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Статті в журналах з теми "Musical radio programs":
1
Samigullina, Rufina Ildarovna. "Features of musical enlightenment in Russia in the second half of the twentieth century." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 8 (January 11, 2018): 205–11. http://dx.doi.org/10.18844/prosoc.v4i8.3051.
Анотація:
Musical enlightenment is an actual problem of modern education. It involves dissemination of knowledges among the audience, the development of artistic needs, interest in music. By the second part of the 20th century, Russia has accumulated a wealth of experience of musical enlightenment activities. The Russian experience in the training of musicians has become an example for other countries, the concept of mass musical education developed by Kabalevsky, is the basis of many contemporary programs in music, various forms of musical education (people's universities, television & radio concerts, competitions, festivals and lectures) are widespread and practiced at the present time. The study used theoretical methods: analysis of the training programs, pedagogical literature, regulatory documents, the activities of educational institutions, musical enlightenment organizations, and systematization of the repertoire of musical collectives. Keywords: Musical education, mass culture, musical enlightenment, musical enlightenment organizations.
2
Vesic, Ivana. "Radio Belgrade in the process of creating symbolic boundaries: The example of the folk music program between the Two World Wars (1929-1940)." Muzikologija, no. 14 (2013): 31–55. http://dx.doi.org/10.2298/muz1314031v.
Анотація:
This article deals with the process of creation of symbolic boundaries in the context of designing the folk music programs at Radio Belgrade since its foundation until the beginning of World War Two. A detailed insight into the musical contents aired on Radio Belgrade, the texts on folk music published in the radio weekly magazine (Radio Belgrade), and the preserved memoirs, with an emphasis on their broader socio-cultural and socio-political significance, has enabled me to single out the factors and mechanisms that played a key role in defining the boundaries of folk music. I will analyse the work of different editorial teams before World War Two; at the same time, I will consider the tastes and cultural preferences of the subscribers and listeners of the Radio Belgrade programs. By means of crossing out specific aesthetic, political and economical positions of radio editors and experts who designed the folk music program with the expectations of listeners and, to an extent, performers of folk music, I will attempt to explain how the process of symbolical demarcation of folk music as a separate entity, different from art and popular music, took place; but also, how the folk music broadcast on the radio related to the Serbian folk musical practices.
3
Simonton, Dean Keith. "Drawing Inferences from Symphonic Programs: Musical Attributes versus Listener Attributions." Music Perception 12, no. 3 (1995): 307–22. http://dx.doi.org/10.2307/40286186.
Анотація:
In classical music listening, program announcements both on radio and in concerts will usually introduce the performance of a symphony with the same minimal articles of information, such as the composer, the order of composition, the key, and the name, if any. But how much can a listener infer about the musical attributes of the work from these basic facts? Examination of 99 symphonies by 13 symphonists between Beethoven and Shostakovich showed that such rudimentary programmatic data can predict several subjective and objective features, including aesthetic significance, listener accessibility, repertoire popularity, melodic originality, originality variation, and playing time. Discussion follows about what these empirical relationships may imply about how composers create their symphonies and how appreciators perceive those musical products.
4
Synieokyi, O. "The study of sessional recordings of 1962-1972 from the BBC radioarchive (The Beatles, Pink Floyd, Deep Purple)." Visnyk of Kharkiv State Academy of Culture, no. 59 (July 16, 2021): 19–32. http://dx.doi.org/10.31516/2410-5333.059.02.
Анотація:
Due to the recent increase in research interest in phono documents, which were created specifically for radio, a documentary analysis of the creation of music programs of the British Broadcasting Corporation is provided. Particular attention is paid to an overview of the chronology of recording sessions for a number of selected bands from the BBC’s archival collection (1962–1972). The role of John Peel in the creation of creative music programs within the framework of “Radio 1” was noted. The study showed that the digitalization of archival space has brought new opportunities for finding lost rarities that were at the origins of rock music. Both positive and negative trends in the restoration and use of archived musical phonograms from radio storages are noted.
5
Howe, Sondra Wieland. "The NBC Music Appreciation Hour: Radio Broadcasts of Walter Damrosch, 1928–1942." Journal of Research in Music Education 51, no. 1 (April 2003): 64–77. http://dx.doi.org/10.2307/3345649.
