The Basis for Radio Creation (20391)
Degree/study: Degree in Audiovisual Communication
Year: 2nd
Term: 2nd
Number of ECTS credits: 4 credits
Hours of studi dedication: 100 hours
Teaching language or languages: catalan
Teaching Staff: Montserrat Minobis/ Jaime Piqué
1. Presentation of the subject
The radio in a transformation context. The vitality of the radio, the "invisible media", as Peter Lewis calls it, is evident. Only in Catalonia there are about 250 broadcasting stations: public, private, municipal, alternative and communitarian. The number grows if we count
the experiences of broadcasting formats on the internet that do not doubt in
presenting themselves to possible users with the radio appellative. It is well-known that these new formats are interested in the Net-radios of museums and cultural debate centres.
The accessibility to audiovisual production technologies and the generalized use of Internet allows experiencing new contents and new forms of organization, in short, production models different to the traditional ones, focused essentially until now on the broadcasting station as the centre of production. Adam Curry, the creator of what we name Podcasting, carried out some of his first programs in a portable computer, sitting in his Audi A4 parked in the garage of his home in a small village of England. Some Spanish public broadcasting stations have already incorporated to their schedule the latest hip hop musician podcast. The oldest electronic media of communication faces opportunities and stimulating challenges. In this context, every year, at the same time that students start a new course in University, radio stations present their programme schedules.
The "Radio Creation Basis" (RCB) subject is a compulsory subject for all students of the second course of the Degree in Audiovisual Communication. RCB offers students the essential, theoretical and technical knowledge, of the processes of creation and production of radio contents. Students will put in practice a wide range of usual processes in radio stations, with a special incidence in the peculiar situations of live programs. Complementarily, students will have to know the main conceptual, historical and technological referents that have made today's radio.
In the first sessions, students will have to accomplish 4 spaces or radio programs of different formats. Students will have to present a proposal of each program of each format and carry them out, some individually and others in group. The programs will be carried out according to an established sequence. In every new Program, knowledge and skills from the previous ones will be applied, and new ones will be required. The theory contents will be presented in a progressive way, according to what is necessary to know and know-how to carry out each Program.
The knowledge and skills that will be attained correspond to a professional profile of producer, as this term is used in the radio in the Anglo-Saxon world: the person responsible for the creation, direction and/or production of audio contents that have radio broadcasting as their priority channel, but also the new formats of distribution across Internet. Although the basic goal of the subject is focused in the aspects concerning radio production, when finishing the course students should be capable of identifying and describing from an analytic listening the features of an existing radio format, as a base on which to build new proposals. The attainment of this double goal (productive and analytic capacity) is considered an advantage for students that have thought to take the subject "Radio Creation" from the Direction/Production itinerary.
Finally, it is necessary that students understand that the subject "Radio Creation Basis" is also nurtured, directly or indirectly, of the trainings received in other subjects of the degree, and the other way round. Students will be encouraged to establish relationships of contents with the other subjects of the Degree: Social Communication Structure, Digital Culture, Audiovisual Technology, Advertising Communication, Contemporary Art, History of Audiovisual Genres, Sound Workshop, Script, Audiovisual Narrative, Audiovisual Production, etc.
