A guiding exigency in Goodale’s Sonic Persuasion (2011) is his concern for sound’s profound scholarly neglect in preference for visualist methods of knowledge making, not just in rhetoric, but within the entire Western tradition. 1) Further, she observes that “scholars of sonic rhetoric have worked to carve out a space for sound as a subject of rhetorical analysis, a material for multimodal text production, and a methodological model for alphabetic writing practice.” Given the contribution of Anderson’s work and those she cites both within and outside of rhetoric and composition, it would seem we are at the genesis of a scholarly sonic boom.Ĭonsider, however, the ways that Anderson’s report on the status of sound in the field differs in tenor from another published only a few years ago by rhetorical studies scholar Greg Goodale. As she notes, “sound studies scholars have made great strides toward highlighting the role of music, noise, and non-verbal sound as powerful modes of sensory experience, politics, and persuasion” (para. In the opening paragraph of her August 2014 enculturation article, “Toward a Resonant Material Vocality for Digital Composition,” Erin Anderson recounts, briefly, the development of sound studies as an interdisciplinary phenomenon and its growing influence in rhetoric and composition studies. "Lightnin" Washington singing with his group at Darrington State Farm, Texas. Stone, University of Illinois, Urbana-Champaign
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