Noise

A Human History of Sound and Listening

David Hendy

• Publisher: Ecco
• Year: 2013
• Print ISBN: 9780062283085
• eBook ISBN: 9780062283092
• Topic: History
• Subtopic: Social History
• Index: History

Notes

Introduction

1. The phrase is from the British physicist G. W. C. Kaye, quoted in Karin Bijsterveld, Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century (Cambridge, Mass., & London: MIT Press, 2008), p. 240.

2. Quoted in Emily Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (Cambridge, Mass., & London: MIT Press, 2004), p. 132.

3. John Cage, ‘The Future of Music: Credo’ (1937), in Richard Kostelanetz (ed.), John Cage: An Anthology (New York: De Capo Press, 1991).

4. Quoted in Thompson, The Soundscape of Modernity, pp. 143–4.

5. Elizabeth Foyster, ‘Sensory Experiences: Smells, Sounds, and Touch’, in Elizabeth Foyster and Christopher A. Whatley (eds), A History of Everyday Life in Scotland (Edinburgh: Edinburgh University Press, 2010), p. 217.

6. Hillel Schwarz, Making Noise: From Babel to the Big Bang and Beyond (New York: Zone Books, 2011); Veit Erlmann, Reason and Resonance: A History of Modern Aurality (New York: Zone Books, 2010); Mike Goldsmith, Discord: The Story of Noise (Oxford: Oxford University Press, 2012).

7. Thompson, The Soundscape of Modernity, p. 1.

8. Dan MacKenzie, The City of Din: A Tirade against Noise (London: Adlard & Son, Bartholomew Press, 1916), pp. 1, 25.

9. R. Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World (Rochester, Vt.: Destiny Books, 1994), p. 84.

10. Thompson, The Soundscape of Modernity, p. 2.

11. Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, Mass., & London: MIT Press, 1999), p. 5.

1. Echoes in the Dark

1. Ian Cross and Aaron Watson, ‘Acoustics and the Human Experience of Socially-organized Sound’, in Chris Scarre and Graeme Lawson (eds), Archaeoacoustics (Cambridge: McDonald Institute Monographs, 2006), pp. 107–16.

2. Ibid., p. 108–09.

3. Iégor Reznikoff, ‘Prehistoric Paintings, Sounds and Rocks’, in Ellen Hickmann, Anne D. Kilmer, Ricardo Eichmann (eds), Studien zur Musikarchäologie III (Rahden: Verlag Marie Leidorf, 2002), pp. 44, 47–8.

4. Ibid., pp. 42–4, 47–8.

5. Iégor Reznikoff, ‘The Evidence of the Use of Sound Resonance from Palaeolithic to Medieval Times’, in Scarre and Lawson, Archaeoacoustics, pp. 78–9.

6. Ibid., p. 80.

7. Steven J. Waller, ‘Intentionality of Rock-art Placement Deduced from Acoustical Measurements and Echo Myths’, in Scarre and Lawson, Archaeoacoustics, pp. 31–9.

8. Ian Cross, ‘Lithoacoustics – Music in Stone: Preliminary Report’, http://www.mus.cam.ac.uk/~ic108/lithoacoustics/ (October 2000).

9. Cross and Watson, ‘Acoustics and the Human Experience’, in Scarre and Lawson, Archaeoacoustics, p. 113.

10. Ibid., p. 114.

11. Steven J. Waller, ‘Psychoacoustic influences of the echoing environments of prehistoric art’, Paper for the Acoustical Society of America, Cancun (November 2002).

12. Waller, ‘Intentionality of Rock-art Placement’, in Scarre and Lawson, Archaeoacoustics, p. 35.

13. David Lewis-Williams, The Mind in the Cave: Consciousness and the Origins of Art (London: Thames and Hudson, 2002), pp. 148–9.

14. Chris Scarre, ‘Sound, Place and Space: Towards an Archaeology of Acoustics’, in Scarre and Lawson, Archaeoacoustics, pp. 1–10.

15. Cross, ‘Lithoacoustics’.

16. Francesco D’Errico and Graeme Lawson, ‘The Sound Paradox: How to Assess the Acoustic Significance of Archaeologica...

Table of contents

• Dedication
• Contents
• Introduction
• I. Prehistoric Voiceprints
• II. The Age of Oratory
• III. Sounds of the Spirit and of Satan
• IV. Power and Revolt
• V. The Rise of the Machines
• VI. The Amplified Age
• Epilogue
• Acknowledgements
• Notes
• Index
• Copyright
• About the Publisher