The letter f following a page number denotes a figure.
50cm Slab (Safa), 165–166, 168, 182n7
520,579 m2 (Safa), 164
Abu Hamdan, Lawrence, 183n10
Acoustical Research Section (ARS), 40
Acoustical Society of America, 82, 98
Acoustic city
concept of, 153
noise mapping and, 125–139, 144–146, 148–149
sonic urbanism and, 14, 151–154, 157–168
sound mapping and, 125–129, 145–149
Acoustic defense
Britain and, 40
France and, 40–41
psychoacoustics and, 96–103
rise of, 39–42
World War I era and, 14, 38–42, 44, 48, 57, 59–60
Acoustic goniometer, 53–55
Acoustic-haptic space, 116–118
“Acoustic Illusion Telephonically Achieved, An” (Fletcher), 65
Acoustic Measurements (Beranek), 97
Acoustics
architecture and, 1–2, 5–7, 15, 27, 86, 97, 106, 116, 151–154, 158–159, 169, 171, 173nn1,3, 175n15
Bell Telephone Laboratories and, 61–67, 70, 73, 75–82
binaural audition and, 17, 19, 22–30, 35, 175nn1,2
Burris-Meyer and, 13, 80, 83–103, 179n3
echoes and, 1, 5–7, 80, 97, 107, 160, 169–171, 174n11
historical perspectives on, 1–9, 13–16, 170
imaging technologies and, 39, 45, 177n12
military and, 14, 17, 19, 22–30, 35, 37–48, 51, 53–55, 57, 59–60, 176n3, 177n12
noise mapping and, 125, 128–149
projections and, 1, 3, 7–12, 25, 71–77, 86–96, 99–102, 106–110
propagations and, 3–5, 7, 22, 60, 125, 169, 173n5
reflections and, 3, 5–7, 43, 45, 66, 169, 175n5
Schafer and, 14, 125–128, 140–141, 152, 164
social sound sculptures and, 118–123
sonic urbanism and, 151–154, 157–160, 164–168, 171
sound installation art and, 105–116, 124
sound waves and, 4, 9, 45, 63, 80, 84, 114, 173n5, 178n14
Acoustics (cont.)
ultrasonic sound and, 83–84, 99
whispers and, 4, 9, 39, 44, 68, 107, 119, 133, 152, 160
Acoustimeters, 131
Action for a Tower Room (Marioni), 113
Adding Machine, The (Rice), 88
Ader, Clément, 28–29
Air Inventions Board, 40
Airplanes
decibel levels and, 133
military and, 38, 44f, 50–51, 55, 58, 62, 171
noise mapping and, 133, 138, 140–143
psychoacoustics and, 87, 98, 102
sound location and, 38, 44f, 50–51, 55, 58, 62, 171
Alison, Somerville Scott, 20–23, 169, 175n5
Alt-azimuth listening, 48, 50–51, 53, 59
Ambisonics, 15
American Composers’ Alliance Bulletin, 110–111
American Engineers in France, The (Parsons), 55
American Telephone and Telegraph Company (AT&T), 42, 62–67, 72, 178nn1,5
America’s Munitions (Crowell), 37
Amériques (Varèse), 8
Anderson, Laurie, 116
Anechoic chambers, 97
Annals of Philosophy (Thomson), 17
Anti-Aircraft Experimental Section (AAES), 38, 40
Antrim, Doron K., 95
“Approximate Noise Intensities” (Free), 131, 133
Architecture
acoustics and, 1–2, 5–7, 15, 27, 86, 97, 106, 116, 151–154, 158–159, 169, 171, 173nn1,3, 175n15
BÜF Architecture and, 173n1
Chance and, 173n1
de Silva and, 173n1
Forensic Architecture (FA) and, 183n10
Khoury and, 163
Kimmelman and, 152
Lappin and, 182n6
Leitner and, 116
Malaeb and, 167
music and, 1–2, 15, 105–106, 115, 124, 152–153, 163–164, 167–170, 173n1
Rasmussen and, 151–152
Ripley and, 153
Royaards and, 171
Safa and, 164
sonic urbanism and, 151–159, 163–168, 182nn1,6
sound installation art and, 105–106, 115–116, 124
starchitects and, 155
Xenakis and, 180n3
Aristotle, 175n5
ARPANET, 97
Arsenal (Zaven), 166
Art
Fluxus and, 111–115, 166, 181n10
sonic urbanism and, 153–154, 157, 164, 168
sound, 1–2, 13–14, 105–124, 146, 153, 157–167, 170–171, 180n1, 182n6, 183n10
Ashkal Alwan, 163–164
Audiometers, 131
Auditory perspective, 2
Bell Telephone Laboratories and, 64–77, 81
Burris-Meyer and, 87
binaural audition and, 30
Oscar and, 64–70
sound in, 65–66
Auditory space
emerging theories of, 19–20, 32–36
rotating chair and, 32–35
sound location and, 39 (see also Sound location)
Auditory space perception, 12, 14, 19–20, 32–36, 169
Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother (Belmore), 120, 122–123
Babbage, Charles, 129–130
Bach, J. S., 70–71
Bacon, Francis, 6–7, 170, 174nn8,9
Baillaud, René, 40–45, 46f, 58f, 177nn8,11, 178nn13,14
Bain, Alexander, 32
Bain, Mark, 173n1
Battle Noise program, 99–100
Beach Jumpers, 99
Beethoven, Ludwig van, 70, 128
Beirut
50cm Slab and, 164–166, 168, 182n7
Central District of, 155
civil war in, 154–155
Concrete Sampling and, 161–163, 168
ecological listening and, 154–158
Egg, The, and, 171
garbage crisis of, 155, 158, 160
Greater Beirut Area (GBA), 155
hearing architecture and, 151–154
hearing trauma and, 166–167
hearing violence and, 164–166
Invisible Soundtrack, The, and, 157–158, 160, 168, 182n7
Israel-Lebanon war and, 155, 165–166
Landline and, 167–168, 182nn7,9
