Darren Copeland's Ten Questions for a Listener at http://interact.uoregon.edu/MediaLit/mlr/readings/articles/questions.html
Some comments on how to use this marvellous resource..............These questions from Darren Copeland encourage the students to :
Develop their sound vocabulary. So visit Barry Truax's HANDBOOK FOR ACOUSTIC ECOLOGY
Suggestions of various topics
Noise at http://www.sfu.ca/sonic-studio/handbook/Noise.html
Soundscape at http://www.sfu.ca/sonic-studio/handbook/Soundscape.html
Soundmark at http://www.sfu.ca/sonic-studio/handbook/Soundmark.html
Keynote at http://www.sfu.ca/sonic-studio/handbook/Keynote.html
Sound at http://www.sfu.ca/sonic-studio/handbook/Sound.html
Ear at http://www.sfu.ca/sonic-studio/handbook/Ear.html
Acoustics at http://www.sfu.ca/sonic-studio/handbook/Acoustics.html
Silence at http://www.sfu.ca/sonic-studio/handbook/Silence.html
Spectrum at http://www.sfu.ca/sonic-studio/handbook/Spectrum.html
Also - look up the definitions of -
Direct Sound (direct signal) Reflections
Early Reflections
Late reflections (Echoes)
Flutter Echo
Reverberation
Diffusion
Decay
Decay RateAbsorption Bright/Lively Dark/Dead Boomy Look also at Auditorium Acoustics 101: The Quieter, the Better. This is about church acoustics, and it has a lot of useful information - at http://www.church-acoustics.com/aa101.htm FICTIONALISED SOUNDS IN RADIO DRAMA See Becoming aware of sound events in radio plays Learn more about sound in the Lifeworld and then transfer that into the fictionalisation of sound. Fictionalisation of sound - what is taken out or missing from Lifeworld sound for radio drama sounds?
See Stearns, Jerry, 1995, 'Radio Sound Effects: An assembly of elementary tips about the use of sound effects in the creation of radio theater' at
http://www.greatnorthernaudio.com/audio_theater/Sound_Effects.htmlNote the difference between everyday listening (perceiving sources of sounds) and the experience of listening to music and radio drama (perceiving sounds). There are differences in focus and attention, and listening mode. In listening to the radio play, the radio listener is positioned at the ideal point, the 'point-of-listening' (POL). LIFEWORLD SOUNDS - how we listen - recognition and learning See Sound - sound effects - sound events - physics of sound. Sounds are perceived in terms of pitch, loudness, timbre, and other features. LIFEWORLD SOUNDS CAN BE CONFUSING: Sometimes we can sort and identify all the sound events we hear. Sounds in one category cannot be confused with those of any other category. But we live in an under-determined world, with an infinity of sounds and categories. Sounds blend into each other and mask each other. As we process incoming sounds (via our ear-to-brain mechanism), we reduce sounds into categories. We look for features of a sound event that will reliably distinguish it. We build up our skills in identifying sounds and their categories from experience. List of sounds in categories for radio drama
vocal sounds - human speech - dialogue - the voice stream vocalising from animals and insects, sound-making from insects (barking, mooing, insect shrieking, scratching). non-vocalised sounds of human origin (scratching, clothes rustling, footsteps) - these indicate the 'more than words' (or embodying the dialogue) - representing living in the vocal stream (Beck, Radio Acting, 61). Non-vocalised sound events of sentient beings which are non-human (animals moving, insects clicking) Sound events not originating from living beings, that is originating from nonsentient objects (stones falling, machines, thunder). Music Atmos, background, soundscape, ambient sound, including 'room tone' and the 'aural fingerprint' of locations Silence(s). Stearns, 1995 describes silence as: 'A dramatic element. It can be very loud.' (See Shingler and Wieringa, 1998, 54 for a revealing discussion.) See silences - different sorts and Silences and the overall design
TO Index 'A' to 'Z' for this site - use to navigate
To WELCOME PAGE
This site is 'Radio Drama - directing, acting, technical, learning & teaching, researching, styles, genres'.
This is part of a complete curriculum of scripts, techniques (acting & directing & post-production & genre styles), advice, sound files - effects and atmoses (with no copyright and so free to use), detailed script commentaries, etc. You are welcome to use these sites with no copyright restriction.
See also Alan Beck's site on 'MAKING A RADIO SOAP (SERIAL DRAMA) - a fixed-end soap' at http://www.savoyhill.co.uk/soap/index.html
| The url of this site, 'Radio Drama Techniques', is: www.savoyhill.co.uk/technique |
| To Alan Beck's Radio Hub at http://www.savoyhill.co.uk |
| To Alan Beck's HOME PAGE at www.savoyhill.co.uk/alan |
| See more of Alan Beck's work at http://interact.uoregon.edu/MediaLit/WFAE/readings/beck/ |
| IF YOU HAVE COMMENTS, PLEASE EMAIL TO : radio@savoyhill.co.uk |
NAVIGATING THE SITE
| To index - This will give you an A to Z of all the content of this site. |
| Note: If the text is too small for you to read, go to VIEW on the top toolbar, then TEXT SIZE, and choose MEDIUM, LARGE or LARGER. |
| Navigate this site using the back arrow on the top left of the screen. |
| Use the FAVOURITES on the top toolbar, and create a FOLDER for this site 'Radio Drama Techniques', and FAVOURITE the WELCOME PAGE, and also various other pages in the site. So you can go to FAVOURITES, then the folder 'Radio Drama Techniques', and click on whatever you need. So nagivation around the site becomes quicker. |
| Copy and paste it into WORD in the following way - ON THE WEB PAGE - Select what you want to copy Or (if all - from the Top Toolbar) EDIT and then SELECT ALL - OPEN WORD - Edit - Paste Special - Unformatted Text |
| Use QUESTIONS - 'HOW DO I' - to navigate this site. |
Any opinions expressed in this site are the personal opinions of the owner of the site. IF YOU HAVE COMMENTS, PLEASE EMAIL TO : radio@savoyhill.co.uk