SPEEC

The success of communication either oral

or written depends primarily on the extent
to which the speaker is sensitive to what is
appropriate language and the proper way of
articulating it. In speaking, there is an
acceptable and an unacceptable
pronunciation of a word and this is dedicated
by usage the manner in which grammatical
combinations of a language are used in
speech and in writing as laid down by a habit
or choice.

Speech variation includes degree of formality,

differences in speech and writing, as well as
regional and social differences.

Two major cultural levels of language:

Standard English
Non Standard English

1.
2.
.

Each level has its formal and informal varieties.

Note the following categories: Formal Standard
English, Informal Standard English, and non
Standard English. The last one is the speech and
writing of uneducated people.

1.
2.
3.
4.

Formal Standard English is the language of

formal speech and writing. The chief uses of
formal spoken English include:
Formal public address and lectures;
Public, panel and roundtable discussions;
Many classroom lectures, and
Conversation for business or social purposes
for people who are not known to each other.

Informal Standard English is

the speech and writing
commonly used by educated
people. Its chief uses in speech
are conversations between
educated people who know each
other, classroom discussions
and some classroom lectures.

How the words you use and the way you

articulate them can be illustrated by the following
ways a young man asks a girl to dance:

Miss Reyes, may I have the next

dance?

The speaker here does not know Miss Reyes

well; perhaps they have just met for the first
time.

Letty, can I have the next dance?

He knows the girl; so he uses a lesser degree of

formality. He uses not only the girls first name
but also the word can.

How about the next dance, darling?

Their relationship is now revealed, although one

of them never speaks.

Cmon, cute stuff, lets cut one!

Cute stuff may offend or flatter, depending on

the relationship. In this case, the speaker may
have misjudged what is appropriate for the
occasion.

Lets. (Gestures toward the dance floor.)

Extreme familiarity is shown here.

The words used, of course, are articulated the

way the speaker expects they will elicit proper
response. In radio and television speech, the
first two types are generally used. In broadcast
drama, of course, the speech pattern has to
coincide with the dramatic situations involved.
This may even include Standard English
speech. Generally, pronunciation styles are
acceptable if they agree with the majority of
educated speakers in a speech community. In
the absence of a distinct speech community, the
dictionary is your best guide.

PRONUNCIATION PATTERNS

The dictionary presents several pronunciation

variants. The first, though not necessarily the
best, is the preference of the particular
dictionary consulted. Thus, there are two
ways of pronouncing a word and these are
set by the style of speaking represented by
the dictionary consulted: formal and
colloquial.


1.
2.

3.

Properly translating symbols into sounds is

important. This is a process of three parts:
Observe the syllable divisions and the spelling of
each syllable.
Locate the accent. Websters has the accent sign
before the accented syllable; others have it after
the syllable. When there are primary and
secondary accents, a heavier mark denotes the
primary emphasis.
Giving special attention to the accented syllables,
notice the markings or signs for vowels and the
diphtongs.

VOCABULARY FOR RADIO AND

TV SPEECH

The words and expressions for radio and

television must suit the needs of the general
listeners and viewers. Everyday words must
form the major or even the entire part of the
broadcasters message considering that his
audience is completely unstructured.

Scientific and technical expressions as

much as possible should be avoided;
however, if no other appropriate familar
expression or semi-technical term is
available or at hand, then they may be
used. Names of famous persons,
historical events, commonly used
foreign words and expressions,
including new words must make up a
broadcasters pool of words and should
always be at his fingertips.

Broadcast speech, particularly in radio, which is

for the most part extemporaneous and
impromptu must choose words accurately. This
also applies to television speech, particularly in
formats that need extemporaneous and
impromptu speaking (free wheeling discussions,
for instance) and comments.

The choice of vocabulary expressions sets the

message and reflects on the broadcasters
responsibility and interest in perfecting his craft.

YOUR RADIO AND TV AUDIENCE

The broadcaster has to be able to identify his

audience before going on the air. This is
because he will need to design his speech
technique to suit his audience.

As you broadcast, think of a vast audience who

can easily change radio stations and TV
channels with a flick of a switch or a button. Your
audience is not obliged to listen to your aircast;
you can never think of them as a captive
audience.

