[Air-L] CFP: Music in the Public Service: Public Radio and Music in the Streaming Era

Mon Nov 26 10:19:46 PST 2018

*I am sending out the enclosed CFP in case any of the digital music or
radio scholars on this list might be interested. We'd love to have some
AOIR content for this symposium. *

*Best,*

*Chris*

*Journal of Radio & Audio Media** Symposium:*

*Music in the Public Service: Public Radio and Music in the Streaming Era*

*Editors: Christopher Cwynar and Brian Fauteux*

The current moment is a particularly interesting time to examine public
radio and media due to the sheer scale of change affecting the sector:
technological, socio-cultural, economic, and generational, as well as
dramatic transformations in production, distribution, and reception. The
shift in terminology from “public service broadcasting” to “public service
media” and “public service communicators” (Bardoel and Lowe 2007) gestures
towards myriad opportunities and challenges associated with the emergence
of networked digital media. The music industries are experiencing a similar
period of flux with the emergence of streaming and the switch from a
commodity-based ownership approach to music engagement to an
experience-based service approach (Wikstrom 2013).

Public radio and its music programming have played important roles in the
constitution of national and cultural identity (Berland 2009) and in
broadcast radio’s convergence with, and/or transition to, the internet era,
scholars have charted issues of regulating national music (or content)
(O’Neill and Murphy 2012), examined connections between online public media
and youth through music programming (Bélanger 2005), and considered the
political economy of Internet music radio (Wall 2004) as well as issues of
diversity of music and the public good (Hendy 2000). Recent scholarly work
by this symposium’s editors has devoted consideration to notable
developments in the public radio and popular music sectors at a time when
streaming music has become a dominant mode of music listening. Examples
include studies of: public media’s relationships to independent music,
podcasting, and taste cultures (Cwynar 2015a, 2015b, 2017); international
public radio partnerships through music programming (Fauteux 2016, 2017a);
and, the place of public radio and music within the context of budget cuts
and precarious cultural labour (Fauteux 2017b).

In light of these ongoing scholarly discussions, this special symposium
intends to highlight the place and role of popular music within the context
of public radio broadcasting and audio media, asking: what does a public
service mandate or mission (“to serve the public”) mean for the circulation
of popular music, particularly in an age of streaming music and digital
public media? We welcome papers that engage with this overarching question
and are particularly interested in the following themes:

   - Public radio, music, and networked digital media (the web, apps, and
   mobile media)
   - Public radio/media and its relationship to music genres.
   - Cultures of taste and distinction with respect to shifts in music
   programming and genres (from classical to jazz/adult contemporary to
   indie/alternative)
   - Public radio/media, music, and indie/independent
   culture/ethos/values/ideologies
   - Public radio, music, and curation (radio hosts, algorithms,
   social/digital media work)
   - Public radio/media and local or regional music scenes
   - Public radio and music in the context of institutional collaborations
   - Public radio and popular music in the Global South
   - The shift from public radio to public media and a reconsideration of
   ideas about national identity and/or borders with respect to popular music
   - The branding of public media institutions through the use of popular
   music
   - Historical studies of public radio and music

While the above topics are of particular interest, we welcome submissions
on any aspect of the broader public radio and music topic.

Submissions for this symposium are due by March 1, 2019*.* Submitted
manuscripts undergo a blind peer review. Manuscripts should be submitted
through Manuscript Central <https://mc.manuscriptcentral.com/hjrs>.
Documents prepared in Microsoft Word are preferred and should conform to
the stylistic guidelines of the American Psychological Association.
Manuscripts should not exceed 6500 words (about 25 pages) and should
include an abstract of no more than 100 words. In addition to the
manuscript the author(s) should include a separate attachment with contact
information.

For more information on the *Journal of Radio & Audio Media*, please visit:
https://www.tandfonline.com/toc/hjrs20/current

Please direct any questions in advance of your submission to the symposium
editors: Brian Fauteux (fauteux at ualberta.ca) and/or Christopher Cwynar (
ccwynar at defiance.edu).

References:

Bardoel, Jo and Lowe, Gregory Ferrell. “From Public Service Broadcasting to
Public Service Media: The Core Challenge.” *From Public Service
Broadcasting to Public Service Media*. Eds. Gregory Ferrell Lowe and Jo
Bardoel. Göteborg: Nordicom, 2007: 9-28.

Bélanger, Pierre C. and Andrecheck, Philipe. “CBC’s Electronic Radio 3:
Connecting with the Elusive Youth.” *Journal of Radio Studies* 12.1 (2005):
120–135.

Berland, Jody. “Locating Listening.” *North of Empire: Essays on the
Cultural Technologies of Space*. Durham: Duke University Press, 2009:
185-209.

Cwynar, Christopher. “More than a ‘VCR for Radio’: The CBC, the Radio 3
Podcast, and the Uses of an Emerging Medium.” *Journal of Radio & Audio
Media* 22.2 (2015a): 190-199.

Cwynar, Christopher. “NPR Music: Remediation, Curation, and National Public
Radio in the Digital Convergence Era.” *Media, Culture & Society* 39.5
(2017): 680-696.

Cwynar, Christopher. “Unbuttoning NPR: Assessing the Music at the Margins
of *All Things Considered*.” *The Radio Journal: International Studies in
Broadcast & Audio Media* 13.1-2 (2015): 89-104.

Fauteux, Brian. “Satellite Footprint to Cultural Lifelines: Sirius XM and
the Circulation of Canadian Content.” *International Journal of Cultural
Policy* 22.3 (2016): 313-330.

Fauteux, Brian. “‘Songs You Need to Hear:’ Public Radio Partnerships and
the Mobility of National Music.” *The Radio Journal: International Studies
in Broadcast & Audio Media* 15.1 (2017a): 47-63.

Fauteux, Brian. “The Radio Host and Piloted Listening in the Digital Age:
CBC Radio 3 and Its Online Listening Community.” *Journal of Canadian
Studies* 51.2 (2017b): 338-361.

Hendy, David. “Pop Music Radio in the Public Service: BBC Radio 1 and New
Music in the 1990s.” *Media, Culture & Society* 22.6 (2000): 743-761.

O’Neill, Brian and Murphy, Michael J. “Canadian Content, Public
Broadcasting and the Internet: CBC’s Online Strategy 1995–2000.”  *Histories
of Public Service Broadcasters on the Web*. Eds. M. Burns and N. Brügger.
New York: Peter Lang, 2012: 163–174.

Wall, Tim. “The Political Economy of Internet Music Radio.” *The Radio
Journal - International Studies in Broadcast and Audio Media* 2.1 (2004):
27-44.

Wikstrom, Patrik. *The Music Industry*. London: Polity, 2013 (2nd Ed).

-- 

Christopher Cwynar, Ph.D.
Assistant Professor
Communication Studies
Defiance College
608.250.0155
cwynar at gmail.com/ccwynar at defiance.edu
<http://ccwynar@wisc.edu/cwynar@gmail.com>
defiance.academia.edu/christophercwynar
<http://wisc.academia.edu/christophercwynar>