Drama to be eradicated from Radio 3

[french frank]

Tom's Birdsong item is a real tweet, so please don't snipe at him.

I was thinking more of a blue tit - just joking, Thomas! I do make a distinction between presenters who are just bad, and those who have been employed to fulfill a certain role and do so in the agreed way. So nothing against Tom personally, but - there are some listeners who appreciate R3's birdsong features (and sloooow radio) - already a fixture long before bird-loving Tom came along, and some who don't expect that kind of feature from an arts-focused service. Not that the UK offers such a radio service now. The barbarians have taken over and we all have our individual ways of reactiing. Protest or give in!

Further thought: the Guardian has a feature about 'preppers' today whom I had confused with 'preppies'. Ah, well, it was good while it lasted! Carpe diem. Eat drink and be merry ...

[Serial_Apologist]

Glad that it wasn't toe-curlewing.

BBC gulls?

[Pulcinella]

Tom's Birdsong item is a real tweet, so please don't snipe at him.

Glad that it wasn't toe-curlewing.

[LMcD]

Feedback

https://www.bbc.co.uk/programmes/m0029znl

has just announced that, as a partial response to R3 dropping drama, R4 will be running a 90 minute drama on a monthly basis to be broadcast on Saturday afternoons. A possible alternative to the depleted content offered by R3 in that slot?
Also some responses to changes on R3 and an interview with Tom McKinney.

Tom's Birdsong item is a real tweet, so please don't snipe at him.

[french frank]

Cockney Sparrow posted about the BBC U-turn on access to Sounds outside the UK. I started ranting on about the secondary point - 'Drama on 4'. Then I realised my rant was more appropriate here:

The BBC has a history of releasing partial information so that when the changes have actually happened, it's a fait accompli. Then you discover the drawbacks, but the sting has been successfully removed from the complaints.

Not sure about the Sounds issue, but as I said elsewhere I got the impression the 'warmth' in the reception of 90-min drama came from writers' representatives welcoming a continuing outlet for their work - since the emphasis was on contemporary drama.

No upcoming episodes of Do3, but plenty still available on demand. The 10 most recent though (and in fairness not all are entirely without interest individually) have not a single new production of a classic play: reimaginings, a short story, a documentary, a new play with copious detail about the 'well-known' performers. In terms of the arts, the BBC's overwhelming focus seems to be on contributing to the 'creative industries - giving work to writers, adaptors, performers, rather than the artistic value of the original work. So one shouldn't be surprised that classical music helps you to destress and get to sleep - art catering to the social needs of the contemporary population. The value of art is that it makes you feel better.

[french frank]

Feedback

https://www.bbc.co.uk/programmes/m0029znl

has just announced that, as a partial response to R3 dropping drama, R4 will be running a 90 minute drama on a monthly basis to be broadcast on Saturday afternoons. A possible alternative to the depleted content offered by R3 in that slot?
Also some responses to changes on R3 and an interview with Tom McKinney.

The emphasis did seem to be - and I had wondered about what 'drama on 4' would be like - on contemporary, especially written for radio, work. Unsurprisingly, the writing profession was pleased with the news. I didn't feel there was a huge commitment to 'world theatre', though there was a passing reference to stage plays. When all's said and done it's likely that R3 will be diminished whatever replaces Do3.

[Belgrove]

Feedback

https://www.bbc.co.uk/programmes/m0029znl

has just announced that, as a partial response to R3 dropping drama, R4 will be running a 90 minute drama on a monthly basis to be broadcast on Saturday afternoons. A possible alternative to the depleted content offered by R3 in that slot?
Also some responses to changes on R3 and an interview with Tom McKinney.

[Ein Heldenleben]

Did the exam fees go down? I suspect not - so they pocket the fee for less cost and effort....... kerching

No they didn’t I think . It’s also a nice earner for the teacher who now doubles up as recordist and invigilator whereas before the kids would be taken to the exam by the parent ( in my case doubling as unpaid ‘virtuoso’ accompanist)

[Cockney Sparrow]

Recording exams was brought in during the various lockdowns when 'live' examining was impossible. I am surprised it has persisted, to be honest; candidates may feel they have an advantage being able to record their pieces over and over again, but, as anyone who has made recordings knows, it's no advantage whatsoever when editing is not possible. Having an 'audience' of teacher or parent is a mixed blessing and no substitute for playing to an examiner. Agreed about quality of sound. I ended up doing a lot of teaching over Zoom during the pandemic and my heart sinks now whenever I get a request for an online lesson. And I do a lot of audition video viewing from abroad as part of my work - I have to really steel myself for a day of viewing, as the recorded sound quality is often so poor.

Did the exam fees go down? I suspect not - so they pocket the fee for less cost and effort....... kerching

[smittims]

'Mind you , it's quite a skilled process'.