2. Competences to be attained
Instrumental skills
1. Technical and conceptual basic knowledge of the profession
2. Capacity to organize and to plan
3. Oral and written communication ("not spontaneous oral" model)
4. Capacity for structural listening (analytic)
Systemic skills
1. Project's design and management
2. Capacity to apply knowledge in practice
3. Capacity to generate new ideas
4. Capacity to react facing complex processes at real time
Interpersonal competences
1. Teamwork
2. Capacity to show and to generate interest
3. Empathy towards other colleagues
4. Flexibility in points of view
Specific competences
1. To know the radio's basic features compared to other forms of communication.
2. To know and use the basic vocabulary of the profession
3. To know and to apply the basic techniques of radio production
4. To know the equipment of a radio studio and its applications
5. To know the types of microphones and their applications
6. To know and to use portable recording equipments
7. To know and to apply the basic sound edition techniques
8. To know and to identify the radio's continuity elements
9. To identify program's genres and formats.
10. To identify and distinguish programming models
11. To plan and carry out live programs
12. Selecting contents according to coherence criteria
13. Organizing contents according to progression criteria
14. Planning events (playlist)
15. To know and to use formats of radio script
16. Leading live radio programs
17. Acquiring voice/music skills of interaction
18. Knowing and applying basic principles of musical edition
19. Knowing and applying basic principles of a sound atmosphere creation
20. Putting into practice the communication techniques of telephone /control
21. Time management
3. Contents
The subject, as it has already been said, is organized through the accomplishment of 4 "spaces" or Radio Programs. The theory contents of the subject are presented according to what has to be known and how it has to be carried out in every moment of each specific Program. Complementarily, and in a parallel way to the accomplishment of the Programs, specific activities will be suggested (readings, listenings, viewings or debates), class activities that are aimed to know the main conceptual referents (cultural, historical and technological) that have created today's radio. In each block of contents the knowledge and skills that are related with the contents of the block are specified. Some knowledge and skills are applied in several blocks, as explained in the Methodology section of this document.
Block 1 - Welcome to a radio studio
The first sessions of the course are focused in knowing the spaces, the tools, the vocabulary, the work routines and the essential techniques to carry out the different assignments of the subject. We present the radio studio and the equipment that we will use throughout the course. We show which places people who work in the live radio broadcast occupy, which tasks they carry out and how they communicate. If we situate ourselves on the contrary side, in the reception side, the first thing in which we suggest to take notice is in how broadcasting stations present themselves (Id's) and with which elements they are presented. Apart from the literal words, what else do they tell of the broadcasting station these elements with which they present themselves?
Theory aspects
. Radio features as a communication media
. Technological equipment in a radio studio
. Professional profiles of a radio station
. Forms of communication telephone office/control
. Identity elements (Id's): opening sequences, tunings, indicators, promotions and slogans
To know and to know how to use:
. Radio features related to other forms of communication.
. Identifying the equipment of a radio studio.
. Knowing the tasks of the different people who take part in a live radio program.
. Knowing the essential forms of communication between the telephone office and the control
. Knowing and identifying the elements of continuity of a broadcasting station, and of a program
Cultural, technological and historical aspects of radio evolution:
. From "the golden age" of radio to the FM
A compulsory activity for all students is the visit to a radio station, attending with the audience to a live program. This activity will be carry out during the first weeks of the course.
Block 2 - PROGRAMS "The voice, plus the music, and the rest..."
This block of the course is structured based on the preparation and production of a 25 minutes music space. (Individual assignment) 50 per cent of the people that listens the radio, listens to a music broadcasting station format. The comparison of the schedule of programs allows us to look at several models of programming. Why have we chosen a musical space as our first assignment? In the music presentation, as how we suggest carrying out the assignment, we are putting into practice the basic forms of radio production. The assignment, but, does not consist only in presenting some music, but in creating a musical space. It is in this point where we introduce the concepts of identity and elements of continuity, as well as style criteria.
Theory aspects:
. Type of program schedule
. Basic production techniques
. Elements of continuity I
. Selection and organization of contents I
. Music purposes in the radio I, II
. Presentation styles
. Music/voice interaction
To know and to know how to use:
. Identifying and distinguishing program schedule models
. Planning and carrying out live musical programs
. Putting into practice voice/music interaction skills
. Applying basic production techniques in a live broadcast
. Defining and carrying out the necessary continuity elements for theassignments
. Applying routines for leading programs.
. Applying the essential forms of communication between the telephone office and the control
. Time management
Cultural, technological and historical aspects of radio evolution:
. Radio formulas: a generation and an industry, but not only musical.
. The musical spaces in the radio
Block 3 - PROGRAM "Between noise and silence: the conversation"
(Joan Brossa)
This block of the course is structured based on the preparation and the individual recording of an interview carried out out of the studio. Each student will have to edit their interview and make a podcast of 7 minutes. (Individual assignment of two people)
In the same way that the audiovisual media need "images", for David Hendy the radio profession consists in "finding the voices that express that idea". An important part of the task prior to the program production consists in searching: looking for subjects and looking for people. This process has is related with one of the key genres in communication: the interview.
