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The Acoustic World of Early Modern England
Attending to the O-Factor
Bruce R. Smith
University of Chicago Press, 1999
We know how a Shakespeare play sounds when performed today, but what would listeners have heard within the wooden "O" of the Globe Theater in 1599? What sounds would have filled the air in early modern England, and what would these sounds have meant to people in that largely oral culture?

In this ear-opening journey into the sound-worlds of Shakespeare's contemporaries, Bruce R. Smith explores both the physical aspects of human speech (ears, lungs, tongue) and the surrounding environment (buildings, landscape, climate), as well as social and political structures. Drawing on a staggeringly wide range of evidence, he crafts a historical phenomenology of sound, from reconstructions of the "soundscapes" of city, country, and court to detailed accounts of the acoustic properties of the Globe and Blackfriars theaters and how scripts designed for the two spaces exploited sound very differently.

Critical for anyone who wants to understand the world of early modern England, Smith's pathbreaking "ecology" of voice and listening also has much to offer musicologists and acoustic ecologists.

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Active Sound and Vibration Control
Theory and applications
Osman Tokhi
The Institution of Engineering and Technology, 2002
This book presents the established fundamentals in the area of active sound and vibration control (ASVC) as well as exploring the new and emerging technologies and techniques. There has been a considerable amount of effort devoted to the development and realisation of methodologies for the control of sound and vibration, and this book covers the latest theoretical, algorithmic and practical applications including: noise control in 3D propagation, adaptive algorithms, prediction, processing and tuning, neuro-active control, control of microvibrations, and noise reduction in locomotives and vehicles. Topics discussed include multichannel active noise control, adaptive harmonic control, model-free iterative tuning, model-based control design for active vibration control (AVC), ASVC using neural networks, genetic algorithms for ASVC systems, and active noise control (ANC) around the human head. The authors also discuss active control of microvibrations, vibration control of manipulators, and techniques of real-time processing. This book will be essential reading for electrical, mechanical and control engineers, designers and researchers, interested in noise and vibration control.
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Aesthetics of Early Sound Film
Media Change around 1930
Daniel Wiegand
Amsterdam University Press, 2023
This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films’ fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of ‘classical’ sound film. Instead, authors highlight the sense of ‘fruitful uncertainty’ in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, and noises; aesthetic conceptions in sound film theory; and intermedial aesthetics. The volume’s scope is decidedly international, covering production and reception contexts in the Soviet Union, Japan, the USA, Germany, France, Italy, the UK, and Switzerland.
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Analog Days
The Invention and Impact of the Moog Synthesizer
Trevor Pinch and Frank Trocco
Harvard University Press, 2004

Though ubiquitous today, available as a single microchip and found in any electronic device requiring sound, the synthesizer when it first appeared was truly revolutionary. Something radically new--an extraordinary rarity in musical culture--it was an instrument that used a genuinely new source of sound: electronics. How this came to be--how an engineering student at Cornell and an avant-garde musician working out of a storefront in California set this revolution in motion--is the story told for the first time in Analog Days, a book that explores the invention of the synthesizer and its impact on popular culture.

The authors take us back to the heady days of the 1960s and early 1970s, when the technology was analog, the synthesizer was an experimental instrument, and synthesizer concerts could and did turn into happenings. Interviews with the pioneers who determined what the synthesizer would be and how it would be used--from inventors Robert Moog and Don Buchla to musicians like Brian Eno, Pete Townshend, and Keith Emerson--recapture their visions of the future of electronic music and a new world of sound.

Tracing the development of the Moog synthesizer from its initial conception to its ascension to stardom in Switched-On Bach, from its contribution to the San Francisco psychedelic sound, to its wholesale adoption by the worlds of film and advertising, Analog Days conveys the excitement, uncertainties, and unexpected consequences of a new technology that would provide the soundtrack for a critical chapter of our cultural history.

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Aurality
Listening and Knowledge in Nineteenth-Century Colombia
Ana María Ochoa Gautier
Duke University Press, 2014
In this audacious book, Ana María Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.
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A Book of Noises
Notes on the Auraculous
Caspar Henderson
University of Chicago Press, 2023
A wide-ranging exploration of the sounds that shape our world in invisible yet significant ways.

The crackling of a campfire. The scratch, hiss, and pop of a vinyl record. The first glug of wine as it is poured from a bottle. These are just a few of writer Caspar Henderson’s favorite sounds. In A Book of Noises, Henderson invites readers to use their ears a little better—to tune in to the world in all its surprising noisiness.
 
