Educational Studies

A Journal of the American Educational Studies Association

ISSN: 0013-1946 (Print) 1532-6993 (Online) Journal homepage: http://www.tandfonline.com/loi/heds20

Resounding Education: Sonic Instigations,

Reverberating Foundations

Walter S. Gershon & Peter Appelbaum

To cite this article: Walter S. Gershon & Peter Appelbaum (2018): Resounding
Education: Sonic Instigations, Reverberating Foundations, Educational Studies, DOI:
10.1080/00131946.2018.1473870

To link to this article: https://doi.org/10.1080/00131946.2018.1473870

Published online: 24 Jul 2018.

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EDUCATIONAL STUDIES, 0(0), 1–10, 2018
Copyright # American Educational Studies Association
ISSN: 0013-1946 print/1532-6993 online
DOI: 10.1080/00131946.2018.1473870

INTRODUCTION

Resounding Education: Sonic Instigations, Reverberating

Foundations
Walter S. Gershon
Kent State University

Peter Appelbaum
Arcadia University

The purpose of this special issue is to demonstrate the depth and breadth of the ways that sound
considerations can significantly contribute to the field of Educational Foundations. An interdiscip-
linary and international field, Sound Studies has tackled subfields and themes familiar to those
who work in educational foundations. For example, there has been work on sound histories, sound
philosophies, sound culture, sound/race, and sound methodologies. As noted in a recent article in
the twentieth anniversary issue of Qualitative Inquiry, there has also been a burgeoning attention
to sound scholarship in education. Not dissimilar to a similar move made in curriculum studies,
contributors to this issue will attend to and otherwise explore sound possibilities for educational
theory, policy and practice. To these ends contributors will interrupt both everyday, commonsense
understandings and longstanding theoretical foundations that tend to be predicated on the ocular.
This special issue is open to the many forms for documenting contradictions and trends, theoret-
ical elaboration, empirical scholarship, and methodological innovation with and through sound
concepts and tools.

Regardless of their origin or interpretation, sounds are theoretically and practically founda-
tional to educational experiences. They outline the fluid, porous boundaries of educational
ecologies as often as they are the means through which knowledges are passed from one per-
son to another. The broad range of scholarship that falls under the umbrella of educational
foundations has deep, long-standing history with the sonic. This long history can be seen for
example, from the late nineteenth century to the present, as in Anna Julia Cooper’s (1892)
orchestral framing of A Voice from the South, By a Black Woman from the South, and W.E.B.

Correspondence should be addressed to Walter S. Gershon, School of Teaching, Learning, and Curriculum
Studies, LGBTQ Affiliate Faculty, Kent State University, Kent, OH. E-mail: wgershon@kent.edu
2 GERSHON AND APPELBAUM

DuBois’ (publications 1899-1963) frequent use of musical notation of songs as a means to

