Listening sequence

from Wikipedia, the free encyclopedia

A listening sequence describes an early form of literary-artistic radio broadcast and a musical-literary form of presentation in the field of classical music .

Radio

The term “listening sequence” was used on radio until the 1950s and 1960s . He names an early form of the feature , but also of the radio play . The duration of these programs was usually around half an hour.

Originally the term "Hörsequung" (listening sequence) comes from Friedrich Bischoff , who as literary director, dramaturge and editor-in-chief (1925–1929) of the Schlesische Funkstunde and later as artistic director (1929–1933) developed and in the course of this also the authoritative guidelines for the dramaturgy of the radio play Radio broadcast of literary and artistic content redefined as a "listening sequence". Bischoff proved the functionality of his listening sequence theory with the successful broadcast of Song at the end of the 1920s .

In 1945, Axel Eggebrecht named ten prerequisites for writing an audio series: committed knowledge of the topic, lively attitude, good German language, willingness to distinguish from radio play - "an audio series is not a small drama, but a dramaturgically narrated epic", extreme restriction of the dialogues. Sixth, Eggebrecht mentioned the use of other possibilities to achieve tension and relaxation:

a) A compressed, even rushed style of language can surprisingly liven up even a weighty topic.
b) The present tense (in the pure epic of doubtful value) is often the given tense for the grammar of the feature writer.
c) Avoid invented conversations by famous people! (...) Ideal requirement: only take the dialogues and utterances of a great man from his works, letters and traditional conversations!
d) Don't put comments and polemics in the mouths of the “heroes”: Instead, bring utterances from insignificant contemporaries: market woman, porter, pamphlet, invented letters, newspaper articles, conversations with third parties. (...)
e) An important point: Listening sequences should be written in two or three completely different styles from the start. Factual report and life data - state of mind - landscape and environment: each time a different style (...) .

Furthermore, suitable items should be chosen from the listening sequence; Artist personalities are never suitable only because of their importance. The same applies to the description of works of art in audio sequences: the story that can be told about them is decisive. However, according to Eggebrecht's ninth point, the listening sequence should always only highlight; they are not in a position to replace complete biographies, for example. Finally, Eggebrecht states that a good listening sequence usually does not need more than ten to twelve subdivisions.

Chamber music

In music, the opera singer Willy Rosenau later developed the listening sequence as a form of performance, which is able to use a clever combination of music and text to deal with a wide variety of topics - e.g. B. to prepare life stories of famous writers and musicians, city and landscape pictures, but also literary works - for musical evenings with a small cast (1 speaker, 1 singer, 1 pianist). Rosenau saw “his” listening sequence as a chamber music unit that could not be interrupted by applause.

Web links