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Spectral Sound A Cultural History of...

Hudelson, William Joshua.

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Spectral Sound A Cultural History of the Frequency Domain.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Spectral Sound A Cultural History of the Frequency Domain./
Author:	Hudelson, William Joshua.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	274 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
Contained By:	Dissertations Abstracts International80-05A.
Subject:	Music history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10928831
ISBN:	9780438635043

Spectral Sound A Cultural History of the Frequency Domain.
Hudelson, William Joshua.

Spectral Sound A Cultural History of the Frequency Domain. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 274 p.

Source: Dissertations Abstracts International, Volume: 80-05, Section: A.

Thesis (Ph.D.)--New York University, 2019.

This item is not available from ProQuest Dissertations & Theses.

This dissertation is at once a history of what engineers call the "frequency domain" and a counter-history of the digitization of sound. Through four case studies spread over the 20th and 21st centuries, it shows how a frequency-based conception of sound exerted a strong, value-laden, and largely unacknowledged force on practices of listening to and thinking about sound, and how these changes constituted digitization avant le lettre. The dissertation begins with the invention and marketing of the Noiseless typewriter at the turn of the 20th century. It then follows the development of radio modulation techniques up through the formation of communities dedicated to recording radiophonic messages from the dead. It then documents the research and invention of new signal processing techniques during the Cold War. It ends with the rise of auditory-haptic subcultures on the Internet in the early 21st century. The case studies explore the cultural effects, side-effects, and responses to this force. Specifically, they show how the concept of frequency consistently surfaces in three forms: the rationalization of labor, the definition of bodies, and techniques of listening. The frequency domain rationalizes sound, reconciling it with Newtonian physics and a cochlea-based model of human auditory perception. But it also renders the physical sources of sound seemingly mobile, their proximity strangely manipulable, their potential for intimacy transmissible. Meanwhile, the concept of "frequency" has become laden with unexpected meanings in non-scientific communities. My project engages with recent scholarship the history of sound technology and the recent materialist turn in the humanities, concluding with a critique of the supposedly liberatory "politics of frequency" that has gripped scholarship on sound today.

ISBN: 9780438635043Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Auditory perception

Spectral Sound A Cultural History of the Frequency Domain.
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500 $a Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
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500 $a Advisor: Daughtry, Martin;Mills, Mara.
502 $a Thesis (Ph.D.)--New York University, 2019.
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520 $a This dissertation is at once a history of what engineers call the "frequency domain" and a counter-history of the digitization of sound. Through four case studies spread over the 20th and 21st centuries, it shows how a frequency-based conception of sound exerted a strong, value-laden, and largely unacknowledged force on practices of listening to and thinking about sound, and how these changes constituted digitization avant le lettre. The dissertation begins with the invention and marketing of the Noiseless typewriter at the turn of the 20th century. It then follows the development of radio modulation techniques up through the formation of communities dedicated to recording radiophonic messages from the dead. It then documents the research and invention of new signal processing techniques during the Cold War. It ends with the rise of auditory-haptic subcultures on the Internet in the early 21st century. The case studies explore the cultural effects, side-effects, and responses to this force. Specifically, they show how the concept of frequency consistently surfaces in three forms: the rationalization of labor, the definition of bodies, and techniques of listening. The frequency domain rationalizes sound, reconciling it with Newtonian physics and a cochlea-based model of human auditory perception. But it also renders the physical sources of sound seemingly mobile, their proximity strangely manipulable, their potential for intimacy transmissible. Meanwhile, the concept of "frequency" has become laden with unexpected meanings in non-scientific communities. My project engages with recent scholarship the history of sound technology and the recent materialist turn in the humanities, concluding with a critique of the supposedly liberatory "politics of frequency" that has gripped scholarship on sound today.
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