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Relevant bibliographies by topics / Musicians on television

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Academic literature on the topic 'Musicians on television'

Author: Grafiati

Published: 22 February 2023

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Journal articles on the topic "Musicians on television"

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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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Guptill, Christine A. "The Lived Experience Of Professional Musicians with Playing-Related Injuries: A Phenomenological Inquiry." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 84–95. http://dx.doi.org/10.21091/mppa.2011.2013.

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The purpose of this study was to understand the lived experience of professional instrumental musicians who have experienced playing-related injuries. The study used a hermeneutic phenomenological methodology developed to examine this lived experience. In-depth interviews were conducted with 10 professional musicians, followed by a focus group where preliminary findings were presented to participants and their feedback was sought. Other sources of lived experience included participant-observation by the researcher, who is a musician and has experienced injuries, and biographic and artistic representations of musical performance and its loss, including literature, films, and television. The findings were summarized in a visual representation unique to this study. The representation illustrates three roles--musician, worker, and teacher--that are participated in, and disrupted by, the experience of being injured. In addition, the experience of a playing-related injury takes place within the context of a healthcare system which was perceived as insufficient to meet their needs: specialized care was rarely available and, if available, was not local or timely; treatment operated on a fee-for-service model when many musicians had meagre incomes and lacked coverage for these services; and treatment provided often failed to allow musicians to continue to perform at the level they had previously achieved. Finally, the representation illustrated four existentials--lived time, space, body and social relations--that permeated the experience. This study suggests that improvements to healthcare delivery and education of musicians, music teachers, and healthcare professionals are needed.

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Sáraco, Margaret. "Historical Research: How to Fit Minority and Women's Studies into Mathematics Class." Mathematics Teaching in the Middle School 14, no. 2 (September 2008): 70–76. http://dx.doi.org/10.5951/mtms.14.2.0070.

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Ask middle school students to name their favorite musicians, athletes, or actors, and they will tell you everything about them: statistics, hair color, who they are married to, where they live, their accomplishments, and more. Students are exposed to celebrities every day through television, movies, radio, and the Internet. Isn't it time we expose our students to some mathematical heroes?

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Wyver, John. "‘Filming the invisible’: Barrie Gavin in conversation with John Wyver." Journal of Popular Television 9, no. 1 (March 1, 2021): 15–28. http://dx.doi.org/10.1386/jptv_00039_7.

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Barrie Gavin (b. 1935) is a celebrated producer, director and writer who is best known for numerous programmes about music and musicians made primarily for BBC Television from 1964 onwards. He worked on numerous occasions with the conductors Pierre Boulez and Simon Rattle, and with them and other collaborators he has directed more than 90 films. In this conversation recorded in Leeds in June 2018 Gavin discusses with the writer and producer John Wyver his ideas about making music television, his innovative approaches to filmmaking, his profiles of composers including Luigi Nono, Karlheinz Stockhausen and Toru Takemitsu, and his working relationships with Boulez and Rattle.

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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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Cole, Ross. "Mastery and Masquerade in the Transatlantic Blues Revival." Journal of the Royal Musical Association 143, no. 1 (2018): 173–210. http://dx.doi.org/10.1080/02690403.2018.1434352.

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ABSTRACTFocusing on two influential broadcasts staged for British television in 1963–4, this article traces transatlantic attitudes towards blues music in order to explore the constitutive relationship between race, spectatorship and performativity. During these programmes, I claim, a form of mythic history is translated into racial nature. Ultimately, I argue that blues revivalism coerced African American musicians into assuming the mask of blackface minstrelsy – an active personification of difference driven by a lucrative fantasy on the terms of white demand. I ask why this imagery found such zealous adherents among post-war youth, situating their gaze within a longer tradition of colonialist display. Subaltern musicians caught within this regime were nonetheless able to ‘speak’ via sung performances that signified on the coordinates of their own marginalization. The challenge for musicology is thus to heed the relational syncretism arising from intercultural contact while acknowledging the lived experience of African American artists unable fully to evade the preordained mask of alterity.

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Weidman, Amanda, and Kristen Rudisill. "Special Issue: ‘Reality Television in South Asia: Performance, Negotiation, Imagination’." Indian Theatre Journal 6, no. 1 (August 1, 2022): 5–9. http://dx.doi.org/10.1386/itj_00023_2.

