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Tokenism in the Representation of Women Composers on BBC Radio 3

Tokenism in the Representation of Women Composers on BBC Radio 3

The Other : Tokenism in the Representation of Women on BBC Radio 3

Valerie Abma (5690323) Deadline: 15 juni, 2018 Begeleider: dr. Ruxandra Marinescu

BA Eindwerkstuk Muziekwetenschap Universiteit Utrecht

MU3V14004 2017-2018 Blok 4

Table of Contents

Abstract.…………………………………….………………………………………………… 3 Introduction: The Other Composer.…………………...……………………………………… 4 Chapter 1: The Negligible Impact.……………………………….…………………………… 7 Chapter 2: BBC Radio 3 and its aims.………………………………………………………. 11 Chapter 3: BBC Radio 3 and its tokenism………………………………….…..…………….14 3.1: The BBC guidelines for diversity……………………………….……………….14 3.2: Programming…………………………………………………………………… 15 3.3: “Mind your language”.…………………….…………………………………… 17 Conclusion.…………………………………………………..……………………………… 20 Bibliography.…………………………………………………...…………………………… 22 BBC Website Data.……………………..…………………………………………… 25 Appendix 1.…………………………………………………………………………..……… 27 Appendix 2.…………………………………………..……………………………………… 31 Appendix 3.…………………………………………..……………………………………… 39 Appendix 4.…………………………………………...………………………………………44

2 Abstract

This thesis focuses on the tokenism, which, as I will demonstrate, is present in the representation of women composers on BBC Radio 3. More specifically, this thesis looks at how tokenism hinders the equality in the representation of men and women composers. The presence of tokenism will be illustrated by data of BBC Radio 3 from 2015 until 2018. As long as compositions by women composers are programmed as tokens, and therefore only as a gesture of temporary change within a dedicated space signaled as such, women composers will not get included in the musical canon. Chapter 1 presents a brief history of feminist musicology and discusses how the key concepts of this thesis have been defined and addressed in musicology. Chapter 2 discusses the policies and guidelines of BBC radio of the past and present. Lastly, chapter 3 addresses the case study, which is an analysis of the latest published BBC Radio guidelines, programmes which were broadcast on BBC Radio 3 from 2017 until June, 2018, and the language that is used concerning women composers in the descriptions of these radio programmes and on the BBC website. This thesis concludes that women composers have been used, and continue to be used nowadays, as tokens in the programming of BBC Radio 3, and that BBC shows very little understanding of the aims of its own guidelines concerning diversity adopted in September, 2017. This case study demonstrates the presence of tokenism in the musical canon in general and calls for permanent change.

3 The Other Composer

In a milieu where dead composers are favored over the living, women composers are in an unfortunate position, as the Western world is one that is dominated by men and was even more so in the past.1 However, the Western world is emancipating, and the music world is trying to do so as well. Research on women in music started to develop in the 1970s.2 In 1993, feminist musicologist Susan McClary wrote an article on musicology and feminism in the 1990s, in which she anticipated a bright future for feminist musicology. In this article she praised the amount of accomplishments that had been reached already and presented an overview of what had been reached up until 1993. Among other things, this overview listed the appearance of documented studies on women composers, the recognition of women composers of the distant past and present, and an increase in the amount of institutions offering courses on women in music.3 She stated that “feminist work concerning music has left its ghetto and broadened its scope to include reexaminations of the canon, standard methodologies, and much else.”4 She concluded that “it is anybody’s guess what will have transpired by the year 2000, but this much is clear: musicology has been permanently transformed by its encounter with feminism.”5 Looking at today’s state of the position of women in the Western classical music canon, this bright future McClary wrote about seems to be further than she anticipated. Women’s works seem to be praised more and more today. Complete radio programmes, concerts, and festivals are dedicated to women composers, often as an attempt to restore the balance of the inequality in the representation of men and women composers. Even though this may sound promising and quite the opposite of what I mentioned above, there is a problem: the canon is still overflowing with men composers – who mostly also happen to be Western and white – while women composers are scarcely represented in it. In this thesis, I argue that the problem lies in the separate stage that women get assigned to on a regular basis. Often, the dedications to women composers mentioned above tend to have the opposite effect, as those very same women composers are usually forgotten when it comes down to ‘the

1 In this thesis, I chose to write about ‘women composers’ instead of ‘female composers’, as the word ‘female’ would reduce the woman composer to her reproductive abilities. 2 Susan McClary, “Reshaping a Discipline: Musicology and Feminism in the 1990s,” Feminist Studies 19, no. 2 (1993): 399. 3 Ibid., 400-403. 4 Ibid., 399-423. 5 Ibid., 420.

4 usual’ radio programmes, concerts and festivals – those predominantly filled with men composers. These dedications to women composers are, in most cases, examples of tokenism, I will argue. The question that I will answer in this thesis is the following: how does tokenism hinder the equality in the representation of men and women composers on BBC Radio 3? In order to answer this question, I will, in the first chapter, present a brief history of feminist musicology in order to contextualise my discussion. This chapter also discusses several theoretical concepts that are used in this thesis, such as tokenism and canon. The second chapter discusses the policies and guidelines of BBC Radio – those set in the early days of BBC, the 1920s, and those of the present, 2017-2018. Finally, in the third chapter I will address the case study, BBC Radio 3, and analyse BBC’s new diversity guidelines for radio, the programming of several programmes which are broadcast on BBC Radio 3, and discuss the language which is used regarding women composers on the website of BBC in the descriptions of the programmes, in the annual celebration of women composers, and in a blogpost. The programmes I discuss are , Breakfast, Essential Classics, Radio 3 Lunchtime Concert, Afternoon Concert, Radio 3 in Concert, and Through the Night. The analysis of the programme Composer of the Week regards the programming of seventeen months – from January, 2017, until the first week of June, 2018. The analyses of the other programmes regard the programming of a week – from 24 May until 31 May, 2018. In conclusion, tokenism in the broadcasting of music by women composers is still present on BBC Radio 3. This tokenism is one of the causes that withholds women composers from being represented in the ‘usual canon’ and it keeps the binary – women composers versus men composers – alive. The programming of women composers as tokens does not provide the permanent change that is needed. The title of this thesis, ‘The Other Composer’, refers to the concept of the Other, which is deeply embedded in the philosophy of Georg Wilhelm Friedrich Hegel, but is used in multiple fields. “In theories of ideology, the Other is construed as the non-self who departs from, and simultaneously defines, the norms of a dominant social order, whether by sexuality, race or ethnicity.”6 In this thesis, the Other is the woman composer, who is the non-self in relation to the man composer. I chose to discuss BBC Radio 3 as a case study, as BBC is known for its proclaimed inclusiveness. BBC is a public radio that is listened to internationally, and therefore this radio

6 Peter Brooker, A Glossary of Literary and Cultural Theory (London: Routledge, 2017), 201-203.

5 corporation is a leading example to many other institutions.7 Because of this exemplary position, BBC has a “standard-setting function” for other corporations around the world.8 It is therefore valuable to see whether this standard-setting corporation has an understanding of its own guidelines. This thesis reveals the tokenism that is still present on BBC Radio 3. Herein also lies the relevance of this thesis for future research. My discussion of the language that is used concerning the music of women composers, is in line with the recent musicological discussion of BBC Radio 3’s by David Clarke (2007), in which Clarke decodes the programme Late Junction, meaning that he searches for other meanings behind the content that is visible.9 I used his idea of decoding as my methodological framework in the third chapter. Other recent scholarly research on BBC Radio and its policies was done by Georgina Born, Chris Dromey, and Julia Haferkorn.10

7 Georgina Born, “Reflexivity and Ambivalence: Culture, Creativity and Government in the BBC,” Cultural Values 6, nos. 1 & 2 (2002): 65. 8 Georgina Born and Tony Prosser, “Culture and Consumerism: Citizenship, Public Service Broadcasting and the BBC’s Fair Trading Obligations,” The Modern Law Review 64, no. 5 (2001): 687. 9 David Clarke, “Beyond the Global Imaginary: Decoding BBC Radio 3’s Late Junction,” Radical Musicology 2 (2007). 10 See Georgina Born, Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (New York: Random House, 2011) and Chris Dromey and Julia Haferkorn, The Classical Music Industry (London: Routledge, 2018).

