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Books on the topic 'Musical practices'

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Published: 4 June 2021
Last updated: 7 February 2022

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1

Going for jazz: Musical practices and American ideology. Chicago: University of Chicago Press, 2001.

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2

MENC, the National Association for Music Education (U.S.), ed. Engaging musical practices: A sourcebook for middle school general music. Lanham, Md: Rowman & Littlefield Education, 2012.

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3

The indispensable harp: Historical development, modern roles, configurations, and performance practices in Ecuador and Latin America. Kent, Ohio: Kent State University Press, 1992.

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4

Ibn al-Nadīm al-Mawṣilī, Isḥāq ibn Ibrāhīm, 771 or 2-849 or 50, Abū al-Faraj al-Iṣbahānī, 897 or 8-967, Ibn Khurradādhbih, ʻUbayd Allāh ibn ʻAbd Allāh, ca. 820-ca. 912, Baṭalyawsī, ʻAbd Allāh ibn Muḥammad, 1052 or 3-1127, Kindī d. ca 873, and Fārābī, eds. Rhythmic theories and practices in Arabic writings to 339 AH/950 CE: Annotated translations and commentaries. Ottawa: Institute of Mediaeval Music, 2009.

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5

Ssanggyesa ŭmak kihaeng. Kyonggi-do P'aju-si: T'aehaksa, 2005.

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6

T, Smith Carl. Nothin' left to lose. Columbia, S.C: Summerhouse Press, 1999.

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7

Sŏnamsa ŭmak kihaeng. Kyŏnggi-do P'aju-si: T'aehaksa, 2005.

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8

Musical creativities in practice. Oxford: Oxford University Press, 2012.

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9

1978-, Gibson Kirsten, ed. Masculinity and western musical practice. Burlington, VT: Ashgate, 2008.

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10

The practice of practice. [Chicago, Illinois]: Sol UT Press, 2014.

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11

Christus, Grace. Did somebody say practice?--: A guide to musical practice. [Aurora, CO (16662 E. Temple Dr., Aurora 80015): Aurora Music Teachers Association, 2000.

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12

Berry, Wallace. Musical structure and performance. New Haven: Yale University Press, 1989.

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13

1914-, Levarie Siegmund, ed. Early music: Approaches to performance practice. New York: Da Capo Press, 1986.

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14

Authenticities: Philosophical reflections on musical performance. Ithaca: Cornell University Press, 1995.

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15

Howard, Keith. Korean musical instruments: A practical guide. Seoul, Korea: Se-Kwang Music Pub. Co., 1988.

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16

Howard, Keith. Korean musical instruments: A practical guide. Seoul: Se-Kwang Music Publishing Co., 1988.

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17

Burton, Suzanne L., and Snell Alden H. II. Engaging Musical Practices. Rowman & Littlefield Publishers, Incorporated, 2015.

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18

Engaging Musical Practices. Rowman & Littlefield Publishers, Incorporated, 2018.

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19

Burton, Suzanne L., and Snell Alden H. II. Engaging Musical Practices. Rowman & Littlefield Publishers, Incorporated, 2015.

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20

Merchant, Tanya. Revived Musical Practices within Uzbekistan’s Evolving National Project. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199765034.013.028.

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21

Weinzierl, Stefan, Till Bovermann, Alberto de Campo, Hauke Egermann, and Sarah-Indriyati Hardjowirogo. Musical Instruments in the 21st Century: Identities, Configurations, Practices. Springer, 2016.

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22

Weinzierl, Stefan, Till Bovermann, Alberto de Campo, Hauke Egermann, and Sarah-Indriyati Hardjowirogo. Musical Instruments in the 21st Century: Identities, Configurations, Practices. Springer, 2018.

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23

Engaging Musical Practices: A Sourcebook for Elementary General Music. Rowman & Littlefield Publishers, 2018.

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24

Lehman, Frank. Tonal Practices. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0002.

