Music Radio and the Record Industry: Songs, Sounds, and Power

Percival, J. Mark

doi:10.1080/03007766.2011.601598

Cited by 12 publications

(5 citation statements)

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“…J. Mark Percival (2011) hizo esta síntesis: "La naturaleza de las relaciones económicas, sociales y culturales entre la industria de la radio y la industria discográfica a menudo es caracterizada […] como simbiótica, es decir, una relación en la que ambas partes se benefician de la interacción.…”

Section: Radiodifusiónunclassified

Once miradas económicas a la cultura

PEÑA¹

2022

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Dejadme que os diga que yo he sido siempre una actriz de raza y que ojalá pudiera seguir dedicándome al teatro serio, al auténtico: el de los grandes dramaturgos y las audiencias refinadas y entendidas. Pero hoy en día -agregó chasqueando la lengua-eso da poco dinero porque el público es el que es. -Lo que la inmensa mayoría de ese público busca no es arte soberbio, sino purito entretenimiento: funciones que les permitan pasar un buen rato, que los saquen del cansancio y los problemas de todos los días y después les hagan volver a casa con una sonrisa bien plantada en mitad de la cara para echarse a la cama a dormir. You know what I mean, right?María dueñas. Las hijas deL Capitán. ¿Con qué frecuencia salía una novela buena e importante en Noruega? Una vez cada diez o veinte años. La última buena novela noruega fue Fuego y llamas […] y salió en 1980, es decir, hace veinticinco años. La última buena anterior a ésa fue Los pájaros […] que se publicó en 1957, es decir, hace otros veintitrés años. ¿Cuántas novelas noruegas se publicaron entre estas dos? ¡Miles! ¡Sí, sí, decenas de miles! Unas cuantas buenas, algunas mediocres, la mayoría flojas. Así es, nada espectacular, todo el mundo lo sabe.Karl ove Knausgård. Un hombre enamorado: mi LUCha, toMo 2. Los templos […] son los museos en que se guarda aún, en las imágenes de los bienaventurados, en las fojas inmortales del cristianismo, la historia de las bellas artes mexicanas [...] guillerMo prieto. Vida Cotidiana y CróniCas Viajeras. The challenge is to rewrite the agendas for our museums so that art can begin to serve the needs of psychology as effectively as, for centuries, it has served those of theology. Curators should dare to reinvent their spaces so that they can be more than dead libraries for the creations of the past. […] Museums must be more than places for displaying beautiful objects. They should be places that use beautiful objects in order to try to make us good and wise. Only then will museums be able to claim that they have properly fulfilled the noble but still elusive ambition of becoming our new churches.alain de Botton. reLigion for atheists: a non-beLieVer's gUide to the Uses of reLigion.Once miradas económicas a la cultura Dinero para la cultura, de Gabriel Zaid (2013); Creative industries: contracts between art and commerce, de Richard E. Caves (2000), y Handbook of the economics of art and culture, editado por Victor Ginsburgh y David Throsby (2006). Además, seleccionamos artículos publicados en Journal of Cultural Economics y Journal of Arts Management, Law and Society.En los cursos más recientes, además del libro obligatorio, sugerimos Cultural economics, de Ágúst Einarsonn (2016), así como artículos, informes y materiales de muy diversos autores y enfoques. Las revistas donde se publicaron los artículos seleccionados fueron:

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Section: Radiodifusiónunclassified

Once miradas económicas a la cultura

PEÑA¹

2022

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“…Bu çalışmalar içerisinde; Adorno (1945), radyo müziğinin sosyal eleştirisini; Carney (1977), ABD özelinde müzik radyo istasyonlarını; Rothenbuhler (1985), popüler müzik radyosunda programlamanın karar verilmesini; Edwards ve Singletary (1989), radyo müzik alt kültürleri ile dinleyicilerin inanç sistemleri arasındaki ilişkilerini; Barnard (1989), Britanya özelinde müzik radyosunu; Sullivan (1990), radyo reklamcılığında müzik formatı etkilerini; Hamm (1991), Çin Halk Cumhuriyeti'nde müzik ve radyoyu; Lelyveld (1994), Hindistan özelinde radyoda müzik yönetimini; Brent ve Weaver (1996), müzik radyosunun etkilerini; Hayes ve Cunningham (2000), müzik radyosunun oluşturulmasını; Hendy (2000), kamu hizmetinde pop müzik radyosunu; Ahlkvist ve Fisher (2000), ticari radyoda müzik programlamanın tek tipleşmesini; Echchaibi (2001), Fransa'daki genç Kuzey Afrikalılar arasındaki farkın ifade edilmesinde müzik ve radyoyu; Ahlkvist (2001), müzik programlarının modernleşmesini; Taylor (2002), 1920'li yıllarda Amerika'da müzik ve radyonun yükselişini; Hare (2003), Fransız radyosunda popüler müziği; Wall (2004), internet müzik radyosunu; Taylor (2005), 1920'li yıllarda Amerika'da radyonun yükselişi ve müziği; Grenier (2005), Kanada radyosunda Fransızca müziği; Cox (2005), müzik radyosunda 1920'li yılların sanatçıları ve programlarını; Forsman ve Stiernstedt (2006), İsveç ve Estonya'daki müzik radyo yapımı üzerine örnekleri; Wall (2006), İngiliz ticari müzik radyolarında kârı; Abelman (2006), çağdaş Hıristiyan müzik radyosunu; Wall (2007), ABD okul radyosunda müzik programlamayı; Simonelli (2007Simonelli ( ), 1967Simonelli ( -1973 arasında radyoda BBC rock müziği programlamasını; Rossman vd. (2008), pop müzik radyosundaki yenilikleri; Sweeting (2010), müzik radyo endüstrisini; Percival (2011), müzik radyosu ve plak endüstrisini; Chapman (2012), radyoda pop müzik yayınlarını; Bosch (2014), Güney Afrika'da ticari müzik radyosunu; Martín-Santana vd.…”

