Статті в журналах: "Televisioni musicali"

1

Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.

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Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.

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2

Ocaña-Fernández, Almudena, and María-Luisa Reyes-López. "The sonic imagination of children in Andalusia: A musical analysis of the TV programme «The Band»." Comunicar 18, no. 35 (October 1, 2010): 193–200. http://dx.doi.org/10.3916/c35-2010-03-13.

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In this article we present a descriptive study of the soundtrack of children’s television programmes on the Andalusian public television network. This study is part of an international research project based on Latin America which seeks to address the need to understand the sonic context in which children live and study the way in which this shapes their sonic imagination. The use of music on television may be a response to commercial needs and, therefore, it is necessary to understand its influence in an educational context. Through analysis of the permanent sections, advertising and the cartoons included in the TV programme called «The Band» which is broadcast on the Andalusian public television network we can observe the televisual and sonic environment of Andalusian children. We use a descriptive methodology which, through the creation of a listening worksheet, highlights the most significant elements in the sample. After the analysis, we concluded that the predominant musical elements in the programme analyzed were from techno-pop and cinema soundtracks and this produced certain homogeneity in musical terms which in turn led to an impoverishment of listening habits which made it difficult to understand more complex musical elements. Therefore, we stress the need for schools to accept their responsibility in the task of educating children in critical listening skills. En este artículo se presenta un estudio descriptivo de la banda sonora de la programación infantil y juvenil de la televisión pública andaluza. Este trabajo se encuentra inmerso en un proyecto de investigación internacional de ámbito latinoameriano que atiende a la necesidad de comprender el contexto auditivo en el que vive la población infantil y estudiar el modo en el que se configura su imaginario sonoro. El uso de la música en la televisión puede responder a intereses comerciales por lo que es necesario comprender su alcance desde el punto de vista educativo. A través del análisis de las secciones fijas, la publicidad y las series de dibujos animados del programa «La Banda» de la televisión pública de Andalucía se muestra el entorno sonoro televisivo de los niños y niñas andaluces. Se utiliza una metodología descriptiva que, a través de la creación de una plantilla de escucha, pone de relieve los elementos más significativos de la muestra. Tras el análisis se concluye que los elementos predominantes en la programación analizada provienen de la música tecno-pop y de la música cinematográfica produciéndose una homogeneización del entorno sonoro que contribuye al empobrecimiento de los hábitos de escucha dificultando la comprensión de elementos musicales complejos. Por esta razón, se señala la necesidad de que la escuela adquiera la responsabilidad que le corresponde en el proceso de educación de la escucha crítica.

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3

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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4

Lorenzo-Quiles, Oswaldo, and Lucía Herrera. "Análisis educativo-musical del medio televisión." Comunicar 8, no. 15 (October 1, 2000): 169–74. http://dx.doi.org/10.3916/c15-2000-26.

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Se ofrece en esta colaboración el resultado de un trabajo de investigación que estudia el tipo de educación musical no formal que lleva a cabo la televisión en nuestra sociedad. Este medio de comunicación capitaliza lo que conocemos por escuela paralela, suponiendo un innegable vehículo de transmisión educativa y realizando una labor de divulgación sonora que, aun sin pretenderlo, determina y conforma desde la imagen la cultura musical de la población.

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5

Knapp, Raymond, and Zelda Knapp. "Musicals and the envoicing of mental illness and madness: From Lady in the Dark to Man of La Mancha (and beyond)." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 209–23. http://dx.doi.org/10.1386/jivs_00006_1.

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Abstract Because musicals routinely position musical expression as an enabling form of madness, they can have a difficult time when they try to consider mental illness in thoughtful ways. This essay considers four prominent musicals that deal overtly with mental illness and/or madness to delineate these difficulties and show how musicals try to surmount them. The relatively few musical numbers in Lady in the Dark (1941) allow its protagonist Liza Elliott to both confront her mental block and give voice to her emancipation. In Anyone Can Whistle (1964), Hapgood's ambiguous mental status allows him to swing from absurdities to rebellion to the touchingly human, each phase differently opposing the insanities of the world. Quixote, in Man of La Mancha (1965), defies reality in favour of impossible dreams. And the songs of next to normal (2008) provide a panoply of escapes from the painful realities of the dysfunctional Goodman family, none of whom quite finds a way to a desired 'normal'. As these shows exemplify, mentally unstable women and men generally have different options in musicals: women (at least, Liza and Diana Goodman) are obliged to chart paths to mental wholeness, with decidedly mixed results, whereas men (at least, Hapgood and Quixote) are allowed to indulge their flights from reality as forms of romanticized idealism, becoming heroes and liberators in the process. next to normal exemplifies a renewed determination to take mental illness seriously in musicals, further advanced in the four-season television series Crazy Ex-Girlfriend.

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6

Porta-Navarro, Amparo. "The Musical Offers of Children’s Programming on «Televisión Española» as its Hearing Universe." Comunicar 19, no. 37 (October 1, 2011): 177–85. http://dx.doi.org/10.3916/c37-2011-03-10.

