Natalie Jomini Stroud
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780199755509
- eISBN:
- 9780199897162
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199755509.001.0001
- Subject:
- Political Science, American Politics
Fox News, MSNBC, The New York Times, The Wall Street Journal, The Rush Limbaugh Show, National Public Radio—a list of available political media sources could continue without any apparent end. This ...
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Fox News, MSNBC, The New York Times, The Wall Street Journal, The Rush Limbaugh Show, National Public Radio—a list of available political media sources could continue without any apparent end. This book investigates how people navigate these choices. It asks whether people are using media sources that express political views matching their own, a behavior known as partisan selective exposure. By looking at newspaper, cable news, news magazine, talk radio, and political website use, this book offers a look to-date at the extent to which partisanship influences our media selections. Using data from numerous surveys and experiments, the results provide broad evidence about the connection between partisanship and news choices. This book also examines who seeks out likeminded media and why they do it. Perceptions of partisan biases in the media vary—sources that seem quite biased to some don't seem so biased to others. These perceptual differences provide insight into why some people select politically likeminded media—a phenomenon that is democratically consequential. On one hand, citizens may become increasingly divided from using media that coheres with their political beliefs. In this way, partisan selective exposure may result in a more fragmented and polarized public. On the other hand, partisan selective exposure may encourage participation and understanding. Likeminded partisan information may inspire citizens to participate in politics and help them to organize their political thinking. But, ultimately, the partisan use of niche news has some troubling effects. It is vital that we think carefully about the implications both for the conduct of media research and, more broadly, for the progress of democracy.Less
Fox News, MSNBC, The New York Times, The Wall Street Journal, The Rush Limbaugh Show, National Public Radio—a list of available political media sources could continue without any apparent end. This book investigates how people navigate these choices. It asks whether people are using media sources that express political views matching their own, a behavior known as partisan selective exposure. By looking at newspaper, cable news, news magazine, talk radio, and political website use, this book offers a look to-date at the extent to which partisanship influences our media selections. Using data from numerous surveys and experiments, the results provide broad evidence about the connection between partisanship and news choices. This book also examines who seeks out likeminded media and why they do it. Perceptions of partisan biases in the media vary—sources that seem quite biased to some don't seem so biased to others. These perceptual differences provide insight into why some people select politically likeminded media—a phenomenon that is democratically consequential. On one hand, citizens may become increasingly divided from using media that coheres with their political beliefs. In this way, partisan selective exposure may result in a more fragmented and polarized public. On the other hand, partisan selective exposure may encourage participation and understanding. Likeminded partisan information may inspire citizens to participate in politics and help them to organize their political thinking. But, ultimately, the partisan use of niche news has some troubling effects. It is vital that we think carefully about the implications both for the conduct of media research and, more broadly, for the progress of democracy.
Louis A. Girifalco
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199228966
- eISBN:
- 9780191711183
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199228966.003.0020
- Subject:
- Physics, History of Physics
Radio astronomy, as first applied by Penzias and Wilson, showed that all space is permeated by a low level of radiation. This is left over from the big bang at the beginning of the universe and is a ...
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Radio astronomy, as first applied by Penzias and Wilson, showed that all space is permeated by a low level of radiation. This is left over from the big bang at the beginning of the universe and is a major factor in proving the validity of Big Bang theory. The existence of the cosmic background radiation, which is everywhere the same, raises the question of the possibility of using it to define an absolute space, and therefore negating relativity theory. It turns out that relativity is still valid because it deals with the relations between observable objects, and is correct regardless of the existence of a background radiation.Less
Radio astronomy, as first applied by Penzias and Wilson, showed that all space is permeated by a low level of radiation. This is left over from the big bang at the beginning of the universe and is a major factor in proving the validity of Big Bang theory. The existence of the cosmic background radiation, which is everywhere the same, raises the question of the possibility of using it to define an absolute space, and therefore negating relativity theory. It turns out that relativity is still valid because it deals with the relations between observable objects, and is correct regardless of the existence of a background radiation.
