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1.
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2.
This article examines the emergence of local radio in a rural southeastern Turkish city called Sanllurfa in the early 7990s following the end of the state's media monopoly on broadcasting. Informed by a media ethnography conducted there in 2001, this article discusses local debates over the content and quality of local radio and the influence of the state's official cultural policies on the programming decisions of local radio owners, managers, and DJs. This paper also illustrates Turkish young people's local and national radio preferences, their responses to local programming and on-air personalities, and the meaning of music and local radio in their lives.  相似文献   

3.
Through the use of oral histories, this study examines the social impact of early radio usage on rural Appalachia. In an area in which isolation fostered independence, strong family and community values have always been important. Contrary to the "lonely crowd" analogy, where electronic media were sometimes looked on as isolating forces in society, the inception of radio into rural Appalachia appeared to enhance rather than disrupt family and community unity. In addition, the coming of electricity into this distressed region of the United States had a dramatic impact on the ways in which people experienced radio. It could be argued that electricity's arrival, more than the evolution of the medium itself, changed people's listening habits in this rural area of the country.  相似文献   

4.
This article reveals how Spanish-language radio started in San Antonio, Texas—as blocks of time bought by Hispanics interested in providing music to San Antonio's Spanish-speaking residents. In particular, this study recognizes the contributions of San Antonio radio pioneer Manuel Davila and his role in starting Spanish-language radio and the Tejano format, drawing from a combination of on-site observation at Davila's station, personal interviews, and the collection of historical data. The article also lays a foundation for critically analyzing the political economy and hegemonic process of maintenance of economic and cultural power possible in the early days of radio broadcasting to compare it to the current corporately dominated marketplace.  相似文献   

5.
The author examines radio programs produced by women in the U.S. that feature music by women. Women's music programming offers a variety of music genres and presentation styles. Criteria of music selection also vary, with some programs concentrating solely on women's contributions and musical works, and others that play music by mixed-sex groups and even featuring a male vocal. However, the commonality of all these programs lies in their dedication to highlighting women artists and giving voice to those who would otherwise not be heard. As media artifacts, women's music radio programs offer multiple layers of feminist inquiry.  相似文献   

6.
After providing glimpses of the external competition problems besetting the Top 40 radio format and later clones, the author focuses on hit music radio's internal problems. They include narrow formatting and audience fragmentation, the continuing inordinate influence of teens on pop music, the self‐referential nature of the symbiosis between record companies and radio music programmers, music testing results that are used to produce a “least objectionable playlist,” and flaws in the original theories underpinning the Top 40 format. An in‐depth reanalysis of the genesis of the limited playlist concept then follows. A song's reliability in producing a desired pleasurable reaction in the listener (because of factors intrinsic to the music) is advanced as a useful factor in choosing music for radio airplay.  相似文献   

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8.
With music being one of the key elements of radio, and plurality one of the most important principles of public service, this article’s central argument is that one of the missions of public radio is to foster musical elements produced in the country’s national language. Focusing on traditional musical genres of the Portuguese-speaking countries, we will analyze the role of music in public radio by selecting specific musical shows focused on the Lusophone world. In order to determine the presence and impact of Lusophony in national stations, music will be the common thread for a reflection on how multicultural their programming strategies are able to be.  相似文献   

9.
Based on original oral history and archival research, this historical study details how the development of wireless immigrant community radio has related to the Chinese American experience. It examines (1) the social, political, and economic conditions in which Chinese- language radio emerged in the diaspora; (2) the development of Sinocast, a Cantonese-language station in New York City, as a case study in immigrant community radio; (3) the change and continuity in Sino- cast's radio programming during the past three decades, with a focus on news, community service, drama, and music programs; and (4) a summary analysis of the implications of Sinocast's experience in reference to recent developments of Chinese American ethnic radio at the turn of the 21st century.  相似文献   

10.
In 1993, I published an article in the Journal of Broadcasting and Electronic Media entitled "In Search of the Sarnoff ‘Radio Music Box' Memo: Separating Myth from Reality." That article focused on my quest to find the original memo David Sarnoff, the legendary broadcast leader, claimed to have written in 1915 in which he predicted the advent of broadcasting. This article presents evidence I sought then that proves the existence of a "Radio Music Box Memo" written in 1916 and includes confirmation of a reply E.J. Nally wrote to that Memo in 1916. It also describes the context in which both of the documents-Sarnoff's 1916 memo to Nally and Nally's 1916 reply- were written. These materials indicate Sarnoff and Nally were actively involved in developing some type of music service for wireless consumption. They also show that Sarnoff had conceived the idea of a "music box" that would use wireless apparatus as early as November 1916. He should be recognized for that early concept.  相似文献   

11.
In the 1950s, television knocked radio off its pedestal as the primary electronic entertainment in the home and forced the radio industry to find new ways to compete. In Memphis, Tennessee, WHER went on the air in 1955 as an early experiment in all-women's programming. Located at 1430 on the AM dial, WHER featured a female on-air staff, but it was owned by three businessmen: Sam Phillips of Sun Records, Roy Scott, and Kemmons Wilson, the founder of Holiday Inn. WHER called itself "a thousand beautiful watts." The Memphis Sunday Times heralded it as "the nation's first successful all- girl station."  相似文献   

