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87 books match the query 'Sound' and 22 start with t

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The Archive and the Aural City

Sound, Knowledge, and the Politics of Listening

Alejandro L. Madrid

Duke University Press, 2025

In The Archive and the Aural City, Alejandro L. Madrid examines the possibilities for retrieving from the archive sounds that were not meant to be heard. Drawing on Ángel Rama’s notion of the Lettered City, Madrid proposes a notion of the Aural City—a Latin American urban intellectual elite for whom sound and listening are central to the creation, re-creation, and circulation of new types of knowledge. While many of these elites carry forward a nationalistic agenda, Madrid contends that the Aural City’s archives and the ways they are listened to and conceived through sound and music can also help dismantle dominant frameworks of national or colonial culture and build more inclusive spaces for intellectual exchange and political mobilization. From national archives in Latin America and colonial institutions abroad to sound exhibits, instruments, and internet-based archival projects, Madrid demonstrates how the development of urban spaces is understood through sound. In this way, he expands understandings of the archive’s social and sonic power.

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The Audible Past

Cultural Origins of Sound Reproduction

Jonathan Sterne

Duke University Press, 2003

The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death.

Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class.

A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.

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The Metaphysics of Sound in Wallace Stevens

Anca Rosu

University of Alabama Press, 1995

Where sound speaks louder than meaning—Stevens’s poetry as a metaphysical echo.

Wallace Stevens dedicated his poetry to challenging traditional notions about reality, truth, knowledge, and the role of language as a means of representation. Rosu demonstrates that Stevens's experimentation with sound is not only essential to his poetics but also profoundly linked to the pragmatist ideas that informed his way of thinking about language. Her readings of Stevens's poems focus on revealing the dynamic through which meaning emerges in language patterns—a dynamic she calls "images of sound."

Rosu argues that the formal aspects of poetry are deeply ingrained in cultural realities and are, in fact, generated by their context. The sound pattern pervading Stevens's poems at once addresses and violates the reader's assumptions about the functioning of language and, along with them, ideas about reality, knowledge, and subjectivity. Sound is thus the starting point of an argument concerned with Stevens's epistemology and poetics—the way his poems insist on a movement past or through a normal poetic representation of the world to gesture toward a reality that lies outside or beyond systems of representation.

The relationship between sound and meaning isolated and analyzed in The Metaphysics of Sound in Wallace Stevens is firmly situated among critical debates concerning the poet's aesthetic and philosophical convictions. Rosu claims that Stevens's poetry is not ultimately about the powerlessness of language, nor is it a deconstructive enterprise of destabilizing culturally consecrated truths; rather it achieves meaning most frequently through patterns of sound. Sound helps Stevens make a deeply philosophical point in a language unavailable to philosophers.

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The Quiet Zone

Caribbean Expressive Cultures and the Feminist Aesthetics of Disturbance

Petal Kimberly Samuel

Rutgers University Press, 2026

A serene beach. The classroom of an elite private school. The still nights in an upscale residential neighborhood. An acclaimed poet with a quiet, dignified mode of address. The sonic etiquette and experience of quiet is integral to each of these scenes. The Quiet Zone examines what the emergence of quiet as an elite aesthetic, privilege, and entitlement means for minoritized people who are often narrated as loud, disruptive, and disturbing, sonically, visually, and otherwise. Taking the Caribbean and its diasporas as its key sites of study, the book explores what we can learn from efforts to transform the region into the quintessential site of quiet leisure, in part, through the enactment of regimes of sonic discipline and surveillance directed against its majority Black population. Analyzing the work of Afro-Caribbean artists that catalog and critique sonic surveillance, the book questions the ways that quiet gets produced both as a regulatory ideal of racial, gender, sexual, national, and civilizational belonging and as a universal object of desire

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The Race of Sound

Listening, Timbre, and Vocality in African American Music

Nina Sun Eidsheim

Duke University Press, 2018

In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way.

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The Sense of Sound, Volume 22

Rey Chow

Duke University Press, 0

Sound has given rise to many rich theoretical reflections, but when compared to the study of images, the study of sound continues to be marginalized. How is the “sense” of sound constituted and elaborated linguistically, textually, technologically, phenomenologically, and geologically, as well as acoustically? How is sound grasped as an object? Considering sound both within and beyond the scope of the human senses, contributors from literature, film, music, philosophy, anthropology, media and communication, and science and technology studies address topics that range from Descartes’s resonant subject to the gendering of hearing physiology in the nineteenth century, Cold War politics and the opera Nixon in China, sounds from the Mediterranean, the poetics of signal processing, and the acousmatic voice in the age of MP3s. In the interpretive challenges posed by voice, noise, antinoise, whispering, near inaudibility, and silence and in the frequent noncoincidence of emission and reception, sound confronts us with what might be called its inhuman qualities—its irreducibility to meaning, to communication, to information, and even to recognition and identification.

Rey Chow is Anne Firor Scott Professor of Literature at Duke University. She is the author of The Age of the World Target and Modern Chinese Literary and Cultural Studies in the Age of Theory, both published by Duke University Press.

James A. Steintrager is Professor and Chair of English at the University of California, Irvine.

Contributors: Caroline Bassett, Eugenie Brinkema, Iain Chambers, Michel Chion, Rey Chow, Mladen Dolar, Veit Erlmann, Evan Johnson, Christopher Lee, Mara Mills, John Mowitt, Dominic Pettman, Tara Rodgers, Nicholas Seaver, James A. Steintrager, Jonathan Sterne,

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The Sound of Dove

Singing in Appalachian Primitive Baptist Churches

Beverly Bush Patterson

University of Illinois Press, 1995

In The Sound of the Dove, Beverly Bush Patterson explores one of the oldest traditions of American religious folksong: unaccompanied congregational singing in the Primitive Baptist churches of Appalachia. Using interviews, field observations, historical research, song transcriptions, and musical analysis, Patterson explores the dynamic relationship between singing and theology in these churches, the genesis of their musical practices, and the unexpectedly significant role of women in their conservative congregations.

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The Sound of Exclusion

NPR and the Latinx Public

Christopher Chávez

University of Arizona Press, 2021

As a network that claims to represent the nation, NPR asserts unique claims about what it means to be American. In The Sound of Exclusion, Christopher Chávez critically examines how National Public Radio conceptualizes the Latinx listener, arguing that NPR employs a number of industry practices that secure its position as a white public space while relegating Latinx listeners to the periphery. These practices are tied to a larger cultural logic. Latinx identity is differentiated from national identity, which can be heard through NPR’s cultivation of an idealized dialect, situating whiteness at its center. Pushing Latinx listeners to the edges of public radio has crucial implications for Latinx participation in civic discourses, as identifying who to include in the “public” audience necessarily involves a process of exclusion.

Chávez analyzes NPR as a historical product that has evolved alongside significant changes in technology, industry practice, and demography. In The Sound of Exclusion, Chávez asks these pressing questions: What kind of news organization was NPR intended to be? What has it become over time? In what ways is it evolving to meet the needs of a nation, in which U.S. Latinxs are becoming an increasingly larger portion of the American public that NPR serves? Informed by more than fifty in-depth interviews conducted with public radio practitioners from all aspects of the business, Chávez addresses how power is enacted in everyday broadcast practices. By interrogating industry practices, we might begin to reimagine NPR as a public good that serves the broad and diverse spectrum of the American public.

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The Sound of Feathers

Attentive Living in a World Beyond Ourselves

Kathryn Gillespie

Duke University Press, 2026

From the rustle of a crow’s wings to the cool touch of moss on a stone wall, to the quiet determination of a worm crossing a sidewalk, The Sound of Feathers invites readers to notice the small wonders of life all around them. These fleeting details hold surprising truths about humanity’s connection to nature, the complex relationships of care and harm in which we are entangled, our responsibilities to other species, and what it means to be fully present in the world. Through vivid storytelling and deeply personal reflections, Kathryn Gillespie invites us to slow down, pay attention, and think differently about our everyday lives so that we might imagine shared futures of flourishing. She urges us to confront the forces that separate us from the natural world and find more compassionate ways of living in harmony with it. Gillespie reminds us that the quiet, often overlooked moments in life are where the most profound insights and connections begin.

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The Sound of Leadership

Presidential Communication in the Modern Age

Roderick P. Hart

University of Chicago Press, 1987

Why did Gerald Ford speak in public once every six hours during 1976? Why did no president spreak in Massachusetts during one ten-year period? Why did Jimmy Carter conduct public ceremonies four times more often than Harry Truman? Why are television viewers two-and-a-half times more likely to see a president speak on the nightly news than to hear him speak?

The Sound of Leadership answers these questions and many more. Based on analysis of nearly 10,000 presidential speeches delivered between 1945 and 1985, this book is the first comprehensive examination of the ways in which presidents Truman through Reagan have used the powers of communication to advance their political goals. This communication revolution has produced, Roderick P. Hart argues, a new form of governance, one in which public speech has come to be taken as political action. Using a rhetorical appraoch, Hart details the features of this new American presidency by carefully examining when and where presidents spoke in public during the last four decades and what they said. Even though presidents have been speaking more and more, Hart reveals, they have been saying less and less. Rather than leading the nation, the modern president usually offers only the hollow "sound" of leadership. Written with great flair and acuteness, The Sound of Leadership will become a standard guide to the voices of modern presidential politics.

