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Journal articles on the topic 'Music television'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Frith, Simon. "Look! Hear! The uneasy relationship of music and television." Popular Music 21, no. 3 (October 2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.

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Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.

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2

Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.

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Allan, Blaine. "Musical Cinema, Music Video, Music Television." Film Quarterly 43, no. 3 (April 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.

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4

Donnelly, K. J. "Tracking British television: pop music as stock soundtrack to the small screen." Popular Music 21, no. 3 (October 2002): 331–43. http://dx.doi.org/10.1017/s0261143002002210.

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Recent years have seen an increase in pop music on television, replacing its more traditional incidental music. It is now dominant as stock music on television, filling expanding continuity and advertising spaces. The licensing of pop music for screen use is increasingly important for the music industry, spawning a new form of ‘multipurpose music’ which, as well as being music in its own right, can also be resold as stock music for television. While in the 1980s there was a rush to tie-in pop music with films, in the 1990s, it increasingly was to tie pop music with television. This article documents and explores this transition.

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5

Graakjær, Nicolai Jørgensgaard. "Tv-reklamens musik i et tekstanalytisk perspektiv [The music of television commercials from a text analytical perspective]." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 23. http://dx.doi.org/10.7146/mediekultur.v26i48.2120.

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This article examines music in television commercials from a text analytical perspective. An analytical framework is presented involving three interrelated analytic levels: the text, the co-text and the con-text. The level of con-text is presented as a transtextual matter of the relationship between the music appearing in the television commercial and music from outside the commercial. The level of co-text is presented as an analytical issue regarding the relationship between the different textual elements of the television commercial – a primary level of audiovisual signification is identified. The level of text is presented as a matter of the specific structure of music in television commercials and a number of formats are described. Arguably these three interrelated analytical levels are pivotal for the textual analysis of music in television commercials. Each level is discussed and further developed into a number of analytical categories, and throughout, the analytical levels and categories are illustrated with references to recent television commercials broadcast in Denmark.

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Mitchell, Tony. "WORLD MUSIC, INDIGENOUS MUSIC AND MUSIC TELEVISION IN AUSTRALIA." Perfect Beat 1, no. 1 (September 29, 2015): 1–16. http://dx.doi.org/10.1558/prbt.v1i1.28571.

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7

Coates, Norma. "Filling in Holes: Television Music as a Recuperation of Popular Music on Television." Music, Sound, and the Moving Image 1, no. 1 (June 2007): 21–25. http://dx.doi.org/10.3828/msmi.1.1.5.

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8

Lury, Karen. "Chewing gum for the ears: children's television and popular music." Popular Music 21, no. 3 (October 2002): 291–305. http://dx.doi.org/10.1017/s0261143002002192.

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Television is one of the earliest ways that children gain access to popular music. The child's early experience of both music and television does not necessarily separate out ‘music alone’ from his or her evolving musical appreciation. The co-operation of television and popular music encourage particular modes of attention and expression for the child as both viewer and listener. Movement, gesture, and the response of the body to the visual and aural cues of music-television may be seen to inform this appreciation. The child learns, feels and demonstrates that they have done so. This is guided and inspired by what they hear and see.

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9

Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.

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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.

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Thatelo, Mopailo Thomas. "Afrocentric analysis of music in political advertisements of the Economic Freedom Fighters (EFF)." Communicare: Journal for Communication Studies in Africa 41, no. 2 (December 15, 2022): 65–74. http://dx.doi.org/10.36615/jcsa.v41i2.1431.

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In 2009, South Africa saw another landmark with the introduction of political advertisements on television. Literature is littered with studies of political advertisements on television. In these studies, 1) background music is merely an accompaniment to advertisement voiceover and images, rather than an argument itself. Little is known about 2) the discursive role of background political music as a means of conveying political messages in political television advertisements, 3) the underlying ideology and 4) Afrocentric rhetoric in political music used in political television advertisements. Considering the above, this paper interrogates the Afrocentric perspective underlying the rhetoric of background music in the political television advertisements of the South African opposition political party, the Economic Freedom Fighters (EFF) from 2014 to 2021. This study employs the decolonial thought of the Afrocentric perspective as a theory and a research method to interrogate underlying rhetoric in political music. Findings of the paper revealed that the EFF background music is highly political, Afrocentric and inherently rhetorical.

