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This article examines the music criticism of Nora Douglas Holt, an African American woman who wrote a classical music column for the Chicago Defender (1917–1923) and published a monthly magazine, Music and Poetry (1921–1922). I make two claims regarding the force and impact of Holt's ideas. First, by writing about classical music in the black press, Holt advanced a model of embodied listening that rejected racist attempts to keep African Americans out of the concert hall and embraced a communal approach to knowledge production. Second, Holt was a black feminist intellectual who refuted dominant notions of classical music's putative race- and gender-transcending universalism; instead, she acknowledged the generative possibilities of racial difference in general and blackness in particular. I analyze Holt's intellectual commitments by situating her ideas within the context of early twentieth-century black feminist thought; analyzing the principal themes of her writing in the Chicago Defender and Music and Poetry; and assessing her engagement with a single musical work, Tchaikovsky's Symphony No. 4 in F Minor, op. 36. Ultimately, Holt's criticism offers new insight into how race, gender, and musical activity intersected in the Jim Crow era and invites a more nuanced and capacious understanding of black women's manifold contributions to US musical culture. [ABSTRACT FROM AUTHOR]

Gorn's (1982) pioneering article on the effects of background music in advertising has spurred a significant controversy and inspired vigorous interest in the topic. Following the recommendation of Allen and Madden (1985), we conducted three experiments that attempted to replicate Gore's results. Contrary to Gorn's findings, there was no evidence that product preferences can be conditioned through a single exposure to appealing or unappealing music. [ABSTRACT FROM AUTHOR]

Psytrance music festivals provide familiar environments, typically outside city limits, where release is sought from daily reality, working routines, or common sense. While sharing these goals with other leisure activities, the festivals also aim for the actualization of encountering unknown or alien destinations. This journey is enabled by the media ecology of the festival, which notably includes the effects of psychedelic drugs. Drawing on ethnographic research of Melbourne-based festivals, this article explores the cultural meanings of getting "trashed" or "wasted"on psychedelic drugs within the outdoor festival environment. The partygoers' temporary retreat into nature ties into the theme of an exile that traces back to the 1960s and still pervades psychedelic culture. This article reworks this theme by addressing the ironic reconfiguration of nature at psytrance festivals, where excessive media consumption leads to an authentic way to connect our urban cultures with nature in its contemporary unauthenticity. [ABSTRACT FROM AUTHOR]

This special issue gathers state-of-the-art research on multimedia methods and technologies aimed at enriching music performance, production, and consumption. [ABSTRACT FROM PUBLISHER]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses musician Pete Seeger's views on the music genre's approach to communication focusing on Seeger's understanding of folk authenticity, disapproval of mass media and his works on medium theory. Topics include broadcasting models of dissemination, works of author Harold Adams Innis on time-biased media, history of American folklore, television and folk performances, folk revival through television program "Hootenanny" and theory of dissemination.

The article discusses the promotional campaign for the music album of rock band Arcade Fire titled "Reflektor". Topics discussed include "Saturday Night Live" (SNL) performance of the band, relation between mass media and the promotion of this music album, and promotion of the album with the help of social media including Instagram and Twitter.

The article examines how sound recording and media create a context different in consequential ways for music education. It relates the story of the author's connection to his son through the ukulele, as well as reviews an approach to technology in music with a focus on commodization, efficiency and sound fidelity. It also elaborates on focal practices approach and the technological transparency approach, two kinds of responses about music education context and media awareness.

