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, edited by Courtney S. Danforth, Kyle D. Stedman, & Michael J. Faris. But you're not necessarily going to hear the full vision of these authors' pieces here. In fact, in most cases, you'll hear disparate pieces of shorter audio that we editors stitched together. Picture the original version of each chapter as a webtext with a lot of audio pieces that are in some cases surrounded by contextualizing text. Here, you'll just hear the audio, no context. We want you to be able to experience a book about sound in sound. We want you to take the book to places where you're not tethered to a screen. And then when you’re able to look at your phone or tablet or computer, check out the rest of the content surrounding these audio files at http://ccdigitalpress.org/soundwriting.

Soundwriting Pedagogies

A Note About the Audio-Only Version of 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. The full preface can be read and listened to at http://ccdigitalpress.org/soundwriting.

Preface

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. The full introduction can be read and listened to at http://ccdigitalpress.org/soundwriting.

Introduction

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.

Do You Hear What I Hear? A Hearing Teacher and a Deaf Student Negotiate Sound

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.

Recasting Writing, Voicing Bodies: Podcasts Across a Writing Program

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.

A Pedagogy of Listening: Composing with/in Media Texts

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.

Sounding the Stories of Isla Vista: Archives, Microhistory, and Multimedia Storytelling

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.

Soundwriting and Resistance: Toward a Pedagogy for Liberation

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.

Sleight of Ear: Voice, Voices, and Ethics of Voicing

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.

"English via the Airwaves": Recovering 1930s Radio Pedagogies

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.

Composing the Artist–Medium

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.

Writing Dirt, Teaching Noise

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.

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Soundwriting Pedagogies

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