Section: Extended Abstractunclassified

The Use of Propaganda Songs in Radio Broadcasts in The Soviet Union in The Second World War: The Examination on The Song "The Sacred War"

Çalişkan

Doğan

2020

Eurasian Journal of Music and Dance

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The Soviet Union broadcasted propaganda songs against Germany on the radio during World War II. The song "The Sacred War", written by Vasiliy Lebedev and composed by the composer of the national anthem of the Soviet Union, Aleksandr Aleksandrov was featured in radio broadcasts and used for propaganda purposes in order to encourage the Soviet people's struggle against the German armies. Within the scope of the study, it was aimed to reveal which discourses used for the purpose of propaganda over "The Sacred War" in the radio broadcasts of the Soviet Union during World War II. For this purpose, the lyrics of the song "Sacred War" were analyzed in the light of linguist Roman Jakobson's semiotics method. The musical analysis of the anthem was performed sensually. It was observed that the anthem was performed in the form of a two-part song in a minor tone accompanied by instruments from different groups. The findings revealed that the Soviet people were tried to be mobilized against the German armies, building hate speech at Germany directly and emphasizing that Germany caused danger for the Soviet Union over ideological rhetoric in the propaganda song.

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“…What results is an industry -that while seemingly driven by creative expression and championing artistic endeavour -is in fact 'reduced to the economic logic of capitalism'; not as 'mystical' and 'determined' as has been suggested, but staffed by workers who dispositions and social backgrounds add complexity to the uncertainty of the fickle and risky nature of creating popular culture artefacts in a competitive environment (Negus, 1991, p. 36-40). Percival has identified a similar phenomenon in music radio -the professional radio programmer with specialized knowledge of, and a 'gut feel' for music, which is actually an effect of the need for order, professional legitimacy and status in another fickle and highly competitive branch of the popular culture industries (Percival, 2011).…”

Section: Part Two: Music Radio In New Zealandmentioning

confidence: 99%

Powerful Music: Media, Culture and the 'Third-way' in New Zealand. A Grounded Theory Analysis of Kiwi FM

Mollgaard¹

2018

Preprint

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The New Zealand radio market is one of the most deregulated in the world. There are no limits on ownership, very few constraints on content and no quotas for local content. New Zealand's radio environment reflects the strong neo-liberal principles that underpin the open, market-driven New Zealand economy. Political promises and public discussions about the creation of a nationwide commercial-free public radio service for young people had faltered against these principles in the early to mid-2000s with strong opposition from incumbent commercial radio interests decrying government interference in their commercial rights. It was in to this environment in 2005 that one half of the foreignowned radio broadcasting duopoly introduced a radio network into the three main cities that played only New Zealand music -Kiwi FM. Within a year the network had failed to attract sufficient listeners and advertisers to stay on-air and was nearing closure. At this point the Labour government of the day stepped in to save the struggling network by giving it access to temporary free frequencies and funding to make programmes featuring New Zealand music. This was an extraordinary situation in that commercial radio in New Zealand is notable for its focus on producing only programming that will create significant profits for shareholders, rather than public service-type programming benefiting national arts and culture. It was also extraordinary in that the government had intervened to support a commercial company to ensure a failed radio network would survive.This dissertation explores why and how this happened through a grounded theory analysis of the significant amount of official documentation this situation generated, through interviews with key players and other contemporaneous material such as media interviews, blogs and newspaper articles about Kiwi FM. What emerges from this data is evidence of a 'third-way' agenda operating in this situation -New Zealand's version of the then Prime Minister of the United Kingdom, Tony Blair's 'Cool Britannia' appeal to voters in what amounted to public-private partnerships in the cultural sectors of the economy. This 'third-way' promise to revitalise a shared sense of nationhood while delivering economic growth through improving the creative industry's capacity to output marketable culture was echoed in New Zealand. The story of how multinational media company CanWest (owners of Kiwi FM) came to be a partner with the Labour government in promoting New Zealand music demonstrates some of the key issues inherent in this approach.Importantly, these partnerships rely on personal connections and relationships as well as the growing interconnections and shifting power differentials created between governments and officials, businesses and the media. The Kiwi FM story shows that while partnering with businesses in order to achieve cultural-economic goals such as promoting and monetising a national music culture may seem logical 3 and low-risk, business necessarily has a longer view beyond the e...

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Music Radio and the Record Industry: Songs, Sounds, and Power

Cited by 12 publications

References 12 publications

Once miradas económicas a la cultura

Once miradas económicas a la cultura

The Use of Propaganda Songs in Radio Broadcasts in The Soviet Union in The Second World War: The Examination on The Song "The Sacred War"

Powerful Music: Media, Culture and the 'Third-way' in New Zealand. A Grounded Theory Analysis of Kiwi FM

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