articulate trajectories of scholarship, to ongoing conversations about voice and silence, and of
traditionally marginalized populations (e.g., Landsman, Salcedo, & Gorski, 2015; Weis &
Fine, 1993; Miller, 1982). In these early cases, as in those that followed, sound was not a
naïve nor a simplistic reduction to exclusionary practices that only address a “hearing” com-
munity. Rather, the sonic is a sense-expansive form of extending our notions of those charac-
teristics of sound useful to the analysis of educational theory and practice, such as
reverberation, echo, medium, relation of production and consumption, and so on.
Scholarship in Educational Studies can also be understood in the same vein, working at the
intersection of educational foundations and sound studies (e.g., Bull & Back, 2003; Sterne,
2012), to create what we are calling sound foundations. Examples include: Dan W. Butin’s
(2005) article, “Is Anyone Listening? Educational Policy Perspectives on the Social
Foundations of Education”; Emery Petchauer’s (2012) piece, “Sampling Memories: Using
Hip-Hop Aesthetics to Learn from Urban Schooling Experiences;” and Z. Lesley Shore’s
(2000) review essay “Girls Learning, Women Teaching: Dancing to Different Drummers.”
However, although there is indeed a history of work in foundations that could be conceptual-
ized as sound foundations, such a move has not yet been made in the field.
This special issue builds upon this disparate and inchoate collection of scholarship, utiliz-
ing scattered and loose inspirations from sound studies, and forming a coherent subfield that
benefits from the kinds of cross-fertilization and intentional interaction among scholars who
can identify their work within this vein. Emerging forms of self-critique and dialogue neces-
sary for a more mature subfield can better speak across disciplinary and aesthetic boundaries
as well, not simply applying ideas from elsewhere but integrating nuanced theory into the
work of sound artists, sonic social scientists and anthropologists, and cultural studies.
In the latter spirit of nuanced theory growing in maturity and contributing to broader academic
contexts, we should note that sonic metaphors have also been at the center of the philosophical
foundations of education and educational studies. In addition to their historical presence in the
African American intellectual tradition as noted above, sound ideas are found in a wide variety
of scholarship that informs educational foundations, such as: the varied work of Ted Aoki (Pinar
& Irwin [Aoki], 2004); Christopher Emdin (2010) and Bettina Love’s (2012) seminal books and
continuing integration of scholarship and activism in hip hop education; Gershon’s (2017a) recent
book, Sound Curriculum: Sonic Studies in Educational, Theory, Method and Practice; and voices
raised in activism and social justice more broadly, including Audre Lord’s (2012) Sister
Outsider, Therese Quinn and Erica R. Meiner’s (2009) Flaunt It! Queers Organizing for Public
Education and Justice, Dorothy Aguilera Black Bear and, John W. Tippeconnic III’s (2015)
Voices of Resistance and Renewal: Indigenous Leadership in Education, and Trinh T. Minh-ha’s
(2010) Elsewhere, Within Here: Immigration, Refugeeism and the Boundary Event.
However, most educational scholarship has tended to ground itself in alternative metaphors
to vision for perception as a model of coming to know, and using the alternative models to con-
struct new approaches to educational theory based on the implications of listening or sound pro-
duction. The changed models for learning or understanding (for more on this point, see
Appelbaum, 1999) might promote, for example, feminist theories of learning and emancipation
(Blenkey, Clinchy, Goldberger, & Tarule, 1986; Miller, 2005; St. Pierre & Pillow, 2000),
 EDUCATIONAL STUDIES 3

teacher empowerment and labor rights (Anyon, 2005; Weissglass, 1990), reframed epistemolo-
gies that radically alter classroom practices as in Brent Davis’ (1996) Teaching Mathematics:
Toward a Sound Alternative, or a conceptualization of the location of education research toward
youth studies (Ibrahim & Steinberg, 2014; Gustavson, 2007). The significant distinctions in this
area of educational foundations are inescapable differences in quality and kinds of listening to
another (thing), regardless of its categorization as person, animal, ecology, thing, or idea. While
one tends to stand back in order to see, and move closer in order to hear, there is a correspond-
ing element of discomfort associated with being watched, even as people usually want to be
heard. In the application of these distinctions, one can posit a range of new possibilities for
(educational) action, described via the metaphor of listening as determined by structures, for
example: in an interaction with another human being, how one “is” is not primarily a function
of the other person’s actions (as in presumed transmission models of communication and
teaching), but as a consequence of their own structural dynamic (Appelbaum, 2007). From this
perspective, an ear within and part of the body is perturbed by the environment; but it is the
structure of the living being that determines the changes that occur within.
Interaction is in this way something different from instruction—its effects and affects are
never determined by the interaction. Changes result instead from the interaction, determined by
the structure of the disturbed system (check, Gershon, 2013a). In the case of Davis and
Weissglass, listening presents a useful model of embodied action, as opposed to a technique of
hearing; these scholars suggest taxonomies of partially pedagogic forms of interaction signified
by the types of “listening” interactions, distinguished by the features of attending to the one lis-
tened to. This strand of educational foundations also stresses ethical concerns, stemming from
propositions (e.g., Cooper, 1892; Dewey, 1916; DuBois, 1903) that education should not merely
offer the right to speak, but can only take on a truly democratic character if each person is heard;
the more recent instantiations of such philosophical work mentioned here have analyzed the
nature of participation, civic engagement, and teacher-student relationships with this in mind.
The concern with extended metaphors is both their insights and their limitations. On the
one hand, a shift from the visual to the sonic opens up new ideas. On the other hand, both the
visual and the sonic might be considered trapped in an ideology of perception as a severely
proscriptive conception of knowledge and coming to know (Appelbaum, 2007; Gershon,
2017b). This issue embraces Eleni Ikoniadou’s (2014) admonition not to “fetishize the sonic”
(p. 4), recognizing the danger of attending to the wide variety of sonic possibilities without
incidentally arguing for some kind of sonic infallibility or, perhaps even worse, superiority
(Gershon, 2017a). Rather, in soliciting manuscripts for this issue, we sought submissions that
nurture the wide variety of sound possibilities that potentially articulate educational ways of
being and knowing outside the ocular understandings that often dominate educational founda-
tions, even when arguing for the sonic, and that further use sound studies as a window into
post-perceptual discourse. The extended metaphor as a model is only one exciting application
of sound in educational foundations. Sound arts provide unique strategies and tactics for
collecting data, carrying out the composition of multiple elements and processes, mediating
social relations, and expression of self. Sound is material, the subject of study, cultural/social
process, and environmental ecology (Feld, 1982).
4 GERSHON AND APPELBAUM

