Relevant bibliographies by topics / Acoustemology

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters
  4. Conference papers

Academic literature on the topic 'Acoustemology'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Acoustemology"

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Stevenson, Ian. "De Quincey’s acoustemology." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 130–43. http://dx.doi.org/10.7146/se.v4i1.20484.

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This article reports on a reading of aspects of sound and knowledge in the writings of English essayist Thomas de Quincey (1785-1859). The article develops the concept of the sonic effect as it emerges in de Quincey’s sonic aesthetics. This is supported by a summary of de Quincey’s apparent critique of Kantian understanding and judgement as it relates to sound. The historical development of notions of effect contemporary to de Quincey is explored, and the parallels between his use of sound and subsequent sonic design in crime fiction and the development of audiovisual drama in general are considered. Three key sound effects: the knock, the sigh and the solemn wind are developed and analysed by de Quincey and are shown to be part of a unique de Quincian acoustemology. The research in this article formed the initial phase of a larger practice-based research project culminating in a new sound design for a hybrid performance-installation work.
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Spencer, Edward K. "Re-orientating Spectromorphology and Space-form through a Hybrid Acoustemology." Organised Sound 22, no. 3 (November 24, 2017): 324–35. http://dx.doi.org/10.1017/s1355771817000486.

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This article re-orientates Denis Smalley’s work on spectromorphology and space-form through a case study of electronic dance music (EDM) on YouTube. An EDM track and its related YouTube comments are analysed concurrently in order to examine how sound-shapes and sonic spatiality are experienced in practice on the social web. Using Stephen Feld’s notion of acoustemology as a theoretical base, I argue that semantic and somantic ways of knowing through sound are thoroughly entangled. A hybrid acoustemology model is outlined, merging spectromorphology and space-form with elements of ecosemiotics and music psychology. The model is then deployed during an acoustemology of the trance/breakbeat trackFinished Symphonyby Hybrid (1999). Selected YouTube comments onFinished Symphonyuploads are coded deductively using the descriptive system of Gabrielsson and Wik (2003). A larger set of comments is subsequently collected for inductive content analysis, which highlights some wider issues relating to the words we use for music and sound. The article concludes by calling forvantage point shiftsin music research.
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Smith, Mark M. "In Praise of Discord." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 191–98. http://dx.doi.org/10.47060/jaaas.v1i2.113.

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This piece explores writing on historical acoustemology. It charts the emergence of the field, identifies its strengths and weaknesses, and calls for greater critical engagement amongst its practitioners.
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Eisenberg, Andrew J. "Toward an Acoustemology of Muslim Citizenship in Kenya." Anthropology News 51, no. 9 (December 2010): 6. http://dx.doi.org/10.1111/j.1556-3502.2010.51906.x.

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Gieser, Thorsten. "Sensing and knowing noises: an acoustemology of the chainsaw." Social Anthropology 27, no. 1 (February 2019): 50–61. http://dx.doi.org/10.1111/1469-8676.12595.

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Russo, Francis. "Sonic Piety in Early New England." New England Quarterly 95, no. 4 (December 1, 2022): 610–44. http://dx.doi.org/10.1162/tneq_a_00962.

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Abstract This article reinterprets New England's 1720s Singing Controversy as a sensory event that altered the nature of puritan sonic piety in early New England. Far from a parochial peculiarity in the history of American music, the 1720s singing reforms were part of broader challenges to a previous way of knowing-an epistemology, or, in this context, an “acoustemology.”
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Toner, P. G. "On the Acoustemology of a Day in the Life of Bosavi." Asia Pacific Journal of Anthropology 22, no. 2-3 (April 11, 2021): 245–48. http://dx.doi.org/10.1080/14442213.2021.1906552.

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Spray, Stephanie Anne. "Aesthetic Experience and Applied Acoustemology: Blue Sky, White River Liner Notes." Anthropology News 52, no. 1 (January 2011): 14. http://dx.doi.org/10.1111/j.1556-3502.2011.52114.x.

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Smith, Mark M. "Sound—So What?" Public Historian 37, no. 4 (November 1, 2015): 132–44. http://dx.doi.org/10.1525/tph.2015.37.4.132.

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“Sound—So What?” proposes to answer the following questions: Why listen to the past? What are the interpretive dividends of paying attention to sounds, noises, and silences? What do we lose by not listening? The article answers these questions by charting how some key works in historical acoustemology have enhanced, textured, and revised our understanding of US history for all eras. The article examines how key themes in the history of religion, westward expansion, and urbanization have been refined and revised by a number of works that have listened carefully to the past.
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Rice, Tom. "Soundselves: An acoustemology of sound and self in the Edinburgh Royal Infirmary." Anthropology Today 19, no. 4 (August 2003): 4–9. http://dx.doi.org/10.1111/1467-8322.00201.