Анотація:
Walter Damrosch, a pioneer in the early days of radio, introduced American and Canadian children to classical music through the radio broadcasts of the NBC Music Appreciation Hour, 1928–1942. This article contains a description of the format of the programs and instructional manuals. It includes a discussion of the programs sponsorship, Damroschs collaboration with MENC, and the national impact of the broadcasts. The Music Appreciation Hour broadcast four series of programs for four different age-groups, and various authors prepared instructors manuals and student notebooks. The successful programs were promoted as a supplement for school programs, and students were encouraged to expand the experience with other musical activities. The broadcasts were discontinued in 1942 for financial and personal reasons. The Music Appreciation Hour and other music programs of the past can be used as models for contemporary projects as educators explore the creative use of technology in music teaching. Although technology changes, many issues of the past (audience development, repertoire selection, finances, sponsorship) are still relevant today.
6
AKHMADIEVA, N. V. "THE HISTORY OF THE DEVELOPMENT OF THE MUSICAL CULTURE OF BASHKIRIA IN THE 1950S - MID-1980S." Izvestia Ufimskogo Nauchnogo Tsentra RAN, no. 4 (December 13, 2021): 75–82. http://dx.doi.org/10.31040/2222-8349-2021-0-4-75-82.
Анотація:
In the 1950s-1980s. the musical culture of Bashkiria was further developed, acquiring specific forms. As a result of the influence of various musical cultures, forms of professional art that were not inherent in traditional national culture were actively developing in the republic. Historically, the artistic and aesthetic experience of Bashkiria was limited to monodic forms of folk music (monophonic songs and instrumental tunes). The problem of overcoming the predominance of traditional monody in professional musical culture was urgent. Having adopted and creatively using the best traditions of classical and Soviet music, Bashkir professional music has gone an accelerated path from traditional monophonic folk music to complex genres of professional art. For several decades, such genres as opera, symphony, ballet were created in Bashkiria. Already in 1950-1970. a national style is formed on the basis of the creative implementation of folklore and the interaction of national and international in musical art. In the 1960s. against the background of the continuous interest of Bashkir composers in chamberinstrumental and chamber-vocal genres, the center of gravity is shifting to the field of musical-theatrical, symphonic music. In the musical life of the republic, great importance was attached to the popularization of musical culture. Bashkir radio paid great attention to the promotion of musical knowledge and works. Back in the early 1960s. musical and educational programs were conducted in the Bashkir and Russian languages, concerts of Bashkir, Chuvash and Russian composers were broadcast. Often, the radio played works by amateur composers with the participation of the authors themselves. At the same time, with the huge genre diversity of the musical culture of Bashkiria, significant and talented works of many authors remained outside the active cultural life, unable to popularize them and bring them to the mass audience. As a result, a serious gap was noticeable between the musical culture itself and its consumer. The low level of culture of perception of music by the population, due to the lack of professional musical education, formed preferences for pop, popular music.
7
Fomytsia, Oleksii. "Musical design of news TV and radio programs as a means of influence on the masses." Obraz 2, no. 31 (2019): 13–21. http://dx.doi.org/10.21272/obraz.2019.2(31)-13-21.
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Hyrina, T. "СТАНОВЛЕННЯ ПРОФЕСІЙНОЇ КОМПЕТЕНТНОСТІ ПРОДУЦЕНТІВ РАДІОПРОГРАМ ДУХОВНОЇ ТЕМАТИКИ В УКРАЇНСЬКІЙ ЕМІГРАЦІЇ". State and Regions. Series: Social Communications, № 1(49) (23 березня 2022): 42. http://dx.doi.org/10.32840/cpu2219-8741/2022.1(49).6.
Анотація:
<p><strong><em>The purpose</em></strong><em> of the article is to comprehend the aspect of religious radio broadcasting in the structure of radio programs of Ukrainian emigration in the radio space of foreign countries in the twentieth century.</em></p><p><strong><em>The research methodology </em></strong><em>is based on the use of general scientific methods of archival research (digitized issues of the Ukrainian daily «Svoboda» in 1935–1991 available in free access), monitoring of identified mentions of the presence of Ukrainian-language programs in the radio space of different countries, clipping , the names of the program, its periodicity, the name of the radio station on which the broadcasts were available, the areas covered by it, characteristics, references to the source of information and its author, etc., historiographical, systematization, deductive and method of observation.</em></p><p><strong><em>Results.</em></strong><em> </em><em>As a result of the research, the orientation of Ukrainians to spiritual practices and religious themes in the radio space of foreign countries was stated. The founders of the programs for Ukrainian believers were representatives of various religious organizations in North and South America, Europe and even Australia. Based on the capabilities of the organizers, the programs were created on a regular basis, and broadcast on a permanent broadcast network, as well as non-periodic holidays and annual anniversaries. Priests and members of their families became the authors and hosts of such programs. The team of radio amateurs included a treasurer who was responsible for collecting and rationally using funds donated by the community and provided by the flock to support the presence of the Ukrainian word of God in the radio space. Some programs, such as Evangelical Morning, a project of Ukrainian Baptists in North America, were briefly spread to Soviet Ukraine, from where they received grateful feedback from underground listeners. The main religious holidays were timed to broadcast the Divine Liturgy, for the sick, those who do not have the opportunity to join the action in person</em></p><p><strong><em>Novelty.</em></strong><em> For the first time in the scientific discourse the achievements of the spiritual and religious segment of the radio programs of the Ukrainian emigration in the XX century are comprehended.</em></p><p><strong><em>The practical significance</em></strong><em> of the research results is the introduction of documented data on the state of development, achievements and thematic, genre diversity, musical diversity and polyphony of Ukrainian radio programs on the spiritual life of Ukrainians in different countries.</em></p><p><strong><em>Key words:</em></strong><em> Ukrainian-language radio program, Radio Service of God, radio broadcast, religious radio program, world Ukrainian radio.</em></p>
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Hirina, T. "ЕКСПЛІКАЦІЯ НАЦІОНАЛЬНОЇ ІДЕНТИЧНОСТІ УКРАЇНСЬКОЇ ГРОМАДИ У ВІДЧИТАХ НА РАДІО ПІВНІЧНОЇ АМЕРИКИ У 1933 Р." State and Regions. Series: Social Communications, № 4(48) (2 лютого 2022): 26. http://dx.doi.org/10.32840/cpu2219-8741/2021.4(48).4.
