Lunch and Learn: Sounding Out the Classroom
By Jackie Hoermann and Joe Schiller
For our November Lunch and Learn, we’re exploring sound in the contemporary classroom. To get started, we ask you to think about the role of new media in your classroom pedagogy and how it already affords opportunities to learn through sound.
How has sound been used in your classroom?
Are there other ways you’d like to integrate sound?
If you haven’t already visited our audio tech pages, you’ll definitely want to spend some time exploring those pages for more information on the process, tips, tools, and resources that can support you as you use new sound technologies.
Jackie has had her students create audio essays as a revision strategy
. To hear just one of those audio essays, check out the YouTube
link that follows.
Using oral sounds to improve written compositions–and even written compositions to improve sound compositions–isn’t as new as new media, in many cases. Yes, the sound technologies we use are new ones, but sound as a technology for learning has been used since the ancient Greco-Roman era. Jackie recently took an in-depth look at this history through her study of the Greek progymnasmata, or “preliminary exercises” in orality, which she’ll touch on briefly in today’s meeting.
She had a chance to study these sound practices and the theory undergirding them a bit more closely at this year’s Digital Humanities Summer Institute
in Victoria, British Columbia
, where she took a class with Dr. John Barber, titled “Sound of :: DH.”
If you’re a TCU graduate student and haven’t considered applying for one of our tuition scholarships for next year’s summer institute, read more on that opportunity by clicking here
As the studio’s resident historian, Joe has some ambivalence about sound technologies. In today’s classroom, we can hone the endangered skill of listening carefully while thinking deeply by using sound in the absence of image. And certainly, capturing the voices of historical actors through oral histories is wonderful. But what if the actors are too distant in history to have been recorded? Can we give their documents a voice? This calls to mind documentary films or radio programs that have someone reading a historical character’s correspondence in an assumed accent, giving life to old documents for a new media. Where does the history end and the performance begin, and how does this alter the way we tell stories? We’ll explore, and hopefully assuage, some of these concerns later today.
What could you do with sound of :: in your new media classroom?