The diabolical symphony of the mechanical age: Technology and symbolism of sound in European and North American noise abatement campaigns, 1900-40

Social Studies of Science

Volumn 31, Issue 1, 2001, Pages 37-70

  Bijsterveld, Karin ^a  

^a MAASTRICHT UNIVERSITY   (Netherlands)

Author keywords

Acoustics; Cities; Environment; Silence; Soundscape; Traffic control

Indexed keywords

EID: 0035610824     PISSN: 03063127     EISSN: None     Source Type: Journal    
DOI: 10.1177/030631201031001003     Document Type: Article

References (226)

1. Raymond Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World (Rochester, VT: Destiny Books, 1994); originally published as The Tuning of the World (New York: Knopf, 1977).
2. Raymond Murray Schafer, The Soundscape: Our Sonic Environment and the Tuning of the World (Rochester, VT: Destiny Books, 1994); originally published as The Tuning of the World (New York: Knopf, 1977).
3. Ibid. (1994), 272.
4. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
5. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
6. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
7. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
8. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
9. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
10. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
11. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
12. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
13. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
14. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
15. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
16. For music, technology and noise, see: Hans-Joachim Braun, 'Technik im Spiegel der Musik des frühen 20. Jahrhunderts', Technikgeschichte,Vol. 59, No. 2 (1992), 109-31; H.-J. Braun, '"I Sing the Body Electric". Der Einfluss von Elekroakustik und Elektronik auf das Musikschaffen im 20. Jahrhundert', ibid., Vol. 61, No. 4 (1994), 353-73; Karin Bijsterveld, 'A Servile Imitation: Disputes about Machines in Music, 1910-1930', in H.-J. Braun (ed.), 'I Sing the Body Electric': Music and Technology in the 20th Century (Hofheim, Germany: Wolke, 2000), 121-34; Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (Cambridge, MA: MIT Press, 1999); Nicholas Spice, 'Een gat om in te duiken. Over muziek en technologie', Nieuw Wereldtijdschrift, Vol. 13, No. 3 (1996), 58-65. There is also a fast-growing body of literature on the history of electronic and mechanical instruments: see, for instance, Braun (2000), op. cit.; Elena Ungeheuer, 'Ingenieure der Neuen Musik. Zwischen Technik und Ästhetik. Zur Geschichte der elektronischen Klangerzeugung', Kultur & Technik, Vol. 15, No. 3 (1991), 34-41. For recent literature on the sound-movie, the phonograph, radio and recording explicitly taking account of sound, see: James P. Kraft, 'Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940', Technology & Culture, Vol. 35, No. 2 (April 1994), 289-314; Emily Thompson, 'Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925', The Musical Quarterly, Vol. 79, No. 1 (1995), 131-71; Douglas Kahn (ed.), Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge, MA: MIT Press, 1992); Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London & New York: Verso, 1995). A recent example from the domain of cultural studies is: Paul du Gay, Stuart Hall, Linda James, Hugh Mackay and Keith Negus, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Perhaps the many studies into the history of the telegraph and the telephone could also be mentioned here. However, many of them do not concentrate on sound, but on changes concerning time, space and social behaviour. Certainly relevant is research into the history of acoustics, although often 'internalist': see, for instance: Frederick V. Hunt, Origins in Acoustics: The Science of Sound from Antiquity to the Age of Newton (New Haven, CT & London: Yale University Press, 1978); Paul N. Edwards, 'Noise, Communication, and Cognition: The Harvard Psycho-Acoustic Laboratory and The Second World War' (paper for the Cheiron Conference, Brunswick, Maine, 11-13 June 1987). Less internalist work on acoustics will be mentioned below.
17. Ruth Schwartz Cowan, 'How the Refrigerator got its Hum', in Donald MacKenzie and Judy Wajcman (eds), The Social Shaping of Technology (Milton Keynes, Bucks.: Open University Press, 1st edn, 1985), 202-18, reprinted from Cowan, More Work for Mother: The Ironies of Household Technology from the Open Hearth to the Microwave (New York: Basic Books, 1983), 127-45; Leo Marx, The Machine in the Garden: Technology and the Pastoral Ideal in America (London & New York: Oxford University Press, 1964).
18. Ruth Schwartz Cowan, 'How the Refrigerator got its Hum', in Donald MacKenzie and Judy Wajcman (eds), The Social Shaping of Technology (Milton Keynes, Bucks.: Open University Press, 1st edn, 1985), 202-18, reprinted from Cowan, More Work for Mother: The Ironies of Household Technology from the Open Hearth to the Microwave (New York: Basic Books, 1983), 127-45; Leo Marx, The Machine in the Garden: Technology and the Pastoral Ideal in America (London & New York: Oxford University Press, 1964).
19. Ruth Schwartz Cowan, 'How the Refrigerator got its Hum', in Donald MacKenzie and Judy Wajcman (eds), The Social Shaping of Technology (Milton Keynes, Bucks.: Open University Press, 1st edn, 1985), 202-18, reprinted from Cowan, More Work for Mother: The Ironies of Household Technology from the Open Hearth to the Microwave (New York: Basic Books, 1983), 127-45; Leo Marx, The Machine in the Garden: Technology and the Pastoral Ideal in America (London & New York: Oxford University Press, 1964).
20. Marx, ibid., 29.
21. Peter Bailey, 'Breaking the Sound Barrier: A Historian Listens to Noise', Body & Society, Vol. 2, No. 2 (1996), 49-66, at 49 and 55. I should like to thank Eddy Houwaart for drawing my attention to this article.
22. Ibid., 52-53.
23. Schafer, op. cit. note 1, 76 and 51. For the relation between religion and noise, see also: Winfried Menninghaus, 'Lärm und Schweigen: Religion, moderne Kunst und das Zeitalter des Computers', Merkur, Vol. 50, No. 6 (June 1996), 469-79.
24. Schafer, op. cit. note 1, 76 and 51. For the relation between religion and noise, see also: Winfried Menninghaus, 'Lärm und Schweigen: Religion, moderne Kunst und das Zeitalter des Computers', Merkur, Vol. 50, No. 6 (June 1996), 469-79.
25. Schafer, op. cit. note 1, 76.
26. Allard E. Dembe, Occupation and Disease: How Social Factors Affect the Conception of Work-Related Disorders (New Haven, CT & London: Yale University Press, 1996), 195, 203 and 211.
27. Hans-Joachim Braun, 'Lärmbelastung und Lärmbekämpfung in der Zwischenkriegszeit', in Günther Bayerl and Wolfhard Weber (eds), Sozialgeschichte der Technik: Ulrich Troitzsch zum 60. Geburtstag (Münster: Waxmann, 1998), 251-58.
28. Alain Corbin, Les cloches de la terre: Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Albin Michel, 1994); republished as Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (London: Macmillan, 1999), quotes at 159.
29. Alain Corbin, Les cloches de la terre: Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Albin Michel, 1994); republished as Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (London: Macmillan, 1999), quotes at 159.
30. Ibid. (1999), 290.
31. Paul Stoller, The Taste of Ethnographic Things: The Senses in Anthropology (Philadelphia: University of Pennsylviania Press, 1989), 110 and 121.
32. William H. McNeill, Keeping Together in Time: Dance and Drill in Human History (Cambridge, MA: Harvard University Press, 1995), 152.
33. Mieke Zijlmans, 'Kopen met je oren', De Volkskrant (12 October 1996), W17. See also: Judy Wajcman, Feminism Confronts Technology (Cambridge: Polity Press, 1991), 104.
34. Mieke Zijlmans, 'Kopen met je oren', De Volkskrant (12 October 1996), W17. See also: Judy Wajcman, Feminism Confronts Technology (Cambridge: Polity Press, 1991), 104.
35. Harry Cooke Cushing, Jr, The Electric Vehicle Handbook (New York, 11th edn, 1923), 6; cited in: Gijs Mom, Geschiedenis van de auto van morgen: Cultuur en techniek van de elektrische auto (Deventer: Kluwer Bedrijfsinformatie, 1997), 475. According to Mom (ibid., 213), opponents of the electric car even blamed the vehicle's 'noiselessness' for causing more accidents than the gasoline, since pedestrians could not hear it coming.
36. Harry Cooke Cushing, Jr, The Electric Vehicle Handbook (New York, 11th edn, 1923), 6; cited in: Gijs Mom, Geschiedenis van de auto van morgen: Cultuur en techniek van de elektrische auto (Deventer: Kluwer Bedrijfsinformatie, 1997), 475. According to Mom (ibid., 213), opponents of the electric car even blamed the vehicle's 'noiselessness' for causing more accidents than the gasoline, since pedestrians could not hear it coming.
37. Clay McShane, Down the Asphalt Path: The Automobile and the American City (New York: Columbia University Press, 1994), 169.
