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https://pure.uva.nl/ws/files/4300432/65302_thesis.pdf

The frequency of imagination : auditory distress and aurality in contemporary music theatre

It has always been stated that the radio is the invisible medium that has the greatest effect in stimulating the imagination of listeners. Therefore, this article intends to compare two kinds of presentation structure—dramatisation versus narration—in a fictional radio story to determine the extent to which the imagination is aroused and the point to which the listener becomes involved. The outcomes of the study point to the fact that the dramatised structure is the form of presentation that is best able to fulfil these aims.

Stimulating the Imagination in a Radio Story: The Role of Presentation Structure and the Degree of Involvement of the Listener

Radio studios including Club d'Essai de la Radiodiffusion–Television Française (Paris), Studio für Elektronische Musik (Cologne), BBC Radiophonic Workshop (London) and others have historically played a key role in the development of international approaches to electroacoustic music. Nevertheless few publications explore the pre-musique-concrète sound-based experimental works of the 1920s and 1930s arising from activities undertaken at radio studios, or the dimensions, properties, implications and impact of the radio medium itself. This article explores the impact of the radio medium on creative practice and argues that radio art is not inherently a subset of sonic art, as it may first appear when nuanced from electroacoustic music practice, but can be viewed as its own art form with idiosyncratic international standpoints and transdisciplinary properties. In addition to a historical discussion, this article offers an insight into the potential for radio art practice to cross-pollinate with music practice and explore new creative territory and hybrid working modalities.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S1355771814000120

International Perspectives on the Historic Intersections of Electroacoustic Music and the Radio Medium

Radio remains an important mass medium in Nigeria and across Africa. Issues of power availability, internet connectivity, and media costs, make radio a highly sort after medium for public information. However, the potentials of radio in efforts to combat misinformation about COVID-19 are yet to be fully exploited in Nigeria. Extant efforts have mostly focused on live press briefings, TV programming, SMS, and social media messaging. Media sources show that the spread of misinformation about the pandemic in the country is rife. This chapter critically evaluates the state of radio in Nigeria and proposes various strategies for utilizing its resources in efforts to debunk and minimize the spread of misinformation, with wider implications for Africa.

/pdf/the-potentials-of-radio-in-combating-misinformation-about-4rcdy8i017.pdf

The Potentials of Radio in Combating Misinformation about COVID-19 in Nigeria

This article argues that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis. This argument is illustrated by means of a case study on the 1967 Belgian radio play The Slow Motion Film. This radio play is an adaptation (in fact, a re-adaptation as there had been radio adaptations in 1940 and 1950) of the innovative theatre play The Slow Motion Film (1922) by Herman Teirlinck. In order to explain the creative choices of the radio play, which are largely based on the pursuit of fidelity to the source work, the institutional aspect is of great importance. The goal of honouring Teirlinck and highlighting the cultural-historical importance of his work fitted within the broader cultural-educational mandate of the public broadcaster, which prevented a more inventive adaptation. This article argues that in order to gain a better understanding of the radio play as a text, the industrial context also needs to be studied. Furthermore, this article contributes to the largely unwritten history of the radio play in the Low Countries.

Radio drama as art and industry : a case study on the textual and institutional entanglements of the radio play The Slow Motion Film

In German-speaking research on ‘Horspiele’ or radio plays, there is little to be found when it comes to adequate theoretical tools for analysing a radio play. Radio drama is still widely seen as a literary genre and is therefore analysed by literary studies theories or drama theories. This article argues that radio drama is an acoustic art form in its own right and should be analysed as such. Its aim is to support this argument first by describing the historical reasons that led to the misinterpretation of the art form, and then by presenting a methodology, based on semiotic and narratological theories, that enables scholars to analyse a narrative radio play by integrating all of its acoustic features. The article seeks to emphasize that music, noises and voices and also technical features like electroacoustical manipulation or mixing, can be, and often are, used as tools to signify story elements and therefore should be analysed accordingly. To demonstrate the applicability of the model, a short analysis of some German radio plays is presented at the end of the article. This article summarizes the results of research, to be published in German, in which an analytical model for radio drama research is presented, the object of the study being 60 German radio plays from 1929 to 2002 (Huwiler 2005). Although there are reasons why we should not equate the German ‘Horspiel’ with the English ‘radio play’, the two terms are used equivalently in this article. In general, these reasons arise from the separate developments of the art form in the two different language regions. Horst Priessnitz observes that in ‘contrast with the way things developed in Germany, where the Horspiel could at an early date free itself from its connections with the theatre, the English radio play remained for a longer period in close alliance with stage performance’ (Priessnitz 1981: 32). However, I will show in this article that the German ‘Horspiel’, though at first more independent of stage drama than was the English radio play, was also strongly influenced by literary tradition and not as independent as Priessnitz suggests. Moreover, it is not only the case that the terms ‘radio play’ and ‘Horspiel’ have never been exactly synonymous at any one time, but between them they cannot even provide a historically coherent definition of the art form in the two language regions, since neither term 45 RJ–ISBAM 3 (1) 45–59 © Intellect Ltd 2005 Keywords

Elke Huwiler

Papers

Storytelling by Sound: A Theoretical Frame for Radio Drama Analysi