Статті в журналах: "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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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The purpose 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.The research methodology 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.Results. 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 personNovelty. 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.The practical significance 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.Key words: Ukrainian-language radio program, Radio Service of God, radio broadcast, religious radio program, world Ukrainian radio.

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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.

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The purpose of the article is to trace the peculiarities of conversational radio programs organized by Ukrainians in the countries of North America in 1933.The research methodology 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.Results. As a result 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.Novelty. 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.The practical significance 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.Key words: radio report, radio broadcast, world Ukrainian radio broadcasting, sketch, Ukrainian-language radio program.

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Nomogoeva, V. V., and B. B. Shagdarova. "Radio propaganda in Process of Soviet Modernization of Society in 1930s in Buryatia." Nauchnyi dialog 11, no. 1 (January 28, 2022): 434–51. http://dx.doi.org/10.24224/2227-1295-2022-11-1-434-451.

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The features of the formation and development of wire broadcasting in the Buryat-Mongolian ASSR in the second half of the 1930s are analyzed. On the basis of previously introduced into scientific circulation and new archival documents, the authors prove that in the context of the organizational and technical strengthening of radio, the development of mass-political and cultural-educational propaganda, the state has made serious efforts to give the auditory means of communication the most important role of political and cultural education of citizens, increase their educational level and social activity. It is argued that at the end of the 1930s, the activities of the Republican Radio Committee for Radio and Broadcasting under the Council of People’s Commissars of the Buryat-Mongolian Autonomous Soviet Socialist Republic were characterized by its growing importance in the field of self-education of citizens, enlightenment and cultural and political propaganda. It is shown that serious work was carried out to create an effective broadcasting structure and differentiation of programs, special attention was paid to the organization of radio propaganda in the Buryat language. In describing the experience of the first five years of radio broadcasting in the republic, issues of staffing the radio committee, its close work with the department of cultural agitation and propaganda of the Regional Committee of the All-Union Communist Party of Bolsheviks are touched upon. It is noted that the most important results of this period were an increase in the volume of wire broadcasting, an improvement in the content of political, musical, literary, dramatic and other types of broadcasting.

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Shansky, Carol L. "“We Are Aiming for Quality and Good Music”: The Hebrew Orphan Asylum Harmonica band (NYC) and Music Education, 1924–1930." Journal of Historical Research in Music Education 42, no. 1 (June 9, 2019): 46–70. http://dx.doi.org/10.1177/1536600619853885.

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Once referred to as “the most maligned musical instrument on earth,” the harmonica holds an important historical place in music education as an instrument around which bands were formed, solo and ensemble competitions were held, and in some cases, careers were born. Much of this activity centered itself on city recreation programs as well as public schools. The instrument’s size, low price, and relative ease of sound production were appealing for these organizations. The boys and girls that lived and studied at the Hebrew Orphan Asylum of New York City were engaged participants in these contests as well as performing in radio broadcasts of harmonica band playing. This paper examines the history of this ensemble as a representative of the incredible activity in this underresearched area of music education.

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Hirina, T., and N. Zykun. "Chronicles of Affirmation of the Image of Ukrainians in the North American Multicultural Media Space (1930 – beginning of 1931)." State and Regions. Series: Social Communications, no. 2(42) (March 18, 2020): 28. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).4.

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The methodological basis of the conducted research is based on the use of methods of monitoring and analysis of documents; generalization by the method of qualitative and quantitative study of primary and secondary information. Selection for the analysis of archival periodicals was made on the chronological principle of 1930 – early 1931. At the first stage, a qualitative analysis was carried out, which further deepened the logical studies of the content of radio programs, tracking the transformation processes in radio broadcasting caused by the evolution of ideas about financing such initiatives, access to local ones, local genres. design, etc.The basic prerequisites for the creation of the first periodic Ukrainian clock in the multicultural radio space of the USA are outlined. The public discussion in the industry, the state of the development of the technical support of the radio signal reception, the conditions of its access and the quality of listening are analyzed. The content of such initiatives, their content, timing, musical and genre design are described. The importance of community unity and the development of a common constructive position on addressing important public issues were emphasized, in particular with regard to the organizational and financial provision of national music radio hours. It was found that despite the complexity of the organizational nature of the community of Ukrainians were able to present to the world, and most importantly to realize the need to design national presentation media sites that would position them favorably among other peoples.The retrospective of the formation of foreign Ukrainian media space in the context of the radio production process of the early twentieth century was first documented.The wide potential of using the results of the research is not limited to scientific discourse, but is an important documentary evidence of the high organization and development of the Ukrainian community in the world and the ramifications of its media structure.Key words: archival periodicals, multicultural media space, Ukrainian language broadcasting.

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Lepa, Steffen, Jochen Steffens, Martin Herzog, and Hauke Egermann. "Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking of Previously Unknown Music." Media and Communication 8, no. 3 (August 13, 2020): 191–204. http://dx.doi.org/10.17645/mac.v8i3.3153.

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Our contribution addresses popular music as essential part of media entertainment offerings. Prior works explained liking for specific music titles in ‘push scenarios’ (radio programs, music recommendation, curated playlists) by either drawing on personal genre preferences, or on findings about ‘cognitive side effects’ leading to a preference drift towards familiar and society-wide popular tracks. However, both approaches do not satisfactorily explain why previously unknown music is liked. To address this, we hypothesise that unknown music is liked the more it is perceived as emotionally and semantically expressive, a notion based on concepts from media entertainment research and popular music studies. By a secondary analysis of existing data from an EU-funded R&D project, we demonstrate that this approach is more successful in predicting 10000 listeners’ liking ratings regarding 549 tracks from different genres than all hitherto theories combined. We further show that major expression dimensions are perceived relatively homogeneous across different sociodemographic groups and countries. Finally, we exhibit that music is such a stable, non-verbal sign-carrier that a machine learning model drawing on automatic audio signal analysis is successfully able to predict significant proportions of variance in musical meaning decoding.

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Vuletic, Dean. "Generation Number One: Politics and Popular Music in Yugoslavia in the 1950s." Nationalities Papers 36, no. 5 (November 2008): 861–79. http://dx.doi.org/10.1080/00905990802373579.

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Popular music is one of the cultural phenomena that has been most shared among the peoples inhabiting the territory of the former Yugoslavia; indeed, considering the persistence of a common popular music culture there even after the break up of the Yugoslav federation in 1991, there is perhaps little in cultural life that unites them more. It was in the 1950s that a Yugoslav popular music culture emerged through the development of local festivals, radio programs and a recording industry, at a time when popular music was also referred to as “dance,” “entertainment” or “light” music, and when jazz, pop and, by the end of the decade, rock and roll were the styles of it that were being listened to in Yugoslavia and around the world. However, the development of a Yugoslav popular music culture at this time was rooted not only in international cultural trends but was also shaped by the domestic and foreign policies that were pursued by the ruling Communist Party of Yugoslavia (CPY), which was renamed the League of Communists of Yugoslavia (LCY) in 1952. Through its cultural, economic and foreign policies, the party sought to define Yugoslavia's position in Cold War international relations, develop a sense of Yugoslav identity among its multinational citizenry, and reconstruct and modernize a country that had suffered some of the greatest losses in Europe in the Second World War—and which had, just before it, been one of the Continent's least developed states, not only economically but also in terms of cultural infrastructure. In the cultural sphere, investments were needed immediately after the war to redress the facts that Yugoslavia had high rates of illiteracy and low rates of radio ownership by European standards, that cultural activities beyond folklore remained the purview of a small urban elite, and that it lacked musical artists, schools and instruments—with great disparities in all of these measures existing between its more developed northern areas (Slovenia, Croatia and northern Serbia) and the poorer south (Bosnia-Herzegovina, Macedonia, Montenegro and southern Serbia). For example, with regards to radio ownership, in 1946 the number of individuals per radio ranged from 40 in Slovenia, 48 in Croatia and 91 in Serbia to 137 in Macedonia, 288 in Bosnia-Herzegovina and 702 in Montenegro, with the average for all of Yugoslavia being 78.

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А.Н., Соколова,. "Facets of the Creative and Scientific Activities of Shaban Salikhovich Shu: On the Occasion of the 100th Anniversary of His Birth." Nasledie Vekov, no. 3(31) (September 30, 2022): 90–101. http://dx.doi.org/10.36343/sb.2022.31.3.006.

