Did 'the world's most beautiful music' strike a mortal blow to 'the cultural fabric of the nation'? Discuss the impact of Classic FM on Radio 3.
Music and the Radio
Essay 1: Did 'the world's most beautiful music' strike a mortal blow to 'the cultural fabric of the nation'? Discuss the impact of Classic FM on Radio 3.
Radio in Britain was started on the 'principle of public service' (p12 Scannell 1990). It was fundamentally a public utility, which promised to be a cultural, moral and educative force. These were the founding ideals of the BBC, which remained paramount during their formative years. However, as mass media became more readily available, particularly with the impact of television, the BBC was forced to popularize its service. At the same time they were facing competition from commercial radio stations. These stations were financed by advertisers and thus were more interested in adhering to popular taste to ultimately make greater profit. The impact of Classic FM on Radio 3 is an excellent example of this process. Radio 3 provided a mix of serious classical music, fused with other forms such as jazz, folk, new music (etc). They interspersed the music with serious documentaries - creating an all round "educational experience" (Independent 1992). In 1992, Classic FM was introduced to our airwaves. They played 'popular classics', including film music and requests from the public. Primarily, they were interested in classical music that could be recognized and 'enjoyed' by the masses, which ensured that listeners would want to tune in again and again. This undoubtedly had a huge impact on Radio 3, a fact that is emphasised when you look at the listenership figures. Radio 3 now has a third of the listeners of Classic FM. However, although this highlights a revealing statistic, it is necessary to consider the wider sociological issues. We are living in a society where 'mass media' is an everyday concept. The industry, particularly the music business, is fundamentally capitalist. Money making - giving the consumer what they apparently want, is fundamental to life in the twenty first century. The BBC's public service manifesto fails to hold much weight in a consumer society. The license fee is now fighting against the technological advances of cable and satellite television, where the small array of terrestrial channels makes way for hundreds available on sky. I would essentially argue that although Classic FM are succeeding in bringing classical music to the masses, but at the same time, they are only interested in providing the most popularized form in order to attract listeners and make money.
Talk about the media, and people very often first think of television, then newspapers. Sometimes they acknowledge radio, but it is not uncommon for it to be ignored. However, a close look at radio reveals its vitality, its economic, political and social importance, as well as its power to remain in the communication field. In recent years it has been forced to take a back seat - hiding in the shadows of the communications industry. Yet for years, it has served as a powerful cultural force. In Britain the BBC has been at the forefront of this media development.
Looking back at the history of the British Broadcasting Corporation, John Reith was a key figure. He was the Managing Director from 1923 to 1926 and the first Director General from 1927 to 1938.
In Reith's brief and trenchant manifesto for a public service broadcasting system there was an overriding concern for the maintenance of high standards and a unified policy towards the whole of the service supplied. The service must not be used for entertainment purposes alone. Broadcasting had a responsibility to bring into the greatest possible number of homes in the fullest degree all that was best in every department of human knowledge, endeavour and achievement. (Scannell 1990 p13)
These Reithian principles are still at the heart of the BBC, despite huge technological, cultural and social changes. The BBC was and still is financed by an annual license fee and thus could be seen as utility similar to electricity or water. With this in mind the BBC was eager to provide a service that was valuable, educative and enjoyable.
The war years forced the structure of the BBC to alter and it was criticized for acting as a propaganda tool for the government.
The definition of broadcasting as a public utility, and the mandate to develop it as a national service in the public interest, came from the state (Scannell 1990 p13)
However, there was a marked return to Reithian ideals in the forties, with people eager to embrace culture and education. The look of the BBC in previous eras is not dissimilar to the service we receive today. The 'pyramid of culture' is still evident. Radio 1 and 2 provide light programming associated with more popular taste. They form the base of the pyramid and thus attract a greater audience. Radio 3 and 4 are consequently more 'high brow' and are concerned with issues deemed more 'cultural/serious'.
