Сми и Культура: задания по английскому языку к учебнику для будущих журналистов
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D. Translate the following text from Russian into English.Поп-музыка ‒ направление современной музыки, вид современной массовой культуры. Термин «поп-музыка» имеет двоякое значение. В широком значении, это любая массовая музыка (включая рок, электронику, джаз, блюз). В узком значении ‒ отдельный жанр популярной музыки, непосредственно поп-музыка с определенными характеристиками. Основные черты поп-музыки как жанра — простота, мелодичность, опора на вокал и ритм с меньшим вниманием к инструментальной части. Основная и практически единственная форма композиции в поп-музыке ‒ песня. Тексты поп-музыки обычно посвящены личным чувствам. Песни строятся по консервативной схеме куплет + припев. От поп-песни требуются простые, легкие для восприятия мелодии. Основной инструмент в поп-музыке ‒ человеческий голос. Важную роль в поп-музыке играет ритмическая структура: многие поп-песни пишутся для танцев и имеют чёткий, неизменный бит. Тексты в поп-песнях, как правило, посвящены личным переживаниям, эмоциям: любви, грусти, радости. Большое значение имеет также визуальное представление песен: концертное шоу и видеоклипы. Поэтому многие поп-исполнители имеют экстравагантный имидж. В труппу поп-исполнителя часто входят танцоры, статисты и прочие люди, не задействованные в исполнении музыки, но играющие важную роль на концертах. Несмотря на долгую и бурную историю, поп консервативен. Он имеет тенденцию отражать текущую музыкальную конъюнктуру, а не прогрессивные направления. Это связано с тем, что издатели, как правило, не настроены на коммерческий риск и благоволят исполнителям в проверенных жанрах. В связи с этим, поп ориентирован на абстрактную среднюю аудиторию, а не субкультуру фанатов. Впервые термин pop music в английском языке прозвучал еще в 1926 году, однако корни поп-музыки уходят в историю глубже. Непосредственным предшественником поп-музыки была народная музыка, а также более поздние уличные романсы и баллады. (http://ru.wikipedia.org/wiki/) Chapter 4: Exercises Popular Radio and the origins of broadcasting
Telegraph a method of communicating by sending signals through wires or by radio waves. It is considered to be a forerunner of modern radio technologies. Disk Jockey (Deejay, DJ) is someone who introduces and plays music on the radio. Radio Host someone who introduces and talks to the people taking part in a radio program. Variety Show an entertaining radio format consisting of different short performances, for example singing and telling jokes. Quiz Show a radio competition in which you answer questions. Soap Opera (Soap) a radio series about the imaginary lives of a group of people. The first series of this type, on US radio, contained advertisements for companies that produced soap. In its basis lies the format of serial show – broadcasting a story in a series of separate parts. This format was snatched and gained wide popularity on TV. Situation Comedy (Sitcom) a radio series about a particular group of characters who deal with situations in a humorous way. This format was snatched by television and has become a major staple of TV programming today. I. Multiple Choice
1. Which of the following was not a limitation of the early telegraph? a. It did not transmit voices b. It did not allow for ship to shore communication c. It did not allow for international communication d. none of the above 2. Guglielmo Marconi developed ____. a. electromagnetic waves b. FM radio c. vacuum tubes d. wireless telegraphy 3. What was a regulation put in place by the Radio Act of 1912? a. All ships must have wireless telegraphs b. No signals may be transmitted within one hundred miles of shore c. All wireless stations must obtain licenses d. Only the military may operate wireless stations 4. One of the original functions of RCA was what? a. to set broadcast standards b. to ensure the standardization of radio parts c. to produce transistors d. to export radio components 5. Which company was forced by the government and competing business to sell its American subsidiary? a. RCA b. Vivendi c. British Marconi d. Westinghouse 6. In November of _____, the Westinghouse station KDKA went live with what is considered the first professional radio broadcast. a. 1912 b. 1916 c. 1920 d. 1922 7. In 1923, AT&T-owned stations WEAF and WNAC were joined together in the first _____. a. network b. conglomerate c. affiliate d. broadcast 8. After a ruling by the Justice Department in 1925, AT&T sold the BCA network to _____. a. the government b. General Electric c. Westinghouse d. RCA 9. Which of the following was NOT a type of programming during the golden age of radio? a. Top 40 b. quiz shows c. soap opera d. situation comedy 10. The tobacco mogul who breathed life into the CBS radio network was _____. a. David Sarnoff b. Edward Bernays c. William Paley d. Orson Welles 11. The transistor revolutionized the radio's ____. a. size b. mobility c. cost d. all of the above 12. FM radio, ideal