Misplaced Pages

#185814

145-606: Hansen holds a master's degree in ethnomusicology and has written magazine articles and liner notes on recording artists outside of the novelty genre. He is credited with introducing new generations of listeners to artists of the early and middle 20th century whom they might not have otherwise discovered, such as Harry McClintock , Spike Jones , Jimmy Durante , Benny Bell , Rusty Warren , Yogi Yorgesson , Nervous Norvus , Allan Sherman , Ray Stevens , Candy Candido , Stan Freberg , and Tom Lehrer , as well as helping to bring "Weird Al" Yankovic to national attention. Barret Hansen

290-457: A 1929 vocal by Scrappy Lambert (recording under the name Gordon Wallace), which Hansen tells listeners he discovered in a thrift shop. The Doctor closes each show with "Stay Dement-ed!" Since 1987, and continuing as of 2024, Whimsical Will (real name: William Simpson) produces a weekly "Demented News" segment for the show. He also has recorded fake comedy interviews "break-in" style, following Dickie Goodman , including "Hey Dickie" (1989), which

435-428: A 1994 book, May it Fill Your Soul: Experiencing Bulgarian Music , Timothy Rice uses enlightenment philosophy to substantiate his opinion that fieldwork cannot be used as fact. The philosophy he works with involves theorizing over the distinction between objectivity and subjectivity. In order to ground those debates in ethnomusicology, he equates musicology to objectivity and musical experience to subjectivity. Rice uses

580-560: A boxed set of all 17 of "Dr. Demento's Basement Tapes" to date. The box set was limited to just 50 copies, available only by donating to the Kickstarter campaign for "Under the Smogberry Trees", the Dr. Demento documentary. Each box was hand signed and numbered by Dr. Demento himself. Ethnomusicology Ethnomusicology (from Greek ἔθνος ethnos ‘nation’ and μουσική mousike ‘music’)

725-481: A college student's personal letter, he recommended that potential students of ethnomusicology undertake substantial musical training in the field, a competency that he described as " bi-musicality ." This, he explained, is a measure intended to combat ethnocentrism and transcend problematic Western analytical conventions. Seeger also sought to transcend comparative practices by focusing on the music and how it impacted those in contact with it. Similar to Hood, Seeger valued

870-420: A combination of a standardized, scientific approach and a more free-form analytical approach because the most fruitful work he has done has come from combining those two rather than separating them, as was the trend among his contemporaries. Even Merriam's once progressive notion of a balanced approach came into question as time passed. Specifically, the idea that ethnomusicology is or can be at all factual. In

1015-487: A condescending way, treating it as something quaint or exotic." Nettl recalls an angry young man from Nigeria who asked the researcher how he could rationalize the study of other cultures' music. Nettl couldn't come up with an easy answer, and posits that ethnomusicologists need to be careful to respect the cultures they study and avoid treating valuable pieces of culture and music as just one of many artifacts they study. Westwood One (1976%E2%80%932011) Westwood One

1160-472: A countdown of the 25 most requested novelty songs that year (see below). For most of the syndicated show's history, Hansen produced 52 original weekly shows every year; repeat broadcasts were rare. The program's opening theme is an instrumental version of " Pico and Sepulveda " recorded for the show by The Roto Rooter Good Time Christmas Band (during the early years on KMET, it had been “Sugar Blues” by Clyde McCoy). The same Los Angeles area group recorded some of

1305-504: A culture’s music. This discipline emerged from comparative musicology , initially focusing on non-Western music, but later expanded to embrace the study of any and all different kinds of music of the world. Ethnomusicology development resembled that of Anthropology very closely. Stated broadly, ethnomusicology may be described as a holistic investigation of music in its cultural contexts. The term ethnomusicology itself can be broken down as such: 'ethno' = people, and 'musicology' =

1450-484: A documentary named Under the Smogberry Trees: The True Story of Dr. Demento through Kickstarter . Under the Smogberry Trees was meant to be a filmed history of “The Dr. Demento Show”, covering the lasting impact of funny music on popular culture, and including current interviews with Dementites connected to and/or inspired by the show. The Kickstarter campaign ended successfully on May 4, 2013, with

1595-566: A fieldworker decides to use to conduct research, fieldworkers are expected to "show respect for their material and for the people with whom they work." As Nettl explains, ethnomusicology is a field that heavily relies on both the collection of data and the development of strong personal relationships, which often cannot be quantified by statistical data. He summarizes Bronisław Malinowski 's classification of anthropological data (or, as Nettl applies it, ethnomusicological data) by outlining it as three types of information: 1) texts, 2) structures, and 3)

SECTION 10

#1732873314186

1740-436: A fusion between musicology and cultural anthropology. He focused on the scientific study of music and the interpretation of the cultural phenomena within. However, he called for a broader view that emphasizes "music as an emotional expression." This notion is highly similar to that of Merriam's 1960 extension of ethnomusicology, which views it as "the study of music in culture," that emphasized its pivotal role in human nature and

1885-427: A known whole according to a definite plan, whereas synthesis starts with small elements and combines them into one entity by tailoring the process to the musical material. Herndon also debated on the subjectivity and objectivity necessary for a proper analysis of a musical system. Kolinski, among those scholars critiqued by Herndon's push for a synthetic approach, defended the benefits of analysis, arguing in response for

2030-476: A long time interest in the roots of rock 'n' roll in R&;B and country music , and he has written about it in many magazine articles, liner notes to compilations and new recordings by a variety of artists, and two chapters on early R&B for The Rolling Stone Illustrated History of Rock & Roll . His shows and public appearances display an encyclopaedic knowledge of the history of recorded music in general, from

2175-446: A major influence on the show and who appeared several times as a guest. The tribute show following Zappa's 1993 death was the first time the entire two-hour show was devoted to a single artist. Another of the show's highlights occurred in the late 1980s when the satire/parody/improv hard rock trio Spinal Tap came in for a visit. Christopher Guest , Michael McKean and Harry Shearer appeared in full costume and stayed in character for

2320-530: A master's degree in folklore and ethnomusicology . After earning his master's degree, he lived for two years "in a big house on a hill" in Topanga Canyon with members of the rock band Spirit . He also served briefly as a roadie for Spirit, and for Canned Heat , before being hired as an A&R man, or talent scout, for Specialty Records . The Doctor began his weekly radio show while working for Specialty, and he later worked for Warner Bros. Records . He

2465-586: A model. Perhaps the first of these objective systems was the development of the cent as a definitive unit of pitch by phonetician and mathematician Alexander J. Ellis (1885). Ellis made notable contributions to the foundations of comparative musicology and ultimately ethnomusicology with the creation of the cents system; in fact, the ethnomusicologist Hornbostel "declared Ellis the 'true founder of comparative scientific musicology.'" Prior to this invention, pitches were described by using measurements of frequency , or vibrations per second. However, this method

2610-568: A musical and performative lens. Seeger's analysis exemplifies the inherent complexity of ethical practices in ethnomusicological fieldwork, implicating the importance for the continual development of effective fieldwork in the study of ethnomusicology. In his 2005 paper "Come Back and See Me Next Tuesday," Nettl asks whether ethnomusicologists can, or even should practice a unified field methodology as opposed to each scholar developing their own individual approach. Nettl considers several factors when sampling music from different cultures. The first thing

