Submitted by Paul Steenhuisen <email@example.com>
New Music was represented by:
Paul Steenhuisen: Executive Council, Canadian League of Composers
Micheline Roi: Executive Council, Canadian League of Composers
Elisabeth Bihl: Executive Director, Canadian Music Centre
Lawrence Cherney: Artistic Director, Soundstreams Canada
Elisabeth Bihl and Lawrence Cherney were invited by Paul Steenhuisen
CBC Radio was represented by:
Kim Orchard: Deputy Program Director and Director of Radio Arts and Entertainment
Mark Steinmetz: Director of Radio Music
David Jaeger: Executive Producer, Two New Hours
Larry Lake: Host, Two New Hours
The meeting took place on Friday, December 16, between 11 a.m. and 12:40, at CBC Headquarters in Toronto, and was organized at the request of Paul Steenhuisen.
Introductions were made and Paul Steenhuisen commented on his responsibility, as CLC representative to the CBC, to report the content of this discussion to the CLC membership. Kim Orchard and Mark Steinmetz agreed that the content of this meeting could be reported publicly.
New Music requests, for the second time, a copy of the complete Arts and Culture Survey. CBC Radio declines, stating that it is an internal document. New Music states that if necessary, a Freedom of Information request will be made. The Summary that CBC provides is an interpretation of data, and lacks verifiability. In order for us to understand the goals and statistics presented, and in order for us to provide meaningful contributions, we would like to review the material contained in the Survey. New Music also states that it wonders why CBC Radio would not want to share information with an acknowledged cultural "stakeholder". CBC Radio maintains that the content of the survey is not public.
New Music requests a list of organizations and ensembles that were consulted with for the Survey. CBC declines, stating that this is private information. New Music states that without this information, it will poll all new music groups in order to find out, and to gather information from those groups determining their view of the consultation process. New Music asserts that those it has spoken with that were part of the "consultation" process were dissatisfied with the lack of actual consultation involved.
New Music asks what involvement Corus Entertainment Corporation <www.corusent.com/> had in the Survey.
CBC states that it had none, the survey was done by Solutions Research Group in Toronto. And adds that the survey is a document for CBC Radio, Internet and TV and that neither was aware of Chorus involvement. CBC Radio provides preliminary information about the Survey.
New Music asks what models were reviewed for its programming changes.
CBC answers that NPR, ABC, and BBC were looked at.
CBC states that the new program Freestyle was not related to the Arts and Culture Survey. Programming changes as related to the A&C Study may take a long time to implement (three years), and Freestyle 's process began prior.
New Music states that although Freestyle is not a programming decision with relation to the Survey, despite the CBC 's stated interest in creativity, etc. we can only regard what they demonstrate their interests to be.** Creativity and imagination are words freely used by CBC, as are "new" and "contemporary", but increasingly, they result in soft pop music, and a diminished relationship with New Music. New Music states that CBC 's interest in a diverse (including younger) audience, engaging repertoire, broad ethnicity, etc. is well represented in concerts such as the recent Steve Reich presentation, and the upcoming Chan Ka Nin premiere with Tafelmusik, yet no CBC recording will or did take place. Recent Applebaum Award winner James Rolfe, also the composer of acclaimed opera and recipient of a Guggenheim Fellowship has an upcoming choral premiere that will not be recorded for broadcast.
CBC responds that perhaps no producers were interested in these events, or in each case were booked for other things.
New Music states that previously, there would have been no question whether or not CBC would record an event such as Steve Reich 's first visit to Toronto in twenty years. Now, despite their stated interest in new music, the corresponding result is that a noticeably reduced number of concerts are being recorded.
