Parution : The Bloomsbury Handbook of Sonic Methodologies

L’ouvrage collectif Sonic Methodologies est un livre somme composé de 52 articles traitant de questions méthodologiques en matière sonore. Il est divisé en trois grandes parties : 1/ Disciplines, Methodologies, Epistemologies ; 2/ Sound Arts, Musics, Spaces ; 3/ Geographies, Politics, Histories. Dirigé par Michael Bull et Marcel Cobussen, cet ouvrage pluridisciplinaire de plus de 800 pages vise à rendre compte de la diversité et de la richesse des approches traitant du monde sonore. Il a vocation à devenir un ouvrage de référence.

Jean-Paul Thibaud

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The field of Sound Studies has changed and developed dramatically over the last two decades involving a vast and dizzying array of work produced by those working in the arts, social sciences and sciences. The study of sound is inherently interdisciplinary and is undertaken both by those who specialize in sound and by others who wish to include sound as an intrinsic and indispensable element in their research. This is the first resource to provide a wide ranging, cross-cultural and interdisciplinary investigation and analysis of the ways in which researchers use a broad range of methodologies in order to pursue their sonic investigations. It brings together 49 specially commissioned chapters that ask a wide range of questions including; how can sound be used in current academic disciplines? Is sound as a methodological tool indispensable for Sound Studies and what can sound artists contribute to the discourse on methodology in Sound Studies? The editors also present 3 original chapters that work as provocative ‘sonic methodological interventions’ prefacing the 3 sections of the book.

The Bloomsbury Handbook of Sonic Methodologies
Editor(s): Michael Bull, Marcel Cobussen
Bloomsbury Academic, 12-10-2020, 848 p. ISBN: 9781501338755
Series: Bloomsbury Handbooks. URL : https://www.bloomsbury.com/us/the-bloomsbury-handbook-of-sonic-methodologies-9781501338755/

Section One: Disciplines, Methodologies, Epistemologies.

1. Introduction to Section 1: Sonic Forms and the Temporalities of Silence (Michael Bull, University of Sussex, UK)
2. Sonic Methodologies in Anthropology (Alexandrine Boudreault-Fournier, University of Victoria, Canada)
3. Sonic Methodologies by Way of Deconstruction (Naomi Waltham-Smith, University of Warwick, UK)
4. Nature’s Music: Sonic Methodologies in the Study of Environmental Biology (Wouter Halfwerk, Vrije Universiteit, Amsterdam, The Netherlands)
5. Hearing With: Researching the Histories of Sonic Encounter (James G. Mansell, University of Nottingham, UK)
6. Sonic Methodologies in Urban Studies (Christabel Stirling, University of Oxford, UK)
7. Sound and Pedagogy: Taking Podcasting into the Classroom (Neil Verma. Northwestern University, USA)
8. Sonic Methodologies in Literature (Justin St. Clair, University of South Alabama, USA)
9. Sonic Materialism and/as Method (Tyler Shoemaker, University of California, Santa Barbara, USA)
10. Sonic Methodology In Philosophy (Elvira Di Bona, The University of Turin, Italy)
11. Sonic Methodologies in Science and Technology Studies (Joeri Bruyninckx and Alexandra Supper, University of Maastricht, Holland)
12. The Sonic Environment in Urban Planning, Environmental Assessment and Management (A. Lex Brown, Griffith University, Australia)
13. Sonic Methodologies In Medicine (Jos J. Eggermont, University of Calgary, Canada)
14. Soundscape as Methodology in Psycho-Acoustics and Noise Management (André Fiebig and Brigitte Schulte-Fortkamp, TU, Berlin, Germany)
15. Sonic Methodologies of Sound (Salomé Voegelin, London College of Communication, UK)

