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1
Galloway, Kate. "Rewind, revisit, relisten: Transport, spatial displacement and mixtape environments in Small Radios Big Televisions." Soundtrack 11, no. 1 (August 1, 2020): 99–118. http://dx.doi.org/10.1386/ts_00007_1.
Повний текст джерелаАнотація:
Small Radios Big Televisions (2016) guides the player through a series of abandoned modern factories to locate objects and solve puzzles, including cassette tapes that transport them to virtual locations. Each tape presents a diorama-like environment, ranging from natural environments, including forests and beaches. Throughout Small Radios Big Televisions players must warp and electronically distort music and sounds, magnetizing tapes. These musical disruptions of the tape tracks are a core game mechanic. This article draws on autoethnographic gameplay, material and spatial analysis to investigate how players explore abandoned worlds stored on glitchy analogue cassettes full of visual and sonic noise.
2
Qureshi, Regula Burckhardt. "His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia." Popular Music 18, no. 1 (January 1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.
Повний текст джерелаАнотація:
‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.
3
Yaroshovych, I. G., B. P. Tchaikovskyj, B. M. Mykychak, and T. S. Yaroshovych. "Noise pollution is one of the causes of occupational diseases." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 21, no. 92 (May 11, 2019): 165–68. http://dx.doi.org/10.32718/nvlvet-e9228.
Повний текст джерелаАнотація:
People lose hearing more often than we can imagine. Loss of hearing or deafness today is one of the most common occupational diseases not only in Ukraine but also in the world. Every day we are accompanied by a whole range of the most diverse sources of noise - household appliances at home and in the office, neighbors repairs, televisions, the road to work - metro, people in public transport or loud headphones music. And this can not be avoided, because each of us lives in a society, co-exists with other its representatives. All our life – a global communication. Many experiments found that noise is a general biologic stimulus and under certain conditions can affect all human life systems. The influence of noise on the human auditory organ is most fully studied. Intense noise, especially at high frequencies – 4000 Hz or more, with daily exposure leads to a professional illness – hearing loss, the symptom of which is the slow loss of hearing on both ears. According to official statistics of the World Health Organization, more than 5% of the Earth's population suffers from a disabling hearing loss. That is, such loss results not only in the deterioration of hearing quality, but also has certain social consequences, namely:
more than 360 million people around the world have hearing problems (about 328 million adults and 32 million children);
1.1 billion teenagers and young people are at risk of hearing loss mainly due to listening to high-volume music as well as excessive noise levels;
more than a third of people lose hearing as a result of excessive noise levels in the workplace. The rest is congenital deafness, loss of hearing due to various diseases and injuries;
an average of almost ten years is passed before hearing impaired people turn to a doctor;
studies have shown that about 1/3 of people over 65 years have hearing problems.
4
Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.
Повний текст джерелаАнотація:
Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.
5
Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.
Повний текст джерелаАнотація:
Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.
6
Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff." Journal of the American Musicological Society 70, no. 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.
Повний текст джерелаАнотація:
Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.
7
Martín-Jiménez, Virginia, Pablo Berdón-Prieto, and Itziar Reguero-Sanz. "The precursors of infotainment? Debate and talk shows on Televisión Española (1980-1989)." Communication & Society 35, no. 1 (January 10, 2022): 119–35. http://dx.doi.org/10.15581/003.35.1.119-135.
Повний текст джерелаАнотація:
The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the ‘80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodology consists of a content analysis of a total of 31 television programs, each of which was viewed on the RTVE archive using different multimedia platforms. The results of this research reveal that Televisión Española incorporated into its debate shows, talk shows, and hybrid format shows, features typical of infotainment prior to the ‘90s. Among the most recurrent stylistic features of these programs are the tendency to dramatization, polemic and emotionality (achieved through different techniques and strategies), an increase of soft content, a greater presence of satire, humor and close-ups, and the use of music.
8
Frith, Simon. "Look! Hear! The uneasy relationship of music and television." Popular Music 21, no. 3 (October 2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.
Повний текст джерелаАнотація:
Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.
9
Graakjær, Nicolai Jørgensgaard. "Tv-reklamens musik i et tekstanalytisk perspektiv [The music of television commercials from a text analytical perspective]." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 23. http://dx.doi.org/10.7146/mediekultur.v26i48.2120.
Повний текст джерелаАнотація:
This article examines music in television commercials from a text analytical perspective. An analytical framework is presented involving three interrelated analytic levels: the text, the co-text and the con-text. The level of con-text is presented as a transtextual matter of the relationship between the music appearing in the television commercial and music from outside the commercial. The level of co-text is presented as an analytical issue regarding the relationship between the different textual elements of the television commercial – a primary level of audiovisual signification is identified. The level of text is presented as a matter of the specific structure of music in television commercials and a number of formats are described. Arguably these three interrelated analytical levels are pivotal for the textual analysis of music in television commercials. Each level is discussed and further developed into a number of analytical categories, and throughout, the analytical levels and categories are illustrated with references to recent television commercials broadcast in Denmark.
10
Donnelly, K. J. "Tracking British television: pop music as stock soundtrack to the small screen." Popular Music 21, no. 3 (October 2002): 331–43. http://dx.doi.org/10.1017/s0261143002002210.
