Alternative Broadcasting? Maybe!Music Programming in College Radio in Israel

Author(s):  
Tal Laor
2020 ◽  
Author(s):  
Bhavya Sri Yarlagadda ◽  
T. Mohansai ◽  
V. Swetha ◽  
G. Bhanu
Keyword(s):  

Author(s):  
Bradfield E. A. Biggers

The music of grassroots artists is no longer confined to dive bars and late-night rotations on college radio. Today, the digitalization of the contemporary music industry provides grassroots artists with unprecedented access to a global music ecosystem. Nevertheless, talent agency statutes drafted in a pre-Internet music industry impede grassroots artists from reaping the benefits of modern technologies. Due to the inflexibility of these statutes, grassroots artists become lost in a music industry oversaturated with content because their advisors are prohibited from providing meaningful support. This chapter proposes legislators include “grassroots exceptions” in state-level talent agency statutes that would conditionally allow advisors of grassroots artists to procure certain types of employment. These exceptions would allow grassroots artists to efficiently participate in emerging music markets, as well as ensure that these statutes purporting to protect artists are equally promoting the interests of all artists.


2010 ◽  
Vol 10 (3) ◽  
Author(s):  
Anthony Meadows

This article traces the origins and evolution of the music programs central to the Bonny Method (also called GIM or BMGIM). These programmed, sequenced western art music selections shape the core experience of GIM, eliciting intra-, inter-, and trans-personal phenomena through a range of visual, auditory, and kinesthetic feelings, images, memories, and metaphoric fantasies. Bonny’s original programs will be described and discussed in relation to GIM, and developments in programming will demonstrate how the Bonny Method programs have been expanded, including adaptations to music programming and selection.


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