The purpose of this special issue is to stand on the historical trend of the sonic in educa-
tional foundations to more intentionally attend to and otherwise explore the possibilities of
what sound foundations might mean and how they could function in practice. As the broader
field of sound studies beyond that specifically within education has documented, working the-
oretically, empirically, and methodologically with and through sound can serve to interrupt
both everyday, commonsense understandings and longstanding theoretical foundations that
tend to be predicated on the ocular (e.g., Ikonaidou, 2014; Kim-Cohen, 2009). An interdiscip-
linary field, sound studies has tackled subfields and themes familiar to those who work in edu-
cational foundations. For example, there has been work on sound histories (Rath, 2005;
Smith, 2004), sound philosophies (Erlmann, 2010; Voegelin, 2010), sound culture (Bull &
Back, 2003; Erlmann, 2004), sound/race (Burdick, 2013; Stoever, 2016; Weheliye, 2005) and
sound methodologies (Journal of Sonic Studies, 2013; Makagon & Neumann, 2009). As noted
in a recent article in the twentieth anniversary issue of Qualitative Inquiry (Daza & Gershon,
2015), there has also been a burgeoning attention to sound scholarship in education (e.g.,
Brownell & Wargo, 2017; Gallagher, 2016; Gallagher, Kanngieser & Prior, 2016; Gallagher
& Prior, 2014; Gallagher, Prior, Needham & Holmes, 2017; Gershon, 2011a, 2011b, 2013a,
2013b, 2013c; Wargo, 2017, 2018; Wozolek, 2015, in press).

MURMURATIONS OF FUTURES PAST: METAPHORS, THEORIES, AND

THE MEMETIC

The overwhelming tendency in how educational scholars utilize sonic theories and the sound
ideas that comprise them is memetic. While we applaud strong uses of the sonic, there is a diffi-
culty in speaking primarily in literal ways. For example, to say that there is an echo of an idea,
a possibility that reverberates across space-time, at once articulates connections and histories
while noting the particularities of the currently emergent. However, most talk of echoes neither
take such histories seriously nor mine them for additional theoretical advancements, as Frances
Dyson (2014) does connecting echo to eco in the introduction to The Tone of Our Times:
Sound, Sense, Economy, and Ecology. In a similar fashion, while silencing continues to be a sig-
nificant, ongoing conversation in educational foundations, a dialogue we deeply support, it is
much more rare for educational scholars to consider the focus of Kevin Quashie’s (2012) The
Sovereignty of Quiet: Beyond Resistance in Black Culture. What might it mean to acknowledge
quietude as a deeply meaningful expression, from internal conversations to more external
expressions of polity in Black culture, and what does it say about a continued othering that man-
ages a tradition of overlooking such significant signifying? As but one example, consider Emma
Gonzalez’s silence during her speech at the 2018 March for Our Lives rally in Washington
D.C., an event and movement she helped spearhead in the wake of a mass shooting at Marjory
Stoneman Douglas High School in Parkland, Florida, that left 17 peers murdered and 15 injured
(Amatulli, 2018). Or, what might it mean for sound foundations to embrace a post-colonial son-
ority or a sonic theoretical and methodological move parallel to Indigenous refusal of settler col-
onialities (Simpson, 2007, 2015)? The latter is critical to consider in light of the ways that
sound studies have reflected and buttressed coloniality in recent academic scholarship by
 EDUCATIONAL STUDIES 5

