Music Documentaries for Radio

Drawing on both academic research and real world practice, this book offers an in-depth investigation into the production of music documentaries broadcast on radio.
Music Documentaries for Radio provides a thorough overview of how the genre has developed technically and editorially alongside a discussion of the practical production processes involved. Digital production equipment and online tools used in music documentary production are discussed in detail, outlining how the development of these technologies shapes the output of producers operating in both the public service and the commercial sectors of the industry. Drawing on his own experiences as an award-winning music documentary producer, the author also looks at how the industry views this form of radio documentary and considers how innovation and technical advances, as well as governmental regulation, have shaped the field. The book demonstrates how changing practices and technical innovations have led to the emergence of multi-skilled, freelance radio producers and how previously separate production roles have merged into one convergent, multifaceted position.
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Music Documentaries for Radio is an ideal resource for students and academics in the fields of radio studies, media production, documentary-making, and journalism studies.

Sam Coley teaches audio production at Birmingham City University and continues to work as a freelance music documentary producer. He has written about popular music, fandom, and new participatory cultures in radio documentary production. Dr Coley is a Trustee of the Charles Parker Archive Trust and serves as a Grand Jury member for the New York Festivals Radio Awards.

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