Touching Listening: The Aural Imaginary in the World Music Culture Industry

Kheshti, Roshanak

doi:10.1353/aq.2011.0035

Cited by 53 publications

(6 citation statements)

References 12 publications

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“…Manalansan (2005) offers “queer” as a rubric with which to theorize “cultural dissonance” that Filipinx immigrants may “experience with identity categories and cultural practices” (146). Relatedly, sound is understood as vibrations that shape corporeal sensations (Campt, 2017; Eidsheim, 2015; Kheshti, 2011) and elicit new formations of self and community.…”

Section: Framing Queer Soundmentioning

confidence: 99%

“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience

Mecija

2021

Global Studies of Childhood

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This article examines Diane Paragas’ film Yellow Rose (2019) for its capacity to offer important insights into the reparative utility of music for a child separated from a parent due to deportation. While the film depicts the brutality of contemporary U.S. migration policies, Yellow Rose is also a story about the role of aesthetic expression in childhood’s diasporic imaginaries. The film teaches us about the agentic potential of music as a mode of dealing with the trauma of forced separation. In particular, the genre of American country music is affectively instrumentalized by the film’s young, Filipinx protagonist. In deepening my argument, I work with the film to explain that the kinship between Rose and a genre of music that is hegemonically associated with whiteness produces a “queer sonic” that serves as conduit for the emergence of contingent networks of care and methods of survival. I propose that queer sonic expression, or the unassimilable qualities of sound and genre, is a site where we can broaden racialized imaginings of Filipinx childhood, as it offers an opportunity for reparation.

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Section: Framing Queer Soundmentioning

confidence: 99%

“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience

Mecija

2021

Global Studies of Childhood

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“…By expanding the existing literature exploring sound and literacy practices, this study focuses less on how students compose and record sound in learning environments. Rather, we explore how sonic sensemaking shapes student perspectives and identitites, buidling on Kheshti's (2011) description of an "aural imaginary" that constructs an imagined identity of a group or an individual as "elicited in sound (p. 724). Exploring hip-hop and classroom learning practices, Petchauer (2020) demonstrates how this aural imaginary can reconfigure learning environments and the act of listening, illustrating in his study that "sounds and youth attunements to sounds entangle the interactions in motion across this English education learning space" (n.p.).…”

Section: Related Literature: Soundscapes and Multimodalitymentioning

confidence: 99%

Bus riding leitmotifs: making multimodal meaning with elementary youth on a public school bus

Garcia

Robillard

Suzara

et al. 2021

ETPC

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Purpose This study explores student sensemaking based on the creation and interpretation of sound on a public school bus, operating as a result of a desegregation settlement. To understand these multimodal literacy practices, the authors examined students’ journeys, sonically as passengers in mobile and adult-constructed space. Design/methodology/approach As a qualitative study, the authors used ethnographic methods for data collection. Additionally, the authors used a design-based research approach to work alongside students to capture and interpret sound levels on the bus. Findings Findings from this study illustrate how students used sounds as a means to create community, engage in agentic choices and make meaning of their surroundings. Moreover, students used sound as a way around the pervasive drone of the bus itself. Research limitations/implications Research implications from this study speak to the need for research approaches that extend beyond visual observation. Sonic interpretation can offer researchers greater understanding into student learning as they spend time in interstitial spaces. Practical implications This manuscript illustrates possibilities that emerge if educators attune to the sounds that shape a learner’s day and the ways in which attention to sonic design can create more equitable spaces that are conducive to students’ learning and literacy needs. Originality/value This study demonstrates the use of sound as a means of sensemaking, calling attention to new ways of understanding student experiences in adult-governed spaces.

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“…Miles and Huberman note that pattern coding can "turn around" themes and theoretical constructs. Following Kheshti (2011), this code turns around the imagined other elicited through sound, affective relationships and entanglements to flows of capital and industry. Still following Miles and Huberman, I then wrote memos to expand on the emerging relationship among these codes and my iterative reading in sound studies.…”

Section: Data Generation Organization and Analysismentioning

confidence: 99%

“…I draw from the interdisciplinary field of sound studies and, specifically, the concept of aural imaginary (Kheshti, 2011) to explore the collisions alive and in-motion across scenes such as the one introduced above. I am guided by the following question: How do sound and youth attunements to sound collide across this English language community learning space?…”

mentioning

confidence: 99%

“Oh boy, I ain’t playin’ no games!”: making sense with youth in the aural imaginary

Petchauer

2020

ETPC

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Purpose This paper aims to explore how sounds and attunements to particular organizations of sound collide across an English language community learning space. The activities in the paper come from a six-week summer initiative that connected middle school youth with community artists for writing songs and rap lyrics, making beats and hip-hop DJing. Design/methodology/approach This paper draws from the interdisciplinary field of sound studies and, specifically, the concept of aural imaginary to explore the collisions alive and in-motion across the learning space. The paper uses qualitative and ethnographic approaches to explore the research questions. Findings The findings focus on how youth hear certain sounds and organizations of sound in music as “old” and “new,” and how these shifting listening entangle talk, claims and interactions in the learning space. The findings also trace the ways that youth use sound as an active, aural resource to make competing distinctions between rapping, singing and talking. Originality/value This paper reasserts the role of sound in multiliteracies, hip-hop and English education work, keying into the ways it collides with other aspect of the learning space. The paper raises questions about what educators might attune themselves to by considering English education as already taking place in a youth aural imaginary.

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Touching Listening: The Aural Imaginary in the World Music Culture Industry

Cited by 53 publications

References 12 publications

“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience

“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience

Bus riding leitmotifs: making multimodal meaning with elementary youth on a public school bus

“Oh boy, I ain’t playin’ no games!”: making sense with youth in the aural imaginary

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