Flow or Stop? Culture Matters in P3’s Music Radio Production Wallevik, Katrine Publication date: 2019 Document version Publisher's PDF, also known as Version of record Document license: CC BY-NC-ND Citation for published version (APA): Wallevik, K. (2019). Flow or Stop? Culture Matters in P3’s Music Radio Production. Det Humanistiske Fakultet, Københavns Universitet. Download date: 11. Oct. 2021 FLOW OR STOP? CULTURE MATTERS IN P3’S MUSIC RADIO PRODUCTION - PhD Dissertaton by Katrine Wallevik Musicology Secton, Department of Arts and Cultural Studies University of Copenhagen 2019 1 TABLE OF CONTENT - BLACK TRACK FOREWORD.............................................................................................. 8 1. INTRODUCTION................................................................................... 10 Prologue: The Producton of Culture.................................................................... 10 Producton of Public Service Popular Music Radio (PSPMR)................................ 14 Meetng the Field: Heroes or Villains? Myths Around DR and the Head of Music....... 15 Entering the Field........................................................................................................... 16 Heated Critque or Hot Engagement? Diferent Investments in DR..................... 17 Transitoning Times: The Idea of a New Media Reality in Public Service...................... 17 My Investments............................................................................................................. 18 My Analytcal Cuts in Doing Ethno-Musicological Studies of Radio Producton... 18 Popular Music Radio Producton as Cultural Practce................................................... 19 Maters of New Media and Digitalizaton..................................................................... 22 The Gender Imbalance in Danish Music Producton Networks..................................... 22 The Research Questons and Build-Up................................................................. 24 Expert Practtoners and Apprentces............................................................................ 24 Content: A Reading Guide.................................................................................... 26 2. EXPLORING METHOD WHILE GETTING UP EARLY IN THE MORNING 29 Being in the Field, Figuring the Field, and (Re)Creatng the Field in Writng........ 29 To Walk and to Tell Diferent Stories............................................................................. 30 Sensemaking Around Things and Touching Objects..................................................... 33 Depictng Organizaton: Ice Cubes and Black Boxes on Amager........................... 38 Objects that cohere: John Law’s theory of the fractonal..................................... 43 Søren’s Song.................................................................................................................. 55 Creatng Multple-Centred Coherence by Writng Diferent Stories Alongside One Another 59 3 3. PRODUCING A GMP3 PROGRAM: SOCIABILITY, SEGMENTATION, AND TECHNOLOGIES ........................................................................................ 60 The GMP3 Program in the Producton Space....................................................... 60 Doing Segmentaton and Sociability in the Early Hours of Producing GMP3....... 62 Blocks and Segmentaton.............................................................................................. 62 The GMP3 Producton Team and the Rundown........................................................... 63 Rehearsing Sociability While Producing the Rundown................................................ 67 A Media Manifold and a Changing System of Informaton and Communicaton Tech- nologies................................................................................................................ 71 “Old” and “New” Technologies..................................................................................... 71 Technologies in Acton in the Studio.............................................................................. 75 Touching Technologies While Enactng P3 as a Many-Platormed Brand.................... 79 Being Touched by Diferent Communicaton Technologies........................................... 82 Frictons in The “New” Media Reality............................................................................ 84 The Branded Musical Experience.................................................................................. 86 4. PLANNING AND PROGRAMMING THE MUSIC FOR A GMP3 PROGRAM 89 Learning to Become a Corporate Thinker............................................................. 89 Cultural Learning and My First Misstep........................................................................ 95 Peter Entangled in the Corporaton of DR..................................................................... 98 Creatng the P3 Music Profle in a Network of Actors.......................................... 102 Selector: Ratonalizing the Practces of Music Programming....................................... 103 Flow and Texture: Coding in Selector............................................................................. 108 P3’s Format: The Mainstream.............................................................................. 123 Mainstream as Culture of “Containment and Resistance” and as Standalone Actor... 132 P3 Music Planning in a Meshwork of Humans and Things................................... 134 Entangling Agency in Meshworks......................................................................... 136 Doing Music Programming on P3......................................................................... 145 ...In BOTH Networks of Actors....................................................................................... 146 ...AND in Meshworks of SPIDERS................................................................................... 147 4 5. DJING ON A GO’ MORGEN P3 PROGRAM............................................ 149 Anne: The PSPMR DJ on GMP3............................................................................ 150 Anne’s Tools: The DJ Setup and the Sound Screen............................................... 152 Dalet and the Organizaton of Sound............................................................................ 153 The Pre-Programmed Packaging Elements and Trailers............................................... 156 How Anne Matered as DJ............................................................................................. 160 Trine, Ufe, and Sofe: How the DJ Maters.......................................................... 163 Ufe: Using Music Tracks as Instruments to Create Flow.............................................. 163 Sofe: Touching on the Atmosphere of the Day............................................................. 164 How Anne Matered, Part 2: Anne’s Last Day at Work......................................... 166 DJing the Flow...................................................................................................... 169 6. BAU$$ OR BITCH... OR JUST HUMAN? THE SOCIAL, MUSIC, AND GENDER IN THE INFORMAL GMP3 RESEARCH AREA............................................ 171 “Closed” and “Open” Cultures at P3.................................................................... 171 A Microstudy of a Gender-Segregated Workspace............................................... 172 Kirsten and Host Expectatons.............................................................................. 174 Jens and Learning Through Partcipaton............................................................. 177 The Social in the P3 Research Area...................................................................... 179 Artefacts in Social Nestng of Persons and Groups............................................... 186 Body Maters: Marking and Unmarking in the Workspace.......................................... 186 Music Maters in the Informal Research Area.............................................................. 191 Competton as Excuse for Structural Violence in Relaton to “Things”........................ 195 “The New” Maters in the Mesh................................................................................... 197 Kirsten’s Contnued (Dis)Entanglement................................................................ 198 Kirsten and Jens’s Learning Processes.................................................................. 201 7. CONCLUDING REFLECTIONS AND FURTHER DISCUSSIONS................ 204 Complexifying Great Divides (“Facing Mirrors”) through Thick Descriptons....... 204 Establishing a More Precise Acronym: PSPMMFR................................................ 205 5 How Culture Maters: Actors—Efect—Efectors—Afectors.............................. 206 Technology as Afector in the Social.............................................................................. 206 The Body as Afector...................................................................................................... 209 Music as Afector........................................................................................................... 212 Notes on Difracted Culture Analysis.................................................................... 217 Integraton Perspectve.................................................................................................. 217 Diferentaton Perspectve...........................................................................................