2755-415: A musical and performative lens. Seeger's analysis exemplifies the inherent complexity of ethical practices in ethnomusicological fieldwork, implicating the importance for the continual development of effective fieldwork in the study of ethnomusicology. In recent decades, ethnomusicologists have paid greater attention to ensuring that their fieldwork is both ethically conducted and provides a holistic sense of

2900-428: A myriad of factors, many of which exist beyond the researcher's comprehension, that prevent a precise and accurate representation of what one has experienced in the field. As Nettl notices, there is a current trend in ethnomusicology to no longer even attempt to capture a whole system or culture, but to focus on a very specific niche and try to explain it thoroughly. Nettl's question, however, still remains: should there be

3045-425: A native ensemble, or inclusion in a myriad of social customs. In the past, local musical transcription was required to study music globally, due to the lack of technology such as phonographs or videographing technology. Similarly, Alan Merriam defined ethnomusicology as "music as culture," and stated four goals of ethnomusicology: to help protect and explain non-Western music, to save "folk" music before it disappears in

SECTION 20

#1732873314186

3190-410: A product of Western thinking, proclaiming that "ethnomusicology as western culture knows it is actually a western phenomenon." Later, in 1992, Jeff Todd Titon simply described ethnomusicology as the study of "people making music". While there still is not a unified, authoritative definition for ethnomusicology, a number of constants appear in the definitions frequently adopted by leading scholars in

3335-649: A psychologist and philosopher, founded the Berlin Phonogramm-Archiv, which became one of the first archives dedicated to the systematic collection and preservation of non-Western music. This archive enabled researchers to record and analyze diverse musical forms with scientific precision, marking a significant advancement in the field. Hornbostel, a student of Stumpf, expanded on this scientific approach by developing comparative musicology methods that emphasized objective analysis of elements such as pitch, rhythm, and timbre across musical traditions. His work promoted

3480-440: A researcher's field work will always be personal because a field researcher in ethnomusicology, unlike a field researcher in a hard science, is inherently a participant in the group they are researching just by being there. To illustrate the disparity between those subjective, participatory experiences that ethnomusicological fieldworkers have and what typically gets published as ethnomusicological literature, Barz and Cooley point out

3625-461: A three-hour visit. Similar "big moments" occurred in a visit from Screamin' Jay Hawkins (" I Put a Spell on You "), when the singer appeared in the studios in Culver City dressed in black cape, distributing explosive flash paper to great effect, and when Mel Brooks came in for an interview and was presented with an "absolutely HUGE" cheesecake from Canter's Deli on Fairfax Avenue . Dr. Demento

3770-502: A time when a "double LP" typically carried a $ 9.98 list price. Using his real name of Barry Hansen, he also contributed many articles on rock music to magazines including Rolling Stone , Down Beat , and Hit Parader , liner notes on various late 1960s and early 1970s albums, and in 1976 contributed the chapter on "Rhythm and Gospel" in The Rolling Stone Illustrated History of Rock & Roll . Hansen created

3915-466: A total of $ 118,722 in donations from 1,764 backers. On September 27, 2016, Hansen announced he had terminated his support for Meep Morp's version of the film, was working on producing his own version of "Under the Smogberry Trees" with Devin Lucas as director, and forbade Meep Morp from continuing to use his name or likeness for their film. Meep Morp stated that, after the film had substantially been completed and

4060-461: A unified definition of ethnomusicology within the field itself. Attitudes and foci of ethnomusicologists have evolved since initial studies in the area of comparative musicology in the early 1900s. For example, in 1956, Willard Rhodes provided his perspective on the definition of ethnomusicology, stating that it is a theoretical and empirical study amalgamating both musicology and anthropology. Then, in 1983, Bruno Nettl characterized ethnomusicology as

4205-429: A uniform method for going about this type of fieldwork? Alan Merriam addresses issues that he found with ethnomusicological fieldwork in the third chapter of his 1964 book, The Anthropology of Music . One of his most pressing concerns is that, as of 1964 when he was writing, there had been insufficient discussion among ethnomusicologists about how to conduct proper fieldwork. That aside, Merriam proceeds to characterize

4350-533: A version of the internet show will be heard weekly on KACV-FM (in Amarillo, Texas ), at least through the summer." The show was removed from KACV-FM in January 2011. Beginning in approximately 2006, The Dr. Demento Show began offering pay-per-show audio streaming at the show's official website. Large archives from 1992 to the present, as well as a few select archives from the early 1970s, are available, early on most of

4495-470: A virtual community. Heightened awareness of the need to approach fieldwork in an ethical manner arose in the 1970s in response to a similar movement within the field of anthropology. Mark Slobin writes in detail about the application of ethics to fieldwork. Several potential ethical problems that arise during fieldwork relate to the rights of the music performers. To respect the rights of performers, fieldwork often includes attaining complete permission from

Dr. Demento - Misplaced Pages Continue

4640-662: A weekly "Best of Dr. Demento" show (featuring a mixture of old and new material) initially on the Special X channel and then on the 60s on 6 , Deep Tracks , and Laugh USA channels. He was interviewed in the 2005 documentary film about outsider musician Wild Man Fischer , titled Derailroaded: Inside The Mind Of Wild Man Fischer . In September 2007, Dr. Demento portrayed the role of Hippocrates on The Radio Adventures of Dr. Floyd . In addition to his syndicated show, he still makes occasional guest appearances for other shows. Among his guest-hosting stints were for Montel Williams on

4785-592: A wide scope of musical genres, repertories, and styles, some scholars have favored an all-encompassing "objective" approach, while others argue for "native" or "subjective" methodologies tailored to the musical subject. Those in favor of "objective" analytical methods hold that certain perceptual or cognitive universals or laws exist in music, making it possible to construct an analytical framework or set of categories applicable across cultures. Proponents of "native" analysis argue that all analytical approaches inherently incorporate value judgments and that, to understand music it

4930-516: Is also worth seeing who a community recommends as informants. People may direct a fieldworker to the best musicians, or they may suggest many "simply good" musicians. This attitude is reflective of the culture's values. As technology advanced, researchers graduated from depending on wax cylinders and the phonograph to digital recordings and video cameras, allowing recordings to become more accurate representations of music studied. These technological advances have helped ethnomusicologists be more mobile in

5075-511: Is available on iTunes . Starting in the late 1980s, the show began to lose affiliates, a victim of media consolidation and other changes in the radio industry that were pushing many alternative rock stations and individualistic broadcasters off the air. In 1992, Westwood One dropped the show which was immediately picked up by another syndicator, On the Radio Broadcasting. This allowed the syndicated show to air records which were popular on

5220-539: Is crucial to construct an analysis within cultural context. This debate is well exemplified by a series of articles between Mieczyslaw Kolinski and Marcia Herndon in the mid-1970s; these authors differed strongly on the style, nature, implementation, and advantages of analytical and synthetic models including their own. Herndon, backing "native categories" and inductive thinking, distinguishes between analysis and synthesis as two different methods for examining music. By her definition, analysis seeks to break down parts of

5365-588: Is some correlation between musical traits or approaches and the traits of the music's native culture. Cantometrics involved qualitative scoring based on several characteristics of a song, comparatively seeking commonalities between cultures and geographic regions. Mieczyslaw Kolinski measured the exact distance between the initial and final tones in melodic patterns. Kolinski refuted the early scholarly opposition of European and non-European kinds of music, choosing instead to focus on much-neglected similarities between them, what he saw as markers of "basic similarities in

