Hearing the Crimean War: Wartime Sound and the Unmaking of Sense

— —

Gavin Williams (Leverhulme Early Career Research Fellow, Leverhulme Early Career Research Fellow, King's College London)

Hearing the Crimean War

Wartime Sound and the Unmaking of Sense

Gavin Williams (Leverhulme Early Career Research Fellow, Leverhulme Early Career Research Fellow, King's College London)

$61.95

Paperback

In stock
Ready to ship

QTY:

English

Oxford University Press Inc
21 January 2019

Theory of music & musicology; Romantic music (c 1830 to c 1900); History

What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.

Edited by: Gavin Williams (Leverhulme Early Career Research Fellow Leverhulme Early Career Research Fellow King's College London)
Imprint: Oxford University Press Inc
Country of Publication: United States
Dimensions: Height: 235mm, Width: 155mm, Spine: 18mm
Weight: 426g
ISBN: 9780190916756
ISBN 10: 0190916753
Pages: 320
Publication Date: 21 January 2019
Audience: General/trade , ELT Advanced
Format: Paperback
Publisher's Status: Active

List of Contributors List of Illustrations Acknowledgements Introduction: Sound Unmade Gavin Williams Sound, Technology, Sense 1. Sympathy and Synaesthesia: Tolstoy's Place in the Intellectual History of Cosmopolitan Spectatorship Dina Gusejnova 2. The Revolution Will Not Be Telegraphed: Shari'a Law as Mediascape Peter McMurray 3. Gunfire and London's Media Reality: Listening to Distance between Piano, Newspaper and Theater Gavin Williams 4. Overhearing Indigenous Silence: Crimean Tatars during the Crimean War Maria Sonevytsky Voice at the Border 5. Orienting the Martial: Polish Legion Songs on the Map Andrea Bohlman 6. Who Sings the Song of the Russian Soldier? Listening for the Sounds and Silence of War in Baltic Russia Kevin C. Karnes 7. A voice that carries Delia Casadei Wartime as Heard 8. Operatic Battlefields, Theater of War Flora Willson 9. Earwitness: Sound and Sense-Making in Tolstoy's Sevastopol Stories Alyson Tapp 10. InConsequence: 1853-6 Hillel Schwarz Bibliography Index

Gavin Williams is a musicologist and Leverhulme Early Career Research Fellow at King's College London. He wrote a PhD dissertation at Harvard University on sound and media in Milan ca. 1900, and was then a postdoctoral fellow at Jesus College, Cambridge. He has published articles and book chapters on Futurist music, Italian opera and ballet, and soundscapes in nineteenth-century London, and is currently writing a book on the imperial geographies of recorded sound during the first half of the twentieth century.

Reviews for Hearing the Crimean War: Wartime Sound and the Unmaking of Sense

Recommended. -- J.E. Druesedow Jr., CHOICE Hearing the Crimean War offers a crucial contribution not only to historical sound studies, but also to scholarly discourse on sound and affect in wartime. With essays that address the many forms of media in which sound and sense came to be inscribed during the Crimean War-from literature, legal texts, and news articles to opera, popular song, and silence- this book and its authors provide a profoundly interdisciplinary account, impressive it in its historical and methodological scope, of how this global conflict was understood and remembered by those who lived through it. --Dr. Jillian Rogers, Lecturer in Musicology, University College Cork This relentlessly brilliant volume, bringing together sound studies scholars, musicologists, ethnomusicologists, literary scholars and cultural historians, will provoke lively, and timely, discussion of musicology's 'sonic turn'. The various soundscapes of the Crimean War take shape - and melt back into air - in these pages, both on and far beyond the battlefield. Williams' chief contention is that the global moment signaled and shaped by the Crimea conflict anticipates and complicates our understanding of those of the present day. This volume will continue to raise questions about them long into the future. --Martin Stokes, King Edward Professor of Music, King's College London