** CBC Radio notes that "it 's a shame that you would come to that conclusion."
New Music states that by presenting a show like Freestyle, which offers mainstream content available on many other (commercial) stations, CBC Radio may intend to provide diversity within its own broadcasting, yet what it is doing is reducing the overall diversity of material being broadcast on radio. CBC Radio is mandated to be an alternative to commercial and mainstream radio, and to express and support our unique Canadian identity, to be distinctively Canadian, to reflect Canada and its regions to national and regional audiences, to contribute actively to the flow and exchange of cultural expression, to contribute to a shared national consciousness and identity, and to reflect the multicultural and multiracial nature of Canada. With these new programs, it is failing to do that. Since there is only so much broadcast time available, there is a link between the increased broadcasting of programming ideas such as Freestyle and The National Playlist, and the reduced demonstrated commitment to original content, intellectual content, including "new music" i.e., the creative work of our membership and the work of writers, poets and other Canadian cultural contributors According to the Broadcasting Act, CBC 's mandate is very clearly not the demonstrated direction that Freestyle exhibits.
CBC Radio recalls saying that there is no 'link ' between 'Freestyle ' and 'The National Playlist ' and the creative work of your membership. Mark Steinmetz and Kim Orchard disagree with the statement that CBC 's mandate is clearly not the demonstrated direction that Freestyle exhibits, and feel that programming like Freestyle is part of the CBC mandate.
New Music presents a printout of the online petition protesting changes at Radio One and the direction of CBC Radio, signed by more than 450 in two days. CBC Radio states that it has seen the online petition, and that this is one group, and that they receive many compliments on Freestyle. CBC Radio does not provide any documentation. New Music urges CBC Radio to review these comments, as they come not only from New Music and our membership, but from a broad cross-section of CBC listeners of various ages and backgrounds.
As of January 6, 2006, more than 1500 have signed the petition and provided comments.
New Music asks what CBC Radio 's plan is with regard to SIRIUS satellite radio.
CBC Radio states that CBC is a partner in SIRIUS, yet must remain revenue neutral. One day, however, there may be a revenue stream depending on how many subscribers sign up, and income from satellite is fine. No new programs are planned for SIRIUS. There is no long term plan for SIRIUS.
There is no plan to incorporate new music programming.
CBC is early in negotiations with unions.
While CBC states that no new programs are planned for SIRIUS, Chris Murphy and Jay Ferguson (of the group SLOAN) have been newly retained to host on SIRIUS. It has been advertised on DNTO that they are doing their own show. Although the question asked was what CBC Radio 's plan is with regard to SIRIUS satellite radio, CBC Radio follows up by stating that Murphy and Ferguson are now RADIO 3 hosts. They are part of the RADIO 3 strategy, which DOES involve new programming. "Kim and I spoke about Radio TWO programming." Therefore, New Music asserts that CBC Radio misunderstood the question asked of them. To clarify, new Radio 3 will be part of SIRIUS and new programming is being added.
New Music asks what CBC Radio 's plan is with regard to purchasing pre-produced programming for broadcast, such as American Mavericks produced by NPR and broadcast on Radio One in the summer of 2004, and O 'Reilly on Advertising produced by Pirate Music and currently broadcast on Radio One. CBC Radio responds that CBC exchanged concert programming hosted by Eric Friesen featuring Canadian performers and music for 'American Mavericks '.
CBC Radio notes that O 'Reilly is produced in Toronto for CBC. New Music notes that the CBC has yet to produce its own type of Mavericks series, and that rather than provide American broadcasters with Canadian composers, recordings by Canadian performers (thus qualifying as Canadian content) were offered. This is a similar procedure as happens on Radio Two, where recordings made in Canada by Canadian performers (even if the music is 18th Century European) count as Canadian content, rather than broadcasting the works of Canadian composers.