Повний текст джерелаАнотація:
Recent years have seen an increase in pop music on television, replacing its more traditional incidental music. It is now dominant as stock music on television, filling expanding continuity and advertising spaces. The licensing of pop music for screen use is increasingly important for the music industry, spawning a new form of ‘multipurpose music’ which, as well as being music in its own right, can also be resold as stock music for television. While in the 1980s there was a rush to tie-in pop music with films, in the 1990s, it increasingly was to tie pop music with television. This article documents and explores this transition.
11
Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.
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12
Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (April 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.
Повний текст джерела
13
Lury, Karen. "Chewing gum for the ears: children's television and popular music." Popular Music 21, no. 3 (October 2002): 291–305. http://dx.doi.org/10.1017/s0261143002002192.
Повний текст джерелаАнотація:
Television is one of the earliest ways that children gain access to popular music. The child's early experience of both music and television does not necessarily separate out ‘music alone’ from his or her evolving musical appreciation. The co-operation of television and popular music encourage particular modes of attention and expression for the child as both viewer and listener. Movement, gesture, and the response of the body to the visual and aural cues of music-television may be seen to inform this appreciation. The child learns, feels and demonstrates that they have done so. This is guided and inspired by what they hear and see.
14
Thatelo, Mopailo Thomas. "Afrocentric analysis of music in political advertisements of the Economic Freedom Fighters (EFF)." Communicare: Journal for Communication Studies in Africa 41, no. 2 (December 15, 2022): 65–74. http://dx.doi.org/10.36615/jcsa.v41i2.1431.
Повний текст джерелаАнотація:
In 2009, South Africa saw another landmark with the introduction of political advertisements on television. Literature is littered with studies of political advertisements on television. In these studies, 1) background music is merely an accompaniment to advertisement voiceover and images, rather than an argument itself. Little is known about 2) the discursive role of background political music as a means of conveying political messages in political television advertisements, 3) the underlying ideology and 4) Afrocentric rhetoric in political music used in political television advertisements. Considering the above, this paper interrogates the Afrocentric perspective underlying the rhetoric of background music in the political television advertisements of the South African opposition political party, the Economic Freedom Fighters (EFF) from 2014 to 2021. This study employs the decolonial thought of the Afrocentric perspective as a theory and a research method to interrogate underlying rhetoric in political music. Findings of the paper revealed that the EFF background music is highly political, Afrocentric and inherently rhetorical.
15
Butler, Alison. "The judges’ decision is final: Judgement in music talent reality TV and school music education." Journal of Popular Music Education 3, no. 3 (December 1, 2019): 399–415. http://dx.doi.org/10.1386/jpme_00003_1.
Повний текст джерелаАнотація:
This article explores music talent reality television (RTV) and conceptualizes it as a site of music education. It also considers whether music talent RTV might magnify sociocultural traits that are less easily detected in other sites of music education. A considerable body of research has developed around RTV, notably from the fields of sociology, media studies, cultural studies and women’s studies. These scholars frequently draw on Bourdieu’s concepts of habitus and capital to analyse participant and audience engagements with the genre. Judgement is central to these discussions, particularly in the subgenre of music talent RTV, with several authors showing how taste and distinction are influenced by habitus. Reviewing the RTV literature highlights how certain musics and musicking experiences are judged, and how such judgement can devalue the musical experiences of those young people who are least likely to access school music education. This raises questions for further study about music talent RTV’s relationship with school music education, and for the study of music talent RTV as a music education setting in its own right, but it also highlights themes that warrant consideration in school music education sites, where judgements and their impacts on access and participation are often disguised or unquestioned.
16
Kallioniemi, Noora, and Sami Hantula. "Bailataan ankarasti!" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (September 8, 2021): 74–94. http://dx.doi.org/10.23994/lk.111162.
Повний текст джерелаАнотація:
Tarkastelemme uutisparodiaohjelma Frank Pappa Show’ta esimerkkinä 1990-luvun alun asiaviihteen ohjelmistosta, jota määrittävät uudenlainen faktan ja fiktion suhde sekä viihteellisen poliittisen julkisuuden syntyminen. Indieyhtiö Broadcasters Oy:n tuottama televisiosarja kommentoi ajantasaisesti lama-ajan murroksia, kuten piteneviä leipäjonoja ja kasvavaa työttömyyttä. Frank Pappa Show uudisti poliittisen viihteen kenttää nostamalla viimeisen asiallisuuden linnakkeen, uutiset, viihteen käytettäväksi ja totutti katsojat tulkitsemaan ironisia, satiirisia ja parodisia viestejä.Tämän kulttuurihistoriallisen tutkimuksen alkuperäislähteenä käytämme Frank Pappa Show’n jaksoja vuosilta 1991–1994 ja lisäksi ohjelmaan liittyvää lehdistökeskustelua. Näiden aineistojen avulla tarkastelemme kysymystä siitä, miten Frank Pappa Show’n televisuaalinen satiiri osallistui politiikasta käytävään julkiseen keskusteluun 1990-luvulla.Tarkastelemme keskustelun reunaehtoja, jotka kertovat ajan mediasta ja julkisesta keskustelukulttuurista. Frank Pappa Show toimii esimerkkinä uudesta television muotokielestä aikana, jolloin elokuvallinen ilmaisu ja musiikkivideoiden estetiikka levisivät televisioon. Nopeutunut televisiokerronta vaati katsojilta kykyä seurata muuttuvaa kerrontaa. Television arkipäiväistyminen johti spektaakkelimaistumiseen ja ohjelma kommentoi kriittisesti myös omaa mediaympäristöään.Avainsanat: mediahistoria, televisio, asiaviihde, satiiri, Frank PappaPolitical entertainment program Frank Pappa Show as a contemporary commentator on the 1990s recession in FinlandIn this article, we study the news parody program Frank Pappa Show as an example of how television programs of the 1990s that combine topicality and entertainment began to use reality-based audiovisual material as part of their programs. The relationship between fact and fiction changed and a new kind of political publicity emerged when the actions of politicians were mocked in a weekly carnivalistic television broadcast. The Frank Pappa Show commented on the upheavals of Finland's recession in the 1990s, such as rising unemployment. The Frank Pappa Show reshaped the field of political entertainment by raising the last fortress of objectivity, news, for entertainment use, and accustomed viewers to interpreting ironic, satirical, and parodic messages.As the original source for this cultural-historical research, we use episodes of the Frank Pappa Show from 1991 to 1994, as well as press discussions related to the program. Using these materials, we study how the program contributed to the public debate on politics in the 1990s.We study the boundaries of the debate, which tells about the media of the time and the culture of public debate. The Frank Pappa Show serves as an example of a new form of television at a time when cinematic expression and the aesthetics of music videos were spreading to television. Accelerated television narration required of its viewers the ability to follow changing narration. The mundane nature of television led to a taste for the spectacle, and the program also critically commented on its own media environment.Keywords: media history television, entertainment, satire, Frank Pappa
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Loktіonova-Oitsius, Oleksandra. "POPULAR MUSICAL TELEVISION PROJECTS OF THE LATE XX – EARLY XXI CENTURIES." EUREKA: Social and Humanities, no. 5 (September 30, 2020): 3–8. http://dx.doi.org/10.21303/2504-5571.2020.001425.
