The European radio stations have almost 30 per cent of the global audience of music radios, especially in Spain and France». Moreno Moreno (2001:203) concludes that «the musical specialisation is a more developed phenomenon in the United States but a more consolidated one in Europe when it comes to consider radio programming and audiences(.). Nevertheless, one can say that this strong presence of music is very much the picture everywhere: « the majority of stations in Britain follow a very similar format dominated by music» (Fleming, 2002: 6). These figures are similar to those of the United States («the music radio is a phenomenon that at the end of the nineties affects more than 10 thousand broadcasters in the United States – 88 per cent of the total number of radio stations-and it embraces almost 74 per cent of the global radio audience», Moreno, 1999:90), and even bigger are the ones in Spain or France. In Portugal it represents between 70 and 80 per cent of the global listening, according to Meneses (2006: Introdução). Music, young people and the radio Music is, worldwide, the most dominant content on radio. In this paper we relate these new challenges with the responsiveness of the traditional radio. Now the digitalization created alternatives that also transformed the role of the consumer, from passive to active one streaming music channels let you choose when you want to listen and even what music to hear. For decades, radio and music have had a perfect wedding.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |