DOCSLIB.ORG

Service Review of Network Music Radio (Radio 1, Radio 2, Radio 3, 6 Music, 1Xtra, Asian Network)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Service Review of Network Music Radio (Radio 1, Radio 2, Radio 3, 6 Music, 1Xtra, Asian Network) Submission to BBC Trust Service Review of Network Music Radio (Radio 1, Radio 2, Radio 3, 6 Music, 1Xtra, Asian Network) from November 2014 INTRODUCTION This paper should be seen in conjunction with a submission to the BBC Trust from Classic FM’s parent company Global and also from RadioCentre. It focuses on BBC Radio 3 and its exceptional role in broadcasting and commissioning classical music. BBC Radio 3 holds a unique position in the British broadcasting landscape. Its strength in the past has been in its ability to use this unique position, with the safety net of generous public funding, to create bold, distinctive, brave programming, unfettered by the need to deliver audiences to advertisers. With a guaranteed income from the Licence Fee, BBC Radio 3 operates in common with other BBC services, without any fear of commercial failure. The position of BBC Radio 3 in the marketplace means that the BBC occupies a potentially market-distorting role in terms of the commissioning, broadcast and promotion of live classical music in the UK, either on radio or via digital online broadcasts. SUMMARY The BBC must have greater regard for the impact of BBC Radio 3 on the market place and on the classical music eco-system in the UK. In future, the BBC should enforce far tighter content requirements on publicly subsidised services such as BBC Radio 3, with far greater regard to the overall competitive broadcast marketplace when programming changes are made. Alone among any BBC radio or television service, it can be argued that BBC Radio 3’s uniquely guaranteed funding, along with the concentration of power in the hands of the station’s Controller, is unprecedented in any other area of broadcasting or the arts in the UK. Not only is this role editorially and financially responsible for the radio network, but the holder of the post is also the largest commissioner of classical music in the UK, controls the UK’s biggest live classical music festival (The BBC Proms) and is responsible for the five BBC Orchestras and the BBC Singers. We hope that, with the benefit of hindsight, the BBC Trust will recognise and acknowledge the detrimental effect of its last service review of BBC Radio 3 on the UK’s classical music broadcast landscape and that it will give serious consideration to ensuring that this current review rights those wrongs. Given the amount of public money available to BBC Radio 3’s management, it is imperative that this funding is invested to augment and widen the artistic depth and breadth of classical music broadcasting in the UK, rather than in replicating the service already provided by Classic FM, the BBC’s only commercial competitor in this area. We would also welcome a new funding mechanism, which allows a far wider dissemination of classical music content from orchestras funded by the Arts Council. This could be through a public service fund, provided by a proportion of the licence fee, which allows commercial services to broadcast cultural events (such as live classical music concerts). This mechanism would ensure that these events reach a far wider audience, thereby making the ratio of public subsidy to audience reached far more economically justifiable. Finally, any incursions into digital delivery of classical music by the BBC – either via Radio 3 or through other means should be closely monitored and controlled. At present, these appear to be unfettered. !PROGRAMMING CHANGES This submission summarises the effect of recent programme changes at BBC Radio 3. It will argue that although each of these changes may on its own be regarded as being relatively minor, when taken cumulatively over a sustained period, they have profoundly affected both the character and the content of BBC Radio 3’s service. In the process, this has resulted in a significant change to the classical music radio landscape in the UK, with the serious erosion of listener choice in key dayparts being the principal outcome. According to BBC Radio 3’s latest Service Licence, issued by the BBC Trust in April 2014: “The remit of Radio 3 is to offer a mix of music and cultural programming in order to engage and entertain its audience… Radio 3’s programmes should exhibit some or all of the following characteristics: high quality, original, challenging, innovative and engaging, and it should nurture UK talent… The service should aim to educate audiences about music, broadcasting a wide range of programmes that expose listeners to new and sometimes challenging material they may not otherwise experience.” The past few years have seen a series of major programming changes to the style and content of BBC Radio 3’s output. These changes have not been introduced all at once in one bold move. Rather, it is apparent that there has been a creeping popularisation of BBC Radio 3’s output over the past few years, with the effect that the clear gap between it and Classic FM has been gradually eroded, with the BBC station moving inexorably towards the position which has traditionally been occupied by its commercial competitor. These changes have included (but are not limited to): • An increase in the number of shorter works or extracts of works during the peak breakfast and drive periods, with a reduction in the number of multi- movement pieces being played in full. This change took place during the latter period of the life of the Morning on Three programme and was completed with the launch of the new Breakfast programme between 06:30 and 09:00 from September 2011. This new programme follows a format, which is extremely close to that of Classic FM. • A new focus on ‘lighter’ repertoire, including increased airplay for film soundtracks within stripped sequence programmes (these are programmes where a series of CD recordings are played one after another with short excerpts of speech in between each track). This is evident in the playlists for the new Breakfast programme, which launched in September 2011. • Far greater interaction from listeners, including requests, dedications and on- air telephone calls. The listener interaction, which has been a hallmark of Classic FM’s programming for many years, was distinctively absent from BBC Radio 3’s output, but it has now become a mainstay of the new Breakfast programme, with on air telephone calls from listeners also being introduced towards the end of 2011. This again follows a format which has formed a major part of Classic FM’s output since as long ago as 1997. • The introduction of features and special programming pioneered by Classic FM in the area of classical music radio. These include: • A ‘CD of the Week’ on the new Essential Classics morning programme (launched in September 2011). This has been an established feature on Classic FM’s morning programme since the station’s launch in 1992. • The introduction of a weekly album sales chart by BBC Radio 3 at the beginning of 2010. Classic FM pioneered a classical album sales chart when it launched in 1992. This format has now been copied by BBC Radio 3. • The introduction of listener voted polls to BBC Radio 3 (e.g. The Nation’s Favourite Aria in 2011). Again, this has been a format, which has been a central part of Classic FM’s output, with the annual Classic FM Hall of Fame poll running since 1996. • The introduction of daily interactive Listener Request programmes (eg during The Genius of Mozart season at the beginning of 2011). • The introduction of a new film music programme on Saturday afternoons at 4pm in September 2013 – just one hour before Classic FM broadcasts its own longstanding two-hour film music programme at 5pm. • A reduction in specialist jazz programmes during daytime hours, with jazz and world music being marginalised to late night slots. This is particularly marked in the case of jazz, which had five specialist programmes across the week, including one on a weekday afternoon. With the exception of two hours on a Saturday afternoon, jazz has now completely been relegated to a late night off-peak slot. • The ending of dedicated daily children’s classical music programming. • The Saturday afternoon World Routes programme – a unique proposition in UK radio, featuring music from around the world, was abandoned altogether in September 2013. • Radio 3’s commitment to a specialist Early Music programme was halved in September 2013. • The extension of classical music concert programming between 9pm and 10pm, with a consequent removal of speech-based programming from this hour. (This is a time when Classic FM has consistently broadcast long-form full works content, so in effect, BBC Radio 3 has moved to offer the same style of programming as Classic FM at this time, thereby reducing listener choice). • Radio 3’s Sunday night drama output was moved into a late night slot in September 2013, to be replaced by classical music content – once again directly reducing listener choice. THE EFFECT OF THE LAST BBC TRUST SERVICE REVIEW The BBC Trust’s last review of BBC Radio 3’s output appeared to give the BBC Management carte blanche to make significant changes to the network’s on air programming, the net effect of which has been to directly reduce programming choice for listeners to classical music radio in the UK. We appreciate that it may well not have been the intention of the BBC Trust for this to happen – but there is little doubt that BBC Management chose to interpret the BBC Trust’s words in a way that enabled them to use their Licence Fee funding to directly move Radio 3’s output closer towards that of Classic FM.
Load more

Recommended publications
  • Reviews of the Financial Terms Payable by Classic FM and Talksport – Determination
    Reviews of the financial terms payable by Classic FM and talkSport – determination 20 January 2011 Introduction There are three Independent National Radio (INR) licences issued by Ofcom under the Broadcasting Act 1990 (“the 1990 Act”). They are the licences for Classic FM (held by Classic FM Ltd), talkSport (talkSport Ltd) and Absolute Radio (held by TIML Radio Ltd). The Digital Economy Act 2010 (“the 2010 Act”) included provisions which amend the 1990 Act1 to allow the INR licences to be renewed for up to a further seven years rather than be re- awarded under a competitive auction. Each of the INR licensees has applied for a renewal of their licences. The INR licensees are required to make annual “additional payments” to Ofcom (in turn payable to HM Treasury). Licensees pay fixed annual cash bids plus a Percentage of Qualifying Revenue (PQR) applied to the appropriate proportion of their advertising and sponsorship revenue. As part of the process of (further) licence renewal, Ofcom is required to set new financial terms for each licence, made up of a cash bid and a PQR. Ofcom has now determined these terms for Classic FM and talkSport (Absolute Radio will apply for renewal at a later date and we will complete this review in April). How financial terms are set Ofcom set out the methodology applied in calculating the financial terms for each licence in the statement entitled Review of the Independent Radio Licences – methodology for review of financial terms published on 5 October 2010 (‘the October statement’)2. Our methodology reflects the requirement under the relevant provisions of the 1990 Act3 to determine part of the financial terms based on an assessment of the amount each incumbent would have bid were their licence being for the further renewal period granted afresh in a competitive auction.
