Soundscapes: Toward a sounded anthropology

Annual Review of Anthropology

Volumn 39, Issue , 2010, Pages 329-345

  Samuels, David W ^a   Meintjes, Louise ^b   Ochoa, Ana Maria ^c   Porcello, Thomas ^d  

^a NEW YORK UNIVERSITY   (United States)

^b DUKE UNIVERSITY   (United States)

^c Och Spine at New York Presbyterian Hospitals   (United States)

^d VASSAR COLLEGE   (United States)

Author keywords

aurality; film sound; listening; music; recording technology; sound art

Indexed keywords

ACOUSTICS; ANTHROPOLOGY; ART; ESTHETICS; IDEOLOGY; MODERNITY; MUSIC;

EID: 77957998413     PISSN: 00846570     EISSN: None     Source Type: Book Series    
DOI: 10.1146/annurev-anthro-022510-132230     Document Type: Article

References (158)

1. Albiez S. 2003. Know history: John Lydon, cultural capital and the prog/punk dialectic. Pop. Music 22:357-74
2. Alim S, Ibrahim A, Pennycook A. 2008. Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language. London: Routledge
3. Altman R. 2007. Silent Film Sound. New York: Columbia Univ. Press
4. Ames E. 2003. The sound of evolution. Modernism/Modernity 10 (2):297-325
5. Annan NO, Feld S. 2008. Bufo Variations. Santa Fe: Voxlox. CD
6. Appadurai A. 1990. Disjuncture and difference in the global cultural economy. Theory Cult. Soc. 7:295-310
7. Arkette S. 2004. Sounds like city. Theory Cult. Soc. 21 (1):159-68
8. Arms RG, Crawford BE. 1995. Resonant cavities in the history of architectural acoustics. Technol. Cult. 36 (1):104-35
9. Arom S, Renaud P. 1990 [1975]. Cameroon: Baka Pygmy Music/Cameroun: La Musique des Pygmées Baka. Ivry-sur-Seine: Auvidis CD 8029
10. Atkinson R. 2007. Ecology of sound: the sonic order of urban space. Urban Stud. 44 (10):1905-17
11. Basso EB. 1985. A Musical View of the Universe: Kalapalo Myth and Ritual Performances. Philadelphia: Univ. Penn. Press
12. Bates E. 2008. Social interactions, musical arrangement, and the production of digital audio in Istanbul recording studios. PhD diss. Univ. Calif., Berkeley
13. Bauman R. 2010. The remediation of storytelling: narrative performance on early commercial sound recordings. In Telling Stories: Building Bridges Among Language, Narrative, Identity, Interaction, Society and Culture. Rep. Georgetown Univ. Round Table Discuss. Lang. Ling., 2008, ed. A De Fina, D Schiffrin, pp. 23-43. Washington, DC: Georgetown Univ. Press
14. Bauman R, Feaster P. 2004. Oratorical footing in a new medium: recordings of presidential campaign speeches, 1896-1912. Proc. Annu. Symp. Lang. Soc., 11th, Austin, April 11-13, 2003. Tex. Ling. Forum 47:1-19
15. Beck J, Grajeda T. 2008. Lowering the Boom: Critical Studies in Film Sound. Urbana: Univ. Ill. Press
16. Becker J. 2004. Deep Listening: Music, Emotion, and Trancing. Bloomington: Indiana Univ. Press
17. Bennett A, Peterson RA, eds. 2004. Music Scenes: Local, Translocal, and Virtual. Nashville, TN: Vanderbilt Univ. Press
18. Berger HM, Fales C. 2005. "Heaviness"inthe perceptionofheavy metal guitar timbres: the matchofperceptual and acoustic features over time. See Greene & Porcello 2005, pp. 181-97
19. Berliner P. 1995 [1973]. Zimbabwe: The Soul of Mbira. Nonesuch Explorer Ser. CD 72054-2. New York: Nonesuch Records
20. Bijsterveld K. 2008. Mechanical Sound: Technology, Culture and Public Problems of Noise in the Twentieth Century. Cambridge, MA: MIT Press