Повний текст джерелаАнотація:
The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV projects, comparing with world models and highlighting the typical features of the musical television space. The research methodology consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imitation of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as "The Voice", "The X factor", "American Idol". Vocal talent shows are considered as combining the elements of a “game show” and a “perfection / transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. It was determined, that the vocal repertoire consists of the most popular world and national hits, which reflects the demand of the audience. It was noted, that the viewer influences the selection of participants in a music television project and functions as an additional judge. So, the article focuses on the structure and content of musical television projects, defines the values of such projects as the communication space of culture between the audience, the artistic and performing component, and the national and world music culture as a whole. Music television projects are part of the general educational context for the development of media art and have a scientific, artistic and educational potential for study.
18
Mitchell, Tony. "WORLD MUSIC, INDIGENOUS MUSIC AND MUSIC TELEVISION IN AUSTRALIA." Perfect Beat 1, no. 1 (September 29, 2015): 1–16. http://dx.doi.org/10.1558/prbt.v1i1.28571.
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19
Chanan, Michael. "Television's problem with (classical) music." Popular Music 21, no. 3 (October 2002): 367–74. http://dx.doi.org/10.1017/s0261143002002246.
Повний текст джерелаАнотація:
The idea I have in mind is to compare the situation on television today and thirty years ago of what persists in being known as classical music. I write as an academic, but this will not be a normal academic paper. For one thing, I shall not do any special research but base myself instead on memory and autobiographical experience, because thirty years ago, before becoming an academic, I began by writing music criticism and making documentaries on music for television. My intention is to say something as a participant observer about the alteration of the cultural context in which this thing called classical music operates, and about the part that television has played in this.
20
Lüders, Marika, Vilde Schanke Sundet, and Terje Colbjørnsen. "Towards streaming as a dominant mode of media use?" Nordicom Review 42, no. 1 (January 1, 2021): 35–57. http://dx.doi.org/10.2478/nor-2021-0011.
Повний текст джерелаАнотація:
Abstract Music and television streaming services present users with abundant catalogues of content available on demand. We investigate whether users respond by narrowing or widening the diversity of content they consume. Further, we examine how the different logics characterising music and television streaming are mirrored in the number of streaming services people use. To do so, we compare non-, sporadic, regular, and frequent users of television and music streaming services. Findings from a cross-sectional survey in Norway show that frequent streamers consume a wider variety of genres and rely on more services. Our results also indicate that streaming has gone from a first-mover activity to a standard consumer mode. This study indicates that we can expect continued growth in television streamers, whereas the music streaming industry seems more consolidated.
21
Kooijman, Jaap. "I Want My MTV, We Want Our TMF." VIEW Journal of European Television History and Culture 6, no. 11 (September 22, 2017): 93. http://dx.doi.org/10.18146/2213-0969.2017.jethc126.
Повний текст джерелаАнотація:
Launched in 1995, the Dutch music television channel The Music Factory (TMF) presented a local alternative to MTV Europe, owned by the US-based conglomerate Viacom. In 2001, Viacom took over TMF, which by then proved to be far more popular than MTV Europe among the Dutch young viewers. Ten years later, Viacom discontinued the TMF brand. This article places the relatively short history of TMF within the contexts of American and globalization, the expansion of European television from nationally based public broadcasters to commercial pan-European television networks, and the shift from television to other media platforms as the dominant form of distributing music videos.
22
Mikić, Vesna, and Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 79. http://dx.doi.org/10.25038/am.v0i17.272.
