Sound Studies is the primary theoretical and empirical alternative to our understanding of media and culture by visual means. The field is now well established as a serious area of research and study. Concentrating on the history of audio media, Sound Studies explores the nature of sound and listening, and its role in modern experience and perception. Furthermore, the subdiscipline questions the adequacy of previous—visually based—epistemologies of media and culture to offer a comprehensive understanding and interpretation of central facets of everyday life, historically, comparatively and in terms of present-day experience. Sound Studies investigates the different ways in which people experience the world of sound and how sound is embedded in culture, history, institutions, design, architecture, and technologies.
If Sound Studies incorporates the sonic turn in Media Studies and coheres around Cultural Studies, it also extends into Urban Studies, Aesthetics, History, Architecture, and Anthropology. It looks at the wide array of sonic experiences in society to include sound, music, and silence. In so doing it goes beyond the traditional disciplines of Ethnomusicology, History of Music, and the Sociology of Music.
As research in and around Sound Studies flourishes as never before, this new four-volume collection from Routledge’s acclaimed Critical Concepts in Media and Cultural Studies series meets the need for an authoritative reference work to make sense of a rapidly growing and ever more complex corpus of interdisciplinary literature. Edited by a leading scholar, Sound Studies gathers foundational and canonical work, together with innovative and cutting-edge applications and interventions.
With a full index, together with a comprehensive introduction, newly written by the editor, which places the collected material in its historical and intellectual context, Sound Studies is an essential work of reference. For the novice or advanced student, the collection will be particularly useful as an essential database allowing scattered and often fugitive material to be easily located. And, for the more advanced scholar, it will be welcomed as a crucial tool permitting rapid access to less familiar—and sometimes overlooked—texts. For both, Sound Studies will be valued as a vital one-stop research and pedagogic resource.
Volume I: Sound Studies: Meanings and Scope
Part 1: Theorizing Cultures of Sound
1. Jacques Attali, ‘Listening’, Noise: The Political Economy of Music (University of Minnesota Press, 1985), pp. 3–20,
2. Walter J. Ong, ‘The Orality of Language’, Orality and Literacy: The Technologizing of the Word (Routledge, 1982),
3. Henry D. Thoreau, ‘Sounds’, Walden or Life in the Woods  (Folio Society, 2009), pp. 89–102.
4. R. Murray Schaffer, ‘The Rural Soundscape’, The Soundscape: Our Sonic Environment and the Tuning of the World (Destiny Books, 1977), pp. 43–52, 280–2.
5. Luigi Russola, The Art of Noise (Futurist Manifesto, 1913), pp. 3–12.
6. Douglas Kahn, ‘Noises of the Avant-Garde’, Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 1999), pp. 45–67, 370–8.
7. Leigh Eric Schmidt, ‘Hearing Loss’, Hearing Things: Religion, Illusion, and the American Enlightenment (Harvard University Press, 2000), pp. 15–37, 256–62.
8. Jean-Paul Thibaud, ‘The Sensory Fabric of Urban Ambiences’, Senses and Society, 2011, 6, 203–15.
9. Caroline Bassett, ‘Twittering Machines: Antinoise and Other Tricks of the Ear’, Differences: A Journal of Feminist Cultural Studies, 2011, 22, 2/3, 276–99.
10. Ari Y. Kelman, ‘Rethinking the Soundscape: A Critical Genealogy of a Key Term in Sound Studies’, Senses and Society, 2010, 5, 2, 212–34.
Part 2: Interdisciplinary Sounds
11. Alain Corbin, ‘Communities and Their Bells’, Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (Columbia University Press, 1998), pp. 73–94, 328–34.
12. Steve Feld and Donald Brenneis, ‘Doing Anthropology in Sound’, American Ethnologist, 2004, 31, 4, 461–74.
13. Christopher L. Whitmore, ‘Vision, Media, Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’, Journal of Material Culture, 2006, 11, 267–92.
14. Toby Butler, ‘A Walk of Art: The Potential of the Sound Walk as Practice in Cultural Geography’, Social and Cultural Geography, 2006, 7, 6, 889–908.
