In ten original essays, Danish music and media scholars discuss aspects of music on the radio from the 1920s until today. Understanding music radio as a distributed phenomenon or as a multiplicity, the authors draw upon anthropology, cultural studies and media studies along with sociological and historiographical theory. The intention is to further develop interdisciplinary approaches that may grasp the complex interrelations between radio as an institution and as practices on the one hand and music, musical practices, and musical life on the other. The essays' examples and cases are all related to the Danish Broadcasting Corporation (DR) and offer a music radio production perspective. They span the period from when broadcast music was only live to today where almost all of it is prerecorded and digitized. Some of the essays approach broad topics like early music radio's contributions to the regulation of national centres and peripheries, the debates on music radio as mechanical music, and the general changes in music repertoires and in the status of the institution's live ensembles. Music radio's roles as gatekeeper through automatic music programming are discussed in several articles as are the many ways music genres and radio formats interact. Some of the authors turn to detailed analyses at programme level in order to explain aspects of modern music radio and to suggest analytical models. The essays come with an introduction consisting of an extended overview of international music radio studies since the 1930s, and overview of the development of Danish music radio, and a theoretical preamble.

Now firmly established as one of the leading textbooks in the increasingly popular field of radio studies, Radio in Context provides students with a practical, critical and comprehensive understanding of the main principles and techniques used in radio programming. Organized around the most commonly studied radio genres and setting production within a range of different contexts - professional, institutional and historical - the text offers an ideal blend of theory and practical guidance. Readers of this fully updated new edition will continue to benefit from this core text, as it reflects important technological, regulatory and institutional changes since its initial publication in 2004 and expands on key areas such as digital radio, broadcasting over the internet, and the interplay between radio and social media. Supported by a full glossary, tips on getting into radio and exercises to develop practical and critical skills, Radio in Context is the ideal companion for anyone studying radio, the media, communications and/or journalism, at undergraduate and postgraduate levels, as well as short courses in radio or audio production techniques. Now firmly established as one of the leading textbooks in the increasingly popular field of radio studies, Radio in Context provides students with a practical, critical and comprehensive understanding of the main principles and techniques used in radio programming. Organized around the most commonly studied radio genres and setting production within a range of different contexts - professional, institutional and historical - the text offers an ideal blend of theory and practical guidance. Readers of this fully updated new edition will continue to benefit from this core text, as it reflects important technological, regulatory and institutional changes since its initial publication in 2004 and expands on key areas such as digital radio, broadcasting over the internet, and the interplay between radio and social media. Supported by a full glossary, tips on getting into radio and exercises to develop practical and critical skills, Radio in Context is the ideal companion for anyone studying radio, the media, communications and/or journalism, at undergraduate and postgraduate levels, as well as short courses in radio or audio production techniques.

British Radio Drama, 1945-1963 reveals the quality and range of the avant-garde radio broadcasts from the 'golden age' of British radio drama. Turning away from the cautious and conservative programming that emerged in the UK immediately after World War II, young generations of radio producers looked to French theatre, introducing writers such as Samuel Beckett and Eugene Ionesco to British radio audiences. This 'theatre of the absurd' triggered a renaissance of writing and production featuring the work of Giles Cooper, Rhys Adrian and Harold Pinter, as well as the launch of the BBC Radiophonic Workshop. Based on primary archival research and interviews with former BBC staff, Hugh Chignell places this high-point in the BBC's history in the broader context of British post-war culture, as norms of morality and behavior were re-negotiated in the shadow of the Cold War, while at once establishing the internationalism of post-war radio and theatre.