"Im Oktober 1923 ging das erste offizielle deutsche Rundfunkprogramm auf Sendung. Auch 100 Jahre später ist das Radio nicht aus der Medienwelt wegzudenken, ob als Informationsquelle, Kulturproduzent oder musikalischer Tagesbegleiter. Stets im Zeichen politischer, gesellschaftlicher und technischer
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Entwicklungen stehend, hat es immer wieder seine Wandlungsfähigkeit und Relevanz unter Beweis stellen können. Dieses Buch wirft Schlaglichter auf die verschiedenen Facetten der deutschen Radiogeschichte und wagt zugleich einen Ausblick in die Zukunft des ebenso langlebigen wie vielseitigen Mediums." (Buchrückseite)
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"Este libro se lee con mucha facilidad y nos describe con gran amplitud y rigurosidad investigativa ese paisaje mediático de la ciudad, donde conviven la expresión pública, la comercial y la comunitaria. Es un texto que nos cuenta que la radio sigue vigente y muy presente en la vida de la gente,
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pero igualmente advierte que ella existirá y será más fuerte mientras hable menos y escuche más a su audiencia." (Óscar Pérez, Página 6)
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"Media of the Masses investigates the social life of an everyday technology - the cassette tape - to offer a multisensory history of modern Egypt. Over the 1970s and 1980s, cassettes became a ubiquitous presence in Egyptian homes and stores. Audiocassette technology gave an opening to ordinary indiv
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iduals, from singers to smugglers, to challenge state-controlled Egyptian media. Enabling an unprecedented number of people to participate in the creation of culture and circulation of content, cassette players and tapes soon informed broader cultural, political, and economic developments and defined "modern" Egyptian households. Drawing on a wide array of audio, visual, and textual sources that exist outside the Egyptian National Archives, Andrew Simon provides a new entry point into understanding everyday life and culture. Cassettes and cassette players, he demonstrates, did not simply join other twentieth century mass media, like records and radio; they were the media of the masses. Comprised of little more than magnetic reels in plastic cases, cassettes empowered cultural consumers to become cultural producers long before the advent of the Internet." (Publisher description)
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"In this paper, I hope to outline key questions for radio broadcasters contemplating a podcasting strategy; capture key lessons from successful Spanish language audio outlets (Radio Ambulante and Prisa Audio); highlight key benefits and revenue opportunities a podcasting strategy can yield for news
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organisations - whether they are in radio or not. My findings are based on readings, conversations, seminars and interviews conducted during my fellowship at the Reuters Institute for the Study of Journalism, and bedded in my own experience as the founder of a podcasting division, CooperativaPodcast, at 80-year-old Radio Cooperativa in Chile." (Introduction, page 5)
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"Am 29. Oktober 1923 nahm der erste deutsche Radio sender einen regelmäßigen Programmbetrieb auf. Dies gilt vielen als Geburtsstunde des öffentlichen Rundfunks in Deutschland. Das 100-jährige Jubiläum im Jahr 2023 bietet dem Technoseum den Anlass, der Geschichte von Radio und Fernsehen eine eig
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ene Ausstellung zu widmen, die in fünf chronologisch aufeinander folgen den Themenbereichen die Geschichte von Radio und Fernsehen von den Funkanfängen um 1900 bis zu den digitalen Medien der Gegenwart erzählt. Vorangestellt ist ein Prolog zum Jubiläum. Drei „Perspektiven“ ziehen sich durch die gesamte Schau: Die Perspektive der Pro grammproduktion zeichnet Entwicklungslinien der Pro grammgeschichte nach und gibt Einblicke in Methoden und Berufsbilder der Radio- und Fernsehprogramm produktion. Bei der Perspektive der Geräteproduktion stehen die Herstellung von und der Handel mit Radio und Fernsehgeräten im Mittelpunkt. Schließlich fragt die Perspektive der Nutzerinnen und Nutzer danach, wie die Technik das Leben der Menschen prägt und wie sich Nutzungsgewohnheiten verändert haben. Erst mals können in diesem Rahmen zwei Objektbestände in größerem Umfang gezeigt werden, die das Museum im Jahr 2014 übernommen hat: Die Sammlung des ehemaligen Deutschen Rundfunk-Museums in Berlin sowie die historisch-technische Sammlung des Südwestrundfunks (SWR). Die eigenen Objekte werden durch zahlreiche Leihgaben von Museen, Radio- und Fernsehsendern sowie Produktionsfirmen und Privatpersonen ergänzt. Zusammen zeichnen sie ein buntes Bild der Radio- und Fernsehgeschichte von den Anfängen bis heute." (Vorwort)
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"Radio kann mit Gestaltungselementen wie Stimme, Geräuschen und Musik Marken schaffen und profilieren. In einem Experiment wurden drei Radiospots für einen fiktiven Schokoriegel mit gleichem Text, aber unterschiedlicher Emotionalität produziert. Die drei Spots („Der Verführer“, „Der Animat
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eur“, „Der Friedensbringer“) weckten verschiedene Assoziationen. Diese Assoziationen übertrugen sich auf die Marke und wandten sich an die Menschen als Erwachsener, Teenie oder Kind. Die Zielgruppen wurden dadurch emotional angesprochen." (Kurz und knapp, Seite 288)
