The campaign was ultimately unsuccessful, though recorded music was seen as a threat to live musicians for decades after that. In the 1950s, for example, when the BBC was establishing a studio for experimental electronic music, it dubbed the studio with the decidedly unmusical name of the Radiophonic Workshop, perpetuating the fiction that its function only peripherally touched on the kingdom of music, as to avoid antagonising the unions of the musicians who worked on other BBC broadcasts.
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