The BBC have justifiably been criticised for delivering a service that is elitist and middle class, particularly in their formative years. Under the management of Reith moral conduct was of utmost importance. Regional accents were banned and presenters had to use Received Pronunciation. Programming in the early years focused on educating, yet subject choice strongly instilled middle class values. The influence of the government on broadcasting was problematic, but this was remedied in the forties with the establishment of the Art's Council.
The BBC, despite its 'positive moral intentions', has frequently encountered problems in the form of ...
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The BBC have justifiably been criticised for delivering a service that is elitist and middle class, particularly in their formative years. Under the management of Reith moral conduct was of utmost importance. Regional accents were banned and presenters had to use Received Pronunciation. Programming in the early years focused on educating, yet subject choice strongly instilled middle class values. The influence of the government on broadcasting was problematic, but this was remedied in the forties with the establishment of the Art's Council.
The BBC, despite its 'positive moral intentions', has frequently encountered problems in the form of competition. The earliest threats to the BBC were from Radio Normadie and Radio Luxemburg. Both stations broadcast the more popular music of the time, the type that was heard on many American Radio stations. However, the most significant threat came not from another station, but from another technology - television. As television became more popular and widespread, it was described as 'radio, but with visuals'. Many households turned off their radios and turned on their televisions. Not surprisingly, television became the most popular form of entertainment. Radio became a medium that was enjoyed whilst doing something else.
Technological advancements have undoubtedly changed the face of radio. Television, video, DVD, home computers, the Internet - are all other forms of possible information or entertainment. Both cable and sky television, provide a service, based on a monthly premium, which broadcasts a huge array of channels. Digital television plays many of the major radio stations; you can also listen to just about any station via the Internet today, there are even specific Internet radio stations. Perhaps these advancements will force an end to radio, as we know it?
However, the BBC has continually broadcast new and innovative programs that have provided education and enjoyment. Radio 3 has served as a base for many of these programs. As a station it has concerned itself with a variety of different broadcasting combining
...the new-music showcases, the explorations of period performance, the specialist documentaries, the interval talks, the concert and opera relay, as well as the plays and poetry readings (Clements in The Guardian 1998)
Radio 3 itself, was introduced in the early seventies. It was widely accepted as a replacement to the 'Third Programme'.
The third programme broadcast a combination of approximately half speech and half music, both being given the general labels of 'serious' and 'cultural'. (Whitehead 1989 Intro)
The third programme enjoyed twenty-four years of broadcasting, but with listening figures dwindling, it was decided that BBC radio would be re-structured. The third programme, in an effort to attract more listeners gradually increased the amount of music it was playing...
...dismantling the Third's image as an 'all round' cultural programme. (Whitehead 1989 p227)
The eventual result saw the emergence of both Radio 3 and Radio 4.
Current affairs would be moved onto Radio Four, and music would encroach even more on the evening territory of the old Third Programme. (Whitehead 1989 p232)
Radio 3 is a purveyor for some of the most positive aspects of the BBC. It offers unbiased commentary, it is not trying to make money and it offers a broad array of programs that refuse to preference one type of music/subject over another. It definitely caters for a minority group - an idea very much central to the BBC. However, as a result, it fails to attract a huge listenership. It could be argued, that this is perhaps more positive rather than negative. As the MP Terry Boston remarked, public serving broadcasting has a duty to serve minority interests as well as mass audiences.
The establishment of Classic FM in 1992 had a huge impact on Radio 3. It became
...Britain's first home-based national commercial station. (Crisell 1986(1994) p38)
Classic FM was and continues to be something that contradicts everything the BBC stands for. Reith would describe it as pandering to public taste rather than "leading to it" (Scannell 1990 p13). Indeed Classic FM's premise is that
...classical music is, and always has been, popular music. The station's aim is to make classical music accessible to as wide an audience as possible.
