Community Radio in India
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UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Checklist for Returning to Community Radio Stations
RETURNING TO COMMUNITY RADIO STATIONS - CHECKLIST As the various states and territories progressively lift social distancing requirements, community radio station boards and management committees should consider their roadmap for safe return. Every station will be different – with each returning in the way that is best suited for their situation. Public health remains the most important consideration. Following advice from Federal Government health authorities and any state/territory regulation is critical. Organisational Consideration Action Y/N Access to information 1. Do you and your organisation have all relevant facts about COVID-19? 2. Is your organisation staying up to date? 3. Check official information sources including: • Australian Government Department of Health: www.health.gov.au/news/health-alerts/novel- coronavirus-2019-ncov-health-alert • World Health Organisation: www.who.int • Safe Work Australia ww.safeworkaustralia.org.au 4. Relevant State/Territory/local government websites. Governance 5. Is station board and staff clear on who within your organisation will make and implement decisions on returning to the studio/office? 6. Does everyone within your organisation understand their role? 7. Has your organisation nominated a COVID-19 Safety Coordinator to oversee delivery of your return plan? You can locate a description of this role on CBAAs website. Strategy 8. Has your organisation reviewed its strategic plan for COVID-19 considerations? 9. Has your organisation defined what success looks like? 10. Does your organisation need to amend fixtures, broadcasting and training rules or activities to ensure physical distancing? Financial 11. Does your organisation know what its new safety/return to studio measures will cost? 12. -
Public Media – Pubic Broadcasting System (PBS)
SUPPORTING PUBLIC AND COMMUNITY MEDIA ACTION NEEDED We urge Congress to: Restore public broadcasting funding to the FY 2013 appropriation level of $445 million through the Corporation for Public Broadcasting (CPB). Pass the Community Access Preservation Act (CAP Act) to preserve public, educational, and governmental (PEG) non-commercial cable channels for local communities. OVERVIEW—PUBLIC AND COMMUNITY MEDIA Public media consists of the Public Broadcasting Service (PBS), National Public Radio (NPR), and more than 1,000 local public broadcasting stations. Community media is comprised of public, educational, and government (PEG) cable access TV and community radio stations. Both public and community media have a long history of presenting local, regional, and national nonprofit arts programming, a great majority of which is not available on commercial channels. These organizations play a unique role in bringing both classics and contemporary works to the American public. All of these systems exist because of federal funding or legislation. TALKING POINTS— CORPORATION FOR PUBLIC BROADCASTING In creating America’s unique public broadcasting system, Congress acknowledged public broadcasting’s role in transmitting arts and culture: “It is in the public interest to encourage the growth and development of public radio and television broadcasting, including the use of such media for instructional, educational, and cultural purposes.” And Corporation for Public Broadcasting (CPB) is the vehicle through which Congress has chosen to promote noncommercial public telecommunications. CPB does not produce or broadcast programs. The vast majority of funding through CPB goes directly to local public broadcast stations in the form of Community Service Grants. The federal portion of the average public station’s revenue is approximately 10–15 percent. -
Steve Reich's Phases of Phases: a Comparison of Electric
Steve Reich’s Phases of Phases: A Comparison of Electric Counterpoint and Radio Rewrite Erin Main, May 12th, 2016 21M.260, WC: 3478 Introduction. Minimalism developed primarily during the 1950s, 60s, and 70s amidst a rising counterculture in America. Minimalist artists in the 50s defied expectations of what “art” should be; one example is the color fields of artists such as Ad Reinhardt.1 Minimalist artists focused on the very deliberate creation of works that were comprised of the smallest amount of discernible qualities; with the aforementioned color fields, the viewer was intended to observe the minutiae of the brush strokes of the artist.2 In the mid-60s, minimalist music also started to take hold, driven by the efforts of composers Terry Riley, La Monte Young, Philip Glass, and Steve Reich.3 Reich is well-known for pioneering process-based music, as established in his 1968 essay “Music as a Gradual Process.”4 Process-based music is characterized by its minimal amount of material, with development (a musical process) occurring through changes in the material over a period of time.5 Reich’s most prominent type of process is phase shifting, which involves “placing a simple repeating pattern in different combinations with itself.”6 Due to the very nature of process-based composition, Reich’s music has a “structurally lucid aesthetic,” as the material 1 Jonathan W. Bernard, “The Minimalist Aesthetic in the Plastic Arts and in Music,” Perspectives of New Music 31.1 (1993): 94. Web. 2 Ibid, 95. 3 Ibid, 86. 4 Steve Reich and Paul Hillier, ed., “Music as a Gradual Process,” Writings about Music, 1965–2000, Oxford and New York: Oxford University Press, 9–11. -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3. -
