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 popular music and, therefore, contribute to wider debates on the public sphere of culture.

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Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

This paper examines the professional role of the music journalist and how it has been affected by the expansion of the Internet. The study aims to examine  the profession's outlook and how professional music journalists are working to reach the public with interesting information, despite the fact that the audience of today often can be first to deliver the news. Through qualitative research interviews with three current music journalists the professional role and its development is examined. Based on theories and previous research on journalism, how the media communicates and its importance to society, what it is to be a music journalist and the spread of digitization and the impact of file sharing the results are analyzed. The conclusions of the study are that it isn’t a profession that is disappearing but rather a profession that is working towards a new future. The wide range of social media and the ability to stream music via the music service Spotify, for example, is expanding the field of music and more music lovers can make their voices heard. The role of the music journalist is no longer to be first with the latest in the music world but to convey information best. / Denna uppsats undersöker musikjournalisternas yrkesroll och hur den har påverkats av internets expansion. Studiens syfte är att ta reda på yrkets framtidsutsikt och hur yrkesverksamma musikjournalister arbetar för att nå ut med intressant information, trots att dagens publik många gånger kan vara först med nyheterna. Genom kvalitativa forskningsintervjuer med tre aktuella musikjournalister undersöks yrkesrollen och dess utveckling. Med utgångspunkt från teorier och tidigare forskning om journalistyrket, hur medier kommunicerar och dess betydelse för samhället, hur det är att vara musikjournalist samt digitaliseringens utbredning och fildelningens konsekvenser analyseras resultatet. Slutsatserna för studien är att det inte är ett yrke som håller på att försvinna utan ett yrke som går mot en ny framtid. Det stora utbudet av sociala medier och möjligheten att lyssna på strömmad musik via exempelvis musiktjänsten Spotify breddar musikområdet och fler musikintresserade kan göra sin röst hörd. Musikjournalisternas roll handlar inte längre om att vara först med det senaste inom musikvärlden utan om att förmedla informationen bäst.

This paper discusses the incorporation of socio-political themes in music and music journalism, focusing on the issues of gender inequality, imbalance, and women's marginalization. It investigates how two UK-based media with a transnational audience focus, Kerrang! and New Musical Express (NME), challenge or reinforce gender inequality-related themes in their publications in 2019-2023. The study also asks how the socio-political discussion is positioned in relation to the aesthetic evaluation of music, how the two music magazines differ in their approach, and how this correlates to the audiences they are trying to attract and retain. The study utilises a discourse analysis method, investigating the textual, discourse practice, and social practice elements of the text in fourteen articles (seven from each chosen media), divided into publication types of news articles, new song release coverage, album/artist reviews, and women's rights-related special publications. The analysis concludes that women musicians aremarginalised, especially in the alternative and rock music genres, but also discovers that effort is put into giving women musicians' voices more space to discuss and challenge the issue. Kerrang! and NME appear as media avoiding focusing on women musicians' gender when discussing their music and pointing at specific actions necessary to reach better gender equality and women empowerment in music and society. The findings demonstrate a varying positioning of gender inequality discussion in relation to the aesthetic evaluation of music, concluding that NME as a "lifestyle" publication focuses on the topic to a lesser extent than the "underground", niche-specific media Kerrang!. The study establishes a connection to the intersectionality theory, presenting the intersecting identities of "women" and "musicians" related to the inequality in the music industry. The research contributes to understanding cultural journalism's influence in mediating and inspiring social and political debate, providing updated findings on women's representation in two contemporary music media. It proves the importance of music and music journalism for enriching modern society and serves as a foundation for future research that can expand the findings by employing a quantitative approach for more generalizable findings.