6 Chapter 1: The Negligible Impact

Before I turn to look at BBC’s guidelines and radio programmes, I shall first contextualise the discussion by presenting a brief history of feminist musicology and explain how the key concepts of this thesis have been defined and addressed in musicology. Feminist musicology made its rise in the 1980s and has played role in making women composers and their music visible, both in the scholarly world and outside. With the help of second-wave feminism – which lasted roughly from the early 1960s until the early 1980s – women gained more freedom and opportunities in music.11 But even today, (feminist) research on women in music remains necessary, as the effort that was put in already started to decline at the beginning of the 2000s.12 Liberal feminism was the pioneer in creating the long-ignored feminist historical narrative in music and focused on recovering the names and musical works of women composers. This branch of feminism worked from the ideal of reaching equality between women and men.13 By contrast, radical feminism demanded a different narrative, namely that of a ‘celebration’ of women’s music in regard to its difference.14 This had an impact mostly in the 1990s and in the beginning of the 2000s. Radical feminism within musicology was a reaction to the assumption that women did not possess the skills believed to be necessary in order to be successful as a composer. Radical feminist musicological work is often seen as one of the causes of the categorical difference between men and women composers, as it turned both parties against each other and turned musicology into a field of “active and reactive forces” that was “driven by fear and paranoia.”15 Susan McClary started a substantial part of this upheaval when she published her Feminine Endings: Music, Gender, and Sexuality in 1991.16 In this book, she addresses problems of sexuality and gender in different music genres – not only in classical music, but also in rock and pop music. There were many responses to this book, and a lot of them were negative. Nicholas Cook and Mark Everist responded to the book in Rethinking Music (1999) and stated that “we no longer know what we know” and saw feminist and

11 Sally Macarthur, Towards a Twenty-First-Century Feminist Politics of Music (London: Ashgate Publishing, 2010), 89-90. 12 Ibid., 1. 13 Ibid., 93. 14 See, for example, Sally Macarthur, Feminist Aesthetics in Music (London: Greenwood Press, 2002), and Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991). 15 Macarthur, Towards a Twenty-First Century Feminist Politics of Music, 98-99. 16 Ibid., 99-101.

7 critical work as a major threat to music analysis.17 Other feminist musicologists followed suit, such as Marcia Citron, who criticized the classic music canon as it was in 1993, but also McClary kept publishing articles after her Feminine Endings was published. She wrote about why feminist musicology was necessary, as is demonstrated in her influential “Of Patriarchs… and Matriarchs, Too”, which was published in 1994. In this article she states that the goal of feminist musicology is “not to instill guilt, but rather to make this extraordinary music available”, with which she refers to the music of women composers.18 In 2002, Sally Macarthur wrote about feminist aesthetics in music and discussed the differences, which she claimed were existent, between music of women composers and that of men composers in order to celebrate the worth of ‘women’s music’.19 After the turmoil that debates like these created between the late 1990s and the early 2000s, feminist perspective became less visible for a while.20 The debate concerning women’s representation in the musical canon was revived by Sally Macarthur in 2010, in her book Towards a Twenty-First-Century Feminist Politics of Music, in which she indicates that musicology sadly did not go through with the changes of feminist musicology, but that it waited for the turmoil to pass and again made the female subject Other.21 However, this does not mean that the debates in feminist musicology in the 1990s have not been fruitful, as it has opened space for dialogue and for the feminist voice to be heard in musicology.22

A key concept for my discussion in this thesis is the canon, more specifically the musical canon. This term is often used to denote “a list of composers or [musical] works assigned value and greatness by consensus.”23 There is more than just one canon, however. Canons can differ per performing ensemble, individual, concert hall, country, city, and so on. It is therefore a tricky term to use, if not ambiguous, but impossible to avoid in a discussion like

17 Nicholas Cook and Mark Everist, Rethinking Music (Oxford: Oxford University Press, 1999), v. 18 Susan McClary, “Of Patriarchs… and Matriarchs, Too. Susan McClary Assesses the Challenges and Contributions of Feminist Musicology,” The Musical Times 135, no. 1816 (1994): 366. 19 Sally Macarthur, Feminist Aesthetics in Music (London: Greenwood Press, 2002), 4. Macarthur wrote this book from a radical feminist point of view. As I write my thesis from a liberal feminist point of view, which works from the ideal of equality, I struggle with her idea of a difference between the music of men and women composers. In more recent books, Macarthur has shown a more liberal feminist point of view, like in her Towards a Twenty-First-Century Feminist Politics of Music. 20 Macarthur, Towards a Twenty-First-Century Feminist Politics of Music, 106. 21 Ibid., 105-107. 22 Ibid., 102-103. 23 Jim Samson, “Canon (iii),” Grove Music Online, accessed 26 April, 2018, http://www.oxfordmusiconline.com.proxy.library.uu.nl/grovemusic/view/10.1093/gmo/9781561592630.001.000 1/omo-9781561592630-e-0000040598?rskey=yd7Bal&result=3.

8 this. William Weber distinguishes three major kinds of canon in his “History of Musical Canon” (1999).24 First, the scholarly canon, in which music is studied in theoretical terms. Second, the pedagogical canon, which was embedded in the tradition of sacred polyphony. The works in this canon were those of master composers of previous generations and only the most skillful musicians were familiar with this canon.25 This refers to the canon of the past that has survived and is the current pedagogical canon that is taught in conservatories and musicology departments. Lastly, the performing canon, which involves “the presentation of old work organized as repertories and defined as sources of authority with regard to musical taste.”26 Weber argues that this canon is more than just a repertory, in that “it is also a critical and ideological force.”27 Thus, the performing canon is one that includes certain works, and excludes others, and by doing so it creates a certain hierarchy. The canon therefore has a certain authority, as the works that are represented in it are examples of what is seen as ‘good’, ‘ideal’, and worth performing. As chapter 3 will show, this is also visible in the programming of BBC Radio 3. The focus of this thesis will thus be on the performing canon. As Marcia Citron pointed out in 1993, the canon is often seen as a replication of social relations.28 This makes it all the more worrying that women are often not included. Another key concept for my discussion is tokenism. A person who is well-known for his use of the term outside the scholarly field is Martin Luther King Jr.29 He spoke of tokenism during the Civil Rights Movement in relation to the rights of African American people, but later the term was adopted in relation to gender issues as well, by authors such as Judith Longs Laws, Rosabeth Kanter, and Lynn Zimmer.30 The term has been applied in the

24 William Weber, “The History of Musical Canon,” in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999). 25 Ibid., 339-340 26 Ibid. 27 Ibid., 340. 28 Marcia J. Citron, Gender and the Musical Canon (Cambridge: Cambridge University Press, 1993), 1. 29 In his speech at Washington’s National Press Club, Martin Luther King described tokenism as the following: “[…] in the tradition of old guards, who would die rather than surrender, a new hastily constructed roadblock has appeared in the form of planned and institutionalized tokenism. Many areas of the South are retreating to a position where they will permit a handful of Negroes to attend all-white schools or allow the employment in lily- white factories of one Negro to a thousand whites. Thus, we have advanced in some places from all-out, unrestrained resistance to a sophisticated form of delaying tactics, embodied in tokenism. In a sense, this is one of the most difficult problems that the integration movement confronts.” (Martin Luther King Jr., “The Case Against ‘tokenism’,” New York Times, August 5, 1962, http://www.thekingcenter.org/archive/document/new-york-times-case-against-tokenism.) 30 Judith Long Laws, “The Psychology of Tokenism: An Analysis,” Sex Roles 1, no. 1 (1975). Rosabeth Moss Kanter, Men and Women of the Corporation (New York: Basic Books, 1977). Lynn Zimmer, “Tokenism and Women in the Workplace: The Limits of Gender-Neutral Theory,” Social Problems 35, no. 1 (1988).

9 field of musicology by authors such as Marcia Citron, Sally Macarthur, and Alejandro L. Madrid.31 Tokenism is understood as the practice of making a gesture to show social inclusion – racial as well as sexual – in order to avoid being accused of discrimination. This happens, for instance, in companies, but also in academic spaces, and in the case of this thesis, in the field of music.32 In reality, the practice of tokenism does little to change the problematic situation.33 A gesture is made, but it does not bring permanent change. Different musicologists see the different sources of the continuous inequality in music in different ways. Macarthur, for example, calls for a radical shift in thinking in music education in her Towards a Twenty-First-Century Feminist Politics of Music, as she feels music education is to blame for the inequality that is present in the performing canon.34 In this thesis, I argue that another major part of the problem, which has been largely overlooked by scholars so far, is tokenism. I consider this in relation to a case study: BBC radio 3. The following chapter will address the policies of BBC Radio.

