This immensely readable introduction to animal acoustics explains not only how animals hear but why they listen. It is a unique blend of audition, auditory anatomy, physics of sound, and methods of psychophysics, combined with behavior, natural history, and evolution. The Acoustic Sense of Animals is ideal for graduate and undergraduate courses, and for professionals in fields such as sensory physiology and animal behavior.

In his broadly comparative approach, Stebbins explores the function of hearing for each animal in its particular ecological setting and the significance of communication for members of a species. He renders the evolution of hearing with special emphasis on the peripheral auditory system and basic auditory function. Although ample evidence is brought to bear, both from the laboratory and from field studies, the book is not burdened with excessive detail. The writing is crisp, and the references are tailored to those most useful for nonspecialists.

The Acoustic Sense of Animals covers a complex field with balance and clarity within a solid evolutionary framework. Equally important, it conveys the controversy and excitement that will motivate students.

A unique compilation of voices that speak to the phenomenon of persistent pain and how it can be better communicated. 

What is pain—and how do we communicate it? Persistent pain changes the brain and nervous system so that it can no longer warn of danger. However, despite being a major cause of disability globally, pain remains difficult to communicate. As language struggles to bridge the gap between those who suffer from pain and those who are trying to help, this book shares leading research into the potential value of visual images and non-verbal forms of communication as means of improving interactions between clinicians and their patients. Accompanied by vivid photographs co-created with those who live with pain, the volume integrates the voices of leading scientists, academics, and contemporary artists to provide a manual for understanding the meanings of pain for healthcare professionals, pain patients, students, academics, and artists.
 

Hearing Things is a meditation on sound’s work in literature. Drawing on critical works and the commentaries of many poets and novelists who have paid close attention to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature itself as an exercise in hearing.

An established critic and poet, Leighton explains how we listen to the printed word, while showing how writers use the expressivity of sound on the silent page. Although her focus is largely on poets—Alfred Tennyson, W. B. Yeats, Robert Frost, Walter de la Mare, Wallace Stevens, Elizabeth Bishop, Jorie Graham, and Alice Oswald—Leighton’s scope includes novels, letters, and philosophical writings as well. Her argument is grounded in the specificity of the text under discussion, but one important message emerges from the whole: literature by its very nature commands listening, and listening is a form of understanding that has often been overlooked. Hearing Things offers a renewed call for the kind of criticism that, avoiding the programmatic or purely ideological, remains alert to the work of sound in every literary text.

Noise, as we usually think of it, is background sound that interferes with our ability to hear more interesting sounds. In general terms, though, it is anything that interferes with the reception of signals of any sort. It includes extraneous energy in the environment, degradation of signals in transit, and spontaneous random activity in receivers and signalers. Whatever the cause, the consequence of noise is error by receivers, and these errors are the key to understanding how noise shapes the evolution of communication.

Noise Matters breaks new ground in the scientific understanding of how communication evolves in the presence of noise. Combining insights of signal detection theory with evidence from decades of his own original research, Haven Wiley explains the profound effects of noise on the evolution of communication. The coevolution of signalers and receivers does not result in ideal, noise-free communication, Wiley finds. Instead, signalers and receivers evolve to a joint equilibrium in which communication is effective but never error-free. Noise is inescapable in the evolution of communication.

Wiley’s comprehensive approach considers communication on many different levels of biological organization, from cells to individual organisms, including humans. Social interactions, such as honesty, mate choice, and cooperation, are reassessed in the light of noisy communication. The final sections demonstrate that noise even affects how we think about human language, science, subjectivity, and freedom. Noise Matters thus contributes to understanding the behavior of animals, including ourselves.

From a founding figure in the field, the definitive introduction to an exciting new science.
 
What do the sounds of a chorus of tropical birds and frogs, a clap of thunder, and a cacophony of urban traffic have in common? They are all components of a soundscape, acoustic environments that have been identified by scientists as a combination of the biophony, geophony, and anthrophony, respectively, of all of Earth’s sound sources. As sound is a ubiquitous occurrence in nature, it is actively sensed by most animals and is an important way for them to understand how their environment is changing. For humans, environmental sound is a major factor in creating a psychological sense of place, and many forms of sonic expression by people embed knowledge and culture. In this book, soundscape ecology pioneer Bryan C. Pijanowski presents the definitive text for both students and practitioners who are seeking to engage with this thrilling new field. Principles of Soundscape Ecology clearly outlines soundscape ecology’s critical foundations, key concepts, methods, and applications. Fundamentals include concise and valuable descriptions of the physics of sound as well as a thorough elucidation of all sounds that occur on Earth. Pijanowski also presents a rich overview of the ecological, sociocultural, and technical theories that support this new science, illustrating the breadth of this amazingly transdisciplinary field. In methods, he describes the principles of data mining, signal processing, and mixed methods approaches used to study soundscapes in ecological, social, or socio-ecological contexts. The final section focuses on terrestrial, aquatic, urban, and music applications, demonstrating soundscape ecology’s utility in nearly all spaces.

How is Latin American music heard, by whom, and why?

Many in the United States believe Latin American musicians make “Latin music”—which carries with it a whole host of assumptions, definitions, and contradictions. In their own countries, these expatriate musicians might generate immense national pride or trigger suspicions of “national betrayals.” The making, sounding, and hearing of “Latin music” brings into being the complex array of concepts that constitute “Latin Americanism”—its fissures and paradoxes, but also its universal aspirations. Taking as its center musicians from or with declared roots in Latin America, Jairo Moreno presents us with an innovative analysis of how and why music emerges as a necessary but insufficient shorthand for defining and understanding Latin American, Latinx, and American experiences of modernity.
 
This close look at the growth of music-making by Latin American and Spanish-speaking musicians in the United States at the turn of the twenty-first century reveals diverging understandings of music’s social and political possibilities for participation and belonging. Through the stories of musicians—Rubén Blades, Shakira, Arturo O’Farrill and the Afro-Latin Jazz Orchestra, and Miguel Zenón—Sounding Latin Music, Hearing the Americas traces how artists use music to produce worlds and senses of the world at the ever-transforming conjunction of Latin America and the United States.