This is because radio and TV audiences

may have other compelling interests that
coincide with your program a hobby; a
novel, or a more interesting video film;
therefore, your program has to be very
competitive. The topic must not only be
relevant and impelling; your speech
style must be clear, accurate, vivid,
spontaneous, enthusiastic and natural
so that listening to you becomes an
enlightening and satisfying act.

RADIO AND TELEVISION SPEECH

Radio Speaking

Because radio listeners are not provided with

visual cues to help them internalize your
message, radio speaking must be done at a
relatively rapid rate. Rapid in this context does
not mean rushing all your words and sentences
until you run out of breath. It refers to a rate of
speaking without allowing your speech to drag,
resulting in long pauses.

However, the radio speaker can make

up for lack of visual assistance by
making full use of his voice the one
most useful instrument that can make or
unmake him/her as a broadcaster.
He/she must develp skill in using a
variety of voice qualities, rate and pitch
and he/she must have a command of
vocal expressions that can put across
ideas, sentiments and feelings very
effectively to his listeners.

Television Speech

In television speaking, avoid over-emphatic vocal

delivery and high pressure vocalizing for it will
mar your television image. Your delivery should be
somewhat quieter than radio speaking but it must
renaib enthusiastic, animated and conversational.
Use a variety of voice qualities, rate and pitch but
avoid an overly excited tone, a too fast speaking
rate or a very postive inflection of assertiveness
for it is in bad taste. Remember that as you speak
to your TV audience you are a guest in the homes
of your viewers so keep your voice reasonably
animated within conversational limits.

Since television technology changes

rapidly and facilities very
considerably at different stations
and channels, you will need special
instructions from the directors and
technicians in charge each time you
broadcast in order to adapt your
presentation to the special
conditions at hand.

USING THE MICROPHONE

No matter what language you use, you have

to familiarize yourself with microphone
technique. There are three basic types of
microphones: the non directional, the uni
directional and the cardioid. A non
directional mike picks up sounds from all
sides equally well; the uni directional picks
up sound from one side only, while the
cardioid picks up sound in a figure 8 pattern.

The best speaking distances vary and

depend on your speech purposes. When
speaking before a large audience, back
away from the microphone and talk
relatively loudly. To sound very personal,
stay close to the microphone and speak
softly. To make your voice fade in and
out of a scene, talk and walk at the
same time walk to ward the
microphone to fade in and back away
from it to fade out.

Speak in an easy conversational style as though

you were talking to another person in the room
four feet away from you. Most microphones do
not receive sudden changes in pitch level, voice
quality and rate. Therefore, choose the type of
voice quality, appropriate pitch levels and the
degree of volume and rate that will make
microphone speaking pleasant and clear.

Emphasize words not by loudness but by

varying pitch levels, pauses and phrasing.

Practice reading your manuscript until

you appear to be talking rather than
reading and until you can feel your
message and acquire that spontaneous,
enthusiastic, and easy style of delivery.
Your voice and your language must
carry your entire message effectively.

SPEAKING FROM THE SCRIPT

To do justice to the script, which has been

painstakingly prepared for you, you the
neophyte broadcaster must put across the
ideas and message of the writer to your listeners
and viewers as accurately and as interestingly
as you can. Talk to your audience and read the
script as if it were extemporaneous, unrehearsed
and impromptu.

Although the script is prepared by a team of

writers, you must be able to correct or revise
it as the need arises, because you are in
command at the moment, responsible not onl
to your station but also to your audience. In
training to be a broadcaster, try to be yourself
and not like someone else. Use your own
individual style, project your own personality.
Express your own opinions on matters that
need comments because in time, these will
be your distinct mark as a broadcaster.

YOURE ON CAMERA

The factors that enhance communicative

effectiveness in a public speaking situation,
namely clothes and personal appearance,
posture and poise, and gestures and body
language are all useful in television. However,
since the TV viewer is like a ringside spectator,
he/she hears and sees everything that the
cameras pick up and this influences his/her
communication. Therefore, some modifications
may have to be made before speaking.

Before facing the camera for your

presentation find out ahead of time where
you are going to stand or sit, if an actual
audience is present in the studio, how far you
may safely move without getting beyond the
focal depth or angle of the camera or outside
the lighted area; make arrangements for the
placements of any visual aids which you plan
to use so that they will show up large enough
on the screen to be clearly understood.