Having reached the semester’s midpoint, two tasks were accomplished. Firstly, I directed Stephanie’s music show, thereby solidifying my understanding of studio roles, and gaining practical experience producing a broadcast program. Although Stephanie’s show exists independently of mine, it is important to offer assistance; without teamwork, no program could be completed. Thereafter, my broadcast group began developing our script.
Accordingly, filming Stephanie’s program was a primary objective. Initially, this entailed re-organising furniture and accessories, to reflect the casual atmosphere of Stephanie’s show. Once satisfied with the set, cameras were focussed and framed, and sound levels were stabilised. Moreover, the lighting was adjusted …show more content…
Subsequent research reinforces initial perceptions. Brenan (2005, p.2) summarises music journalism’s divergent implications, labelling it, “a dialogue … that speaks to different readers of the music press in different ways.” Evidently, music journalism requires fluid reciprocity between audience and journalist, rather than employing prescriptive news values. Additionally, Brenan (2005, p.300) outlines music journalism’s pervasive cultural impact, commenting, “there will always be those who desire to be part of the ‘knowing community’ constructed by the … relationships and the performances of music journalism.” Demonstrably, music journalism introduces audiences to likeminded individuals, fostering a communal sense of belonging. Nunes (2004, p.2) corroborates music journalism’s cultural benefits, remarking, “[music journalists] have played a … role in the creation of discourse on popular music” Nunes (2004, p.348) elaborates, contending music journalism fulfils a fundamental public sphere duty. He asserts, “political, cultural and geographic as well as aesthetic issues are articulated when popular music is discussed” (Nunes 2004, p.348). Collectively, musical journalism is a salient, influential journalistic sub-genre, which connects audiences, and disseminates pertinent socio-cultural
Accordingly, filming Stephanie’s program was a primary objective. Initially, this entailed re-organising furniture and accessories, to reflect the casual atmosphere of Stephanie’s show. Once satisfied with the set, cameras were focussed and framed, and sound levels were stabilised. Moreover, the lighting was adjusted …show more content…
Subsequent research reinforces initial perceptions. Brenan (2005, p.2) summarises music journalism’s divergent implications, labelling it, “a dialogue … that speaks to different readers of the music press in different ways.” Evidently, music journalism requires fluid reciprocity between audience and journalist, rather than employing prescriptive news values. Additionally, Brenan (2005, p.300) outlines music journalism’s pervasive cultural impact, commenting, “there will always be those who desire to be part of the ‘knowing community’ constructed by the … relationships and the performances of music journalism.” Demonstrably, music journalism introduces audiences to likeminded individuals, fostering a communal sense of belonging. Nunes (2004, p.2) corroborates music journalism’s cultural benefits, remarking, “[music journalists] have played a … role in the creation of discourse on popular music” Nunes (2004, p.348) elaborates, contending music journalism fulfils a fundamental public sphere duty. He asserts, “political, cultural and geographic as well as aesthetic issues are articulated when popular music is discussed” (Nunes 2004, p.348). Collectively, musical journalism is a salient, influential journalistic sub-genre, which connects audiences, and disseminates pertinent socio-cultural