31 Marcia J. Citron, “Feminist Approaches to Musicology,” in Cecilia Reclaimed: Feminist Perspectives on Gender and Music, ed. Susan C. Cook and Judy S. Tsou (Illinois: University of Illinois Press, 1994), 15-34. Sally Macarthur, Dawn Bennett, Talisha Goh, Sophie Hennekam and Cat Hope, “The Rise and Fall, and the Rise (Again) of Feminist Research in Music: ‘What Goes Around Comes Around’,” Musicology Australia 39, no. 2 (2017). Alejandro L. Madrid, “Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia,” Journal of Music History Pedagogy 7, no. 2 (2017). 32 Zimmer, “Tokenism and Women in the Workplace,” 64-66. 33 Madrid, “Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia,” 126. 34 Macarthur, Towards a Twenty-First-Century Feminist Politics of Music, 20.

10 Chapter 2: BBC Radio 3 and its aims

BBC Radio is a British radio service that was founded in 1922. Today, it runs ten radio stations, ranging from ‘BBC Radio 1’ to ‘BBC Asian Network’, representing a big range of music and speech programmes.35 The focus of this thesis will be on BBC Radio 3, the station that broadcasts mainly classical music, but also pays attention to jazz, world music, documentaries, and speech programmes. When BBC was founded, the corporation had a simple policy: to broadcast the ‘best’ music and deliver it to the people of Great Britain – meaning the 20 percent of the households in Great Britain that owned radios at the time.36 Due to developments in the music industry, the potentials of making music changed. Recording, broadcasting and replaying music became possible. Old repertories were within reach, and also preferred.37 In the early days, the decisions that were made by the corporation were based on entertainment, enlightenment, satisfying all tastes, reaching a wide audience, and achieving the highest standards.38 In order to satisfy all tastes, the corporation needed to offer its audience a varied programme. This variety contained mostly light entertainment like sport, drama, news, talk shows and classical music.39 However, the promise to satisfy all tastes did not always work out well, as BBC was more than once accused of lacking democracy by excluding the audiences’ preferences.40 John Reith, who held high positions at BBC Radio from 1922 until 1938, stated: “it is occasionally indicated to us that we are apparently setting out to give the public what we think

35 These ten radio stations are the following: BBC Radio 1, which broadcastst a mix of ‘new music’ and entertainment for young adults, but also news and documentaries. BBC Radio 1 Xtra, a station that broadcasts contemporary Hip Hop and R&B, especially live music. This station also focuses on young adults, and mixes music with entertainment and news. BBC Radio 2, a radio station that focuses on live pop and rock concerts, comedy, and documentaries. BBC Radio 3, the station that I discuss in this thesis, focuses on classical music, but also broadcasts jazz and world music, speech programmes, documentaries and drama. BBC Radio 4 is a speech radio station that broadcasts news, drama, comedy, and readings. BBC Radio 4 Extra is another speech station that presents comedy, drama, and readings. BBC Radio Five Live broadcasts live news and sports events, including analyses and discussions. BBC Radio Five Live Sports Extra brings a bigger choice of live sports. BBC 6 Music broadcasts popular music ranging from the 60s to the present day. BBC Asian Network is a network that broadcasts speech programmes and music for the British Asian communities. Lastly, BBC Nations and Local Radio is a regional service for England, the Channel Islands, Wales, Scotland, and Northern Ireland, and consists over 40 stations. (“BBC Radio Stations,” About the BBC, accessed 10 June, 2018, http://www.bbc.co.uk/aboutthebbc/insidethebbc/whatwedo/radio.) 36 Jennifer Ruth Doctor, The BBC and Ultra-Modern Music, 1922-1936: Shaping a Nation’s Tastes (Cambridge: Cambridge University Press, 1999), 18-20. 37 Ibid., 15-17. 38 Ibid., 26. 39 Andrew Crisell, An Introductory History of British Broadcasting (London: Routledge, 2002), 29. 40 Ibid., 33.

11 they need – and not what they want, but few know what they want, and very few what they need.”41 It seems as though Reith assumed that there existed such a thing as ‘universal needs’. BBC saw entertainment in an idealized way and aimed to make its audience more critical and to enlarge cultural knowledge.42 Another goal of BBC was to familiarize its listeners with standard repertory: the canon of Western classical music. This canon had to contain only music that was largely accepted by the audience, about which there was no doubt nor controversy of any kind. Programmes therefore mostly included keyboard music by composers as , , , and by the First Viennese School composers.43 To put it differently, this canon contained Western, mostly German, men composers from before 1900. This clearly shows the roots of the focus on nineteenth-century classical men composers that is still present on BBC Radio 3 today. BBC made a shift around 1928: effort was made to promote contemporary music, such as Arnold Schoenberg, Alban Berg, and .44 Also, the corporation tried to make contemporary music understandable for the audience by providing information on the composers and their compositions through, for instance, announcements.45 In the mid 1930s, however, the broadcasting of contemporary music was questioned, and debates started to brisk up.46 Eventually, accessibility and popularity were viewed as the most important aspects in programming music on the radio.47 In 1946, immediately after the Second World War, a special programme was created for ‘serious music’, called the Third Programme, in which classical music, tragic plays, and religion played the most prominent roles.48 The Third Programme was replaced by the station BBC Radio 3 in 1970 and became more progressive over the years. For instance, the music of less conventional composers was broadcast, like that of Johann Baptist Vanhal, Leopold

41 Crisell, An Introductory History of British Broadcasting, 34-35. 42 Doctor, The BBC and Ultra-Modern Music, 27. 43 Ibid., 84-85. These First Viennese School composers were , , and . 44 Ibid., 96. 45 Ibid., 103. The policy statements that were introduced in the 1930s were much less idealistic than before and had three principles: “(a) the different kinds of audiences must be satisfied; (b) the music must be, in each kind, the best; (c) standards of performance must, in each kind, be as high as possible.” There were no notions of entertainment, education or enlightenment in this new policy statement. (Ibid., 188.) 46 Ibid., 281. 47 Ibid., 292. 48 Crisell, An Introductory History of British Broadcasting, 69.

12 Koželuch, and , and efforts were made to broadcast music of women composers every now and then, like that of , , Ethel Smyth, and Rebecca Clarke.49 The present annual plan, that of 2017-2018, regarding all of BBC, states that BBC’s mission in its early days – to inform, educate, and entertain – is still relevant today. Moreover, the corporation wants to become “internet-fit” for the new generation, as BBC realizes that the new generation watches less television and listens to radio less than previous generations did.50 The ‘BBC Radio Diversity Commissioning Guidelines’, published in September, 2017, show another important aim, namely to become more diverse. These diversity guidelines will be discussed in relation to the music of women composers in the next chapter.51

49 Tony Stoller, Classical Music Radio in the United Kingdom, 1945-1995 (Basel: Springer International Publishing, 2017), 179-180. 50 “Annual Plan 2017-18,” BBC, p. 4, accessed 29 May, 2018, http://downloads.bbc.co.uk/aboutthebbc/insidethebbc/howwework/reports/pdf/BBC_Annual_Plan_2017-18.pdf. 51 BBC’s new public purposes read as follows: “to provide impartial news and information; to support learning for people of all ages; to show the most creative, highest quality and distinctive output and services; to reflect, represent and serve the diverse communities of all of the UK’s nations and regions, and support the UK’s creative economy; to reflect the United Kingdom, its culture and values to the world.” Clearly, there is a strong emphasis on BBC’s Britishness, also when it comes to showing British culture and values to the rest of the world. These new public purposes regard the complete corporation of BBC. (Ibid., 8.)

13 Chapter 3: BBC Radio 3 and its tokenism

In this chapter, I will analyse several programmes and schedules that are available on the website of BBC Radio 3 in order to demonstrate that BBC Radio is not as inclusive yet as it claims to be, and is still guilty of practicing tokenism. This chapter first discusses the BBC guidelines for diversity, then follows the analyses of the programming of Composer of the Week, Breakfast, Essential Classics, Radio 3 Lunchtime Concert, Afternoon Concert, Radio 3 in Concert, and Through the Night. It concludes with an analysis of the language that is used in the description of the programmes and on the website of BBC.

3.1. The BBC guidelines for diversity In September 2017, BBC published its ‘BBC Radio Diversity Commissioning Guidelines’. These guidelines describe how much inclusion and diversity matter to BBC, and that BBC has made progress already, but must do even better.52 The guidelines of diversity focus on ethnic minorities, an equal balance regarding gender, people that are disabled, and those identifying as lesbian, gay, bisexual or transgender (LGBT). The guidelines concern not only the on-air portrayal, but also the work force of BBC.53 Figure 1 shows the on-air portrayal targets that are to be reached by 2020 according to the BBC guidelines. 54 The figure down below shows a target of no less than 50 percent of on-air portrayal of women by 2020.