5510-418: Is that in order to discover the best representation of any culture, it is important to be able to "discern between ordinary experience and ideal," all while considering the fact that "the 'ideal' musician may also know and do things completely outside the ken of the rest." Another factor is the process of selecting teachers, which depends on what the fieldworker wishes to accomplish. Regardless of whatever method

5655-403: Is the multidisciplinary study of music in its cultural context, investigating social, cognitive, biological, comparative, and other dimensions involved other than sound. Ethnomusicologists study music as a reflection of culture and investigate the act of musicking through various immersive, observational, and analytical approaches drawn from other disciplines such as anthropology to understand

5800-639: The Berliner Phonogramm-Archiv at the Berlin school of comparative musicology , which was founded by Carl Stumpf , his student Erich M. von Hornbostel , and medical doctor Otto Abraham. Stumpf and Hornbostel studied and preserved these recordings in the Berlin Archiv, setting the foundation for contemporary ethnomusicology. But, the "armchair analysis" methods of Stumpf and Hornbostel required very little participation in fieldwork themselves, instead using

5945-548: The NBC Radio Network and licensed the use of the name NBC Radio Network News (later shortened to NBC Radio News) from General Electric , which was divesting all of the NBC radio properties of its former owner RCA . Like Mutual, NBC ceased operating as a radio network and merely became a brand name, even to the point of being merged into Mutual itself. NBC's other services, The Source and NBC Talknet , would eventually be retired in

Dr. Demento - Misplaced Pages Continue

6090-737: The National Radio Hall of Fame (in November 2009). Dr. Demento was inducted into the Oregon Music Hall of Fame in 2014. Hansen was married to Sue Hansen (née Sue Charles) from 1983 until her death on September 10, 2017. Their relationship was childless by choice . Sue was a former clerk and training officer at the Union Pacific railroad for 12 years. Hansen describes himself as "an armchair railfan ", sometimes sampling his extensive collection of railroad-related songs on his show. Hansen has

6235-722: The Olympic Games , the NCAA basketball tournament (this and NFL coverage are co-produced with corporate sibling CBS TV), the Masters and U.S. Open golf, the Wimbledon tennis tournament, the Frozen Four of college hockey , and the GRAMMY Awards . For many years the network also aired Notre Dame football and National Hockey League games. Westwood One has also handled sales and advertising for

6380-752: The Sports USA Radio Network since 2009. Notable sports announcers for Dial Global include: Scott Graham , Kevin Harlan , Brad Sham , Dave Sims , Kevin Kugler , John Tautges , John Sadak , Ian Eagle , Tom McCarthy , Chuck Cooperstein , Kevin Calabro , and Dave Ryan . Past personalities include Marv Albert , Howard David , Gary Cohen , and Harry Kalas . In 2005, Westwood One, Inc. and its traffic subsidiary, Metro Networks , sent several existing officers and directors of Westwood to Canada and Australia to unify

6525-611: The University of Illinois , defines fieldwork as "direct inspection [of music, culture, etc] at the source," and states that "It is in the importance of fieldwork that anthropology and ethnomusicology are closest: It is a 'hallmark' of both fields, something like a union card." However, he mentions that ethnomusicological fieldwork differs from anthropological fieldwork because the former requires more "practical" information about "recording, filming, video-taping, [and] special problems of text-gathering." The experience of an ethnomusicologist in

6670-406: The double entendre songs of 1940s Borscht Belt comedian Benny Bell , especially Bell's signature tune, " Shaving Cream ". He introduced a new generation to the manic big-band parodies of Spike Jones , the musical black humor of Tom Lehrer , and the many novelty records recorded by satirist Stan Freberg in the 1950s. Another frequently featured artist was Frank Zappa , whom Hansen cited as

6815-590: The "Big Four" of the 1940s in American radio, continuing to operate it as a separate network into the 1990s. Thereafter, Mutual became a brand name for certain programming provided by Westwood One. CBS-run Westwood One retired Mutual in April, 1999 dropping it in favor of CNN Radio , to which Westwood One had syndication rights following its 1994 merger with Unistar. Two years after the Mutual purchase, in 1987, Westwood One acquired

6960-452: The 1950s, Jaap Kunst wrote about fieldwork for the purpose of recording and transcribing sound. Kunst lists various "phonogram-archives," collections of recorded sound. They include the archives founded by Stumpf. A pioneering study in fieldwork was conducted by David McAllester of Navajo music , particularly the music of the Enemy Way ceremony. In it, McAllester details the procedures of

7105-608: The 1950s. The new term aimed to emphasize a descriptive, culture-sensitive approach that respected each musical tradition on its own terms. Over time, the scope of ethnomusicology broadened to encompass the study of music from all cultural contexts, including Western traditions. This shift reflects a more human-centric approach, where music is seen not only as an art form but as a social and cultural phenomenon deeply connected to identity, tradition, and daily life. Folklorists , who began preserving and studying folklore music in Europe and

7250-404: The 1970s in response to a similar movement within the field of anthropology. Mark Slobin writes in detail about the application of ethics to fieldwork. Several potential ethical problems that arise during fieldwork relate to the rights of the music performers. To respect the rights of performers, fieldwork often includes attaining complete permission from the group or individual who is performing

7395-504: The 1970s, including Dr. Demento and Mary Turner's Off The Record . In 1981 Pattiz started recording live concerts for broadcast with a Chuck Berry performance that January. The company was a leader in live broadcasts and concert recordings for radio until May 2011. By 1982, he was distributing his radio shows via satellite through an arrangement with idb Communications in Culver City. Pattiz took Westwood One public in 1984 and with

SECTION 50

#1732873314186

7540-451: The 1988–89 revival), Bobby's World , The Simpsons , and on the Barnes and Barnes music video for " Fish Heads ". The syndicated radio show normally started with an hour of randomly chosen records and listener requests. The second hour was normally mostly devoted to a specific theme (cars, sports, pets, romance, movies, etc.) with a final segment taken up by a "The Funny Five" countdown of

7685-987: The Dial Global brand. The lone exception is the audio feed of CNN Headline News , which remains part of the CNN Radio branding under Westwood One. Westwood One syndicated several popular programs for a variety of music formats. Perhaps its most famous alumnus was Casey Kasem , who spent over nine years hosting a weekly radio countdown franchise for the network. Other shows included The Beatle Years with Bob Malik (originally hosted by Elliot Mintz and later J. J. Jackson ), Beatle Brunch with Joe Johnson, Country Countdown USA , Superstar Concert Series , "Absolutely Live," Country Gold (in most markets, also known as Country Gold Saturday Night , but also available on Sunday), Randy Jackson's Hit List with Randy Jackson and Kesha Monk, 106 and Park Weekend Countdown with Terrence and Rocsi, MTV TRL Weekend Countdown , Off

