In terms of classical music, the dissertation concentrates primarily on orchestral music and symphony concerts relayed both from the studio and public venues in Northern Ireland. Light orchestras, variety, vaudeville, chamber music, instrumental, vocal and choral music, church music, and ‘straight’ organ recitals are not examined in detail, though they are mentioned in passing at relevant stages in the thesis. This study does not discuss all types of music broadcast by BBC NI from 1924 to 1939. Even so, the BBC found ways of transcending the many boundaries that existed, ultimately proving a formative force in the development of music and its audiences in Northern Ireland. The conclusion to this dissertation shows that the BBC’s construction of a ‘national’ culture was problematic in Northern Ireland, where there was much conflict between perceived notions of identity. While the construction of a common culture had obvious benefits in the fractured community of Northern Ireland, Chapter VI reveals that relays of local culture presented challenges, as well as opportunities, for the BBC. Driven by its policy of cultural improvement, the BBC’s democratisation of music was characterised by a popularising of classical music and a sanitising of popular musics. Another facet of power relationships is evident in the ongoing tensions between the BBC’s policies of centralisation and regionalisation, outlined in Chapter I. This relates to ideas of cultural value, impacting on canon formation, performance standards and aesthetics of performance practice. In terms of power relationships, an important subtopic is that of cultural improvement, guided by the BBC’s goals of education and appreciation. The two primary themes are power relationships (both between the BBC and its musicians, and the BBC and its audiences) and identity (including the BBC’s construction of identity, as well as the BBC’s representation of local culture in Northern Ireland). In addition, there are recurring themes which serve to link the chapters together.

Three principal areas of music broadcasting are addressed in this study: i) orchestral activities (Chapters II, III and IV) ii) educational programmes (Chapter IV) and iii) popular music broadcasts, including music relayed from the community (Chapters V and VI).

This context is provided in Chapter I, with supplementary material on personnel and timetabling at BBC NI. Likewise, a background to the larger institution of the BBC, including technological advances and evolving policies, is essential to understanding broadcasting at a local level in Northern Ireland. To this end, the introduction contextualises developments within the historical and musical conditions present upon the advent of radio to the region. Moreover, I seek to explain why music broadcasting followed the particular direction it did in Northern Ireland. On one level, the chapters provide a detailed chronicle of music broadcasting throughout the period.

The principal focus of the study is to examine the BBC’s role in the development of music and audiences in Northern Ireland. The BBC Northern Ireland Orchestra disbanded, while war-time broadcasting operated at a considerably reduced level. The year 1939 serves as a convenient cut-off point: the outbreak of World War 2 effectively ended the routine of programmes broadcast from Belfast since 1924. The research is confined to a fifteen-year period, in order to allow for a detailed discussion of the BBC’s role in developing music and audiences in Northern Ireland. This thesis is the first detailed study of the history of music broadcasting in Northern Ireland.

Scotland the brave fife and drum