The first portion of the study traces the rise of broadcast listening during the 1920s, analyzing the qualities of sound reproduction favored for early receiver and loudspeaker apparatus and the different habits of audition to which these catered. From here, the study examines the forms of programming developed by early broadcasters, analyzing period debates surrounding their suitability for radio's mass audience and distinctly aural mode of presentation. The final portions of the study explore the decade's emerging arts of radio production and radio performance. Analyzing production methods for remote and studio broadcasts and presentational styles favored for radio speakers, actors, and musicians, this section documents the rise of a new class of creative professionals with skills and knowledge distinct from those of other media workers. Together, these investigations reveal radio's growing valuation in American society as a new medium and distinct art form with properties, demands, and possibilities uniquely its own.11 Hiram L. Jome, Economics of the Radio Industry (Chicago: A.W. Shaw Company, 1925); Graham McNamee, Youa#39;re On the Air (NY: Harper ... 12 Ted Husing, Ten Years Before the Mike (NY: Farrar and Rinehart, 1935); Credo Fitch Harrisanbsp;...
|Title||:||The Sounds of "radio"|
|Author||:||Shawn Gary VanCour|
|Publisher||:||ProQuest - 2008|