applying musicological terms (voice, harmony, counter-melody, dissonance, etc.) without reflex-
ivity. In the same ways that anthropology was born of colonialism and imperialism, sound stud-
ies and sound arts have their own complex histories of picking up the pieces of indigenous,
folk, popular, Western classical, diasporic, and creolized musical arts and art criticism, without
interrogating unspoken categories and unquestioned systems of classification. Just as educational
foundations might be characterized as born of colonialism and raised on imperialism
(Appelbaum, 2013), sonic foundations and sonic-education-studies runs its own risk if it
does not take heed to avoid the tropes and categories of this legacy, and to instead dwell in the
creolized intercultures of a critical post-colonialism (Appelbaum, 2012).
Part of what we seek to engender in this special issue is to performatively underscore the
merits and potential for sound educational scholarship across the subdisciplines that comprise
educational foundations—a move that at once echoes a rich pattern of scholarship and docu-
ments a multiplicity of ecos, ecologies, contexts, and their interrelations. At the same time, we
hope to encourage less mimetic and synonymous sonic expressions; there are sound methods,
ways of using the sonic as research tools regardless of how understandings from the informa-
tion gathered are expressed, as sounds or text for example. Some of these methods attend
primarily to the sounds themselves, as objects of study; others theorize through the sounds to
interact with those concepts, processes, and situations to which they refer.
As but one of many possible means for considering sound-in-practice, Walter (in press)
has come to speak of sound-oriented research practices as being comprised of four distinct yet
interrelated aspects: intention, attention, expression, and reception. Where intention is what
the producer, artist, scholar, or otherwise, means to do, attention is the focus of that which she
filters from literally infinite possibilities. Expression is the medium, media, and mode through
which those intentions and attentions are conveyed to others and their reception is how inten-
tions and attentions are perceived by the things and ecologies they comprise, including the
producer herself. Although put forward as a means to consider sonic methodologies and their
distinctions from other forms of sound expression such as soundart and music, this set of
constructs can also be useful for theorizing.
On the other hand, Peter’s recent work in sound arts has been exploring the ways that
sound has the potential to defy categories, or at least to help us to experience the aleatoric
openness of the defined-otherwise. Revisiting Seth Kim-Cohen’s (2009) admonition that one
“can’t have a window without a wall,” his own creative sound work and his experiments with
curriculum structures have directly confronted music where the composer/performer/audience,
sound/score/location/duration, or sound/taste/smell/feeling/change/combination seem to never
be in any one of the expected categories, and yet in any one of them, at the same time. As
both knowledge and authority, such explorations provide both analogy and concrete phenom-
enological experience that fails to be expressible in a format such as an introduction to a spe-
cial issue of an academic journal. They also challenge our inherited assumptions about time
and space in curious ways, since sounds can locate us in places other than our supposedly
bodied location, while also fixing us within a particular concrete situation.
This is particularly the case as sounds do not follow well-trodden scholarly tropes and
metaphors. There is no gaze to be had, no scholarly vision to be described. Instead, we are in
the world of sound, a constant over-inundated with omnidirectional, omnipresent information
6 GERSHON AND APPELBAUM

