Originally posted by kernelbogey
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Through the Night
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Originally posted by kernelbogey View PostI think it is particularly unfair to use this thread about TTN for generalised kvetching about R3 presenters in general. My experience, over several years of dipping into TTN during (often extended) periods of insomnia, is that John Shea, Catriona Young and Jonathan Swain make skilled use of the very limited time at their disposal for commentary. The space for continuity announcements is tightly managed. Often the remarks are witty, generally well-informed, and avoid the well-rehearsed anecdotes about familiar pieces. I also would say it is a showplace for often unusual or infrequently played works.
I don't want to get into the general presenter realms but would say that I think it is a pity that the R3 presenters are not able to make better use of the knowledge and experience they have between them, due to management's ideas of what R3 is now supposed to be offering its listeners. If TTN must be fiddled with then what a shame that those you mention, and others, cannot have the chance, even if only occasionally, to have a slot to use their talents, instead of having Dumbtime inflicted on us.
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And now they've taken her away (ho ho, he hee, ha haaa) before I had a chance to find out if, like the other presenters, she knew, for instance, that there was a Richard as well as a Giles Farnaby, that there were two Groneman brothers, both composers, that Vaughan Williams' Romance for viola and piano isn't a transcription of his Harmonica romance; in short, the sort of in-depth knowledge displayed nearly every morning by the three regular presenters. Having a degree in recorder performance no doubt involves knowledge and skill but it is, all the same , a specialised segment of the musical world.
Maybe if anyone from the BBC reads this thread they may have taken the point.
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Originally posted by smittims View PostAnd now they've taken her away (ho ho, he hee, ha haaa) before I had a chance to find out if, like the other presenters, she knew, for instance, that there was a Richard as well as a Giles Farnaby, that there were two Groneman brothers, both composers, that Vaughan Williams' Romance for viola and piano isn't a transcription of his Harmonica romance; in short, the sort of in-depth knowledge displayed nearly every morning by the three regular presenters. Having a degree in recorder performance no doubt involves knowledge and skill but it is, all the same , a specialised segment of the musical world.
Maybe if anyone from the BBC reads this thread they may have taken the point.
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I think posters on this thread would be surprised by how much is written , even if just in note form , by producers and researchers. Presenters tend to be expensive and getting them to research and write (more than rewriting ) is a very pricey way of making content. The presenters don’t need to be experts but they do need to have a good broadcasting voice , a pleasant manner on air, cope with stress , the ability to fill when things break down or are delayed, the ability to pronounce French Italian and German correctly without recourse to Google, interviewing skills , writing skills , work well in a team , not be (too much of) a prima Donna, take sometimes curt direction without getting the mump on , and talk when someone is “ranting” in their ear. That’s quite a list of skills which is why most people just can’t do it. The key skill is reading a script without sounding as if they are reading - that is surprisingly difficult. It is also a very weird feeling just talking into microphone with no visible audience other than the people inthe cubicle chatting to each other. That said I’ve known radio presenters (not in R3 ) who would happily go on air at 06.00 and stop at midnight if they could.
If they are classical music experts so much the better but some of the best presenters are not experts and indeed in the outside world some of the experts don’t have a huge interest outside their area.
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And I think the point needs to be made (again!) - sorry kb! - most of R3's programmes don't need an in-depth knowledge of classical music because they aren't that kind of programme: they aren't aimed at a knowledgeable audience. I understood that if R3 (classical) presenters were deemed capable of writing their own script, they did so. In some cases it would be better if they didn't. I'm sure the presenter who clearly mixed up Arthur Butterworth and George Butterworth would certainly have been deemed 'capable of writing her own script'.