James W. Cortada
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195165876
- eISBN:
- 9780199789689
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195165876.003.0010
- Subject:
- Business and Management, Business History
This chapter describes the role of information technology in two electronic media industries over time: radio and TV. It describes their applications in business practices, recording and transmission ...
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This chapter describes the role of information technology in two electronic media industries over time: radio and TV. It describes their applications in business practices, recording and transmission of programs, role over the Internet, and the effects on firms in these industries, beginning with transistor radios to the Internet.Less
This chapter describes the role of information technology in two electronic media industries over time: radio and TV. It describes their applications in business practices, recording and transmission of programs, role over the Internet, and the effects on firms in these industries, beginning with transistor radios to the Internet.
Vladilen Letokhov and Sveneric Johansson
- Published in print:
- 2008
- Published Online:
- May 2009
- ISBN:
- 9780199548279
- eISBN:
- 9780191720512
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199548279.001.0001
- Subject:
- Physics, Atomic, Laser, and Optical Physics
Progress in modern radio astronomy led to the discovery of space masers in the microwave range, and it became a powerful tool for studies of interstellar star-forming molecular clouds. Progress in ...
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Progress in modern radio astronomy led to the discovery of space masers in the microwave range, and it became a powerful tool for studies of interstellar star-forming molecular clouds. Progress in observational astronomy, particularly with ground-based huge telescopes and the space-based Hubble Space Telescope, has led to recent discoveries of space lasers in the optical range. These operate in gas condensations in the vicinity of the mysterious star Eta Carinae (one of the most luminous and massive stars of our Galaxy). Both maser and laser effects, first demonstrated under laboratory conditions, have now been discovered to occur under natural conditions in space too. This book describes consistently the elements of laser science, astrophysical plasmas, modern astronomical observation techniques, and the fundamentals and properties of astrophysical lasers.Less
Progress in modern radio astronomy led to the discovery of space masers in the microwave range, and it became a powerful tool for studies of interstellar star-forming molecular clouds. Progress in observational astronomy, particularly with ground-based huge telescopes and the space-based Hubble Space Telescope, has led to recent discoveries of space lasers in the optical range. These operate in gas condensations in the vicinity of the mysterious star Eta Carinae (one of the most luminous and massive stars of our Galaxy). Both maser and laser effects, first demonstrated under laboratory conditions, have now been discovered to occur under natural conditions in space too. This book describes consistently the elements of laser science, astrophysical plasmas, modern astronomical observation techniques, and the fundamentals and properties of astrophysical lasers.
Jan‐Erik Lane, David McKay, and Kenneth Newton
- Published in print:
- 1996
- Published Online:
- January 2005
- ISBN:
- 9780198280538
- eISBN:
- 9780191601934
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019828053X.003.0009
- Subject:
- Political Science, Reference
This section presents statistics on political communications in OECD countries. It features tables on domestic and foreign lettermail, telephones per hundred inhabitants, radio broadcasting, and ...
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This section presents statistics on political communications in OECD countries. It features tables on domestic and foreign lettermail, telephones per hundred inhabitants, radio broadcasting, and newspapers.Less
This section presents statistics on political communications in OECD countries. It features tables on domestic and foreign lettermail, telephones per hundred inhabitants, radio broadcasting, and newspapers.
Robert James Matthys
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780198529712
- eISBN:
- 9780191712791
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198529712.003.0035
- Subject:
- Physics, History of Physics
In the United States, WWV is the obvious time standard to check a clock against. WWV's claimed time accuracy as transmitted in Boulder, Colorado is 10 microseconds short term, and 1 second in 3,000 ...
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In the United States, WWV is the obvious time standard to check a clock against. WWV's claimed time accuracy as transmitted in Boulder, Colorado is 10 microseconds short term, and 1 second in 3,000 years long term. The received short-term accuracy is reduced to 0.001 second due to variations in the time signal's transit time. An exception is the better received short-term accuracy of 100 microseconds in WWV's 60-kHz ground wave signal, which can be improved even further to 10 microseconds by using proper averaging techniques. A shortwave radio receiver is needed to pick up the WWV signal. This chapter describes an electronic method of accurately comparing a clock's time against WWV's time.Less
In the United States, WWV is the obvious time standard to check a clock against. WWV's claimed time accuracy as transmitted in Boulder, Colorado is 10 microseconds short term, and 1 second in 3,000 years long term. The received short-term accuracy is reduced to 0.001 second due to variations in the time signal's transit time. An exception is the better received short-term accuracy of 100 microseconds in WWV's 60-kHz ground wave signal, which can be improved even further to 10 microseconds by using proper averaging techniques. A shortwave radio receiver is needed to pick up the WWV signal. This chapter describes an electronic method of accurately comparing a clock's time against WWV's time.