Анотація:
<p><strong><em>The purpose </em></strong><em>of the article is to trace the peculiarities of conversational radio programs organized by Ukrainians in the countries of North America in 1933.</em></p><p><strong><em>The research methodology</em></strong><em> is based on the use of general scientific methods of analysis, synthesis, as well as deductive and observational methods; implementation of historiographical, method of monitoring archival sources, clipping of individual messages according to the specified search parameters, content analysis of almost a hundred detected materials on the topic of intelligence.</em></p><p><strong><em>Results.</em></strong><em> As a result<strong> </strong>of the research, the priority of musical content over broadcast radio programs created by Ukrainians in the USA and Canada in 1933 was established. Outside of it artists (mostly writers and composers), conversation with the listener on spiritual and religious topics. Particular attention was paid to the events in the homeland, the actualization of the Ukrainian agenda in the global political arena, which was especially exacerbated by famine in the country. Rarely on the air of such radio programs could be heard humorous scenes in the form of sketches on entertaining or sharp socio-political topics. The critique of such radio programs by the contributors of the periodicals of that time is comprehended and the visible process of institutionalization of Ukrainian radio hours on the air of radio stations of other countries is emphasized.</em></p><p><strong><em>Novelty.</em></strong><em> For the first time in the scientific discourse the thematic, genre, semantic potential of conversational Ukrainian radio programs in the information space of North America in 1933 was analyzed in detail.</em></p><p><strong><em>The practical significance</em></strong><em> of the research results lies in the introduction into the scientific, popular science discourse of documentary evidence of the formation of the world Ukrainian-language radio system in the context of its spoken content in the information space of North America in 1933.</em></p><p><strong><em>Key words:</em></strong><em> radio report, radio broadcast, world Ukrainian radio broadcasting, sketch, Ukrainian-language radio program.</em></p>
10
Collins, Nick. "The Analysis of Generative Music Programs." Organised Sound 13, no. 3 (November 3, 2008): 237–48. http://dx.doi.org/10.1017/s1355771808000332.
Анотація:
AbstractComposers have spent more than fifty years devising computer programs for the semi-automated production of music. This article shall focus in particular on the case of minimal run-time human intervention, where a program allows the creation of a musical variation, typically unravelling in realtime, on demand. These systems have the capacity to vary their output with each run, often from no more input information than the seeding of a random number generator with the start time. Such artworks are accumulating, released online as downloads, or exhibited through streaming radio sites such as rand()%. Listener/users and composer/designers may wish for deeper insight into these programs' ontological status, mechanisms and creative potential. These works are challenging to dissect; this article makes a tentative start at confronting the unique problems and rich behaviours of computer-program-based generative music, from the social and historical context to the backwards engineering of programs in relation to their sound world. After a discussion of exemplars and definitions of generative art, strategies for analysis are outlined. To provide practical examples, analyses are provided of two small scale works by James McCartney.
Дисертації з теми "Musical radio programs":
1
Ginocchio, Láinez-Lozada María Isabel. "El Discurso irónico en el programa radial juvenil limeño Caídos del catre." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2010. https://hdl.handle.net/20.500.12672/156.