In previous discussions with the Director of Radio Music, Mark Steinmetz, Paul Steenhuisen was told that broadcasts of new music were up 12%. When asked how that was calculated, Mr. Steinmetz declined to clarify and did not respond with his definition of "new music". New Music asks again. CBC defines "new music" as Category Three according to CRTC classifications (see Appendix for specific definition), which now include Serious Classical Music, Jazz and Blues, Folk Music, World Beat and International, and non-Classical Religious music. New Music representatives at the meeting then define "new music" according to the membership they are representing new concert music, new choral music, electroacoustic music, musique actuelle - and request that all subsequent reference to the term "new music" follow that definition. This is in opposition to a definition of all Special Interest Music as "new music".
New Music asks if the "new music" percentage increase that Mark Steinmetz cites is calculated by duration or title? CBC clarifies that it is by title/selection, regardless of duration. If "new music" broadcasts comprised 5% of programming, an increase of 12% would make the broadcast percentage 5.6% of programming. (5% is a random number used to demonstrate the relative insignificance of the statistic). Calculation of percentages by title and not duration render the statistic meaningless especially if the definition of new music used to determine it is the CRTC Category Three referred to earlier.
CBC Radio would like it noted that it defines Category 3 as Canadian composed music not included in Category 2. New Music notes that this changes nothing, and that defining "new music", for the purposes of our discussion according to our membership is necessary in order to have clear understanding of what music is being discussed. At the meeting, the definition of "new music" was reiterated before each question was asked. New Music adds that it questions why CBC Radio would not want to accept the definition of "new music" according to our membership, other than to not make specific commitment to "new music".
New Music asks what CBC Radio 's plan for "new music" is.
CBC Radio identifies that it has no specific plan. Work is ongoing. CBC Radio hopes to present a strategic plan to the board one or two plans about arts and culture. Broad planning. CBC is trying to find its vision of radio. CBC states that it has no specific show, no specific timeslot, no specific vision in mind. CBC is taking ideas from producers. However, CBC is interested in an increased reflection of contemporary music. More than the groups currently reflected.
New Music identifies that CBC Radio has changed its definition, and is now talking about world music, etc, not "new music" as previously defined. When clarified, CBC Radio admits that it does not plan to increase the amount of broadcasts of "new music" (as opposed to CRTC Category Three music). CBC Radio states that it is not committing to an increase in "new music".
New Music identifies that the bottom-up approach to programming may not be the most effective, and that it is like waiting for vision, rather than defining it. The incentive for proposing new shows (coming from producers) is questionable, since it could in fact remove the show that the producer is currently working on. Broadcast time is limited, and time for new shows has to come from somewhere.
CBC Radio Deputy Program Director and Arts and Entertainment Director and Director of Radio Music state that they are not the ones to decide on the vision or what happens. New Music asks "If the Director of Arts and Entertainment, and Director of Radio Music aren 't making the decisions, who is?" CBC Radio states that the Program Director decides what happens.
CBC Radio notes that it never agreed on a definition of "new music".
Two New Hours
New Music asks what commitment there is to Two New Hours.
CBC Radio identifies no specific commitment, no clear plan to retain it, no specific plan to remove it, but there is a plan to broaden it. CBC Radio states that every year, every show is up for review, and Two New Hours is no different. Therefore, they also offer no specific commitment to any program currently being broadcast. There is no plan to augment "new music" broadcasting, despite significant growth in the field, numbers of creators, and different type of "new music" practice.
New Music identifies that Two New Hours is the only national program for broadcasts of "new music".
CBC Radio states that the broadening of this type of programming may involve world music, etc., rather than "new music".
New Music reads the following letter, sent to us and the Globe and Mail in response to Kate Taylor 's article:
"Kate Taylor 's "If Mozart embodies CBC, why not Madonna? (Dec 3, 2005)" creates a false dichotomy. Those who are arguing against the increased inclusion of commercial pop music on CBC Radio One aren 't arguing for Mozart and Beethoven to be the mainstay of our national broadcaster. In fact, the opposite is true. Museum music does not reflect the vibrant musical culture that exists in Canada, a culture that is currently not given sufficient attention at the CBC. There is much more to it than R. Murray Schafer and Schoenberg. Detractors of CBC 's new "water-cooler fodder" format argue that what 's missing from the airwaves are, for example, shows about Canada 's electroacoustic scene, from which many a DJ has borrowed to create their club friendly sounds. What about shows that discuss the evolution of music from the old war-horses like Beethoven to present day artists like Louis Dufort, Ana Sokolovic, or James Rolfe, so that listeners can chart the innovation, and become more engaged in current creation?