    [Show full text]
  • Radio 3 Content Analysis
    BBC Trust: Service Review of BBC Network Music Radio Annex: Radio 3 content analysis About this analysis The Trust analysed two weeks of output from Radio 3 and Classic FM, from 22 September to 5 October 2014, in order to test how similar Radio 3’s music is to Classic FM’s in peak listening periods. This analysis used a log of music played on Radio 3, which was provided by the BBC. Classic FM’s repertory was taken from its playlist, which is published on its website. (Note we substituted a small amount of content for Classic FM from a later week, due to some gaps in the published data at the time of sourcing). For the purposes of the analysis we considered only Radio 3’s primary classical music output, so excluded Jazz, World Music, and programming that only provides short excerpts of music alongside speech (such as CD Review or Music Matters). The analysis included all of Classic FM’s music. The Radio 3 data supplied to us by the BBC included detail on the length of each piece played. As this was not available for Classic FM’s repertory, we estimated the average length of track on Classic FM using the published start times of each piece, then subtracting the estimated amount of speech content. We listened to six hours at different times of the day to provide an estimate of the proportion of speech/advertising to music. Based on this listening, we have estimated that around 20% of Classic FM’s output is not music, which we estimate increases to around 25% during its breakfast programme.
    [Show full text]
  • 2021 Association of British Orchestras Conference 10-12 March 2021
    ‘AFTERSHOCK’ 2021 ASSOCIATION OF BRITISH ORCHESTRAS CONFERENCE 10-12 MARCH 2021 The annual Association of British Orchestras Conference, the UK’s leading classical music forum, will take place online from Wednesday 10 March – Friday 12 March. With Classic FM, the UK’s most popular classical music station, as Principal Media Partner, Classical Music as Online Media Partner, Help Musicians as Charity Partner and the British Council as International Partner, the conference will bring together speakers, panellists and delegates from across the UK and abroad to examine the critical issues facing the classical music sector and to discuss the support and innovation needed to forge an ambitious and sustainable future for the industry. Through a series of keynote speeches and interactive panel discussions, the three-day online conference will focus on the theme of ‘Aftershock’, analysing the seismic issues that have sent shockwaves through the sector – from the devastating impact of the global COVID-19 pandemic and the threatening repercussions of Brexit, to the urgency of the climate change crisis and the reignited call to confront classical music’s inequities and action meaningful change in the wake of the Black Lives Matter movement. It will also offer an opportunity to champion the invention and flexibility shown by orchestras and musicians in continuing to connect with audiences, and to discuss the new approaches they can take forward to adapt to the new post-COVID landscape and build recovery. For the first time, the opening day of the conference will be free to attend for musicians, hosted in partnership with Help Musicians. Amongst the speakers, Caroline Dinenage MP, Minister of State for Digital & Culture will give a keynote speech, while the Chair of Arts Council England, Sir Nicholas Serota, will discuss his vision for rebuilding the arts and delivering on ACE’s 10 year strategy Let’s Create.
