Classic FM has posted a surge in listening figures, with million people now listening to the station – million of whom are under RAJAR stands for Radio Joint Audience Research and is the official body in charge of measuring radio audiences in the UK. It is jointly owned by the BBC and. Rosie Did you start your weekend listening to Radio 3? If you did, you'll have This while the Classic FM figures are million. I know that the.
Why are more millennials tuning in to Classic FM? | Television & radio | The Guardian
Under this proposal, the FM broadcaster continues unchanged. The operation of the Classic FM broadcaster continues, serving its present older audience with a program based, as now, upon the Western classical music heritage with some inclusion of works from our own time and a strong representation of Australian performers and compositions.
This will of course evolve and part of the evolution can stem from successes with the innovations proposed below. But this proposal concerns a new digital operation to be created and operated by the Classic FM network. Establish a service, working title Classic Digital, using a wide range of digital media, to build an audience with strong representation in younger age groups, for art music as defined below. To free the imagination, this service is to be newly conceived and is not simply an extension of the Classic FM program 2.
Produce a program comprising diverse art music genres: Its practitioners become more flexible, the art form more fluid. Classic Digital will program contemporary popular music with art music characteristics, and hybrids of classical and popular music o In this time of great change and relentless pressure from the market, it is important to transfer important values from the classical heritage to our future musical practices even if the music sounds much different.
Classic Digital will foster an art music of our time with the emotional and intellectual depth of the classical heritage and capable of attracting a large audience o It will also support challenging music of our time of appeal only to more specialised audiences and develops strategies to expand these audiences o Inclusion of art music of other cultures taps into the enormous musical wealth of our immigrant populations and helps to build it into Australian musical practice.
Classic Digital thus would take an active role in developing art music in Australia present and future and in building understanding, support for and practice of that music in the Australian population. This active role includes collaboration with Australian composers, performers and the organisations that present them. Classic FM is the main point of access by the Australian populace to Australian artists creating and performing art music.
Other initiatives must not be funded from cuts to this program. Possibly, the ABC and Commonwealth and state arts authorities could collaborate in funding shared commissioning objectives o Encouragement of the musical arts is incomplete if the services of the artists are not fairly remunerated. Classic Digital seeks to broaden the listener base to include strong representation from all age groups. This especially requires adding listeners in their young and middle years.
The rationale for reaching the younger audience includes these important concepts: Classic Digital may eventually feed a young audience into Classic FM. The expectation here might be instead that they will hear the unfamiliar but cool, interesting.
The Classic Digital audience must be thought of as musically astute and adventurous. Special expertise would be applied. Classic Digital will reclaim and reinvent a dynamic role in education. We do not have such expertise nor presume to be prescriptive. This scenario is intended only as a basis for discussion.
Preliminary strategic considerations Classic FM and Digital sit within a powerful and diverse media organisation that offers an abundance of opportunities for collaboration, inspiration, emulation.
Classic Digital cannot offer as extensive a playlist but it can add the attraction of informed and personable announcers . We note that triple j contributes its playlist to Spotify. Creating an audience for art music in the younger age groups will be a complex and pioneering effort requiring persistence over an extended period. And yet there is almost no opportunity to hear new art music works more than once in live performance or even on radio; works and even genres remain unfamiliar.
This program could repeat shorter works or movements of works. The full works could be heard in the normal way elsewhere in the full program of Classic Digital and indeed, Classic FM. This should be a strong focus.
Some of these will be won through direct Classic Digital collaboration in presenting their work. Triple j has achieved this admirably in multiple ways. Classic Digital can emulate the resolve but would have to conceive different and appropriate detail. A hypothetical young audience member presents a view: As a young audience member, I feel served by these things: I found Classic Digital and heard some very unusual and interesting rock music and from there discovered lots of other types of music I never thought I would like, even including some classical music.
John Adams, Matthew Hindson… o They talk about many things that are important to me — musical, topical, life itself… They often make me laugh o I really like the interactivity, the feeling of being a part of a big network of people who love this music, the chance to express an opinion, to choose music I like through the music on demand programs.
Everything leads to everything else o There are visual extras such as videos for some of these programs that I find very interesting o Among them are sometimes the musical scores for the music I am hearing; I have enough musical training to be able more or less to follow them and that is very interesting [BBC3 does this] o I have a musician friend who has been able to load a performance of his ensemble onto the website.
What a great opportunity! They show what top young people in Australia can really do. It has gradually withdrawn from the area. However, with the addition of the new digital services and interactivity, new opportunities abound. It can serve the objectives of the new national curriculum in music. Classic Digital can reconceive its role and decide on a contribution that especially fits its brief and resources.
Winners can be selected by expert judges and also by student listeners Winning entries can be broadcast, students can converse with teachers, each other, professional musicians and composers.
This is of high strategic importance, as already noted. This competition is typical in that it involves a choice by old people among young people performing heritage repertoire. This is not a criticism, but it leaves room for other concepts. How can a similar impact be achieved in art music? Find other ways to highlight and promote new talent. Sound quality o The digital realm commonly uses MP3 technology. The resultant sound quality is inadequate for most art music.