If CBC Radio 's goal is to attract young, largely "ethnic" listeners, where is the show that highlights Fela Kuti, or Talvin Singh? Where 's the bhangra rap, or the political reggae? Instead, they offer Idle Eyes, and Glass
Tiger, shoddy examples of last year 's retro cool - 80 's pop.
Every time I come across the argument that people who are protesting changes at the CBC are "resistant to change", or want more Mozart (the pop music of the18th century), I realize that there 's a complete lack of imagination by CBC Radio of what the alternative could be, and total ignorance of what
Canadian creators have to offer."
CBC Radio responds that there are several interesting points in the article worth considering.
New Music says the article demonstrates that there is a much broader range of new music available that is not being heard on CBC, and connections with other musics that are not being explored. Most "new music" is not as insular and disconnected as it would seem, based on how it is presented, and it would be an important development to augment current new music programming on CBC with a programming that explores other aspects of "new music". The breadth of "new music" broadcast on CBC can easily be expanded, and its presentation can be developed beyond what is currently done. CBC Radio agreed with this statement. In my experience (Steenhuisen) at the TSO, etc., audiences are truly interested in "new music", and want to hear more of it, rather than the same old 18th Century pieces that are played over and over. Interest is there, and presentation is crucial. Presentation influences perception.
New Music asks how proposals for programs make it to air.
CBC Radio identifies that the best way to get an idea to air at CBC Radio is for a producer to endorse it.
CBC agrees to provide an updated list of producers.
New Music asks if there is a process by which to pitch ideas to producers.
CBC states that there is a "Pitch Guide" available on the internet.
CBC Radio (Jaeger) corrects the Director of Radio Music and states that it is in fact only available on CBC intranet. New Music asks for access to this document.
CBC agrees to provide an updated list of producers, and a copy of the CBC Pitch Guide.
CBC Radio is awaiting proposals (January 06) from producers in response to the Survey, and will know more in Spring 06.
Mark Steinmetz has provided Micheline Roi with the "Pitch Guide" that was referred to in this meeting. New Music wonders why CBC would not engage in and openly solicit proposals from stakeholders. Developing a positive working relationship of this kind would provide the public broadcaster with the new, distinctive ideas it seeks, and if they came to fruition on CBC Radio, signal the credibility of the relationship with cultural contributors.
CBC Radio says it welcomes proposals from anyone.
New Music asks what percentage of commissioning budget has previously been devoted to "new music". CBC Radio responds that nearly all of it was.
New Music asks what percentage will remain committed to commissioning "new music".
CBC Radio states that it can 't commit to anything without knowledge of the next fiscal year budget. It cannot provide a dollar figure. New Music reiterates that it is asking what percentage will be committed to "new music", not what specific dollar figure it will commit to. CBC Radio responds that it is not proud of how it has worked with the commissioning budget, and will make no specific commitment to the commissioning of "new music" at this time.
New Music would like a list of music commissioned through this budget since 2000, including the year 2005.
In previous discussion with John Burge, CBC stated that it would be making a website listing what commissions have been made, and the process for submitting a commission proposal. Thus far, that website has not appeared, and New Music would like to know when the website will be available online. CBC Radio states that the website will be done this spring.
CBC Radio states that the competition is under review. CBC Radio is interested in a broadened form of the competition, one which is not just one small, expensive event attended by a few people. CBC is interested in reaching a larger audience. At least one new proposal has been made by David Jaeger, and was not accepted. The soonest that a broadened competition will take place is 2008 or 2010. One meeting has taken place to consider other options. CBC Radio is currently not able to define what it means by a "broadened" Young Composers Competition.
