does work for most copy. How many times have you had to have a person repeat what they said after they talked to you from the side of their mouth? When you are upset and tighten your lips, the sound does not have the same resonance it has when you are relaxed and in a pleasant mental  disposition.  You  may  feel  foolish  smiling  in  an empty room or a crowded television studio, but the end result  is  keeping  your  resonance  boards  in  the  proper shape  and  performing  your  duties  as  an  announcer correctly. The throat that is capable of responding to any feeling the announcer senses or attitude he bears is healthy. The throat should not be closed at any time. Instead, it should be able to get longer, narrower and alter  the  texture  of  its  muscle  walls  in  response  to emotion. PITCH AND INFLECTION There are three types of pitch and inflection: l  Upward .  Downward l   Circumflex An upward pitch at the end of a sentence expresses uncertainty, questions or a halfway expression which indicates  something  more  to  follow.  A  downward inflection  at  the  end  of  an  idea  reflects  certainty, self-assurance or authority. (Be careful though because it  can  also  reflect  boredom.)  The  third  type,  a circumflex  pitch,  indicates  an  ironic,  sarcastic,  double or  uncertain  meaning.  For  example,  the  word  “really” modulated  upward  asks  a  question,  inflected  downward denotes concern, and inflected with a curved circumflex (depending  upon  direction  and  tempo)  implies  any  one of  several  ironic,  sarcastic  or  double  implication.  A sudden change in pitch or inflection rate, either upward or downward, is a vocal step or leap. It is used to tell of a shift in subject or to make a single item or series of items stand out. Example: “The girls were knocked off their bikes in all directions. You saw it, didn’t you, Jim? Oh man, it was a frightening sight !” VOLUME Distinctions  in  force  or  intensity  of  the  voice provide  a  further  spectrum  for  vocal  emphasis.  A statement that is made with an increase in amplitude or volume  and  a  slowed  delivery  is  more  important  than one  made  faster  with  a  soft  voice.  Sometimes,  for reasons of contrast, a subtle calm statement following a longer,  highly  intense  one,  will  be  amplified  in importance. Unchanging volume or intensity will cause monotony. Volume  joined  with  a  time  element  (duration) produces  another  primary  element:  emphasis.  The correct inflection of a word results from a combined emphasis  on  the  proper  syllable  or  syllables.  The importance of a phrase or sentence is made clear by applying a longer time and force to a specific word or words.  This  type  of  focus  is  called  “stressing”  or “pointing.” For example, when a photographer is ready to snap the picture, he says, “Hooooold it.” THE FUTURE Learning Objective: Recognize  the  fluidity  of  the broadcast  medium. The  broadcast  medium  is  arguably  the  fastest changing form of mass communication today. Within a few years, the mechanics of gathering information and displaying it to the public has gone from bulky video cameras attached to a video tape player and slung over the back of a gaffer, to the grab and shoot smoothness of a Betacam. It has moved from reporters racing to get a tape back to the studio in time for the 1800 newscast to their doing live reports from the street via microwave linkups. The Gulf War is the current standard that all press and  public  affairs  practitioners  must  understand. Currently, the media is trying to redefine its role due to the advent of satellite “realtime” broadcasts. In the past, members   of   the   media   saw   themselves   as   the interpreters of events. Satellite broadcasting, 24 hours a day in real time, lets the American people see all the press  conferences  themselves  without  the  “aid”  of  the professional  journalist.  After  the  war,  symposiums  were held  in  most  civilian  journalism  schools  on  how  to redefine the relationship between news maker and news reporter,  (or  more  to  the  point,  the  press  and  the military).  The  professional  Navy  journalist  must  stay  in touch with his field by reading everything within reach about technology changes that affect news gathering and  dissemination.  Do  not  shy  away  from  reading broadcast  industry  magazines.  Periodic  literature  is  the only medium that will allow you to stay abreast of a fast moving  field.  Think  of  reading  broadcast  specific periodicals as being similar to reading the  Public  Affairs Communicator   or  other  public  relations  and  print medium trade periodicals. It is something the complete senior  journalist  does. 8-41