BBC Trust’S Editorial Standards Committee

SERVICE REVIEW OF RADIOS 3 AND 4 SUBMISSION FROM BBC AUDIENCE COUNCIL FOR SCOTLAND RADIO 3 Classical music repertoire Radio 3’s Service Licence states that the network “should produce regular special events on significant themes across a wide range of music and arts topics. The great composers should regularly be represented on Radio 3, but there should also be a range of less familiar music in order to introduce listeners to new works." There was discussion at the focus group on the range of repertoire available on the Radio 3. Two main points emerged. Broadening awareness Listeners place a high value on the network’s ability to broaden their awareness of the extent of the classical music repertoire. “One of its functions is to be like a public library of music.” This applied to other genres, such as jazz and world music, as well. Radio 3’s role in relation to the mainstream repertoire is not to support it, but to challenge it. “You’re always learning... but it’s never condescending, and you’re never preached at.” “There is lots of assumed knowledge [of music], but there are other places for people who don’t have that, like Classic FM” “It’s not targeted at a particular age... it’s targeted at people who want to be stimulated or challenged” (West of Scotland, early 20s) For some loyal listeners, the range of repertoire was thought to have narrowed in the last ten years or so: coverage of new music was said to be less extensive now. Connecting between genres The role of extending listeners’ awareness applied between genres as well as within them. Listeners appreciated the network’s ability to break down the ‘departments’ of music, making connections between genres. This is largely achieved by ‘serendipity’, so unpredictability and surprise in the schedule, and the repertoire – mixing the mainstream and the less-well-known – is important. “Late Junction is a great example of serendipity at work– it can take you anywhere”. The Council believes Radio 3 does enable listeners to broaden their awareness of music within and between genres. Listeners have varying degrees of awareness, and 1 Radio 3 rightly seeks to satisfy listeners at a range of levels, from those beginning to develop an interest in classical music, through to devotees and professionals. To work for everyone, the network needs to strike a careful balance. The breakfast and drive-time programmes find room for the unexpected. Imaginative scheduling such as the recent 1910 Proms is another way of introducing less common repertoire. “The 1910 prom was an excellent example of Radio 3 doing what it should be doing”. The Council believes Radio 3 must retain its commitment to commissioning and playing new work. This is an important part of musical patronage in Scotland and across the UK. However the challenge offered by some contemporary music can repel as many listeners as it attracts, and R3 needs to approach this type of music with care. To attract more listeners to new music, there might be scope for providing more context and guidance on how to understand and appreciate contemporary work. Why is reach lower in Scotland? The Council and the focus group contributors noted a number of possible factors. Different cultural mix? Scotland differs from the rest of the UK in the pattern of its cultural interests and in the range and mix of musical tastes. Attendance at classical music events may be lower per head of population than in many other areas of the UK. Research by the Scottish Arts Council in 2008 (TNS) showed 6% of the Scottish population attending orchestral music events in 2008, lower than those reported in comparable data for all areas of England and Wales except the North East, Yorkshire and Humberside. However it is not clear how helpful such measures are: many factors influence attendance at concerts, including the volume and consistency of provision of concerts themselves, and the availability of public transport. The survey also reflects the distinctive pattern of musical taste in Scotland, with higher percentages shown for Scottish traditional and folk music events (9%) and other genres. The point is that there is great interest in music in Scotland – the question is whether Radio 3 could do more to expand the audience for the genres in which it specialises. Scottish content underplayed? The focus group felt that performance in Scotland was properly reflected, noting relays from festivals, orchestral concerts and a special week of concerts in March 2010 from the Royal Scottish Academy of Music and Drama. Some members of the focus group believed there was too narrow a range of Scottish music reflected on Radio 3, limited to “a small number of well-known names such as Carver to MacMillan”. For some, coverage of the contemporary music scene in particular in Scotland was too narrow, and did not reflect the true range and diversity of the current scene. 2 One member of the focus group examined two months of output: “It quickly became clear that British music in general is being well, and quite consistently, represented, with an excellent mixture of earlier and later centuries and less familiar as well as well-known repertoire. If there is a gap, it would be the period after Handel (of course an honorary Englishman!) and before Elgar. While it is true that this was a relatively fallow period for indigenous composers, a little digging may well produce some surprisingly competent writing. The other aspect which struck me was the relative under-representation of Scottish (and I suspect Welsh and Irish, too) repertoire. While the Scottish art music repertoire is much less extensive than the English, there is material from most periods with many positive qualities. The gap between Carver and MacMillan can provide more than a single work from a single composer (the inevitable MacCunn “Land of the Mountain...”). This is not an overtly nationalistic point – it is, I think, a question of how “British-ness” is represented through our culture. Perhaps the metropolitan centre is relying on its outposts in the other nations to put repertoire forward, but the outposts are anxious to avoid seeming parochial? However it is, there is much fine music which is not being represented.” And the point was made about genres other than classical music: “There’s lots of folk and trad on the world music programmes but it’s almost all English, rarely Scottish.” Council noted the range of Scottish music (and culture) represented in and around Radio 3’s special week of programmes from Scotland (February/March 2010). Classical work was represented by James MacMillan, Sally Beamish, Alexander MacKenzie and Cecil Coles, but traditional song, bagpipes and jazz also featured in programming across the week. Council welcomes initiatives such as this, but emphasises that the richness and breadth of Scottish music-making in all genres should be reflected on an ongoing basis on the network, and not only on one-off occasions. In addition (although there is no data on this question) it would be surprising if the week of events did not have a significant positive impact on the profile of Radio 3 in Scotland. There was favourable press coverage. Council believes this sort of event is likely to grow the audience for classical music, and also for Radio 3, in Scotland, and should be held more regularly. Representation of national culture as such is not, of course, the driver for audiences to Radio 3. ”The purpose of Radio 3 is to allow you to locate yourself in relation to global culture – not to focus on your own.” Nevertheless the Council believes it is important that Scottish music making and heritage be given its proper place in the music tradition in the UK, and this is what is in question. 3 Council believed that, in spite of the excellent recent work done by Radio 3, there is still scope in the future for the network to improve its coverage of Scottish music and culture and set it in its European and global context. Tone? It was suggested that the network’s presentation style might be perceived as “English” – even though many of its prominent voices are drawn from across the UK including Scotland. The Council believes it would be useful for the station assess its tone of voice periodically. Comments from listeners in younger age groups stressed the importance of pace. “It’s a bit serene sounding – it could be more buzzy and exciting. It sometimes is – like the fantastic interview with Sondheim on Composer of the Week which was really pacy and sparky. Depends on the time of day, but it usually works better for me when it’s not too laid back. It can be too soporific.” Increasing reach in Scotland Council believes there is scope for Radio 3 to connect with its “natural constituency” in Scotland to a greater extent than it currently does. Glasgow, where the BBC Scottish Symphony Orchestra is based in the City Halls complex, is a vibrant musical centre with a distinguished music history, a lively contemporary musical life, and is said to be the city with more music students than any other in the UK outside London. This does suggest that the West of Scotland should be more fertile ground for Radio 3. A number of suggestions were made. Scottish cultural content The Service Licence states that the network “should contribute to [reflecting the UK’s nations, regions and communities]. It should broadcast concerts and events from venues across the UK. Through its interactive aspects, such as message boards, Radio 3 should facilitate the creation of communities of interest.” There is high quality coverage of aspects of Scottish culture on Radio 3.

Load more