DOCSLIB.ORG

Popular Music Journalism As Public Sphere

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UNIVERSITY OF STIRLING PEDRO NUNES Department of Film and Media POPULAR MUSIC AND THE PUBLIC SPHERE: THE CASE OF PORTUGUESE MUSIC JOURNALISM Submitted for the degree of Doctor of Philosophy January, 2004 i Abstract Music journalism has been acknowledged as an important space of mediation between artists and consumers. Journalists and critics have played an historical role in the creation of discourse on popular music and are acknowledged by the music industry as an important referent in promotion strategies. Research on the subject has been mostly focused either on the relationship between music journalism and the wider music industry in which it operates or on its status as a field of cultural production. Little consideration has been given to the role played by music journalists in articulating popular music with wider political, social and cultural concerns. This thesis will examine the case-study of Portuguese popular music journalism. It will address its historical evolution and current status by taking into consideration some dimensions, namely, the wider institutional contexts that frame the status of music journalism and how they work upon it, the ideologies and values realised in journalistic discourse, the journalists’ relationship to the music industry (as represented by record labels/companies and concert promotion companies) and issues of interactivity with readers. The thesis will draw on theories of the public sphere and, to a lesser extent, on Bourdieu’s notions of field, capital and habitus to assess the possibilities for music journalism to create reasoned discourse on ii popular music and, therefore, contribute to wider debates on the public sphere of culture. 75,653 words. iii Acknowledgements I would like to thank my supervisor Professor Simon Frith for his enduring guidance and support. Thanks must also go to Professor Philip Schlesinger for his invaluable comments on earlier drafts of this thesis. I would also like to acknowledge the support from Fundação para a Ciência e Tecnologia and from the FSE (Fundo Social Europeu) who funded this research. I am very grateful to all my interviewees whose contributions were very much appreciated. Thanks to all the journalists, press-officers, label managers, retailers and participants in Forum Sons for their availability. A special thanks must go to Rachel Lawlor for the many hours spent proof-reading all chapters. Also to Claire Lightowler for proof- reading two chapters and to Nuno Jorge who hasn’t seen his archives of music and arts/culture supplements for nearly three years. Of course, any errors that may still remain should not be associated with the names mentioned. They are entirely my own. Thanks to my friends who have made these four years in Stirling so enjoyable: Una, Janina, Mark P., Maggie, Matt, Miriam, Shane and Eileen, Nick, Olivier, Wei-Chen and Miwa. iv For Miwa v TABLE OF CONTENTS INTRODUCTION I CHAPTER ONE 16 FRAMING THE SUBJECT: POPULAR MUSIC AND POPULAR MUSIC JOURNALISM 16 The politics of popular music: from Adorno to the globalisation debate 16 Popular music journalism 43 The Portuguese case 62 Conclusion 65 CHAPTER TWO 69 THE SPACE OF POPULAR MUSIC JOURNALISM: HISTORICAL ANALYSIS OF THE ANGLO-SAXON AND PORTUGUESE CASES 69 The popular music press: a brief British and American account 70 Popular music journalism in Portugal 78 Blitz 81 Music and arts/culture supplements 86 Pop/Rock, Sons, Y 88 DN+ 97 A Revista and Cartaz 101 Conclusion 103 CHAPTER THREE 106 METHODOLOGY 106 Exploratory interviews and questionnaires 112 Semi-directed interviews 113 E-mail questionnaire 117 Content analysis of the press 117 Content analysis of forum of discussion 119 vi Additional information and methods 119 CHAPTER FOUR 121 THE STATUS OF POPULAR MUSIC JOURNALISM 121 Music journalism, radio and television 122 Synergies with radio 127 The challenge of IT 129 Music journalism and the fields of journalism and culture 132 Personal taste and public interest 139 Conclusion 155 CHAPTER FIVE 160 MUSIC JOURNALISTS AND THE MUSIC INDUSTRY 160 Music journalists and record labels 164 Press-officers and music journalists 171 Social and symbolic capital 181 Conclusion 186 CHAPTER SIX 190 COVERAGE AND DISCOURSE ON POPULAR MUSIC IN THE PRESS: FROM IDEOLOGICAL JOURNALISM TO CONSUMER GUIDES 190 1985-1988: militant journalism and the ideology of difference 192 1992-1995: pluralistic and “objective” coverage 212 1999-2002: consumer guides 220 Conclusion 229 v ii CHAPTER SEVEN 234 CASE STUDY: IDEOLOGIES OF MUSIC JOURNALISTS TOWARDS PORTUGUESE MUSIC 234 Context 237 Ideologies in music journalism: militant journalism, desk journalism and proactive journalism 241 Conclusion 261 CHAPTER EIGHT 268 A VOICE FOR THE READERS: INTERACTIVITY IN THE MUSIC PRESS 268 A short account of interactivity in Portuguese music journalism 269 Case-study: Forum Sons 272 Features of the forum 275 Contents 277 Impacts of the forum 283 Conclusion 