Music Radio Michelsen, Morten; Krogh, Mads; Nielsen, Steen Kaargaard ...
2019, 2018, 2018-12-27
eBook
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.
For almost a century, music on the radio has been an important part of Danish music culture. Tunes for All? Music on Danish Radio presents the many ways music and radio have co-existed and interacted ...from the 1920s until today. Music radio is a complex network of sounds, technologies and people, and the book spans programmes and channels, presenters and listeners, music genres and programme genres, stakeholders and different interests primarily in relation to the all-dominant national broadcasting institution, Danmarks Radio. In 10 chapters, the authors address this network with an interest in programme content and production from various media and music perspectives in order to contribute to analytical and theoretical knowledge about music on the radio. The many cases cover chart shows, morning radio, live ensembles, automatic music programming and sports radio.
I artiklen analyserer jeg de nye danske rockkritikeres reception af Jimi Hendrix fra 1967 til 1970. Det fremgår, at en gruppe på 20-25 anmelderes sprog om den ny og fremmedartede, psykedeliske musik ...bevæger sig fra en mere distanceret og beskrivende stil baseret på et ideal om den ”objektive” anmelder frem mod en mere personlig stil, hvor anmelderen erkender sin subjektivitet og gennem en strategi om indlevelse forsøger at tolke de mange sanseindtryk og følelsestilstande, der opstår i mødet mellem lyttere og musik. Gennem at tilskrive musikken en autenticitet, en kompleksitet og en egenartet udtryksfuldhed bidrog forfatterne til at gøre Hendrix musik mere forståelig. Samtidig bidrog de i diskursiveringen af det ny til at legitimere rockmusikken som en ”seriøs” musik med en egen æstetik, der krævede sine kompetente formidlere.
In this article, I investigate how colonized cultures were presented to "home" radio audiences through sound (music, speech, sound montages) during the inter-war years. The focus is on how a small ...group of broadcasts containing musical representations of the colonies of Greenland and India afforded the imaginative work and temporary imagined communities to Austrian, Danish, and British radio listeners in relation to the spatiality and otherness of distant peoples and locations. I suggest a typology of four modes of musical representation in broadcasts reaching from the European tradition of musical exoticism to the use of recordings of indigenous music.
Biography: Morten Michelsen is a popular music scholar and professor of musicology at Aarhus University. His research interests include popular music and mediation, music radio and sound studies, historical radio studies, questions of taste and music criticism, and popular music historiography. 2013-2018 he led the research project A Century of Radio and Music In Denmark (
www.Ramund.ikk.ku.dk
) and contributed to other large research projects concerned with radio. Among his recent publications on sound, music, and radio are three anthologies on music radio, including Tunes for All? (Aarhus University Press, 2018) on Danish music radio and Music Radio: Building Communities, Mediating Genres (Routledge, 2019) on international music radio.
In order to discuss analytically spatial aspects of recorded sound William Moylan’s concept of ‘sound stage’ is developed within a musicological framework as part of a sound paradigm which includes ...timbre, texture and sound stage. Two Michael Jackson songs (‘The Lady in My Life’ from 1982 and ‘Scream’ from 1995) are used to: a) demonstrate the value of such a conceptualisation, and b) demonstrate that the model has its limits, as record producers in the 1990s began ignoring the conventions of stereo recording’s illusion of three dimensions and reached for a severing of the intimate relations between sound and Euclidic space.
Music, radio and mediatization Michelsen, Morten; Krogh, Mads
Media, culture & society,
05/2017, Letnik:
39, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Mediatization has become a key concept for understanding the relations between media and other cultural and social fields. Contributing to the discussions related to the concept of mediatization, ...this article discusses how practices of radio and music(al life) influence each other. We follow Deacon’s and Stanyer’s advice to supplement the concept of mediatization with ‘a series of additional concepts at lower levels of abstraction’ and suggest, in this respect, the notion of heterogeneous milieus of music–radio. Hereby, we turn away from the all-encompassing perspectives related to the concept of mediatization where media as such seem to be ascribed agency. Instead, we consider historical accounts of music–radio in order to address the complex non-linearity of concrete processes of mediatization as they take place in the multiple meetings between a decentred notion of radio and musical life.
I denne artikel diskuterer vi muligheder og analysestrategier for det, vi kalder en oplevelseshistorisk tilgang til musikken, ved at veksle mellem teoretisk-metodiske refleksioner, elementer af ...historiografi og to praktiske analyser af oplevelsesfællesskaber i start-1980’ernes århusianske punkmiljø og de modkulturelle sociomusikalske rytmer et årti tidligere. Ud fra en overordnet interesse for musikkens historicitet og implikationer for hhv. socialisering og udfordring af herskende sociale normer peger vi særligt på erkendelsespotentialer i mødet mellem beslægtede, teoretisk-metodiske hovedstrømme inden for nyere musik- og historieforskning. Den ene er Christopher Smalls musicking, dvs. musikken som praksis og ikke som objekt. Den anden er faghistorikernes interesse for følelser og sanser som centrale aspekter af historisk variable oplevelser af verden, bl.a. som det kommer til udtryk i Benno Gammerls begreb om følelsesstilarter. Musicking og oplevelseshistorie bindes sammen gennem inddragelsen af Henri Lefebvres refleksioner over rum og tid i det levede og oplevede hverdagsliv.
Michael Jackson's Sound Stages Michelsen, Morten
SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience,
04/2012
Journal Article
Recenzirano
Odprti dostop
In order to discuss analytically spatial aspects of recorded sound William Moylan’s concept of ‘sound stage’ is developed within a musicological framework as part of a sound paradigm which includes ...timbre, texture and sound stage. Two Michael Jackson songs (‘The Lady in My Life’ from 1982 and ‘Scream’ from 1995) are used to: a) demonstrate the value of such a conceptualisation, and b) demonstrate that the model has its limits, as record producers in the 1990s began ignoring the conventions of stereo recording’s illusion of three dimensions and reached for a severing of the intimate relations between sound and Euclidic space.
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