Повний текст джерелаАнотація:
As Keith Negus and John Street wrote in their Introduction to the “Music and Television” Special Issue of the journal Popular Music (No. 3, 2002), television is an important mediator of the knowledge, understanding and experience of music. Inverting their formulation to “music is an important mediator of knowledge, understanding, and experience of television” (as James Deaville writes), we can further our understanding of different, more or less obvious meanings transferred by a television program. Bearing these two complementary ideas in mind, we aim to map the kinds of knowledge that are being produced and mediated through music in two extremely popular TV shows, which are also famous for their (innovative) use of music: Grey’s Anatomy (ABC, 2005) and The Good Wife (CBS, 2009–16). These two series – a medical drama and a series about lawyers and politics – have (at least) two things in common: 1) the already-mentioned role that music plays in their narratives, and 2) the fact that both focus on female characters and ‘feminine’ stories, employing numerous, liberal and/or postfeminist discourses. Our goal will thus be, to investigate what ‘kind’ of a female subject is being produced through interactions of music and image and by the music itself, as well as what kind of (post)feminist discourse is deemed ‘acceptable’ in a mainstream television discourse.Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Mikić, Vesna, Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies 17 (2018): 79−88. doi: 10.25038/am.v0i17.272
23
Ardini, Ni Wayan. "Balinese Pop Music: An Industrialization Era." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 129. http://dx.doi.org/10.31091/jomsti.v1i1.509.
Повний текст джерелаАнотація:
ABSTRACTBalinese pop music appeared in 1970’s but its industrialization refers to the development of the involved industries which began in 1990s. The industrialization is characterized by aspects of economy, technology, and new culture in music. All the aspects are related to each other. The economy can be seen in the growing capital in such a business. Technology is in the use of digital tecnology substituting the analog. New culture in music is shown in the more awareness of the Balinese people in enjoying Balinese pop songs. The Balinese are no longer shy singing such songs. This literature review uses techniques of qualitative data analysis. The result of the study shows that the industrialization consists of production, distribution, and consumption of the music. The production is created by the cultural power (musicians) and the capital power (capital owners). The distribution of the Balinese pop music in the current marketing is done by using the support of media power, particularly the electronic media, namely radio (since 1990s and even earlier), especially television (since 2002), in this case Bali TV. The production and distribution enables massive consumption in the Balinese society. The consumption is concerned with the existence of a new musical culture in the society. Although the industrialization tends to be capitalistic, Balinese artists or the musicians can earn their living through the Balinese pop songs. It is not a modern capitalism but postmodern one as the music relies on the existence of the Balinese society and their culture.Keywords: Balinese pop music, industrialization, production, distribution, consumption. ABSTRAKMusik pop Bali muncul pada tahun 1970-an tetapi industrialisasinya mengacu pada perkembangan industrial yang dimulai pada 1990-an. Industrialisasi ini dicirikan oleh aspek ekonomi, teknologi, dan budaya baru dalam musik. Semua aspek terkait satu sama lain. Perekonomian dapat dilihat dari pertumbuhan modal dalam bisnis semacam itu. Teknologi terlihat dalam penggunaan teknologi digital menggantikan yang analog. Budaya baru dalam musik ditampilkan dalam kesadaran yang lebih besar dari orang-orang Bali dalam menikmati lagu-lagu pop Bali. Orang Bali tidak lagi malu menyanyikan lagu-lagu seperti itu. Tinjauan kepustakaan ini menggunakan teknik analisis data kualitatif. Hasil penelitian menunjukkan bahwa industrialisasi musik pop Bali terdiri atas produksi, distribusi, dan konsumsi musik. Produksi diciptakan oleh kekuatan budaya (musisi) dan kekuatan modal (pemilik modal). Distribusi musik pop Bali dalam pemasaran saat ini dilakukan dengan menggunakan dukungan kekuatan media, khususnya media elektronik, yaitu radio (sejak 1990-an dan bahkan lebih awal), khususnya televisi (sejak 2002), dalam hal ini Bali TV. Produksi dan distribusi tersebut memungkinkan konsumsi musik pop Bali besar-besaran dalam masyarakat Bali. Konsumsi berkaitan dengan keberadaan budaya musik baru di masyarakat. Meskipun industrialisasi ini cenderung bersifat kapitalistik, seniman Bali atau musisi dapat mencari nafkah melalui lagu-lagu pop Bali. Ini bukan kapitalisme modern tetapi postmodern, yakni sebagai musik yang bergantung pada keberadaan masyarakat Bali dan budaya mereka.Kata kunci: music pop Bali, industrialisasi, produksi, distribusi, konsumsi.
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Zagorski, Marcus. "Wien Modern 2014." Tempo 69, no. 272 (April 2015): 77–78. http://dx.doi.org/10.1017/s0040298214001144.
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The focus of Wien Modern 2014, according to Artistic Director Matthias Lošek, is best summarised with the two English words ‘on screen’. In his editorial forward to the programme book, Lošek communicated the thinking behind the festival and explained that ‘“on screen” engages with the interface between film/television and contemporary music’. Perhaps it is no surprise, then, that the majority of events in the festival, which ran from 29 October until 21 November 2014, had a strong visual element. This precedence of the visual in a major contemporary music festival brought to mind a review of this year's Darmstadt courses: ‘Das Auge hört mit’, a reviewer of Darmstadt 2014 concluded in the latest issue of the Neue Zeitschrift für Musik, ‘the eye listens in’. The world, it seems, is not as we were taught: German-speaking Central Europe, for some the Mecca of absolute music, is looking elsewhere. How could this be?
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Black, Colin. "International Perspectives on the Historic Intersections of Electroacoustic Music and the Radio Medium." Organised Sound 19, no. 2 (June 30, 2014): 182–91. http://dx.doi.org/10.1017/s1355771814000120.
