CRTC - Glossary of Radio Terms
1. The Broadcast Week
2. Definitions Of Content Categories and Subcategories
CATEGORY 1 , Spoken Word
11: News
12: Spoken Word - Other
CATEGORY 2 , Music-General
21: Pop, Rock and Dance
22: Country and Country-oriented
23: Folk-oriented
24: Jazz-oriented
CATEGORY 3 , Music-Traditional and Special Interest
31: Concert Music
32: Folk, Authentic traditional folk songs and dances.
33: Jazz, Authentic jazz
34: Non-classic Religious
CATEGORY 4 , Musical Production
41: Musical Themes, Bridges and Stingers
42: Technical Tests
43: Musical Station Identification
44: Musical Identification of Announcers & Programs
45: Musical Promotion of Announcers & Programs
CATEGORY 5, Advertising
51: Commercial Announcement
52: Sponsor Identification
53: Promotion with Sponsor Mention
3. Guidelines For The Provision of News Programming
4. Spoken Word Programming Requirement
5. Advertising
6. Station Formats
GROUP I: Pop, Rock and Dance
GROUP II: Country
GROUP III: Specialty
7. Music Use Indicators
a) Vocal/Instrumental Ratio
b) Hits
c) Maximum Repeat Factor
d) Weekly Music List
e) Language Of Vocal Music
8. Canadian Content Requirements For Music
a) Definition
b) Levels Of Canadian Music
9. Ethnic Programs
a) Definitions Of Ethnic Program Types
b) Levels Of Ethnic Programs
10. Network And Syndicated Programs
a) Definitions
i) Reserved Time Agreement
ii) Simultaneous Distribution of Live Programs
b) Canadian Acquired Programming Incentive
i) Music Programs
ii) Spoken Word Programs
11. Canadian Talent Development
12. New Uncharted Canadian Music
13. Community Access Programming
14. Types Of FM Licences
CBC FM Stations
Commercial FM Stations
Special FM Stations
Community
Native Undertaking
Provincial Educational
Student
Institutional
Other Special
APPENDIX - Canadian Talent Development Initiatives
1. The Broadcast Week
The Broadcast Week means seven consecutive days beginning on Sunday. It
includes the hours between 6 a.m. and midnight each day but not the
hours between midnight and 6 a.m. The total number of hours in a
broadcast week is 126.
2. Definitions Of Content Categories and Subcategories
CATEGORY 1 , Spoken Word
This category includes the following two subcategories:
Subcategory 11: News , The recounting and reporting of local,
regional, national and international events of the day or recent
days, with particular emphasis on the topicality of the events or
situations selected, or on the constant updating of information, or
both, as well as background material about current events when
included in newscasts but excluding weather, traffic and sports and
entertainment reports.
[Interpretive Note: The revised FM policy states that all FM stations
must provide at least three hours per week of News. The purpose of
this expectation is to ensure that all FM stations continue to
include newscasts as part of the service they provide to listeners. A
separate subcategory for News has been retained to give effect to
this expectation. The inclusion of the term "backgrounding" in the
definition of News is meant to encourage provision of background
information and analysis within newscasts. However, lengthy
interviews and commentaries, even if inspired by current events,
which are broadcast outside newscasts (for example during
documentaries or magazine programs) will generally be classified as
Subcategory 12 (Spoken Word - Other).]
Subcategory 12: Spoken Word - Other , All programming with the
exception of material falling under Subcategory 11: News and
Categories 2, 3, 4 and 5 (Music-General, Music-Traditional and
Special Interest, Musical Production, and Advertising).
