Adrianne Kraft
Sonic Studies 5/9/18 Summary/Synthesis Response #3 Summary: In chapter 1 of Sound Play, A Time at the End of the World, by William Cheng he states, “A preponderance of American songs, marches, and anthems on GNR and Enclave radio can give players the impression that the hyperviolence in the wasteland is somehow endemic to everyday American society—that the monsters and monstrosities of this world are not fundamental Others but rather an intrinsic (even mundane) part of what humanity has become” (Cheng 31). In this excerpt Cheng is referring to the idea of the familiarity of sounds helping listeners draw connections to everyday life. The theme of familiar sounds being used as a connection between speaker/sounds and the audience is found throughout the following readings. Synthesis: As stated, the above theme is also found in the introduction of Sound Play by William Cheng. In this chapter Cheng states “All in all, the sounds of play and the play of sounds can do much to expand conventional wisdom about aurality, performance, expression, creativity…” (Cheng 7). Cheng is strengthening the idea that the sounds of play affect more than just game play. He is suggesting that these sounds affect the way the person plays the game. These familiar sounds, i.e. common sound effects, change how the player interacts with the game in real life. Thus, solidifying the notion that familiar sounds create a stronger audience connection. This idea is also discussed in chapter one, Radio and the Modern Girl: Silvia Guerrico and Buenos Aires Broadcasting of Radio and the Gendered Soundscape by Christine Ehrick. Ehrick states, “Cartel Sonoro was a radio variety show featuring young journalists who read their own contributions and those of other writers of note, combined with lighter discussions of film, topics of “women’s interest,” and comedy.” (Ehrick 44). Ehrick then goes on to say how wildly popular the radio show became especially among the “modern girl.” This popularity is due in part to the show broadcasting topics of women’s interest. This familiarity with the topics among the women of Argentina catapulted this feminist radio show and strengthening the notion that familiar “sounds” create a connection between the audience and what the audience is interacting with. Feminism and Populism on the Airwaves: Paulina Luisi and Eva Duarte de Peron, chapter three of Radio and the Gendered Soundscape by Christine Ehrick also follows the theme of using familiar sounds to create a connection. Ehrick states, “[T]he female radio propogandist can evoke fear and fantasy simultaneously. With the capacity to evoke the comforting voice of the mother, the devoted voice of the loyal wife, or the enticing voice of the seductress” (Ehrick 103). These familiar qualities of the woman’s voice allows a connection between the audience and speaker. This connection is deadly, though, because it can lead to the strong influence of the propogandist media. Even so, they play on the inherent knowledge of the listeners to create, albeit, a toxic connection. This idea can also be seen in Chaplin in Skirts? Nini Marshall, chapter four of Radio and the Gendered Soundscape by Christine Ehrick. Ehrick states “Nini Marshall gave (female) voice to the nation. And not a singular female voice, but a plural voice, one that reverberated in different directions simultaneously. In this way, her radio comedy helped create and reflect new spaces for women’s voices in the gendered soundscape” (Ehrick, 139). Marshall used comedy, a universal (aka familiar) idea to carve out a space for women in the soundscape. She delved into areas familiar to the country, ideas and stereotypes that they could connect with, to create that space. These familiar ideas such as the stereotype of the servant and other grand caricatures allowed for her listeners to see the humor in everyday life. Lastly, this notion is seen in Nene Cascallar: Airing Clean and Dirty Longing, chapter five of Radio and the Gendered Soundscape by Christine Ehrick. Ehrick states, “Cascallar thus succeeded in injecting female desire and fantasy into the public soundscape, but in ways relatively compatible with existing patriarchal structures” (169 Ehrick). Cascallar chose to keep these dramatic radio programs “PG” to satiate the patriarchy. She kept these familiar female desires familiar enough to men so they were more easily digestible to the masses. She created a program that reached wider audiences because she chose to create a strong connection with all of her listeners not just women, although her female audience was very important. Questions:
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