    [Show full text]
  • TV & Radio Channels Astra 2 UK Spot Beam
    UK SALES Tel: 0345 2600 621 SatFi Email: [email protected] Web: www.satfi.co.uk satellite fidelity Freesat FTA (Free-to-Air) TV & Radio Channels Astra 2 UK Spot Beam 4Music BBC Radio Foyle Film 4 UK +1 ITV Westcountry West 4Seven BBC Radio London Food Network UK ITV Westcountry West +1 5 Star BBC Radio Nan Gàidheal Food Network UK +1 ITV Westcountry West HD 5 Star +1 BBC Radio Scotland France 24 English ITV Yorkshire East 5 USA BBC Radio Ulster FreeSports ITV Yorkshire East +1 5 USA +1 BBC Radio Wales Gems TV ITV Yorkshire West ARY World +1 BBC Red Button 1 High Street TV 2 ITV Yorkshire West HD Babestation BBC Two England Home Kerrang! Babestation Blue BBC Two HD Horror Channel UK Kiss TV (UK) Babestation Daytime Xtra BBC Two Northern Ireland Horror Channel UK +1 Magic TV (UK) BBC 1Xtra BBC Two Scotland ITV 2 More 4 UK BBC 6 Music BBC Two Wales ITV 2 +1 More 4 UK +1 BBC Alba BBC World Service UK ITV 3 My 5 BBC Asian Network Box Hits ITV 3 +1 PBS America BBC Four (19-04) Box Upfront ITV 4 Pop BBC Four (19-04) HD CBBC (07-21) ITV 4 +1 Pop +1 BBC News CBBC (07-21) HD ITV Anglia East Pop Max BBC News HD CBeebies UK (06-19) ITV Anglia East +1 Pop Max +1 BBC One Cambridge CBeebies UK (06-19) HD ITV Anglia East HD Psychic Today BBC One Channel Islands CBS Action UK ITV Anglia West Quest BBC One East East CBS Drama UK ITV Be Quest Red BBC One East Midlands CBS Reality UK ITV Be +1 Really Ireland BBC One East Yorkshire & Lincolnshire CBS Reality UK +1 ITV Border England Really UK BBC One HD Channel 4 London ITV Border England HD S4C BBC One London
    [Show full text]
  • Celebrating 40 Years of Commercial Radio With
    01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22.
    [Show full text]
  • CRUISING with the EXPERTS Don’T Settle for Anything Less Than the Best
    CRUISING WITH THE EXPERTS Don’t settle for anything less than the best Classical Music with D-Day & Normandy with Art & Culture with JOHN SUCHET LORD ANDREW ANDREW DANNATT ROBERTS GRAHAM-DIXON WELCOME TRAVEL WITH THE to Uniworld WORLD’S BEST River Cruise Line LUXURIOUS EXCEED River cruise ships Your expectations Each Uniworld ship is a unique, Everything we do is focused on a one-of-a-kind experience, designed to singular goal: to give you a unique and echo the style of a boutique hotel. unforgettable experience. We do this by Lavish décor, thoughtful amenities offering first-class service that puts and first-class service make them a you at the centre of every decision. destination in their own right. EXCLUSIVE Onshore Excursions Join some of the world’s leading experts, as they bring to life the rich culture, history and a fascinating insight of some Discover a range of included excursions of Europe’s historical waterways. Join John Suchet, acclaimed Classical Music radio broadcaster, travelling the Danube curated exclusively for Uniworld guests. through Europe’s history, including an exclusive classical music concert in Vienna and Andrew Graham Dixon a renowned Our collection of over 80 experiences will be your gateway to immersing yourself art critic offering insight in to the cultural influences that developed some of the world’s best-known artists and works in the authentic culture, sights and of art. Enjoy fascinating presentations on their lives as authors and broadcasters over the decades, as well as exclusive cuisine of the places you’ll visit. intimate group discussions.
    [Show full text]
  • Global Is Still the UK's Number One Commercial Radio Company with a Weekly Reach of 23.1 Million Listeners
    View this email online Global is still the UK's number one commercial radio company with a weekly reach of 23.1 million listeners. HEART Heart is still the largest commercial radio station in the UK with a weekly reach of 9.1 million listeners. More about Heart's results » CAPITAL Capital is the UK’s second largest commercial radio station, with 7.3m listeners. Capital London reaches 2m. This makes it London’s number one commercial station! More about Capital's results » CLASSIC FM Classic FM reaches 5.2 million listeners across the country each week with ABC1s making up 69% of its audience. More about Classic FM's results » SMOOTH Following Heart, Capital and Classic FM, Smooth remains one of the top five commercial stations in the country. Smooth reaches 4.7 million listeners, which is growth of 2% from last quarter. More about Smooth's results » LBC LBC’s high profile continues to attract new listeners. LBC’s weekly reach is 1.3 million nationwide. In London alone, LBC 97.3 reaches nearly 1 million each week. More about LBC's results » XFM XFM enjoys impressive growth this quarter. Reach is up 7% to 988,000 listeners. XFM’s Manchester station is the star performer, with reach up a staggering 29% from last quarter, taking its reach to 298,000 More about XFM's results » CAPITAL XTRA Capital XTRA reaches 809,000 listeners a week with 15-34 year olds making up 79% of its UK audience. Reach for 15-34s in London is up an impressive 16%.
