DOCSLIB.ORG

CLASSICAL MUSIC on UK RADIO 1945-1995 Tony Stoller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CLASSICAL MUSIC on UK RADIO 1945-1995 Tony Stoller CLASSICAL MUSIC ON UK RADIO 1945-1995 Tony Stoller Thesis submitted in fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy June 2015 1 Copyright statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must be always be made of the use of any material contained in, or derived from, this thesis. Author’s declaration A small amount of material referred to or included in this thesis was published previously in Stoller, T., 2010 Sounds of Your Life, the history of Independent Radio in the UK. Eastleigh: John Libbey Publishing. That is cited as a reference where appropriate and included in the bibliography. 2 ABSTRACT Tony Stoller Classical music on UK radio, 1945-1995 This thesis comprises the first comprehensive narrative account of the history of classical music radio in the UK between 1945 and 1995, from before the launch of the Third Programme until after the launch of Classic FM. It describes and analyses the rich range of output across all relevant radio stations in this period, rebutting the conventional assumption that this aspect of British radio was simply about the Third Programme and Radio 3. At almost all times during the second half of the 20th Century, those stations were not the majority providers of classical music radio. Classical music radio over these years was marked by a series of high points, when the provision of elite and popular output combined to open the genre to a wide range of listeners; and then by a series of retreats from those summits. During three spells – the late Forties, the late Sixties and the early Nineties – a multi-channel offering of both highbrow and middlebrow music, linked and presented in an accessible way, achieved broad appeal and wide audiences, and realised the potential for this public good. The classical music programming of Independent Local Radio between 1973 and 1990 did the same in individual localities, to a previously unappreciated extent. This new narrative history of classical music radio in the UK highlights and is dominated by the dialectic between highbrow and popular culture, between elite and demotic taste, and between a class-based and a classless approach to radio broadcasting. Original audience data demonstrate a consistent potential audience for classical music radio of some five to six million throughout these years, provided listeners felt they were allowed to listen in. Original content analysis demonstrates a canonic repertoire of classical music radio, arrived at and maintained on a reflexive basis between the producers and the consumers of this genre, centred on the works of 19th Century European composers. That canon has remained largely unchallenged except at the popular margins, in contrast to modern approaches to the literary canon, and distinguishes classical music from other art forms. This account illustrates a particular aspect of listening, whereby classical music radio can validly be both foreground and background. The influence of individuals, and therefore the relevance of biography within this history, is shown to be significant, but overall less important than the social, political, cultural and economic context in which the radio services operated, and which shaped their output. Classical music radio is an archetypal element of public service radio broadcasting. This narrative shows that it has been provided during this period by stations outside the main cultural cohort, even from 1973 outside the BBC. As such, it challenges institutional definitions of public service broadcasting, and demonstrates how relationships between the producers of radio and its consumers can operate at many levels, testifying to the multi-threaded tapestry of UK cultural life as a whole in the second half of the 20th century. 3 LIST OF CONTENTS INTRODUCTION Page Preface Acknowledgements 1. Introduction 12 SECTION I: CONTEXT, DEFINITIONS AND METHODOLOGY 2. What is classical music radio? 