Charlotte Bedford
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781529203363
- eISBN:
- 9781529203516
- Item type:
- book
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781529203363.001.0001
- Subject:
- Sociology, Law, Crime and Deviance
Radio produced and broadcast behind prison walls is redefining traditional meanings of ‘public service broadcasting’ and disrupting traditional power structures within the prison system. Focusing on ...
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Radio produced and broadcast behind prison walls is redefining traditional meanings of ‘public service broadcasting’ and disrupting traditional power structures within the prison system. Focusing on one of the most interesting developments in UK prisons over the past ten years, this book examines the early history of the Prison Radio Association (PRA) and the formation of the first national radio station for prisoners. Highlighting the enduring importance of social values in broadcasting, this book shows how radio can be used as a powerful force for social change. It will be of interest to those involved in media, criminal justice, and social activism.Less
Radio produced and broadcast behind prison walls is redefining traditional meanings of ‘public service broadcasting’ and disrupting traditional power structures within the prison system. Focusing on one of the most interesting developments in UK prisons over the past ten years, this book examines the early history of the Prison Radio Association (PRA) and the formation of the first national radio station for prisoners. Highlighting the enduring importance of social values in broadcasting, this book shows how radio can be used as a powerful force for social change. It will be of interest to those involved in media, criminal justice, and social activism.
Simon Morrison
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195181678
- eISBN:
- 9780199870806
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195181678.003.0003
- Subject:
- Music, History, Western
This chapter chronicles Prokofiev's activities from the spring of 1938 to the winter of 1939, a period that witnessed the loss of his ability to travel abroad, the arrest (at the height of the ...
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This chapter chronicles Prokofiev's activities from the spring of 1938 to the winter of 1939, a period that witnessed the loss of his ability to travel abroad, the arrest (at the height of the Stalinist purges) of his mentor Vsevolod Meyerhold, his embrace of the aesthetic of Socialist Realism in his opera Semyon Kotko, and his composition of a cantata in honor of Stalin's sixtieth birthday for Soviet Radio (the signing of the Molotov-Rippentrop non-aggression pact in 1939 necessitated a rewriting of the libretto of Semyon Kotko). Beyond these conformist works, the chapter also discusses Prokofiev's unknown music for athletic display.Less
This chapter chronicles Prokofiev's activities from the spring of 1938 to the winter of 1939, a period that witnessed the loss of his ability to travel abroad, the arrest (at the height of the Stalinist purges) of his mentor Vsevolod Meyerhold, his embrace of the aesthetic of Socialist Realism in his opera Semyon Kotko, and his composition of a cantata in honor of Stalin's sixtieth birthday for Soviet Radio (the signing of the Molotov-Rippentrop non-aggression pact in 1939 necessitated a rewriting of the libretto of Semyon Kotko). Beyond these conformist works, the chapter also discusses Prokofiev's unknown music for athletic display.
Michael L. May and John H. Matthews
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199230693
- eISBN:
- 9780191710889
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199230693.003.0006
- Subject:
- Biology, Ecology, Animal Biology
Migration by Odonata may illuminate patterns and evolution of insect migration in general. As aquatic/aerial carnivores dragonflies differ from most migratory insects, and because they are large and ...