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This chapter lays out a series of conventions toward pitch design that both constrain musical meaning making in film and enable its unique effects. The chapter begins by examining the idiom of late Romanticism in European art music and the ways in which film music conforms to and differs from that model. This exploration is followed by a discussion of three vital aspects of American cinematic tonality: subordination, immediacy, and referentiality. Examples are drawn from an expansive set of filmmaking eras and styles; these range from the early days of the Sound Era to far more contemporary sounds. Beginning in this chapter, the beginnings of an interpretive methodology are constructed, recruiting from approaches as diverse as leitmotivic, atonal, Schenkerian, and audiovisual styles of analysis.
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25

Church, Joseph. Rock in the Musical Theatre. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943462.001.0001.

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Rock ’n’ roll music and its offshoots, including pop, hard rock, rap, r&b, funk, folk, and many others, have become the standard language of today’s musical theatre. Theatre singers, performers, and coaches need a source of information on these styles, their origins, and their performance practices. Rock in the Musical Theatre: A Guide for Singers fills this need. Today’s musical theatre training programs are now including rock music in their coursework and rock songs and musicals in their repertoires. This is a text for those trainees, mentors, courses, and productions. It will also be of great value to working professionals, teachers, music directors, and coaches less familiar with rock styles, or who want to improve their rock-related skills. The author, an experienced music director, vocal coach, and university professor, and an acknowledged expert on rock music in the theatre, examines the many aspects of performing rock music in the theatre and offers practical advice through a combination of aesthetic and theoretical study; extensive discussions of musical, vocal, and acting techniques; and chronicles of coaching sessions. The book also includes advice from working actors, casting directors, and music directors who specialize in rock music for the stage.
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26

Blume, Gernot. Musical practices and identity construction in the works of Keith Jarrett. 1998.

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27

Johnson, Jake. Mormons, Musical Theater, and Belonging in America. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.001.0001.

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American musical theater is often dismissed as frivolous or kitschy entertainment. But what if musicals actually mattered a great deal? What if perhaps the most innocuous musical genre in America actually defined the practices of Mormonism--America’s fastest-growing religion? Mormons, Musical Theater, and Belonging in America is an interdisciplinary study of voice, popular music, and American religion that analyzes the unexpected yet dynamic relationship between two of America’s most iconic institutions, Mormonism and American musical theater. This book argues that Mormonism and early American musical theater were cut from the same ideological cloth--formed in the early nineteenth century out of Jacksonian principles of self-fashioning, white supremacy, and broader understandings of the democratic principles of vicariousness. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common ideological platform, using musicals not only to practice a theology of voice but also to transition from outlier polygamist sect to become by the mid-twentieth century emblems of white, middle-class respectability in America. In an effort to become gods themselves, Mormons use the musical stage to practice transforming into someone they are not, modeling closely the theatrical qualities of Jesus and other spiritual leaders in Mormon mythology. Thus, learning to vicariously voice another person on the musical stage actually draws the faithful closer to godliness. Looking outward from the shared ideological roots of Mormonism and musical theater, this book offers a compelling study of how the ways Americans sound determine the paths of their belonging.
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28

Wilson Kimber, Marian. Making Elocution Musical. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0002.

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Poetic recitation was regularly heard at concerts and in “musical and literary entertainments.” Recitation anthologies designed for homes and schools provided sample programs. Music and elocution were combined outside of the conventions of notation: texts of songs were spoken to their accompaniments, and previously composed or improvised music was used to accompany speech. Contemporary speech pedagogy reveals that performed speech was characteristically musical due to highly-pitched practices, often notated with graphic symbols. The career of Jane Manner demonstrates the full range of melodramatic approaches available. Something between a musical composition and a genre of performed literature, accompanied recitation allowed women to exert their artistic power beyond the traditional boundaries of elocution and to usurp the place of the composer.
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29

Jihadi Culture: The Art and Social Practices of Militant Islamists. Cambridge University Press, 2017.

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30

Hegghammer, Thomas. Jihadi Culture: The Art and Social Practices of Militant Islamists. Cambridge University Press, 2017.

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31

Browning, Birch P. An Orientation to Musical Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199928200.001.0001.

