Music and the Broadcast Experience: Performance, Production, and Audiences

by Christina Baade (Editor), James A. Deaville (Editor)

Overview

Music and the Broadcast Experience explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working in media and music studies; explores and develops crucial points of contact between studies of music in radio and music in television; and investigates the limits, persistence, and extensions of music broadcasting in the Internet era. The book presents a series of case studies that address key moments and concerns in music broadcasting, past and present, written by leading scholars in the field, who hail from both media and music studies. Unified by attentiveness both to musical sound and meaning and to broadcasting structures, practices, audiences, and discourses, the chapters in this collection address the following topics: the role of live orchestral concerts and opera in the early development of radio and their relation to ideologies of musical uplift; the relation between production culture, music, and television genre; the function of music in sponsored radio during the 1930s; the fortunes of musical celebrity and artistic ambition on television; questions of music format and political economy in the development of online radio; and the negotiation of space, community, and participation among audiences, online and offline, in the early twenty-first century. The collection's ultimate aim is to explore the usefulness and limitations of broadcasting as a concept for understanding music and its cultural role, both historically and today.

Product Details

ISBN-13:	9780199314713
Publisher:	Oxford University Press
Publication date:	09/01/2016
Pages:	364
Product dimensions:	6.10(w) x 9.20(h) x 0.90(d)

About the Author

Christina Baade is Associate Professor of Communication Studies and Music at McMaster University and author of Victory Through Harmony: The BBC and Popular Music in World War II (OUP 2012).

James A. Deaville is Professor of Music at Carleton University and editor of Music in Television: Channels of Listening (2011).

Table of Contents

Contents

Acknowledgements
Contributors
About the Companion Website
Introduction
1 Section I: Bringing the Classics Home: Broadcasting Symphonic Concerts and Opera in Early Radio
Chapter 1: Broadcasting-Concerts: Confronting the Obvious - Jenny Doctor
Chapter 2: The Role of Opera in the Rise of Radio in the U.S. - Timothy Taylor
1 Section II: Spectacular Sound: Production Cultures in Broadcast Television
Chapter 3: Spectacular Sound: Classical Music Programming and the Problem of ¨Visual Interest¨ in Early U.S. Television - Shawn VanCour
Chapter 4: The Machine Hums: Music, Special Sound, and the Spaces In-Between - Louis Niebur
Chapter 5: Musical Theater Meets Reality TV: An Investigation into the Canadian Context - Christine Quail
1 Section III: Raising Dough on Radio: Musical Genre and Advertising in the Swing Era
Chapter 6: ¨From Operatic Pomp to a Benny Goodman Stomp!¨ Frame Analysis and the National Biscuit Company's Let's Dance - Rika Asai
Chapter 7: Passing Pappy's Biscuits: Dynamics of Uneven Modernization in Regional Radio Voices - Alexander Russo
1 Section IV: The Power of the Small Screen: Musical Celebrity in Television
Chapter 8: Toscanini, Ormandy, and the First Televised Orchestra Concert(s): The Networks and the Broadcasting of Musical Celebrity - James Deaville
Chapter 9: John, Yoko, and Mike Douglas: Performing Avant Garde Art and Radical Politics on American Television in the 1970s - Norma Coates
1 Section V: Music Radio On and Off the Air: Publics, Structures, and Formats
Chapter 10: Radio Formats in the United States: A (Hyper)Fragment(ation) of the Imagination - Ron Rodman
Chapter 11: Music Radio Goes Online - Tim Wall
1 Section VI: Worlds Apart: Space, Community, and Participation in the Web 2.0 Era
Chapter 12: New Media, New Festival Worlds: Rethinking Cultural Events and Televisuality through YouTube and the Tomorrowland Music Festival - Fabian Holt
Chapter 13: Worship on the Web: Broadcasting Devotion through Worship Music Videos on YouTube - Monique Ingalls
Chapter 14: Incarcerated Music: Broadcasting and the Tactics of Music Listening in Prison - Christina Baade
For Further Reading
Index

Editorial Reviews

"This collection of 14 essays exploring the relationship between music and broadcasting by academics from the world of music and media studies. The articles are very eclectic, covering such a disparate areas as opera, sound effects, jazz, Yoko Ono and music in prisons." — David Harris, Communication (Journal of BDXC) Nov 17.

"Tracing an arc across early radio transmission, television, and Internet diffusion, Music and the Broadcast Experience presents lucid and illuminating evidence that 'musical meaning is produced through mediation.' The book's mastery of historical detail and sophisticated analysis of contemporary musical broadcasting is a testament to editors Christina Baade and James Deaville's deep understanding of the issues and the stakes involved. This will be a 'go-to' resource among music and media scholars for years to come."—Murray Forman, Northeastern University, author of One Night on TV is Worth Weeks at the Paramount: Popular Music on Early Television

"A landmark in the intersection of music and media studies, this volume brings together a stellar collection of top scholars in the field whose expertise in both musicology and media studies combines into a must-read for all who care about the way that music is experienced, yesterday and today."—Michele Hilmes, Professor Emerita, Department of Communication Arts, University of Wisconsin-Madison

"In my opinion, Music and the Broadcast Experience: Performance, Production and Audiences is a book that should be in the libraries of every college, university and major city. It is a fascinating series of essays by academics from Canada, Denmark, the UK and the US who have come together from the disciplines of musicology and media studies ... [T]he editors of this volume have brought together a fine selection of the leading scholars of music and media studies. Together, they have produced a very readable and up to date book about the constantly changing interface between radio and music which began in the 1920s and is still evolving today through the role of new media." — Radio User

From the Publisher