as Paris of the East, 154
Public Hearing and, 167–168, 182n7
right to listen and, 158–161
Silent Room and, 159–160, 168, 173n1, 182nn7,8
Solidere and, 155–156
sonic urbanism and, 1, 14, 151–171
Beirut Design Week, 182n8
Bell, Alexander Graham, 28–29
Bell Telephone Laboratories
acoustics and, 61–67, 70, 73, 75–82
auditory perspective and, 64–77, 81
binaural audition and, 61–70, 73, 179n11
Burris-Meyer and, 85
Carnegie Hall and, 77–81, 85, 179n8
Chicago World’s Fair and, 61, 66–69, 81
Committee on Sound Control and, 98
Fletcher and, 61–65, 73, 77–80, 82, 85, 98, 133, 178n2, 179nn10,11
Galt and, 133
Jewett and, 65–67, 73, 78–80, 82, 179n4
loudspeakers and, 64–65, 71–74, 77
microphones and, 61–65, 67, 70, 74, 76, 78, 81
music and, 62–66, 70–81, 178n2
Philadelphia-Washington demonstration and, 70–77, 178n6
recordings and, 62, 64–66, 75–81, 179n9
sound location and, 61–65
Spurlock on, 62
stereo sound and, 15, 61, 64–66, 69–70, 73, 76–82, 170, 179nn9–11
Stokowski and, 64–65, 70, 73–82, 93
telephones and, 61, 63, 65, 67, 70, 73–74, 82
Vocoder and, 90
Western Electric and, 62–64
World War I era and, 13, 62–64
World War II era and, 81–82
Bell Telephone News, 69
Bell Telephone Quarterly, 68–69
Belmore, Rebecca, 13, 106, 120–123, 170
Bennet, William S., 131
Beranek, Leo L., 97–98, 141, 180n6
Berlin Phonogram Archive, 41
Berlin Sonic Places (Cusack), 158
Between Views exhibition, 122–123
Beuys, Joseph, 114
Biancolli, L., 80
Binaural audition
acoustics and, 17, 19, 22–30, 35, 175nn1,2
auditory perspective and, 30
Bell Telephone Laboratories and, 61–70, 73, 179n11
Claude Orthophone and, 48
differential stethoscope and, 20–23, 47, 169, 175n4
double, 50
ear and, 18–20, 22, 25–29, 32–34
Fletcher and, 61–62, 64, 179n11
geophone and, 45–48
historical perspectives on, 11–36
Hornbostel and Wertheimer device for, 48, 178n15
interaural time difference and, 48
interaural phase difference and, 48, 178n14
music and, 17, 19, 28, 35–36, 62
Oscar and, 66–70
Perrin telesitemeter and, 55
physiology and, 11–12, 18, 25, 28, 32, 39
Rayleigh on, 175n6
rotating chair and, 32–35, 176n9
spatial hearing and, 11–12, 14, 19, 25, 28, 35–36, 39
Steinhauser and, 23–25, 27, 175n6
stereo sound and, 12, 19, 22–23, 28–30, 35
telephone and, 27–35
théâtrophone and, 12, 28–32, 69–70, 73, 176n8
topophone and, 48
vision and, 19–20, 24–25, 28, 33–35
World War I era and, 35, 61–62
Bingham-Hall, John, 182nn6,7
Biot, Jean-Baptiste, 4
Birdsall, Carolyn, 53
BJ scale, 99
Blumlein, Alan, 15
Böhme, Gernot, 152
Bolt, Beranek and Newman (BBN), 141, 143
Bombs, 38, 53, 60, 80, 95, 165–167, 171
bonn hoeren, 153
Book of Noise (Schafer), 125, 140–141
Born, Max, 41
Brecht, George, 111
Broadcasting, 12, 28–29, 36, 64, 75–76, 95, 100–101
Broadway, 85
Brown, Carolyn, 107
Brown, Earle, 107
Brown University, 98
BUG (Bain), 173n1
Bull-Tucker apparatus, 41
Burning, Elizabeth (Toby), 123
Burris-Meyer, Harold
acoustics and, 13, 80, 83–103, 179n3
Battle Noise program and, 99–100
Bell Telephone Laboratories and, 85
Carnegie Hall and, 80
emotional control and, 85, 91, 93–96, 99, 102
Mallory and, 85, 87–88, 93, 98–99, 100f, 101f
military and, 96–103
multichannel sound design and, 13, 85, 87, 88–92
Muzak and, 13, 85, 94–96, 102, 179n3, 180n5
National Defense Research Committee (NDRC) and, 85, 97–98, 179n4
optimized acoustic environments and, 102–103
Project Polly and, 100–102
sound control and, 83–93, 98, 102
Sound Shows and, 88–92
Stevens Institute of Technology (SIT) and, 84–92, 98–99
theater and, 13, 83–93, 96, 101–103
Bush, Vannevar, 97
CadnaA, 144
Cage, John, 1, 107, 111, 114–115
Calame, Jon, 182n5
Cambridge Scientific Instrument Company, 40
Cammann, George Philip, 20
Cardinell, Richmond L., 94–96, 98–99
Carnegie Hall, 77–81, 85, 179n8
Carty, John J., 42
“Catalogue of Works Relating to Sound, A” (Peirce), 3
“Century of Progress, A” (World’s Fair theme), 66
Chance, Steve, 173n1
Charlesworth, Esther, 182n5
Chicago World’s Fair, 61, 66–69, 81
Chladni, Ernst, 4–6, 10, 17, 175nn2,14
Chrysler Corporation, 98
City Noise report, 133–137
City of Impulse (Royaards), 171
Civil Campaign to Protect the Dalieh of Raouche, 156–157, 160
Claude Orthophone, 48
Columbia Broadcasting System (CBS), 75–76
Columbia Law School, 131
Columbia-Princeton Electronic Music Center, 110
Communications Hall, 67
Composite Noise Rating, 141, 143
Compton, Karl T., 98
Conant, James B., 97
Concrete Sampling (Namy and Lupo), 161–163, 168
“Contributions to the Physiology of Vision” (Wheatstone), 25