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Статья является первой попыткой создания научной биографии Шабана Салиховича Шу, выдающегося ученого и общественного деятеля Адыгеи. Автором определяется значение личности и деятельности Ш. С. Шу для развития адыгской музыкальной культуры и осмысления ее истории. Источниками послужили научные и методические труды Ш. С. Шу, сведения о его биографии и творчестве, приводимые в работах исследователей адыгской культуры, личные воспоминания автора. Выявлены и в хронологической последовательности описаны события жизни и творческой деятельности Ш. С. Шу, показана его роль в воспитании талантливой молодежи. Приводятся факты, свидетельствующие о практической работе адыгского ученого над возрождением забытых народных музыкальных инструментов, об этнографической фиксации и изучении десятков адыгских старинных танцев. Автор характеризует Ш. С. Шу как просветителя, активного организатора культурной жизни, популяризатора народной адыгской культуры, определившего направления будущего музыкального адыговедения. The article is the first attempt to create a scientific biography of Shaban Salikhovich Shu, an outstanding public figure of Adygea. The author reveals the significance of Shu’s personality and activities for the development of the Adyghe musical culture and for the understanding of its history. Shu’s scientific and methodological works, information about his life and works cited in research on the Adyghe culture, and the author’s personal memoirs served as sources for the study. The main method is historical-biographical in its application to research in the field of sociology of culture. The events of Shu’s life and creative biography are identified and described in chronological order; the author shares her personal impressions of many years of fruitful creative communication with Shu. The author emphasizes Shu’s vivid connection with the traditional Adyghe culture, in which he spent his childhood and formed his personality. She mentions Shu’s participation in the Great Patriotic War, the years of his post-war service in the ranks of the Soviet armed forces. She also gives facts that testify to Shu’s practical work on the publication of song folklore, the revival of forgotten folk musical instruments, the ethnographic fixation and study of dozens of Adyghe ancient dances. The author overviews Shu’s dissertation research on the Adyghe folk choreography in its historical development. She shows Shu’s role in the upbringing of talented youth and his educational efforts related to the popularization of traditional Adyghe music and choreography through radio broadcasts and educational programs for educational institutions. The author also describes Shu’s active participation in the creation of the Union of Composers of Adygea, the Adyghe choir, and other musical groups, and characterizes Shu’s personal qualities. She reveals his approaches to work on folklore material, which implied the widespread use of comparative methods for analyzing verbal and musical texts, and establishes that the studies of traditional Adyghe music, initiated by Shu, became the foundation for the next generation of scientists who began to study local song styles, including the heritage of the Circassian diaspora in Turkey. The author characterizes Shaban Shu as an educator, an active organizer of cultural life, a popularizer of the Adyghe folk culture who determined the directions of the future musical Adyghe studies.

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Сherkasov, Volodymyr. "FORMATION OF MUSIC AND PEDAGOGICAL EXPERIENCE OF MUSIC ART TEACHERS GENERAL EDUCATIONAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 190 (November 2020): 56–62. http://dx.doi.org/10.36550/2415-7988-2020-1-190-56-62.

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The article proves the possibility of forming the ability to understand music by primary school students. The influence of program works of the school program on the perception and understanding of music of different genres is proved by concrete examples. The educational influence of works of musical art on the formation of the artistic and emotional sphere of personality is proved. The formation of the ability to understand works of music by primary school students occurs in a certain sequence based on teacher-student interaction, both in music lessons and during extracurricular work on artistic and aesthetic education of primary school children. The collective type of creativity, inherent in the assimilation of the values of musical art, obliges the subjects of the educational process to comply with certain requirements for the organization of joint activities. In accordance with modern music-pedagogical technologies, which enable the effectiveness of the learning process, there are certain requirements for the perception of works of music of different genres and compositional styles provided by the school curriculum. Thus, the quality of the impact of music on primary school students depends on certain factors. Because, according to the school curriculum, music lessons are united by a common theme, which makes it possible to organize work with children in such a way as to give first-graders the opportunity to talk about their favorite music. To do this, prepare and ask the class a few questions, such as: remember what songs you sang or heard from radio and television programs that focused your attention and you liked ?; what song do you dream to sing ?; what dance music do you like Such a conversation should take place in a friendly atmosphere, and children's responses should be supported and evaluated positively. The teacher's tolerant attitude to any thoughts, feelings and expressions of students gives the child confidence in their own abilities, determination and activity in further work.

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Ермоленкина, Лариса Ивановна. "Dialogue of Radio Speech as the mechanism of the realization of discursive monitoring." Tomsk state pedagogical university bulletin, no. 6(230) (November 30, 2023): 39–48. http://dx.doi.org/10.23951/1609-624x-2023-6-39-48.

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В статье рассматриваются способы реализации дискурсивного контроля, действующие в коммуникационном пространстве развлекательного и информационно-аналитического радио. Технологические и социокультурные преобразования медийного дискурса радио указывают на значимость в его организации адресата, активно участвующего в диалогах с ведущим посредством телефонной связи. Одним из основных способов удовлетворения запроса массовой аудитории на индивидуализированный характер присутствия в медийном пространстве становится формирование в институциональном дискурсе радио пространства межличностной коммуникации, в границах которого интерактивные адресаты реализуют социоречевую потребность в диалоге, рекреативной деятельности и самоактуализации. Согласно выдвигаемой в работе гипотезе, одним из механизмов организации диалогического взаимодействия является дискурсивный контроль, осуществляемый как социоречевая медийная практика (дискурсивная практика в терминах социально-психологической теории дискурса), в границах которой говорящим предписываются определенные нормы коммуникативного поведения. Методологические принципы анализа, разработанные в границах дискурсивного подхода отечественными и зарубежными лингвистами, позволяют рассматривать механизмы реализации дискурсивного воздействия – контроля над речевыми действиями коммуникантов. Специфика реализации контроля прослеживается в действии дискурсивных правил и ценностных установок, не осознаваемых коммуникантами, но эксплицитно присутствующих в речи субъектов дискурса – ведущих радиопрограмм и интерактивных адресатов. Способом актуализации дискурсивных правил, закрепленных форматом радиостанции, являются коммуникативные стратегии и тактики, регулирующие коммуникативное поведение субъектов на психоречевом уровне. Процесс психоречевого координирования субъектов дискурса в границах кооперативной коммуникативной стратегии рассматривается в аспекте формирования ценностно-смыслового пространства диалога, для реализации которого большое значение имеет установка на коммуникативный гедонизм – рекреативную деятельность коммуникантов, направляющих диалогическое общение в русло фатического взаимодействия. В заключении делаются выводы о том, что диалог в пространстве медийной коммуникации является дискурсивно программируемым действием, основным механизмом его актуализирования становится развлекательно-игровая установка – аксиологическая доминанта радиодискурса, имеющая значение для организации контента как развлекательного, так и информационно-аналитического радио. Tendency to increase the role of the mass media addressee determines the importance of communication component in the structure and methods of organization of content. The paper considers ways to implement discursive monitoring in the process of telephone interaction between subjects of radio communication (leading musical entertainment and information and analytical programs and radio listeners). One of the main ways to satisfy the demand of the mass audience for the individualized presence in the media space is the formation of interpersonal discourses in the institutional discourse of the radio. This interpersonal discourses are virtual environments in which speakers (addressees) identify themselves with participants in socio-communicative practices and realize the socio-speech need for dialogue, recreational activities and self-actualization. Based on research in the field of mass media radio communication, discourse analysis and sociolinguistics, the author examines the ways of implementing discursive monitoring, which manifest themselves at the micro level (in repetitions, lexical echoes, replicas-requests, etc.). All this characterizes the moments of semantic and communicative intersections in the process of dialogue. The nature of the subject of the analyzed programs indicates the significant role of interactive dialogues with the addressee in the radio content. This suggests that for the organization of discourse, communicative mechanisms are needed to control the speech actions of the addressees who enter into a dialogue with the moderators. The specifics of the implementation of control can be traced in the realization of discursive rules and values that are unconscious by the communicants, but explicitly pointing to the effectiveness of control from the discourse. The situational-game model of interaction is characterized by attitudes towards a cooperative dialogue and parity of the positions of the communicants. Thus, the "power of discourse" manifests itself in two parallel plans for the development of the dialogic scenario. Communication from the position of the audience unfolds in the logic of mutually directed interaction, marked by lexical roll calls, repeated questions, etc. The visible dialogic effect within the boundaries of discursive regulations can be seen as the result of the efforts of the author constructing the dialogue based on the presumption of a mass audience, its interests and expectations. Ways of coordinating the communicative plans of authors and addressees (strategies, tactics) are considered in the aspect of the formation of the value-semantic space of communication, for the implementation of which the orientation towards communicative hedonism is of great importance. This is the speech activity of communicants, which has a recreational character. As a result of such game interaction, communicants enjoy actualization in the media space. The author concludes that communicative hedonism is the axiological dominant of the radio discourse, which is important for the implementation of both entertainment and information-analytical radio. Analysis of radio dialogues suggests that communicative hedonism is the basic mechanism for implementing discursive control.

