Media Policy and Music Activity by Krister Malm

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By Krister Malm

How do humans make track - and the way does this task relate to the regulations of governments and the track undefined? what's the dating among stay track and song we listen at the radio, or in song movies? How has the electronic revolution affected music-making in industrialised and in constructing international locations? In Media coverage and tune task, Krister Malm and Roger Wallis glance intensive on the relationships among regulations governing the output of the tune media and tune job in society. a pragmatic base in case research fabric is mixed with a extensive theoretical framework for knowing the track media.

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On the other hand, commentators such as Blaukopf have argued convincingly for types of activities akin to the collection of artifacts (though not totally absent from a theoretical framework) when trying to penetrate a media operation that does not normally open its doors to scrutiny (Blaukopf 1974:231–4; Mark 1981). An important part of such research consists of simply watching, questioning and trying to understand the operations of the music media production and policymaking processes. Schlesinger has put forward another convincing argument in favour of the ‘free-for-all investigation of the animal’ approach, as opposed to, say, merely sending out questionnaires based on a previous choice of theoretical model, or conducting research where conclusions regarding the functioning of a media process are based mainly on analyses of output.

Performance also includes music-related activities such as dancing. Non-performance activities include every possible way of listening to and hearing music, talking about music and expressing musical values, as well as acquiring phonograms and turning on and off different music machines. Thus the same musical activity can be a performance activity to some participants and a non-performance activity to others. Music activities can be traditional, that is, they are seen by members of local communities as belonging to the musical heritage of their society.

As public broadcasters have seen their funds dwindling, less money has been spent on recording sessions. The broadcasters’ need for commercially available music has increased, thus increasing their dependence on the phonogram industry for programme material. The dependence is mutual, with the phonogram industry, in its turn, depending more on broadcasters to publicize products (as the broadcaster’s role as an alternative finder of non-recorded musical talent decreases). We have previously proposed the value of a system approach for understanding the process of informal integration (Wallis and Malm 1988:267–84).

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