Cornwall, J. Spencer, 80
Creative Commons, 145
Crowdsourcing, 144–146
Crowell, Benedict, 37–39, 47–48, 59, 176n2
Cuba, 83–84
Culture of Cities, The (Mumford), 167
Curran, Henry H., 138
Curtin, Adrian, 31–32
Curtis, Charles, 174n6
Dalieh, 156–157
Davis, Hallowell, 98–99
Deafness, 23, 52, 120, 133, 134f
Decibel levels
acoustimeters and, 131
airplanes and, 133
audiometers and, 131
Battle Noise program and, 99–100
Bell Telephone Laboratories and, 131
Carnegie Hall demonstration and, 79–80
Galt and, 133–136
hearing loss and, 159
loudness and, 14, 80, 99–100, 125, 131–136, 138, 140–143, 145, 159–160, 181nn3,4
Noise Exposure Maps (NEMs) and, 143
noise mapping and, 125, 131–136, 138, 140–141, 143, 145, 181nn3,4
pain threshold and, 97, 99–100, 133, 140
Perceived Noise Decibel scale (PNdB), 141, 143
Project Polly and, 100–102
psychoacoustics and, 99–100
Silent Room and, 159–160
tables and, 14, 125, 131–136, 138, 140
De la Motte-Haber, Helga, 105, 116
De Silva, Wendy, 173n1
Deutsch, Diana, 25
Differential stethoscope, 20–23, 47, 169, 175n4
“Dissonance and Urban Discord” (Mishlawi), 160–161
Divided Cities (Calame and Charlesworth), 182n5
Dixon, Melissa, 175n1
Dream House (Young and Zazeela), 112–113
Drive-in Music (Neuhaus), 115
Duke University, 98
Ear
aiming with, 37–39
Bell Telephone Laboratories experiments and, 61–70, 76–77, 81, 178n3
binaural audition and, 11, 18–20, 22, 25–29, 32–34
hearing threshold and, 131
interaural phase difference and, 48, 178n14
low frequencies and, 181n4
microphones and, 61–65
military experiments and, 37–40, 43, 47–55, 59–60
noise mapping and, 128, 144, 146
Oscar and, 61–70
outer, 176n9
pain threshold and, 97, 99–100, 133, 140
physiology of, 2, 11–12, 18, 25, 28, 32, 38–39, 41, 84–85, 93–94, 96, 102
psychoacoustics and, 97, 101–102
relative loudness and, 181n4
sonic attacks and, 83–84
sonic urbanism and, 152
stethoscopes and, 20–25, 45, 47, 50, 59, 169, 175n4
telephones and, 28–32
training for sound observation and, 53–55
ultrasonic sound and, 83–84, 99
Wheatstone and, 19
Ear-Phone, 144
Ear trumpets, 10, 11f, 18, 175n14
Echoes, 1, 5–7, 80, 97, 107, 160, 169–171, 174n11
Ecological issues, 14, 140, 145–146, 154–158
Edison, Thomas, 94
Egg, The, 171
Egger, Max, 32
Electrical Group, 67
Electrical Research Products, Inc. (ERPI), 85
Electro-Acoustic Laboratory (EAL), 97–98, 180n6
Electroacoustics
Bell Telephone Laboratories and, 61, 75, 77
noise mapping and, 128
politics of space and, 174n11
psychoacoustics and, 84, 86–87, 92, 95–96
spatial music and, 7–8, 13, 105–112, 174n11
Elliot, John, 11
Emotional control, 85, 91, 93–96, 99, 102
Enchanted Lyre, 17–20, 29, 72, 175nn1,3
“End of the War, The: A Graphic Record,” 37, 38f, 176nn1,2
Environmental Noise Directive (END), 143–144, 146
Epigrams (Martial), 129
Equalizers, 95
Euclidean space, 13, 32, 110, 118, 123
European Sound Diary (Schafer), 128
European Union, 143–144
Eustachius, 11
Exhaust note, 50
“Experiments on Audition” (Wheatstone), 17–18, 20
Expulsions (Sassen), 182n4
Fabricius ab Aquapendente, Hieronymus, 11
Fast, Heidi, 13, 105–106, 118–121
“Favourite Sounds” (Cusack), 145–146
Feldman, Morton, 107
Ferrari, Luc, 107
Ferrié, Gustave-August, 40, 177n7, 178n13
Five Village Soundscapes (Schafer), 126
Fletcher, Harvey
Acoustical Research team of, 63, 73
Acoustical Society of America and, 82
“Acoustic Illusion Telephonically Achieved, An,” and, 65
Bell Telephone Laboratories and, 61–65, 73, 77–80, 82, 85, 98, 133, 178n2, 179nn10,11
binaural audition and, 61–62, 64, 179nn10,11
Carnegie Hall demonstration and, 79–80
Committee on Sound Control and, 98
Galt and, 133
Institute of Musical Science and, 82
Speech and Hearing and, 61
Stevens Institute of Technology (SIT) and, 85
Foley, Suzanne, 113
Forbes, T. W., 98
Forensic Architecture (FA), 183n10
Forensic listening, 14, 168, 183n10
Fortran IV, 143
Fox, Terry, 113–114
Galerie Parnass, 114
Galt, Rogers H., 133–136
Ganz, Cheryl, 66
Gargantua and Pantagruel (Rabelais), 110
Geometry, 13, 32, 35, 45, 110, 117–118, 123
Geonoise, 144
German Student Party, 114
Gernsback, Hugo, 107
Gerstenberg, Alice, 88
Gesang der Jünglinge (Stockhausen), 107
Gifford, Walter, 72
Gilbreth, Frank, 94
Giles, Steward, 98
Goethe-Institut Libanon, 165
Goodfriend, Lewis S., 98
Gradenwitz, Peter, 107
Graham, Clarence, 98
Great Depression, 66
Groupe de Recherches de Musique Concrète (GRMC), 107–110, 180n5
Guide to Industrial Sound (Cardinell), 95
Hamlet (Shakespeare), 88
Handphone Table, The (Anderson), 116
