Book Description
In this history of aural culture in early-twentieth-century America, Emily Thompson charts dramatic transformations in what people heard and how they listened. What they heard was a new kind of sound that was the product of modern technology. They listened as newly critical consumers of aural commodities. By examining the technologies that produced this sound, as well as the culture that enthusiastically consumed it, Thompson recovers a lost dimension of the Machine Age and deepens our understanding of the experience of change that characterized the era.
Reverberation equations, sound meters, microphones, and acoustical tiles were deployed in places as varied as Boston's Symphony Hall, New York's office skyscrapers, and the soundstages of Hollywood. The control provided by these technologies, however, was applied in ways that denied the particularity of place, and the diverse spaces of modern America began to sound alike as a universal new sound predominated. Although this sound -- clear, direct, efficient, and nonreverberant -- had little to say about the physical spaces in which it was produced, it speaks volumes about the culture that created it. By listening to it, Thompson constructs a compelling new account of the experience of modernity in America.
Customer Reviews:
Good history of modern sound system development.......2007-07-30
My review will be brief. I basically agree with several other reviewers. This book is well written. Given that it is an MIT Press publication it is academic in approach. So it can be wordy and a little dry, but is well researched and documented. I appreciate the thorough references & illustrations.
Basically this book reinforces that many of the major concepts that are fundamental to audio systems and acoustics were developed by the 1930s. It clearly reinforces that we stand on the shoulders of those that came before us.
As a side note I think the basis of analog color television was worked out in the '20s. It's amazing the power of concentration and insight early designers had, and they lacked the modern tools we have today.
This is a must read for a history of acoustics & sound system development in the previous century and it's impact on out modern world. However, it is not a light, topical title.
Brilliant and innovative approach to the history of architectural acoustics.......2006-01-16
The way that this book approaches the history of sound in the early twentieth-century is truly unique. Thompson catalogs the events from 1900-1933 from four different perspectives, each perspective in its own chapter. The explanation of the science involved in the evolution in sound is done extremely well; easily understandable to the non-technical person, and yet with enough detail to satisfy the technically minded. I am an engineering student and bought this book for a project for my noise control engineering class-a graduate level class-and it provided extremely useful to me in describing how the scientific community changed and evolved in the area of acoustics.
So many differently things were happening all at once during this time period. Books that focus solely on science and the scientific community totally disregard the social atmosphere that drove the scientific community to achieve as they did. Also, any social history would be remiss in omitting the contributions of the scientific community in a time period where science was celebrated and embraced by society. Thompson does a wonderful job of showing the history of both areas and how they interrelate to one another.
What follows is a brief outline of what the book includes and how it is presented:
Thomspon uses architecture, and the science of acoustics used to aid in design, as milestones in the development of what she refers to as the 'soundscape'. She begins with opening night at Symphony Hall in Boston on October 15, 1900, and ends with Radio City Music Hall, which opened December 27, 1932.
The introduction and brief overview is given in Chapter 1. Chapter 2 begins with opening night of Symphony Hall and how the work of Wallace Sabine impacted the design of music hall. It also gives a brief history of earlier attempts at sound control, which illustrates just how significant Sabine's work was for both the scientific and architectural community. Chapters 3 through 6 each cover the time period 1900 to 1933 from four different perspectives.
Chapter 3 follows the work of the scientists throughout this period who, by building on the work of Sabine, focused their careers in the study of sound and developing the science of "New Acoustics". The chapter catalogs the development of the new tools available to accurately measure sound, new techniques to measure sound and the new language used to define sound.
During this time period, the sounds of a city dramatically changed from human sources to mechanical sources. This created new challenges in noise control, which had previously been addressed by controlling the behavior of the people causing the noise. This type of noise control became obsolete once mechanical noise became prevalent. Chapter 4 addresses these changes and how the public dealt with the changes in the problem and meaning of noise.