7830-946: The Dr. Demento show include Barnes & Barnes (" Fish Heads "), Ogden Edsl ("Dead Puppies", "Kinko The Clown", "Daddy's Money", " Idi Amin Meets Eydie Gormé "), Larry "Wild Man" Fischer ("My Name Is Larry"), Larry Groce ("Junk Food Junkie", 1975) and Elmo and Patsy (" Grandma Got Run Over by a Reindeer ", 1979). The show helped revive and maintain interest in novelty hits from the 1950s and 1960s that received scant airplay on mainstream pop or oldies radio stations, including " Alley Oop " by The Hollywood Argyles , "The Ballad of Irving" by Frank Gallop , "The Battle of Kookamonga" by Homer and Jethro , " Monster Mash " by Bobby "Boris" Pickett , " Hello Muddah, Hello Faddah (A Letter from Camp) " by Allan Sherman , "I Want My Baby Back" by Jimmy Cross , and " They're Coming to Take Me Away, Ha-Haaa! " by Napoleon XIV . Hansen also revived interest in

7975-520: The Musical Scales of Various Nations." Ellis’s approach provided a basis for the objective analysis of musical systems across different cultures, allowing for cross-cultural comparison and reducing subjective biases. The institutionalization of comparative musicology, a precursor to ethnomusicology, was largely driven by the efforts of early 20th-century scholars like Carl Stumpf and Erich M. von Hornbostel. As Dieter Christensen (1991) explains, Stumpf,

8120-593: The Press , monologues of NBC's late night programming, CNBC radio reports, and localized forecasts for The Weather Channel , which effectively united all of NBC's programming under one network. Westwood One provided operational, sales, and marketing support for the CBS Radio Network , whose properties were owned by the CBS Corporation. In turn, CBS managed production of Mutual and NBC Radio newscasts from 1998 until

8265-583: The Record with Mary Turner (and later Joe Benson ), VH1 Concerts and Specials , Out of Order with Jed the Fish , and the Country Six Pack of holiday music specials. The Dr. Demento Show was carried from 1978 to 1992. Many of these programs were not maintained in the Dial Global merger; Compass Media Networks picked up the rock-oriented programs, the country programs were split up among various networks, and

8410-522: The US in the 19th century, are considered the precursors of the field prior to the Second World War . Oskar Kolberg is regarded as one of the earliest European ethnomusicologists as he first began collecting Polish folk songs in 1839 (Nettl 2010, 33). The International Musical Society in Berlin in 1899 acted as one of the first centers for ethnomusicology. As the study of music across cultures developed in

8555-496: The Westwood name in 1994 (later spinning off Transtar in 2006). After the sale of his Infinity Broadcasting to Westinghouse , then parent of CBS, Karmazin went on to become COO of CBS and under his control, CBS took over management of Westwood. CBS also had a significant ownership stake in Westwood, which then purchased Metro Networks in 1999 in a three-way merger including Copter Acquisition Corp. and Westwood. On August 30, 2010, Pattiz

8700-517: The acknowledgment of musical facts and laws. As a result of the above debate and ongoing ones like it, ethnomusicology has yet to establish any standard method or methods of analysis. This is not to say that scholars have not attempted to establish universal or "objective" analytical systems. Bruno Nettl acknowledges the lack of a singular comparative model for ethnomusicological study, but describes methods by Mieczyslaw Kolinski, Béla Bartók , and Erich von Hornbostel as notable attempts to provide such

8845-626: The agreement, which was filed as part of the companies' public disclosures with the United States Securities and Exchange Commission. The agreement took effect on March 3, 2008, the same day that Gores Radio Group invested $ 12.5 million as part of a multi-stage investment takeover of Westwood One. The second stage of the Gores investment happened only two weeks later with another $ 12.5 million, giving Gores Radio direct ownership of more than 14 million shares of Westwood One stock. Westwood One stock

SECTION 60

#1732873314186

8990-431: The amateur field collector whose knowledge of its aims has been severely restricted. Such collectors operate under the assumption that the important point is simply to gather music sound, and that this sound–often taken without discrimination and without thought, for example, to problems of sampling–can then simply be turned over to the laboratory worker to do something about it." In the same work, Merriam states that "what

9135-424: The anthropological approach generally study music to learn about people and culture. Those who practice the musicological approach study people and cultures to learn about music. Charles Seeger differentiated between the two approaches, describing the anthropology of music as studying the way that music is a "part of culture and social life", while musical anthropology "studies social life as a performance," examining

9280-436: The board' at some of the live shows. He left the radio network in 1990 during a business downturn. In January 2014 Young released an e-book titled "Producing Demento," about his memories of working on the show. From 1992 to 2000, the show was syndicated by On the Radio Broadcasting. Hansen, under the name "Talonian Productions," handled syndication himself from 2000 until discontinuing syndication in 2010 (Hansen revealed that he

9425-454: The case." He described McAllester's work as "[relating] music to culture and culture to music in terms of the value system of the Navaho [ sic ]." As of 1956, the time that Merriam published his review, the idea of such work "occurred to ethnomusicologists with surprising infrequency." In his work The Anthropology of Music , published in 1964, Merriam wrote that "ethnomusicology has suffered from

9570-402: The ceremony, as well as the music itself. Aside from Enemy Way music, McAllester sought Navajo cultural values based on analysis of attitudes toward music. To his interviewees, McAllester gave a questionnaire, which includes these items: The ethnomusicologist Alan Merriam reviewed McAllester's work, calling it "strange to speak of a work published in 1954 as 'pioneering,' but this is precisely

9715-419: The community or culture under study. As the demographic makeup of ethnomusicologists conducting research grows more diverse, the field has placed a renewed emphasis on a respectful approach to fieldwork that avoids stereotyping or assumptions about a particular culture. Rather than using European music as a baseline against which music from all other cultures is compared, researchers in the field often aim to place

9860-607: The controversy surrounding his remarks about the Rutgers women's basketball team led to his firing in 2007. The program was then heard on Cumulus Media Networks until the show ended in June 2018. In 2009, the network added several short-form features based on television series syndicated by CBS Television Distribution : The Doctors' Orders , Ask Dr. Phil , Rach on the Radio , and The Insider Radio Minute . Westwood One attempted to secure

10005-421: The difference between field research and field notes. While field research attempts to find the reality, field notes document a reality. The issue, according to Barz and Cooley, is that field notes, which capture the personal experience of the researcher, are often omitted from whatever final writing that researcher publishes. Heightened awareness of the need to approach fieldwork in an ethical manner arose in

10150-487: The discipline. The importance of fieldwork in the field of ethnomusicology has required the development of effective methods to pursue fieldwork. In the 19th century until the mid-20th century, European scholars ( folklorists , ethnographers , and some early ethnomusicologists) who were motivated to preserve disappearing music cultures (from both in and outside of Europe), collected transcriptions or audio recordings on wax cylinders . Many such recordings were then stored at

10295-522: The distribution of the show from the usual barter system to a system in which stations paid a rights fee for the program (though he apparently made exceptions in some major markets, such as WLUP-FM in Chicago). He stated in October 2007 that "unless the show's financial situation changes soon, I will be unable to continue the show much longer." After approximately two and a half years, and no significant change in

10440-414: The earliest Edison cylinder recordings onward. His personal collection includes over 85,000 records. Dr. Demento may be best known for bringing parodist "Weird Al" Yankovic to national attention. In 1976, Hansen spoke at Yankovic's school where Yankovic gave a self-recorded tape of comedy songs and parodies to Hansen. The first song, "Belvedere Cruisin" about the family station wagon, was featured on