Harb, Nathalie, 159–160, 168, 173n1, 182n8
Hariri, Rafik, 155
Havana Syndrome, 83–84
Headphones, 1–2, 61, 99, 116, 157, 169, 178n3
Head receivers, 65, 68, 73, 178n3
Helmholtz, Hermann von, 5, 8, 40
Higgins, Dick, 111
Higgins, Hannah, 111
Hildebrand, James, 140
Hill, A. V., 38–40, 48, 50, 53, 55, 60
Historical Film No. 1132, 50–52
Hornbostel, Erich Moritz von, 41, 48, 49f, 178n15
Hosokawa, Shuhei, 152
Human Rights Watch, 161
Hunt, Frederick V., 98
Ichiyanagi, Toshi, 111
Iconismus II (Morland), 9–10
Illusions
auditory, 23, 25–29, 31, 65, 67, 81, 86, 102
optical, 25–27
Imaging technologies, 39, 45, 177n12
IMMI, 144
Imperial College of Science, 40
Institute of Musical Science, 82
Integrated Noise Model, 143
International Composers’ Guild, 75
International Electrical Exhibition, 29
Invisible Girl exhibit, 8–9
Invisible Soundtrack, The (Mishlawi), 157–158, 160, 168, 182n7
Intracranial sounds, 34–35, 117
Ionisation (Varèse), 8
IRCAM, 82
Isolation Unit (Beuys and Fox), 114
Israel-Lebanon war, 155, 165–166
Jamiaque, Yves, 110
Jewett, Frank B., 65–67, 73, 78–80, 82, 179n4
Johnstone, Mark, 175n5
Jones, Robert M., 98
Journal of Electricity, 37
Journal of the Franklin Institute, 101
Kafka, Franz, 110
Kaprow, Allan, 111
Kazan, Helene, 165
Kerbaj, Mazen, 166
Khalil, Amanda Abi, 157
Khoury, Bernard, 163
Kimmelman, Michael, 152
Kircher, Athanasius, 5
Knudsen, Vern O., 97
Köhler, Wolfgang, 178n15
Koolhaas, Rem, 157
KOPFRAÜME/HEADSCAPES (Leitner), 116–117
Kryter, Karl, 141
Kunstakademie Düsseldorf, 114
LaBelle, Brandon, 106
Ladd, George Trumbull, 33
Ladenburg, Rudolf, 41
Lamarck, Jean-Baptiste, 4, 174n7
Landis, Carney, 98
Landline (Malaeb), 167–168, 182nn7,9
Lappin, Sarah, 182n6
Lavine, Abraham L., 42
Leared, Arthur, 20
Le CRESSON, 153
Lefebvre, Henri, 118
Leitner, Bernhard, 116–117
Leuning, Otto, 110
Licklider, J. C. R., 97
Ligeti, Györgi, 107
Lippard, Lucy R., 106, 113, 120, 122–123
Lipps, Theodor, 32
Listening discs, 43–44
Listening Sites in Bonn (Auinger), 153
Living Newspaper, 87
Livingstone, Ken, 144
London, 1, 17, 40, 50, 53, 129–130, 137, 144, 173n1, 181n1, 182nn7,8
Lornell, Kip, 174n10
Loudness
binaural audition and, 22, 27, 34
decibel levels and, 14, 80, 99–100, 125, 131–136, 138, 140–143, 145, 159–160, 181nn3,4
Marsh and, 175n14
noise mapping and, 125, 131, 134, 136, 138, 141, 181nn3,4
phon and, 181n3
psychoacoustics and, 86, 95, 99
Loudspeakers
Bell Telephone Laboratories and, 64–65, 71–74, 77
music and, 1, 3, 8, 35, 64–65, 71–74, 77, 95, 106–107, 110
psychoacoustics and, 86–87, 91–92, 95, 97, 99–102
theater and, 35, 87, 91–92, 102
Mach, Ernst, 32
Malaeb, Omaya, 167, 170, 182n9
Mallory, Vincent, 85, 87–88, 93, 98–99, 100f, 101f
Marcelin, André Jules, 55
Marioni, Tom, 113
Marsh, Narcissus, 175n14
Martial, 129
Matsumoto, Matataro, 176n9
Maxfield, Richard, 111
Max/MSP, 166
Mayer, Alfred M., 48–49
McCafferty, Conor, 128–129
McCartney, Andra, 116
McCord, Joseph, 98
Mechanical Fluxconcert (Maxfield), 111
Megaphones, 10, 120, 123, 170, 175n14
Meister, F. J., 137–138
Mersenne, Marin, 6–7
Messiaen, Olivier, 107
Microphones
as aural analogue to microscope, 10
Bell Telephone Laboratories and, 61–65, 67, 70, 74, 76, 78, 81
Mechanical Fluxconcert (Maxfield) and, 111
Oscar and, 61–70
psychoacoustics and, 91, 93, 95, 100, 180n6
théâtrophone and, 29
Thompson and, 27
Wheatstone and, 19
Midsummer Night’s Dream, A (Shakespeare), 88, 90–91
Military
Acoustical Research Section (ARS) and, 40
acoustic goniometer and, 53–55
acoustics and, 14, 17, 19, 22–30, 35, 37–48, 51, 53–55, 57, 59–60, 176n3, 177n12
airplanes and, 38, 44f, 50–51, 55, 58, 62, 171
alt-azimuth listening and, 48, 50–51, 53, 59
Anti-Aircraft Experimental Section (AAES) and, 40
Baillaud parabloids and, 40, 42f, 44–45, 46f
Battle Noise program and, 99–100
Beach Jumpers and, 99
Beirut and, 155
Bell Telephone Laboratories and, 62, 64, 66
binaural audition and, 45–51, 55
bombs and, 38, 53, 60, 80, 95, 165–167, 171
Burris-Meyer and, 96–103
Claude Orthophone and, 48
Crowell and, 37–39, 47–48, 59, 176n2
French, 39–48, 55, 58–59, 177nn7,10, 178n13
geophone and, 45, 47–48, 178n13
Hill and, 38–40, 48, 50, 53, 55, 60
imaging technologies and, 39, 45, 177n12
Israel-Lebanon war and, 155, 165–166
listening discs and, 43–44
microphones and, 40–41, 176nn1,4
National Defense Research Committee (NDRC) and, 85, 97–98, 179n4
Office of Scientific Research and Development (OSRD) and, 97, 179n4
Perrin telesitemeter and, 55–58
Project Polly and, 100–102
psychiatry and, 98–100
Military (cont.)