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Migration by Odonata may illuminate patterns and evolution of insect migration in general. As aquatic/aerial carnivores dragonflies differ from most migratory insects, and because they are large and diurnal, observational techniques are available that are impossible in most other insects. Geographic analysis of genetic structure and stable and radiogenic isotope composition and use of newly developed radio-tracking techniques has been applied to migration in the North American dragonfly, Anax junius. Southbound migrants move up to 2,800 km. Developmental phenology suggests early (‘resident’) and late (‘migrant’) cohorts at most sites, but these groups appear genetically identical, and the species is essentially panmictic in eastern North America. Apparently environmental cues and physiological responses to photoperiod and temperature engender migratory behaviour. Successful radio-tracking of individual A. junius has revealed alternating periods of migration and energy replenishment, and responses to wind and temperature similar to avian migration.Less
Migration by Odonata may illuminate patterns and evolution of insect migration in general. As aquatic/aerial carnivores dragonflies differ from most migratory insects, and because they are large and diurnal, observational techniques are available that are impossible in most other insects. Geographic analysis of genetic structure and stable and radiogenic isotope composition and use of newly developed radio-tracking techniques has been applied to migration in the North American dragonfly, Anax junius. Southbound migrants move up to 2,800 km. Developmental phenology suggests early (‘resident’) and late (‘migrant’) cohorts at most sites, but these groups appear genetically identical, and the species is essentially panmictic in eastern North America. Apparently environmental cues and physiological responses to photoperiod and temperature engender migratory behaviour. Successful radio-tracking of individual A. junius has revealed alternating periods of migration and energy replenishment, and responses to wind and temperature similar to avian migration.
Louis Niebur
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195368406
- eISBN:
- 9780199863853
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368406.001.0001
- Subject:
- Music, History, Western, Popular
This book chronicles how in the late 1950s, the BBC established Britain's own electronic music studio, the Radiophonic Workshop, in opposition to famous academic studios in Continental Europe and ...
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This book chronicles how in the late 1950s, the BBC established Britain's own electronic music studio, the Radiophonic Workshop, in opposition to famous academic studios in Continental Europe and America. Rather than compete with these other studios, however, the BBC built a studio initially to provide its own avant‐garde dramatic productions with “special sound,” experimental sounds that were “neither music nor sound effect.” Very quickly, however, from the ashes of highbrow BBC radio drama emerged a popular lowbrow kind of electronic music in the form of quirky tonal jingles, signature tunes such as the one for Doctor Who, and incidental music for hundreds of programs lasting until the studio's closure in 1998. These influential sounds and styles, heard by millions of listeners over decades of operation on television and radio, have served as a primary inspiration for the use of electronic instruments in popular music. This history focuses on engineers, composers, directors, producers, bureaucrats, equipment, and locations to construct a narrative of the shifting perception toward electronic music in British culture. By combining a historical discussion with an analysis of specific works, this book derives new hermeneutical models for understanding how the output of the Radiophonic Workshop fits into the larger history of electronic music.Less
This book chronicles how in the late 1950s, the BBC established Britain's own electronic music studio, the Radiophonic Workshop, in opposition to famous academic studios in Continental Europe and America. Rather than compete with these other studios, however, the BBC built a studio initially to provide its own avant‐garde dramatic productions with “special sound,” experimental sounds that were “neither music nor sound effect.” Very quickly, however, from the ashes of highbrow BBC radio drama emerged a popular lowbrow kind of electronic music in the form of quirky tonal jingles, signature tunes such as the one for Doctor Who, and incidental music for hundreds of programs lasting until the studio's closure in 1998. These influential sounds and styles, heard by millions of listeners over decades of operation on television and radio, have served as a primary inspiration for the use of electronic instruments in popular music. This history focuses on engineers, composers, directors, producers, bureaucrats, equipment, and locations to construct a narrative of the shifting perception toward electronic music in British culture. By combining a historical discussion with an analysis of specific works, this book derives new hermeneutical models for understanding how the output of the Radiophonic Workshop fits into the larger history of electronic music.
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0003
- Subject:
- History, British and Irish Modern History, Cultural History
During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the ...
