This thesis presents an analysis of how the Canadian commercial radio sector operates under the concurrent pressures of regulation, economics, innovation, and cultural development, in the context of emerging technologies. Specifically, it examines the most significant changes taking place in the commercial radio sector, those brought about by both tech aficionados and the dynamic nature of the technological environment.
Two main theoretical postures buttress this paper: (a) The social shaping of technology helps make better sense of how individuals can affect the development and the impact of a technology; (b) Long-tail economics provides an opportunity to analyze the positioning of radio in the cultural market as well as how the explosion of cultural products and distribution platforms are combining to reconfigure the dominance of radio as a source of audio content, given the increased accessibility of digital technology and ensuing plethora of specialized audio content. Both of these models allow us to capture better the essence of the transformations currently affecting the Canadian radio industry.
The methodology used to organize the presented data and analysis is that of qualitative research. Existing academic literature pertaining to radio and the digital society is reviewed, while an array of congruent and more mainstream sources are presented to provide accounts of recent and pertinent industry changes. This qualitative research is further complemented by a series of face-to-face interviews conducted with various commercial radio executives.
Overall, this thesis highlights the importance for private radio broadcasters of developing more exclusive and innovative content through programming that offers various levels of audience interactivity, effective risk management, and content migration across technological platforms. Furthermore, it suggests that commercial radio broadcasters not look strictly to public policy for securing a relevant future as a medium. This thesis proposes a redefinition of the term emerging artist, and argues that Canadian content development contributions are merely symbolic unless they are accompanied by an increase in airplay for emerging Canadian artists. Finally, this thesis recommends that private radio differentiate itself as much as possible from other emerging audio technologies, such as MP3 players and Internet radio, by focusing on terrestrial radio's unique offerings: local programming, the development of host personalities, more exclusive non-musical content, product placement and exposing listeners towards new music and emerging artists.
As a final observation, while the radio and technology industries appear to be concerned with identifying the next "killer" application that will upset the domination of one technology over others, we are missing an opportunity to reflect on deeper questions of identity. Technology, in how we use it and shape it, points to revealing movements in our cultural and social growth.
Keywords: terrestrial commercial radio, policy, music exhibition, emerging technologies, emerging artists, content portability, long-tail economics, mobility, social shaping of technology, advertising.
| Identifer | oai:union.ndltd.org:uottawa.ca/oai:ruor.uottawa.ca:10393/27562 |
| Date | January 2007 |
| Creators | Vani, Sonia Giannina |
| Publisher | University of Ottawa (Canada) |
| Source Sets | Université d’Ottawa |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | 220 p. |
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