CATEGORY 2 , Music-General
Live or recorded entertainment music of one minute in length or more,
broadcast uninterrupted, extending from the advent of mass-produced
recordings to the latest hits as defined in charts of recognised trade
publications, including popular songs and compositions that fall under
the headings "pop", "country and western", "rhythm and blues", "dance",
"rock", "easy listening", "middle-of-the-road", "beautiful music",
"mood", and "mainly for dancing"; popularised arrangements of classical
music, jazz or authentic folksongs, music written and performed in a
folk idiom by present-day artists; which may include songs of protest
and/or of political and/or social comment, humorous and satirical songs,
chansonniers and chansonnettes, English music hall and North American
vaudeville; individual excerpts from works from the musical stage, non-
religious Christmas songs, popular music for films and television; and
popularisations of folk idioms, such as Latin American, Hawaiian and
Calypso. For greater particularity the category includes the following
four subcategories:
Subcategory 21: Pop, Rock and Dance , This subcategory includes music
from the entire pop, rock and dance music spectrum. This music
includes styles generally described as "easy listening", "beautiful
music", "pop adult", "soft rock", "dance", "rock and roll", "rhythm
and blues", "jazz rock", "folk rock" and "heavy metal", as well as
all other forms of music generally referred to as either MOR (middle-
of-the-road) or rock. This subcategory includes musical selections
listed in recognised trade publications as AC (Adult Contemporary),
AOR (Album-Oriented Rock) or Dance.
Subcategory 22: Country and Country-oriented , This subcategory ranges
from "country and western" and "bluegrass" to "Nashville" and
"country-pop" styles and other music forms generally characterised as
country, including musical selections listed in recognised trade
publications as Country.
Subcategory 23: Folk-oriented , This subcategory includes music in a
folk style composed by the troubadours and chansonniers of our time,
popular arrangements of authentic folksongs, and popularisations of
folk idioms.
Subcategory 24: Jazz-oriented , Music sung or played in a popular
style by performers with a jazz background, including "cocktail" jazz
and jazz improvisation when presented against a popularised
orchestral background, but not including jazz-rock, falling under
Subcategory 21.
CATEGORY 3 , Music-Traditional and Special Interest
Music of one minute or more in length, broadcast uninterrupted,
characterised as traditional authentic songs and dances of the people,
institutionalised music of religious faiths, "classical" music,
authentic improvised jazz, and extended excerpts from popular musical
theatre. For greater particularity, this category includes the following
four subcategories:
Subcategory 31: Concert Music , This subcategory includes:
"classical", music which embodies standards of form, structure and
taste, established by artists through the centuries, as a means to
communicate complex thoughts in the most coherent way, including
music by a contemporary composer when it utilises entirely or in
modified form those established standards, but not including
orchestrations of the entertainment music of our time, however
classical in form; "opera, operetta and musical", including grand
opera, comic opera, music drama, narrative musical plays, operettas
and extended dramatic excerpts of popular musical theatre, when
performed in a full-cast version.
Subcategory 32: Folk , Authentic traditional folk songs and dances.
Subcategory 33: Jazz , Authentic jazz containing a large element of
improvisation, including early blues and gospel shouts, ragtime,
Dixieland, authentic early swing including early, golden age (late
30s - 40s) and modern, bebop and "cool" jazz, Modern, Avant-Garde,
Contemporary Jazz Fusion, New European, Afro/New World and
contemporary jazz experiments, but not including jazz-rock, falling
under Subcategory 21.
Subcategory 34: Non-classic Religious , Music of the church or of
religious faiths, other than in a classical form, or occurring in the
course of a ritual service or other form of public worship, or having
a jazz character.
CATEGORY 4 , Musical Production
Musical matter broadcast by a station to identify itself or any of the
components of its programming, including musical linking devices used to
highlight elements of the broadcast service. For greater particularity,
this category includes the following five subcategories:
Subcategory 41: Musical Themes, Bridges and Stingers , Musical
selections used to identify particular program segments, or to extend
programming segments to the end of their allotted time, as well as
applause, brief musical and other sound effects intended to punctuate
the presentation of other broadcast matter, where this matter is less
than one minute in duration.
Subcategory 42: Technical Tests , Broadcast matter intended to be used
for the purposes of technical tests by the station or its listeners.
Subcategory 43: Musical Station Identification , Short musical
selections designed to identify the station by call letters or
frequency.
Subcategory 44: Musical Identification of Announcers, Programs ,
Musical material identifying and accompanying the use of specific
announcers, programs or programming elements.