Performance plays a lead role in the story of journalism. From the speeches of town criers to the spectacles of television comedians, the news has always relied on performers. Media scholars, however, have largely accounted for journalism’s history with a bias toward space and print at the expense of time and performance. This article argues that corridistas (balladeers) balance the spatial bias of print with the temporal bias of performance in order to preserve the historical connection between music and news. Corridos (news ballads) induce scholars and reporters to rethink the role of objectivity in journalism with methods that show more than one truth. A textual analysis of two ballads from different centuries illuminates the importance and relevance of performance journalism today. [ABSTRACT FROM PUBLISHER]

Musicals are currently used as mechanism of attraction and persuasion. The musical commercials feature iconic attributes and codes related to the musical film genre. But although the main references of the musicals, as well as their uses, are usually kept in commercials, the semiotic interpretation and structure vary considerably with respect to films. These modifications are due to the influence of parameters such as the duration, the purpose, the form of reception, the origin of the script and its structure. A qualitative comparison between musical film and musical commercials is to argue this difference of interpretation. [ABSTRACT FROM AUTHOR]

During the early 19th century the guitar knew a degree of popularity that has prompted the belief that this was one of the most successful periods in its history. However, despite the apparent success of some individual players, the position of the guitar was uniquely controversial and conflicted. This article examines the guitar’s reception in the specialist music press in Germany, France and England during that period, and the motives behind the frequently negative assessments. Two dominating musical and ideological forces appear to have been particularly influential: the notion of gender-specific instruments and the rise of musical idealism.In 1783 the theorist of bourgeois decorum, Carl Ludwig Junker, described in detail which instruments befitted the respectable bourgeois woman. Such gendering of instruments had massive influence all over Europe, and it placed the guitar in the role of a domestic amateur instrument, first and foremost for women. Being contrary to the demands of the new musical idealism, this was detrimental to the prospect of the guitar finding a permanent place in professional musical life. Thus critics, almost unanimously and irrespectively of national background, took a negative, often outright hostile, stand towards the guitar, in particular when it assumed the role of a concert instrument. [ABSTRACT FROM PUBLISHER]

Several abstracts are presented on topics including the 19th century guitar maker Louis Panormo, the Bristol School of Artists and the music press in early 19th century Europe.

The ethnographic study that forms the basis of this article investigated the ways in which three Black males, Darrell (15), Reggie (15), and Dave (16), negotiated the messages of rap and the mass media to form their own counter-narratives of Blackness. The article aims to: (1) demonstrate how Black males are deconstructing rap to expose racial stereotyping within society and the media; (2) explore how Black males are debunking monolithic notions of Black masculinity; and (3) investigate youths' knowledge-making processes outside the walls of their schools. [ABSTRACT FROM AUTHOR]

During the Cold War, jazz became a powerful propaganda weapon in the battle for "hearts and minds". As early as the 1950s, the American administration began its Cold War "jazz campaign", by broadcasting the popular jazz radio show Music USA over the Voice of America, and by sending its top jazz artists on world tours. In this specific cultural Cold War, Yugoslavia was, as in its overall politics, in a specific position between the East and the West. The postwar period in Yugoslavia, following the establishment of the new (socialist) government, was characterized by strong resistance towards jazz as "decadent" music, until 1948 when "no" to Stalin became "yes" to jazz. From the 1950s, jazz entered Yugoslav institutions and media, and during the following two decades, completely conquered the radio, TV, and record industry, as well as the manifestations such as the Youth Day. On account of the openness of the regime during the 1950s and 1960s, Yugoslavia was frequently visited by the greatest jazz stars, such as Dizzy Gillespie, Louis Armstrong and Ella Fitzgerald. In the context of the Cold War, the promotion of jazz in Yugoslavia proved to be beneficial for both sides - by exporting jazz, America also exported its freedom, culture and system of values, while Yugoslavia showed the West to what extent its political system was open and liberal, at least concerning this type of music. [ABSTRACT FROM AUTHOR]

