Amplifying Soundwriting Pedagogies: Integrating Sound into Rhetoric and Writing
Edited by Michael J. Faris, Courtney S. Danforth, and Kyle D. Stedman
Copy edited by Tony Magialetti. Designed by Mike Palmquist.
While sonic rhetoric is still a growing subfield of writing studies, attention to pedagogy remains an underattended but increasingly important conversation. Amplifying Soundwriting Pedagogies addresses this gap by offering a broad range of assignments to support university instructors who seek to integrate the use of digital audio into their writing and rhetoric curricula. Each of the 25 chapters in this edited collection provides a written introduction to an adaptable soundwriting activity or sequence of assignments; a transcribed audio reflection from the instructor discussing the assignment’s purpose, strengths, and weaknesses; student-oriented documents such as assignment prompts, and rubrics) that readers can adapt in their own teaching; and examples of student work (audio with transcriptions) hosted on the book’s website.
Table of Contents
Open the entire book: In PDF Format 
In ePub Format 
Foreword (and Backward), Steph Ceraso
DOI: 10.37514/PRA-B.2022.1688.1.2
Introduction. Why We Teach Soundwriting, Michael J. Faris, Courtney S. Danforth, and Kyle D. Stedman
DOI: 10.37514/PRA-B.2022.1688.1.3
Part One. Soundwriting Through Remix
Chapter 1. Mix It Up, Mash It Up: Arrangement, Audio Editing, and the Importance of Sonic Context, Logan Middleton
DOI: 10.37514/PRA-B.2022.1688.2.01
Chapter 2. Experimentation, Integration, Play: Developing Digital Voice Through Audio Storytelling, Crystal VanKooten
DOI: 10.37514/PRA-B.2022.1688.2.02
Chapter 3. Elements of Sound: Three Scaffolded Assignments, Sara Wilder, featuring the Work of Averi Ager, D’Arcee Neal, and Dorian Blue
DOI: 10.37514/PRA-B.2022.1688.2.03
Chapter 4. The Sonic Collage Assignment: Aesthetics, Affect, and Critique in Audio Sampling, Ben Harley
DOI: 10.37514/PRA-B.2022.1688.2.04
Chapter 5. Disabling Soundwriting: Sonic Rhetorics Meet Disability Pedagogy, Chad Iwertz Duffy
DOI: 10.37514/PRA-B.2022.1688.2.05
Chapter 6. SoundPlay: A Sonic Experience of Digital Loose Parts, Scott Lunsford
DOI: 10.37514/PRA-B.2022.1688.2.06
Chapter 7. Electrate Anti-Definition Sound Collage and Transduction, Thomas M. Geary
DOI: 10.37514/PRA-B.2022.1688.2.07
Part Two. Soundwriting with Music
Chapter 8. Cultivating Signal, Noise, and Feeling: Songwriting Practices in Digital Rhetoric Courses, Rich Shivener
DOI: 10.37514/PRA-B.2022.1688.2.08
Chapter 9. “How Eve Saved My Soul”: Sonic Lineage as the Prequel to the Playlist Project, Todd Craig
DOI: 10.37514/PRA-B.2022.1688.2.09
Chapter 10. Sampling Sound, Text, and Praxis: Student and Teacher as Producer in a (Somewhat) Open-Source Course, Justin Young
DOI: 10.37514/PRA-B.2022.1688.2.10
Chapter 11. Audio Engineering and Soundwriting in an Interdisciplinary Course, Doyuen Ko and Joel Overall
DOI: 10.37514/PRA-B.2022.1688.2.11
Chapter 12. The Resonance Is the Composer: Students Soundwriting Together, Trey Conner, Emma Hamilton, Amber Nicol, Chris Burton, Kathleen Olinger, Alyssa Harmon, and Ivan Jones
DOI: 10.37514/PRA-B.2022.1688.2.12
Chapter 13. The Sound of Type: Multimodal Aesthetics, Helen J. Burgess and Travis Harrington
DOI: 10.37514/PRA-B.2022.1688.2.13
Part Three. Soundwriting with Primary Research
Chapter 14. From Cylinders to WordPress: Using Digital Sound Archives for Short-Form Radio Programs, Jason Luther
DOI: 10.37514/PRA-B.2022.1688.2.14
Chapter 15. Toward a Feminist Sonic Pedagogy: Research as Listening, Brandee Easter and Meg M. Marquardt
DOI: 10.37514/PRA-B.2022.1688.2.15
Chapter 16. From Postcards to PSAs: Activist Soundwriting, Timothy R. Amidon
DOI: 10.37514/PRA-B.2022.1688.2.16
Chapter 17. Research Remix: Soundwriting Studies of the English Language, Jennifer J. Buckner with Benjamin Flournoy, Katie Furr, Sarah Johnson, Katie Lewis, Angela Meade, Hannah Ray, Garrett Simpson, Kate Vriesema, and Ally Ward
DOI: 10.37514/PRA-B.2022.1688.2.17
Chapter 18. If These Walls Had Ears: Applying Sound Rhetorics Through Audio Tours, Lance Cummings, Hannah Lane Kendrick, and Devon Peterson
DOI: 10.37514/PRA-B.2022.1688.2.18
