Dialing In
The Sound of Television in the Pacific Region
DOI:
https://doi.org/10.1558/prbt.v10i1.5Keywords:
television, sound, music, PacificAbstract
Long the poor relative to film sound, television sound has often found itself written off, or not written about at all (see Negus and Street 2002). Despite the seminal work of Tagg (1979) few others have taken up the baton of television sound studies. Indeed, even within television studies proper there has been little attention paid to sound – in much the same way as was sound went ignored in film studies for decades and decades.
References
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Battersby, M., and Meret Valtwies. 1992. ‘Music Video, Marketing and Misadventure—A Career Study of the Hummingbirds’. Perfect Beat 1/1: 25–41.
Beebe, R., and Jason Middleton, eds. 2007. Medium Cool: Music Videos from Soundies to Cellphones. London: Duke University Press.
Bennett, T., M. Emmison and J. Frow, eds. 1999. Accounting for Tastes: Australian Everyday Culture. Cambridge: Cambridge University Press.
Bosseaux, Charlotte. 2008. ‘Buffy the Vampire Slayer: Characterization in the Musical Episode of the TV Series’. The Translator 14/2: 343–72.
Casey, B, N. Casey, B. Calvert, L. French and J. Lewis. 2002. Television: The Key Concepts. London: Routledge.
Clarke, Bruce. 2003. ‘Studio Musicians’. In The Currency Companion to Music and Dance in Australia, ed. John Whiteoak and Aline Scott-Maxwell, 647–48. Sydney: Allen and Unwin.
Coates, N. 2008 ‘Sound Studies: Missing the (Popular) Music for the Screens?’ Cinema Journal 48/1: 123–28. doi:10.1353/cj.0.0070
—(forthcoming) Rocking the Wasteland: A Cultural History of Popular Music on American Network Television from Elvis to MTV. Durham, NC: Duke University Press.
Crocombe, R. 2008. ‘Elite Communication between the Pacific Islands and Asia: A New Paradigm Evolving’. In South Pacific Islands Communication: Regional Perspectives, Local Issues, ed. Evangelia Papoutsaki and Usha Harris, 15–33. Singapore and Auckland: Asian Media Information and Communication Centre.
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Donnelly, Kevin. 2005. The Spectre of Sound: Music in Film and Television. London: British Film Institute.
Geraghty, Christine, and David Lusted. eds. 1998. The Television Studies Book. New York: Arnold Publishing.
Goodwin, Andrew. 1992. Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis: University of Minnesota Press.
Gorham, R., and Arielle Nakache. 1993. ‘Star Moves—Choreography, Choreographers and the Australian Music Video’. Perfect Beat 1/3: 23–37.
Hayward, Philip. 1993. ‘After the Record: Tabaran, Television and the Politics of Collaboration’. Perfect Beat 1/3: 75–85.
—1995. ‘A New Tradition: Titus Tilly and the Development of Music Video in Papua New Guinea’. Perfect Beat 2/2: 1–19.
Hayward, Philip, ed. 1992. From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s. Sydney: Allen and Unwin.
Hayward, Philip, and Rachael Privett. 1992. ‘Spectacular Signification: Noiseworks’ Freedom Video’. Perfect Beat 1/1: 42–47.
Mundy, J. 1999. Popular Music on Screen. Manchester: Manchester University Press.
—2006. ‘Singing Detected: Blackpool and the Strange Case of the Missing Television Musical Dramas’. Journal of British Cinema & Television 3/1: 59–71.
Nattiez, Jean-Jacques. 1990. Music and Discourse: Towards a Semiology of Music. Trans. Carolyn Abbate. Princeton, NJ: Princeton University Press.
Negus, K., and John Street. eds. 2002. ‘Introduction to “Music and Television” special issue’. Popular Music 21/3: 245–48. doi:10.1017/S0261143002002167
Nicol, Lisa. 1993. ‘Culture, Custom and Collaboration: Yothu Yindi’s Treaty’. Perfect Beat 1/2: 23–32.
Stockbridge, Sally. 1992. ‘From Bandstand and Six O’Clock Rock to MTV and Rage: Rock Music on Australian Television’. In From Pop to Punk to Postmodernism: Popular Music and Australian Culture in the 1960s to the 1990s, ed. Philip Hayward, 68–85. Sydney: Allen and Unwin.
—2003a. ‘Music in Television’. In The Currency Companion to Music and Dance in Australia, ed. John Whiteoak and Aline Scott-Maxwell, 645. Sydney: Allen and Unwin.
—2003b. ‘Music Video’. In The Currency Companion to Music and Dance in Australia, ed. John Whiteoak and Aline Scott-Maxwell, 442–43. Sydney: Allen and Unwin.
Tagg, Philip. 1979. Kojak—Fifty Seconds of Television Music: Towards the Analysis of Affect in Popular Music. Doctoral thesis from the Department of Musicology at the University of Göteborg, Sweden.
van Leeuwen, T. 1989. ‘Changed Times, Changed Tunes: Music and the Ideology of the News’. In Australian Television: Programmes, Pleasures and Politics, ed. John Tulloch and Graeme Turner, 172–86. Sydney: Allen and Unwin.
Vernallis, Carol. 2004. Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.
Vui-Talitu, Sara. 1996. ‘AEIOU: Music Video and Polynesian Communication’. Perfect Beat 2/4: 78–88.
Whiteoak, J., and Aline Scott-Maxwell. 2003. The Currency Companion to Music and Dance in Australia. Sydney: Currency Press.
Williams, Raymond. 1975. Television: Technology and Cultural Form. London: Routledge.