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The Sound of Light

A History of Gospel Music

Don Cusic

University of Wisconsin Press, 1990

Don Cusic presents gospel music as part of the history of contemporary Christianity. From the psalms of the early Puritans through the hymns of Isaac Watts and the social activism of the Wesleys, gospel music was established in eighteenth-century America. With the camp meetings songs of the Kentucky Revival and the spirituals and hymns that stemmed from the Civil War and beyond, gospel music grew through the nineteenth century and expanded through new technologies in the twentieth century.

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The Sound of Listening

Poetry as Refuge and Resistance

Philip Metres

University of Michigan Press, 2018

Philip Metres stakes a claim for the cultural work that poems can perform—from providing refuge to embodying resistance, from recovering silenced voices to building a more just world, in communities of solitude and solidarity. Gathering a decade of his writing on poetry, he widens our sense of poetry as a way of being in the world, proposing that poems can offer a permeability to marginalized voices and a shelter from the imperial noise and despair that can silence us. The Sound of Listening ranges between expansive surveys of the poetry of 9/11, Arab American poetry, documentary poetry, landscape poetry, installation poetry, and peace poetry; personal explorations of poets such as Adrienne Rich, Khalil Gibran, Lev Rubinstein, and Arseny Tarkovsky; and intimate dialogues with Randa Jarrar, Fady Joudah, and Micah Cavaleri, that illuminate Metres’s practice of listening in his 2015 work, Sand Opera.

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The Sound of Memory

Themes from a Violinist’s Life

Rebecca Fischer

The Ohio State University Press, 2022

In The Sound of Memory, concert violinist Rebecca Fischer wrestles with the life of a performing artist in the twenty-first century, the physical and material components of memory, the nature of musical inheritance, and the gifts and pressures of a calling that runs generations deep. From memories of breastfeeding on concert tours, to the surprising ways her body remembers music she heard in the womb, to witnessing her children’s own evolving musicianship, Fischer shares her perspective as the first violinist of the renowned Chiara String Quartet and parent to young people exploring their gender identities amidst social upheaval and a pandemic. As she revisits geographies that have left marks on her life and creative practice over the years, she examines what we owe to our families, our communities, our art, and ourselves—ultimately exhorting us to consider both the individual and communal resonances of artistic expression and the meaning it brings to our shared lives.

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The Sound of Mormonism

A Media History of Latter-day Saints

Jared Farmer

Utah State University Press, 2024

The Sound of Mormonism is an annotated and expanded version of the 2023 lecture “Music & the Unspoken Truth”—an homage to the Music and the Spoken Word radio program and a meditation on the relationships between religion, music, vocality, and quietude.

The Arrington Lecture series, established in honor of one of the twentieth-century American West’s most distinguished historians, Leonard Arrington, has become a leading forum for prominent scholars to address topics related to Latter-day Saint history. Utah State University hosts the Leonard J. Arrington Mormon History Lecture Series through the Merrill-Cazier Library’s Special Collections and Archives.

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The Sound of Poetry / The Poetry of Sound

Edited by Marjorie Perloff and Craig Dworkin

University of Chicago Press, 2009

Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.

Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.

A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

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The Sound of Rattles and Clappers

A Collection of New California Indian Writing

Edited by Greg Sarris

University of Arizona Press, 1994

In this anthology of poetry and fiction, ten Native Americans of California Indian ancestry illuminate aspects of their respective native cultures in works characterized by a profound love of place and people, as well as by anger over political oppression and social problems

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The Sound of Things to Come

An Audible History of the Science Fiction Film

Trace Reddell

University of Minnesota Press, 2018

A groundbreaking approach to sound in sci-fi films offers new ways of construing both sonic innovation and science fiction cinema

Including original readings of classics like The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, and Blade Runner, The Sound of Things to Come delivers a comprehensive history of sound in science fiction cinema. Approaching movies as sound objects that combine cinematic apparatus and consciousness, Trace Reddell presents a new theory of sonic innovation in the science fiction film.

Reddell assembles a staggering array of movies from sixty years of film history—including classics, blockbusters, B-movies, and documentaries from the United States, Britain, France, Germany, Japan, and the Soviet Union—all in service to his powerful conception of sound making as a speculative activity in its own right. Reddell recasts debates about noise and music, while arguing that sound in the science fiction film provides a medium for alien, unknown, and posthuman sound objects that transform what and how we hear.

Avoiding genre criticism’s tendency to obsess over utopias, The Sound of Things to Come draws on film theory, sound studies, and philosophies of technology to advance conversations about the avant-garde, while also opening up opportunities to examine cinematic sounds beyond the screen.

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