Theorizing Sound Writing (eBook)

amp;lt;P>DEBORAH A. KAPCHAN is associate professor of performance studies at New York University. A Guggenheim fellow, she is the author of Gender on the Market and Traveling Spirit Masters, as well as numerous articles on sound, narrative, and poetics.</P>

<P>Acknowledgments<BR>Deborah Kapchan, The Splash of Icarus: Theorizing Sound Writing/Writing Sound Theory<BR>I. WRITING SOUND THEORY<BR>Suzanne G. Cusick, Musicology, Performativity, Acoustemology<BR>J. Martin Daughtry, Acoustic Palimpsests<BR>Michele Kisliuk, Writing the Magnified Musicking Moment<BR>II. MEMOIR AND METAPHOR AS METHOD<BR>Alex Waterman, Listening to Resonant Words<BR>Tomie Hahn, Sound Commitments: Extraordinary Stories<BR>David Henderson, Traffic Patterns<BR>Carol Muller, In My Solitude: Jazz Song as "Sound Writing"<BR>III. THEORIZING SOUND WRITING<BR>Anne K. Rasmussen, Women Out Loud: Religious Performance in Islamic Indonesia<BR>Katherine Johanna Hagedorn, "Where the Transcendent Breaks into Time": Toward a Theology of Sound in Afro-Cuban Regla de Ochá<BR>Ana Pais, Almost Imperceptible Rhythms and Stuff Like That: The Power of Affect in Live Performance<BR>IV. LISTENING AND WITNESS<BR>Deborah Wong, Deadly Soundscapes: Scripts of Lethal Force and Lo-Fi Death<BR>Deborah Kapchan, Listening Acts: Witnessing the Pain (and Praise) of Others<BR>Michael Jackson, Afterword: Sound Properties of the Written Word<BR>About the Contributors<BR>Index</P>