Subcategory 45: Musical Promotion of Announcers, Programs , Musical
material promoting increased listening to specific announcers,
programs or programming elements.
CATEGORY 5, Advertising
Broadcast matter intended to promote services or products offered to the
public by persons normally advertising in the course of their business.
For greater particularity, this category includes the following three
subcategories:
Subcategory 51: Commercial Announcement , A commercial announcement
for a business, product or service, presented in return for
consideration.
Subcategory 52: Sponsor Identification , Identification of the sponsor
of a program or program segment other than under Subcategories 51 and 53.
Subcategory 53: Promotion with Sponsor Mention , Verbal or musical
material promoting increased listening to the station or to specific
announcers, programs or programming elements, when accompanied by the
identification of a sponsor.
3. Guidelines For The Provision of News Programming
FM stations should devote not less than three hours of each broadcast
week to Subcategory 11: News.
4. Spoken Word Programming Requirement
Except as otherwise provided pursuant to a condition of its licence, an
FM licensee shall devote at least 15% of each broadcast week to spoken
word content. ("Spoken word content" means any broadcast matter that
falls within content Category 1.)
5. Advertising
The amount of advertising (Category 5) broadcast by commercial FM
broadcasters is limited to no more than 15% (maximum 1,134 minutes) of
the broadcast week.
6. Station Formats
There are three formats which are defined as follows:
GROUP I: Pop, Rock and Dance , The language of broadcast of the station
is English or French, at least 50% of the broadcast week is devoted to
music, and at least 70% of the music broadcast is from Subcategory 21
(Pop, Rock and Dance).
GROUP II: Country , The language of broadcast of the station is English
or French, at least 50% of the broadcast week is devoted to music and at
least 70% of the music broadcast is from Subcategory 22 (Country).
GROUP III: Specialty , Any station other than one operating in Group I or
II. (Examples would include stations specialising in Ethnic programming,
News or Talk programming, Traditional and Special Interest music
programming or a combination of a number of kinds of special
programming.) Group III stations will be expected to outline their music
proposals in a schedule to be appended to the Promise of Performance.
7. Music Use Indicators
a) Vocal/Instrumental Ratio
i) Definition , An instrumental selection is a musical selection in
which there are either no lyrics or in which the only lyrics consist
of a short phrase that is used once or repeated several times. All
other selections are considered "vocal".
ii) Level Of Instrumental Music , Applicants make commitments to
operate their stations within one of three categories related to the
percentage of instrumental selections played:
- less than 35% of all musical selections played each broadcast week
are instrumental,
- 35% up to, but not including, 50% of all musical selections played
each broadcast week are instrumental,
- 50% or more of all musical selections played each broadcast week
are instrumental.
Different levels of Canadian content are specified depending on the
level of instrumentals to which a station has committed. These
levels are specified in Section 8 of this document (Canadian Music).
b) Hits
i) Definition, A "hit" is any musical selection that has reached
any of the top 40 positions on one or more of the following charts:
The Record Retail Hits, The Record Country, RPM 100 Country Tracks,
Billboard Hot 100 Singles and Billboard Hot Country. [In the past,
the RPM 100 Singles chart (until September 3, 1988) and the RPM
Retail Singles Chart (from September 10, 1988 until March 1990) were
also used to determine "hits".] However, Canadian selections that
enter the Top 40 will be considered as non-hits for one year from
the date they first enter the Top 40. In addition, selections heard
during a live broadcast or a live performance recorded primarily for
broadcast use are not counted as hits in the Commission's
calculations. The latest charts used to determine hit factors will
be those contained in publications dated two Saturdays before the
date of broadcast.
ii) Guideline, FM stations must maintain the level of hits below
50% of all musical selections (Categories 2 and 3) played each
broadcast week. [Note: This guideline does not apply to stations
whose principal language of broadcasting is French.]
c) Maximum Repeat Factor
i) Definition , The repeat factor is the number of times a musical
selection (Categories 2 or 3) is repeated in the course of a
broadcast week.