Describing sounds from around the natural and human world, the forty-eight essays that make up A Book of Noises are a celebration of all things “auraculous.” Henderson calls on his characteristic curiosity to explore sounds related to humans (anthropophony), other life (biophony), the planet (geophony), and space (cosmophony). Henderson finds the beauty in everyday sounds, like the ringing of a bell, the buzz of a bee, or the “earworm” songs that get stuck in our heads. A Book of Noises also explores the marvelous, miraculous sounds we may never get the chance to hear, like the deep boom of a volcano or the quiet, rustling sound of the Northern Lights.
 
A Book of Noises will teach readers to really listen to the sounds of the world around them, to broaden and deepen their appreciation of the humans, animals, rocks, and trees simultaneously broadcasting across the whole spectrum of sentience.
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Cricket Radio
Tuning In the Night-Singing Insects
John Himmelman
Harvard University Press, 2011

At a time when night-singing insects have slipped beyond our notice—indeed, are more likely to be heard as NatureSounds than in a backyard—John Himmelman seeks to reconnect us to creatures whose songs form a part of our own natural history.

On warm summer evenings, night-singing insects produce a whirring, chirping soundscape—a calming aural tapestry celebrated by poets and naturalists for millennia. But “cricket radio” is not broadcast for the easy-listening pleasure of humans. The nocturnal songs of insects are lures and warnings, full of risks and rewards for these tiny competitive performers. What moves crickets and katydids to sing, how they produce their distinctive sounds, how they hear the songs of others, and how they vary cadence, volume, and pitch to attract potential mates, warn off competitors, and evade predators is part of the engaging story Cricket Radio tells.

Himmelman’s narrative weaves together his personal experiences as an amateur naturalist in search of crickets and katydids with the stories of scientists who study these insects professionally. He also offers instructions for bringing a few of the little singers into our homes and gardens. We can, Himmelman suggests, be reawakened to these night songs that have meant so much to the human psyche. The online insect calls that accompany this colorfully illustrated narrative provide a bridge of sound to our past and to our vital connection with other species.

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Designing Sound
Audiovisual Aesthetics in 1970s American Cinema
Beck, Jay
Rutgers University Press, 2016
The late 1960s and 1970s are widely recognized as a golden age for American film, as directors like Francis Ford Coppola, George Lucas, and Martin Scorsese expanded the Hollywood model with aesthetically innovative works. As this groundbreaking new study reveals, those filmmakers were blessed with more than just visionary eyes; Designing Sound focuses on how those filmmakers also had keen ears that enabled them to perceive new possibilities for cinematic sound design.  
 
Offering detailed case studies of key films and filmmakers, Jay Beck explores how sound design was central to the era’s experimentation with new modes of cinematic storytelling. He demonstrates how sound was key to many directors’ signature aesthetics, from the overlapping dialogue that contributes to Robert Altman’s naturalism to the wordless interludes at the heart of Terrence Malick’s lyricism. Yet the book also examines sound design as a collaborative process, one where certain key directors ceded authority to sound technicians who offered significant creative input.   
 
Designing Sound provides readers with a fresh take on a much-studied era in American film, giving a new appreciation of how artistry emerged from a period of rapid industrial and technological change. Filled with rich behind-the-scenes details, the book vividly conveys how sound practices developed by 1970s filmmakers changed the course of American cinema. 
 
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Disappearing Tricks
Silent Film, Houdini, and the New Magic of the Twentieth Century
Matthew Solomon
University of Illinois Press, 2010

Disappearing Tricks revisits the golden age of theatrical magic and silent film to reveal how professional magicians shaped the early history of cinema. Where others have called upon magic as merely an evocative metaphor for the wonders of cinema, Matthew Solomon focuses on the work of the professional illusionists who actually made magic with moving pictures between 1895 and 1929.

The first to reveal fully how powerfully magic impacted the development of cinema, the book combines film and theater history to uncover new evidence of the exchanges between magic and filmmaking in the United States and France during the silent period. Chapters detailing the stage and screen work of Harry Houdini and Georges Méliès show how each transformed theatrical magic to create innovative cinematic effects and thrilling new exploits for twentieth-century mass audiences. The book also considers the previously overlooked roles of anti-spiritualism and presentational performance in silent film.

Highlighting early cinema's relationship to the performing body, visual deception, storytelling, and the occult, Solomon treats cinema and stage magic as overlapping practices that together revise our understanding of the origins of motion pictures and cinematic spectacle.

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"Don Giovanni" Captured
Performance, Media, Myth
Richard Will
University of Chicago Press, 2022
“Don Giovanni” Captured considers the life of a single opera, engaging with the entire history of its recorded performance.
 
Mozart’s opera Don Giovanni has long inspired myths about eros and masculinity. Over time, its performance history has revealed a growing trend toward critique—an increasing effort on the part of performers and directors to highlight the violence and predatoriness of the libertine central character, alongside the suffering and resilience of his female victims.