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The music that children are exposed to in their everyday lives plays an important role in shaping the way they interpret the world around them, and television soundtracks are, together with their direct experience of reality, one of the most significant sources of such input. This work is part of a broader research project that looks at what kind of music children listen to in a sample of Latin American and Spanish TV programmes. More specifically, this study focuses on children’s programmes in Spain, and was addressed using a semiotic theoretical framework with a quantitative and musical approach. The programme «Los Lunnis» was chosen as the subject of a preliminary study, which consisted in applying 90 templates and then analysing them in terms of the musical content. The results show that the programme uses music both as the leading figure and as a background element. The most common texture is the accompanied monody and the use of voice, and there is a predominance of electronic instrumental sounds, binary stress and major modes with modulations. Musical pieces are sometimes truncated and rhythmically the music is quite poor; the style used is predominantly that of foreign popular music, with a few allusions to the classical style and to incidental music. The data reveal the presence of music in cultural and patrimonial aspects, as well as in cognitive construction, which were not taken into account in studies on the influence of TV in Spain. Such aspects do emerge, however, when they are reviewed from the perspective of semiotics, musical representation, formal analysis and restructuring theories.La música de la vida cotidiana del niño tiene uno de sus referentes, junto a su experiencia real, en la banda sonora de la televisión, configurando una parte de su interpretación de la realidad. Este trabajo forma parte de una investigación más amplia sobre la escucha televisiva infantil en una muestra iberoamericana. El objetivo, conocer qué escuchan los niños en la programación infantil de «Televisión Española», ha sido estudiado desde un marco teórico semiótico con un enfoque cuantitativo y musical. El artículo presenta un resumen de los resultados obtenidos en un primer análisis del programa «Los Lunnis» mediante la aplicación de noventa plantillas y sus análisis musicales correspondientes. Estos resultados indican que el programa utiliza la música como fondo y figura, textura de monodía acompañada y utilización de la voz, predominio del sonido electrónico instrumental, acento binario y modo mayor con modulaciones. Aparecen piezas musicales cortadas y cierta pobreza rítmica, su opción estilística es la música popular no propia, con algunos guiños al estilo clásico y a la música incidental. Los datos muestran la presencia de la música en aspectos culturales, patrimoniales y de construcción cognitiva no considerados en los estudios sobre la influencia de la TV en España, pero que emergen cuando son revisados desde la semiótica, la representación musical, el análisis formal y las teorías de la reestructuración.

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7

Ocasio-Russe, Lizbette. "Purpose and Innovation in Family Guy’s Musical Numbers." English Language Teaching and Linguistics Studies 1, no. 1 (May 3, 2019): 30. http://dx.doi.org/10.22158/eltls.v1n1p30.

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<em>Seth MacFarlane is well known for his groundbreaking animated series Family Guy (Fox, 1999-), a trademark of which is the inclusion musical numbers that reflect MacFarlane’s knowledge of the film musical. While many criticize the controversial approach and seeming arbitrary nature of not just the show’s jokes, but also its musical numbers, the way MacFarlane integrates them into his animated series allows todays cynical audience to enjoy a taste of the rather dormant genre. MacFarlane does so by employing elements of the Warner Brothers/Berkeley musical, the integrated and aggregate musical forms, the myth of integration, The Great American Songbook, the folk musical, the backstage musical, the MGM musical, and studio-era-style choreography. Through the analysis of some of Family Guy’s most impressive musical numbers, I propose to show that Family Guy boasts the most musically informed and detailed numbers in an animated television series today. MacFarlane employs these numbers for either one, two, or all three of the following purposes: to create a sense of community among the characters of the narrative and in the show’s audience, to simultaneously pay homage to and satirize the traditional film musical genre, and to facilitate controversial sociopolitical commentary.</em>

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8

Fandos-Igado, Manuel. "El vídeo-clip musical." Comunicar 1, no. 1 (October 1, 1993): 96–99. http://dx.doi.org/10.3916/c01-1993-13.

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Chicos y chicas de hoy pasan muchas horas a lo largo de la semana delante de la televisión consumiendo imágenes de todo tipo. Los videoclips son, sin duda, uno de los géneros audiovisuales con mayor impacto en los jóvenes. Se propone en este artículo su uso en el aula, desde uan vertiente crítica, de motivación y de investigación como género de expresión y comunicación.

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9

Frith, Simon. "Look! Hear! The uneasy relationship of music and television." Popular Music 21, no. 3 (October 2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.

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Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.

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10

Rodman. "Television Genre / Musical Genre / Expressive Genre." American Music 37, no. 4 (2019): 435. http://dx.doi.org/10.5406/americanmusic.37.4.0435.

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11

Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.

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12

Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (April 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.

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13

Loktіonova-Oitsius, Oleksandra. "POPULAR MUSICAL TELEVISION PROJECTS OF THE LATE XX – EARLY XXI CENTURIES." EUREKA: Social and Humanities, no. 5 (September 30, 2020): 3–8. http://dx.doi.org/10.21303/2504-5571.2020.001425.

