{"product_id":"the-routledge-companion-to-sound-studies-9781138854253","title":"The Routledge Companion to Sound Studies","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eThe Routledge Companion to Sound Studies\u003c\/em\u003e is an extensive volume presenting a comparative and historically informed understanding of the workings of sound in culture, while also mapping potential future directions for research in the field. Experts from a variety of disciplines within sound studies cover such diverse topics as politics, gender, media, race, literature and sport. Individual sections that consider the importance of sound in an increasingly mediated world; the role that sound media play in the construction of experience; and the ways in which sound has been theorized to produce a distinctive sensory contribution to knowledge. \u003c\/p\u003e\u003cp\u003eThis wide-ranging and vibrant collection provides a rich resource for scholars and students of media and culture.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction: Sound Studies and the Art of Listening\u003c\/p\u003e\u003cp\u003eSection 1 Introduction: Sonic Epistemologies and Debates\u003c\/p\u003e\u003col\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eHolger Schulze: Sound As Theory 1863 – 2014: From Hermann von Helmholtz to Salome Voeglin\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMark Grimshaw: What is Sound Studies?\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDavid Howes: Embodiment and the Senses\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eNina Sun Eidsheim: Multisensory Investigation of Sound, Body and Voice.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eNeil Verma: The Return to Sound Aesthetics\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eChristabel Stirling: Sound, Affect, Politics\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e \u003cp\u003eSection 2Introduction: Sonic Conflicts, Concepts and Culture\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eRichard Rath: Silence and Noise\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eKarin Bijsterveld: Sound Waves of Protest: Noise Abatement Movements\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eDavid Goodman: Propaganda and Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAlex Corey: Sounding Out Racial Difference\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMarie Thompson: Gendered Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAmanda Cachia: Mapping Hearing Impairment: Sound\/Tracks in the Corner Space \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJonathan Pieslak: Sound and terrorism: Exploring the World of the Islamic State\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSection 3Introduction: Sonic Spaces and Places\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJohn M. Picker: The Turning of a Word: Soundscape to Soundscapes\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTim Edensor: The Sonic Rhythms of Place\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBennett Hogg: Geographies of Silence\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMeri Kyto: Public and Private Space: Sound Transformations\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eYiu-Fai Chow: Diaspora as Method. Music as Hope\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e\u003cp\u003eSection 4 Introduction: Sonic Skills: Finding, Recording and Researching.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eSalome Voeglin: Technologies of Sound Art\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCarolyn Birdsall: Found in Translation: Recording, Storing and Writing of sounds\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eShannon Mattern: Sonic Archaeologies\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBlake Durham: Curating Online Sounds\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTom Rice: Ethnographies of Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eFrauke Berendt: Soundwalking\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003ePaul Nataraj: Surface Tension: Sheena and Bowie’s ‘Station to Station’ as Palimpsest.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003cb\u003e \u003c\/b\u003e\u003cp\u003eSection 5 Introduction: Technology, Culture and Sonic Experience.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJulian Henriques and Hillegonda C Rietveld: Echo\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eThor Magnusson: Sound and Music in Networked Media\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eLouis Neibur: Ordinary and Avant-Garde Sound in British Radio’s Early Years.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJacob Smith: Remastering the Recording Angel\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eAlex Russo: Radio Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTom Artiss: Structures of Sonic feeling.\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eCara Wallis: Gender and the Telephonic Voice.\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e \u003c\/b\u003e\u003cp\u003eSection 6 Introduction: Sound Connections\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJames Mansell: Ways of Hearing: Sound, Culture and History\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eJustin St Clair: Literature and Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eMartyn Hudson: The Sociology of Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eIan Reyes: Popular Music as Sound and Listening \u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eTim Wall: Radio Sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e \u003c\/p\u003e \u003c\/li\u003e\n\u003cli\u003eBen Powis and Thomas F. 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