The interview appears in very different forms and in a more or less evident way in different programs. The interview is the preliminary point to treat other types of genres of this media and to introduce the idea of format.
To carry out the assignment, it will be useful to know the different types of microphones that we can use in an interview outside the radio studio, to know how to use the recording equipments as well as the its functioning and the basic techniques of programs of sound edition.
Theory aspects:
. Genres and radio formats (I)
. Type of microphones and their utility
. Type of portable recording equipments and its utilities
. Sound edition
To know and to know how to use:
. Knowing the conceptual differences of the conventional radio and the podcasting
. Knowing and identifying radio genres
. Leading an interview
. Knowing the types of microphone and their applications
. Knowing and using portable recording equipments
. Knowing and applying basic sound edition techniques
. Knowing and applying principles of musical editing
. Time management
Cultural, technological and historical aspects of radio evolution:
· Promises of digital radio broadcasting
· Internet: from the first streaming to podcast
· Radio vs. Podcast. ¿A new genre?
· The net-radio
Block 4 - PROGRAM "Are all radio programs magazines? "
This block of the course is structured based on the preparation and production of a live space of 30 minutes of which two versions will be made in groups.
(Assignment in groups of 5 people en)
"Are all radio programs magazines?", we ask ourselves. To answer this question we have to know which indicators allow us to identify a program as a magazine. The theory sessions of this block of the course look at the idea of program and of radio format, and we carry it out by a selection of program listenings.
To carry out the assignment it will also be necessary to known how to carry out a running order of a program, as well as to remember the aspects treated in the first sessions: the technological equipment of a radio studio, the professional profiles that take part in a live radio and the telephone office/control forms of communication.
This is an essential assignment of the course. Not only the knowledge and skills in an individual way are tested, but the capacity to carry out, take into practice, a project with other people. The assessment of a first version of the program will be used for deciding the definite format (second version).
Theory aspects:
. Genres and radio formats (II and III)
. Elements of continuity II
. Selection and organization of contents II
. Uses of music in the radio II
. Styles of presentation: criteria
. Sound effects
To know and to know how to use:
. Identifying and distinguishing genres and program formats.
. Planning and carrying out live magazine type programs
. Defining and carrying out the necessary continuity elements for the assignment production
. Selecting contents according to coherence criteria
. Organizing contents according progression criteria
. Planning events (running order)
. Knowing and using script formats
. Leading live programs
. Telephone office/control communication
. Applying basic production techniques in a live broadcast
. Putting into practice voice/music skills
.Time management
Block 5 - ASSIGNMENT - "And what is a Soundvignette."
This block of the course is structured based on the preparation and the individual recording of a creation space, of a duration that will be decided according to every proposal. (Individual assignment)
The radio is a unique form of communication. It presents us a world of dreams without any other referent than sound: a "acoustic" world, says Pierre Schaeffer. When we listen a voice in the radio, we can be sure that, really, is there anybody behind the curtain that is the loudspeaker? Which rules follow the sound objects in an acoustic world? Are they the same rules as in the audiovisual situations?
The last course assignment introduces us in a debate that should have its practical reflection in the student's works that they opt to carry out the optional "Radio Creation", of the itinerary of Direction and Production.
Theory aspects:
. The radio as an acoustic form of communication
. Fiction and other forms of radio creation
. The script in fiction formats
. Music uses in radio III
. Atmospheres and sound environments II
. To know and to know how to use:
. Knowing and using script radio formats
. Knowing and applying basic principles of musical edition
. Knowing and applying basic principles of a sound atmosphere creation
. Cultural, technological and historical aspects of radio evolution:
. On the radio borders: the radio art
4. Assessment
The final grade of the subject is obtained with the sum of the partial notes of each of the PROGRAMS carried out, plus the percentage of the "Class Exercises" (see grades table). At the end of the course, an assessment document, with a specific comment to each program, the partial grade and the final grade will be given to every student.
