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History

Radio 3 is the successor station to the Third Programme which was originally launched on 29 September 1946. The name changed on 30 September 1967 when the BBC launched its first pop music station, Radio 1. The three other national radio channels were then renamed Radio 2, (formerly the Light Programme), Radio 3 and Radio 4, (formerly the Home Service). Radio 3 took over the service which had been known under the umbrella title of the Third Network and which included on the same frequency the Third Programme itself, the Music Programme and various sports and adult education programmes. All the component programmes, including the Third Programme, kept their separate identities within Radio 3 until 4 April 1970, when there was further reorganisation following publication of the BBC document Broadcasting in the Seventies.

Broadcasting in the Seventies

In July 1969, the BBC published the document Broadcasting in the Seventies, later described by a senior BBC executive, Jenny Abramsky, Head of Radio and Music, as “the most controversial document ever produced by radio”. Prompted partly by the problem of rising costs, one of its main thrusts was the move towards “generic” stations, each catering for a defined audience. One early option under consideration was the reduction of the four radio networks to three, and “Day-time serious music would be the casualty”. Radio 1, Radio 2 and Radio 4 would broadcast during the day time, while in the evening Radios 1 and 2 would merge and Radio 3 would broadcast on the vacated frequency. Rumours were circulating that Radio 3 would be abolished altogether, with The Guardian stating that there was a strong “statistical case” against the station. However, the Director-General, Charles Curran, publicly denied this as “quite contradictory to the aim of the BBC, which is to provide a comprehensive radio service”. Curran had earlier dismissed

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It is true that drum machines are wonderful for home recording. You may be lucky enough to know a drummer with the invention of Stewart Copeland, the power of John Bonham or the explosive force of Keith Moon. Unfortunately,though, if you stick this drummer in your home studio/front room/flat, the neighbours are not going to be very happy.

That said, click tracks and drum machines are two of the worst things ever to happen to popular music. First, drum machines like all machines are expressionless in the true sense. No human being is behind the sound at the moment that sound is made. Of course, the technology is a human artefact, and the programming carries human intention that may contain aesthetic expression. But it is the machine that executes the actual music. The essential
link in the moment of performance between the soul and sound waves is not there. The music is literally “soul-less”. It is a huge irony that “beatboxes” came to dominate a type of music that once termed itself “soul”.

Second, both click tracks and drum machines force an inhuman straitjacket onto music-making. Much of the prejudice against popular music that exists in the field of so-called “serious music” is based on a mixture of ignorance, cultural brainwashing and an inadequate critical vocabulary with which to describe how popular music achieves its greatest effects. But with regard to tempo, for once, the reaction of the classical musician is right on the money. If you suggested to an orchestra that they could improve their performance of a Beethoven symphony or a Rachmaninov piano concerto with a click track, so they would all be perfectly in time, they would fall off their stools laughing. When they recovered, they would insist that your click track idea would, at one digital stroke, remove all the expression from the music. In order for music to “breathe”, performers must be free to pause slightly before a chord or modulation or phrase. Classical scores are full of terms such as accelerando, ritenuto, rallentando,a tempo all of which indicate departures from strict time. In other words, “TPV” is an essential element of music performance. Why should popular music be any different?