Radio And Sound Studies

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

by Emma Rodero

Emma Rodero (2012). Stimulating the Imagination in a Radio Story: The Role of Presentation Structure and the Degree of Involvement of the Listener. Journal of Radio & Audio Media, 19 (1), 45-60.

It has always been stated that the radio is the invisible medium that has the greatest effect in stimulating the... more 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.

A comparative analysis of speech rate and perception in radio bulletins

by Emma Rodero

Emma Rodero (2012). A comparative analysis of speech rate and perception in radio bulletins. Text&Talk, 32 (3), 391–411.

Speech rate is one of the most important elements in a news presentation, especially on radio, a sound medium.... more Speech rate is one of the most important elements in a news presentation, especially on radio, a sound medium. Accordingly, this study seeks to compare broadcasters' speech rate and the number of pauses in 40 news bulletins from the BBC (United Kingdom), Radio France (France), RAI (Italy), and RNE (Spain). Most authors addressing the medium of radio recommend a speech rate of between 160 and 180 words per minute (wpm). If this rate is considered, only one radio station, BBC, would be within the suitable limits. Instead, higher speeds and fewer pauses have been identified in the RAI and RNE bulletins. The second part of this study attempts to analyze whether perception in the news can be affected by different speech rates. The findings indicate that the extent to which the individuals surveyed experience subjective assessment varies according to the speech rate.

Blurring fiction with reality: the strange case of Amnesia, an Italian radio mockumentary

by Tiziano Bonini

published in: Gazi A., Starkey G., Jedrzejewski S., Radio content in the Digital Age: the evolution of a sound medium, Londra, Intellect Books, 2011.

Amnésia is a mockumentary that tells the story of a young man, Matteo Caccia, a former speaker of the Italian public... more Amnésia is a mockumentary that tells the story of a young man, Matteo Caccia, a former speaker of the Italian public radio, who suffered from a form of amnesia which erased all memories from the first 32 years of his life.
Amnesia is the story of a man who is living every day as it was the first. Every day Matteo tells listeners about his new life, using the language of radio and multimedia.The War of the Worlds by Orson Welles was the first radio drama that blurred fiction with reality.Different theories tried to understand audience reactions to that broadcast. Welles was the first toshow us how media representations of reality could be realistic but false at the same time. Many years have passed since that radio drama was aired; audiences have become accustomed to a more complex mediascape and have refined their media expertise; however, the case of Italian serial radiodrama Amnesia shows us how radio can still play a powerful role in structuring and conditioning audience beliefs.This paper will describe the format of Amnesia and the way it blurred fiction with reality, experimenting with the genre of drama. The study will also show different audience reactions to the programme (believers vs. non-believers) through an analysis of listeners' emails.

Evasão

by Lilian Zaremba

radio sound instalation in Respiration Project, Eva Klabin Foundation, Rio.

a memoria de uma emissora que marca o tempo ressoa : esta radio relogio, se confunde ao tempo de vida naquela casa.... more a memoria de uma emissora que marca o tempo ressoa : esta radio relogio, se confunde ao tempo de vida naquela casa. Uma casa-museu guardando bem mais do que objetos... por exemplo, um fantasma falante revelado por uma corrente sonora. um radio.

Privatization of radio and media hegemony in Turkey

by Ece Algan

published in The Globalization of Corporate Media Hegemony by L. Artz & Y. R. Kamalipour, 2003

Development of Local Radio in Southeast Turkey

by Ece Algan

Journal of Radio & Audio Media, 11 (2) November 2004 , 254 - 267

This article examines the emergence of local radio in a rural southeastern Turkish city called Sanllurfa in the early... more This article examines the emergence of local radio in a rural southeastern Turkish city called Sanllurfa in the early 1990s following the end of the state's media monopoly on broadcasting. Informed by a media ethnography conducted there in 2001, this article discusses local debates over the content and quality of local radio and the influence of the state's official cultural policies on the programming decisions of local radio owners, managers, and DJs. This paper also illustrates Turkish young people's local and national radio preferences, their responses to local programming and on-air personalities, and the meaning of music and local radio in their lives.