ii) Guideline , FM stations may repeat non-Canadian musical
selections up to 18 times during a broadcast week. There is no limit
on the number of times Canadian selections may be repeated. [Note:
This guideline does not apply to stations whose principal language
of broadcasting is French.]
d) Weekly Music List
i) Definition , The weekly music list size is the number of
different musical selections (Categories 2 and 3), not counting
repeated selections, played during a broadcast week.
ii) Guideline , FM stations must ensure that at least 850 different
musical selections are played during a broadcast week. [Note: This
guideline does not apply to stations whose principal language of
broadcasting is French.]
e) Language Of Vocal Music
Stations whose principle language is French must ensure that at least
65% of popular vocal musical selections (Category 2) played each
broadcast week are in the French language. French language vocal
music should be reasonably distributed throughout the day and week.
French-language broadcasters are encouraged to achieve a 50% level
of Canadian content for French-language popular music selections.
8. Canadian Content Requirements For Music
a) Definition
A musical selection is a Canadian selection where it
i) fulfils two or more of the conditions set out below;
ii) is an instrumental performance of a musical composition that
was composed by a Canadian or the lyrics were written by a Canadian; or
iii) is a performance of a musical composition composed by a Canadian
for instruments only.
The conditions referred to in i) above are the following:
- the music or lyrics are performed principally by a Canadian;
- the music is composed by a Canadian;
- the lyrics are written by a Canadian; and
- the musical selection consists of a live performance that is
. recorded wholly in Canada, or
. performed wholly in Canada and broadcast live in Canada.
b) Levels Of Canadian Music
i) Selections Composed or With Lyrics By Canadians , Unless the
station has a Condition of Licence stating otherwise, at least 5% of
all musical selections (Categories 2 and 3) broadcast during a
broadcast week must satisfy at least one of the following two
conditions:
- the music is composed by a Canadian,
- the lyrics are written by a Canadian.
ii) Music-General (Category 2) , All FM stations must ensure that at
least 30% of the Category 2 music selections broadcast during each
broadcast week are Canadian, unless they have a Condition of Licence
stating otherwise. These selections must be distributed in a
reasonable manner throughout each broadcast day.
[Interpretive Note: In the FM Policy, the Commission indicated that
lower levels of Canadian selections would be appropriate for
stations programming a high level of instrumental selections. The
following levels were set out as guidelines:
- Instrumental level less than 35%: Conditions of licence allowing
Category 2 Canadian content of less than 30% per broadcast week
will not generally be approved.
- Instrumental level of 35% up to but not including 50%: Canadian
content of at least 20% per broadcast week.
- Instrumental level of 50% or more: Canadian content level of at
least 15% per broadcast week.
Please note that instrumental-based stations must apply for special
Conditions of Licence if they wish to program levels of Canadian
music lower than those permitted by Regulation.] To ensure a
reasonable distribution of Canadian selections throughout the
broadcast day and week, the Commission expects:
- at least 25% of popular music selections broadcast between 6 a.m.
and 7 p.m. Monday through Friday be Canadian,
- Canadian selections receive reasonably even distribution
throughout these dayparts and throughout the broadcast week,
- a significant presence of Canadian music in high audience
periods, these traditionally being the morning and afternoon
drive periods,
- French-language broadcasters achieve at least a 50% level of
Canadian content for French-language music selections each
broadcast week.
iii) Music-Traditional and Special Interest (Category 3) , All
stations must ensure that at least 10% of Category 3 music broadcast
each broadcast week is Canadian, unless they have a Condition of
Licence stating otherwise. Canadian selections must be distributed
in a reasonable manner throughout each broadcast day.
iv) Levels Of Canadian Music During Ethnic Program Periods , If a
station achieves a level of Canadian music of 7% or more during
ethnic program periods (Ethnic programs of Types A, B, C, and D as
defined in Section 9), these ethnic program periods will not be
taken into account when measuring compliance with requirements for
Canadian content for Categories 2 and 3 music.
9. Ethnic Programs
a) Definitions Of Ethnic Program Types
There are five types of ethnic programs:
TYPE A: A program the spoken word content and production content of
which are in a language other than French, English or a language
of the aboriginal peoples of Canada.
