Introduction: The Music we are accustomed to call Classical

  • Tony StollerEmail author


This Chapter, the Introduction to the book, takes as its title Theodor Adorno’s reference to ‘the music we are accustomed to call classical’, and looks at the main themes which run through the 50 years covered by this book, and the emergence of the concept of ‘classical music’ in the nineteenth century. It continues by examining the taxonomy, then establishing a definition for ‘classical music’, extending that to ‘classical music radio’ and concludes by reviewing the sources and metrics for this study.


Radio Classical music BBC Classic FM Modern history Broadcasting history Contemporary culture Commercial radio 

Bibliographic Sources

  1. Adorno, T.W. and R. Leppert. 1933 [2002]. Essays on music: Theodor W. Adorno. London: University of California Press.Google Scholar
  2. Benjamin, W. and J.A. Underwood. 1936 [2008]. The work of art in the age of mechanical reproduction. London: Penguin.Google Scholar
  3. Bourdieu, P. 1984. Distinction: A social critique of the judgement of taste. London: Routledge.Google Scholar
  4. Briggs, A. 1970. The history of broadcasting in the United Kingdom. vol. 3, the war of words. Oxford: Oxford University Press.Google Scholar
  5. Cannadine, D. 2004. History and the media. Houndmills: Palgrave Macmillan.Google Scholar
  6. Carey, J. 1992. The intellectuals and the masses: Pride and prejudice among the literary intelligentsia 1880–1939. London: Faber.Google Scholar
  7. Doctor, J.R. 1999. The BBC and ultra-modern music, 1922–1936: Shaping a nation’s tastes. Cambridge: Cambridge University Press.Google Scholar
  8. Dolan, J. 2003. The voice that cannot be heard. Radio Journal: International Studies in Broadcast & Audio Media 1 (1): 63.Google Scholar
  9. Eisenberg, E. 2005. The recording angel: Music, records and culture from Aristotle to Zappa. New Haven: Yale University Press.Google Scholar
  10. Goggin, C. 2006. Radio 3 or classic FM. (BMus) thesis, University of Wales, Bangor.Google Scholar
  11. Goodman, D. 2011. Radio’s civic ambition: American broadcasting and democracy in the 1930s. Oxford: Oxford University Press.Google Scholar
  12. Grimley, M., and M. Wiegold. 1977. Catalogue of music broadcast on radio 3 and radio 4 in 1974. London: British Broadcasting Corporation.Google Scholar
  13. Heartz, D. 1980. Classical. In The new Grove dictionary of music and musicians, ed. S. Sadie. London: Macmillan.Google Scholar
  14. Hendy, D. 2010. Listening in the dark. Media History 16 (2): 215–232.CrossRefGoogle Scholar
  15. Hobsbawm, E.J. and T.O. Ranger. 1983. The invention of traditionpast and present publications. Cambridge: Cambridge University Press.Google Scholar
  16. Lacey, K. 2011. Listening Overlooked. Javnost—The public? 18 (4): 5–20.Google Scholar
  17. Lacey, K. 2013. Listening publics: The politics and experience of listening in the media age. Cambridge: Polity.Google Scholar
  18. Leavis, Q.D. 1932. Fiction and the reading public. London: Chatto & Windus.Google Scholar
  19. Leavis, F.R. 1965. The common pursuit. London: Chatto & Windus.Google Scholar
  20. Lebrecht, N. 1997. When the music stops: Managers, maestros and the corporate murder of classical music. London: Pocket.Google Scholar
  21. LeMahieu, D.L. 1988. A culture for democracy: Mass communication and the cultivated mind in Britain between the wars. Oxford: Clarendon.Google Scholar
  22. Lüthje, C. 2008. Das Medium als symbolische Macht: Untersuchung zur soziokulturellen Wirkung von Medien am Beispiel von Klassik Radio. Norderstedt: Books on Demand.Google Scholar
  23. Manduell, J. 2016. No Bartok before breakfast. Todmorden: Arc Publications.Google Scholar
  24. Marwick, A. 1990. British society since 1945, 2nd ed. London: Penguin.Google Scholar
  25. Marwick, A. 1991. Culture in Britain since 1945: Making contemporary Britain. Oxford: Basil Blackwell.Google Scholar
  26. McKibbin, R. 2000. Classes and cultures: England, 1918–1951. Oxford: Oxford University Press.Google Scholar
  27. Pieper, A. 2008. Music and the making of middle-class culture: A comparative history of nineteenth-century Leipzig and Birmingham. Basingstoke: Palgrave Macmillan.Google Scholar
  28. Rose, J. 2010. The intellectual life of the British working classes. New Haven: Yale University Press.Google Scholar
  29. Said, E.W., 2008. Music at the limits: three decades of essays and articles on music. London: BloomsburyGoogle Scholar
  30. Scholes, P.A. (ed.). 1965. The Oxford companion to music, 9th ed. Oxford: Oxford University Press.Google Scholar
  31. Small, C. 1977. Music, society, education. London: Calder.Google Scholar
  32. Taruskin, R. 2010. Music in the late 20th century. Oxford: Oxford University Press.Google Scholar
  33. Towse, R. 1997. Cultural economics: The arts, the heritage, and the media industries. Cheltenham: E. Elgar.Google Scholar
  34. Weber, W., 1984. The contemporaneity of eighteenth-century musical taste. The Musical Quarterly 70 (2): 175–194.Google Scholar
  35. Weber, W. 2008. The great transformation of musical taste: Concert programming from Haydn to Brahms. Cambridge: Cambridge University Press.Google Scholar
  36. Weber, W. 2012. Political process, social structure and musical performance in Europe since 1450. In Cambridge history of musical performance, eds. C. Lawson and R. Stowell. Cambridge: Cambridge University Press.Google Scholar
  37. Wiegold, M., C. Wilkinson, and P. Plaistow. 1976. British Broadcasting Corporation catalogue of music broadcast on radio 3 in 1975. London: British Broadcasting Corporation.Google Scholar
  38. Williams, R. 1967. Culture and society 1780–1950. London: Chatto & Windus.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.Bournemouth UniversityPooleUK

Personalised recommendations