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Guerrero Pérez, Enrique, and Patricia Diego. "La producción de programas musicales en la televisión pública española (1990-2010)." Estudios sobre el Mensaje Periodístico 26, no. 2 (April 4, 2020): 597–609. http://dx.doi.org/10.5209/esmp.67935.

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Este artículo tiene como objeto ofrecer un recorrido por la historia de la producción de los programas musicales en la televisión pública española durante el periodo 1990-2010. Con esta finalidad, se ha consultado el archivo histórico digital de Radio Televisión Española como fuente primaria. A continuación, se ha completado la información con el análisis de fuentes secundarias como las secciones televisivas de la prensa nacional, publicaciones especializadas en televisión y bases de datos online como IMDb. Siguiendo un método de investigación inductivo, las conclusiones derivadas del estudio cronológico de los datos confirman las hipótesis planteadas. Primero, que el género musical ha sufrido un proceso de transformación al hibridarse con otros tipos de contenidos como las variedades, el concurso o la telerrealidad, dando como resultado el talent show contemporáneo. Y segundo, que la oferta de musicales de la televisión pública española no difiere en gran medida de la programada por los principales operadores privados, especialmente en la franja de máxima audiencia, dado su carácter comercial. La apuesta de TVE por el talent show musical ha sido determinante en la evolución del género musical en la televisión española.

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Pivnitskaya, Olga V. "A True Teacher Is the One from Whom You Want to Learn All Your Life." Musical Art and Education 8, no. 3 (2020): 149–58. http://dx.doi.org/10.31862//2309-1428-2020-8-3-149-158.

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This article is an attempt to show the beginning of Eduard Borisovich Abdullin’s creative path in the pedagogy of music education, in particular, his experience in teaching as an artistic director and conductor of the choir studio “Melodia” of the Palace of Pioneers in the city of Podolsk, Moscow Region. As a graduate student of the Lenin Moscow State Pedagogical Institute, the young teacher achieved tremendous creative success: the choir studio under his direction performed in the Great Hall of the Moscow Conservatory, the Column Hall of the House of Unions, the P. I. Tchaikovsky Concert Hall, in the Kremlin Palace of Congresses; toured in the cities of the USSR and European countries. On the first television channel, two hour-long television programs were shown. The studio of the State House of Radio Broadcasting and Sound Recording has released educational records. For almost half a century, the “Melodiya” studio continued to meet with its leader, and all members of the choir strove to attend them in order to meet their Teacher again. Special attention is paid to the significance of the fundamental works by Eduard Borisovich Abdullin, which became the basis for the pedagogical interpretation by the author in his research activities of the conceptual provisions of the methodology of pedagogy of music education. The sequential expansion of the problem field of the conducted musical pedagogical research is described: from the theoretical substantiation of the model for the development of the Central Russian folk song tradition by children to the formation of a new direction of research searches associated with the use of various vocal techniques at the junction of different genres.

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Deng, Rong Gen, and Wei Ming Liao. "The Subjective Assessment of Soundscape in Campus — Taking YaoHu Campus of Jiangxi Normal University for Example." Advanced Materials Research 518-523 (May 2012): 3792–95. http://dx.doi.org/10.4028/www.scientific.net/amr.518-523.3792.

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In order to the search for more effective noise control measures and a more rational urban planning from the angle of economy, environment, so that we can create a healthier living environment, this paper does some preliminary investigation in the aspect of soundscape. This paper introduces soundscape science research status and research results domesticity and abroad, and on this basis, makes a subjective evaluation of voice of the landscape in Jiangxi Normal University, by combinating Psychoacoustic Evaluation Method. This paper record various of sounds existing in the campus, analyses properties of each sound, and does a large-scale survey about the popularity of these sounds. The paper chooses ten most popular voices using mark-giving method, and analyses the ten 10 kinds of sound by SD methods. The following are the results: (1) the ten most popular voices in the campus: voice of birds, sounds of musical instruments, voice of singing、reading、and teachers’ lectures, and the sound of radio(music)、 broadcasting (in English and other programs)、computer sound (music, film sound) and wind，50% of which are natural sounds, 30% human voice, and 20% noise of machines. From above, we can see that the sounds from nature are more acceptable. (2) By using semantic differential method (SD Act), the paper does a subjective evaluation on the ten popular kinds of voices. Marks are different form different analysing angle, that is, different people like different voices on different degrees. (3) When people work and learn, it is good to create some comfortable sounds in the surroundings and control or eliminate noisy sounds. Creating a comfortable sound surrounding environment is a good way to improve people’s working and learning effeciency.

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Moreno Cazalla, Lourdes. "Apple Music, el modelo de radio integrado para el consumo de música." Miguel Hernández Communication Journal 10 (July 30, 2019): 279–95. http://dx.doi.org/10.21134/mhcj.v10i0.308.

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Apple Music se ha destacado como el servicio de música a la carta que, desde sus inicios como iTunes, ha integrado la radio entre su oferta de contenidos en Internet. Desde 2016 se detecta una estrategia que apuesta decidida por el producto de radio online, no solo mediante Beats 1, la radio con programación lineal 24 horas presentada por locutores, deejays reconocidos e incluso personalidades del mundo de la música, sino también incluyendo todos esos programas bajo demanda y emisoras temáticas según estilos musicales o estados de ánimo, estas sin locución. Apple Music se presenta como un modelo para estudiar cómo integrar la radio musical en los nuevos hábitos de consumo basados en el acceso, playlist, portabilidad, movilidad y ubicuidad y qué tipo de contenidos y nuevas narrativas son capaces de crear y adaptar para encontrar su propio espacio en este ecosistema dominado por las plataformas.

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Furdychko, Andrii, and Olesya Ilyenko. "VIA “Chervona Ruta” in the context of variety- ensemble performance of Ukraine." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 63–67. http://dx.doi.org/10.24061/2411-6181.2.2021.270.

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The aim of the article is to clarify the artistic role of the ensemble “Chervona Ruta” in the context of Ukrainian musical culture. The relevance of the study lies in the development of principles of a new vision, trends in the development of the ensemble “Chervona Ruta” in the context of Ukrainian pop and ensemble performance and its role in the development of musical culture of Ukraine. The methodology of this study is the application of comparative-historical method, which allows us to trace the historical context of the ensemble and the context of the development of pop and ensemble art of Ukraine. The chronological method allows to determine the stages of formation and development of the team on the example of the analysis of concert and performance activities of the ensemble. Vocal and pop performance on the examplebof the ensemble “Chervona Ruta” appears as a dynamic cultural and artistic phenomenon. The song repertoire of the ensemble appears as a translator of the identity of Ukrainian culture, which is confirmed by the presence of folk intonations and the involvement of appropriatebinstruments. The study of the processes of formation and development of ensembles allows us to identify the traditions of Ukrainian pop music, which is a prerequisite for the formation and development of musical art in Ukraine. Despite the existing achievements in the study of ensemble performance, the issues of the influence of ensemble work on Ukrainian artistic music culture remain insufficiently studied, which highlights the need for a comprehensive analysis of the specifics of pop vocal and ensemble performance, especially the band “Chervona Ruta” as a creative phenomenon of pop ensemble. The creative path of the ensemble “Chervona Ruta” began a new stage in the formation of pop song repertoire, which differs from the previous significant changes in genre richness, functional features and new means of performance. The popularization of Ukrainian pop song contributed to the development of television, the improvement of sound recording and reproducing equipment, the emergence of electromusical instruments. All this contributed to the emergence of numerous amateur vocal and instrumental ensembles – a hallmark of a new era in the development of popular music. The advent of VIA brought new ways of artistic expression to the stage – new timbre paints, the use of electromusical instruments with their specifics, the use of various electronic systems, the strange sound of voices in extreme tension. Conclusions. Ensemble art in various genre and stylistic forms has always played a significant role in social life and has enjoyed the widest popularity among composers, performers and listeners in all historical epochs and in general remains popular today. The rise and prosperity of VIA coincided with a period of intensive scientific and technical discoveries – radio engineering, electronics, sound recording. Participants of vocal-instrumental ensembles can be called musicians-performers of a new type, they are at the same time singers, musicians, actors and authors. The new domestic VIA combined the features of big beat and enriched them with national elements, in their programs there is a tendency to synthesize with theater, choreography. A new youth spectator stood out from the former regular audience of the stage, the regulatory functions of the mass media increased.