21. Blesser B, Salter R. 2007. Spaces Speak, Are you Listening? Experiencing Aural Architecture. Cambridge, MA: MIT Press
22. Brady E. 1999. A Spiral Way: How the Phonograph Changed Ethnography. Jackson: Univ. Press Miss.
23. Browner T, ed. 2009. Music of the First Nations: Tradition and Innovation in Native North Amercan Music. Urbana: Univ. Ill. Press
24. Buhler J, Neumeyer D, Deemer R. 2009. Hearing the Movies: Music and Sound in Film History. New York: Oxford Univ. Press
25. Burnett R. 1996. The Global Jukebox: The International Music Industry. London: Routledge
26. Carlyle A, ed. 2007. Autumn Leaves: Sound and the Environment in Artistic Practice. Paris: Double Entendre
27. Cavarero A. 2005. For More than One Voice: Toward a Philosophy of Vocal Expression. Stanford, CA: Stanford Univ. Press
28. Chanan M. 1995. Repeated Takes: A Short History of Recording and its Effects on Music. New York: Verso
29. Chion M. 1983. Guide des Objets Sonores: Pierre Schaeffer et al. Recherché Musicale. Paris: Buchet/Chastel, Inst. Natl. Commu. Audiovisuelle
30. Chion M. 1994. Audio-Vision: Sound on Screen. New York: Columbia Univ. Press
31. Christen K. 2006. Ara Irititja: protecting the past, accessing the future-indigenous memories in a digital age. Mus. Anthropol. 29 (1):56-60
32. Christen KA. 2009. Aboriginal Business: Alliances in a Remote Australian Town. Santa Fe: Sch. Adv. Res. Press
33. Clifford J. 1986. Introduction: partial truths. In Writing Culture: The Poetics and Politics of Ethnography, ed. J Clifford, GE Marcus, pp. 1-26. Berkeley: Univ. Calif. Press
34. Condry I. 2006. Hip-Hop Japan: Rap and the Paths of Cultural Globalization. Durham, NC: Duke Univ. Press
35. Connor S. 2000. Dumbstruck: A Cultural History of Ventriloquism. New York: Oxford Univ. Press
36. Connor S. 2004. Sound and the self. See Smith 2004a, pp. 54-68
37. Corbin A. 1998. Village Bells: Sound and Meaning in the 19th-Century French Countryside. New York: Columbia Univ. Press
38. Cradick M. 1993. Heart of the Forest: The Music of the Baka Forest People of Southeast Cameroon. Salem, MA: Hannibal Rec., CD HNCD 1378
39. Crafton D. 1997. The Talkies: American Cinema's Transition to Sound, 1926-1931. New York: Scribner
40. Cusack P. 2003. Baikal Ice: Spring. Thornton Heath, UK: ReR. CD PC2
41. Delaurentis C. 2006. Our streets. In On Interpreting the Soundscape, curated by P Cusack. Leonardo Music J. Cambridge, MA: MIT Press. Vol. 16, LMJ16 CD
42. Derrida J. 1997 [1976]. Of Grammatology, transl. GC Spivak. Baltimore, MD: Johns Hopkins Univ. Press. Correct. ed. From French
43. Diehl K. 2002. Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community. Berkeley: Univ. Calif. Press
44. Donnelly K, ed. 2001. Film Music: Critical Approaches. London: Continuum
45. Doyle P. 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900-1960, Music/Culture. Middletown, CT: Wesleyan Univ. Press
46. Drobnick J. 2004. Listening awry. In Aural Cultures, ed. J Drobnick, pp. 9-18. Banff: XYZ Books
47. Dudley S. 2002. Dropping the bomb: steelband performance and meaning in 1960s Trinidad. Ethnomusicology 46 (1):135-64
48. Erlmann V. 2004. But what of the ethnographic ear? Anthropology, sound, and the senses. In Hearing Cultures: Essays on Sound, Listening and Modernity, ed. V Erlmann, pp. 1-20. Oxford: Berg
