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Post by Deleted on Jan 19, 2017 12:50:42 GMT -5
If I may address your final question directly, ahinton: I'm sorry; to whom and/or what does this relate? Sydney. As for Charlotte, I should perhaps point out that she has never been a member! Few people have! I probably just quoted her directly! Charlotte Higgins is the chief culture writer of the Guardian. She contributes to the Long Read, culture and comment sections; and writes editorials, book reviews and essays. This New Noise, a book based on her nine-part series of reports on the BBC, was published by Guardian-Faber in 2015. Higgins began her career in journalism on Vogue magazine in 1995 and moved to the Guardian in 1997, for which she has served as classical music editor and arts correspondent. A classicist by education, she is the author of three books on aspects of the ancient world. Under Another Sky: Journeys in Roman Britain (Vintage, 2014), was shortlisted for the Samuel Johnson prize for non-fiction, the Thwaites Wainwright prize for nature writing, the Dolman travel-writing prize and the Hessell-Tiltman history prize. In 2010, she won the Classical Association prize for her books and journalism. She has served as a judge for the Art Fund museums prize, the Contemporary Art Society award, and the Royal Philharmonic Society awards. As a broadcaster, she has appeared regularly on BBC Radios 3 and 4. She has also written for the New Yorker, the New Statesman and Prospect. She is an associate member of the Centre for the Study of Greek and Roman Antiquity at Corpus Christi College, Oxford and is on the board of the Henry Barber Trust. She is a keen amateur violinist.
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Post by ahinton on Jan 19, 2017 15:20:45 GMT -5
If I may address your final question directly, ahinton: I'm sorry; to whom and/or what does this relate? Sydney. As for Charlotte, I should perhaps point out that she has never been a member! Few people have! I probably just quoted her directly! Charlotte Higgins is the chief culture writer of the Guardian. She contributes to the Long Read, culture and comment sections; and writes editorials, book reviews and essays. This New Noise, a book based on her nine-part series of reports on the BBC, was published by Guardian-Faber in 2015. Higgins began her career in journalism on Vogue magazine in 1995 and moved to the Guardian in 1997, for which she has served as classical music editor and arts correspondent. A classicist by education, she is the author of three books on aspects of the ancient world. Under Another Sky: Journeys in Roman Britain (Vintage, 2014), was shortlisted for the Samuel Johnson prize for non-fiction, the Thwaites Wainwright prize for nature writing, the Dolman travel-writing prize and the Hessell-Tiltman history prize. In 2010, she won the Classical Association prize for her books and journalism. She has served as a judge for the Art Fund museums prize, the Contemporary Art Society award, and the Royal Philharmonic Society awards. As a broadcaster, she has appeared regularly on BBC Radios 3 and 4. She has also written for the New Yorker, the New Statesman and Prospect. She is an associate member of the Centre for the Study of Greek and Roman Antiquity at Corpus Christi College, Oxford and is on the board of the Henry Barber Trust. She is a keen amateur violinist. I had no idea either that the Charlotte in question was who you identify her as being or that she was never actually a member here - not that either excuses SG's expressions. Yes, you are quite right to point out that few people have ever been members here!
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Post by Deleted on Jan 19, 2017 15:31:47 GMT -5
When shall we three meet again?
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Post by ahinton on Jan 19, 2017 15:36:17 GMT -5
When shall we three meet again? Which three? - and when and where did they last meet?... Topic again, anyone?...
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Post by Deleted on Jan 19, 2017 15:52:18 GMT -5
Sydney Grew, ahinton and the third, kleines c.
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Post by ahinton on Jan 19, 2017 18:07:05 GMT -5
Sydney Grew, ahinton and the third, kleines c. Burt we haven't met, so how can we do so "again"?
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Post by Deleted on Jan 20, 2017 2:26:43 GMT -5
Plan for Reformation of the Third Programme. C: A Sample Evening Schedule6:00 pmGood evening listeners, this is the Third Programme. To begin the evening, Mr. [****] will read three poems by Aleister Crowley, the occultist. [Title] [Date] [Text] Those were three poems by Aleister Crowley, in a reading by Mr. [****] 6:15 pmThe next item is a performance of the Six Choruses by Gustav Holst. These were written in 1932 for male singers, strings, organ and pianoforte. The text was written in mediaeval Latin, and the titles of the six pieces (in translation) are Intercession, Good Friday, Drinking Song, A Love Song, How Mighty are the Sabbaths, and Before Sleep. As usual, the score may be down-loaded from the address on your screen. | You have just heard Gustav Holst's Six Choruses, composed in 1932. 6:40 pmThe next half hour is devoted to Fichte, Hegel and Schelling. Messrs. [A, B, C, and D] discuss the three philosophers and point out both their resemblances, and the respects in which they differ from each other. | You have been listening to a comparison of Fichte, Hegel and Schelling given by Messrs. [A, B, C, and D] 7:15 pmWe cross now to Stockholm for a performance of Kurt Atterberg's Ninth Symphony, opus fifty-four. It is entitled Sinfonia Visionaria, and it is, like van Beethoven's Ninth, scored for orchestra and chorus, with solo mezzo-soprano and baritone. It appeared in 1956 and has [***] movements. | That was Atterberg's Ninth Symphony, opus fifty-four, composed in 1956. The performers were [***]. 8:15 pmThere follows a performance of George Bernard Shaw's play "The Simpleton of the Unexpected Isles: A Vision of Judgement". The work came out in 1934. | You have been listening to George Bernard Shaw's "Simpleton of the Unexpected Isles". The cast were [***]. 10:00 pmJan Zdeněk Bartoš lived from 1908 to 1981. We hear now his Piano Quartette, Opus 81. It was written in [***], has [***] movements, and is played here by [***]. | That was the Piano Quartette by Jan Zdeněk Bartoš. 10:30 pmNext comes a discussion of the painting, architecture and sculpture of the Glasgow school. We examine the work of two of its members: Charles Rennie Mackintosh (1868-1928), and Herbert MacNair (1868-1955). | You have been listening to a discussion of the work of the Glasgow school. 11:30 pmNow a recorded performance of Othmar Schoeck's Violin Concerto in B Flat major, Opus 21. It was written in [***] and has [***] movements. | That was the Violin Concerto in B Flat opus 21 by Othmar Schoeck, played by [***]. 12:15 amNext it is time for a programme about the History of Silbury Hill, its place in European megalithic culture, and recent discoveries in the region. A lecture by Professor [***]. | That was a talk by Professor [***] about the history of Silbury Hill and recent unearthings in the region. 1:30 amThere follows the String Quartette opus 16 by Philipp Jarnach, who lived from 1892 to 1982. It was composed in 1923, and is played here by [***] | That was Philipp Jarnach's String Quartette opus 16, played by [***] 2:00 amThe Third Programme is now closing down. Good night. National anthem. Note how, in the case of the Holst, the listener is given a choice between two video channels and three options - reading the score or watching the performers or even viewing both simultaneously on a split screen. And in fact every musical item would be marked with the legend "The score may be down-loaded from the address on your screen". Preparation of scripts for a typical daily broadcast such as this would be the full-time occupation of one knowledgeable and reliable man.
