Description
Book SynopsisThis book explores the cultural, aesthetic, and political relevance of music in radio art from its beginnings to present day. Contributors include musicologists, literary studies, and cultural studies scholars and cover radio plays, radio shows, and other programs in North American, English, Spanish, Greek, Italian, and German radio.
Trade ReviewThis edited volume is an academic goldmine of enlightening analysis of nomenclature which effortlessly connects such disparate topics as drama and music at the BBC during the 1920s, Norman Corwin and Bernard Herrmann for CBS during the Golden age of U.S. Radio, and even the sound art radiophonic compositions of Daphne Oram. The scholarship is brilliant. The writing powerful, illuminating, and thought-provoking. The examination of the historical practice is transnational and transcultural, and features original contribution knowledge from early career researchers and leading professors in their field. This book makes a coherent and lasting contribution to understanding the cultural studies of radio and music in the 20th century. -- Tim Crook, Goldsmiths, University of London
This book is a first-rate interdisciplinary study mapping a series of key historical intersections between music and radio art. Detailed in its analysis, international in its scope, and rich in its intellectual depth, Radio Art and Music: Culture, Aesthetics, Politics is an outstanding addition to the current renaissance in radio scholarship, and will prove rewarding to scholars of sound studies more broadly -- Neil Verma, Northwestern University
Table of ContentsRadio Art and Music: An Introduction
Jarmila Mildorf and Pim Verhulst
Chapter 1: The Making of a Nomenclature: José Iges on Radiophonic Art
Luz María Sánchez Cardona
Chapter 2: Maestro, If You Please: The Radio Producer as Musician
Jeremy Lakoff
Chapter 3: Norman Corwin, Bernard Herrmann, and Musical Direction for Columbia Presents Corwin
Reba A. Wissner
Chapter 4: “Attitudes toward History” and the Radiophonic Compositions of Daphne Oram and the Firesign Theatre
David McCarthy
Chapter 5: Between Art and Promotion: The Prix Italia, Its Historical Context and Aims in the First Fifty Years 1949-1998
Angela Ida De Benedictis
Chapter 6: A Canadian Experiment in Words-as-Music: Glenn Gould’s Invention of Form in his Radio Program The Idea of North
Elissa Guralnick
Chapter 7: Jewish Musical Material in a 1946 American Radio Drama: “Rachel”
Paula Eisenstein Baker and Robert S. Nelson
Chapter 8: The Bad Violin’s Good Politics: Music of Protest and Disavowal in The Jack Benny Program
Jade Conlee
Chapter 9: Shifting Hues of Blackface: Performance of Race in Radio Adaptations of Holiday Inn (1942)
Emily Lane
Chapter 10: Voicing the Other World: Music and the Victorian Occult in Midcentury American Radio Drama
Olivia Cacchione
Chapter 11: Collective Responsibility in Ingeborg Bachmann and Hans Werner Henze’s Radio Drama The Cicadas
Lucy Jeffrey
Chapter 12: Music and Politics in the BBC Radio Adaptation of Alan Bennett’s The Madness of George III
Jarmila Mildorf
Chapter 13: Adapting the Soundtrack of Revolution: Tom Stoppard’s Rock ’n’ Roll from Stage to Radio
Pim Verhulst
Chapter 14: Children’s Songs as Socio-Political Comment in the Greek Radio Show Edo Lilipoupoli
Aikaterini Giampoura
About the Contributors