    [Show full text]
  • “Reaching 79% of Commercial Radio's Weekly Listeners…” National Coverage
    2019 GTN UK is the British division of Global Traffic Network; the leading provider of custom traffic reports to commercial radio and television stations. GTN has similar operations in Australia, Brazil and Canada. GTN is the largest Independent radio network in the UK We offer advertisers access to over 240 radio stations across the country, covering every major conurbation with a solus opportunity enabling your brand to stand out with up to 48% higher ad recall than that of a standard ad break. With both a Traffic & Travel offering, as well as an Entertainment News package, we reach over 28 million adults each week, 80% of all commercial radio’s listeners, during peak listening times only, 0530- 0000. Are your brands global? So are we. Talk to us about a global partnership. Source: Clark Chapman research 2017 RADIO “REACHING 79% OF COMMERCIAL RADIO’S WEEKLY LISTENERS…” NATIONAL COVERAGE 240 radio stations across the UK covering all major conurbations REACH & FREQUENCY Reaching 28 million adults each week, 620 ratings. That’s 79% of commercial radio’s weekly listening. HIGHER ENGAGEMENT With 48% higher ad recall this is the stand-out your brand needs, directly next to “appointment-to-listen” content. BREAKFAST, MORNING, AFTERNOON, DRIVE All advertising is positioned within key radio listening times for maximum reach. 48% HIGHER AD RECALL THAN THAT OF A STANDARD AD BREAK Source: Clark Chapman research NATIONAL/DIGITAL LONDON NORTH EAST Absolute Radio Absolute Radio Capital North East Absolute Radio 70s Kiss Classic FM (North) Absolute
    [Show full text]
  • Press Release
    PRESS RELEASE NEWS - RAJAR Q4 2012 EMBARGOED UNTIL 00.01 THURSDAY 31ST JANUARY 2013 AUDIENCE INCREASE FOR GLOBAL RADIO *CAPITAL BREAKFAST REMAINS LONDON’S FAVOURITE MUSIC BREAKFAST SHOW* *CLASSIC FM INCREASES LISTENERS AND HOURS YEAR ON YEAR* *LBC UK RECORDS HIGHEST EVER REACH* CAPITAL RETAINS NO.1 COMMERCIAL BREAKFAST SHOW IN LONDON - 95.8 Capital FM’s Breakfast Show now has an audience of 1.1 million listeners each week. - Dave Berry & Lisa Snowdon beat Radio One’s Nick Grimshaw in his first RAJAR. HEART AND CAPITAL ACROSS THE UK - The Heart Network remains the UK’s largest commercial radio brand with 7.4 million listeners tuning in across the country each week. - Heart has seen significant growth in highly populated areas including Essex and Four Counties. - Capital, the UK’s second largest commercial radio brand, records over 6.8 million weekly listeners across the UK. CLASSIC FM - The UK’s favourite classical music station, Classic FM, enjoys an increase of listeners and hours year on year. 5.4 million listeners tune into the station each week, listening in for a total of 37.5 million hours. LBC UK - LBC UK scores its highest reach ever, increasing its audience yet again with 1.3 million people now tuning into the station each week! XFM LONDON AND CHOICE - XFM London scores its highest reach in two and a half years, significantly increasing listeners and hours this quarter, with 445,000 people tuning in each week. - Choice has also enjoyed a rise in listeners and hours this quarter. 748,000 people now tune in each week for over 3.4 million hours.
    [Show full text]
  • Distribution Rules
    PERFORMING RIGHT SOCIETY LIMITED DISTRIBUTION RULES Appendices APPENDIX Standard distribution cycle Distribution Source April July October December Reconciliation BBC radio Oct – Dec Jan - Mar Apr - Jun Jul - Sept July BBC TV Sept - Dec Jan - Mar Apr - Jun Jul - Aug July BSkyB TV Sept - Dec Jan - Mar Apr - Jun Jul - Aug October All other TV Re Sept - Dec Jan - Mar Apr - Jun Jul - Aug April po (exc. music TV channels) rti All other radio ng Oct – Dec Jan - Mar Apr - Jun Jul - Sept April (and music TV channels) Pe ri od Public performance * Oct – Dec Jan - Mar Apr - Jun Jul - Sept April Online ** Oct – Dec Jan - Mar Apr - Jun Jul - Sept N/A International Jul-Dec Jan-Jun N/A (agencies) International Varies depending on affiliate society timetable N/A (affiliate societies) *Concerts using the live concert service are distributed outside the four major distributions with a target of within 60 days of the concert **It is not always possible to adhere to this timetable for some online services Broadcast sampling rates Since 2010 new TV and radio services are sampled at the following minimum rates. TV Sampling Threshold Sample Band Days 4 0-15K 10 15-30K 37 30-60K 91 60-100K 181 100-200K 365 200K+ Radio Sampling Threshold Sample Band Days 4 £0-£50K 8 £50-£100K 16 £100-£200K 32 £200-£500K 365 £750K+ At present services that existed before 2010 are still sampled at minimum rates calculated using a complex statistical formula. In practice, because of electronic reporting and the use of music recognition technology, many services have much higher sample rates, bordering on census for non-advertising plays.