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Radio studios including Club d'Essai de la Radiodiffusion–Television Française (Paris), Studio für Elektronische Musik (Cologne), BBC Radiophonic Workshop (London) and others have historically played a key role in the development of international approaches to electroacoustic music. Nevertheless few publications explore the pre-musique-concrète sound-based experimental works of the 1920s and 1930s arising from activities undertaken at radio studios, or the dimensions, properties, implications and impact of the radio medium itself. This article explores the impact of the radio medium on creative practice and argues that radio art is not inherently a subset of sonic art, as it may first appear when nuanced from electroacoustic music practice, but can be viewed as its own art form with idiosyncratic international standpoints and transdisciplinary properties. In addition to a historical discussion, this article offers an insight into the potential for radio art practice to cross-pollinate with music practice and explore new creative territory and hybrid working modalities.
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Coates, Norma. "Filling in Holes: Television Music as a Recuperation of Popular Music on Television." Music, Sound, and the Moving Image 1, no. 1 (June 2007): 21–25. http://dx.doi.org/10.3828/msmi.1.1.5.
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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.
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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
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Symes, Colin. "Beating up the classics: aspects of a compact discourse." Popular Music 16, no. 1 (January 1997): 81–95. http://dx.doi.org/10.1017/s0261143000000702.
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Although much has been written about the changes wrought to art in the age of mechanical reproduction, these same changes as they have impacted on music through the phenomenon of the phonograph have not received equivalent attention or, if they have, then their discussion has been restricted to particular sectors of the music industry. This failure to address an important facet of contemporary music practice derives from a continuing tendency to abstract musical questions from their context and to obscure the material contributions that technology makes to such practice (Shepherd 1977, 1991; Scott 1990). With some musics this is more apparent than others. For instance, while there has been an extensive analysis of the degree to which the recording industry has influenced and been an integral element in the development of popular music, there has not been an equivalent analysis of its influence on classical music. This is because in the case of the former the links between the two have been somewhat more dramatic. The recording industry, particularly through its links with radio and television stations, has in large measure facilitated the spread of popular music across the world as a dominant element of a globalised culture, as one of its master codes.
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Negus, Keith, and John Street. "Introduction to ‘Music and Television’ special issue." Popular Music 21, no. 3 (October 2002): 245–48. http://dx.doi.org/10.1017/s0261143002002167.
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Television has been conspicuously neglected in studies of popular music, and music has been notably absent from most accounts of television. The thought that this neglect might be significant was taken as the starting point for this special edition of the journal. Unlike some subjects (such as popular music and gender/sexuality, for example), where it is readily apparent that a number of people are busily pursuing research and where there is a history of sustained engagement in a range of related theories and debates, it was not clear initially who, if anyone, was seriously thinking about or researching the relationship between music and television. Even work on popular music and video, which once grabbed the imagination of popular music and media scholars, has faded from the academic agenda. We hoped that the call for papers might strike a chord and prompt new thoughts about this area.
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Syahputra, Yandri. "Pengalaman empiris menjadi sebuah ide dalam penciptaan musik." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 12, no. 1 (July 16, 2017): 31–39. http://dx.doi.org/10.33153/dewaruci.v12i1.2518.
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Pentingnya keberadaan lapau bagi masyarakat Minangkabau sebagai institusi budaya non formal pengkarya sadari, oleh karena pengkarya adalah anak yang tumbuh di lapau. Pengalaman empiris tersebut, mengilhami pengkarya untuk menjadikan lapau sebagai ide dalam penciptaan musik. Lapau selain tempat makan dan minum, bagi masyarakat Minangkabau juga merupakan tempat bersosialisasi dan bersenda gurau. Bagi generasi muda, lapau merupakan tempat belajar bidang pergaulan untuk tahap menuju kedewasaan. Sebelum adanya teknologi seperti radio, telepon genggam, dan televisi, lapau juga menjadi salah satu sarana untuk memberikan informasi kepada masyarakat, serta menjadi tempat pertukaran informasi antara pengunjung lapau yang satu dengan yang lainnya. Selain aktivitas memasak, di dalam dan di luar lapau terdapat juga aktivitas berkesenian, gelombang bunyi dan budaya mahota (berbicara). Aktivitas dan cerita tersebut menghasilkan bunyi yang berpotensi musikal. Melihat fenomena-fenomena musikal yang terjadi di lapau dan pengalaman empiris pengkarya, maka muncullah ide untuk menjadikan aktivitas yang terjadi di lapau ke dalam komposisi musik. Bunyi yang terjadi di lapau, budaya mahota (berbicara) dan aktivitas berkesenian yang terjadi di dalam dan di luar lapau digarap dan disajikan dalam satu pertunjukan komposisi musik secara utuh. Sebagai anak yang tumbuh di lapau, pengkarya ingin mengingatkan, bahwa lapau bisa menjadi tempat untuk belajar, ia bukan merupakan tempat berjudi, menghabiskan waktu secara sia-sia seperti anggapan sebagian masyarakat Minangkabau dewasa ini (mertua dan istri laki-laki di Minangkabau). Pengkarya juga ingin berpesan pentingnya keberadaan lapau di tengah maraknya tempat-tempat yang menyediakan makanan cepat saji, yang notabenenya hanya menjadi simbol untuk membuat perbedaan kasta. Di samping itu, pengkarya berharap dengan adanya karya yang disusun ini, bisa menjadi salah satu usaha untuk mempertahankan kearifan budaya lokal agar tidak termarjinalkan oleh produk atau tren yang datang dari luar kebudayaan Minangkabau.ABSTRACTLapau the importance of the existence of Minangkabau society as non-formal cultural institutions pengkarya realize, therefore pengkarya was a child growing up in Lapau. The empirical experience, inspire pengkarya to make lapau as an idea in the creation of music. Lapau besides where to eat and drink, for Minangkabau society, is also a place to socialize and frolic. For the younger generation, Lapau a place to learn the field of association to stage towards maturity. Before the advent of technologies such as radio, mobile phones, and televisions, Lapau also is one means to provide information to the public, as well as being a place of information exchange between visitors Lapau with each other. In addition to cooking activities, inside and outside Lapau, there are also activities in art, sound waves and culture mahota (talk). Activities and stories that produce sounds potentially musicals. Seeing the musical phenomena that occur in Lapau, then came the idea to make the activity that occurs in Lapau into musical compositions. It sounds that occur in Lapau, mahota culture (speaking) and artistic activity that takes place in and outside Lapau worked out and presented in a show the whole musical composition. Through this work, “pengkarya” would like to remind, that Lapau could be a place to learn, it is not a place to gamble, spending time in vain as assumed most of the Minangkabau people today (in-law and wife of the man in the Minangkabau). Pengkarya also wants to instruct the importance of Lapau amid places that provide fast food, which only a symbol to make caste distinctions. Also, pengkarya hoped that the works are arranged, it could be one of the efforts to maintain the cultural wisdom so as not marginalized by the products or trends that come from outside the Minangkabau culture.
