Academic literature on the topic 'Music journalist'
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Journal articles on the topic "Music journalist"
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Finkler, Juryj. "THEORETICAL JUSTIFICATION PROBLEMS OF ORBITAL MASS MEDIA." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 15–19. http://dx.doi.org/10.23939/sjs2021.01.015.
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Modern media not only (such as radio, newspapers, television or online journalism), but also the full range of media (e.g. theater, music, exhibitions, cinema, drama, opera, visual arts etc.) promote narrative – interpretive both the journalist and the audience the contexts of the realities referred to in the journalistic presentation. But with the introduction of holistic systems of ideologically united mass media, the narrative is no longer characterized by the temporality or length of interpretations. Contexts and narratives of mass media content no longer mask under assumptions or hypotheses a specific ideological, party, worldview position, which is far from thinking about the cognition of life, journalism, the work of a journalist. The once dualistic use of the context of the interpretive environment has turned into a non-constructivist model of pressure on the audience not through plots, but from fundamental ideological and ideological, and often direct, party proposals. It is proposed to consider the context as a basis for interaction and different media, which are not only united by common ideological narratives, but which have a certain center around which all the content is not loaded on the target audience. We have the effect of orbital mass media – within their content proposals there is an interaction of authors and audiences in order to distribute such content, which in the framework of informing about something or someone not so much improves media and audience interaction as an element of severe content pressure on the audience. Those journalistic broadcasts that are broadcast by these groups of media.
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Gahan, Peter. "Bernard Shaw, New Journalist (1885–1898)." Shaw 41, no. 2 (2021): 264–318. http://dx.doi.org/10.5325/shaw.41.2.0264.
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ABSTRACT As Shaw's authorized biographer Archibald Henderson put it in the second of three biographies: “While Shaw may have a dozen labels—art critic, music critic, drama critic, novelist, dramatist, rationalist, Socialist, publicist, harlequin, sage, statesman, prophet—he has only one profession: journalism.”1 Especially remembered now for his achievements as playwright, whether in the vanguard of the New Drama at the end of the nineteenth century or as the established dramatist of world fame throughout the first half of the twentieth, Shaw worked first and last as a journalist in a working life stretching seventy-five years. Dan H. Laurence devoted nearly three hundred pages of the second volume of Bernard Shaw: A Bibliography (1983) itemizing Shaw's contributions to newspapers and periodicals between 1875 and 1950, amounting to almost four thousand entries.2 For fourteen of those years, from 1885 to 1898, he led the career of a full-time journalist, mostly as a critic of the fine arts, but criticism was by no means the whole story of Bernard Shaw's fourteen-year career as a full-time journalist sketched out in what follows.
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Aleshinskaya, E. V. "MUSIC CRITIC AS A PROFESSIONAL CULTURAL AND LINGUISTIC PERSONALITY." Humanities And Social Studies In The Far East 17, no. 1 (2020): 178–81. http://dx.doi.org/10.31079/1992-2868-2020-17-1-178-181.
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The paper reveals a number of characteristics inherent in a music critic as a professional cultural and linguistic personality. Drawing material from English-language musical reviews, it examines the roles of a music critic as a musicologist and journalist and analyzes methods of musical ekphrasis, i.e. verbalization of music as a type of intersemiotic translation.
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Dunn, David, and René van Peer. "Music, Language and Environment." Leonardo Music Journal 9 (December 1999): 63–67. http://dx.doi.org/10.1162/096112199750316820.
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Interviewed by music journalist René van Peer, the composer and sound recordist David Dunn discusses the sound work he has done in natural environments, his motivations for doing this work, and the thoughts and theories he has developed from it. Most of these works are unique events created for a specific time and location or for specific circumstances. In these events, the sounds generated by the players set up interactions with their immediate surroundings. Soundscape recordings are another aspect of Dunn's work. His work in different natural and cultural environments has enabled him to research areas where music and language intersect.
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Calico, Joy H. "Schoenberg's Symbolic Remigration: A Survivor from Warsaw in Postwar West Germany." Journal of Musicology 26, no. 1 (2009): 17–43. http://dx.doi.org/10.1525/jm.2009.26.1.17.
