Sonic play: on the B-side of literacy and songwriting

Abstract

Purpose

This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth’s sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship.

Design/methodology/approach

The authors’ team consisted of three community-based teaching artists who situated this inquiry around their own practice with youth. The authors conducted this inquiry through a qualitative, participatory and community-engaged research approach. As such, the authors codeveloped and carried out research questions and sense-making protocols that balance the power of interpretation and epistemologies among us.

Findings

The findings address how the joy, laughter and play of one young musician, Malik, moved across different conceptions of time while learning to make beats in proximity to peers writing lyrics for songs. Specifically, the authors unpack how Malik’s play with mobile sound-making technologies moved across linear and nonlinear time that characterize sonic space and sound art, not music and lyric writing. In doing so, the loops and durations of his sonic play were sometimes unbound by narrative structures that often code literacy and songwriting initiatives.

Originality/value

The authors’ inquiry speaks into literacy and songwriting initiatives that privilege spoken, written and performed word over sound. The authors ask what kind of participating structures, collaborations, ontologies and youth epistemologies open up if we think of youth in these spaces not only as performers but as programmers tinkering with time in the machine. In addition, the authors ask what literacy and songwriting spaces might look like when the duration, loops and drones of sonic space and not music are the structuring codes over narratives and linearity.