Exchange and Interconnection in US Network Rade: A Reinterpretation of the 1938 War of the Worlds Broadcat

by Kathleen Battles

Co-authored with Joy Hayes

Soundscapes als akustisches Gedächtnis der Stadt: künstlerische Strategien gegen Gentrifizierung

by Dagmar Brunow

published in 'testcard. Beiträge zur Popgeschichte' #20 / 2011: 37-41.

A Call to Listen: The 'new' Documentary in radio–encountering 'wild sound' and the 'filme sonore', Historical Journal of Film, Radio and Television Vol 30, No 3, Sept 2010, pp391-410.

by Virginia Madsen

Journal essay

Radio and the documentary imagination: thirty years of experiment, innovation, and revelation, (2005): Radio in the World: Radio Conference 2005. B. Berryman, D. Goodman and S. Healey. Melbourne (Vic.), RMIT 2005 P386-396 (Accessible via Informit E-Library).

by Virginia Madsen

Listening as a Labor of Love: Commerce, Community, and Little Saigon Radio

by Minh-Ha T. Pham

positions: east asia cultures critique 21.4 (Fall 2013)

This article draws together communications and media studies with feminist theory and refugee scholarship to closely... more This article draws together communications and media studies with feminist theory and refugee scholarship to closely consider Vietnamese American subject and community formations from the reference point of sound and audition. Specifically, it examines the ways in which institutionalized regimes of listening are configurations of power, the effects of which subtly but powerfully impact Vietnamese Americans’ ordinary lives. Such regimes of listening operate as technologies that regulate subjects’ quotidian modes of conduct and in so doing work to reproduce recognizable forms of ethnic, refugee, and national subjectivities and communities as well as the hegemonic discourses that underwrite them. This essay urges an epistemological shift from the site/sight-specific approaches to race, ethnicity, and nationalism that typically dominate ethnic studies, area studies, anthropology, and refugee studies to sonorous approaches that take into account the subtle and ephemeral configurations and effects of power that constitute this ethno-national community and its subjects. The production and management of national subjectivity, as this article shows, is routinely and oftentimes unspectacularly undertaken in sites that are ethnically and temporally local.

NOT IN FRONT OF THE ALTAR - Mixed Marriages and Sectarian Tensions between Catholics and Protestants in pre-multicultural Australia

by Siobhan McHugh

MULTI-MEDIA - contains audio oral history excerpts

Birth, death and marriage traditionally evoke our most powerful expressions of intimacy and sentiment. Yet for... more Birth, death and marriage traditionally evoke our most powerful expressions of intimacy and sentiment. Yet for numerous Australian families up to the 1970s, those occasions triggered the opposite sentiments: estrangement, conflict and hostility, which sometimes endured beyond the grave. The cause: ‘mixed marriage’ between Catholics and Protestants in a pre-multicultural Australia, where religion was still code for a social and political identity that reflected English–Irish tensions derived from colonial days. This article is based on 48 oral histories recorded by Siobhan McHugh for a forthcoming doctoral thesis at the University of Wollongong. The marriages, which range from 1924 to 1983, are recalled by spouses, children and clergy.

Topologies of Difference: Students, the "Playlist" and the Impact of a Virtual Audio Community

by Randal Baier

Is Anyone Listening

by Colin Black

RealTime issue #84 April-May 2008

Silent Cal and the Invisible Audience: The Sociotechnological Significance of the Presidential Voice

by James Eric (Jay) Black

This paper has been accepted for publication in ETC: A Review of General Semantics .

The 1920s offer a fissure in history where the style of political communication had to be re-evaluated. Technology... more The 1920s offer a fissure in history where the style of political communication had to be re-evaluated. Technology both encouraged and hindered new styles of political speaking, but at the same time the more intimate, invisible audience was listening more carefully to the message. For this reason, the voice of the president became more than a mediated influence. Indeed, the ability to hear the president’s voice becomes an example of both how technology shapes society and how society shapes technology, but it was more than this. Radio and the various means of recording sound created a new age of secondary orality. This new orality may have striking resemblances to the older participatory speech situations such as the concentration on the present moment and the use of formulaic presentations, but the new orality was more deliberate and self-conscious. This mass-mediated orality relegated meaning largely to context whereas the printed media before it had concentrated meaning in language itself.

