Land and people radio transmission of the USSR. This is the Soviet Union speaking! Favorite educational radio programs for children. "Club of famous captains"
Course work of a 4th year student of the ZhR-42 group of the day department of the specialty "Journalism" Kargapolov Vlad Viktorovich
Astrakhan State University
Astrakhan
Soviet radio journalism 1945 - 70 Radio broadcasting for children and youth.
Introduction
The history of the 20th century has practically no other such vivid example of interaction and mutual influence as radio and other media channels. Only three decades of relatively quiet life, technical progress gave radio broadcasting to strengthen its positions. Already in the mid-50s, they spoke of him as a "fakir for an hour." If we take into account the time of existence of our civilization, then three decades is not even an hour, but a moment.
A thousand years ago, the Chinese poet and scholar Wang Junyu, often referred to in ancient books as Wang Qi, said and wrote: "It is not a pleasure to listen to what is to be watched." Some time later, he expressed himself even more precisely: "It is better to see once than hear a hundred times." Ten centuries later, the saying sounded like a sentence. Television fans have turned to the wisdom of the Chinese as the most accurate formulation of the accusation of the radio in the limitations, and therefore, in the meaninglessness of its existence.
Radio "gravediggers" can hardly be accused of exaggeration. The expansion of television throughout the world has reached such proportions that doubts have arisen about the legitimacy of life in both theater and cinema, and with the advent of broadcasts from museums and videos about painting - in the advisability of opening museum collections. If dispassionate computers predicted impending poverty for all traditional types of performing arts, counting box office losses and the ever-increasing number of empty seats in cinema, theater and concert halls, then it is easy to imagine how unenviable the future of radio was, all the artistic heritage of which was in the sounds invisible to the world.
Even the most benevolent researchers agreed that the fate of radio lies in the microminiaturization of technical means: engineers will create a receiver the size of a pharmacy pill (technically it is quite possible, moreover, this idea was practically implemented by the end of the 70s) and it will give signals buttonhole, informing the weather and the most important news. As for the extensive event and artistic information, communication with a communicator, audio culture in all its varied and diverse aspects ... then “it is better to see once than hear a hundred times”.
However, the role of radio as the central subject in the world of Soviet media relations cannot be denied. It was the radio that acted as the social glue that for seven decades has held many dozens of nationalities and cultures together into one powerful state.
For most adults modern Russia it is radio, radio broadcasts, and not television or the press, that are the symbol of "Soviet" childhood. If television has left in its memory only "Goluboy Ogonyok", the press - "Murzilka", "Ogonyok" and "Tekhnika Molodoi", then radio has forever been entrenched in the memory of Russian people as "Radionyani", "KOAP", "Pionerskaya Zorka" and many other radio broadcasts and radio plays.
The purpose of this work is to trace the path of development of Soviet radio broadcasting in the period after World War II and up to "stagnation"; identify key moments in the development of radio journalism; give an overview of children's and youth radio journalism of the indicated period, systematize children's and youth radio programs.
The study period was chosen for a number of reasons:
Twenty-five years (45-70 years) is the most significant stage in the development of Soviet radio journalism. At this time, the majority of the well-known genres of radio journalism took shape, the largest quantitative increase in radio broadcasts was noted.
Although the chosen period is very large within the framework of the rapid 20th century, the breadth of the studied time period is compensated by the lack of knowledge of the issue, which will not allow to delve into the topic sufficiently.
It was during this period that children's radio journalism, which is most interesting to us in this study, finds its especially rapid development.
To achieve this goal, it was necessary to solve the following tasks:
Provide basic facts from the history of radio broadcasting in the USSR and identify the key events that determined this development, their causes and consequences.
Explore the literature on the topic, get acquainted with the available scientific works.
Study the recordings of children's radio programs and draw conclusions about the content, policy and target audience of these programs.
Collect and systematize brief, scattered information about the history of the emergence of children's and youth entertainment and educational radio broadcasts.
Among the fundamental works on radio journalism on which we relied, one can single out the work of A.A. Sherelya, “Radio journalism. A textbook for students of higher educational institutions studying journalism specialty, a textbook by PS Gurevich, VN Ruzhnikov. “Soviet radio broadcasting. Pages of History ". In the issue of the history of children's radio journalism, we relied on the books of A.A. Menshikova. "Radio for Children", and the work of T. Marchenko "Radio Theater".
The novelty of this work lies in the fact that it is an attempt to systematize all data available on the Web and city libraries on the history of radio broadcasting and children's radio journalism. And this is also very interesting moment in our study. From a theoretical point of view this work cannot claim to be new, but it can be an interesting practical part - the analysis of audio recordings of Soviet radio broadcasts. From a practical point of view, the materials of this term paper can be used by students of the specialty "Journalism" to write reports or essays, to study the stages of development of Soviet radio broadcasting and Soviet children's radio journalism.
The following provisions are put forward for defense:
The post-war period is a stage of intensive development of radio broadcasting in the USSR, the time of the emergence of many new genres and the revival of old genres of radio journalism.
50s - 60s - the time of an explosive increase in the share of music and entertainment radio broadcasting.
The post-war USSR pays great attention to children's and youth radio policy, which is reflected in the qualitative and quantitative growth of Soviet radio broadcasts.
As the Soviet child grew up, the radio offered him more and more special, scientific information, instead of play, musical and educational information.
Chapter 1. Soviet radio journalism 1945-70.
The first four stages in the development of Soviet radio broadcasting.
Traditionally, before talking about the designated period in history, we must briefly describe the historical situation in which Soviet radio broadcasting was to unfold. So, in short:
Some researchers usually refer to the first stage in the development of Russian radio journalism as the "embryonic" - the tsarist period. At this time, radio and radiotelegraph were used primarily for military purposes. Little is known about the active use of radio, but there is evidence of the use of radio for local transmission of information through loudspeakers. The radiotelegraph was used on the fronts of the First World War. News bulletins, read out through the loudspeakers of newspaper materials, were heard in Petrograd.
The second stage - the stage of the birth of radio broadcasting and journalism, coincides with the founding of the USSR. From the first years of Soviet power, radio was used not only as a means of communication, but also as a source of information. Since November 1917, the decrees of the Soviet government, messages about the most important events in the life of the country, about the international situation, and speeches by V.I.Lenin have been transmitted by radiotelegraph. One of the urgent state tasks was the creation of a material and technical base for radio broadcasting. In 1918 the Council of People's Commissars created a commission to work out plans for the development of radiotelegraphy; a number of powerful radio stations of the military department were transferred to the People's Commissariat of Posts and Telegraph; The Council of People's Commissars adopted a decree on the centralization of radio engineering in the country. The first radio broadcasts were carried out in 1919 from the Nizhny Novgorod radio laboratory, and from 1920 - from experimental radio broadcasting stations (Moscow, Kazan, etc.).
The Communist Party and the Soviet government attached exceptional importance to radio equipment as the main means of developing R. In 1920, Lenin wrote to M. A. Bonch-Bruevich, who was in charge of the Nizhny Novgorod radio laboratory: great work radio inventions that you are making. The paperless, no-distance newspaper that you create will be a great thing. "
In 1922, in letters to JV Stalin for members of the Politburo of the Central Committee of the RCP (b), Lenin formulated the provisions of the program for the continuous radioification of the country; in the same year, the first (still irregular) text radio transmissions began through loudspeakers; The Nizhny Novgorod Radio Laboratory broadcast the first radio concerts. The formation and popularization of radio in the 20s. contributed to the mass radio amateur movement (which began to develop after the opening of the Comintern radio station in Moscow in 1922), the activities of the Radio Friends Society, the Radio Transmission Joint Stock Company (originally Radio for All, its members were the People's Commissariat, VSNKh, ROSTA , All-Russian Electric Trust of Weak Current Plants).
Regular radio broadcasting began on November 23, 1924, when the first issue of the radio newspaper was broadcast. In 1925, the Radio Commission of the Central Committee of the RCP (b) was organized for general management and the Radio Council under the Glavpolitprosvet of the People's Commissariat for Education of the RSFSR to develop the main directions of broadcasting.
In the 20s. the main genres (radio reporting, radio conversation, commentary), forms of transmission (radio newspaper, radio magazine) are formed. In 1925 on the air - the first radio report from Red Square in Moscow, dedicated to the October celebrations; children's programs - "Radiooktyabrenok", "Radiopioner" (later "Pionerskaya Zorka"); “Cultural Heritage for Children”; youth - "Young Leninist"; since 1926 - "Peasant Radio Newspaper", "Working Radio Newspaper", ethnographic concerts.
Regular radio broadcasting is organized in the union republics - in 1925-27 radio stations began operating in Minsk, Baku, Kharkov, Tashkent, Leningrad, Kiev, Tbilisi.
Since the 20s. public speeches have become a tradition of Soviet radio. Held in the mid-20s. the discussion about the social purpose of radio, its place among the arts and means of aesthetic education contributed to the development of forms and genres of radio journalism, especially literary and dramatic.
Since 1927, the researcher of Soviet radio journalism A. Scherel singles out the third stage, which consists in the further development of the genres of radio journalism, attracting leading journalists and writers of the young Soviet Union to radio. At this stage, we can view radio broadcasting as a fully formed, full-fledged media outlet that enjoys immense audience success and is closely monitored by the authorities.
In 1927 the Council of People's Commissars adopted a resolution aimed at improving artistic programs. V. V. Mayakovsky, A. N. Afinogenov, D. Bedny, E. G. Bagritsky, F. V. Gladkov, V. V. Ivanov, L. M. Leonov and others participated in the preparation of literary programs. The section “Literature to the Masses” introduced the audience to the works of Soviet writers and the classical literary heritage. R. popularized the music of the peoples of the USSR, lectures and concerts revealed the main stages in the history of world musical culture. In the 20s. the first concerts were performed on request, broadcasts of opera performances from the Bolshoi Theater of the USSR. Since 1925, talks and lectures on socio-political and scientific-technical topics have appeared on the radio program. In the late 20s - early 30s. For the purposeful education of the population, workers, peasants, communist, and Komsomol radio universities were created (up to 80 thousand radio readers).
From 1928 to 1933, the capacity of Soviet radio broadcasting stations increased eightfold. In 1931, the All-Union Committee on Radio Broadcasting was formed under the People's Commissariat of Post, and in 1932 - 12 local radio committees in the republics and regions. New, effective forms and genres of radio broadcasts appeared: radio callouts, all-Union radio collection (1929), direct radio reports from construction sites (1930). The decree of the Central Committee of the CPSU (b) "On the restructuring of the worker-selkor movement" (1931) recommended that radio committees more widely use forms of mass work (raids, mobile brigades), expand cooperation with worker-sellers, develop and create new forms of transmission based on letters from workers.