15 the canonic repertoire of ‘classical music’ defining ‘classical music’ taxonomy of classical music a working definition of ‘classical music radio’ 3. UK society, classical music and broadcasting, 1945 to 1995 Historical literature review 26 a selective literature review post-war historical literature classical music in the 20th century social and cultural theory conclusions 4. Writing the history of classical music radio Methodology, sources, datasets and ethical issues 35 narrative history the period under review datasets programme content database audience databases timeline and key personnel other primary sources: written archives sound archives interviews secondary sources ethical issues SECTION II: NARRATIVE HISTORY OF CLASSICAL MUSIC 5. The Forties – Overture and Allegro 46 general history and literature review pre-war and wartime classical music radio legacy of the war and post-war reorganisation 4 classical music on the Home Service and the Light Programme 1945- 1946 arrival of the Third Programme 29 September 1946 classical music radio 1947-49 assessing the output 6. The Fifties – Adagio 69 general history and literature review classical music radio 1950-53 conservatism and retrenchment 1954-55 re-organisation of BBC radio and the end of Haley’s pyramid 1956-58 changing the guard, 1959 7. The Sixties – Scherzo 89 general history and literature review classical music radio in 1960 the impact of William Glock classical music radio 1961-1964 the Music Programme classical music radio 1965 reactions to the new pattern of classical music radio classical music radio 1966-1969 “Broadcasting in the Seventies” report multi-channel radio 8. The Seventies – Counterpoint and Variations 117 general history and literature review classical music radio 1970-1973 the arrival of competition in UK radio background development of the ILR network obligations towards live music secondary rental mechanism classical music radio 1973-1977 ILR’s programming approach ‘rumours of wars’ 1978-9 the end of the affair 9. The Eighties – Fugue 141 general history and literature review classical music radio in 1980 BBC musicians’ strike and its impact classical music radio 1981-84 apex of ILR classical output audiences for classical music on ILR secondary rental and programme sharing the ‘ Heathrow Conference’ classical music radio 1985-9 5 10. The Nineties – Finale nobilmente 169 general history and literature review classical music radio 1990-1992 the recasting of Radio 3 the arrival of Classic FM classical music radio 1993-5 comparing Radio 3 and Classic FM content comparisons audience comparisons concluding the narrative 11. Classical music radio after 1995 – Coda 196 SECTION III: CONCLUSIONS 12. Conclusions 199 BIBLIOGRAPHY AND LIST OF REFERENCES 213 APPENDICES A. Content database 249 B. Audience databases 255 C. Timeline 273 D. Key senior personnel 282 6 LIST OF TABLES Tables and charts within text Chapters Table 4.1 List of interview material Table 5.1 Classical music as a percentage of total BBC radio output before 1945 Table 5.2 Data summary sample week 1945 Table 5.3 Data summary sample week 1946 Table 5.4 Data summary sample week 1947 Table 5.5 Data summary sample week 1948 Table 5.6 Data summary sample week 1949 Table 6.1 Data summary sample week 1950 Table 6.2 Data summary sample week 1951 Table 6.3 Data summary sample week 1952 Table 6.4 Data summary sample week 1953 Table 6.5 Data summary sample week 1954 Table 6.6 Data summary sample week 1955 Table 6.7 Data summary sample week 1956 Table 6.8 Data summary sample week 1957 Table 6.9 Data summary sample week 1958 Table 6.10 Data summary sample week 1959 Table 7.1 Data summary sample week 1960 Table 7.2 Data summary sample week 1961 Table 7.3 Data summary sample week 1962 Table 7.4 Data summary sample week 1963 Table 7.5 Data summary sample week 1964 Table 7.6 Data summary sample week 1965 Table 7.7 Data summary sample week 1966 Table 7.8 Data summary sample week 1967 Table 7.9 Data summary sample week 1968 Table 7.10 Data summary sample week 1969 Table 7.11 Audience comparison between Music Programme and Third Programme Table 8.1 Data summary sample week 1980 Table 8.2 Data summary sample week 1971 Table 8.3 Data summary sample week 1972 7 Table 8.4 Data summary sample week 1973 Table 8.5 Data summary sample week 1974 Table 8.6 Data summary sample week 1975 Table 8.7 Data summary sample week 1976 Table 8.8 Data summary sample week 1977 Table 8.9 Data summary sample week 1978 Table 8.10 Data summary sample week 1979 Table 9.1 Data summary sample week 1980 Table 9.2 Data summary sample week 1981 Table 9.3 Data summary sample week 1982 Table 9.4 Data summary sample week 1983 Table 9.5 Data summary sample week 1984 Table 9.6 Capital Radio classical music audiences Table 9.7 Data summary sample week 1985 Table 9.8 Data summary sample week 1986 Table 9.9 Data summary sample week 1987 Table 9.10 Data summary sample week 1988 Table 9.11 Data summary sample week 1989 Table 10.1 Data summary sample week 1990 Table 10.2 Data summary sample week 1991 Table 10.3 Data summary sample week 1992 Table 10.4 Radio 3 classical music format 1990-1995 Table 10.5 Radio 3 classical music composers featured 1990-1995 Table 10.6 Radio 3 Composers of the Week 1990-1995 Table 10.7 Data summary sample week 1993 Table 10.8 Data summary sample week 1994 Table 10.9 Data summary sample week 1995 Table 10.10 Average length of broadcast works on Classic FM and Radio 3 1993 Table 10.11 Sub-genres of
