Introduction

Baade, Christina; Deaville, James

doi:10.1093/acprof:oso/9780199314706.003.0001

Cited by 3 publications

(2 citation statements)

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“…This is a programme that helps the satellite radio service stand out against non-hosted playlists and algorithms and one that relies on a longer history of live, hosted radio. As Baade and Deaville describe, ‘Even as commercial recordings became dominant on radio during the 1950s, a DJ provided live continuity, maintaining radio's status as a live medium’ (2016, p. 3). Again this feeling of liveness is carefully constructed and it feeds into a notion of authenticity that furthers the profitability and prominence of both Dylan's music and XM Radio.…”

Section: Resultsmentioning

confidence: 99%

When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and Theme Time Radio Hour

Fauteux

2020

Pop. Mus.

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This article explores the construction of hybrid authenticity by Bob Dylan's Theme Time Radio Hour, an XM Radio programme that aired between 2006 and 2009. Dylan's foray into radio presents compelling questions about the role of his star image in advancing a corporate strategy of premium radio that requires subscription access. Through narration and curation, a performed freeform radio format and fragments of radio history, Dylan's celebrity, voice and status as a vehicle for understanding the ‘American song tradition’ are solidified within the context of subscription satellite radio. In advance of the dominance of subscription streaming listening that companies like Spotify are now known for, Dylan's radio programme and recorded music of this period contribute to XM Radio's efforts to distinguish the satellite service from ‘traditional’ commercial format radio and to entice music listeners to become subscribers.

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Section: Resultsmentioning

confidence: 99%

When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and Theme Time Radio Hour

Fauteux

2020

Pop. Mus.

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“…In music, media, and performance studies, there is a large body of historical, theoretical, and market-and consumer-oriented research on musical live performances and the various mediatized forms of music distribution (Auslander, 1999(Auslander, /2008Baade & Deaville, 2016;Fischer-Lichte, 2004/2008Fritsch & Strötgen, 2012;Negus, 2006;Phelan, 1993;Pitts, 2005;Tröndle, 2011Tröndle, , 2020. Recently, digital forms of music distribution and reception have also sparked interest among scholars (Harvey, 2014;Nowak, 2016;Trippett, 2014), not only in and of themselves but also in comparison to live events (Holt, 2010;King, 2018;Mueser & Vlachos, 2018).…”

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The influence of formats and preferences on the aesthetic experience of classical music concert streams.

Wald-Fuhrmann¹,

O’Neill²,

Weining³

et al. 2023

Psychology of Aesthetics, Creativity, and the Arts

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Music is listened to in many different situational and media frames that can be expected to shape its experience. In this study, we were interested in the effects that different formats of audiovisual streaming of classical concerts can have on the aesthetic experience of their audience. We also investigated the effects of preferences for streaming features. A total of N = 525 participants watched one of four chamber music concert streams and reported their expectations, appreciation, and experiences. Overall, participants liked the concerts and reported positive experiences. The immersive emotional and social dimensions of aesthetic experiences with music, however, were only rarely activated, showing the disadvantage of recorded as compared to live performances. Several experience dimensions were influenced by streaming format: a stream that allowed audience members to interact on a chat platform afforded a stronger social experience, but less concentration; while a stream that included an introductory talk led to a better understanding of the programming and increased feelings of melancholy. Effects of the preference for certain stream types were only found in the stream that most resembled a standard audiovisual concert broadcast but were leveled out in other stream formats explicitly designed to counterbalance known disadvantages of nonlive performances. From our study, we draw conclusions regarding the importance of an experimental approach to frame effects not only on the aesthetic experience of music but also on the future of concert streams as a new musical medium in its own (aesthetic) right.

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Music and Institutional Advertising

Asai¹

2021

The Oxford Handbook of Music and Advertising

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This chapter explores music and advertising in the United States during the golden age of radio using the 1946–1947 season of Echoes of New York as a case study. As a radio-variety program sponsored by New York electric utility Consolidated Edison, Echoes is an example of institutional advertising, a form of advertising designed to shape public perception of the company, rather than to sell specific products. The company entrusted the important task to its long-time advertising agency, McCann-Erickson. Drawing on scripts, scores, memos, and financial documentation, this chapter considers broadcast entertainment’s creation and perpetuation of formulaic construction in program format as well as the gradual streamlining of McCann-Erickson’s musical activities in a typical work week. The chapter highlights the role of Con Edison’s all-male company chorus, the Edisoneers, as a physical and aural representation of the message Echoes sought to impart. In focusing on the work of producing music for institutional advertising, this chapter contributes to studies that have illuminated the foundational position of advertising agencies in driving the form and content of programming during the radio era.

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Introduction

Cited by 3 publications

References 0 publications

When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and Theme Time Radio Hour

When the dial goes Dylan: ‘premium’ radio, hybrid authenticity and Theme Time Radio Hour

The influence of formats and preferences on the aesthetic experience of classical music concert streams.

Music and Institutional Advertising

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