COM 360 Community Radio, A. Fleury, Spring 2011
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MWF 1:00-2:05 pm, 015 Burnett
Anthony Fleury, Ph.D. [email afleury | phone 3345 | 012 Burnett | im anthonygfleury]
Office hours: MTuW 11:00 am -12:00 noon; Tu 4:30-5:30 pm; Th 1:00-2:00 pm
To reserve an office hour appointment: http://tungle.me/anthonyfleury
This course is an advanced study of general principles of communication in a specific medium. Both
critical and practical, the course covers radio history and performance, particularly as it has shaped and
is shaped by culture. Students prepare programming for WNJR (the college radio station) and speak on
the air, hosting a live radio program outside of class. This is an Oral Communication ("C") course in
the W&J skills curriculum. It counts toward the Communication Arts major and minor, and the
Professional Writing concentration.
Books:
Susan Douglas, Listening In: Radio and the American Imagination; John Biewen and Alexa
Dilworth (editors), Reality Radio: Telling True Stories in Sound
Other useful materials: USB memory device (at least 2 GB), blank CDs, SD memory card (at least 1
GB), quality headphones.
Verifiable disabilities that affect course performance will be accommodated—let me know as soon as
possible. Follow all Washington & Jefferson College Regulations in the College Catalog, including
those regarding Class Attendance, Plagiarism and Academic Misconduct, and Incomplete Grades and
Grade Changes. Plagiarism or cheating will result in no grade for an assignment and may be grounds
for failing the course. Rude or inappropriately behaving students will be dismissed from the room.
Turn off cell phones and pagers. Do not wear a hat with a bill during class sessions. Wear appropriate
attire. Excessive absenteeism and/or repeated tardiness will result in failing the course. Keep up with
the schedule and assignments on the course Sakai page. (Find it via “Quicklinks” on the W&J web
site.)
Learning objectives: As a result of this course, students should be able to develop and sustain a
weekly theme-based live radio program, create artful pre-recorded audio files (liner, promo, sound
composition, documentary), work individually and in teams, and critically discuss radio theory and
history critically.
Assignments
Attend the all-station meeting, Thursday 3 February, 6:00 pm in the Faculty Dining Room.
Participation (30%) Discussions and activities—as experiences designed toward collaborative
production of knowledge— will be graded on a scale of 0 to 7. Criteria:
Engage assigned material
Interact with multiple colleagues (not only with the professor)
Listen actively
Contribute thoughtfully
Have a positive attitude
Be receptive to criticism and contradictions
Respect the contributions and opinions of others
COM 360 Community Radio, A. Fleury, Spring 2011
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Pre-recorded radio
WNJR Liner (ungraded, required) Individual. A pre-recorded, two-track liner for the
WNJR radio automation system, combining an introductory stinger (noticeable sound effect)
and the station call letters (W-N-J-R). Examples are posted in Sakai. Post in Podcasts section
of Sakai (MP3 or WAV). (This will be considered for inclusion in the WNJR broadcast
automation system.) Due on 23 February.
W&J promo (5%) Team of 2 or 3 (same as for documentary). A promotional recording, with
at least two tracks, for Washington & Jefferson College (or a specific aspect of W&J) to be
aired on WNJR. Must be exactly 30 seconds in length. May be completed individually or with
a partner. Examples are posted in Sakai. (Note: Your promo should fit with the aesthetics of the
WNJR automated music format, which is primarily alternative, electronic, and hip-hop music.
The example promo was created for a previous music format of classic rock.) Post in Podcasts
section of Sakai (MP3 or WAV). (This will be considered for inclusion in the WNJR broadcast
automation system.) Due on 9 March (before class meeting).
Sound composition (5%) Individual. A creative combination of recorded non-vocal sounds
(with at least three tracks) to instill in the listener a mood, feeling, or idea. To be completed
individually, and all sound must be recorded by you. Must be between 1 and 5 minutes in
length. Examples are posted in Sakai. Post in PRX (MP2). Due on 6 April (before class
meeting).
Documentary (20%) Team of 2 or 3. A recorded piece which includes vocal and other sounds
(music and/or ambient sound and/or sound effects), with at least five tracks, designed to inform
or enlighten the listener. Must be non-narrated. Examples are posted in Sakai. To be
completed in a team of two or three students. Must be between 3 and 10 minutes in length, and
must clock-in at a precise minute mark (3 minutes, 4 minutes, 5 minutes, etc.). Post in PRX
(MP2). Due on 27 April (before class meeting).
Grading criteria for pre-recorded projects:
Length and number of tracks
Submitted in specified location (Sakai or PRX) in correct format (MP3, WAV, or MP2)
Concept
Audio clarity
Audio selection
Organization
Transitions
Live radio
Air Clearance (ungraded, required) Pass the WNJR air clearance process. Documents on
Sakai. Due on 18 February.
Team project (20%) Weekly show (team of 2) or occasional sports play-by-play (team of 3).
If a weekly show, format is pre-recorded music with breaks for news, weather, announcements,
COM 360 Community Radio, A. Fleury, Spring 2011
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etc. Music must be from the WNJR new music library (alternative, hip hop, and/or electronic
music) and noted in the music reporting system. Schedule to be determined.
Grading criteria for live radio team project:
Audio clarity
Audio selection
Co-host interaction
Organization
Transitions
Station and show context repeated
Ritual information (time, weather, announcements, etc.)
