Music Documentaries for Radio

Introduction

Defining the music documentary

The music documentary in academic studies

The radio producer

Authenticity in radio production practice

Conclusions

References

Chapter One: Historicising the music documentary

Defining the radio documentary and the music documentary

Online opportunities

The changing role of the radio producer

Conclusions

Note

References

Chapter Two: Public service and commercial radio

Academic investigations in the field of radio studies

The political economy of radio

The viability of music documentaries

Conclusions

Notes

References

Chapter Three: Music

The use of music within music documentaries

Track selection in music documentaries

"Beat matching" in music documentaries

The music "bed" in music documentaries

Conclusions

Notes

References

Chapter Four: Production practices

Comparisons between audio and visual forms of documentary production

Radio production practices

Conclusions

Notes

References

Chapter Five: Interviewing

Securing interview talent for music documentaries

Interviewing for music documentaries

Recording on-location interviews

Recording online and remote interviews

Conclusions

Notes

References

Chapter Six: Presentation

The voice

Structuring and presentation

The role of the presenter in documentary commissioning

Scripting for radio documentary presentation

Conclusions

Notes

References

Chapter Seven: Editing

Editing music documentaries for radio

Structuring music documentary content

Representations of truth

Conclusions

Notes

References

Chapter Eight: Idea generation and commissioning

Commissioning music documentaries to build radio audiences

Audience considerations in commissioning radio documentaries

Programming considerations in music documentaries

Educational and compliance considerations in the commissioning process

Alternative funding streams for music documentaries

The value of radio awards

Conclusions

Notes

References

Chapter Nine: New technologies

Online audio platforms and distribution

Online engagement with contributors and audiences

The re-appropriation of online content

The visualisation of radio content

Conclusions

Notes

References

Chapter Ten: Freelance practices

Freelance radio production in the cultural industries

Workflow in freelance music documentary production

Commissioning opportunities for freelancers

Conclusions

Notes

References

Chapter Eleven: Final thoughts

References

Index