Community Radio Journalism in India
News by any other name: community radio journalism in India Bridget Backhaus* Griffith University, Australia Abstract Community radio journalism is a cultural resource that offers a voice to local communities and works to democratise media landscapes. Despite its indisputable value, community radio journalism in India faces a unique set of challenges: the foremost being that, officially, it does not exist. According to government policy, community radio stations are prohibited from broadcasting any news and current affairs content. The situation is further complicated by the presence of a development discourse underpinning the entire rationale for the sector. Instead of serving their listeners, community radio stations are beholden to a nebulous ‘development’ agenda. Under such circumstances, it is unsurprising that community radio journalism in India is relatively unexplored in the literature. This paper aims to address this gap by exploring how community radio practitioners in India source content and work around their restrictions in order to provide their listeners with relevant information and news. Keywords Community radio, India, news, journalism, development, social change Introduction Community radio is considered to be a voice for the voiceless and a stronghold of alternative views. Similarly, community radio journalism also has a tradition of democratising the media and acting as a cultural resource to provide communities with a local voice (Forde, Meadows & Foxwell-Norton, 2002). In India however, community radio journalism faces a unique set of challenges: the foremost of which being that, officially, it does not exist. Government policy prevents community radio stations in India from broadcasting any news or current affairs coverage. Employing the concept of community radio as rhizome as a theoretical framework, this article explores the fluid and contingent nature of community radio news and journalism in an environment where it officially does not exist. -
George E. Yoos Simplifying Complexity. Rhetoric and the Social Politics of Dealing with Ignorance
George E. Yoos Simplifying Complexity. Rhetoric and the Social Politics of Dealing with Ignorance George E. Yoos Simplifying Complexity Rhetoric and the Social Politics of Dealing with Ignorance Managing Editor: Magdalena Randall-Schab Published by De Gruyter Open Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 license, which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Copyright © 2015 George E. Yoos ISBN: 978-3-11-045056-9 e-ISBN: 978-3-11-045057-6 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. Managing Editor: Magdalena Randall-Schab www.degruyteropen.com Cover illustration: © Ali Heshmati To my wife Mary Johanna Yoos ‘In the perception of the false, there is truth. In the understanding of ignorance, there is intelligence.’ A verbal statement made by J. Krishnamurti, an Indian Philosopher Contents A Preface on Aims VIII 1 Rhetorical limitations in the use of frames and perspectives 1 2 Aging and complexity 6 3 The human animal and its ascendance from ignorance 12 4 The work of Herbert Simon on Artificial Intelligence 25 5 Circular thinking and linear exposition -
Getting Data up the Hill
Getting Data up the Hill June 2018 Sponsored by From the Publishers of Radio World MAKING DIGITAL RADIO EASIER & AFFORDABLE The Tools Are Limited Only by Your Imagination Let’s explore trends in how radio stations are “getting their data up the hill” in 2018 Cover Art: Ingram Publishing By Paul McLane network outages caused by others. Rain fade is rarely an issue, and your channel is licensed and reasonably secure The payloads that radio broadcasters must move to from interlopers thanks in part to its point-to-point and from their transmitter sites have grown dramati- nature. cally in the 21st century. The technology industry has kept pace, offering a broadening array of data transport options to carry those loads. How should technical managers take advantage of Digital STLs can deliver you a bit- increased bandwidth for digital content, monitoring and identical copy of the input to the output control while doing so reliably and economically? What — and that means no noise, no noise new solutions are available? How can engineers assess cost, reliability, audio performance and suitability for buildup, no noise distortion as you will single-frequency networks? What are the IP connections get in any analog circuit. involved; how are engineers sending composite base- band at low bandwidth? What role do HD Radio second- ary channels play? — Bill Gould, Moseley This eBook explores such questions and more. Much of the information here is based on discussion in a recent Nautel-led webinar that you can find at www.nautel. There’s negligible delay in uncompressed audio; and com/webinar/getting-content-transmitter-site, though this with modern compression, configurations of four, six and ebook contains additional information as well. -
Table of Contents