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El periodismo especializado en música en el Perú, no es una rama que haya sido desarrollada con mucha frecuencia. Si bien sí han existido diferentes medios impresos que se han atrevido a publicar este tipo de información hace años, en la actualidad son casi escasos. Frente a ello, surgen diferentes plataformas en el mundo virtual, dispuestas a producir contenido periodístico musical. A raíz de ello, se decidió abordar este ámbito del periodismo digital especializado, tomando como casos a las plataformas peruanas Tercer Parlante, Conciertos Perú y Garaje del Rock. Este trabajo tiene como tema principal, realizar un análisis descriptivo de los tipos de relatos. Ya sean notas informativas, crónicas, reseñas y entrevistas, de las tres plataformas ya mencionadas. Asimismo, se busca descubrir si la información brindada por estas plataformas, es periodística. Para esto, se utilizó una metodología descriptiva e interpretativa y se hizo una observación a las publicaciones de los años 2017 hasta 2020, de las tres plataformas. Asimismo, se utilizaron las fichas como instrumento de investigación. Estas dos fichas se sub- dividieron en dos categorías. En la primera categoría, se describió la estructura de la página, se identificaron las secciones y la frecuencia con la que publican. Mientras que en la segunda categoría, se describieron los titulares, la agenda, el manejo de fuentes, los tipos de relatos, el manejo de lenguaje especializado y el uso de recursos digitales. Una vez terminada la investigación, se llegó a la conclusión de que estas plataformas sí brindan material periodístico especializado. / Music journalism in Peru is not a branch that has been developed very often. Although there have been different print media that have dared to publish this type of information years ago, nowadays they are almost scarce. Faced with this, different platforms emerge in the virtual world, willing to produce musical journalistic content. As a result, it was decided to address this area of specialized digital journalism, taking as cases the Peruvian platforms Tercer Parlante, Conciertos Perú and Garaje del Rock. This investigation's main theme is to carry out a descriptive analysis of the types of stories. Whether they are informative notes, chronicles, reviews and interviews, of the three platforms already mentioned. Likewise, it seeks to discover if the information provided by these platforms is journalistic. For this, a descriptive and interpretive methodology was used and an observation was made of the publications from the years 2017 to 2020, from the three platforms. Likewise, the files were used as a research instrument. These two files were subdivided into two categories. In the first category, the structure of the page was described, the sections and the frequency with which they publish were identified. While in the second category, the headlines, the agenda, the handling of sources, the types of stories, the handling of specialized language and the use of digital resources were described. Once the investigation was completed, it was concluded that these platforms do provide specialized journalistic material. / Trabajo de investigación

Diploma thesis The history of music journalism from the year 1963 until now examines the development of domestic music journalism from the year 1963 to the present in three crucial periods. The first period starts by the year 1963 because at this time the first professional music magazine Melodie in the Czechoslovak socialism republic developed. The second period that I study in my thesis was the 1990s, right after the Velvet Revolution, when many new music magazines were established, led by the magazine Rock & Pop. The third period I study in my thesis are the times after the year 2000 which are characterized by the development of online music journalism and by diminishing role of printed music magazines. In the theoretical part, I briefly describe every period by key historical characteristics and I also describe theirs dominant music magazines. In the last section, where I focus on the present time and the world of Internet, I focus also on the online music journalism as a new crucial field of the 21 century which fundamentally changed the work of music journalists. In the analytical part, I choose important music journalists for each period whose work is linked to the period, and with whom I conducted the interviews. The research method is qualitative research conducted in the form of semi-structured...

This thesis deals with the changes within Czech music journalism that are connected to the boom of digital media and online journalism. Firstly, in its the theoretical part, this thesis offers a brief overview of a history of music journalism in Czech lands as well as worldwide and suggests what the role of a music critic is. Then it describes the boom of online journalism - again in Czech context as well as in a wolrdwide context - and continues with describing the main specfics of online journalism.It also mentions current trends of online journalism. The second part of this thesis focuses exclusively on Czech music journalism in the era of a drastic book of digital media after 1995. Main economic and sociocultural trends that influenced Czech music journalism are also mentioned. The second part of this thesis then focuses on a Czech magazine market and various forms of music journalism within a Czech online environment. For the research part of this thesis two media maps of Czech music print and Czech music websites have been made which is followed by a analysis the most popular music website Musicserver.