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Since the early 2000s, contest-based performance reality shows have become a major source of televisual entertainment in South Asia as well as an important site of publicity for musicians, singers, dancers and choreographers. They have become important venues for the performance of film, folk and classical music and dance, as well as sites where the aesthetics, meaning and status of these genres, and the boundaries between them, are recast. The reality show format has introduced new performance practices, new practices of viewing and audition and new modes of identification and evaluation. The articles in this Special Issue present case studies of the staging, curation and presentation of performance-based reality shows and the kinds of gendered, ethnic, classed and casted subjects produced and recruited through these shows. Moving beyond the more-studied Hindi belt, the articles focus on India’s south and northeast, as well as Pakistan and Nepal.

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Cogo-Moreira, Hugo, and Alexandra Lamont. "Multidimensional measurement of exposure to music in childhood: Beyond the musician/non-musician dichotomy." Psychology of Music 46, no. 4 (June 3, 2017): 459–72. http://dx.doi.org/10.1177/0305735617710322.

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Much research in music psychology characterizes the music background of its participants in a dichotomous manner, labeling participants as “musicians” and “non-musicians” or professionals and non-professionals. However, this terminology is inconsistent from study to study, and even more sophisticated measures fail to accurately represent music experiences; moreover, there is no standardized measure suitable for use with younger participants. This article presents a new measure, the Exposure to Music in Childhood Inventory, for capturing the amount and type of exposure to music activities suitable for use with children. Children from public and private school, aged 5 to 13 years old ( N = 1006; M = 8.36 years old, SD = 1.5 years) completed the inventory, and through a combination of exploratory and confirmatory factor analysis a two-factor solution was obtained. The first factor includes personal music listening activities, home musical environment and the influence of television and the internet; the second reflects more social, active and public elements of music-making, playing an instrument and performing. This scale is suitable for use in a wide range of future research to more accurately assess the kinds of music activities children have access to in a dimensional way, which can have a bearing on their understanding of music.

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Goldsmith, Leo. "Scratch's Third Body." VIEW Journal of European Television History and Culture 4, no. 8 (December 30, 2015): 114. http://dx.doi.org/10.18146/2213-0969.2015.jethc097.

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Emerging in the UK in the 1980s, Scratch Video established a paradoxical union of mass-media critique, Left-wing politics, and music-video and advertising aesthetics with its use of moving-image appropriation in the medium of videotape. Enabled by innovative professional and consumer video technologies, artists like George Barber, The Gorilla Tapes, and Sandra Goldbacher and Kim Flitcroft deployed a style characterized by the rapid sampling and manipulation of dissociated images drawn from broadcast television. Inspired by the cut-up methods of William Burroughs and the audio sampling practiced by contemporary black American musicians, these artists developed strategies for intervening in the audiovisual archive of television and disseminating its images in new contexts: in galleries and nightclubs, and on home video. Reconceptualizing video's “body,” Scratch's appropriation of televisual images of the human form imagined a new hybrid image of the post-industrial body, a “third body” representing a new convergence of human and machine.

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Kheshgi, Rehanna. "Crowning the Bihu Queen: Engendering a rural sensibility through reality television." Indian Theatre Journal 6, no. 1 (August 1, 2022): 41–58. http://dx.doi.org/10.1386/itj_00026_1.

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This article focuses on reality television shows featuring solo female Bihu performance: the music and dance form associated with the Assamese New Year’s festival. These shows cultivate a sense of ‘reality’ by incorporating scenes of finalists on location in their homes. Often depicting hardworking village girls conducting daily chores, these scenes narrate the journey from anonymity to celebrity stardom, highlighting the ability of contestants to embody certain idealized values associated with Assamese womanhood. While judges began embedding these values into Bihu stage competitions in the early 1980s, the scrutiny of individual contestants by celebrity judges has increased since the advent of reality TV Bihu shows in the early 2000s. The success female contestants are able to achieve depends, in part, on their ability to convincingly portray a ‘rural’ sensibility while maintaining an air of respectability, both as part of Bihu performance and during question-and-answer sessions. Drawing on the author’s experience as a guest judge in two seasons of Bihu Rānī (‘Bihu Queen’), as well as on interviews with judges, producers, hosts, contestants and session musicians, the article examines how female performers navigate neo-liberal models of competitive performance while maintaining values and beliefs associated with collective ritual performance.