In accordance with the decree "On the restructuring of literary and artistic organizations" (1932), the themes, forms, genres of artistic transmissions expanded. Writers A. Serafimovich, M. A. Svetlov, N. A. Ostrovsky, I. P. Utkin, K. G. Paustovsky, actors D. N. Orlov, V. I. Kachalov, I. M Moskvin, MI Babanov and others. New works by D. D. Shostakovich, Yu. A. Shaporin, S. Prokofiev, D. B. Kabalevsky and others were first performed on the radio. Music broadcasting introduced the audience to professional performers and the best amateur art groups. In 1932, the regular editions of Posledniye Izvestia began.
In 1936, the Radio Committee put into effect 5 broadcasting programs, drawn up taking into account the time zone, national linguistic characteristics of the population of various regions of the country. The first All-Union Radio Festival (1936) laid the foundation for the inter-republican exchange of radio programs. In the 30s. in the system of social and political broadcasting, independent editions of rural programs, Red Army, youth, sports broadcasting have emerged. A prominent place in radio programs was occupied by defense and sports topics, and it was formed as a genre of sports radio reporting (the founder is V.S.Sinyavsky). An important role in improving radio broadcasting was played by a special press on radio issues: the magazines "Radiofront" (founded in 1925, up to No. 19 - "Radio to All"), "Says the USSR" (1931), the weekly newspaper "Radio Novosti" (1925), etc. ...
The fourth stage is the period of the Great Patriotic War, the time of the birth of new genres, reportage and news, the time of the rapid interest of the population in radio. as to the most prompt mass media.
During the Great Patriotic War of 1941-45, 2,000 radio reports from the Soviet Information Bureau, 2, 3,000 issues of Posledniye Izvestia, over 8,000 “Letters from the Front” and “Letters to the Front” were transmitted. A significant place in the programs was occupied by reviews of newspapers, TASS information, and correspondence from the front (in the issues of Posledniye Izvestia there are about 7 thousand correspondences from the active army). Unlike other countries, radio broadcasting in the USSR during the war years remained continuous and multi-programmed. There were regular broadcasts for the partisans and the population of the temporarily occupied regions. The leaders of the Soviet government often spoke on the All-Union radio. In 1944, the Council of People's Commissars adopted a decree on measures to strengthen the material and technical base of Central Radio Broadcasting, in 1945 - on the celebration of Radio Day on May 7 (on May 7, 1895, A.S. Popov demonstrated in action the receiver for wireless signaling he had created).
Radio of a totalitarian state (1945–1970)
The post-war years and the time of the Khrushchev "thaw" are the period of the rebirth of radio. Now it is forced to compete with television and cinema, although this competition is not yet able to stifle the scope of the rapid development of radio broadcasting. At this key stage in its development, Soviet radio, as never before, takes on the role of an agitator: the Cold War begins, the Iron Curtain falls. Radio is forced to restrain the impulses of the Soviet people, to instill in them a communist ideology.
The return to peaceful post-war labor after the victory over Nazi Germany was accompanied by a number of factors that burdened the life of the people. First, the devastation in the former occupied territories. The Germans successfully used the scorched earth tactics, leaving behind ruins and ashes.
Secondly, the aggravation of the confrontation between the USSR and its former allies in the anti-Hitler coalition, called the Cold War, and, as a consequence, an arms race that requires gigantic material, financial and human resources.
Thirdly, the disappointment of the population, who expected a fairly rapid improvement in living conditions after the victory (only two and a half years after the victory, food cards were canceled; the annually announced reduction in prices for a number of food and industrial goods, in practice, was rather a propaganda action, than an economic achievement: the Stalinist Minister of Finance A.G. Zverev later wrote frankly that the decline in prices was compensated in the budget by a decrease in wages).
In such conditions, the radio, as well as other mass media and propaganda, was tasked with explaining to the people that the difficulties of restoring the national economy would require additional victims from the citizens of the USSR, but they must be sure that these victims are the last.
And therefore, censorship is intensifying even more, so-called "live programs" practically disappear from the air, almost all programs (with the exception of the news releases of "Poslednie Izvestia") are recorded on sound recordings.
By the end of 1946, according to the then chairman of the Radio Committee D.A. Polikarpova, 95% of the entire broadcasting time was occupied by programs pre-recorded on tape. Accordingly, the control over the selection of broadcasting personnel is being strengthened. It was at this time that a slightly paraphrased proverb gained popularity in the circle of radio journalists: "The word is not a sparrow, if you catch it, you will fly out!"
1949 H ... - the year of the transformation of the broadcasting structure.
The All-Union Committee for Radiocommunication and Radio Broadcasting, which was unified for the whole country, created in 1933, was transformed into two broadcasting bodies of all-Union significance - the Radio Information Committee and the Radio Broadcasting Committee under the USSR Council of Ministers. The first was assigned the task of domestic radio broadcasting, the second - broadcasting to foreign countries. The reform caused a noticeably increased role of radio broadcasting to foreign countries in the war and the first post-war years (its volume increased sharply, the number of languages and broadcast zones expanded).
The Iron Curtain is closing.
At the same time, the second round of Stalinist repressions begins: campaigns against biologists-genetics, doctors, writers. The third wave of emigration begins.
All this is reflected in radio broadcasting programs, and not only in socio-political, but also in those claiming to be called literary and artistic. The names of A. Akhmatova, M. Zoshchenko, D. Shostakovich, S. Eisenstein and many other outstanding masters of culture, whose fault lay only in the fact that they were unflatteringly mentioned in any decree of the Central Committee of the CPSU (b), disappear from the air.
Among the tasks that faced the radio was the following: to explain to the Soviet people that everything discovered or invented by mankind, representing at least a small value, first appeared in Russia and only then outside its borders. It was part of a campaign against the so-called "cosmopolitans" - intellectuals who considered themselves citizens of the world and placed universal human values above purely national ones. They were seen as people hostile to Russia, detached from their people, antipatriots.
So Stalin lowered the "iron curtain" between the USSR and the rest of the world, trying to preserve and consolidate his power. And for this it was necessary to eradicate dissent and dissidents by all possible means and methods.
In the socio-political and scientific-educational broadcasts of the All-Union Radio, the topic of the fight against "hostile influence" took one of the first places. However, one should pay attention to such a paradox: not being able to attract the wealth of world history and culture as a source material, concentrating their efforts on the study of domestic science, Russian art, workers of the All-Union Radio, having to turn to already known and often previously used materials from the history of the country, found new depths, new interesting aspects and new interesting forms of their reflection in sound.
New trends in Soviet radio broadcasting in the early 50s.
In 1952, the Scientific Radio Theater was born - a cycle of performances and radio compositions about the creative achievements of Russian scientists and technicians. The stage works sounded on the air can rightfully be considered the fruit of a close creative collaboration on the radio of literature, science and art. In the performances prepared by the leading directors of the All-Union Radio, the greatest masters of the Soviet theater were involved: M. Astangov, V. Belokurov, M. Bolduman, A. Gribov, V. Ershov, A. Ktorov, N. Plotnikov, R. Plyatt, E. Samoilov, L. Sverdlin, B. Smirnov, V. Toporkov, M. Shtraukh, Y. Yakovlev and others. The initiator, artistic director of this column and the author of many performances was the radio playwright Roman Glier. Together with him, directors B.C. Gaiman, E.G. Vernik, P.A. Gorbunov and others. “This was a very important practice for our broadcasting, because it worked out the aesthetic and technological principles and criteria of the artistic direction, which later, in the 60s, would become the presenter on our radio, and, in particular, methods of combining strictly documentary, historically reliable materials with the author's imagination, with the acting of actors, with directorial methods of editing, which were characteristic of game radio and cinematography. "
Scientists from the Moscow University named after M.B. Lomonosov, the Institute of the History of Natural Science and Technology of the USSR Academy of Sciences and other research institutions of the country. The best radio shows have successfully stood the test of time and entered the "golden" fund of radio.
On January 25, 1947, the Central Committee of the All-Union Communist Party (Bolsheviks) adopted a resolution "On Measures to Improve Central Broadcasting", which toughened the requirements for radio as a means of agitation and propaganda. A certain restructuring of the broadcasting network has taken place.
Operational information took the leading place in the programs. 12 issues of Posledniye Izvestia and 3 reviews of central newspapers were broadcast daily on the radio. Beginning in March 1946, weekly, on Sundays, a half-hour program "News of the Week" was broadcast, which was broadcast by the radio stations of all republics, territories and regions (then it was transformed into the radio magazine "With a Microphone Across the Native Country").
Music broadcasting and the opening of the "theater at the microphone".
Music broadcasting continued to develop. In June 1947, the first mystery concert was broadcast, the program of which was compiled by radio listeners. The announcer announced the title of the work and the author, but not before the performance, but after it. This way of conducting the concert aroused interest in music, developed hearing and musical memory. On October 21, 1952, the Russian Song Radio Festival was opened, which lasted for a month and a half. It was attended by amateur art groups from 27 cities of the RSFSR. In the same year, 45-50 concerts were shown daily on the programs of the Central Radio, the total sound volume of which exceeded 25 hours. Music and educational programs, concerts-lectures, concerts at the request of listeners, music reviews, concerts of amateur performances, music radio magazines and radio collections were systematically sounded.
Unfortunately, even in the pre-war years, experiments on creating performances based on plays written specifically for radio were carried out less and less.
In turn, the Radio Committee, or rather, the authorities supervising it, did not stimulate the appearance of original radio plays. This genre, in the opinion of home-grown sociopsychologists from various party authorities, was generally not suitable for the cultural development of Soviet people. Radio in its aesthetic realities was guided not only by the word, but also by the sound, by the combination of music and noises, allowing to control the listener's imagination. And this fantasy, the associative rows built under the influence of a radio work, was much more difficult to control than an ordinary text, where the censor could delete all dubious words and phrases in advance. In the conditions of the life of a country focused on suppressing dissent and fostering standards of thinking, the freedom of imagination that true radio dramaturgy implied seemed to some to be socially dangerous.
Nevertheless, in the 1940s, the heading "Theater at the Microphone" was even more established, which included not only broadcasts from theaters, but also other forms of propaganda of the performing arts: montages of performances, reviews, thematic evenings, creative portraits of actors and directors, etc. During the release of such a program, there was a certain relaxation of the vigilance of the censors on the radio: theatrical performances had already passed the censorship of the literary department and the Committee for the Arts, and, thus, the measure of personal responsibility of the guardians of state secrets and ideological values on the radio was sharply reduced.