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Abstract Musicologists have recently begun to study a crucial component in the reconstruction of European cultural life after World War II——the remigration of displaced musicians, either in person or (adopting Marita Krauss's notion of "remigrating ideas") in the form of their music. Because composers are most significantly present in the aural materiality of their music, and because Arnold Schoenberg's name was synonymous with modernism and its persecution across Europe, his symbolic postwar reappearance via performances of his music was a powerful and problematic form of remigration. The case of Schoenberg's A Survivor from Warsaw and the former Nazi music critic Hans Schnoor serves as a representative example. Schnoor derided Schoenberg and Survivor in a newspaper column in 1956 using the rhetoric of National Socialist journalism as part of his campaign against federal funding of musical modernism via radio and festivals. When radio journalist Fred Prieberg took him to task for this on the air, Schnoor sued for defamation. A series of lawsuits ensued in which issues of denazification and the occupying Allied forces put a distinctly West German spin on the universal postwar European themes of anti-Semitism, the Holocaust, remigration, and modernism.
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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.
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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Blonk, Jaap, and René van Peer. "Sounding the Outer Limits." Leonardo Music Journal 15 (December 2005): 62–68. http://dx.doi.org/10.1162/lmj.2005.15.1.62.
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In an exchange with music journalist René van Peer, composer and sound poet Jaap Blonk discusses aspects of his work that hitherto have not been given much attention: his approach to composition, his use of electronic equipment and software, and his thoughts about recordings of his work.
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Andersen, Kirsten. "‘I Like to Be a Swell’: Paupers at the Pantomime." Nineteenth Century Theatre and Film 44, no. 2 (2017): 133–53. http://dx.doi.org/10.1177/1748372717752313.
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In January 1866, journalist James Greenwood entered the Lambeth Workhouse disguised as a vagrant. Greenwood's account of his experience inspired a host of imitators, and inaugurated a mania for slum journalism. Critics have noted the voyeurism and the homoerotic subtext of Greenwood's ‘A Night in a Workhouse', but the impact of Victorian popular theatre on his narrative has received scant attention. This essay recuperates the links between workhouse and theatre: examining paupers' reception, criticism, and appropriation of popular forms of entertainment such as the pantomime and the music hall song, analysing the representation of the workhouse on the Victorian stage, and finally proposing the concept of the workhouse itself as a performance space. Greenwood provides a valuable source of information about the theatregoing habits of the houseless poor, the most marginalised demographic within audiences at the Victorian theatre.
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Laing, Dave. "31 Songs and Nick Hornby's pop ideology." Popular Music 24, no. 2 (2005): 269–71. http://dx.doi.org/10.1017/s0261143005000486.
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31 Songs (re-titled Songbook in the United States) is ‘a little book of essays about songs I loved’ written in 2002 by Nick Hornby, author of the 1996 hit novel High Fidelity and latterly pop critic of the New Yorker. Hornby's assumption of the role of music critic echoed the wish of the protagonist of High Fidelity whose No. 1 in a list of ‘my five dream jobs’ was ‘NME (New Musical Express) journalist 1976–1979’.
Dissertations / Theses on the topic "Music journalist"
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Renlund, Emelie. "Musikjournalisternas roll i samhället : En studie om ett yrke i en modern tid." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71512.
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This paper examines the professional role of the music journalist and how it has been affected by the expansion of the Internet. The study aims to examine the profession's outlook and how professional music journalists are working to reach the public with interesting information, despite the fact that the audience of today often can be first to deliver the news. Through qualitative research interviews with three current music journalists the professional role and its development is examined. Based on theories and previous research on journalism, how the media communicates and its importance to society, what it is to be a music journalist and the spread of digitization and the impact of file sharing the results are analyzed. The conclusions of the study are that it isn’t a profession that is disappearing but rather a profession that is working towards a new future. The wide range of social media and the ability to stream music via the music service Spotify, for example, is expanding the field of music and more music lovers can make their voices heard. The role of the music journalist is no longer to be first with the latest in the music world but to convey information best.<br>Denna uppsats undersöker musikjournalisternas yrkesroll och hur den har påverkats av internets expansion. Studiens syfte är att ta reda på yrkets framtidsutsikt och hur yrkesverksamma musikjournalister arbetar för att nå ut med intressant information, trots att dagens publik många gånger kan vara först med nyheterna. Genom kvalitativa forskningsintervjuer med tre aktuella musikjournalister undersöks yrkesrollen och dess utveckling. Med utgångspunkt från teorier och tidigare forskning om journalistyrket, hur medier kommunicerar och dess betydelse för samhället, hur det är att vara musikjournalist samt digitaliseringens utbredning och fildelningens konsekvenser analyseras resultatet. Slutsatserna för studien är att det inte är ett yrke som håller på att försvinna utan ett yrke som går mot en ny framtid. Det stora utbudet av sociala medier och möjligheten att lyssna på strömmad musik via exempelvis musiktjänsten Spotify breddar musikområdet och fler musikintresserade kan göra sin röst hörd. Musikjournalisternas roll handlar inte längre om att vara först med det senaste inom musikvärlden utan om att förmedla informationen bäst.