Анотація:
Nuestro trabajo aborda la ironía, en tanto estrategia discursiva, en el contexto radial. Específicamente, el estudio se centra en el análisis pragmático de la ironía en el programa Caídos del catre, transmitido por Studio 92, radio de difusión cuyo grupo etario predominante es el juvenil. Los datos analizados han sido extraídos de diversas grabaciones del programa efectuadas el año 2008. De esta manera, nuestra tesis tendrá la siguiente estructura:
En el capítulo 1, definiremos el problema que ha motivado la presente tesis; además, plantearemos las hipótesis y desde allí se observará la problemática que gira en torno a la ironía. Adicionalmente, incluiremos la justificación, los objetivos y las variables (dependientes e independientes) de nuestro estudio.
En el capítulo 2, presentaremos y desarrollaremos los presupuestos teóricos relacionados con la pragmática en general, y con la ironía, la metáfora y la radio en particular. Esta sección estará conformada por una serie de subcapítulos en los que expondremos los aspectos principales de cada uno de los temas señalados.
El capítulo 3 estará destinado a describir los aspectos metodológicos utilizados en el desarrollo de nuestro estudio. En este capítulo también incluiremos el conjunto de datos extraídos de la radio, los cuales aparecerán ordenados de acuerdo al fenómeno que hemos analizado; es decir, los datos medularmente están relacionados con la ironía y, de manera muy periférica, con la metáfora.
El capítulo 4 es el de mayor relevancia en nuestra tesis, por cuanto en esta sección se evaluarán e interpretarán los datos. El análisis del corpus se efectuará de acuerdo a los presupuestos de la pragmática como disciplina de la lengua en uso, y permitirá corroborar o falsar nuestras hipótesis.
En el capítulo final se consignarán las conclusiones a las que hemos llegado a través de la evaluación de las expresiones emitidas en el programa radial que ha motivado este estudio.Tesis
2
Ginocchio, Láinez-Lozada María Isabel, and Láinez-Lozada María Isabel Ginocchio. "El Discurso irónico en el programa radial juvenil limeño Caídos del catre." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2010. http://cybertesis.unmsm.edu.pe/handle/cybertesis/156.
Анотація:
Nuestro trabajo aborda la ironía, en tanto estrategia discursiva, en el contexto radial. Específicamente, el estudio se centra en el análisis pragmático de la ironía en el programa Caídos del catre, transmitido por Studio 92, radio de difusión cuyo grupo etario predominante es el juvenil. Los datos analizados han sido extraídos de diversas grabaciones del programa efectuadas el año 2008. De esta manera, nuestra tesis tendrá la siguiente estructura:
En el capítulo 1, definiremos el problema que ha motivado la presente tesis; además, plantearemos las hipótesis y desde allí se observará la problemática que gira en torno a la ironía. Adicionalmente, incluiremos la justificación, los objetivos y las variables (dependientes e independientes) de nuestro estudio.
En el capítulo 2, presentaremos y desarrollaremos los presupuestos teóricos relacionados con la pragmática en general, y con la ironía, la metáfora y la radio en particular. Esta sección estará conformada por una serie de subcapítulos en los que expondremos los aspectos principales de cada uno de los temas señalados.
El capítulo 3 estará destinado a describir los aspectos metodológicos utilizados en el desarrollo de nuestro estudio. En este capítulo también incluiremos el conjunto de datos extraídos de la radio, los cuales aparecerán ordenados de acuerdo al fenómeno que hemos analizado; es decir, los datos medularmente están relacionados con la ironía y, de manera muy periférica, con la metáfora.
El capítulo 4 es el de mayor relevancia en nuestra tesis, por cuanto en esta sección se evaluarán e interpretarán los datos. El análisis del corpus se efectuará de acuerdo a los presupuestos de la pragmática como disciplina de la lengua en uso, y permitirá corroborar o falsar nuestras hipótesis.
En el capítulo final se consignarán las conclusiones a las que hemos llegado a través de la evaluación de las expresiones emitidas en el programa radial que ha motivado este estudio.Tesis
3
Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16621/.
Анотація:
This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.
4
Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16621/1/Clare_Hansson_Thesis.pdf.
Анотація:
This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced.
The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements.
An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.
5
VIEIRA, Inês Zena Almeida. "Programação do ouvinte: memória música e sociabilidade." www.teses.ufc.br, 2002. http://www.repositorio.ufc.br/handle/riufc/10008.