that overwhelms our receptors, reverberating as much above and below our audibility as
sounds travel through and off of ourselves, turning each of us into nodes that are echoing
ecos, contributing to non-essentializing, interrelated sonic ecologies. We sound and we
resound. Rather than frame, we filter, rather than gaze we listen, attuned to particularities
within the ever-crashing waves. It is in this milieu that the above possibilities are valuable,
when it is no longer possible to claim that something was somehow not already misheard and
the possibilities for focus are endless. Intention, attention, expression, and reception speak to
active nature of the theorizer and her choices in theorizing, a call to explicate biases and
assumptions while tracing movements through selected troughs and eddies of ideas that cannot
be divorced from their ideals (check also Gershon, 2017b, in press). Yet, there is no need to
privilege some sort of literal, concrete, phenomenological “perception”, as discussed above;
just as social theories would avoid individual-social dichotomies, so must we appreciate the
ways that before/now/after, sound creator/receiver/imaginer, and so on are as much indicators
of our naïve or nuanced understandings of the human/natural, environment/actor, post-human/
psychological as they are co-conspirators in their construction.
In short, when all it takes for metaphors across an inter/trans/disciplinary field such as edu-
cational foundations to fall flat is a change in sensory foregrounding, then the metaphors and
the ideas that they support are nearly as strong or deep as they might otherwise appear (e.g.,
Appelbaum 2007, 2013; Gershon, 2011a). Our point here is not to venerate the sonic to a
point of ridiculousness or to suggest that the ocular and all it brings, from vision to text, are
somehow not significant. Rather, we seek to elevate the sonic to the level of the ocular and to
suggest that other senses and sensoria might also be provided the same dignified air. We seek
further to challenge our conceptions of authority/knowledge in educational studies by using
the sonic to challenge our assumptions about conception and perception itself, as an ideology
that we might in some ways transcend or circumvent. Consider Duchamp’s notion that (vis-
ual) arts could enter whole new universes of possibility if they were non-retinal, not tied to
what is literally seen, but blossoming beyond perception while still finding the sensory sensual
and communicative in itself. The same can be said of the sonic, which pulls us out of the
sounds in themselves into realms to which they point, to questions that they raise and to
demands they make of educators. In either case, simply moving to the sonic does not create
sound scholarship any more than watching automatically lends itself to significance, authority
or knowledge. Nor does working in or with sound create a context where any ecology, ideal,
idea, theory, or practice is necessarily more truthful or realistic. Sonic scholarship is not
necessarily “sound” scholarship.

SOUND POSSIBILITIES, SOUND FOUNDATIONS

Contributors to this special issue serve as an opening of a way, a set of possible directions for
how the sonic might be conceptualized and used across educational ways of being and know-
ing, in this case, as sounds pertain to understandings of educational foundations. To be abun-
dantly clear, it is our absolute pleasure to present the works in this special issue. We are
deeply indebted to both Educational Studies, and to each of the contributors for their time,
 EDUCATIONAL STUDIES 7