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Dissertations / Theses on the topic "Musicians on television"

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Pillich, Gualberto Simeon. "Invisible virtuosi the deskilling and reskilling of Hollywood film and television studio musicians /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760581&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Musicians on television"

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The Beatles on television. London: Titan, 2011.

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Bench, Jeff, and Ray Tedman. The Beatles on television. London: Titan, 2011.

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Hawes, William. Live television drama, 1946-1951. Jefferson, N.C: McFarland, 2001.

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Anne, Jasheway-Bryant Leigh, ed. Music in the kitchen: Recipes from musicians and celebrity fans of Austin city limits. Austin: University of Texas Press, 2009.

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Renzo Arbore: Vita, opere e (soprattutto) miracoli. Roma: Rai ERI, 2013.

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Hunter, Tommy. My story. Toronto: Methuen, 1985.

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The Osbournes. San Diego, Calif: Lucent Books, 2004.

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Osbourne, Sharon. Survivor: My story - the next chapter. London: Sphere, 2008.

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Unbreakable. London: Sphere, 2013.

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Marc, Eliot, ed. Life in the kornfield: My 25 years at Hee Haw. New York: Boulevard Books, 1996.

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Book chapters on the topic "Musicians on television"

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"Music and musicians." In The Essential Television Handbook, 127–42. Routledge, 1996. http://dx.doi.org/10.4324/9780080926711-16.

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Kupfer, Peter. "Prokofiev in the Popular Consciousness." In Rethinking Prokofiev, 423–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0023.

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Prokofiev’s legacy in the concert hall is well established, but there has been little study of his legacy in the popular consciousness. If we examine the multitude of uses of his music in popular contexts (television programs, television advertisements, film, in the works of other musicians, etc.), what patterns emerge? Which Prokofiev pieces appear most often and to what associative ends? Can viewers even recognize the music as Prokofiev? If not, are there particular stylistic features of Prokofiev’s music that lend themselves to certain kinds of uses? What, in short, is (and has been) the use and meaning of Prokofiev’s music in the popular consciousness? This chapter sketches out answers to these questions using analytical methods from musicology, music and multimedia studies, music psychology, music sociology, and the analysis of viewer responses to the range of uses of Prokofiev’s music in everyday media.

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Bellaviti, Sean. "El Baile Del Pueblo." In Música Típica, 225–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936464.003.0008.

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In this final chapter, the author provides a macro perspective of the música típica genre as a form of national music, focusing on the challenges musicians face as performers of a popular commercial music that is, at the same time, firmly rooted in folkloric traditions to which Panamanians remain deeply attached. Through a series of case studies, the author shows that the “pull” of tradition is a constant in música típica musicians’ lives. This is never more evident than in ongoing discussions regarding what to call this music and the challenge of sorting out the demands of baile performance as distinguished from shows patronized by concertgoers, or even viewed by a nation-wide television audience. This sense of música típica’s unchanging nature also lies at the heart of the perplexity and frustration felt by performers when they consider the unrivalled popularity música típica enjoys in Panama even as it is virtually unknown beyond the country’s borders. Finally, when compared to most other forms of popular music in Panama, the sense of national pride provoked by música típica’s connection to folkloric music and the fact that it is embraced by so many Panamanians means that musicians are praised for their contributions to modernizing the genre even as they run the risk of being accused of undermining what is regarded by many Panamanians as the nation’s cultural patrimony.

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Burlingame, Jon. "“Hi-yo, Silver!”The Birth of TV Music." In Music for Prime Time, 5—C1.P130. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0002.

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Abstract Chapter 1 explores the beginnings of music for television, which follows radio tradition by using classical music for some shows (The Lone Ranger), and original scores for a very few series (Dragnet), while most—the result of the American musicians’ union’s insistence upon high fees—utilize libraries of generic dramatic music or go overseas to record music that enables producers to skirt union rules. Movie studios (Fox, Disney, Warner Bros.) eventually create content for TV and commission original scores. One major film composer near the end of his career (Victor Young) scores a series, while another just starting out, CBS’s Jerry Goldsmith, emerges from live TV before moving on to success in motion pictures.

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Naremore, James. "Warming by the Devil’s Fire (2003)." In Charles Burnett. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520285521.003.0011.

