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 listeninga 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.
About the Author
Steph Ceraso is an assistant professor of digital writing and rhetoric at the University of Virginia.
Table of Contents
Introduction: Toward Expansive Listening And Sonic Composing Practices 1
1 Sounding Out Rhetoric And Composition And Sound Studies: Resonances, Perturbations, Provocations 14
2 Sounding Bodies, Composing Experience: (Re)Educating The Senses 28
Reverberation: My Listening Body 51
3 Sounding Space, Designing Experience: The Ecological Practice Of Sonic Composition 68
Reverberation: Mapping Sound 91
4 Sounding Cars, Selling Experience: Sound Design In Consumer Products 105
Reverberation: Sonic Objects 124
Conclusion: Multimodal Listening Pedagogy And The Future Of Sonic Education 143
Works Cited 169