Figure 1: The on-air portrayal targets for 2020.55

52 “BBC Radio Diversity Commissioning Guidelines,” BBC, p. 1, accessed 21 May, 2018, http://downloads.bbc.co.uk/mediacentre/bbc-radio-diversity-commissioning-guidelines.pdf. 53 Ibid., 2. 54 Ibid., 4. 55 Ibid.

14 This would mean that half of the amount of the music that is broadcast on BBC Radio should be that of women. BBC cleverly leaves room for interpretation on whether the 50 percent should be reached by every BBC radio station or whether this regards an overall result for all stations of BBC Radio. The radio stations that broadcast pop music would surely compensate the inequality that is present on BBC Radio 3. However, the guidelines do show ambition for “diversity across the board, not just in one programme.”56 This seems to be a measure against tokenism and a call for permanent change. In order to reach this, a lot of change is required, as a quick glance at the schedules on the website of BBC Radio 3 shows that an overwhelming amount of the composers scheduled in recent months are still men. Besides, one can wonder whether a target of 50 percent is even achievable per radio channel, since there are more recordings available of the music of men composers than of women composers. If, however, the guidelines aim at 50 percent as an overall result for all stations, then perhaps the guidelines can be understood as tokenistic as well, as then there would be no call for permanent change in all of the programming on BBC Radio, but merely a call for compensation.

3.2. Programming The programme Composer of the Week, which is broadcast five days a week throughout the year, has been on-air since 2001. In order to interpret the equality between men and women composers in this programme in recent years, I looked at the composers that were represented from January, 2017 until June, 2018 (see Appendix 1). The outcome was disappointing, to say the least. In the seventy-five weeks that were analysed, only five weeks were dedicated solely to women composers, while no less than sixty-five weeks were dedicated to men composers. The remaining five weeks were dedicated to themes: ‘Women of ’, ‘Birth of Polyphony’, ‘Soviet ’, ‘21st Century ’, and ‘Dowland and his Legacy’.57 In most of these themed weeks, women composers were included, except for the theme ‘Dowland and his Legacy’. The name of the ‘Women of Renaissance Ferrara’ themed week makes one think that there are only women represented in this theme, but this is, ironically, not even remotely the case. Out of the eleven composers who were programmed in this themed week, there were

56 “BBC Radio Diversity Commissioning Guidelines,” p. 12, accessed 21 May, 2018, http://downloads.bbc.co.uk/mediacentre/bbc-radio-diversity-commissioning-guidelines.pdf. 57 ‘Women of Renaissance Ferrara’ was broadcast from 6 until 10 March, 2017, ‘Birth of Polyphony’ from 31 July until 4 August, 2017, ‘Soviet Russia’ from 6 until 17 November, 2017, ‘21st Century Opera’ from 4 until 8 December, 2017, and ‘Dowland and his Legacy’ from 19 until 23 February, 2018.

15 four women and seven men. These seven men composers were, among others, the favorite composers of the and lovers of women at the court. So, even though this themed week was specially programmed for the celebration of International Women’s Day in 2017, men composers still dominated the theme. In the ‘Birth of Polyphony’ themed week, twelve composers were represented, including two women composers, nine men composers, and one anonymous composer. There are only few documented women composers from that time, and the anonymous composer makes things more complicated as nobody knows whether this composer was a woman or a man. However, the balance should have been restored when modern music was scheduled. For instance, in the ‘Soviet Russia’ themed week. In this week, twenty-three composers were represented, of whom three were women and twenty were men. This is a rather striking example, because there are plenty of examples of women composers with representative works and with a significant number of recordings available that could have been chosen for this week. Another striking example is the themed week ‘21st Century Opera’, which shows eighteen composers, representing two women and sixteen men. What can be concluded from these results is that there is no major shift visible in the months after the new BBC guidelines were published, not even in the weeks directly after. Also, the progress that BBC claimed to have already made before September, 2017, is not very notable.

Besides the Composer of the Week, I have also considered the daily schedules of BBC Radio 3 for a week – from 24 May until 31 May, 2018 – to see how often women were represented from morning until midnight on a daily basis (see Appendix 2). I have only selected the programmes that returned on a daily basis, apart from the weekend, which are the following: Breakfast, Essential Classics, Radio 3 Lunchtime Concert, Afternoon Concert, Radio 3 in Concert, and Through the Night. In the programme Breakfast, there is often only one woman composer included, which appears as some sort of token woman composer between all men.58 This is not an exception, however. Essential Classics, which claims to broadcast the ‘best’ in classical music, also tends to include one or two token women composers.59 In the programme Through the Night, which lasts three hours, it is particularly striking that there are often no women included at all,

58 This programme is broadcast from 06:30 a.m. until 09:00 a.m. during week days, and from 07:00 a.m. until 09:00 a.m. in the weekend. 59 This programme is only broadcast during week days from 09:00 a.m. until 12:00 noon.

16 while the number of composers that are represented is rather high – ranging from twenty to thirty composers a night.60 Radio 3 Lunchtime Concert did slightly better.61 It did not include women composers from 24 until 28 May, but did include women composers from 29 until 31 May, arguably because these days presented recordings of the Hay Festival that included a ‘Mendelssohn Plus’ programme: this programme referred to music by composers from - Bartholdy’s entourage or composers that are somehow associated with his music.62 These composers were presented under the label “Mendelssohn Plus”, as if Mendelssohn defined them. The women composers represented are Fanny Mendelssohn Hensel, Clara Schumann, Johanna Müller-Hermann, Maria Szymanowska, and Elizabeth Moconchy. The programme Afternoon Concert represented one woman composer in a week time.63 Radio 3 in Concert represented two women composers in a week time.64 Furthermore, the weekend programming differs from the programming during the week, and shows more attention for jazz, world music, contemporary art music, and . It does not, however, broadcast more music of women composers than during the week, as is visible in Appendix 3. The programming of all of these programmes demonstrates the authority of the (performing) canon. The canon, over all, does not include many women, and this is visible in the programming of BBC Radio 3 as well. It helps maintaining the present form of the performing canon. The major underrepresentation of women composers is striking, which makes the token women composers that are broadcast come across as Other.

3.3 “Mind your language” In this last section, I will look at the language that is used concerning women composers and their music in the descriptions of the programmes on BBC Radio 3 and on the website. The programme Essential Classics is worth taking a closer look at for its use of language. First of all, the title of the programme. The word essential is synonymous with

60 Through the Night is broadcast from 12:30 a.m. until 06:30 a.m. during week days, and from 01:00 a.m. until 07:00 a.m. in the weekend. 61 Radio 3 Lunchtime Concert is a programme that is broadcast from 01:00 p.m. until 02:00 p.m. on a daily basis. The programme is not broadcast on Saturdays, however. 62 The Hay Festival was organized in Hay-on-Wye, Wales, The United Kingdom, from 24 May until 3 June, 2018. It is a festival for literature and arts that has expanded internationally and has festivals in the United Kingdom, Mexico, Spain, Peru, Colombia, and Denmark. 63 Afternoon Concert is broadcast during week days from 02:00 p.m. until 05:00 p.m. 64 Radio 3 in Concert is broadcast every evening from 07:30 p.m. until 10:00 p.m. during week days, and from ±09:30 p.m. until 10:30 p.m. on Sundays.

17 important, fundamental, and necessary, and is therefore very categorizing, as if composers who are not featured in this programme are thus less important today. The description of the programme claims that it broadcasts the ‘best’ in classical music. This is problematic, as it is not clear from which – and whose – point of view this is the ‘best’ in classical music. Looking back at the previous paragraph, I have already demonstrated that this programme tends to include just one or two token women composers in its three hours of broadcasting. This implies that women’s music is not yet viewed as part of the ‘best’ in classical music, and therefore not ‘essential’. Another matter that is worth looking into is the attention that is paid to women composers by BBC Radio 3 on International Women’s Day. I will turn to the International Women’s Day in the previous years to see how things have changed. In 2016, the programme Afternoon Concert broadcast a special edition named ‘Celebrating Women Composers’ on 7, 8, and 9 March, the days around International Women’s Day. This edition of dedication to women later changed its name into ‘International Women’s Day’, only playing women’s music on 8 March instead of multiple days around that date. This attention for women composers on BBC Radio 3 is organized every year on 8 March and not so much in the days, weeks, and months before and after, which contributes to the tokenism that I claimed was already present. The programming of this annual dedication is accompanied by a web page on the website of BBC Radio 3, also called ‘Celebrating Women Composers’.65 On this page, visitors can read several articles about women composers, ranging from articles about forgotten and rediscovered composers to lessons we can learn from certain composers. Also, visitors can listen to playlists with compositions of women composers, and listen to archive recordings of women composers speaking about their own music. This web page is updated only once a year, around 8 March, and stays silent for the rest of the year as though women composers are only interesting in March. Furthermore, the language that is used on this web page comes across as praising and exalting. Words such as ‘great’, ‘empowering’, ‘celebrating’, and ‘awe-inspiring’ are only several of the words that catch the eye when glancing at the page. Even though these words seem innocent and even kind, they “give a particular, contemporary ideological delineation to the phenomena they signify, phenomena in fact implicated in a long history.”66 These descriptive terms are used in an elevating way. It

65 “Celebrating Women Composers,” BBC, accessed 4 June, 2018, https://www.bbc.co.uk/programmes/p02kn2t6. 66 David Clarke uses this description in relation to world music and globalism. David Clarke, “Beyond the Global Imaginary: Decoding BBC Radio 3’s Late Junction,” Radical Musicology 2 (2007): 14.