Class project: Reading Power (20%) Entire class! Collaboration with the Washington County
Literacy Council. Every Monday, beginning 21 February. Students will fill producer role(s)
on assigned dates.
Grading criteria for Reading Power project:
Audio clarity
Co-host interaction
Timing
Transitions
Station and show context repeated
Audience adaptation
Recorded and posted to PRX
Tentative schedule (definitive version maintained in Sakai)
LI= Listening In
RR= Reality Radio
W 2 FEB
F 4 FEB
M 7 FEB
W 9 FEB
F 11 FEB
M 14 FEB
SOUND
History and Theory: LISTENING
Read: LI, Ch 1 “The Zen of Listening;” RR: Allison, “Afterword: Listen”
Listen: “Studs, Natasha, and the Power of Sound”
TBD
Read: WCLC website
Documentary Radio: GETTING STARTED
Location: TBD
Do: Sign up for PRX (Public Radio Exchange) and join the WNJR PRX page
Listen: “Reality Radio”
History and Theory: 1920s
Read: LI, Ch 3 “Exploratory Listening in the 1920s”
Listen: “Old Dave’s Old Radio” (Episode TBD)
TBD
COM 360 Community Radio, A. Fleury, Spring 2011
W 16 FEB
Documentary Radio: MAKING RADIO
Read: RR: Carrier, “That Jackie Kennedy Moment,” Glass, “Harnessing Luck as an
Industrial Product”
Listen: Radiolab (Episode TBD), This American Life (Episode TBD)
F 18 FEB
History and Theory: 1920s and 30s
AIR CLEARANCE DUE
Read: LI, Ch 4 “Tuning Into Jazz,” Ch 5 “Radio Comedy and Linguistic Slapstick”
M 21 FEB
Live Radio: READING POWER, Live Rehearsal. Producer(s): TBD
W 23 FEB
Documentary Radio: SOUND COMPOSITIONS
WNJR LINER DUE
Listen: “Tell Me Wai,” “Crows-Songbirds-Melt,” NZ Sound Compositions
Read: Schaffer, “Radical Radio”
F 25 FEB
History and Theory: AUDIENCE
Read: LI, Ch 6 “The Invention of the Audience;” Peters, “Radio: Broadcasting as
Dissemination and Dialogue;” Carey, “A Cultural Approach to Communication”
M 28 FEB
Live Radio: READING POWER, Episode A1. Producer(s): TBD
W 2 MAR
Documentary Radio: CRITIQUE
Listen: “Dressy Girls,” “Dissecting Dead Animal Man,” “Give Blood Play Rugby,”
“Look Me in the Eye”
F 4 MAR
History and Theory: 1930s and 40s
Read: LI, “World War II and the Invention of Broadcast Journalism”
M 7 MAR
Live Radio: READING POWER, Episode A2. Producer(s): TBD
W 9 MAR
Documentary Radio: PROMO DUE
F 11 MAR
NO CLASS MEETING, IBS CONFERENCE
M 14 MAR Live Radio: READING POWER, Episode A3. Producer(s): TBD
W 16 MAR Documentary Radio: TBD
F 18 MAR
History and Theory: 1920s to 40s
Read: LI, Ch 8 “Playing Fields of the Mind”
Listen: TBD
SPRING BREAK
M 28 MAR Live Radio: READING POWER, Episode A4. Producer(s): TBD
W 30 MAR Documentary Radio: TBD
F 1 APR
History and Theory: 1950s and 60s
Read: LI, “The Kids Take Over: Transistors, DJs, and Rock ‘n’ Roll”
M 4 APR
Live Radio: TBD
W 6 APR
Documentary Radio: SOUND COMPOSITION DUE
F 8 APR
History and Theory: 1970s
Read: LI, Ch 10 “The FM Revolution”
M 11 APR
Live Radio: READING POWER, Episode B1. Producer(s): TBD
W 13 APR
Documentary Radio: TBD
F 15 APR
History and Theory: Public Radio
Read: Mitchell, “Lead Us Not Into Temptation: American Public Radio in a World of
Infinite Possibilities”
Listen: TBD
M 18 APR
Live Radio: READING POWER, Episode B2. Producer(s): TBD
W 20 APR
Documentary Radio: TBD
F 22 APR
History and Theory: Public Radio: NPR vs. BBC vs. CBC
Read: TBD
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COM 360 Community Radio, A. Fleury, Spring 2011
M 25 APR
W 27 APR
F 29 APR
M 2 MAY
W 4 MAY
F 6 MAY
M 9 MAY
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Listen: TBD
Live Radio: READING POWER, Episode B3. Producer(s): TBD
Documentary Radio: DOCUMENTARY DUE; Peer Critiques
History and Theory: Public Radio: Community Radio: Pacifica
Live Radio: READING POWER, Episode B4. Producer(s): TBD
Documentary Radio: Documentary Peer Critiques
History and Theory: Public Radio: Community Radio: LPFM
Read: LI, Ch 12 “Why Ham Radio Matters;” Riismandel, “Radio By and For the Public:
The Death and Resurrection of Low-Power FM;” Local Community Radio Act of 2010
Course closing
TH 12 MAY 9 AM – 12 NOON: Live meets Documentary Radio: PRESENTATION AND
DISCUSSION OF DOCS ON WNJR. Producer(s): TBD