Subject – Radio Journalism
Sub Code: BJ – 503 (L- 03, T – 01, P – 00)
Unit 1 General Awareness about Radio
1.1 History of Radio
1.2 Radio Programme Formats
1.3 Latest trends of Radio
1.4 Functions & Characteristics of Radio
Unit 2 Scripting for Programme
2.1 Programme Planning
2.2 Broadcasting Guidelines
2.3 Scripts for various Radio Programme.
2.4 Conceptualization and Ideation: Show Designing
Unit 3 The growth of Radio during Different ages
3.1 Yuvvani for Unemployed youth
3.2 AIR ( Prasar Bharti)
3.2 Commercialization of Radio
3.3 Reach, Access, impact
Unit 4 Types of Radio and its Reach
4.1 Entertainment Radio
4.2 Community Radio
4.3 Internet Radio
4.4 Satellite Radio
- Broadcasting inIndia, P.C. Chattergee, SageNew Delhi.
- Broadcast Journalism, Boyd Andrew, Focal PressLondon.
- News Writing for Radio and T.V., K.M. Shrivastava, Sterling PublicationNew Delhi.
- This is ALL India Radio, U.L Baruah, Publications Division.
Sub Code: BJ – 513 (L- 00, T – 00, P – 00)
Unit – 1
1.1 Voice Culture Exercise
1.2 Practice on English, Hindi & Urdu content for Radio
1.3 Sound Recording
Unit – 2
2.1Use of Microphones
2.2 Console handling
2.3OBRecordings & Live Shows
2.4 Radio audience measurements systems (RAM, SMS IVRS and Phone calls)
Unit – 3
3.1 Radio Production Techniques & Tools
3.2 Radio Programme production:
3.3 Interviews, Radio Talk, Discussions, Review Programmes
Unit – 4
4.1 Production of Musical Programmes
4.2 Best use of Music database
4.3 Drama/ Skits
4.4 Advertisements , Promos , Jingles
- News production: Theory and Practice, Routledge, Machin, David & Niblock, Sarah
- This is ALL India Radio, U.L Baruah, Publications Division
MUSIC & SOUND:
Basic Sound Theory:
This module explores the basic physical properties and characteristics of sound and human auditory perception. Topics include: Sound fundamentals, decibel theory and human perception of loudness, stereo imaging, space and basic acoustic principles.
The human ear, psychoacoustics, the anatomy of the ear, principles of sound propagation, understanding the Decibel (dB) and other reference levels, behavior of sound in enclosed spaces, studio design and construction, reverberation and modal characteristics, room analysis and evaluation and various acoustic treatments.
This module covers the link between creative and technical elements of professional music production. Topics include: Planning and pre-production, studio team work, working with musicians, post production and mastering, understanding music styles, the role of a producer/engineer, various mixing rules and examples.
Short Description / Abstract
In December 2002, the Government of India approved a policy for granting licenses for Community Radio Stations to educational institutions including IITs/IIMs. In 2006, the Government expanded the policy by bringing ‘Non-profit’ organizations like civil society and voluntary organizations etc. under its ambit in order to allow greater participation by the civil society on issues relating to development & social change.
This module covers the design principles and operation of studio effect units. Topics include: Description of all types of effects processors, dynamics processing, time based processing, equalizers and filters, explanation of plug-in type signal processing, when to use effects, understanding parameters of effects.
WHAT IS BROADCASTING AND HOW IT WORKS
AN INTERODUCTION TO BROADCASTING SOFTWARES
BROADCAST GUIDELINES – COMMUNITY/ CUMMERCIAL
HISTORY OF RADIO:
The Roots of Radio
Growth of Radio – Radiotelegraph and Spark-Gap Transmitters
Improvements to Radio Transmitters
Lee DeForest – AM Radio
FM Antenna System
WRITING FOR RADIO:
Writing for radio is a complex and difficult but not impossible process. In the field of literature there are a variety of forma a writer can attempt: the novel, the short story, the essay, the poem, the drama. Each one has its definite pattern.
Radio writing has likewise evolved into many forms. Talks and plays appear to be the major ones, but there are scores of other types, each having a variety of brands. Talks may be of so many kinds-interviews, discussions, sermons, unscripted round-table discussions. Then there are specific talks for different age groups and professional groups; for women, farmers, industrial workers.
The proper uses of words, the right mode of delivery, style are equally important. It is an art to produce rich effect by familiar words and to sustain interest. Through radio programs we want to tell something or the other. The art of telling something, say, a story, is an old one, mastered by few. The words used must be such that they can show, point out, announce, and declare, with rich effect, without visual aids. In the choice of words, one must exercise judgment and aptness. Usually, the words used should be specific and concrete. Words are symbols, and when properly used an understood, they are carriers of exact meaning. Words, when uttered, describe something with a certain amount of expression, of feeling, reflecting the personality of the talker, resulting in some effect, achieving certain ends. Since we are restricted only to the aural sphere (listening), the familiar words have an important bearing. Pronunciation is a science and the words must be uttered properly if we want to create the right, the appropriate effects.
Script writing for radio which has to be in conventional style means writing for the ear. Newspapers obviously are written for the eye, which essentially means that if readers do not understand something, they can return to the paragraph or sentence and read it a second time. In broadcast news, on the contrary, they hear the copy just once. So, broadcast copy must be written clearly; thoughts must be expressed quickly with brief, crisp sentences. Broadcast writers must write the way most people speak. Emphasis is on simple writing but simple language does not mean a language devoid of embellishment, ornamentation or an extension of meaning
Long sentences should be avoided while writing script for radio news. The sentences as well as paragraphs should be short. The sentences that produce information overload should be avoided. The sentences should be broken into parts for easier understanding. Also attempts should be made to reduce the number of details in one sentence. Avoid sentences which are longer than 16-18 words. Long sentences should be split into shorter ones.
VOICE MODULATION AND RJ’ING: The course gives appropriate training on voice modulation, accent and building an RJ image with the use of language. AND Radio Jockey qualities Minuses Pluses
Basic Electronics: This module covers the basic concepts of electronics and electricity as they relate to audio technology. Topics include: Basic electrical theory, power, voltage, resistance and current, Ohm’s Law, electrical circuits, electrical decibel scales, standard operating levels and audio connectors & cabling and studio fault finding.
Introduction to Studios & Recording:
This module covers the equipment and processes used in small recording studios. It further looks at the operation and the recording process from beginning to completion. Topics include: Analogue mixing console operation, gain structure, recording session procedures, multi-track recorders, reading schematic diagrams and basic recording techniques.
Mixing Consoles and Signal Flow:
This module covers the use and design concepts of various studio mixing con-soles. Topics include: Console design and different types of consoles, analogue and digital consoles, control surfaces, sound studio signal flow, broadcast and TV sound signal flow, equipment features and specifications.
Microphones and Loudspeakers:
This module covers microphone and loudspeaker design. Topics include: Transducer principles, microphone and loudspeaker design, speaker placements, choosing the right microphone, working with multiple microphones, using microphones in the studio and in live recording situations, different types of studio monitors, various stereo microphone techniques, location microphones and techniques.