15. Peter A. Coates, ‘The Strange Stillness of the Past: Towards an Environmental History of Sound and Noise’, Environmental History, 2005, 10, 4, 636–65.
16. Steve Connor, ‘Ears Have Wall: On Hearing Art’, FO(A)RM, 2005, 4, 48–57.
Part 3: The Sensory Media
17. Marshall McLuhan, ‘The Medium is the Message’, Understanding Media: The Extensions of Man (Routledge, 1964), pp. 7–23.
18. Walter Benjamin, ‘The Work of Art in the Age of its Technological Reproducability’ , in H. Eiland and M. Jennings (eds.), Walter Benjamin: Selected Writings, Vol. 4 (Harvard University Press, 2003), pp. 251–83.
19. John Durham Peters, ‘Phantasms of the Living, Dialogues with the Dead’, Speaking into the Air: A History of the Idea of Communication (University of Chicago Press, 1999), pp. 137–76.
20. Michael Bull, ‘An Auditory Epistemology of Urban Experience’, Sounding Out the City: Personal Stereos and the Management of Everyday Life (Berg, 2000), pp. 115–34.
21. Frances Dyson, ‘Ethereal Transmissions: The "Tele" of Phone’, Sounding New Media: Immersion and Embodiment in the Arts and Culture (University of California Press, 2009), pp. 18–32, 192–6.
Volume II: Ecologies of Hearing and Listening
Part 4: Listening to the Media
22. Theodor Adorno, ‘On the Fetish Character of Music and the Regression of Listening’ , in R. Leppert (ed.), Theodor Adorno: Essays on Music (University of California Press, 2002), pp. 283–316.
23. David Toop, ‘Each Echoing Opening: Each Muffled Closure’, Sinister Resonance: The Mediumship of the Listener (Continuum Books, 2010), pp. 27–38, 239–40.
24. Kate Lacey, ‘Listening Overlooked: An Audit of Listening as a Category in the Public Sphere’, The Public Javnost, 2011, XV111, 4, 5–20.
25. Tim J. Anderson, ‘Stereo, the Pliable Frontier: Stereo as the New Spatial Palette of Audio’, Making Easy Listening: Material Culture and Postwar American Recording (University of Minnesota Press, 2006), pp. 151–78, 210–15.
26. Charles Hirschkind, ‘The Ethics of Listening’, The Ethical Soundscape. Cassette Sermons and Islamic Counterpublics (Columbia University Press 2006), pp. 67–104, 226–32.
27. Erika Brady, ‘A Magic Speaking Object: Early Patterns of Response to the Phonograph’, A Spiral Way: How the Phonograph Changed Ethnography (University Press of Mississippi, 1999), pp. 27–51, 127–8.
Part 5: Listening to and Hearing the Sounds of Conflict
28. Richard Cullen Rath, ‘The Howling Wilderness’, How Early America Sounded (Cornell University Press, 2003), pp. 145–72, 213–17.
29. Mark M. Smith, ‘Listening to the Heard Worlds of Antebellum America’ , in M. Bull and L. Back (eds.), The Auditory Culture Reader (Berg, 2003), pp. 137–63.
30. Paul Moore, ‘Sectarian Sound and Cultural Identity in Northern Ireland’, in M. Bull and L. Back (eds.), The Auditory Culture Reader (Berg, 2003), pp. 265–79.
31. Karin Bijsterveld, ‘A Wall of Sound: The Gramophone, the Radio, and the Noise of Neighbours’, Mechanical Sound. Technology, Culture, and the Public Problems of Noise in the Twentieth Century (MIT Press, 2008), pp. 159–92, 269–74.
32. Greg Goodale, ‘Sounds of War’, Sonic Persuasion. Reading Sound in the Recorded Age (University of Illinois Press, 2011), pp. 106–31, 173–7.
33. Lily Hirsch, ‘"Do You Really Want to Hurt Me?": Music as Punishment in the United States Legal System’, Popular Music and Society, 2011, 34, 1, 35–53.