Chapter 5 restarts the period again, this time focusing on how the technology of architectural acoustics, the science that Sabine basically invented with his groundbreaking work outlined in Chapter 1 & 2, was used indoors to alleviate the problem of noise. This chapter follows the new acoustical material industry which was focused on new building technologies dedicated to isolating and absorbing sound. It tracks scientific knowledge being applied to create sound-engineered buildings, which were designed to keep noise out of a building, and how this eventually became known as 'modern noise control'.
Chapter 6 shows how the electro acoustical technology moved out of the lab, where it was developed to measure sound, into the world. Microphones, loudspeakers, radios, public address systems and sound motion pictures were all world applications of the lab technology which filled the soundscape with electro acoustical signals. It also shows the rapid change in the soundscape that this new electric acoustic sound bears little resemblance to the sound of 1900. So little resemblance that Sabine's reverberation formula failed to describe it, forcing the equation to be revised, signaling the final transformation of the soundscape.
Chapter 7 finishes off the time period with the opening of Radio City Music Hall.
Impacts of the ideals of modernity.......2003-01-23
Thompson focuses on the role of modernist tendencies in the construction and commodification of the auditory culture of America in the early twentieth century. She looks not only at the science of architectural acoustics but their linkage to the new recording technologies and general changes in the aural landscape of New York and elsewhere. We discover the completeness of the modernist retreat from the world into skyscrapers which had among their attributes the ability to silence all the outside noise of life. Thompson displays how the perception and creation of sound is absolutely coupled to a culture and its historicity. By doing so she links herself to the great French historian of the senses, Alain Corbin, who wrote Village Bells and allowed us to rediscover the sounds of the eighteenth French countryside and the culture that created it. To read a work written in such a provocative and entertaining way is a wonderful experience and to have such an experience with a book that centers around a topic as possibly dull as architectural acoustics is doubly impressive. As more talented historians are "coming out of the woodwork" and lending their abilities to the study of aurality our picture of the world past is quickly becoming a more vivid and less silent one.
Secondly, I fell the need to criticize one reviewer's critique. One, though F Murray Schafer may have helped create a new field of study and generated concern for a the loss of a particular kind of soundscape I think criticizing an entire book because you have a semantic disagreement about the title with the author is slightly ridiculous. Thompson states her differences with Schafer in the first couple hundred words. If it was that upsetting, just take the book back. I personally find Schafer's writing quite lacking in theoretical vigor and drawing on questionable statistical evidence. Secondly, Thompson does in fact go well beyond just discussing the technical "progress" made in the field of acoustics by looking at the reasons that a culture would look to alter its sound in the first place.
A fantastic book. I hope she writes more.
The Soundscape of Modernity.......2003-01-14
"The Soundscape of Modernity," is the title of Emily Thompson's book. However, it has little to do with soundscapes or modernity and everything to do with the less-sexy sub-title (in very small print), "Architectural Acoustics and the Culture of Listening in America, 1900-1033."
Despite the author's attempts to re-define R. M. Schafer's meaning of "soundscapes," she fails to connect the thrust of her exposition to the more resonant and common significance of the term and thus obscures and distorts the meaning of both the term and concept. The author confines her discussion to changes of the performance, creation, and perception of sound in our culture during the first third of the last century due largely to the engineering and construction of interior architectural spaces and related supporting technologies. Unless one can successfully bestow on the interior of Boston's Symphony Hall or the Radio City Music Hall the rational equivalent of soundscape (aural) as landscape (visual), one cannot expect to make the transition and apply the term "soundscape" to the acoustic result of those designs with any authority. It simply doesn't fit. The book, in the end, speaks nothing of soundscapes as they have come to be understood in the arts and sciences, but addresses, instead, architectural acoustics and the technologies that drive and/or enhance them. While the text is readable and historically loaded with informative discussion on the transformation of architectural acoustics, it is not consistent with the expectations contained in the title of this book.
I bought the book because the title suggested an illumination on the manner in which soundscapes - human and natural - changed during the first three decades of the 20th century. It delivered, instead, a very different, misleading, but nonetheless instructive narrative. As my interest in the work was more along the lines of that anticipation, I was somewhat disappointed especially because the book is so expensive.