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Uimonen, Heikki. "Towards streamlined broadcasting. The Changing Music Cultures of 1990s Finnish Commercial Radio. doi:10.5429/2079-3871(2010)v1i1.8en." IASPM Journal 1, no. 1 (April 8, 2010): 1–15. http://dx.doi.org/10.5429/256.

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The deregulation of broadcasting in 1985 Finland introduced competition between two different systems: the European public service tradition and American commercial radio. Because of the rivalry the music contents were changed both in commercial stations and in the publicly funded YLE (Finnish Broadcasting Company). Freedom of speech, musically diverse, unconventional and almost uncontrolled program policies dominated radio from the mid1980s. Five years later the form and content were changed. Special music programs hosted by individual disc jockeys were converted to streamlined broadcasting and the variety of music genres diminished. American-style format radios were introduced with automated music control, rotation clocks, playlists and audience music testing. The changes were fostered by the increased competition caused by the change of broadcasting regulations, the unexpected economic recession and technical innovations such as automated music jukeboxes. These business policies form the foundation on which contemporary Finnish commercial radio still rests. The article deals with the change of music culture of the early 1990’s commercial radios. It focuses on the following main questions: How was the process of music selection and radio music management changed? What were the economic, technological, organisational and cultural constraints that regulated the radio business and especially radio music in 1990s Finland? The questions will be answered by empirical data consisting of interviews with the radio station personnel in the 1990s and music copyright reports supported by printed archive material.

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Carone, Iray. "Adorno e a educação musical pelo rádio." Educação & Sociedade 24, no. 83 (August 2003): 477–93. http://dx.doi.org/10.1590/s0101-73302003000200009.

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Este artigo é uma exposição do estudo analítico de um programa semanal da National Broadcasting Company (NBC), The Music Appreciation Hour, destinado a crianças e jovens escolares, realizado por Theodor W. Adorno durante sua participação no Princeton Radio Research Project (1938-1941). Tem duas partes: na primeira, Adorno analisou a pedagogia musical do programa; na segunda, apontou para as implicações culturais desse programa, que, embora não comercial e sustentado pela própria nbc, tinha todas as marcas da indústria do entretenimento comercial.

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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.

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Segovia Lacoste, Pablo, and Maritza Nieto Gomez. "El contrato de comunicación en dos programas radiales chilenos." Revista Latinoamericana de Estudios del Discurso 13, no. 2 (July 4, 2016): 99. http://dx.doi.org/10.35956/v.13.n2.2013.p.99-120.

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En este trabajo analizaremos los programas El gran tribunal, de radio Pudahuel, y El ranking musical, de radio Penco, con base en la teoría del contrato de comunicación desarrollada por Charaudeau (1991, 2003). Para ello, describiremos lo que el autor llama “aspectos externos e internos” del contrato de comunicación con el objetivo de comprender el rol y el funcionamiento del lenguaje al interior de estos espacios radiales. Nuestra hipótesis de trabajo es que las interacciones radiofónicas son un espacio discursivo donde se construyen y se refuerzan las identidades mediante la construcción de un espectáculo discursivo que ficcionaliza una conversación íntima.

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Hirsch, Silvia, and Agustín Diz. "Construir comunicación en una radio indígena del norte argentino." Tram[p]as de la comunicación y la cultura, no. 86 (February 1, 2021): e046. http://dx.doi.org/10.24215/2314274xe046.

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Sebastián Reyes fue un indígena chané que a partir de su formación en comunicación comunitaria y periodismo creó programas en Radio Nacional (Tartagal), conformó la Red de Comunicadores Indígenas y creó una radio en la comunidad rural Yacuy, para brindar información y transmitir el acervo cultural, histórico y musical de los pueblos indígenas.

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González Aldea, Patricia. "Espacios de participación radiofónica e inmigración. El caso rumano." Revista Latina de Comunicación Social, no. 65 (February 2, 2010): 045–60. http://dx.doi.org/10.4185/rlcs-2010-882-045-060.

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La realidad social española se ha transformado en los últimos años en una sociedad multicultural, pero estos “nuevos ciudadanos” tienen una representación en los medios bastante pobre. Pocas veces son los protagonistas de la información, y si es así, las limitaciones de los espacios informativos fomentan el discurso estereotipado. Los rumanos encabezan el ranking de la inmigración por países en España y sus medios étnicos son numerosos. Junto a estos, otros medios multiculturales dan voz a los inmigrantes y abordan con mayor profundidad las diversas identidades en aras de una mejor integración y convivencia. Partiendo de la hipótesis de que la participación de los rumanos en los programas radiofónicos resulta escasa, así como los contenidos referidos a este colectivo, el objeto de esta investigación es hacer un análisis longitudinal del consumo de radio, la forma de participación de los rumanos en los programas radiofónicos, y la imagen que se transmite de ellos a través de los contenidos. Se analizan cuatro programas: 'Nuevos Ciudadanos' (Punto Radio), 'Otros Acentos' (Radio Exterior de RNE), 'Rumano en el Mundo' (Radio Tentación) y 'Buenas Tardes Rumania' (Integración Radio). En la discusión y conclusiones se observa un escaso consumo de radio informativa y dos son las modalidades predominantes de participación: las consultas jurídicas y las dedicatorias musicales, -sobre todo en las radios étnicas, que subrayan así su carácter identitario. Además, a partir de enero de 2009 con el levantamiento de la moratoria laboral para rumanos y búlgaros y la libre circulación de estos trabajadores, se ha reducido la presencia de este colectivo en los contenidos de los programas de radio citados.

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Vandagriff, Rachel S. "An Old Story in a New World." Journal of Musicology 35, no. 4 (2018): 535–66. http://dx.doi.org/10.1525/jm.2018.35.4.535.

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During the Cold War, American private foundations subsidized American modernist composers, supporting their work through commissions, underwriting recordings and concerts, and promoting their ideas in radio programs and periodicals circulated at home and abroad. From its establishment in 1952, the Fromm Music Foundation (FMF) acted as an important player in this field. Using archival material and interviews with people who worked with the founder Paul Fromm, I show how Fromm’s involvement in his foundation, and his reliance on professional advice, constituted a unique patronage model that enabled select composers to participate actively in the promotion of their music. Fromm’s relationship with Elliott Carter provides an especially complex example of a mutually beneficial and successful partnership. Fromm’s goal was to integrate contemporary music into American musical life by supporting the production and dissemination of new compositions. Fromm sought to play the role of patron, fostering close relationships with composers who received funds and acted as his artistic advisers. Fromm’s partnership, and consequent friendship with, Carter illustrates the many ways the FMF served composers. In 1955 Fromm commissioned what became Carter’s Double Concerto for piano, harpsichord, and two chamber orchestras (1961). Fromm’s subsequent help, administered through his Foundation and personal connections, enabled Carter to secure high-quality premieres of this piece and other difficult-to-perform repertoire, helped facilitate repeat performances and recordings of these compositions, and allowed Carter, together with his wife Helen, to establish a system to fund musicians who performed his music—and also reap tax benefits. Among the recipients who benefited from Fromm’s largesse were Charles Rosen, Paul Jacobs, and Jacob Lateiner. Fromm’s actions spawned a familiar fable. Carter’s career and the way he talked about it reinforced many persistent falsehoods about an artist’s relationship, or lack thereof, to potential listeners and audiences—a source of financial support for artists since the advent of public concert life. Fromm’s financial support and Carter’s ability to supplement it helped buttress the late-Romantic myth of creative autonomy. The details of this partnership—the words exchanged, the other figures involved, and its variegated benefits—harbor broad implications for the study of Cold War-era patronage networks and for our view of Carter’s career.

