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The listening composer: toward a pedagogical framework for aurality in multimodal composing
Riordan, Amy Joy
Riordan, Amy Joy
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Composer
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Date
2018
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Abstract
Interest in sound has grown steadily since the early 2000s in the field of rhetoric and composition; however, to date, the majority of scholarship still exists outside of the field and focuses predominately on critical/logical approaches and semiotic meanings. What remains under-theorized is an embodied approach that values the felt and intuitive understandings of sound. Physicality is incredibly important when working with sound because people hear, understand, and interpret it not just with their ears and minds but with their entire emotive bodies. Although the body is fundamental to composing with sound, incorporating it into the classroom comes with significant challenges. Often rhetoric and composition instructors inclination when teaching assignments utilizing multiple modes is not to consider the bodys multiple sites of meaning but to translate all modes into spoken or written words.^However, sound (and all non-textual modes) creates meaning in/by/through the holistic body and many of those meanings elude easy semantic translations. Using a mixed-methods research design consisting of quantitative and qualitative research, this study explores how digital multimodal instructors and composers teach, discuss, compose, and listen to sound.^Data lead to four conclusions about sound and its capacity for meaning making: (1) sound is multimodal, multisensory, and multi-experiential--it can be seen, felt, and touched--and as such, it makes meaning not only within the mind but also in/by/through the body and emotions; (2) sound can be felt, recognized, and/or understood across multiple sites of meaning, often simultaneously; (3) although interpretations may differ among listeners, their constructed listening processes produce similar affective and embodied responses to sound; (4) thus, physiological meanings can function as common ground between differing listening composers. From the research results, this project offers a theoretical pedagogical framework for aurality that argues for acknowledging the intuitive, emotive body as a site of rhetorical meaning making.^Ultimately, this project claims sound makes meaning across multiples sites in/by/through the body, mind, and emotions; hence, an aural pedagogy must focus on cultivating composers intentional listening and on deliberately integrating embodied, intuitive meaning making with critical, logical reasoning.
Contents
Subject
Subject(s)
Modality (Linguistics)
Sound Psychophysiology.
Listening Psychophysiology.
Composition (Language arts) Study and teaching.
Sound Psychophysiology.
Listening Psychophysiology.
Composition (Language arts) Study and teaching.
Research Projects
Organizational Units
Journal Issue
Genre
Dissertation
Description
Format
1 online resource (ix, 276 pages) :
Department
English
Advisor
Murray, Joddy