34. Steve Goodman, ‘2400–1400 B.C.: Project Jericho’, Sonic Warfare: Sound, Affect, and the Ecology of Fear (MIT Press, 2010), pp. 15–26, 205–9.
Volume III: Sound Spaces, Places, Cultures, and Technologies
Part 6: Sound Places
35. Sophie Arkette, ‘Sound Like City’, Theory, Culture and Society, 2004, 21, 1, 159–68.
36. Richard Coyne, ‘Noise’, The Tuning of Place: Sociable Spaces and Pervasive Digital Media (MIT Press, 2010), pp. 203–22, 277–83.
37. Ralph Ellison, ‘Living With Music’ , Living With Music (The Modern Library, 2001), pp. 3–14.
38. Urs Staheli, ‘Financial Noises: Inclusion and the Promise of Meaning’, Soziale Systeme, 2003, 9, 2, 244–56.
39. Michael Bull, ‘Bergson’s iPod? The Cognitive Management of Everyday Life’, Sound Moves: iPod Culture and Urban Experience (Routledge, 2007), pp. 121–33.
40. John Connell and Chris Gibson, ‘Ambient Australia: Music, Meditation, and Tourist Places’, in O. Johnson and T. Bell (eds.), Sound, Society and the Geography of Popular Music (Ashgate Press, 2009), pp. 67–90.
41. Arun Saldanha, ‘Music Tourism and Factions of Bodies in Goa’, Tourist Studies, 2002, 2, 1, 43–62.
42. Emily Thompson. ‘Wiring the World: Theater Installation Engineers and the Empire of Sound in the Motion Picture Industry, 1927–1930’, in Veit Erlmann (ed.), Hearing Cultures: Essays on Sound, Listening, and Modernity (Berg, 2004), pp. 191–209.
Part 7: Sound Cultures
43. George Revill, ‘Music and the Politics of Sound: Nationalism, Citizenship, and Auditory Space’, Environmental Planning D: Society and Space, 2000, 18, 597–613.
44. Philip Bohlman, ‘Music Before the Nation, Music After Nationalism’, Musicology Australia, 2009, 3, 1, 79–100.
45. Paul Gilroy, ‘Between the Blues and the Blues Dance: Some Soundscapes of the Black Atlantic’, in M. Bull and L. Back (eds.), The Auditory Culture Reader (Berg, 2003), pp. 381–95.
46. Julian Henriques, ‘Situating Sound: The Space and Time of the Dancehall Session’, in S. Meiszkowski, J. Smith, and M. de Valck (eds.), Sonic Interventions: Thamrys Intersecting Place, Sex and Place (Rodolphi, 2007), pp. 287–309.
47. Tricia Rose, ‘Orality and Technology: Rap Music and Afro American Cultural Resistance’, Popular Music and Society, 1989, 13, 4, 35–44.
48. Meri Kyto,‘We are the Rebellious Voice of the Terraces, We are Carsi’: Constructing a Football Supporter Through Sound’, Soccer and Society, 2011, 12, 1, 77–93.
Part 8: Sound Technologies
49. Paul Theberge, ‘The New "Sound" of Music: Technology and Changing Concepts of Music’, Any Sound You Can Imagine: Making Music/Consuming Technology (University Press of New England, 1997), pp. 186–213, 263–4.
50. Trevor J. Pinch and Karin Bijsterveld, ‘"Should One Applaud?": Breaches and Boundaries in the Reception of New Technology in Music’, Technology and Culture, 2003, 44, 3, 536–59.
51. Michael Chanan, ‘The Microphone and Interpretation’, Repeated Takes: A Short History of Recording and its Effects on Music (Verso, 1995), pp. 116–36, 184–6.
52. Jonathan Sterne, ‘The MP3 as Cultural Artifact’, New Media and Society, 2006, 5, 825–42.
Volume IV: Media Sounds
Part 9: Media Voices
53. Roland Barthes, ‘The Grain of the Voice’, Image, Music, Text (Fontana Press, 1977), pp. 179–89.
54. John M. Picker, ‘The Recorded Voice From Victorian Aura to Modernist Echo’, Victorian Soundscapes (Oxford University Press, 2003), pp. 110–46, 183–91.