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Warming by the Devil’s Fire is one in a series of films on blues music produced for television by Martin Scorsese. Burnett’s episode is by far the best of the series, in part because it shows the culture of poverty and brutal labor out of which the blues were created. The film contains powerful archival footage of southern black musicians and the world in which they grew up. Interwoven with this material is a fictional but highly autobiographical story about a boy from Los Angeles whose grandmother sends him to visit relatives in Vicksburg, Mississippi. She hopes he will learn about old-time religion, but he falls into the hands of a ne’er-do-well uncle who is a passionate blues historian.

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Chapman, Con. "Outside the Ellington Constellation: The 1950s and 1960s." In Rabbit's Blues, 133–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0017.

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The chapter discusses Johnny Hodges’s work apart from Ellington during the 1950s and 1960s. He made albums with pianist Billy Taylor, who went on to become a noted broadcaster and jazz educator; baritone saxophonist Gerry Mulligan; Coleman Hawkins; trumpeter Roy Eldridge; and in one instance television bandleader Lawrence Welk, a date for which Hodges received a fair amount of criticism, as if his participation in a recording session with a “sweet” band backed by a string section confirmed the complaints of some critics that Hodges’s style was overripe and sentimental. A defense is mounted against this charge on two grounds: first, that the album featured some of the best arrangers of the day, including Benny Carter; second, that an album with strings is a fairly common aspiration of many jazz musicians, who long for the respectability that is denied to their genre because of its disreputable origins.

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"Are You a Musician? The Rock Ideology and the Construction of Authenticity on Australian Idol." In Adapting Idols: Authenticity, Identity and Performance in a Global Television Format, 183–94. Routledge, 2016. http://dx.doi.org/10.4324/9781315565620-23.

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Naremore, James. "The Wedding (1998)." In Charles Burnett. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520285521.003.0008.

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Based on Dorothy West’s novel of the same title, The Wedding is an expensively mounted, three-hour television film produced by Oprah Winfrey and directed by Burnett, with a large cast and a broad historical sweep. It centers on a wealthy enclave of blacks on Martha’s Vineyard in Massachusetts, where the youngest daughter of a prominent family is about to be married to a white jazz musician from New York. Neither of the two families approves of the match, and the plans for the elaborate wedding lead to a variety of dramatic conflicts. The film flashes back to the Reconstruction era, revealing the family trees of black “strivers” who have sacrificed love to become successful and are biased against anyone not of their class.

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Hassler-Forest, Dan. "Dirty Computers versus the New Jim Code." In Situating Data. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463722971_ch09.

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While digital data networks provide new opportunities for anti-racist creative production and activism, they also constitute a powerful surveillance network that reproduces and even exacerbates racist social structures. This article focuses on the creative work of musician, performing artist, and activist Janelle Monáe, whose creative work across digital media platforms has developed Afrofuturist storyworlds that reflect this dialectic. By using androids and “dirty computers” as signifiers for processes of racialized, gendered, and sexual exclusion throughout her musical career, her work brings into sharper focus how digital data networks constitute what Ruha Benjamin has described as the “New Jim Code.” At the same time, her fully datafied performance in VR space as a transmedial extension of the television series Lovecraft Country shows how these same data systems can be used to creatively resist and potentially transform our understanding of these ubiquitous networks.

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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Steps Out." In Madeleine Dring, 115–49. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0006.

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Dring’s early career is traced through her commissions for BBC radio and television broadcasts, of which the most significant is The Fair Queen of Wu, a ballet for singers and chamber ensemble with choreography by Felicity Gray. During these years, her first publications appeared, with an emphasis on piano music (for solo piano and two pianos) and her Three Shakespeare Songs. Dring’s music was also performed in recitals, including her recently published piano works and a selection of her songs (published and unpublished). The most favorable reviews are found for her Festival Scherzo (“Nights in the Gardens of Battersea”), written to commemorate the Festival of Britain. Also discussed is her one-act opera, Cupboard Love, the music written for the Christmas plays produced by Angela Bull’s Cygnet Company, and her first performance as a singer at the RCM’s Union “At Home.” A fine example of Dring’s cabaret style is found in the discussion and analysis of her song, “The Lady Composer.” In her personal life, the chapter documents her marriage to Roger Lord, his career as a musician (principal oboe in the London Symphony Orchestra for thirty-three years), and the birth of her son, Jeremy.

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