49. Fabian J. 2008. Ethnography as Commentary: Writing from the Virtual Archive. Durham, NC: Duke Univ. Press
50. Feld S. 1990 [1982]. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Philadelphia: Univ. Penn. Press
51. Feld S. 1991a. Voices of the Rainforest: A Day In The Life Of The Kaluli People. Salem, MA: Rykodisc. CD 10173
52. Feld S. 1991b. Voices of the rainforest: politics of music. Public Cult. 4 (1):131-40
53. Feld S. 1996a. Pygmy pop, a genealogy of schizophonic mimesis. Yearb. Trad. Music 28:1-35
54. Feld S. 1996b. Waterfalls of song: an acoustemology of place resounding in Bosavi, Papua New Guinea. In Senses of Place, ed. S Feld, KH Basso, pp. 91-136. Santa Fe, NM: Sch. Am. Res. Press
55. Feld S. 2000. A sweet lullaby for world music. Public Cult. 12 (1):145-71
56. Feld S, Brenneis D. 2004. Doing anthropology in sound. Am. Ethnol. 41 (4):461-74
57. Feld S, Fox AA, Porcello T, Samuels D. 2004. Vocal anthropology: from the music of language to the language of song. In A Companion to Linguistic Anthropology, ed. A Duranti, pp. 321-45. Malden, MA: Blackwell
58. Fikentscher K. 2003. There's not a problem I can't fix 'cause I can do it in the mix: on the performative technology of the 12-inch vinyl. In Music and Technoculture, ed. RTA Lysloff, LC Gay Jr. pp. 290-315. Middletown, CT: Wesleyan Univ. Press
59. Finnegan R. 2002. The sounding world and its creation. In Communicating: The Multiple Modes of Human Interconnection, pp. 59-91. London: Routledge
60. Fox AA. 2004. Real Country: Music and Language in Working-Class Culture. Durham, NC: Duke Univ. Press
61. García Canclini N. 2005. Antropología urbana en México. México City: Consejo Nac. Cult. Artes, Univ. Autónoma Metrop., Fondo Cult. Econ.
62. García Canclini N, Castellanos A, Mantecón AR. 1996. La Ciudad de Los Viajeros: Travesías e Imaginarios Urbanos, México 1940-2000. México City: Univ. Autónoma Metrop., Unidad Iztapalapa, Grijalbo
63. Gidlof-Gunnarsson A, Ohrström E. 2007. Noise and well-being in urban residential environments: the potential role of perceived availability to nearby green areas. Landsc. Urban Plan. 83 (2-3): 115-26
64. Gitelman L. 1999. Scripts, Grooves and Writing Machines: Representing Technology in the Edison Era. Stanford, CA: Stanford Univ. Press
65. Goldmark D, Kramer L, Leppert R, eds. 2007. Beyond the Soundtrack: Representing Music in Cinema. Berkeley: Univ. Calif. Press
66. Gray L, Yan J, eds. 2007. Sound and the City. London: Br. Counc.
67. Gray LE. 2007. Memories of empire, mythologies of the soul: fado performance and the shaping of saudade. Ethnomusicology 53 (1):106-30
68. Greene PD, Porcello T, eds. 2005. Wired for Sound: Engineering and Technologies in Sonic Cultures. Middletown, CT: Wesleyan Univ. Press
69. Grosz E. 2004. The Nick of Time, Politics, Evolution and the Untimely. Durham, NC: Duke Univ. Press
70. Guillaume H, Surgue B. 1982. Chasseurs Pygmées. Paris: Off. Rech. Sci. Tech. Outre-Mer (ORSTOM), Soc. Etud. Ling. Anthropol. France (SELAF), CETO 795
71. Hansen TB. 2006. Sounds of freedom: music, taxis, and racial imagination in urban South Africa. Public Cult. 18 (1):185-208
