No CrossRef data available.
Article contents
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
Abstract
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Reviews
- Information
- Copyright
- Copyright © Cambridge University Press 2014
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.