38. Antero Honkasalo, 'Environmental Noise as a Sign', Semiotica, Vol. 109, Nos 1/2 (1996), 29-39, at 32-33.
39. Paul van Emmerik, 'Muzikale ecologie', Tijdschrift voor Muziektheorie, Vol. 3, No. 1 (1998), 52-59, at 54; Wouter Buikhuisen, 'Brozems: een nieuwe lente, een nieuw geluid?', Tijdschrift voor Sociale Geneeskunde, Vol. 47, No. 4 (14 February 1969), 7-12, at 9.
40. Paul van Emmerik, 'Muzikale ecologie', Tijdschrift voor Muziektheorie, Vol. 3, No. 1 (1998), 52-59, at 54; Wouter Buikhuisen, 'Brozems: een nieuwe lente, een nieuw geluid?', Tijdschrift voor Sociale Geneeskunde, Vol. 47, No. 4 (14 February 1969), 7-12, at 9.
41. Anthony Jackson, 'Sound and Ritual', Man, Vol. 3 (1968), 293-99, at 295-96.
42. Mary Douglas, Reinheid en gevaar (Utrecht & Antwerpen: Het Spectrum, 1976); originally published as Purity and Danger: An Analysis of Concepts of Pollution and Taboo (London: Routledge & Kegan Paul, 1966).
43. Mary Douglas, Reinheid en gevaar (Utrecht & Antwerpen: Het Spectrum, 1976); originally published as Purity and Danger: An Analysis of Concepts of Pollution and Taboo (London: Routledge & Kegan Paul, 1966).
44. For a case study of its application to modern laboratory science, see the paper preceding mine in this issue: Cyrus C.M. Mody, 'A Little Dirt Never Hurt Anyone: Knowledge-Making and Contamination in Materials Science', Social Studies of Science, Vol. 31, No. 1 (February 2001), 7-36.
45. See, for instance, Arnold Labrie, Het verlangen naar zuiverheid: Een essay over Duitsland (Maastricht: Rijksuniversiteit Limburg, 1994). The Kultur-und Lebensreformbewegung comprised Lebensphilosophie, theosophy, naturopathy, the total abstinence movement, vegetarianism, anti-vivisectionism, the garden city movement, race hygiene, naturism and youth culture.
46. Peter Burke, 'Notes for a Social History of Silence in Early Modern Europe', in his The Art of Conversation (Ithaca, NY: Cornell University Press, 1993), 123-4. See also Bailey, op. cit. note 6, 53-54.
47. Peter Burke, 'Notes for a Social History of Silence in Early Modern Europe', in his The Art of Conversation (Ithaca, NY: Cornell University Press, 1993), 123-4. See also Bailey, op. cit. note 6, 53-54.
48. Anne Carson, Glass, Irony and God (NewYork: New Directions, 1992), 127.
49. Burke, op. cit. note 25, 136.
50. As to the trend towards self-control with respect to speech - and other forms of bodily noises - Burke naturally refers to the work of Norbert Elias: Burke, op. cit. note 25, 140. See also Bailey, op. cit. note 6, 56.
51. As to the trend towards self-control with respect to speech - and other forms of bodily noises - Burke naturally refers to the work of Norbert Elias: Burke, op. cit. note 25, 140. See also Bailey, op. cit. note 6, 56.
52. Burke, op. cit. note 25, 140-41.
53. Bailey, op. cit. note 6, 55.
54. Constance Classen, for instance, argues that oral cultures - oral in terms of the dominant form of communication - are not always aural cultures. She gives examples of oral cultures that 'symbolically orient themselves by temperature', by smell or by colour. Moreover, Classen shows that the 'standard ranking' of the senses in Western culture, in which sight occupied 'the highest position, followed by hearing, smell, taste and touch', had originated from Aristotle. See Constance Classen, Worlds of Sense: Exploring the Senses in History and across Cultures (London & New York: Routledge, 1993), 135, 3. For other work on the senses, see also Paul Rodaway, Sensuous Geographies: Body, Sense and Place (London & New York: Routledge, 1994), and Diane Ackerman, A Natural History of the Senses (New York: Vintage Books, 1991). However, Ackerman's book is more personal, less historical and only generally documented.
55. Constance Classen, for instance, argues that oral cultures - oral in terms of the dominant form of communication - are not always aural cultures. She gives examples of oral cultures that 'symbolically orient themselves by temperature', by smell or by colour. Moreover, Classen shows that the 'standard ranking' of the senses in Western culture, in which sight occupied 'the highest position, followed by hearing, smell, taste and touch', had originated from Aristotle. See Constance Classen, Worlds of Sense: Exploring the Senses in History and across Cultures (London & New York: Routledge, 1993), 135, 3. For other work on the senses, see also Paul Rodaway, Sensuous Geographies: Body, Sense and Place (London & New York: Routledge, 1994), and Diane Ackerman, A Natural History of the Senses (New York: Vintage Books, 1991). However, Ackerman's book is more personal, less historical and only generally documented.
56. Constance Classen, for instance, argues that oral cultures - oral in terms of the dominant form of communication - are not always aural cultures. She gives examples of oral cultures that 'symbolically orient themselves by temperature', by smell or by colour. Moreover, Classen shows that the 'standard ranking' of the senses in Western culture, in which sight occupied 'the highest position, followed by hearing, smell, taste and touch', had originated from Aristotle. See Constance Classen, Worlds of Sense: Exploring the Senses in History and across Cultures (London & New York: Routledge, 1993), 135, 3. For other work on the senses, see also Paul Rodaway, Sensuous Geographies: Body, Sense and Place (London & New York: Routledge, 1994), and Diane Ackerman, A Natural History of the Senses (New York: Vintage Books, 1991). However, Ackerman's book is more personal, less historical and only generally documented.
57. Jacques Attali, Noise: The Political Economy of Music (Manchester: Manchester University Press, 1985), 3. See also: Classen, op. cit. note 31, 11; Schafer, op. cit. note 1, 128. Even Schafer's notion of 'soundscape', Paul Rodaway has observed, has - through its links with 'landscape' - visual connotations, such as the static image and the 'privileged position' that may lead one to forget that the '[a]uditory experience is far more dynamic [than the visual experience]', and that 'the sentient participates within the sonic environment': Rodaway, op. cit. note 31, 86-87.
58. Jacques Attali, Noise: The Political Economy of Music (Manchester: Manchester University Press, 1985), 3. See also: Classen, op. cit. note 31, 11; Schafer, op. cit. note 1, 128. Even Schafer's notion of 'soundscape', Paul Rodaway has observed, has - through its links with 'landscape' - visual connotations, such as the static image and the 'privileged position' that may lead one to forget that the '[a]uditory experience is far more dynamic [than the visual experience]', and that 'the sentient participates within the sonic environment': Rodaway, op. cit. note 31, 86-87.
59. Jacques Attali, Noise: The Political Economy of Music (Manchester: Manchester University Press, 1985), 3. See also: Classen, op. cit. note 31, 11; Schafer, op. cit. note 1, 128. Even Schafer's notion of 'soundscape', Paul Rodaway has observed, has - through its links with 'landscape' - visual connotations, such as the static image and the 'privileged position' that may lead one to forget that the '[a]uditory experience is far more dynamic [than the visual experience]', and that 'the sentient participates within the sonic environment': Rodaway, op. cit. note 31, 86-87.
60. Jacques Attali, Noise: The Political Economy of Music (Manchester: Manchester University Press, 1985), 3. See also: Classen, op. cit. note 31, 11; Schafer, op. cit. note 1, 128. Even Schafer's notion of 'soundscape', Paul Rodaway has observed, has -through its links with 'landscape' - visual connotations, such as the static image and the 'privileged position' that may lead one to forget that the '[a]uditory experience is far more dynamic [than the visual experience]', and that 'the sentient participates within the sonic environment': Rodaway, op. cit. note 31, 86-87.
61. Moreover, within the culture of 17th-century science, at least in England, the age-old topos of science and solitude became employed anew by stressing the importance of the 'isolated individual in direct contact with reality' for the authentic discovery - not the legitimation - of truth: see Steven Shapin, '"The Mind Is Its Own Place": Science and Solitude in Seventeenth-Century England', Science and Context, Vol. 4 (1991), 191-218. Such a stress on solitude probably meant that silence was highly valued, too.
62. That is not to say that there are no other ways of studying the relation between sound and technology than the one chosen in this paper. It may be interesting, for instance, to study how engineers listen to and acoustically analyze the artefacts they work with. Moreover, scholars who study technology might focus on the genesis of differences in the sound of technological artefacts. For instance, Schafer observes that the American telephone, at least in the 1970s, had a single ring, whereas the British telephone had beats of rings followed by silences; intervals between such beats varied from well over three seconds in New Zealand to ten seconds in Sweden: Schafer, op. cit. note 1, 242. Studying the causes and consequences of such a variety in the sound of technological artefacts could be a new way of studying how technology and culture co-evolve.
