Radio & Popular Music - Week 1 Response

During the first week of this module, we explored the meanings of Industry, Institutions and Historiography. I felt both readings by Frith, Shingler and Wieringa stimulated an interesting discussion about the history and political economy of both music and radio, and how each has been organised and controlled over the years. Both readings use historiography to establish conclusions from a multitude of facts and figures.

The primary argument in both readings is how technological advancement has permanently altered the radio and music industry. For example, multi-tracking and magnetic tape meant recording became an “art form” (Frith 1988: 22), and the invention of the transistor made radio accessible for most people. Shingler and Wieringa argue the continued relevance of radio, despite how it is recurrently disregarded as inferior to television. They admit it has become a 'secondary activity' (Shingler and Wieringa 1998: 23) and television is technically more popular, but radio remains relevant- useful and popular for when driving or whilst doing other work.

Both readings use a similar methodology, which relies heavily on secondary research. Whilst Shingler and Wieringa’s text takes a more historical approach, Frith’s piece is more subjective. It begins by recounting how he 'lived in dread of having to sing in public,' naming it 'too personal.' (Frith 1988:11) He develops this to argue how it seems immoral to industrialise such an emotional form as a commodity.

Despite the fact that the timeline section of the Shingler and Wieringa’s text was somewhat tedious to read, I felt the topics of discussion such as the role of piracy and impact of television were worthwhile additions that made sense of the timeline. I think the radio reading proficiently details how the radio industry adapted to the popularity of television- by changing to complement it rather than battle it.

Personally, I thought the relationship between radio and music was regrettably evaded, particularly by the Shingler and Wieringa reading. However, Frith’s piece about industrialisation of music examines the relationship between radio and music more: it acknowledges: ‘the way most people heard most music- was on the radio, and records were made with radio formats and radio audiences in mind’ (Frith 1988: 20).

As both readings are quite dated, it would be worthwhile to research the relevance of the radio nearly 20 years after Shingler and Wieringa's reading, after the development of streaming services and the MP3 file. This could be achieved through surveying the radio listening habits of music fans- how often they listen and where, and compare this to radio listening figures from 1998 to draw conclusions.

Bibliography

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).

Shingler, M & Wieringa, C, (1998). 'Radio time-line: History at a glance'. In: Martin Shingler & Cindy Wieringa (ed), On Air: Methods & Meanings of Radio. 1st ed. London: Bloomsbury Publishing PLC. pp.(1-29).