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Post by ahinton on Jan 20, 2017 4:13:35 GMT -5
Atterberg? Jarnach? Schoeck? Some interesting choices. But for a channel whose principal (though not sole) purpose is the broadcasting of music, the quantity of it in such a proposed schedule is unacceptably small, especially given that the entire broadcast day is a mere 8 hours.
As to the now largely forgotten Crowley and the National Anthem which is one of the world's dullest (and for someone who openly abhors nationhood you include this, I imagine, to everyone's surprise), it's probably best if I keep my own counsel!
One "man" to do all the scripting? Given how little of it there is and how basic the information provided would be, it would be a part-time job of such simplicity that it could possibly even be done by a woman!
.....zzzzz.....
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Post by Deleted on Jan 20, 2017 6:23:56 GMT -5
... for a channel whose principal (though not sole) purpose is the broadcasting of music, the quantity of it in such a proposed schedule is unacceptably small, especially given that the entire broadcast day is a mere 8 hours. Well yes, 8 hours the first day (which should, incidentally, be ENOUGH for any one), but 16 hours the second day, 24 hours the third day, 32 hours the fourth day, 40 hours the fifth day, ... and 58400 hours after twenty years, as explained here just four days ago.
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Post by ahinton on Jan 20, 2017 7:14:36 GMT -5
... for a channel whose principal (though not sole) purpose is the broadcasting of music, the quantity of it in such a proposed schedule is unacceptably small, especially given that the entire broadcast day is a mere 8 hours. Well yes, 8 hours the first day (which should, incidentally, be ENOUGH for any one), but 16 hours the second day, 24 hours the third day, 32 hours the fourth day, 40 hours the fifth day, ... and 58400 hours after twenty years, as explained here just four days ago. The member has such a lousy memory! He does not; it is quite obvious to anyone here that what you advocate for a future R3 is a maximum of 8 hours broadcasting DAILY. I have noted that this would reduce audience figures because not everyone will be available to listen during those 8 hours (and not everyone will necessarily want to have to play catch-up in order to listen) and that it would also single out R3 from every other 24/7 channel which would do its credibility and reputation no good. Also, the proportion of music and non-music is quite different to what's now on offer there. Given the sheer amount of music out there, several hours' worth of which will have been composed somewhere during the time that it takes me to create this post, restricting by two-thirds R3's broadcasting ours and also upping the proportion of speech programmes is a proposal that would likely go down like a lead balloon with the majority of R3's current listener base.
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Post by Deleted on Jan 20, 2017 7:38:36 GMT -5
I think we are talking about different things. The member is talking about radio transmissions only; and I am talking about hours of music made available.
In the future the name "Radio 3" will be outdated, because the audience will not necessarily use radio waves to obtain the music they want to hear. The B.B.C. (if they are still in control) will have to go back to calling it "The Third Programme" because their transmissions will use many means other than "radio".
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Post by ahinton on Jan 20, 2017 7:48:42 GMT -5
I think we are talking about different things. The member is talking about radio transmissions only; and I am talking about hours of music made available. I take your point here insofar as it goes but still believe that cutting back R3's music output to an extent such as you advocate can only be a bad thing. Also, what about speech programmes about music, musicians, &c.? I note that you have included none of these. In the future the name "Radio 3" will be outdated, because the audience will not necessarily use radio waves to obtain the music they want to hear. The B.B.C. (if they are still in control) will have to go back to calling it "The Third Programme" because their transmissions will use many means other than "radio". Whilst what you write about the future transmission is obviously true (and indeed already is to some degree), I don't see why the name "Radio 3" would seem "outdated" when that of "The Third Programme" would not be...
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Post by Deleted on Jan 20, 2017 12:10:03 GMT -5
What an excellent plan, Sydney! Why don't you contact Alan Davey directly at BBC Radio 3, and ask him to implement it?
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Post by ahinton on Jan 20, 2017 13:01:11 GMT -5
What an excellent plan, Sydney! Why don't you contact Alan Davey directly at BBC Radio 3, and ask him to implement it? !!!
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Post by Deleted on Jan 20, 2017 13:51:41 GMT -5
Have you got a better plan, ahinton?
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