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Schoenherr, Rafael. "Disputas sociais na crítica musical jornalística: o potencial polêmico da Folha de S.Paulo." Universidade do Vale do Rio do Sinos, 2005. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2604.
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Made available in DSpace on 2015-03-05T18:23:08Z (GMT). No. of bitstreams: 0
Previous issue date: 5<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Esta pesquisa busca compreender de que modo as disputas sociais se manifestam na crítica musical jornalística. Através de investigação das aproximações constituídas entre os campos musical e mediático, bem como de análise das estratégias editoriais da crítica musical do jornal Folha de S. Paulo, nos meses de maio e junho de 2003, discute-se em que medida se proporciona uma conversação polêmica sobre a música contemporânea.<br>This research tries to understand in which way the social disputes are manifestated in the journalistic musical review. Through the investigation of the constituted approach between the musical and the mediatic areas, as well the analyse of the editorial startegies of the Folha de S. Paulo newspaper, in the months from may to june of 2003, it is dicussed in which level a polemic conversation is provided about the contemporary music
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Forde, Eamonn. "Music journalists, music press officers and the consumer music press in the UK." Thesis, University of Westminster, 2001. https://westminsterresearch.westminster.ac.uk/item/94116/music-journalists-music-press-officers-and-the-consumer-music-press-in-the-uk.
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This thesis presents a professional/organisational analysis of popular music journalism in the UK. It considers the conditions under which consumer music magazines are produced (at the level of both the newsroom and the publishing organisation) and how music journalists deal with their main point of informational contact, the press officer. Drawing on original interview and participant observation research, the thesis considers: the economic and bureaucratic forces within magazine publishing organisations; how titles are positioned both individually and collectively as part of portfolio of niched titles; how market forces condition how and why titles are launched, redesigned and folded; and, ultimately, how all these factors impact upon and shape the socio-professional and cultural conditions under which editors and their staff work. The thesis then considers the music press officer (both in-house and independent and their office/departmental hierarchies) in terms of how they exist and operate at the meeting point of three distinct groups: the artists they are employed to represent; the artists' record companies; and the press (and their attempts to reconcile these often divergent needs). Having considered the music press and music journalists in isolation (in terms of power structures as well as their collective and individual goals) and press officers in isolation (in terms of their position within wider music industry promotional strategies and how they build, develop and revise a roster of artists) the thesis then moves on to analyse how these two distinct professional groups (journalists/editors and press officers) work together, how they professionally and organisationally define their goals and objectives and the steps they take to meet these goals and objectives, negotiating quantitatively and qualitatively the coverage of artists. A complex relationship of conditional power and mutual dependency links these two sets of professionals in both their formal activities and their socio-cultural activities. Breaking from previous studies that have described a uni-directional flow of power and influence of press officers over the press, the thesis argues that the relationships that tie these groups together (in terms of gatekeeping within the hierarchy of the newsroom and a tilting balance of power) are much more complex that has previously been assumed.
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Burgstaller, Georg. "Kritikerdämmerung : Heinrich Schenker and music journalism." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378160/.