72. Helmreich S. 2007. An anthropologist underwater: immersive soundscapes, submarine cyborgs, and transductive ethnography. Am. Ethnol. 34 (4):621-41
73. Hirschkind C. 2006. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York: Columbia Univ. Press
74. Inoue M. 2006. Vicarious Language: Gender and Linsguistic Modernity in Japan. Berkeley: Univ. Calif. Press
75. Järviluoma H. 2004. On the fringes of musical inquiry: soundscape research. Finn. Music Q. 1:30-35
76. Johnson B. 2005. Hamlet: voice, music, sound. Pop. Music 24 (2):257-67
77. Johnson J. 1995. Listening in Paris: A Cultural History. Berkeley: Univ. Calif. Press
78. Jones S. 2003. Reading between the lines: reflections on the massive "Anthology of Folk Music of the Chinese Peoples." Ethnomusicology 47 (3):287-337
79. Kahn D. 1992. Histories of sound once removed. In Wireless Imagination: Sound, Radio and the Avant Garde, ed. D Kahn, G Whitehead, pp. 1-30. Cambridge, MA: MIT Press
80. Kahn D. 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press
81. Kassabian A. 2000. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. London: Routledge
82. Katz M. 2004. Capturing Sound: How Technology Has Changed Music. Berkeley: Univ. Calif. Press
83. Kelty CM, Fischer MMJ, Golub A, Jackson JB, Christen K, et al. 2008. Anthropology of/in circulation: the future of open access and scholarly societies. Cult. Anthropol. 23 (3):559-88
84. Kronengold C. 2005. Accidents, hooks and theory. Pop. Music 24:382-97
85. Kruth P, Stobart H, eds. 2000. Sound. Darwin College Lectures. Cambridge, UK: Cambridge Univ. Press
86. LaBelle B, ed. 2006. Background Noise: Perspectives on Sound Art. New York: Continuum
87. Larkin B. 2008. Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham, NC: Duke Univ. Press
88. Lassiter LE, Ellis C, Kotay R. 2002. The Jesus Road: Kiowas, Christianity, and Indian Hymns. Lincoln: Univ. Neb. Press
89. Lastra J. 2000. Sound Technology and the American Cinema. New York: Columbia Univ. Press
90. Latour B. 1993. We Have Never Been Modern. New York/London: Harvester Wheatsheaf
91. Lee TS. 1999. Technology and the production of Islamic space: the call to prayer in Singapore. Ethnomusicology 43 (1):86-100
92. Lemos R, Castro O. 2008. Tecnobrega: Pará Reinventing the Music Business. Rio de Janeiro: Aeroplano Ed.
93. Levin T. 2006. Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond. Bloomington: Indiana Univ. Press
94. Licht A. 2007. Sound Art: Beyond Music, Between Categories. New York: Rizzoli
95. Lockwood A. 2008. A Sound Map of the Danube. New York: Lovely Music. 3 CD set. LCD2083
96. Manuel P. 1994. Puerto Rican music and cultural identity: creative appropration of cuban sources from Danza to Salsa. Ethnomusicology 38 (2):249-80
97. Martín-Barbero J. 2001. Al Sur de la Modernidad: Comunicación, Globalización y Multiculturalidad. Pittsburgh: Inst. Int. Lit. Iberoamericana, Univ. Pittsburgh
98. Meintjes L. 2003. Sound of Africa!: Making Music Zulu in a South African Studio. Durham, NC: Duke Univ. Press
99. Meintjes L. 2004. Shoot the sergeant, shatter the mountain: the production of masculinity in Zulu ngoma song and dance in postapartheid South Africa. Ethnomusicol. Forum 13 (3):173-201
100. Moylan W. 2002. The Art of Recording: The Creative Resources of Music Production and Audio. New York: Van Nostrand Reinhold