for music, stresses the _____ of radio waves. a. height b. number c. volume d. pitch 13. The system of management (rather than deejays) controlling programming is known as _____. a. format radio b. sponsorship c. block radio d. program logging 14. Which of the following is a component of the Top 40 radio format? a. a deejay b. programmed blocks of time c. advertising d. all of the above 15. The legal method of paying for a specific song's airplay is called ____. a. payola b. paid placement c. commercial play d. pay for play 16. Since the 1930s, the period of heaviest radio listenership has shifted to _____. a. prime time b. late night c. mornings d. drive time 17. Radio formats are targeted at specific groups based on their ____. a. age b. gender c. income d. all of the above 18. The radio format that primarily targets black audiences is known as ____. a. urban b. contemporary c. alternative d. album-oriented rock 19. The Pacifica Foundation was formed to do what? a. monitor nonprofit stations b. assign frequency space to all noncommercial stations c. run experimental public stations d. fund national public radio 20. The two largest national radio chains control roughly _____ of the nation's radio stations. a. half b. a quarter c. a tenth d. 5 percent
The evolution of commercial radio Westinghouse engineer Frank Conrad made the first regular radio broadcast, using one microphone and a phonograph, in 1919. In 1920, Westinghouse, realizing the potential of radio as a wide broadcasting tool, formed radio station KDKA and aired the national returns of the Cox-Harding presidential election in the first professional broadcast. The age of broadcast radio was born. The following year, the U.S. Commerce Department issued licenses for five radio stations. By 1923, there were over six hundred commercial and noncommercial stations, and only two years later, 5.5 million people owned radios. The RCA partnership unravels The monopoly that RCA created was not left unchallenged. In the early 1920s, AT&T ‒ which already had a monopoly in the telephone business ‒ broke the RCA agreement, began to sell its own radios, and began WEAF, which would eventually become NBC and was the first station to sell advertising. In 1923, AT&T broadcast simultaneously on two stations, effectively becoming the first network broadcaster. A year later, AT&T's stations and affiliates banded together to become known as the telephone group and eventually as the Broadcasting Corporation of America (BCA). When other companies attempted to form networks such as the radio group, they were impeded by AT&T, which refused to let them use the wires it owned. In 1925, it was ruled that AT&T could maintain a monopoly on the lines, but it had to sell the BCA to RCA for $1 million. Sarnoff and NBC: Building the "blue" and "red" networks David Sarnoff worked his way up through the ranks in RCA, foresaw radio as a major mass medium, and created a new subsidiary called the National Broadcasting Company (NBC) in 1926. RCA, GE, and Westinghouse jointly owned the network, and it made use of AT&T's lines. The original telephone group became known as NBC-Red, and the radio group was called NBC-Blue. The driving idea behind a network was to increase efficiency and lower costs by pooling resources and centralizing programming. This helped modernize America by de-emphasizing local content in favor of national programs broadcast to the entire country. For example, radio covered Charles Lindbergh's transatlantic flight in 1927. Sarnoff engineered two deals that would boost RCA's presence in the industry. He made a deal with Motorola to manufacture car radios for General Motors, and he merged his company with the Victor Talking Machine Company, forming RCA Victor. In 1936, Sarnoff became RCA's president. Government scrutiny ends RCA's monopoly When RCA bought out GE and Westinghouse's stocks in the BNC network in 1930, they were charged with monopoly violations by the U.S. government. Two years later their monopoly status was revoked. RCA bought out all of the remaining GE and Westinghouse stock, freeing them to manufacture their own products. RCA also agreed not to produce any new equipment for thirty months to allow for competition among companies. Paley and CBS: Challenging NBC In late 1920, United Independent Broadcasters (UIB) and the Columbia Phonograph Company joined forces as the Columbia Phonograph Broadcasting System (CPBS), which would later become CBS. In 1928, William Paley bought a controlling interest in the company in order to promote his tobacco company, hired public relations pioneer Edward Bernays, and developed the concept of option time. With option time, CBS paid a set fee to a station in exchange for an option on any time it wanted. CBS still made money on advertising with option time, and many affiliates found CBS's offer appealing since NBC stations were being charged to carry NBC programming. CBS grew steadily under the watch of Paley, and finally passed NBC as the highest-rated network in 1949. A cooperative network: The Mutual Broadcasting System Not all stations were part of the larger networks. Four independent stations, WGN, WOR, WLW, and WXYZ, joined to form the Mutual Broadcasting System. They shared programming, operated fifty-thousand-watt "clear channels" that reached most of the country, and served mainly smaller cities and areas ignored by NBC and CBS. Bringing order to chaos with the Radio Act of 1927 The quick proliferation of radio stations led to the airwaves becoming clogged as many stations competed for the same frequencies. Beginning in 1924, Herbert Hoover began a series of conferences about radio and called for sharing the airwaves and setting aside frequencies for various uses such as entertainment, news, and weather reports. Two years later, the courts decided that Hoover had the power to issue licenses but not to restrict stations from operating. This led to more clogging of the airwaves and a drop in the sales of radio sets by early 1927. Finally, with the Radio Act of 1927, it was decided that licensees did not own their frequencies, but they could make use of them as long as they served "the public interest, convenience, or necessity." The Federal Radio Commission (FRC) was established to regulate the industry. In 1934, the FRC became the Federal Communications Commission (FCC), which controlled radio, the telephone, and the telegraph (and later television, cable, and the Internet). In the early 1940s, the FCC went after the radio networks, doing away with option time and making NBC-Blue into a separate network, the American Broadcasting Company. The golden age of radio Much as television is today, radio was once the central source of entertainment for families. Many television shows later borrowed the formats first heard on radio. Radio programs were generally 15 minutes long, but the popular variety show format was usually an hour long, and families often gathered around the radio each night to listen in. In the early 1930s, the first national news program was aired. During that same decade quiz shows became popular, and the first soap operas were aired. Situation comedies like Amos 'n' Andy also had their start, gaining a large following on radio. The show, originally created by two white comedians as a blackface stage act, was criticized as racist, though NBC claimed that the show was popular with both black and white audiences. It launched the idea of the serial show, aired six nights a week. It was the most popular radio series ever and was later transformed into the first TV series with an all-black cast. The most famous single radio broadcast, Orson Welles's adaptation of War of the Worlds, was a story about aliens invading the earth. It was broadcast in the style of a news program and created a panic that lasted several hours. Radio shows typically had just one sponsor, a practice that would carry over to the early days of television. 1. The Westinghouse engineer who, in 1919, made the first regular radio broadcast was _____. a. Frank Conrad b. David Sarnoff c. Sam Westinghouse d. Alan Freed 2. Which of the following best describes the Broadcasting Corporation of America? a. originally set up to issue licenses and ended up assigning frequencies to stations b. the early name of the network of owned and affiliate AT&T stations c. the conglomerate of RCA-owned radio stations d. the group established to monitor radio parts manufacturing 3. In 1925, federal courts ruled that AT&T must ____. a. sell the BCA network b. dissolve its monopoly of telephone wires c. never re-enter broadcasting d. pay a $2 million fee 4. RCA owned which network? a. ABC b. CBS c. NBC d. none of the above 5. When _____ was broadcast in 1938, several people mistook it for an actual news report. a. The Second World War b. Plan 9 From Outer Space c. Men from Mars d. War of the Worlds
Radio reinvents itself New technologies bring portability and clarity to radio The history of American mass media reveals that older media forms do not disappear when confronted with new forms ‒ they adapt. The arrival of television in the 1950s marked the only time in media history when a new medium stole almost every programming and advertising strategy from an older medium. TV stole stars, program genres, major celebrities, and large evening audiences, and displaced the radio as a living room centerpiece. The original radios were large, bulky pieces of furniture and were not portable. But several innovations worked to reinvent the radio. The transistor, invented in 1947, was a cheaper and smaller way to conduct and amplify sound. The first transistor radios made an appearance in 1953, and the bulky vacuum tubes were phased out. By 1957, pocket radios were being produced, allowing radio to travel out of the home where TV could not. Edwin Armstrong set out to solve the problem of poor radio reception and developed FM, or frequency modulation. FM relied on the distance between waves, or pitch, and introduced static-free broadcasts ideal for music, while AM, or amplitude modulation, relied on the height of