On the Art of Broadcasting

Author: Zhang Song et al
Publisher:
Publish Date: 1999-09-01
Features:
Editor's Note: Although this book is a collection of essays, it can also be considered a mirror reflecting the history of Chinese broadcasting from 1979 to 1989. The authors comprehensively document the development of broadcasting from theory to practice, analyze the uniqueness of broadcasting shaped by the era, and reveal the bright future of broadcasting. The book offers insightful discussions on the fundamental principles of broadcasting and expressive techniques, and presents pioneering insights into establishing a consensus on Chinese broadcasting studies. It is a highly valuable research work on radio and television broadcasting. Broadcast professionals, especially those in the field of broadcasting, educators, and enthusiasts can all find inspiration in this book.
Excerpt: Since the overthrow of the "Gang of Four," the quality of our radio broadcasts has improved. However, continuing to enhance broadcasting quality is both a strong call from the audience and a common aspiration of our broadcasters. The research and exploration into lowering the pitch of voice have emerged from this need. Our People's Broadcasting has a relatively short history but boasts excellent traditions and rich experience. In the past few years, due to the disruptive actions of Lin Biao and the "Gang of Four," the People's Broadcasting industry suffered severe interference and damage, and broadcasting was no exception. "Without shouting, there is no revolution"—this is the principle; "Higher pitch, higher emotion"—this is the standard. Shouting until one's head spins, yet still continuing to shout; even when one's voice is hoarse, it is still forbidden to lower the pitch. If one cannot shout anymore, "step aside!" Shouting became a trend, even on stage and screen, where loud voices filled the air! Now, with the downfall of Lin Biao and the "Gang of Four" and the gradual restoration and promotion of the Party's fine traditions and style, we have become even more acutely aware of the Party's expectations and the people's desires. The people detest false, grand, extreme, and nonsensical words, and naturally, they have never favored "shouting" speech. The unbearable, ear-splitting high-pitched voices, along with the intolerable, offensive harsh words, have rightly been condemned and criticized by history. As a result, lowering the pitch has been clearly proposed and increasingly valued and pursued by more and more broadcasters in practice. This pursuit marks the restoration and promotion of China's fine traditions in broadcasting and signifies a joyful climb toward the peak of broadcasting as an art. This negation should be as thorough as possible. Therefore, during broadcasting, one must strive to keep the pitch as low as possible, seemingly allowing no high notes at all. Any high pitch is seen as a trace of high-pitched speech that must be immediately eradicated. This understanding may not be as clear or emphasized in the minds of some, but it has still played a role. As a result, we hear some broadcasts where the pitch is indeed lowered, but they sound so flat that even the high notes and sharpness are almost (mologua - polished away). Such "lowering of pitch" naturally invites objections. Others believe that high pitch is exhausting and unproductive, while lowering the pitch can achieve twice the result with half the effort. They think that as long as one is relaxed and effortless during broadcasting, the audience will find it easier to listen. Based on this understanding, broadcasting may indeed become more relaxed and effortless, but it also sounds so dull that one cannot sense the broadcaster's intention or the vibrant energy, leaving the impression of being slack, listless, and cold. I doubt many would agree with such "lowering of pitch."
In reality, every piece of content we broadcast has a specific promotional purpose, which must be reflected in the broadcasting process. The movement of our thoughts and emotions, as well as the methods of expressing them, are all governed and constrained by the promotional purpose. Whenever some interference weakens or even replaces the correct promotional purpose, it constitutes a shift in purpose. If one lowers the pitch solely for the sake of lowering it, making the lowering of pitch the goal rather than the means, it is like the host overshadowing the guest. This is no different from thinking about techniques, correcting flaws, or putting on an act in front of the microphone. Whether intentional or not, treating the lowering of pitch as the goal is indeed a major obstacle and will inevitably lead to broadcasting failure. Lowering the pitch is not the goal but the means—it exists only to better serve the promotional purpose, to be given value only because it "makes people more willing to accept." Otherwise, its fate will not be much better than that of the high-pitched speech that makes people (yani - dislike). To avoid the effect of "lowering pitch leads to lower emotion" while ignoring the role of the promotional purpose is like grasping at straws; even detailed discussions on minor issues will not achieve the desired effect. This has been proven or is currently being proven by numerous examples.
Postscript: In our spare time, we have preliminarily collected these essays, though they are far from perfect, they represent our sincerity. Here, we sincerely thank Professor Xia Qing, the President of the Broadcasting Studies Research Association of the China Broadcasting Academy and the Broadcasting Advisor of China Radio Network, for reviewing all the essays while ill and writing the preface and comments. We also express our heartfelt gratitude to the many warm-hearted people who supported and helped us during the collection process. We look forward to the early perfection of Chinese broadcasting studies and the rich diversity of Chinese broadcasting art!
Author: Zhang Song
March 10, 1990