101. Nancy J-L. 2007. Listening, transl. C Mandell. New York: Fordham Univ. Press. From French
102. Novak D. 2008. 2.5 by 6 meters of space: Japanese music coffeehouses and experimental practices of listening. Pop. Music 27:15-34
103. Ochoa AM, Botero C. 2009. Notes on practices of musical exchange in Colombia. Pop. Comm. on Lat. Am. 7 (3):158-68
104. Ochoa Gautier AM. 2006. Sonic transculturation, epistemologies of purification and the aural public sphere in Latin America. Soc. Ident. 12 (6):803-25
105. Oliveros P. 2005. Deep Listening: A Composer's Sound Practice. Lincoln, NE/Kingston, NY: iUniverse/Deep Listening
106. Picker JM. 2003. Victorian Soundscapes. New York: Oxford Univ. Press
107. Porcello T. 2005. Music mediated as live in Austin; sound, technology, and recording practice. See Greene & Porcello 2005, pp. 103-17
108. Rath RC. 2003. How Early America Sounded. Ithaca/London: Cornell Univ. Press
109. Rehding A. 2005. Wax cylinder revolutions. Music Q. 88 (1):123-50
110. Reznikoff I. 2006. The evidence of the use of sound resonance from Palaeolithic to Medieval times. In Archaeoacoustics, ed. C Scarre, G Lawson, pp. 77-84. Cambridge, UK: Cambridge Univ. Press
111. Rice T. 2008. "Beautiful murmurs": stethoscopic listening and acoustic objectification. Senses Soc. 3 (3):293-306
112. Ridington R. 1988. Why baby why: Howard Broomfield's documentation of the Dunne-Za soundscape. Can. J. Nat. Stud. 8 (2):251-74
113. Roseman M. 1991. Healing Sounds from the Malaysian Rainforest: Temiar Music and Medicine. Berkeley: Univ. Calif. Press
114. Rudi J, ed. 2009. Sound Art. Spec. issue of Org. Sound, Vol. 14, No. 1
115. Ryan V, Feld S. 2007. The Castaways Project. Santa Fe: VoxLox. CD, DVD 207
116. Sakakeeny M. 2010. "Under the bridge": an orientation to soundscapes in New Orleans. Ethnomusicology 54 (1):1-27
117. Samuels D. 2004. Putting a Song on Top of It: Expression and Identity on the San Carlos Apache Reservation. Tucson: Univ. Ariz. Press
118. Sarno L. 1995. Bayaka: The Extraordinary Music of the Babenzele Pygmies and Sounds of Their Forest Home. Roslyn, NY: Ellipsis Arts. CD 3490
119. Schaeffer P. 1966. Traité des Objets Musicaux, Essai Interdisciplines. Paris: Ed. Seuil
120. Schafer RM. 1994 [1977]. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny
121. Schmidt LE. 2000. Hearing Things: Religion, Illusion and the American Enlightenment. Cambridge, MA: Harvard Univ. Press
122. Seeger A. 1987. Why Suya Sing: A Musical Anthropology of an Amazonian People. Cambridge/New York: Cambridge Univ. Press
123. Seeger A. 2003. Globalization from a local perspective in Brazil: the Suyá Indians and música sertaneja. In Musical Cultures of Latin America, Global Effects, Past and Present. Selected Reports in Ethnomusicology, ed. S Loza, 11:121-28. Los Angeles: Ethnomusicology
124. Shelemay KK. 2006. Soundscapes: Exploring Music in a Changing World. New York: Norton. 2nd ed.
125. Shohat E, Stam R. 2003. Multiculturalism, Postcoloniality and Transnational Media. New Brunswick, NJ: Rutgers Univ. Press
126. Sider L, ed. 2003. Soundscape: The School of Sound Lectures, 1998-2001. London: Wallflower
127. Silverstein M. 2005. Axes of evals: token versus type interdiscursivity. J. Ling. Anthropol. 15 (1):6-22
128. Smith B. 1999. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: Univ. Chicago Press