The development of children's radio journalism in the 50s.
One of the most characteristic processes in the development of Soviet radio broadcasting after the war was the intensive growth in the volume of broadcasting for children, youth and youth. Some programs and headings that appeared in the pre-war period are resumed in the programs, and new programs of various forms and genres are created, addressed to children and youth radio audiences. Let's note the most significant and interesting of them.
In October 1946, a monthly literary magazine "Invisible", addressed to middle-aged and older schoolchildren, began to appear on the radio. The purpose of this periodical program was to acquaint listeners with the novelties of domestic and foreign literature, to expand and deepen the knowledge that the school curriculum provided. The radio magazine included critical articles, reviews, reviews, essays written by prominent literary scholars and critics. The editorial board of the journal included L.A. Kassil (executive editor), V.M. Inber, V.A. Kaverin, C.B. Mikhalkov, K.G. Paustovsky.
In December 1945, Central Radio began publishing the children's geographical radio magazine "The Club of Famous Captains" in the form of plays, where the main characters are the heroes of their favorite children's books: Captain Nemo, Gulliver, Robinson Crusoe, Dick Sand, Baron Munchausen, and others.
For almost 40 years, famous captains gathered for meetings and told schoolchildren about great travelers, about the history of geographical discoveries, about the latest achievements of science and wonderful natural phenomena. They answered numerous letters from young listeners in a special program "Postal Stagecoach" (authors of both programs are VM Krepe and K.B. Mints).
In December 1947, a new program for children went on the air - the Radio Club of Young Geographers. At the meetings of the club, scientists - geographers, geologists, zoologists and botanists - told young listeners about pioneer expeditions, about their scientific works and discoveries, answered questions and gave useful tips... The radio club also included sailors, pilots, students-geographers and geologists.
April 6, 1948 is the birthday of the Music Box, one of the most popular musical programs for children.
In November 1949, a radio program was broadcast on the fairy tale of the Academy of Sciences, beloved by children. Tolstoy "The Golden Key", in which the roles of all the characters were played by N.V. Litvinov (director of the program R.M. Ioffe). It used interestingly technical capabilities radio. Recording, for example, a human voice on a slowly moving magnetic tape, and then firing it at normal speed, the director created a "fabulous", peculiarly sounding "wooden" voice of Pinocchio. The "overlay" technique used by the director helped one artist not only to depict the noise of a whole crowd, but also to sing a duet in two different voices.
In March 1954, Central Radio launched a new cycle of popular science programs for young people called "The World We Live In". In a popular form, older children were told about the natural world, the relationship between the phenomena of the micro- and macrocosm, the cognizability of the Universe. The cycle consisted of four sections: "In the world of the invisible", "The universe and the atom", "By the hands of mankind", "In the world of worlds", each of which included several conversations and essays.
1957 is another important stage in the development of Soviet radio broadcasting.
Radio broadcasting and television were separated from the system of the USSR Ministry of Culture. On May 16, 1957, in accordance with the Resolution of the Council of Ministers of the USSR, the State Committee for Radio and Television was formed under the Council of Ministers of the USSR. The management of radio broadcasting to foreign countries at the same time was transferred to the State Committee for Cultural Relations with Foreign Countries, where it entered as a special Main Directorate. However, in May 1959, "foreign broadcasting" was again included in the Radio Committee. In addition to the central radio broadcasting and the Central Television Studio, its system also included a wide network of broadcasting organizations: 14 committees of the union republics, 19 committees of the autonomous republics, 125 regional and regional committees and editorial offices, 183 city and district editorial offices. Thus, the structure of the State Committee for Radio Broadcasting and Television by the beginning of the 60s included 343 broadcasting organizations. The largest among them was the Central Radio Broadcasting.
In 1956, from the Main Editorial Office of Radio Broadcasting for Children and Youth, a separate edition of broadcasting for youth emerged as an independent edition. This made it possible to more clearly define the age structure of listeners and to differentiate the topics of programs designed for different age groups. Differentiation appeared within the youth program: special headings were addressed to schoolchildren of working and rural youth, students, soldiers of the Soviet Army. In October 1962, on the basis of this edition, the Yunost radio station was created.
The next key event in Soviet radio broadcasting falls on 1960, when All-Union Radio finally becomes round-the-clock.
The broadcasting volume increased to 77 hours 15 minutes a day. On October 15, 1962, a new broadcast schedule for Central Radio was introduced, the main feature of which was that it substantively determined the nature of the broadcasts that aired in the time intervals stipulated by the schedule.
On April 15, 1963, the V (round-the-clock) program of the All-Union Radio began functioning, intended for Soviet people who were abroad and for foreign listeners who speak Russian or study it. Other programs have also undergone fundamental changes. The volume of the III program increased from 7 to 12 hours a day. The IV program was also rebuilt: it was broadcast for the population of the Far East and Eastern Siberia 20 hours a day (IV-A-program) and separately in the same volume - for the population of Western Siberia and Central Asia (IV-B-program).
"Space" era of Soviet radio broadcasting.
Remarkable pages in the history of Soviet radio broadcasting are programs dedicated to the conquest of outer space. Launches of artificial earth satellites and space rockets were widely and promptly covered in Poslednie Izvestia. A few minutes after the official announcement of the launch of the satellite, its signals, recorded on tape, sounded on the radio; listeners received information about the movement of satellites over various regions of the country; prominent scientists spoke at the microphone of Poslednie Izvestia. The radio also broadcast numerous responses from Soviet scientists, workers and the public in foreign countries. On the night of January 2 to 3, 1959, the radio announced the successful launch of the world's first Soviet space rocket. On April 12, 1961, at 10:02 am, all the radio stations of the Soviet Union transmitted a TASS message, which said that the Soviet Union had put into orbit around the Earth the world's first spacecraft-satellite "Vostok" with a man on board and that the pilot-cosmonaut was Major Gagarin Yuri Alekseevich. The best "space" and other programs, fragments from radio performances, Yuri Vizbor's songs-reports were recorded on flexible discs of the sound magazine "Krugozor", which the Radio Committee produced from 1964 to 1970.
By the early 1960s, and especially after the 22nd Party Congress, the "post-Stalinist" restructuring of life began to bear fruit on the radio as well. Radio journalists no longer only sought to cover major events in a timely manner, but also looked for new forms and methods of presenting information. For example, the International Information Department of the Main Editorial Office of Posledniye Izvestia has introduced into regular practice the transmission of reports and telephone conversations, which are a convincing illustration of a particular political topic. On February 27, 1962, Central Radio introduced new gear International Observers Roundtable, organized at the request of radio listeners.
Radio program "Mayak"
By 1964, the number of daily issues of Posledniye Izvestia on the main programs of the All-Union Radio increased to 50. But even such a significant amount of radio information could not fully satisfy the information needs of millions of radio listeners. There was an acute need for creating new programs, for a sharp increase in the volume of transmitted information, for increasing efficiency. These reasons led to the emergence in the structure of radio broadcasting of the new program "Mayak", created on the basis of the decree of the Central Committee of the CPSU of June 24, 1964 "On improving information on the radio." The resolution stated: “The radio program“ Mayak ”should contain operational information(at least two issues per hour) about the most important events in the economic, political, cultural life in the USSR and foreign countries, brief comments on the topic of the day, sports news, reports, interviews, create a politically correct picture of events through careful selection and thoughtful repetition of the most important news domestic and international life. The Mayak radio program should also include short programs of symphonic and pop music, folk, Soviet and foreign songs, pop numbers, short stories and compositions. "
Further development of the radio theater. Music broadcasting.
After a 30-year hiatus, original Russian radio plays were played again - this genre was taken up by a group of authors, among whom were A. Weizler, A. Misharin, S. Gansovsky, A. Kuchaev, etc. Most of them were people who had a good command of the specifics radio journalism, and therefore their literary experiences in productions, as a rule, of regular radio directors, quickly won the attention of the audience.
Many prominent film directors came to the radio studio with dramatizations of major literary works of Russian and world classics. Among the remarkable works of this period are Andrei Tarkovsky's radio play "Full Turn Around" by W. Faulkner; the cycle "A Hero of Our Time" by M. Lermontov, directed by A. Batalov; the radio tragedy "Fidelity" based on the play by Olga Berggolts, recorded on tape by G. Tovstonogov; dramatizations of the story "Telegram" by K. Paustovsky and the novel "Fahrenheit 451" by R. Bradbury, written and directed at the microphone by L. Velednitskaya.
Important aesthetic and programmatic discovery a cycle of documentary performances by S.N. Kolosov, who was the first to approve the genre of serial documentary drama on the national air. S. Kolosov staged the production "Calling Fire on Ourselves" - about the underground during the war against fascism (later this radio version of the true events of 1941-1942 received its screen embodiment).
Among all types of broadcasting in the programs of the All-Union Radio, the first place in terms of volume was occupied by musical programs: every month up to 2 thousand such programs were broadcast on the air - more than half of the total volume. In the creation of such a huge number of programs of various forms and genres, the decisive role was played by the own musical groups of the All-Union Radio: the Bolshoi Symphony Orchestra, the opera-symphony and pop-symphony orchestras, the Academic Grand Choir of the All-Union Radio and Central Television, the opera choir, the song ensemble, the Russian choir folk songs, an orchestra of folk instruments, a vocal group, which were part of the structure of the Main Editorial Office of Music Broadcasting.
Twice a month, on Sundays, hourly programs of the Radio University of Culture were aired on the 1st program. It was the main channel for musical education. The university's classes were structured in two cycles - "The Artist and Time" and "Traditions and Innovation of Soviet Composers". The radio attracted leading Soviet musicologists, which ensured high level classes. The lectures contained varied and interesting material, highlighted the important problems of the connection between the artist's work with his time, traditions and innovations in Soviet musical culture. For the propaganda of music on the radio, materials from other types of arts were also used. Such were, for example, the programs "Chekhov and Music", "Konenkov and Music".
Since 1967, three-program wire broadcasting began to develop in the country - the owners of radio outlets had a choice: on the 1st button - the 1st program, on the 2nd - "Mayak", on the 3rd - a complex of various programs, literary, artistic, musical and children's art and educational programs, performances, reviews, etc.
Conclusions for the first chapter.
