Units of supraverbal level: their role in creating an Ars Acustica work (viewed to meet the purposes of the radio literary drama broadcasting)

Abstract
According to the radio journalism theory, words, music and noise are form-building means of expression on the radio. Their harmonious combination creates in the consciousness of a listener a representation (in a generalized view) about material objects, vital events and characters, i. e. creates a sound image. Despite the development of technologies and, as a result of it, at present in modern Literary and Drama broadcastings processing sound, music and noise are more often used as acoustic wings - while the aesthetic potential of these expressive means is exploited extremely seldom. Meanwhile, music and noise, as well as words, are perfectly compatible with the acoustic nature of the radio: they are capable of appealing not only to the rational, but also to the emotional sphere of human consciousness, that is to the inner world of the listener, his or her reminiscences and associations. In 1960 R. Jacobson in his book «Linguistics and Poetics» presented a scheme of «essential elements enabling speech communication» [Jacobson, 1975. P. 198]. Context Message Sender _____________________ Addressee Contact Code Within this classical communicative model, noise and music may be classified as minor elements of paralinguistic level. However, in the Hoerspiel - an Ars Acustica performance, which had been implemented as one of the main forms of broadcasting on the radio of Weimar Republic in the first half of the 20th century - the above-mentioned supra-verbal means were often used as a major component of their semiotic code and participated in creating meanings on a par with verbal units. Besides, the variety of Hoerspiel known as Shalspiel, that is the Ars Acustica works based only on the use of noise and sounds, should be considered in close connection with the semiotics of musical language. M. B. Gasparov regards musical language as a kind of pattern which is represented explicitly in texts referred together as musical speech. He claims: «This musical pattern serves as a prerequisite underlying in some way the perception of sound impressions (we “understand” in this or that way the musical text that we hear); it’s also a prerequisite for our potential ability to create new musical texts (of course, very simple), relying on the rules corresponding to this pattern » [Gasparov, 1974. P. 130]. According to his opinion, the musical language is perceived by people through the system of “expectations” developed and shaped in relation to the perceived material, i.e. it represents a system. He also emphasized: “… we establish connection not only between elements of the text as they are represented in the syntagmatic chain. Each of these elements corresponds to some extramusical elements of the language, we form on their basis paradigmatic associative oppositions with these extramusical elements” [Gasparov. 1974. P. 130]. А. A. Sherel assumes that the listener perceives any dramatized radio art program in the same way. This means that, anticipating and guiding the flow of associations, an author is capable to guide and control the imagination of the audience, i.e. to set a vector of its movement. The complex analysis of written and sound sources revealed that supra-verbal level can function as an equivalent alternative to a lexico-semantic component of the verbal text, to be on a par with verbal units or to dominate over them. Nowadays, the findings and practices of the German Ars Acustica are being used rather rarely. There are only two radio directors - D. Nikolayev and M. Osipov - who dispense this branch of Literary Dramatic radio broadcasts in Russia which is not enough. It should get more attention, because, as it was shown in the article, Ars Acustica enables us to reveal the maximum art effect of the elements (words, music and noise), which are used for creation of a sound image. Also, methods of Ars Acustica could be used in the creation of informative and analytical programs, i.e. to capture attention of target audience. The most certain way to reach every listener is to address his or her personal associations, thoughts and feelings.

Keywords: radio broadcastings, Ars Acustica, Hoerspiel, radio drama, means of expression