10585-491: The early 1990s. In 1993, operations were shifted to radio station group owner Infinity Broadcasting , headed by Mel Karmazin , who also took over direct management of Westwood. With Infinity already owning and managing competing Unistar Radio Networks (formerly known as the RKO Radio Networks and later as United Stations Radio Networks, which merged with Transtar in the late 1980s), the two companies were combined under

10730-481: The early 2000s, Westwood One handled the distribution of Fox News Radio ; that has since moved to Premiere Radio Networks . One Fox program, The Radio Factor , hosted by Bill O'Reilly , continued to be distributed by Westwood One until his departure from the show in January 2009. The time slot was later filled by Fred Thompson and Douglas Urbanski . Imus in the Morning was carried on Westwood One from 1993 until

10875-490: The effects culture has on music, and about the impact music has on culture. The great diversity of types of music found across the world has necessitated an interdisciplinary approach to ethnomusicological study. Analytical and research methods have changed over time, as ethnomusicology has continued solidifying its disciplinary identity, and as scholars have become increasingly aware of issues involved in cultural study (see Theoretical Issues and Debates ). Among these issues are

11020-416: The end of the show. The weekly "Funny Five" has been replaced by a monthly Top Ten in order to allow for more comprehensive special topic segments. The new format, along with the ability to play records that previously would have been censored on the radio, has allowed Hansen to delve more deeply into his collection than was possible on the syndicated radio show. From 2003 to 2005, XM Satellite Radio aired

11165-406: The ethnomusicologist does in the field is determined by his own formulation of method, taken in its broadest sense." Fieldwork can have multiple areas of inquiry, and Merriam lists six of these: Bruno Nettl describes early 20th-century fieldwork as extraction of music, which is analyzed elsewhere. Between 1920 and 1960, however, fieldworkers wished to map entire musical systems, and resided longer in

11310-459: The fact that musicology is primarily a human centric endeavour. Merriam's 1964 work redefined ethnomusicology and highlighted its importance in cultural anthropology in understanding music within different socio-cultural communities. He distinguished and showcased its distinct nature from that of comparative musicology by emphasizing the influence of social and cultural factors on music and how human centric it is. Hood's 1971 perspective, emphasized

11455-618: The fate of the pop programs is unknown. Westwood One was most notable for its coverage and location recording of live concerts and events for broadcast/distribution via LP and eventually satellite. They syndicated the summer solstice Grateful Dead concert on June 21, 1989, a service that currently conglomerated radio stations no longer do. Since the merger with Dial Global, the company no longer records live music and has shut down its mobile recording division. The company holds exclusive national radio rights for many sporting events including National Football League and college football games,

11600-404: The field is his/her data; experience, texts (e.g. tales, myths, proverbs), structures (e.g. social organization), and "imponderabilia of everyday life" all contribute to an ethnomusicologist's study. He also notes how ethnomusicological fieldwork "principally involves interaction with other humans" and is primarily about "day-to-day personal relationships," and this shows the more "personal" side of

11745-526: The field work process. Emblematic of his ethical theories is a 1983 piece that describes the fundamental complexities of fieldwork through his relationship with the Suyá Indians of Brazil. To avoid ethnocentrism in his research, Seeger does not explore how singing has come to exist within Suyá culture, instead explaining how singing creates culture presently, and how aspects of Suyá social life can be seen through both

11890-514: The field, but have also let some ethnomusicologists shift back to the "armchair analysis" of Stumpf and Hornbostel. Since video recordings are now considered cultural texts, ethnomusicologists can conduct fieldwork by recording music performances and creating documentaries of the people behind the music, which can be accurately studied outside of the field. Additionally, the invention of the internet and forms of online communication could allow ethnomusicologists to develop new methods of fieldwork within

12035-487: The field. After the 1950s, some not only observed, but also participated in musical cultures. Mantle Hood wrote about this practice as well. Hood had learned from musicians in Indonesia about the intervals of sléndro scales, as well as how to play the rebab. He was interested in the characteristics of Indonesian music, as well as "social and economic valuations" of music. By the 1980s, participant-observer methodology became

12180-419: The field. It is agreed upon that ethnomusicologists look at music from beyond a purely theoretical, sonic, or historical perspective. Instead, these scholars look at music within culture, music as culture, and music as a reflection of culture. In other words, ethnomusicology was developed as the study of all music as a human social and cultural phenomenon. Rhodes, in 1956, had described ethnomusicology as

12325-458: The fieldwork of other scholars. This differentiates Stumpf and Hornbostel from their present-day contemporaries, who now use their fieldwork experience as a main component in their research. Ethnomusicology's transition from "armchair analysis" to fieldwork reflected ethnomusicologists trying to distance themselves from the field of comparative musicology in the period following World War II . Fieldwork emphasized face-to-face interaction to gather

12470-461: The foreseeable future. The show ended its terrestrial broadcast on a cliffhanger , with the last terrestrial broadcast devoted to songs involving the word "big" and the first post-terrestrial broadcast devoted to songs involving the word "little." The online show follows a format similar to that of the terrestrial show; no longer being limited by a radio time slot or commercial breaks, the show usually exceeds two hours and may include "bonus tracks" at

12615-450: The group or individual who is performing the music, as well as being sensitive to the rights and obligations related to the music in the context of the host society. Another ethical dilemma of ethnomusicological fieldwork is the inherent ethnocentrism (more commonly, eurocentrism) of ethnomusicology. Anthony Seeger has done seminal work on the notion of ethics within fieldwork, emphasizing the need to avoid ethnocentric remarks during or after

12760-545: The hiring of radio veteran Gary Krantz in 2006; he remained with the company until March 2008. On May 4, 2007, the New York Post reported that Westwood One had retained investment bank UBS to seek potential buyers for the network. In October 2007, Westwood and CBS Radio signed a new contractual agreement by which Westwood would hire its own officers and directors, and CBS would use Westwood One programming and trademark licenses. Westwood also had use of CBS trademarks under

12905-402: The inevitable arguments that may arise in the future on the nature of ethnomusicological research. In addition, many ethnomusicological studies share common methodological approaches encapsulated in ethnographic fieldwork . Scholars of ethnomusicology often conduct their primary fieldwork among those who make the music, learning languages and the music itself. Ethnomusicologists also take on

13050-558: The late 1990s. Until the Dial Global merger, the NBC Radio brand was still occasionally used, including twice daily at the halfway point and conclusion of the early morning news magazine First Light (which has since revived the NBC branding throughout the program). In 2003, NBC News began contracting with Westwood One to produce a new radio news service, NBC News Radio, consisting of one-minute updates written by Westwood staffers and read by NBC News talent. Westwood One also distributed Meet

13195-415: The late 19th and early 20th centuries, scholars began applying scientific methods to analyze musical structures systematically. While ethnomusicology had not yet emerged as a formal discipline, foundational work in this period established techniques that would later influence the field. One key figure, Alexander J. Ellis, introduced methods for measuring musical pitch and scale structures in his 1885 paper, "On

13340-432: The local Los Angeles show, but Westwood One would not allow, such as "It's A Gas" by Alfred E. Neuman and "Moose Turd Pie" by Utah Phillips . It also allowed Whimsical Will's Demented News, a fixture of the local Los Angeles show, to air on the national show. In 2000, Hansen formed Talonian Productions to syndicate the show himself. According to Hansen, the show steadily lost advertisers, and as such, he had to restructure