Load more

Recommended publications
  • BBC SOUND BROADCASTING Its Engineering Development
    Published by the British Broadcorrmn~Corporarion. 35 Marylebone High Sneer, London, W.1, and printed in England by Warerlow & Sons Limited, Dunsruble and London (No. 4894). BBC SOUND BROADCASTING Its Engineering Development PUBLISHED TO MARK THE 4oTH ANNIVERSARY OF THE BBC AUGUST 1962 THE BRITISH BROADCASTING CORPORATION SOUND RECORDING The Introduction of Magnetic Tape Recordiq Mobile Recording Eqcupment Fine-groove Discs Recording Statistics Reclaiming Used Magnetic Tape LOCAL BROADCASTING. STEREOPHONIC BROADCASTING EXTERNAL BROADCASTING TRANSMITTING STATIONS Early Experimental Transmissions The BBC Empire Service Aerial Development Expansion of the Daventry Station New Transmitters War-time Expansion World-wide Audiences The Need for External Broadcasting after the War Shortage of Short-wave Channels Post-war Aerial Improvements The Development of Short-wave Relay Stations Jamming Wavelmrh Plans and Frwencv Allocations ~ediumrwaveRelav ~tatik- Improvements in ~;ansmittingEquipment Propagation Conditions PROGRAMME AND STUDIO DEVELOPMENTS Pre-war Development War-time Expansion Programme Distribution Post-war Concentration Bush House Sw'tching and Control Room C0ntimn.t~Working Bush House Studios Recording and Reproducing Facilities Stag Economy Sound Transcription Service THE MONITORING SERVICE INTERNATIONAL CO-OPERATION CO-OPERATION IN THE BRITISH COMMONWEALTH ENGINEERING RECRUITMENT AND TRAINING ELECTRICAL INTERFERENCE WAVEBANDS AND FREQUENCIES FOR SOUND BROADCASTING MAPS TRANSMITTING STATIONS AND STUDIOS: STATISTICS VHF SOUND RELAY STATIONS TRANSMITTING STATIONS : LISTS IMPORTANT DATES BBC ENGINEERING DIVISION MONOGRAPHS inside back cover THE BEGINNING OF BROADCASTING IN THE UNITED KINGDOM (UP TO 1939) Although nightly experimental transmissions from Chelmsford were carried out by W. T. Ditcham, of Marconi's Wireless Telegraph Company, as early as 1919, perhaps 15 June 1920 may be looked upon as the real beginning of British broadcasting.
    [Show full text]
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • Absolute Radio Brand Guidelines 2014.Indd
    The style guide Key features Page 2 Our brand identity is key to our future Names Colour Channel bar success. As our business grows and The name of the master brand is To the extent that visual content Our brand icons set must allow for easy becomes more diverse (for example Absolute Radio and should never be features colour other than black and navigation between the channels in the with the addition of new stations), and shortened to Absolute. white, the primary colour shall be Absolute Radio portfolio. as digital becomes a more and more • It’s important as we extend our purple. • Moving our audience around within important channel, it is important that brand to new audiences and new Absolute Radio channels is central we present the brand in a recognisable channels that people understand to our strategy. and consistent way. what we do. We’re proud to be a • The ‘portfolio’ versions of the logo radio brand but we’re a modern This page summarises the key elements have been introduced for use within radio brand, that understands radio of our identity system (and also strongly Absolute Radio branded is content, not channel. any changes, where elements have environments to make navigation evolved). easy and fun. Discovery Icon • They are secondary elements and Absolute Radio has one central icon, must not stand alone. the ‘Discovery Icon’. • Having an icon is important to help people navigate app stores (which they do with pattern recognition). • We need to use our icon consistently and persistently to make sure it becomes indelibly associated with our brand.
    [Show full text]
  • Pressreader Magazine Titles
