The Nihal European University in Sudan

In the core project conceptual, technical, journalistic and aesthetic skills are to be foregrounded. These skills which are practical and directly effective in radio praxis – i.e. “making real radio” – are:

• Reflection on listening habits and the development of a critical capacity
• The finding and formation of ideas and concepts
• Knowledge of basic techniques and activities, working cooperatively
• Independence in the production of programmes

Contents to be taught include:

• Basic Techniques:
  • Speech techniques and expressive training
  • Aesthetics, voice, sound, resonance
  • Technology (working with non-destructive editing, digital guidance of programming, complete-networking, audio databases), editing, montage, production
  • Planning, procedures, responsibility, production
• Reporting and Narrative Contributions:
  Reportage, research, original sound contributions, assembled contributions, news, interviews, milieu studies, documentation
• Contributions Stressing Opinion:
  Moderation texts, commentary, statement, review, glosses, essays, magazine
• Creative-artistic Techniques (Connected to the Project Listening Aesthetics)
  Features, radio drama, radio plays, montage, collage, special projects such as acoustic ecology, sounds capes, deep listening, electronic listening

Plans for similar radio stations reveal that issues of project management and public relations are often given too little attention too late. Highly qualified experts in media and cultural management and in visual communication should work together in the framework of these training projects.

Foci of the project should be:

• Identity formation and the public image of the station
• Public relations, corporate design, visual and other forms of advertising
• Producing media events: organizing special events, press conferences etc.
• Complex strategies of deploying advertising and informational media: traditional media, Internet, digital radio DAB etc.
• Producing the organization structure, internal statues, regulations, procedures
• Guiding projects, financial planning, budgeting
• Setting legal questions, especially law of the press
• The establishing of diverse cooperative relations externally
• Media cooperation and sponsoring
• Programming analysis and critique
• Reception research, feedback

A programming plan with high ambitions and a large stake in individual production depends on the cooperation of artistic and technically experienced experts. What is recommended in this case is close cooperation with the human and technical resources of the local music conservatory:

• Conceptual and analytic supervision of acoustic realizations
• The production of listening experiments, electro-acoustic music, sounds capes, montages, collages
• The formation of creative-artistic techniques (in connection with the core project):
  Features, radio dramas, radio plays, montage, collage, comedy, tone production
  Special projects such as acoustic ecology, sounds capes, deep listening, electronic listening
• The realization of an acoustic station identity: station signet, break tone, loops, trailers (if possible) etc.
• Commentary and musicological accompaniment
• Advising and working on the selection of music