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During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the Australian Broadcasting Commission (ABC), and the New Zealand Broadcasting Board (NZBB). In Canada, the Canadian Radio League (CRL) enlisted the help of the BBC to make the case for public broadcasting. However, the world economic depression hampered plans to develop broadcasting, both on a national basis in these countries, and on an imperial footing. The BBC's underfunded Empire Service did little to link up the British world, despite attempts to use sport and the monarchy to generate interest in its broadcasts. BBC recorded programmes or transcriptions similarly met with a mixed response, and the BBC for its part seemed unenthusiastic about taking reciprocal programmes from the dominions. BBC attempts to operate overseas on a rigorously public-service basis compounded its problemsLess
During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the Australian Broadcasting Commission (ABC), and the New Zealand Broadcasting Board (NZBB). In Canada, the Canadian Radio League (CRL) enlisted the help of the BBC to make the case for public broadcasting. However, the world economic depression hampered plans to develop broadcasting, both on a national basis in these countries, and on an imperial footing. The BBC's underfunded Empire Service did little to link up the British world, despite attempts to use sport and the monarchy to generate interest in its broadcasts. BBC recorded programmes or transcriptions similarly met with a mixed response, and the BBC for its part seemed unenthusiastic about taking reciprocal programmes from the dominions. BBC attempts to operate overseas on a rigorously public-service basis compounded its problems
Julie Brown, Nicholas Cook, and Stephen Cottrell (eds)
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780197266175
- eISBN:
- 9780191865220
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266175.001.0001
- Subject:
- Music, Popular
The radio programme Desert Island Discs has run almost continuously since 1942, and represents a unique record of the changing place of music in British society. In 2011, recognising its iconic ...
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The radio programme Desert Island Discs has run almost continuously since 1942, and represents a unique record of the changing place of music in British society. In 2011, recognising its iconic status, the BBC created an online archive that includes podcasts of all programmes from 1976 on, and many from earlier years. Based on this and extensive documentary evidence, Defining the Discographic Self: ‘Desert Island Discs’ in Context for the first time brings together musicologists, sociologists, and media scholars to reflect on the programme’s significance, its position within the BBC and Britain’s continually evolving media, and its relationship to other comparable programmes. Of particular interest are the meanings attributed to music in the programme by both castaways and interviewers, the ways in which music is invoked in the public presentation of self, the incorporation of music within personal narratives, and changes in musical tastes during the seven decades spanned by the programme. Scholarly chapters are complemented by former castaways’ accounts of their appearances, which give fascinating insiders’ views into how the programme is made and how its guests prepare for their involvement.Less
The radio programme Desert Island Discs has run almost continuously since 1942, and represents a unique record of the changing place of music in British society. In 2011, recognising its iconic status, the BBC created an online archive that includes podcasts of all programmes from 1976 on, and many from earlier years. Based on this and extensive documentary evidence, Defining the Discographic Self: ‘Desert Island Discs’ in Context for the first time brings together musicologists, sociologists, and media scholars to reflect on the programme’s significance, its position within the BBC and Britain’s continually evolving media, and its relationship to other comparable programmes. Of particular interest are the meanings attributed to music in the programme by both castaways and interviewers, the ways in which music is invoked in the public presentation of self, the incorporation of music within personal narratives, and changes in musical tastes during the seven decades spanned by the programme. Scholarly chapters are complemented by former castaways’ accounts of their appearances, which give fascinating insiders’ views into how the programme is made and how its guests prepare for their involvement.
Jonathan P. J. Stock
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197262733
- eISBN:
- 9780191734502
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262733.003.0004
- Subject:
- Music, Ethnomusicology, World Music
This chapter develops the historical consideration of Shanghai opera begun in Chapter 1, looking now at huju in mid-20th-century Shanghai. Other than the appearance of female performers, in the ...
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This chapter develops the historical consideration of Shanghai opera begun in Chapter 1, looking now at huju in mid-20th-century Shanghai. Other than the appearance of female performers, in the period from approximately 1920 to 1949, there was an expansion of troupes with a concomitant increase in specialization; the rise of new performance venues and media, most obviously recorded sound and radio broadcasting; the influence of other artistic forms, such as the spoken drama and film; and changing modes of musical learning. Distinctive schools of performance were created, several of which remain significant in terms of musical style today. Discussion of these factors is enclosed within an examination of musical place.Less
This chapter develops the historical consideration of Shanghai opera begun in Chapter 1, looking now at huju in mid-20th-century Shanghai. Other than the appearance of female performers, in the period from approximately 1920 to 1949, there was an expansion of troupes with a concomitant increase in specialization; the rise of new performance venues and media, most obviously recorded sound and radio broadcasting; the influence of other artistic forms, such as the spoken drama and film; and changing modes of musical learning. Distinctive schools of performance were created, several of which remain significant in terms of musical style today. Discussion of these factors is enclosed within an examination of musical place.
