The Oxford Handbook of Sound Studies offers new and 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 instruments such as slides, graphs, and telescopes. This book questions that notion powerfully by illustrating how 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 articles argue, are embedded in the fabric of everyday life, art, commerce, and politics in ways which impact our perception of the world. Through a diverse set of case studies, articles 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 intellectual property and privacy issues that stem from the spread and appropriation of new sound and music-related technologies, analog and digital, in many domains of life.

Contributors ⅩⅠ

About the companion website ⅩⅢ

New Keys to the World of Sound 3

Trevor Pinch and Karin Bijsterveld

SECTION I REWORKING MACHINE SOUND: SHOP FLOOR & TEST SITES

1.The Garden in the Machine: Listening to Early American Industrialization 39 PA\Mark M. Smith

2.Turning a Deaf Ear? Industrial Noise and Noise Control in Germany since the 1920s 58 PA\Hans-Joachim Braun

3."Sobbing, whining, rumbling": Listening to Automobiles as Social Practice 79 PA\Stefan Krebs

4.Selling Sound: Testing, Designing, and Marketing Sound in the European Car Industry 102 PA\Eefje Cleophas and Karin Bijsterveld

SECTION II STAGING SOUND FOR SCIENCE AND ART: THE FIELD

5.Sound Sterile: Making Scientific Field Recordings in Ornithology 127 PA\Joeri Bruyninckx

6.Underwater Music: Tuning Composition to the Sounds of Science 151 PA\Stefan Helmreich

7.A Grey Box: The Phonograph in Laboratory Experiments and Field Work, 1900-1920 176 PA\Julia Kursell

SECTION III STAGING SOUND FOR SCIENCE AND ART: THE LAB

8.From Scientific Instruments to Musical Instruments: The Tuning Fork, Metronome, and Siren 201 PA\Myles W. Jackson

9.Conversions: Sound and Sight, Military and Civilian 224 PA\Cyrus C. M. Mody

10.The Search for the "Killer Application": Drawing the Boundaries Around the Sonification of Scientific Data 249 PA\Alexandra Supper

SECTION IV SPEAKING FOR THE BODY: THE CLINIC

11.Inner and Outer Sancta: Ear Plugs and Hospitals 273 PA\Hillel Schwartz

12.Sounding Bodies: Medical Studies and the Acquisition of Stethoscopic Perspectives 298 PA\Tom Rice

13.Do Signals Have Politics? Inscribing Abilities in Cochlear Implants 320 PA\Mara Mills

SECTION V EDITING SOUND: THE DESIGN STUDIO

14.Sound and Player Immersion in Digital Games 347 PA\Mark Grimshaw

15.The Sonic Playpen: Sound Design and Technology in Pixar's Animated Shorts 367 PA\William Whittington

16.The Avant-garde in the Family Room: American Advertising and the Domestication of Electronic Music in the 1960s and 1970s 387 PA\Timothy D. Taylor

SECTION VI CONSUMING SOUND AND MUSIC: THE HOME AND BEYOND

17.Visibly Audible: The Radio Dial as Mediating Interface 411 PA\Andreas Fickers

18.From Listening to Distribution: Non-official Music Practices in Hungary and Czechoslovakia from the 1960s to the 1980s 440 PA\Trever Hagen and with Tia DeNora

19.The Amateur in the Age of Mechanical Music 459 PA\Mark Katz

20.Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com 480 PA\Trevor Pinch and Katherine Athanasiades

SECTION VII MOVING SOUND AND MUSIC: DIGITAL STORAGE

21.Analog Turns Digital: Hip-Hop, Technology, and the Maintenance of Racial Authenticity 505 PA\Rayvon Fouche

22.iPod Culture: The Toxic Pleasures of Audiotopia 526 PA\Michael Bull

23.The Recording that Never Wanted to be Heard, and Other Stories of Sonification 544 PA\Jonathan Sterne and Mitchell Akiyama

Index 561

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 ofthe 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 in the Department of Technology & Society Studies at Maastricht University, and author of Mechanical Sound: Technology, Culture and Public Problems of Noise in the Twentieth Century (2008)

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