episodes combined music and a travelogue with information about the organs, churches, cities, art, and scenery. Bish stated that the travel aspect of the programs helped to bring in additional viewers. In addition, she played a variety of music on the program, so that every listener could find something enjoyable. This was especially important to be able to reach listeners who did not know much about the organ. The Joy of Music tapings have occurred in many famous cathedrals on well-known organs. Bish noted that when playing the organs that were also played by Bach, Handel, or Mozart, "you're touching history when you do that. It's pretty amazing, really." When determining the locale for a taping, 90 percent of the time, Bish first decides on an organ that she would like to feature, and then builds the tour around that instrument. Bish serves as executive producer of the program and is involved in all aspects of its production. She spends a lot of time at The Joy of Music office taking care of paperwork and planning. She writes all of the scripts, drawing upon her earlier writing experience as the editor of her high school newspaper to write succinct commentary for the show. When writing the commentary, she does all of the research on the music she will play, information on the composers, the churches and organs, and the locations where she visits. Bish also enjoys working with guest artists, including violinists, choirs, brass ensembles, and even an Alp hornist. When planning a tour, Bish first selects the location and the guest artists. She then selects the music and begins to prepare it, while doing the research for the programs. Once on location, all of the musical pieces and all of the introductory and regional scenes are shot live. Once the taping has concluded, Bish handles the initial review of the finished footage to decide what will be included in each program. She is also responsible for approval of the program once the footage is arranged in its final production stage. One taping trip can result in over forty hours of footage to edit, and a two-week trip can include six to eight tapings. It can take a year to plan a European tour because the churches, guest artists, and camera crews have to be lined up. Fundraising also needs to occur. In addition, Bish works with a tour company