A Miscellany of Views on Programmes

Radio Record, Volume I, Issue 37, 6 April 1928, Page 3

A Miscellany of Views on Programmes

ROGRAMMES have been very much to the fore of late and we give herewith a comprehensive summary of views and comments on the issue. Some of this matter is available from the head office of the Broadcasting ‘Company and represents the conclusions arrived at from the receipt of a considerable volume of correspondence from listeners. Other matter represents correspondence that has reached us direct or views expressed in other Our purpose in giving this medley of views is to promote thought on the subject and give some information regarding the essential difficulty of providing over 1200 concerts in New Zealand with the comparatively small amount of talent available, and maintaining in those concerts the standard of variety in items and performers desired by listeners. In this comparison it is to be noted that in Sydney and Melbourne, each with populations approximating that of the whole of New Zealand, the companies concerned are required to put on but one programme, whereas New Zealand, with smaller resources both in musical talent and’ financial remuneration, is required to give four. quarters.

(THE cominents which listeners make in regard to the programmes are. interesting, but space prevents publication of the full yolume received by the company. It is recognised, however, that the writers are sincere in their criticisms, and some feel that they have a grievance because they think there is too much of one kind of-thing and not enough of another. But it is curious that as one goes through the mail oue finds that every criticism is answered by another writer who praises .the very thing which the former condemns, All the writers seek to direct the Broadcastmg Company in regard to the proStatmmes put on. Each one feels that his, or her, advice should be taken. SugSested items Already Played, It is quite the usual thing for a correspoudent to say "Why can’t you put on --?" and it is worthy of note that the very item -mentioned has probably been sung or played at the studio shortly -before, on some occasion when the correspondent was not listening in. These instances indicate how listeners fail to realise the great difficulties there are in the way of making programmes. One item is suggested as being the one way to improve a programme, no account being taken of how many items there ate in a programme or of how many progranimes each station puts on the air in a year. Oue Wellington correspondent recently complained because Mendelssohn’s "Spring Song" had not been played. It. actually was played a few weeks ago at 2X4, It is to be assumed that had this listener heard that one item, she would have been satisfied with .the pro§rammics of 2YA. ‘ Criticisms Contrasted, Variety in criticism, just as in programmes, provides entertainment. The criticism ranges from the classic to the vaudeville. The vaudeville touch is given by the following letter from an anonymous writer in Auckland. It is a true copy, save that the writing is not reproduced :- [TRUE COPY.] Station TYA, Generall Manager, Auckfand. Dear sir,-I am writing to thank you for the rotton programs we have been receiving on the air recently especially the Hemus Towsey Trio commonly. amolig our friends as the Lowsey Trio With thier b flats and their D Majors aud their first and seconds movements but I think they ought to move of the air and let somebody Play that is worth listining to. Why not some fresh artists IYA is a absolute Disgace to Auckland. Nuf said.-Disgusted Listener. A letter from a different class of listener comes from Auckland. In this case the writers (two) sign their names, as do most correspondents: "We notice that from time to time you are fayoured with expressions of public opinion conveying in the main ,, adverse criticism and dissatisfaction. ~ We think i¢ 1s only your due that we take the epportunity of expressing our astonishment that you can possibly maintain such a high standard of proframme week after week, with, at the best, a limited field from which to secure vour artists. We wish to record our hearty appreciation of your programmes at IVA, which we frankly state, in our opinion, are of a higher uniform standard than those of any station in Australia or New Zealand.-Yours faithfully, (Sgd.) (Two names}.’"’ Overseas Opinions, THEN how do overseas listeners regard New Zealand programmes. They have the opportunity of hearing their cwn stations and contrasting them With ours. What is the result? Here gre some indications: ‘J.W.MeM.,’ Barelian, N.S.W.-On the speaker your transmission could be heard 20 yards away. ‘The lady who sang "Home, Sweet Home,’? was very beautiful. If we only had some of your artists at our local stations it would be a blessing, but the stuff they put over at times is unbearable. ‘I'lrey are called singers, but are far from it." Tell that gentleman with the beautiful voice who was singing to-night that I wish I could sing like him. Before closing, 1 again wish to thank you for your beautiful programmes." A Canadian, "D.G.D.,? Summerland, B.C., writes regarding the Maori Radio Pageant broadcast from 2¥\ on February 6; "An entertainment such as that makes me wish to see more of the Empire, and, first of all, New Zealand, which is no doubt a wonderfully Leautiful country." A listener at Blackheath, N.S.W., writes to 2YA: "I would like to congtatulate you on your fine programmes. We tune in at 7 p.m., New South Wales time, and generally hang on till you close down, but to-night you are coming through extra special. We consider curselyes lucky to Le able to get you so well on londspealer. We are on top ‘of the Dine Mountains, and are Supposed to be in a had locality for receiving. However, accept our best Wishes, and hope for a continuance of your fine programmes," A farmer ot Gippsiand, Victoria, heard _ AYA: ‘Whea ‘The Holy City’ was play-