Анотація:
VIEIRA, Inês Zena Almeida. Programação do ouvinte: memória música e sociabilidade. 2002. 237f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2002.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-11-27T15:12:48Z No. of bitstreams: 1 2002_dis_izavieira.pdf: 158139604 bytes, checksum: a2fa6f3df8ec8ebf5ea954bb34d422f3 (MD5)
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Como resultado desta pesquisa é possível observar uma relação entre comunicação, sociabilidade e reconstrução de memória musical. Além disso, a Programação do ouvinte tem um importante papel que permite o reconhecimento da autoridade de seu produtor de informação numa relação com o reconhecimento do ouvinte. A construção dos ouvintes deve ser entendida como resultados de processos sociais relacionados também ao perfil das concepções desta Rádio sobre o processo de comunicação tal como é definido por sua linha editorial. Neste caso, a radiodifusão parece contribuir para a educação informal de pessoas que não tiveram este direito social assegurado por vias institucionais. E também interessante a divulgação de algumas atividades profissionais de ouvintes como músico, comerciante, cabeleireiro e pessoas que costumam participar do programa para se sentirem prestigiados. Não só contribui com "a música e informação de qualidade", mas significa entretenimento para pessoas de distintas gerações e segmentos sociais. Tem ainda importante contribuição crítica à perspectiva do processo de comunicação que defende a ação hegemônica dos meios massivos. Esta pesquisa considera que há uma relação dinâmica entre o produtor da informação e a participação de ouvintes. Baseada em estudos de antropólogos latino-americanos como Barbero, Canclini, além de outros autores, a investigação acena para concepção de ouvintes como ativos atores destes processos históricos e sociais. De acordo com esta pesquisa, é possível questionar um preconceito social que vê uma direta relação entre gosto musical e uma específica classe social. Este programa é analisado como expressão de uma dinâmica cultural, cuja rica diversidade representa um entrelaçamento de distintos movimentos musicais,épocas e estilos de vida.
6
Richards, Donald Frederick, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The creative ear : the ABC's The listening room and the nurturing of sound art in Australia." 2003. http://handle.uws.edu.au:8081/1959.7/13211.
Анотація:
This thesis argues that the Australian Broadcasting Corporation’s sound art program The Listening Room has been , both through broadcasting and related activities, a major factor in the life and growth of sound art in Australia. The thesis also argues that, internationally, The Listening Room is accepted as a leading member of the world sound art community by its contribution to the artistic development and wider recognition of the genre. In order to examine the influence of The Listening Room, interviews and case studies with Australian composers and overseas producers and observers are recounted and analysed. Finally, pertinent data from historical summaries, interviews and case studies are conflated to demonstrate the depth and significance of The Listening Room.Doctor of Philosophy (PhD)
7
Richards, Donald Frederick. "The creative ear : the ABC's The listening room and the nurturing of sound art in Australia." Thesis, 2003. http://handle.uws.edu.au:8081/1959.7/13211.
Анотація:
This thesis argues that the Australian Broadcasting Corporation’s sound art program The Listening Room has been , both through broadcasting and related activities, a major factor in the life and growth of sound art in Australia. The thesis also argues that, internationally, The Listening Room is accepted as a leading member of the world sound art community by its contribution to the artistic development and wider recognition of the genre. In order to examine the influence of The Listening Room, interviews and case studies with Australian composers and overseas producers and observers are recounted and analysed. Finally, pertinent data from historical summaries, interviews and case studies are conflated to demonstrate the depth and significance of The Listening Room.
Книги з теми "Musical radio programs":
1
Cox, Peter. Set into song: Ewan MacColl, Charles Parker, Peggy Seeger, and the Radio Ballads. [London]: Labatie Books, 2008.
2
Muzyri︠a︡, Aleksandra Alekseevna. Iskusstvo slyshatʹ mir: Molodezhi ob iskusstve. Moskva: Iskusstvo, 1989.
3
Dēmētrēs, Papanikolaou. To Trito Programma tēs hellēnikēs radiophōnias sta chronia tou Manou Chatzidaki: Koinōnikes kai politistikes prosengiseis. Athēna: Ekdoseis Fagotto, 2012.
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Grobecker, Kurt. Hamburger Hafenkonzert: Geschichten um eine erfolgreiche Radionsendung [sic]. Hamburg: DSV Verlag, 1996.
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Gösweiner, Friederike. Du holde Kunst - Lyrikvermittlung im Radio: Ein theoretischer Beitrag zur Radioforschung aus philologischer Sicht anhand der Auseinandersetzung mit der Ö1-Lyriksendung Du holde Kunst. Würzburg: Königshausen & Neumann, 2012.
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North, James H. Andre Kostelanetz on records and on the air: A discography and radio log. Lanham, Md: Scarecrow Press, 2011.
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Battistini, Pete. American top 40 with Casey Kasem: The 1980s. Bloomington, IN: AuthorHouse, 2010.
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Bennet, Christophe. La musique à la radio dans les années trente: La création d'un genre radiophonique. Paris: L'Harmattan, 2010.
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Halper, Donna L. Radio music directing. Boston: Focal Press, 1991.
