ENHANCING TEACHING DELIVERY

THROUGH RADIO-BASED INSTRUCTION:

Production Planning & Content Development

By:
Noi A. Apresto
 Session Objectives:

At the end of the session the participants must be able to:

1. Understand the encompassing dynamics involved in a radio

broadcast program;

2. Appreciate the relevance of broadcast elements in the

development of an effective program content;

3. Develop an effective time-bound program content intended for

specific subject area.
 Session 1:
BASIC BROADCAST EQUIPMENT
HANDLING AND OPERATIONS
 Session 1:
BASIC BROADCAST EQUIPMENT HANDLING AND OPERATIONS

Points to Consider: Wattage Requirement:

50 Watts ; 100 Watts;
500 Watts; 10,000 Watts

Wavelength Usage/ Modulation:

Amplitude Modulation (AM)
Frequency Modulation (FM)
Station Orientation:
Government Owned
Private Commercial
Community Based
 Session 1:
BASIC BROADCAST EQUIPMENT HANDLING AND OPERATIONS

Basic Studio Set-Up:

Cueing and Recording System:
Phone Patch Device:

Headset Monitor:

Condenser Microphone:

Mic Boom:

Amplifier/Mixer:
 Session 2:
PRODUCTION PLANNING &
CONTENT DEVELOPMENT

Francis Joe Y. Espanto

T-III/Dapa NHS
Adapted from: Noi A. Apresto
Listen!
Let’s talk
What are the qualities of an effective radio
broadcast program?
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

Production Plan Defined:

It is the operational blue-print of

the entire radio brodcast program
out-lining how the learning process
shall be delivered and carried out
in an encapsulated format.
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

Production Plan Contents:

Program Title: Shall serve as the distinct latent print of the program
with which the intended audience can easily
associate and remember.
For easy memory recall, the title must be catchy,
intriguing, unique and witty.

Example: “ Voice of Truth”

 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

Production Plan Contents:

Program Length: Refers to the total time of exposure per airing
schedule or segmented episode.
Example: 30 minutes

Program Frequency: Refers to the airing schedule in a weekly basis.

Example: Twice-a-week
Daily
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

Production Plan Contents:

Program Duration: Refers to the total airing schedule in a monthly
or semestral basis.
Example: 4 months or 1 semester

Program Sequence: Refers to the estimated time to be consumed of

the expected flow of activities within a
particular segment or airing schedule.
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

Program Sequence:

OBB
INTRO
PRESENTING THE HEADLINES
NEWS DETAILS
EXTRO
CBB
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT
Elements in Content Development:

Delivery Scheme: Refers to the hosting and presenting styles.

Example: Solo Host Performance

Tandem Host Type
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT
Elements in Content Development:

The Element of Music:

Music plays a vital role as a
memory recall mechanism from
the audience. It technically sets
the mood in holding their interest
to the broadcast program.

Music Theme: Refers to the dominant music to be employed within the

program that is easy for the listeners to associate.
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT
Elements in Content Development:

The Human Voice:

* It only takes the first 30 seconds when you speak

that you get the attention and the interest of your
listeners, whether they will keep concentrating or
otherwise.

Points to Remember
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT
Elements in Content Development:

The Human Voice:

* Voice quality is often dependent on the speaker's

physiological being. Resonance is affected by the
thickness of the vocal chords as well as body structure.
Points to Remember
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT
Elements in Content Development:

The Human Voice:

* Techniques, tips and tricks to improve voice resonance

can always be adopted and developed.
Points to Remember
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT
Elements in Content Development:

The Human Voice:

 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

The Human Voice:

Situational Tonality
1. Rapport Connecting:
The speaker is conscious of being
relatively “inferior” to the
seemingly intimidating audience.
Hence, the tendency to raise the
pitch can be prevalent.
 Ikaw: Hellooooo madam!!!Ang ganda ganda mo talaga.
Araw-araw nalang blooming ka.

