By Ken Arnold

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97 The authors, an international mixture of academics from all ranks (including graduate students) and from a diversity of fields, offer a wide array of approaches to the television series, and, even if the contributors are enthusiasts (perhaps a prerequisite for this type of undertaking), they take Buffy the Vampire Slayer quite seriously. The interdisciplinarity of the volume well represents topic- and program-driven television-music studies, since when dealing with a clearly delimited set of televisual texts (such as commercials or Buffy the Vampire Slayer), it is possible to obtain specific insights from a variety of perspectives.

Serge Denisoff), and by a freelance writer (Lisa A. 47 Commenting on the authors’ backgrounds is not to diminish the value of their contributions which both emphasized the importance of working on music television and introduced new critical methodologies to that research, but rather to point to the inability of musicology to work outside of the canon (at least at that time). e. the writings from the 1930s, 1940s, and 1950s, only now taking a close look at the social meanings embedded within the phenomenon rather than at its potential for shaping taste.

Television commentators were creating the conditions for a high–low split in assessing music on the small screen, with predictable results: the inability of broadcast performances of “high art” to usher in the anticipated revolution in North American taste proved the medium’s unsuitability for the task, while other television programming revealed itself as susceptible to pernicious, lowbrow commercial interests. Indeed, by the early 1960s, a serious critique of television had established itself, as reflected in Federal Communications Committee Chair Newton N.

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Amazing Grace and other Gospel Sounds for Harmonica by Ken Arnold
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