That said, it's not that difficult to read a script and make it sound ad lib. It's why many presenters have had acting experience.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by smittims View PostAnd now they've taken her away (ho ho, he hee, ha haaa) before I had a chance to find out if, like the other presenters, she knew, for instance, that there was a Richard as well as a Giles Farnaby, that there were two Groneman brothers, both composers, that Vaughan Williams' Romance for viola and piano isn't a transcription of his Harmonica romance; in short, the sort of in-depth knowledge displayed nearly every morning by the three regular presenters. Having a degree in recorder performance no doubt involves knowledge and skill but it is, all the same , a specialised segment of the musical world.
Maybe if anyone from the BBC reads this thread they may have taken the point.
I've just seen EH's post which I'm relieved to find confirms that despite lack of industry knowledge I wasn't completely wrong in my opinions about skills needed!
My views about the value of expert knowledge (music or otherwise) have been coloured over the years by encountering individuals who knew a lot but were either unaware of or not interested in the areas outside their expertise, and could sometimes be quite unpleasant towards those who had the temerity to question.Last edited by oddoneout; 21-11-22, 10:48.
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Originally posted by french frank View PostAnd I think the point needs to be made (again!) - sorry kb! - most of R3's programmes don't need an in-depth knowledge of classical music because they aren't that kind of programme: they aren't aimed at a knowledgeable audience. I understood that if R3 (classical) presenters were deemed capable of writing their own script, they did so. In some cases it would be better if they didn't. I'm sure the presenter who clearly mixed up Arthur Butterworth and George Butterworth would certainly have been deemed 'capable of writing her own script'.
That said, it's not that difficult to read a script and make it sound ad lib. It's why many presenters have had acting experience.
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Originally posted by french frank View PostAnd I think the point needs to be made (again!) - sorry kb! - most of R3's programmes don't need an in-depth knowledge of classical music because they aren't that kind of programme: they aren't aimed at a knowledgeable audience. I understood that if R3 (classical) presenters were deemed capable of writing their own script, they did so. In some cases it would be better if they didn't. I'm sure the presenter who clearly mixed up Arthur Butterworth and George Butterworth would certainly have been deemed 'capable of writing her own script'.
That said, it's not that difficult to read a script and make it sound ad lib. It's why many presenters have had acting experience.
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Originally posted by Bryn View PostThe three people of my acquaintance through mutual musical enthusiasms who also work as Radio 3 presenters have each, on different occasions, advised that it is part of their contractual remit to write their own scripts. There may, I suppose, be exceptions to that requirement but it was presented to me as an aspect of the standard contract. Some seem to rely on the likes of Wikipedia, pretty much word for word, but those I know tend to dig deeper.
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Originally posted by Ein Heldenleben View PostActually actors often make poor presenters.
Originally posted by Ein Heldenleben View PostIt is in fact quite difficult to read a script and make it sound natural.
DJ has the voice and must have at least an adequate knowledge of classical music for the job. I don't think a knowledge of Giles Farnaby (one of my first LPs aged 14) and Richard Farnaby (who he?) is necessary for a 'playlist' presenter.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by french frank View Post. . . I don't think a knowledge of Giles Farnaby (one of my first LPs aged 14) and Richard Farnaby (who he?) is necessary for a 'playlist' presenter.
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Originally posted by french frank View PostI didn't say actors but people 'with acting experience' e.g. Richard Baker, Martin Handley, Aled Jones.
I was going from my own experience. I wrote out my lectures in full, but you develop techniques for making it sound natural (spontaneous afterthoughts, jokes and all!). I think perhaps some people just can't act and actors can overact. Anyway, TTN is part of the 'playlist' board where the format is a sequence of music with short 'links' rather than developed discussion which requires in-depth knowledge. That isn't to say presenters never have that knowledge and manage to slip some of it in very fruitfully (e.g.John Shea and Catriona Young). Just that it isn't essential for such a format.
DJ has the voice and must have at least an adequate knowledge of classical music for the job. I don't think a knowledge of Giles Farnaby (one of my first LPs aged 14) and Richard Farnaby (who he?) is necessary for a 'playlist' presenter.
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Originally posted by Bryn View PostIt isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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