Thus, we have traced the main events and phenomena in Soviet radio journalism of the period we have chosen. We noted that the most important changes in radio broadcasting took place during the heyday of the Soviet state. At the end of the 30s - the time of rapid industrial development of the country, which made it possible to generate huge funds, which were used, in particular, to improve radio broadcasting. The structure of radio broadcasting is changing, the radio is becoming a separate full-fledged institution of the media.
In the late 1940s and early 1950s, when the Soviet Union began to recover after the Great Patriotic War, when the Cold War began, radio entered a new stage of development, its "golden age" began. Broadcasting is the main campaigning task. At this time, all the variety of radio genres known to us was formed. The time before the "stagnant" period forms a platform for the deployment of global radiocommunication of the 70s. We made sure that radio broadcasting was under censorship, but nevertheless, it remained interesting, intellectual, entertaining and educational.
At the end of the 50s, radio left the jurisdiction of the Ministry of Culture, which led to the rapid growth of the "cultural", creative component of Soviet radio air.
In the early 60s, Soviet radio became round-the-clock, and the number and variety of regional radio broadcasts increased. There is a rapid growth in the share of music broadcasting over information broadcasting.
However, the most interesting for us is the fact that at all stages of its existence, from its very inception to "stagnation", Soviet radio pays great attention to children's and music broadcasting. Contrary to modern ideas about a totalitarian state and order in the country with a "personality cult", we made sure that the state's attention was always focused on the youth audience, and radio broadcasting was used not only as a propaganda tool, but rather as a restraining and entertainment mechanism. We noted that at all stages, specialists of the highest rank are engaged in radio broadcasting, the entertainment part of radio broadcasting is managed by prominent figures in literature, cinema, and theater.
Chapter 2. Children's and youth radio broadcasting. Educational and entertaining radio broadcasts and their characteristics.
(Despite the fact that this work was about the history of radio broadcasting before the era of "stagnation", we would very much like to touch on in the second part some radio broadcasts that go beyond the indicated time frame. clear and unambiguous information, because they have survived to this day and are now stored on the Web).
From the moment of its foundation, the Soviet Union paid close attention to the issue of children's education - moral, aesthetic, ideological. With the beginning of the Cold War, a seemingly tragic event, children's radio journalism has only blossomed. Dozens of new, superbly prepared, pedagogically impeccable radio broadcasts and headings that are popular to this day are born.
In the preschool years of a child's life, radio strives to tell the child about the world around him in a simple and accessible form, to give children the first elementary information about various objects, phenomena, events. The radio acquaints the child with the best works of literature and art available to his perception.
Radio broadcasting for middle-aged and older children is closely related to school education and training programs. It helps to expand and deepen the knowledge that children receive at school, to develop their curiosity and curiosity.
The theme of moral education runs through all programs for children and youth. Talking about literary works, about historical events, about the life of great people, the editorial board always strives to emphasize the lofty ideals of humanism, the class attitude to moral problems.
"Pioneer Dawn" and "Peers".
"Pioneer Dawn".
The radio newspaper "Pionerskaya Zorka" (I ave., Every day, except Thursday, 20 minutes, 7.40, Sunday - 10.05) is one of the oldest programs of the All-Union Radio.
In its issues, the radio newspaper constantly tells its listeners about the country's main construction projects, the achievements of Soviet science and technology, about the affairs of their peers in socialist countries, about the situation of children in capitalist countries and, of course, about the life of Soviet schoolchildren and their pioneer organization. The pioneers themselves take an active part in the preparation of their program: young correspondents, announcers.
Issues of "Pionerskaya Zorka" at first included two sections, in one of which ("If you are the leader of the Octobrists") journalist V.F. Matveev gave to the pioneers practical advice how to organize work among the Octobrists; in another, it was about the life, study and recreation of younger students. After some time, new sections appeared in the issues of the pioneer radio newspaper: "On the bookshelf", "Guess the riddle", etc.
"Pionerskaya Zorka" performed the main function of the radio: it reported news that appeared in newspapers only a few hours later, commented on the events of the day, informed about events in cultural and sports life. "Pioneer Dawn" was in constant motion, year after year new headings were created in it, the range of topics expanded.
In the 1976-1977 academic year, the radio newspaper held the "Journey for the Sun" relay race! On this journey, the guys talked about their native land, about the heroes of labor, about how they help their elders, about their hobbies. The pioneers of Chukotka began the relay race, and the Moscow schoolchildren finished on November 7, 1977, on the birthday of the Land of the Soviets.
From the very beginning, experienced editors and journalists were involved in the formation and editing of Zorka. But the main tenet in the work of this creative team initially became an immutable criterion - the All-Union Children's Radio Newspaper, like any school wall newspaper, should be created by the children themselves. To solve this difficult task, the editors offered young listeners a competition called "Juniors - Knights of the Feather". The result exceeded all expectations. Letters with sketches, sketches and even poems of young romantics literally poured in from different cities, distant villages and even from railway stations lost in the taiga. The editorial staff had to involve not only outside colleagues, but also students of the Faculty of Journalism of Moscow State University to analyze such a full-flowing written stream. At the same time, not a single letter was left without a qualified answer. And the authors of the most interesting works received certificates of honor with notification of their enrollment in the Knights of the Feather Yunkor club. Not even dozens, but hundreds of young correspondents have become such freelance creators of their radio newspaper. Under the patronage of professional journalists, the guys reported from the clubs of young sailors and aquarists, painters and naturalists ... There were touching sketches about their favorite corners of their native places, messages about various competitions in which the juniors themselves did not take part passively. There were also truly wise reflections on the causes of conflicts that inevitably arise in any large community, including in children. In a word, it was an inexhaustible stream of information about everyday affairs, about children's hobbies and dreams. It goes without saying that the Radio Newspaper, unlike any other newspaper, must be audible. Therefore, the childish "reports" and revelations sent to the editorial office were also voiced by children - later members of the School of Young Announcers, organized at the "Pioneer Dawn" by one of its directors Felix Tobias. In the "School" these guys were taught, in fact, not recitation, but real acting. It is no coincidence that many of them eventually began to take part in the performances of the Children's Radio Theater along with famous actors of Moscow theaters, which they were very proud of.
Radio broadcast "Coves" as a landmark event in youth radio journalism of the 60s.
Since 1963, callsigns for high school students “Peers” have been regularly played on the air (1st Ave, twice a week on Tuesdays and Thursdays, 30 minutes, 4 pm). She covers the issues of school and Komsomol life, ethics and morality, vocational guidance, talks about people who serve as an example for young people.
Many issues of "Peers" were devoted to such topics as "Read, envy, I am a citizen of the Soviet Union", "My place in the new five-year plan", "Our senior communist comrades." A radio call was carried out among school labor detachments in Moscow, Leningrad, Kiev, Minsk, Tallinn under the motto "My labor is joining the labor of my republic." Komsomol high school students talked about their work on collective and state farms, at industrial enterprises, at construction sites, in the service sector.
One of the main themes of "Peers" is the moral education of young people. In the program more than once there was a conversation about the unity of word and deed, that in our days it is not enough to simply assimilate a certain amount of facts, deep independent work is needed to understand them. These topics were reflected in the disputes "Have you ever fought with yourself?", "What is the main thing in the character of a young man of our days?" "How to learn to be independent."
In essays about high school students, especially about Komsomol activists, "Peers" strive to show the traits of a young man of our time - deep conviction, optimism, initiative, independence of thought, passion for what they love.
The programs tell about the life of schoolchildren in the countries of the socialist community, about the struggle of the youth of the capitalist countries for their rights, for peace and freedom.
The episodes of the program also include musical and poetry pages, tells about new films and books on youth topics.
One of the most important areas of children's broadcasting is the aesthetic education of young listeners.
The program “In the Land of Literary Heroes” (1st Ave, monthly, 30 minutes) is intended for children of middle and senior school age. Together with her permanent characters - professor of literature Arkhip Arkhipovich and schoolboy Gena - listeners meet in this extraordinary country with the heroes of literary works, analyze the author's idea and its embodiment, get acquainted with the basics of literary criticism.
An important role in the ideological and artistic education of the younger generation is played by radio performances (usually broadcast on program I on Saturday or Sunday at 16.00, as well as on program III on different days of the week at 15.00 and 18.00; duration from 30 to 60 minutes), staged according to the best works Russian, Soviet and world classics, as well as original plays on a contemporary theme.
In 1976, 14 radio shows were recorded and accepted into the fund. Among them:
"From the Diary of a Girl" - a staged story by A. Aleksin "My brother plays the clarinet";
"Pass" (based on the story of the same name by V. Astafiev) - a story about the fate of a boy who left his home and ended up in a timber rafting artel;
"Vienna Waltz" (based on the story of the same name by M. Ancharov) - on the theme of the international education of Soviet youth;
"Assignment" (radio play by E. Dubrovsky in two parts) - a story about the feat of a young intelligence officer during the Great Patriotic War;
"My Pushkin is Always Alive" is a composition based on the poet's poems and letters, reminiscences of his contemporaries.
Since 1972, a program on letters from schoolchildren has been broadcasting "The Postman Brought a Letter" (III ave., Weekly on Fridays, 60 minutes, 14.00). This is a kind of literary concert on request. It includes excerpts from popular radio plays and literary works.
Music and educational programs play an important role in the formation of aesthetic views and tastes.
The program “Melodies from the mail bag” (I ave., Weekly on Fridays, 15 min., 4 pm) is very popular with kids. This is also a concert on request, but in a different form. The program is hosted by a permanent character - "Songbook". He reads children's letters, has a casual conversation with the guys about the song, about its meaning in human life, introduces composers and poets.
The program “ Music Box"(I ave., Weekly, 20 min.). Every Tuesday at 4:30 pm the melodic chime of the celesta sounds, the box "opens" and answers letters from young listeners interested in music, life and work of famous composers.
In the spring of 1976, the "Music Box" held a quiz "Do you know Russian and Soviet music?" The programs included the most interesting letters from the listeners, and sounded the pieces of music that were discussed in these letters. From the audience's responses, the theme of the next competition, which was held in the summer, was born - "Heroic Pages of the History of the Soviet State in Music."
The program "My Favorite Book" serves to develop interest in reading. It is created from the letters of babies, or rather, from the letters that mothers, grandmothers, older brothers and sisters write for them.
The game program "Merry radio train" invites all young listeners on a journey, since "there are as many places in the carriages of this train as there are those who want to take part in the program." "Merry radio train" makes stops at the stations "Trudovaya", "Skazochnaya", "Song", "Poetic", etc. At the same time, listeners are offered scenes, poems, songs performed by little artists - pupils of kindergartens.
