Thesis (Ph.D.)--Ohio University, November, 2004. / Includes bibliographical references (p. 132-146)

Thesis (Ph.D.)--Ohio University, November, 2004. / Title from PDF t.p. Includes bibliographical references (p. 132-146)

The thesis is a case study of KUOP, FM, Stockton- Modesto, an affiliate of National Public Radio (NPR) and Public Radio International (PRI). The study employed rhetorical criticism, a member survey, and participant observation. First, a critical review of the audience research literature and the electronic discussions of public radio professionals revealed the discursive struggles concerning mission, service, community, and audience. Second, a survey of KUOP's members was used to compare KUOP with the national "norm," as developed within public radio audience research. Third, these findings were discussed from the perspective gained through participant-observation as a part-time worker at KUOP for more than two years. The study used both national and local research to develop specific strategies for programming, marketing, and positioning KUOP, utilizing a polysemic approach to media performance. Member preferences and positioning themes were derived from the KUOP

Zugl.: Mainz, Universiẗat, Diss., 2009. / Includes bibliographical references (p. 291-307).

This dissertation focuses on the relationship between new American music and National Public Radio (NPR) during the 1970s and 1980s. NPR directly supported American experimental music, most often billed as "new music," through programming that both consolidated a tradition and extended it by commissioning new works. I address three exemplary broadcasts, proposing that public radio utilized existing historical narratives of musical experimentalism while simultaneously revising and strengthening those narratives. I demonstrate ways in which the shows themselves, as well as their planning phases and promotional materials, served to gather individuals and musical practices together, defining and constructing musical experimentalism in the process. Chapter 1 covers the importance of sonic experimentation in NPR's original Statement of Purposes, claiming that author William Siemering's attention to sound created a climate that was especially hospitable to musical and radiophonic experimentation. In Max Neuhaus's Radio Net (1977), NPR's very infrastructure became a musical instrument, showing the radical potential of NPR in its early days. Chapter 2 chronicles the production history of RadioVisions (1981) to establish the ways in which NPR's imaginary listeners were essential during its planning phase: in the conception of the show, in the grant proposal to the NEA, and in the show's content. I conclude that experimentalism's potential for imagining an NPR audience allowed "new music" to become "American experimental music" as the RadioVisions project moved through the infrastructure of NPR. Chapter 3 explores the cultural valences and authorities of the musical voices in RadioVisions's segments "Details at Eleven," "Shoptalk," and "The Oldest Instrument," as well as Schuller's hosting voice in the context of public radio broadcasting. Chapter 4 presents a history of the composition, production, and radio broadcast of Maritime Rites (1984). I argue that the differences between Maritime Rites and RadioVisions were, in part, representative of changes in NPR from 1981-85, particularly the role of the newly established Satellite Program Development Fund in supporting adventuresome programming. Maritime Rites served not only as a sonic documentation of the Eastern seaboard, but also as a sonic documentation of the landscape of improvisational experimental music in the mid-1980s, enhancing its fit on NPR as new music/radio documentary. Chapter 5 offers an analysis of the second segment of Maritime Rites, which featured Pauline Oliveros and her improvisation "Rattlesnake Mountain," as well as the voice of Karen MacLean (the only female lighthouse keeper in the series). This dissertation contributes to a deeper understanding of NPR's history by addressing lesser-known yet significant cultural programs, as well as to a broader musicological understanding of how public radio contributed to the construction of musical experimentalism.

Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 331-346). Also available for download via the World Wide Web; free to University of Oregon users.

Universiẗat, Diss., 2006--Mainz.

The 1980s and 1990s saw two major changes in the political economy of the media and the world economy at large: technological advancement and transfer and privatisation. There were significant shifts in media industries: newspapers, broadcasting, cinema and telecommunications when governments begun re-regulating their air waves so as to permit private satellite transmission via both encryption and free-to-air, in addition to public service and private channels. In most societies where these changes have taken place, public service broadcasting has been threatened by the rapid rise of commercial institutions, resulting in stiff competition for audiences. This study set out to determine the extent to which commercialisation, in the era of liberalisation and commercialisation of media services in Uganda, has affected Radio Uganda’s programming. Using a combination of qualitative and quantitative methods of investigation, I have established that while Radio Uganda still maintains certain public service principles and values, programming policy has increasingly been changed by commercial considerations. This is shown by the recent rise of commercial programmes and a fall in education and developmental programmes. Limitations of finance and other resources have compromised the roles and character of public service radio programming. The majority of programmes currently on Radio Uganda are evidently geared to attract advertisers rather than serve the public interest. The study recommends, among other measures, that the licence fee be developed as a source of revenue for Radio Uganda. Secondly, government should inject more funding into public service broadcasting institutions to supplement other sources of income, before granting them autonomy. Thirdly, while advertising and sponsorship brings in a considerable amount of revenue, it should not take a central place that undermines the listener’s interest in radio programming. The Broadcasting Council should therefore map out solid policies that will systematically guide Radio Uganda in its programming in the new order.

No description available.

Thesis (M.A.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 144-154).