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Iosif, Corina. "“Traditions” from Folklore Studies to Media Product and the Beginnings of Broadcasting in Romania." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 27–38. http://dx.doi.org/10.1556/022.2020.00003.

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The rhetorical logic of the discourse which is currently building the image of the junction between tradition and nation (and of the concepts thus required) is also due to processing this discourse in the media. That is to say that the connection between media communication and the political instrumentalization of traditions as a domain of national constructs has offered proper soil for shaping the political and ideological narratives based on nation. The use of some concepts, such as nation, national culture, traditions and folklore in the first decades of the 20th century, and their instrumentalization as radio products, created the premises and particularly the pattern of some specific discursive constructions regarding the nation- state. These were meant to be integrated, embraced and, especially, reproduced on a large scale. Therefore, the discourse focused on national identity – with all its constitutive elements (the state, the language, the history and traditions) – could disseminate a unique hypostasis, shaped under political control, which thus legitimated it. From 1928, the year when the first radio programs were broadcast, until directly after the 1950s, when the recording of the radio programs on magnetic tape was a common professional practice, the only documents that could be considered today are the written texts of the radio programs (conferences, educational or informative programs, political, agricultural news, etc.). Between 1925, when The Romanian Society of Radiotelephony was established, and 1948, the year when the communist regime officially came into power, Romanian radio programs broadcast discourses on a broad range of topics and for a large audience. The present study focuses on the ethnological one. We are interested in how the ethnological discourse rooted in the aforementioned time period also built a media hypostasis for addressing the entire society, and in how programs dedicated to “traditions” bear the signs of this structuring process.

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Smolak Lozano, Emilia, and Paloma López Villafranca. "El consumo cultural digital de los programas de radio a través Youtube en España y Polonia." Historia y Comunicación Social 25, no. 1 (May 5, 2020): 123–38. http://dx.doi.org/10.5209/hics.69231.

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La posibilidad de ver la radio en Youtube ha facilitado que esta plataforma potencie la captación de usuarios que no son oyentes tradicionales. El objetivo de esta investigación es realizar un análisis comparativo del consumo del medio en Youtube España y Polonia. Realizamos análisis de contenido de Youtube de 14 emisoras españolas y 14 en Polonia, desde su creación hasta diciembre de 2017. Las emisoras polacas en el canal suelen ser generalistas frente a un número mayor de emisoras musicales en España. Se aprecia la necesidad en ambos países de mejorar las posibilidades que ofrece el canal para desarrollar estrategias de consumo más eficaces.

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Villanueva Valadez, Carlos. "La Función mediadora de la programación radiofónica universitaria de la ciudad de Monterrey Nuevo León." Anagramas Rumbos y Sentidos de la Comunicación 18, no. 35 (February 22, 2020): 159–75. http://dx.doi.org/10.22395/angr.v18n35a9.

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Este artículo hace referencia a la investigación sobre la función social de la radio universitaria en México, el cual se inscribe en el contexto de investigaciones en medios de comunicación universitarios. Retoma el planteamiento teórico de Manuel Martín Serrano y el modelo de comunicación masiva del profesor Carlos Lozano. El objetivo general de investigación radicó en analizar la mediación comunicativa asociada a la programación radiofónica de tres estaciones de radio universitarias (Radio UANL 89.7, Frecuencia TEC 94.9 y Radio UDEM 90.5) desde la perspectiva comunicativa del mensaje y el impacto de elementos que intervienen en la construcción de productos radiofónicos, los cuales se presentan en forma inmediata bajo la clasificación de formativos, informativos y de entretenimiento. Para la indagación del tema se implementó una metodología cuantitativa, y se eligió “tiempo de duración” como variable de impacto para medir el tiempo de programación diaria, así como el cotejo de las temáticas y los productos comunicativos que proyectan las radiodifusoras. Los resultados obtenidos indicaron que la temática musical ocupa entre 60 % y 67 % de la programación. La generalidad que exponen los programas radiofónicos universitarios es una homogeneidad en la barra matutina, debido que los contenidos informativos acaparan la mayoría de los espacios en las tres emisoras, con lo que se proporciona una opción más en el cuadrante que beneficie a la función social. Las conclusiones obtenidas indican una apuesta a la diversificación de la programación y una práctica comunicativa basada en el ofrecimiento de entretenimiento culto, que evidencia un espacio nuevo de interrelación así como su comprensión del desarrollo identitario de la universidad.

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Cole, Ross. "Industrial Balladry, Mass Culture, and the Politics of Realism in Cold War Britain." Journal of Musicology 34, no. 3 (2017): 354–90. http://dx.doi.org/10.1525/jm.2017.34.3.354.

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Focusing on a series of pioneering radio ballads produced for the BBC between 1958 and 1961 by Ewan MacColl, Charles Parker, and Peggy Seeger, this article explores representations of industrial working-class culture in folksongs of the radical Left. Situating such work in relation to A. L. Lloyd, mass culture, the nascent New Left, gender, and the aesthetics of social realism (distinct from the project of Soviet socialist realism), I argue that early radio ballads were nostalgic panegyrics for the integrity of working-class identity in the face of unprecedented socio-economic change. At the very moment when distinctively masculine working-class traditions seemed to be at risk of disappearing under the rising tide of affluence, Conservative Party rhetoric, female emancipation, and the emergence of a classless commodity utopia, these programs generated a portrait of an unwavering British subculture damaged and defined by capitalist exploitation yet resistant to the unwelcome advance of globalized modernity. Ultimately, such work revealed far more about MacColl’s own political convictions than about the intricacies of working-class life in Britain.

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Espinosa-Mirabet, Sílvia, and Natalia Ferrer-Roca. "¿Por qué los jóvenes australianos triplican el consumo de radio de los jóvenes españoles?" ZER - Revista de Estudios de Comunicación 26, no. 50 (May 29, 2021): 41–61. http://dx.doi.org/10.1387/zer.21918.

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Desde hace aproximadamente una década, la radio en el Estado Español está notando una pérdida progresiva de penetración en la audiencia y es especialmente en la más joven donde más se nota esa desafección. En Australia (Rain, 2018) el consumo radiofónico juvenil se circunscribe casi al 80% de penetración, mientras que en España la misma fuente otorga un 28%. El objetivo de este artículo es avanzar los primeros resultados de una amplia investigación internacional que tiene por objetivo conocer por qué la penetración de la radio es tan desigual entre los jóvenes de 18 y 24 años en distintos países. Se busca además saber qué sucede en Australia y qué no en España, en relación al engagement del target joven al medio.La metodología usada, cuestionarios a jóvenes australianos y españoles y entrevistas en profundidad semiestructuradas a realizadores, periodistas y directivos de cadenas públicas de radio australianas, nos permite poder obtener las primeras conclusiones que explicarían la diferencia de los datos sobre consumo en uno y otro país.Mientras que en España los jóvenes se decantan por escuchar radiofórmulas musicales de éxitos internacionales y podcasts españoles de radio generalista, en Australia se prefieren productos autóctonos y programas con contenido hablado (no radiofórmulas) y podcast made in USA. En ambos paises, los jóvenes se dejan aconsejar sobre los contenidos sonoros que prefieren. Los amigos e Instagram son los mejores prescriptores.

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Anton Chacón, Lidia, Carla Piqué Planell, Vanessa Prades Estévez, Mar Puigmartí Ventura, M. del Carme Rallo i Casanovas, and Albert Vidal i Raventós. "Recursos audiovisuales en terapia sexual y de pareja." Revista de Psicoterapia 22, no. 86/87 (July 1, 2011): 69–98. http://dx.doi.org/10.33898/rdp.v22i86/87.625.

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En este artículo se analizan una serie de recursos audiovisuales en el marco de la terapia sexual y/o de pareja. Los recursos audiovisuales son una herramienta útil y eficaz para utilizar en diversos momentos dentro del proceso terapéutico, facilitando la conexión y gestión emocional y el aprendizaje de habilidades funcionales, relacionales y/o afectivo-sexuales deficitarias o en conflicto. Concretamente, hacemos referencia a canciones y videoclips musicales, filmografía de pareja, filmografía erótica y pornográfica, vídeo-documentales y programas de radio y televisión, mostrando una selección ilustrativa i sugestiva, con el objetivo de fomentar la creatividad y ampliar el abanico de recursos del psicoterapeuta.