13485-772: The majority of Bartók's source material. In 1935, the journal American Anthropologist published an article titled "Plains Ghost Dance and Great Basin Music," authored by George Herzog. Herzog was an assistant to Hornbostel and Stumpf. Herzog draws from material "available to [him]" and "in the literature," including transcriptions by James Mooney for the Bureau of American Ethnology ; Natalie Curtis , and Alice C. Fletcher . Herzog analyzes structure and melodic contour of Ghost Dance songs. He notes that Ghost Dance music's "paired patterns" occur in many Native American tribes' music, and they may have migrated from tribe to tribe. Writing later in

13630-429: The modern world, to study music as a means of communication to further world understanding, and to provide an avenue for wider exploration and reflection for those who are interested in primitive studies. This approach emphasizes the cultural impact of music and how music can be used to further understand humanity. The two approaches to ethnomusicology bring unique perspectives to the field, providing knowledge both about

13775-583: The money raised by the IPO, he purchased the Mutual Broadcasting System the following year and the NBC Radio Network in 1987. Other highlights in the late 1980s include the purchase of three radio stations, the trade paper Radio & Records , and the hiring of Casey Kasem from ABC. Although Pattiz long remained a major shareholder and board chairman, control and management shifted to others in

13920-752: The most accurate impression and meaning of music from the creators of the music, in contrast with "armchair analysis" that disconnected the ethnomusicologist from the individual or group of performers. Stumpf and Hornbostel were not the only scholars to use "armchair" analysis. Other scholars analyzed recordings and transcriptions that they did not make. For instance, in his work Hungarian Folk Music , Béla Bartók analyzes various traits of Hungarian folk songs. While drawing from recordings made by himself, Bartók also relies on transcriptions by other musicians; among them are Vikar Béla  [ Béla Vikar ; Vikar Béla ] , Zoltán Kodály , and Lászo Lajtha . These transcriptions came in recorded and printed format, and form

14065-500: The most requested songs. There were also shows devoted to holidays and seasonal events, with the most important being the Halloween and Christmas shows (Hansen produced multiple Christmas shows during the holiday season consisting solely of novelty Christmas music ), because of the large number of novelty records those holidays have inspired. The final radio episode each year was the Funny 25,

14210-510: The music of a certain society in the context only of the culture under study, without comparing it to European models. In this way, the field aims to avoid an "us vs. them" approach to music. Nettl and other scholars hope to avoid the perception of the "ugly ethnomusicologist," which carries with it the same negative connotations as the "ugly American" traveler. Many scholars, from Ravi Shankar to V. Kofi Agawu, have criticized ethnomusicology for, as Nettl puts it, "dealing with non-European music in

14355-402: The music, as well as being sensitive to the rights and obligations related to the music in the context of the host society. Another ethical dilemma of ethnomusicological fieldwork is the inherent ethnocentrism (more commonly, eurocentrism) of ethnomusicology. Anthony Seeger, Emeritus Professor of Ethnomusicology at UCLA, has done seminal work on the notion of ethics within fieldwork, emphasizing

14500-645: The musical experience of a whole culture, according to Rice's logic, is not possible. Another argument against the objectivity and standardization of fieldwork comes from Gregory Barz and Tim Cooley in the second chapter of their book, Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology . In this chapter, entitled "Confronting the Field(Note): In and Out of the Field," they claim that

14645-419: The musical teasers used on the show, such as "It's time for number one...." The other "countdown" intros come from "Barstow" by the American maverick composer Harry Partch . Hansen's opening line, "Wind up your radios," refers to the rare 78rpm novelty records from the days of wind-up phonographs that he has featured on the show, especially in its early years. The closing theme is "Cheerio, Cherry Lips, Cheerio,"

14790-1132: The name Westwood One and absorbed Cumulus Media Networks (previously ABC Radio and Citadel Media). The company was one of the largest producers and distributors of radio programming in the United States. It broadcast entertainment, news, weather, sports, talk, and traffic programming to about 7,700 radio stations across the USA . It is America's top provider of local traffic reports through its subsidiaries Metro Networks , Shadow Broadcast Services , SmartRoute Systems, and Sigalert.com. Westwood One also offers weather services, originally using Accuweather before switching to The Weather Channel in 2009. Talk radio personalities distributed by Westwood One included at various times Don and Mike , Phil Valentine , Dennis Miller , Jim Bohannon , Billy Bush , Robert Wuhl , Drew Pinsky ( Loveline ), G. Gordon Liddy , Joe Scarborough , Kevin and Bean , Tom Leykis , Opie and Anthony , and Adam Carolla . The company syndicated these shows across AM and FM affiliates but did not provide

14935-476: The nature of ethnomusicological fieldwork as being primarily concerned with the collection of facts. He describes ethnomusicology as both a field and a laboratory discipline. In these accounts of the nature of ethnomusicology, it seems to be closely related to a science. Because of that, one might argue that a standardized, agreed-upon field method would be beneficial to ethnomusicologists. Despite that apparent viewpoint, Merriam conclusively claims that there should be

15080-481: The need to avoid ethnocentric remarks during or after the field work process. Emblematic of his ethical theories is a 1983 piece that describes the fundamental complexities of fieldwork through his relationship with the Suyá Indians of Brazil. To avoid ethnocentrism in his research, Seeger does not explore how singing has come to exist within Suyá culture, instead explaining how singing creates culture presently, and how aspects of Suyá social life can be seen through both

15225-438: The non-ponderable aspects of everyday life. The third type of information, Nettl claims is the most important because it captures the ambiguity of experience that cannot be captured well through writing. He cites another attempt made by Morris Friedrich , an anthropologist, to classify field data into fourteen different categories in order to demonstrate the complexity that information gathered through fieldwork contains. There are

15370-537: The norm, at least in the North American tradition of ethnomusicology. Aside from this history of fieldwork, Nettl writes about informants: the people whom fieldworkers research and interview. Informants do not contain the entirety of a musical culture, and need not represent the ideal of the culture. According to Nettl, there is a bell-shaped curve of musical ability. In a community, the majority are "simply good" at their music. They are of greatest interest. However, it

15515-497: The now-defunct Air America Media (despite the network's politically driven format, the guest stint followed his normal format of novelty music, specifically Halloween music, since the show aired on October 30, 2009, the day before Halloween) on Anything Anything with Rich Russo on Super Bowl Sunday in 2011 and 2013, and annually with classical music host Jim Svejda on New Year's Eve until Svejda retired in 2022. In April 2013, Meep Morp Studios began seeking donations to fund

15660-431: The performance component of ethnomusicology. Ethnomusicologists following the anthropological approach included scholars such as Steven Feld and Alan Merriam . The anthropological ethnomusicologists stress the importance of field work and using participant observation . This can include a variety of distinct fieldwork practices, including personal exposure to a performance tradition or musical technique, participation in

15805-526: The persona of Dr. Demento in 1970 while working at KPCC (FM) in Pasadena, California . The positive listener response to the offbeat novelties that Hansen included in his rock oldies show led to his eventually turning it into an all-novelty show. At the end of 1971, he moved to KMET in Los Angeles. From 1972 to 1983, he performed a four-hour live show on KMET . From about 1974 on, the local Los Angeles market

15950-458: The philosophical attitudes that Martin Heidegger , Hans-Georg Gadamer , and Paul Ricoeur take towards objectivity and subjectivity to state that human perception of the world is inherently subjective because the only way in which humans can interpret what goes on around them is through symbols. Human preconceptions of those symbols will always influence the ways in which an individual might process