Sounding the History of Acoustics.......2002-10-02
Those invited to read an academic book on acoustics might well decline because of a headache, or an urgent need to wash the cat, or the constant press of quality daytime television. It would be hard to convince them that such a book could be exciting, or even interesting, especially if it weighs in with the heft of a textbook. But a remarkable work by historian Emily Thompson, _The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900 - 1933_, ought to be enjoyed by non-specialists and those who know nothing about the science of acoustics. Thompson has written a comprehensive, well-referenced, but witty and entertaining book about an important subject whose influence is surprisingly pervasive.
Thompson briskly reviews acoustic history; before this century, listeners knew there were better auditoriums and worse, but no one really knew why. To create a new venue for the important Boston Symphony Orchestra, the architect consulted a young Harvard assistant professor of physics, Wallace Sabine, who may be dubbed the Father of American Acoustics. In 1895, Sabine had been asked by the president of Harvard to improve the terrible acoustics of the lecture hall in the new Fogg Art Museum. In studying the problem, Sabine learned that the important thing to measure within a hall was the time of reverberation, the dying out of sound echoing through the room. This seems obvious now, but was the founding insight for all subsequent acoustical thought. He developed an equation relating the absorbing power of the room and its furnishings to the reverberation time. When Boston's Symphony Hall opened in 1900, the acoustics were an overwhelming success with critics. There were carpers who gradually dissented from the praise, but the musicians and the audiences became familiar with the sound, and its reputation remains high. Making beautiful sounds is but one aspect of acoustics treated in Thompson's book. Chapters are also devoted to the shielding from ugly sounds which the machine age was producing. Legal remedies for noise were largely unsuccessful, but there were brilliant successes in architectural use of sound-absorbing material to keep out the din. Movies changed the way auditoriums sounded, and making them presented its own peculiar problems. They had to have their camera sounds deadened and their studio lots coated to damp echoes, and the air conditioning (necessitated because the noisy carbon arc lighting had been replaced by quieter but hotter incandescent) had to be acoustically insulated from the production.
Thompson ends her fascinating study with the Radio City Music Hall, a progeny of the new electroacoustic science. The hall was designed for the capture of sound by stage microphones and the projection of amplified sound into the highly absorbent and cavernous hall. The system worked very well, but ironically, although the audience could hear every speaker as if they were close to the stage, only those physically close could see with equal clarity. Live spectaculars failed, and the hall became a white elephant, playing mostly movies that people could see cheaper elsewhere. But the theatrical amplification of sound became a standard; as the century wore on, theaters were designed to be "tunable" to sound gothic, baroque, or modern, without one "best" setting. The soundscape we have become used to will continue to change, but Thompson's volume, full of clear, small essays and biographies, and cheerfully laced with humor and unobtrusive puns, is an insightful description of the origins of the sounds of the future.
Book Description
This digital document is an article from Architectural Science Review, published by University of Sydney, Faculty of Architecture on March 1, 2003. The length of the article is 881 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: History of Acoustics. (Book Reviews).(The Soundscape of Modernity - Architectural Acoustics and the Culture of Listening in America, 1900 - 1933)(Book Review)
Publication:
Architectural Science Review (Refereed)
Date: March 1, 2003
Publisher: University of Sydney, Faculty of Architecture
Volume: 46
Issue: 1
Page: 100(2)
Article Type: Book Review
Distributed by Thomson Gale
Book Description
A comprehensive book from one of America's most successful carving teachers. Painting instructions for over 40 species of waterfowl, with various painting techniques are explained with the aid of step-by-step illustrations. Fine color photographs of the finished bird carvings and close-up details.