In response, Paul Steenhuisen recounts his own participation in two versions of the Young Composers Competition. These two instances seem to have been prime examples of what CBC says it seeks. In 1992, the Pacific Ballroom at the Hotel Vancouver had a full house for a very exciting live broadcast. There was interest, intrigue, excitement, controversy, and an abundance of energy. Similarly, in 1994, Moncton hosted an event that was also a full house, broadcast live, and not short on interest and excitement for the audiences and the participants. The CBC Young Composers Competition has for a long time been an important event in the emergence of the next generation of Canada 's professional composers. Many of today 's most active composers announced their arrival through this event, and began or confirmed their careers from this national stage. CBC can in part take credit for some of the success that composers have subsequently enjoyed, nationally and internationally, since they played a role in launching those careers. The most recent group of composers nearing the age of 30 has lost their opportunity to do so. New Music urges CBC Radio to reinstate the Young Composers Competition as soon as possible.
New Music adds that if CBC is interested in a larger audience for the Young Composers Competition, it would achieve that by including more "new music" programming, broadcasts, concert recordings, and CBC commissions throughout the year, thus developing its "new music" audience base.
New Music states that despite the ongoing protest the precipitated this meeting (one which is supported by artists and public the CBC 's audience), it hopes that CBC Radio also recognizes that Canadian composers are equally committed to providing creative responses that can assist CBC in its goal of creating "distinctive, audacious programming." Our membership consists of many talented, nationally and internationally active and respected creators working in a very broad range of creative expression, and our membership cares very much about the CBC. New Music will continue to work hard to protect our established place and voice on our public broadcaster, and to see it develop and be represented as the field develops. As well, our membership remains committed to providing the imaginative content CBC Radio says it seeks.
CBC Radio responds that it appreciates this fact, and reiterates that we are one group of many that are concerned about CBC Radio. CBC Radio agrees to another meeting in Spring 2006, once it has reviewed the proposals and reports it will receive in January 2006.
Item 1: Recent program proposals to augment "new music" broadcasting.
Item 2: CRTC content category descriptions.
Working Title New Music Series
Author James Harley
Program Type Limited Series: 12 feature programs of 30 minutes
Treatment Serious/Historical and current
Media Bi Medial- Radio with web support
I would like to propose a series of one-hour programs on contemporary
I would also propose that short clips be produced for daily broadcast on
Radio Two, highlighting a composer or musician/ensemble who would be
marking an important milestone that day (birthday, premiere, etc.). The American
Composers Forum produces for NPR such items for that network's classical
music stations. Small segments like this would serve to familiarize listeners with
Canadian music in an informative, easy-to-digest way. A related website could
serve to point listeners to further information (through the Canadian Music Centre, for example), links to CD purchase, etc. This proposal would also help to fulfill the goals, stated above, of the CBC Arts and Culture Study. It is worth noting that these programming ideas are intended to complement and extend the coverage of Canadian concert music on Radio Two, which is primarily focused on broadcasting concert recordings.
Contact James Harley
519-824-4120 x 52989
Working Title Choral World
Program Type Limited Series: 12 feature programs of 60 minutes
Treatment Serious/light Historical
Media Radio 2
A bit of background to my proposal: there are indeed hundreds of choirs in Canada, involving thousands of singers. This makes for a very large and viable listening audience. Choirs have a strong history of commissioning works. These are, albeit, short in length (typical choral work is 3-5 minutes) and tend to be of a conservative strain. However, the commissioning record is commendable within the entire scene, from the smallest community choir to the professional ensemble. In general, community choirs find the opportunity to deal personally with a "living composer" (in workshop or rehearsal settings) quite a thrill. .The majority of choral directors are constantly searching for new music and especially Canadian music suitable for their groups they are conference and repertoire junkies as a whole. The shortness of a typical choral work means that a concert often consists of c. 15-20 pieces hence one can understand why the repertoire quest is such a driving force. The better Canadian choirs enter the biennial CBC Choral Competition for Amateur Choirs. Each category within this competition requires one work by a Canadian composer. This obviously forces choirs to programme Canadian works. (Pieces used for this competition are generally rehearsed and performed during the year before they are recorded and submitted). I personally believe that within Canada 's musical community (with the exception of ensembles specializing in new music, obviously), choirs are most willing to be exposed to and "educated" about contemporary/Canadian music, if the approach and attitude is correct and inviting.
