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The study of listening—aurality—and its relation to writing is the subject of this eclectic edited volume. Theorizing Sound Writing explores the relationship between sound, theory, language, and inscription. This volume contains an impressive lineup of scholars from anthropology, ethnomusicology, musicology, performance, and sound studies. The contributors write about sound in their ongoing work, while also making an intervention into the ethics of academic knowledge, one in which listening is the first step not only in translating sound into words but also in compassionate scholarship.
"For all its orality, oral history has a long-standing, closely entwined relationship with writing. Sound Writing considers the interplay between sound recordings and written literature, looking back to antiquity while focusing on the nineteenth- to the twenty-first centuries. It also refers to a dream of sound writing itself, enabling voices to reach readers directly, cutting out the need for authorial mediation. Oral histories are nevertheless actively mediated, often turned into and received as written texts. There can be value in transforming spoken oral histories in print or on screen, not least in order to make them 'readable' for wider audiences. Indeed, such re-creations can be worthy and wonderful works of scholarship and art--and this book explores a wide range of different forms and media (like the polyphonic novel, and hyperlinked websites) which can most effectively convey speakers' narratives on their own terms--but there is also, always the danger of speakers' voices being distorted or lost in the process of mediation. This book examines how oral histories are co-created, by speakers, by authors, and also by readers. It considers how oral history can inform our understandings of authorship and reading, to reconceive and query their potential as creative, multiple, collective, and activist. Finally, it reflects on the role of authorship in the academy"--
Considers the avant-garde rethinking of poetic language in terms of physical speech production. Avant-garde writers and artists of the twentieth century radically reconceived poetic language, appropriating scientific theories and techniques as they turned their attention to the physical process of spoken language. This modernist “sound writing” focused on the bodily production of speech, which it rendered in poetic, legible, graphic form. Modernist sound writing aims to capture the acoustic phenomenon of vocal articulation by graphic means. Tobias Wilke considers sound writing from its inception in nineteenth-century disciplines like physiology and experimental phonetics, following its role in the aesthetic practices of the interwar avant-garde and through to its reemergence in the postwar period. These projects work with the possibility of crossing over from the audible to the visible, from speech to notation, from body to trace. Employing various techniques and concepts, this search for new possibilities played a central role in the transformation of poetry into a site of radical linguistic experimentation. Considering the works of writers and artists—including Raoul Hausmann, Kurt Schwitters, Viktor Shklovsky, Hugo Ball, Charles Olson, and Marshall McLuhan—Wilke offers a fresh look at the history of the twentieth-century avant-garde.
In Sounding Composition Steph Ceraso reimagines listening education to account for twenty-first-century sonic practices and experiences. Sonic technologies such as audio editing platforms and music software allow students to control sound in ways that were not always possible for the average listener. While digital technologies have presented new opportunities for teaching listening in relation to composing, they also have resulted in a limited understanding of how sound works in the world at large. Ceraso offers an expansive approach to sonic pedagogy through the concept of multimodal listening—a practice that involves developing an awareness of how sound shapes and is shaped by different contexts, material objects, and bodily, multisensory experiences. Through a mix of case studies and pedagogical materials, she demonstrates how multimodal listening enables students to become more savvy consumers and producers of sound in relation to composing digital media, and in their everyday lives.
The Sound of Writing by Christopher Cannon,Steven Justice Pdf
An interdisciplinary exploration of how writers have conveyed sound through text. Edited by Christopher Cannon and Steven Justice, The Sound of Writing explores the devices and techniques that writers have used to represent sound and how they have changed over time. Contributors consider how writing has channeled sounds as varied as the human voice and the buzzing of bees using not only alphabets but also the resources of the visual and musical arts. Cannon and Justice have assembled a constellation of classicists, medievalists, modernists, literary historians, and musicologists to trace the sound of writing from the beginning of the Western record to poetry written in the last century. This rich series of essays considers the writings of Sappho, Simonides, Aldhem, Marcabru, Dante Alighieri, William Langland, Charles Butler, Tennyson, Gertrude Stein, and T. S. Eliot as well as poems and songs in Ancient Greek, Old and Middle English, Italian, Old French, Occitan, and modern English. The book will interest anyone curious about the way sound has been preserved in the past and the kinds of ingenuity that can recover the process of that preservation. Essays focus on questions of language and expression, and each contributor sets out a distinct method for understanding the relationship between sound and writing. Cannon and Justice open the volume with a survey of the various ways sound has been understood as the object of our senses. Each ensuing chapter presents a case study for a sonic phenomenology at a specific time in history. With approaches from a wide variety of disciplines, The Sound of Writing analyzes writing systems and the aural dimensions of literary cultures to reconstruct historical soundscapes in vivid ways.
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Writing Lesson Level 2--Using Our Sound Charts by Richard Gentry, Ph.D.,Jan McNeel, M.A.Ed. Pdf
Incorporate writing instruction in your classroom as an essential element of literacy development while implementing best practices. Simplify the planning of writing instruction and become familiar with the Common Core State Standards of Writing.
Writing Lesson Level 1--Hear It! Say It! Sound Boxes by Richard Gentry, Ph.D.,Jan McNeel, M.A.Ed. Pdf
Incorporate writing instruction in your classroom as an essential element of literacy development while implementing best practices. Simplify the planning of writing instruction and become familiar with the Common Core State Standards of Writing.