the waves. Though Armstrong developed FM radio as early as the 1920s, the promotion and use of this technology was delayed by David Sarnoff, who was looking to protect his company's move into television and wanted the FCC to allocate frequency space to TV before allocating it to FM radio. In response, Armstrong started his own FM stations. FM did not immediately take off. The number of FM stations fluctuated for several years, until the 1960s, when the FCC opened up more spectrum space for FM. It took nearly twenty years, but FM did surpass AM in profitability in the 1980s. Changes in programming Much of the reason radio has endured through the introduction of new media has been its flexibility. It moved from live orchestras and news to dramatic and comedic programming, and then gradually to recorded music in the 1930s, 1940s, and 1950s. The early 1950s saw the dawn of format radio or formula-driven radio. Management rather than deejays controlled the programming each hour, and stations adopted a rotation, which meant that the most popular songs would be played more than once throughout the day. Top 40 stations got their name from the number of records in a jukebox, playing whichever songs were the top hits at the time. In the early 1960s, deejays began to employ patter between songs, to prevent dead space. Soon stations created program logs ‒ schedules of what deejays would do at various times in an hour, including playing songs or ads and reading weather reports and station call letters. Days were broken up into parts or blocks, each programmed by ratings research that told broadcasters which demographic group typically listened at a given time. Critics argue that Top 40 emphasizes hits while lesser-known songs receive too little attention. Format radio curbed the occurrences of payola, though it has persisted. Pay-for-play is a legal alternative, in which blocks of time can be bought as advertisement or promotion for a particular song, group, or label. 1. Invented by Bell Laboratories in 1947, ____ led to cheaper and smaller radios. a. vacuum tubes b. electric components c. transistors d. tuners 2. AM radio stresses the ____ of sound waves. a. number b. height c. width d. frequency 3. After years of struggling, FM radio finally claimed the majority of listeners in the _____. a. late 1960s b. early 1970s c. late 1970s d. mid-1980s 4. The term “Top 40” came from where? a. the number of records in a jukebox b. the top records on the sales charts c. the number of new releases in a month d. the radio request lists 5. Since the beginning of format radio, payola practices have ____. a. been legalized b. ceased c. continued d. been ignored
The sounds of radio today The nature of radio has changed from that of a medium at the center of the home to that of a secondary medium that follows the rhythms of daily life. Most programming is now produced locally; there are more stations; and the peak listening time has shifted from the evening to drive time when people are commuting from school or work. Most stations are specialized in terms of format, and most markets offer a wide variety of music and talk radio to choose from. The economics of broadcast radio Radio derives its largest profit from local advertising. It continues to be a stable industry, drawing about 13 percent of all media advertising spending in the United States. Ad costs on radio are comparatively low, and the industry is estimated to have earned $18.4 billion in advertising revenues in 2001, 75 percent of it from local ad sales. The industry consists of approximately 13,200 stations. Typically, only 20 percent of a station's budget is allocated to programming costs. National network radio provides stations nationwide with a wide range of syndicated news, entertainment, and music shows, including Fox News Radio, Country Countdown, and Loveline. Radio formats are aimed at those in specific age, gender, race, and income brackets. Specialization allows advertisers to target specific audiences. Top 40 formats have been on the decline since the 1980s as a result of MTV surpassing radio as a trendsetter and Top 40 music becoming more diverse. Talk radio grew rapidly throughout the 1990s. By 2002, more than 1100 stations used some combination of news and talk. The landscape of radio formats today is diverse. Some of the music formats typical of today's radio are adult contemporary, programming aimed at particular ethnic or racial groups such as urban and Spanish-language, and country. The urban format is a mix of current hip-hop, R&B, and soul. While it does not draw the most listeners, country music can claim the most stations. Progressive rock, or alternative rock, is a format that flourished on college campuses in the 1960s, and it usually plays lesser-known music and longer cuts such as songs by Bob Dylan and the Doors. The development of FM in the 1960s allowed these stations greater leeway to experiment with formats. By the 1970s, mainstream radio had absorbed this concept with the album-oriented rock format. Radio