Book•
Radio drama : theory and practice
01 Jan 1999-
TL;DR: Radio Drama as discussed by the authors explores the practicalities of producing radio drama for radio and evaluates the future of radio drama in the age of live phone-ins and immedate access to programmes on the Internet.
Abstract: Radio Drama brings together the practical skills needed for radio drams, such as directing, writing and sound design, with media history and communication theory. Challenging the belief that sound drama is a 'blind medium', Radio Drama shows how experimentation in radio narrative has blurred the dividing line between fiction and reality in modern media. Using extracts from scripts and analysing radio broadcasts from America, Britain, Canada and Australia, the book explores the practicalities of producing drama for radio. Tim Crook illustrates how far radio drama has developed since the first 'audiophonic production' and evaluates the future of radio drama in the age of live phone-ins and immedate access to programmes on the Internet.
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01 Jan 2016
Abstract: On the Appearance of the Comedy LP, 1957–1973
53 citations
TL;DR: Although radio is still the most important mass medium in many developing countries, in richer parts of the world visual media have come to dominate resource allocation, policy-making, academic study and consequent media attention as mentioned in this paper.
Abstract: Although radio is still the most important mass medium in many developing countries, in richer parts of the world visual media have come to dominate resource allocation, policy-making, academic study - and consequent media attention This article notes the paradoxical effect of this vicious circle of neglect, in which radio is accorded little status in the public sphere yet is a significant element in the private lives of individual listeners Historical reasons for public and academic neglect are advanced, and the author’s Radio Research Project is summarized The project aims to redress this situation in the UK and hopes to form partnerships in other countries where scholars are attempting to give radio the attention it deserves
48 citations
Book•
04 Dec 2013
TL;DR: This chapter discusses radio in the Digital Landscape, radio in Society, and Don t Touch That Dial (What Dial?) .
Abstract: Acknowledgements vi Abbreviations viii 1 What is Radio? 1 2 Radio in the Digital Landscape 25 3 Radio and Everyday Life 47 4 The Sound of Music 74 5 Stories in the Air 101 6 Radio and Technology 125 7 Radio in Society 150 8 Don t Touch That Dial (What Dial?) 175 References 183 Index 192
47 citations
Cites background from "Radio drama : theory and practice"
...(Crook 1999: 13) Further, that translation of culture is not simply a shift in what we do and make as a species, but (quite literally) a transformation in who we are as a species....
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...Significantly predating McLuhan, as Crook (1999: 12) has observed, British broadcaster and author Hilda Matheson (1933)...
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DOI•
01 Jan 2012
TL;DR: Chernosky as discussed by the authors investigated the relationship between new American music and National Public Radio (NPR) during the 1970s and 1980s, and proposed that public radio utilized existing historical narratives of musical experimentalism while simultaneously revising and strengthening those narratives.
Abstract: Voices of New Music on National Public Radio: Radio Net, RadioVisions, and Maritime Rites Louise Elizabeth Chernosky This dissertation focuses on the relationship between new American music and National Public Radio (NPR) during the 1970s and 1980s. NPR directly supported American experimental music, most often billed as “new music,” through programming that both consolidated a tradition and extended it by commissioning new works. I address three exemplary broadcasts, proposing that public radio utilized existing historical narratives of musical experimentalism while simultaneously revising and strengthening those narratives. I demonstrate ways in which the shows themselves, as well as their planning phases and promotional materials, served to gather individuals and musical practices together, defining and constructing musical experimentalism in the process. Chapter 1 covers the importance of sonic experimentation in NPR’s original Statement of Purposes, claiming that author William Siemering’s attention to sound created a climate that was especially hospitable to musical and radiophonic experimentation. In Max Neuhaus’s Radio Net (1977), NPR’s very infrastructure became a musical instrument, showing the radical potential of NPR in its early days. Chapter 2 chronicles the production history of RadioVisions (1981) to establish the ways in which NPR’s imaginary listeners were essential during its planning phase: in the conception of the show, in the grant proposal to the NEA, and in the show’s content. I conclude that experimentalism’s potential for imagining an NPR audience allowed “new music” to become “American experimental music” as the RadioVisions project moved through the infrastructure of NPR. Chapter 3 explores the cultural valences and authorities of the musical voices in RadioVisions’s segments “Details at Eleven,” “Shoptalk,” and “The Oldest Instrument,” as well as Schuller’s hosting voice in the context of public radio broadcasting. Chapter 4 presents a history of the composition, production, and radio broadcast of Maritime Rites (1984). I argue that the differences between Maritime Rites and RadioVisions were, in part, representative of changes in NPR from 1981–85, particularly the role of the newly established Satellite Program Development Fund in supporting adventuresome programming. Maritime Rites served not only as a sonic documentation of the Eastern seaboard, but also as a sonic documentation of the landscape of improvisational experimental music in the mid-1980s, enhancing its fit on NPR as new music/radio documentary. Chapter 5 offers an analysis of the second segment of Maritime Rites, which featured Pauline Oliveros and her improvisation “Rattlesnake Mountain,” as well as the voice of Karen MacLean (the only female lighthouse keeper in the series). This dissertation contributes to a deeper understanding of NPR’s history by addressing lesser-known yet significant cultural programs, as well as to a broader musicological understanding of how public radio contributed to the construction of musical experimentalism.
28 citations
TL;DR: Drawing on practical examples, this article suggests that sound, as much as vision, influences choices in AD.
Abstract: In discussing audio description (AD) as a form of translation, there is a tendency to focus on AD as a written text. A key element, easy to overlook, is that AD is always received aurally, together with the existing dialogue and soundscape. AD therefore translates a film or play into a form of audio drama. Insights from the field of Radio Studies reveal the ways in which sound works to produce more vivid mental imagery. A better understanding of the interaction between sound effects and audio description can help improve access to audiovisual media for people who are dependent solely on auditory information. Drawing on practical examples, this article suggests that sound, as much as vision, influences choices in AD.
25 citations
Cites background from "Radio drama : theory and practice"
...Crook (1999) agrees that, in radio, sound effects reinforce or supplement dialogue to allow the listener to build up a multisensory experience....
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...Radio studies have usefully modelled the ways in which sound functions to evoke vivid images in the ‘theatre of the mind’ (Crook, 1999, p. 61)....
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...(as cited in Crook, 1999, p. 13)....
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...(as cited in Crook, 1999, pp. 70 73) In radio, these six types of sound effect interact with the dialogue, influencing our understanding of the drama, and bringing it vividly to life....
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