Digital Sound Studies

Mary Caton Lingold is Assistant Professor of English at Virginia Commonwealth University.Darren Mueller is Assistant Professor of Musicology at the Eastman School of Music, University of Rochester.Whitney Trettien is Assistant Professor of English at the University of Pennsylvania.

"Digital Sound Studies contributors prompt productive conversations even while probing assumptions behind the use of digital tools and technologies in academia. . . . These essays explore the urgency and necessity of incorporating sonic experience into scholarly networks, writing processes, research methodologies, pedagogies, and knowledges of the archive." - John F. Barber (Leonardo Reviews) "Digital Sound Studies offers a fascinating variety of perspectives on digital sound studies ... Works that link digital humanities and sound studies are somewhat rare, and the present volume is a rich addition to a growing body of knowledge. Summing Up: Highly recommended. Lower-division undergraduates through faculty and professionals." - M. Anderson (Choice) "Digital Sound Studies fuses theory and critical thinking with creative sonic practices, a fusion that is both promising and very appealing." - Vincent Meelberg (Journal of Sonic Studies) “This text provides a contemporary possibility of classroom and research work that is innovative and communal. The essays in Digital Sound Studies examine how sound is contained but held in the body, held through the body but heard through institutions and a cacophony of additional casual, aural effects.” - Kimberly Williams (Journal for the Society of American Music) “Digital Sound Studies ... is an excellent resource for people interested in non-conventional experiences that defy standard and mainstream methods of learning and teaching within the humanities. It invites critical thought from cultural, social, and artistic frameworks, with a sustained and sustainable focus on the potential of sound and listening.” - Tracey El Hajj (Digital Humanities Quarterly) “Digital Sound Studies is a provocation and a resource: timely in its inquiries and generative in its scope. In chapter after chapter, the reader encounters essays written in a register of experimental play, a quality which enacts a genre-bending intellectual style predicated on listening.” - Joella Bitter (Technology and Culture)

• Preface  viiAcknowledgements  xiIntroduction / Mary Caton Lingold, Darren Mueller, and Whitney Trettien  1I. Theories and Genealogies1. Ethnodigital Sonics and the Historical Imagination / Richard Cullen Rath  292. Performing Zora: Critical Ethnography, Digital Sound, and Not Forgetting / Myron M. Beasley  473. Rhetorical Folkness: Reanimating Walter J. Ong in the Pursuit of Digital Humanity / Jonathan W. Stone  64II. Digital Communities4. The Pleasure (Is) Principle: Sounding Out! and the Digitizing of Community / Aaron Trammell, Jennifer Lynn Stover, and Liana Silva  835. Becoming OutKasted: Archiving Contemporary Black Southernness in a Digtal Age / Regina N. Bradley  1206. Reprogramming Sounds of Learning: Pedagogical Experiments with Critical Making and Community-Based Ethnography / W. F. Umi Hsu  130III. Disciplinary Translations7. Word. Spoken. Articulating the Voice for High-Performance Sound Technologies for Access and Scholarship (HiPSTAS) / Tanya E. Clement  1558. "A Foreign Sound to Your Ear": Digital Image Sonification for Historical Interpretation / Michael J. Kramer  1789. Augmenting Musical Arguments: Interdisciplinary Publishing Platforms and Augmented Notes / Joanna Swafford  215IV. Points Forward10. Digital Approaches to Historical Acoustemologies: Replication and Reenactment / Rebecca Dowd Geoffroy-Schwinden  23111. Sound Practices for Digital Humanities / Steph Ceraso  250Afterword. Demands of Duration: The Futures of Digital Sound Scholarship / Jonathan Sterne, with Mary Caton Lingold, Darren Mueller, and Whitney Trettien  267Contributors  285Index  291