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Sound Reproduction Chapter 1 Study Guide

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Sterne’s entry book into the fields of sound, technology, history and culture highlights important turning points within sound reproduction and their cultural impact on our lives of today. Ethnomusicologists will delight in the many varied references and ideas that he puts forward. From the very first page where he asks, ‘So why did sound-reproduction technologies emerge when they did and not at some other time?’. The six chapters and a conclusion amount to a hefty 450 pages explaining about the advent of noteworthy sound devices and historical cultural attitudes towards how we hear and listen. He states that ’the history of sound must move beyond recovering experience to interrogating the conditions under which that experience became possible …show more content…

It is difficult to navigate in some places and cross-referencing could have been better. In Chapter 2 for instance, which is based on the stethoscope, there is a section on headsets (pp. 87-89) but the history of headsets is contained in Chapter 3. There are similar passages about the telephone in Chapters 4 (pp. 192-194) and 5 (pp. 250-253) with no reference to each other. The contents page only lists main Chapter titles, there are no sub-headings; forcing more extensive use of the index pages to find related articles. However, the book is well-written and engaging. It has been thoroughly researched and will definitely appeal to anyone interested in sound and culture. The section on ‘Audio Ethnography and the Ethos of Preservation’ (pp. 311-325) is of particular interest to those working with sound recordings depicting Native American culture. Another section (pp. 58-67) that clearly demonstrates Sterne’s understanding of how physiological aspects of hearing and early technological inventions extended the scope for new devices, such as the telephone, to have such a marked link to cultural and economic views. This section also highlights the Auditory Perception theory of Hermann Helmholtz, where he connected the science of hearing with the aesthetics of music. His other theory of Upper Partials or Overtones (p. 64) is still relevant today, especially in telephony and even heavy-metal rock music. Sounds are made up of a fundamental (lower partial) note and a series of harmonics (overtones) that together create its character or timbre. So, while telephones are unable to reproduce a full frequency spectrum of sounds, we are still able to recognise the callers voice because our brain converts the overtones into the voice that we know. The same principle is used in producing ‘power chords’ on the electric guitar;

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