The entire show would run 1 year, divided into 12 segments: 2000-2005, 1995-2000, 1990-1994, 1980 's, 1970 's, 1960 's, 1950 's, 1940 's, 1920 's, 1910-1919, 1900-1909
The conversational involvement of a recognized Canadian musician (composer, performer, conductor etc., such as Lorraine Villancourt, Marc-André Hamelin, Shauna Rolston, Judith Forst, Robert Aitken, Mario Bernardi etc.) with a genuine interest in contemporary music and the featured composer.
Contact Ramona Luengen
Working Title Composers Blog
Author Micheline Roi
Program Type Weekly stand alone podcast/30 minutes
Media Podcast/Radio 3
The program would be a first person narrative, (facilitated by an interviewer/producer) and recorded on location. Each show will be an aural blog of a composer documenting the journey of writing a new piece from start to finish. The listeners would get an inside view of the inspirations, obstacles, practicalities involved in writing but most of all they would hear a composer in their environment: in the studio, on errands, in rehearsal and all the attendant soundscapes, including the completed piece.
The production model of the program would be location-based, facilitated by an interviewer/producer. The interviews/recording would be conducted weekly/monthly as the interviewer checks in with the composer, and edited by the producer into a thirty-minute show. The time lapse required for each show would require development and production of several shows simultaneously, similar to the production model of Radio One 's "Outfront"
Contact Micheline Roi
Working Title Conductors Corner
Program Type Regular feature of Choral concert: 8:30-8:45 (before many choral conductors are at their church jobs), every alternate Sunday.
Media Radio 2
Invite 1 established Canadian choral conductor, per segment, to introduce a contemporary Canadian work. Discussion should/could include: brief composer background, aesthetic qualities, musical challenges of the piece for a) choristers and b) audience, why this composition is important in terms of Canadian choral repertoire, what to listen for (explain compositional traits, techniques etc.) Program segment would end with playing the actual piece.
Contact Ramona Luengen
Working Title Untitled
Author Rick Saks
Program Type Ongoing Series or regular feature
Treatment Serious/light Current
Media Radio 2
Description A series of new music shows with invited curators. Along the City TV
line, eventually one or two will show themselves to be potential
A show (or regular segment) that deals with the large underground of
cross-over rock/jazz/experimental improvisors. Today 's technology
allows for 'on the ground' interviews and high quality field recordings.
Tapping into the great body of already existing new music CDs. This
would require the curatorial or scriptwriting skills of someone who
would integrate contemporary culture (including pop, fold, rock etc)
with the creative voice of the composer(s) thereby providing a
context for understanding and appreciation.
An example of this would be the Baroque ensemble Les Coucous Benevole
playing a piece of Rudolph Komorous next to piece by Rameau. Or the
Evergreen Club Gamelan playing a piece by Andrew MacDonald (for
Gamelan and Harpist Erica Goodman) along with a traditional
Sundanese work. Or an orchestral piece by Jaques Hetu next to one by
Debussy. The possibilities are endless.
The exciting thing is to tap into the stuff not covered by Two New Hours to illuminate contemporary music and eventually steer listeners to it.