psychoacoustics and, 13, 81–82, 85, 95–103, 141, 170, 179n4
sonic booms and, 140–141, 142f
sound as weapon and, 16, 38, 84, 97, 125, 167
sound location and, 12–13, 37–45, 48–55, 59–62, 169–171, 178n15
sound observation and, 43–45, 53–55
telegraph and, 40, 42, 62, 177nn6,7
trumpet sound locators and, 48–54, 59
vacuum bombs and, 165–166
World War I era and, 37–60
World War II era and, 13, 81–82, 85, 95–96, 141, 170
Military-industrial complex, 62, 66
Miller, George A., 97
Mills, John, 76–77
Minard, Robin, 105
Mishlawi, Nadim, 157–158, 160, 168, 182n7
MIT, 98
MITHRA, 144
Mohawk community, 122–123
Monaural audition, 11, 23, 28, 65
Monist, The, 32
Montréal Sound Map, 146
Morland, Samuel, 9–10, 170, 174nn12,13, 175n14
Mormon Tabernacle Choir, 80
Morse, Philip, 98
Multichannel sound, 8, 13, 15, 35, 67, 85, 87, 106, 174nn6,11
Mumford, Lewis, 167
Munition Inventions Department, 40
Münsterberg, Hugo, 33–34
Music
architecture and, 1–2, 6, 15, 105–106, 115, 124, 152–153, 163, 169–170, 173n1
auditory perspective and, 70–77, 81
Baroque, 174n11
Bell Telephone Laboratories and, 62–66, 70–81, 178n2
broadcasting and, 12, 28, 36, 64, 75–76, 95, 101
Cage and, 1, 107, 111, 114–115
Carnegie Hall and, 77–81
classical, 64, 70–71, 74, 174n11
conductors and, 64, 74–77, 80, 179n7
electroacoustic, 7–8, 13, 75, 77, 84, 92, 95–96, 105–107, 174n11
enhanced, 77–81
experimental, 1, 107–111, 114–115, 124, 181n10
for industry, 94–96
Institute of Musical Science and, 82
jazz, 75
loudspeakers and, 1, 3, 8, 35, 64–65, 71–74, 77, 95, 106–107, 110
noise mapping and, 125, 129–130, 146
opera, 12, 17, 28–29, 80, 85, 87, 95, 169, 176n8
Philadelphia-Washington demonstration and, 70–77, 178n6
phonographs and, 94
polkas, 95
productivity and, 94–96
psychoacoustics and, 84–85, 88–96, 101–103
recordings of, 13–14, 64–66, 75–81, 95, 146, 157, 161, 163
rhythms and, 96
Rimbaud and, 173n1
Satie and, 1
Schafer and, 14, 125–128, 140–141, 152, 164
sonic urbanism and, 152–153, 157, 161, 163–164, 166–168
spatial, 7–8 (see also Spatial music)
stereo, 2, 12–16, 28, 35, 61, 64–65, 73, 76–82, 85, 110, 170, 179nn8,10
Stokowski and, 64–65, 70, 73–77, 80–82, 93
telemusic, 175n3
théâtrophone and, 28
Varèse and, 8, 70, 75, 106–107, 110, 115, 170, 179n11, 180n3
vocal, 9
waltzes, 95
Western traditions of, 64, 106, 174n11
Yassine and, 173n1
Music/Architecture/Acoustics conference, 153
Music for Magnetic Tape project, 107
Music While You Work (BBC), 95
Mussorgsky, Modest Petrovich, 80
Musurgia Universalis (Kircher), 5
Muzak Corporation, 13, 85, 94–96, 102, 179n3, 180n5
National Academy of Sciences, 70, 179n4
National Broadcasting Company, 75
National Defense Research Committee (NDRC), 85, 97–98, 179n4
National Physical Laboratory, 40
Neo-Dada in Der Musik (Beuys), 114
“New Experiments on Sound” (Wheatstone), 17–19
New School for Social Research, 110–111
New York State Psychiatric Institute and Hospital, 98
Nightsong Action, A (Fast), 118–120
Noise Abatement Commission of New York, 133–137
NoiseBattle, 144
Noise Exposure Forecast (NEF), 143
Noise Exposure Maps (NEMs), 143
NOISEMAP, 143
Noise mapping
acoustimeters and, 131
airplanes and, 133, 138, 140–143
ancient Rome and, 129
audiometers and, 131
Babbage and, 129–130
Bennet Act and, 131
City Noise report and, 133–137
as city portrait, 125–129, 148–149
Composite Noise Rating and, 141, 143
decibel levels and, 125, 131–136, 138, 140–141, 143, 145, 181nn3,4
early examples of, 136–139
Galt and, 133–135
historical perspectives on, 129–131
loudness and, 125, 131, 134, 136, 138, 141, 181nn3,4
loudspeakers and, 133
new notations and, 129–131
New York City and, 131, 133–136, 138, 145–146
noise pollution and, 125, 138, 140–141, 144, 158, 160–161, 181n6
participatory, 144–145
predictive, 141–144
recordings and, 128, 145–146, 149
sonic booms and, 140–141, 142f
sound level charts and, 138
sound mapping and, 14–15, 125, 128–135, 145–149
soundscapes and, 14, 125–127, 134, 138, 146, 149
telephones and, 131
tootometers and, 131
Noise mapping (cont.)