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Negus, Keith. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association 131, no. 2 (2006): 310–30. http://dx.doi.org/10.1093/jrma/fkl005.
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This article focuses on the prominent anxieties generated by television broadcasts of musicians from the 1930s onwards. It explores three specific issues: first, a concern that television images of performing musicians are detrimental to the experience of music; second, negative judgments about the consequences of television sound quality; and, third, fears that musical value is undermined by the distracted character of television reception. Focusing on these particular points, the article also raises a series of more profound questions about how various strategies of looking and listening influence our understanding of music.
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Taylor, Timothy D. "World Music in Television Ads." American Music 18, no. 2 (2000): 162. http://dx.doi.org/10.2307/3052482.
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Morse, Margaret. "Postsynchronizing Rock Music and Television." Journal of Communication Inquiry 10, no. 1 (January 1986): 15–28. http://dx.doi.org/10.1177/019685998601000102.
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Anderson, Craig. "Teaching Music via Interactive Television." Music Educators Journal 86, no. 1 (July 1999): 47–48. http://dx.doi.org/10.1177/002743219908600101.
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Huelin, Toby. "Soundtracking the City Break: Library Music in Travel Television." Music and the Moving Image 15, no. 2 (July 1, 2022): 3–24. http://dx.doi.org/10.5406/19407610.15.2.01.
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Abstract Library music is used extensively in television production, but its central role is overlooked by scholars and viewers alike. Using travel television as a case study, this article examines the process of selecting library music and the impact of its use—especially when the same tracks function across multiple series.
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Zhurkova, D. A. "What does the Song Show? Popular Music on Soviet Television. Part 2. 1980s." Observatory of Culture, no. 3 (June 28, 2015): 135–41. http://dx.doi.org/10.25281/2072-3156-2015-0-3-135-141.
Повний текст джерелаАнотація:
What does the Song Show? Popular Music on Soviet Television. Part 2. 1980s (by Dariya Zhurkova) continues to analyze the problems of popular songs’ adaptation to the rules of television shows. This part of the research is based on the example of “The Morning Mail” - a popular TV program in 1980s. The article traces the arrival and development of music video clips on television. Moreover, the article discovers the main role of television in creation of the cult of civilizational benefits and of the institute of “stars”, despite the fact that the processes actually ran counter to the official policy and ideology.
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Hidayat, Didin Nuruddin, Abrizal A, and Alex A. "A Multimodal Discourse Analysis of the Interpersonal Meaning of a Television Advertisement in Indonesia." IJEE (Indonesian Journal of English Education) 5, no. 2 (April 22, 2019): 119–26. http://dx.doi.org/10.15408/ijee.v5i2.11188.
