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Статті в журналах з теми "Musical radio programs"
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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
Anarbek, A., D. A. Alkebaeva, and Zh B. Satkenova. "PRAGMASTYLISTIC OF MODERN KAZAKH RADIO." Tiltanym, no. 2 (June 30, 2023): 39–48. http://dx.doi.org/10.55491/2411-6076-2023-2-39-48.
Повний текст джерелаАнотація:
The topical issue today is the study of the pragmastylistics of Kazakh radio. Despite the fact that the history of Kazakh radio has been studied well enough, the pragmatics and stylistics of the programs did not become the object of research. Another reason for the relevance of the study of pragmatic radio broadcasts is that recently radio journalism has departed from the classical canons. Genres are being transformed, the relevance of broadcasts, and news reports is losing, an increase in thematic and musical programs as a result, an increase in dialogues, and the prevalence of oral style over journalistic. The linguistic features of radio programs form the pragmatic basis of the genre. Therefore, this paper examines the linguistic features, pragmatics, and stylistic features of modern radio in the example of Kazakh radio. It is discussed what language techniques the presenter uses to achieve the pragmatic goal of the audience (addressee). The paper provides for pragmastylistic features of modern Kazakh radio and characteristics different from other types of mass media. Programs transmitted on Kazakh radio provide for compliance with the linguistic features of today's radio, pragmatics of programs, and style features. It is discussed that the driver carries out the pragmatic purpose of the audience (addressee) using which language approaches.
4
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.
Повний текст джерелаАнотація:
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.
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Baskoro, Rico Fajar, and Media Sucahya. "Mandiri FM Cilegon Radio Broadcasting Management Strategy in Attracting Listeners' Interest in The Nyenyore Program." LONTAR: Jurnal Ilmu Komunikasi 11, no. 2 (December 30, 2023): 177–84. http://dx.doi.org/10.30656/lontar.v11i2.7814.
Повний текст джерелаАнотація:
Nyenyore is one of the broadcast programs on Radio Mandiri FM Cilegon. This program provides musical entertainment and information about community activities in the afternoon. However, this program is relatively new, this makes it difficult for Radio Mandiri FM to get listeners due to the decreasing intensity of conventional radio listeners and other private radio broadcasting institutions that have long broadcast primetime programs. To overcome this, proper management of radio broadcasting is needed so that the jam program can be packaged properly. This study uses a post-positivist paradigm through a qualitative approach using the case study method, because it will explore the performance of human resources in broadcasting management. This study uses interview data collection techniques, observation and documentation. The results of this study indicate the stages of planning, organizing, directing and giving influence and supervision carried out by broadcasting management in managing the Nyenyore program.
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерела
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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.
Повний текст джерелаАнотація:
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"
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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.
Повний текст джерелаАнотація:
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
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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.
Повний текст джерелаАнотація:
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/.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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.
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VIEIRA, Inês Zena Almeida. "Programação do ouvinte: memória música e sociabilidade." www.teses.ufc.br, 2002. http://www.repositorio.ufc.br/handle/riufc/10008.
Повний текст джерелаАнотація:
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.
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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.
Повний текст джерелаАнотація:
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)
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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.
Повний текст джерелаАнотація:
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"
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Muzyri︠a︡, Aleksandra Alekseevna. Iskusstvo slyshatʹ mir: Molodezhi ob iskusstve. Moskva: Iskusstvo, 1989.
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Grobecker, Kurt. Hamburger Hafenkonzert: Geschichten um eine erfolgreiche Radionsendung [sic]. Hamburg: DSV Verlag, 1996.
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3
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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4
Weiss, Wiesław. 33 x Trójka: Program Trzeci Polskiego Radia w 33 odsłonach. Poznań: Vesper, 2012.
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Battistini, Pete. American top 40 with Casey Kasem: The 1980s. Bloomington, IN: AuthorHouse, 2010.
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6
Halper, Donna L. Radio music directing. Boston: Focal Press, 1991.
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Balmer, Étienne. Les radios commerciales et la programmation musicale en France: Économie de la culture. Paris, France: L'Harmattan, 2005.
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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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Jirgens, Eckhard. Der Deutsche Rundfunk der 1. Tschechoslowakischen Republik: Musiksendungen 1925-1938 : Vorträge, Artikel, Autoren. Regensburg: ConBrio Verlagsgesellschaft, 2017.
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Wunschkonzert: Unterhaltungsmusik und Propaganda im Rundfunk des Dritten Reichs. Graz: Ares, 2006.
Знайти повний текст джерелаЧастини 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.
Повний текст джерелаАнотація:
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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VanCour, Shawn. "Confronting the Inaudible Past." In The Oxford Handbook of Radio and Podcasting, 707–32. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197551127.013.37.
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Abstract This chapter explores methodological challenges to reconstructing sounds of radio programs for which no known recordings survive. Taking as its case study the nation’s first successful musical variety program, created in 1922 by film impresario Samuel Rothafel and broadcast from New York’s Capitol Theatre, the chapter uses archival documents to plug gaps in extant sound collections and recover otherwise lost sounds of US radio history. Pursuing an archaeological approach, it shows how producers adapted film and vaudeville techniques to cultivate presentational styles tailored to radio’s perceived sonic demands and capabilities. Offering a method extensible to other radio genres and time periods, this document-based approach proves equally useful for analyzing more recent forms of digital soundwork for which extant recordings may prove in similarly short supply.
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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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Crow, Bill. "Home, School, and the Army." In From Bird land to Broadway, 10–14. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0003.
