Professor Judith Swift

Office Hours: M 1-3pm; W 10am-12pm and by appointment

Office: 874-4809 E-mail: jswift@uri.edu

Office Location: 308A Independence Hall

Wednesday, 6-8:45 Independence 207A

TA: Steve Josefson E-Mail: sjosefson@home.com

Course Description: This course will examine the special issues, techniques and production of audio communication. It will explore the elements of audio production and performance in general and will seek to place radio—as the major venue of audio work—in the framework of history and society. Students will listen to and critique various types and genres of audio communication—including radio drama, commercials, news reporting, sports commentary, monologues, narrations and voice-over work. Students will be expected to collect appropriate examples, write original material and develop these into live or recorded productions which will be aired in a real-time setting.

• To examine issues of audio production and audio communication;
• To understand some major milestones in radio and audio media history and its role in a multicultural society;
• To introduce major historical personalities in radio and audio media history;
• To develop critical and analytical skills related to audio production;
• To have an applied experience in the development and delivery of an audio presentation.

Content: The course will begin with an examination of the origins of radio as the major venue for audio production and its place in society prior to as well as after the inception of television. It will examine genres and styles of radio shows (talk shows, radio theatre, DJs and music shows, news reporting); provide an overview of technical elements of radio production (microphone use, recording in various media, audio CDs. sound effects and editing); explore elements of radio rehearsal and performance (takes, cueing, voice-over) and a vocabulary of related terms; and consider other audio venues such as books-on-tape. The focus on a wide variety of broadcast modes will allow students to discover the nuance of style employed to enhance an aural experience.

Students will review the work of some of the greatest ( and possibly controversial) audio monologists, producers announcers, talk show hosts and narrators (e.g. Garrison Keillor, Orson Welles, Imus, Phil Rizzutto, Dr. Laura as well as other contemporary figures ) and to critique and explore the popularity of audio productions. We will explore works with the goal of expanding our historical and cultural awareness. A portion of most classes will involve student presentation of audio material and group analysis and criticism.

• a review/critique of the NPR radio production tape,
• the proposal for the final project
• the complete content/script of the final project

All writings will, of course, be word-processed and use correct grammar, spelling, etc., with references and resources properly credited. Length is to be adequate to address the assignment. In other words, you determine the length based on your assessment of how best to complete the task which will be addressed in greater detail in the assignment sheets you will receive for each of theabove.

• class participation in the presentation, analysis and criticism of audio material,
• 3-minute presentation for individual appointment and assessment
• mid-term audio production
• recorded presentation of a made-for-radio or audiotape production.

General Notes: This syllabus is an outline of proposed events. It is subject to change. I will never change it to make anything due earlier for you. I may change the order of things to allow for a special opportunity or to allow additional exploration on a particular topic. I will supply additional supplementary readings along the way. (*)The in-lab editing is dependent upon confirmation of availability; these dates may change. Some tutorial assistance will be available at other than regular class times. There will also be an in-lab class which will shift the above schedule.

Communication: I expect everyone to use e-mail in order that we can communicate efficiently with each other. We will use this tool to increase class discussion by posting additional ideas, observations, questions and insights. If you need to see me, stop by during office hours, call or e-mail and I’ll get you in as quickly as possible.

Attendance: Attendance is expected. You are upperclass students and I assume you want the stimulation of class discussion with a professor and your peers. If you will not attend on a given day, please call or e-mail. Absences will hurt your grade because class participation is an important aspect of my evaluation of your work.

Other readings and/or audiotapes as applicable and assigned including excerpts from audiobooks, radio recordings, articles, magazine and newspaper reviews.

• In-class discussion/participation/e-mail work 25%
• Report on NPR tape 25%
• Mid-term audio tape 25%
• Final Presentation 25%

Evaluation will be based on grades of the written projects outlined above, committed rehearsal and performance of the final project, as well as regular class attendance and participation.

Honor Code: I expect each of you to contribute his/her own work; however, I also encourage you to work together to solve problems, achieve solid analysis, critique performances, and even to prepare and explore the theses of your final performances. I also expect that you will all be direct about crediting yourself and/or others about completed work. There is nothing wrong with assisting each other. The only caveat is to acknowledge that assistance. With regard to group work, you will be required to sign a contract agreeing to be responsible for disclosing the amount of your work and to be forthright about how much you did or did not contribute. This saves each of you from ever having to be in the awkward position of reporting or covering for another student. I also know each of you want to be honorable in your individual or group projects. On the other hand, if a student violates rules pertaining to plagiarism or cheating, I will report that student to the appropriate university authorities. I will do this because it is no favor to cover for a person who acts dishonestly. We call this enabling. It is also unfair to the students in the class who come by their grade honestly.

Philosophy of Teaching: I am interested in an engaging, active partnership of learning in which I rediscover and discover aspects of audio media communication and presentation along with you. I am also interested in using audio recordings/presentations as a springboard for the exploration of a wide range of topics from historical events to contemporary issues. The issue of audio communication must explore those aspects of presentation and production that enhance an audio experience in the absence of nonverbal and visual communication. The manner and mode in which one heightens and enlivens the auditory production is rife with room to explore imaginative approaches and solutions. The subjective nature of any audio production will lead us to examine our own tastes and preferences. The potential for exploring and discovering new paths into the human imagination is exciting. However, just as no one is responsible for our individual happiness but us, no one is responsible for our intellectual excitement. I can bring mine to the classroom but you also need to be prepared to risk exposing and exploring yours. Learning should be fun and painful—thinking ‘til it hurts—and addictive. I look forward to the time we will have together examining and creating the ultimate auditory experiences.

Outside Event: We will be attending a taping of a radio show and talking with the producers and talent. The date will be confirmed and announced soon. This will involve group travel to the recording site.