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The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV projects, comparing with world models and highlighting the typical features of the musical television space. The research methodology consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imitation of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as "The Voice", "The X factor", "American Idol". Vocal talent shows are considered as combining the elements of a “game show” and a “perfection / transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. It was determined, that the vocal repertoire consists of the most popular world and national hits, which reflects the demand of the audience. It was noted, that the viewer influences the selection of participants in a music television project and functions as an additional judge. So, the article focuses on the structure and content of musical television projects, defines the values of such projects as the communication space of culture between the audience, the artistic and performing component, and the national and world music culture as a whole. Music television projects are part of the general educational context for the development of media art and have a scientific, artistic and educational potential for study.

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14

Blanco Maldonado, Alfonso. "La evolución histórica de los programas musicales en la televisión española: De los programas de divulgación musical a los talent shows." Ámbitos. Revista Internacional de Comunicación, no. 35 (2017): 1–14. http://dx.doi.org/10.12795/ambitos.2016.i35.01.

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15

Massone, Manuel, and Mariano De Filippis. "“Las palmas de todos los negros arriba…” Origen, influencias y análisis musical de la cumbia villera." Revista Latinoamericana de Estudios del Discurso 6, no. 2 (July 13, 2016): 21. http://dx.doi.org/10.35956/v.6.n2.2006.p.21-44.

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En este trabajo se analiza el subgénero cumbia villera como estilo musical cuyo rasgo principal es su notable simplicidad. Esta característica nos llevó a pensar que la trascendencia que este fenómeno alcanzó en la Argentina a fines del Siglo XX dependía de factores extra-musicales, siendo la música su poderoso vehículo de transmisión. Por ello es que analizamos los orígenes de la cumbia, sus evoluciones y los acontecimientos sociales que contribuyeron a la construcción de la cumbia villera como movimiento cultural de masas. A través de entrevistas estructuradas, encuentros y participaciones en grabaciones y programas de televisión fuimos diseñando nuestra investigación centrada en la producción musical de los dos conjuntos más importantes: Damas Gratis y Pibes Chorros. En el plano teórico, siguiendo el marcode las teorías del folklore de Augusto Raúl Cortazar (1959, 1975) se estableció que en este fenómeno se había operado un proceso de arraigo transcultural.

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Suárez Marrero, Pablo Alejandro, Alfonso Pérez Sánchez, and Juan Hugo Barreiro Lastra. "Momentos sociológicos en el performance musical “El humor en estos tiempos da cólera” (ca. 1986) de Alejandro García Villalón "Virulo"." De Raíz Diversa. Revista Especializada en Estudios Latinoamericanos 6, no. 11 (January 1, 2019): 79. http://dx.doi.org/10.22201/ppela.24487988e.2019.11.69842.

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<span>“El humor en estos tiempos da cólera” (ca. 1986) es uno de los performances que escribió, musicalizó y dirigió el cantautor Alejandro García Villalón Virulo para el Conjunto Nacional de Espectáculos de Cuba. De éste se conserva una adaptación televisiva del Instituto Cubano de Radio y Televisión, que no ha sido abordada en investigaciones precedentes. Según consta, en dicho espectáculo se ofrecen algunos momentos sociológicos de la realidad cubana del siglo XX. Este performance constituye un documento valioso para deconstruir lo socialmente narrado y descrito a manera de videoclips, en tanto asideros creativos del cantautor. Con la implementación de una metodología analítica existente para el video musical, se determinaron las formas estructurales de las composiciones performativas, identificaron los recursos audiovisuales empleados para lograr un humorismo musical subjetivo, y argumentaron aquellos momentos sociológicos identificados. Esta investigación contribuye a una mayor relación interdisciplinaria entre la musicología y otras disciplinas socio-humanísticas.</span>

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17

Rodríguez, Nelson Leandro. "El inicio del hip-hop en Chile (1984-1987): la recepción y el aprendizaje de una cultura musical extranjera en tiempos de dictadura." Popular Music Research Today: Revista Online de Divulgación Musicológica 2, no. 2 (November 28, 2020): 79–99. http://dx.doi.org/10.14201/pmrt.24146.

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El artículo estudia la recepción y aprendizaje del hip-hop en Chile en el período 1984-1987. La importancia de esta etapa se explica en que se asimilaron las distintas subjetividades de esta cultura musical norteamericana, resultando fundamental para la posterior conformación de bandas y surgimiento de las primeras grabaciones de discos. La hipótesis de este trabajo es que la dictadura militar de Augusto Pinochet generó las condiciones necesarias para que a través de diferentes canales de información (la televisión, el cine y los exiliados políticos) el hip-hop se desplegara por primera vez en Chile. La factibilidad de este proceso se debió también a la aparición de una nueva generación de jóvenes que tenían integrados en su identidad los cambios que estaba experimentando la sociedad chilena, especialmente en lo que respecta a gusto musical, ya que se sentían más atraídos por formas musicales extranjeras que aquellas con un predominante discurso social y político.

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18

Rumyantseva, Alina V., and Liliana Yu Malkova. "“Rigoletto”: Variety of Screen Forms and Specifics of Staging Solutions for Classical Opera in Cinema and on Television." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 259–74. http://dx.doi.org/10.21638/spbu15.2022.203.

