Preface

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.

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.

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.

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.