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"[...] partimos da hipótese de que as produções sonoras contemporâneas (dramas e podcasts de storytelling), que se configuram como produções de aprofundamento e que têm deadlines mais amplos, realizam uma reapropriação estética das estratégias e ferramentas expressivas das radionovelas da
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era de ouro do rádio do paÃs [= Brasil] . Com esta reapropriação, aliada ao que as caracteriza como jornalismo, podem complexificar a narrativa e modificar o perfil do conteúdo apresentado à audiência, além de propiciarem um ambiente de consumo imersivo, mais humanizado e mais envolvente para o público. Expandimos essa hipótese também para as séries de reportagens divulgadas em emissoras hertzianas, principalmente considerando as demandas por rejuvenescimento da audiência e ampliação do público do rádio e o perfil de crescimento do consumo de áudio nos últimos anos." (Introdução, página 12)
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"Reflexionar sobre la radio en tiempos de coronavirus resulta sano y necesario para el medio de comunicación. ¿Cómo no registrar su comportamiento en un momento tan único para la humanidad? Ante la necesaria reflexión, se presentan 20 aprendizajes o desafÃos para el más oral de los medios de
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comunicación y, en tal sentido, se propone un diálogo nacional con formadoras y formadores del área, de 16 ciudades de Colombia, para ampliar cada aprendizaje y describir, en una página, el sentir de los autores sobre los movimientos del dial en tempos de pandemia. Tras la generosidad de cada formador, el documento escrito toma fuerza y entonces la mirada se amplÃa. El texto pasa a formato radio y en la voz de cada escritor se convierte en una serie radial de 20 capÃtulos de 5 minutos de duración, en los que se abordan temas como: El sonido; La programación radiofónica; La radio hablada; Reaprender en el dial; Radio y ciencia; Los estudiantes, nuevos educadores; Un poco de todo; Radio y virtualidad; Radio y redes sociales; La radio aprende; Radio en positivo; Financiación radial; La radio triunfa; Las audiencias; Humanizarnos para humanizar; Periodismo de soluciones; Periodismo explicativo; ¿Migración de soporte?; Ley de medios, y No apagues la radio." (Introducción)
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"This article introduces the method of podcast ethnography. The method encompasses three general stages: to explore a podcast from a particular social field, to engage with it through careful, ethnographic reflexivity and to examine the podcast by developing typologies and themes expedient for analy
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sis. Podcast ethnography is beneficial due to its spatial and temporal flexibility; observing a podcast universe can be performed on the move and in parallel with other tasks. This advantage enables a muchneeded breathing space for researchers inquiring vehement milieus, such as white radical nationalism. The article uses an example from this precise milieu in Sweden – the podcast Motgift [Antidote] – to illustrate and flesh out the potentials and challenges of applying the method’s three stages. In so doing, the article argues for inclusion of podcast ethnography into the extended family of ethnographic methods." (Abstract)
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"Updated and revised, the fourth edition of The Radio Handbook is a comprehensive guide to the medium of radio and the radio industry in the UK. Featuring new chapters on social media and podcasting, this book offers a thorough breakdown of the knowledge and skills needed to work within the contempo
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rary radio industry. Using examples, case studies and transcripts, it examines the various building blocks that make radio, from music scheduling to news values and from phone-ins to sports commentaries. The latest trends in contemporary audio practice are referenced throughout, including the increased adoption of smartphone technology, further consolidation within commercial radio, and the ongoing debate about the future funding of the BBC against the backdrop of an accelerated move towards remote working, the rise in popularity of podcasting and an ever more crowded media landscape." (Publisher description)
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"As the most widespread and popular form of communication in the country, radio occupies an essential space in the deliberation and the construction of public opinion in South Africa. From just a few state-controlled stations during the apartheid era, there are now more than 100 radio stations, reac
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hing vast swathes of the population and providing an important space for citizens to air their views and take part in significant socio-economic and political issues of the country. The various contributors to this book demonstrate that whilst print and television media often serve elite interests and audiences, the low cost and flexibility of radio has helped it to create a ‘common’ space for national dialogue and deliberation. The book also investigates the ways in which digital technologies have enhanced the consumption of radio and produced a sense of imagined community for citizens, including those in marginalised communities and rural areas." (Publisher description)
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"One of the first books to examine the status of broadcasting on its one hundredth anniversary, Radio's Second Century investigates both vanguard and perennial topics relevant to radio's past, present, and future. As the radio industry enters its second century of existence, it continues to be a dom