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Radoslavova-Doĭcheva, Antoaneta. Muzikata v Bŭlgarskoto radio: 1930-1944. Sofii︠a︡: izd-vo "Petko i Pencho Slaveĭkovi,", 2010.
Частини книг з теми "Musical radio programs":
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Salkind, Micah E. "Remediating the Underground." In Do You Remember House?, 85–118. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698416.003.0004.
Анотація:
The third chapter of Do You Remember House? traces the routes by which mostly straight, Black, and middle-class teenagers accessed and adapted the social and sonic templates developed by house music’s queer of color progenitors. Using close readings of radio “hot mixes” and oral history interviews with DJs, promoters, and dancers involved in the city’s all-ages “juice bar” scene, this chapter also suggests that house music radio was made by an emergent cohort of middle-class, Black, radio entrepreneurs who remediated Chicago musical repertoires for increasingly heterogeneous listening publics. The term remediation (Bolter & Grusin, 1999) helps account for the ways that the WBMX and WGCI hot mix shows incorporated and transformed the aesthetic priorities of teen juice bars, gay discotheques, and Black appeal radio programs to promote house music as a shared, if often contested, soundscape in greater Chicagoland.
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"Tick Tock Goes the Musical Clock: Time Discipline and Early Morning Radio Programs." In Radio's New Wave, 204–18. Routledge, 2013. http://dx.doi.org/10.4324/9780203124673-21.
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Frith, Simon. "What does it mean to be cultured? Desert Island Discs as an ideological archive." In Defining the Discographic Self, edited by Julie Brown, Nicholas Cook, and Stephen Cottrell. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0010.
Анотація:
This chapter is concerned with the cultural ideology of Desert Island Discs. It argues that the way DID is organised, as an interview programme on BBC Radio 4, has a paradoxical effect. If, apparently, Desert Island Discs involves the weekly reiteration of the argument that music is at the centre of people’s lives, its ideological assumption, as a radio programme, is that music does not really matter much. This argument is illustrated by a detailed examination of the programme’s choices of records and guests, organised in terms of musical genre. Some interesting aspects of musical taste emerge, such as the absence of folk music and changing status of jazz, but, in the end, what the data show most clearly is that a programme format depending on a rather limited account of what it means to listen to music has, nevertheless, colonised the musical imagination of the British public.
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Iverson, Jennifer. "Introduction." In Electronic Inspirations, 1–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190868192.003.0001.
Анотація:
The Westdeutscher Rundfunk [West German Radio] or WDR studio emerged in the early 1950s in Cologne, West Germany in a conflicted Cold War climate. On the one hand, electronic music signified social and artistic progress; avant-garde music stood as a reliable marker of democracy and freedom in contrast to Nazi and Soviet aesthetic mandates. On the other hand, technophobic audiences and critics reacted with skepticism to de-personalized, machine-mediated concerts, often regarding the new sounds with disdain. Nevertheless, cultural administrators, especially by means of the regional radio network, channeled funding to new music and the electronic studio as a way of rebuilding West Germany’s cultural hegemony. The WDR studio’s heterogeneity—its ability to incorporate and make use of several different types of resources—became a key to its success. The studio’s composers and technicians synthesized new sounds from scientific discourses. They reclaimed military technologies and long-standing musical lineages, opening up a new frontier. By embracing electronic music, West Germany found a way out of its decimated postwar landscape and emerged as a leader in the cultural Cold War.
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Szabo, Victor. "Pacifica Radio’s Music from the Hearts of Space and the Spacious Sound of California’s New Age." In Turn On, Tune In, Drift Off, 101—C2.N147. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190699307.003.0003.
Анотація:
Abstract The second chapter investigates the first decade of Music from the Hearts of Space, a Bay Area–based radio program that from 1973 to 1982 crystallized the ideals of the local grassroots spirituality network through the DJs’ ethereal “space music.” It describes how the aesthetic and concept of Hearts, which in the 1980s found national popularity through NPR syndication, grew out of the metaphysical ideals and material culture of the ’70s Bay Area New Age network. A style analysis illustrates, by way of the program’s most frequently played tracks during its first decade, common properties of “space music.” This chapter links these properties to the program’s universalist social vision, to which it applies a sociological critique and historical perspective. A concluding section details how Hearts’s “space music” appellation fell to the wayside of media discourses as the consumer market for ambient audio became more popularly fragmented by the new age and ambient genre labels.
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Devine, Kyle. "Desert island discomorphoses: Listening formations and the material cultures of music." In Defining the Discographic Self, edited by Julie Brown, Nicholas Cook, and Stephen Cottrell. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0005.
