Chapter 1: Past sounds
Details of the sound of the early universe may be found here: 〈http://www.astro.virginia.edu/~dmw8f/BBA_web/index_frames.html〉; the history of acoustics is detailed in Dayton Clarence Miller, Anecdotal History of the Science of Sound to the Beginning of the 20th Century (Macmillan, 1935) and Robert T. Beyer, Sounds of Our Times: Two Hundred Years of Acoustics (Springer, 1999).Further historical material is in: David Hendy, Noise: A Human History of Sound and Listening (Profile Books, 2014). The acoustics of Epidaurus are explained at: 〈http://www.nature.com/news/2007/070319/full/news070319-16.html〉. The most recent edition of R. Murray Schafer’s classic book on soundscapes is Soundscape: Our Sonic Environment and the Tuning of the World (Destiny Books, 1994). The Attali material is from Mark M. Smith (ed.) Hearing History: A Reader (University of Georgia Press, 2004). Alain Corbin’s classic work (translated by Martin Thom), is Village Bells: The Culture of the Senses in the Nineteenth-Century French Countryside (Columbia University Press, 1998).
‘simultaneously a physical environment and a way of perceiving that environment’, Emily Thompson, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (MIT Press, 2002), p. 1.
Chapter 2: The nature of sound
Most of the material here may be found in Thomas D. Rossing, Richard F. Moore, and Paul A. Wheeler, The Science of Sound (Addison Wesley, 2001) and Daniel R. Raichel, The Science and Applications of Acoustics (Springer, 2006). Most cultural references are from Jonathan Sterne, The Sound Studies Reader (Routledge, 2012).
Chapter 3: Sounds in harmony
Material from this chapter is from Neville H. Fletcher and Thomas D. Rossing, The Physics of Musical Instruments (Springer, 2008), Daniel J. Levitin, This is Your Brain on Music: Understanding a Human Obsession (Atlantic Books, 2008), John Powell, How Music Works: A Listener’s Guide to Harmony, Keys, Broken Chords, Perfect Pitch and the Secrets of a Good Tune (Particular Books, 2010), and Eric Taylor, The AB Guide to Music Theory (Oxford University Press, 2013).
Chapter 4: Hearing sound
Information in this chapter is largely from David Howard and Jamie Angus, Acoustics and Psychoacoustics (Focal Press, 2000), Lawrence J. Raphael, Gloria J. Borden, and Katherine S. Harris, Speech Science Primer (Lippincot Williams & Wilkins, 2003), William Yost, Fundamentals of Hearing: An Introduction (BRILL, 2013), and H. Zwicker and H. Fastl, Psychoacoustics: Facts and Models (Springer, 2006). The Barthes material is from Bruce R. Smith’s The Acoustic World of Early Modern England: Attending to the O-Factor (University of Chicago Press, 2nd edition, 1999).
‘My feeling is that an entire culture…’, Brandon LaBelle, Acoustic Territories: Sound Culture and Everyday Life (Continuum, 2010), p. xvi.
‘the rich undulations of auditory material…’, LaBelle, Acoustic Territories, p. xxi.
‘Sound creates a relational geography…’, LaBelle, Acoustic Territories, p. xxv.
The statistics on worldwide hearing loss are from the World Health Organization’s ‘Deafness and Hearing Loss’ fact sheet (number 300), Updated March 2015. It can be found at 〈http://www.who.int/mediacentre/factsheets/fs300/en/〉.
Chapter 5: Electronic sound
Technological details are to be found in Glen Ballou, Electroacoustic Devices: Microphones and Loudspeakers (Focal Press, 2009), F. Alton Everest and Ken C. Pohlmann, Master Handbook of Acoustics (Tab Electronics, 2009). This book, and Bruce and Marty Fries, Digital Audio Essentials (O’Reilly Media, 2005), also give practical guidance, while historical material is from Greg Milner, Perfecting Sound Forever: The Story of Recorded Music (Granta, 2010) and Roland Gelatt, The Fabulous Phonograph, 1877–1977 (Cassell, 2nd edition, 1977).
Material on the effects of recordings on performance are from Robert Philip, Performing Music in the Age of Recording (Yale University Press, 2004) and Mark Katz, Capturing Sound: How Technology Has Changed Music (California University Press, 2010).
‘the MP3 carries within it practical and philosophical understandings . . .’, Jonathan Sterne, MP3: The Meaning of a Format (Sign, Storage, Transmission) (Duke University Press, 2012), p. 2.
Chapter 6: Ultrasound and infrasound
Material from this chapter is from Vivien Gibbs, Ultrasound Physics and Technology: How, Why and When (Churchill Livingstone, 2009), Dale Ensminger and Leonard J. Bond, Ultrasonics: Fundamentals, Technologies, and Applications (CRC Press, 2011), Tim Leighton, The Acoustic Bubble (Academic Press, 1994), and Gillian Sales and David Pye, Ultrasonic Communication by Animals (Chapman & Hall, 1974). The 2015 bat study referred to in this chapter is Pavel Kounitsky et al., ‘Bats Adjust their Mouth Gape to Zoom their Biosonar Field of View’, Proceedings of the National Academy of Sciences 2015, Vol. 112, No. 21, pp. 6724–9.
Chapter 7: Sound underwater and underground
Most technological and physics material is from Xavier Lurton, An Introduction to Underwater Acoustics: Principles and Applications (Springer Praxis Books, 2010), M. A. Ainslie, Principles of Sonar Performance Modelling (Springer Praxis Publishing, 2010), and Robert J. Urick, Principles of Underwater Sound (Peninsula Publishing, 2013). Biological content is from W. J. Richardson,C. R. Greene Jr, C. I. Malme, and D. H. Thomson, Marine Mammals and Noise (Academic Press, 1995). Historical material is from Robert T. Beyer, Sounds of Our Times: Two Hundred Years of Acoustics (Springer, 1999).
Chapter 8: Sound out of place
Most material is from Mike Goldsmith, Discord: The Story of Noise (Oxford University Press, 2012). Cultural references are from Smith and Karin Bijsterveld, Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century (MIT Press, 2008).
‘iPod use can usefully be interpreted…’, Michael Bull, ‘iPod: A Personalized Sound World for its Consumers’, Revista Comunicar, 2010, Vol. XVII, No. 34, pp. 55–63.
Oliver Sacks’ account of earworms is from his book Musicophilia (Picador, 2011), p. 47.
‘whenever we withdraw into separate soundscapes . . . we make strangers of each other’, James Hendy, Noise: A Human History of Sound and Listening (Profile, 2013), p. 331.