16095-439: The program online. Several radio stations were forced to drop the program because of this policy, thus reducing Dr. Demento's affiliate count (at the end of the show's terrestrial run only six stations were carrying the show, versus over 100 at its peak), further exacerbating the show's financial problems and inability to sell advertising. Despite the show's terrestrial cancellation, new online episodes are expected to be produced for

16240-515: The programs to satellite radio. Westwood One distributed the radio news operations of CNN and NBC as well as its corporate cousin, the CBS Radio Network . In 1988, Casey Kasem moved from ABC Radio Networks to Westwood One after a contract dispute. Pattiz created Casey's Top 40 , Casey's Countdown, and Casey's Hot 20 for him. Kasem stayed with the network for nine years, leaving in 1998 when AM/FM Radio Networks (now Premiere Radio Networks ) allowed him to bring back American Top 40 . In

16385-595: The psycho-physical constitution of mankind." Kolinski also employed his method to test, and disprove, Erich von Hornbostel's hypothesis that European music generally had ascending melodic lines, while non-European music featured descending melodic lines. Adopting a more anthropological analytical approach, Steven Feld conducted descriptive ethnographic studies regarding "sound as a cultural system." Specifically, his studies of Kaluli people of Papua New Guinea use sociomusical methods to draw conclusions about its culture. Bruno Nettl, Emeritus Professor of Musicology at

16530-620: The retirement of the original NBC Radio top-of-the-hour newscasts in June 2004. The CBS Radio news and sports broadcasts (the latter specifically branded as "from Westwood One") were distributed from the CBS/Westwood One Master Control at the CBS Broadcast Center in New York City. Westwood One also provided alternate feeds of NFL football games to Sirius Satellite Radio . Westwood One expanded into digital media with

16675-941: The rights to The Savage Nation , but current syndicator Talk Radio Network refused to let host Michael Savage out of what apparently is a perpetual contract. By the time the dispute was settled in Savage's favor, Westwood One had already dissolved. Rick Dees moved from Citadel Media to Westwood One in 2011. Until 2006, Westwood One distributed a number of 24-hour radio formats via satellite to affiliate stations. These formats included: Adult Rock & Roll ( classic rock ), Adult Standards (formerly AM Only ), Bright AC ( hot adult contemporary ), CNN Headline News , Hot Country , Mainstream Country , SAM - Simply About Music ( variety hits ), Soft AC , The Oldies Channel , and Westwood One 70s . The 24-hour formats, originally acquired through Westwood One's purchase of Unistar in 1993, were spun off in 2006 and are currently distributed under

16820-556: The role of a participant observer in learning to perform in a musical tradition, a practice Mantle Hood termed "bi-musicality". Musical fieldworkers also collect recordings and contextual information about the music of interest. Thus, ethnomusicological studies do not rely on printed or manuscript sources as the primary source of epistemic authority, but rather, the focus is on qualitative practice-based research methods. When ethnomusicology first emerged in Western academic circles, its focus

16965-620: The show to a new producer from San Diego, professional journalist Robert Young. It was under Young's guidance that the show gained in popularity, mainly due to his willingness to foster relationships with national media and with nationally known and up-and-coming artists, including John Mammoser, Judy Tenuta , Emo Philips , Pinkard and Bowden, Wally Wingert, and Mark Davis ( Richard Cheese ). Young accompanied Dr. Demento to Portland, Oregon; Dallas, Texas; New York City; San Diego; Montreal; Phoenix; and other cities to do live performances and PR Events, taking photos, setting up interviews and even 'running

17110-451: The show's financial situation, the Dr. Demento official website announced on June 6, 2010, that the show that aired that weekend would be the final broadcast in the terrestrial radio version; however, new episodes of the online streaming version would still continue to be produced for the foreseeable future, with new episodes posted every Saturday. In addition, according to the site, "...by special agreement and due to contractual considerations,

17255-510: The show. Positive listener response encouraged Yankovic to record more parodies; Hansen then funded Yankovic's first EP, Another One Rides the Bus , which eventually led to a record deal and pop chart success in the 1980s and beyond. Hansen has appeared in a number of Weird Al's music videos as well as in Weird Al's movie UHF . Other artists who attained widespread exposure after getting exposure on

17400-437: The significance of direct engagement and performance of the intended music to be studied as a means of ethnomusicological research, having the realization that studying it academically was necessary but so was the direct act of performance. This came into direct opposition to some of his peers of the past. Hood addressed this by stressing the need to unlearn Western musical conventions when studying non-Western traditions showcasing

17545-418: The social sciences and humanities. Though some ethnomusicologists primarily conduct historical studies, the majority are involved in long-term participant observation. Therefore, ethnomusicological work can be characterized as featuring a substantial, intensive ethnographic component. Two approaches to ethnomusicological studies are common: the anthropological and the musicological . Ethnomusicologists using

17690-522: The studio prepared to begin taping the interview portions with Hansen in July 2014, he abruptly refused the interview and issued a cease and desist order to the studio instead, stating that he and Talonian would be taking full control of the film and its profits. Neither version of the film has been released as of 2023. Dr. Demento has been inducted into both the Comedy Music Hall of Fame (in June 2005) and

17835-624: The study of music, later scholars recognized the need to balance objectivity with cultural interpretation. Although Hornbostel and Stumpf emphasized a scientific approach, subsequent ethnomusicologists integrated these methods with ethnographic practices to ensure that cultural contexts were not overshadowed by purely empirical analysis. This integration helped shape ethnomusicology into an interdisciplinary field that values both precision and cultural understanding. Ethnomusicologists often apply theories and methods from cultural anthropology , cultural studies and sociology as well as other disciplines in

17980-422: The study of music. Thus, in the process of developing the study of music and people, the field of ethnomusicology combines perspectives from a wide variety of disciplines such as folklore, psychology, cultural anthropology, linguistics , comparative musicology, music theory , and history. This disciplinary variety has resulted in several distinct definitions of ethnomusicology. As follows, there has not often been

18125-544: The syndicated programs from 1978 to 1992 were not because the broadcast rights were in limbo due to corporate changes at Westwood One; Talonian eventually resecured the rights to the Westwood One programs in 2012. The first Westwood One show from February 26, 1978 became available in November, 2012. Some live local shows which aired in Los Angeles from this period were added. As part of the contract between Dr. Demento and radio stations, radio stations were prohibited from streaming

18270-481: The treatment of Western music in relation to music from "other," non-Western cultures and the cultural implications embedded in analytical methodologies. Kofi Agawu (see 2000s) noted that scholarship on African music seems to emphasize difference further by continually developing new systems of analysis; he proposes the use of Western notation to instead highlight similarity and bring African music into mainstream Western music scholarship. In seeking to analyze such

18415-417: The use of standardized transcription and recording techniques, which allowed for detailed comparisons of music from different cultural contexts. According to Christensen, Hornbostel’s methodologies were instrumental in formalizing comparative musicology as a recognized academic discipline, laying the groundwork for what would later evolve into ethnomusicology. While these scientific methods introduced rigor to