55. Michael Davidson, ‘Technologies of Presence: Orality and the Tapevoice of Contemporary Poetics’, in Adelaide Morris (ed.), Sound: Innovative Poetics and Acoustical Technologies (University of North Carolina Press, 1997), pp. 97–128.
56. Kay Dickinson, ‘"Believe"? Vocoders, Digitalised Female Identity and Camp’, Popular Music, 2001, 20, 3, 333–47.
Part 10: Telephonic Sounds
57. Diane Zimmerman Umble, ‘The Amish and the Telephone’, in R. Silverstone and E. Hirsch (eds.), Consuming Technologies: Media and Information in Domestic Spaces (Routledge, 1992), pp. 183–94.
58. Michelle Martin, ‘Capitalizing on the "Feminine Voice"’, Canadian Journal of Communication, 1989, 14, 3, 42–61.
59. Naomi S. Baron and Ylva Hard af Segerstad, ‘Cross Cultural Patterns in Mobile-Phone Use: Public Space and Reachability in Sweden, the USA and Japan’, New Media and Society, 2010, 12, 1, 13–34.
60. Imar de Vries and Isabella van Elferen, ‘The Musical Madelaine: Communication, Performance, and Identity in Musical Ringtones’, Popular Music and Society, 2010, 33, 1, 61–74.
Part 11: Television and Video Sounds
61. Timothy D. Taylor, ‘World Music in Television Ads’, American Music, 2000, 18, 2, 162–92.
62. Pat Aufderheide, ‘Music Videos: The Look of Sound’, Journal of Communication, 1986, 36, 1, 57–78.
63. James Deaville, ‘A Discipline Emerges: Reading Writing About Listening to Television’, in Deaville (ed.), Music in Listening. Channels of Listening (Routledge, 2011), pp. 7–34.
64. Carol Vernallis, ‘Strange People, Weird Objects: The Nature of Narrativity, Character, and Editing’, in R. Beebe and J. Middleton (eds.), Music Videos in Medium Cool: Music Videos from Soundies to Cellphones (Duke University Press, 2007), pp. 111–51.
Part 12: Film Sounds
65. Theodor Adorno and Hanns Eisler, ‘Function and Dramaturgy’, Composing for the Films  (Athlone Press, 1994), pp. 20–31.
66. Michel Chion, ‘Sound Film: Worthy of the Name’, Audio-Vision: Sound on Screen (Columbia University Press, 1994), pp. 141–56, 219.
67. Claudia Gorbman, ‘Narrative Film Music’, Yale French Studies, 1980, 60, 183–203.
68. Rick Altman, ‘Sound Space’, in Altman (ed.), Sound Theory, Sound Practice (Routledge, 1992), pp. 46–64, 255–7.
Part 13: Radio Sounds
69. Anthony Enns, ‘Psychic Radio: Sound Technologies, Ether Bodies and Spiritual Vibrations’, Senses and Society, 2008, 3, 2, 137–52.
70. Susan J. Douglas ‘The Zen of Listening’, Listening In: Radio and the American Imagination (University of Minnesota Press, 1999), pp. 22–39, 360–3.
71. Alexander Russo, ‘People with Money and Go: Locating Attention in the Human Geography of Radio Reception’, Points on the Dial: Golden Age Radio Beyond the Networks (Duke University Press 2010), pp. 151–83, 229–39.
72. Jose van Dijck, ‘Record on Hold: Popular Music Between Personal and Collective Memory’, Critical Studies in Media Communication, 2006, 23, 5, 357–74.
This extensive series from Routledge Major Works draws upon a broad range of academic interest within the diverse field of Media and Cultural Studies. The series explores key areas of research, such as Advertising and Radio and shines a spotlight on the study of Cinema, with collections analyzing the cinema of various geographic areas, including French Cinema and Chinese Cinema.