Elements of Radio Art’s Concepts, Practices and Imaginative Soundworlds

by Colin Black

Sounding Out 5, Bournemouth University, 8 -10 September 2010

This paper explores the creative soundworlds of the radio medium as utilised by a range of practitioners to create art... more This paper explores the creative soundworlds of the radio medium as utilised by a range of practitioners to create art (i.e. radio art). It investigates a sample of previously published concepts, theories and practices, which are contextualised against the author’s own current qualitative research and professional practice.

Radio Art: The age of the ‘Bunker’ Artist, Digging in Deeper, Spreading Thinner ...

by Colin Black

Vital Signs: Creative Practice & New Media Now. Melbourne: RMIT Publishing, 2005

The US military developed the internet as a communications tool during the cold war, if one node was destroyed then... more The US military developed the internet as a communications tool during the cold war, if one node was destroyed then the system would re-route and find another path. With the advent of online audio streaming, which audio “nodes” will be blown out of existence, and who will be surviving deep inside the “bunkers”.

With Creative Commons, Open and Free, and using a free operating system for “microradio” (like Auppix) just about anyone can start a streaming internet radio station. Then with August Black’s “Userradio” and “Streaps”, internet radio becomes interactive, produced by simultaneous multi-site broadcasters and randomised by intervention. Meanwhile major players like the ABC (Australia) are conducting surveys and experiments into new delivery models for radio.

According to the U.S., Bridge Ratings research there are likely to be 35 million satellite radio subscribers by 2010. The forecast for internet radio is an increase form the current 50 million to 187 million users within 5 years. “wireless internet radio represents the biggest challenge – not satellite radio”, Dave Van Dyke (President of Bridge) said. Like Motorola’s recently demonstrated iRadio, it seems to forecast a flood of portable devices (like iPods and mobile phones) with docking ports in every room and car connected to your audio system.

What does this all mean for radio art? Well the latest trend for the ABC (Australia) is to have radio art with a predominate “musical” content to be broadcast unannounced on ABC Classic FM, with no flag ship programme. While “acoustic arts” being broadcast in LoFi AM mono on Radio National. This trend seems to be echoed in the Netherlands with theirs acoustic arts programme, Café Sonoré recently reduced to LowFi mono after being threatened with annihilation. Is there some connection between the rise of independent streaming internet arts radio stations and the decline of major networks support for radio art? Who’s streaming? And is there anyone listening outside the walls of the ‘bunker’?

Oh Dear ABC

by Colin Black

Limelight, January 2004, Published by ArtsDiary Pty Ltd, p. 8

Radio Art: Broadcast or Outcast

by Colin Black

Published in Music Forum. Journal of the Music Council of Australia, Vol. 15 No. 2, FEBRUARY - APRIL 2009. ISSN 1327-9300.

Explores what is radio art, its origin, examples of Australian experimental radio work and current situation. Explores what is radio art, its origin, examples of Australian experimental radio work and current situation.

Radio Art: An Acoustic Media Art Form

by Colin Black

4th Media Art Scoping Study Symposium, 4th July 2009, Melbourne. ISBN: 978-0-9807186-0-7

Perhaps it’s obvious; if we take radio out of radio art then we usually have a sound based art work that is not... more Perhaps it’s obvious; if we take radio out of radio art then we usually have a sound based art work that is not broadcasted, unicasted and/or multicasted; conversely if we take the ‘art’ out of radio art then we have radio (in all of its conventional formats) ... but do we have radio art if we simply combine radio and art?

This paper explores the idea of radio art as a media based acoustic art form and argues that the Australian works Journal (1969) by David Ahern and Quadrophonic Cocktail (1986) by Chris Mann are forms of acoustic media art.

Further to this, it asks is there a role for radio art in education?