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11

Brown, Julie. "Ally McBeal's Postmodern Soundtrack." Journal of the Royal Musical Association 126, no. 2 (2001): 275–303. http://dx.doi.org/10.1093/jrma/126.2.275.

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Television's Ally McBeal revels in soundtrack games, playing as it does with the conventions of several types of musical multimedia while elevating music, especially a particular type of pop music, to the role of central plot and series metaphor–above all in relation to Ally's character. As musically saturated television, Ally McBeal not only provides a window onto music's role in television (and hence a central expression of postmodern culture), it also engages some of pop music's broader social functions dramatically. Drawing on both film and media theory, I examine Ally McBeal's soundtrack from formal and dramatic perspectives. I then go on to situate the features discussed within wider postmodernist discourses and draw out music's contribution to the show's controversial representations of contemporary gender politics.

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12

Citron, Marcia J. "Opera-Film as Television: Remediation in Tony Britten's Falstaff." Journal of the American Musicological Society 70, no. 2 (2017): 475–522. http://dx.doi.org/10.1525/jams.2017.70.2.475.

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Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.

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13

Loktіonova-Oitsius, Oleksandra. "POPULAR MUSICAL TELEVISION PROJECTS OF THE LATE XX – EARLY XXI CENTURIES." EUREKA: Social and Humanities, no. 5 (September 30, 2020): 3–8. http://dx.doi.org/10.21303/2504-5571.2020.001425.

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The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV projects, comparing with world models and highlighting the typical features of the musical television space. The research methodology consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imitation of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as "The Voice", "The X factor", "American Idol". Vocal talent shows are considered as combining the elements of a “game show” and a “perfection / transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. It was determined, that the vocal repertoire consists of the most popular world and national hits, which reflects the demand of the audience. It was noted, that the viewer influences the selection of participants in a music television project and functions as an additional judge. So, the article focuses on the structure and content of musical television projects, defines the values of such projects as the communication space of culture between the audience, the artistic and performing component, and the national and world music culture as a whole. Music television projects are part of the general educational context for the development of media art and have a scientific, artistic and educational potential for study.

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14

Forman, Murray. "Television before Television Genre: The Case of Popular Music." Journal of Popular Film and Television 31, no. 1 (January 2003): 5–16. http://dx.doi.org/10.1080/01956050309602863.

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15

Taylor, Timothy D. "World Music in Television Ads." American Music 18, no. 2 (2000): 162. http://dx.doi.org/10.2307/3052482.

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16

Morse, Margaret. "Postsynchronizing Rock Music and Television." Journal of Communication Inquiry 10, no. 1 (January 1986): 15–28. http://dx.doi.org/10.1177/019685998601000102.

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17

Anderson, Craig. "Teaching Music via Interactive Television." Music Educators Journal 86, no. 1 (July 1999): 47–48. http://dx.doi.org/10.1177/002743219908600101.

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18

Chanan, Michael. "Television's problem with (classical) music." Popular Music 21, no. 3 (October 2002): 367–74. http://dx.doi.org/10.1017/s0261143002002246.

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The idea I have in mind is to compare the situation on television today and thirty years ago of what persists in being known as classical music. I write as an academic, but this will not be a normal academic paper. For one thing, I shall not do any special research but base myself instead on memory and autobiographical experience, because thirty years ago, before becoming an academic, I began by writing music criticism and making documentaries on music for television. My intention is to say something as a participant observer about the alteration of the cultural context in which this thing called classical music operates, and about the part that television has played in this.

