共查询到20条相似文献，搜索用时 46 毫秒
1.
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
2.
David Crider 《Journal of Radio & Audio Media》2020,27(1):134-150
The 2015 radio controversy “SaladGate” revealed a lack of female music artists gaining airplay. This study expands a previous gender analysis of American music radio into a longitudinal study. A content analysis of 192 stations revealed that airplay is increasing for females. However, most of these gains came from the Top-40 format, echoing concerns about the recording industry’s preference that women become pop stars, leaving all other musical genres to men. The results suggest the existence of a gender order in music radio, one that works hand-in-hand with the music industry to exclude women. 相似文献
3.
《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
4.
Christopher Cwynar 《Journal of Radio & Audio Media》2020,27(1):74-92
ABSTRACT This article details the various forces that shaped public radio station KEXP’s evolution from the 70s to today. It addresses the ways that Seattle’s specific cultural, economic, and technological advantages enabled it to take on its current form as a key presence in global pop music curation and discovery. It argues that the station’s progression thus represents a potential model for other legacy public radio stations in an era of diminishing public and institutional funding. However, this approach’s viability will depend upon how effectively stations are able to leverage their local communities to compete in the networked digital media paradigm. 相似文献
5.
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
6.
Henry Adam Svec 《Journal of Radio & Audio Media》2020,27(1):25-38
This essay explores the radio program Randy’s Vinyl Tap, which is hosted by Randy Bachman and airs on CBC Radio 1 (2005-present). I argue that the show’s complex reception can be explained, in part, by the fact that it transgresses dominant conceptions of authenticity in both rock music and public broadcasting discourses. Drawing on the work of Mikhail Bakhtin, I explore ways in which Bachman evokes a “carnivalesque” approach to public communication. 相似文献
7.
《Journal of Radio & Audio Media》2013,20(1-2):105-112
Almost everyone knows Nashville, home of WSM Radio's "Grand Ole Opry" as "Music City U.S.A." However, Knoxville, nearly 200 miles east, also was important in the development of country music radio. Many of the early and contemporary "Opry" performers began their careers at one of KnoxvilIe's two early radio stations. Despite Knoxville's significant role as a "feeder" of talent to the "Grand ole Opry," Nashville today is the undisputed capital of country music. This paper explores the contributions of both cities to the country music industry of Tennessee, as well as reasons for Nashville's enduring prominence and Knoxville's present obscurity in this activity. 相似文献
8.
9.
10.
《Journal of Radio & Audio Media》2013,20(2):223-239
Across the radio spectrum, there are relatively few stations in the United States that concentrate on community building and sustainability. One of the country's early community radio stations, KBOO-FM in Portland, Oregon, has been on the air since 1968 and has significantly expanded its signal reach and audience during that time. Preceding National Public Radio, KBOO is the outcome of a Portland grassroots activist movement that initially sought to restore classical music on the local airwaves and eventually concurred on a more radical mission to serve the underserved and to cater to communities at the margins in the metropolitan listening area and beyond. KBOO transmits a potpourri of musical and artistic styles, foreign language programs, and critical news, public affairs, and commentaries—all with a largely volunteer-based governance structure. It also devotes its attention to promoting community-based initiatives. This article focuses on four major community functions served by KBOO community radio: public transmission, radio training, political education and mobilization, and community building and outreach. We conclude with observations about the uses and potential of community radio in developing a rich democratic civil society. 相似文献
11.
12.
Ethnic music of all kinds has had a powerful influence on American popular music throughout history, and this is certainly true of Irish music. For nearly 100 years, radio has been a vital conduit for conveying musical influences of all kinds to listeners and musicians alike. This qualitative study analyzes Irish radio broadcasting in the United States The article is based upon an open-ended survey of U.S. broadcasters of Irish music programs in the top 10 markets and provides a summary of their recent playlists. 相似文献
13.