Contact Rick Saks
Working Title Art Music Diary
Author Paul Steenhusien
Audience local: Alberta/Western Canada
Program Type Weekly feature of 15 minutes
Media Bi Medial- Radio with web support
Description Art Music Diary would be a weekly insert of approximately 15 minutes, in which new concert and electronic works composed in Alberta and Western Canada are introduced, discussed, and broadcast. I envision the inclusion of interviews, conversations with performers, composers, and audience members, as well as a broadcast of the complete work, supplemented by additional material and information available on the CBC website. The approach to recording could be location-based, to increase the sense of proximity to the rehearsal, the work, the performance, and the ideas of the artist.
Contact Paul Steenhuisen
. CATEGORY 1
. Spoken Word:
. This category includes the following two subcategories:
. Subcategory 11: News
. The recounting, reporting and backgrounding of local, regional, national and international events of the day or recent days, with particular emphasis on the topicality of the events or situations selected, or on the constant updating of information, or both.
. Subcategory 12: Spoken Word-Other
. All programming with the exception of material falling under Subcategory 11-News and Categories 2, 3, 4 and 5 (Music General, Music Traditional and Special Interest, Musical Production and Advertising).
. CATEGORY 2
. Live or recorded entertainment music of one minute in length or more extending from the advent of mass-produced recordings to the latest hits as defined in charts of recognized trade publications, including popular songs and compositions that fall under the headings "pop", "country-and-western", "rhythm and blues"; "dance"; "rock", "easy listening", "middle-of-the-road", "beautiful music", "mood", and "mainly for dancing"; popularized arrangements of classical music, jazz or authentic folksongs, music written and performed in a folk idiom by present-day artists; songs of protest and of political and social comment, humorous and satirical songs, chansonniers and chansonnettes, English music hall and North American vaudeville; individual excerpts from works from the musical stage, non-religious Christmas songs, popular music for films and television; and popularizations of folk idioms, such as Latin American, Hawaiian and Calypso. For greater particularity the category includes the following four subcategories:
. Subcategory 21: Pop, Rock and Dance:
. This subcategory includes music from the entire pop, rock and dance music spectrum. This music includes styles generally described as "easy listening", "beautiful music", "pop adult", "soft rock", "dance", "rock and roll", "rhythm and blues", "jazz rock", "folk rock" and "heavy metal", as well as all other forms of music generally referred to as either MOR (middle-of-the-road) or rock. This subcategory includes musical selections listed in recognized trade publications as AC (Adult Contemporary), AOR (Album-Oriented Rock) or Dance.
. Subcategory 22: Country and Country-Oriented:
. This subcategory ranges from "country and western" and "bluegrass" to "Nashville" and "country-pop" styles and other music forms generally characterized as country, including musical selections listed in recognized trade publications as Country.
. Subcategory 23: Folk-Oriented:
. This subcategory includes music in a folk style composed by the troubadours and chansonniers of our time, popular arrangements of authentic folksongs, and popularizations of folk idioms.
. Subcategory 24: Jazz-Oriented:
. Music sung or played in a popular style by performers with a jazz background, including "cocktail" jazz and jazz improvisation when presented against a popularized orchestral background, but not including jazz-rock, falling under subcategory 21.
. CATEGORY 3
. Music-Traditional and Special Interest:
. Music of one minute or more in length characterized as traditional authentic songs and dances of the people, institutionalized music of religious faiths, "classical" music, authentic improvised jazz, and extended excerpts from popular musical theatre. For greater particularity, this category includes the following four subcategories:
. Subcategory 31: Concert Music:
. This subcategory includes: "classical", music which embodies standards of form, structure and taste, established by artists through the centuries, as a means to communicate complex thoughts in the most coherent way, including music by a contemporary composer when it utilizes entirely or in modified form those established standards, but not including orchestrations of the entertainment music of our time, however classical in form; "opera, operetta and musical", including grand opera, comic opera, music drama, narrative musical plays, operettas and extended dramatic excerpts of popular musical theatre, when performed in a full-cast version.