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Dissertations / Theses on the topic "Acoustemology"

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Rosenbloom, Rebecca Elyse. "AURAL SUBSTANCE: AN ETHNOGRAPHIC EXPLORATION OF REGIONAL BURN SOUNDSCAPES." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/452764.

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Music History
M.M.
Once a year over the week leading up to and including Labor Day, tens of thousands of people drive hours into Nevada’s barren Black Rock Desert to build an ephemeral city equal to “the size of downtown San Francisco.” This place, Black Rock City, home of the annual Burning Man event, only exists for a fraction of the year. For one week, participants gather together at Burning Man and operate under its ten guiding principles, including “radical self-reliance,” “communal effort,” “radical self-expression,” and “participation.” Everything, with the exception of porta-potties and ice, must be brought in and packed out by individuals. The decommodified, volunteer-run city is what its inhabitants make of it. At Burning Man, attendants are their own event planners, food providers, structure builders, gift givers, and activity coordinators. On the penultimate night of the event, an effigy of a forty-foot man is set aflame, a ritual left open for interpretation by participants. Two days later, the entirety of Black Rock City is torn down, leaving scarcely any trace that it ever even existed. Burning Man has gained social traction exponentially since its launch in 1986, leading to the formation of dozens of individually organized regional burns across the United States of America and internationally. Scholars from many disciplines have flocked to the event attempting to unpack its distinct subculture. While publications have analyzed Burning Man’s ethos, logistics, business organization, community, art, rituals, fire, and performances, only two have considered sound worthy of focus and few have addressed the regional burn network. “Aural Substance: An Ethnographic Exploration of Regional Burn Soundscapes” analyzes Burning Man’s regional network, expanding on sound artists Stephan Moore and Scott Smallwood’s brief initial study of the national event's sound by way of ethnography and field recording. From June 2016 through February 2017, I conducted fieldwork and collected fifty-five hours of field recordings at seven different regional burns. I employ ethnomusicologist Steven Feld’s concept of “acoustemology,” or “sound as a way of knowing.” Through my observation, analysis of recordings, and interviews, I consider how the sounds at regional burns can signify the time, date, and location to burn participants. Sound-studies scholar David Novak writes that “noise is a crucial element of communicational and cultural networks.” In this study, I analyze how noise at a burn is not solely a by-product of participants’ “anarchistic freedom,” but a key part of the burn that relays information about regional burn values, public and private spaces, and burners’ lived experience.
Temple University--Theses
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Rosenbloom, Rebecca Elyse. "Archive.zip." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/452765.

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Music History
M.M.
Once a year over the week leading up to and including Labor Day, tens of thousands of people drive hours into Nevada’s barren Black Rock Desert to build an ephemeral city equal to “the size of downtown San Francisco.” This place, Black Rock City, home of the annual Burning Man event, only exists for a fraction of the year. For one week, participants gather together at Burning Man and operate under its ten guiding principles, including “radical self-reliance,” “communal effort,” “radical self-expression,” and “participation.” Everything, with the exception of porta-potties and ice, must be brought in and packed out by individuals. The decommodified, volunteer-run city is what its inhabitants make of it. At Burning Man, attendants are their own event planners, food providers, structure builders, gift givers, and activity coordinators. On the penultimate night of the event, an effigy of a forty-foot man is set aflame, a ritual left open for interpretation by participants. Two days later, the entirety of Black Rock City is torn down, leaving scarcely any trace that it ever even existed. Burning Man has gained social traction exponentially since its launch in 1986, leading to the formation of dozens of individually organized regional burns across the United States of America and internationally. Scholars from many disciplines have flocked to the event attempting to unpack its distinct subculture. While publications have analyzed Burning Man’s ethos, logistics, business organization, community, art, rituals, fire, and performances, only two have considered sound worthy of focus and few have addressed the regional burn network. “Aural Substance: An Ethnographic Exploration of Regional Burn Soundscapes” analyzes Burning Man’s regional network, expanding on sound artists Stephan Moore and Scott Smallwood’s brief initial study of the national event's sound by way of ethnography and field recording. From June 2016 through February 2017, I conducted fieldwork and collected fifty-five hours of field recordings at seven different regional burns. I employ ethnomusicologist Steven Feld’s concept of “acoustemology,” or “sound as a way of knowing.” Through my observation, analysis of recordings, and interviews, I consider how the sounds at regional burns can signify the time, date, and location to burn participants. Sound-studies scholar David Novak writes that “noise is a crucial element of communicational and cultural networks.” In this study, I analyze how noise at a burn is not solely a by-product of participants’ “anarchistic freedom,” but a key part of the burn that relays information about regional burn values, public and private spaces, and burners’ lived experience.
Temple University--Theses
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Terry, Amanda R. "Waking up to waste: Exploring the transformative capacities of deep listening and sound art." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121493/1/Amanda_Terry_Thesis.pdf.