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Novice music educators often experience conflict between their roles as teachers and their roles as musicians. The broad purpose of this text is to assist pre-service music teachers as they begin the transition from students to professional educators and musicians by challenging what they think they know about those two distinct yet complementary roles. Rather than perpetuating existing practice, these future educators are encouraged to build their own new vision for music curriculum and education by examining the "big concepts" of teaching and musicianship based on several research-based ideas: (1) There's no such thing as talent, (2) effective teachers have specialized knowledge about their subject, students, pedagogy, and instructional context, and (3) musicianship is not magic. More important, through deliberate thought and action, pre-service music teachers can learn the concepts and practices of expert teachers and musicians and incorporate them into the music classroom. Attention is given to how students learn and to designing and delivering engaging classroom instruction.
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32

Smart, Tim, and Lucy Green. Informal learning and musical performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0007.

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If the adage ‘You live and learn’ reflects any truth, then the vast majority of living and learning must take place informally. This can range from unintentional and nonconscious processes such as enculturation, to intentional and conscious self-teaching. While the study of informal learning in music has tended to focus on popular and other vernacular musicians, this chapter adopts a wider approach, considering the perspectives of a range of musicians across several musical contexts, styles and genres. The authors review key sources of knowledge, skills and abilities relevant to these musicians and to their performance, and consider examples of how informal learning practices are valued in underpinning their work. They also examine the characteristics and prevalence of informal learning, how it interfaces with other practices, and how research in the field of informal music learning may serve to promote and champion a richer perspective on the learning of music for the benefit of all learners, intentional or not.
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33

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
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34

Brown, Andrew R., Damián Keller, and Maria Helena de Lima. How Ubiquitous Technologies Support Ubiquitous Music. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.5.

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Pervasive computing technologies are providing opportunities and challenges for new musical practices and offering greater access to musical interactions for people at all levels of musical experience. In this chapter we review theoretical insights and practical experiences of taking advantage of these opportunities and meeting these challenges; we describe how to leverage ubiquitous technologies to support ubiquitous music; and we discuss ideas and techniques that can assist in ensuring that social music activities provide an appropriate variety of experiences and strategies to maximize socially positive and musically creative outcomes. Strategies include starting with what is known and available, enhancing human skills with computational automation, and increasing participation through simplification to improve access and promote cultures of open sharing. Three case studies illustrate how these ideas are put into practice, covering experiences from across the world based in varied social contexts and using differing technologies, but sharing the same ambition of enhancing everyday experience through musical interactions mediated by pervasive technologies.
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35

Stimeling, Travis D. Recording Practice in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.5.

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This chapter explores the influence of recording technologies on the creation and reception of country music from the first hillbilly recordings to the twenty-first century. Following a survey of recent literature from the musicology of recording and sound studies, country music’s voice-centered recording strategies are explored through case studies drawn from early hillbilly, honky tonk, and “hot country” recordings. Country music’s history as a recorded musical practice is shaped by technological and aesthetic developments that can be heard in a wide range of recorded popular musics. Furthermore, this chapter examines the ways that bluegrass musicians, engineers, and producers deploy specific technologies, including the single-microphone technique, to articulate their musical and cultural authenticity. These ways can help us gain a better understanding of the expressive power of recorded country music by placing these “records in dialogue” with other recordings in country music and from other music styles.
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36

Gooley, Dana. Schumann and the Economization of Musical Labor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0005.

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Chapter 4 details Robert Schumann’s evolution from an eager and fluent improviser into a composer who advocated writing music away from the piano entirely. His evolution demonstrates the growing polarization between improvisation and composition, modes of music-making that were generally viewed as mutually beneficial until the 1830s. His early, piano-centered output provides clues into how certain transitional and rhetorical strategies were rooted in keyboard improvisational practices, but consciously invested with a “depth” or “psychology” that gave them a romantic cast. The chapter’s interpretive lens is then broadened to consider how Schumann’s anxiety over improvisation was shaped by an “ethos of economy” then common to the educated classes. Improvisation thrived on certain anti-economic impulses—a dilated sense of temporal unfolding, a strenuous type of performer training, a risk of inefficacious communication—that ran counter to bourgeois ethical codes such as the containment of excess and the rational ordering of available resources.
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37

Karlsen, Sidsel. Leisure-Time Music Activities from the Perspective of Musical Agency. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.11.