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Program |
Percentage
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Individuals |
Class exercices |
15% |
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Musical space |
15% |
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Soundvignette |
15% |
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1 l 2 people |
Interview |
15% |
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In group |
Live programs |
40%
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About the PROGRAMS assessment
Each Program is carried out according to certain criteria. Each one of the established Program criteria is translated in the assessment with some specific objective indicators. The set of these indicators determines the Program's grade. The criteria for the production of each PROGRAM, as well as the assessment indicators are specified in the specific Program Document. (see Methodology)
In the first Programs (specifically, in the Musical Space, in the first Magazine and in a certain way also in the Interview) the assessment indicators are quite specific and are the same for everyone: "Has this been carried out? Yes/No"; "Are the subjects are squared? "Yes, in general/Pretty much/ it's not present". The musical sentences are respected in the dismissal of the subjects?...".
As the course moves on, the agreed indicators take on more importance. For example: if in the first Programs it is detected that a student has difficulties to carry out a live narration that he "does not sound" as if it was read, a method of improvement is suggested to each student and it is granted as an agreed indicator: "Does he/she avoid a reading tone?". The assessment with very evident agreed indicators in the production of the second version of the Magazine. The result of the first determines the indicators of achievement with which the second will be assessed.
Added value
Teachers reserve themselves 10% of the percentage from the grade of each PROGRAM as "Added value points". Thus, in a PROGRAM with a 15 percentage teachers have a margin of 1.5 points. This grade appears in the final assessment document marked with an asterisk. Every asterisk is equivalent to 0,5 points. An interview with a 12 percentage and *** (3) asterisks is equivalent to a grade of 13,5.
The "Added value points " are an instrument that allows a criteria compensation that is not reflected in the result of a PROGRAM, but that have been argued by the student. The asterisks can have, exceptionally, negative value.
"Class exercises"
By "Class exercises " we understand:
The complementary works in the PROGRAMS (complementary activities, readings, listenings, viewings or debates) that are suggested throughout the course and with the regular attendance to the group sessions.
A student who has carried out all assignments, but who attends with irregularity to the group sessions will not obtain the percentage of "Class exercises ", if he does not hand in a session compensation assignment.
5. Bibliography and teaching resources
5.1. Basic bibliography
CEBRIAN, M. La radio en la convergencia multimedia. Barcelona: Gedisa, 2001
CHION, Michael: El sonido: música, cine y literatura
HENDY, David. Radio in the Global Age.
MARTÍNEZ-COSTA, M.; MORENO, E. Programación radiofónica, arte y técnica del
diálogo entre la radio y su audiencia. Barcelona: Ariel, 2004.
RODERO, E. Producción radiofònica. Madrid : Cátedra, 2005
5.2. Complementary bibliography
Program and production
ALCUDIA, M (ed): Nuevas perspectivas sobre los géneros radiofónicos BALSEBRE, A:
Radio language
BAREA, P: Radio: redacción y guiones
BARNARD, S: Studying radio
BEAMAN, J: Interviewing for radio
BELTRAN, R: Ambientación musical
BLANC, M: Cómo se miden las audiencias en radio
CRISELL, A: Understanding Radio
CARROL, R; DONALD, D: Electronic Media Programming
GUTIÉRREZ, M; PERONA, JJ: Teoría y técnica del lenguaje radiofónico
KEITH, M: Técnicas de producción en ràdio