ed I was 300 yards away getting my cows, aud I can say without fear that you could have been heard easily another 200 yards away. You were coming through very clearly." The Classical Touch Defended. A Wellington correspondent writes: -I have heard some people express the opinion that we get too much of the Symons-Ellwood-Short trio, and it has occurred to me that this element may make so much noise that the Broadcasting Company will be persuaded to take notice of them out of all proportion to their numbers, "IT have heard quite a uumber of people also who enjoy the said trio, and look upon their items as the cream of the programmes, but the trouble is that those people sit quietly down and let the jazz fiends make all the noise. It is unquestionably a fact that the class of people who want all jazz make a terrible noise, and resort to all sorts. of tactics to squash good items-tactics in fact which the other class would not resort to in any case. , "While these conditions hold, there is always the possibility of the small minority carrying the day by. sheer noise, . , "In order to voice the opinion of one who enjoys the trio and the quartets: and help to make a noise in favour of good music, I am writing to-night.’ _ The foregoing letter raises the point as to just how much classical music has been given. To settle that point. there is given in the centre of this page | an analysis of a typical week’s pro-. gramme from 2¥YA. Approximately the | same standard will apply at 1YA, so that this data will be helpful in analys- ! ing the recent complaints of excess of | trio music. !

in contrast here 1s one whi ts dissatisfied with "high-brow" music: Over the name of "Dissatisfied" he writes :-I noticed in your last issue of "Radio Record" that the whole of the front page was taken up to boost up "high-brow’’ music one of the headings reading as follows:-‘‘Striking Growth of ‘Wigh-brow’ Appreciation"; and all of this boostiug up seemed to be based on one letter only, received from a person who seems to be quite satisfied. I do not wish to cause any ill-feeling between this gentleman and myself, as his views to him may seem to be quite in order, but why base the whole of the boosting up of that class of music and the Symous-Ellwood trio on only one letter? Get the views of all listeners gathered up, and I think a much different feeling would be found. America was also mentioned re this kind of music. Well, Sir, } have heard a great deal of "high-class" music from soinc 80 stations in U.S.A., aud which was a ercdit to listen to, but it was rendered by suitable orchestras, and I maintain that the sooner the Broadcasting Company wakes up and stages a decent orchestra at their respective stations the Letter it will be for theny, ‘The company has not forgotten to remind listeners each night lately that thefr’ Meenses exptre on Marchi 31, and must be renewed, hut they forget to give listeners a fair and square deal for flicir 80s. a year, yet listeners have fo pay it and carry on dissatisfied. Will the company ever give us a fair deal? {On page 4 our correspondent will sce the announcement that the company is now arranging to convert the trio into an orchestra, Obviously this ay be done as means expand.Tid, An Outside View. ATRIAL," the Radio editor of the "" Christchurch "Star," thus landles the programme problem :- "Haye been thinking over this question of programmes, in view of the recent fresh outbreak of correspondence ou the subject, Has it ever strnck yon, Mr., Mrs., or Miss Listener, that trere is another angle to this matter that is worth taking into account when you are inclined to "boil over’? at a programme that "gets your goat," as the expression goes? This angle is the state of your own mental attitude of the moment (better, of the evening), towards wireless entertainment, Tet us cousider this for a minute,