290 CHAPTER NINE 296 POPULAR MUSIC JOURNALISM AND THE PUBLIC SPHERE 296 The public sphere: Habermas and his revisionists 299 Journalism and the public sphere 306 Popular music and the public sphere of culture 310 Portuguese popular music journalism and the public sphere 318 Bourdieu and the field of cultural production 326 Conclusion 334 CONCLUSION 340 BIBLIOGRAPHY 2 APPENDIX 24 v iii Introduction In a feature article, covering the upcoming gig in Lisbon from veteran pop band Supertramp published last year in a music supplement, the introductory strapline read, “the market has been devolved to aged forty-somethings. The generation that buys a house and a car, also buys compilations – like Supertramp’s – and sells-out concerts, like Supertramp’s. This was one of the bands they listened to in their youth before they reached positions of power in record companies and in the mass media” (in Y, 19/4/2002). The article then went on to explain Supertramp’s success in terms of their appeal to the aforementioned generation and to the recent loss of impact from younger audiences on sales figures. While not much was said about their music, the article was implicitly dismissive, alluding to their “irritating perfectionism” and lack of novelty (ibid.). About one week later, journalist Pedro Rolo Duarte responded to the article in his editorial for DNa, the culture/lifestyle supplement for Diário de Notícias. The editorial, titled “I like Supertramp. Am I allowed to?”, cheered the perfectionism and lack of novelty as good reasons to attend the gig (and, indeed, to have enjoyed it as was the case for the writer). He criticised the music journalist for his conformity to the idea, common among music journalists, that the 1970s were if anything to be dismissed. Furthermore, he claimed that the journalist 1 was not atypical of “a vast majority of journalists who despise the creativity of popular music for the masses and are consumed by the idea of novelty.” He went on writing that “beyond this idea are an array of complexes and prejudices towards the music market which makes the critics nest in small cultural ghettos, ignoring and dismissing everything out of their universe” (in DNa, 27/4/2002). The argument could be contextualised in many ways. It may be seen as a conflict of values between agents in the field of culture and entertainment where the position occupied by music journalists conflicts with the position occupied by entertainment/lifestyle journalists. Alternatively, it can be seen as a conflict between competing titles, one being more populist (Diário de Notícias), the other more elitist (Público). It may be regarded as a conflict of generations between one journalist who lived his youth in the 1970s and whose taste was informed by the music of that period and another who grew up in the 1980s when the soundscape was much different from the previous decade. Or it can be stated more simply as an argument between a journalist who likes Supertramp and one who does not. But what is striking about the argument is that it reveals how popular music (like all popular culture in general) can be a site of argument and struggle between different actors. Additionally, it highlights the ways in which the articulation of opinions about and stances towards popular music are wrapped up 2 with broader cultural and political concerns in such a way that it can inform the reader while stimulating critical discussion. Or to put it more straightforwardly, if popular music is just entertainment, then what are these people arguing about? Elvis Costello is rumoured to have said that “talking about music is like dancing about architecture”. Yet popular music is the subject of passionate discussion in a variety of contexts. People talk about it over a pint when gathering with friends in the pub. We read about it in the newspapers, either in general or specialised titles and rant and rave over the writer’s judgements on our favourite band. Music fans discuss it on the web through bulletin boards and forums, where they are able to connect with those who share similar tastes and interests. However, discussing popular music is often dismissed and trivialised as a mundane activity. There is an underlying assumption that popular music is something not to be taken too seriously. This dismissal of popular music as having no significance beyond its entertainment value, while being a general feature in contemporary culture, is definitely more visible in Portugal than in Britain. The British have long acknowledged popular music as a key element of their cultural identity and it is often incorporated into discussions of public affairs.1 There is an underlying assumption that popular music is important to debates on British identity - as well as 3 on the nation’s economics.2 Not surprisingly, popular music has been embraced as an area of study in academic departments while receiving considerable attention in the media too.
Recommended publications
  • “Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville

    “Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville

    “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights.
  • Relatório E Contas ‘04

    Relatório E Contas ‘04

    RELATÓRIO E CONTAS ‘04 RELATÓRIO E CONTAS ‘04 01. Carta do Conselho de Administração 02. Relatório de Actividade 03. Síntese de Indicadores 04. Demonstrações Financeiras 05. Anexo às Demonstrações Financeiras 06. Relatório e Parecer do Fiscal Único 07. Certificação Legal das Contas 08. Relatório do Revisor Oficial de Contas 09. Relatório de Auditoria Externa 01. CARTA DO CONSELHO DE ADMINISTRAÇÃO 01. CARTA DO CONSELHO DE ADMINISTRAÇÃO O exercício de 2004 deve ser considerado como o ano da consolidação e aprofundamento do processo de Mudança que consubstancia a reestruturação do sector público do audiovisual português. Neste contexto, o acontecimento com maior visibilidade foi decerto a inauguração do complexo das novas instalações de Lisboa, na Avenida Marechal Gomes da Costa. Desde 31 de Março de 2004 que a RTP e a RDP estão a operar em novas e modernas instalações, dotadas de excelentes condições de trabalho e dos mais modernos dispositivos tecnológicos da era digital. Nas mesmas instalações funcionam também os serviços da Rádio e Televisão de Portugal SGPS, que integram as áreas de gestão partilhadas pelas empresas do Grupo – RTP Serviço Público de Televisão e RDP – Radiodifusão Portuguesa. Quanto à RTP – Meios de Produção, ainda instalada no Lumiar, a sua inclusão no perímetro da Marechal Gomes da Costa deu os primeiros e decisivos passos com a preparação da construção da Fase II das novas instalações, as quais deverão completar-se até finais de 2006. Vertente fundamental do exercício e missão essencial da empresa, foi a extensa renovação e readequação dos con- teúdos dos canais à missão de Serviço Público que está cometida à empresa e que é desempenhada pela RTP e RDP.
  • Rádio Em Portugal: Tendências E Grupos De Comunicação Na Actualidade Rogério Santos*

    Rádio Em Portugal: Tendências E Grupos De Comunicação Na Actualidade Rogério Santos*

    137 Comunicação e Sociedade, vol. 7, 2005, pp. 137-152. Rádio em Portugal: tendências e grupos de comunicação na actualidade Rogério Santos* Resumo O texto trabalha elementos que ilustram a situação actual da rádio em Portugal. Para além de uma curta história do meio no nosso país, dá informação sobre os grupos de rádio, mercado publicitário, públicos e audiências e políticas de incentivos. No conjunto de tendências e conclusões, o texto destaca o aumento da liberalização, com a consequente formação de grupos de comunicação mais fortes e inovadores, a asso- ciação de partilha de recursos nas estações mais pequenas e os desafios da rádio na Internet. Ao mesmo tempo, salienta as deficiências de serviço público e a precariedade laboral em muitas estações de proximidade. Palavras-chave: rádio, grupos de comunicação, mercado publicitário, audiências, pro- gramas Introdução Este texto trabalha elementos que ilustram a situação actual da rádio em Portugal, situando-a no conjunto dos media. Com ele, começando por traçar uma curta história do meio no nosso país, pretende-se dar informação sobre os grupos de rádio, mercado publicitário, públicos e audiências, políticas de incentivos e novas tendências. E res- ponder a perguntas como: quem ouve a rádio? Que serviço público? Qual o papel das tecnologias? Pequeno percurso pela história antiga e recente da rádio em Portugal A bibliografia existente sobre a rádio portuguesa ainda não é muito volumosa, salien- tando-se a obra pioneira de Matos Maia (1995), que traça o panorama geral da his- * Professor de Públicos e Audiências na Universidade Católica Portuguesa (rogerio. [email protected]) comunicação e sociedade 7.indd 137 02-08-2005, 17:36 138 Comunicação e Sociedade l Vol.
  • Marc Brennan Thesis

