The sounds of media: an interdisciplinary review of research on sound as communication

ALBRECHT, R. (2004). Mediating the Muse: A Communications Approach to Media, Music, and Cultural Change. Creskill, NJ: Hampton Press.

ANDERSON, B. (1991). Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.

APPADURAI, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.

BARNES, S.H. (1988). Muzak. The Hidden Messages in Music: A Social Psychology of Culture. Lewiston, NY: The Edwin Mellen

Press.

BODEN, M. (Ed.). (1996). Artificial Intelligence. San Diego, CA: Aca demic Press.

BORN, G. (1995). Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avantgarde. Berkeley, CA: University of California Press.

BOURDIEU, P. (1984). Distinction. Cambridge, MA: Harvard University Press.

BULL, M. (2000). Sounding Out the City: Personal Stereos and the Management of Everyday Life. Oxford: Berg.

BULL, M. & BACK, L. (Eds.). (2003). The Auditory Culture Reader. Oxford: Berg.

CERQUIGLINI, B. (1999). In Praise of the Variant: A Critical History of Philology. London: The Johns Hopkins University Press.

CHOMSKY, N. (1965). Aspects of the Theory of Syntax. Cambridge, MA: MIT Press.

CLARKE, D.S. (1990). Sources of Semiotic. Carbondale, IL: Southern Illinois University Press.

CLAYTON, M.; HERBERT, T. & MIDDLETON, R. (Eds.). (2003). The Cultural Study of Music: A Critical Introduction. London: Routledge.

COOK, N. & EVERIST, M. (Eds.). (1999). Rethinking Music. Oxford: Oxford University Press.

CORBIN, A. (1998). Village Bells: Sound and Meaning in the 19th-Century French Countryside. New York: Columbia University

Press.

ERLMANN, V. (Ed.). (2004). Hearing Cultures: Essays on Sound, Listening, and Modernity. Oxford: Berg.

FINNEGAN, R. (1989). The Hidden Musicians: Music-Making in an English Town. Cambridge: Cambridge University Press.

FRITH, S. (1996). Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press.

FRITH, S. & GOODWIN, A. (Eds.). (1990). On Record. London and New York: Routledge.

GAY, P.D.; HALL, S.; JANES, L.; MACKAY, H. & NEGUS, K. (1997). Doing Cultural Studies: The Story of the Sony Walkman. London: Sage.

GENA, P. & STROM, C. (2001). A Physiological Approach to DNA Music. 4th Computers in Art and Design Education Conference, Glasgow.

GREENFIELD, A. (2006). Everyware: The Dawning Age of Ubiquitous Computing. Indianapolis, in New Riders.

HALLIDAY, M.A.K.; TEUBERG, W.; YALLOP, C. & CERMAKOVA, A. (2004). Lexicology and Corpus Linguistics: An Introduction. London: Continuum.

HAVELOCK, E.A. (1963). Preface to Plato. Oxford: Blackwell.

HUMPHREYS, L. (2005). Cellphones in Public: Social Interactions in a Wireless Era. New Media & Society, 7(6); 810-833.

JAMES, J. (1995). The Music of the Spheres: Music, Science, and the Natural Order of the Universe. London: Abacus.

JENSEN, K.B. (2002). The Humanities in Media and Communication Research, in JENSEN, K. (Ed.). A Handbook of Media and Communication Research: Qualitative and Quantitative Methodologies. London: Routledge.

JOHNSON, J.H. (1995). Listening in Paris: A Cultural History. Berkeley, CA: University of California Press.

KEIL, C. (1966). Urban Blues. Chicago: Chicago University Press.

KENNEDY, G.A. (1980). Classical Rhetoric and Its Christian and Se cular Tradition from Ancient to Modern Times. Chapel Hill, NC: University of North Carolina Press.

KERMAN, J. (1985). Contemplating Music: Challenges to Musicology. Cambridge, MA: Harvard University Press.

KRAMER, L. (2002). Musical Meaning: Toward a Critical History. Berkeley, CA: University of California Press.

LABOV, W. (1972). The Logic of Non-standard English. In GIGLIOLI, P. (Ed.). Language and Social Context. Harmondsworth, UK: Penguin. (Orig. publ. 1969).

LANZA, J. (1994). Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Mood-Song. New York: Picador.

LEPPERT, R. (1993). The Sight of Sound: Music, Representation, and the History of the Body. Berkeley, CA: University of California Press.

LEVY, M. (1993). Symposium: Virtual Reality: A Communication Perspective. Journal of Communication, 43(4).

LING, R. (2004). The Mobile Connection: The Cell Phone’s Impact on Society. Amsterdam: Elsevier.

MCCLARY, S. (1991). Feminine Endings: Music, Gender, and Sexuality. Minneapolis, MI: University of Minnesota Press.

MCLUHAN, M. (1964). Understanding Media: The Extensions of Man. New York: McGraw-Hill.

MEYROWITZ, J. (1985). No Sense of Place: The Impact of Electronic Media on Social Behavior. New York: Oxford University Press.

MEYROWITZ, J. (1994). Medium Theory, in CROWLEY, D. & MITCHELL, D. (Eds.). Communication Theory Today. Cambridge: Polity

Press.

MIDDLETON, R. (1990). Studying Popular Music. Milton Keynes, UK: Open University Press.

MIDDLETON, R. (Ed.). (2002). Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford: Oxford University Press.

MILLARD, A. (1995). America on Record: A History of Recorded Sound. Cambridge: Cambridge University Press.

NOTT, J.J. (2002). Music for the People: Popular Music and Dance in Interwar Britain. Oxford: Oxford University Press.

PERELMAN, C. (1979). The New Rhetoric and the Humanities. Dordrecht, The Netherlands: Reidel.

PETERS, J.D. (1999). Speaking into the Air: A History of the Idea of Communication. Chicago: University of Chicago Press.

PETERSON, R.A. & KERN, R.M. (1996). Changing Highbrow Taste: From Snob to Omnivore. American Sociological Review, 61(5); 900-907.

POSTMAN, N. (1985). Amusing Ourselves to Death. New York: Viking.

POTTER, J. (1998). Vocal Authority: Singing Style and Ideology. Cambridge: Cambridge University Press.

ROGERS, E.M. (1999). Anatomy of Two Subdisciplines of Communication Study. Human Communication Research, 25(4); 618-631.

SAUSSURE, F.d. (1959). Course in General Linguistics. London: Peter Owen.

SCHAFER, R.M. (1977). The Tuning of the World. New York: Alfred A. Knopf.

SMITH, M.M. (2001). Listening to Nineteenth-Century America. Chapel Hill, NC: University of North Carolina Press.

STACEY, J. (1994). Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge.

SUBOTNIK, R.R. (1991). Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press.

TAGG, P. (1979). Kojak. 50 Seconds of Television Music: Towards the Analysis of Affect in Popular Music. Gothenburg, Sweden:

University of Gothenburg.

THOMPSON, E. (2002). The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America. Cambridge, MA: MIT Press.

TREITLER, L. (Ed.). (1998). Strunk’s Source Readings in Music History. New York: Norton.

WATZLAWICK, P.; BEAVIN, J. H. & JACKSON, D. D. (1967). Pragmatics of Human Communication: A Study of Interactional Patterns, Pathologies, and Paradoxes. New York: Norton.

WEBER, M. (1958). The Rational and Social Foundations of Music. New York: Southern Illinois University Press. (Orig. publ. 1921).

WETHERELL, M.; TAYLOR, S. & YATES, S. (Eds.). (2001). Discourse Theory and Practice: A Reader. London: Sage.