James Deaville - Music in Television: Channels of Listening

Music in Television: Channels of Listening is a collection of essays examining televisions production of meaning through music in terms of historical contexts, institutional frameworks, broadcast practices, technologies, and aesthetics. It presents the reader with overviews of major genres and issues, as well as specific case studies of important television programs and events. With contributions from a wide array of scholars, the essays range from historical analytical surveys of television sound and genre designations to studies of the music in individual programs, including South Park and Doctor Who . It is the first essay collection to go behind the programs to uncover how particular televisual practices and programming reflect the political, social, and cultural conditions of their production.

Contributors : Adam Berry, Julie Brown, Norma Coates, James Deaville, Claudia Gorbman, Sean Nye, Kip Pegley, Ron Rodman, Colin Roust, Michael Saffl e, Robynn J. Stilwell, and Shawn VanCour.

The Routledge Music and Screen Media Series offers edited collections of original essays on music, in particular genres of cinema, television, video games, and new media. These edited essay collections are written for an interdisciplinary audience of students and scholars of music and film and media studies.

James Deaville is a Professor in the School for Studies in Art and Culture: Music, at Carleton University, Ottawa, Canada. His interest in television music focuses on how music has played a role in the reporting of news, and he has published articles on news music used for 9/11 and for the war in Iraq.

First and foremost, I extend my recognition and gratitude to my two editorial assistants, Robin Desmeules and Sarah Stephens, both students at Carleton University, who helped every step of the way in the preparation of the manuscript for publication. Their timely and careful editorial work significantly contributed to the successful completion of the book. I am especially indebted to Robin, who was able to bring the project to a close on her own with diligence and excellence, despite considerable pressures. I gratefully acknowledge funding support from the Social Sciences and Humanities Research Council of Canada (SSHRC), which enabled me to engage editorial assistance and to undertake research for my own contribution to the volume. Throughout the process, Neil Lerner (Series Editor of the Routledge Music and Screen Media Series ) and Constance Ditzel (Music Acquisitions Editor at Routledge) have been constant sources of encouragement and wisdomtheir belief in the value of television music helped to make this essay collection a reality, as the second volume in their new series. The volumes authors themselves merit sincere thanks, both for their cooperation in the editing process and especially for the high quality and originality of their contributions. One does not need a special reason to acknowledge Claudia Gorbman, yet here I must mention her willingness to provide a foreword and her valuable suggestion of a subtitle, Channels of Listening , which we adopted for this book. Finally, but most of all, I wish to thank my wife Carol for her unflagging support, not only during the time I was working on this book, but also at every other moment.

Adam Berry is a television and film composer based in Los Angeles, California. His credits include the following series: South Park (19972000), Buzz Lightyear of Star Command (20002001), Kim Possible (20022007), American Dragon: Jake Long (20062007), The Sarah Silverman Program (20072010) and The Penguins of Madagascar (2008). He is also the composer for numerous live-action and animated films. Berry has twice been nominated for a Daytime Emmy award in Outstanding Achievement in Music Direction and Composition: for Kim Possible in 2005 and for The Penguins of Madagascar in 2010. For more information, visit http://adamberrycomposer.com.