63. Quotations from Marx, op. cit. note 4, at (in order) 16, 9 and 219.
64. In 720 BC, the Greek colony Sybaris in Italy prohibited industrial noises in residential areas: see Edward F. Brown, E.B. Dennis, Jr, Jean Henry and G. Edward Pendray (eds), City Noise: The Report of the Commission Appointed by Dr Shirley W. Wynne, Commissioner of Health, to Study Noise in New York City and to Develop Means of Abating It (New York: Noise Abatement Commission, Department of Health, 1930), 6, 285-86. With respect to ancient Rome, several complaints about traffic noise are documented: see Schafer, op. cit. note 1, 190, and J.K. Nieuwenhuizen, Stilte Alstublieft (Eindhoven: Technische Hogeschool, 1969), 4.
65. In 720 BC, the Greek colony Sybaris in Italy prohibited industrial noises in residential areas: see Edward F. Brown, E.B. Dennis, Jr, Jean Henry and G. Edward Pendray (eds), City Noise: The Report of the Commission Appointed by Dr Shirley W. Wynne, Commissioner of Health, to Study Noise in New York City and to Develop Means of Abating It (New York: Noise Abatement Commission, Department of Health, 1930), 6, 285-86. With respect to ancient Rome, several complaints about traffic noise are documented: see Schafer, op. cit. note 1, 190, and J.K. Nieuwenhuizen, Stilte Alstublieft (Eindhoven: Technische Hogeschool, 1969), 4.
66. In 720 BC, the Greek colony Sybaris in Italy prohibited industrial noises in residential areas: see Edward F. Brown, E.B. Dennis, Jr, Jean Henry and G. Edward Pendray (eds), City Noise: The Report of the Commission Appointed by Dr Shirley W. Wynne, Commissioner of Health, to Study Noise in New York City and to Develop Means of Abating It (New York: Noise Abatement Commission, Department of Health, 1930), 6, 285-86. With respect to ancient Rome, several complaints about traffic noise are documented: see Schafer, op. cit. note 1, 190, and J.K. Nieuwenhuizen, Stilte Alstublieft (Eindhoven: Technische Hogeschool, 1969), 4.
67. Of an even earlier date was the disturbance felt by Kant, who hated the singing in the prison near his house, and Goethe, who displayed a deep dislike for the barking of dogs: 'kläffend zerreist es mein Ohr'. For Kant, see Herman Parrel, 'Kant over muziek', Restant, Vol. 19, No. 2/3 (1991), 753-76, at 762; for Goethe, see his Roman Elegies, quoted in James Sully, 'Civilisation and Noise', The Fortnightly Review, Vol. 24 (1878), 704-20, at 706.
68. Of an even earlier date was the disturbance felt by Kant, who hated the singing in the prison near his house, and Goethe, who displayed a deep dislike for the barking of dogs: 'kläffend zerreist es mein Ohr'. For Kant, see Herman Parrel, 'Kant over muziek', Restant, Vol. 19, No. 2/3 (1991), 753-76, at 762; for Goethe, see his Roman Elegies, quoted in James Sully, 'Civilisation and Noise', The Fortnightly Review, Vol. 24 (1878), 704-20, at 706.
69. Arthur Schopenhauer, 'Over lawaai en luidruchtigheid', in Er is geen vrouw die deugt (Amsterdam: Arbeiderspers, 1974), 156-60, at 157; originally published as 'Über Lärm und Geräusch', in Parerga und Paralipomena, kleine philosophische Schriften (Berlin: A.W. Hahn, 1851); translation quoted from Schafer, op. cit. note 1, 62. See also Bailey, op. cit. note 6, 57; Menninghaus, op. cit. note 8, 475; Brown et al. (eds), op. cit. note 36, 6, 286. Schopenhauer was also mentioned by James Sully and Theodor Lessing (see below).
70. Arthur Schopenhauer, 'Over lawaai en luidruchtigheid', in Er is geen vrouw die deugt (Amsterdam: Arbeiderspers, 1974), 156-60, at 157; originally published as 'Über Lärm und Geräusch', in Parerga und Paralipomena, kleine philosophische Schriften (Berlin: A.W. Hahn, 1851); translation quoted from Schafer, op. cit. note 1, 62. See also Bailey, op. cit. note 6, 57; Menninghaus, op. cit. note 8, 475; Brown et al. (eds), op. cit. note 36, 6, 286. Schopenhauer was also mentioned by James Sully and Theodor Lessing (see below).
71. Arthur Schopenhauer, 'Over lawaai en luidruchtigheid', in Er is geen vrouw die deugt (Amsterdam: Arbeiderspers, 1974), 156-60, at 157; originally published as 'Über Lärm und Geräusch', in Parerga und Paralipomena, kleine philosophische Schriften (Berlin: A.W. Hahn, 1851); translation quoted from Schafer, op. cit. note 1, 62. See also Bailey, op. cit. note 6, 57; Menninghaus, op. cit. note 8, 475; Brown et al. (eds), op. cit. note 36, 6, 286. Schopenhauer was also mentioned by James Sully and Theodor Lessing (see below).
72. Arthur Schopenhauer, 'Over lawaai en luidruchtigheid', in Er is geen vrouw die deugt (Amsterdam: Arbeiderspers, 1974), 156-60, at 157; originally published as 'Über Lärm und Geräusch', in Parerga und Paralipomena, kleine philosophische Schriften (Berlin: A.W. Hahn, 1851); translation quoted from Schafer, op. cit. note 1, 62. See also Bailey, op. cit. note 6, 57; Menninghaus, op. cit. note 8, 475; Brown et al. (eds), op. cit. note 36, 6, 286. Schopenhauer was also mentioned by James Sully and Theodor Lessing (see below).
73. Arthur Schopenhauer, 'Over lawaai en luidruchtigheid', in Er is geen vrouw die deugt (Amsterdam: Arbeiderspers, 1974), 156-60, at 157; originally published as 'Über Lärm und Geräusch', in Parerga und Paralipomena, kleine philosophische Schriften (Berlin: A.W. Hahn, 1851); translation quoted from Schafer, op. cit. note 1, 62. See also Bailey, op. cit. note 6, 57; Menninghaus, op. cit. note 8, 475; Brown et al. (eds), op. cit. note 36, 6, 286. Schopenhauer was also mentioned by James Sully and Theodor Lessing (see below).
74. Arthur Schopenhauer, 'Over lawaai en luidruchtigheid', in Er is geen
75. Schopenhauer, op. cit. note 38, 156 (my translation).
76. Charles Babbage, 'Street Nuisances', in Martin Campbell-Kelly (ed.), The Works of Charles Babbage, Volume 11: Passages front the Life of a Philosopher (London: William Pickering, 1989), 253-71, at 254. This tract was originally published in 1864 as a pamphlet, titled 'A Chapter on Street Nuisances'.
77. Ibid., 253.
78. Ibid., 259. For Babbage's campaign, see also Bailey, op. cit. note 6, 61; Sully, op. cit. note 37, 718; Schafer, op. cit. note 1, 66.
79. Ibid., 259. For Babbage's campaign, see also Bailey, op. cit. note 6, 61; Sully, op. cit. note 37, 718; Schafer, op. cit. note 1, 66.
80. Ibid., 259. For Babbage's campaign, see also Bailey, op. cit. note 6, 61; Sully, op. cit. note 37, 718; Schafer, op. cit. note 1, 66.
81. Ibid., 259. For Babbage's campaign, see also Bailey, op. cit. note 6, 61; Sully, op. cit. note 37, 718; Schafer, op. cit. note 1, 66.
82. Michael Haberlandt, 'Vom Lärm', in Cultur im Alltag: Gesammelte Aufsätze von Michael Haberlandt (Wien: Wiener Verlag, 1900), 177-83, at 177-78.
83. Sully, op. cit. note 37, 704. For other observations concerning the discussion of (street) noise in terms of civilization and barbarism, see Bailey, op. cit. note 6, 60-61.
84. Sully, op. cit. note 37, 704. For other observations concerning the discussion of (street) noise in terms of civilization and barbarism, see Bailey, op. cit. note 6, 60-61.
85. Quotations from Sully, op. cit. note 37, (in order) 706, 720, 707 and 709.
86. Theodor Lessing, Der Lärm: Eine Kampschrift gegen die Geräusche unseres Lebens (Wiesbaden: Verlag von J.F. Bergmann, 1908), 45 (my translation). For Lessing's ideas, see also: T. Lessing, 'Die Lärmschutzbewegung', Dokumente des Fortschritts, Vol. 1 (October 1908), 954-61; Lessing, 'Ueber Psychologie des Lärms', Zeitschrift für Psychotherapie und medizinische Psychologie, Vol. 1 (1909), 77-87.