Анотація:
Musical identities are forged in relation to the material properties of media formats. The cultures of listening and modes of identification fostered by the 78-rpm disc, for example, are not the same as those that took shape around the LP or the MP3. Each technology affords different modes of musical identification, fandom, enjoyment, and taste. To read Desert Island Discs as a continuous archive of self-presentation or a straightforward reflection of musical taste is thus to overlook a key point: the programme equally reflects seven decades of change in the material cultures of music. This chapter combs the online Desert Island Discs archive for evidence of the relationship between the discographic self and the ‘discomorphosis’ of music, focusing on such conjunctures as the hypothetical wind-up gramophone that furnished the island in 1942, the introduction of the LP and transistor radios around 1950, and the introduction of the iPod in 2001.
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Potter, Simon J. "Programmes, Soft Power, and Public Diplomacy." In The Wireless World, 167—C6.P48. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192864987.003.0006.
Анотація:
Abstract This chapter examines the programmes produced by international broadcasters for distant listeners. It relates these to ideas about persuasion, propaganda, soft power, and public diplomacy. It examines news broadcasting, but focuses on the other content carried by international radio services, notably music, ‘media events’, technically complex international relays, and user generated content. It looks at the schedules of early international broadcasters including the BBC and Germany’s Zeesen station, and also at Radio Bari. It assesses the use of soap opera by the BBC during the Second World War, and rock ’n’ roll music by Western broadcasters during the Cold War. It considers who was able to speak on-air, and who was not, paying particular attention to the attempts of international broadcasters to harness a diverse range of voices to their purposes. Case studies examine dramatic and literary programming on the BBC Arabic Service, and Eddy Startz’s Happy Station show.
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Mullins, Daniel. "All the Way to the Fence." In Industrial Strength Bluegrass, 23–42. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043642.003.0003.
Анотація:
Broadcasting was significant to creating a bluegrass music market. Radio personalities reminded Appalachians of home with familiar music and colorful dialect. Live programs on Cincinnati’s WLW showcased early Appalachian musicians. WCKY disc jockeys Nelson King and Wayne Raney played bluegrass records in the 1940s and 1950s, while promoting Jimmie Skinner’s record sales outlets. Paul Braden founded Middletown’s WPFB in 1947, Braden and announcer Smokey Ward featured numerous future bluegrass stars on the WPFB Jamboree. Influential radio personality Tommy Sutton joined WPFB in the 1950s, and took the Osborne Brothers’ demo to Nashville. Paul “Moon” Mullins joined WPFB in 1964. His folksy manner, ad-lib commercials, and humorous stories made him a regional star. His son Joe Mullins keeps tradition alive on today’s Real Roots Radio Network.
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Ó Briain, Lonán. "Battle for the Airwaves during the First Indochina War." In Voices of Vietnam, 44–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197558232.003.0003.
Анотація:
The VOV proudly proclaims September 7, 1945 as the foundational date for Vietnamese public radio, when the Declaration of Independence was read out on wireless for the first time. Vietnamese technicians who had been trained by the French set up a station in Hanoi to support the Viet Minh’s independence coalition. In December 1946, the French seized control of Hanoi again and established a new station, Radio Hanoi, at Rue Richaud (now Quán Sứ street). In contrast to the exclusive European radio clubs of the 1920s and 1930s, Radio Hanoi hired a troupe of Vietnamese musicians and actors who performed live on air and at popular venues in the capital between 1948 and the early 1950s. Their programming of entertainment and news in several languages appealed to Vietnamese and non-Vietnamese alike. Meanwhile the Viet Minh resumed their broadcasts of anti-colonial rhetoric from a discrete mountain location, but they struggled to sustain the attention of their listeners. To reengage with the public and draw listeners away from Radio Hanoi, they began to program communist-themed entertainment (music, poetry, stories, and short plays) alongside political news and information. Chapter 2 draws on oral histories, archival records, and historical broadcasts to reconstruct the sonic ambience of this creative conflict. The research investigates how composers, musicians, singers, and voice actors at both stations battled to nurture a resilient and attentive radio listenership with attractive artistic outputs that were often imbued with implicit (Radio Hanoi) and explicit (Viet Minh Radio) political ideologies.
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Lornell, Kip. "Bluegrass Unlimited (1966–1977)." In Capital Bluegrass, 150–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199863112.003.0004.
Анотація:
Both as a radio program on WAMU-FM and as a specialized magazine, Bluegrass Unlimited informed local fans about “their” music. The impact of the radio show was local, but the magazine soon garnered national attention. The Birchmere, which became the premier spot for bluegrass in the region, was founded by Gary Oelze who still operates this venue. By 1967 all three of these forces were underpinning the local bluegrass community. In the early 1970s the Seldom Scene formed out of the core of the original Country Gentlemen and soon became the most important bluegrass band in DC and, arguably, across the United States. During this period bluegrass became increasingly popular, a trend that only accelerated during the late 1970s and early 1980s.