By the end of the nineteenth century Rimsky-Korsakov was the most frequently per-formed and best-known Russian composer in England after Tchaikovsky and Rubin-stein. However, the favourable reception that Tchaikovsky, in particular, had enjoyed in the English press was in sharp contrast to the attacks that were levelled from many sides against Rimsky-Korsakov and other composers viewed at the time as 'Nationalist'. In this article, which builds upon recent work by Gareth Thomas, Philip Bullock, and others, I examine English critical attitudes to Rimsky-Korsakov, extending my assess-ment much earlier than previously attempted. In doing so, I expose and evaluate the critical environment that led to the determined advocacy of Russian music by such authors as Rosa Newmarch and her successors. I propose sources for the disputes that coloured later English interest in Russian music, at the same time suggesting that critical reception did not always shape, nor indeed reflect, audience responses. [ABSTRACT FROM AUTHOR]

The article presents the soundscapes of disaster and humanitarianism following the earthquake which hit Haiti on January 12, 2010. It mentions the holding of survival singing and relief telethons in order to raise money for disaster relief. The author stresses the key role played by mass media in the history of humanitarianism.

The article discusses the orchestral work "The Planets" by composer Gustav Holst, which was composed of seven suites dedicated to seven of the Solar System's planets. The author notes the impact of astrology on Holst's composition and analyzes each suite according to the astrological attributes of each planet. The tempo of and instrumentation of each movement is explained. Particular focus is given to the ways in which "The Planets" has been incorporated into various mass media ventures, including recordings of the work and a video package featuring the work released by the Adler Planetarium in Chicago, Illinois.

The late 20th century in Sweden saw the growth of music solely aimed at an elderly audience. This article discusses music within pensioner organisations, first assessing a cassette compilation marketed through the members' magazine of Sweden's largest pensioner organisation and, second, embarking on ethnographies of meetings within a study circle in music-listening arranged through a pensioner organisation, conducted in 1999–2000. The music selection in the cassette compilation diminishes certain genres of the included period and foregrounds others, adding up to a specific homogeneous national memoryscape. A central theme in the study circle was the production and negotiation of generational and individual memoryscapes. The two mediascapes produced different memoryscapes, one being nationally and temporally bounded, the other being at the same time local, transnational and transtemporal. To conclude, the article claims that if we wish to understand the nexus of ageing and music in contemporary society, we need to listen not only to musicians, entrepreneurs and care institutions, but also to their intended audiences. [ABSTRACT FROM PUBLISHER]

This article examines one possible approach to teaching music in higher education with regards to creative rights and copyright. The author shares theoretical ideas underlying changes in content, creativity and culture brought about by the rise of new media and the Internet. Comparing examples of professional and student works, the author details increasingly prevalent creative practices. As these creative practices are intimately involved with new media, this brings increased attention to copyright in the classroom. The author reviews the predominant approach for teaching copyright, concluding that it favours compliance and centres on illegal downloading and digital infringement. A critique of the compliance approach finds four key weaknesses: first, that it ignores the norm/law gap; second, the inherent ambiguity in copyright makes compliance nearly impossible to achieve; third, a compliance approach is not in harmony with contemporary creative practices teachers should promote and; fourth, it has lead to the omission of critical areas that belong in every child's education. In its place, the author argues for a creative rights approach, focusing upon creativity and innovation. The article closes with three approaches for the enacting of a creative rights approach: recognition of student work, attention to the intellectual property dimensions of the curriculum and the allowance of transgressive works. [ABSTRACT FROM PUBLISHER]

Sites for representing music have been classified by the equipollence between their expressive value and transmission value. In this dialectic game, the media have had a determining influence as an intervening space, from music imagined on the radio to its visual representation on a screen to today's multimodal display created through the integration of current existing media that expand music's potential both in terms of production and consumption. An interest in 'cross-media' is the basis for this research which focuses on its most integrated and interactive aspect: immersive worlds. The aim is to classify the environments of immersive worlds through analyzing those most used as spaces for musical representation. Documentary research techniques have been used in order to obtain: a census of current immersive musical environments, and functional analysis of important cases. Through this analysis, various proposals are made for uses for immersive worlds, from both a technical perspective as well as from their potential as an interactive medium. In the conclusion, the possibilities for musical representation offered by these metaverses are assessed and possible future scenarios are discussed. [ABSTRACT FROM AUTHOR]