    Marc Brennan Thesis

    Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia Marc Brennan, BA (Hons) Creative Industries Research and Applications Centre (CIRAC) Thesis Submitted for the Completion of Doctor of Philosophy (Creative Industries), 2005 Writing to Reach You Keywords Journalism, Performance, Readerships, Music, Consumers, Frameworks, Publishing, Dialogue, Genre, Branding Consumption, Production, Internet, Customisation, Personalisation, Fragmentation Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches.
  • A Estratégia Digital Da Rádio Pública Portuguesa / from DAB Failure To

    A Estratégia Digital Da Rádio Pública Portuguesa / from DAB Failure To

    Observatorio (OBS*) Journal, vol.7 - nº2 (2013), 161-181 1646-5954/ERC123483/2013 161 Do insucesso do DAB à expansão online: a estratégia digital da rádio pública portuguesa From DAB failure to internet expansion: the Portuguese public service radio's digital strategy Sílvio Correia Santos* *Universidade de Coimbra, Portugal Resumo Na década de 90, poucas dúvidas pareciam existir acerca do futuro da rádio na Europa. O Digital Audio Broadcasting (DAB) era apresentado como o standard que iria definir o futuro digital da rádio. Porém, em Portugal, tal como noutros países europeus, o DAB foi incapaz de cumprir as expectativas que se geraram à sua volta e acabou por ser preterido. A estratégia digital de muitas estações virou- se para a internet. Este artigo analisa o caso particular da rádio de Serviço Público (SP) em Portugal, para explicar o insucesso do DAB e a aposta na expansão online. Neste contexto, são explorados os principais argumentos em torno do mais provável cenário futuro da rádio: a convivência de plataformas, incluindo a transmissão analógica. No âmbito específico do SP, são ainda abordados os desafios particulares da transição para a era digital, particularmente, a legitimidade do desenvolvimento online e a inexistência de formas de avaliação do impacto dessa expansão no mercado. No domínio da produção, este artigo destaca uma mudança de paradigma que consiste na valorização atual do conteúdo radiofónico separado do fluxo tradicional da rádio. Palavras-chave: rádio, DAB, internet, serviço público, Portugal Abstract There were no doubts about the success of Digital Audio Broadcasting (DAB) in the 90's. DAB seemed to be the obvious choice to replace the analogue broadcast in Europe.
  • Preliminary Syllabus MUS 20: the Poetry and Songs of Leonard Cohen Instructor, T

    Preliminary Syllabus MUS 20: the Poetry and Songs of Leonard Cohen Instructor, T

    Preliminary Syllabus MUS 20: The Poetry and Songs of Leonard Cohen Instructor, T. Hampton Recommended book: Cohen, Stranger Music. First Meeting, Oct 11: “Remember me, I used to live for music.” The poet as songwriter. Montréal. The Canadian Scene. Irving Layton. Cohen in Greece: Let Us Compare Mythologies, Songs of Leonard Cohen, Songs from a Room. Key Songs: “Suzanne,” “Sisters of Mercy,” “Stranger Song,” “Bird on the Wire,” “Story of Isaac,” “Seems So Long Ago, Nancy,” “So Long, Marianne.” Themes: flesh and spirit, the identity of the singing voice, abjection and humiliation. Second Meeting, Oct 18: “It’s four in the morning, the end of December.” Cohen in the spotlight. The Chelsea Hotel. Isle of Wight. Cohen on the move. Songs of Love and Hate, New Skin for the Old Ceremony. Key Songs: “Famous Blue Raincoat,” “Joan of Arc,” “Who by Fire,” “A Singer Must Die,” “Take This Longing,” “Dress Rehearsal Rag.” Themes: limits of power, self-doubt, drugs, self-purification, betrayal. Third Meeting, Oct 25: “I will speak no more, till I am spoken for.” Cohen as “The Prince of Bummers.” Death of a Lady’s Man. Death of a Ladies Man. Recent Songs. Various Positions. Key Songs: “If It Be Your Will,” “Hallelujah,” “Coming Back to You.” “The Guests.” “The Smoky Life,” “Dance Me to the End of Love.” Jennifer Warnes, Famous Blue Raincoat. Themes: Humility, divinity, Impotence. Fourth Meeting, Nov. 1: “I was born like this, I had no choice.” Cohen Returns. The importance of the keyboard. New production values. Book of Mercy. Book of Longing. I’m Your Man.
  • National Journalism Awards

