[ecrea] CFP: Music in the Public Service: Public Radio and Music in the Streaming Era

*/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) 
<mailto:(fauteux /at/ ualberta.ca)>) and/or Christopher Cwynar 
((ccwynar /at/ defiance.edu) <mailto:(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).


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