This article questions music's particular stake in Indigenous initiatives of redress and reconciliation. It examines music's media-specific relationship with redress and reconciliation, and public discourses that situate inter cultural art music performance as a medium ofreconciliation. In addressing intercultural art music's abilities to engender reconciliation, the article considers its social and political efficacy from two perspectives. Firstly, it offers a brief survey of the public and academic discourses on music's ability to engender reconciliation. Secondly, it examines how the discourse of music's power for reconciliation played out in an a performance of Mohican composer Brent Michael Davids' Powwow Symphony presented as part of the Dakota Music Tour (2010) in Minnesota. [ABSTRACT FROM AUTHOR]

The article reviews the beginning of Lithuanians' emigration to the USA and the prerequisites for the appearance of the periodical press in exile; it tries to identify the scope of attention devoted to music in newspapers and the way it was influenced by the cultural experience of the editors. The principal object of the research is contributions on the subject of musical life to the Draugas (The Friend) newspaper in the period of 1909-1949. They are analysed in terms of their chronology and genre in order to assess their significance for the development of musical culture and the cherishing of national identity. [ABSTRACT FROM AUTHOR]

Copyright of Spaces of Creation is the property of Spaces of Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers analysis of the forms of media coverage in France amidst the crisis in record sales and at the brink of age of the digital technology. It focuses on the indirect forms such as synchronisation or music broadcast in public places. It gives importance of the indirect forms of media coverage as it plays a key role in the payment of artist. Moreover, the existence of the indirect forms has questioned the role it played in the valorisation of global musical styles.

The article focuses on the emergence of media coverage over pop and electro musicians from Reims, France. It considers the emphasised territorial dimension of projects of which Reims was known to have a label of creative quality. It explores the phenomenon between media and music in France. Analysed are the development of music through aesthetic tendency, the highlight of activities of actors involved in music scene that have gained national media attention.

The article discusses the relationship between music and media in France through music journalism and promotion of punk. It also considers activities that are important on the promotion of punk in the middle 1970s as a radically new culture that has renewed the rock music scene in France. Moreover, their patronage of punk has shed light to the establishment of media outlets including the publication of "Rock & Folk" and "Libération."

It is generally accepted that heavy metal has been hated by the rock press more or less since its emergence in the early 1970s, because it is supposedly too hedonistic, too stagnant, too noisy, or too immature (Weinstein 2000; Walser 1993). Is this consensus regarding rock writers' judgements about heavy metal justified? Looking at reviews, articles and interviews written by rock critics and journalists about metal bands who crossed over to rock culture, this article explores three valorization processes and what is at stake behind them: authenticity strategies (how metal musicians prove their authenticity to prove their legitimacy), historiographical (re)writings (how metal gets told and retold through the years and how it is differentiated from other genres) and art and self-consciouness in metal (how metal came gradually to be described as art done by self-conscious musicians). In conclusion, we see that metal has been assessed more positively than originally thought; more precisely, the rock press changed attitude concerning metal through the years. [ABSTRACT FROM AUTHOR]

Societal and technological progresses have created a multitude of new ways for people to engage with music, and as a result music can nowadays be learned from an ever-expanding variety of sources. In this article, we engage in a theoretical exploration of the underpinning societal forces that have enabled this expansion, as well as its significance for the development of musical identity and knowledge. The exploration proceeds through sociological theories of modernity and theories of sociocultural learning. Examples from a recent ethnographic study of the Finnish online music community Mikseri provide insight into how musical identities can be constructed and maintained in web-based reality, as well as how online music sites may function as communities of practice where the members, through sharing and discussing their own music, develop music-related knowledge. A discussion about the implications of the current media-musical situation for music education practice and research is provided. [ABSTRACT FROM AUTHOR]

