In this weeks
lecture I was introduced to the categorizations of the UK radio and popular
music industry and was taught about the roles of each institution within the
industry. Using the method of historiography I was able to understand and
explore in-depth, the histories of radio and popular music. A benefit of using
this method in my research was that I was able to understand the meaning and
cultural value of the information I found. Throughout this weeks lecture we
focused on how studying the history of radio and music can help us understand
how much it has developed to fit into our current society. Using media texts
and sources can allow us to explore this further, because there is such a
variety to choose from.
Moreover, the
contemporary British radio system consists four main radio systems: public
service broadcasting, commercial radio, unlicensed radio and community radio.
Public service broadcasting, which the BBC owns is the radio system which
members of the public pay for through their TV license. Within a public service
broadcasting system, the CEO is the person who controls the system. Unlike the
other radio systems, BBC is regulated by two groups, the BBC Trust that is a
body of trustees who work internally and OFCOM a company the works externally
and is general to most radio systems.
Additionally,
private companies and global radios own commercial radio. Advertising such as
commercials, sponsorships or product placement is what funds them. Commercial
radios are usually controlled by the CEO of the station and regulated by OFCOM.
With regards to unlicensed radio unlike the other three radio systems it is
usually for a short term for example for an event and most often has a usage of
up to 5 years. As it is unlicensed, there is no real method of regulation. Finally,
community radio is used to serve the community rather than shareholders. They
are owned by the community for the community and are controlled by a board of
elected people i.e. committee. Community
radios are usually funded by donations, community grants and subscriptions and
OFCOM are the over the air regulators.
Furthermore when
studying the history of radio and popular music, a reading on S. Frith (1988)
helps explore the idea that ‘the contrast between music as expression and music
as commodity defines twentieth century pop experience’ (S, Firth 1988).
Therefore, in order for us to understand the history of radio and popular music
it is important to explore three factors; technological change, economics and
new musical culture. For example, Firth suggested that as the music industry
developed there was a clear divide between ‘major companies and independents’
this allowed a rise in new national and international music tastes to cause
social divisions (S, Firth 1988). Ultimately the reading explained that as
electronic technology has progressed alongside the economy of the music
industry, production and presentations of music has developed drastically.
Martin Shingler (1998) identifies the
audiences over time are favouring television over music sources. Shingler
suggests that ‘Radio is generally seen as the ‘poor relation’ of society’s most
popular form of home entertainment, television; and nowadays television is
competing with home videos, computer games and the Internet.’ One significant
example of this is music videos, where audiences may prefer the visual
representation of the music as opposed to just the music itself. Radio has come
a long way since it’s beginning with various stations available now.
In terms of my own research, I looked into
how one company can various radio stations to suit different genres of music.
For example BBC has several radio stations such as Radio1, Radio 1Xtra, Radio 2
all of which are fitted to suit a particular demographic.
Bibliography:
[1] Frith, S, (1988). 'The industrialisation of
Music'. In: (ed), Music for Pleasure: Essays in the
Sociology of Pop. 1st ed. e.g. England: Routledge, Chapman &
Hall, Incorporated. pp.(11-23).
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