Music has long been a staple of radio programming. Reginald Fessenden transmitted two musical selections as part of his experimental broadcast on Christmas Eve 1906 from Brant Rock, Massachusetts. It is no surprise to find that the contributors to this issue’s symposium address issues of identity, authenticity, cultural preservation, diversity, and marginalized groups. Notably aside from music’s role in radio programming as Brian Fauteux and Christopher Cwynar argue, in the introduction to this issue’s symposium on Public Radio and Music in the Streaming Era, it is also a commercial and cultural product (Fauteux & Cwynar, 2020). The peer-reviewed symposium considers the role of music and public radio in the larger context of a media streaming era. The symposium includes “(Residual) Public Music Radio in the Streaming Era: Listening for Diversity and Frequency on CBCMusic” by Brian Fauteux assesses how “CBC’s music radio programming reflects [its] mandate of showcasing a diversity of music and culture” (Fauteux, 2020, p. 9). Henry Svec argues that Randy Bachman’s radio show draws criticism due to his “transgressions of rock and public broadcasting discourses (Svec, 2020, p. 34)” in “Taking Care of Authenticity on the CBC’s Randy’s Vinyl Tap.” Teresa Costa Alves explores the cultural commodity of music on the radio and its role as the “defining element of lusophone culture in...traditional and digital radio (Alves, 2020, p. 42).” She explores the role of music and radio in a decolonized space where music can support diversity and plurality as part of the mandate of public service broadcasting. “Resistance in Song Form: NPR’s Alt.Latino and Oppositional Discourses on Public Radio” by Christopher A. Chávez interrogates the role of Alt.Latino as a podcast that can address social, cultural, and political issues but argues that it stops short of civic engagement (Chávez, 2020). In “Brick, Mortar, and Screen: Networked Digital Media, Popular Music, and the Reinvention of the Public Radio Station,” Christopher Cwynar tracks KEXP from the 1970s to the present following its integral connection to Seattle as a music city. Cwynar considers the diminishing role of public institutions and the struggle of public media. Research in this issue also examines sound effects, women in media, gender and radio music formats, and podcasts promoting well-being. “Cognitive Processing of Sound Effects in Television Sports Broadcasting” JOURNAL OF RADIO & AUDIO MEDIA 2020, VOL. 27, NO. 1, 1–3 https://doi.org/10.1080/19376529.2020.1751521

中文翻译：

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编者按：音乐，广播，公众和观众

音乐长期以来一直是广播节目的主要内容。雷金纳德·费森登（Reginald Fessenden）在马萨诸塞州的布兰特·洛克（Brant Rock）于1906年圣诞节前夕播送了两部音乐作品，作为他实验性广播的一部分。毫不奇怪，本期专题讨论会的撰稿人讨论了身份，真实性，文化保存，多样性和边缘化群体的问题。就像Brian Fauteux和Christopher Cwynar所论证的那样，除了音乐在广播节目中的作用外，在本期关于流媒体时代的公共广播和音乐专题讨论会的介绍中，它还是一种商业和文化产品（Fauteux＆Cwynar，2020）。经同行评审的研讨会考虑了音乐和公共广播在媒体流媒体时代的更大背景下的作用。研讨会包括“流媒体时代的（残余）公共音乐广播：Brian Fauteux的《聆听CBCMusic的多样性和频率》评估了“ CBC的音乐广播节目如何反映出其[]展现音乐和文化多样性的使命”（Fauteux，2020年，第9页）。亨利·斯维克（Henry Svec）辩称，兰迪·巴赫曼（Randy Bachman）的广播节目之所以受到批评，是因为他“在CBC的兰迪（Randy）的Vinyl Tap上进行真实性的处理”（Svec，2020，p。34）。特雷莎·科斯塔·阿尔维斯（Teresa Costa Alves）探索了广播中音乐的文化商品，并探讨了其作为“传统和数字广播中的发音文化的定义元素（Alves，2020年，第42页）”。她探讨了音乐和广播在非殖民化空间中的作用，在该空间中，音乐可以支持多样性和多元化，并将其作为公共广播服务的一部分。“歌曲形式的抵抗力：NPR的Alt。克里斯托弗·A·查韦斯（Christopher A.Chávez）的“公共广播中的拉丁裔和反对派话语”审问了Alt.Latino作为可以处理社会，文化和政治问题的播客的角色，但认为这没有公民参与（Chávez，2020）。在“砖，砂浆和屏幕：网络数字媒体，流行音乐和公共广播电台的重塑”一书中，克里斯托弗·克维纳（Christopher Cwynar）追踪了KEXP从1970年代到现在的发展，它与西雅图作为一个音乐之城有着不可分割的联系。Cwynar认为公共机构的作用逐渐减弱以及公共媒体的挣扎。本期的研究还研究了声音效果，媒体中的妇女，性别和广播音乐格式以及促进幸福感的播客。“电视体育广播中声音效果的认知处理”，《无线电与音频媒体杂志》 2020年第1期。27号 1，