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This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.
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38

(Korea), Kungnip Namdo Kugagwŏn, ed. Ssanggyesa ŭmak kihaeng. Kyonggi-do P'aju-si: T'aehaksa, 2005.

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39

Dueck, Jonathan, and Suzel Ana Reily, eds. The Oxford Handbook of Music and World Christianities. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.001.0001.

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The Oxford Handbook of Music and World Christianities investigates the role of music in Christian practice and history across contemporary world Christianities (including chapters focused on communities in the Americas, Europe, Africa, Asia, and Australia). Using ethnography, history, and musical analysis, it explores Christian groups as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book traces five themes: music and missions, music and religious utopias, music and conflict, music and transnational flows, and music and everyday life. The volume approaches Christian musical practices as powerful windows into the ways music, religious ideas, capital, and power circulate (and change) among places. It also pays attention to the ways Christian musical practices encompass and negotiate deeply rooted values. The volume reveals the active role music plays in maintaining and changing religious, moral, and cultural practices, narratives, and values in a long history of intercultural and transnational encounters.
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40

D'Amore, Abigale, and Gareth Dylan Smith. Aspiring to Music Making as Leisure through the Musical Futures Classroom. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.23.

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The chapter discusses the centrality of music making to the lives of young people, framing teenagers’ out-of-school music making and attendant identity realization as leisure activities. It presents arguments for including in school music classrooms the music that students enjoy outside of school. It describes Musical Futures, an approach to informal music learning developed from understanding how popular musicians learn and adopting these practices for the music classroom. Citing examples of nationwide research on Musical Futures from secondary schools in England, the chapter balances benefits and challenges of adopting the approach, and considers implications of a focus in school on the process rather than the product of music making. The authors argue that framing and aspiring to music making as leisure through this particular pedagogical approach could stand to benefit students, teachers, schools, and society.
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41

Reily, Suzel Ana. Local Music Making and the Liturgical Renovation in Minas Gerais. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.003.

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Suzel Reily’s essay discusses the implication of the universalist thrust of the Roman Catholic Church upon local traditions. While in Brazil local music making has been historically linked to Catholic practice, the clergy’s understandings of “the popular” derive from their interpretations of Vatican II directives along with a preoccupation with liturgical fidelity. In this setting, lay religious repertoires are being discouraged in favor of folk-like musics rooted in imagined local traditions. But alongside a clash in musical aesthetics, Reily shows how the musical practices associated with the new repertoire actually mitigate against collective singing, whilst threatening to shift local practices from the religious sphere to, at best, a secular folklorized arena.
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42

Howell, Gillian, Lee Higgins, and Brydie-Leigh Bartleet. Community Music Practice. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.26.

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Many people have become disengaged from music making owing to the commercialization and commodification of music practices. This chapter examines a distinctive response to that disengagement, through the work of community music facilitators, who connect on interpersonal and musical levels to encourage community music practice. Four case studies are used to illustrate the central notions of this approach. Underpinning these four case studies is the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience—bonds formed, meaning and enjoyment derived, and sense of agency that emerges for individuals and the group—alongside the musical outcomes created through the music making experience. The chapter concludes by considering the ways in which community music opens up new pathways for reflecting on, enacting, and developing approaches that respond to a wide range of social, cultural, health, economic, and political contexts.
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43

Campbell, Patricia Shehan, and Shannon Dudley. A University Commitment to Collaborations with Local Musical Communities. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.8.

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Working from the premise that the study of music in a hermetic academic environment is no longer a viable model, and that university music programmes must connect to the vibrant musical communities in the very neighbourhoods that surround them, we examine how the presence of a community music ‘weave’ within university programmes of music benefits students, faculty, and community members in myriad ways. We offer examples of university–community partnerships initiated by the ethnomusicology and music education programmes at the University of Washington that prepare music students for the diverse and complex society into which they will graduate. The Visiting Artists in Ethnomusicology programme will be highlighted for the extent to which world-renowned and locally residing artist-musicians have been invited to the faculty for extended periods to perform, teach, and interact with students on instruments, vocally, and in dance forms associated with traditional musical practices. The intent of the chapter is to underscore the critical need for university–community exchanges, to suggest some ways that such exchanges can be accommodated within university programmes of music, and to affirm the benefits that flow from connecting the dots of musicians and aspiring musicians in the workaday world beyond the fortress of the university.
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44

Bithell, Caroline. The Renaissance of the Corsican Confraternities and Their Musical Negotiations. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.002.