. Subcategory 32: Folk:
. Authentic traditional folk songs and dances.
. Subcategory 33: Jazz:
. Authentic jazz containing a large element of improvisation, including early blues and gospel shouts, ragtime, Dixieland, authentic early swing, bebop and "cool" jazz, Modern, Avant-Garde, Contemporary Jazz Fusion, New European, Afro/New World and contemporary jazz experiments, but not including jazz-rock, falling under subcategory 21.
. Subcategory 34: Non-Classic Religious:
. Music of the church or of religious faiths, other than in a classical form, or occurring in the course of a ritual service or other form of public worship, or having a jazz character.
Content categories and subcategories
Category 1 - Spoken Word
This category includes the following two subcategories:
Subcategory 11: News
The recounting and reporting of local, regional, national and international events of the day or recent days, with particular emphasis on the topicality of the events or situations selected, or on the constant updating of information, or both as well as background material about current events when included in newscasts but excluding weather, traffic and sports and entertainment reports.
Subcategory 12: Spoken word-other
All programming with the exception of material falling under subcategory 11-News and categories 2, 3, 4 and 5 (Popular Music, Special Interest Music, Musical Production and Advertising).
Category 2 - Popular Music
This encompasses musical selections in the genres or groups of genres set out below:
Subcategory 21: Pop, rock and dance
This refers to music from the entire pop, rock and dance music spectrum. Examples include all types of rock music, including soft rock, hard rock, classic rock, heavy metal, modern rock, alternative rock, jazz rock, folk rock, and blues rock. It also includes pop, rock & roll, rhythm & blues from the fifties and sixties, soul, dance, techno, rap, hiphop, urban, and contemporary rhythm & blues. This includes musical selections listed in charts such as AC (Adult Contemporary), Hot AC, Pop Adult, AOR (Album-Oriented Rock), CHR (Contemporary Hit Radio), Alternative, Modern, Adult Alternative, Active Rock, Dance, R&B, Urban, and Techno, compiled and published by music trade publications.
Subcategory 22: Country and country-oriented
This includes country & western, country music recorded since the 1950s, new country, and other country-oriented styles. It includes musical selections listed in Country charts compiled and published by music trade publications.
Subcategory 23: Acoustic
This refers to music performed in an acoustic style that draws largely from Category 2 Popular music genres.
Subcategory 24: Easy listening
Easy listening includes easy listening instrumentals, adult standards, middle-of-the-road and beautiful music.
Category 3 - Special Interest Music
This encompasses musical selections in the genres or groups of genres set out below:
Subcategory 31: Concert
Concert music includes the whole spectrum of the "classical" music traditions, including opera and operetta. It also includes extended dramatic excerpts of popular musical theatre when performed in a full-cast version. It does not include orchestrations of "popular music", however classical in form.
Subscategory 32: Folk and folk-oriented
This genre includes authentic, traditional folk music, as well as contemporary folk-oriented music, that draw substantially on traditional folk music in style and performance. It includes old-time country music recorded before the 1950s, and traditional bluegrass.
Subcategory 33: World beat and international
This genre includes world beat music that draws heavily from the traditional music styles of countries throughout the world. It also includes music from the popular, folk and classical music traditions of countries throughout the world that are played in instrumental form or sung in languages other than English and French.
Subcategory 34: Jazz and blues
This includes both historic and contemporary music in the jazz and blues traditions. Examples of music in the jazz tradition include ragtime, Dixieland, "golden age" swing, modern swing, bebop, "cool" jazz, modern, avant-garde, Latin-oriented jazz, jazz-funk, soft contemporary jazz, contemporary jazz fusion and other contemporary and emerging jazz styles. Examples of music in the blues tradition include classic blues, delta blues, Chicago blues, and contemporary blues music.
This refers to music of religious faiths. It also includes gospel music, hymns, and contemporary Christian music.