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19

Kooijman, Jaap. "I Want My MTV, We Want Our TMF." VIEW Journal of European Television History and Culture 6, no. 11 (September 22, 2017): 93. http://dx.doi.org/10.18146/2213-0969.2017.jethc126.

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Launched in 1995, the Dutch music television channel The Music Factory (TMF) presented a local alternative to MTV Europe, owned by the US-based conglomerate Viacom. In 2001, Viacom took over TMF, which by then proved to be far more popular than MTV Europe among the Dutch young viewers. Ten years later, Viacom discontinued the TMF brand. This article places the relatively short history of TMF within the contexts of American and globalization, the expansion of European television from nationally based public broadcasters to commercial pan-European television networks, and the shift from television to other media platforms as the dominant form of distributing music videos.

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20

Lüders, Marika, Vilde Schanke Sundet, and Terje Colbjørnsen. "Towards streaming as a dominant mode of media use?" Nordicom Review 42, no. 1 (January 1, 2021): 35–57. http://dx.doi.org/10.2478/nor-2021-0011.

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Abstract Music and television streaming services present users with abundant catalogues of content available on demand. We investigate whether users respond by narrowing or widening the diversity of content they consume. Further, we examine how the different logics characterising music and television streaming are mirrored in the number of streaming services people use. To do so, we compare non-, sporadic, regular, and frequent users of television and music streaming services. Findings from a cross-sectional survey in Norway show that frequent streamers consume a wider variety of genres and rely on more services. Our results also indicate that streaming has gone from a first-mover activity to a standard consumer mode. This study indicates that we can expect continued growth in television streamers, whereas the music streaming industry seems more consolidated.

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21

Boon, Tim, and Edward Venn. "Music 625: Music on Television in the ‘Long 1960s’." Journal of Popular Television 9, no. 1 (March 1, 2021): 3–13. http://dx.doi.org/10.1386/jptv_00038_2.

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22

Mitchell, Tony. "Treaty Now! Indigenous Music and Music Television in Australia." Media, Culture & Society 15, no. 2 (April 1993): 299–308. http://dx.doi.org/10.1177/0163443793015002011.

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23

Mikić, Vesna, and Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 79. http://dx.doi.org/10.25038/am.v0i17.272.

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As Keith Negus and John Street wrote in their Introduction to the “Music and Television” Special Issue of the journal Popular Music (No. 3, 2002), television is an important mediator of the knowledge, understanding and experience of music. Inverting their formulation to “music is an important mediator of knowledge, understanding, and experience of television” (as James Deaville writes), we can further our understanding of different, more or less obvious meanings transferred by a television program. Bearing these two complementary ideas in mind, we aim to map the kinds of knowledge that are being produced and mediated through music in two extremely popular TV shows, which are also famous for their (innovative) use of music: Grey’s Anatomy (ABC, 2005) and The Good Wife (CBS, 2009–16). These two series – a medical drama and a series about lawyers and politics – have (at least) two things in common: 1) the already-mentioned role that music plays in their narratives, and 2) the fact that both focus on female characters and ‘feminine’ stories, employing numerous, liberal and/or postfeminist discourses. Our goal will thus be, to investigate what ‘kind’ of a female subject is being produced through interactions of music and image and by the music itself, as well as what kind of (post)feminist discourse is deemed ‘acceptable’ in a mainstream television discourse.Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Mikić, Vesna, Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies 17 (2018): 79−88. doi: 10.25038/am.v0i17.272

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24

Negus, Keith. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association 131, no. 2 (2006): 310–30. http://dx.doi.org/10.1093/jrma/fkl005.

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This article focuses on the prominent anxieties generated by television broadcasts of musicians from the 1930s onwards. It explores three specific issues: first, a concern that television images of performing musicians are detrimental to the experience of music; second, negative judgments about the consequences of television sound quality; and, third, fears that musical value is undermined by the distracted character of television reception. Focusing on these particular points, the article also raises a series of more profound questions about how various strategies of looking and listening influence our understanding of music.