ownership since 1996 and NPR With the 1996 Telecommunications Act, most restrictions on station ownership were removed, paving the way for communication companies to expand rapidly and for the number of radio station owners to decline dramatically. Ownership guidelines are now dictated by the number of stations within a given market: In markets with more than forty-five stations, a company may own up to eight stations, five of each frequency (FM or AM). In markets with fifteen or fewer stations, a company may own up to five stations (three of any one type). In small markets, a company may not own more than half the stations. Nonprofit radio and NPR Nonprofit radio made up nearly 25 percent of stations in the early 1930s, but during the Depression, many of these stations were forced to sell out. Nonprofit radio then languished until the mid-1960s, when National Public Radio and the Public Broadcasting System joined forces to become the first noncommercial network. This was made possible by the Public Broadcasting Act of 1967. Public radio adheres to a format that is often quite flexible. More than 1,000 nonprofit stations exist today, many of them on college campuses, as low-power stations and as part of small networks such as Pacifica, a controversial foundation formed in the 1950s to run experimental public stations. Alternative voices In the 1990s, hundreds of low-power "pirate" radio stations sprang up across the United States. The National Association of Broadcasters pressed for such stations to be shut down, and more than five hundred were closed between 1995 and 2000. In 2000, the FCC approved up to one thousand low-power FM (LPFM) licenses, in an effort to provide a venue for smaller groups and organizations. The NAB and National Public Radio lobbied against the licenses and reduced the number of new LPFM stations to a few hundred in 2001. Internet radio and satellite radio have since appeared, challenging FM dominance. Radio and the democracy of the airwaves In addition to relaxing ownership laws, the 1996 Telecommunications Act relaxed limits on advertising time. Commercial minutes have increased, along with increased use of digital technology that shortens talk radio programming by eliminating spaces or pauses and allows stations to increase the number of commercial minutes. Public debate regarding radio as a national resource has remained miniscule. The danger of radio access being restricted to a few large broadcast companies remains. 1. Which of the following is NOT a way that radio has changed since the 1930s? a. Most programming is locally produced b. Programming has become more specialized c. Peak listening time has shifted to the evening hours d. The number of stations has increased 2. Shows like Fox News Radio and Loveline are provided by ___. a. network affiliate stations b. national network radio c. local programmers d. the U.S. radio syndicate 3. In 2002, the ____ format drew the most listeners. a. country b. Latin music c. adult contemporary d. talk radio 4. The Public Broadcasting Act of ____ delegated the responsibility of providing an alternative to commercial programming to PBS and NPR. a. 1934 b. 1952 c. 1967 d. 1975 5. Which of the following are the two largest national radio chains? a. Viacom and AMFM b. Infinity and Clear Channel Communications c. Cumulus Media and RCA d. Clear Channel Communications and AMFM (http://bcs.bedfordstmartins.com/mediaculture/pages/bcs-main.asp ?v=chapter&s=14000&n=00030&i=14030.02&o=|00020|00030|&ns=0)
1. What were some of the advantages and disadvantages of the telegraph? 2. What was AT&T's role during the early days of radio development? 3. How did radio have to change to survive the arrival of television? 4. Why has the once omnipresent Top 40 format dwindled over the past twenty years? (http://bcs.bedfordstmartins.com/mediaculture/pages/bcs-main.asp ?v = chapter&s=14000&n=00030&i=14030.02&o=|00020|00030 |&ns=0) IV. Focus Questions (1) 1. This picture is from the early days of radio technology. What device is David Sarnoff likely using? 2. What does the image of a single person sending out multiple messages imply?  Questions 1. Assuming Sarnoff is using wireless technology, in what type of communication model is Sarnoff engaging? 2. How did the wireless initially become a tool for mass communication? Focus Questions (2) 1. Are audiences for specific radio shows or formats more or less diverse than for television shows or networks? 2. What types of radio formats or programs might the rather large "Other" category include?  Questions 1. The largest category listened to by 18-24 year olds is Contemporary Hit Radio. Describe this format. 2. Which of the following would NOT be a format in the Other category? a. talk radio b. dance music c. classical d. jazz (http://bcs.bedfordstmartins.com/mediaculture/pages/bcs-main.asp ?v=chapter&s=04000&n=00040&i=04040.04&o=|00020|00030 |00040|00050|&ns=19) V. Vocabulary Exercises A. Match the words (1-25) with the definitions (a-y).
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