TYPE B: A program the spoken word content and production content of
which are in French or English and that is directed toward a
distinct ethnic group the mother tongue or common language of
which in its country of origin is French or English.
TYPE C: A program the spoken word content and production content of
which are in French or English and that is directed toward a
distinct ethnic group the mother tongue of which is included in
Type A.
TYPE D: A bilingual program the spoken word content and production
content of which are in French or English as well as a language
other than French, English or a language of the aboriginal peoples
of Canada and that is directed toward a distinct ethnic group.
TYPE E: A program the spoken word content and production content of
which are in French or English and that is directed toward ethnic
groups or the general public and that depicts Canada's cultural
diversity through services that are multicultural, cross-cultural
or inter-cultural.
b) Levels Of Ethnic Programs
Any station may devote up to 15% of its broadcast week to Ethnic
programs of Types A, B, C, and D without authorisation from the
Commission. A station may devote up to 40% of the broadcast week
to ethnic programs of Types A, B, C, and D if authorised by a
condition of licence. The Commission also licenses ethnic stations
which specialise in ethnic broadcasting. These stations must
devote not less than 60% of the broadcast week to ethnic programs
of Types A, B, C, and D. The Commission's policy for ethnic radio
is set out in Public Notice CRTC 1985-139 "A Broadcasting Policy
Reflecting Canada's Linguistic and Cultural Diversity". Applicants
for ethnic stations should consult this document.
10. Network And Syndicated Programs
FM stations are required to log acquired programs broadcast according
to type (network or syndicated) and origin (Canadian or foreign).
a) Definitions
Network Program , A network program is characterised by the presence
of at least one of the following criteria:
i) Reserved Time Agreement , A program is a network program if the
broadcaster, as a condition of the acquisition of the program, is
required to broadcast the program at a specified time or within
specified time frames. The agreement to schedule the program may be
a formal, written agreement or an informal, unwritten agreement.
Reserved time may exist whether the programming is distributed live,
by tape, or is tape-delayed.
ii) Simultaneous Distribution of Live Programs , A program is a
network program if the program involves the presentation of a live
event, such as a sports event or a live concert, which is received
and broadcast by the station simultaneously. In cases of tape delay,
a program is considered to be live unless the time delay is equal to
the duration of the actual program or one hour, whichever is less. A
program is not considered to be a network program if the station and
the program producer/distributor are owned by the same licensee.
Syndicated Program , An acquired program is considered to be a
syndicated program when it is produced by an entity other than the
station but there is no requirement for the broadcaster to schedule
it at a specified time or within a specified time frame and when the
program does not involve the simultaneous reception and broadcast of
a live event.
Canadian Acquired Program
i) Music Programs , A music program is a program that deals
primarily with music and contains one or more musical selections as
described in Categories 2 and 3. To be considered Canadian, a music
program must earn a minimum of five points based on the following
criteria:
Points Total
Canadian Producer or 2
Canadian Co-Producer 1
Canadian Writer or 2
Canadian Co-Writer 1
Canadian Recording Facility 1
Canadian Host or Hostess 1
Canadian Musical Content 2
if the musical content satisfies the applicable conditions below:
- a minimum of 30% of the Category 2 musical selections are Canadian
(where the percentage of instrumental selections in the program is
less than 35%);
- a minimum of 20% of the Category 2 musical selections are Canadian
(where the percentage of instrumental selections in the program is
between 35% and less than 50%);
- a minimum of 15% of the Category 2 musical selections are Canadian
(where the percentage of instrumental selections in the program is
50% or more);
- a minimum of 10% of the Category 3 musical selections are Canadian;
- a minimum of 7% of the musical selections in Ethnic music programs
(Categories 2 or 3) are Canadian.
ii) Spoken Word Programs , A spoken word program is a program that
deals primarily with the spoken word and contains no musical selections
as described in Categories 2 and 3. To be considered Canadian, a spoken
word program must earn a minimum of four points based on the following
criteria:
Points Total
Canadian Producer or 2
Canadian Co-Producer 1
Canadian Writer or 2
Canadian Co-Writer 1
Canadian Recording Facility 1
Canadian Host or Hostess 1
Definitions
Producer: The producer is the individual who has financial and creative
control of the original audio production from beginning to end.