    [Show full text]
  • Bauer Radio Total Portfolio
    1 2 BAUER RADIO TOTAL PORTFOLIO RAJAR Q4 2012 3 BAUER RADIO TOTAL PORTFOLIO ■ 13.3m listeners ■ Our Place Portfolio stations are No.1 in 21 out of 21 markets ■ Smash Hits, The Hits & Heat are all in the top 10 digital stations ■ Average age 38 Source: RAJAR, Bauer Radio Total Portfolio TSA, 6 Months PE Dec 12 4 LISTENER PROFILE 4 ■ 46% of listeners are male, 54% are female BAUER RADIO TOTAL PORTFOLIO REACHES ■ 51% of listeners are ABC1, 49% C2DE 13,279,000 ADULTS 15+ EVERY WEEK ■ 76% of listeners are Main Shoppers ■ Has a commercial Share of 25.0% Source: RAJAR, Bauer Radio Total Portfolio TSA, 6 Months PE Dec 12 5 REACH BY AGE BREAK 5 WEEKLY REACH (000) 3,488 2,965 2,345 2,383 2,098 15-24 25-34 35-44 45-54 55+ Source: RAJAR, Bauer Radio Total Portfolio TSA, 6 Months PE Dec 12 6 THIS IS A FULLSCREEN PICTURE CHART 7 THIS IS A FULLSCREEN PICTURE CHART 8 THIS IS A FULLSCREEN PICTURE CHART 9 THE BAUER PLACE PORTFOLIO ■ 8.7m listeners ■ No.1 in 21 out of 21 markets ■ 18% higher reach than our nearest competitor ■ 41% more listening hours ■ Average age 42 Source: RAJAR, Bauer Place Portfolio TSA, 6 Months PE Dec 12 10 BAUER PLACE PORTFOLIO REACH Bauer Place Portfolio reaches 8.7 million adults across the UK ■ Heart FM (UK): 7.4 million ■ Capital FM (UK): 6.8 Million ■ Classic FM: 5.4 Million ■ Total Smooth Radio UK: 3.8 Million ■ talkSPORT: 3.0 Million ■ Total Absolute Radio Network: 3.1 Million Source: RAJAR, Bauer Place Portfolio TSA, 6 Months PE Dec 12 11 AND WE CONNECT WITH THEM FOR 11 LONGER Bauer Place Portfolio has average hours of 8.3 ■ Heart FM (UK): 6.9 hours ■ Capital FM (UK): 5.9 hours ■ Classic FM: 6.7 hours ■ Total Smooth Radio UK: 8.0 hours ■ talkSPORT: 6.4 hours ■ Total Absolute Radio Network: 6.9 hours Source: RAJAR, Bauer Place Portfolio TSA, 6 Months PE Ded 12 12 MADE UP OF THE BEST LOCAL BRANDS 12 13 13 FEEL INFORMED BAUER PLACE PORTFOLIO + 40% FEEL INVOLVED BAUER PLACE PORTFOLIO + 30% FEEL CONNECTED BAUER PLACE PORTFOLIO + 32% VS.
    [Show full text]
  • Talking About Classical Music: Radio As Public Musicology
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dromey, Christopher ORCID: https://orcid.org/0000-0002-3275-4777 (2018) Talking about classical music: radio as public musicology. In: The Classical Music Industry. Dromey, Christopher ORCID: https://orcid.org/0000-0002-3275-4777 and Haferkorn, Julia ORCID: https://orcid.org/0000-0003-1468-9868, eds. Routledge Research in Creative and Cultural Industries Management . Routledge, Abingdon, Oxon, pp. 183-261. ISBN 9781138203693, e-ISBN 9781315471099, pbk-ISBN 9780367512262. [Book Section] (doi:10.4324/9781315471099-14) Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/19621/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award.
    [Show full text]