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In domestic science there is a perception that today’s opera, under the pressure of massification, simultaneously tries to preserve the elusive traditions of “high” art and lowers the bar to the level of mass culture, while the availability of technological possibilities of transferring opera to the screen is not able to change the preferences of the mass audience, unable to perceive it adequately. It cannot be denied that in the 21st century an uninitiated mass audience’s perception of classical opera is largely formed on the basis of screen representations of musical drama. In this context, the analysis of the applied staging solutions in cinema and television in the incarnation of opera, which includes the determination of the components that are necessary for the qualitative screen representation of musical drama, becomes a relevant subject for scientific research. In this article, which is dedicated to 170th anniversary of Giuseppe Verdi’s opera Rigoletto, an attempt is made to analyze four screen forms of one musical drama different from each other with the aim to reveal variability of staging solutions used for the realization of classical opera on TV and in cinema. The specific features of cinematographic and television representation of musical drama influencing the actualization and popularization of opera in the modern screen space are revealed within different genre frames (film-opera, TV version of musical drama, live TV film, musical TV contest). The author identifies the central figure in the latter processes the director-director, a professional in the field of television, who understands the fundamental laws and staging techniques of musical theater, the expressive means of cinematography.

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Kazachkova, A. Yu, and L. A. Kruglova. "Musical Reality Shows on Russian Television (2017–2018)." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 1 (2020): 48–59. http://dx.doi.org/10.15826/izv1.2020.26.1.006.

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van den Berg, Harry, and Kees van der Veer. "Musical Discourse in Television Documentaries: Structure and Functions." European Journal of Communication 5, no. 4 (December 1990): 445–62. http://dx.doi.org/10.1177/0267323190005004004.

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21

Akınerdem, Feyza. "The Musical Frames of Reality Television in Turkey." Anthropology Now 8, no. 1 (January 2, 2016): 107–16. http://dx.doi.org/10.1080/19428200.2016.1153937.

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22

Lodge, Mary Jo. "Beyond Jumping the Shark: the new television musical." Studies in Musical Theatre 1, no. 3 (December 1, 2007): 293–305. http://dx.doi.org/10.1386/smt.1.3.293_1.

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23

Negus, Keith. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association 131, no. 2 (2006): 310–30. http://dx.doi.org/10.1093/jrma/fkl005.

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This article focuses on the prominent anxieties generated by television broadcasts of musicians from the 1930s onwards. It explores three specific issues: first, a concern that television images of performing musicians are detrimental to the experience of music; second, negative judgments about the consequences of television sound quality; and, third, fears that musical value is undermined by the distracted character of television reception. Focusing on these particular points, the article also raises a series of more profound questions about how various strategies of looking and listening influence our understanding of music.

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Rogers, Bradley. "Lawrence Welk." Journal of Popular Music Studies 34, no. 1 (March 1, 2022): 141–66. http://dx.doi.org/10.1525/jpms.2022.34.1.141.

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This essay explores the musical politics of Lawrence Welk, the bandleader whose television show was a mainstay of American popular culture from 1955 through 1982. I argue that Welk’s interests in gender, family, and work—both philosophically and musically—reveal the maestro as a harbinger of late twentieth-century political and cultural discourse. I focus on Welk’s transition (around 1970–1973) from his trademark champagne sound—which featured woodwinds and ornamentation—to a “Big Band Sound,” which emphasized the unison open brass. Around the same time, he stopped referring to his ensemble as “The Champagne Music Makers” and began calling them his “Musical Family.” I argue that his “Big Band Sound” was in fact a musical articulation of his “Musical Family”—and that Welk instituted both of these changes in response to what he perceived as the decline of American work ethic and sexual morality. I suggest that Welk’s champagne sound, which once signified whiteness, was now feminized and seen as emblematic of indolent hedonism. He sought to purge this feminization—and this aversion to work—precisely by adopting the more “masculine” brassy sound. I also show how he deployed family acts—and his managerial scheme of a “Family Plan”—to promote his conservative ideals about work and the family. In this way, Welk provided the sound of the Nixonian “silent majority.” I conclude by noting how three elements of Welk’s show—his fondness for mistakes, the emphasis on visual spectacle, and the erratic temporality of syndication—provide the potential for a counter-reading of his efforts.

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Monedero Morales, Carmen Del Rocío, and Alberto Rosa López. "Programas musicales en televisión: un oasis más allá de los talent shows." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 19, no. 1 (December 10, 2021): 67–75. http://dx.doi.org/10.5209/tekn.74689.

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Después de tener hasta dieciocho programas musicales simultáneos en la parrilla, la oferta televisiva española pasó en la última década a suprimir la música en directo de la televisión, a excepción de los omnipresentes concursos de talentos y al programa especial de Nochevieja. Una tendencia que parece estar revirtiéndose en la actualidad con nuevos espacios como Banana Split o Un país para escucharlo (ambos en La 2 de TVE). Pero fue en octubre de 2018 cuando comenzó el cambio con la emisión del primer programa de La Hora Musa, también en La 2 de TVE, un contenido de música en directo en prime time. Ese mismo mes se lanza Sesiones Movistar+, dedicado cada semana a un grupo o solista. El objetivo de esta investigación es explorar la dimensión y el contenido de estos dos programas, contextualizándolos y estableciendo una visión comparativa entre ellos que permita vislumbrar si se ha recuperado el formato imperante en la programación musical de antaño o si, por el contrario, se ha optado por una renovación estructural. La metodología empleada para la consecución de éste, además de la revisión de fuentes bibliográficas y audiovisuales, ha sido el análisis de contenido de la primera temporada de ambos espacios y entrevistas semiestructuradas a sus responsables y a músicos participantes en ellos. Entre las conclusiones destacamos las grandes similitudes entre ambos programas, aunque el espacio de la televisión pública acoge una mayor variedad de géneros y de artistas internacionales, así como el surgimiento de nuevas oportunidades para los profesionales del periodismo musical.