LEWIS, P: El medio invisible: radio pública, privada, comercial y comunitaria
LYNCH, J; GILLISPIE, G: Process and Practice of Radio Programming
MacFARLAND, T: Future Radio Programming
McLEISH, R: Técnicas de creación y realización en radio
MARTÍ, JM: De la idea a l'antena
MUELA, M: La publicidad radiofónica en España
ORTIZ, MA: Tècnicas de comunicación en rádio: la realización radiofónica
PADDY, S: Broadcast talk
PARRAT, S: Introducción al reportage
ROSENBAUM, D; DINGES, J: Sound reporting
SINGLWER, M; WIERINGA, C: On Air: methods and meanings of radio
History
BALSEBRE. A: En el aire: 75 años de radio en España
BALSEBRE, A: Historia de la radio en España
BASSET, Lluís: De la ondas rojas a las radios libres
MUNSO, Joan: 40 años de radio: 1940-1980
FRANQUET: Història de la ràdio a Catalunya al segle XX
PEDRERO, L M: La radio musical en España
Radio: reality and fiction
CANADIAN BROADCASTING CORPORATION: How to Construct a Radio Documentary
CORCK, T: Radio Drama
BAREA, P: Teatro de los sonidos, teatro del aire
BECK, A: Radio Acting
GURALNICK, ES: Sight Unseen: Beckett, Pinter, Sttoppard & Other Contemporany
Dramatists on Radio
HESSE, J: The Radiodocumentary Handbook ZINDEL, U; REIN W: Das Radio-Feature
Sobre el so: disseny i enregistrament
BARTLETT, B: On-location Recording Techniques
RODRIGUEZ, A: La dimensión sonora del lenguaje audiovisual
RUMSEY, F; McCORMICK, T:"Sonido y grabación: introducción a las técnicas sonoras
SCHAFER, R M: The soundscape: Our sonic Enviroment and the Tunning of the World
ZAZA, T: Audio design: sound recording techniques for film and video
Sound: art and cultural movements
KAHN, D: Noise, Water, Meat
KAHN, D; WHITEHEAD, G: Wireless Imagination
KRUTH, P; STOBART, H (ed): Sound
THORTON, S: Club Cultures
Text selection
ARHEIM, R: "Estética radiofónica"
GAVALDÀ, JVi: "Una cultura acústica. Notas de otra radio"
GRANDI, R: "Il pensiero e la radio"
STRAUSS, N; MANDL, D: "Radiotext(e)"
LANDER, D; & AUGATIS, D: "Radio Rethink: art sound and transmition"
WEIS, A: "Phantasmic radio"
5.3. Teaching resources
· BBC Training: radio
http://www.bbctraining.com/radio.asp
· És a dir
http://esadir.cat
El portal lingüístico de la Corporación Catalana de Medios Audiovisuales (CCMA)
· SuperRadio
http://www.guiadelaradio.com/
· El Dial
http://www.eldial.net/noticias/noticias.asp
· Podcasting
http://www.podcatala.org/
· CAC
http://www.cac.cat/web/recerca/quaderns/index.jsp?MjQ%3D&MQ%3D%3D&
Los Cuadernos del Consejo del audiovisual de Cataluña
· Generalitat de Cataluña: Dep. Cultura y Medios de Comunicación
http://www20.gencat.cat/portal/site/CulturaDepartament/menuitem.01dd042b67
6b56afda97dc86b0c0e1a0/?vgnextoid=04e6923f01369010VgnVCM1000000b0c1e
0aRCRD&vgnextchannel=04e6923f01369010VgnVCM1000000b0c1e0aRCRD
6. Metodology
The subject aims to situate students in a context of decisions and executions for the acquisition of specific radio knowledge and skills characteristic of the production processes. It is organized from a situation: a broadcasting station (X-Ray) requesting proposals for 4 Programs of different formats and that will be live broadcasting or podcast. Some Programs will be carried out individually and others in group. Although there is a high degree of freedom in the specific production of the Programs, it is not the same with the formats, which represent different production contexts.
The accomplishment of each Program always implicates the same stages:
1.- Class activities and dynamics that are theory aspects.
2.- Determining the Criteria on the specific accomplishment of the assignment (see Program document)
3.- The proposal of PROGRAM on the part of the student or of the group
4.- The accomplishment of the specific assignment
5.- The self-assessment on the part of the student
6.- Professor review and hand in of the final assessment to the student
For the production of every Program, students have a Program document. Every Program document has four very differentiated sections.