Purpose - The aim of this paper is to examine the impact of the digital culture on the music industries through an analysis of official and unofficial web sites, media reports and discussions with musicians. Design/methodology/approach - A critical social theory approach is adopted to examine structures and processes related to communication between artists, fans, the media, as well as commercial and independent labels. The authors draw upon Habermas' theory using the concept of "communicative action" to inform an analysis of three vignettes or short case studies. Findings - At first glance it would appear that technology has brought about greater opportunities for independent musicians to communicate, network, promote and distribute, which previously could not be widely published, and to organise against the commercial power of major labels (Majors). Research limitations/implications - In many spheres of the music industries this "empowerment" does not appear to be realised. For example, previous studies have shown that the domination of the Majors continues to impact on local music scenes to restrict and ultimately prevent the creative ideal deliver a situation that is necessary to empower independent musicians. Current media manipulation and corporate interests restrict and alienate independent musicians who often have more of an intellectual ownership and culture within their local music communities. Practical implications - Although steps to enable improved visibility and cooperation have been made we are still a long way off musicians having a powerful enough voice to organise against the commercial power of the large labels and media conglomerates (e.g. Apple i-Tunes). The ideal speech situation remains elusive and the hegemonic state remains unchallenged. Social implications - Music continues to be commodified and fans are increasingly constructed as "consumers"; the ultimate power remains in mass media and broadcasting rather than independent "narrowcast" and DIY artistry. Originality/value - This paper extends debate on the impact of the developing "digital culture" focusing on independent musicians and the music industries. It raises issues for further research in this area. [ABSTRACT FROM AUTHOR]

In this article, we describe general features of popular music coverage in elite newspapers in the United States, France, Germany, and the Netherlands from 1955 to 2005. Drawing on data from content analysis of over 4,000 newspaper articles sampled in four reference years (1955, 1975, 1995, and 2005), we document broad changes and continuities in the extent, focus, and form of popular music coverage in mainstream media outlets of each country. [ABSTRACT FROM AUTHOR]

The public arrival of the Beatles in 1963 brought unforeseen difficulties for journalists in the UK. Although there was an established weekly music press, centered around a quartet of titles, its writers had little practical experience of British performers whose popularity and success eclipsed that of their American contemporaries, and who actively sought to create a distinctive musical style of their own. However, the problem was even more acute for the country's national daily and weekly press: the traditional policy of regarding popular music as either an amusing and peripheral diversion or an incitement to delinquency and depravity left it ill-equipped to structure its coverage of a group whose personalities, behavior, and achievements transcended previous categorizations and blurred the distinction between news and entertainment. The decisions taken by the British press played a crucial role in shaping the early popularity of the Beatles, and also helped to establish a journalistic approach through which popular music became a legitimate and lucrative topic for newspapers in the UK. [ABSTRACT FROM AUTHOR]

The article examines the evolution of the distribution of recorded and broadcast music through various media, from the invention of the phonograph in 1877 to the influence of digital and Internet-based technologies in the early 21st century, based on social semiotics theory. It notes that the development of recording and radio broadcast technology had the effect of separating the listener from the source of the music for the first time and gave rise to genres of popular music that had not existed before. The article also comments on the Internet-based person-to-person music recommendation service Last.fm.

Michael Jackson's difference as a performer is what made people around the globe flock to him from the time he was a little boy, what eventually gave him the biggest-selling record of all time (Thriller), and what made us call him a genius. Until his death in June 2009, for all but his fans (not an insubstantial population), this difference seemed to have been forgotten, taken for granted, or overshadowed by his other, less embraceable differences. This article recounts Jackson's contribution to popular music through his remarkable body of work and also examines some of the more controversial aspects of his biography, which were almost always viewed by the media in a negative light. The author suggests that the irreconcilability of Jackson's differences (gendered, racialized, generational), both musical and biographical, made him in effect unknowable, producing profound anxiety in many. This accounts for the particularly venomous media coverage of his life. The author suggests several counter-narratives to widely held ideas about Jackson's difference. [ABSTRACT FROM AUTHOR]

The article presents analysis of the national and international media discourse associated to the trilingual entry of Israel to the 2009 Eurovision Song Contest. It focuses on how musical performance discourse reflects and influences national and ethnic identity in the country. It also shows the political battle raged in actions and words accompanying the entry of the song.