    National Journalism Awards

    George Pennacchio Carol Burnett Michael Connelly The Luminary The Legend Award The Distinguished Award Storyteller Award 2018 ELEVENTH ANNUAL Jonathan Gold The Impact Award NATIONAL ARTS & ENTERTAINMENT JOURNALISM AWARDS LOS ANGELES PRESS CLUB CBS IN HONOR OF OUR DEAR FRIEND, THE EXTRAORDINARY CAROL BURNETT. YOUR GROUNDBREAKING CAREER, AND YOUR INIMITABLE HUMOR, TALENT AND VERSATILITY, HAVE ENTERTAINED GENERATIONS. YOU ARE AN AMERICAN ICON. ©2018 CBS Corporation Burnett2.indd 1 11/27/18 2:08 PM 11TH ANNUAL National Arts & Entertainment Journalism Awards Los Angeles Press Club Awards for Editorial Excellence in A non-profit organization with 501(c)(3) status Tax ID 01-0761875 2017 and 2018, Honorary Awards for 2018 6464 Sunset Boulevard, Suite 870 Los Angeles, California 90028 Phone: (323) 669-8081 Fax: (310) 464-3577 E-mail: [email protected] Carper Du;mage Website: www.lapressclub.org Marie Astrid Gonzalez Beowulf Sheehan Photography Beowulf PRESS CLUB OFFICERS PRESIDENT: Chris Palmeri, Bureau Chief, Bloomberg News VICE PRESIDENT: Cher Calvin, Anchor/ Reporter, KTLA, Los Angeles TREASURER: Doug Kriegel, The Impact Award The Luminary The TV Reporter For Journalism that Award Distinguished SECRETARY: Adam J. Rose, Senior Editorial Makes a Difference For Career Storyteller Producer, CBS Interactive JONATHAN Achievement Award EXECUTIVE DIRECTOR: Diana Ljungaeus GOLD International Journalist GEORGE For Excellence in Introduced by PENNACCHIO Storytelling Outside of BOARD MEMBERS Peter Meehan Introduced by Journalism Joe Bell Bruno, Freelance Journalist Jeff Ross MICHAEL Gerri Shaftel Constant, CBS CONNELLY CBS Deepa Fernandes, Public Radio International Introduced by Mariel Garza, Los Angeles Times Titus Welliver Peggy Holter, Independent TV Producer Antonio Martin, EFE The Legend Award Claudia Oberst, International Journalist Lisa Richwine, Reuters For Lifetime Achievement and IN HONOR OF OUR DEAR FRIEND, THE EXTRAORDINARY Ina von Ber, US Press Agency Contributions to Society CAROL BURNETT.
  • Art to Commerce: the Trajectory of Popular Music Criticism

    Art to Commerce: the Trajectory of Popular Music Criticism

    Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does.
  • CHAPTER 2 ‘From the Night and the Light, All Festivals Are Golden’: the Festivalization of Culture in the Late Modernity1,2

    CHAPTER 2 ‘From the Night and the Light, All Festivals Are Golden’: the Festivalization of Culture in the Late Modernity1,2

    CHAPTER 2 ‘From the night and the light, all festivals are golden’: The festivalization of culture in the late modernity1,2 Paula Guerra Abstract Festivals have been stated as important forms of social and cultural participation. In the twenty‐first century, all countries have been faced with a number of annual2 festivals, but also by diversifying the type of festivals, its location and its audiences. The festival model has expanded all over the world and became globalize. With this model emerged the so‐ called ‘festivalization of culture’. Portugal was no different in this phenomenon. The main purpose of this chapter is to explore the Portuguese festival dynamics. These dynamics have the function of globalization coding, marketing and culture of media coverage, mobilizing thousands of actors on the supply side, in mediation and on the demand side. There are several elements that prove this in Portugal: unprecedented evolution in the number of festivals over the past two decades; the spread of festivals around the country, especially in its Atlantic coast and in metropolitan areas; the exponential increase of the habitués; the weight of the turnover of the festivals in the statement of accounts culture and cultural industries; the importance of festivals for the launch and projection of the bands; and, above all, the design of a new way of life in an environment marked by consumptions, appropriations and embodiments of practices, associated with experience and sociability of the festival. 1 This chapter result of an intensive research carried out since 2005, anchored in three projects. The first, developed between 2005 and 2009, Urban cultures and youth lifestyles: Scenery, sounds and aesthetic in contemporary Portuguese (SFRH / BD / 24614/2005), at the Institute of Sociology of the University of Porto (IS‐UP), coordinated by the author of this article and funded by the Science and Technology Foundation (FCT).
  • Print Journalism: a Critical Introduction