, 449 color plates/124 b/w photos, 8 1/2" x 11", Index
Customer Reviews:
Waterfowl Painting: Blue Ribbon Techniques.......2000-07-09
An excellent book for anyone interested in the art of waterfowl painting. Great detail pictures will help you get a true-to-life look. The love of waterfowling extends thoughout the entire Veasey family and continues today with Bill's son Michael Veasey and his wife Susan. Michael, a third generation carver, continues to produce the award winning work passed down from his father. ....
Book Description
Volume 4 of the How to Draw Manga series concentrates on techniques for drawing human bodies in the Anime style. The drawing lessons in this book are divided into the following chapters-- Chapter 1: Head Variations, Chapter 2: Upper Body Variations, Chapter 3: Torso Variations, and Chapter 4: Lower Body Variations.
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The Early Years of the Saturday Club 1855 to 1870
Edward Waldo Emerson
Manufacturer: Kessinger Publishing
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Binding: Paperback
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ASIN: 1417959657 |
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The Early Years Of The Saturday Club 1855-1870
Edward Waldo Emerson
Manufacturer: Authors Choice Press
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Binding: Hardcover
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ASIN: 0595762719 |
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A record of the Saturday Club from 1855-1870.
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Rumbo a Tombuctu
Mark Jenkins
Manufacturer: Ediciones B
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ASIN: 8440683855 |
Book Description
On 2 July 1900 the people of Friedrichshafen, Germany, witnessed a momentous occasion - the first flight of LZ 1, Count Ferdinand von Zeppelin's first airship. Although deemed a failure, a succession of better craft (LZ2 to 10) enabled the Zeppelin to expand into the consumer market of airship travel, whilst also providing military craft for the German Army and Navy. The years of the Great War saw the Zeppelins undertake strategic bombing missions against Great Britain. This title covers the post-war fate of the Zeppelins, including the crash of the Hindenburg, and their use by the Luftwaffe at the beginning of World War II.
Customer Reviews:
An excellent work at a reasonable price........2005-09-06
All authors have to be selective, but given the size of the subject matter compressing it into 48 pages inevitably means a `potted history' that can only be brief. Within those terms however, Osprey have produced an excellent work at a reasonable price.
Here, in one compact volume, the basic history of the German Rigid Airship has been accurately recorded. Indeed it is obvious to the knowledgeable lighter-than-air student that a good deal of research has been carried out amongst the primary sources, as many errors that have appeared in secondary works over the years have not been reproduced.
The book starts off with a summery of the often-confusing numbering scheme that occurred when the airship entered into military or naval service. The numbering system differed between the Army and Navy with the former employing some very unusual practices.
We are then taken through the attempts to develop a practical airship, which, after numerous failures, was eventually successful. To provide competition for the Zeppelin Company, the Army fostered a rival in the form of the Schütte-Lanz Airship Company.
The next section sees the reader told of these gas filled giants being used during the First World War. This includes raids against London, being attacked by enemy aircraft and the development of other classes of Zeppelins.
The final part of the book, covers the development of airships after the war, with their civil use. This phase was effectively terminated with the destruction of the Hindenburg.
The text is succinct and readable whilst a series of well-chosen black and white photographs give good pictorial coverage. There are also a couple of maps, one of which, depicting the integrated air defences of London in 1918, has not appeared before in any other books covering similar subject matter.
The work is illustrated by a series of digital drawings in colour, by Ian Palmer, of individual airships, which are very accurate. He has also produced a series of action paintings: the shooting down of SL11; a `sub-cloud car' or `Spahkorb' in operation; and a defensive experiment showing the dropping of a fighter from underneath an airship. These are dramatic renditions and convey something that a photograph could never equal.
A useful appendix contains a table of all the airships, their specifications, and their fate.
This is not a book designed to take the reader through the technical aspects of the airship, which would require a work many more times the size. It is however a fine book that will give the "first timer" a good introduction to this fascinating aspect of aviation history, and as such is highly recommended.