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Negus, Keith, and John Street. "Introduction to ‘Music and Television’ special issue." Popular Music 21, no. 3 (October 2002): 245–48. http://dx.doi.org/10.1017/s0261143002002167.

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Television has been conspicuously neglected in studies of popular music, and music has been notably absent from most accounts of television. The thought that this neglect might be significant was taken as the starting point for this special edition of the journal. Unlike some subjects (such as popular music and gender/sexuality, for example), where it is readily apparent that a number of people are busily pursuing research and where there is a history of sustained engagement in a range of related theories and debates, it was not clear initially who, if anyone, was seriously thinking about or researching the relationship between music and television. Even work on popular music and video, which once grabbed the imagination of popular music and media scholars, has faded from the academic agenda. We hoped that the call for papers might strike a chord and prompt new thoughts about this area.

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26

Shui, Jianhua. "A Brief Analysis of the Background Music of the Film Changjin Lake." Advances in Humanities Research 2, no. 1 (September 7, 2023): 14–19. http://dx.doi.org/10.54254/2753-7080/2/2022008.

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The background music in film and television works plays an irreplaceable role in revealing the theme of film and television drama, rendering the atmosphere of film and television drama, deepening the depiction of characters and the expression of emotions and emotions. This paper gives a comprehensive introduction to the development logic and emotional context of the film Changjin Lake. And the film long jin lake appear impressive score plot and theme and episode is analyzed, aimed at the analysis of theme, background music, episode, explore its important role in the movie over and over to excavate the scene of the movie music connotation and the key to the background music for the film and the shaping of image.

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27

Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.

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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267

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28

Martín-Jiménez, Virginia, Pablo Berdón-Prieto, and Itziar Reguero-Sanz. "The precursors of infotainment? Debate and talk shows on Televisión Española (1980-1989)." Communication & Society 35, no. 1 (January 10, 2022): 119–35. http://dx.doi.org/10.15581/003.35.1.119-135.

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The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the ‘80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodology consists of a content analysis of a total of 31 television programs, each of which was viewed on the RTVE archive using different multimedia platforms. The results of this research reveal that Televisión Española incorporated into its debate shows, talk shows, and hybrid format shows, features typical of infotainment prior to the ‘90s. Among the most recurrent stylistic features of these programs are the tendency to dramatization, polemic and emotionality (achieved through different techniques and strategies), an increase of soft content, a greater presence of satire, humor and close-ups, and the use of music.

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29

Edgar, Amanda Nell. "Music in Television: Channels of Listening." Popular Music and Society 36, no. 4 (October 2013): 547–49. http://dx.doi.org/10.1080/03007766.2012.753711.

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30

Simonelli, David. "Popular Music and Television in Britain." Historical Journal of Film, Radio and Television 32, no. 2 (June 2012): 338–39. http://dx.doi.org/10.1080/01439685.2012.670404.

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31

Delmont, Matt, and Murray Forman. "Sonic Visions: Popular Music on Television." Journal of Popular Music Studies 25, no. 3 (September 2013): 293–300. http://dx.doi.org/10.1111/jpms.12033.

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32

Burns, Gary. "Popular Music, Television, and Generational Identity." Journal of Popular Culture 30, no. 3 (December 1996): 129–41. http://dx.doi.org/10.1111/j.0022-3840.1996.00129.x.

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33

Avila, Jacqueline. "New Currents in Film Music, Television Music, and Streaming Media Music Studies." American Music 40, no. 4 (December 1, 2022): 459–63. http://dx.doi.org/10.5406/19452349.40.4.06.

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34

Putri, Dhea Helyana, Puji Rianto, and Herman Felani. "Local television and the construction of local identities: case studies on two local televisions in Pekanbaru, Indonesia." Asian Journal of Media and Communication 2, no. 1 (April 1, 2018): 21–26. http://dx.doi.org/10.20885/asjmc.vol2.iss1.art3.