Siya : He! Tumigil ka. Wag mo akong echosen.

Magbayad ka na ng utang mo uy. Limang taon na kaya.

Ikaw: Si madam naman... lam mo namang gipit pa tayo dahil sa

pandemya eh...
Rapport
Connecting: Siya : Pandemya, pandemya. Listahan ko nilulumot na.
Voicing Exercises
Ikaw: Magbabayad ako madam. Promise....
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

The Human Voice:

Situational Tonality
2. Rapport Neutralizing:

The speaker is at ease with the persons

being spoken into as they may be
sharing things in common and that
they are quite familiar with each other.
 Apo : Magandang umaga po lola!
Saan po ba ang punta natin at kayo'y gayak?

Lola : Sa Health Center apo.

Skedyul kong kumuha ng aking gamot para sa TB.
Ayokong maubusan.

Apo : Naku lola! Hindi pa po kayo pwedeng lumabas.

Bawal pa rin po ang mga senior citizen na gumala
habang nakataas pa ang community quarantine dahil sa
Rapport covid-19.
Neutralizing:
Voicing Exercises Lola : Ganoon ba? Aba'y papaano na ito? Paubos na ang
gamot ko.
 Session 2:
PRODUCTION PLANNING AND CONTENT DEVELOPMENT

The Human Voice:

Situational Tonality
3. Rapport Establishing:
The speaker recognizes superiority over
the audience and that such authority
must be established throughout the
engagement.
 Ladies and gentlemen good morning!
Welcome aboard Virgin Airways flight Z8 116 bound for
Zimbabwe.

In command of the aircraft is Captain Isidro Biol ably

assisted by First Officer Gladys Asis. I am___________ your
flight attendant.

Our flying time is approximately 3 hours and 20 minutes.

We shall be cruising at an altitude of 33 thousand feet.
Rapport
Establishing: In preparation for take off, make sure your seat-belts are
Voicing securely fastened, tray tables stowed, and reclined seats
Exercises straightened.

Meanwhile, sit back, relax and enjoy the rest of the flight.
 Writing Bibliography
SERIES INDICATOR
“Lanog Sa Kaalam”
HEADER 30 Minute Radio Magazine
DXRA 107.5
Episode 1 0f 4
October 16, 2020
Page 1 of 30

DIRECTORIAL 1.SNEAK-IN “LANOG” PROGRAM ID THEN SEGUE TO

INSTRUCTIONS
2. THEME MUSIC FADE UP ...ESTABLISH... FADE UNDER FOR

3. HOST 1 : Good morning Caraga!

4. HOST 2 : Maayong buntag Agusan.

5. HOST 1 : Welcome to another exciting lesson of

NUMBERED LINES 6. : our Lanog sa Kaalam program here at

7. : at your favorite radio station DXRA 107.5.

SPIELS
8. : This is Piolo Askal

9. HOST 2 : And this is Bonna Kido

10. HOST 1 & 2 : Your partners in learning!!!

Session 4:
Basic Script
Format
Sample Radio Script
THANK YOU!
 Session 3:
EFFECTIVE BROADCAST LANGUAGE
FOR RADIO-BASED INSTRUCTION
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

1.)Stay Descriptive - remember that your audience lack

visuals and need to get a picture of things and scenarios.

Example:
Gigunitan nako iyang gamay nga ulo ug gi ukay ang iyang kalkag
nga buhok, dayun gi kuskos sa akong tag-as nga mga kuko ang
baga nga mga kaspa ug gi larot ang mga dagkung kuto nga namilit
sa iyang mga buhok.
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

2.)Adjust the language degree, style and content in writing

for the intended audience. Bear in mind the intellectually
challenged as well as the financially disadvantaged.

Example:
Technical Term Formal Term Common Term
Currency Peso money
new-born infant baby
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

3.)Be conversational.Speak to the audience and NOT read to

them, especially when giving instructions.