Robert Gellately
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780198205609
- eISBN:
- 9780191676697
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198205609.003.0009
- Subject:
- History, European Modern History
This chapter discusses how Germans responded to other measures of the dictatorship that had little or nothing to do with race. Germans were subject to war measures acts that were introduced at the ...
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This chapter discusses how Germans responded to other measures of the dictatorship that had little or nothing to do with race. Germans were subject to war measures acts that were introduced at the outset of the war to regulate social, economic, cultural, and political life. The ‘extraordinary radio measures’ of 1 September 1939, which forbad listening to foreign radio stations, deserve special attention because they pertained to efforts to police the private sphere. Until that point in time, the dictatorship had relied on cooperation between the police and the people. The new system produced a radical version of surveillance and control. However, the new radio measures represented something new, because the object of the exercise was not only to control public behaviour, but to determine what people heard, even in the privacy of their homes.Less
This chapter discusses how Germans responded to other measures of the dictatorship that had little or nothing to do with race. Germans were subject to war measures acts that were introduced at the outset of the war to regulate social, economic, cultural, and political life. The ‘extraordinary radio measures’ of 1 September 1939, which forbad listening to foreign radio stations, deserve special attention because they pertained to efforts to police the private sphere. Until that point in time, the dictatorship had relied on cooperation between the police and the people. The new system produced a radical version of surveillance and control. However, the new radio measures represented something new, because the object of the exercise was not only to control public behaviour, but to determine what people heard, even in the privacy of their homes.
Robert G Ryder
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199759392
- eISBN:
- 9780199918911
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199759392.003.0002
- Subject:
- Music, History, Western
The first section of this chapter explores a theory of the acoustical unconscious and how it can be applied to listening to radio. The notion of an acoustical unconscious is largely derived from ...
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The first section of this chapter explores a theory of the acoustical unconscious and how it can be applied to listening to radio. The notion of an acoustical unconscious is largely derived from Walter Benjamin’s reflections on radio and the optical unconscious. In the second part of the chapter, the author argues that the motif of ambiguity in Günter Eich’s famous radio play, Dreams (1951), which decenters the listeners’ own sense of self and what is real, taps into an acoustical unconscious that forces listeners to awaken to and contend with the collective history of which they are a part.Less
The first section of this chapter explores a theory of the acoustical unconscious and how it can be applied to listening to radio. The notion of an acoustical unconscious is largely derived from Walter Benjamin’s reflections on radio and the optical unconscious. In the second part of the chapter, the author argues that the motif of ambiguity in Günter Eich’s famous radio play, Dreams (1951), which decenters the listeners’ own sense of self and what is real, taps into an acoustical unconscious that forces listeners to awaken to and contend with the collective history of which they are a part.
Jeffrey Magee
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195090222
- eISBN:
- 9780199871469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090222.003.0010
- Subject:
- Music, Popular
After his own group disbanded, Henderson began writing arrangements for Benny Goodman's band to play on a network radio program called Let's Dance. The Henderson-Goodman collaboration has been ...