    PRESSREADER: UK MAGAZINE TITLES www.edinburgh.gov.uk/pressreader Computers & Technology Sport & Fitness Arts & Crafts Motoring Android Advisor 220 Triathlon Magazine Amateur Photographer Autocar 110% Gaming Athletics Weekly Cardmaking & Papercraft Auto Express 3D World Bike Cross Stitch Crazy Autosport Computer Active Bikes etc Cross Stitch Gold BBC Top Gear Magazine Computer Arts Bow International Cross Stitcher Car Computer Music Boxing News Digital Camera World Car Mechanics Computer Shopper Carve Digital SLR Photography Classic & Sports Car Custom PC Classic Dirt Bike Digital Photographer Classic Bike Edge Classic Trial Love Knitting for Baby Classic Car weekly iCreate Cycling Plus Love Patchwork & Quilting Classic Cars Imagine FX Cycling Weekly Mollie Makes Classic Ford iPad & Phone User Cyclist N-Photo Classics Monthly Linux Format Four Four Two Papercraft Inspirations Classic Trial Mac Format Golf Monthly Photo Plus Classic Motorcycle Mechanics Mac Life Golf World Practical Photography Classic Racer Macworld Health & Fitness Simply Crochet Evo Maximum PC Horse & Hound Simply Knitting F1 Racing Net Magazine Late Tackle Football Magazine Simply Sewing Fast Bikes PC Advisor Match of the Day The Knitter Fast Car PC Gamer Men’s Health The Simple Things Fast Ford PC Pro Motorcycle Sport & Leisure Today’s Quilter Japanese Performance PlayStation Official Magazine Motor Sport News Wallpaper Land Rover Monthly Retro Gamer Mountain Biking UK World of Cross Stitching MCN Stuff ProCycling Mini Magazine T3 Rugby World More Bikes Tech Advisor
    [Show full text]
  • Revue Française De Civilisation Britannique, XXVI-1 | 2021 Rhoda Power, BBC Radio, and Mass Education, 1922-1957 2
    Revue Française de Civilisation Britannique French Journal of British Studies XXVI-1 | 2021 The BBC and Public Service Broadcasting in the Twentieth Century Rhoda Power, BBC Radio, and Mass Education, 1922-1957 Rhoda Power, la radio de BBC, et l’education universelle, 1922-1957 Laura Carter Electronic version URL: http://journals.openedition.org/rfcb/7316 DOI: 10.4000/rfcb.7316 ISSN: 2429-4373 Publisher CRECIB - Centre de recherche et d'études en civilisation britannique Electronic reference Laura Carter, “Rhoda Power, BBC Radio, and Mass Education, 1922-1957”, Revue Française de Civilisation Britannique [Online], XXVI-1 | 2021, Online since 05 December 2020, connection on 05 January 2021. URL: http://journals.openedition.org/rfcb/7316 ; DOI: https://doi.org/10.4000/rfcb.7316 This text was automatically generated on 5 January 2021. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Rhoda Power, BBC Radio, and Mass Education, 1922-1957 1 Rhoda Power, BBC Radio, and Mass Education, 1922-1957 Rhoda Power, la radio de BBC, et l’education universelle, 1922-1957 Laura Carter AUTHOR'S NOTE I would like to thank Peter Mandler and Rozemarijn van de Wal for supporting and advising me on the research behind this article, and Louise North of the BBC Written Archives Centre and the anonymous reviewer for this journal for their help in the preparation of this article. The BBC copyright content reproduced in this article is courtesy of the British Broadcasting Corporation. All rights reserved.
    [Show full text]
  • 23 July 2021 Page 1 of 11 SATURDAY 17 JULY 2021 Narrator
    Radio 4 Extra Listings for 17 – 23 July 2021 Page 1 of 11 SATURDAY 17 JULY 2021 Narrator ...... James Fleet First broadcast on BBC Radio 4 in July 2013. Beryl Bainbridge ...... Samantha Bond SAT 04:30 To the Manor Born (b007k4vh) SAT 00:00 Charles Chilton - Journey into Space (b007jrdj) Author: Brendan King Sons of the Fathers The World in Peril Abridger: Pete Nichols Clearing out the cellar - Audrey finds more than she'd Episode 5 Producer: Karen Rose bargained for. Jet and Lemmy monitor strange calls coming in on the ship-to- A Sweet Talk production for BBC Radio 4, first broadcast in Starring Penelope Keith and Keith Barron. ship intercom. September 2016. Lady of the manor Audrey fforbes-Hamilton, forced to sell her Completing the sci-fi trilogy of the adventures of Captain Jet SAT 02:15 Shardlake (b09l2299) beloved Grantleigh Estate, has decamped to the tiny Old Lodge Morgan, Mitch, Doc and Lemmy. Heartstone cottage with her butler in tow. Jet Morgan …. Andrew Faulds Episode 10 From this vantage point, Audrey keeps a close and disapproving Stephen ‘Mitch’ Mitchell …. Don Sharp Concluding Colin MacDonald's dramatisation of the Tudor eye on new owner, the nouveau-riche Richard DeVere. Doc Matthews …. Guy Kingsley-Poynter mystery novel by C.J. Sansom. Adapted for radio by Peter Spence from his BBC TV script. Lemmy Barnet …. Alfie Bass Matthew Shardlake is on board the Mary Rose when the Audrey fforbes-Hamilton …. Penelope Keith Various …. Alan Tilvern warship is sunk in battle with the loss of more than four Keith Barron ..... Richard DeVere Various and Announcer ….
    [Show full text]
  • The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
    Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your ​ ​ reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart.
