Podcasts and popular music are different kinds of sonic media, but they are increasingly in direct competition for our listening time within the ‘audio market’. Audio platforms like Spotify, Apple and Google host both podcasts and music (and other audio media) so their distribution decisions and infrastructure have a significant impact on musicians, podcasters, record labels, podcast networks and other industrial entities. Despite this convergence, podcasting studies and popular music studies have not regularly been put in conversation; podcast studies has drawn primarily on radio studies, and overlap between this work and popular music studies has to date been minimal. Our introduction to this Special Issue on popular music and podcasts suggests that framing music and podcasts as ‘competing sounds’ permits new contributions to several important areas of media study, including platformization, creative labour, media representation and the role of sonic media in everyday life.
{"title":"Competing sounds? Podcasting and popular music","authors":"Ellis Jones, J. Morris","doi":"10.1386/rjao_00052_2","DOIUrl":"https://doi.org/10.1386/rjao_00052_2","url":null,"abstract":"Podcasts and popular music are different kinds of sonic media, but they are increasingly in direct competition for our listening time within the ‘audio market’. Audio platforms like Spotify, Apple and Google host both podcasts and music (and other audio media) so their distribution\u0000 decisions and infrastructure have a significant impact on musicians, podcasters, record labels, podcast networks and other industrial entities. Despite this convergence, podcasting studies and popular music studies have not regularly been put in conversation; podcast studies has drawn primarily\u0000 on radio studies, and overlap between this work and popular music studies has to date been minimal. Our introduction to this Special Issue on popular music and podcasts suggests that framing music and podcasts as ‘competing sounds’ permits new contributions to several important\u0000 areas of media study, including platformization, creative labour, media representation and the role of sonic media in everyday life.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79824652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Popular music and pop song-dissection podcasts often compete for top 40 listeners’ attention, but podcasts interject hosts’ opinions of songs that listeners may not share. This article introduces a phenomenon I call ‘ride-along listening’, where podcast hosts play isolated musical features to closely examine a song’s production and reception. Hosts’ instantaneous explanations of musical terms have the potential to make pop podcasts more inclusive for non-musically trained listeners. As I show, Switched on Pop’s Episode 80 dissects Janelle Monáe’s ‘Make Me Feel’ by playing the single’s harmonies and rhythms back-to-back with those of the blues, Michael Jackson and Prince. But guest host Lizzo – a classically trained flutist, songwriter, singer and rapper – especially makes Monáe’s social message of fluid sexuality palpable for specialist and non-specialist listeners alike. By foregrounding performing musicians’ embodied listening and knowledge, ride-along listening can provide inclusive ways of dissecting the medium and the message of pop music.
流行音乐和流行歌曲剖析播客经常争夺前40名听众的注意力，但播客会插入主持人对歌曲的看法，听众可能不会认同。本文介绍了一种我称之为“边听边听”的现象，即播客主持人播放独立的音乐特征，以仔细检查歌曲的制作和接收情况。主持人对音乐术语的即时解释有可能使流行播客对非音乐训练的听众更具包容性。正如我所展示的，switch on Pop的第80集剖析了Janelle Monáe的《Make Me Feel》，将这首歌的和弦和节奏与布鲁斯、迈克尔•杰克逊(Michael Jackson)和普林斯(Prince)的旋律连续播放。但嘉宾主持人Lizzo——一位受过古典训练的长笛手、词曲作者、歌手和说唱歌手——尤其让Monáe的社会信息对专业和非专业听众来说都是显而易见的。通过突出表演音乐家的具体聆听和知识，伴随聆听可以提供一种包容性的方式来剖析流行音乐的媒介和信息。
{"title":"Ride-along listening: Inclusive modes of musical analysis in Switched on Pop","authors":"Amy Skjerseth","doi":"10.1386/rjao_00054_1","DOIUrl":"https://doi.org/10.1386/rjao_00054_1","url":null,"abstract":"Popular music and pop song-dissection podcasts often compete for top 40 listeners’ attention, but podcasts interject hosts’ opinions of songs that listeners may not share. This article introduces a phenomenon I call ‘ride-along listening’, where podcast hosts play isolated musical features to closely examine a song’s production and reception. Hosts’ instantaneous explanations of musical terms have the potential to make pop podcasts more inclusive for non-musically trained listeners. As I show, Switched on Pop’s Episode 80 dissects Janelle Monáe’s ‘Make Me Feel’ by playing the single’s harmonies and rhythms back-to-back with those of the blues, Michael Jackson and Prince. But guest host Lizzo – a classically trained flutist, songwriter, singer and rapper – especially makes Monáe’s social message of fluid sexuality palpable for specialist and non-specialist listeners alike. By foregrounding performing musicians’ embodied listening and knowledge, ride-along listening can provide inclusive ways of dissecting the medium and the message of pop music.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"68 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84065447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article positions Hrishikesh Hirway’s Song Exploder as an archetypical example of how musical exploration, examination and education can come together in podcast form. Song Exploder’s combination of content and format allows audiences with a range of musical experience and interest to gain insight into how popular music is created at the level of individual songs, and more broadly in terms of genre and industry reception and delivery processes. Originally conceived as an audio-only podcast, versions of Song Exploder have also been staged ‘live in concert’, and in audio-visual format for Netflix. To demonstrate Song Exploder’s success, I situate it alongside similar music/media crossovers in print, radio and film and television, while also presenting findings from my five years experience of using Song Exploder as a teaching tool for undergraduate students in Australia.