87. Theodor Lessing, Der Lärm: Eine Kampschrift gegen die Geräusche unseres Lebens (Wiesbaden: Verlag von J.F. Bergmann, 1908), 45 (my translation). For Lessing's ideas, see also: T. Lessing, 'Die Lärmschutzbewegung', Dokumente des Fortschritts, Vol. 1 (October 1908), 954-61; Lessing, 'Ueber Psychologie des Lärms', Zeitschrift für Psychotherapie und medizinische Psychologie, Vol. 1 (1909), 77-87.
88. Theodor Lessing, Der Lärm: Eine Kampschrift gegen die Geräusche unseres Lebens (Wiesbaden: Verlag von J.F. Bergmann, 1908), 45 (my translation). For Lessing's ideas, see also: T. Lessing, 'Die Lärmschutzbewegung', Dokumente des Fortschritts, Vol. 1 (October 1908), 954-61; Lessing, 'Ueber Psychologie des Lärms', Zeitschrift für Psychotherapie und medizinische Psychologie, Vol. 1 (1909), 77-87.
89. Lessing, Der Lärm, op. cit. note 46, at 11 and 20 (my translations).
90. Dan McKenzie, The City of Din: A Tirade Against Noise (London: Adlard & Son, Bartholomew Press, 1916), v.
91. Quotations from Stanley Rowland, 'Noise', The Nineteenth Century and After, Vol. XCIV, No. 559 (September 1923), 313-23, at (in order) 315, 317, 318, 319 and 314.
92. Ibid., 313.
93. McKenzie, op. cit. note 48, 52.
94. Richard Birkefeld and Martina Jung, Die Stadt, der Lärm und das Licht: Die Veränderung des öffentlichen Raumes durch Motorisierung und Elektrifizierung (Seelze [Velber]: Kallmeyer, 1994), 45.
95. Ibid., 39.
96. Ibid., 48. For a discussion of the putative 'age of increasing nervousness', see also Klaus Saul, '"Kein Zeitalter seit Erschaffung der Welt hat so viel und so ungeheuerlichen Lärm gemacht. . ." - Lärmquellen, Lärmbekämpfung und Antilärmbewegung im Deutschen Kaiserreich', in Günter Bayerl, Norman Fuchsloch und Torsten Meyer (eds), Unweltgeschichte - Methoden, Themen, Potentiale (Münster: Waxmann, 1996), 187-217, at 203.
97. Ibid., 48. For a discussion of the putative 'age of increasing nervousness', see also Klaus Saul, '"Kein Zeitalter seit Erschaffung der Welt hat so viel und so ungeheuerlichen Lärm gemacht. . ." - Lärmquellen, Lärmbekämpfung und Antilärmbewegung im Deutschen Kaiserreich', in Günter Bayerl, Norman Fuchsloch und Torsten Meyer (eds), Unweltgeschichte - Methoden, Themen, Potentiale (Münster: Waxmann, 1996), 187-217, at 203.
98. McKenzie, op. cit. note 48, 32 and 105.
99. Ibid., 33.
100. Ibid., 69.
101. Haberlandt, op. cit. note 43, 178; McKenzie, op. cit. note 48, 1 and 25-28. Lessing, Der Lärm, op. cit. note 46, 15.
102. Haberlandt, op. cit. note 43, 178; McKenzie, op. cit. note 48, 1 and 25-28. Lessing, Der Lärm, op. cit. note 46, 15.
103. Haberlandt, op. cit. note 43, 178; McKenzie, op. cit. note 48, 1 and 25-28. Lessing, Der Lärm, op. cit. note 46, 15.
104. McKenzie, op. cit. note 48, 28.
105. Haberlandt, op. cit. note 43, 182.
106. Rowland, op. cit. note 49, 316.
107. McKenzie, op. cit. note 48, 111.
108. Birkefeld & Jung, op. cit. note 52, 48.
109. Schafer, op. cit. note 1, 190. For an interesting review of European law concerning the breach of the peace (the noise of neighbours), see Willem Jacobus van Dam, Burengerucht ('s Hertogenbosch: W.C. van Heusden, 1888).
110. Schafer, op. cit. note 1, 190. For an interesting review of European law concerning the breach of the peace (the noise of neighbours), see Willem Jacobus van Dam, Burengerucht ('s Hertogenbosch: W.C. van Heusden, 1888).
111. Lessing, Der Lärm, op. cit. note 46, 73-91 (my translation). Difficulties in sentencing the noise of machines applied to several other countries too, but Lessing did not go far into foreign law. In Holland, for instance, industries could be refused permission to set up somewhere, on account of the late 19th-century 'Nuisance Act' (Hinderwet). However, refusal was only possible in case of 'severe nuisance', since every kind of industry made noise, and industries could not completely be banned from town areas. Only churches, schools and hospitals were considered to need some protection: C.W. van Ommeren and W.J. Hoendervanger, De hinderwet en hare toepassing (Arnhem: G.W. van der Wiel, 1914), 114-16. The Dutch 'Nuisance Act' came into effect in 1875.
112. Lessing, Der Lärm, op. cit. note 46, 73-91 (my translation). Difficulties in sentencing the noise of machines applied to several other countries too, but Lessing did not go far into foreign law. In Holland, for instance, industries could be refused permission to set up somewhere, on account of the late 19th-century 'Nuisance Act' (Hinderwet). However, refusal was only possible in case of 'severe nuisance', since every kind of industry made noise, and industries could not completely be banned from town areas. Only churches, schools and hospitals were considered to need some protection: C.W. van Ommeren and W.J. Hoendervanger, De hinderwet en hare toepassing (Arnhem: G.W. van der Wiel, 1914), 114-16. The Dutch 'Nuisance Act' came into effect in 1875.
113. Willy Hellpach, Nervösität und Kultur (Berlin: Verlag von Johannes Räde, 1902), 32 (my translation).
114. Ibid., 38 (my translation and italics).
115. See Lessing, Der Lärm, op. cit. note 46, (in order) 46, 62, 51-53. See also Matthias Lenz, '"Ruhe ist die erste Bürgerpflicht": Lärm, Großstadt und Nervösität im Spiegel Theodor Lessings "Antilärmverein"', Medizin, Gesellschaft und Geschichte, Vol. 13 (1994), 81-105.
116. See Lessing, Der Lärm, op. cit. note 46, (in order) 46, 62, 51-53. See also Matthias Lenz, '"Ruhe ist die erste Bürgerpflicht": Lärm, Großstadt und Nervösität im Spiegel Theodor Lessings "Antilärmverein"', Medizin, Gesellschaft und Geschichte, Vol. 13 (1994), 81-105.
117. Corbin (1999), op. cit. note 12, 302-05.
118. Adaptation of the pavement (sidewalk) had been preceded in England by the use of straw outside hospitals, in Paris by gritting peat in front of the dwellings of honourable persons, and in Holland by sprinkling sand in front of the homes of the sick. See: Bailey, op. cit. note 6, 59; Algemeene inlichtingen over de lawaai-bestrijding (Delft: Geluidstichting, 1936), 3; Verslag van het 'Anti-Lawaai Congres', georganiseerd te Delft, op 8 november 1934 door de Koninklijke Nederlandsche Automobiel Club in samenwerking met de Geluidstichting (Delft: KNAC/Geluidstichting, 1934), 21. For a general discussion of changes in street pavements (sidewalks), see Clay McShane, 'Transforming the Use of Urban Space: A Look at the Revolution in Street Pavements, 1880-1924', Journal of Urban History, Vol. 5, No. 3 (May 1979), 279-307.
119. Adaptation of the pavement (sidewalk) had been preceded in England by the use of straw outside hospitals, in Paris by gritting peat in front of the dwellings of honourable persons, and in Holland by sprinkling sand in front of the homes of the sick. See: Bailey, op. cit. note 6, 59; Algemeene inlichtingen over de lawaai-bestrijding (Delft: Geluidstichting, 1936), 3; Verslag van het 'Anti-Lawaai Congres', georganiseerd te Delft, op 8 november 1934 door de Koninklijke Nederlandsche Automobiel Club in samenwerking met de Geluidstichting (Delft: KNAC/Geluidstichting, 1934), 21. For a general discussion of changes in street pavements (sidewalks), see Clay McShane, 'Transforming the Use of Urban Space: A Look at the Revolution in Street Pavements, 1880-1924', Journal of Urban History, Vol. 5, No. 3 (May 1979), 279-307.
