Simon Frith Look Hear The uneasy relationship of music and television

Look! Hear! The Uneasy Relationship of Music and Television

Overview

  • Significance of Television in Music

    • Essential part of star-making in the music business.

    • Music accompanies nearly all TV programs.

    • Limited impact of music aesthetics on television and vice versa.

Two Perspectives on Television and Music

  • 1. Television as a Significant Medium

    • Effective tool for star-making and record promotion.

    • Programs shape social meanings of artists and genres (e.g., American Bandstand, Top of the Pops).

  • 2. Television as an Insignificant Medium

    • Music often not central to programming.

    • Viewership does not equate with musical credibility.

Case Study: Will Young and Pop Idol

  • Will Young's record "Evergreen/Anything" sold a million copies in its first week partly due to the show.

  • Pop Idol exemplifies TV's role in creating pop phenomena.

  • Comparison to previous talent show success (e.g., Hear’Say from Popstars).

Nostalgia Shows and Music Programming

Instant Nostalgia Shows

  • Celebrate music history through rankings.

  • Format typically includes clips and interviews, often mocking musical passion.

  • Limited promotional effect on physical music sales.

Importance and Detachment of Television in Music

  • Television often promotes pop stars in a detached manner.

  • Music is omnipresent, yet often lacks depth in representation.

The Uniqueness of Rock Music

Anti-Television Ideology of Rock

  • Rock claims to be anti-television; however, it adapts to television conventions.

  • Rock is seen as the only truly televisual musical genre.

Music Video Era

  • Historical Shift: In the 1980s and 90s, music video analysis became prominent but has waned in current scholarship.

  • MTV as formative for youth culture, now viewed more as a youth service than a music channel.

Television vs. Radio

Differences in Musical Impact

  • Radio established symbiotic relationship with music genres, driven both by listenership and record sales.

  • Television had less clear-cut effects on musical communication despite early intentions to mimic radio's success.

Limited Musical Programming

  • Classical broadcasts exist but do not drive contemporary music trends.

  • Popular music shows often treat youth as a target market but frame them in a family context.

Performance Conventions and Aesthetics

Rock Performance on TV

  • Rock began as a radio experience, driving its portrayal and conventions on television.

  • Televised performances define what audiences expect to see from rock stars.

Historical Evolution of Rock on Television

  1. Oh Boy! (1950s): Simple visuals; focus on what performers looked like.

  2. Ready Steady Go (Mid-1960s): Integrated the audience; dynamic shot composition.

  3. Snub (1980s): Focused on authenticity; reduced presence of the casual viewer.

Music, Branding, and Commercialization

Marketing Relationships

  • Music programs designed as sales devices, reflecting brand identity rather than musical integrity.

  • Music serves as an aesthetic tool to enhance visual presentations, especially in commercials and programming.

Example: Cold Feet and Trigger Happy TV

  • Use of music in such shows engages viewers while making music part of a deeper narrative.

  • Reflects TV's manipulative approach to viewer engagement through music.

Final Conclusions

The Paradox of Music and Television

  • Television utilizes music chiefly to generate viewer interest and enhance programming flow.

  • The relationship between music and television is complex, often prioritizing commercial interests over artistic integrity.

  • Music's presence on television is both ubiquitous and superficial, lacking depth in many instances.