Radio and Sound Projects - …jamesdalyblog.blogs.lincoln.ac.uk/files/2016/04/JD12447… · Web viewMy first Headspace feedback was really positive, highlighting my professionalism

Radio and Sound Projects

Main Written Exposition

Tutor: Dylan RoysModule Coordinator: Zara Healy

James Daly - 12447155

University of lincoln

Word count: 2000 words ± 10%Deadline: 29th of April 2016 – 23:59pm

“Explore how the experience of active learning, during HEADSPACE was a more rounded

and educationally successful experience than the standard lecture / workshop combination”

Blog Link: http://jamesdalyblog.blogs.lincoln.ac.uk/

http://jamesdalyblog.blogs.lincoln.ac.uk/

James Daly – 12447155 Radio and Sound Projects Tutor: Dylan Roys

Headspace is an active learning segment of the module ‘Radio Sound and Projects’. The purpose

behind this segment of active learning was to teach students more practical and ‘hands on experience’

when it comes to radio, as it is an active and participatory profession. This essay will explore the good

and bad points of taking on this practical method of education, rather than the standard lecture /

workshop combination, and whether it is a more successful educational experience or not.

For each student, headspace offers two chances, although this was originally meant to be three but due

to scheduling problems with the course, it was lowered to two (Healy, 2015), to formulate an idea for

a show with peers, to then create and present that show live on Siren.fm which is located on the

university campus (Siren.fm, 2016). Students are grouped together after completing a test that was

formulated by Meredith Belbin, a researcher and management theorist who studied team management

(Belbin, 1993); this test sorted the students into two of nine team roles that describe the person’s

strengths and weakness when it comes to working in the team (Belbin, 1993). This categorisation was

done to ensure that the team was tactically put together, making sure there are a range of roles that

complement each other, rather than have a team which identify with the same roles, thus making them

competitive and assertive with one another, instead of working cooperatively.

I was categorised as a plant and a monitor-evaluator (Belbin, 1993), which means that creative and

logical when it comes to creating or working. I was paired up with 4 other peers with different

categories to form a group. As a group, we experienced and practiced together during workshops and

out of class time, preparing for our headspace show. Now, for first semester the workshops focused on

honing key skills that were needed before we went on air, like using the Siren.fm desk and using the

mics in the studio to present. This proved to be very helpful and informative, due to the fact that the

entire team was familiarised with the placement of the equipment. However, due to the early

scheduling of when the first Headspace show was set to be broadcasted, this wasn’t covered

extensively. As a student, I had to seek out extra information about technical aspects such as levels etc.

I feel that this was one downside to focusing on the practical element of teaching too much, as a

lecture would cover in-depth the different aspects of the desk and other aspects.

My first Headspace show was very successful fortunately; to gain understanding of why it went well, I

decided to ask my peers about their thoughts and feelings about their headspace experience (see

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illustration 1 (Adam South, 2016), illustration 2 (Anthony Bird, 2016), illustration 3 (Elliot Wright,

2016) and illustration 4 (Isabelle Leigh, 2016)). Looking at their own personal opinions, it seems to

me that there is an appreciation for the professional-like conduct that the Headspace programme

provides; it has prompted the students to engage in a professional manner when formulating and

presenting their programmes, which could never be achieved through a workshop and lecture only

type of educational system.

However, Isabelle Leigh (2016), Adam South (2016) Anthony Bird (2016) and I all feel that the

timeframe for the second Headspace should be reconfigured; like Isabelle Leigh (2016) points out, the

Headspace programme requires a lot of time and dedication and unfortunately the module is scheduled

to have two units active at one time (this being the second Headspace show and the radio drama unit).

This sort of situation isn’t reflective of the average professional workspace, as there wouldn’t be many

other tasks at hand at one time. The Headspace programme may provide a rounded experience for

students during the first semester, as there is enough time to fully integrate the practical element of

Headspace into the teaching, but once other units are introduce, the emphasis is shifted to other

elements, which leaves the practical development of students behind.