120. Adaptation of the pavement (sidewalk) had been preceded in England by the use of straw outside hospitals, in Paris by gritting peat in front of the dwellings of honourable persons, and in Holland by sprinkling sand in front of the homes of the sick. See: Bailey, op. cit. note 6, 59; Algemeene inlichtingen over de lawaai-bestrijding (Delft: Geluidstichting, 1936), 3; Verslag van het 'Anti-Lawaai Congres', georganiseerd te Delft, op 8 november 1934 door de Koninklijke Nederlandsche Automobiel Club in samenwerking met de Geluidstichting (Delft: KNAC/Geluidstichting, 1934), 21. For a general discussion of changes in street pavements (sidewalks), see Clay McShane, 'Transforming the Use of Urban Space: A Look at the Revolution in Street Pavements, 1880-1924', Journal of Urban History, Vol. 5, No. 3 (May 1979), 279-307.
121. Adaptation of the pavement (sidewalk) had been preceded in England by the use of straw outside hospitals, in Paris by gritting peat in front of the dwellings of honourable persons, and in Holland by sprinkling sand in front of the homes of the sick. See: Bailey, op. cit. note 6, 59; Algemeene inlichtingen over de lawaai-bestrijding (Delft: Geluidstichting, 1936), 3; Verslag van het 'Anti-Lawaai Congres', georganiseerd te Delft, op 8 november 1934 door de Koninklijke Nederlandsche Automobiel Club in samenwerking met de Geluidstichting (Delft: KNAC/Geluidstichting, 1934), 21. For a general discussion of changes in street pavements (sidewalks), see Clay McShane, 'Transforming the Use of Urban Space: A Look at the Revolution in Street Pavements, 1880-1924', Journal of Urban History, Vol. 5, No. 3 (May 1979), 279-307.
122. G. Pinkenburg, Der Lärm in den Städten und seine Verhinderung (Jena: Verlag von Gustav Fischer, 1903).
123. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
124. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
125. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
126. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
127. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
128. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
129. Lentz, op. cit. note 69, 85. See also: Frederik Hogewind, Analyse en meting van het dagrumoer (Utrecht: L.E. Bosch & Zoon, 1926), 11; Lawrence Baron, 'Noise and Degeneration: Theodor Lessing's Crusade for Quiet', Journal of Contemporary History, Vol. 17 (1982), 165-78, at 169-70; Rainer Marwedel, Theodor Lessing: 1872-1933 (Darmstadt & Neuwied: Hermann Luchterhand Verlag, 1987), 104-07. The full title of the German journal was: Der Anti-Rüpel: Antirowdy: Das Recht auf Stille, Monatsblätter zum Kampf gegen Lärm, Roheit und Unkultur im deutschen Wirtschafts-, Handels-und Verkehrsleben. From the second issue onwards, its main title was Das Recht auf Stille. In Der Lärm (op. cit. note 46, at 43), Lessing also mentioned the existence of a 'Society for the Protection from Street Noise' (Verein zum Schutz gegen den Strassenlärm) in Nürnberg. However, no additional references to the latter society are known to me.
130. A.H. Davis, Noise (London: Watts, 1937), 132; O.M.T. Meyer and H.P. Potman, Voor de bestrijding van het lawaai: Een onderzoek naar de vorming van het geluidhinderbeleid in Nederland (Nijmegen: unnamed publisher, 1987), 10-12; A. Dubois, 'Voorwoord van den Voorzitter', Stilte, Vol. 1, No. 1 (May 1938), 3; Baron, op. cit. note 73, 169; Noise Abatement Exhibition (London: The Anti-Noise League, 1935), 39-43. The latter source mentions 1927 instead of 1928 as the start of the French noise abatement society. In 1909, Lessing ('Über Psychologie des Lärms', op. cit. note 46, 86) also referred to noise abatement societies in Rotterdam and Brussels, but again, no additional references to these societies are known to me.
131. A.H. Davis, Noise (London: Watts, 1937), 132; O.M.T. Meyer and H.P. Potman, Voor de bestrijding van het lawaai: Een onderzoek naar de vorming van het geluidhinderbeleid in Nederland (Nijmegen: unnamed publisher, 1987), 10-12; A. Dubois, 'Voorwoord van den Voorzitter', Stilte, Vol. 1, No. 1 (May 1938), 3; Baron, op. cit. note 73, 169; Noise Abatement Exhibition (London: The Anti-Noise League, 1935), 39-43. The latter source mentions 1927 instead of 1928 as the start of the French noise abatement society. In 1909, Lessing ('Über Psychologie des Lärms', op. cit. note 46, 86) also referred to noise abatement societies in Rotterdam and Brussels, but again, no additional references to these societies are known to me.
132. A.H. Davis, Noise (London: Watts, 1937), 132; O.M.T. Meyer and H.P. Potman, Voor de bestrijding van het lawaai: Een onderzoek naar de vorming van het geluidhinderbeleid in Nederland (Nijmegen: unnamed publisher, 1987), 10-12; A. Dubois, 'Voorwoord van den Voorzitter', Stilte, Vol. 1, No. 1 (May 1938), 3; Baron, op. cit. note 73, 169; Noise Abatement Exhibition (London: The Anti-Noise League, 1935), 39-43. The latter source mentions 1927 instead of 1928 as the start of the French noise abatement society. In 1909, Lessing ('Über Psychologie des Lärms', op. cit. note 46, 86) also referred to noise abatement societies in Rotterdam and Brussels, but again, no additional references to these societies are known to me.
133. A.H. Davis, Noise (London: Watts, 1937), 132; O.M.T. Meyer and H.P. Potman, Voor de bestrijding van het lawaai: Een onderzoek naar de vorming van het geluidhinderbeleid in Nederland (Nijmegen: unnamed publisher, 1987), 10-12; A. Dubois, 'Voorwoord van den Voorzitter', Stilte, Vol. 1, No. 1 (May 1938), 3; Baron, op. cit. note 73, 169; Noise Abatement Exhibition (London: The Anti-Noise League, 1935), 39-43. The latter source mentions 1927 instead of 1928 as the start of the French noise abatement society. In 1909, Lessing ('Über Psychologie des Lärms', op. cit. note 46, 86) also referred to noise abatement societies in Rotterdam and Brussels, but again, no additional references to these societies are known to me.
134. A.H. Davis, Noise (London: Watts, 1937), 132; O.M.T. Meyer and H.P. Potman, Voor de bestrijding van het lawaai: Een onderzoek naar de vorming van het geluidhinderbeleid in Nederland (Nijmegen: unnamed publisher, 1987), 10-12; A. Dubois, 'Voorwoord van den Voorzitter', Stilte, Vol. 1, No. 1 (May 1938), 3; Baron, op. cit. note 73, 169; Noise Abatement Exhibition (London: The Anti-Noise League, 1935), 39-43. The latter source mentions 1927 instead of 1928 as the start of the French noise abatement society. In 1909, Lessing ('Über Psychologie des Lärms', op. cit. note 46, 86) also referred to noise abatement societies in Rotterdam and Brussels, but again, no additional references to these societies are known to me.
135. A.H. Davis, Noise (London: Watts, 1937), 132; O.M.T. Meyer and H.P. Potman, Voor de bestrijding van het lawaai: Een onderzoek naar de vorming van het geluidhinderbeleid in Nederland (Nijmegen: unnamed publisher, 1987), 10-12; A. Dubois, 'Voorwoord van den Voorzitter', Stilte, Vol. 1, No. 1 (May 1938), 3; Baron, op. cit. note 73, 169; Noise Abatement Exhibition (London: The Anti-Noise League, 1935), 39-43. The latter source mentions 1927 instead of 1928 as the start of the French noise abatement society. In 1909, Lessing ('Über Psychologie des Lärms', op. cit. note 46, 86) also referred to noise abatement societies in Rotterdam and Brussels, but again, no additional references to these societies are known to me.
136. Lord Horder, 'Foreword', Quiet, Vol. 1, No. 1 (March 1936), 3.
137. For the successes of Lessing's Antilärm-Verein, see Birkefeld & Jung, op. cit. note 52, 51-52.
138. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
139. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
140. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
141. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
142. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
143. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
144. Birkefeld & Jung, op. cit. note 52, 57; Lentz, op. cit. note 69, 93; Saul, op. cit. note 54; Klaus Saul, 'Wider die "Lärmpest": Lärmkritik und Lärmbekämpfung im Deutschen Kaiserreich', in Dittmar Machule, Olaf Mischer und Arnold Sywottek (eds), Macht Stadt krank? Vom Umgang mit Gesundheit und Krankheit (Hamburg: Dölling und Galitz Verlag, 1996), 151-92. Before World War I, German noise experts thought that working-class people were so used to industrial noise that city noise did not bother them: see Saul, op. cit. note 54, 203. In the late 1920s and early 1930s, however, organizations such as the 'German Society of Industrial Hygiene' (Deutsche Gesellschaft für Gewerbehygiene) and the 'German Society of Mechanical Engineers' (Verein Deutscher Ingenieure) started to abate industrial noise. In 1929, the metal sector acknowledged industrial hearing loss. See Braun, op. cit. note 11; A. de Bruijn, 50 jaar akoestiek in Nederland (Delft: Nederlands Akoestich Genootschap, 1984), 5.