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This aim of the study is to describe the role of local televisions in constructing local identities. This study was conducted with qualitative approach, examining two programs in two local televisions in Pekanbaru, Riau, Indonesia, namely Belacan Program of Riau Television (RTV) and Online Channel Program of Riau Channel Television (RCTV). This research found that local televisions have important roles in constructing local identities and maintaining local cultures. RTV and RCTV have optimized various ways of constructing local cultures, which simultaneously draws closer relations to their audiences, such as focusing on the Malay culture as a dominant culture in Riau, exploring tourist attractions and new places sursounding the city, delivering the program with local language, presenting traditional clothes worn by the host, involving local comminities in the production and creative processes of the program, innovating the program with the interactive music segment, discussing folk songs, and inviting local speakers. These programs have shown the resistance to the dominance of ‘Jakarta’ and global culture. The use of local language acts as symbolic signs, namely representing the local identities.Keywords: local television; local identity; local culture; creative processes.

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35

Zhurkova, D. A. "What does the Song Show? Popular Music on Soviet Television. Part 2. 1980s." Observatory of Culture, no. 3 (June 28, 2015): 135–41. http://dx.doi.org/10.25281/2072-3156-2015-0-3-135-141.

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What does the Song Show? Popular Music on Soviet Television. Part 2. 1980s (by Dariya Zhurkova) continues to analyze the problems of popular songs’ adaptation to the rules of television shows. This part of the research is based on the example of “The Morning Mail” - a popular TV program in 1980s. The article traces the arrival and development of music video clips on television. Moreover, the article discovers the main role of television in creation of the cult of civilizational benefits and of the institute of “stars”, despite the fact that the processes actually ran counter to the official policy and ideology.

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36

Huelin, Toby. "Soundtracking the City Break: Library Music in Travel Television." Music and the Moving Image 15, no. 2 (July 1, 2022): 3–24. http://dx.doi.org/10.5406/19407610.15.2.01.

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Abstract Library music is used extensively in television production, but its central role is overlooked by scholars and viewers alike. Using travel television as a case study, this article examines the process of selecting library music and the impact of its use—especially when the same tracks function across multiple series.

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37

Vesey, Alyxandra. "Opening Statements: Theme Singing and Shifting Paradigms for Voicing Feminine Subjectivities as Television Music." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 157–67. http://dx.doi.org/10.1215/02705346-7772431.

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This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers. These professionals help cultivate television programs’ aural sensibilities by literally giving voice to a show’s premise and, in so doing, raise the volume on women’s place in television storytelling as otherwise marginalized subjects. This essay identifies three different types of theme singing that are especially common in television storytelling: theme singing as declaration of selfhood, theme singing as expression of kinship, and theme singing as assertion of community. Further, it analyzes Solange’s and SZA’s involvement with Insecure (HBO, 2016–) as music consultant and soundtrack contributor, respectively, to identify an emerging pattern within contemporary television production of shifting the tonal and thematic properties of theme singing onto licensing by dispensing with original theme music altogether while potentially amplifying more women’s voices as source music.

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Størvold, Tore, and John Richardson. "Radioactive Music: The Eerie Agency of Hildur Guðnadóttir’s Music for the Television Series Chernobyl." Music and the Moving Image 14, no. 3 (October 1, 2021): 30–45. http://dx.doi.org/10.5406/musimoviimag.14.3.0030.

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Abstract The acclaimed television miniseries Chernobyl (2019) features an eerie soundtrack that musicalizes the silence of radioactivity. Hildur Guðnadóttir’s score is composed of field recordings from a nuclear power plant, treated and fitted together in ways that blur the lines between music and sound design. The immersive qualities of the soundtrack provide television audiences with new means of sensing the invisible ecological consequences of human activity.

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Urdea, Alexandra. "Folklore Music on Romanian TV." Television Histories in (Post)Socialist Europe 3, no. 5 (June 24, 2014): 35. http://dx.doi.org/10.18146/2213-0969.2014.jethc054.

