Популаризација озбиљне музике на програмима Радио Београда и у издаваштву ПГП РТС

Abstract

У овом раду биће представљени носачи звука који су настали у сарадњи између уредника емисије Драгстор озбиљне музике Радио Београда и Продукције грамофонских плоча Радио-телевизије Србије (ПГП РТС). Ова сарадња је уједно и повод да се поменута емисија, а тиме и носачи звука настали у оквиру њеног концепта, проблематизују у контексту појаве популариза- ције озбиљне музике. С обзиром на дуготрајност емисије и интересовање за носаче звука настале у оквиру њеног концепта, могу се поставити питања о ефекту који њена програмска концепција (одабир и начин презентовања дела озбиљне музике) остварује код слушалаца, као и о вредности коју одређена музика има у различитим контекстима.

Between Radio television Belgrade (RTB, later, Radio television of Serbia / RTS) and Production of Gramophone records of Radio television of Belgrade/ Radio television of Serbia (PGP RTB / PGP RTS) there was a close cooperation, because they belonged to the same media company. One of the results of that cooperation was a series of recordings thematically related to some Radio Belgrade shows. These releases are examined in this paper in the context of the problem of popularisation of classical music in the Socialist Federal Republic of Yugoslavia. Based on the information found in the archives of these institutions, this paper deals with the concept of both radio shows and related recordings, with the focus on one particularly popular show – Classical Music Store. This show is paradigmatic example of the striving to popularise classical music, which was an important part of socialist cultural policy. The idea of the show, which is still running and also has its TV counterpart, was to present classical music to the broader audience and combine it with formats of contact programme, with guests in studio, phone calls and musical requests by the listeners. Characteristics of the show, such as: presentation of local artists, “going out” of the studio i.e. organising public concerts and top-lists were copied from such popular music formats. The top-lists are the most interesting because of the specific role that top lists play in the media and record industry. By using this concept, the show Classical Music Store emphasises market value and the capacity of its concept to attract buyers, which is evident from the fact that the PGP releases of the music played within this show is purchased; moreover, these recordings continue to be released, even when the production of other classical music editions is in serious decline. Thus, it seems that the format of this show, born out of the socialist context where the value of the classical music was educational, was easily adapted to the context of the transition towards a capitalist society, where the ability of a musical product to attract buyers can be regarded as a new value.