The main difference between Radio 3 and Classic FM is of course the commercial aspect. Classic FM is ultimately concerned with making money and keeping its advertisers happy. In its first week of broadcast it received a variety of responses. Anthony Hopkins, conductor and broadcaster commented
I was expecting about what I got: short bursts of music divided one from another with adverts that were completely out of the tone of the music preceding: the 'Pie Jesu" from the Faure Requiem, immediately followed by an ad for Tropicana orange juice - which, to add to the injury, also had a mishmash of music behind it (Independent)
Whilst Classic FM can be strongly criticised for this commercial ideal, it is important to consider the issue from a more sociological standpoint. A consumer society, promotes this capitalist ideology. Radio is an excellent source of 'multi-marketing', whereby music can be played and advertised by the disc jockeys, products can be 'plugged' during the commercial breaks (etc). This scenario is of course not solely experienced in radio. The media industry is one of the most significant and influential of modern times. Classic FM and other such commercial stations are a result of a consumer society. They are bringing a product to the 'masses'. This notion of bringing music to the masses is controversial.
For example, James Jolly, Editor of the Gramaphone contrastingly said of Classic FM
I quite liked it...it's a strange sort of classlessness that's relaxing, there's something very direct about it... It does make Radio 3's morning stuff seem rather creaky. If you could get Classic FM's presenters and Radio 3's music together, that would be ideal. (Independent)
In general, the critics received Classic FM negatively. One of the major faults seemed to be the programming. To keep the audience satisfied and to ensure they kept tuning in, lots of short pieces are broadcast. This enabled the music to be interspersed with advertisements, 'jovial' comments from presenters and requests from listeners.
The most bizarre feature was that they played single movements out of bigger pieces, and I found that most disorientating, to leap into the second movement of a Brandenburg Concerto from an aria from Don Giovanni. I felt what I heard was being flung at me in terribly small morsels. (Judith Weir, Composer: Independent)
Radio 3 in contrast, play much longer works, under the title of programs such as 'Masterworks' and 'Artist of the Week'.
By looking at the programmed music of both channels, it is easy to see the fundamental differences. Radio 3 does not limit itself to merely 'classical' music. It of course offers a selection of works from renowned composers such as Mendelssohn, Beethoven and Schubert (Mendelssohn: Piano Trio No 2 in C Minor, Op 66/ Beethoven: Piano Sonata in E Flat, Op 109/ Schubert: Octet in F, D72. Wind Players of the Bamberg SO). However, the works tend to be played in full (Radio 3 does not have to adhere to the pressure of advertisements). Radio 3 also plays more obscure pieces and composers, the like that would not be deemed 'suitable' for Classic FM. For example they may choose works from twentieth century composers such as Boulez, Stockhausen and Birtwistle. At the same time, their schedules include other genres of music such as jazz and folk. Like their predecessor The Third Program, Radio 3 also broadcast live plays, media slots from novelists/ journalists (etc). They do not just broadcast music.
Classic FM in contrast is very much music based. They are a commercial station, so must intersperse their music with advertisements. They have a limited play list and tend to concentrate on particularly favourites. Whilst listening to Classic FM for a substantial period, it is quite possible that you may hear the same track more than twice. You can hear the clichéd favourites such as Beethoven's Fifth and part of Vivaldi's Four Seasons (etc). This shows the parallel between Classic FM and their other commercial 'pop' counterparts. Stations that play popular music such as those in the Capital Radio group (Capital FM in London, Southern FM etc) play the same tunes over and over again, in an attempt to pander to popular taste - to please the 'masses'. Of course this is the essence of popular culture. Commercial popular music stations compile their play list principally from the chart. The commercial chart depends on sales of particularly tracks, the track with the largest airplay, combined with the biggest amount of sales becomes number 1. Classic FM works on a similar basis. They concentrate on compiling a Classical 'Hall of Fame' hosted by Henry Kelly annually. However, they constantly refer to the Top 100 Classical hits in the Hall of Fame, with a weekly program introducing possible new entries for the following year. The fact that the same classical tunes tend to hold the same or very similar positions every year makes little difference. There is little spoken information other than 'plugging' from the disk jockeys. And constant reminding that the listener can purchase the majority of the tracks heard through the Classic FM shop, by either calling on logging onto their website.