During workshops and lectures, students were encouraged to utilise practical advice and resources that

are provide by professional radio broadcasters, such as the BBC, in order to gain a better

understanding of different aspects that need to come together to form a successful hour show. By

incorporating advice given from professional firms, such as video and audio clips from people who

work for the BBC (BBC, 2016). This professional perspective has tried to be integrated throughout;

the students received several professional guests perform lectures, giving advice on the practical

elements of creating a show as well as advice on how to get into the industry.

Guest lecturers including Joose Moore (2015) (an ex-student at the university) and Paul Tyler (2016)

both had very similar points about professional practice and forming shows that I utilised effectively.

They both advised to segment the show into small chunks and then figure out what to place with each

small section. This piece of advice was easily transferred into the practical element of the course,

because when my first Headspace sat down to finalise ideas, we decided to segment the show into 5

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key areas. This helped a lot as it allowed the team and I formulate a schedule of what to create and

when to make it by.

This focus on professional opinion went one step further in this module, as it provided the chance for

the students with the chance to either visit BBC Radio 1’s facilities or visit Lincs.FM and BBC Look

North Television studios. Both presented great opportunities to ask professionals some questions and

get advice on radio in general, as well as get practical tips in regards to presenting, creating shows or

attending interviews etc. I was lucky enough to go onto the trip to BBC Radio 1 and Radio 1Xtra,

where we met Rhys Hughes, the head of programmes at BBC Radio 1 and Radio 1 Xtra. The main

points I took away from that day was that preparation, practice and passion is what is needed in order

for a show to work.

The active element with the module was very key in some cases, to demonstrate how to apply certain

skills. Guest lecturer Peggy Lee (2015) not only took several workshops with the students, working on

vocal performances and personality projection. This workshop in particular was very useful, as it

pushed people out their comfort zones (much like the rest of the practical element of this module does)

and forced them to apply themselves fully. After that workshop/seminar, I felt a lot more self-assured

about how to use my voice appropriately to fit the tone of the subject matter of which I was talking

about.

Another practical and beneficial learning curve could be the discussion and debates the seminar group

and I had with our tutors after listening to several pieces of audio from professional broadcasters.

Professional pieces that we listened to a range of audio from professional pieces that have aired on

Siren.fm, like Paul Tyler’s The Reading Room (Reading room, 2016) to BBC Radio 4’s short cuts

series, in particular the text called ‘Hush’ (BBC Radio 4, 2014). These pieces have always been very

influential to me, as both highlight some key areas that I was able to try out practically with the team.

Paul Tyler’s podcasts often feature really informal conversations between the presenters and the

guests, which works well when the mics are quite close and they all sound very intimate. I tried to

reflect this in my first Headspace show with Anthony and Adam (my presenters) in order to make the

listener feel close and a part of the conversation. Hush on the other took my interest and allowed me to

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hone in my practical skills as it allowed me to appreciate that levels were there to be played with

appropriately as tools in order to get the right kind of impact on your audience.

There has always been a huge emphasis throughout the entirety of this module to listen to professional

pieces of audio, to gain an understanding of what is needed to reach the level of professionalism that

they are at. By holding discussions and debates, it allowed for the students and I to explore and

identify different techniques, codes and conventions used within the text; afterwards, we would then

discuss how we could potentially apply said skills into our own Headspace shows, which helped refine

the shows and make them somewhat more professional.

Tutor feedback has also been key within this module, as it has helped me notice my key strengths and

weakness as an individual and as a team, allowing me to then work on the key areas in order to make

myself more professional. My first Headspace feedback was really positive, highlighting my

professionalism and creativity by trying new things spur of the moment, like when I used the news

count music and kept the presenters going up into the news, which hadn’t been taught to us, but

through practical learning I was able to be confident enough to try it (see illustration 5). As a group,

we were really well prepared, thanks to the practical elements within the first semester allowing us to

refine our show. My second set of feedback (see illustration 6 and illustration 7) highlighted some key

issues with group dynamics; the producer/director wasn’t committed to the show, was unorganised

thus causing the group to be in a state of chaos. The feedback also highlighted that I kept a level head

and try to suggest solutions to the many problems we faced in the studio, although as BA I couldn’t

help to a huge degree. This practical element and practical feedback has made me aware of several

flaws in the group dynamics, which will allow me to be aware of not making the same mistakes twice.