18 seems as though the terms are used in a way to make up for the fact that women’s music is not often broadcast, and it implies that women composers are courageous to compose while knowing that they are viewed as the Other. The very same can be said about the blogpost that was written by Edwina Wolstencroft, editor at BBC Radio 3, about International Women’s Day on Radio 3 on 29 January, 2015 (see Appendix 4).67 Words and descriptions as ‘celebrating’, ‘wealth of female talent and creativity’, ‘history’s great trailblazers’, as well as the unconfirmed claim that there are 6000 women composers in history, create a feeling of elevation, but also of separation and ‘othering’. By only speaking about women composers and ‘female talent and creativity’, women composers and the supposed ‘female’ talent are separated from men composers, as if the talent of women differs from that of men. This becomes even more problematic when such texts are promoted by BBC Radio 3 only once a year in March. Moreover, the comments that are written underneath the blogpost by two readers, Pamela Blevins and David Webster, show the distrust of (part of) the audience in gender equality on BBC Radio 3. Even though this blogpost and the comments underneath were published two years before the new guidelines appeared, it does show that there was reason to create new guidelines that also concern gender equality.

67 Edwina Wolstencroft, “International Women’s Day on Radio 3,” BBC, accessed 4 June, 2018, http://www.bbc.co.uk/blogs/radio3/entries/9a4fca34-cf26-47b4-a8a8-ff271b17d1fb.

19 Conclusion

Feminist musicology has played a vital role in making women composers and their music visible. However, research on women in music remains a necessity, as the early 2000s showed a rapid decline in feminist musicological work. Nevertheless, the debates in the 1990s have been fruitful, as they have opened possibilities for discussion and made place for the feminist voice in musicology. BBC’s mission in its early days was to inform, educate and entertain, and this is still relevant today. In September, 2017, a new mission came into perspective at BBC, namely to become more diverse in line with the diversity issues present in our society nowadays. The guidelines of 2017 state that BBC has made progress, but that it still requires improvement. The target of the number of women on-air that BBC has set to reach by 2020 is 50 percent. BBC left room for interpretation as to whether this target regards an overall result of all BBC stations, or whether it regards every single station of BBC. My analyses of Composer of the Week, Breakfast, Essential Classics, Radio 3 Lunchtime Concert, Afternoon Concert, Radio 3 in Concert, and Through the Night are only selected examples to show that tokenism is still a daily fact on BBC Radio 3, despite its recent claims in changing the guidelines concerning diversity. Many programmes have shown to include only one or two token women composers a day. The programming of Composer of the Week showed a representation of sixty-five men composers, as opposed to only five women. Most women were included in themed weeks, but even there, women composers were dominated by the much stronger representation of men composers. Furthermore, there is an annual dedication to women composers on 8 March every year, while they are forgotten for the rest of the year, and the language that is being used in the descriptions of the programmes and on the website is elevating, separating, and, most of all, ‘othering’. BBC does not show an understanding of its own guidelines. The woman composer is, in every possible way, presented as the Other on BBC Radio 3. It can be concluded that women composers are programmed as mere tokens on BBC Radio 3. This tokenism hinders the equality in the representation of men and women composers, as it hinders the possibility for women to become part of the canon. The inequality in the representation of women and men composers has more than just one cause, however. It is important to realise that BBC Radio 3 was just one of the hundreds of case studies that I could have chosen. I have chosen BBC Radio 3 because it proclaims to already have made progress regarding its diversity throughout the years.

20 The discussion of my case study in the third chapter fits well in the current debate of musicology concerning tokenism, for example Alejandro L. Madrid’s discussion about diversity and tokenism in the reproduction of knowledge in U.S. academia.68 Also, my discussion fits the current debates about BBC Radio 3, like David Clarke’s discussion of BBC Radio 3’s Late Junction.69 Unfortunately, the book The Classical Music Industry by Chris Dromey and Julia Haferkorn was published too late to be considered in this thesis, but it is most certainly worth to consider this book within a broader musicological discussion of the current BBC Radio 3 policies, as it also discusses forms of engagement and related issues, such as gender, class, prestige, and ethics. Furthermore, future research can offer ideas on making much needed permanent changes in the musical canon and can equally examine how tokenism can be avoided.

68 Alejandro L. Madrid, “Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia,” Journal of Music History Pedagogy 7, no. 2 (2017). 69 David Clarke, “Beyond the Global Imaginary: Decoding BBC Radio 3’s Late Junction,” Radical Musicology 2 (2007).

21 Bibliography

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22

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24 BBC Website Data

About the BBC. “BBC Radio Stations.” Accessed 10 June, 2018. http://www.bbc.co.uk/aboutthebbc/insidethebbc/whatwedo/radio.

BBC. “Annual Plan 2017-18.” Accessed May 29, 2018. http://downloads.bbc.co.uk/aboutthebbc/insidethebbc/howwework/reports/pdf/BBC_Annual_ Plan_2017-18.pdf.

BBC. “BBC Radio Diversity Commissioning Guidelines.” Accessed May 21, 2018. http://downloads.bbc.co.uk/mediacentre/bbc-radio-diversity-commissioning-guidelines.pdf.

BBC. “Composer of the Week.” Accessed 29 May, 2018. https://www.bbc.co.uk/programmes/b006tnxf.

BBC. “Thursday 24 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/24.

BBC. “Friday 25 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/25.

BBC. “Saturday 26 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/26.

BBC. “Sunday 27 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/27.

BBC. “Monday 28 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/28.

BBC. “Tuesday 29 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/29.

25 BBC. “Wednesday 30 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/30.

BBC. “Thursday 31 May, 2018.” Schedule BBC Radio 3. Accessed 30 May, 2018. https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/31.

BBC. “Celebrating Women Composers.” Accessed 4 June, 2018. https://www.bbc.co.uk/programmes/p02kn2t6.

Wolstencroft, Edwina. “International Women’s Day on Radio 3.” BBC. Accessed 4 June, 2018. http://www.bbc.co.uk/blogs/radio3/entries/9a4fca34-cf26-47b4-a8a8-ff271b17d1fb.

26 Appendix 1

Composer of the Week – 2017 and 2018 Note: the names of the women composers who are represented as the composers of the week are highlighted in thick black letters.

2017 2 January – 6 January Arnold Schönberg 9 January – 13 January 16 January – 20 January Joseph Bologne de Saint-Georges 23 January – 27 January 30 January – 3 February Benjamin Britten 6 February – 10 February Alexander Mackenzie 13 February – 17 February Maurice Ravel 20 February – 24 February 27 February – 3 March Ludwig van Beethoven 6 March – 10 March70 The Women of Renaissance Ferrara (St. Catherine of Bologna, Bartolomeo Tromboncino, Cipriano de Rore, Giaches de Wert, Suor Leonora d’Este, Raffaella Aleotti, Vittoria Aleotti, Giahes de Wert, , Lodovico Agostini, Luca Marenzio) 13 March – 17 March 20 March – 24 March Alexander Zemlinsky 27 March – 31 March Sergei Rachmaninov 3 April – 7 April 10 April – 14 April Antonín Dvořák 17 April – 21 April Robert Schumann 24 April – 28 April Nicola LeFanu 1 May – 5 May Michael Praetorius

70 I want to emphasize that this was broadcast from 6 March until 10 March (2017), the week of International Women’s Day, which is celebrated on 8 March every year.

