‘Sound studies’ and ‘auditory culture’ are terms often used synonymously to designate a broad, heterogeneous, interdisciplinary field of inquiry. Yet a potential disjunction between these terms remains. Some scholars within sound studies, by turning to the ontology of sound and to the material–affective processes that lie ‘beneath representation and signification’, reject auditory cultural studies. In…
Sound Studies Template
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About the Sound Studies format
Sound Studies is a peer-reviewed journal published by Taylor & Francis, covering Music History and Culture, Diverse Musicological Studies, Music Technology and Sound Studies.
| Publisher | Taylor & Francis |
|---|---|
| Reference style | Author–year (Chicago, T&F) Author–year — (Smith, 2023) in the text Smith, Ada, Ben Jones, and Cara Lee. 2023. "A Representative Article Title." Sound Studies 12 (3): 45–58.
Formats any DOI in Sound Studies style. No sign-up. |
| Publishes research in | Music History and Culture Diverse Musicological Studies Music Technology and Sound Studies Musicology and Musical Analysis Sound Studies and Aurality |
| Papers published last year | ≈30 |
| ISSN | 2055-1940 |
| Citation impact (2-yr) | 0.28 |
| h-index | 20 |
| i10-index | 38 |
| Total citations | 1,578 |
| Top institutions publishing here | University of Cambridge |
| Journal website | www.tandfonline.com |
| You get | A submission-ready PDF and the editable LaTeX source — ready to submit. |
Most-cited papers in Sound Studies
As an axiomatic condition of sound, loudness is implicated at all levels of aural perception. Ever in contest, loudness asserts its importance in noise ordinances and stage whispers, on the battlefield and by the infant’s bedside. Yet despite its pervasiveness, loudness remains among the least-analyzed components of the sonic encounter. Focusing on musical applications and…
This essay sets out to explore the tactilization of sound in electronic dance music (EDM), which offers an important sensory–affective bridge between touch, sonic experience, and an expansive sense of connection in dancing crowds. Electronic dance music events tend to engender spaces of heightened tactility and embodied intimacy, and so it should not be surprising…
This article argues that when recent writers in sound studies claim primacy for nonrepresentational experiences of the sounds of military weaponry in definitions of the “ontology” of wartime sound and audition, the result is that a universalised, Western, male listener and the sounds of weaponry are positioned as the proper subject and object for writings…