ZEPPELINS In WWI, etc........2005-01-21
The Introduction briefly reviews the German rigid airship (often referred to as Zeppelins) designations used by the manufacturers, and the different designations used by each the German navy and army. While this resulted in each airship possessing two different designations for the navy this was straightforward but was somewhat inconsistent for the army. After the Introduction, six pages are devoted to a history of the development by Count Zeppelin of the rigid airship, 1900-1914. After the fiery loss of the Count's fourth airship, zeppelin-fever swept the German population who admired the perseverance of the old count, but the military remained lukewarm.
In order to demonstrate his concept, Count Zeppelin founded the German Airship Transportation Company, known by its acronym DELAG. The text erroneously calls DELAG "the first commercial airline." It was not an airline in the true sense as there were no scheduled intercity operations, but rather a cruise operation. Zeppelins traveled to various German cities conducting short-haul air tours of the German countryside (1). These flights were quite popular. The success of DELAG forced the navy and army to send their crews on DELAG airships for training and to place orders for military zeppelins (2).
The book devotes fourteen pages of text to a narration of zeppelins in WWI. The German navy envisaged the role of rigid airship as reconnaissance. When the German fleet limited its fleet's battle actions there was little call for reconnaissance; and with the receipt of improved airships by the fleet, the zeppelin's role was primarily moved to strategic bombing. The book provides a brief account of zeppelin air raids. With the development of incendiary bullets for aircraft machine guns in 1916, the new "Height-Climber" rigid airships were developed to fly at high altitudes to try to avoid destruction. Each rigid airship improvement was countered by a corresponding improvement in defensive aircraft. After the army ceased to use rigid airships, in spite of heavy losses for strategic bombing the German navy continued to use rigid airship for bombing with the last bombing mission resulting in the fiery downing of L-70 in August 1918.
Curiously, zeppelin naval scouts prompted the British to begin the development of the aircraft carrier with a zeppelin scout, LZ 100, in 1918 being destroyed by a Sopwith Camel launched from a lighter towed behind a navy destroyer. An interesting account is given of the attempted rescue mission to German East Africa by LZ-104. When a German military force had surrendered and couldn't receive the supplies being carried to Sudan, LZ-104 returned to its base in Bulgaria after a nonstop flight of 95 hours covering 6,800 km.
Interestingly, Dr. Eckener, Count Zeppelin's collaborator and successor, immediately after WWI reactivated DELAG and built LZ 120, named BODENSEE. Unlike pre-WWI DELAG, BODENSEE, until taken over by the allies, flew scheduled passenger flights from Friedrichshafen to Berlin. The text concludes with a brief narration of the rigid airship after WWI until its demise following the Hindenburg's tragic 1937 crash.
The author concludes that basically the rigid airship technology was a blind alley both militarily and commercially. This conclusion ignores the fact that the Graf Zeppelin, LZ-127, during its long career safely carried 13,000 passengers and in 1928 initiated regular passenger service to Brazil. In addition, transatlantic airplane passenger flights didn't begin until 1939 with large flying boats making numerous enroute-refueling stops. Before it's 1937 demise, in 1936 the zeppelin Hindenburg had a successful season making several nonstop North Atlantic round trip passenger flights. Not until 1957, twenty-one years after the Hindenburg's 1936 nonstop North Atlantic passenger flights, did scheduled direct nonstop service begin with DC-7s from New York to London. Today with stealth fighters and bombers, Concorde supersonic airliners and jumbo-jets, few people realize that from 1928 to May 1937 German airships dominated transoceanic passenger air travel. The Germans had mastered rigid airship technology and flight, but hydrogen was the German zeppelin's Achilles heel. Before WWII, the United States wouldn't sell Germany non-flammable helium for use in their zeppelins.
The book's best features are its many photographs and colored illustrations. The cut-away illustration of LZ-104 (L-59), the African Airship, is most useful to those unfamiliar with a late-WWI rigid airship design. The text on WWI airship history is at best limited. For a comprehensive work on German zeppelins in WWI, the serious reader/student should read Dr. Douglas Robinson's book The Zeppelin in Combat.
