Sounding Together: Collaborative Perspectives on U.S. Music in the Twenty-21st Century is a multi-authored, collaboratively conceived book of essays that tackles key challenges facing scholars studying music of the United States in the early twenty-first century. This book encourages scholars in music circles and beyond to explore the intersections between social responsibility, community engagement, and academic practices through the simple act of working together. The book’s essays—written by a diverse and cross-generational group of scholars, performers, and practitioners—demonstrate how collaboration can harness complementary skills and nourish comparative boundary-crossing through interdisciplinary research. The chapters of the volume address issues of race, nationalism, mobility, cultural domination, and identity; as well as the crisis of the Trump era and the political power of music. Each contribution to the volume is written collaboratively by two scholars, bringing together contributors who represent a mix of career stages and positions. Through the practice of and reflection on collaboration, Sounding Together breaks out of long-established paradigms of solitude in humanities scholarship and works toward social justice in the study of music.

In Sounding Composition Steph Ceraso reimagines listening education to account for twenty-first-century sonic practices and experiences. Sonic technologies such as audio editing platforms and music software allow students to control sound in ways that were not always possible for the average listener. While digital technologies have presented new opportunities for teaching listening in relation to composing, they also have resulted in a limited understanding of how sound works in the world at large. Ceraso offers an expansive approach to sonic pedagogy through the concept of multimodal listening—a practice that involves developing an awareness of how sound shapes and is shaped by different contexts, material objects, and bodily, multisensory experiences. Through a mix of case studies and pedagogical materials, she demonstrates how multimodal listening enables students to become more savvy consumers and producers of sound in relation to composing digital media, and in their everyday lives.

"This work provides an interdisciplinary and historical exploration of various techniques leveraging writing in order to capture sound. Collectively, the essays in this work focus on questions of language and expression as much as the method and theory of both sound and writing"--

Providing music teachers and student teachers with an understanding of what constitutes good practice in the classroom, this text combines recent research of music theory - particularly on music and the brain - with a strong practical emphasis on how this applies in class.

In physics, sound is a vibration that propagates as an acoustic wave, through a transmission medium such as a gas, liquid or solid. In human physiology and psychology, sound is the reception of such waves and their perception by the brain.[1] Only acoustic waves that have frequencies lying between about 20 Hz and 20 kHz, the audio frequency range, elicit an auditory percept in humans. In air at atmospheric pressure, these represent sound waves with wavelengths of 17 meters (56 ft) to 1.7 centimeters (0.67 in). Sound waves above 20 kHz are known as ultrasound and are not audible to humans. Sound waves below 20 Hz are known as infrasound. Different animal species have varying hearing ranges. Acoustics is the interdisciplinary science that deals with the study of mechanical waves in gasses, liquids, and solids including vibration, sound, ultrasound, and infrasound. A scientist who works in the field of acoustics is an acoustician, while someone working in the field of acoustical engineering may be called an acoustical engineer.[2] An audio engineer, on the other hand, is concerned with the recording, manipulation, mixing, and reproduction of sound. Applications of acoustics are found in almost all aspects of modern society, subdisciplines include aeroacoustics, audio signal processing, architectural acoustics, bioacoustics, electro-acoustics, environmental noise, musical acoustics, noise control, psychoacoustics, speech, ultrasound, underwater acoustics, and vibration.

“In compelling and intricately argued ways, the authors make a resounding case for understanding how vocal sonority is intrinsic to self-identity and self-reception ... Required Reading.” - Jane Boston, Principal Lecturer, Voice Studies, Royal Central School of Speech and Drama A new, provocative study of the ethical, political, and social meanings of the everyday voice. Utilising the framework of feminist philosophy, authors Ann J. Cahill and Christine Hamel approach the phenomenon of voice as a lived, sonorous and embodied experience marked by the social structures that surround it, including systemic forms of injustice such as ableism, sexism, racism, and classism. By developing novel theoretical constructs such as “intervocality” and “respiratory responsibility,” Cahill and Hamel cut through the static between theory and praxis and put forward exciting theories on how human vocal sound can perpetuate -- and challenge -- persistent inequalities. Sounding Bodies presents a powerful model of how the seemingly disparate disciplines of philosophy and voice/speech training can, in conversation with each other, generate illuminating insights about our vocal lives and identities.

The Routledge Companion to Sounding Art presents an overview of the issues, methods, and approaches crucial for the study of sound in artistic practice. Thirty-six essays cover a variety of interdisciplinary approaches to studying sounding art from the fields of musicology, cultural studies, sound design, auditory culture, art history, and philosophy. The companion website hosts sound examples and links to further resources. The collection is organized around six main themes: Sounding Art: The notion of sounding art, its relation to sound studies, and its evolution and possibilities. Acoustic Knowledge and Communication: How we approach, study, and analyze sound and the challenges of writing about sound. Listening and Memory: Listening from different perspectives, from the psychology of listening to embodied and technologically mediated listening. Acoustic Spaces, Identities and Communities: How humans arrange their sonic environments, how this relates to sonic identity, how music contributes to our environment, and the ethical and political implications of sound. Sonic Histories: How studying sounding art can contribute methodologically and epistemologically to historiography. Sound Technologies and Media: The impact of sonic technologies on contemporary culture, electroacoustic innovation, and how the way we make and access music has changed. With contributions from leading scholars and cutting-edge researchers, The Routledge Companion to Sounding Art is an essential resource for anyone studying the intersection of sound and art.