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Abstract Except for my first two months in the Army, I can’ t remember a time in my life when I wasn’ t making music. Though my mom, Lucile, didn’ t care for jazz, I have her to thank for my ears and my early musical training. She had a lovely soprano voice and sang regularly in our church, in local operettas, and on local radio programs in Seattle. She even got fan mail. I remember one letter, addressed to “Lou Seal Crow,” that said, “I just love your voice, Mrs. Crow. It is so nice and shrill.” Mom taught singers and elementary piano students at home. She only charged a dollar or two for a lesson, but it helped us eke out a living during the Depression when my dad, Harry, a carpenter, was having trouble finding work. When I was just a tot, I started singing along. She would play a phrase for a student to repeat, and then she would have to wait until I sang it, too, from my crib in the bedroom.
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Craft, Elizabeth T. "The Celebrity." In Yankee Doodle Dandy, 148–80. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197550403.003.0006.
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Abstract This chapter examines Cohan the celebrity, demonstrating how he harnessed the mass circulation press and burgeoning journalistic attention to celebrities to establish his compelling Yankee Doodle patriotic persona. As “Broadway’s press agent,” Cohan also promoted Broadway and linked his own fame to it. In the 1920s through to the end of his life, after his unsuccessful stand against Actors’ Equity Association and as styles on Broadway changed, Cohan cashed in on celebrity in various ways, including through writings in the print media, performances in films and radio programs, starring roles in other playwrights’ shows, and popular songs. He continued to harp on familiar themes like patriotism and Broadway, but now largely through the lens of nostalgia. The last section of this chapter examines Cohan’s portrayals of Broadway celebrity in The Man Who Owned Broadway (1909) and his last, unfinished work The Musical Comedy Man.
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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.
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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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Hindmarsh, Paul. "Building a Repertoire: Original Compositions for the British Brass Band, 1913—1998." In The British Brass Band, 245–77. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166986.003.0008.
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Abstract In a typically provocative talk broadcast on BBC Radio 3 in 1972, the composer Robert Simpson called into question the way in which musical commentators and composers have used words like ‘progress’ or ‘advance’ when charting the paths which ‘serious’ composition has taken during the twentieth century. If we consider the composing of music to have progressed or advanced, Simpson argues, are we to regard Wagner’s powers of musical thought as superior to Beethoven’s, or to consider Beethoven more musically intelligent than Mozart, simply because the style and structures they employed have developed and changed? In Simpson’s view, creative powers and musical intelligence should not be confused with mode of address or changing fashion—concepts which are equally pertinent to any overview of the contribution made by composers writing for the brass band in the twentieth century.
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Kolb-Neuhaus, Roberto. "8 × radio (1933)." In Silvestre Revueltas, 454–72. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780199751488.003.0013.
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Abstract From beginning to end, 8 × radio’s opening movement shows a series of musical episodes impregnated with familiar signs compounded through a montage of stylistic allusions that may evoke pregones, Mexican children’s songs, pre-Hispanic percussion, sones, or other conventional expressive types of Mexican popular music. But these episodes appear continuously interrupted by disconcerting non-referential octatonic musical gestures, which neither lend musical support to said popular voices nor help to integrate them into a whole. Perhaps this refusal of a dialogue between the popular and the artistic voice is what Revueltas alluded to satirically as an “algebraic formula without solution” in his program notes. The final, fourth section of the piece, however, does seem to suggest a solution by eliminating almost entirely said artistic voice in favor of the compounded voice of the common people in all their diversity. As in most of Revueltas’ early works, it is in the slow movements where the social subject is sounded in the form of singularized voices, in this case two successive, profoundly moving melodies, the first one what seems to be a litany of a street vendor, the second, a “nana” (lullaby) preceded and followed up by street-cry gestures. Once again, Revueltas foregrounds the voice of the downtrodden, refusing the standard nationalist practice of appropriating an iconic melody, folkloric or ethnic, through a domesticating harmonization borrowed from European traditions.
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Malnig, Julie. "Rock ’n’ Roll, Dance, and the TV Experiment." In Dancing Black, Dancing White, 15–35. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197536254.003.0002.
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Abstract Chapter 1 charts the evolution of the teen dance program from in its roots in rock ’n’ roll radio and music variety shows. It discusses emerging and influential popular styles of music including rhythm and blues and country music and changes in the music industry that made the rise of these musical styles possible. The chapter also examines the importance of Black radio. It goes on to illustrate how TV picked up the genre of the rock ’n’ roll music and dance shows. The shows were relatively easy to produce and the TV networks were eager to expand their potential market. Dances at school, clubs, and community centers were the seedbeds for the dances that were ultimately introduced on the shows. In addition to describing the types of performers and activites featured, this chapter analyzes how the shows were received by both white and Black teenagers.
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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.
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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.
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.
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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.
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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.
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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.
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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.
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Inter-American Development Bank Cultural Center Annual Report 1999. Inter-American Development Bank, December 1999. http://dx.doi.org/10.18235/0005850.
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The IDB Cultural Center ended 1999 with a successful balance of diverse programs. Throughout the year, the IDB Cultural Center produced 32 events, including art exhibitions, concerts, music workshops and lectures. These activities attracted an estimated 14,000 visitors to the Bank, and received publicity in over ninety local, national and international newspaper, magazine, radio and TV reviews. The Cultural Center's impact on the local Washington community was recognized this year with a nomination for the Center as a finalist in the Mayor's Arts Awards, in the field of Excellence in Service to the Arts.