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After his own group disbanded, Henderson began writing arrangements for Benny Goodman's band to play on a network radio program called Let's Dance. The Henderson-Goodman collaboration has been variously interpreted as a challenge to the popular music industry and as a formulaic reinforcement of its values. Recognizing merit in both views but accepting neither as entirely apt, this chapter explores several arrangements — including “Blue Skies”, “Between the Devil and the Deep Blue Sea”, and “King Porter Stomp” — in musical detail in the first effort to identify the elements of the mainstream swing style that has been termed “Hendersonese‘. The analytical method combines examination of Goodman's recordings and the many scores and parts of the arrangements now held in the Goodman collections at the Yale Music Library and the New York Public Library, and it insists on understanding musical style in the context of the structure of a network radio program.Less
After his own group disbanded, Henderson began writing arrangements for Benny Goodman's band to play on a network radio program called Let's Dance. The Henderson-Goodman collaboration has been variously interpreted as a challenge to the popular music industry and as a formulaic reinforcement of its values. Recognizing merit in both views but accepting neither as entirely apt, this chapter explores several arrangements — including “Blue Skies”, “Between the Devil and the Deep Blue Sea”, and “King Porter Stomp” — in musical detail in the first effort to identify the elements of the mainstream swing style that has been termed “Hendersonese‘. The analytical method combines examination of Goodman's recordings and the many scores and parts of the arrangements now held in the Goodman collections at the Yale Music Library and the New York Public Library, and it insists on understanding musical style in the context of the structure of a network radio program.
Jeffrey Magee
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195090222
- eISBN:
- 9780199871469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090222.003.0001
- Subject:
- Music, Popular
Fletcher Henderson is widely known as an important figure in jazz history, but he has been viewed in problematic ways that do not fully reflect the nature of his music and career as a pianist, ...
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Fletcher Henderson is widely known as an important figure in jazz history, but he has been viewed in problematic ways that do not fully reflect the nature of his music and career as a pianist, bandleader, and arranger-composer. Henderson's influence may be better understood by seeing him as a catalyst for musical collaboration and change. His musical relationships were essential to his success, and his versatility and professionalism shaped a unique career. Henderson contributed to jazz in the early 20th century when middle-class African Americans increasingly challenged conventional views about race, and when the music industry intensified its efforts to exploit the new media of radio and recordings. Taking these trends into consideration with a critical review of Henderson's written arrangements, performance history, biography, and recordings, Henderson emerges as having a considerably more complex relationship to the jazz tradition — and the history of music in the United States — than demonstrated by previous inquiry.Less
Fletcher Henderson is widely known as an important figure in jazz history, but he has been viewed in problematic ways that do not fully reflect the nature of his music and career as a pianist, bandleader, and arranger-composer. Henderson's influence may be better understood by seeing him as a catalyst for musical collaboration and change. His musical relationships were essential to his success, and his versatility and professionalism shaped a unique career. Henderson contributed to jazz in the early 20th century when middle-class African Americans increasingly challenged conventional views about race, and when the music industry intensified its efforts to exploit the new media of radio and recordings. Taking these trends into consideration with a critical review of Henderson's written arrangements, performance history, biography, and recordings, Henderson emerges as having a considerably more complex relationship to the jazz tradition — and the history of music in the United States — than demonstrated by previous inquiry.
Louis Niebur
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195368406
- eISBN:
- 9780199863853
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368406.003.0001
- Subject:
- Music, History, Western, Popular
For lowbrow comedy, children's science fiction, and experimental Third Programme broadcasts, the gradual addition of electronic noise in sound effects technicians' arsenal in the 1950s offered new ...
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For lowbrow comedy, children's science fiction, and experimental Third Programme broadcasts, the gradual addition of electronic noise in sound effects technicians' arsenal in the 1950s offered new sonic options to BBC producers. At first, the mere presence of “electronic sound” was a novelty, but soon, as these sounds began to appear in programming with greater frequency, several producers within the Drama Department began to explore Continental musical techniques. This chapter tells this history and discusses how this curiosity led to the first deliberate domestic productions using concrete techniques. It also introduces a radio‐specific adaptation of Michel Chion's concept of the acousmêtre, traditionally any sound in a film for which the source is invisible, as a way of understanding the appeal of electronic sound in both science fiction and Theatre of the Absurd productions, including Samuel Beckett's All That Fall (1957), the success of which precipitated the opening of the Radiophonic Workshop a year later.Less
For lowbrow comedy, children's science fiction, and experimental Third Programme broadcasts, the gradual addition of electronic noise in sound effects technicians' arsenal in the 1950s offered new sonic options to BBC producers. At first, the mere presence of “electronic sound” was a novelty, but soon, as these sounds began to appear in programming with greater frequency, several producers within the Drama Department began to explore Continental musical techniques. This chapter tells this history and discusses how this curiosity led to the first deliberate domestic productions using concrete techniques. It also introduces a radio‐specific adaptation of Michel Chion's concept of the acousmêtre, traditionally any sound in a film for which the source is invisible, as a way of understanding the appeal of electronic sound in both science fiction and Theatre of the Absurd productions, including Samuel Beckett's All That Fall (1957), the success of which precipitated the opening of the Radiophonic Workshop a year later.