So is picking safes , and about as honest...

[Ein Heldenleben]

Recording exams was brought in during the various lockdowns when 'live' examining was impossible. I am surprised it has persisted, to be honest; candidates may feel they have an advantage being able to record their pieces over and over again, but, as anyone who has made recordings knows, it's no advantage whatsoever when editing is not possible. Having an 'audience' of teacher or parent is a mixed blessing and no substitute for playing to an examiner. Agreed about quality of sound. I ended up doing a lot of teaching over Zoom during the pandemic and my heart sinks now whenever I get a request for an online lesson. And I do a lot of audition video viewing from abroad as part of my work - I have to really steel myself for a day of viewing, as the recorded sound quality is often so poor.

What you’re saying echoes exactly what I’ve heard from another teacher. It’s also not good for your ears.

re “red light fever” I’ve only experienced once when bizarrely I recorded (sound only) a piece by Agatha Christie for a TV film. She was quite a good pianist and the piece was full of right hand octaves.Knowing I could have take after take just made things worse . It’s that awful feeling that the producer and engineer just want to finish early and get some lunch . Thank God for digital editing.

Incidentally with AI I reckon it would now be relatively easy( for a professional editor)to drop in an audio retake over a video recording thus making the exam eminently cheatable .Something similar is used all the time in drama to post dub dialogue that’s come out inaudible or poor quality on the location recording.
Mind you it’s quite a skilled process.

[Roslynmuse]

Even more shocking is the admissibility of video recordings in the grade exams. Unless the recording is done with professional quality microphones and by someone who knows about the art and craft of recording the sound is likely to be terrible. The piano is a notoriously difficult instrument to record well. Its impossibly to make any judgement of tone or pedalling even phrasing if it’s a compressed mobile phone job, It’s absolutely ridiculous.

Recording exams was brought in during the various lockdowns when 'live' examining was impossible. I am surprised it has persisted, to be honest; candidates may feel they have an advantage being able to record their pieces over and over again, but, as anyone who has made recordings knows, it's no advantage whatsoever when editing is not possible. Having an 'audience' of teacher or parent is a mixed blessing and no substitute for playing to an examiner. Agreed about quality of sound. I ended up doing a lot of teaching over Zoom during the pandemic and my heart sinks now whenever I get a request for an online lesson. And I do a lot of audition video viewing from abroad as part of my work - I have to really steel myself for a day of viewing, as the recorded sound quality is often so poor.

[Ein Heldenleben]

It came as a bit if a shock to learn that music diploma students no longer have to turn up to perform their pieces for the examiner in person, but perform online; surely this removes an aspect of performance that should be part of the process. Apparently they no longer need to prepare programme notes either.
(Not sure if this applies to all instruments and exam boards and if it depends on where you live, though.)

Even more shocking is the admissibility of video recordings in the grade exams. Unless the recording is done with professional quality microphones and by someone who knows about the art and craft of recording the sound is likely to be terrible. The piano is a notoriously difficult instrument to record well. Its impossibly to make any judgement of tone or pedalling even phrasing if it’s a compressed mobile phone job, It’s absolutely ridiculous.

[LMcD]

Glad you enjoyed the White Devil. Perhaps it's a personal opinion, but I think it is Webster's masterpiece and it knocks the socks of other Jacobean drama. The great thing about Radio 3 was that it gave me the chance to explore their other Jacobean dramas - The Spanish Tragedy, The Changeling, Women Beware Women, Duchess of Malfi and 'Tis Pity. And beyond that I started to read about Christopher Marlowe and read a little about the historical period. I guess the idea that great drama leads you onto other things is alien to the current BBC conception of what drama is. Sometimes you find a real turkey, It's a mad world my masters, for example, but that true of everything in life - some good things and some rubbish things.

That is what I regret with this idiotic decision by the Director General - that new worlds of experience through radio drama will not open up to me again.

I imagine the DG will mange to ensure that somebody else takes the blame.

[Pulcinella]

I think there's a warning here for live concerts too. Putting on staging of a play, like putting on a live concert of music involves a huge amount of effort and expense probably not appreciatied by many members of the public accustomed to choosing a video or recording at the touch of a button. One can only hope that enough people appreciate the value of live events , and being there, to keep trying. I know actors often stress the very different rewards fo live performance in front of a live audience, and despite all the difficulties regard it as the essential part of their art.

It came as a bit if a shock to learn that music diploma students no longer have to turn up to perform their pieces for the examiner in person, but perform online; surely this removes an aspect of performance that should be part of the process. Apparently they no longer need to prepare programme notes either.
(Not sure if this applies to all instruments and exam boards and if it depends on where you live, though.)