1.- The first part of the Document is presented as an assignment. A fictitious broadcasting station requests proposals for an specific format. Student's must ask themselves: "How does the program have to be to meet their needs?". The Document specifies the essential features.
2.- The second part of the document answers to the question: "What do we have to know and know-how to carry out to meet these program features?". It is the pedagogic section. The contents and necessary skills to carry out the Program are specified. There is 4 groups of information.
- of Context: it corresponds to the "theoretical, technological and historical aspects of radio evolution " from the block. Ex: " Radio vs. Podcasting".
- of Knowledge: The necessary theory aspects to carry out the assignment. Ex: Radio genres and types of interview.
- of Skills: All that has to be known how to do. Ex: Choosing a microphone to carry out an interview out of the studio. Know how to use a portable recording equipment. Editing an audio file with a program and adding music with a program of multitrack sound edition.
3.- The third section is a complement of the first one. The criteria with which the Program will have to be carried out are specified in detail.
4.- The last section of the Program document corresponds to the assessment. The achievement indicators are specified and self-assessment questions are included.
The Program document ends up with a concept and knowledge glossary as annex. Some entries of the Glossary are suggested. Others are incorporated by each student according to their criterion. Even though we use the Glossary name, the entries are formulated as a question or as a sentence that has to be completed. They could be the same type of questions that would be carried out in a conventional knowledge exam.
In each new Program the knowledge and the skills of the previous ones are applied, besides others specific ones, so the sequencing of Programs creates a dynamics of test-repetition with variations and complexity increase.
In the assessment of the Programs it is meant that students identify the conceptions and conditions that have caused a specific result and that it is capable of revising knowledge or redoing routines to achieve the result that is aimed for. It is appropriate, but, to notice that all Programs imply a live complex process of which students do not have experience. This means a high degree of uncertainty and tension, which we assume knowing that the control of the tension improves as the subject moves on.
In summary, the subject RCB follows a learning model of skills based on the case experience (situations, in this subject): each one of the Programs. For the learning of knowledge we use an inductive type formula in which in general rise up from the particular case. The case is the preliminary point in the elaboration of the conceptual maps with which the theoretical contents are presented.
Throughout the subject we give importance to the analytic and reflexive capacity that allows detecting situations and planning processes of improvement. When finishing the course, with the notes and the complementary didactic materials, each Program document forms a folder. The set of the Documents represents an individual Portfolio of the subject.
7. Planning of activities
The 100 work hours of the subject are distributed in the following way:
40 class work hours (2 sessions of two weekly hours)
60 out of class work hours
2 Hours - Group activity: Visit to a radio station
4 Hours - Activities related with class exercises
32 Group work hours: the 2 Magazine Programs
22 Individual work hours: Musical Space, Interview and Soundvignette
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WEEK 1 |
CLASS+ STUDIO |
OUT-OF-CLASS |
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SESSION 01 |
INITIAL UNITS Radio: features from "the golden age" of the radio to the FM The studio technological equipment
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Between the 2-3 week of the course we will VISIT A RADIO STATION and we will see how a live program is carried out. (Time. 2HOURS)
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SESSION 02 |
IN THE MUSICAL SPACE ENVIROMENT Programming formats Radio-formulas: a generation and an industry, but not only musical. Uses of music in the radio I Presentation styles
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WEEK 2 |
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SESSION 03 |
CONTINUITY ELEMENTS Elements of continuity in Programs Music uses in the radio II Basic production techniques
RADIO vs. PODCASTING ¿A new genre?
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At the end of the SESSION, the students can start to prepare THE MUSICAL SPACE. |
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SESSION 04 |
INTERVIEW ENVIROMENT Radio genres and formats I (The information genre)
MICROPHONES AND RECORDING EQUIPMENTS Types of microphone and their uses Portable recording equipments Sound edition
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At the end of the SESSION, students can start to prepare the INTERVIEW. |
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WEEK 3 |
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SESSION 05 |
EN EL ENTORNO DEL MAGAZINE Radio genres and formats II Content selection/organization II Music uses in the radio II Presentation styles |
At the end of the SESSION, students can start to prepare the MAGAZINE.