Performances for children of preschool and primary school age are performed under the heading "Baby Theater". Stories, poems, short dramatic works are selected so that the listener gets as much information as possible about the world around him, about the work of adults, and has developed a correct idea of "what is good and what is bad."
Often there are reports from kindergartens, concerts with the participation of kids in programs for preschoolers.
One of the most popular children's programs, addressed to schoolchildren of younger and middle age, is "Baby Monitor" (1st Ave, monthly, 30 min., 10.30).
A significant place in children's broadcasting is given to popular science and educational programs for schoolchildren. They are designed to broaden the horizons of children, help them study better, develop interest in self-study certain sections of science and technology.
The program "Radio Planetarium" is devoted to the problems of astronomy and cosmonautics (I ave., Twice a month on Thursdays, 15 minutes). Famous scientists and cosmonauts are taking part in it. The guys will learn about how and what kind of celestial objects they can observe in certain time years, get acquainted with the achievements modern science... The program is hosted by the lecturer of the Moscow Planetarium S.V. Shirokov.
In November 1976, the first release of the program "Half an hour in the world of science" (I ave., Monthly, 4 pm) was aired. Its goal is to introduce young listeners to the essence of the problems that the leading scientists of our country are now engaged in, to help schoolchildren understand complex scientific issues.
In the first program, Academician N.P. Dubinin. Historian V.A. Yanin. The program also included information about a new method of growing potatoes, an essay on young technicians in Magnitogorsk, and reports on the latest in popular science literature. The page "Calendar of the History of Science" was dedicated to the great Russian scientist P.N. Yablochkov. In 1976 the Club of Famous Captains celebrated its 30th anniversary. Its permanent members are characters from the favorite adventure books of young readers - Robinson Crusoe, Gulliver, Tartarin of Tarascon, Captain Nemo, Dick Sand, Baron Munchausen and others. Every time famous captains set off on long voyages. Wonderful adventures take place with them, in which Justice, Friendship, Loyalty, Honor invariably win.
The transmission is of great educational value. It tells about great travelers, the history of geographical discoveries, the latest achievements of science, and wonderful natural phenomena. In 1976, the famous captains visited some socialist countries. Separate meetings of the "Club" were devoted to the history and the present day of Africa, geographical discoveries in the Arctic Ocean, the mysterious "Bermuda Triangle".
Popular science, educational and educational programs were prepared on the radio by different editions. Each edition, taking into account its subject matter, broadcasting directions, necessarily included in its schedule headings, cycles of programs of cognitive, educational content.
Of course, in the educational, popular science broadcasts of the All-Union Radio, the presence of ideology and party propaganda was felt to one degree or another. Some rubrics were directly called upon to contribute to the ideological education and communist education of the audience. This applies, first of all, to one of the main programs of the Main Editorial Office of Propaganda, to the Lenin University of Millions.
This is a weekly (at 18.40 on Wednesdays on the first program) twenty-minute program-lecture on the topics of the history of the party, the theory of Marxism-Leninism, the economics of socialism. For each of these directions, a program was developed, the most authoritative scientists, specialists, historians were invited to the microphone, who explained and argued the correctness of the chosen path of social development of the country. (The program was prepared by journalists V. Kuchin, K. Voevodina)
"Science and Technology" is another broadcast of the main editorial office of propaganda, which combined the functions of a socio-political broadcast designed to promote the achievements and advantages of Soviet science and the tasks of enlightenment in the field of science, technology, and modern technologies. In this weekly half-hour magazine there were necessarily pages devoted to significant and memorable dates in the history of science, scientific discoveries and their authors, technological innovations and inventions. It came out on Saturdays at 12.30, and since 1974 on Tuesdays at 14.00. It was prepared by the journalists of the Science Department, but the main authors and organizers of the program were radio journalists A. Zelentsov and N. Dorofeeva.
In the 60s, with the beginning of the space era and a huge interest in Space, a series of popular science programs were associated, which were prepared by journalist T. Mashkevich. This: "Cosmos" - a half-hour radio magazine. Broadcast of a wide profile, acquainted with all areas of science and technology related to space, with achievements in space exploration (released once a month) and a fifteen-minute program "In Space Orbits", which told about the work of our cosmonauts, about scientific experiments in space (published twice a month, at 15.45 on the First Program).
In the late 60s - early 70s, as noted in literary sources and archival materials, the programs "15 minutes with a Doctor of Polite Sciences" (1969), "Why and why?" Were popular. (1969). "Baby Monitor" (1971), which harmoniously combined playful and serious elements. In "Radio Baby", for example, the most difficult rule of grammar or arithmetic is explained with the help of a funny song, a funny joke. Even sweeping the floor, washing dishes, cleaning the apartment, this program teaches fun. Learning and playing, children more easily overcome difficulties, make it easier for themselves those volitional efforts that are necessary for the systematic implementation of the lessons. The radio magazine "Zvezdochka" was very popular with the children for several years, which was replaced in 1974 by special issues of "Pionerskaya Zorka" (on Mondays).
Below is a practical part of this work, namely a short guide to children's radio programs. Several basic parameters have been selected to compile the reference: time of appearance, frequency, broadcast time, the main range of topics covered.
A brief description of some of the most popular children's programs and headings on the All-Union Radio, copies of which are now uploaded to the Web:
"By countries and continents." Sunday 20-minute educational program. Correspondents of the All-Union Radio, working abroad or on business trips, talked about different countries, nature, customs, holidays. Often the reason for such correspondence was significant dates, events (aired weekly on the First Program at 11.00)
"Travel to the beloved homeland". One of the long-lived programs on the All-Union Radio. It appeared in the early 60s and existed for almost 30 years. This is a geographical radio game that allows young listeners to better know the geography of our country, the history of geographical discoveries and geographical mysteries. The program had its own permanent host characters - Zakhar Zagadkin and cook Anton Kambuzov (aired on Thursdays twice a month at 16.00 on the First program, sound - 20 minutes).
"Club of the famous captains". One of the most famous programs of the All-Union Radio. It appeared on the air in 1946 and existed on radio intermittently until the 90s. Game educational program about travel, geographical discoveries, adventures. Club members - characters from well-known books - Captain Nemo, Robinson Crusoe, Dick Sand (fifteen-year-old captain), Baron Munchausen, Gulliver, Tartarin from Tarascon and others gather in the library (“go off the pages”) and tell various stories with adventures that are here they come to life on the air. Listeners become witnesses of exciting adventures, and at the same time they learn a lot about different countries and continents. But not only that. The heroes of the program invariably show nobility and honor, loyalty and justice in difficult situations.
"KOAPP" is one of the most popular radio programs of the 80s. "Committee for the Protection of Copyright of Nature". Its creator is the writer Konstantinovsky. This is a fictional production program dedicated to the secrets of nature, which are discovered and used by man. The program is about a careful attitude towards nature, the prudent use of its wealth. Without edification in a witty lively manner, with the participation of animals and birds - the characters of the program. (Once a month, sometimes less often, on Sundays at 16.00, sound 40 min.)
"Radio for the lesson" - This is a whole section in the programs of the Main Editorial Office of Radio Broadcasting for children. Without directly repeating the school curriculum, the programs of this section provided additional material in the study of various disciplines at school. For example, programs in Russian for students in grades 5-6, programs on literature, history. In the early 80s, for some time on the Third Program of the All-Union Radio, there were even broadcasts to help students of foreign languages ("Speak English")
"In the laboratories of scientists" - In the 60s - 70s it was one of the permanent headings on scientific and technical topics. The twenty-minute program featured prominent scientists working in various branches of science, who introduced; with the news of science and technology, with new developments, inventions, new technologies. The program was aired twice a month at 11.10 on the First Program. It was prepared by journalist L. Aghayan.
"NTI-69" - In 1969, this heading - "Scientific and technical information-69" was introduced on the First program of the All-Union radio. Five times a week at 11.25, the program included five-minute episodes introducing novelties in technology, technology, discoveries and inventions .;
"Half an hour in the world of science" - Monthly program for schoolchildren (16.00, First program). Began to air since the end of 1976. She introduced me to various scientific problems that the leading scientists of the country are working on - from ancient history to the most modern trends. Each issue had a "Calendar of the History of Science", which told about the history of discoveries, great scientists.
"Documentary radio theater". This is a completely special genre of scientific and educational programs, created on the All-Union Radio in the early 50s. On the basis of the biographies of great scientists and educators, documentary and artistic radio shows were created. The history of scientific discoveries, the lives of great scientists, engineers, inventors - all these were the themes of such radio performances. The combination of reliable facts of the life and work of the luminaries of science with the play of actors who create living images of these people, their environment, the historical era - all this determined the success of this kind of educational programs and the genre of documentary-artistic radio theater was fixed on the All-Union radio until the end of the 70s. The first such radio show was aired on May 4, 1952, and it was called "Alexander Stepanovich Popov" (by the famous radio journalist R. Glier). More than 100 are stored in the radio funds; documentary and artistic radio performances on the themes of the history of scientific discoveries.
"Radio Planetarium". A scientific and educational program for schoolchildren about astronomy, the study of the Universe, space and space research was broadcast twice a month. Young listeners received the skills of observing celestial bodies, constellations, got acquainted with the achievements of science in the study of the Universe. The program was hosted by the lecturer of the Moscow Planetarium S. Shirokov.
Why and Why. A monthly half-hour program for children (aired at 4 pm on the First Program). The program was structured as answers to the questions of young listeners to a variety of questions (What is electricity? Why does it rain? Why do the seasons change? How does snow form? Etc.). In a simple form accessible to all, the radio told about rather complex natural phenomena, about technology
"Native nature". Radio magazine. The program has been aired since 1973 twice a month at 18.40 on the first program of the All-Union Radio. It was devoted to the problems of nature conservation, the work of scientists - zoologists, botanists, entomologists, reserve workers to study and preserve natural resources. But in addition to these socio-political, economic issues in the transfer, a lot of space was given to educational materials about nature and its inhabitants, the activities of reserves .; The author and host of the program is journalist V. Krupin.
"Forest Radio Newspaper". A half-hour program for schoolchildren, in which it was told about the life of the forest in a playful way, scenes, reports with the participation of animals and birds were played out. Children got acquainted with the habits of animals, with forest plants, learned to recognize them (First program, once a month at 16.00).
"School of young naturalists". A broadcast for young nature lovers. It was built mainly on the letters of young naturalists, those who independently grow flowers, garden crops, conduct their observations. (aired twice a month for 25 minutes on the first program at 16.00).