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Music genres rooted in folklore have often been interpreted as ideological manoeuvres to forge a sense of national identity (Gordy, Mihailescu, Baker, Cash). This article explores formalized folklore performances of muzică populară as forms ‘media rituals’ (Couldry), and focuses on the role that television has played in establishing the genre as we know it today. It analyses the link between muzică populară as rooted in mass participation activities during communism, and ‘media rituals’ as framed on television (Couldry), indiscriminately and democratically involving the entire population that it addresses (and is available beyond that).

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Zhurkova, D. A. "What does the Song Show? Popular Music on Soviet Television. Part 1. 1960s-1970s." Observatory of Culture, no. 3 (June 28, 2015): 122–34. http://dx.doi.org/10.25281/2072-3156-2015-0-3-122-134.

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What does the Song Show? Popular Music on Soviet Television. Part 1. 1960s-1970s (by Dariya Zhurkova) analyzes problems of popular songs’ adaptation to the rules of television shows of 1960s-1970s. The research is based on the example of some popular TV programs such as “Hello, we are looking for talents”, “The Little Blue Light” (a New Year’s show), “The Benefit”, “13 Chairs Tavern”. The article examines how the Soviet television sought for its-own original ways of a song presentation. Also, the article discovers how the television pop music would reflect, sometimes unintentionally but very clearly, those unofficial changes which happened in that period in social aspirations and ideals.

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Simon, Sunka. "Licht aus - Spot an: How Schlager (ZDF 1969-1984) Beat Disco (ZDF 1971-1982)." German Politics and Society 35, no. 2 (June 1, 2017): 48–59. http://dx.doi.org/10.3167/gps.2017.350204.

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During the broadcast era, dominant culture reigned supreme on West German television. Das Zweite Deutsche Fernsehen (ZDF) achieved ratings of close to 74 percent during the long Saturday slot in the 1970s. This mass reach, especially of its live popular music programs with built-in audience votes, is often disregarded in historical arguments that focus on the political disunion of that decade. This article takes a closer look at two very different, yet exceptionally popular music shows, Deutsche Hitparade (1969–1984) and Disco (1971–1982), to investigate how the anxiety over sociopolitical change is negotiated on live television, how medium specificity intersects with constructions of masculinity and authority, and how different music and television formats question, manage and produce a national imaginary.

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Williamson, John. "The kilt is my delight? Popular music on early television from Scotland." Journal of Popular Television 9, no. 1 (March 1, 2021): 105–22. http://dx.doi.org/10.1386/jptv_00044_1.

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This article explores the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.

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Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.

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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.

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Huelin, Toby, and Júlia Durand. "Sounds like money? Stock music, television and Donald Trump." European Journal of American Culture 41, no. 2 (June 1, 2022): 147–65. http://dx.doi.org/10.1386/ejac_00069_1.

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Library music (also known as ‘stock’ or ‘production’ music) plays an important role in the depiction of Donald Trump in media productions, be it to cast him as a bold political hero, a glamorous millionaire, an authoritarian ruler or a clownish character. The various facets of Trump’s public brand are reflected in library music catalogues: tracks tagged with the keyword ‘Trump’ highlight, for example, his notoriety as business tycoon and host of reality show The Apprentice, or his candidacy and mandate as the 45th US president. In this article, we draw together original qualitative library music data with a close reading of specific television case studies to examine two main research areas. Firstly, how is Trump represented in library music catalogues, and what does this reveal about popular perceptions of him? Secondly, which library music tracks are used in media content about Trump? Where are the ‘Trump’-tagged tracks used in television, and what other kinds of library music are used in series about this president? This article explores the musical strategies which were deployed to depict Trump’s mandate and its political upheavals, and, more broadly, reappraises library music as a vital ‐ yet underexplored ‐ element in the construction of audio-visual meaning.

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Wuran, Frederik Kevin, Ricky Irawan, Guntur Eko Prasetyo, and Ni Wayan Ardini. "Writing Background Music for “Bali Channel Tourist TV” Television Program." Jurnal Bali Membangun Bali 3, no. 2 (August 5, 2022): 99–110. http://dx.doi.org/10.51172/jbmb.v3i2.230.

