Themes for Broadcasting
| Themes for Broadcasting | |
|---|---|
| Compilation album by | |
| Released | 1972 |
| Recorded | 1967–1972 |
| Studio | Gylian National Broadcasting Service headquarters, Mişeyáke, Mişeyáke Palace of Sound, Mişeyáke, Mişeyáke |
| Genre | |
| Length | 38:55 |
| Label | Sound Records |
| Producer | Susan Shelley |
Themes for Broadcasting is a compilation album by Susan Shelley, released in 1972. It compiles her theme music for Gylian Radio and Gylian Television.
Containing some of Susan's most recognisable works, it was a critical and commercial success, and was cited by biographers as a highlight of her career.
Background
By the mid-1960s, Susan had made her name as one of Gylias' leading record producers. Her association with the Beaties and status as the "fifth Beatie" brought her renown, and her illustrious reputation was well-established. She was commissioned by the Gylian National Broadcasting Service Director Eija Nylund to compose an opening theme song for Gylian Radio. Susan wrote in her memoir All You Need Is Ears that she was greatly honoured by the commission, and felt that it marked a milestone in her career, showing that she was now considered the crème de la crème of Gylian music.
Eija's request specified that the theme be "very Gylian, very contemporary, with classical overtones". Susan recalled that Eija was very satisfied with the piece, and personally introduced it when it was first played at sign-on. Eija then commissioned further themes from Susan, and these ended up being used on Gylian Television as well as Gylian Radio.
Once composing and producing the theme songs was completed, Susan compiled them for release in 1972.
An additional TV channel, GTV Parliament, was established after the album's release, but it lacks its own theme song because it doesn't use music at all.
Recording
The themes were recorded from 1967 to 1972 at the GNBS' headquarters and the Palace of Sound in Mişeyáke.
Susan played piano and other keyboard instruments, in addition to handling all arrangements and production. The musicians included the GNBS Musical Ensemble and GNBS Concert Orchestra.
Susan's son Alex assisted her with engineering and mixing the album, the first time he worked with his mother.
Music
The album contains a fusion of art music and popular music. It was described as containing elements of light music, minimal music, crossover, and jazz.
The album contains a wide variety of instrumenation, including the typical rock band lineup of guitar, bass, and drums; orchestral instruments like strings, brass, and woodwinds; and other instruments such as vibraphone, marimba, xylophone, harmonica, and different keyboard instruments. Pizzicato and marcato string instruments are frequently used to convey a sense of playfulness.
Susan stated that she sought to complement GNBS' distinctive "warts and all" broadcasting ethos, and thus wrote music that was "sumptuous and noble, with not a note out of place". She described her intention as "making broadcasting sound noble, and those who work in it feel like they're carrying out a divine duty".
Songs
"Theme One" is used as the opening theme for GR1 and GTV1. Opening with a pipe organ solo played by Susan, it blends a rock rhythm section with a classical orchestra, including a Baroque-style trumpet fanfare. The original 1967 recording added electronic phasing effects at certain points, a nod to the popularity of psychedelic music. For the album version, Susan removed the phasing out of fear it might make the song sound dated, and distract from the melody.
"Theme Two" is used as the opening theme for GR2 and GTV2. Opening with a rapid snare fill, it is the most rock-oriented track on the album, with a danceable beat, a melodic bassline, and lead guitar. The middle section is more subdued, with background strings and horn as the lead instrument.
"Theme Three" is used as the opening theme for GR3 and GTV3. It is an orchestral piece in waltz time, arranged for string quartet, horn, and woodwinds. A double bass punctuates the rhythm.
"Theme Four" is used as the opening theme for GR4 and GTV4. It is an orchestral piece with a playful melody played on pizzicato strings, which develops with counterpoints and additional instrumentation such as woodwinds, sustained strings, and bell tree.
"Breakfast Theme" is used as bumper music in between morning programming (08:00 – 12:00). It begins as an orchestral piece, with the main theme arranged for strings, pizzicato cello, and oboe, before introducing a steady drumbeat, acoustic rhythm guitar, and electric bass. Susan said she intended the melody and chord progression to invoke a sense of beginning the day with subdued optimism, drawing inspiration from her own daily routine.
