Towards streamlined broadcasting. The Changing Music Cultures of 1990s Finnish Commercial Radio

Abstract

The deregulation of broadcasting in 1985 Finland introduced competition between the European public service tradition and American commercial radio. Musically diverse and almost uncontrolled programme policies of the mid-1980s were replaced by the American-style format radio in the 1990s. The article focuses on how the process of music selection and radio music management changed. What were the economic, technological, organisational and cultural constraints that regulated the radio business and especially music? The question will be answered by empirical data consisting of interviews with the radio station personnel and music copyright reports supported by printed archive material.

Designing interactive systems for the experience of time

“…The objective characteristics of music do predict receptivity, but the emotional impact of music is highly dependent on individual preferences and familiarity [59]. In Western culture, instrumental music is the universally utilized background score [23], although it is known that commercial format radios [70] play carefully selected music to appeal to sharply defined consumer segments because of the considerable differences in receptivity across audiences.…”

Beyond the playlist: commercial radio as music culture

“…This can be attributed to an early form of music formatting and placed on a continuum of change of music listening, music consumption and a transforming sonic environment. Instead of being tied to festivities, concerts or other social events, music had become the consumer's everyday companion, starting from portable gramophones, compact cassettes and transistor radios (Uimonen 2010b, p. 4).…”

“…A somewhat similar evolution took place in Finland too, when music content was composed in SBS stations belonging to the same radio chain. Cost efficiency was increased by introducing an individual music programmer responsible for selecting music to all radio stations instead of employing several music directors in different towns (Uimonen 2010b, p. 11).…”

“…This included individual songs, given artists and in some cases whole music genres. Radio Sata took this to extremes by exiling heavy rock, rap, old iskelmä music, disco, classical music, folk music, jazz and religious music from its prime time (Uimonen 2010b, p. 9).…”