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Krawetz, Alexandra. "Sell a Song of Safety: Children, Radio, and the Safety Patrol." Journal of the Society for American Music 16, no. 3 (August 2022): 298–318. http://dx.doi.org/10.1017/s1752196322000165.

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AbstractAmid nationwide discussion on the importance of accident prevention and safety education, Tin Pan Alley songwriters Irving Caesar and Gerald Marks wrote and advertised Sing a Song of Safety (1937), a book of songs that taught children domestic, playtime, and traffic safety lessons, illustrated by Rose O'Neill. Caesar secured a recurring guest segment to perform the songs on the variety program The Royal Gelatin Hour in 1938. Focusing on Caesar's segments, this article examines the role of children's music on the radio in the 1930s. Placing these songs in their historical context, I show how they both portray and challenge citizenship and community roles with regard to age, gender, and race. After unpacking the context of The Royal Gelatin Hour and the relationship between protection and innocence in safety education, I describe the portrayal of parenting in the segments. Taking one of Caesar's segments as a case study, I examine boyhood and race in the program's adaption of the safety patrol. By investigating the role of children and the construction of childhood in these initiatives, this paper addresses the relationship between children and media and early uses of media as a surrogate for parenting. It examines the use of popular culture in public safety efforts, the synergy of and tensions between service and profit, and the use of music to convey societal duties in everyday life as they shift throughout the life course.

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40

Young, Katie. "Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana." Ethnomusicology 66, no. 2 (July 1, 2022): 264–89. http://dx.doi.org/10.5406/21567417.66.2.05.

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Abstract Beginning in the 1950s, Dagbamba and Hausa women in Tamale listened to Hindi film songs in their homes, via gramophone records and through state-run women's radio programs. Hindi film songs were soon integrated into existing domestic singing practices, including songs meant for domestic labor (tuma-yila) and childcare (biyola-yila). Through an analysis of oral history interviews as well as recorded performances of Hindi film songs sung by women, men, and youth in Tamale, I show how everyday performances of Hindi film songs reveal gendered and intergenerational experiences of domestic space, labor, and social life in Tamale.

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41

Figueroa, Michael A. "“Behind the Sounds”." Journal of Musicology 38, no. 4 (2021): 401–18. http://dx.doi.org/10.1525/jm.2021.38.4.401.

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In this article I explore the aesthetics and political valence of shirei meshorerim (SM), a body of Israeli sung poetry that emerged out of a series of radio programs, festivals, and recording projects beginning in the 1970s and drawing on long-standing local practices in both Palestine/Israel and contemporary Mediterranean sung-poetry movements. I argue that the development of SM was characterized by an aesthetic distinction, wherein the high cultural register of poetry—a value produced by both the domestic discourse on art vis-à-vis politics and the broader global discourse in which the local field was embedded—and an associated move to cosmopolitanize music production contributed to the “cultural accreditation” of post-1967 pop-rock in Israel. This article explores what poetry meant for song, and vice versa, in Israel during the 1970s and 1980s through sociopolitical analysis and close listening to the text-setting practices and stylistic affinities of two musicians strongly identified with SM: Matti Caspi and Shlomo Gronich.

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Barbeito Veloso, Mª Luz, and Juan José Perona Páez. "Emisoras infantiles en internet. Análisis de una oferta alternativa para el niño-oyente." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 16, no. 2 (July 1, 2018): 100–120. http://dx.doi.org/10.7195/ri14.v16i2.1180.

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La progresiva desaparición de los programas infantiles en la radio generalista se está viendo compensada por una expansión de emisoras destinadas a los niños, la mayoría de las cuales operan básicamente a través de internet. Este trabajo, que supone una primera aproximación a un fenómeno en auge, analiza la oferta de unas webradios que, con independencia de posibilitar la escucha de una programación más o menos regular en streaming o podcasting, se caracterizan por compartir con su audiencia una amplia gama de contenidos complementarios multimedia. La investigación, de carácter exploratorio-descriptivo, está basada en el estudio de 25 estaciones de diferentes países, especialmente de Europa y América Latina, y sus resultados evidencian cómo los espacios musicales, la ficción vehiculada a través de cuentos y relatos cortos, y los consejos para los padres se erigen en los principales denominadores comunes. Por otra parte, se trata de un conjunto de emisoras que cree en la educación en valores como uno de los motores de formación para la futura integración social de los niños y las niñas, que vela por los derechos de los más pequeños y que, sobre todo, apuesta por el diseño de contenidos alternativos.

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De Ortueta Hilberath, Elena. "La reinterpretación del sonido de la metrópoli en las sinfonías urbanas." Ars Longa. Cuadernos de arte, no. 31 (March 29, 2023): 249. http://dx.doi.org/10.7203/arslonga.31.22897.

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Las sinfonías urbanas de la vanguardia cinematográfica reflejaron el pensamiento estético y filosófico del momento. La historiografía ha recalcado la trascendencia de la imagen, la técnica del montaje y el universo simbólico o el formal, pero ha desatendido, en cierta forma, el alcance de la banda sonora. El debate planteado por Schopenhauer, Valery o Benjamin sobre la percepción del ruido y del sonido fue un aspecto valorado en las composiciones musicales que buscaron la reinterpretación y la reproducción del ambiente de la metrópoli. El citadino estaba sometido a un sinfín de estímulos marcados por un ritmo frenético según Nietzsche y Simmel. Las sinfonías y documentales coetáneos inspirados en la ciudad trasladaron el escenario a las calles. Ruttmann durante el rodaje de Berlín, sinfonía de una gran ciudad (1927) prescindió del estudio y actores profesionales. Meisel compuso la música adaptada a los fotogramas. Pero, el director alemán también experimentó con los sonidos y los ruidos en sus filmes ópticos y en su programa de radio. Ello permite constatar la interrelación entre el cine experimental, la necesidad de pintar sonidos y la renovación de los instrumentos. En suma, presentamos una breve reflexión sobre el sonido y su repercusión en el cine mudo.

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Ortiz Sobrino, Miguel Ángel, Juan Carlos González Pérez, and Silvia Ayala del Pino. "Los recursos documentales en las radios universitarias españolas: uso y relaciones con la propiedad intelectual." Documentación de las Ciencias de la Información 43 (July 9, 2020): 23–31. http://dx.doi.org/10.5209/dcin.69302.

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Este artículo presenta los resultados de una investigación para determinar si las emisoras universitarias que pertenecen a la Asociación de Radios Universitarias Españolas (ARU) utilizan recursos sonoros y documentales sometidos a propiedad intelectual, depositados en internet o bien en sus archivos sonoros. Además, se trataba de conocer la relación con las sociedades de gestión de derechos de autor y la utilización de las excepciones que establece la normativa vigente en España, en relación al derecho de cita y otras excepciones para el uso de documentos públicos, como contenidos de su programación. Como técnica de investigación, se aplicó un cuestionario abierto que pudo ser cumplimentado online y telefónicamente. El trabajo de campo se realizó en octubre y noviembre de 2019. Los resultados revelan la importancia del uso del derecho de cita, la existencia de repositorio de programas de las emisoras universitarias en la web y, en líneas generales, la existencia de acuerdos con sociedades de gestión de derechos o en su defecto la utilización de documentos y recursos sonoros no sometidos a restricción de derechos de uso. En relación a la utilización de obras musicales, más del 52% de las emisoras analizadas declara que utiliza tanto música comercial como música en formato Creative Commons. Finalmente, se detecta que la distribución de sus contenidos de programación en plataformas de alojamiento y repositorios, así como su promoción en redes sociales y su reutilización para darles valor, es una práctica habitual en estas emisoras

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González, Juan Pablo. "Editorial." Contrapulso - Revista latinoamericana de estudios en música popular 4, no. 1 (January 26, 2022): 1–3. http://dx.doi.org/10.53689/cp.v4i1.152.