    [Show full text]
  • Service Review
    Editorial Standards Findings Appeals to the Trust and other editorial issues considered by the Editorial Standards Committee December 2012 issued February 2013 Getting the best out of the BBC for licence fee payers Editorial Standards Findings/Appeals to the Trust and other editorial issues considered Contentsby the Editorial Standards Committee Remit of the Editorial Standards Committee 2 Summaries of findings 4 Appeal Findings 6 Silent Witness, BBC One, 22 April 2012, 9pm 6 Application of Expedited Procedure at Stage 1 14 News Bulletins, BBC Radio Shropshire, 26 & 27 March 2012 19 Watson & Oliver, BBC Two, 7 March 2012, 7.30pm 26 Rejected Appeals 38 5 live Investigates: Cyber Stalking, BBC Radio 5 live and Podcast, 1 May 2011; and Cyber- stalking laws: police review urged, BBC Online, 1 May 2011 38 Olympics 2012, BBC One, 29 July 2012 2 Today, BBC Radio 4, 29 May 2012 5 Bang Goes the Theory, BBC One, 16 April 2012 9 Have I Got News For You, BBC Two, 27 May 2011and Have I Got A Bit More News For You, 2 May 2012 16 Application of expedited complaint handling procedure at Stage 1 21 Look East, BBC One 24 December 2012 issued February 2013 Editorial Standards Findings/Appeals to the Trust and other editorial issues considered by the Editorial Standards Committee Remit of the Editorial Standards Committee The Editorial Standards Committee (ESC) is responsible for assisting the Trust in securing editorial standards. It has a number of responsibilities, set out in its Terms of Reference at http://www.bbc.co.uk/bbctrust/assets/files/pdf/about/how_we_operate/committees/2011/esc_t or.pdf.
    [Show full text]
  • Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
    Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations.
    [Show full text]
  • Discographic Workshop Part 3A – Doctor Who Theme (RESL 11)
    http://bbcrecords.co.uk/blog/?p=717 Discographic Workshop Part 3A – Doctor Who Theme (RESL 11) Doctor Who We (ahem) materialise into the third part (and half-way point) of a thorough review of all the BBC Records (& Tapes) releases featuring the Radiophonic Workshop. Previous parts have taken an in-depth look at the compilation albums and the solo LPs. This part is all about the Workshop’s many dealings with The Doctor and this post is dedicated the first such release. Doctor Who (hereafter, DW) began on BBC TV in 1963, and with a little help from the Daleks, was a ratings smash hit, reaching viewing figures of 12 million. The show continued to be hugely popular right through to the eighties, when it finally lost its footing and was cancelled after series number 26, in 1989. Of course, it was resurrected in 2005 and continues to this day, as exciting and popular as ever, but here we’re going to look back to the golden age of the original series. The BBC Radiophonic Workshop were part of DW production from the very start and did much to contribute to the success of the show in its early days. Initially, theme music and sound effects, then later the incidental music was augmented at the Workshop and finally, for a period, all the show’s music was coming from their Maida Vale studios. Any Radiophonic music was extremely time consuming to produce in 1963 however, and until the advent of relatively cheap and playable keyboard synthesizers, along with high quality multi- track recorders, it simply wasn’t practical from the Workshop to soundtrack hours and hours of television every year.
    [Show full text]
  • British Radio Drama and the Avant-Garde in the 1950S
    British radio drama and the avant-garde in the 1950s Hugh Chignell 1 Bournemouth University, UK Correspondence: Professor Hugh Chignell, Faculty of Media and Communication, Bournemouth University, Poole, Dorset, BH12 5BB, UK. +44 (0)1202 961393 Email: [email protected] 1 British radio drama and the avant-garde in the 1950s Abstract The BBC in the 1950s was a conservative and cautious institution. British theatre was at the same time largely commercial and offered a glamorous distraction from wider social and political realities. During the decade, however, new avant-garde approaches to drama emerged, both on the stage and on radio. The avant-garde was particularly vibrant in Paris where Samuel Beckett was beginning to challenge theatrical orthodoxies. Initially, managers and producers in BBC radio rejected a radio version of Beckett’s, Waiting for Godot and other experimental work was viewed with distaste but eventually Beckett was accepted and commissioned to write All That Fall (1957), a masterpiece of radio drama. Other Beckett broadcasts followed, including more writing for radio, extracts from his novels and radio versions of his stage plays as well as plays by the experimental radio dramatist, Giles Cooper. This article examines the different change agents which enabled an initially reluctant BBC to convert enthusiastically to the avant-garde. A networked group of younger producers, men and women, played a vital role in the acceptance of Beckett as did the striking pragmatism of senior radio managers. A willingness to accept the transnational cultural flow from Paris to London was also an important factor. The attempt to reinvent radio drama using ‘radiophonic’ sound effects (pioneered in Paris) was another factor for change and this was encouraged by growing competition from television drama on the BBC and ITV.
    [Show full text]