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Studying the Study of Television Music and Sound

In an essay dating from 1993, educational computing specialist Ben Shneiderman anticipated the death of television in his discussion of educational resources and strategies in the postTV era, when the “postTV media . . . [of] computers and communications” will facilitate pedagogical innovation.1 He may not have been predicting the death of television per se but rather the evolution of audiovisual media from traditional broadcast TV to what would become known as digital media. Still, Shneiderman merits recognition as an early voice that looked to a future when television would no longer function as it did in his time. Over the course of the late 1990s and early 2000s, however, the concept of “postTV” that had served to designate the expected outcome of the digital revolution would become increasingly framed as emblematic of the format’s demise. By the mid2000s media observers would publish their assessments under morose titles like “The Death of Television” and “The End of Television as We Know It.”2 A closer interrogation of these and other stentorian pronouncements from the time nevertheless reveals the anticipation of a transformation in television format and medium rather than content, so that Adam Penenberg’s Slate article “The Death