Radio Art and Music

Jarmila Mildorf teaches English language and literature at the University of Paderborn.Pim Verhulst is assistant professor of English literature at the University of Antwerp.

• Radio Art and Music: An IntroductionJarmila Mildorf and Pim VerhulstChapter 1: The Making of a Nomenclature: José Iges on Radiophonic ArtLuz María Sánchez CardonaChapter 2: Maestro, If You Please: The Radio Producer as MusicianJeremy LakoffChapter 3: Norman Corwin, Bernard Herrmann, and Musical Direction for Columbia Presents CorwinReba A. WissnerChapter 4: “Attitudes toward History” and the Radiophonic Compositions of Daphne Oram and the Firesign TheatreDavid McCarthyChapter 5: Between Art and Promotion: The Prix Italia, Its Historical Context and Aims in the First Fifty Years 1949-1998 Angela Ida De Benedictis Chapter 6: A Canadian Experiment in Words-as-Music: Glenn Gould’s Invention of Form in his Radio Program The Idea of NorthElissa GuralnickChapter 7: Jewish Musical Material in a 1946 American Radio Drama: “Rachel”Paula Eisenstein Baker and Robert S. NelsonChapter 8: The Bad Violin’s Good Politics: Music of Protest and Disavowal in The Jack Benny ProgramJade ConleeChapter 9: Shifting Hues of Blackface: Performance of Race in Radio Adaptations of Holiday Inn (1942)Emily LaneChapter 10: Voicing the Other World: Music and the Victorian Occult in Midcentury American Radio DramaOlivia CacchioneChapter 11: Collective Responsibility in Ingeborg Bachmann and Hans Werner Henze’s Radio Drama The CicadasLucy JeffreyChapter 12: Music and Politics in the BBC Radio Adaptation of Alan Bennett’s The Madness of George IIIJarmila MildorfChapter 13: Adapting the Soundtrack of Revolution: Tom Stoppard’s Rock ’n’ Roll from Stage to RadioPim VerhulstChapter 14: Children’s Songs as Socio-Political Comment in the Greek Radio Show Edo LilipoupoliAikaterini GiampouraAbout the Contributors

This edited volume is an academic goldmine of enlightening analysis of nomenclature which effortlessly connects such disparate topics as drama and music at the BBC during the 1920s, Norman Corwin and Bernard Herrmann for CBS during the Golden age of U.S. Radio, and even the sound art radiophonic compositions of Daphne Oram. The scholarship is brilliant. The writing powerful, illuminating, and thought-provoking. The examination of the historical practice is transnational and transcultural, and features original contribution knowledge from early career researchers and leading professors in their field. This book makes a coherent and lasting contribution to understanding the cultural studies of radio and music in the 20th century.