Co-Producer: In a program involving no producer but more than one co-
producer, at least half of the individuals sharing the responsibility
for the production must be Canadian for the program to obtain a co-
producer credit. Moreover, at least one of the individuals qualifying
for the co-producer credit must have financial or creative control of
the original audio production from beginning to end. If all of the co-
producers are Canadian, the program will qualify for two points.
Writer: The writer is the individual who creates the original story
script or dialogue for the audio program.
Co-Writer: In a program involving no writer but more than one co-
writer, at least half of the individuals sharing the responsibility
for the writing must be Canadian for the program to obtain a co-writer
credit. If all of the co-writers are Canadian, the program will
qualify for two points.
Host or Hostess: To obtain this credit, all individuals sharing the
duties of host or hostess must be Canadian.
Recording Facility: To obtain this credit, the program must be wholly
produced in a recording facility situated in Canada.
Canadian Music: Canadian musical selections are those that meet the
criteria described in Section 8 a) of this document (Definition of a
Canadian musical selection).
b) Canadian Acquired Programming Incentive
Advertising (Content Category 5) broadcast within a Canadian acquired
program is not counted for the purpose of calculating an FM station's
commercial content, to a maximum of 60 minutes per broadcast week. To
obtain this dispensation, a station must identify such programs on its
program logs as "CAP". A Canadian acquired program will qualify for
this incentive provided it is aired by at least one licensee that is
not associated with the company or licensee that produced the program.
The onus will be on the licensee, upon request by the Commission, to
demonstrate that the program qualifies for the incentive.
11. Canadian Talent Development
Applicants make commitments for direct expenses for the development of
Canadian talent. Direct costs are those which are totally incremental to
the initiative under consideration, i.e. only those costs which are
directly attributable to the initiative and which, if the initiative had
not been undertaken, would not have been incurred. A chart giving
examples of initiatives for Canadian talent development that are
generally accepted by the Commission can be found in the appendix to this
document.
12. New Uncharted Canadian Music
A new Canadian artist is generally considered to be a Canadian artist who
has never had a record placing on a national or international chart.
13. Community Access Programming
Community access programming is broadcast material conceived, performed
and produced by local individuals and groups which is primarily intended
for, and oriented to, the concerns and interests of the local community.
It does not include programs of music unless locally recorded principally
for broadcast use or religious services.
14. Types Of FM Licences
CBC FM STATIONS , These are stations owned and operated by the
Canadian Broadcasting Corporation. (Those completing licence
applications for CBC FM stations should consult the last renewal
decision for the CBC radio networks.)
COMMERCIAL FM STATIONS , These stations are operated on a "for
profit basis" and have no limits on commercial activities beyond
those set out in the Commission's FM Policy and the Radio
Regulations. (The Commission's programming policy for Commercial
FM Stations is set out in Public Notices CRTC 1990-111 "An FM
Policy for the Nineties" and 1991-19.)
SPECIAL FM STATIONS , A special FM licence is an FM licence, other
than a CBC FM licence, where the number, duration or kind of
commercial messages that may be broadcast is restricted by a
condition of licence. There are six kinds of Special FM stations:
COMMUNITY: This station is characterised by its ownership, programming
and market it is called to serve. It is owned or controlled by a non-
profit organisation whose structure provides for membership,
management, operation and programming primarily by members of the
community at large. A special FM licence for community radio is a Type
A licence if, at the time the licence is issued or renewed, another AM
or FM radio licence to operate a station, in the same language, in all
or any part of the same market is in force. A special FM licence for
community radio is a Type B licence if, at the time the licence is
issued or renewed, at least one other AM or FM radio licence to
operate a station, in the same language, in all or any part of the
same market is in force.
(The Commission's programming policy for community radio is set out in
Public Notice CRTC 1985-194 "The Review of Community Radio".)