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inant mass medium with almost total listenership saturation despite rapid technological advancements that provide alternatives for consumers. Lasting influences such as on-air personalities, audience behavior, fan relationships, and localism are analyzed as well as contemporary issues including social and digital media. Other essays examine the regulatory concerns that continue to exist for public radio, commercial radio, and community radio, and discuss the hindrances and challenges posed by government regulation with an emphasis on both American and international perspectives. Radio's impact on cultural hegemony through creative programming content in the areas of religion, ethnic inclusivity, and gender parity is also explored." (Publisher description)
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"Indian Sound Cultures, Indian Sound Citizenship addresses the multifaceted roles sound plays in Indian cultures and media, and enacts a sonic turn in South Asian Studies by understanding sound in its own social and cultural contexts. "Scapes, Sites, and Circulations" considers the spatial and circu
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latory ways in which sound "happens" in and around Indian sound cultures, including diasporic cultures. "Voice" emphasizes voices that embody a variety of struggles and ambiguities, particularly around gender and performance. Finally, "Cinema Sound" make specific arguments about film sound in the Indian context, from the earliest days of talkie technology to contemporary Hindi films and experimental art installations." (Publisher description)
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"Die Studie verknüpft Daten einer Onlinebefragung mit qualitativen Einzelinterviews. Das Instrument des Emotional Branding Monitor (EBM) wurde erstmalig auf Mediengattungen angewendet. Bei der Nutzung von Audio wird im Vergleich zu den anderen Medien die positivste emotionale Grundstimmung erzeugt.
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Mit Radio und Audio digital werden Harmonie und Lebensfreude überdurchschnittlich stark assoziiert. Audio bietet damit beste Wirkungsvoraussetzungen für eine positive Wahrnehmung dort platzierter Werbung." (Kurz und knapp, Seite 636)
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"This guide is aimed at the management of broadcasting organisations in areas of policy making as well as in programme making and technical planning. It explains in some detail the advantages gained by radio broadcasters introducing the DRM® Digital Radio Mondiale™ technology and some of the tech
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nical and commercial considerations they need to take into account in formulating a strategy for its introduction. The guide is a development of the previous ‘Broadcast User Guide’ and includes information on latest system and regulatory aspects for the introduction of the various DRM system variants. It also includes links to reports and articles on an extensive range of highly successful real-life trials. Digital Radio Mondiale (DRM) is the universal, openly standardised digital broadcasting system for all broadcasting frequencies up to 300 MHz, including the AM bands (LF, MF, HF) and VHF bands I, II (FM band) and III. DRM is greener, clearer, wider, bigger, better quality & audio content and cost efficient than analogue radio; it provides digital sound quality and the ease-of-use that comes from digital radio, combined with a wealth of enhanced features such as, Surround Sound, Journaline text information, Slideshow, EPG, and data services. DRM enables digital radio transmissions in the former AM bands (short, medium and long wave, i.e. broadcasting bands up to 30 MHz), providing large coverage areas and low power consumption, as well as in the VHF bands above 30 MHz up to around 300 MHz (including the FM band) for local and regional digital radio services. Irrespective of the transmission frequency, DRM uses the same audio coding, data services, multiplexing and signalling schemes; only the transmission mode parameters (i.e. modulation or baseband parameters) are optimised for the respective frequency band." (Introduction)
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"Enseñar y aprender la Radio en América Latina y el Caribe. RadiografÃas de este presente, es un libro que logra recoger el pensamiento, la reflexión y el proceso pedagógico de 63 docentes de 12 paÃses que imparten la asignatura de Radio en distintas universidades de estas regiones. Cada coord
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inador por paÃs, además de compilar la información de sus colegas profesores, ofrece un panorama histórico y contemporáneo de la realidad que enfrenta el medio radiofónico en su territorio desde las perspectivas culturales, jurÃdicas, sociales, tecnológicas y académicas. A través de las respuestas, los docentes externan preocupación, interés, pero sobre todo, una gran pasión por la enseñanza de la Radio. El medio sonoro renace ante la mirada analÃtica y comprometida de profesionales de la enseñanza de distintas generaciones, que miran con alegrÃa, pero otras con desazón el desapego y apatÃa, respectivamente, de los alumnos por la asignatura radiofónica. En el texto se logra observar la evolución del medio a través de la enseñanza. Algunos profesores imparten sus cátedras con base en procesos de producción analógicos, en tanto, otros, están en el territorio de la experimentación e innovación sonora; en el podcast, la transmedialidad sonora, la estética acústica y las nuevas narrativas con el uso de formatos y géneros hÃbridos." (Tapa posterior del libro)
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