traffic and, 125, 134, 136–137, 140–141
U.S. Code and, 143
World Soundscape Project (WSP) and, 125–128
zoom features for, 181n7
Noise pollution, 125, 138, 140–141, 144, 158, 160–161, 181n6
NoiseSPY, 144
NoiseTube, 144
NoizCrowd, 144
Octophonic sound, 107
Office of Scientific Research and Development (OSRD), 97, 179n4
OMA, 156–157
One Second Sculpture (Marioni), 113
“On Our Perception of Sound Direction” (Thompson), 27
Opera, 12, 17, 28–29, 80, 85, 87, 95, 169, 176n8
Optimized acoustic environments, 13, 84, 102–103
Ørsted, Hans Christian, 17, 175n2
Oscar
auditory perspective and, 64–70
binaural audition and, 66–70
Chicago World’s Fair and, 61, 66–69
microphonic ears of, 61–70
music and, 65–66
Ouellette, Fernand, 107
Overtones (Gerstenberg), 88
Pain threshold, 97, 99–100, 133, 140
Paley, William S., 76
Panoramic Beirut (Atallah), 155
Parsons, William, 55
Perceived Noise Decibel scale (PNdB), 141, 143
Perceived Noise Level (PNL), 141
Perrin, Jean, 40, 55–58, 177n8
Perrin telesitemeter, 40, 55–58
Philadelphia Orchestra, 65–66, 70–77
Philips Corporation, 106
Philosophical Observations on the Senses of Vision and Hearing (Elliot), 11
Phon, 181n3
Phonographs, 94
Phonurgia Nova (Kircher), 5
Physical Examination of the Chest in Pulmonary Consumption and Its Intercurrent Diseases, The (Alison), 20
Physiology, 2
binaural audition and, 11–12, 18, 25, 28, 32, 39
Hill and, 38
Institut Marie and, 41
psychoacoustics and, 84–85, 93–94, 96, 102
of single ear, 11
Pick, Herbert L., 26–27
Pierce, Arthur Henry, 2, 19–20, 32–35, 176nn9,10
Pisano, Guisy, 31
Plum, Edward, 99
Poème électronique (Varèse), 8, 106–107, 110, 180n3
Points of Contact exhibition, 165
Polkas, 95
Poullin, Jacques, 107–110, 180n5
Preyer, William Thierry, 176n9
“Principles of Acoustic Design” (Schafer), 164
Production of Space, The (Lefebvre), 118
Project Polly, 100–102
Prokofiev, Sergei, 90
Propagations, 3–5, 7, 22, 60, 125, 169, 173n5
Psychiatry, 98–100
Psycho-Acoustic Laboratory (PAL), 97–98, 180n6
Psychoacoustics
audience response and, 83–88, 91–94, 102
Battle Noise program and, 99–100
Cuba and, 83–84
decibel levels and, 99–100
electroacoustics and, 84, 86–87, 92, 95–96
emotional control and, 85, 91, 93–96, 99, 102
loudspeakers and, 86–87, 91–92, 95, 97, 99–102
Mallory and, 85, 87–88, 93, 98–99, 100f-101f
microphones and, 91, 93, 95, 100, 180n6
military and, 13, 81–82, 85, 95–103, 141, 170, 179n4
music and, 84–85, 88–96, 101–103
National Defense Research Committee (NDRC) and, 85, 97–98, 179n4
optimized acoustic environments and, 102–103
pain threshold and, 97, 99–100
physiology and, 84–85, 93–94, 96, 102
Project Polly and, 100–102
psychiatry and, 98–100
recordings and, 85–86, 91, 95, 99
sound control and, 83–93, 98, 102
sound location and, 97
Stevens Institute of Technology (SIT) and, 13, 84–92, 98–99
subsonic sound and, 84, 91, 93, 103
theater and, 13, 83–93, 96, 101–103
ultrasonic sound and, 83–84, 99
World War II era and, 13, 85, 95–102, 170
Psychological Institute (Berlin), 178n15
Psychological Laboratory (University College London), 40
Psychology
auditory space perception and, 28, 32–35, 176n9
emotional control and, 85, 91, 93–96, 99, 102
Harvard Psychological Laboratory and, 33–34
Ladd and, 33
Lipps and, 32
Spearman and, 53
Wundt and, 33
Yale Psychological Laboratory and, 176n9
Public Hearing (Baz), 167–168, 182n7
Pupitre d’espace system, 107–110, 180n5
Purcell, Henry, 90
Purkynĕ, Jan Evangelista, 34
Pyenson, Lewis, 177n7
Rabelais, François, 110
Radau, Rodolphe, 5
Radio, 1
Bell Telephone Laboratories and, 67, 75–76
noise mapping and, 133
psychoacoustics and, 85, 94–95, 180n6
sound installation art and, 115
Radio Corporation of America (RCA), 85
Rasmussen, Steen Eiler, 151–152
Rayleigh, Lord, 27, 48, 175n6, 178n14
Recomposing the City, 182n6
Recordings, 1
Bell Telephone Laboratories and, 62, 64–66, 75–81
music, 13–14, 64–66, 75–81, 95, 146, 157, 161, 163
noise mapping and, 128, 145–146, 149
phonographs and, 94
psychoacoustics and, 85–86, 91, 95, 99
sonic urbanism and, 157, 161, 163, 171, 183n10
sound location and, 13
Reflections, 3, 5–7, 43, 45, 66, 169, 175n5
Reflections of a Stereo Pioneer (Keller), 66, 178n4
Rice, Elmer, 88
Rice, Julia Barnett, 130–131, 138
Rickard, Jolene, 123
Riding the Waves (Beranek), 98
Rimbaud, Robin, 173n1
Ripley, Colin, 153
Robeson, Paul, 86
Rockefeller Foundation, 85
Rome, 129
Rosenzweig, Mark R., 97
Ross, David, 114
Royal Air Force, 57
Royal Naval Volunteer Reserve, 38
Royal Society, 20
Rueb, Emily S., 145
Russolo, Luigi, 152
San Francisco Museum of Modern Art (SFMOMA), 113
Sassen, Saskia, 182n4
Satie, Erik, 1
Saunders, John Cunningham, 11
Scarpa, Antonio, 11
Schaeffer, Pierre, 107–108, 110
Schafer, R. Murray, 14, 125–128, 140–141, 152, 164, 173n3
Schoenberg, Arnold, 70
Schreiner, Alexander, 80
Schwartz, Hillel, 130–131
Seiffarth, Carsten, 153
Sennett, Richard, 182n6
Shakespeare, William, 88, 90–91
Share Alike, 145
Sickert, Otto G., 80
Silent Room (Harb), 159–160, 168, 173n1, 182nn7,8
Smithsonian Museum of the American Indian, 123
Social sound sculptures, 118–123
Society for the Suppression of Unnecessary Noise, 139
Soemmerring, Samuel Thomas von, 11
Solidere, 155
Sonambiente festival, 153