145. According to Chester Morrow, one could test the 'state of civilization' attained in a specific country by looking at 'the character of its roads', 'the position of women' and 'the minimizing of noise'. The first two were OK in the United States, but 'As to noise we are yet in the depths of degradation'. See Chester F. Morrow, 'Anti-noise Legislation now pending in the City Council and under consideration by the Anti-noise Committee', The Bulletin of the Medical and Chirurgical Faculty of Maryland, Vol. V, No. 7 (January 1913), 117-21, at 121.
146. See: John Whiteclay Chambers II, The Tyranny of Change: America in the Progressive Era, 1890-1920 (NewYork: St Martin's Press, 1992), 292; Martin V. Melosi, 'The Urban Environmental Crisis', in Leon Fink (ed.), Major Problems in the Gilded Age and the Progressive Era (Lexington, MA: D.C. Heath, 1993), 423-34, at 430.
147. See: John Whiteclay Chambers II, The Tyranny of Change: America in the Progressive Era, 1890-1920 (NewYork: St Martin's Press, 1992), 292; Martin V. Melosi, 'The Urban Environmental Crisis', in Leon Fink (ed.), Major Problems in the Gilded Age and the Progressive Era (Lexington, MA: D.C. Heath, 1993), 423-34, at 430.
148. Report of The Society for the Suppression of Unnecessary Noise, 1907-1913 (unnamed publisher, no date), at 20 (my page-numbering); Raymond W. Smilor, 'Cacophony at 34th and 6th: The Noise Problem in America, 1900-1930', American Studies, Vol. 18, No. 1 (1971), 23-28; R.W. Smilor, 'Toward an Environmental Perspective: The Anti-Noise Campaign, 1893-1932', in Martin V. Melosi (ed.), Pollution and Reform in American Cities, 1870-1930 (Austin, TX & London: University of Texas Press, 1980), 135-51; Hillel Schwartz, 'Beyond Tone and Decibel: the History of Noise', The Chronicle of Higher Education, (9 January 1998), B8.
149. Report of The Society for the Suppression of Unnecessary Noise, 1907-1913 (unnamed publisher, no date), at 20 (my page-numbering); Raymond W. Smilor, 'Cacophony at 34th and 6th: The Noise Problem in America, 1900-1930', American Studies, Vol. 18, No. 1 (1971), 23-28; R.W. Smilor, 'Toward an Environmental Perspective: The Anti-Noise Campaign, 1893-1932', in Martin V. Melosi (ed.), Pollution and Reform in American Cities, 1870-1930 (Austin, TX & London: University of Texas Press, 1980), 135-51; Hillel Schwartz, 'Beyond Tone and Decibel: the History of Noise', The Chronicle of Higher Education, (9 January 1998), B8.
150. Report of The Society for the Suppression of Unnecessary Noise, 1907-1913 (unnamed publisher, no date), at 20 (my page-numbering); Raymond W. Smilor, 'Cacophony at 34th and 6th: The Noise Problem in America, 1900-1930', American Studies, Vol. 18, No. 1 (1971), 23-28; R.W. Smilor, 'Toward an Environmental Perspective: The Anti-Noise Campaign, 1893-1932', in Martin V. Melosi (ed.), Pollution and Reform in American Cities, 1870-1930 (Austin, TX & London: University of Texas Press, 1980), 135-51; Hillel Schwartz, 'Beyond Tone and Decibel: the History of Noise', The Chronicle of Higher Education, (9 January 1998), B8.
151. Report of The Society for the Suppression of Unnecessary Noise, 1907-1913 (unnamed publisher, no date), at 20 (my page-numbering); Raymond W. Smilor, 'Cacophony at 34th and 6th: The Noise Problem in America, 1900-1930', American Studies, Vol. 18, No. 1 (1971), 23-28; R.W. Smilor, 'Toward an Environmental Perspective: The Anti-Noise Campaign, 1893-1932', in Martin V. Melosi (ed.), Pollution and Reform in American Cities, 1870-1930 (Austin, TX & London: University of Texas Press, 1980), 135-51; Hillel Schwartz, 'Beyond Tone and Decibel: the History of Noise', The Chronicle of Higher Education, (9 January 1998), B8.
152. Henry J. Spooner, quoted in 'The World's Plague of Noise', The Literary Digest (6 October 1928), 18-19, at 18.
153. Birkefeld & Jung, op. cit. note 52, 40.
154. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
155. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
156. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
157. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
158. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
159. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
160. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
161. Robert T. Beyer, Sounds of Our Times: Two HundredYears of Acoustics (New York: Springer-Verlag, 1999), 206. Those who used the older definition followed Helmholz. See: Sully, op. cit. note 37, 704-06; Pinkenburg, op. cit. note 72, 7; Lessing, Der Lärm, op. cit. note 46, 37-38; Hogewind, op. cit. note 73, 16-18. For the newer type of definition, see: Charles S. Myers, 'Preface', in F.C. Bartlett (ed.), The Problem of Noise (Cambridge: Cambridge University Press, 1934), vii-x, at viii; Davis, op. cit, note 74, 6; A. Dubois, Lawaai en lawaaibestrijding (Den Haag: Moorman's Periodieke Pers, 1937), 3. In German and Dutch, one can discern Gerausch or ruis (noise as the opposite to 'signal') and Lärm or Lawaai (noise as 'clamour'), whereas the English language only has 'noise'. Of course, a tree can 'rustle', but that again is different from the use of 'noise' as the opposite to signal. It is not possible here to elaborate on the etymology of 'noise' and comparable terms in other languages, but it is interesting to note, as Beyer has done, that technological development influenced the use and meaning of the concept of 'noise'.
162. Dubois, op. cit. note 83, 26.
163. Beyer, op. cit. note 83, 219-22.
164. R.B. Serle, 'The Measurement of Loudness', Quiet, Vol. 1, No. 1 (March 1936), 19-21, at 20. In Germany, the unit of the Phon was used. The loudness of, for instance, 60 Phon concurred with 60 decibel, thus - by definition - only for a tone of 1000Hz.
165. Rogers H. Galt, 'Results of Noise Surveys, Part I: Noise Out of Doors', Journal of the Acoustical Society of America, Vol. 2, No. 1 (July 1930), 30-58.
166. Walter G. Vincenti has described such a process of quantification of subjective notions for the flying qualities of American aircraft, 1918-43. Flying qualities are 'characteristics of an aircraft that govern the ease and precision with which a pilot is able to perform the task of controlling the vehicle', such as the 'forces and movements required by cockpit devices used to move the control surfaces' and 'inherent stability'. Such qualities had formerly been evaluated by pilots in subjective, qualitative terms such as 'responds very readily', 'normal' and 'good'. However, engineers and test-pilots together specified those flying qualities into units - stick force, elevator angle, long and short modes of dynamic stability - that could be measured quantitatively, so that aircraft could be designed to be stable and still manœuvrable. In the process, pilots had to learn how to specify what they felt, by learning to separate and record the relevant forces. See Walter G. Vincenti, What Engineers Know and How They Know It: Analytical Studies from Aeronautical History (Baltimore, MD & London: The Johns Hopkins University Press, 1990), 53-54, 64, 71. In Vincenti's aircraft-case, it was the purpose of both the engineers and the pilots to bring the quantitative and the qualitative as closely together as possible, or to quantify the 'feel' of the pilots as specifically as possible. In the case of noise, the engineers knew that loudness was only one aspect relevant to the subjective notion of annoyance. Research into several of the other aspects that contributed to the annoyance of specific sounds only started later.
167. Shirley W. Wynne, 'New York City's Noise Abatement Commission', Journal of the Acoustical Society of America, Vol. 2, No. 1 (July 1930), 12-17, at 13.
168. Brown et al. (eds), op. cit. note 36, v-vii, 3, 57 and 212.
169. Ibid., 17.
170. Ibid., 26.
171. Ibid., 74.
172. Dembe, op. cit. note 10, 201, 210 and 224.
173. Smilor (1971), op. cit. note 80, 35-36; Smilor (1980), op. cit. note 80, 147-48.
174. Smilor (1971), op. cit. note 80, 35-36; Smilor (1980), op. cit. note 80, 147-48.
175. City Noise Volume II (New York: Noise Abatement Commission, 1932), Chapter II, 3-4.
176. For this observation, see also Emily Thompson, 'Listening to/for Modernity: Architectural Acoustics and the Development of Modern Spaces in America', in Peter Galison and Emily Thompson (eds), The Architecture of Science (Cambridge, MA: MIT Press, 1999), 253-80, at 266.