18560-513: The variations in scales across the locations, he concludes that "there is no practical way of arriving at the real pitch of a musical scale , when it cannot be heard as played by a native musician" and even then, "we only obtain that particular musician's tuning of the scale." Ellis's study is also an early example of comparative musicological fieldwork (see Fieldwork ). Alan Lomax's method of cantometrics employed analysis of songs to model human behavior in different cultures. He posited that there

18705-419: The way "music is part of the very construction and interpretation of social and conceptual relationships and processes." Charles Seeger and Mantle Hood were two ethnomusicologists that adopted the musicological approach. Hood started one of the first American university programs dedicated to ethnomusicology, often stressing that his students must learn how to play the music they studied. Further, prompted by

18850-568: The world around them. Applying that theory to music and ethnomusicology, Rice brings back the terms of musicology and musical experience. Because one's experience of music is simply an interpretation of preconceived symbols, one cannot claim musical experience as factual. Thus, systematizing fieldwork like one would a scientific field is a futile endeavor. Instead, Rice asserts that any attempt to engage with someone else's musical experience, which cannot be truly understood by anyone except that person, must be confined to individual analysis. Characterizing

18995-568: The world, but rather "artifices" created by humans and their "organized preferences," and they differed in various locations. In his article in the Journal of the Society of Arts and Sciences , he mentions different countries such as India, Japan, and China, and notes how the pitch systems varied "not only [in] the absolute pitch of each note, but also necessarily the intervals between them." From his experiences with interviewing native musicians and observing

19140-517: Was an American radio network that was based in New York City . At one time, it was managed by CBS Radio , and was later purchased by the private equity firm, The Gores Group . Due to purchases, mergers and other forms of consolidation in the 1980s and 1990s, at one time or another, it had ownership stakes in or syndication rights to some of the most famous brands in network radio, including CBS , NBC , Mutual , CNN , Fox, and Unistar. The company

19285-683: Was born in Minneapolis, Minnesota , the son of an amateur pianist . He claims to have started his vast record collection as early as age 12, when he found "that a local thrift store had thousands of old 78 RPM records for sale at 5 cents each". He attended Reed College in Portland, Oregon , where he was promoted to Program Director of KRRC in 1960 and General Manager in 1961. He wrote his senior thesis on Alban Berg 's opera Wozzeck and Claude Debussy 's opera Pelléas et Mélisande . He graduated in 1963, and later studied at UCLA , from which he earned

19430-637: Was initially retained for most sports programming. However, starting with the 2011–12 NFL playoffs , Westwood One's sports programming was branded as "Westwood One on the Dial Global Radio Network." After the NFL Playoffs concluded, the Westwood One name was removed altogether in favor of the Dial Global Sports Network , and the sports website was relocated to www.dialglobalsports.com. On September 4, 2013, Dial Global announced that it

19575-538: Was not reliable, "since the same interval has a different reading each time it occurs across the whole pitch spectrum ." On the other hand, the cents system allowed any interval to have a fixed numerical representation, regardless of its specific pitch level. Ellis used his system, which divided the octave into 1200 cents (100 cents in each Western semitone ), as a means of analyzing and comparing scale systems of different types of music. He had recognized that global pitch and scale systems were not naturally occurring in

19720-800: Was one of the largest producers and distributors of radio programming in the United States. It broadcast entertainment, news, weather, sports, talk, and traffic programming to about 7,700 radio stations across the United States . The company was the top provider of local traffic reports in the U.S. through its subsidiaries, Metro Networks, Shadow Broadcast Services , SmartRoute Systems, and Sigalert.com. Westwood One also offers weather services; originally using Accuweather , Westwood switched to The Weather Channel in 2009. Oaktree Capital Management , through its Triton Media Group division, merged with Westwood One in October 2011. Triton then folded Westwood One into its Dial Global subsidiary. The Westwood One name

19865-547: Was parodied in an episode of Mr. Show with Bob and David as "Dr. Retarded: Novelty Record Collector and Chief Head of Surgery, Mass General" and is featured as an expert in songs about "paranormal monster parties". Rainn Wilson plays Dr. Demento in the satirical biopic Weird: The Al Yankovic Story . A number of compilations have been released by Dr. Demento, including: The Demento Society released members-only demo compilations titled Dr. Demento's Basement Tapes yearly from 1991 to 2008. In 2013, Meep Morp Studio put out

20010-516: Was primarily on non-Western music. This early approach often neglected European and Western musical traditions, creating a contrast with the field of conventional musicology, which centered on Western art music. Initially known as "comparative musicology," the field set Western music as a standard to which other musical traditions were compared. This approach led to criticism for imposing Western biases on non-Western music, which prompted scholars to shift from "comparative musicology" to "ethnomusicology" in

20155-409: Was renaming itself Westwood One , citing greater brand recognition. The company was founded by Norman J. Pattiz in 1976. At the time, he was a former advertising sales executive with KCOP-TV , a Los Angeles TV station. He was listening to a local radio station doing a Motown weekend and decided to syndicate The Sound of Motown to radio. The show was a success. He added several more shows during

20300-503: Was responsible for preparing many of the " Warner/Reprise Loss Leaders " mail-order compilation albums of rock music issued in the 1970s, which featured new artists and new material from established Warner and Reprise Records artists. These were advertised on the inner sleeves of WB's current releases—and were only available by ordering direct from WB using a coupon printed on the record sleeve—and were priced at $ 1 per LP. Most of these releases were two-LP sets, so they were priced at $ 2 at

20445-539: Was succeeded as chairman by Mark Stone, senior managing director of the Gores Group, which by then was the majority owner and controlled Westwood. A Westwood press release said Pattiz signed a new contract as a company consultant. Pattiz has now started "PodcastOne," providing a hub for listeners to find their favorite radio personalities. In 1985, Westwood One purchased the Mutual Broadcasting System , one of

20590-495: Was syndicated by the Westwood One Radio Network. The Westwood One period marked the height of the show's national popularity; it was carried in most major radio markets, airing mainly on FM rock stations, usually late on Sunday evenings. The producer Westwood One assigned to work with Hansen from 1978 to 1982 was Lynnsey Guererro, a former track star from UCLA and Senior Producer at the company. In 1982, he handed off

20735-520: Was the full 4 hours and the nationally syndicated show was cut to 2 hours. The show became a two-hour live show on KLSX and, after that station converted to a talk-only format in 1995, moved again to KSCA , where it remained until that station changed to a Spanish-language format, in February 1997. His weekly show went into national syndication in a two-hour all-novelty format in 1974, produced by his manager Larry Gordon of Gordon/Casady and during 1978–92

20880-418: Was the owner of Talonian when responding to significant criticism of the company in 2007; Talonian had no involvement in any other show than Dr. Demento). Between the mid-1970s and the mid-1990s, Hansen continued to do live broadcasts on KMET and other Los Angeles area stations, in addition to his weekly taped syndicated show. He also made occasional television appearances, on such shows as The Gong Show (on

21025-820: Was traded on the New York Stock Exchange until November 21, 2008, when it was delisted for failing to maintain market capitalization requirements. Thereafter, shares of the company traded publicly on the Pink Sheets under the stock symbol WWON.PK. After further stock losses, the Gores Group bought the company outright in March 2009 and relisted it on NASDAQ later that year under the ticker symbol "DIAL." Westwood One announced its merger with Dial Global in August 2011, closing it on October 21, 2011. On September 4, 2013, Dial Global, which had been bought by Cumulus Media , assumed

#185814