{"title":"Lessons on popular music form, creation and reception through the Song Exploder podcast","authors":"L. Giuffre","doi":"10.1386/rjao_00055_1","DOIUrl":"https://doi.org/10.1386/rjao_00055_1","url":null,"abstract":"This article positions Hrishikesh Hirway’s Song Exploder as an archetypical example of how musical exploration, examination and education can come together in podcast form. Song Exploder’s combination of content and format allows audiences with a range of musical\u0000 experience and interest to gain insight into how popular music is created at the level of individual songs, and more broadly in terms of genre and industry reception and delivery processes. Originally conceived as an audio-only podcast, versions of Song Exploder have also been staged\u0000 ‘live in concert’, and in audio-visual format for Netflix. To demonstrate Song Exploder’s success, I situate it alongside similar music/media crossovers in print, radio and film and television, while also presenting findings from my five years experience of using Song\u0000 Exploder as a teaching tool for undergraduate students in Australia.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91095776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The COVID-19 pandemic has led to unique restrictions on human sociability. In response, exceptional initiatives using a range of existing technologies and platforms have emerged to mitigate lockdown isolation. Basement Traxx, a kind of hybrid DJ set streamed from a Glasgow basement, was one of these initiatives. As the lockdown was extended, it became a virtual gathering space, with unexpectedly powerful impacts on its audience. This research seeks to define and describe this phenomenon. In this study, we find new permutations of engagement in space, in time and in presence. We find expressions of joy in the show’s particular sociability. In the isolation of lockdown, here is an experience in which participants felt affirmed, validated and re-constituted as subjects and actors. In their response, we find an enthusiastic push-back in favour of communal musical spaces and against a political economy of music that has pressed relentlessly towards isolation, individuation and commodification.
{"title":"Banging tunes in the basement: Finding online community in COVID-19 lockdown","authors":"H. Wolfenden, H. Sercombe, Adrian Renzo","doi":"10.1386/rjao_00056_1","DOIUrl":"https://doi.org/10.1386/rjao_00056_1","url":null,"abstract":"The COVID-19 pandemic has led to unique restrictions on human sociability. In response, exceptional initiatives using a range of existing technologies and platforms have emerged to mitigate lockdown isolation. Basement Traxx, a kind of hybrid DJ set streamed from a Glasgow basement, was one of these initiatives. As the lockdown was extended, it became a virtual gathering space, with unexpectedly powerful impacts on its audience. This research seeks to define and describe this phenomenon. In this study, we find new permutations of engagement in space, in time and in presence. We find expressions of joy in the show’s particular sociability. In the isolation of lockdown, here is an experience in which participants felt affirmed, validated and re-constituted as subjects and actors. In their response, we find an enthusiastic push-back in favour of communal musical spaces and against a political economy of music that has pressed relentlessly towards isolation, individuation and commodification.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"148 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88660944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines three dimensions of Chris Hoff and Sam Harnett’s practices for producing, sharing and listening to audio in collective and social ways for The World According to Sound’s Outside In: the sonic strategies and soundscape design used to engage communal and collective listening, how Outside In adapts and transforms traditional paradigms using the broadcast medium of the podcast to aesthetically engage with liveness and the corporeality of sound, and how the COVID-19 pandemic afforded space for ‘unpopular’ soundwork based on everyday aural architectures (e.g., field recordings, ambient music, experimental music based on everyday sounds, soundscape collages) that are popular, as in, of the community. Using varied examples drawn from The World According to Sound’s soundwork, I illustrate a particular set of sonic strategies to imagine sonic space, listen relationally to sound events, and enact a sociality of collective listening.
