Classical

Classical music was first broadcast on the radio during the medium's pioneer era. Inventors Reginald Fessenden and F.W. Alexanderson teamed up and broadcast a Christmas eve program from Brant Rock, Massachusetts in 1906 which contained a phonograph recording of Handel's "Largo" and Fessenden wishing the audience a Merry Christmas. This early broadcast was heard by telegraph operators at sea. Other radio pioneers including DeForrest, Armstrong and others used classical music to demonstrate the power of radio. Among the early broadcasts was a 1910 performance by Enrico Caruso from the Metropolitan Opera House in New York .

By the 1920's classical music broadcasts were common fare. The networks offered classical programming throughout the 1930's. Some popular features included, "Cities Service Concerts," "Bell Telephone Hour" and the "Voice of Firestone." The NBC Symphony Orchestra under the direction of conductor Arturo Tosccanini and live opera from the Met also attracted considerable audiences.

By the late 1930's New York's WQXR-AM, (now WQEW) owned by The New York Times began broadcasting an extended schedule of classical music, making it one of the first stations to do so. Years later it expanded to the FM station. WQXR-FM is one of the oldest and most successful classical music stations. Classical music was at one time the only music heard on FM. During the late 1940s & early 1950s many people regarded classical music and FM as synonymous. It was not until the late sixties that other formats began showing up on the FM dial.

When Columbia records developed the 33-1/3 rpm record in 1948, classical music stations were the primary beneficiaries. This along with FM's static free nature and the lack of classical music on AM created the proper atmosphere for the format. Classical music found a home and moderate success on the "alternative" dial.

Classical music on radio continued to grow until the late 1960s. When Beautiful Music (soft string versions of popular music) stations started to encroach on the FM dial, static-free stereo classical music had competition. Many people who listened to the beautiful music stations thought they were listening to classical music. By the early seventies the FM band was no longer perceived as the fine arts band.

There is an interesting note written by Norman Pellegrini,announcer for the Chicago Symphony Orchestra at WFMT. Pellegrini states:

There is something the classical music listener knows that the nonclassical listener rarely even suspects: that this music and the people who know and love it are not snobbish or exclusive. This music is still around and speaking meaningfully to anyone who will really listen, because it is as powerful and enriching today as the day it was written, and it will always speak to those wise enough to really attempt to listen to its message (Keith, 1987, p. 113).

The other interesting thing about classical music is that even people who are unfamiliar with it have heard it in one form or another. It is heard during Saturday morning cartoons, in films, and at formal functions.

Commercial classical music stations have been under siege since the 1970s. In their efforts to maximize profits, corporate owners have been converting commercial classical music stations (many of which have excellent signals) to contemporary formats.

In 1975, WNCN in New York came under fire when The Starr Broadcasting Group attempted to convert it to rock 'n' roll. A group calling itself the WNCN Listeners Guild petitioned the FCC and was able to save the format. Following deregulation the station was eventually converted to a classic rock station and is now WAX.

In 1977 General Cinema Corp. converted WEFM, Chicago to a popular music format. The corporation reached an agreement with a listeners' group to pay WBEZ, a noncommercial station $40,000 a year to provide classical music. They also paid WBEZ $100,000 for the purchase of a new transmitter and library. The corporation also donated the station's music library to WNIB. WBEZ now devotes most of its programming schedule to news and information along with jazz.

In 1990, After being acquired by Evergreen, Los Angeles's long time classical music station KFAC became KKBT and changed its format to urban contemporary.

The classical format is still heard on commercial stations in the nation's three largest markets. In New York WQXR-FM continues its classical format. In Los Angeles, KKGO-FM changed from jazz to classical and in Chicago WFMT and WNIB still broadcast classical music.

Two other major cities, Philadelphia and Detroit have not fared as well. In Detroit, WQRS dropped its classical format leaving the city without a commercial classical station. Classical music is provided by CBE-FM (89.9) from Windsor, Ontario, Canada.

In Philadelphia, WFLN-FM became WXXM-FM (Max 95.7) and dropped the classical music format. Temple University's WRTI became a hybrid classical/jazz station to cover the loss of the format.

FORMAT CHARACTERISTICS

Music

Classical of course. At one time research was not important. This has changed. Instead of a specified number of songs during a sweep, classical music stations will play a concerto, symphony, opera or some other piece. These stations are forced to schedule shorter pieces during drive times. The trick at such stations is to strive for a complete piece. The trend is also toward happier music. During drivetime down tempo music is avoided. Classical music stations were the first to go "all CD".

Announcing

Classical stations employ program hosts, not DJ's These hosts are expected to know and appreciate the music. Pronunciation is critically important.

Classical hosts are allowed to have personalities. Often the audience tunes in because they like the host and the host's interpretation of the music as much as they like the music.

News

News is still important at classical music stations. Some stations concentrate on updates as opposed to full newscasts. However, the audience is perceived as educated and informed. Drive times are the most common news times.

Features

Classical music stations depend heavily on features. Features are primarily live concerts or recorded concerts of specific orchestras. For example the Chicago Symphony Orchestra, The New York Philharmonic, or the Boston Pops. In addition there are often jazz programs, theatre and concert reviews, and financial reports.

Contests and Promotions

Contests tend to be quiet in nature. Theatre and concert tickets, dinners, trips, luxury items and cars.

Public Affairs

Usually dealing with issues related to the economy, health and politics.

Commercials:

Classical stations tend to have low spot loads. This is to allow for long pieces of music. Spot loads vary form daypart to daypart and are affected by time of year.

Competition

Generally there is no direct commercial competition. Direct competition often comes from noncommercial stations which have the advantage of no commercials. These stations also compete with News, Talk and Easy Listening.

Future

This format may soon be relegated to noncommercial stations. There are only 39 to 42 (depending upon source) commercial classical music stations left in the country. There are slightly more noncommercial stations that devote some time to classical music.

References

Fornatale, P. Mills, J.E. (1980). Radio in the television age. Overlook Press: Woodstock, NY.

Keith, M. C. (1987). Radio programming: Consultancy and formatics. Focal Press: Boston.

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