Chapter 19. Engaging and Amplifying Community Voices: An Interview Assignment Sequence, L. Jill Lamberton
DOI: 10.37514/PRA-B.2022.1688.2.19
Chapter 20. The Sound(s) of Sustainable Stewardship: Composing Audio Essays with the JHFE, Janice W. Fernheimer, featuring Madison Cissell, Hannah Thompson, Hannah Newberry, and Laura Will
DOI: 10.37514/PRA-B.2022.1688.2.20
Chapter 21. Producing Community Audio Tours, Mariana Grohowski
DOI: 10.37514/PRA-B.2022.1688.2.21
Part Four. Writing with Stories
Chapter 22. Place-Based Podcasting: From Orality to Electracy in Norfolk, Virginia, Daniel P. Richards
DOI: 10.37514/PRA-B.2022.1688.2.22
Chapter 23. YA On the Air: A Scaffolded Podcast Assignment on YA Literature, Jasmine Lee and Jennifer Geraci
DOI: 10.37514/PRA-B.2022.1688.2.23
Chapter 24. Let’s Get Technical: Scaffolding Form, Content, and Assessment of Audio Projects, Jennifer Ware and Ashley Hall
DOI: 10.37514/PRA-B.2022.1688.2.24
Chapter 25. Speech, Invention, and Reflection: The Composing Process of Soundwriting, Tanya K. Rodrigue
DOI: 10.37514/PRA-B.2022.1688.2.25
About the Editors
Michael J. Faris is Associate Professor of Technical Communication and Rhetoric in the English department at Texas Tech University. His research areas are in digital literacies and rhetorics, queer rhetorics, and writing program administration. His work has appeared in College Composition and Communication, Kairos: A Journal of Rhetoric, Technology, and Pedagogy, Journal of Business and Technical Communication, Composition Forum, Peitho, and WPA: Writing Program Administration.
Courtney S. Danforth (she/her) teaches courses in writing and humanities, including first-year composition, creative nonfiction, poetry, and ancient literature, among other areas.
Kyle D. Stedman (he/him) is Associate Professor of English at Rockford University, where he teaches composition, rhetoric, and creative writing courses. His sonic and written work has been published in the journals Technoculture, Composition Forum, Harlot, Memoir Magazine, and Computers and Composition, as well as several edited collections. His podcasts are Plugs, Play, Pedagogy and the audio version of Bad Ideas about Writing (edited by Cheryl E. Ball and Drew M. Loewe, West Virginia University Libraries, 2017). He also co-authored the textbook Soundwriting: A Guide to Making Audio Projects with Tanya K. Rodrigue (Broadview Press, 2023).
Publication Information: Faris, Michael J., Courtney S. Danforth, & Kyle D. Stedman (Eds.). (2022). Amplifying Soundwriting Pedagogies: Integrating Sound into Rhetoric and Writing. The WAC Clearinghouse; University Press of Colorado. https://doi.org/10.37514/PRA-B.2022.1688
Digital Publication Date: November 22, 2022
Print Publication Date: July 2023
ISBN: 978-1-64215-168-8 (PDF) | 978-1-64215-169-5 (ePub) | 978-1-64642-392-7 (pbk.)
DOI: 10.37514/PRA-B.2022.1688
Contact Information:
Michael J. Faris: michaeljfaris@gmail.com
Courtney S. Danforth: csdanforth@gmail.com
Kyle. D. Stedman: kyledstedman@gmail.com
Practices & Possibilities
Series Editors: Aimee McClure, Clarke University; Mike Palmquist, Colorado State University; Aleashia Walton, University of Cincinnati
Associate Editor: Jagadish Paudel, University of Texas at El Paso
This book is available in whole and in part in Adobe's Portable Document Format (PDF). It is also available in a low-cost print edition from our publishing partner, the University Press of Colorado.
Copyright © 2022 Michael J. Faris, Courtney S. Danforth, and Kyle D. Stedman, and the authors of parts of this book. This work as a whole is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 International License. Assignments in the book are released under a Creative Commons Attribution-NonCommercial 4.0 International license. 366 pages, with notes, illustrations, and bibliographies. This book is available in print from University Press of Colorado as well as from any online or brick-and-mortar bookstore. Available in digital formats for no charge on this page at the WAC Clearinghouse. You may view this book. You may print personal copies of this book. You may link to this page. You may not reproduce this book on another website. For permission requests and other questions, such as creating a translation, please contact the copyright holder.