Abstract
Writing about the performing arts generally refers not only to other written artifacts but also to bodies in motion, images, and sounds. The case studies in this chapter present writing assignments that deal directly with the problem of representing the non-verbal in writing and with the challenge of writing for a non-academic audience. K. Dawn Grapes’ case study outlines a sequence of program notes writing assignments requiring incorporated research, critical thinking, and adherence to style guidelines, with the goal of successfully preparing students for longer, more in-depth writing projects. James Brock details his discovery that the introduction of practices from theatre could help creative writing students to discover that they are polyvocal performers, and that they have many voices.
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Notes
- 1.
George D. Kuh and Carol Geary Schneider, High-Impact Educational Practices: What They Are, Who has Access to Them, and Why They Matter, 10.
- 2.
Michele Eodice, Anne Ellen Geller, and Neal Lerner, The Meaningful Writing Project: Learning, Teaching and Writing in Higher Education, 4.
- 3.
Eodice, Geller, and Lerner, The Meaningful Writing Project, 5.
- 4.
Dan Melzer, “A Panoramic View of College Writing,” Chapter 2.
- 5.
Ann Nugent, “Extending Critical Voices Between the Lecture Room and the Dance Studio,” 96.
- 6.
Julie Malnig, ““But How Do I Write about Dance?”: Thoughts on Teaching Criticism,” 93.
- 7.
Paul Bonin-Rodriguez, “The Staged Business of Artists in Public Practice: Writing for/about Art,” 25.
- 8.
“Colorado State University Academic Core Curriculum Report on Objectives and Criteria,” 5–9. Also see https://curriculum.colostate.edu/aucc-foundations-and-perspectives/.
- 9.
Michael Allsen, “Writing Concert Program Notes,” 39–40. For one argument against using musical analysis within public program notes, see James M. Keller, “Program Notes,” 39–40. For additional information on program notes writing, also see Jonathan Bellman, A Short Guide; Michele L. Henry and Laurel E. Zeiss, “Musicians as Authors”; Joseph Kerman, “The Art of the Program Note”; Fred Everett Maus, “Learning from ‘Occasional’ Writing”; Nigel Simeone, “Program Note”; and Richard Wingell, Writing about Music.
- 10.
Peter Elbow , “Voice in Writing Again: Embracing Contraries,” 171.
- 11.
William Stafford , “Writing the Australian Crawl,” 12.
- 12.
Stafford , “Writing the Australian Crawl,” 12.
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———. 2007. Voice in Writing Again: Embracing Contraries. College English 70 (2): 168–188.
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Hayford, M., Kattwinkel, S. (2018). Writing-Intensive Courses. In: Hayford, M., Kattwinkel, S. (eds) Performing Arts as High-Impact Practice. The Arts in Higher Education. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-72944-2_5
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