12.
Radio stations regularly conduct music research to determine what music they should play. Programming belief is that if they play music that people like better, more people will listen and listen longer, and the station's ratings will improve. This project utilizes Radio &; Records' Callout America® callout research of the top 30 songs on its Contemporary Hit Radio/Pop chart and their published CHR/Pop radio station playlists to compile an average favorability score for the music the station played. These scores were then compared to Arbitron ratings. Analysis found a statistically significant direct correlation between music research scores and Arbitron ratings.  相似文献   

13.
The aim of this article is to assess whether and how the CBC’s music radio programming reflects the corporation’s mandate of showcasing a diversity of music and culture. I argue that a program logic that privileges an international corporate music industry strategy persists (particularly during the peak morning and afternoon drive time programs) and limits the capacity for public radio to imagine and project alternative musical trajectories. My aspiration is to imagine CBC Music’s over-the-air radio as a residual broadcast service, one that presents novel opportunities at a time when digital and online streaming music is dominant.  相似文献   

14.
Some radio stations emulate mainstream formats in an effort to attract “niche” audiences, characterized by cultural determinants such as language or religion. This study analyzed stations that follow religious music subgenre formats. The most prominent religious music format. Southern Gospel, along with Country Religious and Black Gospel, was found almost exclusively in the Southern region of the U.S. The majority of stations that featured these formats were AM. In contrast, Worship, Soft Rock, and Rock format emulations were broadcast primarily on FM, with Soft Rock formats most evenly distributed around the country. Religious Rock formatted stations gave significantly greater emphasis to promotion and lowest emphasis to ministry. Findings suggest that niche formats' success in appealing to identifiable cultural groups may rest on the effectiveness of station promotion to the intended audiences.  相似文献   

15.
Whither Radio     
This experimental study tested the effects of instrumental background music on subjects' opinions of the candidate in a political radio commercial. Democrats hearing a Democratic candidate commercial without music considered it more issue-oriented than those hearing it with music. No significant effects were found in Republicans. Controlling for party affiliation, results showed a significant correlation between subjects' perceiving the spot as issue-oriented and their stated intention to vote for the candidate. Subjects hearing the spot with music were more likely to consider the spot “well done,” but this did not translate into a statistically significant preference for the candidate.  相似文献   

16.
Across the radio spectrum, there are relatively few stations in the United States that concentrate on community building and sustainability. One of the country's early community radio stations, KBOO-FM in Portland, Oregon, has been on the air since 1968 and has significantly expanded its signal reach and audience during that time. Preceding National Public Radio, KBOO is the outcome of a Portland grassroots activist movement that initially sought to restore classical music on the local airwaves and eventually concurred on a more radical mission to serve the underserved and to cater to communities at the margins in the metropolitan listening area and beyond. KBOO transmits a potpourri of musical and artistic styles, foreign language programs, and critical news, public affairs, and commentaries—all with a largely volunteer-based governance structure. It also devotes its attention to promoting community-based initiatives. This article focuses on four major community functions served by KBOO community radio: public transmission, radio training, political education and mobilization, and community building and outreach. We conclude with observations about the uses and potential of community radio in developing a rich democratic civil society.  相似文献   

17.
In 1928, the fledgling National Broadcasting Company hired Boston-based marketing consultant Daniel Starch to conduct the first wide-ranging survey of the national radio audience. Starch oversaw more than 5,000 interviews of U.S. radio families living in states east of the Rocky Mountains. The survey's findings provide a glimpse of the early network radio audience prior to the Federal Radio Commission's 1928 reorganization of frequency and power allocations and the industry's subsequent expansion. This paper examines Starch's findings and places them within the historical context of the developing radio industry.  相似文献   

18.
In 1933–1935, Admiral Richard Byrd's second Antarctic expedition was partly funded by General Foods. This included radio program sponsorship aired via relays from the South Pole to CBS in New York. The program format generally opened with news and music from CBS, then weather, expedition reports, entertainment, and a segment with Byrd. It often closed with 2-way conversations between New York and Little America featuring family, acquaintances, experts, or New York hosts conversing with explorers. This sponsored program's design clearly answered Hoover's public interest requirements and added educational emphasis in 1934 at a time of hearings over educational broadcasting.  相似文献   

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20.
The 2015 radio controversy “SaladGate” revealed a lack of female music artists gaining airplay. This study expands a previous gender analysis of American music radio into a longitudinal study. A content analysis of 192 stations revealed that airplay is increasing for females. However, most of these gains came from the Top-40 format, echoing concerns about the recording industry’s preference that women become pop stars, leaving all other musical genres to men. The results suggest the existence of a gender order in music radio, one that works hand-in-hand with the music industry to exclude women.  相似文献   

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