explore the tensions between old and new media, this article examines promotional Web sites for 12 streaming music companies. The goal of the project is to better understand how streaming music services create and embrace opportunities to fit themselves into the lives of music fans. Qualitative data collection revealed 7 interrelated themes. The promotional efforts analyzed here emphasized: (a) an anchor in radio, (b) personalizability, (c) music discovery, (d) music for any occasion, (e) sharing, (f) love, and (g) mobility. 相似文献
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《Journal of Radio & Audio Media》2013,20(2):158-175
This study tested the effects of background music on the recall of radio commercials. Free and aided recall were significantly higher for subjects who heard the commercials containing no background music in the talk program compared to that of subjects hearing the commercials containing no background music in the music program. Furthermore, involvement level appears to be a factor in influencing recall. The involvement level with the music program was low compared to the involvement level with the talk program and this seems to have a mitigating effect on the recall of the commercials. 相似文献
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《Journal of Radio & Audio Media》2013,20(1):18-32
The author examines radio programs produced by women in the U.S. that feature music by women. Women's music programming offers a variety of music genres and presentation styles. Criteria of music selection also vary, with some programs concentrating solely on women's contributions and musical works, and others that play music by mixed-sex groups and even featuring a male vocal. However, the commonality of all these programs lies in their dedication to highlighting women artists and giving voice to those who would otherwise not be heard. As media artifacts, women's music radio programs offer multiple layers of feminist inquiry. 相似文献
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《媒体管理杂志》2013,15(1):2-8
During the last 2 decades, the media sector has changed at an unusual speed. Actual concepts describing this industry such as the media value chain are heavily challenged to grasp all relevant evolutions. This article outlines a new perspective on the media sector by modeling institutions such as music labels and radio stations as intermediaries on content markets. The concept of content intermediation is established based on the economic theories of intermediation with their assumption of imperfect market conditions between supply and demand, which result in transaction costs and the need for help by intermediaries. A preliminary catalogue of functions is derived and the case of music content intermediation demonstrates the potential of the concept. 相似文献
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Brian Fauteux 《Journal of Radio & Audio Media》2020,27(1):8-24
The aim of this article is to assess whether and how the CBC’s music radio programming reflects the corporation’s mandate of showcasing a diversity of music and culture. I argue that a program logic that privileges an international corporate music industry strategy persists (particularly during the peak morning and afternoon drive time programs) and limits the capacity for public radio to imagine and project alternative musical trajectories. My aspiration is to imagine CBC Music’s over-the-air radio as a residual broadcast service, one that presents novel opportunities at a time when digital and online streaming music is dominant. 相似文献
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《Journal of Media Economics》2013,26(3):21-36
In 1996 French radio stations began complying with loi Carignon that sets a minimum quota of 40% of music time for French-language chansons. The law represents a departure from previous voluntary efforts to promote French-language music in broadcasting, but I argue that it is an example of political continuity in the protectionist tendencies discernible in French media policy. This article explores the reasons for the creation of the law, including political factors, career desires, and French media and cultural policies. 相似文献
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《Journal of Radio & Audio Media》2013,20(2):254-255
This article examines the emergence of local radio in a rural southeastern Turkish city called Sanllurfa in the early 7990s following the end of the state's media monopoly on broadcasting. Informed by a media ethnography conducted there in 2001, this article discusses local debates over the content and quality of local radio and the influence of the state's official cultural policies on the programming decisions of local radio owners, managers, and DJs. This paper also illustrates Turkish young people's local and national radio preferences, their responses to local programming and on-air personalities, and the meaning of music and local radio in their lives. 相似文献
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Michael Austin 《Journal of Radio & Audio Media》2016,23(2):335-340
In this short essay, I discuss various meanings of “interface,” borrowing from fields such as software design, human/computer interaction, and music technology, and I consider ways in which the metaphor of “interface” could benefit the study of radio. As radio shifts from the one-to-many, temporally dependent medium of terrestrial broadcasting to the many-to-many, play-on-demand media of podcasts, Internet radio, and other emerging forms, considering the variety of interfaces at play in radio will help scholars and archivists to study, preserve, and perhaps recreate the phenomenological experience of radio in its various forms and transmutations. 相似文献
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《Journal of Radio & Audio Media》2013,20(2):373-378
Although community radio has a long history in South and North America, new models are evolving in other parts of the world from South Africa to Central Eurasia. True to its community roots, stations reflect the unique history, culture, and political climate of each country. Radio is the most democratic of media both in providing easy access to citizen participation and in being widely available. In rural areas from subsistence farmers in Mozambique to nomadic herders in Mongolia, radio is the only medium. With limited resources in new democracies, it is the most cost-effective medium. The expressive human voice and natural sound engage the imagination through story telling. Radio stations are not simply passive transmitters of information or hit music; they are a catalyst for building community, for improving health and education, for fostering a civil society. These are no longer theoretical visions; many stations now demonstrate all of these goals. 相似文献