1 Douglas Botting, Dr. Eckener's Dream Machine (Henry Holt and Company, LLC) p58
2 Ibid, p 59
Inadequate Data, Spotty Narrative.......2004-09-05
Osprey's New Vanguard #101, Zeppelins: German Airships 1900-1940 by Charles Stephenson, covers the development and operational role of German airships in the First World War. Although with the benefit of hindsight it seems pretty clear today that the zeppelins were a technological blind alley for the Germans, these craft still represent an interesting aspect of early aviation history. Unfortunately, readers will quickly realize that this volume fails to deliver the zeppelin story in a number of important areas, including basic data. There are a number of longer, more expensive volumes on zeppelins in the First World War and readers interested in serious study should not view this volume as a cheaper substitute.
Stephenson begins with seven pages on the background to the development of airships in Germany in 1900-1914; although brief, this section is adequate. The rest of the volume focuses on airship operations in the First World War, with a brief section on German airships in the inter-war period. The author has included numerous excellent photographs from the Zeppelin Museum. The color plates include a dozen side profiles of different model zeppelins, a cross section diagram of LZ104, an airship with an observer's car, the destruction of SL 11, and the experimental launch of an Albatross fighter from LZ 80. The author also provides five pages of data on the airships and a bibliography which fails to even mention some of the excellent German websites available.
The author concludes that the zeppelins were "fundamentally ill suited for war." This seems pretty obvious, given a hydrogen-filled airship that could explode from a burst of incendiary bullets, but I wish the author had actually attempted a little analysis. Indeed, the author does not even make the effort to inform the reader how many zeppelins were built during the war and how many were lost - although the reader can do it for himself. Apparently, somewhere between 80-115 zeppelins were built during 1914-1918 (I've seen many different figures), of which about 35 were lost to enemy action and 39 to accidents (I say about, since the comments in the author's table about the fate of each airship are often vague); this is a loss rate of about 70%. Curiously, the loss rate for all German standard aircraft from all causes in the war was about 57%; this means that the zeppelin losses were high, but not unusual for experimental weaponry.
In fact, the data tables seem to lack a lot of basic information about the airships, such as crew size, cost, bomb load and defensive armament. The author provides "payload in tons" but this is deceptive; for example, he lists LZ 112 as having a payload of 43.5 tons, but the actual bomb load was only 4 tons - the rest was fuel and other consumables (possibly including crew weight). It would have been great if the author could at least have mentioned something about the costs of the zeppelin program, since it is obvious that Imperial Germany put large resources into this effort. The Hindenberg, built in 1935, cost about $2 million - money that might have been better spent on four-engine bombers. Other statistics and information, like the number of crewmen lost in the raids over England (he lists 528 civilians killed by zeppelins) would have put the strategic raids in better perspective. The whole issue of zeppelin construction, training and modification during the war are virtually ignored.
The author's operational narrative is also a bit spotty, including missing the fact that it was a zeppelin that dropped the first 1,000-kilogram bomb over England. How were zeppelins organized ...in squadrons? Nor does the author even allude to the role of wireless radio in coordinating multi-ship raids and their use as scouts for the German High Seas Fleet in the North Sea. Amazingly, the author does not even mention what types of bombs were dropped from zeppelins - fragmentation, incendiary or high explosive? Furthermore, the inclusion of material on post-war zeppelins only served to detract from the space available to cover the core of this subject.
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Promiseland: A Century of Life in a Negro Community
Elizabeth Rauh Bethel
Manufacturer: University of South Carolina Press
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ASIN: 1570032297 |
Books:
- The Superintendent's Guide to Controlling Putting Green Speed
- The Surface Designer's Handbook: Dyeing, Printing, Painting, and Creating Resists on Fabric
- The Virtual Dimension: Architecture, Representation, and Crash Culture
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- Tips & Traps for Hiring a Contractor (Tips & Traps)
- Tokyo: A Certain Style
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- Tree Houses by Architects
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- Tuned Out: Why Americans Under 40 Don't Follow the News
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