NATIVE UNDERTAKING: This undertaking is characterised by its
ownership, programming and target audience. It is owned and controlled
by a non-profit organisation whose structure provides for board
membership by the native population of the region served. Its
programming can be in any native Canadian language or in either or
both of the two official languages, but should be specifically
oriented to the native population and reflect the interests and needs
specific to the native audience it is licensed to serve. It has a
distinct role in fostering the development of aboriginal culture and,
where possible, the preservation of ancestral languages. A native
radio station is a Type A station, if at the time the licence is
issued or renewed, no other commercial AM or FM radio licence to
operate a station in all or any part of the same market is in force. A
native radio station is a Type B station if, at the time the licence
is issued or renewed, at least one other commercial AM or FM radio
licence to operate a station in all or any part of the same market is
in force. (The Commission's programming policy for native stations is
set out in Public Notice CRTC 1990-89 "Native Broadcasting Policy".)
PROVINCIAL EDUCATIONAL: This is a station controlled by an
"independent corporation", as defined in the Direction to the CRTC
(Ineligibility to Hold Broadcasting Licences) issued as Order-in-
Council P.C. 1985-2108, and which broadcasts primarily educational
programming as described in the Direction. (The Commission's
programming policy for Provincial Educational stations is set out in
Public Notice CRTC 1988-78 "Educational and Institutional Radio --
Adoption of the Proposed Policy".)
STUDENT: This is a station which is owned or controlled by a non-
profit organisation and has a structure providing for membership,
direction, management, operation and programming primarily by students
of the institution of post-secondary education with which it is
associated. (The Commission's programming policy for student stations
is set out primarily in Decision CRTC 75-247 (Carleton
University/University of Manitoba).
It is also recommended that those completing a Promise of Performance
for a student station consult recent Commission decisions for such
stations. Examples are Decisions CRTC 89-834 (University of Ottawa),
90-217 (Saint Mary's University), and 90-644 and 644-1 (Universite de
Montreal). Advertising on student stations is discussed in Public
Notices CRTC 83-43 "Policy statement on the Review of Radio" and
1985-194 "The Review of Community Radio".
INSTITUTIONAL: This is a station other than a provincial educational
station or a student station, which is owned or controlled by a non-
profit organisation associated with an institution of post-secondary
education. (The Commission's programming policy for Institutional
stations is set out in Public Notice CRTC 1988-78 "Educational and
Institutional Radio -- Adoption of the Proposed Policy".)
OTHER SPECIAL: This is a station owned or controlled by a non-profit
organisation that is not a Community, Native, Provincial Educational,
Student or Institutional station. (The Commission's programming policy
for "Other Special" stations is set out in Public Notice CRTC 1988-78
"Educational and Institutional Radio -- Adoption of the Proposed
Policy".)
APPENDIX
Canadian Talent Development Initiatives
Generally Accepted by the Commission
Type of Initiative Generally Accepted - Direct Other Initiatives
Costs
PROGRAM - Station-produced - Interviews
concert, drama, etc. - Artist features
- Poetry, drama - Historical, other
Canadian features
- Canadian countdown
- Album sweeps
PROMOTION - Artists, concerts
and new recordings
TALENT CONTEST - Concert - Promotion
- Record production
- Video production
- Recording time
- Prizes
CONCERT - Musician and staff pay - Promotion
- Hall rental - Interviews
- Recording for airplay
RECORD or - Studio time - Use of station
VIDEO-PRODUCTION - Musicians' fees studio
- Production costs
- Record pressing
- Record distribution
SCHOLARSHIP and GRANT - Cash donation
INDUSTRY TALENT - Cash donation
ORGANISATION*
GRANT to LOCAL ARTS - Cash donation - Promotion
ASSOCIATION
USE of STUDIO FACILITIES - Audio tape for artist - Time in studio
SEMINAR - Hall rental - Promotion
- Guest speakers
* e.g. MusicAction, FACTOR, Videofact, Country Talent Development Foundation,
Alberta Music Project, etc.