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Sanjuán Mínguez, Ramón. "La consideración artística y sociocultural de los paradigmas receptivos musicales dentro del cine contemporáneo (1975-2018)." Popular Music Research Today: Revista Online de Divulgación Musicológica 4, no. 2 (February 7, 2023): 161–84. http://dx.doi.org/10.14201/pmrt.30411.

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La filmación de interpretaciones musicales en el cine de ficción se ha desarrollado de forma paralela a las innovaciones y mejoras técnicas, pero también lo ha hecho en función de las diferentes consideraciones socioculturales de los géneros o estilos musicales. La interrelación de diferentes lenguajes, técnicas o estéticas audiovisuales, incluyendo las propias de la televisión, el videoclip o las redes sociales, han propiciado unas filmaciones musicales cinematográficas más dinámicas, así como una edición audiovisual más experimental. Al margen de la consideración técnica de estos registros audiovisuales, las interpretaciones musicales presentes en el cine contemporáneo nos ofrecen también la posibilidad de reflexionar sobre la forma en la que los espectadores, dentro del propio film, observan o interactúan con los números musicales. A partir de las propuestas de Chiantore (2021) sobre el concepto de «música clásica», de la consideración de la interpretación como «performance» (Cook, 2013) y de la diferenciación entre «performático» y «performativo» (López Cano, 2008), hemos realizado un análisis fílmico y sociocultural de films representativos realizados entre 1975 y 2018, focalizando la atención en el denominado «nivel estésico» (Nattiez, 1987). Esta aproximación nos ha permitido establecer una diferenciación entre «espectador performático» y «espectador performativo» y constatar que la actitud de los espectadores cinematográficos que asisten a una performance musical dentro del propio film nos ofrece unas referencias decisivas sobre los paradigmas de escucha, así como sobre la consideración sociocultural de la experiencia artística.

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Roe, Keith, and Monica Löfgren. "Music video use and educational achievement: a Swedish study." Popular Music 7, no. 3 (October 1988): 303–14. http://dx.doi.org/10.1017/s0261143000002968.

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Almost since their inception film and television have employed music as background accompaniment. Despite this obvious fact, the significance of such musical accompaniment has been underestimated by most researchers (see Tagg 1979). The contemporary conjunction of video technology, communication satellites and cable-TV has created a media environment in which television featuring music videos has thrived, and in which media researchers are no longer able to ignore the synchronisation of aural and visual content. While the idea of synchronising musical and visual presentation is itself not new (see Aufderheide 1986), its realisation in the modern music video presents those seeking to describe and explain media behaviour with a new set of problems and tasks.

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Lury, Karen. "Chewing gum for the ears: children's television and popular music." Popular Music 21, no. 3 (October 2002): 291–305. http://dx.doi.org/10.1017/s0261143002002192.

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Television is one of the earliest ways that children gain access to popular music. The child's early experience of both music and television does not necessarily separate out ‘music alone’ from his or her evolving musical appreciation. The co-operation of television and popular music encourage particular modes of attention and expression for the child as both viewer and listener. Movement, gesture, and the response of the body to the visual and aural cues of music-television may be seen to inform this appreciation. The child learns, feels and demonstrates that they have done so. This is guided and inspired by what they hear and see.

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Pérez Rufí, José Patricio, José Luis Navarrete Cardero, and Francisco Javier Gómez Pérez. "El product placement en el videoclip: análisis de contenido del emplazamiento de marca en los vídeos musicales preferidos por los usuarios de YouTube." Doxa Comunicación. Revista interdisciplinar de estudios de comunicación y ciencias sociales, no. 18 (May 21, 2014): 83–104. http://dx.doi.org/10.31921/doxacom.n18a4.

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Esta investigación estudia el emplazamiento de productos en el videoclip musical con mayor número de reproducciones en YouTube en el plazo de un mes. Entendemos el product placement como una técnica que mezcla diversas estrategias de comunicación publicitaria a partir de su presencia en el discurso audiovisual. Nuestro objetivo principal es conocer de qué forma se utiliza esta técnica de comunicación comercial en el formato del vídeo musical. Intentamos igualmente determinar su idoneidad para la transmisión de un mensaje comercial. Para lograr estos objetivos, realizamos un análisis de contenido de los 50 vídeos musicales con mayor número de reproducciones en YouTube durante el mes de enero de 2013. Aplicamos una metodología cuantitativa y cualitativa basada en la propuesta de Méndiz que enumera y valora la presencia de marcas. El análisis concluye que se trata de una estrategia comercial extraordinariamente frecuente, aunque no todos los vídeos resultan apropiados para ello. De igual forma, determinadas marcas y productos encuentran en el videoclip una vía idónea para introducir sus novedades en el mercado. La proximidad con el lenguaje del anuncio de televisión perjudica la credibilidad del discurso.

