Music Documentaries for Radio

Contents

• 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