It’s a fact, isn’t it, that, one night, you will be ‘all set" for a nice, quiet, intellectual sort of programme-when you can appreciate and enjoy to the full fhe genninely artistic perforinances of the Christchurch Broadcasting Trio-and wish for more? Only to find on another evening that you want chieering up, something with plenty of humcur, and. broad as a street, or just like that-something that will make you settle back comfortably in your fayourite chair, grin at most of the jokes, and enjoy the relaxation of a good daugh now and then. Again, there are evenings when a band concert is ‘just the thing.’ That’s quite so, is it not? Then there’s the perpetual ‘‘lowbrows" and the everlasting "highbrows"? in our rauks. Just think of them for a bit, then add all the inoods of every one of us, and try to imagine what kind of a job it looks like to take -on the task of putting on a programme every night to please the lot of us! Not for. me, thanks. Now the foregoing is not in any way intended as an apology on behalf of the N.Z.B.C. Not at all. But it is only fair listeners should remember there are many sides to this matter of broadcast programmes-and, after all, the service we have been xetting the past few months is a great improvement on things as they were at first, and, as we have been promised an even better service, the prospects for the future are not at all duskv-let alone black. Listening lately to a number of the programmes put on by the main Australian staticns, it strikes one that, really, there has not been so much in them of late to write home ahaut ‘Thev, too, 20 in for picture theatre and other relays, and even if they do "tan" more in the wav of musical comedy and vaudeville than we get from New Zea-

laud stations, that is probably only because the Australian stations have greater facilities for that sort of thing. Otherwise than this-and adding a few vocalists of greater fame than our ownthere is little in the Australian stations’ programmes that we do not hear as well done from New Zealand stations." A Wanganui Opinion. N the course of a letter to the Wanganui Listeners’ League, Mr, A. R. Donaldson said: ‘In regaid to the programmes we get in return for our 80s, per annum, { yenture to say we get tull vaine. ‘The concerts are of a migh standard, both as to quality and variety ; practically every available worth-while artist suitable for broadcasting is booked up by the company, and gets his or her turn "on the air,’’ as opportunity offers. The company is unquestionably doing all that it is able to do to provide programmes pleasing to listencrs. Lor proof of this, you have only to compare any studio programme with the programme of any concert produced with New Zealand talent in any theatre in the Dominion, Further, the company las to maintain four power stations and four studios, and to provide four concerts practically every night of the week, Suudays included. Here four plants and four concerts are necessary by reason of the topographical character of the country. Contrast this with an Australian broadcast station serving a whole state with one plant and one staff, and able to draw its artists ded the one big centre for one (not four) concerts ¢very night, and receiving probably two-thirds more revenue in| license fees than does the New Zealand Company. One station and one concert: per night would suffice for New Zealand, if only powerful receiving sets: had to be considered, but as it happens, the majority of license holders are, I understand, crystal users, I am quite disinterested, and, I hope, impartial in my attitude, ‘but I really believe that listeners are gctting a really splendid service, and I also believe that the great majoriiy--the silent majority-are more than pleased with the serviee they are getting." "Fire Blight, or Tickled by Ants." The "Wanganui Herald," in discussing programmes recently, has a jibe at the expense of Auckland writers over reecnt criticism. After referring to sulle comments appearivug oer a nom-