Interestingly the two websites are equally revealing. The homepage for Radio 3 is very informative, with lots of information and internal links to find out about their programmes and special featured artists and literary stars. They also include information on live music, where to listen to it (etc). The homepage for Classic FM in contrast seems somewhat overshadowed by advertisements and links to other sites. It is difficult to see the information specific to the radio station. The most obvious part of the homepage is the link to their shop.
It would seem from the programming and websites that there are huge differences between Classic FM and Radio 3. Radio 3 are less interested in attracting huge audiences and making vast amounts of profit. They seem aware that they are attracting a particular minority audience and provide 'quality' listening, following the original manifesto of the BBC to educate and provide 'culture'. It is difficult to even compare Classic FM within this category. They are commercial station, that whilst promising to provide Classical Music to the masses, fundamentally needs to make money to remain broadcasting. Consequently, advertisements intersperse their music, meaning that it is very often cut in obscure points in the work. The play list is very limited to ensure that the 'favourite' tunes are frequently played to attract as many listeners as possible.
Yet, despite such criticisms, Classic FM has become incredibly successful in a very short amount of time. Weekly figures give Classic FM a reach of 6.2 million and an audience share of 4.4 percent. Radio 3 has less than a third, in terms of listeners. So why has it become so popular? Ruthless business marketing is very much part of Classic FM's success. Classical music fails to renew itself at the rate pop does - a reason why popular music is so appropriate for radio. Classic FM uses performers to sell its music. Classical tunes are made popular again by new stars. Pavarotti brought 'Nessun Dorma' to the masses. Charlotte Church, Vanessa Lee and Lesley Garrett are all favourites on Classic FM. It also uses film music, to attract a greater audience.
...Classic has clearly assisted in redefining classical music. Two women from Manchester contacted the Bates programme last Sunday to request the main theme from Gone with the Wind. The network routinely plays film music and has done for Charlotte Church, well, Classic has done everything short of adopting her. (Barnard in The Times 11/08/00)
Its daily schedule resembles that of a popular commercial station. It fits in with an 'average' daily routine with 'Classic FM's Easier Breakfast', 'Lunchtime Requests' and 'Drive Time'. It could be argued that this replicates the idea that radio is a medium that can be enjoyed whilst doing something else, rather than television that demands more of your attention. The station attempts to make the programmes more popular by using 'famous' presenters for example 'Henry Kelly' and 'David Mellor'. Classic FM also frequently promotes their 'Hall of Fame' (as already mentioned) with weekly 'Hall of Fame' concerts. The feel is very much interactive, as if the listener is 'special' and 'valued'. The fact that they can call in and request and dedicate their favourite song is one of the ways in which this is achieved. The fact that the station also promotes 'classical' music creates the impression that the audience is getting 'high art' - a 'cultural' experience. But what has happened to twentieth century music - why aren't the more obscure pieces broadcast? The answer is: It wouldn't appeal to the audience. Schoenberg and other such composers are rarely played, as their music just doesn't adhere to Classic FM's commercialism.
It is impossible to end without mentioning the work of the philosopher T.W. Adorno. His ideas are central to radio music and this argument. Adorno argues that radio music fundamentally damages the way we listen to music. He heralds from the Frankfurt school of sociology - which focuses on aesthetics in music; based on social criticism. Classic FM, within the work of Adorno, would represent in the most condensed form, the type of radio music he described. Classic FM is exploitative and commercial. Essentially, money making is more important than the actual music itself. Classical music is, Adorno argues, supposed to be heard and enjoyed live; consequently, the radio is an inappropriate medium for such music. However, due to the cost of going to a concert hall today, it could be argued that many people are unable to experience classical music in any other way. Radio 3 may have more freedom in how and what it broadcasts, due to the license fee, but both stations are giving people the opportunity to hear music they might not otherwise be able to.
