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Table of Contents

  1. Preface
  2. Sarah Banet-Weiser
  3. pp. v-vi
  4. DOI: https://doi.org/10.1353/aq.2011.0034
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  1. Introduction: Listening to American Studies
  2. Kara Keeling, Josh Kun
  3. pp. 445-459
  4. DOI: https://doi.org/10.1353/aq.2011.0037
  5. restricted access

Sound Technologies and Subjectivities

  1. Splitting Sight and Sound: Thomas Dewing’s A Reading, Gilded Age Women, and the Phonograph
  2. Asma Naeem
  3. pp. 461-485
  4. DOI: https://doi.org/10.1353/aq.2011.0040
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  1. Intimacy Threats and Intersubjective Users: Telephone Training Films, 1927–1962
  2. D. Travers Scott
  3. pp. 487-507
  4. DOI: https://doi.org/10.1353/aq.2011.0043
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  1. “What, for me, constitutes life in a sound?”: Electronic Sounds as Lively and Differentiated Individuals
  2. Tara Rodgers
  3. pp. 509-530
  4. DOI: https://doi.org/10.1353/aq.2011.0046
  5. restricted access
  1. Audible Citizenship and Audiomobility: Race, Technology, and CB Radio
  2. Art M. Blake
  3. pp. 531-553
  4. DOI: https://doi.org/10.1353/aq.2011.0049
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  1. The Recording Studio on Stage: Liveness in Ma Rainey’s Black Bottom
  2. Jessica E. Teague
  3. pp. 555-571
  4. DOI: https://doi.org/10.1353/aq.2011.0032
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  1. Quiet Comfort: Noise, Otherness, and the Mobile Production of Personal Space
  2. Mack Hagood
  3. pp. 573-589
  4. DOI: https://doi.org/10.1353/aq.2011.0036
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Sounding Race, Ethnicity, and Gender

  1. “An Indian in a White Man’s Camp”: Johnny Cash’s Indian Country Music
  2. Dustin Tahmahkera
  3. pp. 591-617
  4. DOI: https://doi.org/10.1353/aq.2011.0039
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  1. Abolitionism’s Resonant Bodies: The Realization of African American Performance
  2. Alex W. Black
  3. pp. 619-639
  4. DOI: https://doi.org/10.1353/aq.2011.0042
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  1. Marian Anderson and “Sonic Blackness” in American Opera
  2. Nina Sun Eidsheim
  3. pp. 641-671
  4. DOI: https://doi.org/10.1353/aq.2011.0045
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  1. Soul Vibrations: Black Music and Black Freedom in Sound and Space
  2. Gayle Wald
  3. pp. 673-696
  4. DOI: https://doi.org/10.1353/aq.2011.0048
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  1. Back Door Man: Howlin’ Wolf and the Sound of Jim Crow
  2. Eric Lott
  3. pp. 697-710
  4. DOI: https://doi.org/10.1353/aq.2011.0031
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  1. Touching Listening: The Aural Imaginary in the World Music Culture Industry
  2. Roshanak Kheshti
  3. pp. 711-731
  4. DOI: https://doi.org/10.1353/aq.2011.0035
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Sound, Citizenship, and the Public Sphere

  1. The “War on Noise”: Sound and Space in La Guardia’s New York
  2. Lilian Radovac
  3. pp. 733-760
  4. DOI: https://doi.org/10.1353/aq.2011.0038
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  1. Forced Listening: The Contested Use of Loudspeakers for Commercial and Political Messages in the Public Soundscape
  2. Ronda L. Sewald
  3. pp. 761-780
  4. DOI: https://doi.org/10.1353/aq.2011.0041
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  1. Reproducing U.S. Citizenship in Blackboard Jungle: Race, Cold War Liberalism, and the Tape Recorder
  2. Jennifer Stoever-Ackerman
  3. pp. 781-806
  4. DOI: https://doi.org/10.1353/aq.2011.0044
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  1. Sounds of Surveillance: U.S. Spanish-Language Radio Patrols La Migra
  2. Dolores Inés Casillas
  3. pp. 807-829
  4. DOI: https://doi.org/10.1353/aq.2011.0047
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  1. The Political Agency of Musical Beauty
  2. Barry Shank
  3. pp. 831-855
  4. DOI: https://doi.org/10.1353/aq.2011.0030
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Contributors

  1. Contributors
  3. pp. 857-862
  4. DOI: https://doi.org/10.1353/aq.2011.0033
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