Music Radio: Building Communities, Mediating Genres

Description

Why is music so important to radio? This anthology explores the ways in which musical life and radio interact, overlap and have influenced each other for nearly a century. One of music radio’s major functions is to help build smaller or larger communities by continuously offering broadcast music as a means to create identity and senses of belonging. Music radio also helps identify and develop musical genres in collaboration with listeners and the music industry by mediating and by gatekeeping. Focusing on music from around the world, Music Radio discusses what music radio is and why or for what purposes it is produced. Each essay illuminates the intricate cultural processes associated with music and radio and suggests ways of working with such complexities. Title Page Copyright Page Contents List of Illustrations Preface Introduction Genre, format, mediation Communities: Imagined, affective, institutional, spatiotemporal, and sounding Music radio studies References Part 1 Sounding Minority Radio Chapter 1 Migrant Radio, Community, and (New) Fado: The Case of Radio ALFA The role of radio in migrant communities Portuguese community and radio in France: An overview Radio ALFA: Broadcasting for the Portuguese community (New) fado, identity, and experience Conclusion References Chapter 2 On Sonic Assemblage: Indigenous Radio and the Management of Heteroglossia Indigenous radio and anti-colonial politics Darwin’s radio landscape Radio Larrakia Yolngu Radio/ARDS Animating the sonic avatar: The politics of an assembled vocality References Chapter 3 Voicing Otherness on Air: Theorizing Radio through the Figure of Voice Introduction Othered voices Verdens musik and the institutional framework of DR Confidences and the institutional framework of Beur FM Technological noises and bodily sounds Conclusion References Part 2 Music Radio and Nation Building Chapter 4 Broadcasting the New Nation: Radio and the Invention of National Genres in Latin America La Hora del Charango and No Mundo do Baião Broadcasting the real The market of symbolic goods Conclusion References Chapter 5 The Edufication and Musicalization of Radio: CKUA, ‘Good Music’, and ‘Uplifting Taste’ Edufication and musicalization CKUA and the edufication of radio Musicalization and uplifting taste Music and the ‘middlebrow’ listener Music programming for the foreground format Conclusion References Chapter 6 Mediated Soundscapes: Representations of the National in the Soundscape Call-in Programme Äänien ilta The mediated soundscape The context of the national The contents of the first and ninth programmes The medium might be the message Social memory, national memory, and heritage Conclusion References Chapter 7 Dispositives of Sound: Folk Music Collections, Radio, and the National Imagination, 1890s–1960s The archive as dispositive Collecting folk music with the phonograph: Linking sound to the national (1890s–1930s) Music radio and politics of national identity: Broadcasting ‘Swiss’ music as ‘spiritual defence’ (1930s–1960s) Dispositives of sound (and silence): Archives and the control of national discourse Acknowledgements References Part 3 Music Radio: Genre and Mediation Chapter 8 Mediatization–Radiofication–Musicalization Mediatization Mediatization as radiofication Musicalization The future of music radio Conclusion References Chapter 9 Formats, Genres, and Abstraction: On Musico-Generic Assemblages in the Context of Format Radio Production Definitions of format Definitions of genre Perspectives from assemblage theory Musico-generic assemblages Musico-generic abstraction as the production of teleologies In conclusion References Chapter 10 Music Radio’s Mediations of the Music-Cultural High/Low Divide before the 1980s Music radio as assemblage Music radio’s social mediation High/low as a disciplinary dispositive High/low as mediated within and through music radio Conclusions References Part 4 Music Radio Convergences Chapter 11 Format, the Literature of American Popular Music, and Mr Crump Grounding categories Vernacular perspectives and sentimental claims W.C. Handy as format, Charley Patton as genre References Chapter 12 MTV and the Remediation of FM Radio The concept of remediation Presenting the case: The birth of MTV from the perspective of remediation MTV, remediation, and oral discourse Remediation and the MTV programming dynamic Conclusion References Chapter 13 Music Radio as a Format Remediated for Stream-Based Music Use Remediation of radio Technologies, media, and format as theoretical and analytical foci A change in theoretical frame and analytical scale from medium to format Radio as a contributing format Case: User-generated playlists in Spotify based on a proprietary radio show in Apple Music – The Alligator Hour with Joshua Homme Case: Analysis of the differences between the Spotify radio function and their daily mix playlists Conclusion References Notes on Contributors Index