Muusikavaldkond trükiajakirjanduses ja muusikaportaalis Rada 7
Bibliographic record
Abstract
Käesoleva bakalaureusetöö eesmärk on anda ülevaade muusikavaldkonna kajastamisest ajakirjanduses. Muusikavaldkonna kajastuste kvantitatiivse ülevaate põhjal ja läbi Tallinn Music Week’i käsitlenud kajastuste analüüsi toon välja peamised erinevused institutsionaliseeritud üld- ja kultuuriväljaannete ning muusikaportaali Rada 7 kajastustes. Esmalt teen kindlaks valdkonna kajastamise põhijooned ning siis analüüsin süvitsi muusikavaldkonna nähtuse Tallinn Music Week tähenduste konstrueerimist. Uurimistöö tulemustest selgus, et nii Eesti ajakirjandus keskendub muusika kajastamisel pigem muusikutele ja artistidele, kui nende poolt loodud teostele või muusikasündmustele ja alternatiivse suunitlusega muusikaportaal Rada 7 keskendub lisaks isikutele suuresti ka sündmuste käsitlemisele. Sündmuste käsitlemise puhul domineeris selgelt nii kahes väljaanderühmas kui Rada 7-s festival või konkurss. Isikute puhul oli samuti ülekaalukas sarnasus – kõikide vaadeldud väljaannete puhul leidsid enim käsitlust interpreedid nii üksikartistide kui kollektiividena. \nMuusikažanrite käsitlemise poolest erinesid selgelt kultuuriväljaanded. Üldväljaannetes ja Rada 7-s kirjutati peamiselt popkultuurist läbi pop-, rock ja muude massileviga tänapäevaste žanrite, kultuuriväljaannetes kirjutati peamiselt kõrgkultuurist läbi süvamuusika käsitlemise. \nKa geograafilise mõõtme vaatlemisel muusikavaldkonna kajastustes kerkisid esile mitmed erinevused. Eesti-sisese ruumi käsitlemisel erilisi väljaannetevahelisi erinevusi esile ei kerkinud – käsitleti Eesti ruumi üldiselt, konkreetseid piirkondi esile ei kerkinud. Eesti ja välismaa muusika kajastamise vahekord oli paberväljaannetes suhteliselt võrdne, Rada 7 puhul domineeris välismaa muusika kajastamine. Põhiliste piirkondadena, mida tekstides käsitleti, olid üldväljaannetes ja Rada 7-s selgelt USA/Kanada, kultuuriväljaannetes peamiselt Põhjamaad ja Venemaa. \nTallinn Music Week’i käsitlenud tekstides kerkis selgelt esile hariv, valgustav või kultuurikogemust laiendav funktsioon. Analüüsitud tekstide põhjal võib üldistada, et ajakirjandus konstrueerib Tallinn Music Week’ile peamiselt Eesti popmuusika arengut ja rahvusvahelistumist kiirendava ja edendava tähenduse. \nKokkuvõtvalt võib öelda, et alternatiivsema lähenemisega muusikaportaal Rada 7 ei sarnane üldiselt üld- või kultuuriväljaannetega, pigem on nende kahe vahele jääv, kord ühele ja kord teisele sarnanev meedium. \nSummary \nThe purpose of this bachelor thesis titled „Music field in print media and music portal Rada 7“ is to analyze the coverage of the music field in Estonian journalism. The main intention is to compare the coverages of institutionalized general and cultural newspapers and the music portal Rada 7. First I will present the main features of the field’s coverage and then I will profoundly analyze the construction of the meaning of the music festival Tallinn Music Week. \nThe key problem of this paper is: How does the music portal Rada 7 differentiate compared to general or cultural newspapers? The problem is examined by using the basic data of a study ordered from the department of social sciences of the University of Tartu by the Ministry of Culture of Estonia. A similar study was carried out during the same period in the music portal Rada 7. The sample includes all music-themed articles from the period of 01.11.2014-31.01.2015. The aspects considered were music compositions, the authors of it, reception, events connected to it and its effects and functions were also considered to be part of the sample. The author tries to analyze the differences between different oriented newspapers and an alternatively approaching music portal and the meaning constructed to the music festival Tallinn Music Week. Results of this thesis show, that when covering music, Estonian journalism focuses rather on the musicians and artists, than on their works or music events. Music portal Rada 7 on the other hand focused on music events as much as on musicians and artists. The main events that were covered, were festivals and different contests. All groups concentrated on interpreters as solo-artists and collectives when covering persons. On mentioning different music genres, cultural newspapers differentiated clearly. General newspapers and Rada 7 focused mostly on popular culture through pop-, rock and other massively spread genres, while coltural newspapers focused on higher culture by covering mainly classical and other similar music genres. \nThe groups also differed when covering different geographical areas. No differences emerged when covering Estonian room. The Estonian and foreign room coverage was quite balanced in general and cultural newspapers, Rada 7 focused more on foreign music. Main foreign areas that were covered, were USA/Canada in general newspapers and Rada 7, cultural newspapers wrote more about Nordic countries and Russia. \nThe texts written about Tallinn Music Week mostly had educating, enlightening or cultural experience widening functions. On the basis of the analyzed texts, the main meaning constructed to Tallinn Music Week was enhancing and accelerating the development and globalization of the Estonian pop-music. \nIn conclusion one can say, that an alternatively approaching music portal Rada 7 does not resemble general or cultural newspapers. It rather rests in between, resembling the first in some aspects and the latter in other aspects.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.006 | 0.002 |
| Scholarly communication | 0.008 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.214 | 0.080 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".