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Despite the steady amount of research that has gone into the life and mind of Viennese music theorist Heinrich Schenker (1868-1935) in recent decades, certain facets of his thinking continue to puzzle scholars. These include the question of how a thinker nowadays highly regarded for his considerable powers of insight into the music of Bach, Mozart, and Beethoven came to hold views that were bigoted, odious, and militantly German-nationalist. This thesis confronts the issue by recapturing Schenker’s hitherto uncharted engagement with one of the phenomena of modern life that he vocally rejected: music journalism. Although a profession that is today considered as duly coexisting with the musical academy that Schenker’s analytical practice helped to shape, he was far less tolerant of what was written about music in the only mass medium of its day. This study offers a close reading of a variety of archival sources that include an unpublished essay on music criticism by the theorist as well as his diary and correspondence, most of which is newly accessible through Schenker Documents Online. In order to situate his thinking within the cultural hothouse of his day, my research also draws on an selection of newspaper articles, mostly on the subject of criticism, that Schenker deemed significant enough to file with his own papers. As a result of this procedure, this study establishes Schenker’s trepidations about music journalism and assesses their context. It reveals his critical view of journalism as a manifestation of individualism and democracy escalating alongside the rapid social and artistic transformations that he witnessed after the turn of the twentieth century. It also illustrates his increasingly agitated perception of music journalism as directly damaging his career. Finally, this thesis demonstrates how, in the course of the 1910s, Schenker came to conflate his antagonism towards one particular journalist, German critic Paul Bekker, with his embrace of German nationalism. By engaging not only with Schenker’s writings but also his reading materials, this study locates his thinking within that of his contemporaries and, as a result, helps us make sense of some of his often opaque assertions about art, society, and criticism.
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Nunes, Pedro. "Popular music and the public sphere : the case of Portuguese music journalism." Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/24.
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Music journalism has been acknowledged as an important space of mediation between artists and consumers. Journalists and critics have played an historical role in the creation of discourse on popular music and are acknowledged by the music industry as an important referent in promotion strategies. Research on the subject has been mostly focused either on the relationship between music journalism and the wider music industry in which it operates or on its status as a field of cultural production. Little consideration has been given to the role played by music journalists in articulating popular music with wider political, social and cultural concerns. This thesis will examine the case-study of Portuguese popular music journalism. It will address its historical evolution and current status by taking into consideration some dimensions, namely, the wider institutional contexts that frame the status of music journalism and how they work upon it, the ideologies and values realised in journalistic discourse, the journalists’ relationship to the music industry (as represented by record labels/companies and concert promotion companies) and issues of interactivity with readers. The thesis will draw on theories of the public sphere and, to a lesser extent, on Bourdieu’s notions of field, capital and habitus to assess the possibilities for music journalism to create reasoned discourse on popular music and, therefore, contribute to wider debates on the public sphere of culture.
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Garwood, Eileen. "Profiles of English language music therapy journals." Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564809.
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<p> The purpose of this study was to present a content analysis of seven music therapy journals in the English language in order to provide an objective documentation of the longitudinal growth of the field. The current study examined seven English language music therapy journals including the <i> Journal of Music Therapy, Music Therapy: Journal of the American Association for Music Therapy, Music Therapy Perspectives, The Australian Journal of Music Therapy, The Nordic Journal of Music Therapy, The British Journal of Music Therapy,</i> and <i>The New Zealand Society for Music Therapy Journal. </i> A total of 1,922 articles were coded according to author information (name, credentials, institution, geographic location), mode of inquiry, population studied, and subsequent article citation. Results indicated a broad range of research topics with a rapid rise in music and medicine research beginning in the 1980s. Research authors in music therapy comprise a diverse group of authors both from the United States and abroad. This study highlighted transitions in institutional productivity moving from clinical settings to academic settings. Over the course of 50 years, there have been continuous changes in various aspects of the music therapy literature that document the continuing growth of the profession.</p>
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Brennan, Marc Andrew. "Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16141/.
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The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.
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Flynn, Timothy Scott. "A study in music criticism and historiography : sacred music : journals in France, 1848 to 1870 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371033947.
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Diss.--Philosophie--Evanston, Ill., 1997.<br>Contient des analyses d'articles parus dans les périodiques suivants : Revue de musique ancienne et moderne, Le Plain-chant, Revue de musique sacrée ancienne et moderne, le choeur, la Maîtrise. Bibliogr. p. 518-535.
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Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.
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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.
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Pires, M. "Popular music reviewing in the French press, 1956-1996." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298927.
Full textBooks on the topic "Music journalist"
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Ghosts and ballyhoo: Memoirs of a failed L.A. music journalist. Schiffer Publishing Ltd., 2013.