Song of the Dwellings (Fast), 120
Sonic attacks, 83–84
Sonic Contours (Ussachevsky), 110
Sonic urbanism
50cm Slab and, 164–166, 168, 182n7
acoustics and, 14, 151–154, 157–160, 164–168, 171
architecture and, 151–159, 163–168, 182nn1,6
art and, 153–154, 157, 164, 168
auditory space and, 14
Bennet Act and, 131
Concrete Sampling and, 161–163, 168
decibel levels and, 159–160
ecological listening and, 154–158
hearing trauma and, 166–167
hearing violence and, 164–166
Invisible Soundtrack, The, and, 157–158, 160, 168, 182n7
Landline and, 167–168, 182nn7,9
Le CRESSON and, 153
music and, 152–153, 157, 161, 163–164, 166–168
noise mapping and, 126–150
noise pollution and, 125, 140–141, 144, 158, 160–161, 181n6
Public Hearing and, 167–168, 182n7
recordings and, 157, 161, 163, 171, 183n10
right to listen and, 158–161
Schafer and, 14, 125–128, 140–141, 152, 164, 173n3
Silent Room and, 159–160, 168, 173n1, 182nn7,8
soundscapes and, 15, 152, 154, 157–158, 160, 164, 167–168, 170
spatiality and, 156, 171, 183n10
traffic and, 116, 125, 134, 136–137, 140–141, 158
Sound control
Bell Telephone Laboratories and, 64
Burris-Meyer and, 83–93, 98, 102
theater and, 83–87, 92–93, 96, 102–103
Sound Control Research group, 87
Sounder City: The Mayor’s Ambient Noise Strategy report, 144
Sound installation art, 14–15
architecture and, 105–106, 115–116, 124
art for body and, 116–118
Belmore and, 13, 106, 120–123, 170
conceptual art and, 111–115, 118, 123–124
de la Motte-Haber and, 105, 116
Fast and, 13, 105–106, 118–121
Fluxus and, 111–115, 166, 181n10
Harb and, 159–160, 168 173n1, 182n8
Leitner and, 116–117
Lippard and, 106, 113, 120, 122–123
loudspeakers and, 106–107, 110
Mishlawi and, 157–158, 160, 168, 182n7
radio and, 115
Safa and, 164–166
social sound sculptures and, 118–123
spatiality and, 13, 115–123, 180nn2,5
spatial music and, 13, 105–124, 170
Sound level charts, 138
Sound location
aiming with ears and, 37–39
airplanes and, 38, 44f, 50–51, 55, 58, 62, 171
auditory space perception and, 32–35
Bell Telephone Laboratories and, 61–65
“End of the War, The,” image and, 37
geophone and, 45, 47–48, 178n13
Hornbostel and Wertheimer device for, 48, 49f, 178n15
military and, 12–13, 37–45, 48–55, 59–62, 169–171, 178n15
Perrin telesitemeter and, 55–58
psychoacoustics and, 97
recordings and, 13
trumpet sound locators and, 40, 48–55, 58–59
World War I era and, 12–13, 37–39, 48–53, 59–62, 169–170
Sound mapping, 14–15, 125–129, 145–149
Sound observation
acoustic goniometer and, 53–55
acoustic sights and, 43–45
Baillaud parabloid and, 44–45, 46f
ear training for, 53–55
SoundPLAN, 144
Soundscapes
noise mapping and, 14, 125–127, 134, 138, 146, 149
sonic urbanism and, 1–2, 15, 152, 154, 157–158, 160, 164, 167–168, 170
sound mapping and, 125–129, 145–149
Sound Shows, 88–92
Sounds of New York City (SONYC), 145–146, 181n6
Soundwalks, 2, 128, 170, 173n2
Sound waves, 4, 9, 45, 63, 80, 84, 114, 173n5, 178n14
Southworth, Michael, 152
Space, Time, Sound: Conceptual Art in the San Francisco Bay Area, the 1970s (SFMOMA catalog), 113
Spatial hearing, 39
binaural audition and, 17–36
differential stethoscope and, 20–23, 47, 169, 175n4
historical perspectives on, 11–14
Spatial hearing (cont.)
rotating chair and, 32–35, 176n9
telephone and, 28–32
théâtrophone and, 12, 28–32, 69–70, 73, 176n8
Spatiality
Aristotle and, 175n5
audio and, 15
auditory space and, 2, 12, 14, 16, 19, 32–36, 39, 169
Bell Telephone Laboratories and, 64–65, 69–70, 78, 81
binaural audition and, 12, 17–36
Curtis on, 174n6
Euclidean, 13, 32, 110, 118, 214
historical perspectives on, 2–4, 7–11
music and, 7–8, 13–16, 35, 78, 105, 107, 110, 123, 170
psychoacoustics and, 13, 87–88
representational space and, 118
social sound sculptures and, 118–123
sonic urbanism and, 156, 171, 183n10
sound installation art and, 13, 115–123, 180nn2,5
theater and, 12–13, 15, 31, 35–36, 87, 169
acoustic-haptic space and, 116–118
binaural audition and, 35
conceptual art and, 113–114
electroacoustics and, 7, 13, 105–112, 174n11
Fluxus and, 111–115, 166, 181n10
Leitner and, 116–117
politics of space and, 13, 105–124
pupitre d’espace system and, 107–110, 180n5
social sound sculptures and, 118–123
sound installation art and, 13, 105–124, 170
stereo sound and, 14–15, 35, 78
Varèse and, 8, 70, 75, 106–107, 110, 115, 170, 179n11, 180n3
Spatial practice, 118, 120, 123–124, 156, 180n2
Spearman, Charles, 53
Speech and Hearing (Fletcher), 61
Spurlock, James, 62
Squier, George Owen, 42, 72, 94
Stabenow, Carsten, 153
StadtKlangKünstler (City Sound Artist), 153
Starry Night (Kerbaj), 166
Stein, Julian, 146–147
Stein, Max, 146–147
Steinhauser, Anton, 23–25, 27, 175n6
“Stereophonic Recordings of Enhanced Music” (Bell Telephone Laboratories), 77–81, 85, 179n8
Stereoscopes, 12, 24–25, 28–29, 69
Stereo sound
Bell Telephone Laboratories and, 15, 61, 64–66, 69–70, 73, 76–82, 170, 179nn9–11
binaural audition and, 12, 19, 22–23, 28–30, 35
commercial success of, 179n9
invention of recording of, 14
music and, 2, 12–16, 28, 35, 61, 64–65, 73, 76–82, 85, 110, 170, 179nn8,10
recordings of, 14, 77–81, 170, 178n4
spatial music and, 14–15, 35, 78
Sterne, Jonathan, 20, 23, 60, 178n16
Stethoscopes, 20–25, 45, 47, 50, 59, 169, 175n4
Stevens, Stanley S., 97, 180n6