The article discusses the corporeality of the ostensibly cerebral music-making of pianist Glenn Gould. Greater access to the qualities of corporeal liveness apparent in the performances by Gould is afforded due to his engagement with recording technology. The sociality of music becomes evident by being aware of its liveness through emphasis on performance. Mediatization can be construed as a productive way to understand musical meaning if its relationships with liveness is reconsidered.

Abstract: This article presents a comparison of the aesthetic classification system of popular music, as employed by newspaper critics in the Los Angeles Times during 1985–86 and 2004–05. Through a relational discourse analysis of popular music album reviews, which applies the ecological technique of measuring niche spaces occupied by genres in an ‘aesthetic discourse space’, the genre structure of popular music is compared across a time period in which the field of popular music has arguably undergone a growing ‘isomorphism’ of aesthetic principles and a blurring of boundaries between genres. Comparison of genre structures at two points in time suggests that the perception and interpretation of diverse genres has become more similar. Moreover, the boundary between two exemplary genres – rock music and pop music – has apparently become less salient for music critics, possibly signaling a weakening of commercial boundaries within the popular music field over the last two decades. [Copyright &y& Elsevier]

Abstract: Musical classifications involve symbolic distinctions that are often linked to social categories, including gender. This paper addresses the relationship between social and symbolic boundaries in the US, Germany, France, and the Netherlands by looking at the distribution of media attention to various music genres as well as to male and female actors in newspapers from each country between 1955 and 2005. While the increasing legitimacy of popular music, as indicated by its growing share of newspaper space, seems to signal a decline in traditional musical hierarchies, it does not appear to weaken social boundaries based on gender. Although women often receive more attention in popular music coverage than in classical music coverage, their inclusion appears to be limited to more peripheral genres. In other words, as certain popular genres climb the aesthetic hierarchy, the media attention they receive tends to become more male-dominated. Thus, as musical hierarchies shift and new genres gain legitimacy, social hierarchies based on gender remain intact over time and across the four countries. [Copyright &y& Elsevier]

This article explores the impact of mass media on the cultivation, consumption and connoisseurship of Hindustani music in the 20th century. It discusses the transformation of listening habits by the gramophone. It explores the effects of technological repetition and mass commodification, including the creation of an unstable circuit between copy and original. The relationship between a sense of loss and attempts to recover the remains of a musical tradition is discussed.

The article presents information on the decision made by the Canadian Broadcasting Corporation (CBC) to reduce the hours that Radio 2 devotes to classical music. It explores the sociocultural issues related to the decision and the resulting protests that occurred. It examines questions such as who should determine what the CBC broadcasts, what type of audience should Radio 2 be trying to attract and what the debate says about the role of classical music in contemporary Canadian society. The article traces the history of the CBC to its origin in 1936 and explores how the company has developed over time.

In the late seventeenth and eighteenth centuries, London was fast becoming a thriving musical center. Music was beginning to be considered a business, with regular public and commercial concerts and a flourishing music publishing industry. Devised to provide a means of examining these developments in England's musical life, the Register of Music in London Newspapers, 1660-1750 made available an electronic edition of texts in newspapers that referred to music. The author describes two different methods of analyzing the texts contained in the Register of Music that were used to overcome the limitations of its free text format and allow a more detailed study of commercial concert giving in London between 1660 and 1750: (1) textual decomposition and relational data analysis and (2) content analysis. [ABSTRACT FROM AUTHOR]