Description
Music and the Broadcast Experience explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working in media and music studies; explores and develops crucial points of contact between studies of music in radio and music in television; and investigates the limits, persistence, and extensions of music broadcasting in the Internet era. The book presents a series of case studies that address key moments and concerns in music broadcasting, past and present, written by leading scholars in the field, who hail from both media and music studies. Unified by attentiveness both to musical sound and meaning and to broadcasting structures, practices, audiences, and discourses, the chapters in this collection address the following topics: the role of live orchestral concerts and opera in the early development of radio and their relation to ideologies of musical uplift; the relation between production culture, music, and television genre; the function of music in sponsored radio during the 1930s; the fortunes of musical celebrity and artistic ambition on television; questions of music format and political economy in the development of online radio; and the negotiation of space, community, and participation among audiences, online and offline, in the early twenty-first century. The collection's ultimate aim is to explore the usefulness and limitations of broadcasting as a concept for understanding music and its cultural role, both historically and today.
Table of Contents
ContentsAcknowledgementsContributorsAbout the Companion WebsiteIntroduction1 Section I: Bringing the Classics Home: Broadcasting Symphonic Concerts and Opera in Early RadioChapter 1: Broadcasting-Concerts: Confronting the Obvious - Jenny DoctorChapter 2: The Role of Opera in the Rise of Radio in the U.S. - Timothy Taylor1 Section II: Spectacular Sound: Production Cultures in Broadcast TelevisionChapter 3: Spectacular Sound: Classical Music Programming and the Problem of "Visual Interest¨in Early U.S. Television - Shawn VanCourChapter 4: The Machine Hums: Music, Special Sound, and the Spaces In-Between - Louis NieburChapter 5: Musical Theater Meets Reality TV: An Investigation into the Canadian Context - Christine Quail1 Section III: Raising Dough on Radio: Musical Genre and Advertising in the Swing EraChapter 6: "From Operatic Pomp to a Benny Goodman Stomp!¨Frame Analysis and the National Biscuit Company's Let's Dance - Rika AsaiChapter 7: Passing Pappy's Biscuits: Dynamics of Uneven Modernization in Regional Radio Voices - Alexander Russo1 Section IV: The Power of the Small Screen: Musical Celebrity in TelevisionChapter 8: Toscanini, Ormandy, and the First Televised Orchestra Concert(s): The Networks and the Broadcasting of Musical Celebrity - James DeavilleChapter 9: John, Yoko, and Mike Douglas: Performing Avant Garde Art and Radical Politics on American Television in the 1970s - Norma Coates1 Section V: Music Radio On and Off the Air: Publics, Structures, and FormatsChapter 10: Radio Formats in the United States: A (Hyper)Fragment(ation) of the Imagination - Ron RodmanChapter 11: Music Radio Goes Online - Tim Wall1 Section VI: Worlds Apart: Space, Community, and Participation in the Web 2.0 EraChapter 12: New Media, New Festival Worlds: Rethinking Cultural Events and Televisuality through YouTube and the Tomorrowland Music Festival - Fabian HoltChapter 13: Worship on the Web: Broadcasting Devotion through Worship Music Videos on YouTube - Monique IngallsChapter 14: Incarcerated Music: Broadcasting and the Tactics of Music Listening in Prison - Christina BaadeFor Further ReadingIndex