27 8 May – 12 May 15 May – 19 May Claudio Monteverdi 22 May – 26 May Johan Strauss I and II 29 May – 2 June Rebecca Clarke 5 June – 9 June Frédéric Chopin 12 June – 16 June 19 June – 23 June 26 June – 30 June 3 July – 7 July Marc-Antoine Charpentier 10 July – 14 July Olivier Messiaen 17 July – 21 July Joseph Haydn 24 July – 28 July William Mathias 31 July – 4 August Birth of Polyphony (Hildegard von Bingen, Léonin, Pérotin, Beatriz de Dia, , Anonymous, , , Anthonello de Caserta, Giovanni da Cascia, , ) 7 August – 11 August 14 August – 18 August 21 August – 24 August Béla Bartók 28 August – 1 September Johannes Brahms 4 September – 8 September Wolfgang Amadeus Mozart 11 September – 15 September 18 September – 22 September 25 September – 29 September 2 October – 6 October Felix Mendelssohn 9 October – 13 October Antonio Vivaldi 16 October – 20 October 23 October – 27 October 30 October – 3 November

28 6 November – 17 November (two weeks) Soviet Russia (Sergei Prokofiev, , Alexander Mosolov, , Nikolai Myaskovsky, Gavriil Popov, , Dmitry Kabalevsky, Tikhon Khrennikov, Aram Khachaturian, Georgy Sviridov, Revol Bunin, , Rodion Shchedrin, , Vladimir Martynov, , , Nikolai Kapustin, , Yuri Kasparov, Nikolai Korndorf) 20 November – 24 November Thelonious Monk 27 November – 1 December 4 December – 8 December 21st Century Opera (Philip Glass, , Heiner Goebbels, George Benjamin, , , Louis Andriessen, Jonathan Harvey, Karlheinz Stockhausen, Thomas Adès, Salvatore Sciarrino, Gerald Barry, Philippe Boesmans, Brian Ferneyhough, Georg Friedrich Haas, Detlev Glanert, Pascal Dusapin, Olga Neuwirth) 11 December – 15 December 18 December – 22 December Johann Sebastian Bach 25 December – 29 December Cole Porter

29 2018 2 January – 5 January Colin Matthews 8 January – 12 January 15 January – 19 January Ludwig van Beethoven 22 January – 26 January Witold Lutosławski 29 January – 2 February 5 February – 9 February Tōru Takemitsu 12 February – 16 February Jean Sibelius 19 February – 23 February Dowland and his Legacy (, Benjamin Britten, Percy Grainger, Thomas Adès) 26 February – 2 March 5 March – 9 March Rachel Portman71 12 March – 16 March Joseph Haydn 19 March – 23 March Claude Debussy 26 March – 30 March 2 April – 6 April Robert Schumann 9 April – 13 April Johann Pachelbel 16 April – 20 April 23 April – 27 April Barbara Strozzi 30 April – 4 May 7 May – 11 May Lili Boulanger 14 May – 18 May Johannes Brahms 21 May – 25 May Maurice Ravel 28 May – 1 June 4 June – 8 June Frédéric Chopin72

71 I want to emphasize that Rachel Portman was the Composer of the Week from 5 March until 9 March (2018), the same week in which International Women’s Day is celebrated. 72 “Composer of the Week,” BBC, accessed 29 May, 2018, https://www.bbc.co.uk/programmes/b006tnxf.

30 Appendix 2

BBC Radio 3 – schedules 24 May 2018 until 31 May 2018 Note: the names of the women composers who are represented in these programmes are highlighted in thick black letters.

Thursday 24 May Breakfast Edvard Grieg, , Antonio Soler, Johann Sebastian Bach, Francesco Maria Veracini, Gabriel Fauré, François Couperin, Ludwig van Beethoven, Cipriano de Rore, Leoš Janáček, Wolfgang Amadeus Mozart, Christoph Willibald Gluck, Benjamin Britten, Henri Rabaud, Hammamizade İsmail Dede Efendi, Elena Kats-Chernin, , William Denis Browne, Pyotr Ilyich Tchaikovsky, Colin McPhee, Franz Schubert, Felix Mendelssohn.

Essential Classics , , Ermanno Wolf-Ferrari, , , Claude Debussy, Giuseppe Verdi, Francisco Guerrero, Franz Schubert, John Dowland, Johan Svendsen, Antonio Bazzini, Sergei Rachmaninov, John Philip Sousa, Wolfgang Amadeus Mozart, George Frideric Handel, Erno Dohnanyi, Cécile Louise Chaminade, Ludwig van Beethoven, Giovanni Gabrieli, Jean-Philippe Rameau, Frédéric Chopin, Richard Strauss.

Radio 3 Lunchtime Concert Wolfgang Amadeus Mozart, Max Bruch, Johannes Brahms.

Afternoon Concert Modest Mussorgsky, Richard Strauss, Aulis Sallinen.

Radio 3 in Concert Felix Mendelssohn, Johannes Brahms.

Through the Night Giovanni Pierluigi da Palestrina, Nicolas Gombert, Claude LeJeune, , Robert Schumann, Claude Debussy, Edward Elgar, Franz Schubert, Albertus Groneman, Franz Liszt, Niccolò Paganini, Antonio Vivaldi, Georg Philipp Telemann, ,

31 Benjamin Britten, Astor Piazzolla, Wolfgang Amadeus Mozart, Ludwig van Beethoven, .73

Friday 25 May 2018 Breakfast Georg Philipp Telemann, Alexander Gretchaninov, Robert Schumann, Johann Sebastian Bach, Antonín Dvořák, Jocelyn Pook, György Ligeti, Terry Riley, Claude Debussy, Dick Mills, , Maurice Ravel, Felix Mendelssohn.

Essential Classics Isaac Albéniz, Ludwig van Beethoven, Thomas Tallis, , Joseph Haydn, Cécile Louise Chaminade, Edward Elgar, Gabriel Fauré, Samuel Scheidt, Edvard Grieg, Arthur Sullivan, Giuseppe Baldassare Sammartini, Wolfgang Amadeus Mozart, Albert Ketèlbey, Zoltán Kodály, Franz Liszt, George Enescu, George Frideric Handel, Alexander Glazunov, Johann Sebastian Bach, Karl Goldmark, John Dowland, James MacMillan, Carl Maria von Weber.

Radio 3 Lunchtime Concert Herbert Howells, Johannes Brahms.

Afternoon Concert Franz Berwald, Kurt Atterberg, Antonín Dvořák, Robert Schumann, Allan Pettersson.

Radio 3 in Concert Karin Polwart, Michael Daugherty, Leonard Bernstein, Frederick Loewe, Georges Bizet, James MacMillan, Johann Sebastian Bach, George Gershwin, Django Reinhardt.

Through the Night Claude Debussy, Isaac Albéniz, , Franz Schubert, Joaquín Rodrigo, , Wolfgang Amadeus Mozart, Johann Sebastian Bach, Malcolm Arnold, Guillaume

73 “Thursday 24 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/24.

32 de Machaut, Barbara Strozzi, Marcel Poot, Alexander Tekeliev, Giacomo Puccini, Hildegard von Bingen, Mieczysław Karłowicz, Antonín Dvořák, Benjamin Britten, Henri Sauguet, Ludwig van Beethoven.74

Saturday 26 May (Appendix 3 contains a more detailed schedule of the weekend.) Breakfast , Johannes Brahms, Andrea Falconieri, Malcolm Arnold, William Byrd, Johann Sebastian Bach, Claude Debussy, Frédéric Chopin, Phyllis Tate, George Shearing, Franz Berwald, Joseph Haydn.

In the evening, Jake Heggie’s Dead Man Walking was broadcast, as well as works from Sergey Stroykin and Onuté Narbutaité. In the programme ‘Hear and Now’, works by Ashley Fure, Evan Johnson, Kristin Thora Haraldsdottir, Marc Sabat, and Rytis Mažulis were broadcast.

Through the Night Leoš Janáček, Gabriel Fauré, Niccolo Paganini, Fritz Kreisler, Richard Strauss, Camille Saint- Saëns, Ludwig van Beethoven, Jean Papineau-Couture, Igor Stravinsky, Johann , Wolfgang Amadeus Mozart, Veselin Stoyanov, Alexander Scriabin, Dario Castello, Gustav Holst, Primož Ramovš, Johann Michael Bach, Franz Schubert, Francesco Durante, Gioachino Rossini, Philippe Verdelot, Costanzo Porta, Gerónimo Giménez, Graeme Koehne, Giovanni Gabrieli, Antonín Dvořák, Béla Bartók, Pierre-Gabriel Buffardin, Alban Berg, Jean Sibelius.75

74 “Friday 25 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/25. 75 “Saturday 26 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/26.