Тези доповідей конференцій з теми "Musical radio programs":
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MacDonald, Marie-Paul. "Design of Sound and Place - Recent Studios." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.29.
Анотація:
Urban public spaces and their associated architecture should be capable of eliciting responses from all of the human senses, yet traditionally urban and architectural designers rely primarily on visual display to persuade the public of the qualities of new proposals. As it becomes more common to use a variety of media to depict and simulate proposed urban spaces, designers and teachers of design look for ways to sensitize emerging designers to the full spectrum of sensations that inform potential users of a public space. The design studios discussed in this paper bring together the issues of the design of the experience of visual and aural settings, in an era of podcasts and ear-buds.In order to address issues of sound and public space, the author selected examples from two architectural design studios that took place in 2016 and 2018. Undergraduate students composed their own programs and projects to take into account the aural as well as visual qualities associated with their design intentions and ambitions. The process began with a programming phase to designate performing and listening as interactions that constitute primary activities happening in the context of the proposed public built form and related urban space. The research continued with an exploration of the tectonics and materials of the projects. Preliminary field research located and mapped small centralized urban organizations related to the sonic: collectives and small businesses working, for example, in the areas of sound recording, radio and musical performance.
2
Jani, Matyas, Gyorgy Takacs, and Gergely Lukacs. "Evaluation of speech music transitions in Radio programs based on acoustic features." In 2013 11th International Workshop on Content-Based Multimedia Indexing (CBMI). IEEE, 2013. http://dx.doi.org/10.1109/cbmi.2013.6576562.
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Keshtkar, Mohammad, and Azam Bastanfard. "Determining the best proportion of music genre to be played in a radio program." In 2015 7th Conference on Information and Knowledge Technology (IKT). IEEE, 2015. http://dx.doi.org/10.1109/ikt.2015.7288794.
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Tao Qin, Yukun Liu, Chenxu Wang, Tao Yang, and Chao He. "From online to offline: Charactering user's online music listening behavior for efficacious offline radio program arrangement." In 2017 IEEE Symposium on Computers and Communications (ISCC). IEEE, 2017. http://dx.doi.org/10.1109/iscc.2017.8024691.
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Aktuğlu, Işıl, and Elif İnceismail. "Uluslararasılaşma Stratejilerinde Küresel Doğan Modeli Ve Spotify “Music, Meet Podcasts” Örnek Olay İncelemesi." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.026.
Анотація:
Teknoloji şirketleri diğer şirketlere oranla daha kolay bir şekilde doğdukları ülkelerin sınırlarını aşarak uluslararası pazarda faaliyetlerini sürdürebilmektedir. Uluslararasılaşma stratejileri içerisinde kuruluşundan kısa bir süre sonra uluslararasılaşan şirketleri tanımlamak için küresel doğan tanımı yapılmaktadır. Bu tanıma göre küresel doğan olarak adlandırılan şirketlerin sundukları hizmeti doğru bir şekilde farklılaştırması ve girdikleri pazarların dinamiklerini iyi okumaları gerekmektedir. Spotify İsveç kökenli bir teknoloji şirketi olarak uluslararasılaşmış şirketlere iyi bir örnek teşkil etmekte ve alanına liderlik etmektedir. İlk olarak 2003 yılında ortaya çıkan podcast kavramı, istenildiği zaman istenildiği yerde dinlenebilen dijital radyo programı ya da ses kaydı olarak tanımlanmaktadır. Üretiminin nispeten kolay ve ucuz olması, neredeyse herkesin yapabilecek donanıma sahip olması ve hikâye anlatıcılığını desteklemesi sebebi ile podcast yayıncıları popülerlik kazanmakta ve dinleyicileri her geçen gün artmaktadır. 2020 yılında pandemi sebebi ile dijital kullanımların artması podcaste duyulan ilginin de artmasına sebep olmuştur. Tüketicideki bu eğilimi fark eden Spotify ise ilk defa küresel reklam kampanyasında podcast yayınlarına vurgu yaparak kavramın bilinirliğine katkı sağlamıştır.Bu bilgiler ışığında küresel doğan modeli örneği Spotify’ın ilk defa içeriğinde müzik dışında bir öğeyi ön plana çıkardığı ve 2020 Eylül ayında yayınlanan “Music, Meet Podcasts” küresel reklam kampanyası uluslararasılaşma stratejileri ve stratejilerin küresel-kültürel etkileri bağlamında örnek olay incelemesi ile değerlendirilmektedir.
Звіти організацій з теми "Musical radio programs":
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
Анотація:
The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.