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ABSTRACTThis article attempts to investigate and explore the interpersonal meaning of YOU C1000 on Indonesian television advertisements. This study was conducted qualitatively using case study to check how different semiotic and modes such as music, sound, speech, color, action, and image work together to build the interpersonal meaning. This study discusses the interpersonal meaning in speech and music, interpersonal meaning in movement and interpersonal meaning in image and color. The study aimed to give some contributions to social semiotics studies, television, or video advertisement. YOU C1000 advertisement is successful to attract audiences’ attention. The election of Miss Universe advertisement star, Bali as the shooting location, English as the language function and wedding ceremony as the activity are the significant factors to introduce the product to the market. In addition, its tagline is a successor factor as well. If people hear Healthy Inside and Fresh Outside, they will remember YOU C1000. ABSTRAKArtikel ini bertujuan untuk menginvestigasi and menyelidiki makna interpersonal dari produk ‘YOU C1000’ pada iklan televisi Indonesia. Penelitian ini dilakukan secara kualitatif dengan menggunakan pendekatan studi kasus untuk mengetahui bagaimana semiotik dan moda yang berbeda seperti musik, suara, ucapan, warna, tindakan, dan gambar, dapat berjalan bersama-sama dalam membentuk makna interpersonal. Penelitian ini mengulas makna interpersonal dalam ucapan dan musik, makna interpersonal dalam gerakan, dan makna interpersonal dalam gambar dan warna. Penelitian ini bertujuan untuk memberikan kontribusi pada studi semiotika sosial, televisi, atau iklan video. Iklan YOU C1000 berhasil menarik perhatian penonton. Pemilihan bintang iklan Miss Universe, Bali sebagai lokasi syuting, bahasa Inggris sebagai fungsi bahasa dan upacara pernikahan sebagai aktivitasnya adalah faktor-faktor yang signifikan untuk memperkenalkan produk tersebut ke pasar. Selain itu, ‘tagline’-nya juga merupakan faktor penting lainnya. Jika orang-orang mendengar ‘Healthy Inside and Fresh Outside’, mereka akan mengingat YOU C1000. How to Cite: Hidayat, D. N.., Abrizal., Alek. (2018). A Multimodal Discourse Analysis of the Interpersonal Meaning of a Television Advertisement in Indonesia. IJEE (Indonesian Journal of English Education), 5(2), 119-126. doi:10.15408/ijee.v5i2.11188
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Forman, Murray. "Television before Television Genre: The Case of Popular Music." Journal of Popular Film and Television 31, no. 1 (January 2003): 5–16. http://dx.doi.org/10.1080/01956050309602863.
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Vesey, Alyxandra. "Opening Statements: Theme Singing and Shifting Paradigms for Voicing Feminine Subjectivities as Television Music." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 157–67. http://dx.doi.org/10.1215/02705346-7772431.
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This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers. These professionals help cultivate television programs’ aural sensibilities by literally giving voice to a show’s premise and, in so doing, raise the volume on women’s place in television storytelling as otherwise marginalized subjects. This essay identifies three different types of theme singing that are especially common in television storytelling: theme singing as declaration of selfhood, theme singing as expression of kinship, and theme singing as assertion of community. Further, it analyzes Solange’s and SZA’s involvement with Insecure (HBO, 2016–) as music consultant and soundtrack contributor, respectively, to identify an emerging pattern within contemporary television production of shifting the tonal and thematic properties of theme singing onto licensing by dispensing with original theme music altogether while potentially amplifying more women’s voices as source music.
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Cuenca, Esther Liberman. "‘The Rains of Castamere’: medievalism, popular culture, and the music of Game of Thrones." Popular Music 39, no. 3-4 (December 2020): 554–67. http://dx.doi.org/10.1017/s0261143020000549.
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AbstractThis article closely examines the song ‘The Rains of Castamere’, from the television series Game of Thrones (2011–19), to draw broader conclusions about how ‘medieval’ music manifests in contemporary popular culture and how music for television has become increasingly important in the last few decades. This article argues for the relevance of ‘The Rains of Castamere’ in popular music from three perspectives: first, as a musical adaptation of the ‘medieval’ world of 'folk’ music popularised in George R.R. Martin's A Song of Ice and Fire novels (1996–); second, as a song embedded in the rich tradition of modern ‘medieval’ music, which itself is a modern reconstruction influenced by cinematic and literary tropes; and lastly, as a track that exemplifies the influence of fan culture in both shaping and responding to popular medievalist music.
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Zhurkova, D. A. "What does the Song Show? Popular Music on Soviet Television. Part 1. 1960s-1970s." Observatory of Culture, no. 3 (June 28, 2015): 122–34. http://dx.doi.org/10.25281/2072-3156-2015-0-3-122-134.
Повний текст джерелаАнотація:
What does the Song Show? Popular Music on Soviet Television. Part 1. 1960s-1970s (by Dariya Zhurkova) analyzes problems of popular songs’ adaptation to the rules of television shows of 1960s-1970s. The research is based on the example of some popular TV programs such as “Hello, we are looking for talents”, “The Little Blue Light” (a New Year’s show), “The Benefit”, “13 Chairs Tavern”. The article examines how the Soviet television sought for its-own original ways of a song presentation. Also, the article discovers how the television pop music would reflect, sometimes unintentionally but very clearly, those unofficial changes which happened in that period in social aspirations and ideals.
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Boon, Tim, and Edward Venn. "Music 625: Music on Television in the ‘Long 1960s’." Journal of Popular Television 9, no. 1 (March 1, 2021): 3–13. http://dx.doi.org/10.1386/jptv_00038_2.
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Mitchell, Tony. "Treaty Now! Indigenous Music and Music Television in Australia." Media, Culture & Society 15, no. 2 (April 1993): 299–308. http://dx.doi.org/10.1177/0163443793015002011.
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Simon, Sunka. "Licht aus - Spot an: How Schlager (ZDF 1969-1984) Beat Disco (ZDF 1971-1982)." German Politics and Society 35, no. 2 (June 1, 2017): 48–59. http://dx.doi.org/10.3167/gps.2017.350204.
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During the broadcast era, dominant culture reigned supreme on West German television. Das Zweite Deutsche Fernsehen (ZDF) achieved ratings of close to 74 percent during the long Saturday slot in the 1970s. This mass reach, especially of its live popular music programs with built-in audience votes, is often disregarded in historical arguments that focus on the political disunion of that decade. This article takes a closer look at two very different, yet exceptionally popular music shows, Deutsche Hitparade (1969–1984) and Disco (1971–1982), to investigate how the anxiety over sociopolitical change is negotiated on live television, how medium specificity intersects with constructions of masculinity and authority, and how different music and television formats question, manage and produce a national imaginary.
