Music and the Broadcast Experience: Performance, Production, and Audiences

ISBN : 9780199314706

Christina L. Baade; James A. Deaville
368 Pages
156 x 235 mm
Pub date
Oct 2016
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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.


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Section I: Bringing the Classics Home: Broadcasting Symphonic Concerts and Opera in Early Radio
Chapter 1: Broadcasting-Concerts: Confronting the Obvious - Jenny Doctor
Chapter 2: The Role of Opera in the Rise of Radio in the U.S. - Timothy Taylor

Section II: Spectacular Sound: Production Cultures in Broadcast Television
Chapter 3: Spectacular Sound: Classical Music Programming and the Problem of Visual Interest in Early U.S. Television - Shawn VanCour
Chapter 4: The Machine Hums: Music, Special Sound, and the Spaces In-Between - Louis Niebur
Chapter 5: Musical Theater Meets Reality TV: An Investigation into the Canadian Context - Christine Quail

Section III: Raising Dough on Radio: Musical Genre and Advertising in the Swing Era
Chapter 6: From Operatic Pomp to a Benny Goodman Stomp! Frame Analysis and the National Biscuit Company's Let's Dance - Rika Asai
Chapter 7: Passing Pappy's Biscuits: Dynamics of Uneven Modernization in Regional Radio Voices - Alexander Russo

Section IV: The Power of the Small Screen: Musical Celebrity in Television
Chapter 8: Toscanini, Ormandy, and the First Televised Orchestra Concert(s): The Networks and the Broadcasting of Musical Celebrity - James Deaville
Chapter 9: John, Yoko, and Mike Douglas: Performing Avant Garde Art and Radical Politics on American Television in the 1970s - Norma Coates

Section V: Music Radio On and Off the Air: Publics, Structures, and Formats
Chapter 10: Radio Formats in the United States: A (Hyper)Fragment(ation) of the Imagination - Ron Rodman
Chapter 11: Music Radio Goes Online - Tim Wall

Section VI: Worlds Apart: Space, Community, and Participation in the Web 2.0 Era
Chapter 12: New Media, New Festival Worlds: Rethinking Cultural Events and Televisuality through YouTube and the Tomorrowland Music Festival - Fabian Holt
Chapter 13: Worship on the Web: Broadcasting Devotion through Worship Music Videos on YouTube - Monique Ingalls
Chapter 14: Incarcerated Music: Broadcasting and the Tactics of Music Listening in Prison - Christina Baade

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About the author: 

CB: Associate Professor, Communication Studies and Music, McMaster University. Author of Victory Through Harmony: The BBC and Popular Music in World War II (OUP 2011).JD: Associate Professor and Supervisor of Graduate Studies, School for Studies in Art and Culture: Music, Carleton University. Editor or co-editor oif books about Wagner (Pendragon), Liszt (Pendragon), and Peter Cornelius (Schott), and guest editor of special issues of the 19th Century Music Review and Canadian University Music Review. Advisory Board member for the Grove Dictionary of American Music.ST: Composer, arranger, theatre director, musical director, and academic, specializing in Canadian musical theatre. Orchestrator and composer for film and TV; resident musical director of The Thousand Islands Playhouse. He has taught music history, theory, ear training, performance and composition at McMaster Univ ersity in Hamilton, Ontario, where he organized the Over the Waves international conference on music in/and broadcastin

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