effort, space, thought, and strong scholarship. Rather, our point here is that we, along with the
authors whose work you will encounter in this issue, articulate the potential for sound
directions in educational theorizing, empirical work, and practice—they are indicators of
things to come, not an educational rarity or scholarly cul-de-sac. This ain’t no B-side trip.
Along these lines, it is also important to argue that there are indeed other aspects of sound
scholarship in education that are not represented in this special issue, and that such absences
are questions of circumstance rather than intention. For example, there are no specific pieces
of hip hop education in this special issue. Not only do we hold such work in high regard, we
also do not wish to incidentally reinscribe what might be perceived as implicit divides
between “sound scholarship” and “hip hop education.” For us, such separations not only do
not exist but are silly. Of course, hip hop education is part of sound education and one cannot
have hip hop education without sound. Similarly, none of these pieces is from a music educa-
tion perspective. This too is not separate from questions of sound education or the kinds of
scholarship we seek to engender.
The works represented here do speak to particular understandings in the field of sound
studies and their expression in educational foundations, conceptualizations of the ideas and
ideals that are imbued in educational interactions, the ways in which silences resound in
schooling, and the resonances – of injustice, for example. We hope that this collection is
received as pushing at the boundaries and possibilities of what educational foundations might
mean and how they might function in practice. It is therefore with great pride we that we
present the following issue.
Boni Fernandes Wozolek opens the collection by asking us to consider what it might mean
to truly listen, not only as an act of awareness but as a kind of attention to another’s ways of
being, so that it can resonate to a point that they experience being truly heard. Notice how
Wozolek is not merely individuating “personal” experience, but call our attention to the ways
that sounds are critical features of situations of injustice that individuals find themselves
within. Next, Jon Wargo presses us to wonder what such earwitnessing might mean in
practice, another articulation of how nested and layered narratives echo across topographies,
traveling trajectories of injustice that can be otologically inverted. Wargo’s approach contrasts
that of Wozolek by stacking stories to understand how sound and the sonic experience of
education intersect and come to crystalize a “being-in-resonance-with”.
Through a combination of text, audio, and image, Cassie Brownell, David Sheridan, and
Christopher Sales then open the doors on the aurality of a cross-disciplinary course that fore-
grounds the sonic; in so doing, they discover relationships between student compositions and
potentials for deeply-engaged learning through soundscapes. This piece is followed by Reagan
Mitchell, who navigates multiple fields to tell a tale of a community, critical social theory,
and composition, a tale that enunciates the sonic as expressing possibilities and absence of
Blackness in African diasporas. Mitchell leads us beyond sound as heard, to embrace sound
as lived, experienced, and in particular, as articulated by cultural crossings.
In the subsequent article, Orit Schwarz-Franco argues for the importance of polyphony as
both a metaphorical means to conceptualize educational interactions, and as pedagogical proc-
esses for engaging the multiplicity of simultaneity that is the complexity of everyday class-
room interactions. We then return to questions of embodiment and the multiplicity of relations
8 GERSHON AND APPELBAUM

between sound, silence, and soundscape in S. A. (Stacey) Bliss’ article on sound and peda-
gogy in an urban ashram. Our special issue ends in Michael Gallagher, Abigail Hackett, Lisa
Procter, and Fiona Scott’s exploration of connections between early childhood literacy and the
possibilities of the sonic for young people and the educators who work with them. They help
us to better comprehend how sounds are consumed, imagined, and generative; as characteristic
of literacy practices more generally, sounds are part of the ways that young people more
deeply express themselves and, in those interrelated movements of sound, ideas, and ideals,
better makes themselves present to those who would be listening.
As is likely clear to the reader, ending with Gallagher, Hackett, Procter, and Scott is an
intentional return to where we began, themes that run through the articles in this special issue
that echo points raised by Wozolek and Wargo at the outset. For this is what sound does well,
slipping through interstices, enunciating cracks, insisting on intersections, and pressing at pro-
clivities. We resonate as we are resonators, listening as we move, hearing as we perceive, and
are always resounding, our silences speaking as loudly as our explicit soundings. We hope
that experiencing these articles is one of finding oneself far away from one’s home, similar to
how Mitchell describes the composer Louis Moreau Gottschalk’s sojourn in the French coun-
tryside. Just as Gottschalk’s longing for the rhythms of home enabled him to find his voice, it
may very well be that dwelling in these lovely articles will help our readers to return to those
rhythms and echoes of their own homes within educational studies, able to integrate them
with these new cultures of sonic theorizing, and, in the process, transform them.
As with the sonic possibilities in education they articulate and engender, this special issue
explicates echoes, reifies reverberations, sounds silences, and notates noise. To this end, we
wish to reiterate that we recognize there are a wealth of voices, understandings, and potential-
ities that are not present in this special issue. While this particular mode of expression, a spe-
cial issue of an academic journal, has particular boundaries and reinforces certain kinds of
understandings, it is important to us that we end on this note. For sounds continue in metaphor
and practice beyond our imaginaries and outside of our perceptions. Sounds resound, and, as
we hope this strong collection of essays underscores, so too does it provide significant means
for conceptualizing and reconsidering the many fields and factions that call educational
foundations home.

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