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Williamson, John. "The kilt is my delight? Popular music on early television from Scotland." Journal of Popular Television 9, no. 1 (March 1, 2021): 105–22. http://dx.doi.org/10.1386/jptv_00044_1.
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This article explores the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.
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Forman, Murray. "‘One night on TV is worth weeks at the Paramount’: musicians and opportunity in early television, 1948–55." Popular Music 21, no. 3 (October 2002): 249–76. http://dx.doi.org/10.1017/s0261143002002179.
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This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of ‘opportunity’, the article isolates the ways in which some musicians and others in various sectors of the music industry regarded the new medium as a positive influence at its inception. Among key considerations at the time were issues of musical performance style and aesthetics, repertoire, promotional capabilities, career enhancement, and additional leisure options for audiences.
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Wuran, Frederik Kevin, Ricky Irawan, Guntur Eko Prasetyo, and Ni Wayan Ardini. "Writing Background Music for “Bali Channel Tourist TV” Television Program." Jurnal Bali Membangun Bali 3, no. 2 (August 5, 2022): 99–110. http://dx.doi.org/10.51172/jbmb.v3i2.230.
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Purpose: The purpose of this research is to describe the writing process of the background music for Bali Channel Tourist TV program at Bali TV.
Research methods: The process of writing the background music for Bali Channel Tourist TV program at Bali TV includes some following stages: observation stage, interview stage, trial stage, and review stage.
Results and discussion: In the process of writing the background music, some important points are: first, observing and gathering information as references for producing background music writing; second, creating some music concepts using the applications for recording named digital audio workstations (DAW); third, discussing the concepts of music with the producers of the Bali Channel Tourist TV in order to get to the final concepts of music; fourth, reviewing the background music which has been created together with the manager of Bali TV Production and the producers of the Bali Channel Tourist TV; fifth, mixing the video and audio using the editing applications like Filmora, Pinnacle Studio, and Adobe Premiere Pro.
Implication: The writing of background music in the Bali Channel Tourist TV program has a good impact on Bali TV, especially in its music production process.
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Huelin, Toby, and Júlia Durand. "Sounds like money? Stock music, television and Donald Trump." European Journal of American Culture 41, no. 2 (June 1, 2022): 147–65. http://dx.doi.org/10.1386/ejac_00069_1.
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Library music (also known as ‘stock’ or ‘production’ music) plays an important role in the depiction of Donald Trump in media productions, be it to cast him as a bold political hero, a glamorous millionaire, an authoritarian ruler or a clownish character. The various facets of Trump’s public brand are reflected in library music catalogues: tracks tagged with the keyword ‘Trump’ highlight, for example, his notoriety as business tycoon and host of reality show The Apprentice, or his candidacy and mandate as the 45th US president. In this article, we draw together original qualitative library music data with a close reading of specific television case studies to examine two main research areas. Firstly, how is Trump represented in library music catalogues, and what does this reveal about popular perceptions of him? Secondly, which library music tracks are used in media content about Trump? Where are the ‘Trump’-tagged tracks used in television, and what other kinds of library music are used in series about this president? This article explores the musical strategies which were deployed to depict Trump’s mandate and its political upheavals, and, more broadly, reappraises library music as a vital ‐ yet underexplored ‐ element in the construction of audio-visual meaning.
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Jakubowski, Kelly, Amy M. Belfi, and Tuomas Eerola. "Phenomenological Differences in Music- and Television-Evoked Autobiographical Memories." Music Perception 38, no. 5 (June 1, 2021): 435–55. http://dx.doi.org/10.1525/mp.2021.38.5.435.
Повний текст джерелаАнотація:
Music can be a potent cue for autobiographical memories in both everyday and clinical settings. Understanding the extent to which music may have privileged access to aspects of our personal histories requires critical comparisons to other types of memories and exploration of how music-evoked autobiographical memories (MEAMs) vary across individuals. We compared the retrieval characteristics, content, and emotions of MEAMs to television-evoked autobiographical memories (TEAMs) in an online sample of 657 participants who were representative of the British adult population on age, gender, income, and education. Each participant reported details of a recent MEAM and a recent TEAM experience. MEAMs exhibited significantly greater episodic reliving, personal significance, and social content than TEAMs, and elicited more positive and intense emotions. The majority of these differences between MEAMs and TEAMs persisted in an analysis of a subset of responses in which the music and television cues were matched on familiarity. Age and gender effects were smaller, and consistent across both MEAMs and TEAMs. These results indicate phenomenological differences in naturally occurring memories cued by music as compared to television that are maintained across adulthood. Findings are discussed in the context of theoretical accounts of autobiographical memory, functions of music, and healthy aging.
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Urdea, Alexandra. "Folklore Music on Romanian TV." Television Histories in (Post)Socialist Europe 3, no. 5 (June 24, 2014): 35. http://dx.doi.org/10.18146/2213-0969.2014.jethc054.
Повний текст джерелаАнотація:
Music genres rooted in folklore have often been interpreted as ideological manoeuvres to forge a sense of national identity (Gordy, Mihailescu, Baker, Cash). This article explores formalized folklore performances of muzică populară as forms ‘media rituals’ (Couldry), and focuses on the role that television has played in establishing the genre as we know it today. It analyses the link between muzică populară as rooted in mass participation activities during communism, and ‘media rituals’ as framed on television (Couldry), indiscriminately and democratically involving the entire population that it addresses (and is available beyond that).