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Leverett, Les. Blue moon of Kentucky: A journey into the world of bluegrass and country music as seen through the camera lens of photo-journalist Les Leverett. Empire Pub., 1996.
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1948-, MacDonald Malcolm, ed. Havergal Brian on music: Selections from his journalism. Toccata Press, 1986.
Find full textBook chapters on the topic "Music journalist"
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Graham, Phil. "Toby Cresswell, Music Journalist." In Music Business Research. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02143-6_9.
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Réti, Zsófia. "‘The Second Golden Age’: Popular Music Journalism during the Late Socialist Era of Hungary." In Popular Music in Eastern Europe. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59273-6_8.
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Rachubińska, Klaudia, and Xawery Stańczyk. "Youth Under Construction: The Generational Shifts in Popular Music Journalism in the Poland of the 1980s." In Popular Music in Eastern Europe. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59273-6_9.
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Blair, Deborah V. "Collaborative Journals: Scaffolding Reflective Practice in Teacher Education." In Narrative Soundings: An Anthology of Narrative Inquiry in Music Education. Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-0699-6_11.
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Pappas, Nick. "Bouzoukis and Belly Dancers, Drinkers and Dreamers: A Look at Greek Nightlife at the Crossroads 1." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0017.
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Journalist Nick Pappas explores in detail the social and economic dimensions of Greek club and restaurant presentations in New York during the 1980s in “Bouzouki and Belly Dancers, Drinkers and Dreamers: A Look at Greek Nightlife at the Crossroads.” The author examines clubs like the Grecian Cave, which attract recent, working-class Greek immigrants. He contrasts them with more financially successful, upscale Greek supper clubs in Manhattan that appeal to celebrities and a more affluent clientele that largely non-Greek.He also profiles the men and women operating the clubs, who work with a product the component parts of which are Greek history, food, music, dance, hospitality, and other ephemeral qualities that give their product its appeal.
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Worthington, Marianne. "Silas House as Journalist and Activist, the Power of the Story." In Silas House. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181127.003.0007.
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Marianne Worthington’s essay focuses on the nonfiction writing and journalism of Silas House, dealing principally with his work on the environment and his writing for the country music industry. She specifically develops the thesis that the “storytelling style” of a writer like House lends itself well to creating the music industry press packets that House specialized in during the early years of his writing life and also to his writing about environmental issues. In the last decade, House has employed the same strategy to take on a range of other issues, including gender and social issues in the Appalachian region. The special talent and skills of a writer like House has made him a much sought after spokesman for these social issues, as House also continues to write and speak about music and the environment.
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Cheng, William. "Princes and Paupers." In Loving Music Till It Hurts. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190620134.003.0003.
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Chapter 2 examines a famous experiment conducted in the name of musical love and loss: journalist Gene Weingarten’s Pulitzer-winning Washington Post article, which narrated the 2007 undercover busking effort by famed violinist Joshua Bell. Playing beautiful classical repertoire, the disguised Bell attracted few eager listeners. Many readers declared their love of this story, lamenting its proof of how beauty gets drowned out in our busy lives. Other responses to Weingarten fell into traps of intellectual elitism, as people rushed to proclaim that “obviously” this article was hokum and that no reader would be gullible enough to buy what Weingarten was selling. A trio of themes emerges from my critiques of aesthetic and academic exceptionalism: how we mismeasure beauty and its scarcity, how we productively or harmfully imbue musicianship with humanizing values, and why lovable dreams of musical universalism (we are all musical, we are all musicians) may elude or even impede agendas of social justice.
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Smith, Noel M. "Biographical and Literary Note." In Tampa. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066639.003.0001.
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This chapter gives context about Cuban culture and history during Wenceslao Gálvez y Delmonte’s lifetime, including information about his birthplace, Matanzas, slavery, the Cuban sugar industry, arts and music, and baseball, and traces his career as a baseball player, lawyer, and journalist in the costumbrismo style.
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"Introduction." In Music for Unknown Journeys by Cristian Aliaga, edited by Benjamin Bollig. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348097.003.0001.