本文分析了Chris Hoff和Sam Harnett在《The World According to Sound’s Outside in》中以集体和社交方式制作、分享和聆听音频的三个方面:用于吸引公共和集体聆听的声音策略和音景设计，Outside In如何利用播客的广播媒介适应和改变传统范式，以美学方式融入声音的活力和形体，以及2019冠状病毒病大流行如何为基于日常听觉架构的“不受欢迎”的声音作品提供空间(例如，现场录音、环境音乐、基于日常声音的实验音乐、音景拼贴画)。就像社区一样。我从《The World According to Sound》的声音作品中选取了不同的例子，阐述了一套特定的声音策略，用来想象声音空间，与声音事件相关联地倾听，并制定集体倾听的社会性。
{"title":"The sonic strategies and technologies of listening alone together in The World According to Sound’s Outside In: A Communal Listening Series","authors":"Kate Galloway","doi":"10.1386/rjao_00057_1","DOIUrl":"https://doi.org/10.1386/rjao_00057_1","url":null,"abstract":"This article examines three dimensions of Chris Hoff and Sam Harnett’s practices for producing, sharing and listening to audio in collective and social ways for The World According to Sound’s Outside In: the sonic strategies and soundscape design used to engage communal and collective listening, how Outside In adapts and transforms traditional paradigms using the broadcast medium of the podcast to aesthetically engage with liveness and the corporeality of sound, and how the COVID-19 pandemic afforded space for ‘unpopular’ soundwork based on everyday aural architectures (e.g., field recordings, ambient music, experimental music based on everyday sounds, soundscape collages) that are popular, as in, of the community. Using varied examples drawn from The World According to Sound’s soundwork, I illustrate a particular set of sonic strategies to imagine sonic space, listen relationally to sound events, and enact a sociality of collective listening.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82224469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Podcasts have become an important part of music reception practices, providing new ways of engaging with reviews and recommendations, artist interviews and popular music histories. This article presents a replicable working methodology that can be applied to study the data associated with podcasts of any genre. In our analysis, we explore approximately 16,000 listener reviews of the Top 50 podcasts in the Apple (UK) music chart in order to discover what it is about music podcasts that draws listeners to regularly engage with their favourite shows. This method, based on unsupervised machine learning algorithms, automates data-scraping for podcast reviews and ratings. We describe and critically reflect on this process in order to understand not only how listeners describe their range of motivations for engagement with music podcasts, but also the limitations of this approach in a media and cultural studies context.
{"title":"Rate and review: Exploring listener motivations for engagement with music podcasts","authors":"C. Hamilton, Simon Barber","doi":"10.1386/rjao_00053_1","DOIUrl":"https://doi.org/10.1386/rjao_00053_1","url":null,"abstract":"Podcasts have become an important part of music reception practices, providing new ways of engaging with reviews and recommendations, artist interviews and popular music histories. This article presents a replicable working methodology that can be applied to study the data associated\u0000 with podcasts of any genre. In our analysis, we explore approximately 16,000 listener reviews of the Top 50 podcasts in the Apple (UK) music chart in order to discover what it is about music podcasts that draws listeners to regularly engage with their favourite shows. This method, based on\u0000 unsupervised machine learning algorithms, automates data-scraping for podcast reviews and ratings. We describe and critically reflect on this process in order to understand not only how listeners describe their range of motivations for engagement with music podcasts, but also the limitations\u0000 of this approach in a media and cultural studies context.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78090118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Community Radio in South Asia: Reclaiming the Airwaves, Kanchan K. Malik and Vinod Pavarala (eds) (2020)New York: Routledge, 294 pp.,ISBN 978-1-138-55853-3, h/bk, $65.42, e-book, $48.95
评论:南亚的社区广播:回收电波，Kanchan K. Malik和Vinod Pavarala(编)(2020)纽约:Routledge出版社，294页，ISBN 978-1-138-55853-3, h/bk, 65.42美元，电子书，48.95美元
{"title":"Community Radio in South Asia: Reclaiming the Airwaves, Kanchan K. Malik and Vinod Pavarala (eds) (2020)","authors":"S. Sahai","doi":"10.1386/rjao_00049_5","DOIUrl":"https://doi.org/10.1386/rjao_00049_5","url":null,"abstract":"Review of: Community Radio in South Asia: Reclaiming the Airwaves, Kanchan K. Malik and Vinod Pavarala (eds) (2020)New York: Routledge, 294 pp.,ISBN 978-1-138-55853-3, h/bk, $65.42, e-book, $48.95","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85564550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There has been an increase in the use of immersive or spatialized audio formats for radio and podcast journalism. Immersion is used to put audiences at the heart of a story, enable richer experiences and encourage empathy with others, but it can disrupt the ‘grammar’ of broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme-makers have until now lacked a conceptual framework and terminology to describe how space is constructed in immersive audio, the creative and editorial choices available and their effects. This article, based on analysis of immersive output and interviews with those who produce it, critically examines the differences between mono/stereo space and immersive audio space and argues they are not only a matter of aesthetics or comfort, but communicate differential authority over the story and merit further attention when journalists are trained in immersive audio.
