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(Re)Sounding Pedagogy: Critical Communication Pedagogies of/for/in Sound

Deadline: 1 November 2019

The murmur of student voices before a class begins on the first day of a new semester, the whir of the cooling fan in a ceiling mounted projector, squeaking desk chairs, rain pelting the windows, the scratching of pencils on paper, a loud conversation taking place just outside a classroom, a policy on in-class cellphone usage, an assigned group presentation, an audio clip, an appeal made by a teacher for silence (or listening via silence), the vibrations signaling an incoming text message, bags unzipped and zipped, bodies rhythmically moving in and out of a classroom at designated times.

As these descriptive fragments indicate, sound permeates pedagogical interaction in ways that are mundane, material, and often institutionalized. This themed issue uses the interdisciplinary field of sound studies as an opening to consider the ways critical communication pedagogies are constituted by sound, enact sound, and potentially transform sound. The theme extends to teaching and learning an interest in sound as a “substance of the world as well as a basic part of how people frame their knowledge about the world.”[i] Sound is a significant topic for attention within critical communication pedagogy, given its shaping impact on perceptions embedded in habituated/habituating systems of power and privilege. As Michael Chion observes: “To maintain in sonic life—or to suggest that others do so—a purely descriptive and disinterested attitude, like a curious onlooker, is not so easy, since sound triggers enormous effects.”[ii] Sound is an embodied, dynamic, and politically and culturally significant pedagogical phenomenon.

In addition to written submissions (9,000 words maximum including endnotes), we invite the inclusion of digitally recorded content featuring performances, analyses, and explorations of pedagogies of/for/in sound. Recorded submissions may accompany a written essay or may be submitted in lieu of a written text.

Questions for exploration include (but are not restricted to):

  • What relationships (might) exist between sound and critical communication pedagogy?
  • How does sound constitute pedagogical interaction?
  • How does critical communication pedagogy shape sound and understandings of sound?
  • How might sound augment/offer new ways of creating and enacting critical communication pedagogy?

[i] David Novak and Matt Sakakeeny, eds., “Introduction,” in Keywords in Sound (Durham, NC: Duke University Press, 2015), 2.

[ii] Michel Chion, Sound: An Acoulogical Treatise, trans. James A. Steintrager (Durham, NC: Duke University Press, 2016), 201.

Submission Deadline & Guidelines

Deadline: September 1, 2019

Manuscripts must be submitted electronically through the ScholarOne Manuscripts site for Review of Communication: https://mc.manuscriptcentral.com/rroc

Manuscripts should be prepared in Microsoft Word using a 12-point common font, double-spaced, no more than 9,000 words (including endnotes).

For authors who would like to submit digital content, a link to the content must be provided either within the manuscript or within a separate word document

Please refer to and follow the journal’s manuscript preparations instruction for authors: https://www.tandfonline.com/action/authorSubmission?show=instructions&journalCode=rroc20

Authors should identify which themed call their paper is responding to by selecting the relevant drop-down option in ScholarOne. 

Review of Communication

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Review Process

In keeping with the journal’s current practice, submissions will undergo rigorous peer review, including screening by the guest editors and review by at least two anonymous referees.

Please direct inquiries about the (Re)Sounding Pedagogy themed issue to:

Chris McRae, Ph.D.
Associate Professor
Department of Communication
University of South Florida


Keith Nainby, Ph.D.
Professor & Department Chair
Communication Studies
California State University Stanislaus


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