Robert K. Avery 《Journal of Radio & Audio Media》2017,24(2):189-199
This introductory essay serves to frame this special public radio symposium that commemorates the 50th anniversary of the Public Broadcasting Act of 1967, on November 7, 2017. Drawing from his earlier writings on public broadcasting history, the author tells the story of how educational radio got its start and continued to struggle for survival until the fledgling enterprise could be reborn as public radio, a result of what may be the most significant piece of communications legislation of the second half of the 20th century. The author argues that despite the enterprise’s marginalized roots and repeated political attacks that span a half century, public radio, in one form or another, will survive well into the future. 相似文献
14.
Sonia De La Cruz 《Journal of Radio & Audio Media》2017,24(2):226-237
This article focuses on Radio Bilingüe, a community driven Spanish-language public radio station that serves the information and entertainment needs of one of the most disenfranchised Latino communities across local, national, and transnational borders. The author discusses its establishment as a result of the formation of CPB’s Task Force on Minorities and explains the role Radio Bilingüe plays in helping elevate minority voices in public broadcasting. This case illustrates how a Latino owned and operated radio enterprise empowers traditionally underrepresented Latino communities by providing them a space where they can be heard and represented in culturally sensitive ways. 相似文献
15.
《Journal of Radio & Audio Media》2013,20(1):63-81
In one experiment, listeners hear radio news delivered by a male or female anchor with either no background music or with music of differing complexity. Memory for and enjoyment of the news are assessed. Findings suggest that adding a simple beat makes the news more memorable and enjoyable, whereas highly complex music hinders both message processing and enjoyment. Anchor voice determines the results for moderate complexity. A second experiment further explores anchor voice and message processing and, together, the two experiments suggest that both pitch and number of auditory structural features should be considered when enhancing radio news with music. 相似文献
16.
《Journal of Radio & Audio Media》2013,20(1):105-131
The new competitive environment of radio broadcasting in the Nordic countries consists of three sectors: (1) public service radio channels, (2) commercial radio stations and networks, and (3) community radio. Commercial radio represents the latest phase in a long process of transformation that started with decentralization inside the national broadcasting corporations in the 1960s and continued with introduction of noncommercial forms of local and community radio since the late 1970s. In the 1990s, commercial radio represents a hegemonic cultural form whose values and meanings penetrate to all sectors of radio. As a response to commercialization, the public service broadcasting tradition is undergoing a serious rearticulation. In contrast with the radical liberalism of the 1980s, there seems to be a growing political will to safeguard a balanced dualism of noncommercial and commercial forms of broadcasting. 相似文献
17.
Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
18.
《Journal of Radio & Audio Media》2013,20(2):281-294
The Telecommunications Act of 1996 and ensuing radio ownership consolidation are often blamed for harming radio localism and the public interest. The present research sought to determine effects of local-market radio ownership concentration on listener opinions and use of radio—potentially indicative of stations' localism and public service—by surveying listeners in markets categorized by ownership concentration. Findings suggest concentration does not strongly influence perceptions; however, overall results indicate potentially negative consequences from local and national consolidation on amounts of local music, news, and public-service programming; live-local programming; and station responsiveness. 相似文献
19.
In this presentation, two music librarians addressed the issues related to the discovery of library music resources. Rebecca Belford talked about the Music Library Association’s “Music Discovery Requirements” (MLA MDR) document, and how it applies to some contexts. Tracey Snyder then described the incorporation of MLA MDR into the development of a specific discovery interface. The presenters identified some of the challenges characteristic of music resources and ways in which those challenges may be met, reasoning that a tool capable of handling music will be capable of handling most things in a general collection. 相似文献
20.
《Journal of Radio & Audio Media》2013,20(2):135-150
In 2009, Congressional subcommittees approved a bill which would impose a performance fee on radio stations playing music over the air, known as the Performance Rights Act (PRA). Passage of the PRA could historically alter the relationship between the radio broadcast industry and the music industry. Terrestrial broadcast radio stations have paid music licensing agencies fees to songwriters and composers but never to the artists. This study examines the acrimonious relationship radio broadcasters have had with the music licensing agencies over the past eight decades, and the potential impact of the PRA on the future of terrestrial radio. 相似文献