However, Classic FM are taking Classical Music, cutting it up, packaging it with a star and putting a price tag on it (available in their own CD shop of course). This mass-produced item is then played over the airways as 'classical' music.
The most significant impact on Radio 3 was that that they thought as a station they had to compete with Classic FM in order top survive.
By making the presentation more cosy and informal, and diluting the content of programmes, so that argument runs, (it is hoped) that the audience that theoretically has deserted Radio 3 for the commercial station will come running back. (Clements in The Guardian 1998)
Radio 3 have sought to become more commercial in their programming. The weekday drive-time shows - On Air on weekday mornings from 6am to 9am followed by Peter Hobday's Masterworks until 10.30, is now prolonged by the Artist of the Week, in which Joan Bakewell mixes interviews with a famous performer or conductor with short musical extracts. Brian Kay presents a Sunday morning show, that would be more at home on Classic FM. It is evident that at peak times, Radio 3 have tried to attract a wider audience, by broadcasting more popular, 'softer' material - with famous hosts. However, delving deeper into their scheduling it is clear that much of the old Radio 3 is still in existence.
If you look harder at the Radio 3 schedules peak beneath all the packaging and listener-friendly interfaces, a good deal of its special character has been preserved - there are still programmes that are provocative and challenging, that neither patronise nor condescend, and offer repertoire and performances that would be very hard to hear, even at a time when more music than ever is available on CD (Clements in The Guardian 1998)
Undoubtedly Classic FM has affected Radio 3. But it is infact from Radio 2 that Classic FM have gained more of their listeners. Radio 3 offers a unique fusion of music and information. They broadcast concerts that would be difficult, even impossible to attend - bringing something to their audience that is special. They support the principles that Reith originally laid as the foundation of the BBC. The changes in their programming can of course be attributed in part to Classic FM, but I would argue that there are wider cultural reasons, in the form of increasing commercialism and competitiveness.
It is difficult to fairly compare Radio 3 and Classic FM as their objectives, target audience and overall aims are very different. The radio itself is having to compete with so many other mediums that its very future is in the balance. The BBC remains an entity on its own. It still has the autonomy of the licence fee to enable minority stations such as Radio 3 to exist. The commercial stations have to constantly battle with issues of finance and profit, thus their airplay, scheduling and style is so contrasting.
As for Classic FM, it undoubtedly has positive aspects, in terms of the wide audience it attracts listening to 'classical' music for perhaps the first time. However, it is interested first and foremost in making money and its broadcasting is slanted accordingly.
Music and the Radio
Essay 1: Did 'the world's most beautiful music' strike a mortal blow to 'the cultural fabric of the nation'? Discuss the impact of Classic FM on Radio 3.
BIBLIOGRAPHY
Scannell, P (1990) 'Public Service Broadcasting: The History of a Concept'in Understanding Television ed. A Goodwin and G. Whannel
London: Routledge
Scannell, P (1996) 'Radio, Television & Modern Life'
London: Blackwell Publishers
Pease, E.C. & Dennis, E.E. (1995) 'Radio: The Forgotten Medium'
USA: Transaction Publishers
Crisell, Andrew (1986 (1994)) 'Understanding Radio'
London: Routledge
Whitehead, Kate (1989) 'The Third Programme: A Literary History
Oxford: Clarendon Press
Barnard, P (2000) 'Classic FM - it's been emotional' in The Times
Clements, A (1998) 'Aerial Manoeuvres' in The Guardian
Hopkins, Anthony (1992) 'Classic FM: what the experts say' in The Independent
James, Jolly (1992) 'Classic FM: what the experts say' in The Independent
Weir, Judith (1992) 'Classic FM: what the experts say' in The Independent
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