Louis Niebur
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195368406
- eISBN:
- 9780199863853
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368406.003.0002
- Subject:
- Music, History, Western, Popular
Opening with a discussion of the material problems encountered by the Workshop's supporters after its initial proposal, this chapter primarily concerns the aggressive but ultimately futile attempts ...
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Opening with a discussion of the material problems encountered by the Workshop's supporters after its initial proposal, this chapter primarily concerns the aggressive but ultimately futile attempts by the BBC's Music Department to prevent the studio's creation. Frightened of an academic studio under the BBC banner, and determined to protect the “rational development of music” in Britain, department heads proposed a series of often‐ridiculous alternatives to a full‐fledged electronic music studio. Ultimately, those in opposition to the studio were successful in shaping a great deal of the final studio's makeup, largely forbidding the use of the studio by outside composers and initially limiting the output of the Workshop to electronic “sound effects” for dramatic productions. The chapter then examines the studio's tiny budget, offers detailed discussion of the equipment it acquired, and explores its early compositions.Less
Opening with a discussion of the material problems encountered by the Workshop's supporters after its initial proposal, this chapter primarily concerns the aggressive but ultimately futile attempts by the BBC's Music Department to prevent the studio's creation. Frightened of an academic studio under the BBC banner, and determined to protect the “rational development of music” in Britain, department heads proposed a series of often‐ridiculous alternatives to a full‐fledged electronic music studio. Ultimately, those in opposition to the studio were successful in shaping a great deal of the final studio's makeup, largely forbidding the use of the studio by outside composers and initially limiting the output of the Workshop to electronic “sound effects” for dramatic productions. The chapter then examines the studio's tiny budget, offers detailed discussion of the equipment it acquired, and explores its early compositions.
Louis Niebur
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195368406
- eISBN:
- 9780199863853
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368406.003.0003
- Subject:
- Music, History, Western, Popular
This chapter explores the unique form of British modernism that influenced the shift in the Radiophonic Workshop's output from abstract avant‐garde radio drama to electronic tonal music. Moving ...
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This chapter explores the unique form of British modernism that influenced the shift in the Radiophonic Workshop's output from abstract avant‐garde radio drama to electronic tonal music. Moving roughly chronologically through the major commissions of the Workshop in its first years, this chapter traces this shift, first in radio and then in television. As “sound engineers” give way to “composers” within the studio, so too does the fear from within the Music Department transform into tolerance as they realize how little the two departments overlap. The primary focus of this chapter, however, is the works; detailed attention is paid to the composition, construction, reception, and interpretation of specific commissions, and to their significance for contemporary audiences. The chapter concludes by arguing that the need for electronic music taps into a deep‐seated insecurity within Britain about the country's political, artistic, and financial position in the 1950s and 1960s.Less
This chapter explores the unique form of British modernism that influenced the shift in the Radiophonic Workshop's output from abstract avant‐garde radio drama to electronic tonal music. Moving roughly chronologically through the major commissions of the Workshop in its first years, this chapter traces this shift, first in radio and then in television. As “sound engineers” give way to “composers” within the studio, so too does the fear from within the Music Department transform into tolerance as they realize how little the two departments overlap. The primary focus of this chapter, however, is the works; detailed attention is paid to the composition, construction, reception, and interpretation of specific commissions, and to their significance for contemporary audiences. The chapter concludes by arguing that the need for electronic music taps into a deep‐seated insecurity within Britain about the country's political, artistic, and financial position in the 1950s and 1960s.
