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Signing On: U.S. College Rock Radio ...

Rubin, Nicholas Villon.

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Signing On: U.S. College Rock Radio and The Popular Music Industry, 1977--1983.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Signing On: U.S. College Rock Radio and The Popular Music Industry, 1977--1983./
作者:	Rubin, Nicholas Villon.
面頁冊數:	242 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: 2700.
Contained By:	Dissertation Abstracts International72-01A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3435986
ISBN:	9781124345826

Signing On: U.S. College Rock Radio and The Popular Music Industry, 1977--1983.
Rubin, Nicholas Villon.

Signing On: U.S. College Rock Radio and The Popular Music Industry, 1977--1983. - 242 p.

Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: 2700.

Thesis (Ph.D.)--University of Virginia, 2010.

This item must not be sold to any third party vendors.

While the history of radio stations at colleges and universities extends to the earliest days of the medium, the signifier "college radio" only began to have salient and specific cultural meaning in the mid-1980s. College stations began programming rock music in the late-sixties, but distinguished themselves in the mediascape during the late-seventies by embracing the punk movement to a far greater extent than the commercial radio sector. For college broadcasters, this distinction often reflected and nurtured a particular orientation towards the music industry and the mediascape, an orientation which contained and eventually revealed important tensions.

ISBN: 9781124345826Subjects--Topical Terms:

516178
Music.

Signing On: U.S. College Rock Radio and The Popular Music Industry, 1977--1983.
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500 $a Adviser: Fred E. Maus.
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520 $a While the history of radio stations at colleges and universities extends to the earliest days of the medium, the signifier "college radio" only began to have salient and specific cultural meaning in the mid-1980s. College stations began programming rock music in the late-sixties, but distinguished themselves in the mediascape during the late-seventies by embracing the punk movement to a far greater extent than the commercial radio sector. For college broadcasters, this distinction often reflected and nurtured a particular orientation towards the music industry and the mediascape, an orientation which contained and eventually revealed important tensions.
520 $a One source of complication was the early-eighties emergence of the College Media Journal, a national trade magazine which endorsed college radio broadcasting by tracking its programming trends and highlighting its promotional possibilities. The magazine created cultural capital for college stations, but also sparked anxieties concerning homogenization and commodification. The phenomenal debut of the MTV cable channel and the subsequent mainstream success of styles and artists formerly associated with college radio generated similar anxieties and inspired various responses among college broadcasters, including an intensified focus on and participation in an emergent translocal underground music scene.
520 $a This dissertation chronicles the discourses and practices at college radio stations from 1977-1983. I provide context for these activities by examining related industrial developments, such as the programming trends and strategies in the commercial rock radio sector, as well as the practices of record labels concerning the production, distribution, and promotion of cultural products.
520 $a College radio has become recognized a salient expression of, and influence on, late-twentieth-century youth culture in the United States, including the so-called "alternative" movement. This dissertation aims to serve inquiries into this field of cultural and media history by providing a foundational account of the emergence of this broadcast sector.
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