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SESSION 06 |
SOUND EDITION Multi-track sound edition SOUND EFECTS |
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WEEK 4 |
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SESSION 07
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RUNNING ORDER vs SCRIPT Script formats I Event plannings: running orders
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SESSION 08 |
MAGAZINE PRE-PRODUCTION V1 |
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WEEK 5 |
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SESSION 09 |
SG1/2 MAGAZINE PRODUCTION V1 SG3/4 INTERVIEW EDITION
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SESSION 10 |
SG3/4 MAGAZINE PRODUCTION V1 SG1/2 INTERVIEW EDITION
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WEEK 6 |
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SESSION 11 |
POR GRUPOS: COMENTARIO DE LOS MAGAZINES V1
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Musical space deadline Interview deadline At the end of SESSION, students can start to prepare the second version of the MAGAZINE. The recording will be carried out during the 8th course week (Class work time: 16HOURS)
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SESSION 12 |
GENRES AND FORMATS III Connections and retransmissions: sports and the great events The listener takes part: service, competitions...
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WEEK 7 |
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SESSION 13 |
CASES: NET-RADIO Digital transmission promises Internet in action
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SESSION 14 |
MAGAZINE PRE-PRODUCTION v2 |
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WEEK 8 |
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SESSION 15 |
MAGAZINE PRODUCTION V2 SG3/4 SCRIPT FORMATS II SG2/1
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SESSION 16 |
REALIZACIÓN MAGAZINE V2 SG2/1 SCRIPT FORMATS II SG3/4
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WEEK 9 |
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SESSION 17 |
MAGAZINES LISTENINGS |
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SESSION 18 |
SOUDVIGNETTE ENVIRONMENT Radio fiction Music uses in the radio III Sound atmospheres and environments
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At the end of the SESSION students will be able to start to be carried out the SOUNDVIGNETTE. The deadline for this work will be the subject's assessment date. (Out of class work time: 8Hours)
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WEEK10 |
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SESSION 19 |
PRE-PRODUCTION SOUNVIGNETTE FRONTIERS Radio art |
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SESSION 20 |
DEBATE Radio: acoustic media |
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OUT-OF-CLASS ACTIVITIES ASSESSMENT
(BY ACTIVITIES AND TASKS)
1.- VISIT TO A RADIO STATION 2 Hours
2.- Activities related to CLASS ACTIVITIES 4 Hours
3.- MUSICAL SPACE (Out of class tasks) 5 Hours
TASKS
- Reading complementary materials for the interview 1H
- Selection and preparation 3 H
- Self-assessment + Glossary of concepts 1 H
. It will be recorded in the SEMINAR HOURS
. It will be carried out along the 5 first weeks
4.- INTERVIEW (Out of class tasks) 9 Hours
TASKS
- Reading complementary materials for the interview 1 H
- Pre-production interviews 1 HR
- Recording 2 H
- Listening, selection and first edition 4 H
- Self-assessment + Glossary of concepts 1 H
. Self-edited.
. It will be carried out along the first 5 weeks
. Deadline: the first session of class of the 6th week
5.- MAGAZINE v1 (Out of class tasks) 16 Hours
TASKS
- Read complementary material for the MAGAZINE 1H
- Ideation 5H
- Pre-production
or VoxPop (Record and edit) 2H
or Continuity elements 2H
or Other elements 2H
- Section preparation 2H
- Running order 1H
- Concept glossary 1H
· It will be carried out during the 4th and 5th week.
· It will be recorded the 5th week.
6.- MAGAZINE v2 (Out of class tasks) 16 Hours
TASKS
- (idem)
It will be carried out during the 7th and 8th week.
· It will be recorded the 8th week.
7.- SOUNDVIGNETTE (Out of class tasks) 8 Hours
TASKS
- Read complementary material for the MAGAZINE 1H
- Ideation, pre-production, script formalization 4H
- Recording, editing 2H
- Concept glossary 1H
· It will be carried out during the 9th week.
The deadline for this work will be the subject's assessment date