Example:
During our next session, make sure you have with you a book of
your own choice with the year of publication 2005 onwards.The
year of publication is usually found within the first two pages after
the cover. It is written beside the term copyright.
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

4.) Provide phonetic spelling for unfamiliar words or jargon

in order to illustrate a vague or difficult concept.

Example:
Ang La Mesa Watershed ay isang reservoir (RE-
SER-VWAH) o malawak na imbakan ng tubig ulan
para may mapagkukunan ng supply .
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

5.) Avoid direct quotation. Expound statements in the active

voice.

Example:

 “ Classes shall continue” said the principal.

 The principal said classes shall continue.
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

6.) Replace a series of words or phrase with only one word

but means the same.

Example:
once-a-year into yearly
out-of-the-blue into somewhere
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

7.) When using abbreviations or acronyms provide the full

meaning immediately.

Example:

Credits to the HMUA ( Hair-and-Make

Up Artist).
 Session 3:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION

Language Considerations:

7.) Repeat the message if necessary, particularly when

reading out numbers.

Example:

Please open your modules in page

thirty-two. I repeat, page three-two
(32).
 Session 4:
BASIC SCRIPT FORMAT
FOR BROADCAST LEARNING
 “Lanog Sa Kaalam”
30 Minute Radio Magazine
DXRA 107.5

Writing Bibliography
Episode 1 0f 4

KARLO C. ANINO
Scriptwriter

PIOLO D. ASKAL
BONNA P. KIDO
Hosts

TITLE PAGE
Session 4:
Basic Script
Format
 Session 4:
BASIC SCRIPT FORMAT FOR BROADCAST LEARNING
 Session 4:
EFFECTIVE BROADCAST LANGUAGE FOR RADIO-BASED INTRUCTION
 BROADCAST ELEMENTS
IN ENHANCING TEACHING
DELIVERY
FOR RADIO-BASED INSTRUCTION
By:
Noi A. Apresto
 Session Objectives:

At the end of the session the participants must be able to:

1. Understand the element of human voice, sound effects and music

as a potential tool in radio-based instruction;

2. Develop a flexible tonality for an effective teaching delivery;

3. Apply the learnings through actual or live performance;

The Human Voice
 The Human Voice
How To Speak from the Diaphragm:

1.) Avoid a collapsed posture.

 The Human Voice
How To Speak from the Diaphragm:

2.) Release abdominal tension.

 The Human Voice
How To Speak from the Diaphragm:
2.) Release abdominal tension.

(Inhale: Through the nose around 3 seconds)

Exhale: while speaking:

Good morning Philippines!

Good morning Cagayan de Oro.
Broadcasting live from ALS- QVN News Center, this is
PAULO ROMERO, your anchor for today...
For the headlines....
 The Human Voice
How To Speak from the Diaphragm:

3.) Keep an engaged diaphragm.

 The Human Voice
The Essence of Tone, Pitch, Volume & Melody:

The Human Tone:

Is often affected by the amount

of air being witheld or released
in voicing out.
 The Human Voice
The Essence of Tone, Pitch, Volume & Melody:

The Pitch:

Is greatly affected by the origin

or source of the voice resonance,
it either from diaphragm, chest
or throat.
 The Human Voice
The Essence of Tone, Pitch, Volume & Melody:

The Voice Volume:

If not being amplified by any

equipment, the ideal volume
must be audible within a ten-
meter radius at a given
environment.
 The Human Voice
The Essence of Tone, Pitch, Volume & Melody:

The Melody:

Applying the calculated rising or

falling of points of emphasis as
well as the appropriated speed
in utterance add creativity to the
voice.
Situational Tonality
The Element of Sound
Effects
Element of Sound Effects

The Element of Sound Effects:

As a creative maneuver, sound

effects create a semi-realistic
atmosphere of the production. It
connects the audience to a
degree of real-life experience.
Sound Effects
Impact
The Element of Music
Music
Element
Impact