177. H.G. Strauss, 'Noise and Some Legal Remedies', Quiet, Vol. 1, No. 5 (July 1937), 17-20, at 19. For information about the Road Traffic Act, see also Noise Abatement Exhibition, op. cit. note 74, 7-8.
178. H.G. Strauss, 'Noise and Some Legal Remedies', Quiet, Vol. 1, No. 5 (July 1937), 17-20, at 19. For information about the Road Traffic Act, see also Noise Abatement Exhibition, op. cit. note 74, 7-8.
179. Noise Abatement Exhibition, op. cit. note 74, Foreword.
180. Ibid., 79.
181. Brown et al. (eds), op. cit. note 36, 10.
182. 'Promoting Quiet Abroad', Quiet, Vol. 1, No. 6 (October 1937), 30-33, at 31.
183. 'Breda bindt den strijd tegen het stadslawaai aan', De Telegraaf (30 March 1935); 'Meer stilte: "Anti lawaai"-week in Den Haag', Nieuwe Rotterdamsche Courant (19 September 1935); Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71, 5; Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 33; Verslag van het Tweede Anti-Lawaai-Congres te Delft op 21 april 1936 georganiseerd door de Koninklijke Nederlandsche Automobiel Club en de Geluidstichting (Delft: Geluidstichting, 1936), 59-78.
184. 'Breda bindt den strijd tegen het stadslawaai aan', De Telegraaf (30 March 1935); 'Meer stilte: "Anti lawaai"-week in Den Haag', Nieuwe Rotterdamsche Courant (19 September 1935); Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71, 5; Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 33; Verslag van het Tweede Anti-Lawaai-Congres te Delft op 21 april 1936 georganiseerd door de Koninklijke Nederlandsche Automobiel Club en de Geluidstichting (Delft: Geluidstichting, 1936), 59-78.
185. 'Breda bindt den strijd tegen het stadslawaai aan', De Telegraaf (30 March 1935); 'Meer stilte: "Anti lawaai"-week in Den Haag', Nieuwe Rotterdamsche Courant (19 September 1935); Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71, 5; Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 33; Verslag van het Tweede Anti-Lawaai-Congres te Delft op 21 april 1936 georganiseerd door de Koninklijke Nederlandsche Automobiel Club en de Geluidstichting (Delft: Geluidstichting, 1936), 59-78.
186. 'Breda bindt den strijd tegen het stadslawaai aan', De Telegraaf (30 March 1935); 'Meer stilte: "Anti lawaai"-week in Den Haag', Nieuwe Rotterdamsche Courant (19 September 1935); Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71, 5; Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 33; Verslag van het Tweede Anti-Lawaai-Congres te Delft op 21 april 1936 georganiseerd door de Koninklijke Nederlandsche Automobiel Club en de Geluidstichting (Delft: Geluidstichting, 1936), 59-78.
187. 'Breda bindt den strijd tegen het stadslawaai aan', De Telegraaf (30 March 1935); 'Meer stilte: "Anti lawaai"-week in Den Haag', Nieuwe Rotterdamsche Courant (19 September 1935); Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71, 5; Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 33; Verslag van het Tweede Anti-Lawaai-Congres te Delft op 21 april 1936 georganiseerd door de Koninklijke Nederlandsche Automobiel Club en de Geluidstichting (Delft: Geluidstichting, 1936), 59-78.
188. City Noise Volume II, op. cit. note 96, Chapter 8, 18.
189. Y.Y., 'Less Noise, Please', The New Statesman and Nation (31 August 1935), 274-75, at 274.
190. See Birkefeld & Jung, op. cit. note 52; Bijsterveld, op. cit. note 3; also F.A. Geilszler, 'Die Musik des Lärms', Der Antirüpel, No. 3 (March 1910), quoted in Hogewind, op. cit. note 73, 15. Likewise, Werner Sombart pointed out such changes in music: see Friedrich Lenger, Werner Sombart, 1863-1941: Eine Biographie (München: Verlag C.H. Beck, 1994), 163.
191. See Birkefeld & Jung, op. cit. note 52; Bijsterveld, op. cit. note 3; also F.A. Geilszler, 'Die Musik des Lärms', Der Antirüpel, No. 3 (March 1910), quoted in Hogewind, op. cit. note 73, 15. Likewise, Werner Sombart pointed out such changes in music: see Friedrich Lenger, Werner Sombart, 1863-1941: Eine Biographie (München: Verlag C.H. Beck, 1994), 163.
192. See Birkefeld & Jung, op. cit. note 52; Bijsterveld, op. cit. note 3; also F.A. Geilszler, 'Die Musik des Lärms', Der Antirüpel, No. 3 (March 1910), quoted in Hogewind, op. cit. note 73, 15. Likewise, Werner Sombart pointed out such changes in music: see Friedrich Lenger, Werner Sombart, 1863-1941: Eine Biographie (München: Verlag C.H. Beck, 1994), 163.
193. See Birkefeld & Jung, op. cit. note 52; Bijsterveld, op. cit. note 3; also F.A. Geilszler, 'Die Musik des Lärms', Der Antirüpel, No. 3 (March 1910), quoted in Hogewind, op. cit. note 73, 15. Likewise, Werner Sombart pointed out such changes in music: see Friedrich Lenger, Werner Sombart, 1863-1941: Eine Biographie (München: Verlag C.H. Beck, 1994), 163.
194. See Birkefeld & Jung, op. cit. note 52; Bijsterveld, op. cit. note 3; also F.A. Geilszler, 'Die Musik des Lärms', Der Antirüpel, No. 3 (March 1910), quoted in Hogewind, op. cit. note 73, 15. Likewise, Werner Sombart pointed out such changes in music: see Friedrich Lenger, Werner Sombart, 1863-1941: Eine Biographie (München: Verlag C.H. Beck, 1994), 163.
195. Anthony McElligott, 'Walter Ruttmann's Berlin: Symphony of a City: Traffic-Mindedness and the City in Interwar Germany', in Malcolm Gee, Tim Kirk and Jill Steward (eds), The City in Central Europe: Culture and Society from 1800 to the Present (Aldershot, Hants.: Ashgate Publishing, 1999), 209-38, at 210.
196. 'Stichting voor Materiaalonderzoek, Commissie voor de bestudeering van de acoustische eigenschappen van bouwmaterialen', Document No. 5 (1933), Archives Sound Foundation (Geluidstichting) (1933-1942) [abbreviated below as Archives GS, and housed at the Dutch Acoustical Society (Nederlands Akoestisch Genootschap), Delft, The Netherlands].
197. In the second half of his career, Adriaan Fokker ventured into music, and composed for a self-designed 31-tone organ: De Bruijn, op. cit. note 77, 8; Rudolf Rasch (ed.), Corpus Microtonale: Adriaan Daniël Fokker (1887-1972), Selected Musical Compositions (1948-1972) (Utrecht: The Diapason Press, 1987).
198. In the second half of his career, Adriaan Fokker ventured into music, and composed for a self-designed 31-tone organ: De Bruijn, op. cit. note 77, 8; Rudolf Rasch (ed.), Corpus Microtonale: Adriaan Daniël Fokker (1887-1972), Selected Musical Compositions (1948-1972) (Utrecht: The Diapason Press, 1987).
199. Archives GS: 'Stichtingsacte Geluidstichting', 'Notulen van de
200. Archives GS: 'Stichtingsacte Geluidstichting', 'Notulen van de vergadering, gehouden op 30 Juli 1934 . . . ter voorbereiding van de oprichting van een "Geluidstichting"', 'Toelichting bij het in het leven roepen van een "Geluidstichting"', letter from G.L. Tegelberg to A.D. Fokker (29 October 1934), Jaarverslag 1935 der Geluidstichting. See also De Bruijn, op. cit. note 77, 7, and C. Zwikker, 'De Geluidstichting', In de Driehoek: Bijdragen op het gebied van de Volkshuisvesting in Nederland, Vol. 3, No. 6 (November/December 1938), 248-53. Thirty-four institutions participated in the Foundation's Commission of Help, representing local and national government, as well as organizations concerning motorcars, tourism, transport, architecture, housing, contracting, engineering, medicine, housewives, broadcasting, aircraft, cinema, hotels and catering, industry, the 'Nuisance Act Society' (Hinderwetvereeniging) and even churches. It may be that the interest of engineers in such a foundation was partly roused by the perspective of a new field of activities, scarce in time of crisis and unemployment. In the same years, comparable foundations, such as the 'Heat Foundation' (Warmte-Stichting) were raised in order to create a new labour market. (Personal interview with Ernst Homburg, Maastricht, 16 January 2001.)