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Simon, Danielle. "From Radio to Radio-visione." Representations 151, no. 1 (2020): 1–25. http://dx.doi.org/10.1525/rep.2020.151.1.1.

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This article investigates a series of experimental television broadcasts undertaken by Italian Fascism’s national broadcasting entity, the Ente Italiano per le Audizioni Radiofoniche, in the years leading up to the Second World War. It explores both the official autarchical policies and the technological limitations that shaped the radio network’s early experiments with television to show that producers’ attitudes regarding medium specificity shaped decisions about programming and musical content. It then suggests that these early sorties into televisual broadcasting left traces that can be seen in the style and political clout of Italian television even today.

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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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Baade, Christina. "Vera Lynn Sings: Domesticity, Glamour, and National Belonging on 1950s British Television." Journal of the American Musicological Society 75, no. 2 (2022): 221–71. http://dx.doi.org/10.1525/jams.2022.75.2.221.

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Abstract In the late 1950s, musical variety shows on television played a critical role in the careers of numerous singers, particularly women working in mainstream pop. Some even hosted their own shows, becoming “television personalities,” a new type of performer skilled at conveying televisual authenticity and intimacy. We can better understand the significance of these often overlooked singers by recentering the role of television in their careers. This article takes as its case study the British singer Vera Lynn and Vera Lynn Sings, the lavishly produced, prime-time musical variety show that she hosted from 1956 to 1959 and that was the centerpiece of her exclusive, multi-year contract with the British Broadcasting Corporation. By examining her star persona on the show, the article offers a corrective to accounts of Lynn’s long life as a public figure, which tend to emphasize her fame as a singer in World War II while skimming over her accomplished career in the decades that followed. Drawing upon production documents and scripts at the BBC Written Archives Centre, together with press sources, this article argues that Vera Lynn Sings helped shape popular notions of British national identity in the late 1950s. Through its musical, performative, and visual strategies, the show offered a vision of national belonging that placed aspirational, white, feminine domesticity at the center. Anchored by Lynn’s sincere persona and sentimental songs, the show’s intimate address and musical repertoire welcomed a “family” audience across lines of gender, class, and age, while simultaneously reinforcing racist and colonial definitions of national belonging.

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Gagliardi, Jorge. "Morera y Gardel: «video clip» porteño." Culturas, no. 10 (January 1, 2017): 59–70. http://dx.doi.org/10.14409/culturas.v0i10.6135.

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Eduardo Morera filmó 15 cortometrajes musicales coninterpretación de Carlos Gardel y producción de Fe-derico Valle en 1930, compilados con la denominaciónAsí cantaba Carlos Gardel. Suele clasificarse a estas obrascomo video clip, sin considerar la elaboración posteriorde este género a partir de los años 70, que su circulaciónmasiva comenzó en 1981 por parte de la mtv y que noson producciones de la televisión sino de la cinema-tografía. Por otra parte, a partir de ese ordenamientocircula una disputa por quién es el hacedor pionero deese tipo de texto cuatro décadas antes de la creación delgénero, entre Morera y Gardel, por un lado, y José Bohrpor otro, quien, según lo proferido en su autobiografía,habría hecho una actuación musical en un cortometraje—actualmente desaparecido— con producción de laParamount Pictures. Resulta pertinente, entonces, trataralgunas cuestiones sobre la producción y la recepción de estos cortometrajes, tendientes a incentivar la reflexiónacerca de su clasificación social.

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Babich, Babette. "Günther Anders’s Epitaph for Aikichi Kuboyama." Journal of Continental Philosophy 2, no. 1 (2021): 141–57. http://dx.doi.org/10.5840/jcp2021102120.

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Günther Anders’s poem Du kleiner Fischerman is read here as a text contribution to the irruption that is violence and its enduring (omnipresent) aftermath. The essay includes a discussion of transmedial expression, including dramatization, or television and social media, text and subtext, as well as the inspiration of Anders’s poem as a work of art continuing in our times: the ongoing exclusion(s) of certain names and certain thinkers as of certain musical modes, including electronic musical works, as of voices and of collective memory, or oblivion. Reading Raymond Williams along with Anders and Adorno on television updated in today’s era of screen-being, this essay reads the challenges of on-line music magazines, Leonard Cohen and k.d.lang, between modes of memorialization, including a reading of Anders’s poetic memorial on the violence of Walter Benjamin’s death to conclude with Ivan Illich on the ongoing expropriation of death (and health) today.

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Williamson, John. "The kilt is my delight? Popular music on early television from Scotland." Journal of Popular Television 9, no. 1 (March 1, 2021): 105–22. http://dx.doi.org/10.1386/jptv_00044_1.

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This article explores the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.