33 Sunday 27 May (Appendix 3 contains a more detailed schedule of the weekend) Breakfast Antonio Salieri, César Franck, Camille Saint-Saëns, Benjamin Britten, William Walton, Carl Maria von Weber, Johann Sebastian Bach, George Frideric Handel, Charles Villiers Stanford, Thomas Selle, Frédéric Chopin.

Sunday Morning Morton Gould, Stevie Wishart, Luciano Berio, Steve Reich, Georges Bizet, Richard Strauss, Igor Stravinsky, Johann Sebastian Bach.

Radio 3 Lunchtime Concert Claudio Monteverdi, Girolamo Frescobaldi, Giovanni Girolamo Kapsberger.

Radio 3 in Concert Thomas Tallis, Kaija Saariaho, Johann Sebastian, Pēteris Vasks.

Early Music Late , François Couperin.

Through the Night Igor Stravinsky, Sergei Prokofiev, Eugène Ysaÿe, Benjamin Britten, Dmitri Shostakovich, Joseph Haydn, Edvard Grieg, Albert Moeschinger, Richard Strauss, Jean-Baptiste Barrière, César Franck, Antonio Cesti, Wolfgang Amadeus Mozart, , Gioachino Rossini, Antonio Vivaldi, Healey Willan, Robert Schumann, Django Reinhardt, George Frideric Handel, Karol Szymanowski, Joseph Leopold Eybler, Jean Sibelius, Georg Philipp Telemann.76

76 “Sunday 27 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/27.

34 Monday 28 May Breakfast Percy Whitlock, Joseph Haydn, , Johann Sebastian Bach, Armas Järnefelt, Maurice Ravel, Carl Nielsen, Franz Schubert, Frédéric Chopin, Sulpitia Cesis, Peter Macwell Davies, Isaías Sávio, Jacques Offenbach, Ludwig van Beethoven, , Hanns Eisler, György Ligeti, Marc-Antoine Charpentier, Arthur Bliss, Robert Schumann, Jason Yarde.

Essential Classics Malcolm Arnold, Amy Beach, Franz Schubert, Manuel de Falla, Heitor Villa-Lobos, Johann Sebastian Bach, Wolfgang Amadeus Mozart, George Gershwin, Leonard Bernstein, James MacMillan, Aaron Copland, Granville Bantock, William Lloyd Webber.

Radio 3 Lunchtime Concert Joseph Haydn, Felix Mendelssohn.

Afternoon Concert Joseph Haydn, Wolfgang Amadeus Mozart, Ittai Shapira, John Joubert, Guto Puw.

Radio 3 in Concert Jule Styne, Richard Rodgers, Ary Barroso, Pyotr Ilyich Tchaikovsky, Irving Berlin, Antonio Vivaldi.

Through the Night Edward Elgar, Maurice Ravel, Claude Debussy, Gabriel Fauré, César Franck, Lili Boulanger, David Matthews, Nikolai Rimsky-Korsakov, Frank Bridge, Antonio Vivaldi, , Claudin de Sermisy, Felix Mendelssohn, Ralph Vaughan Williams, William Walton, Giuseppe Tartini, Frédéric Chopin, Benjamin Britten, Georg Philipp Telemann, Franz Schubert, Arthur Butterworth, Paul Gilson.77

77 “Monday 28 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/28.

35 Tuesday 29 May Breakfast Vasily Andreyev, Giuseppe Verdi, Matthew Locke, Alexander Grechaninov, Johann Sebastian Bach, Claude Debussy, Ludwig van Beethoven, Michael Berkeley, Mario Castelnuovo-Tedesco, Frédéric Chopin, Isaac Albéniz, James Price Johnson, Wolfgang Amadeus Mozart, Antonín Dvořák, Giovanni Gabrieli, Frederick Rosse, Joseph Haydn, Carl Nielsen, Miguel Llobet Solés, Chiara Margarita Cozzolani, Bart Howard.

Essential Classics Nicola Porpora, Giuseppe Verdi, Ludwig van Beethoven, Richard Strauss, Frédéric Chopin, Johannes Brahms, Francesca Caccini, Camille Saint-Saëns, Frédéric Chopin, , Isaac Albéniz, Joseph Martin Kraus, , Stanisław Moniuszko, Felix Mendelssohn, Johann Pachelbel, Sergei Prokofiev, Clara Schumann, Herbert Howells, Uuno Klami, Wolfgang Amadeus Mozart.

Radio 3 Lunchtime Concert Felix Mendelssohn, Fanny Mendelssohn Hensel, Robert Schumann, Clara Schumann, Johanna Müller-Hermann, Richard Strauss.

Afternoon Concert Jean Sibelius, Carl Nielsen, Alun Hoddinott, Mark Bowden, Ittai Shapira, Mared Emlyn.

Radio 3 in Concert Johannes Brahms, Béla Bartók, Franz Schubert.

Through the Night Jean Sibelius, Bohuslav Martinů, Pyotr Ilyich Tchaikovsky, Edvard Grieg, Ludwig van Beethoven, Francis Poulenc, Felix Mendelssohn, Wolfgang Amadeus Mozart, Johann Sebastian Bach, Carlo Gesualdo, Vittorio Monti, Johannes Brahms, Niccolò Paganini, Frédéric Chopin, Antonio Vivaldi, Erik Satie, Camille Saint-Saëns, Leoš Janáček, Johann Kaspar Mertz, Carl Nielsen, George Gershwin, Antonín Dvořák.78

78 “Tuesday 29 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/29.

36 Wednesday 30 May Breakfast Ernő Dohnányi, Alonso Lobo, Louise Farrenc, Johann Sebastian Bach, Franz Schubert, Gerald Finzi, Nikolay Tcherepnin, Max Bruch, Hans Pfitzner, Judith Weir, Orlando Gibbons, Wolfgang Amadeus Mozart, Richard Strauss, The Doors, Frédéric Chopin, George Antheil, Robert Schumann, Foday Musa Suso, Rutland Boughton, Isaac Albéniz, Gabriel Fauré.

Essential Classics Carl Maria von Weber, Frédéric Chopin, Benjamin Britten, Antonio Vivaldi, Ludwig van Beethoven, , Mikhail Ivanovich Glinka, Wolfgang Amadeus Mozart, Thomas Arne, , Maurice Ravel, Pyotr Ilyich Tchaikovsky, Franz Liszt, Nina Simone, Joseph Haydn, Sergei Rachmaninov, Edward Elgar, Franz Schubert, Cristóbal de Morales, Johannes Brahms, Antonín Dvořák.

Radio 3 Lunchtime Concert Felix Mendelssohn, Maria Szymanowska, Fanny Mendelssohn Hensel, Clara Schumann, Robert Schumann.

Afternoon Concert George Antheil.

Radio 3 in Concert Karol Szymanowski, Pyotr Ilyich Tchaikovsky.

Through the Night Edward Elgar, Antonín Dvořák, George Enescu, , Maurice Ravel, Wolfgang Amadeus Mozart, Johann Sebastian Bach, Heitor Villa-Lobos, Knudåge Riisager, Joseph Haydn, Gabriel Fauré, Robert Schumann, Georg Philipp Telemann, Johannes Bernardus van Bree, Sergei Rachmaninov, Karol Szymanowski, Henry Purcell, Antonio Salieri, John Thomas, Erich Wolfgang Korngold, , František Jiránek.79

79 “Wednesday 30 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/30.

37 Thursday 31 May Breakfast Johann Pachelbel, Franz Liszt, Ester Mägi, Johann Sebastian Bach, Gabriel Fauré, Dario Costello, Carl Philipp Emanuel Bach, Felix Mendelssohn, Albert Roussel, Henry Purcell, Wolfgang Amadeus Mozart, Louis-Claude Daquin, Harold Fraser-Simson, Franz Schubert, Edward Elgar, Stefano Landi, Zoltán Kodály, Maurice Ravel, Owain Park, Marin Marais, Billy Mayerl, George Gershwin, .

Essential Classics Edvard Grieg, , Pyotr Ilyich Tchaikovsky, Clara Schumann, Georg Philipp Telemann, Ralph Vaughan Williams, Joseph Haydn, Graham Fitkin, Johannes Brahms, Claude Debussy, Anton Webern, Gustav Holst, Antonín Dvořák, Errollyn Wallen, Wolfgang Amadeus Mozart, Edward Elgar, Benjamin Fritten, Elfrida Andrée, Franz Schubert, Dmitri Shostakovich.

