Country Music Radio Part I: the Tale of Two Cities

Almost everyone knows Nashville, home of WSM Radio's "Grand Ole Opry" as "Music City U.S.A." However, Knoxville, nearly 200 miles east, also was important in the development of country music radio. Many of the early and contemporary "Opry" performers began their careers at one of KnoxvilIe's two early radio stations. Despite Knoxville's significant role as a "feeder" of talent to the "Grand ole Opry," Nashville today is the undisputed capital of country music. This paper explores the contributions of both cities to the country music industry of Tennessee, as well as reasons for Nashville's enduring prominence and Knoxville's present obscurity in this activity.     

Remarks on Radio Localism

Radio stations regularly conduct music research to determine what music they should play. Programming belief is that if they play music that people like better, more people will listen and listen longer, and the station's ratings will improve. This project utilizes Radio &; Records' Callout America® callout research of the top 30 songs on its Contemporary Hit Radio/Pop chart and their published CHR/Pop radio station playlists to compile an average favorability score for the music the station played. These scores were then compared to Arbitron ratings. Analysis found a statistically significant direct correlation between music research scores and Arbitron ratings.     

(Residual) Public Music Radio in the Streaming Era: Listening for Diversity and Frequency on CBC Music

The aim of this article is to assess whether and how the CBC’s music radio programming reflects the corporation’s mandate of showcasing a diversity of music and culture. I argue that a program logic that privileges an international corporate music industry strategy persists (particularly during the peak morning and afternoon drive time programs) and limits the capacity for public radio to imagine and project alternative musical trajectories. My aspiration is to imagine CBC Music’s over-the-air radio as a residual broadcast service, one that presents novel opportunities at a time when digital and online streaming music is dominant.     

From Music Cataloging to the Organization of Knowledge: An Interview with Richard P. Smiraglia

Richard P. Smiraglia shares his personal evolution from early studies in music, to music cataloging, instantiation theory, and knowledge organization. People who have impacted his career and research direction are featured, as well as his work editing such publications as Library Resources & Technical Services, The Soldier Creek Music Series, and his continuing editorship of the journal Knowledge Organization. His contributions to the fields of cataloging, especially music cataloging, and his research in instantiation, domain analysis, and knowledge organization serve to advance Patrick Wilson's notion of exploitative power within a connected universe of knowledge.     

Delivering and Assessing Music Reference Services

The nature of music collections and their use means that patrons have always required specialized guidance from librarians to access what they need. Currently, library patrons' expectations are growing as collections and their delivery modes evolve. Music reference services must adapt to effectively address these needs. This article examines the challenges to delivering effective music reference service, the basics of reference assessment, and how assessment models such LibQual+, the Wisconsin-Ohio Reference Evaluation Program, and the Reference Effort Assessment Data Scale can help librarians build patron-centered music reference services.     

Music Collections in ARL Libraries

This article reports the findings of a survey conducted in 1986 of music collections in academic libraries of the Association of Research Libraries. There were five sections in the survey instrument: (1) General Information; (2) Staffing and Location of the Music Collection; (3) Collection Development Policies and Procedures; (4) Collection Evaluation Policies and Procedures; and (5) Tables. These sections correspond to the major questions which initiated the survey: (I) Where did Louisiana State University (LSU) rank in music holdings and budget among the respondents? (2) In relation to collection size and budget how did LSU compare in staffing, and where did the majority of other ARL libraries house their material? (3) How many libraries had collection development policies as guidelines for developing their collections? (4) How many libraries had formal collection evaluation procedures, and what bibliographic sources were used for this (5) How did other institutions view the provision of chamber music "performance parts" and "elementary/secondary classroom materials" in a research collection, and what were the collection preferences for certain book, non-book, and score materials?     

Taking Care of Authenticity on the CBC’s Randy’s Vinyl Tap

This essay explores the radio program Randy’s Vinyl Tap, which is hosted by Randy Bachman and airs on CBC Radio 1 (2005-present). I argue that the show’s complex reception can be explained, in part, by the fact that it transgresses dominant conceptions of authenticity in both rock music and public broadcasting discourses. Drawing on the work of Mikhail Bakhtin, I explore ways in which Bachman evokes a “carnivalesque” approach to public communication.     

地域音乐资源库中跨库导航的设计与实现———以岭南音乐资源数据库为例简

文章以岭南音乐资源数据库为例,在了解地域音乐概念和构成的基础上,探索了在地域音乐资源数据库中如何进行跨库和单库分类导航的设计和实现,对岭南音乐资源数据库跨库分类导航的具体实现步骤进行描述。     

"The Farmer's Friend": Radio Comes to Rural America, 1920–1927

Nowhere did the coming of broadcasting have more social impact than in America's rural areas. With radio, farm families that were once isolated by vast distances and poor roads were brought into immediate and continuous contact with the rest of the nation. The United States Department of Agriculture was quick to seize the potential of the new medium and began producing weather forecasts, market reports, and other agricultural programming at an early date. Commercial interests also built stations and designed programming to serve the rural audience. This article examines the arrival of radio on America's farms during broadcasting's earliest years, from the introduction of radio in 1920 to the passage of the Radio Act of 1927.     

Nailing JELL-O® to a Tree: Improving Access to 20th-century Music

ABSTRACT

Although literary warrant and use of current terminology are principles which have guided the creation of Library of Congress Subject Headings for quite some time, for many years adequate headings were not established to provide access to several concepts in 20th century music. Some of the problem areas include electronic music, music theater, text-sound compositions and musical notation. The efforts of two working groups of the Music Library Association have resulted in improved access in many of these areas. Still, problems remain, some due to LC's policies and practices regarding musical styles. It may take other approaches, such as the use of a music thesaurus, to fully overcome the remaining issues.     

