The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933 - PDF free download eBook

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Details of The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933

The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933
Exact title of book
The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933
Book author
Emily Thompson
ISBN
9780262201384
Published
Apr 07, 2002
Language
English
Format
PDF, FB2, EPUB, MOBI
Pages
510
File size (in PDF)
4590 kB

Some brief overview of book

In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities.

By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Bostons Symphony Hall, New Yorks office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated.

Although this soundclear, direct, efficient, and nonreverberant-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.

About book author

Thompson is a Professor of History at Princeton University. tanding of the experience of change that characterized the era. Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Bostons Symphony Hall, New Yorks office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated.

Although this soundclear, direct, efficient, and nonreverberant-had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.

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