Radio 3 Lunchtime Concert Felix Mendelssohn, Elizabeth Moconchy, Antonín Dvořák.

Afternoon Concert Puccini.

Radio 3 in Concert Thomas Tallis, Robert White, John Sheppard, Thomas Tomkins.

Through the Night Sergei Taneyev, Sergei Rachmaninov, Pyotr Ilyich Tchaikovsky, Sergei Prokofiev, Johann Sebastian Bach, Albertus Groneman, Claude Debussy, Morten Lauridsen, Lionel Daunais, Johannes Brahms, Joseph Haydn, Wolfgang Amadeus Mozart, Béla Bartók, Frédéric Chopin, Felix Mendelssohn, Johannes Brahms, George Frideric Handel, Jacob Wilhelm Lustig, Georg Philipp Telemann, Franz Schubert, Toivo Kuula, Gustav Uwe Jenner, .80

80 “Thursday 31 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/31.

38 Appendix 3

The full weekend schedules

Saturday 26 May Breakfast Carl Czerny, Johannes Brahms, Andrea Falconieri, Malcolm Arnold, William Byrd, Johann Sebastian Bach, Claude Debussy, Frédéric Chopin, Phyllis Tate, George Shearing, Franz Berwald, Joseph Haydn.

Record Review Leoš Janáček, Sergei Rachmaninov, Carl Philipp Emanuel Bach, Francesco Canova da Milano, Josef Suk, Maurice Ravel, Béla Bartók, Claude Debussy.

Music Matters Music Matters is a speech programme by which, on 26 May, broadcast an interview with the French conductor Stéphane Denève. Also, da gamba player Hille Perl discussed the challenges of Early Music repertoire, and the new book ‘Chopin’s Piano – a journey through ’ was discussed.

Inside Music Elizabeth Purnell, Darius Milhaud, Emmanuel Chabrier, Aaron Copland, Johann Sebastian Bach, James MacMillan, Sofia Gubaidulina, Herbert Howells, Joby Talbot, Eriks Esenvalds, Franz von Suppé, Owain Park, Olivier Messiaen, Domenico Scarlatti, Benjamin Britten, Charles-François Gounod.

Sound of Cinema William Walton, Shaun Davey, Patrick Doyle, Jen Anderson, Georges Auric, Herbert Stothart, Howard Shore, Jerry Goldsmith, Éric Serra, Mischa Spoliansky, Michel Legrand, Marcel Barsotti, Maurice Jarre, Jeff Danna, Brian Byrne, John Powell.

Jazz Record Requests Nucleus, Tomasz Stanko, Duke Ellington, Juan Tizol, Alex Hill, Nacio Herb Brown, Jimmy Davis, Roger Ramirez, Clifford Jordan, Loz Speyer, Robert Sour, Johnny Green.

39

J to Z J to Z is a weekly programme that broadcasts jazz from the past and the present. Unfortunately, there is no schedule available of this programme.

Opera on 3 Jake Heggie.

International Rostrum of Composers Sergey Stroykin, Onutė Narbutaitė.

Hear and Now Ashley Fure, Marc Sabat, Evan Johnson, Pascale Criton, Kristin Thora Haraldsdottir, Rytis Mazulis.

Geoffrey Smith’s Jazz Saul Chaplin, George Gershwin, Count Basie, Fats Waller, Jay Livingston, Lester Young, Harry Edison, Joseph Meyer, Ted Fiorito, Buck Clayton.

Through the Night Darius Milhaud, Leoš Janáček, Gabriel Fauré, Niccolo Paganini, Fritz Kreisler, Richard Strauss, Camille Saint-Saëns, Ludwig van Beethoven, Jean Papineau-Couture, Igor Stravinsky, Johann Michael Haydn, Wolfgang Amadeus Mozart, Veselin Stoyanov, Alexander Scriabin, Dario Castello, Gustav Holst, Primož Ramovš, Johann Michael Bach, Franz Schubert, Francesco Durante, Gioachino Rossini, Philippe Verdelot, Costanzo Porta, Gerónimo Giménez, Graeme Koehne, Giovanni Gabrieli, Antonín Dvořák, Béla Bartók, Pierre-Gabriel Buffardin, Alban Berg, Jean Sibelius.81

81 “Saturday 26 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/26.

40 Sunday 27 May Breakfast Antonio Salieri, César Franck, Camille Saint-Saëns, Benjamin Britten, William Walton, Carl Maria von Weber, Johann Sebastian Bach, George Frideric Handel, Charles Villiers Stanford, Thomas Selle, Frédéric Chopin.

Sunday Morning Morton Gould, Stevie Wishart, Luciano Berio, Steve Reich, Georges Bizet, Richard Strauss, Igor Stravinsky, Johann Sebastian Bach.

Private Passions Gustav Mahler, Glynn Jones, George Frideric Handel, Johann Sebastian Bach, Anouar Brahem, George Gershwin.

Radio 3 Lunchtime Concert Claudio Monteverdi, Girolamo Frescobaldi, Giovanni Girolamo Kapsberger.

Radio 3 in Concert Thomas Tallis, Kaija Saariaho, Johann Sebastian, Pēteris Vasks.

The Early Music Show John Marsh, George Frideric Handel, Arcangelo Corelli, Thomas Arne.

Choral Evensong Thomas Attwood, Joseph Haydn, John Alcock, George Frideric Handel, Samuel Wesley, Wolfgang Amadeus Mozart.

Choir and Organ Robert Shumann, Thomas Tallis, Jaakko Mäntyjärvi, Giuseppe Verdi, Mia Makaroff, William Byrd, Mark Hall, Johann Sebastian Bach, Arvo Pärt, Bob Chilcott, Selga Mence, Antonín Dvořák, George Frideric Handel.

41 The Listening Service Ludwig van Beethoven, Carl Stalling, Erik Satie, Joby Talbot, Wolfgang Amadeus Mozart, Johannes Haessler, Robert Schumann, , Anton Webern, , Frédéric Chopin, Johann Sebastian Bach, Judith Weir, Napalm Death, Béla Bartók, György Kurtág, JLIAT, György Ligeti.

Words and Music Dave Brubeck, John Dowland, Ludwig van Beethoven, Frank Churchill, Jonathan Dove, Sergei Prokofiev, Gene de Paul, Charles-Valentin Alkan, Claude Debusy, Kurt Weil, Giovanni Gabrieli, Joseph Haydn, Béla Bartók, David Bowie, Heitor Villa-Lobos, Max Bruch, Yoshihiro Kanno, Richard Strauss, Benjamin Britten, Malcolm Arnold, Antoine Reicha, Camille Saint-Saëns.

Sunday Feature The playlist for this programme only shows the artists, but no composers: Miles Davis, Charlie Parker, Dizzy Gillespie, The Osborne Brothers, Lee Morgan, Blue Mitchell, Bill Caffey, Chet Baker.

Drama on 3 Sean O’Casey’s tragic-comedy Juno and the Paycock.

Radio 3 in Concert Thomas Tallis, Kaija Saariaho, Johann Sebastian Bach, Pēteris Vasks.

Early Music Late Marin Marais, François Couperin.

BBC National of Wales Alun Hoddinott, Michael Berkeley, , Jonathan Dove, Darius Milhaud.

Through the Night Igor Stravinsky, Sergei Prokofiev, Eugène Ysaÿe, Benjamin Britten, Dmitri Shostakovich, Joseph Haydn, Edvard Grieg, Albert Moeschinger, Richard Strauss, Jean-Baptiste Barrière, César Franck, Antonio Cesti, Wolfgang Amadeus Mozart, Daniel Auber, Gioachino Rossini,

42 Antonio Vivaldi, Healey Willan, Robert Schumann, Django Reinhardt, George Frideric Handel, Karol Szymanowski, Joseph Leopold Eybler, Jean Sibelius, Georg Philipp Telemann.82

82 “Sunday 27 May, 2018,” Schedule, BBC Radio 3, accessed 30 May, 2018, https://www.bbc.co.uk/schedules/p00fzl8t/2018/05/27.

43 Appendix 4

This appendix shows screenshots of Edwina Wolstencroft’s blogpost about International Women’s Day on Radio 3 on 29 January, 2015, and the comments that were posted underneath the blogpost by readers.83

The blogpost by Wolstencroft

83 Edwina Wolstencroft, “International Women’s Day on Radio 3,” BBC, accessed 4 June, 2018, http://www.bbc.co.uk/blogs/radio3/entries/9a4fca34-cf26-47b4-a8a8-ff271b17d1fb.

44

45 The comments that readers left underneath the blogpost

46

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