129. Smith MM, ed. 2004a. Hearing History: A Reader. Athens/London: Univ. Ga. Press
130. Smith MM. 2004b. Introduction. Onward to audible pasts. See Smith 2004a, pp. ix-xxii
131. Solomon T. 2009. Berlin-Frankfurt-Istanbul: Turkish hip-hop in motion. Eur. J. Cult. Stud. 12 (3):305-27
132. Sterne J. 1997. Sounds like the Mall of America: programmed music and the architectonics of commercial space. Ethnomusicology 41 (1):22-50
133. Sterne J. 2003. The Audible Past. Cultural Origins of Sound Reproduction. Durham/London: Duke Univ. Press
134. Stilwell R. 2001. Sound and empathy: subjectivity, gender and the cinematic soundscape. See Donnelly 2001, pp. 167-87
135. Sutton RA. 1996. Interpreting electronic sound technology in the contemporary Javanese soundscape. Ethnomusicology 40 (2):249-68
136. Szendy P. 2008. Listening, A History of our Ears. New York: Fordham Univ. Press
137. Taylor T. 1997. Global Pop: Global Music, Global Markets. London: Routledge
138. Thomas M. 2007. The rush to record: transmitting the sound of Aboriginal culture. J. Aust. Stud. 90:107-21
139. Thompson E. 2002. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge, MA: MIT Press
140. Troutman JW. 2009. Indian Blues: American Indians and the Politics of Music, 1879-1934. Norman: Univ. Okla. Press
141. Truax B. 2008. Soundscape composition as global music: electroacoustic music as soundscape. Org. Sound 13 (2):103-9
142. Turnbull C, Chapman FS. 1992 [1957]. Mbuti pygmies of the Ituri rainforest. Washington, DC: Smithson. Folkways CD 40401
143. Turnbull CM. 1961. The Forest People. New York: Simon and Schuster
144. Urban G. 1991. A Discourse-Centered Approach to Culture: Native South American Myths and Rituals. Austin: Univ. Tex. Press
145. Urciuoli B. 1996. Exposing Prejudice: Puerto Rican Experiences of Language, Race, and Class. Boulder, CO: Westview
146. Veal M. 2007. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Middletown, CT: Wesleyan Univ. Press
147. Wallach J. 2008. Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001. Madison: Univ. Wis. Press
148. Webster A. 2009. Explorations in Navajo Poetry and Poetics. Albuquerque: Univ. N. M. Press
149. Weidman A. 2006. Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Durham: Duke Univ. Press
150. Westerkamp H. 2002. Linking soundscape composition and acoustic ecology. Org. Sound 7 (1):51-56
151. White BW. 2008. Rhumba Rules: The Politics of Dance Music in Mobutu's Zaire. Durham, NC: Duke Univ. Press
152. Witmore C. 2006. Vision, media, noise and the percolation of time: symmetrical approaches to the mediation of the material world. J. Mat. Cult. 11 (3):267-92
153. Wong DA. 2003. Speak it Louder: Asian Americans Making Music. New York: Routledge
154. Wright C. 1989. Music and Ceremony at Notre Dame of Paris, 500-1550. New York: Cambridge Univ. Press
155. Zak A. 2001. The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: Univ. Calif. Press
156. Zemp H. 1990 [1974]. Polyphonies des Îles Salomon/Polyphonies of the Solomon Islands. France: Chant du monde, Distribution Harmonia Mundi. CD LDX 274 663
157. Zemp H. 1996. The/an ethnomusicologist and the record business. Yearb. Trad. Music 28:36-56
158. Zhang X. 2007. Let your ears grow like weed. See Gray & Yan 2007, pp. 35-38