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Theorizing Sound Writing
Deborah Kapchan

Wesleyan University Press



Contents

• Acknowledgments
• Deborah Kapchan, The Splash of Icarus: Theorizing Sound Writing/Writing Sound Theory
• I. WRITING SOUND THEORY
• Suzanne G. Cusick, Musicology, Performativity, Acoustemology
• J. Martin Daughtry, Acoustic Palimpsests
• Michele Kisliuk, Writing the Magnified Musicking Moment
• II. MEMOIR AND METAPHOR AS METHOD
• Alex Waterman, Listening to Resonant Words
• Tomie Hahn, Sound Commitments: Extraordinary Stories
• David Henderson, Traffic Patterns
• Carol Muller, In My Solitude: Jazz Song as “Sound Writing”
• III. THEORIZING SOUND WRITING
• Anne K. Rasmussen, Women Out Loud: Religious Performance in Islamic Indonesia
• Katherine Johanna Hagedorn, “Where the Transcendent Breaks into Time”: Toward a Theology of Sound in Afro-Cuban Regla de Ochá
• Ana Pais, Almost Imperceptible Rhythms and Stuff Like That: The Power of Affect in Live Performance
• IV. LISTENING AND WITNESS
• Deborah Wong, Deadly Soundscapes: Scripts of Lethal Force and Lo-Fi Death
• Deborah Kapchan, Listening Acts: Witnessing the Pain (and Praise) of Others
• Michael Jackson, Afterword: Sound Properties of the Written Word
• About the Contributors
• Index

Wed, 15 Nov 2017 15:06:10 -0500