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Los números de comienzo de año de Contrapulso son de temática libre dentro del amplio campo multidisciplinario de los estudios en música popular en América Latina que nos convoca. Los de mediados de año, en cambio, están orientados hacia temáticas específicas dentro de este campo, como han sido los dedicados a “Música y sexualidad” (2019), “Música y política” (2020), “Voces y vocalidades” (2021), y “Música, sentimientos y afectos”, dosier convocado para el próximo número (2022) https://contrapulso.uahurtado.cl/index.php/cp/announcement En algunos casos, un dosier puede irradiar su temática hacia el número siguiente, como ocurre en este de temática libre, pero con tres artículos provenientes de la llamada al dosier del número anterior –“Voces y vocalidades”–. Incluso en la editorial pasada anunciamos que publicaríamos una segunda parte del dosier con esta entrega, pero finalmente hemos preferido no hacerlo y así mantener el ritmo de la revista señalado al comienzo. Nos disculpamos por ello, aunque el origen de esos tres artículos, transforman este ejemplar en un número híbrido. El primero de los textos irradiados, de Dulce María Dalbosco, aborda comparativamente las figuras de Amália Rodrigues y de Carlos Gardel, buscando convergencias entre el fado y el tango en las ciudades puerto de Lisboa y Buenos Aires, junto al desarrollo de las nuevas tecnologías del disco y del cine. A partir de su canto y de su agencia, ambos artistas se proyectaron como referentes culturales y sociales, se convirtieron en figuras transmediales, modelaron subjetividades y devinieron en agentes culturales íconos internacionales de los géneros musicales que representan. Amália y Gardel son también testimonio de la manera en que el cuerpo del artista se convierte en receptáculo donde se cruzan, se contradicen o se potencian las distintas voces articuladas por ellos: la de sus canciones, sus personajes, sus papeles cinematográficos, y sus discursos. El segundo artículo vinculado al dosier del número anterior, de Maria Pilar Jarpa, aborda la obra del escritor, artista y activista chileno de género Pedro Lemebel, que toma la voz de la cantante mexicana Paquita la del Barrio para trasvestir su propia voz, produciendo una diversidad de alianzas con “lo femenino” que dan cuenta de un devenir irreverente de mujer respecto a las categorías dominantes. En las crónicas y programas de radio de Lemebel, vemos como la canción sentimental y de despecho se transforma en dispositivo de subversión del imaginario heteronormativo y también revolucionario latinoamericano. En el tercer artículo de la revista, de temática libre, María de los Ángeles Montes, aborda el paradigma tradicional del cuarteto cordobés tal como se manifestó hasta finales la década del setenta antes de la propuesta disruptiva de la banda Chébere y de La Mona Jiménez. Para ello la autora revisa un cuerpo considerable de canciones, abordando sus aspectos sonoros, lingüísticos y narrativos en su sentido amplio, enfatizando los valores dominantes de matrimonio, familia y trabajo y sus transgresiones en el espacio festivo del cuarteto, a través del humor y la picaresca. Es en esa suspensión momentánea de la seriedad de la vida cotidiana que impone la fiesta, donde el cuarteto tradicional anima a la relajación de las normas morales imperantes, como la fidelidad masculina, el ascetismo, y el decoro en la mujer. A partir del cuarto artículo incluimos estudios sobre música popular abordados desde la música y la musicología, a diferencia de los tres primeros, escritos desde la literatura, los estudios de género y la semiótica, que enriquecen la diversidad de enfoques de este campo de estudios. Es así como Roberto Serafini, se enfoca en el primera arreglo de Astor Piazzolla para la orquesta de Aníbal Troilo: la milonga-candombe “Azabache” que, a pesar de tener buena recepción del público y de la industria de la época, Troilo nunca llevó al disco. En su artículo, Serafini aborda las posibles razones de esta omisión en el contexto de los años cuarenta en Buenos Aires. Lo hace, a partir de un minucioso estudio de la obra, transcribiendo el manuscrito inédito, relevando la bibliografía, analizando comparativamente distintos arreglos de la época y produciendo un video con su montaje. Por su parte, Nilda Godoy, ofrece un análisis intermedial de la interpretación de Mercedes Sosa para canciones sobre la poesía de Armando Tejada Gómez, enfocándose en la voz como portadora de palabra y música. La autora identifica recursos expresivos en relación al fraseo, el tratamiento dinámico, las acentuaciones, las prolongaciones de sonido, y las decisiones de tempo y altura sobre las letras de las canciones, en un minucioso estudio de vocalidad que completa los tres artículos irradiados del número pasado de Contrapulso al actual. El sexto artículo, de Tomás Mariani, se centra en el disco El incendio del poniente (1984) del cantante argentino de folklore, Jacinto Piedra, publicado en el marco de la llamada primavera democrática argentina, buscando su relación con las culturas juveniles de los ochenta. Para ello, el autor considera lo visual, lo literario y lo sonoro-musical del disco y la red de relaciones que conforma, que se articulan con un discurso en el que folklore y juventud pueden formar parte de una misma construcción de identidad, compartiendo además espacios con el rock. El último artículo, de Víctor Navarro, aborda una canción del poeta-rockero chileno Mauricio Redolés que ofrece una crónica de la lucha de los estudiantes secundarios contra la dictadura militar en la década de los ochenta. La canción es abordada desde la historia cultural y los postulados sobre música y profecía de Jacques Attali, intentando descifrar la microhistoria que subyace en la letra, la clase subalterna que se describe, y sus posibilidades de diálogo con el Chile actual, ofreciendo un interesante análisis de la estructura cultural de la canción. Este número culmina con tres reseñas críticas de libros de reciente aparición. La primera, de Andrés Celis, aborda un extenso estudio colectivo sobre el heavy-metal en América Latina. La segunda, de Sebastián Carrillo, está referida a un no menos extenso recuento de 200 discos de rock chileno. La tercera, de Tomás G. Márques, nos informa de una autoedición sobre la práctica del hip-hop femenino en Chile. Junto con agradecer a lo/as autore/as que han depositado su confianza en Contrapulso, enviándonos sus manuscritos según las normas de la revista y luego haciendo correcciones y modificaciones según lo hemos ido solicitando, queremos reconocer muy especialmente a quienes han realizado los acuciosos referatos ciegos del material recibido, contribuyendo a mantener el buen nivel de la revista y sirviendo como instancia de perfeccionamiento para los propios autores. Estos fueron Ana Belén Disandro, Angélica Adorni, Ariel Durán, Christina Baker, Claudia Rolando, Daniel Domingo Gómez, Daniel Party, Federico Eisner, Héctor Rojas, Heloísa Valente, Joshua Katz, Juan Sebastián Rojas, Juliana Pérez, Lucio Carnicer, Marina Cañardo, Pablo Toro, Rodrigo Arrey, Simón Palominos y Tania Costa. El contenido de Contrapulso 4/1 (1/2022) es el siguiente: Dulce María Dalbosco. “De la voz al símbolo: Amália y Gardel como estrellas de la canción portuaria” María del Pilar Jarpa. “Devenir rabiosa: Lemebel, Paquita la del Barrio y ‘el lenguaje de la ira’”María de los Ángeles Montes. “El paradigma tradicional del cuarteto cordobés. Sonidos, palabras y relatos” Andrés Serafini. “Misterioso ‘Azabache’: contextualización y análisis del primer arreglo de Astor Piazzolla para la orquesta de Aníbal Troilo” Nilda Godoy. “La voz de Mercedes Sosa cantando la poesía de Armando Tejada Gómez. Un análisis de la interpretación como aporte al estudio del canto” Tomás Mariani. “El incendio del poniente (1984) en la primavera democrática argentina: folklore y juventud en el disco solista de Jacinto Piedra” Víctor Navarro. “‘Química’, de Mauricio Redolés: una crónica del movimiento estudiantil en la dictadura militar chilena” Reseñas Andrés Celis: Nelson Varas-Díaz, Daniel Nevárez Araújo y Eliut Rivera-Segarra eds. 2021. Heavy Metal Music in Latin America: Perspectives from the Distorted South. Lanham, Maryland: Lexiton Books. Sebastián Carrillo: Gabriel Chacón, Felipe Godoy, Cristofer Rodríguez y César Tudela. 2020. 200 discos de rock chileno. Una historia del vinilo al streaming. Santiago: Ocho libros. Tomás G. Marqués: Paulina Briceño (A.K.A Brita la Matriarca). 2021. Ser Bgirl. Filosofía del Hip Hop. Santiago: Autoedición.