Je-pluiie, the ‘Herald’? concludes: "Just at present, however, Auckland lis-teuers-in appear to be suttering from some form of firebliglt or have been tickled by ants," [The foregoing comimnetit ilustrates the disability of the comments of a few being taken as representative of many.-Ed.] The Wiceless Gormandizer, W.J.K. (Dunedin): I think the wireless gormandizer is a principal cause of the discussion one hears about the progranimes, Night after night he listens in to a radio programme, Can any human mind stand such a surfeit? Apply it to a gramophone or a series of concerts. 1 was once in my south a Press reporter, and I still recall the utter boredom with which the profession regarded the task of. regularly attending concerts, classical or otherwise. ‘To be condemned to attend night after night even the best concerts in the world, with Melba or Caruso singing at their best, wonld, I think, be a fit punishment for the devil himself Or to have to listen to twelve o1 four teen hours of the best canned music on the gramophone throughout the week would, I think, not be tolerated by anyone. Personally I’d be kicking the instrument into the backyard abont halfway through the second evening. Why, therefore, should people imagine they have to listen night after night to wireless? Why not take it in modera-_ tion, and listen when the meod and the opportunity is right? I love radio but I do have something else in my head, and like a little time in the evenings for reading and study. Then when I feel like it I tune in ad en-

joy the programmes, becuuse i’m tresh and not stale. Having regard to the seope of talent available in the different centres, I consider we are ‘not being treated badly at all, and all 1 would suy to those who growl so much is to take a little thought and use 1adio zs a sauce to life, and not as a {full-time meal. If one pregramime is not pleasing them it will be pleasing somebody else. Northern Suggestion Analysed, "y "HAT are the essentials of a good radio programmic ?" a radio writer in a northern paper asks. After discussing the question, he propounds this solution for the benefit of the Broadcasting Compauy : ‘To have a general appeal, broadcasting must im some ways approach a vaudeville show in type. lt must contain all che elements that divert a ninltitnde of tastes. A succession of straight concerts, however good the artists may be, pall in time. Variety and stil! more variety, alone will bring genera] approval." Whether variety is the secret of a universally satisfactory jrogramme is opett to grave question, but it would seein to those who have had experience in catering for the entertainment of the public that anyone who declares he knows the public wants ‘varicty and slill more variety’ every night of the week "protestetlh too miuch.’’ ‘Lhe writer of those notes would not be long in the headquarters office of the company before he would become convinced that there was something at fault with the public or with his opinion that all listeners would be satisfied with all-variety programmes being broadcast from all stations evcrs night. Hven as it is now, the compaty receives strong protests against vandeyille turns which are introduecd into the prograinmes. A recent mail contained a letter from a lover of good music, who said that: ‘all lovers of good music should make enough noise (though he knew. they were not the kind who would) * to keep Mr. -- off the air, or at least to prevent a dotble dose of the same rubbish im one night. Why you should put on the item ~~-- (evidently a very popular one, judging from the number of tele: phone rings) (wice in one night, God ouly knows."