TABLE OF CONTENTS SECTIONS 1. Audience - AUD ........................................................................................................ 4 2. Communication Policy & Technology - CPT ............................................................. 14 3. Community Communication - COC ......................................................................... 27 4. Emerging Scholars - ESN ......................................................................................... 42 5. Gender and Communication - GEC .......................................................................... 50 6. History - HIS ........................................................................................................... 61 7. International Communication - INC ........................................................................ 67 8. Journalism ResearcH & Education - JRE + UNESCO .................................................. 83 9. Law - LAW ............................................................................................................ 106 10. Media and Sport - MES ....................................................................................... 113 11. Media Education ResearcH - MER ....................................................................... 117 12. Mediated Communication, Public Opinion & Society - MPS ................................ 122 13. Participatory Communication ResearcH - PCR ..................................................... 129 14. Political Communication - POL ........................................................................... -
Kothmale Community Radio Interorg Project: True Community Radio Or Feel-Good Propaganda?
International Review of Research in Open and Distance Learning Volume 10, Number 1. ISSN: 1492-3831 February – 2009 Kothmale Community Radio Interorg Project: True Community Radio or Feel-Good Propaganda? Liz Harvey-Carter M.A. Integrated Studies Athabasca University Abstract The Kothmale Community Radio and Interorg project in Sri Lanka has been hailed as an example of how a community radio initiative should function in a developing nation. However, there is some question about whether the Kothmale Community Interorg Project is a true community radio initiative that empowers local communities to access ICT services and to participate freely and equally or another ―feel- good‖ project controlled by successive, repressive Sri-Lankan governments and international partners, as alleged by its critics? After two decades of operation, the evidence shows that the Kothmale project is a cautionary tale about what can go wrong when an ICT project is not strongly promoted as a community- based enterprise. The biggest lesson that the Kothmale model can teach us is that control of community radio must be in the hands of the community exclusively if it is to succeed. Keywords: Kothmale, Community Radio, Sri Lanka, ICT, Kothmale Interorg Project Introduction The Kothmale Community Radio Project in Sri Lanka, now called the Kothmale Community Interorg Project, has been hailed as an example of how a community radio initiative should function within a developing nation, particularly one that has been embroiled in a long, brutal civil war (FAO, no date; Hughes, 2003; IDS, 2002; Jayaweera, 1998; Op de Coul, 2003; Seneviratne, 2007; Seneviratne, 2000). While this project is described as a success, ostensibly enabling the limited community it serves to participate in ICT and to decide which aspects of their culture(s) will be broadcast or featured on air or online, it can be argued that it has failed to realize its promise as an engine for change and freedom of expression (Gunawardene, 2007). -
2009 Census Report.Pdf
COMMUNITY BROADCASTING DATABASE: SURVEY OF THE COMMUNITY RADIO SECTOR 2007-08 FINANCIAL PERIOD PUBLIC RELEASE REPORT Prepared by CBOnline Community Broadcasting Association of Australia Sydney, November, 2009 Produced with the assistance of the Community Broadcasting Foundation CONTENTS Introduction .................................................................................................................................. 1 Overview of the community broadcasting sector ........................................................................ 1 Main findings ................................................................................................................................ 3 Sector numbers ........................................................................................................................ 3 Audience research .................................................................................................................... 3 Broadcast hours ........................................................................................................................ 3 Local content – solo providers .................................................................................................. 4 Programming: spoken word and music mix ............................................................................. 5 Australian music content .......................................................................................................... 5 Community information ..........................................................................................................