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Vulić, Tatjana. "MUSIC PROGRAMS ON SERBIAN PUBLIC TV CHANNELS." Facta Universitatis, Series: Visual Arts and Music, January 30, 2018, 101. http://dx.doi.org/10.22190/fuvam1702101v.

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During nearly half a century-long history, Radio and Television of Serbia, nowadays known as Serbia Public Broadcasting Service, met not only with diversity, but also with quality standards in terms of program requirements. Music programs of the Public Broadcasting Service is one of the possible indicators that show that high standards can be reached even in the time of “abundance” of the trash music that overwhelms the comercial television programs. The aim of this paper is to examine the quality and variety of the music programs of Belgrade Television (all three programs –1, 2 and RTS Digital), as well as the presence of various musical genres in these programs. The analysis was conducted on the basis of the RTS Centre for Research of Public Opinion, Programs and Auditorium, based on the 24-hour regular monitoring. The database was provided to us for the purpose of analysis in this paper. The aim of our research analys is the program type and the musical genre.[1]Belgrade Television is a constituent part of RTS, that is, Serbia Public Broadcasting Service. Belgrade television comprises of RTS 1, RTS 2 , RTS Digital, as well as of RTS SAT and specialized channel “RTS channel package” which are out of scope for this paper.

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Čokorilo, Radmila R. "THE ROLE OF CONTEMPORARY RADIO AS A MEDIUM IN SOCIAL PROCESSES." FRESKA 1, no. 1 (February 11, 2022). http://dx.doi.org/10.7251/znubl2201187c.

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Radio is present everywhere. We hear him: in a car, in a shop, offices and factories, on the street, in the park, on the mountain and on the beach; and at any time of the day: morning, noon, at night ... During his entire history, he worked successfully to prove that he possesses an extraordinary ability to adapt to new social, economic and media conditions. The subject of research in the paper is whether the radio stations will survive, in the flood of “new media”, or will they quit? The key advantages of radio, compared to other media, are usually related to information programs that are faster, cheaper, more accessible at all times of the day and night, at any place (transistor technique). In that sense, radio did not have any information in the sphere of information, and today there is no point, especially when it is able, besides facts, to offer and gain the impression of presence or participation in the event (live broadcasts). The aim is to show that professional and high-quality change of program contents can survive on the media sky. In contemporary radio programs, documentary, informative, educational, dramatic and artistic, musical and entertainment elements are intertwined. That’s why modern radio becomes “radio for everyone,” not just “radio for everyone”. On the future of the radio, however, there is no decisive influence on technology that enables communication by means of radio waves, but there is a “society”, ie, listeners who search for a radio station on the radio.

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Achmad, Zainal Abidin, Rachmah Ida, and Mustain Mustain. "A Virtual Ethnography Study: The Role of Cultural Radios in Campursari Music Proliferation in East Java." ETNOSIA : Jurnal Etnografi Indonesia, October 10, 2020. http://dx.doi.org/10.31947/etnosia.v5i2.9787.

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Campursari music is a trend on the radio and a favorite of the people of East Java, so it is shifting towards popular culture. This study aims to uncover the proliferation of campursari music and the role of cultural radios. This qualitative research uses a virtual ethnography method, which focuses on the physical presence and virtual text together. The subjects are technology (radio and communication technology on the internet), humans (radio listeners), physical interactions, and virtual interactions. Data collection used participant observation through observation and interviews offline and online in the form of various texts, writings, images, and audiovisuals on Facebook, Twitter, WhatsApp, Instagram, and Youtube. The informants of this study were four cultural experts, namely: Sumadi, Anton Sani, Ibnu Hajar, and Juwono. This study carried out participatory involvement for one year in the virtual world and 30 days living in four cities: Surabaya, Nganjuk, Banyuwangi, and Sumenep. Manthous's campursari music is a fusion of pentatonic and diatonic scales despite the addition of various musical instruments. It has several sub-genres, including campursari janger, campursari kendang-kempul, campursari keroncong dangdut, campursari dangdut Madura, campursari jaranan dangdut, campursari dangdut koplo, campursari dangdut hip-hop, and campursari dangdut acoustic. Cultural programs and campursari music reinforce the reliability of radio to maintain local culture (Javanese, Madura, Using). They are a means of maintaining local identities to stem global culture. No matter how hard the invasion of foreign culture, can not disrupt the local tastes of people. Campursari music proliferation is a modification to traditional music to serve the tastes of the people, to avoid it from extinction. Campursari music must be able to adapt to the current era. The four radio cultures in East Java make campursari music a primary commodity to attract radio listeners and as part of the lives of local people.

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Crawford, Dan D. "uth Duvall Crawford’s Wonderful Career in Music and Evangelism." Zea Books, November 28, 2023. http://dx.doi.org/10.32873/unl.dc.zea.1506.

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This book is a study of the career and ministry of Ruth Duvall Crawford (1916–1986), the wife of prominent evangelist Percy Crawford (1902–1960). As pianist for Percy’s evangelistic team and director of music for his various evangelistic enterprises, Ruth put together an ensemble of 40–50 musicians, and produced hundreds of high-quality music programs, geared to Percy’s nationwide radio and television audiences. These programs set a new standard of performance in evangelical circles in the Northeast and Central United States in the 1930s and 40s. In the process of building this musical program, Ruth developed a format and an original style of gospel music that proved to be highly effective in communicating the gospel to a wide audience. Even with the constraints placed upon her as a woman, Ruth was able to carve out her own identity and realize her full potential as a musical artist. Throughout their twenty-nine year ministry together, Ruth devoted herself fully and faithfully to Percy’s single-minded mission of winning souls; she and her musicians always viewed the significance of their music as supportive of this soul-saving work. I will argue, however, that, in fact, her music comprised a ministry in its own right, with a message of its own that had the power to change hearts and transform lives. I formulate what I believe was the content of that message— namely, the possibility of drawing close to the person of Jesus, and entering into an intimate relationship with him. Further, I suggest that her message did not merely complement Percy’s and strengthen its appeal, but offered the listener a different way of coming to know Christ as one’s personal savior.

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Avetisyan, Narine. "CONTINUITY OF MUSICAL AND PEDAGOGICAL TRADITIONS: K. S. SARAJEV - Y. H. DAVTYAN." Musical Armenia, 2022, 62–66. http://dx.doi.org/10.58580/18290019-2022.1.62-62.

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The article draws parallels between the activities of K. Sarajev, a teacher, and Y. Davtyan, a student, demonstrating the connection between times and traditions. A brief overview of Konstantin Solomon Sarajev's work, as well as some aspects of his pedagogical activity, is provided. Sarajev has an extensive repertoire and has conducted numerous symphony concerts. Konstantin Solomon's conducting activities were based on the artistic principles and technical methods of his teacher, Arthur Nikish, as well as his own conducting and teaching methods. Along with conducting, he began teaching at the Moscow Conservatory, and then at the Yerevan Conservatory. B. Khaykin, M. Paverman, L. Ginzburg, S. Sakharov, A. Katanyan, G. Budaghyan, H. Voskanyan, Y. Davtyan and many others studied in Sarajev's class. Citing the work of the People's Artist of Armenia, conductor, Professor Yuri Davtyan, the author demonstrates the continuity of music and teaching traditions, that have survived to the present day. Yuri Davtyan led the most reputable orchestras of the Soviet Union: the orchestras of the Bolshoi and Mariinsky Theaters, the orchestra of the Saratov Opera and Ballet Theater. He was the chief conductor of the A. Spendiaryan National Academic Opera and Ballet Theatre from 1953 to 2000, as well as the conductor of the Symphonic Orchestra of State Television and Radio of Armenia (1966-1994) and the orchestra of the Hakob Paronyan State Theatre of Musical Comedy (2007-2020). Yuri Davtyan has performed in Romania, Hungary, France, the United States, and Spain. The concert programs and repertoire of musical performances conducted by the musician are extensive. Davtyan is the bearer of the musical and teaching traditions of the Sarajev school. As a teacher, Yuri Hayk Yuri Davtyan developed his own performing principles and teaching methods, teaching the art of conducting, instilling culture and skills in his students of the XX and XXI centuries, students of the Technological Era, and a different approach to the classical phenomena of life in the broadest sense.

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