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首页> 外文学位 >CULTURAL RE/PERCUSSIONS: THE SOCIAL PRODUCTION OF MUSIC BROADCASTING IN CANADA (REPERCUSSIONS).
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CULTURAL RE/PERCUSSIONS: THE SOCIAL PRODUCTION OF MUSIC BROADCASTING IN CANADA (REPERCUSSIONS).

机译：文化的回想：加拿大的音乐广播的社会生产（回想）。

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摘要

The history of music in Canada cannot be understood apart from the history of semi-colonial, semi-public, semi-autonomous institutions. Primary among these is radio, whose social and political history exemplifies the contradictory role of media development in an advanced dependent state. In Canada, radio has provided the primary vehicle for a spatial and discursive manifestation of national culture. The importance of music to radio broadcasting is evident; the thesis demonstrates how music broadcasting expresses contradictory political and social forces, while helping to establish new relations of forces through its reorganization of cultural and social space.;The thesis examines the music broadcasting practices of both commercial and community radio as these have evolved in response to international industrialization, showing that differences in format relate to opposing formulations of broadcasting publics. It concludes with a discussion of the problematic nature and political potential of cultural technology in the context of an advanced, industrialized, and dependent culture, and in relation to the increasing non-homogeneity of social and political space.;Radio discourse has been determined by a complex of economic, cultural, and political apparatuses, whose structuration is the subject of historical analysis insofar as these relate to music broadcasting. The historical context of music broadcasting is introduced through a history of relevant broadcasting and cultural policy. Analysis of this history reveals the changing formulation of public interest in relation to the dominant pluralism of the cultural industries; the relation between music broadcasting as a discourse, and the production of non-homogeneous publics; the formation of a professional music apparatus in response to the cultural legitimation strategies of the Canadian state; and the growing contradiction between the nation and the state. The thesis posits a "legitimation crisis" in public music broadcasting in the 1970s, demonstrating the degree to which the structuration of cultural production and state legitimation has been drawn into collision in response to the dependent development of broadcasting, and its supercession by cultural industrialization and national cultural legitimation.
机译：除了半殖民地，半公共，半自治机构的历史，加拿大的音乐史无法理解。其中最主要的是广播，广播的社会和政治历史证明了在高级依附状态下媒体发展的矛盾作用。在加拿大，广播为民族文化的空间和话语表现提供了主要手段。音乐对无线电广播的重要性显而易见。论文论证了音乐广播如何表达矛盾的政治和社会力量，同时通过其文化和社会空间的重组来帮助建立新的力量关系。论文考察了商业广播和社区广播在响应中的发展过程对国际工业化的研究表明，格式上的差异与广播公众的相反表述有关。最后讨论了在先进，工业化和依赖的文化背景下文化技术的问题性质和政治潜力，并与社会和政治空间日益非同质化有关。经济，文化和政治设备的复合体，其结构是与音乐广播相关的历史分析的主题。音乐广播的历史背景是通过相关广播和文化政策的历史来介绍的。对这一历史的分析揭示了与文化产业占主导地位的多元化相关的公共利益的变化形式；音乐广播作为一种话语与非同质公众的产生之间的关系；响应加拿大国家的文化合法化策略，成立专业的音乐设备；以及国家与国家之间日益严重的矛盾。本文提出了1970年代公共音乐广播中的“合法化危机”，表明了文化生产结构和国家合法性的结构在多大程度上因广播的依赖性发展以及文化产业化和工业化的过度发展而发生冲突。国家文化合法性。

著录项

  • 作者

    BERLAND, JODY DEE.;

  • 作者单位

    York University (Canada).;

  • 授予单位 York University (Canada).;
  • 学科 Mass communication.
  • 学位 Ph.D.
  • 年度 1986
  • 页码 1 p.
  • 总页数 1
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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