"Lunch Theme" is used as bumper music in between afternoon programming (12:00 – 16:00). Its Gylian Sound-influenced arrangement features a shuffle rhythm with heavily accented drumming, a syncopated bassline, a lead melody played on harpsichord and flute, and string chords with much use of glissando. Reviewers compared the piece's character to similarly syncopated Beaties songs of the period, such as "Penny Lane" and "With a Little Help from My Friends".
"Tea Theme" is used as bumper music in between evening programming (16:00 – 20:00). It has a subdued rhythm section, acoustic rhythm guitar, string trills, and chromatic harmonica as the lead instrument, creating a sense of relaxation and the passage of time.
"Dinner Theme" is used as bumper music in between night programming (20:00 – 22:00). Played in waltz time, its arrangement consists of nylon-string guitar arpeggios, soft strings and woodwinds, with a solo violin playing the main melody. Susan said she intended the melody to transmit a sense of serenity and "gratitude for a lovely day".
"Today's Programming" is used as bumper music for continuity announcements. Opening with a brass section arpeggio, it is an orchestral jazz piece that shows a strong influence from swing and big band styles.
"The News" is used as the theme song for news programmes. It features a repetitive ostinato in 7/4, and is arranged for an ensemble of marimba, pizzicato strings, and muted brass chords. Susan intended the piece to give a sense of "perpetual motion" and seriousness without pomposity, which is why she opted for an understated arrangement and mezzo-piano indication in the score. The recording begins with a fade-in and ends with a fade-out, adding to the continuous nature of the song.
"Births and Welcomes" is used as the theme song for news regarding births and migration. It has a tranquil main theme, played alternately by horns and woodwinds, and backed by quiet chords from strings, and accents of harp and celesta. The piece was intended to represent "the miracle of life" and the "peace and innocence" of early life, "before children grow up and discover the sad parts of life".
"Deaths and Funerals" is used as the theme song for news regarding deaths and funerals. Its orchestral arrangement features strings, harp, and flutes. The piece alternates between major and minor chords, and the main theme is played consecutively by flute, French horn, and strings. Susan said the piece was meant to comfort listeners and give them a sense of strength: "It's a song for when you need a good cry on someone's shoulder — take as long as you need, dear, and let it all out, so you can then pick yourself up and carry on."
"How to Tune an Orchestra" is used as the theme song for arts programmes. It features a jazzy arrangement, swing rhythm, simple melody, and comical elements such as tuning instruments during the song, wrong notes quickly corrected, and "scraping" overtones caused by poor fingering of violins. Musical Update described it as "one of Ms. Shelley's most graceful and playful works, and a marvelous example of her droll humour". The piece became popular among orchestras and conservatory students due to its knowing and amusing allusions to "clumsy" musicianship resolving to a successful performance. Contrasting its apparently simple character, it was ironically one of the more difficult songs to record due to the precise timings of the musical "mistakes" and sound effects.
"To Our Children, and Theirs" is used as the theme song for children's programming. Played at a brisk tempo, it features swing drumming, acoustic rhythm guitar, orchestral backing, and a playful melody played alternately on woodwinds and a combination of celesta and xylophone. The melody is simple enough to be accessible to amateur musicians, which propelled it to enduring popularity. Susan's daughter Lucy commented that the piece reflected her mother's lifelong love for children, and recalled that it was the one theme Susan spent the most time carefully revising: "She felt she owed children her best work. For her, if something was for children, it needed a higher degree of effort and care."
"Over the Wires" is used as an interval signal, and was expanded into a full song. Its central ostinato is a repetition of 2-notes a fifth apart, which is then completed by rhythm section, orchestra, and melodies, with piano as the main instrument. Susan described it as "an exercise in borrowed chords", assembling a full chord progression and melodies using only notes that didn't clash with the two repeated notes. The ostinato is a tuplet while the rest of the ensemble plays in 4/4, creating a polyrhythm.
"Science Is Power" is used as the theme song for science programmes. It is an orchestral piece with staccato strings and flutes used to create a sense of motion.