Classification of radio broadcasts, differentiated by target audience and content:
Programs for preschoolers:
Musical: Melodies from a mail bag, Music box.
Literary (including radio performances): My favorite book, Radio Theater "Malysh".
Cognitive: Why and Why ?, Zvezdochka radio magazine.
Programs for primary schoolchildren:
Musical: Music box
Literary (including radio performances): The postman brought a letter, Radio Theater "Malysh".
Cognitive: Merry radio train (game radio broadcast), Baby Monitor, 15 minutes with Doctor of Polite Sciences, radio magazine "Zvezdochka", School of young naturalists, Lesnaya radio newspaper, radio magazine "Rodnaya Priroda", KOAPP.
Programs for children of middle and senior school age:
Literary: The postman brought a letter, In the land of literary heroes
Cognitive: Club of famous travelers, Radio nurse, Morskie vesti, School of young naturalists, Documentary radio theater, KOAPP.
Scientific: Radio Planetarium, Half an hour in the world of science, Lenin University of millions, Science and technology, radio magazine Cosmos, In space orbits.
News: Pionerskaya Zorka, Roveskniki.
Having visually decomposed radio broadcasts according to the main typological characteristics, we come to logically correct conclusions: the older the Soviet child was, the more special, educational programs were not focused on him. As he grew up, the child was more and more involved in the game cognitive process, approaching high school with a readiness to receive scientific and special radio broadcasts. We also see how the topic of space, cosmonautics, astronomy was actively discussed on the radio, which proves to us that Soviet radio broadcasting was not divorced from the aspirations of the children's audience, but, on the contrary, formed children's dreams, including travel, geographical discoveries, astronautics, science, sea.
Conclusion to the second chapter:
Thus, radio broadcasting for children in Soviet culture is one of the most important institutions for the education and upbringing of a child, based on free communication, i.e. using dialogue as the most effective means of contacting the audience.
Having considered a large number of children's radio programs, we conclude that the main method of audience engagement was the method of dialogicity. Dialogue is inherent in many radio materials, it stems from its acoustic nature, although it has some peculiarities. Its originality is determined by the fact that the interlocutors are separated by space, between the speaker and the listener, as a rule, there is no direct connection. However, participants in children's programs always turn to the child, assuming in him an interlocutor, an active participant in two-way contact, as if anticipating his reactions, train of thought, possible questions, building the information system in the way they would do it in a conversation.
There are stylistic techniques for introducing elements of dialogicity into a radio broadcast. This is a direct and indirect appeal to the audience using the appropriate speech turns, rhetorical questions; intonation, close to colloquial, "wrong" (characteristic of live conversation) word order; the natural use of pauses that occur in a person's speech when he thinks, looks for the right word.
These techniques are very often used by children's radio broadcasting. Direct appeal to the children's audience was the key to the popularity of such a genre as serial radio plays.
We can also conclude that as the development of Soviet radio, there was a qualitative increase in the information provided. in the field of children's radio journalism, the phenomenon of scientific radio transmission can be an illustration of this phenomenon. A special peak in the development of scientific programs for children falls on the era of space exploration. Soviet radio broadcasting, obeying the order of the party, formed with its content a strategic stock of potential astronauts, navigators, geologists, engineers and scientists, teachers and musicians - representatives of the most in-demand professions. This suggests that Soviet children's radio journalism was a complex, subtle, ideally working tool in the service of the state.
Conclusion
We can say with confidence that we have solved the main tasks outlined above, namely:
Provide basic facts from the history of radio broadcasting in the USSR and identify the key events that determined this development, their causes and consequences.
We have covered with our attention the historical path of the development of Soviet radio broadcasting from its inception to the 70s, paying the greatest attention to children's and youth journalism. We also identified the main dates that left the greatest mark on the history of Soviet radio broadcasting. More detailed conclusions on this problem are contained in the conclusions to the first chapter of our work.
Explore the literature on the topic, get acquainted with the available scientific works.
We have revised several textbooks and collections of articles, a number of articles and essays available on the Web and in Astrakhan libraries, including the ASU scientific library.
Study the recordings of children's radio programs and draw conclusions about the content, policy and target audience of these programs.
We have listened to the archives of such radio broadcasts as: Club of famous captains (six episodes of different years), Pionerskaya Zorka (different numbers 72, 74, 76), Radionyanya (archive for 76 years), individual episodes of other radio broadcasts given in our work. Based on our observations, we compiled a directory of children's radio programs and divided them according to the main typological features. Detailed conclusions are contained in Chapter 2 and its conclusions.
Collect and systematize brief, scattered information about the history of the emergence of children's and youth entertainment and educational radio broadcasts.
Of course, the information given in our work cannot pretend to be highly detailed and thoroughly worked out on the topic. But the scientific novelty of the work lies in the fact that before us, a very small number of researchers were interested in this problem. Nevertheless, we believe that we have managed to create a more or less acceptable picture of the development of Soviet radio journalism in the period chosen by us, and in particular, of children's and youth journalism of the 50s-70s.
We believe that despite the superficial analysis of the topic, in view of the lack of its elaboration before us, we were able to fulfill the goal of our course work, namely: “- to trace the path of development of Soviet radio broadcasting in the period after the Second World War and up to“ stagnation ”; identify key moments in the development of radio journalism; to give an overview of children's and youth radio journalism of the indicated period, to systematize children's and youth radio programs. "
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Menshikova A.A. Radio for children, M., 1976.
V. Lachinov "Pioneer Dawn", "Ogonyok" No. 8, 2003.
On the air of these radio stations, you will hear the best songs and music of the Soviet era, which were once widely known and popular in the cities and villages of our vast Motherland. And many of them are still known and listened to by those who were born and raised in our country. These songs have been performed for sixty, seventy years, and they have not lost their relevance - these are hits that more than one generation listens to. Hear the music of a bygone century from vinyl records and reels. Some of the radio stations broadcast Soviet radio plays, radio broadcasts for both children and adults!
OLD RADIO
Staraya Radio is a non-commercial internet radio station in live which you will hear performances, radio literary compositions, literary readings and much more.
OLD RADIO (KIDS RADIO)
Dear Guys!
Children's Radio is the radio for you. Here you can listen to the best productions, plays and fairy tales recorded with love and skill. There will be interest from both the smallest and the most adults. We will also offer the works necessary in the school curriculum for literature. Even your moms and dads will remember with pleasure the fairy tales and stories of the time of their childhood.
Most of the airtime is occupied by well-staged radio shows and performances for children, as well as songs from cartoons and feature films for children.
Old radio (music) - popular Soviet songs and all the music of the USSR. A rare collection of patriotic, military and simply folk songs of the USSR.
Muslim Magomayev, Anna German, Joseph Kobzon, Maya Kristalinskaya, Edita Piekha - these names are familiar to everyone who lived and worked, fell in love and went to dance floors, watched TV and listened to the radio, and also built socialism in the Soviet Union! Today, all the artists of that era are widely represented on the Internet radio "USSR 50-70.101"! Turn on the radio station and enjoy the kind, strong-minded songs!
RADIO USSR 30-50 - music radio station from the Internet portal 101.ru. These songs were listened to by our grandparents, listen and you will notice the clicks and creak of gramophone records. Famous performers of that time that you will hear on this channel: Vadim Kozin, Isabella Yurieva, Vladimir Bunchikov, Leonid Kostritsa, Ivan Shmelev and many others. Listen live Radio 101.ru: USSR 30-50 online
And that is why considerable efforts and resources were thrown into the development of this area of technology. By 1959, the USSR ranked first in the world in terms of the power of radio stations and second in terms of the number of radio receiving installations - by this time there was 1 installation for 4 people. Tens of millions of radio receivers were produced in the USSR annually. The total duration of broadcasting on various parallel programs in the USSR exceeded 600 hours a day.
By the beginning of the 60s, Soviet radio broadcasting went around the clock. In addition to the central channels, there were also republican channels, where Soviet radio broadcasts were broadcast in the languages of the peoples of the USSR, regional and regional. Broadcasting was in more than 80 languages of the world.
It was the development of radio in the USSR that made it possible to carry out the first television broadcasts. The call signs of the Soviet radio - the anthem of the Soviet Union - and the signals of the exact time evoked a stable conditioned reflex in the citizen.
The role of the radio is invaluable during the war years, when dozens of people gathered at the box with a mouthpiece installed right on the street to listen to the latest news or, as it was in besieged Leningrad, the poetry of Olga Bergolts or the music of Shostakovich, and the voice of the announcer Yuri Levitan became the tuning fork of the country's internal life ...
The heyday of the radio of the Soviet Union fell on the 50-70 years. In 1956, two editorial offices were clearly divided, dealing with broadcasting for children and broadcasting for young people. In 1960, a reform of radio broadcasting and television was carried out. From now on, the radio committee acquired the form of not a political, but a creative organization, which could not but affect the quality of Soviet radio broadcasts. In 1962 for the first time on the radio a program of the radio station "Yunost" went on the air. Differentiation of programs appeared: for a rural audience, for workers, for students, for soldiers of the Soviet army. In the evenings "Yunost" broadcasted about art, literature and theater.
The programs about writers of different eras were conducted by Irakli Andronikov, an excellent storyteller and literary critic. "Masters of Soviet Poetry" became a favorite show among many segments of the population in the USSR. Since September 1959, the People's University of Culture began to appear. And, of course, the most popular Soviet radio program was Theater at the Microphone, which broadcast radio plays of classical and modern plays.
By the 80s, the radio of the USSR again spoke in a new way. A faster rhythm was required, many radio broadcasts of the USSR were released in an updated form. But favorite Soviet radio programs were still "Pionerskaya Zorka", "Good Morning!" ". Unlike television, radio in communal kitchens and private living rooms broadcasted almost without interruption, and entire generations of Soviet people grew up listening to the voices of the leading old programs on radio of the USSR.
Daria Gorobtsova
However, the role of radio as the central subject in the world of Soviet media relations cannot be denied. It was the radio that acted as the social glue that for seven decades has held many dozens of nationalities and cultures together into one powerful state.
For the majority of the adult population of modern Russia, it is radio, radio broadcasts, and not television or the press, that is the symbol of "Soviet" childhood. If television has left in its memory only "Goluboy Ogonyok", the press - "Murzilka", "Ogonyok" and "Tekhnika Molodoi", then radio has forever been entrenched in the memory of Russian people as "Radionyani", "KOAP", "Pionerskaya Zorka" and many other radio broadcasts and radio plays.
The purpose of this work is to trace the path of development of Soviet radio broadcasting in the period after World War II and up to "stagnation"; identify key moments in the development of radio journalism; give an overview of children's and youth radio journalism of the indicated period, systematize children's and youth radio programs.