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Cristian Aliaga (b. 1962, Tres Cuervos, Province of Buenos Aires) is a writer, journalist, publisher, and lecturer. Unlike most important contemporary Argentine writers, Aliaga is based not in Buenos Aires, but in Chubut Province, in the far south. As well as a highly respected poet, Aliaga is also a master of a genre that we might call the travel prose-poem. Linked to the traditions of travel writing, politically-committed poetry, and the sociological essay – all with deep roots in Argentina – Aliaga’s mini-chronicles, difficult fully to classify, give an intensely emotional, yet precise vision of specific sites in Argentina, the Americas, North Africa and Europe....
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"Music journalism." In Specialist Journalism. Routledge, 2013. http://dx.doi.org/10.4324/9780203146644-16.
Full textConference papers on the topic "Music journalist"
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Marx, Tobias, and Martin Lissner. "Thüringer Musikszene – Jugendmusikredaktionen als außerschulische musikbezogene Bildungskontexte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.64.
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This contribution addresses a music editorial youth project in the context of extracurricular music education: Where and in which manner does musical education take place, particularly regarding music journalism? Opportunities for music journalism do not so much arise in schools or music schools but rather in actively used leisure time. The present study examines the motivation of participants in relation to their peers, host organisations, and project tutors. The concept of serious leisure perspective (Robert A. Stebbins) delivers the frame to discuss the results of the study.
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Sinegubova, Kapitalina V. "Educational potential of music journalism." In Communication and Cultural Studies: History and Modernity. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1258-1-210-215.
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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.
Full textAbstract:
The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.
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Tyszka, Konrad, and Michał Jagosz. "Polish music press in the face of systemic change in 1989 as an example of cultural transformation in post-communist countries." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.09103t.
Full textAbstract:
The systemic transformation has significantly increased and diversified the music press market. Liquidation of the monopoly, privatization, censorship abolition and media pluralism are just some of the factors that contributed to shaping new cultural policy in Poland. The research material used for this paper’s analytical purposes consists of Polish music magazines; based on a query covering over 110 journals being published since 1946 to the present, a historical and comparative analysis was made. It allowed to determine what new solutions the publishers started to put into practice to make their magazines more attractive. Moreover, it showed a clear fragmentation of the market. After ’89, popular music magazines began to prevail; there are also many specialist journals devoted to a specific topic. A look at cultural transformation from the perspective of the music press is therefore an innovative idea, combining knowledge from the borderline of musicology, cultural studies, and press studies.
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Patka, Kiron. "»Ich wollte eigentlich Sängerin werden.« Berufsselbstbilder von Tontechniker*innen im Radio." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.68.
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This article explores a previously understudied field of musical practice: the use and treatment of music in radio journalism. It takes a look at a profession that particularly deals with music on a material level: the sound technicians working at radio stations. By analyzing qualitative interviews this text seeks to gain insight into self-concepts of sound technicians. The results show that the interviewees tend to rate questions of auditory aesthetics more important for their work than technical craft. At the same time, there is evidence that this self-concept only partially coincides with ideas that other authorities have about this profession.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.
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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Dawkins, Marcia Alesan. "Marshall Mathers: The Everyman’s Man: Understanding Dramas of Guilt, Redemption and Purification in Eminem’s Music." In 2nd Annual International Conference on Journalism & Mass Communications (JMComm 2013). Global Science and Technology Forum, 2013. http://dx.doi.org/10.5176/2301-3710_jmcomm13.45.
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Konrad, Ulrich. "Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.90.
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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth insights into each other‘s subjects and ways of thinking. It not only brings with it a new view of the epistemological interests of philology, its questions, its canon, and its key concepts, but also makes computer science aware of the ‚recalcitrance‘ of humanities subjects and thus confronts it with new tasks. The ZPD is the result of a systematic reflection on the digital transformation of philology, with its traditional focus on editing and analyzing, in order to advance this development both in terms of content and methodology. For example, the formation of linguistic conventions in speaking and writing about music in 19th-century composers‘ texts and in music journals would be an ideal subject for the application of digital methods of analysis and the development of new research questions based on them. Research networks that jointly develop and rethink methods on the level of data structures across disciplines are likely to be a proven means of preserving our own discipline in the future, even if this may occasionally be a relationship borne more by reason than by love.
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Xiang, Yu. "A Study on Current Status of Vocal Teaching by View of the Vocal Teaching Papers Summary from Year 2000 to Year 2014. A Case Study of the Core Music Journals." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.318.
Full textReports on the topic "Music journalist"
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.