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Alexandra Hui, The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840–1910 (Cambridge, MA: MIT Press, 2013), ISBN 978-0-262-01838-8 (hb). - Carolyn Birdsall, Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933–1945 (Amsterdam: Amsterdam University Press, 2012), ISBN 978-9-089-64426-8 (pb). - Florence Feiereisen and Alexandra Merley Hill, eds, Germany in the Loud Twentieth Century: An Introduction (New York: Oxford University Press, 2012), ISBN 978-0-199-75939-2 (hb), 978-0-199-75938-5 (pb).

Published online by Cambridge University Press:  30 July 2014

BRÍAN HANRAHAN
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Twentieth-Century Music , Volume 11 , Issue 2 , September 2014 , pp. 315 - 321
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Copyright © Cambridge University Press 2014 

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References

1 Sterne, Jonathan, ‘Sonic Imaginations’, in The Sound Studies Reader, ed. Sterne, Jonathan (London: Routledge, 2012), 2Google Scholar.

2 See above all Rehding, Alexander, Hugo Riemann and the Birth of Modern Musical Thought (Cambridge: Cambridge University Press, 2003)CrossRefGoogle Scholar, lucidly criticized by Leslie David Blasius in his review in Nineteenth-Century Music Review 2/2 (2005), 179–82.

3 As an introduction to this vast subject, see Currid, Brian, A National Acoustics: Music and Mass Publicity in Weimar and Nazi Germany (Minneapolis: Minnesota University Press, 2006)Google Scholar; Hake, Sabine, Popular Cinema of the Third Reich (Austin: University of Texas Press, 2002)Google Scholar; Elsaesser, Thomas, ‘Lifestyle Propaganda: Modernity and Modernization in Early Thirties Films’, in his Weimar Cinema and After: Germany's Historical Imaginary (London: Routledge, 2000), 383–419Google Scholar.