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Galloway, Kate. "Rewind, revisit, relisten: Transport, spatial displacement and mixtape environments in Small Radios Big Televisions." Soundtrack 11, no. 1 (August 1, 2020): 99–118. http://dx.doi.org/10.1386/ts_00007_1.

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Small Radios Big Televisions (2016) guides the player through a series of abandoned modern factories to locate objects and solve puzzles, including cassette tapes that transport them to virtual locations. Each tape presents a diorama-like environment, ranging from natural environments, including forests and beaches. Throughout Small Radios Big Televisions players must warp and electronically distort music and sounds, magnetizing tapes. These musical disruptions of the tape tracks are a core game mechanic. This article draws on autoethnographic gameplay, material and spatial analysis to investigate how players explore abandoned worlds stored on glitchy analogue cassettes full of visual and sonic noise.

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Hussin, Siti Nur Shahirah, and Tazul Izan Tajuddin. "Gambus Johor Sustainability: Issues and Challenges." Idealogy Journal 7, no. 2 (September 1, 2022): 131–38. http://dx.doi.org/10.24191/idealogy.v7i2.345.

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Identifying the issues and challenges faced by different parties, departments, and agencies throughout the process can help find solutions to solve these issues and challenges. Then, achieving the article's goal of sustaining the Gambus Johor musical instruments and music for future generations. The purpose of this article is to list out and discuss the issues and challenges of sustaining the Gambus Johor musical instrument and music faced by the radio stations, television stations, the government especially the Ministry of Tourism, Arts, and Culture, school authorities, and Ministry of Communications and Multimedia in Malaysia.

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Milanovic, Biljana, and Marija Maglov. "Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)." Muzikologija, no. 27 (2019): 221–50. http://dx.doi.org/10.2298/muz1927221m.

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Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers? works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanovic Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon.

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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (November 2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.

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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.

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Magis, Christophe. "‘Do mess with Mister In-Between!’." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 96–111. http://dx.doi.org/10.7146/se.v3i1-2.15643.

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Broadly speaking, analysis of television advertising music is usually focused on one or the other of two general types, original advertising music or pre-existing music. This reflects disciplinary dichotomies, where musicology and interpretative disciplines in general pursue textual analysis of original musical material while political economy analyses strategies towards copyright and licensing of existing music within the field of advertising and the cultural industries as a whole. This article tries to bridge this disciplinary gap by focusing on a hybrid category: advertising musical covers. Our aim is to demonstrate and discuss how communication and promotional strategies, economic lures and artistic wills all blend together in the musical arrangement of advertising covers. The focus on these ’in-betweens’ affords an analysis of musical rationalization in advertising composition, which can be linked to socioeconomic strategies to be found within the field.

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Mishina, Anastasia V., Zilia M. Yavgildina, Rufina Ildarovna Samigullina, and Tamara Yu Melnik. "Comparative analysis of musical-enlightenment concepts of L. Bernstein and D. Kabalevsky in Russian music education." Cypriot Journal of Educational Sciences 13, no. 4 (December 26, 2018): 625–30. http://dx.doi.org/10.18844/cjes.v13i4.3894.

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The aim of this study is to compare the activities of Kabalevsky and Bernstein—two musicians who made a significant contribution to the musical education of the younger generation, reveals the principles, methods, forms of educational work and covers the subject of television programmes. In particular, the pedagogical and musical-enlightenment concept of the outstanding composer, scientist Dmitry Kabalevsky was widely spread in our country. Also, the achievements of American composer, lecturer, teacher Leonard Bernstein in the field of musical enlightenment differ in originality and are rarely used in Russian musical pedagogical practice. In accordance with the aim of the study, the following theoretical methods were used: analysis of the literature, epistolary texts, the repertoire of the concert programmes of the New York Philharmonic orchestra; generalisation of historical data on musical and educational activities of Kabalevsky and Bernstein, comparison of methods and techniques of music education, biographical method. Keywords: Conversation, enlightenment, Dmitry Kabalevsky, Leonard Bernstein, TV

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Collins, Nick. "A Funny Thing Happened on the Way to the Formula: Algorithmic Composition for Musical Theater." Computer Music Journal 40, no. 3 (September 2016): 41–57. http://dx.doi.org/10.1162/comj_a_00373.

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Algorithmic composition methods must prove themselves within real-world musical contexts to more firmly solidify their adoption in musical practice. The present project is an automatic composing program trained on a corpus of songs from musical theater to create novel material, directly generating a scored lead sheet of vocal melody and chords. The program can also produce output based upon phonetic analysis of user-provided lyrics. The chance to undertake the research arose from a television documentary funded by Sky Arts that considered the question of whether current-generation, computationally creative methods could devise a new work of musical theater (the research described here provides but one strand within that project). Allied with the documentary, the resultant musical had a two-week West End run in London and was itself broadcast in full. Evaluation of the project included both design feedback from a musical theater composer team, and critical feedback from audiences and media coverage. The research challenges of the real-world context are discussed, with respect to the compromises necessary to get such a project to the stage.

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IWAMIYA, Shin'ichiro. "The relationship between musical and visual expressions represented in television commercials." Japanese journal of ergonomics 31, no. 5 (1995): 337–45. http://dx.doi.org/10.5100/jje.31.337.