The study period was chosen for a number of reasons:
Twenty-five years (45-70 years) is the most significant stage in the development of Soviet radio journalism. At this time, the majority of the well-known genres of radio journalism took shape, the largest quantitative increase in radio broadcasts was noted.
Although the chosen period is very large within the framework of the rapid 20th century, the breadth of the studied time period is compensated by the lack of knowledge of the issue, which will not allow to delve into the topic sufficiently.
It was during this period that children's radio journalism, which is most interesting to us in this study, finds its especially rapid development.
To achieve this goal, it was necessary to solve the following tasks:
Provide basic facts from the history of radio broadcasting in the USSR and identify the key events that determined this development, their causes and consequences.
Explore the literature on the topic, get acquainted with the available scientific works.
Study the recordings of children's radio programs and draw conclusions about the content, policy and target audience of these programs.
Collect and systematize brief, scattered information about the history of the emergence of children's and youth entertainment and educational radio broadcasts.
Among the fundamental works on radio journalism on which we relied, one can single out the work of A.A. Sherelya, “Radio journalism. A textbook for students of higher educational institutions studying journalism specialty, a textbook by PS Gurevich, VN Ruzhnikov. “Soviet radio broadcasting. Pages of History ". In the issue of the history of children's radio journalism, we relied on the books of A.A. Menshikova. "Radio for Children", and the work of T. Marchenko "Radio Theater".
The novelty of this work lies in the fact that it is an attempt to systematize all data available on the Web and city libraries on the history of radio broadcasting and children's radio journalism. And this is also a very interesting point in our study. From a theoretical point of view, this work cannot claim to be new, but it can be an interesting practical part - an analysis of audio recordings of Soviet radio broadcasts. From a practical point of view, the materials of this course work can be used by students of the specialty "Journalism" to write reports or abstracts, to study the stages of development of Soviet radio broadcasting and Soviet children's radio journalism.
The following provisions are put forward for defense:
The post-war period is a stage of intensive development of radio broadcasting in the USSR, the time of the emergence of many new genres and the revival of old genres of radio journalism.
50s - 60s - the time of an explosive increase in the share of music and entertainment radio broadcasting.
The post-war USSR pays great attention to children's and youth radio policy, which is reflected in the qualitative and quantitative growth of Soviet radio broadcasts.
As the Soviet child grew up, the radio offered him more and more special, scientific information, instead of play, musical and educational information.
Chapter 1. Soviet radio journalism 1945-70.
The first four stages in the development of Soviet radio broadcasting.
Traditionally, before talking about the designated period in history, we must briefly describe the historical situation in which Soviet radio broadcasting was to unfold. So, in short:
Some researchers usually refer to the first stage in the development of Russian radio journalism as the "embryonic" - the tsarist period. At this time, radio and radiotelegraph were used primarily for military purposes. Little is known about the active use of radio, but there is evidence of the use of radio for local transmission of information through loudspeakers. The radiotelegraph was used on the fronts of the First World War. News bulletins, read out through the loudspeakers of newspaper materials, were heard in Petrograd.
The second stage - the stage of the birth of radio broadcasting and journalism, coincides with the founding of the USSR. From the first years of Soviet power, radio was used not only as a means of communication, but also as a source of information. Since November 1917, the decrees of the Soviet government, messages about the most important events in the life of the country, about the international situation, and speeches by V.I.Lenin have been transmitted by radiotelegraph. One of the urgent state tasks was the creation of a material and technical base for radio broadcasting. In 1918 the Council of People's Commissars created a commission to work out plans for the development of radiotelegraphy; a number of powerful radio stations of the military department were transferred to the People's Commissariat of Posts and Telegraph; The Council of People's Commissars adopted a decree on the centralization of radio engineering in the country. The first radio broadcasts were carried out in 1919 from the Nizhny Novgorod radio laboratory, and from 1920 - from experimental radio broadcasting stations (Moscow, Kazan, etc.).
The Communist Party and the Soviet government attached exceptional importance to radioification as the main means of developing radiocommunication. In 1920, Lenin wrote to MA Bonch-Bruevich, who was in charge of the Nizhny Novgorod radio laboratory: do. The paperless, no-distance newspaper that you create will be a great thing. "
In 1922, in letters to JV Stalin for members of the Politburo of the Central Committee of the RCP (b), Lenin formulated the provisions of the program for the continuous radioification of the country; in the same year, the first (still irregular) text radio transmissions began through loudspeakers; The Nizhny Novgorod Radio Laboratory broadcast the first radio concerts. The formation and popularization of radio in the 20s. contributed to the mass radio amateur movement (which began to develop after the opening of the Comintern radio station in Moscow in 1922), the activities of the Radio Friends Society, the Radio Transmission Joint Stock Company (originally Radio for All, its members were the People's Commissariat, VSNKh, ROSTA , All-Russian Electric Trust of Weak Current Plants).
Regular radio broadcasting began on November 23, 1924, when the first issue of the radio newspaper was broadcast. In 1925, the Radio Commission of the Central Committee of the RCP (b) was organized for general management and the Radio Council under the Glavpolitprosvet of the People's Commissariat for Education of the RSFSR to develop the main directions of broadcasting.
In the 20s. the main genres (radio reporting, radio conversation, commentary), forms of transmission (radio newspaper, radio magazine) are formed. In 1925 on the air - the first radio report from Red Square in Moscow, dedicated to the October celebrations; children's programs - "Radiooktyabrenok", "Radiopioneer" (later "Pionerskaya Zorka"); “Cultural Heritage for Children”; youth - "Young Leninist"; since 1926 - "Peasant Radio Newspaper", "Working Radio Newspaper", ethnographic concerts.
Regular radio broadcasting is being organized in the union republics — in 1925-27, radio stations began operating in Minsk, Baku, Kharkov, Tashkent, Leningrad, Kiev, and Tbilisi.
Since the 20s. public speeches have become a tradition of Soviet radio. Held in the mid-20s. the discussion about the social purpose of radio, its place among the arts and means of aesthetic education contributed to the development of forms and genres of radio journalism, especially literary and dramatic.
Since 1927, the researcher of Soviet radio journalism A. Scherel singles out the third stage, which consists in the further development of the genres of radio journalism, attracting leading journalists and writers of the young Soviet Union to radio. At this stage, we can view radio broadcasting as a fully formed, full-fledged media outlet that enjoys immense audience success and is closely monitored by the authorities.
In 1927 the Council of People's Commissars adopted a resolution aimed at improving artistic programs. V. V. Mayakovsky, A. N. Afinogenov, D. Bedny, E. G. Bagritsky, F. V. Gladkov, V. V. Ivanov, L. M. Leonov and others participated in the preparation of literary programs. under the heading “Literature to the Masses”, the audience was introduced to the work of Soviet writers and the classical literary heritage. R. popularized the music of the peoples of the USSR, lectures and concerts revealed the main stages in the history of world musical culture. In the 20s. the first concerts were performed on request, broadcasts of opera performances from the Bolshoi Theater of the USSR. Since 1925, talks and lectures on socio-political and scientific-technical topics have appeared on the radio program. In the late 20s - early 30s. For the purposeful education of the population, workers, peasants, communist, and Komsomol radio universities were created (up to 80 thousand radio readers).
From 1928 to 1933, the capacity of Soviet radio broadcasting stations increased eightfold. In 1931, the All-Union Committee on Radio Broadcasting was formed under the People's Commissariat of Post, and in 1932 - 12 local radio committees in the republics and regions. New, effective forms and genres of radio broadcasts appeared: radio callouts, all-Union radio collection (1929), direct radio reports from construction sites (1930). The decree of the Central Committee of the CPSU (b) "On the restructuring of the worker-selkor movement" (1931) recommended that radio committees more widely use forms of mass work (raids, mobile brigades), expand cooperation with worker-sellers, develop and create new forms of transmission based on letters from workers.
In accordance with the decree "On the restructuring of literary and artistic organizations" (1932), the themes, forms, genres of artistic transmissions expanded. Writers A. Serafimovich, M. A. Svetlov, N. A. Ostrovsky, I. P. Utkin, K. G. Paustovsky, actors D. N. Orlov, V. I. Kachalov, I. M Moskvin, MI Babanov and others. New works by D. D. Shostakovich, Yu. A. Shaporin, S. Prokofiev, D. B. Kabalevsky and others were first performed on the radio. Music broadcasting introduced the audience to professional performers and the best amateur art groups. In 1932, the regular editions of Posledniye Izvestia began.
In 1936, the Radio Committee put into effect 5 broadcasting programs, drawn up taking into account the time zone, national linguistic characteristics of the population of various regions of the country. The first All-Union Radio Festival (1936) laid the foundation for the inter-republican exchange of radio programs. In the 30s. in the system of social and political broadcasting, independent editions of rural programs, Red Army, youth, sports broadcasting have emerged. A prominent place in radio programs was occupied by defense and sports topics, and it was formed as a genre of sports radio reporting (the founder is V.S.Sinyavsky). An important role in improving radio broadcasting was played by a special press on radio issues: the magazines "Radiofront" (founded in 1925, until No. 19 - "Radio to All"), "Says the USSR" (1931), the weekly newspaper "Radio Novosti" (1925), etc. ...
The fourth stage is the period of the Great Patriotic War, the time of the birth of new genres, reportage and news, the time of the rapid interest of the population in radio. as to the most prompt mass media.
During the Great Patriotic War of 1941–45, 2,000 radio reports from the Soviet Information Bureau, 2, 3,000 issues of Posledniye Izvestia, over 8,000 “Letters from the Front” and “Letters to the Front” were transmitted. A significant place in the programs was occupied by reviews of newspapers, TASS information, and correspondence from the front (in the issues of Posledniye Izvestia there are about 7 thousand correspondences from the active army). Unlike other countries, radio broadcasting in the USSR during the war years remained continuous and multi-programmed. There were regular broadcasts for the partisans and the population of the temporarily occupied regions. The leaders of the Soviet government often spoke on the All-Union radio. In 1944, the Council of People's Commissars adopted a decree on measures to strengthen the material and technical base of Central Radio Broadcasting, in 1945 - on the celebration of Radio Day on May 7 (on May 7, 1895, A.S. Popov demonstrated in action the receiver for wireless signaling he had created).
