RTV Theory and Practice - Special Issue

2. The entity of public taste is evinced as an aesthetic reality. It шау be evaluated b.V means of aesthetic criteria expressing the aesthetic value of the entity, that is, the value of public taste 3. The value of public taste has an influence on musical life and the products of this influence аге aesthetic and sociological. They stem from musical Ufe’s direction in Une with public taste. This dipecting of musical Ufe in accordance with public taste is achieved through content, which is the aesthetic conseguence, and dvnamics, which is the sociological consepuence. With all that has been presented so far we have come sufficientiy close to the conviction that it may be said that public taste is a factor in the orientation of musical iife. It takes part in the process of musical life only vvith this and this kind of function. Put in more graphic terms, it has the same function as the NorthernStar in navigation on the high seas. It neither determines direction nor path, it is just used to check the position of the ship as a point of reference. This means that public taste is a check on all the consequences that activities in musical life leave behind as traces. The Ukelv consequences аге in effect an orientation for the future, and consequently by checking the present we build the premises of the future. In practice we do this by analyzing the state in musical life and recording the state in the social milieu, I n our procedures we use surveys as an ancillary instrument to determine realih', and their success depend on the comprehensiveness of the questions asked. The more data available indicating not only directioiii in affinities, but also the milieifs desires to develcp the curiosity of their musical senses, the survey will unquestionably be more precise and clear in its arguments. With its music programme Belgrade Radio is part of the process of the musical life of our social milieu, and in a framework that is broader than with all otlier activities. Accordingly, it has no special obligations towards musical life other than those that hold for others involved in it It just has more of them because it is more