This issue would need to be addressed in the design of Classic Digital. The rollout of the NBN will assist. These could in part respond to the changing technological possibilities. They could also unearth new programming talent for employment or contracting. You can read it at http: What triple j activities might suggest strategies for Classic FM? Classic FM is already engaged in building digital products, apparently with a youth audience in mind.
Classic FM, in this exercise, has a much more difficult task than triple j: Classic FM certainly could be an opinion leader in art music. The Unearthed website allows any Australian performer to upload a recording or add themselves to a gig diary. Competitions for performers include special competitions for high school kids and for indigenous musicians.
Unearthed radio presents only Australian artists: Its audience can rate or review artists on the Unearthed website. The sense of inclusion is pervasive.
Live At The Wireless archive now rates as one of the best collections anywhere in the world… It includes videos and photographs housed in huge online galleries shot by triple j teams. Take a listen, have a look and see if you were there with us at any of these shows.
Experimentation is a natural playground for art music. But Classic FM has just taken decisions that reduce diversity and experimentation. Homogenisation of its programming may be strategically unadvisable. As noted, these broadcasters broadcast various forms of contemporary popular music for which they are building the youth audience. There is an array of issues. Fewer young people are listening to radio and they are listening less.
They are moving to various forms of digital and online sources and those are in continual flux. The tastes and habits of the demographic are constantly changing. And the broadcasters in any case would want to build bigger audiences whatever their current success.
While our purpose is to promote classical or art music, we suggest that the strategies used to gain young audiences for popular music and for classical music could be similar. The demographic Desired audience for these European broadcasters varies from one to another but includes the teen years up to age 25 or even 30 — exactly the audience missing at Classic FM. Share feelings, real stories.
Although we have heard that it is the intention that Classic 2 will attract young audiences, it would seem that the lack of announcers is exactly the wrong tactic. This might be a better model for Classic FM since it would seek to cultivate special tastes for unfamiliar music. Presentation Use young hosts, young journalists, young critics.
One station invites well known YouTube presenters to work for it. A few note the expertise of their people including in specific musical genres. A few emphasise integrating humour.
Huge increase in under-35 listeners for Classic FM
Program development A few stations but not all, do things such as these: Conduct in-depth research into the diversity of their needs and behaviour; compare the results with those of other PSM. Develop specific portfolio strategies per age group 3—6, 6—12, 12—18, 18—34 and lifestyle. Deliver your content on the platforms and services that young people use. Facilitate dialogue, self-expression, peer-approval and interactivity.
Develop specific and credible cross-media branding. Monitor consumer cost of broadband connectivity, as one of the criteria for deciding on specific investments in mobile audiovisual online content.
Build degree cross-media brands around your radio stations aiumed at younger audiences and extend to other platforms. Although young people represent a relatively small part of our audience, they require a special strategic focus.
Be present at music festivals. Develop awards and special events. Be a guide to music discovery and foster talent. Journalism and serious information require new formats, with age-group-related angles, direct rewards feedback, linking, sharingsuitable for peer-sharing. Expand linear channels with social radio and TV. Develop inclusive and cross-genre formats on linear channels with multi-layered storytelling, targeting both younger and older audiences.Breakfast Club
Develop knowledgeable subcultures within your organization. Choose credible presenters that double as ambassadors and role models. It does address many issues relevant to this paper on Classic FM, including strategies to attract and serve young audiences, but has little to say about music broadcasting.
Since the ABC is an associate member of the EBU, we can assume that the report is known to it and that it is extracting value to assist in its own planning. However, NPR both services a membership of community stations and produces radio broadcasts itself. Classical music is its core concern but it is eclectic with regard to genres.
When an idea comes up, what are the format or content options for presenting it? In The Lark Ascending replaced Rachmaninov which slipped back to number 2 and has remained number 1 through The show counts down the 30 most popular Christmas carols every Christmas Day, as voted for by listeners.
It began inwith In the Bleak Midwinter winning the first vote. At launch it was compiled over the first few years by Robin Ray who over a period of time brought 50, items of music into the playlist, and personally awarded each a star rating assessing its popular appeal.
These ratings proved accurate when subsequently tested by audience research.
Classic FM welcomes over , new listeners, with a 43 per cent increase in - Classic FM
Selector software developed by RCS Inc in the United Stateswhich had previously been used only for pop music, was adapted for Classical music by Howard, Robin Ray and others to include many more fields and categories and deal with many more rotation rules to create a playlist from the 50, listed tracks; the first "officially broadcast" track was " Zadok the Priest ".
Talbot composed a piece, scored for up to five instruments, each month for the year of his residence.
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The compositions were also premiered on Classic FM. Talbot was succeeded by Patrick Hawes as the new composer in residence in Goodall also presented a new programme on the station, Howard Goodall on The Classic FM Foundation[ edit ] The Classic FM Foundation is a grant giving charity which raises money to fund music education and music therapy projects working with children and adults throughout the UK.