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This is the audio-only version of Soundwriting Pedagogies, edited by Courtney S. Danforth, Kyle D. Stedman, & Michael J. Faris. The availability of digital tools has made it easier than ever to record and edit sound, and teachers of composition have noticed. In the audio-only versions of chapters that follow, you will find theories, examples, and lots of audio to encourage the use and value of soundwriting in composition, writing, rhetoric, and communications classrooms. Crank it up. The full edited collection can be read and listened to at http://ccdigitalpress.org/soundwriting.
12 Episodes
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This is the first track of a playlist where you’ll find audio-only versions of the preface, introduction, and the other nine chapters in Soundwriting Pedagogies.
In the Preface to Soundwriting Pedagogies, Courtney S. Danforth, Kyle D. Stedman, and Michael J. Faris give a brief introduction to the book and each of its chapters.
In the Introduction to Soundwriting Pedagogies, Courtney S. Danforth and Kyle D. Stedman examine the meaning of soundwriting, survey scholarship, and feature skill-building exercises.
In Chapter 1 of Soundwriting Pedagogies, Jennifer J. Buckner, a hearing teacher, and Kirsten Daley, a deaf student, negotiated sound as a medium in a multimodal comp class. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 2 of Soundwriting Pedagogies, Jeremy Cushman and Shannon Kelly share their experiences introducing a podcast episode as an assignment in a first-year writing program. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 3 of Soundwriting Pedagogies, Milena Droumeva and David Murphy highlight the ongoing sonic pedagogies that have been practiced at Simon Fraser University since the late 1960s. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 4 of Soundwriting Pedagogies, Patricia Fancher and Josh Mehler discuss their experiences teaching soundwriting to students who are researching their own community: Isla Vista, California. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 5 of Soundwriting Pedagogies, Michael Burns, Timothy R. Dougherty, Ben Kuebrich, and Yanira Rodriguez discuss how hip-hop has helped them challenge their students' and their institutions' assumptions about race. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 6 of Soundwriting Pedagogies, Bump Halbritter and Julie Lindquist suggest that soundwriting provides an opportunity to foreground the ethical decisions implicit in writing and video documentaries. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 7 of Soundwriting Pedagogies, Jason Palmeri and Ben McCorkle go on a journey back to the golden age of radio in the 1930s to explore sonic writing in the discipline of English. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 8 of Soundwriting Pedagogies, Trisha N. Campbell explores sound practices of creatively and critically working with media to develop empathy. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
In Chapter 9 of Soundwriting Pedagogies, Steven R. Hammer revalues noise, introduces methods for teaching with it, and argues that noise is integral to soundwriting. The full version of this chapter can be read and listened to at http://ccdigitalpress.org/soundwriting.
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