201. Archives GS: 'Statuten van den Nederlandschen Bond ter Bestryding van Geluidshinder in Nederland', Jaarverslag van de Geluidstichting over 1937, 2; [W.L.G.] Jas, 'De oprichting van den Anti-Lawaaibond en een overzicht van het eerste werkjaar', Stilte, Vol. 1, No. 1 (May 1938), 4-9; [W.L.G.] Jas, 'Overzicht van hetgeen reeds op het gebied der geluidsbestrijding in Nederland werd verricht', ibid., 10-14. The official name of the Anti-Noise League was 'Dutch League for Noise Abatement' (Nederlandsche Bond ter Bestrijding van Geluidshinder). Local committees existed in, for instance, Amsterdam and Groningen.
202. Archives GS: 'Statuten van den Nederlandschen Bond ter Bestryding van Geluidshinder in Nederland', Jaarverslag van de Geluidstichting over 1937, 2; [W.L.G.] Jas, 'De oprichting van den Anti-Lawaaibond en een overzicht van het eerste werkjaar', Stilte, Vol. 1, No. 1 (May 1938), 4-9; [W.L.G.] Jas, 'Overzicht van hetgeen reeds op het gebied der geluidsbestrijding in Nederland werd verricht', ibid., 10-14. The official name of the Anti-Noise League was 'Dutch League for Noise Abatement' (Nederlandsche Bond ter Bestrijding van Geluidshinder). Local committees existed in, for instance, Amsterdam and Groningen.
203. Archives GS: 'Statuten van den Nederlandschen Bond ter Bestryding van Geluidshinder in Nederland', Jaarverslag van de Geluidstichting over 1937, 2; [W.L.G.] Jas, 'De oprichting van den Anti-Lawaaibond en een overzicht van het eerste werkjaar', Stilte, Vol. 1, No. 1 (May 1938), 4-9; [W.L.G.] Jas, 'Overzicht van hetgeen reeds op het gebied der geluidsbestrijding in Nederland werd verricht', ibid., 10-14. The official name of the Anti-Noise League was 'Dutch League for Noise Abatement' (Nederlandsche Bond ter Bestrijding van Geluidshinder). Local committees existed in, for instance, Amsterdam and Groningen.
204. Archives GS: 'Statuten van den Nederlandschen Bond ter Bestryding van Geluidshinder in Nederland', Jaarverslag van de Geluidstichting over 1937, 2; [W.L.G.] Jas, 'De oprichting van den Anti-Lawaaibond en een overzicht van het eerste werkjaar', Stilte, Vol. 1, No. 1 (May 1938), 4-9; [W.L.G.] Jas, 'Overzicht van hetgeen reeds op het gebied der geluidsbestrijding in Nederland werd verricht', ibid., 10-14. The official name of the Anti-Noise League was 'Dutch League for Noise Abatement' (Nederlandsche Bond ter Bestrijding van Geluidshinder). Local committees existed in, for instance, Amsterdam and Groningen.
205. Verslag van het 'Anti-Lawaai Congres', op. cit. note 71; Verslag van het Tweede Anti-Lawaai-Congres, op. cit. note 103. For earlier noise concerns of the Royal Automobile Club, see Archives GS: 'Notulen van de vergadering, gehouden op 30 Juli 1934 . . . ter voorbereiding van de oprichting van een "Geluidstichting"', letter from A.D. Fokker to C. Zwikker (21 September 1934), Minutes Board of Directors Sound Foundation (17 April 1935).
206. Verslag van het 'Anti-Lawaai Congres', op. cit. note 71; Verslag van het Tweede Anti-Lawaai-Congres, op. cit. note 103. For earlier noise concerns of the Royal Automobile Club, see Archives GS: 'Notulen van de vergadering, gehouden op 30 Juli 1934 . . . ter voorbereiding van de oprichting van een "Geluidstichting"', letter from A.D. Fokker to C. Zwikker (21 September 1934), Minutes Board of Directors Sound Foundation (17 April 1935).
207. Verslag van het 'Anti-Lawaai Congres', op. cit. note 71; Verslag van het Tweede Anti-Lawaai-Congres, op. cit. note 103. For earlier noise concerns of the Royal Automobile Club, see Archives GS: 'Notulen van de vergadering, gehouden op 30 Juli 1934 . . . ter voorbereiding van de oprichting van een "Geluidstichting"', letter from A.D. Fokker to C. Zwikker (21 September 1934), Minutes Board of Directors Sound Foundation (17 April 1935).
208. Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 16 (my translation).
209. Verslag van het Tweede Anti-Lawaai-Congres, op. cit. note 103, 17 (my translation).
210. Verslag van het 'Anti-Lawaai Congres', op. cit. note 71, 77.
211. Archives GS: Pamphlet 'Anti-Lawaai Comité Groningen' (1936) (my translation); 'Anti-lawaai-week 23-28 September 1935', Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71; 'De anti-lawaaimaand te Breda', unidentified newspaper (probably Dagblad van Noord-Brabant) (2 March 1935); 'Meer Stilte: Anti-lawaai-week in de residentie', De Nieuwsbron (19 September 1935); letter from Walter Matthies to the Office of the Sound Foundation (5 October 1935); letter from 'Bond van Bedrijfsautohouders in Nederland' to Office of the Sound Foundation (5 February 1936). Although issues such as the proper loading of trucks, and refraining from playing musical instruments or radios at night, were also covered, the control of traffic noise clearly had priority.
212. Archives GS: Pamphlet 'Anti-Lawaai Comité Groningen' (1936) (my translation); 'Anti-lawaai-week 23-28 September 1935', Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71; 'De anti-lawaaimaand te Breda', unidentified newspaper (probably Dagblad van Noord-Brabant) (2 March 1935); 'Meer Stilte: Anti-lawaai-week in de residentie', De Nieuwsbron (19 September 1935); letter from Walter Matthies to the Office of the Sound Foundation (5 October 1935); letter from 'Bond van Bedrijfsautohouders in Nederland' to Office of the Sound Foundation (5 February 1936). Although issues such as the proper loading of trucks, and refraining from playing musical instruments or radios at night, were also covered, the control of traffic noise clearly had priority.
213. Archives GS: Pamphlet 'Anti-Lawaai Comité Groningen' (1936) (my translation); 'Anti-lawaai-week 23-28 September 1935', Algemeene inlichtingen over de lawaai-bestrijding, op. cit. note 71; 'De anti-lawaaimaand te Breda', unidentified newspaper (probably Dagblad van Noord-Brabant) (2 March 1935); 'Meer Stilte: Anti-lawaai-week in de residentie', De Nieuwsbron (19 September 1935); letter from Walter Matthies to the Office of the Sound Foundation (5 October 1935); letter from 'Bond van Bedrijfsautohouders in Nederland' to Office of the Sound Foundation (5 February 1936). Although issues such as the proper loading of trucks, and refraining from playing musical instruments or radios at night, were also covered, the control of traffic noise clearly had priority.
214. 'Promoting Quiet Abroad', op. cit. note 102, 32.
215. Archives GS: letter from A.D. Fokker to G.L. Tegelberg (27 October 1934); letter from A.D. Fokker to C. Zwikker (28 December 1934).
216. Verslag van het Tweede Anti-Lawaai-Congres, op. cit. note 103, 24 and 30 (my translation).
217. Myers, op. cit. note 83, x; McElligott, op. cit. note 107, 222.
218. Myers, op. cit. note 83, x; McElligott, op. cit. note 107, 222.
219. 'Breda, de Anti-Lawaai-Stad: Een onderhoud met Dr H.J.L. Struijcken', Dagblad van Noord-Brabant (April 1935); 'Verkeerszondaars de oorzaak van straatlawaai: De automobilisten tot toeteren gedwongen', De Telegraaf (19 September 1935).
220. 'Breda, de Anti-Lawaai-Stad: Een onderhoud met Dr H.J.L. Struijcken', Dagblad van Noord-Brabant (April 1935); 'Verkeerszondaars de oorzaak van straatlawaai: De automobilisten tot toeteren gedwongen', De Telegraaf (19 September 1935).
221. Verslag van het Tweede Anti-Lawaai-Congres, op. cit. note 103, 26.
222. Dembe, op. cit. note 10, 172.
223. McElligott, op. cit. note 107, 223.
224. Thomas P. Hughes, American Genesis: A Century of Invention and Technological Enthusiasm 1870-1970 (NewYork: Penguin Books, 1989), 4.
225. Archives GS: 'Richtlijnen van den Raad van Bestuur der Geluidstichting nopens plaatselijke bestrijding van geluidshinder', Annual Reports of the Sound Foundation (1936, 1937, 1938, 1940).
226. Smilor (1971), op. cit. note 80.