The Company's Policy. © far as the bro.ecasting Company is concerned, it has "been to considerable trouble in an efiort to arrange ior diverse programmies at each station, and to co-ordinate at all stations so that, as far as possible, no two stations are broadcasting the same type of programme the same eveniug. With the talent available, as much varicty as possible is introduced into the . pro-’ grammes. Every programine cannot be of a vaudeville nature. A programme has to keep to a type, and they cannot all be of vaudeville type. Listeners would not put up with that as is evident from the protests which the company receives against the inclusion of such items. If the programmes included many items from the amateur entertainers ‘who are supposed to be numerous and of high quality, but who really are nothing of the sort), the Broadcasting Company would be snowed up under an avalanche of complaints. The strange feature about the Auckland writer’s criticism is that, having made a suggestion, he forthwith proceeds to demolish it by proving its impracticability. The vaudeville turns which are now introduced are perform. ed by the best of the artists procurable in the four cities. The Auckland writer admits that the professional entertainer so largely drawn upon in Australia, where theatrical enterprises are directly interested in broadcasting stations, is fiot available here, and he suggests that amateur talent must be obtained. "It is a failure to ascertain the amount of yerSatile talent that exists, that. the Broadcasting Company has missed a big opportuniy,"? he says. Then he becomes more . definite. "In the realm where the publicspeaker, the elocutionist. the singer of humorous songs and the perpet« rator of cleyer satires and burlesques shold have scope, far too little has been attempted." Not Too Much Talent. (THE writer of the criticsm has wrongly assumed that there is unlimited talent in New Zealand. There may be some, but there are not a great many good artists who have not at some time performed for Radio. -In fact, there are not a very great number of really good musicians in New Zealand (vocal or instrumental) and the number of amateurs who can put on a vatiety turn of the first class is only a fraction of the nuntber of musicians. The Broadcasting Company has secured a generous quota of those available. When amateur performers are advocatJed, it must not be forgotten that many have a very limitel repertoire and the number of times they can appear =t the studio is very restricted. Even the trained musicians find that the demands of radio are most exacting owing to the amount of rehearsing and practice which they have to give to items before they are ready to go on thie air. The vocalists regularly engaged at tiie various stations have a ‘reputation tv maintain. Amateur artists are in a somewhat different position If critics would only supply the names of variety artists that they think would be suitable for Radio the Broadcasting Company would be only too pleased to give them the nsual andition. Who are the public speakers the critic has in view, who the elocutionists who do not already appear at the microphones? Who are the singers of popular songs and the perpetrators of clever satires and burlesques ? Payments to Artists. ig remains to be said that at the recent Auckland meeting a desire was expressed to know the fees etc., paid to artists and the total sum allotted to stations for prograimmnie purposes, A little reflection will, we think, show any business man why the giving of such information would work injury and not goocl. In the first place, the conduct of broadcasting 1s a business proposition, one feature of which is the purchase of talent, It will be obvious that musical and artistic talent is not standardised in quality like a pound of butter, and that the ‘worth of items and performers vary. They vary, indeed, to such an extent that negotiations can only be successful when conducted privately. Even for it to be announced that the scale of fees varies from -- to -- would, it commercial language, tend to harden the market, as inducing those with the lower scale to endeavour to secure the higher rate. Similarly, if it were announced that the weekly allocation for any station was -- tlic inevitable human tendency for each performer would be to contrast his personal fee with the total sum, very much to the disadvantage of the smaller item. Human nature is much the same everywhere, and in any such comparison the tendency always is to exaggerate the importance of the ega without a propottionate recognition of the value of other performers. Nw business matt would ever go on the market for any commodity with first announcing what he had to spend. Each prospective seller would naturally endeavour to get as much as he could of the total, and the finish of that method of buying would he that the buyer would get very much Jess value for his money than if he negotiated privately on merit with each individual,

Analysis of Typical Week's Programme from OYA The following analysis is offered as a definite basis for argument in the controversy as to an excess of instrumental music being given on the programmes :- Twelve Hours Entertainment from Sunday to Monday. Orchestral or Band Overture (always popular or light music) . Jazz relay or jazz records on Saturdays .. .- ve Barel concert on Thursdays Instrumental music (solo), cornet, clarinet, flute, Italian mandolin, Hawaiian guitar, violixs, ’cello, piano, almost solely of Hight or jazz type of music) . . _ . Instrumental trio (classical Music) . os . .. os o .s oe 0 oe Instrumental trio (light music) . a ve .- oe .- we > oe String quartet (Sundays) classical music . oe +: oe ve as Songs, including grand opera, musical comedy, ‘jaz vocal numbers, simple ballads, and classical songs ., . oe oe os ° Spoken and sung humour (Messrs. Stark, Walpole, etc. ). es ae ee os es Elocutios (mostly humorous numbers) .. .s ee oe ee oe . Imperial affairs lecture . my oe «- Announcements of numbers, weather reports, etc., eg average 10 "minutes nightly 2° ws 25 min. 1 hour 50 min. 1 hour 10 min. 1 hour 20 min. 45 min, 40 min. 25 mir 3 hours 15 min. 45 min. 30 min. 15 min. 60 min. 12 hours 20 min,