| Introduction: sound as popular culture
|
2016 |
Papenburg, Jens Gerrit |
| Sound studies versus (popular) music studies
|
2016 |
Quiñones, Marta García |
| Historicization in pop culture: from noise reduction to noise recording
|
2016 |
Mrozek, Bodo |
| Concepts of fidelity
|
2016 |
Fabbri, Franco |
| Loudness cultures: practices, conflicts, discourses
|
2016 |
Binas-Preisendörfer, Susanne |
| Existential orientation: the sound knowledge of fans
|
2016 |
Diederichsen, Diedrich |
| World music 2.0: updated and expanded
|
2016 |
Burkhalter, Thomas |
| Sonic signatures in record production
|
2016 |
Seay, John Tobin |
| Phonographic work: reading and writing sound
|
2016 |
Großmann, Rolf |
| (Re-)Mastering sonic media history
|
2016 |
Papenburg, Jens Gerrit |
| The sonic: sound concepts of popular culture
|
2016 |
Wicke, Peter |
| Sound and racial politics: aural formations of race in a color-deaf society
|
2016 |
Nardi, Carlo |
| Sound studies across continents: a multidisciplinary research approach
|
2016 |
Burkhalter, Thomas |
| Sound and media studies: archiving and the construction of sonic heritage
|
2016 |
Birdsall, Carolyn |
| Soccer stadium as soundscape: sound and subjectivity
|
2016 |
Bonz, Jochen |
| The invention of the listener: an(other) history
|
2016 |
Erlmann, Veit |
| Sonic modernities: listening to diasporic urban music
|
2016 |
Maier, Carla J. |
| Records on the radio
|
2016 |
Schopp, Thomas |
| Computer game sound: from diegesis to immersion to sonic emotioneering
|
2016 |
Grimshaw-Aagaard, Mark |
| "Syd's Theme": on the conceptualization of audio production processes
|
2016 |
Fabbri, Franco |
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