Table Of Content

i Re-Making Sound ii ii iii Re-Making Sound An Experiential Approach to Sound Studies Thomas Porcello and JusTin PaTch iv BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in the United States of America 2022 Copyright © Thomas Porcello and Justin Patch, 2022 For legal purposes the Acknowledgments on p. xi constitute an extension of this copyright page. Cover design by Louise Dugdale Cover image © Pablo Andrs Carvajal / EyeEm / Getty Images. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. Library of Congress Cataloging-in-Publication Data Names: Porcello, Thomas, author. | Patch, Justin, author. Title: Re-making sound : an experiential approach to sound studies / Thomas Porcello and Justin Patch. Description: New York : Bloomsbury Academic, 2022. | Includes bibliographical references and index. | Summary: “The first authored textbook on sound studies; teaches students about sound in society through readings about and exercises in media making and sound editing”– Provided by publisher. Identifiers: LCCN 2021046652 (print) | LCCN 2021046653 (ebook) | ISBN 9781501354748 (hardback) | ISBN 9781501354731 (paperback) | ISBN 9781501354755 (epub) | ISBN 9781501354762 (pdf) | ISBN 9781501354779 (ebook other) Subjects: LCSH: Sounds–Social aspects–Textbooks. | Sound–Recording and reproducing–Textbooks. Classification: LCC CB472 .P67 2022 (print) | LCC CB472 (ebook) | DDC 909.82/5–dc23/eng/20211029 LC record available at https://lccn.loc.gov/2021046652 LC ebook record available at https://lccn.loc.gov/2021046653 ISBN: HB: 978-1-5013-5474-8 PB: 978-1-5013-5473-1 ePDF: 978-1-5013-5476-2 eBook: 978-1-5013-5475-5 Typeset by Newgen KnowledgeWorks Pvt. Ltd., Chennai, India To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. v Contents List of Figures vii Preface ix Acknowledgments xi Introduction 1 1 Soundscape: Sound, Space, and Listening 19 2 Noise: From the Everyday to the Exceptional 41 3 Voice: Hearing and Ascribing Individual and Social Identity 65 4 Sound on the Page: Echoes and Resonances in Writing 91 5 Sound Design/Designing Sounds: Intentionally Crafted Sonic Worlds 121 6 Sound Art: What Is Sound Art? Debates and Examples 145 Concluding Project: Putting the Pieces Together through Audio Narratives 171 Author Biographies 179 Index 181 vi vi vii Figures 1 From David Weisner, Mr. Wuffles. 93 Used by permission of the author 2 From David Weisner, Mr. Wuffles. 94 Used by permission of the author 3 Screenshot from the ACLEW project 101 Used by permission from Max Planck Institute 4 From Gareth Hinds, Poe: Stories and Poems. 114 Used by permission of the author viii viii ix Preface Re-Making Sound provides six ways of conceptualizing sound and its connections to other social phenomena: soundscapes; noise; sound and semiotics of the voice; sound and/through/in text; sound design; and sound art. Concise presentations of research and theory from these different scholarly bodies lead to an accompanying exercise for each. These sound collection, editing, curating, and manipulation projects are meant to be a part of classroom activities, to foster experiential leaning, and to act as a tool for discussion and reflection. The choice to format the book in this way was made because we believe that experiential learning is essential for understanding the character, power, and potential of sound in social life. The assignments are designed to allow students to make and share digital sound projects, to learn basic digital audio manipulation, and to have the opportunity to apply theories and concepts about sound that deepen their knowledge beyond what reading alone provides. The substantive chapters are designed to be modular and nonsequential so that instructors can use them in any order, or distribute them throughout a semester, in whatever sequence works best for their particular course design. The conclusion consists of a podcast exercise, which is cumulative of all six areas the book covers. The chapters contain multiple footnotes: some are simply citational or provide clarification, but many are designed to be used by the instructor (and students) as springboards into further reading and research, or into discussions of related areas of study, theory, or methods. As we discuss in the introduction, this book is not an exhaustive overview of all areas of inquiry, methods of investigation, or disciplinary approaches to sound studies. We foreground topics and approaches from the humanistic social sciences, with examples that focus on music, language, voice, sound art, text, and soundscape. We do so because, in our opinion, these topics and approaches best open the doors to experiential learning without imposing a burden on students or instructors. And we do not dwell on methodological differences, as they might cloud the presentation of substantive issues. At the end of the introduction, however, we provide pointers to literature from science and technology studies, history, communications, and media studies