Radio of the totalitarian state (1945-1970)
The post-war years and the time of the Khrushchev "thaw" are the period of the rebirth of radio. Now it is forced to compete with television and cinema, although this competition is not yet able to stifle the scope of the rapid development of radio broadcasting. At this key stage in its development, Soviet radio, as never before, takes on the role of an agitator: the Cold War begins, the Iron Curtain falls. Radio is forced to restrain the impulses of the Soviet people, to instill in them a communist ideology.
The return to peaceful post-war labor after the victory over Nazi Germany was accompanied by a number of factors that burdened the life of the people. First, the devastation in the former occupied territories. The Germans successfully used the scorched earth tactics, leaving behind ruins and ashes.
Secondly, the aggravation of the confrontation between the USSR and its former allies in the anti-Hitler coalition, called the Cold War, and, as a consequence, an arms race that requires gigantic material, financial and human resources.
Thirdly, the disappointment of the population, who expected a fairly rapid improvement in living conditions after the victory (only two and a half years after the victory, food cards were canceled; the annually announced reduction in prices for a number of food and industrial goods, in practice, was rather a propaganda action, than an economic achievement: the Stalinist Minister of Finance A.G. Zverev later wrote frankly that the decline in prices was compensated in the budget by a decrease in wages).
In such conditions, the radio, as well as other mass media and propaganda, was tasked with explaining to the people that the difficulties of restoring the national economy would require additional victims from the citizens of the USSR, but they must be sure that these victims are the last.
And therefore, censorship is intensifying even more, so-called "live programs" practically disappear from the air, almost all programs (with the exception of the news releases of "Poslednie Izvestia") are recorded on sound recordings.
By the end of 1946, according to the then chairman of the Radio Committee D.A. Polikarpova, 95% of the entire broadcasting time was occupied by programs pre-recorded on tape. Accordingly, the control over the selection of broadcasting personnel is being strengthened. It was at this time that a slightly paraphrased proverb gained popularity in the circle of radio journalists: "The word is not a sparrow, if you catch it, you will fly out!"
1949 - the year of the transformation of the structure of radio broadcasting.
The All-Union Committee for Radiocommunication and Radio Broadcasting, which was unified for the whole country, created in 1933, was transformed into two broadcasting bodies of all-Union significance - the Radio Information Committee and the Radio Broadcasting Committee under the USSR Council of Ministers. The first was assigned the task of domestic radio broadcasting, the second - broadcasting to foreign countries. The reform caused a noticeably increased role of radio broadcasting to foreign countries in the war and the first post-war years (its volume increased sharply, the number of languages and broadcast zones expanded).
The Iron Curtain is closing.
At the same time, the second round of Stalinist repressions begins: campaigns against biologists-genetics, doctors, writers. The third wave of emigration begins.
All this is reflected in radio broadcasting programs, and not only in socio-political, but also in those claiming to be called literary and artistic. The names of A. Akhmatova, M. Zoshchenko, D. Shostakovich, S. Eisenstein and many other outstanding masters of culture, whose fault lay only in the fact that they were unflatteringly mentioned in any decree of the Central Committee of the CPSU (b), disappear from the air.
Among the tasks that faced the radio was the following: to explain to the Soviet people that everything discovered or invented by mankind, representing at least a small value, first appeared in Russia and only then outside its borders. It was part of a campaign against the so-called "cosmopolitans" - intellectuals who considered themselves citizens of the world and placed universal human values above purely national ones. They were seen as people hostile to Russia, detached from their people, antipatriots.
So Stalin lowered the "iron curtain" between the USSR and the rest of the world, trying to preserve and consolidate his power. And for this it was necessary to eradicate dissent and dissidents by all possible means and methods.
“If you, comrades, have twenty minutes of free time, please sit down closer to the loudspeakers. We will tell you ... "- something like this sounded the invitations coming from household broadcasters, or, as they were called then, radio point, which were in every apartment and which played an important role in the life of the Soviet people.
The history of radio broadcasting in the USSR began on October 25 (November 7), 1917, when the historical address “To the Citizens of Russia” written by Vladimir Lenin was transmitted from the radio room of the cruiser Aurora. It informed the whole world that the Provisional Government had been deposed and state power had passed into the hands of the Soviets.
A little later, during the Civil War, the decrees and orders of the Soviet government, notes to foreign countries were transmitted by two radio stations: Tsarskoye Selo - near Petrograd and Khodyneka near Moscow.
In the fall of 1918, Lenin instructed scientists to develop a radiotelegraph. And on December 2 of the same year he signed a decree "On the Nizhny Novgorod Radio Laboratory". It was headed by Mikhail Aleksandrovich Bonch-Bruevich. In January 1920, a 300-watt radiotelephone transmitter transmitted, and Moscow received human speech by radio.
Wall-mounted "frying pan"
The heyday of Soviet radio began simultaneously with the victory over the post-war devastation. In 1921, amplifying installations made by a group of engineers were delivered from Kazan to Moscow. A loudspeaker with a horn was installed on the balcony of the Moscow City Council building, which made it possible to hear the speech delivered in the assembly hall on the street.
In mid-1922, the most powerful 12-kilowatt station in the world at that time was delivered to Moscow from Nizhny Novgorod, and in September it broadcast the first large radio concert. And a month later, a radiotelephone station named after the Comintern with a range of 2 thousand versts went into operation.
In March 1923, the Council of People's Commissars of the USSR approved a list of 11 cities in which radio receiving stations were to be built at an accelerated pace. They made it possible to listen to, for a start, scientific lectures transmitted from Moscow. The first of them was dedicated to the great scientist Nicolaus Copernicus.
In honor of the next anniversary of the creation of the Red Army, a radio concert was broadcast, which was received not only in the territory of the Soviet Union, but also abroad. And in 1925, a regular transmission of the striking clock from the Kremlin's Spasskaya Tower was introduced.
This did not happen by chance - the industry of the USSR began mass production of street loudspeakers and home loudspeakers. Such major specialized enterprises as the Gorky radiotelephone plant named after Lenin, the Leningrad telephone and telegraph plant named after Kulakov and the Kharkov “Ukrradiogramto” (now “Proton”) were focused on the production of the latest brands "Akkord", DP, LM-3.
It was not by chance that the design of the loudspeakers they produced was very primitive. The black "plate", or, as it was also called, "frying pan", was affordable for any citizen, regardless of social status in society - even a people's commissar or a housewife.
"Moscow Speaks!"
The production of loudspeakers in original beautiful cases began only in the 50s of the last century. So, for many years, an unprepossessing black plate gave a wide variety of reasons for experiences and communication. Both joyful and bitter. And people could not imagine a day without listening to the radio.
However, until 1930, a certain chaos reigned in radio broadcasting, as in all new endeavors. In the bowels of the People's Commissariat of Education, which was entrusted with organizing broadcasts, due to bureaucratic delays and lack of experience, it was not possible to define the concept of radio broadcasts.
Everything was formed spontaneously, there was no single broadcasting network. For example, the first consultation for peasants from the reception of the Chairman of the All-Russian Central Executive Committee of the USSR Mikhail Kalinin, then a report from a balloon flying over Moscow, was offered to learn folk songs. Moreover, the sound quality left much to be desired.
Soviet writers of that time sometimes sarcastically commented on the evolution of radio broadcasting. For example, Slonimsky wrote: "We will sit on a park bench, and we will soon hear the words of some giant loudspeaker flying down from a height in the summer twilight:" Organic chemistry includes the study of all carbon compounds. "
In the immortal novel "The Twelve Chairs" one of such "programs" was described during Ostap Bender's visit to the second house of the social security agency.
One of the authors of the book, Ilya Ilf, sarcastically stated in his notes: “In science fiction novels, the main thing was radio. Under him, human happiness was expected. There is a radio, but there is no happiness. " Writer Lev Kassil voiced the style of presentation of the text material: "TASS measured dictation:" Point ... Spell: Peter, Anna, Roman, Ivan, Jeanne ... Paris! "
With no less sarcasm, the satirical magazine Krokodil reacted with a riddle to the process of radio broadcasting: “There is a stand, on a stand of a hanging; and what she yells, no one will understand. "
But, in the end, starting in January 1933, when the All-Union Committee on Radio and Radio Broadcasting under the Council of People's Commissars of the USSR was formed, significant advances began.
Back in 1922, a tower with a height of about 150 meters was built in Moscow according to the project of the architect Vladimir Shukhov from openwork steel structures. It was on it that the radio antennas were installed, broadcasting the broadcasts of the All-Union Radio, whose callsigns since 1939 became the first bars of the melody of the song "My native land is wide."
To every house
By 1941, in the USSR, there were already 11 thousand broadcast nodes and 6 million individual radio points, which during the war were to play an important role. Indeed, under martial law, all tube receivers were subject to temporary storage. Wired radio remained one of the few news sources.
Reports from the Soviet Information Bureau from the theater of operations, programs such as "Letters from the Front" and "Letters to the Front", orders of the Supreme Commander-in-Chief, sounded from black loudspeakers, really supported the morale of the Soviet population during the difficult years of the war.
And what can we say about the besieged Leningrad! Olga Berggolts read her fiery poems on the radio. And the beat of the metronome coming from the black "cymbals" sounded to the inhabitants like the beating of the pulse of an outwardly dead city.
By the mid-1950s, the broadcasting grid was practically complete. The broadcasts began at 6 o'clock in the morning with the performance of the Anthem of the Soviet Union, which, among other things, meant the beginning of the working day for those without alarm clocks. This was followed by a news release and a weather forecast. The period from 8 to 9 o'clock was considered "children's time" - programs "Get ready to charge!" and "Pioneer Dawn".
This was followed by a whole palette of programs: from ideologically consistent "Lenin University of Millions" and "International Tribune" to popular science type "Science in the Service of Peace". Radio plays and music broadcasts also played a significant role in broadcasting.
Particularly popular was the program "At Work Noon", through which everyone could not only congratulate their relatives and friends on a memorable date, but also give them a song.
On August 1, 1964, at six o'clock in the morning, a musical fragment of the song "Moscow Nights" was played on the air. These were the callsigns of the Mayak radio station's new round-the-clock program. At the beginning of each half hour, news broadcasts from abroad and throughout the Soviet Union were broadcast, followed by literary and musical programs.
By that time, transistor receivers were already popular in the USSR. But in parallel with them, three-program indoor radio points appeared, which, in addition to the programs of the All-Union Radio and "Mayak", broadcast general education programs.
According to experts, by 1977 the USSR came out on top in the world in terms of wire broadcasting - the total length of lines exceeded 2 million kilometers. Gradually, it was replaced by television. But the "kitchen radio" is still a familiar attribute of the life of millions of people.
Sergey URANOV