{"title":"Telling stories in soundspace: Placement, embodiment and authority in immersive audio journalism","authors":"Abigail Wincott, Jean Martin, Ivor Richards","doi":"10.1386/rjao_00048_1","DOIUrl":"https://doi.org/10.1386/rjao_00048_1","url":null,"abstract":"There has been an increase in the use of immersive or spatialized audio formats for radio and podcast journalism. Immersion is used to put audiences at the heart of a story, enable richer experiences and encourage empathy with others, but it can disrupt the ‘grammar’ of\u0000 broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme-makers have until now lacked a\u0000 conceptual framework and terminology to describe how space is constructed in immersive audio, the creative and editorial choices available and their effects. This article, based on analysis of immersive output and interviews with those who produce it, critically examines the differences between\u0000 mono/stereo space and immersive audio space and argues they are not only a matter of aesthetics or comfort, but communicate differential authority over the story and merit further attention when journalists are trained in immersive audio.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88124805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study analyses the public service broadcast terrain within a changing sector that is driven by digital media convergence using the case of the BBC Sounds. From the findings, we demonstrate that the BBC Sounds promotes the idea of a visible media, an inter-medial platform providing agency to some of its listeners as they choose what content they want to listen to, while questioning whether this new streaming service offers more control than choice. In this study we identify issues surrounding accessibility for all when exploring on-demand content, and what impact this has on the public. Finally, we highlight the blurring of podcasts and radio and whether all live radio shows become, or risk becoming, podcasts.
{"title":"Reframing public service radio: The case of BBC Sounds","authors":"Rachel-Ann Charles-Hatt, Thomas Sayers","doi":"10.1386/rjao_00044_1","DOIUrl":"https://doi.org/10.1386/rjao_00044_1","url":null,"abstract":"This study analyses the public service broadcast terrain within a changing sector that is driven by digital media convergence using the case of the BBC Sounds. From the findings, we demonstrate that the BBC Sounds promotes the idea of a visible media, an inter-medial platform providing\u0000 agency to some of its listeners as they choose what content they want to listen to, while questioning whether this new streaming service offers more control than choice. In this study we identify issues surrounding accessibility for all when exploring on-demand content, and what impact this\u0000 has on the public. Finally, we highlight the blurring of podcasts and radio and whether all live radio shows become, or risk becoming, podcasts.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"193 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75852121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Indian Sound Cultures, Indian Sound Citizenship, Laura Brueck, Jacob Smith and Neil Verma (eds) (2020)Ann Arbor, MI: University of Michigan Press, 338 pp.,ISBN 978-0-47205-434-3, p/bk, USD 44.95
{"title":"Indian Sound Cultures, Indian Sound Citizenship, Laura Brueck, Jacob Smith and Neil Verma (eds) (2020)","authors":"Donna L. Halper","doi":"10.1386/rjao_00050_5","DOIUrl":"https://doi.org/10.1386/rjao_00050_5","url":null,"abstract":"Review of: Indian Sound Cultures, Indian Sound Citizenship, Laura Brueck, Jacob Smith and Neil Verma (eds) (2020)Ann Arbor, MI: University of Michigan Press, 338 pp.,ISBN 978-0-47205-434-3, p/bk, USD 44.95","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73067208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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