In “Don Giovanni” Captured, Richard Will sets out to analyze more than a century’s worth of recorded performances of the opera, tracing the ways it has changed from one performance to another and from one generation to the next. Will consults audio recordings, starting with wax cylinders and 78s, as well as video recordings, including DVDs, films, and streaming videos. As Will argues, recordings and other media shape our experience of opera as much as live performance does. Seen as a historical record, opera recordings are also a potent reminder of the refusal of works such as Don Giovanni to sit still. By choosing a work with such a rich and complex tradition of interpretation, Will helps us see Don Giovanni as a standard-bearer for evolving ideas about desire and power, both on and off the stage.
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Headless Males Make Great Lovers
And Other Unusual Natural Histories
Marty Crump
University of Chicago Press, 2005
The natural world is filled with diverse—not to mention quirky and odd—animal behaviors. Consider the male praying mantis that continues to mate after being beheaded; the spiders, insects, and birds that offer gifts of food in return for sex; the male hip-pocket frog that carries his own tadpoles; the baby spiders that dine on their mother; the beetle that craves excrement; or the starfish that sheds an arm or two to escape a predator's grasp.

Headless Males Make Great Lovers and Other Unusual Natural Histories celebrates the extraordinary world of animals with essays on curious creatures and their amazing behaviors. In five thematic chapters, Marty Crump—a tropical field biologist well known for her work with the reproductive behavior of amphibians—examines the bizarre conduct of animals as they mate, parent, feed, defend themselves, and communicate. Crump's enthusiasm for the unusual behaviors she describes-from sex change and free love in sponges to aphrodisiac concoctions in bats-is visible on every page, thanks to her skilled storytelling, which makes even sea slugs, dung beetles, ticks, and tapeworms fascinating and appealing. Steeped in biology, Headless Males Make Great Lovers points out that diverse and unrelated animals often share seemingly bizarre behaviors—evidence, Crump argues, that these natural histories, though outwardly weird, are successful ways of living.

Illustrated throughout, and filled with vignettes of personal and scientific interest, Headless Males Make Great Lovers will enchant the general reader with its tales of blood-squirting horned lizards and intestine-ejecting sea cucumbers—all in the service of a greater appreciation of the diversity of the natural histories of animals.
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Knowing by Ear
Listening to Voice Recordings with African Prisoners of War in German Camps (1915–1918)
Anette Hoffmann
Duke University Press, 2024
During World War I, thousands of young African men conscripted to fight for France and Britain were captured and held as prisoners of war in Germany, where their stories and songs were recorded and archived by German linguists. In Knowing by Ear, Anette Hoffmann demonstrates that listening to these acoustic recordings as historical sources, rather than linguistic samples, opens up possibilities for new historical perspectives and the formation of alternate archival practices and knowledge production. She foregrounds the archival presence of individual speakers and positions their recorded voices as responses to their experiences of colonialism, war, and the journey from Africa to Europe. By engaging with the recordings alongside written sources, photographs, and artworks depicting the speakers, Hoffmann personalizes speakers from present-day Senegal, Somalia, Togo, and Congo. Knowing by Ear includes transcriptions of numerous recordings of spoken and sung texts, revealing acoustic archives as significant yet under-researched sources for recovering the historical speaking positions of colonized subjects and listen to the acoustic echo of colonial knowledge production.
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Lowering the Boom
Critical Studies in Film Sound
Edited by Jay Beck and Tony Grajeda
University of Illinois Press, 2007

As the first collection of new work on sound and cinema in over a decade, Lowering the Boom addresses the expanding field of film sound theory and its significance in rethinking historical models of film analysis. The contributors consider the ways in which musical expression, scoring, voice-over narration, and ambient noise affect identity formation and subjectivity. Lowering the Boom also analyzes how shifting modulation of the spoken word in cinema results in variations in audience interpretation. Introducing new methods of thinking about the interaction of sound and music in films, this volume also details avant-garde film sound, which is characterized by a distinct break from the narratively based sound practices of mainstream cinema. This interdisciplinary, global approach to the theory and history of film sound opens the eyes and ears of film scholars, practitioners, and students to film's true audio-visual nature.

Contributors are Jay Beck, John Belton, Clark Farmer, Paul Grainge, Tony Grajeda, David T. Johnson, Anahid Kassabian, David Laderman, James Lastra, Arnt Maasø, Matthew Malsky, Barry Mauer, Robert Miklitsch, Nancy Newman, Melissa Ragona, Petr Szczepanik, Paul Théberge, and Debra White-Stanley.