"Dignity of Labour" is used as the theme song for economy and labour-related programming. It contains a marching rhythm played on snare and bass drum, vigorous acoustic rhythm guitar, and a brass fanfare with strings as counterpoint. Susan said the piece sought to convey "industriousness, accomplishment, a sense of togetherness, and marching into a bright future".
"Scherzo for Sports" is used as the theme song for sports programmes. It has a moderately fast tempo, and opens with the main theme played by muted guitar and pizzicato strings over a string trill, before it's joined by drums, piano, and double bass. The lead instrument alternates between horns, woodwind, and strings.
"The Public Interest" is used as the theme song for current affairs and public affairs programmes. It is an orchestral piece arranged for strings and piano. Susan chose the chord progression specifically to make the theme sound "majestic and stately", and said she wanted to impart on listeners a feeling that "citizenship is a burden we bear lightly and joyfully".
"The Joy of Learning" is used as the theme song for educational programming. It begins with a central ostinato played by intertwined pizzicato strings, vibraphone, and harp. It develops by introducing new themes and complementary repeated parts, influenced by minimalism.
"Closing Theme" is used as the closedown theme. It is an orchestral piece reminiscent of Susan's arrangement of "Good Night", arranged for strings and flutes. Liisa Salmela considered it one of Susan's best compositions, praising it as "lush, soothing, and boldly romantic".
Artwork
The cover is a glamorous photo of Susan taken in the GNBS headquarters. She is shown standing proudly and smiling in a room full of broadcast equipment.
Release
The album was released in 1972. Since the songs had already been mixed and mastered as they were finished, Susan quipped that she only needed to put them in order before sending the album to be pressed.
Reception
Themes for Broadcasting was a critical and commercial success upon release. Since its themes were already known through GNBS broadcasts, it already had wide popularity even before its release.
It received positive reviews in the music press, and distribution figures surpassed 4 million.
Legacy
Themes for Broadcasting contains some of Susan's best-known works, familiar to generations of Gylians through their use by Gylian Radio and Gylian Television. Her themes are immensely popular with the Gylian public, attracting both listeners and album sales. They are iconically associated with GNBS and remain in use.
Several theme songs became popular outside of their intended function. "Closing Theme" is thought of affectionately by many Gylian listeners and viewers as it is considered a soothing accompaniment to bedtime. "How to Tune an Orchestra" is a favourite among classical music students and orchestras; indeed, it is a standard practice for Gylian orchestras to play it as an overture before concerts.
"Deaths and Funerals" was played at the conclusion of Susan's funeral, followed by "The Public Interest" due to its stately character, as chosen by Susan's family.
Track listing
| No. | Title | Duration |
|---|---|---|
| 1 | Theme One | 2:30 |
| 2 | Theme Two | 2:10 |
| 3 | Theme Three | 0:55 |
| 4 | Theme Four | 1:40 |
| 5 | Breakfast Theme | 2:20 |
| 6 | Lunch Theme | 2:00 |
| 7 | Tea Theme | 0:55 |
| 8 | Dinner Theme | 1:00 |
| 9 | Today's Programming | 1:25 |
| 10 | The News | 1:50 |
| 11 | Births and Welcomes | 2:30 |
| 12 | Deaths and Funerals | 2:25 |
| 13 | How to Tune an Orchestra | 2:05 |
| 14 | To Our Children, and Theirs | 1:05 |
| 15 | Over the Wires | 1:40 |
| 16 | Science Is Power | 2:15 |
| 17 | Dignity of Labour | 1:00 |
| 18 | Scherzo for Sports | 2:20 |
| 19 | The Public Interest | 1:40 |
| 20 | The Joy of Learning | 3:10 |
| 21 | Closing Theme | 2:00 |
| Total | 38:55 | |
Personnel
Musicians
- Susan Shelley – piano, keyboards, pipe organ, arrangements
- GNBS Musical Ensemble – instrumentation
- GNBS Concert Orchestra – orchestra
Production
- Susan Shelley – production, engineering
- Alex Shelley – engineering, mixing
- Amalareiks – engineering, mixing