    Print Journalism: a Critical Introduction

    Print Journalism A critical introduction Print Journalism: A critical introduction provides a unique and thorough insight into the skills required to work within the newspaper, magazine and online journalism industries. Among the many highlighted are: sourcing the news interviewing sub-editing feature writing and editing reviewing designing pages pitching features In addition, separate chapters focus on ethics, reporting courts, covering politics and copyright whilst others look at the history of newspapers and magazines, the structure of the UK print industry (including its financial organisation) and the development of journalism education in the UK, helping to place the coverage of skills within a broader, critical context. All contributors are experienced practising journalists as well as journalism educators from a broad range of UK universities. Contributors: Rod Allen, Peter Cole, Martin Conboy, Chris Frost, Tony Harcup, Tim Holmes, Susan Jones, Richard Keeble, Sarah Niblock, Richard Orange, Iain Stevenson, Neil Thurman, Jane Taylor and Sharon Wheeler. Richard Keeble is Professor of Journalism at Lincoln University and former director of undergraduate studies in the Journalism Department at City University, London. He is the author of Ethics for Journalists (2001) and The Newspapers Handbook, now in its fourth edition (2005). Print Journalism A critical introduction Edited by Richard Keeble First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX9 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Selection and editorial matter © 2005 Richard Keeble; individual chapters © 2005 the contributors All rights reserved.
  • 1 En Petkovic

    1 En Petkovic

    Scientific paper Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1967 to 20031 UDC 811.163.41’322 DOI 10.18485/infotheca.2019.19.1.1 Ljudmila Petkovi´c ABSTRACT: The paper analyses the pro- [email protected] cess of creation and processing of the Yu- University of Belgrade goslav rock song lyrics corpus from 1967 to Belgrade, Serbia 2003, from the theoretical and practical per- spective. The data have been obtained and XML-annotated using the Python program- ming language and the libraries lyricsmas- ter/yattag. The corpus has been preprocessed and basic statistical data have been gener- ated by the XSL transformation. The diacritic restoration has been carried out in the Slovo Majstor and LeXimir tools (the latter appli- cation has also been used for generating the frequency analysis). The extraction of socio- cultural topics has been performed using the Unitex software, whereas the prevailing top- ics have been visualised with the TreeCloud software. KEYWORDS: corpus linguistics, Yugoslav rock and roll, web scraping, natural language processing, text mining. PAPER SUBMITTED: 15 April 2019 PAPER ACCEPTED: 19 June 2019 1 This paper originates from the author’s Master’s thesis “Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1945 to 2003”, which was defended at the University of Belgrade on March 18, 2019. The thesis was conducted under the supervision of the Prof. Dr Ranka Stankovi´c,who contributed to the topic’s formulation, with the remark that the year of 1945 was replaced by the year of 1967 in this paper.
  • Logy and the Study of Western Music*

    Logy and the Study of Western Music*

    New Musicologies, Old Musicologies: Ethnomusico­ logy and the Study of Western Music* By Jonathan P. J Stock Introduction Ethnomusicology currently engages with the study of Western music in two principal ways. On the one hand, there are specific ethnomusicological studies that focus on aspects of Western musical traditions. Examples in­ clude Paul Berliner's analysis of improvisation in jazz (1994), Philip Bohlman's study of chamber music as ethnic music in contemporary Israel (1991), and the examinations of music schools and conservatories by Bruno Nettl (1995) and Henry Kingsbury (1988). These works, in and of them­ selves, offer explicit and direct indication of what an ethnomusicological approach to Western music involves and what manner of insights can be produced thereby. Second, and more diffusely, ethnomusicological re­ search plays into the study of Western music through musicologists' adop­ tion, adaptation, and application of ethnomusicological techniques and concepts: some musicologists have drawn from specific ethnographies of non-Western musical traditions, and others have made recourse to the standard texts of ethnomusicological theory and practice (such as Merriam 1964 and N ettl 1983). Conference presentations, seminars, conversations, and, especially in the case of younger scholars, courses taken as part of their academic training also provide channels of contact between the rep­ ertory of scholarly ideas and procedures developed primarily for the ex­ planation of non-Western musics and the field of Western musical studies. The titles of such publications as Nicholas Cook's Music, Imagination, and Culture (1990) and Peter jeffery's Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (1992) are clear in their referencing to this particular field of academic endeavor.