Battersby, M., and Meret Valtwies. 1992. ‘Music Video, Marketing and Misadventure—A Career Study of the Hummingbirds’. Perfect Beat 1/1: 25–41.
Beebe, R., and Jason Middleton, eds. 2007. Medium Cool: Music Videos from Soundies to Cellphones. London: Duke University Press.
Bennett, T., M. Emmison and J. Frow, eds. 1999. Accounting for Tastes: Australian Everyday Culture. Cambridge: Cambridge University Press.
Bosseaux, Charlotte. 2008. ‘Buffy the Vampire Slayer: Characterization in the Musical Episode of the TV Series’. The Translator 14/2: 343–72.
Casey, B, N. Casey, B. Calvert, L. French and J. Lewis. 2002. Television: The Key Concepts. London: Routledge.
Clarke, Bruce. 2003. ‘Studio Musicians’. In The Currency Companion to Music and Dance in Australia, ed. John Whiteoak and Aline Scott-Maxwell, 647–48. Sydney: Allen and Unwin.
Coates, N. 2008 ‘Sound Studies: Missing the (Popular) Music for the Screens?’ Cinema Journal 48/1: 123–28. doi:10.1353/cj.0.0070
—(forthcoming) Rocking the Wasteland: A Cultural History of Popular Music on American Network Television from Elvis to MTV. Durham, NC: Duke University Press.
Crocombe, R. 2008. ‘Elite Communication between the Pacific Islands and Asia: A New Paradigm Evolving’. In South Pacific Islands Communication: Regional Perspectives, Local Issues, ed. Evangelia Papoutsaki and Usha Harris, 15–33. Singapore and Auckland: Asian Media Information and Communication Centre.
Cunningham, S., and E. Jacka. 1996. Australian Television and International Mediascapes. Cambridge: Cambridge University Press.
Dechert, Renee. 2002. ‘ “My Boyfriend’s in the Band”: Buffy and the Rhetoric of Music’. In Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer, ed. Rhonda V. Wilcox and David Lavery, 218–26. Lanham, MD: Rowman Littlefield.
Donnelly, Kevin. 2005. The Spectre of Sound: Music in Film and Television. London: British Film Institute.
Geraghty, Christine, and David Lusted. eds. 1998. The Television Studies Book. New York: Arnold Publishing.
Goodwin, Andrew. 1992. Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis: University of Minnesota Press.
Gorham, R., and Arielle Nakache. 1993. ‘Star Moves—Choreography, Choreographers and the Australian Music Video’. Perfect Beat 1/3: 23–37.
Hayward, Philip. 1993. ‘After the Record: Tabaran, Television and the Politics of Collaboration’. Perfect Beat 1/3: 75–85.
—1995. ‘A New Tradition: Titus Tilly and the Development of Music Video in Papua New Guinea’. Perfect Beat 2/2: 1–19.
Hayward, Philip, ed. 1992. From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s. Sydney: Allen and Unwin.
Hayward, Philip, and Rachael Privett. 1992. ‘Spectacular Signification: Noiseworks’ Freedom Video’. Perfect Beat 1/1: 42–47.
Mundy, J. 1999. Popular Music on Screen. Manchester: Manchester University Press.
—2006. ‘Singing Detected: Blackpool and the Strange Case of the Missing Television Musical Dramas’. Journal of British Cinema & Television 3/1: 59–71.
Nattiez, Jean-Jacques. 1990. Music and Discourse: Towards a Semiology of Music. Trans. Carolyn Abbate. Princeton, NJ: Princeton University Press.
Negus, K., and John Street. eds. 2002. ‘Introduction to “Music and Television” special issue’. Popular Music 21/3: 245–48. doi:10.1017/S0261143002002167
Nicol, Lisa. 1993. ‘Culture, Custom and Collaboration: Yothu Yindi’s Treaty’. Perfect Beat 1/2: 23–32.
Stockbridge, Sally. 1992. ‘From Bandstand and Six O’Clock Rock to MTV and Rage: Rock Music on Australian Television’. In From Pop to Punk to Postmodernism: Popular Music and Australian Culture in the 1960s to the 1990s, ed. Philip Hayward, 68–85. Sydney: Allen and Unwin.
—2003a. ‘Music in Television’. In The Currency Companion to Music and Dance in Australia, ed. John Whiteoak and Aline Scott-Maxwell, 645. Sydney: Allen and Unwin.
—2003b. ‘Music Video’. In The Currency Companion to Music and Dance in Australia, ed. John Whiteoak and Aline Scott-Maxwell, 442–43. Sydney: Allen and Unwin.
Tagg, Philip. 1979. Kojak—Fifty Seconds of Television Music: Towards the Analysis of Affect in Popular Music. Doctoral thesis from the Department of Musicology at the University of Göteborg, Sweden.
van Leeuwen, T. 1989. ‘Changed Times, Changed Tunes: Music and the Ideology of the News’. In Australian Television: Programmes, Pleasures and Politics, ed. John Tulloch and Graeme Turner, 172–86. Sydney: Allen and Unwin.
Vernallis, Carol. 2004. Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.
Vui-Talitu, Sara. 1996. ‘AEIOU: Music Video and Polynesian Communication’. Perfect Beat 2/4: 78–88.
Whiteoak, J., and Aline Scott-Maxwell. 2003. The Currency Companion to Music and Dance in Australia. Sydney: Currency Press.
Williams, Raymond. 1975. Television: Technology and Cultural Form. London: Routledge.
Published
2009-04-30
Issue
Section
Articles
How to Cite
Evans, M. (2009). Dialing In: The Sound of Television in the Pacific Region. Perfect Beat, 10(1), 5-13. https://doi.org/10.1558/prbt.v10i1.5