To conclude overall, the practical element of the module has been emphasised to a great degree. In

most cases, this has had a positive impact on the teaching and learning within this module and unit,

although for the second semester, it seems that my peers and I feel that the pressure of having to juggle

two units at the same time, whilst also trying to complete other modules is unrealistic and not

reflective of the industry. The emphasis on professional practice and values has been key and has had

a great impact on my peers and I as we all value and appreciate the seriousness of this; the practical

element of the Headspace programme quickly made us understand that professional conduct is vital, as

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you are representing not only yourself, but the station and show as well. Guest lectures were utilised

throughout the course as a way of enhancing the practical elements of the course. The many

opportunities that headspace and the practical element of the module has taught me many lessons and

experiences that would’ve otherwise be attained at all.

The programme was definitely successful for the first semester, but needs reconfiguring to ensure that

the workload ratio with students is more suited to the students. The standard lecture and workshop

procedure would’ve taught us more about the technical side of radio a bit more, but it would not have

allowed the students to understand what a pressurised live radio environment feels like, which is way

more important in my opinion, as that kind of experience is more rounded and more applicable when

searching for future jobs in the industry.

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Bibliography

Adam South (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:

https://www.facebook.com/messages/conversation-1632575913683696 [Accessed 28th of April

2016].

Anthony Bird (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:


2016].

BBC (2016) Production/Radio Producing. [online] London: BBC. Available from:

http://www.bbc.co.uk/academy/production/radio/producing [Accessed 28th of April 2016].

BBC Radio 4 (2014) BBC Radio 4 Short Cuts: Hush. [podcast] London: BBC. Available from:

http://www.bbc.co.uk/programmes/b03brkdq#play [Accessed 28th of April 2016].

Belbin, M. (1993) Team Roles at Work. New York: Routledge

Elliot Wright (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:


2016].

Healy, Z. (2015) Week 2 your roles and how it works and introduction to Siren FM team. [lecture]

Radio and Sound Projects MED2020M-1516, University of Lincoln, 29 September.

Isabelle Leigh (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:


2016].

Lee, P. (2015) An actor and director masterclass. [seminar] Radio and Sound Projects MED2020M-

1516, University of Lincoln, 2 December.

Moore, J. (2015) Professional Advice. [lecture] Radio and Sound Projects MED2020M-1516,

University of Lincoln, 20 October.

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https://www.facebook.com/messages/conversation-1632575913683696


http://www.bbc.co.uk/programmes/b03brkdq#play

http://www.bbc.co.uk/academy/production/radio/producing




Reading room (2016) Podcast collection. [online] Lincoln: PodBean.com. Available from:

http://www.readingroom.podbean.com/ [Accessed 28th of April 2016].

Siren.fm (2016) About Us. [online] Lincoln: Siren.fm. Available from:

http://www.sirenonline.co.uk/about [Accessed 28th of April 2016].

Tyler, P. (2016) Telling Stories. [lecture] Radio and Sound Projects MED2020M-1516, University of

Lincoln, 1 March.

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http://www.sirenonline.co.uk/about

http://www.readingroom.podbean.com/


Illustrations

Illustration 1: A screenshot of Adam South’s (presenter 1) opinion on the Headspace programme.

Adam South (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:

https://www.facebook.com/messages/conversation-1632575913683696 [Accessed 28th of April 2016].

Illustration 2: A screenshot of Anthony Bird’s (presenter 2) opinion on the Headspace programme.

Anthony Bird (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:


Illustration 3: A screenshot of Elliot Wright’s (reporter) opinion on the Headspace programme.

Elliot Wright (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:


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Illustration 4: A screenshot of Isabelle Leigh’s (producer/director) opinion on the Headspace

programme.

Isabelle Leigh (2016) Opinion on the Headspace programme. [facebook] 27 April. Available from:


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Illustration 5: A screenshot of written feedback from Dylan Roys on my first show.

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Illustration 6: A screenshot of one half of the feedback given by my tutor for my second show.

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Illustration 7: A screenshot of the second half of the feedback given to my second headspace group.

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Documents

Radio and Sound Projects - …jamesdalyblog.blogs.lincoln.ac.uk/files/2016/04/JD12447… · Web viewMy first Headspace feedback was really positive, highlighting my professionalism