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This study investigates how improvisational Sound Art performance, focussed through the practice of 'Deep Listening', can promote new insights into societal understandings of 'waste'. Consumable items that are initially considered valuable very quickly become re-categorised as waste. This tacit process, aided by the ways in which we then hide those items in bins, landfills and the atmosphere, limits reflection on the ecological ramifications of creating such 'waste'. The study sought to change public perception of these materials 'out of place' via an improvised sound art performance, that categorised and utilised waste items as valued sound making instruments.
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McCabe, Juhnke Austin. "Music and the Mennonite Ethnic Imagination." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.

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Book chapters on the topic "Acoustemology"

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Mei, Luo Ai. "Negotiating rural modernity with acoustemology." In Routledge Handbook of Asian Music: Cultural Intersections, 174–203. [1.] | New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003142720-8.

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Feld, Steven. "acoustemology." In Keywords in Sound, 12–21. Duke University Press, 2015. http://dx.doi.org/10.2307/j.ctv11sn6t9.4.

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"[1] acoustemology." In Keywords in Sound, 12–21. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822375494-002.

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"Eerie Technologies and Gothic Acoustemology." In Technologies of the Gothic in Literature and Culture, 58–69. Routledge, 2015. http://dx.doi.org/10.4324/9781315757339-9.

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Rosenberg, Ruth E. "Historical Acoustemology in the French Romantic Travelogue:." In America in the French Imaginary, 1789-1914, 217–32. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv24tr6x3.17.

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"VAMP IN, HEAD Acoustemology in Accra: On Jazz Cosmopolitanism." In Jazz Cosmopolitanism in Accra, 11–50. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394969-003.

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"»Sound Culture«, »Acoustemology« oder »Klanganthropologie«? Sinnliche Ethnographie und Sound Studies." In Ethnographien der Sinne, 57–74. transcript-Verlag, 2014. http://dx.doi.org/10.14361/transcript.9783839427552.57.

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Schlüter, Fritz. "»Sound Culture«, »Acoustemology« oder »Klanganthropologie«? Sinnliche Ethnographie und Sound Studies." In Ethnographien der Sinne, 57–74. transcript Verlag, 2014. http://dx.doi.org/10.1515/transcript.9783839427552.57.

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"Listening to Histories of Listening: Collaborative Experiments in Acoustemology with Nii Otoo Annan." In Musical Listening in the Age of Technological Reproduction, 113–26. Routledge, 2016. http://dx.doi.org/10.4324/9781315596969-11.

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Lorea, Carola Erika. "Singing Tantra." In The Oxford Handbook of Tantric Studies, C37.S1—C37.N31. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197549889.013.37.

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Abstract From congregational singing to reenactments of the ḍamburu drumming of Shiva, tantric auditory practices reflect a complex religious acoustemology. Sounds and songs in a variety of vernaculars have represented an important component of lived religion in tantric communities. This is especially relevant when dealing with Bengali esoteric lineages. This chapter employs “tantric” as a “post-emic” category, to ensure that heterodox and esoteric Bengali lineages, who do not define themselves as tāntrikas, can fit into interdisciplinary and comparative discussions on tantra. The chapter questions a scholarly paradigm that has constructed music-making as the domain of emotional bhakti and text-based ritualism, violence, and transgression as the domain of tantra and discusses how singing features ubiquitously in the history of tantric communities, urging us to take aural media into consideration for a fuller anthrohistorical understanding of tantra. The focus is also on the Matua community to address practices of sonic liberation that are embedded in tantric ideology. Transformative songs and soundful sādhana thus emerge as co-constitutive of numerous tantric traditions.
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Conference papers on the topic "Acoustemology"

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McNally, Kevin. "Tuning into the unfamiliar." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.35.

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This research project sits at the intersection of Community Music, Ethnomusicology and Arts Practice Research. The overall aim to explore a more ecological way of being in the world in which sound rather than vision is the primary source of knowledge. This acoustic epistemology (coined ‘acoustemology’ by ethnomusicologist Steven Feld) differs from standard ocular-centric epistemology in several respects. Where vision distinguishes objects as fixed and separate from the perceiving subject, sound is intensely relational. For sociologist Jean-Paul Thibaud, attending to sound produces “a resonant body that gets in tune and in sync with his environment.” (Thibaud, 2018) Sound does not belong to any object, but is a production of the interaction of objects, or “the event of the thing, not the thing itself.” (Connor, 2004, p.157) This form of knowing is familiar to musicians who interact in ensemble situations, but I wish to broaden the application of the idea, following ethnomusicologist Jeff Todd Titon, who imagines a “sound community” which, in concord with the qualities of sound, is “just, participatory and egalitarian.” (Titon, 2015, p.25)
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You might also be interested in the extended bibliographies on the topic 'Acoustemology' for particular source types:
Journal articles
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