Radio, music and drama

It is debated whether the music depending on the dramaturgy is exclusive of dramatized programs (radio serials and stories) or if that function is also relevant to other genres such as news, even spaces for music broadcasting.

Just mention the word “drama” to infer a direct relationship with the radio dramas and stories, with whom his relationship is direct; however, other radio spots require their own unique “drama” – understood, among other elements, paralinguistic and nonverbal expressions the aim being to express the point of view and even the personality and temperament of the issuer, and the most cases stimulate a state of mind. About this we can reason with depth.

It´s clearly the use of music on the radio, something that is perhaps a legacy of the cinema. Until today even know that a film without background music can become tedious, unless its content captivates excessively; that’s the exception. The animated films (including cartons) are typical examples of how music complements the action. Everything leads to the conclusion that music repeatedly functions as an actor in the drama of most any film and TV bill as well as radial.

In an attempt to complete the objective of this reflection should review the usefulness of the so-called classical instrumental music like dramaturgical to suggest atmospheres, environments and moods in a product of radio, as is usually done in film and TV.

The secret is in knowing what we will use as appropriate. A plausible example is music composed specifically for a radio program, television (news, round tables, soap operas) or to a movie. That custom called incidental music composers involves direct effect on the total frame space – remember “In silence had to be”, “to start living” and “The Great Rebellion” – for which the author along musical internalizes reading the script and holding direct meetings with the director-producer for their views.

Apart from this functional and logically that is  punctual costly in financial budget aspect of music directors-makers have at their disposal the entire body of the so-called classical music – not only necessary and composed during the Classical (s XVIII and XIX.) – but before and after, and that its quality is unrepeatable, paradigmatic and, in a way, worthy of imitation.

The utility use is based on that music almost always has a dramatic content (suggested atmospheres, moods, even landscapes). In his time much of it composed of custom – and always with a good dose of inspirational motivation -results invaluable from the point of view dramaturgical. To illustrate the above, remember Tchaikovsky’s 1812 Overture which is a musical story of the great battle between Russian and French invaders, where the former were victorious. The drums suggest the roar of cannon and the final chords are a song of victory.

Within the so-called classical music there are movements of symphonies and concerts and fragments thereof-of amazing courage, which fit perfectly as dramaturgical elements for any time. Many overtures, for example, that in principioson the preamble of an operatic work, have become works themselves and seek stories of world literature.

We recommend the use of this category of musical works – whenever possible – for its timelessness, given by the same condition classic and paradigmatic. Touch the director or detailed knowledge of the historical moment of the musical work and its possible or not compatible with the radial bill itself.

Often the task is left to the musicologist, who must be, above all, a connoisseur of music that is used; however, I am not in favor of all responsibility in this regard lies with them.

It is healthier when the same director or agency suggested or music – or fragments – adequate. True that to do so is required to have sufficient musical culture that a radio announcer supposed! there; if it was not so in this case should be sought as soon as possible.

Translated by: Daysi Olano

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