magistrsko delo
Tomaž Čop (Avtor), Jernej Letnar Černič (Mentor)

Povzetek

v radijske programe. Glasbene kvote so predmet spora med zagovorniki in nasprotniki že desetletja, vse tja od prve uvedbe v začetku tega tisočletja. Spor pa ni nekaj, kar bi bilo samo slovensko, prav v vseh državah, kjer so uzakonjene kvote, potekajo burne polemike o smiselnosti le-teh. Z vsako spremembo pa se zdi, da se prepad med zagovorniki in nasprotniki samo povečuje: medtem ko glasbeniki trdijo, da bo brez kvot slovenska glasba z leti propadla, in se politiki sklicujejo na nacionalno identiteto, pomembnost slovenske besede in spodbujanje slovenske ustvarjalnosti se na drugi strani lastniki radijskih postaj in glasbeni uredniki pritožujejo nad prevelikim posegom v uredniško svobodo, nad uničevanjem radijske krajine, nad preveliko regulacijo programski vsebin, ki vodijo radio, v teh težkih časih, ko se spreminja medijska krajina zaradi interneta, socialnih omrežij in streaming servisov, v vse bolj obrobno področje vpliva na potrošnike glasbe. Polemike o smiselnosti kvot so se iz malih bitk med posameznimi aktivisti znotraj glasbene scene na eni in nekaterih radijcev na drugi strani v preteklosti prelevile v pravo vojno med dvema gospodarskima panogama, glasbeno in radijsko industrijo, ki sta vsaka na svojem bregu. Vse skupaj je problematično, ker se nekaterih učinkov na kratek rok ne da izmeriti, saj ne obstajajo kazalci za boljšo ali slabšo glasbo, tako da je težko zaključiti, ali se kvaliteta slovenske glasbe zaradi kvot izboljšuje, ob poplavi glasbe, ki jo je omogočila relativno poceni, vsakomur dostopna snemalna tehnika, pa se tudi na večjo ali manjšo količino glasbe ne moremo opreti. Edini relevantni podatki so analize dogajanja na glasbenem in radijskem trgu v državah, ki imajo kvote in se s problematiko ukvarjano že več let, nekatere tudi desetletij. Edino, kar je skupno vsem državam, ki imajo kvote že desetletja, je težnja glasbene in radijske industrije, da se najde način, kako sistem obiti, ga zlorabiti, zmanipulirati ali izkoristiti sebi v prid, pri tem pa je nacionalna glasba po navadi bolj žrtev kot pa privilegiranka. Seveda pa tukaj ne smemo pozabiti tudi na politike, ki jim je trkanje po prsih z domačo besedo in zaščito kulturnih vrednot naroda vedno priročna gesta za nabiranje političnih točk. V pričujoči nalogi poskušam predstaviti zgodovino radia in radijskih kvot, pregledati sisteme kvot po drugih državah, predvsem Evrope, pa tudi nekaterih svetovnih glasbenih velesil, in vzroke zaradi katerih je prišlo do spreminjanja medijske zakonodaje v zadnjem letu. Sprejem sprememb in popravkov medijske zakonodaje v delu, ki določa višino in način implementacije kvot v slovenske radijske programe, je bil po besedah predlagateljev nujen predvsem zaradi odprave zlorab dosedanje ureditve. Dobršen del naloge je namenjen predstavitvi problemov, s katerimi se srečujejo glasbeni uredniki pri implementaciji problemov, na katere so radii opozarjali, pa jih zakonodajalec ni upošteval, predvsem pa dejanske številke predvajanj slovenske glasbe na radijskih programih pred in po uvedbi. Predstavljene so možne zlorabe obstoječega sistema in predvsem posledice, ki jih bodo kvote dolgoročno glede na izkušnje iz tujine imele na slovenski radijski trg in slovensko glasbeno ustvarjalnost.

Ključne besede

glasbeni programi;slovenska glasba;radijski trg;radijske postaje;Zakon o medijih;Slovenija;Evropska unija;magistrske naloge;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.09 - Magistrsko delo
Organizacija: FDŠ - Fakulteta za državne in evropske študije
Založnik: [T. Čop]
UDK: 78(497.4)(043.2)
COBISS: 1024547681 Povezava se bo odprla v novem oknu
Št. ogledov: 4659
Št. prenosov: 197
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni povzetek: The topic of this master%s thesis is the problem of implementing the music quota into radio programming. Music quotas have been at the centre of a decade long argument ever since they were first introduced at the beginning of the new millennium. This argument is not only going on in Slovenia, passionate arguments on how reasonable their introduction is, have been going on in all the countries where the music quotas had been put into law. It seems that every change makes the divide between the supporters and the opposition greater. While the musicians claim that Slovenian music will cease to exist without quotas, and the politicians talk about national identity, the importance of Slovenian word, encouraging Slovenian creativity, the radio station owners and music directors on the other hand are complaining about the fact that the editorial independence is being limited, radio landscape is being destroyed, program content is overregulated, which is pushing radio, during the hard times when the media landscape is changing due to the internet, social media and streaming services, into a more and more obscure role in influencing music consumers. The debate on how sensible the quotas are has evolved from the small battles between individual activists within the music scene on the one side and some radio people on the other in the past, to a full blown war between two industries, the music and radio industry, both on their respective side of the divide. It is all rather problematic, as it is impossible to measure any short term effects, there are no indicators of better or worse music, which makes it hard to conclude whether the quality of Slovenian music is any better due to quotas, with the flood of music, enabled by the relatively cheap and easily accessible recording equipment, we cannot depend on the larger or smaller quantity of music. The only relevant data is the analysis of events in the music and radio market in the countries where quotas have been in place for several years, in some cases decades. The only thing the countries, where quotas have been in place for decades, have in common is a tendency of music and radio industry to find a way to around the system, abuse it, manipulate it or use it to their advantage, wherein the national music is more of a victim than the privileged. The politicians are not to be overlooked in this, as banging on the chest with protecting the mother tongue and cultural values of the nation is always a useful gesture for gathering political points. The master%s thesis is an attempt to present the history of radio, radio quotas, make an overview of the system of quotas in other, especially European, countries as well as in some musical superpowers and the reasons, why media legislation has changed within the past year. Changes and corrections of the media legislation in the part that defines the percentage and the way in which quotas are implemented into Slovenian radio programs, has been, as stated by the applicants, necessitated mostly by the need to eliminate the abuse of the previous legislation. A significant part of the thesis is dedicated to presenting the problems the music directors are facing in implementing the legislation, problems that the radios highlighted but were not taken into account by the legislator and most of all the actual numbers of Slovenian music broadcast on the radio before and after the implementation. We presented the possible abuses of the current system and most of all the consequences that the quotas will have in the long term on the Slovenian radio market and Slovenian music production, taking into account the research from other countries.
Vrsta dela (COBISS): Magistrsko delo
Komentar na gradivo: Fak. za državne in evropske študije
Komentar vira: Mag. delo;
Strani: IX, 92 str.
ID: 10859330