The Oxford handbook of sound studies / edited by Trevor Pinch, Karin Bijsterveld.

Contributor(s):

Material type: Text

TextSeries: Oxford handbooks in musicPublisher: New York : Oxford University Press, 2013Description: xii, 593 pages : illustrations ; 25 cmContent type:

text
still image

Media type:

unmediated

Carrier type:

volume

ISBN:

9780199995813 (pbk.) :

Other title:

Sound studies

Subject(s):

DDC classification:

534 PIN 23

Holdings
Item type	Current library	Call number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	534 PIN (Browse shelf(Opens below))	Available		39002100610675

Enhanced descriptions from Syndetics:

Written by the world's leading scholars and researchers in the emerging field of sound studies, The Oxford Handbook of Sound Studies offers new and fully engaging perspectives on the significance of sound in its material and cultural forms. The book considers sounds and music as experienced in such diverse settings as shop floors, laboratories, clinics, design studios, homes, and clubs, across an impressively broad range of historical periods and national and cultural contexts. Science has traditionally been understood as a visual matter, a study which has historically been undertaken with optical technologies such as slides, graphs, and telescopes. This book questions that notion powerfully by showing how listening has contributed to scientific practice. Sounds have always been a part of human experience, shaping and transforming the world in which we live in ways that often go unnoticed. Sounds and music, the authors argue, are embedded in the fabric of everyday life, art, commerce, and politics in ways which impact our perception of the world. Through an extraordinarily diverse set of case studies, authors illustrate how sounds - from the sounds of industrialization, to the sounds of automobiles, to sounds in underwater music and hip-hop, to the sounds of nanotechnology - give rise to new forms listening practices. In addition, the book discusses the rise of new public problems such as noise pollution, hearing loss, and the "end" of the amateur musician that stem from the spread and appropriation of new sound- and music-related technologies, analog and digital, in many domains of life. Rich in vivid and detailed examples and compelling case studies, and featuring a companion website of listening samples, this remarkable volume boldly challenges readers to rethink the way they hear and understand the world.

Includes bibliographical references and index.

Table of contents provided by Syndetics

Contributors (p. xi)
About the companion website (p. xiii)
New Keys to the World of Sound (p. 3)
Section I Reworking Machine Sound: Shop Floors and Test Sites
1 The Garden in the Machine: Listening to Early American Industrialization (p. 39)
2 Turning a Deaf Ear? Industrial Noise and Noise Control in Germany since the 1920s (p. 58)
3 "Sobbing, Whining, Rumbling": Listening to Automobiles as Social Practice (p. 79)
4 Selling Sound: Testing, Designing, and Marketing Sound in the European Car Industry (p. 102)
Section II Staging Sound For Science and Art: The Field
5 Sound Sterile: Making Scientific Field Recordings in Ornithology (p. 127)
6 Underwater Music: Tuning Composition to the Sounds of Science (p. 151)
7 A Gray Box: The Phonograph in Laboratory Experiments and Fieldwork, 1900-1920 (p. 176)
Section III Staging Sound for Science and Art: The Lab
8 From Scientific Instruments to Musical Instruments: The Tuning Fork, the Metronome, and the Siren (p. 201)
9 Conversions: Sound and Sight, Military and Civilian (p. 224)
10 The Search for the "Killer Application": Drawing the Boundaries around the Sonification of Scientific Data (p. 249)
Section IV Speaking for the Body: The Clinic
11 Inner and Outer Sancta: Earplugs and Hospitals (p. 273)
12 Sounding Bodies: Medical Students and the Acquisition of Stethoscopic Perspectives (p. 298)
13 Do Signals Have Politics? Inscribing Abilities in Cochlear Implants (p. 320)
Section V Editing Sound: The Design Studio
14 Sound and Player Immersion in Digital Games (p. 347)
15 The Sonic Playpen: Sound Design and Technology in Pixar's Animated Shorts (p. 367)
16 The Avant-Garde in the Family Room: American Advertising and the Domestication of Electronic Music in the 1960s and 1970s (p. 387)
Section VI Consuming Sound and Music: The Home and Beyond
17 Visibly Audible: The Radio Dial as Mediating Interface (p. 411)
18 From Listening to Distribution: Nonofficial Music Practices in Hungary and Czechoslovakia from the 1960s to the 1980s (p. 440)
19 The Amateur in the Age of Mechanical Music (p. 459)
20 Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com (p. 480)
Section VII Moving Sound and Music: Digital Storage
21 Analog Turns Digital: Hip-Hop, Technology, and the Maintenance of Racial Authenticity (p. 505)
22 iPod Culture: The Toxic Pleasures of Audiotopia (p. 526)
23 The Recording That Never Wanted to Be Heard and Other Stories of Sonification (p. 544)
Index (p. 561)

Author notes provided by Syndetics

Trevor Pinch is Professor of Science and Technology Studies at Cornell University, and author or co-author of several books including Analog Days: The Invention and Impact of the Moog Synthesizer (2002, with Frank Trocco) and The Golem at Large: What You Should Know About Technology (1993,1998, with Harry-Collins).
Karin Bijsterveld is Professor of Science, Technology and Modern Culture at Maastricht University. She is author of Mechanical Sound: Technology, Culture and Public Problems of Noise in the Twentieth Century (2008), and co-editor of Sound Souvenirs: Audio Technologies, Memory and Cultural Practices (2009, with Jos van Dijck).