Kern,Jonathan. (2008). Sound reporting: The NPR guide to audio journalism and production

This article examines the emergence of local radio in a rural southeastern Turkish city called Sanllurfa in the early 7990s following the end of the state's media monopoly on broadcasting. Informed by a media ethnography conducted there in 2001, this article discusses local debates over the content and quality of local radio and the influence of the state's official cultural policies on the programming decisions of local radio owners, managers, and DJs. This paper also illustrates Turkish young people's local and national radio preferences, their responses to local programming and on-air personalities, and the meaning of music and local radio in their lives.     

KBOO Community Radio: Organizing Portland's Disorderly Possibilities

Across the radio spectrum, there are relatively few stations in the United States that concentrate on community building and sustainability. One of the country's early community radio stations, KBOO-FM in Portland, Oregon, has been on the air since 1968 and has significantly expanded its signal reach and audience during that time. Preceding National Public Radio, KBOO is the outcome of a Portland grassroots activist movement that initially sought to restore classical music on the local airwaves and eventually concurred on a more radical mission to serve the underserved and to cater to communities at the margins in the metropolitan listening area and beyond. KBOO transmits a potpourri of musical and artistic styles, foreign language programs, and critical news, public affairs, and commentaries—all with a largely volunteer-based governance structure. It also devotes its attention to promoting community-based initiatives. This article focuses on four major community functions served by KBOO community radio: public transmission, radio training, political education and mobilization, and community building and outreach. We conclude with observations about the uses and potential of community radio in developing a rich democratic civil society.     

Cultivating the Cooperative: PCC,the Music Library Association,and the Music OCLC Users Group

Abstract

PCC and the Music Library Association (MLA) and Music OCLC Users Group (MOUG) have a long history of coordinating and collaborating on standards, best practices, and training of the music cataloging community. The impact of these collaborations on the formation and structure of the PCC is found throughout the organization, particularly in the PCC funnels, but also in the basic concept of a cooperative cataloging community. This article describes some of the MLA and MOUG cooperative efforts that have benefited and influenced the PCC.     

Music Literature Indexing: Comparing Users' Free-Text Queries and Controlled Vocabularies

This study examined the characteristics of users' free-text queries submitted to RILM Abstracts of Music Literature (a music literature database), and compared those queries with the controlled vocabularies used by RILM. Search-log analysis identified 11 categories of user-created search terms, and mapped each user-created search term to RILM's index terms, assessing whether it was a perfect match, a partial match, or no match. Only 30.04% of the user-created search terms did not match RILM's index terms. Most of the partial-matching and non-matching user-created search terms were personal names, work titles, and topical terms. Suggestions are offered to enhance RILM's controlled vocabularies.     

Examining the Impact of Social Identification with Music on Music Streaming Behavior

According to the Nielsen Music 360 Research Report, 67% of all music consumers in the United States used digital music streaming services to listen, discover, and share music online in 2014 (The Nielsen Company, 2014). As such, communications scholars and music industry professionals are beginning to recognize the importance of understanding the factors that influence digital music listener behavior. Therefore, this study proposes an expanded theory of planned behavior model (TPB) by incorporating social identification into the original TPB model framework in an effort to gain a better understanding of people’s intentions to use digital music streaming services as well as the amount of time spent listening to them.

Results suggest that both the original TPB and expanded TPB models can be successfully applied within the context of digital music streaming service use. Specifically, attitudes emerged as positive contributors to intention to use digital music streaming services, while social identification and behavioral intention emerged as positive contributors to streaming behavior. Both models also explained a larger percentage of intention to use digital music streaming services as compared to streaming behavior operationalized as total time spent listening. Thus, this study implies the practical importance of understanding the differences between what drives listener intentions as compared to what drives the actual amount of time listeners spend using digital music streaming services.     

Discovering Music: Small-Scale,Web-Scale,Facets, and Beyond

In this presentation, two music librarians addressed the issues related to the discovery of library music resources. Rebecca Belford talked about the Music Library Association’s “Music Discovery Requirements” (MLA MDR) document, and how it applies to some contexts. Tracey Snyder then described the incorporation of MLA MDR into the development of a specific discovery interface. The presenters identified some of the challenges characteristic of music resources and ways in which those challenges may be met, reasoning that a tool capable of handling music will be capable of handling most things in a general collection.     

Liberating American Communications: Foreign Ownership Regulations from the Radio Act of 1912 to the Radio Act of 1927

Although foreign ownership regulations, embodied in Section 72 of the Radio Act of 1927, are most commonly associated with propaganda and broadcasting, this study shows that they targeted wireless telegraphy as a weapon of war. Archival research reveals that these rules formed part of the U.S. Navy's strategy to break the supremacy of Britain in international communications. Foreign ownership rules are only one example of pro- visions in the Radio Act that target telegraphy, not broadcasting, prompting us to reinterpret the Act as a hybrid legislation, designed to regulate two different uses of the same technology.     

Radio as an Instrument of Protest: The History of Bush Radio

This article provides a historical account of Bush Radio, the oldest community radio station in Africa, based in Cape Town, South Africa. The creation of Bush Radio's precursor, the Cassette Education Trust (CASET) was a pivotal moment for the emergence of community radio on the continent. This people's history of Bush Radio tells the full story through the voices of the founders and staff, together with other sources of historical data. The article argues that although the apartheid state constructed essentialist racial and ethnic categories, CASET and later Bush Radio constantly positioned themselves in a space of liminality to interrogate and redefine these categories. Privileging an instrumentalist approach, this article shows the connections between ideology, politics, and economics as they converge to form the industrial structure, the political environment, and the cultural product of broadcasting.