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Purpose: The purpose of this research is to describe the writing process of the background music for Bali Channel Tourist TV program at Bali TV. Research methods: The process of writing the background music for Bali Channel Tourist TV program at Bali TV includes some following stages: observation stage, interview stage, trial stage, and review stage. Results and discussion: In the process of writing the background music, some important points are: first, observing and gathering information as references for producing background music writing; second, creating some music concepts using the applications for recording named digital audio workstations (DAW); third, discussing the concepts of music with the producers of the Bali Channel Tourist TV in order to get to the final concepts of music; fourth, reviewing the background music which has been created together with the manager of Bali TV Production and the producers of the Bali Channel Tourist TV; fifth, mixing the video and audio using the editing applications like Filmora, Pinnacle Studio, and Adobe Premiere Pro. Implication: The writing of background music in the Bali Channel Tourist TV program has a good impact on Bali TV, especially in its music production process.

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Forman, Murray. "‘One night on TV is worth weeks at the Paramount’: musicians and opportunity in early television, 1948–55." Popular Music 21, no. 3 (October 2002): 249–76. http://dx.doi.org/10.1017/s0261143002002179.

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This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of ‘opportunity’, the article isolates the ways in which some musicians and others in various sectors of the music industry regarded the new medium as a positive influence at its inception. Among key considerations at the time were issues of musical performance style and aesthetics, repertoire, promotional capabilities, career enhancement, and additional leisure options for audiences.

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Ye, Yuan, and Ludmila A. Kruglova. "On The Issue of The Typology of Television Music Programs in Russia And China." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 2 (2024): 46–58. http://dx.doi.org/10.15826/izv1.2024.30.2.025.

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The article examines modern Russian and Chinese television music programs and various approaches to their classification in Russia and China. The authors conclude that today in the domestic scientific discourse there is a problem of defining these programs and their classification, since existing classification approaches vary greatly. Based on the previously proposed typologies the authors try to classify Russian and Chinese television music programs.

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WARD-GRIFFIN, DANIELLE. "Up Close and Personal: Opera and Television Broadcasting in the 1950s." Journal of the Society for American Music 13, no. 2 (May 2019): 216–31. http://dx.doi.org/10.1017/s1752196319000087.

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AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these efforts were meant to approximate the opera fan's experience as well as prepare audience members to enter the opera house. Ultimately, although opera on television failed to secure a strong foothold in the 1950s, it helped to re-envision the ways in which American audiences could relate to the art form and set the terms for the Metropolitan Opera Live in HD broadcasts today.

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Cuenca, Esther Liberman. "‘The Rains of Castamere’: medievalism, popular culture, and the music of Game of Thrones." Popular Music 39, no. 3-4 (December 2020): 554–67. http://dx.doi.org/10.1017/s0261143020000549.

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AbstractThis article closely examines the song ‘The Rains of Castamere’, from the television series Game of Thrones (2011–19), to draw broader conclusions about how ‘medieval’ music manifests in contemporary popular culture and how music for television has become increasingly important in the last few decades. This article argues for the relevance of ‘The Rains of Castamere’ in popular music from three perspectives: first, as a musical adaptation of the ‘medieval’ world of 'folk’ music popularised in George R.R. Martin's A Song of Ice and Fire novels (1996–); second, as a song embedded in the rich tradition of modern ‘medieval’ music, which itself is a modern reconstruction influenced by cinematic and literary tropes; and lastly, as a track that exemplifies the influence of fan culture in both shaping and responding to popular medievalist music.

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McNeill, Kevin F., and Luis A. Vega. "Portrayal of Gender Roles in Music Television." Psi Chi Journal of Psychological Research 2, no. 1 (1997): 17–23. http://dx.doi.org/10.24839/1089-4136.jn2.1.17.

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