When a Place Becomes a Community: Music, radio and the reach of social aesthetics

What questions do we face when the familiar, informal or semi-formal modes of musical place-making are constituted instead by formal institutions whose explicit recognition by the state and the market are necessary for their existence and survival? A community radio station is one such institution. Their participants’ primary goal is to enact different ways of producing culture, doing so by constructing a series of social relationships crafted through acts of communication and organisation that define the institution itself. The scholarly consensus has it that the ways of producing culture through community media enact a distinctly civil discourse that challenges traditional notions of cultural belonging, citizenship and the public sphere. The bare, simple fact that the vast majority of programming materials on most community radio stations in Australia is music begs a series of questions about the role of the social aesthetics of music in the construction and maintenance of institutions of civil society. I argue that we can draw out of these institutions the core values of a civil or democratic aesthetics specifically through understanding the type and character of the kinds of relationships that constitute them. Moreover, these relationships present an enticing contrast to the commercial relationships which dominate most of consumer culture

Understanding the Exhibitionary Characteristics of Popular Music Museums

The literature on the popular music museum has primarily focused on the study of heritage and cultural memory with a secondary focus on tourism. Given the unprecedented expansion of the museum sector worldwide in recent decades, which has produced an increasing number of major museums dedicated to popular music, it is an opportune time to expand this range of analytical concerns. Specifically, the development of popular music museums has not yet been closely examined within the broader historical trajectory of the so-called ‘new museum.’ This article seeks to outline the range of exhibitionary types commonly used in a range of high-profile popular music museums in pursuit of this line of inquiry. The goal is not simply to produce a generic survey or typology of displays, but to place the use of different forms of museum display within the specific historical trajectory that has produced steadily larger numbers of these kinds of museums in recent years. I organize these exhibitionary types into two broad streams of museum exhibition practice implied in the historical survey presented here: a populist-vernacular stream of museum display and an institutional-educational one. I seek to place the exhibitionary practices of contemporary popular music museums in a broader and longer trajectory of similar practices in order to get a more grounded sense of the more important characteristics of these kinds of museums

The medium and materials of popular music: 'Hound Dog', turntablism and muzak as situated musical practices

Popular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and sociological aspects of music. I use different performances of ‘Hound Dog,’ the practices of ‘turntablism,’ and the exigencies of Muzak as examples for analysis offering ways in which the aesthetic, material and contextual aspects of popular music can be understood in order to incorporate the actual sound of music into the analysis of its social, cultural and musical construction

Alan Freed still casts a long shadow: the persistence of payola and the ambiguous value of music

Despite the enormous changes in the music industry in recent years, some things have persisted. Payola, the exchange of money or promotional consideration for radio airplay, has persisted if not increased over the past decade in the United States. This is due to the corresponding persistence of a series of contradictory social relationships between broadcasters, their sponsors and the audiences they seek to construct and maintain through the targeted deployment of music. I show here that payola, and its more legitimate cousin deregulation, are forms of ‘inter-elite communication’ designed to make the market in music more manageable and stable

Building the authentic celebrity: The "Idol" phenomenon in the attention economy

The “Idol” phenomenon is a spectacle founded on the creation, perpetuation, and maintenance of specific kinds of carefully structured consumer relationships. Several of the more successful contestants are gradually formed into recognizable and familiar brands centered on varied and mostly familiar pop star personae intended to form the foundations of the relationships between the various contestants and their supporters. However “Idol” relationships are not limited to familiar musician-fan binaries, but grow and evolve into a series of intimate, active relationships that stretch well beyond the life of the show. By the end of each series the primary relationship is no longer confined to contestants and fans, but include a series of relationships between the program and its audience created through a wide range of channels. The main goal of “Idol’s” producers is to build affective investment in contestants and gradually shift that investment to the narrative and drama of the program itself

Let Us Now Praise Famous Guitars: Persona and the Material Displays of Popular Music Museums

The study of popular music museums has expanded greatly in the past decade or so. The numerous studies produced so far have largely focused on issues to do with tourism, heritage, and curatorship. Most analysis has attempted to gauge the effectiveness and degree of success of the various methods of constructing and displaying collections of sounds, objects, and ideas. One area that can be of interest in moving beyond these analyses of museum practice is to examine how larger ideologies of artistry and artists that pervade the celebrity personas so assiduously built around famous musicians are an important foundation for these museums’ displays. There are two reasons for the value of this approach. First, it should be clear that most exhibits in popular music museums are built to enhance, not contest already-existing images, historical narratives, and genre-defining attributes that surround well-known musicians. Therefore, it is not possible to understand these institutions without some sense of how they work with musician personas that necessarily precede any presentation in museum exhibitions. Second, we can see this dynamic in extraordinarily concise forms when we examine some of the ‘famous objects’ these museums display. We can often see an entire complex of received ideas about an artist encapsulated in just a few well-known objects they once possessed. From this I will suggest that the personas of famous musicians that appear in most popular music museums do so through varied amalgams of symbolic and material forms meant to stabilise or enhance already-existing ideas about canonically-validated ‘great’ artists

Music and Persona: An Introduction

Persona is a very mutable concept. Perhaps its mutability is no more prominently displayed that in its intersection and integration into music and musical culture. In this opening essay for our special issue on music and persona, we chart the meaning and the value of persona analyses to the study of music. Essentially, our objective here is two-fold. First, we want to provide a map of how persona has been employed in research in music. What this will generate is a critical investigation of these traditions, but also what we hope will be a valuable reference for future music and persona scholarship. Second, and of equal importance, is how these uses of musical persona can be further informed and assisted by the more recent scholarship in persona studies most openly articulated by this journal over the last five years, but also the widening array of related books, articles and book chapters that are percolating in connected fields. We attempt to pull together our review of the current field of music and persona with the urgent need to identify with greater thought and clarity the industrial structures that shape our relationship to music performance and its relation to audiences and its constitution of celebrated individuals and recognizable and market-sensitive personas. Our essay concludes with the introduction of our series of articles in this issue and how they intersect with these various traditions that have explored persona’s imbrication into music.&nbsp

Agribusiness Capstone Courses Design: Objectives and Strategies

This paper discusses the benefits of using strategic management principles as the cornerstone for building the agribusiness capstone experience. The necessity for agribusiness firms to create and implement strategies that build a sustainable competitive advantage in turn necessitates the development of strategic management skills in the leaders/managers of the future. As such, the objectives of a capstone course lean heavily toward the integrative development of strategic decision-making competence. This has a number of implications for the capstone professor in terms of course content, pedagogies, and subsequent measurement of student performance.Agribusiness, Teaching/Communication/Extension/Profession,

Hybrid photonic crystal cavity and waveguide for coupling to diamond NV-centers

A design for an ultra-high Q photonic crystal nanocavity engineered to interact with nitrogen-vacancy (NV) centers located near the surface of a single crystal diamond sample is presented. The structure is based upon a nanowire photonic crystal geometry, and consists of a patterned high refractive index membrane, such as gallium phosphide (GaP), supported by a diamond substrate. The nanocavity supports a mode with quality factor Q > 1.5 million and mode volume V < 0.52 (\lambda/n_\text{GaP})^3, and promises to allow Purcell enhanced collection of spontaneous emission from an NV located more than 50 nm below the diamond surface. The nanowire photonic crystal waveguide can be used to efficiently couple light into and out of the cavity, or as an efficient broadband collector of NV phonon sideband emission. The proposed structures can be fabricated using existing materials and processing techniques