Stevens Institute of Technology (SIT), 13, 84–92, 98–99
Stockhausen, Karlheinz, 107, 174n11, 181n6
Stokowski, Leopold
Bell Telephone Laboratories and, 64–65, 70, 73–82, 93
Broadcasting System Gold Medal and, 75
Carnegie Hall and, 80–82
music and, 64–65, 70, 73–77, 80–82, 93
Philadelphia Orchestra and, 65, 70, 75–76
scientific education of, 75–76
views of, 74–77
Stone, Geraldine, 97
Strategic Noise Map, 143–144
Strauss, Johann, 80
Stravinsky, Igor, 70
Studies in Auditory and Visual Space Perception (Pierce), 32
“Stuttgart Soundwalk, A” (Schafer), 128
Subsonic sound, 84, 91, 93, 103
Supersonic travel, 140–141, 142f
Surveillance, 2, 16, 84, 145, 179
Sylva Sylvarum (Bacon), 6
Symphonie pour un homme seul (Schaeffer and Henry), 107
Syrian refugees, 155, 161, 163
TAPE PIECE II: Room Piece (Ono), 111–112
Telefon Hirmondó, 29
Telegraphs
AT&T and, 42, 63–64, 66, 72, 178n1
Bell Telephone Laboratories and, 52, 67
Marconi and, 40
military and, 40, 42, 62, 177nn6,7
Postal Telegraph Company and, 42
Western Union and, 42
Wheatstone and, 19
Telephones, 169
AT&T and, 42, 63–64, 66, 72, 178n1
auditory space perception and, 27–35
Bell Telephone Laboratories and, 61, 63, 65, 67, 70, 73–74, 82
decibels and, 131
Enchanted Lyre and, 175n3
head receivers and, 65, 68, 73, 178n3
psychoacoustics and, 98
Telescopes, 45, 49f, 177nn11,12
Temporary Art Platform (TAP), 157, 160
Theater
binaural listener and, 12, 28, 31, 35–36
Burris-Meyer and, 83–93, 96, 101–103
Living Newspaper and, 87
loudspeakers and, 35, 87, 91–92, 102
psychoacoustics and, 13, 83–93, 96, 101–103
sound control and, 83–87, 92–93, 96, 102–103
Sound Shows and, 88–92
spatiality and, 12–13, 15, 31, 35–36, 87, 169
Théâtrophones, 12, 28–32, 69–70, 73, 176n8
Theatrum Mundi, 182n6
“Theory of Binaural Audition, The” (Steinhauser), 24–25
Theremin, Léon, 75
Thompson, Emily, 69, 130–131, 133, 173n3, 175n15
Thompson, Silvanus P., 25–27, 34, 175n6
Timbre, 22, 26–27, 64–65, 78, 85–86, 88
Times Square (Neuhaus), 116
Toccata and Fugue (Bach), 70–71
Tod, David, 12
Ton-Liege (Deck Chair) (Leitner), 116–117
Tootometers, 131
Toulouse Observatory, 45
Toward a New Music: Music and Electricity (Chavez), 179n7
Townsend-Gault, Charlotte, 123
Traffic, 116, 125, 134, 136–137, 140–141, 158
Transducers, 30
Trieb, Marc, 180n4
Trumpets
binaural audition and, 20
Invisible Girl and, 8–9
Kerbaj and, 166
sound location and, 40, 48–55, 58–59
speaking, 8–10, 11f, 170, 175n14
stethoscopes and, 20, 47, 59, 169
Tuba Stentoro-Phonica, 9
Tucker, William S., 40–41, 176n4
Tudor, David, 107
Tuned City project and festival, 153, 173n1
Underwater sound, 39, 62–64, 157, 176n3
University of California at Los Angeles, 98
Urban Sound and the Politics of Memory project, 155, 182n6
Urbantschitsch, Victor, 34
U.S. Bureau of Standards, 48
U.S. Civil War, 41
U.S. Code, 143
U.S. Federal Aviation Agency (FAA), 143
U.S. Navy, 99
Ussachevsky, Vladimir, 110
U.S. State Department, 83–84
U.S. War Department, 44
Van Drie, Melissa, 30
Varèse, Edgard
Bell Telephone Laboratories and, 179n11
Poème électronique and, 8, 106–107, 110, 180n3
spatial music and, 8, 106–107, 110, 170
Vautier, Ben, 110–111
Venturi, Giovanni Battista, 12
Vision
Baillaud parabloid and, 44–45, 46f
binaural audition and, 19–20, 24–25, 28, 33–35
Elliot on, 11
hearing as serving, 20
imaging technologies and, 39, 45, 177n12
sound observation and, 43–45 (see also Sound observation)
stereoscope and, 12, 24–25, 28–29, 69
Vocal music, 9
Vocoder, 90
Wade, Nicholas J., 25
Wainwright, Oliver, 155
Walt Disney Corporation, 99
Walter Phillips Gallery, 122
Waltzes, 95
Ward, Archibald, 57–58
Weber, Eduard, 176n9
Weber, Ernst Heinrich, 176n9
Wertheimer, Max, 41, 48, 49f, 178n15
Western Electric, 42, 62–64, 85, 178n1
Weyl, Charles, 76
Wheatstone, Charles, 5
auditory perspective and, 65
“Contributions to the Physiology of Vision” and, 25
Enchanted Lyre, 17–20, 29, 72, 175nn1,3
“Experiments on Audition” and, 17–18, 20
“New Experiments on Sound” and, 17–19
spatial hearing and, 17–20, 24–28, 175nn1,2
Wheatstone, William, 17
Whispers, 4, 9, 39, 44, 68, 107, 119, 133, 152, 160
Whistles, 45, 54, 130–131, 133, 138
Whitney, Tyler, 176n8
WideNoise, 144
Widor, Charles, 91
Wittje, Roland, 39, 41, 62, 178n15
Wolff, Christian, 107
Wonders of Acoustics (Radau), 5
Woolf, W. L., 98
World of Sound, The (Bragg), 47
World’s Fair, 8, 29, 61, 66–70
World Soundscape Project (WSP), 14, 125–128
World War I era
acoustic defense and, 14, 38–42, 44, 48, 57, 59–60
Baillaud parabloids and, 40, 42f, 44–45, 46f
Bell Telephone Laboratories and, 13
binaural audition and, 35, 61–62
Claude Orthophone and, 48
end of, 37
geophone and, 45, 47–48, 178n13
listening discs and, 43–44
military auditors and, 13, 52–54, 59–60
Perrin telesitemeter and, 55–58
sound location and, 12–13, 37–45, 48–55, 59–62, 169–170, 178n15
trumpet sound locators and, 48–54, 59
World War II era
Bell Telephone Laboratories and, 81–82
industrial music and, 95–96
noise mapping and, 141–142
psychoacoustics and, 13, 85, 95–96, 170
Wundt, Wilhelm, 33
X Marks the Spot (Meireles), 146, 148f
Yale Psychological Laboratory, 176n9
Yale School of Drama, 93
Young, La Monte, 112–113, 181n10
Young, Thomas, 173n4
Zazeela, Marian, 112