Section Two: Sound Arts, Musics, Spaces

16. Introduction to Section II: Art – Research – Method (Marcel Cobussen, Leiden University, The Netherlands)
17. Ambulatory Sound-making: Re-writing, Re-appropriating, “Presencing” Auditory Spaces (Elena Biserna, Independent Scholar, France)
18. Sound Installations for the Production of Atmosphere as a Limited Field of Sounds (Jordan Lacey, RMIT University, Australia)
19. Fragile Devices: Improvisation as an Interdisciplinary Research Methodology (Rebecca Caines, University of Regina, Canada)
20. “The Music Comes from Me”: Sound as Auto-ethnography (Darla Crispin. Norwegian Academy of Music)
21. Sound Beyond Representation. Experimental Performance Practices in Music (Lucia D’Errico, Orpheus Institute, Ghent, Belgium)
22. Performing Centrifugal Sound (G Douglas Barrett, Independent Scholar, USA)
23. How to Cut Up a Record? (Paul Nataraj, University of Sussex, UK)
24. Directing Listening: Sound Design Methods from Film to Site-responsive Sonic Art (Ben Byrne, RMIT University, Australia)
25. Sound, Space, and Pneumatic Valves. Using Pneumatic Valves as Sound Sources to Create Spatial Environments (Edwin van der Heide, Leiden University, The Netherlands)
26. The Overheard- An Attuning Approach to Sound Art and Design in Public Spaces (Marie Højlund, Jonas R. Kirkegaard, Michael Sonne Kristensen, Morten Riis, University of Arhus, Denmark)
27. Sound on Sound: Considerations for the Use of Sonic Methods in Ethnographic Fieldwork inside the Recording Studio (Paul Thompson, Leeds Beckett University, UK)
28. Ecological Sound Art (Jonathan Gilmurray, University of the Arts, London, UK)
29. Hydrophonic Fields (Jana Winderen, Sound Artist, interviewed by Stefan Helmreich, MIT, USA)
30. Melt Me Into the Ocean: Sounds from Submarine Spaces (Yolande Harris, Rhode Island School of Design, USA)
31. Attentive Listening in Lo-fi Soundscapes: Some Notes on the Development of Sound Art Methodologies in Vietnam (Stefan Östersjö and Nguy?n Thanh Th?y, Luleå University of Technology, Sweden)

Section Three: Geographies, Politics, Histories

32. Introduction to Section III: Listening as Method (Marcel Cobussen, Leiden University, The Netherlands)
33. Auditory Diagramming: A Research/Design Practice (Alex Arteaga, Universität der Kunste, Berlin, Germany)
34. Close Listening: Approaches to Research on Colonial Sound Archives (Annette Hoffman, University of Cape Town, South Africa)
35. Sonic Feminisms: Doing Gender in Neoliberal Times (Marie Thompson, University of Lincoln, UK)
36. Sound as City Maker: Developing Participatory Collaborative Process to Work With Sound as an Urban Resource. The Case of Mr. Visserplein (Amsterdam, NL) (Edda Bild, Michiel Huijsman, Renate Zentschnig, University of Amsterdam/Soundtrackcity, The Netherlands)
37. Dropping Down Low: Online Soundmaps, Critique, Genealogies, Alternatives (Angus Carlyle, University of the Arts, London, UK)
38. Listening as Methodological Tool: Sounding Soundwalking Methods (John L. Drever, Goldsmiths, London, UK)
39. Sounding Wild Spaces: Inclusive Mapmaking Through Multispecies Listening Across Scales (Alice Eldridge, Jonathan Carruthers-Jones, Roger Norum, University of Sussex, UK)
40. The Emergence of Voices in an Indian Bus Stand: An Ethnographic and Acoustic Approach (Christine Guillebaud, University of Paris Ouest, France)
41. Historical Sounds: A Case Study (Aimee Boutin, Florida State University, USA)
42. Sonic Writing(Holger Schulze, University of Copenhagen, Denmark)
43. Silence of Maua: An Atmospheric Ethnography of Urban Sounds (Jean-Paul Thibaud, CRESSON, France)
44. Sound Design Methodologies: Between Artistic Inspiration and Academic Perspiration (Nicolas Misdariis, IRCAM, Paris, France, and Daniel Hug, ZHDK, Zurich, Switzerland)
45. The Sounds of the 2001 Argentine Crises: Soundscapes of Protest, Music, and Sound Art (Violeta Nigro Giunta, EHESS-CRAL, Paris, France)
46. The Sound System of the State: Listening for Ideology in the Soundscape of Conflict (Tom Tlalim, The University of Winchester, UK)
47. Sonifications Sometimes Behave So Strangely (Paul Vickers, Northumbria University, UK)
48. The Conflicting Sounds of Urban Regeneration in Liverpool (Jacqueline Waldock, University of Liverpool, UK)
49. Ethnographies Sounded on What? Methodologies, Sounds, and Experience in Cairo (Vincent Battesti, CNRS, Paris, France)
50. Podcase Preservation and the Noise of Saved Sounds (Jeremy Wade Morris, University of Wisconsin-Madison, USA)
51. The Earview as a Border Epistemology: An Analytical and Pedagogical Proposition for Design (Pedro J.S. Vieira de Oliveira, Sound Designer, Brazil)
52. Hacking Composition: Dialogues with Musical Machines (Ezra J. Teboul, Independent Artist and Writer, USA)

Françoise Acquier

Chargée de ressources documentaires Equipe Cresson - UMR Ambiances Architectures Urbanités - Ecole Nationale Supérieure d'Architecture de Grenoble.

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