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Caroline Bithell’s essay offers a history of a local religious institution—the Corsican confraternity—which constructs itself as a local alternative to a global religious bureaucracy—the Catholic hierarchy. She traces the musical life of the confraternities between the late 20th and early 21st centuries, and comments on the contemporary role played by the confraternities in both church and society. The distinctive polyphonic song repertoires of the confraternities are central to their identities, negotiated with contemporary church and Corsican institutions. In sum, in Corsica, the confraternities provide an alternate institutional space for (conservative) local musical and expressive traditions to continue, despite the shifts in musical and liturgical practices stemming from Vatican II.
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45

Koops, Lisa Huisman. Parenting Musically. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190873622.001.0001.

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Parents use music in family life to accomplish practical tasks, make relational connections, and guide their children’s musical development. Parenting Musically portrays the musicking of eight diverse Cleveland-area families in home, school, and community settings. Family musical interactions are analyzed using the concepts of musical parenting (actions to support a child’s musical development) and parenting musically (using music to accomplish extramusical parenting goals), arguing the importance of recognizing and valuing both modes. An additional construct, practical~relational musicking, lends nuance to the analysis of family musical engagement. Practical musicking refers to musicking for a practical purpose, such as learning a scale or passing the time in a car; relational musicking is musicking that deepens relationships with self, siblings, parents, or community members, such as a grandmother singing to her grandchildren via FaceTime as a way to feel connected. Families who embraced both practical and relational musicking expressed satisfaction in long-term musical involvement. Weaving together themes of conscious and intuitive parenting, the rewards and struggles of musical practice, the role of mutuality in community musicking, and parents’ responses to media messages surrounding music and parenting, the discussion incorporates research in music education, psychology, family studies, and sociology. This book serves to highlight the multifaceted nature of families’ engagement in music; the author urges music education practitioners and administrators to consider this diversity of engagement when approaching curricular decisions.
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46

Cook, Nicholas. Music as Creative Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.001.0001.

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Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction—of which making music together is perhaps the clearest possible illustration—and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity—from the old myths about genius to present-day sociocultural theory—can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.
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47

Gill, Denise. Melancholic Genealogies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0004.

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Chapter 3 analyzes the pedagogical underpinnings of affective practice and melancholic musicking in the context of music transmission (meşk). The chapter argues that as meşk works to recreate a master’s sensibility and knowledge anew in the apprentice, master musicians inculcate feeling practices and spiritual discourses alongside music techniques in lessons with students. It is observed that students, in turn, validate their authentic experiences of melancholy through religious discourse and the memorializing of their musical lineage (meşk silsilesi). Chapter 3 also introduces the concept of bi-aurality as an approach for ethnomusicologists to develop new geographies of listening to musics outside of western canons.
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48

Doering, James M. The War Years and a Shift to a New Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037412.003.0009.

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This chapter demonstrates how Judson's management empire began to plateau in the 1940s. The Depression had rattled music's funding structures. Technology had spawned greater competition for live musical experiences. Jazz had supplanted classical music on the pages of many newspapers and trade magazines. But particularly relevant for Judson was an emerging concern about the connection between music and big business. The Federal Communications Commission (FCC) first raised this issue in 1938, when it launched an investigation into the chain-broadcasting practices of the NBC, CBS, and mutual radio networks. The commission also became concerned about the possibility of monopolistic behavior, specifically in the practice of networks representing artists and also buying artists for their radio programs.
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49

(Korea), Kungnip Namdo Kugagwŏn, ed. Sŏnamsa ŭmak kihaeng. Kyŏnggi-do P'aju-si: T'aehaksa, 2005.

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50

Communities of Musical Practice. Taylor & Francis Group, 2016.

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