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SESSION B.3 : HANDOUT

MUSIC RADIO

The Semiotics of Music.

Music on the radio performs two main functions. (1) It is an object of aesthetic pleasure, in specialist music programmes, in broadcast concerts, recitals and so on. And (2) in combination with words, and/or sounds, it performs an ancillary function in signifying something outside of itself.

(1) As an object of pleasure in itself, music is the mainstay of commercial radio's output. (It can also feature quite strongly in both public service and community radio output.)

(2) In this form, music plays a significant part in a range of radio output, such as, plays, documentaries and station identification. This would be mainly in relation to public service and community media.

The nature of music on contemporary radio can be described as being an almost entirely meaning-free, acoustic experience. Which may explain why music has become so popular, particularly with commercial radio listeners. This is clearly, an impoverishment of the use of music on radio.

Music has been known to affect the respiratory, digestive nervous and cardiac systems: to influence emotional and mental processes. Earlier cultures seemed to understand these effects better. It was believed that music could be internalised, to influence the rhythm of thought and to provide either positive or negative behaviours for a society. Music could both reflect and drive a cultures attitude in certain directions.

This is a broad semiotic analysis of music, which community broadcasters can seek to understand and build on. Can we use the latent, emotive power of music, combining it with words and/or sounds to signify something important to our community?

Understanding will come from a critical analysis of the current nexus
of music and the media, particularly commercial radio. How is music currently used in the media? Does this point up gaps in usage, and suggest potentials? Can we use music, with its semiotic limitations, to enhance the life of our community?

Music as commodity.

Commercial music radio creates for the listener, an attractive radio personality, usually male, and combines this with the emotional power
of music to create a pleasurable web of influence.

Critics of commercial music radio usually refer to it as 'pop tunes interspersed by adverts', whereas, in fact, the entire output is commercial. The advertiser wants us to buy that soap powder, or that car, or whatever, while the music industry wants us to buy that C.D. we've just heard the disc jockey rave about.

Also, competitions for tickets are promotions for concerts, and similarly with other consumer products offered as prizes.

The entire format is one long advert. It works because enough of us keep listening, and buying the products advertised. Possibly, just possibly it is popular because there is very little else on offer, as public service 'dumbs-down' and commercial imperatives grow within each culture.

Working within this environment, community broadcasters will have to reach those who want more from their media, who will respond to a more intelligent music/information mix.

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