Part I. Origins: 1. Hearing and the senses Sam Halliday 2. Fragments on/of voice David Nowell Smith 3. Sonic forms: Ezra Pound's anti-metronome modernism in context Jason David Hall 4. Classical music and literature Gemma Moss 5. Aesthetics, music, noise Brad Bucknell Part II. Development: 6. Literary soundscapes Helen Groth 7. Noise James G. Mansell 8. 'Lost in music': wild notes and organized sound Paul Gilroy 9. Media history and sound technology Julie Beth Napolin Part III. Applications: 10. What we talk about when we talk about talking books Edward Allen 11. Prose sense and its soundings Garrett Stewart 12. Dissonant prosody A. J. Carruthers 13. Deafness and sound Rebecca Sanchez 14. Vibrations Shelley Trower 15. Feminism and sound Ella Finer 16. Wireless imaginations Debra Rae Cohen 17. Attending to theatre sound studies and Complicite's The Encounter Adrian Curtin 18: Bob Dylan and sound: a tale of the recording era Barry J. Faulk.
Part I. Origins: 1. Hearing and the senses Sam Halliday 2. Fragments on/of voice David Nowell Smith 3. Sonic forms: Ezra Pound's anti-metronome modernism in context Jason David Hall 4. Classical music and literature Gemma Moss 5. Aesthetics, music, noise Brad Bucknell Part II. Development: 6. Literary soundscapes Helen Groth 7. Noise James G. Mansell 8. 'Lost in music': wild notes and organized sound Paul Gilroy 9. Media history and sound technology Julie Beth Napolin Part III. Applications: 10. What we talk about when we talk about talking books Edward Allen 11. Prose sense and its soundings Garrett Stewart 12. Dissonant prosody A. J. Carruthers 13. Deafness and sound Rebecca Sanchez 14. Vibrations Shelley Trower 15. Feminism and sound Ella Finer 16. Wireless imaginations Debra Rae Cohen 17. Attending to theatre sound studies and Complicite's The Encounter Adrian Curtin 18: Bob Dylan and sound: a tale of the recording era Barry J. Faulk.
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