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Plasketes, George. "The Cicely, Alaska Soundtrack: Northern Exposure's Enduring Musical Mark on Television." Journal of Popular Film and Television 43, no. 2 (April 3, 2015): 54–62. http://dx.doi.org/10.1080/01956051.2014.997659.

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Horowitz, Mark Eden. "The Oxford Companion to the American Musical: Theatre, Film, and Television." American Music 27, no. 3 (October 1, 2009): 378–80. http://dx.doi.org/10.2307/25602284.

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Moreno-Elizondo, José Rodrigo. "Crisis contracultural y rock en la Ciudad de México: relaciones de producción, reproducción viva y sociabilidad. 1972-1977." Historia y sociedad, no. 38 (January 1, 2020): 205–28. http://dx.doi.org/10.15446/hys.n38.79865.

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Este artículo reconstruye un periodo poco explorado de la historia musical en México. El texto analiza la transformación de las relaciones de producción de la industria musical en la capital en el curso de descomposición de la contracultura, de fortalecimiento del Estado autoritario y retraimiento musical al subterráneo. Da cuenta del constreñimiento de la producción industrial, así como de los espacios en radio y televisión en relación con los músicos locales contraculturales. En ese sentido, sostiene que la reproducción viva de la música fue la principal determinación de la esfera musical, lo que incidió no sólo en el grado de autonomía creativa, sino la relación con el núcleo industrial y con la propia comunidad musicalmente imaginada.

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García Celdrán, María, and Enrique Encabo. "Triunfo, fama y talento. Audiencias juveniles y educación musical a través de los mass media." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 18 (January 17, 2020): 145. http://dx.doi.org/10.7203/eutopias.18.16848.

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La sociedad de la información digital plantea nuevos y constantes retos educativos. En el presente artículo se presentan algunas observaciones surgidas de una investigación en curso que tiene como centro de interés a los jóvenes desde su condición de adolescentes y telespectadores de la realidad presentada en las pantallas, así como las oportunidades de enseñanza-aprendizaje que nos ofrecen los audiovisuales para la práctica de la educación musical en las escuelas. Para ello se realiza una descripción de aspectos teóricos relacionados con la influencia y el impacto que tiene el consumo cultural y audiovisual de los jóvenes en la construcción de su propia identidad y en los procesos de socialización. Además, se hace un posterior análisis comparativo de la imagen que se proyecta de la música y los jóvenes intérpretes en programas de televisión musicales seleccionados al respecto, con especial atención a los fenómenos Operación Triunfo y La Voz. Por último, se observa una serie de estereotipos y rasgos comunes asociados al mundo de la música y sus participantes.

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Montoya-Rubio, Juan Carlos. "Significados musicales en ‘Breaking Bad’: acercamiento didáctico sonoro y visual." Comunicación Revista Internacional de Comunicación Audiovisual Publicidad y Literatura 2, no. 20 (2022): 45–61. http://dx.doi.org/10.12795/comunicacion.2022.v20.i02.03.

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Breaking Bad (Gilligan, 2008-2013) supuso un gran éxito en el ámbito de las series de televisión, por lo que ha generado un buen número de estudios en torno a sus personajes y tramas, así como implicaciones para el estudio desde varias disciplinas. A pesar de haberse configurado una notable literatura al respecto, el elemento musical aparece menos profusamente tratado que el visual. El presente artículo se plantea cómo aprender a descifrar claves sobre la narración audiovisual poniendo el foco en la parte sonora de la serie en cuestión. Para ello, se realiza un análisis en torno a las cápsulas musicales, escenas que poseen autonomía a partir de la integración sonora y visual, de forma que se pueda discutir y entender mejor las interioridades del discurso narrativo. Se concluye que, musicalmente, se potencian aspectos venidos de la conformación de los personajes o las situaciones, como era de esperar, pero además la banda de sonido ejerce un papel fundamental, tanto en la narración en sí como en la configuración de la trama.

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Thapa, Gopal. "Media and Advertising Preferences of Nepalese Audiences." Journal of Advanced Academic Research 2, no. 1 (February 11, 2017): 83–91. http://dx.doi.org/10.3126/jaar.v2i1.16599.

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No one can escape from death, tax and advertising. There are various media available for advertising. Advertising is used by different organization in different ways. Different customers have responded differently, to the different message and media. This article highlights on the consumers’ preference towards the message and media on the basis of age, gender and education. This study is part of the pilot study of my PhD research work. It is a descriptive study based on survey method. Total 80 respondents consisting different gender, age and education background were taken as sample on judgmental basis. The result revealed that most of the Nepalese prefer television, television advertising and musical message.

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Forman, Murray. "‘One night on TV is worth weeks at the Paramount’: musicians and opportunity in early television, 1948–55." Popular Music 21, no. 3 (October 2002): 249–76. http://dx.doi.org/10.1017/s0261143002002179.

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This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of ‘opportunity’, the article isolates the ways in which some musicians and others in various sectors of the music industry regarded the new medium as a positive influence at its inception. Among key considerations at the time were issues of musical performance style and aesthetics, repertoire, promotional capabilities, career enhancement, and additional leisure options for audiences.

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