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Minor Works
On Colours. On Things Heard. Physiognomics. On Plants. On Marvellous Things Heard. Mechanical Problems. On Indivisible Lines. The Situations and Names of Winds. On Melissus, Xenophanes, Gorgias
Aristotle
Harvard University Press

Short treatises attributed to a great mind.

Aristotle, great Greek philosopher, researcher, reasoner, and writer, born at Stagirus in 384 BC, was the son of a physician. He studied under Plato at Athens and taught there (367–347); subsequently he spent three years at the court of a former pupil in Asia Minor. After some time at Mitylene, in 343–342 he was appointed by King Philip of Macedon to be tutor of his teen-aged son Alexander. After Philip’s death in 336, Aristotle became head of his own school (of “Peripatetics”), the Lyceum at Athens. Because of anti-Macedonian feeling there after Alexander’s death in 323, he withdrew to Chalcis in Euboea, where he died in 322.

Nearly all the works Aristotle prepared for publication are lost; the priceless ones extant are lecture-materials, notes, and memoranda (some are spurious). They can be categorized as follows:

I Practical: Nicomachean Ethics; Great Ethics (Magna Moralia); Eudemian Ethics; Politics; Economics (on the good of the family); On Virtues and Vices.
II Logical: Categories; Analytics (Prior and Posterior); Interpretation; Refutations used by Sophists; Topica.
III Physical: Twenty-six works (some suspect) including astronomy, generation and destruction, the senses, memory, sleep, dreams, life, facts about animals, etc.
IV Metaphysics: on being as being.
V Art: Rhetoric and Poetics.
VI Other works including the Constitution of Athens; more works also of doubtful authorship.
VII Fragments of various works such as dialogues on philosophy and literature; and of treatises on rhetoric, politics, and metaphysics.

The Loeb Classical Library edition of Aristotle is in twenty-three volumes.

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Principles of Soundscape Ecology
Discovering Our Sonic World
Bryan C. Pijanowski
University of Chicago Press, 2024
From a founding figure in the field, the definitive introduction to an exciting new science.
 
What do the sounds of a chorus of tropical birds and frogs, a clap of thunder, and a cacophony of urban traffic have in common? They are all components of a soundscape, acoustic environments that have been identified by scientists as a combination of the biophony, geophony, and anthrophony, respectively, of all of Earth’s sound sources. As sound is a ubiquitous occurrence in nature, it is actively sensed by most animals and is an important way for them to understand how their environment is changing. For humans, environmental sound is a major factor in creating a psychological sense of place, and many forms of sonic expression by people embed knowledge and culture. In this book, soundscape ecology pioneer Bryan C. Pijanowski presents the definitive text for both students and practitioners who are seeking to engage with this thrilling new field. Principles of Soundscape Ecology clearly outlines soundscape ecology’s critical foundations, key concepts, methods, and applications. Fundamentals include concise and valuable descriptions of the physics of sound as well as a thorough elucidation of all sounds that occur on Earth. Pijanowski also presents a rich overview of the ecological, sociocultural, and technical theories that support this new science, illustrating the breadth of this amazingly transdisciplinary field. In methods, he describes the principles of data mining, signal processing, and mixed methods approaches used to study soundscapes in ecological, social, or socio-ecological contexts. The final section focuses on terrestrial, aquatic, urban, and music applications, demonstrating soundscape ecology’s utility in nearly all spaces.
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A Resonant Ecology
Max Ritts
Duke University Press, 2024
In A Resonant Ecology, Max Ritts traces how sound’s integration into the environmental politics of Canada’s North Coast has paved the way for massive industrial expansion. While conservationists hope that the dissemination of whale songs and other nature sounds will showcase the beauty of local wildlife for people around the world, Ritts reveals how colonial capitalism can co-opt sonic efforts to protect the coast. He demonstrates how digital technologies allow industry to sonically map new shipping lanes and facilitate new ways of experiencing sound—premised not on listening, but on sound’s exploitable status as a data resource. By outlining how sound can both perpetuate and refuse capitalist colonialism, Ritts challenges the idea that the sonic realm is inherently liberatory and reveals sound to be a powerfully uncertain object. Through a situated geographical approach, he makes the case that only a decolonial and multigenerational environmental politics can counter the false promise of “sustainable marine development” held up by industry and the state.
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Sonic Persuasion
Reading Sound in the Recorded Age
Greg Goodale
University of Illinois Press, 2011
Sonic Persuasion: Reading Sound in the Recorded Age critically analyzes a range of sounds on vocal and musical recordings, on the radio, in film, and in cartoons to show how sounds are used to persuade in subtle ways. Greg Goodale explains how and to what effect sounds can be "read" like an aural text, demonstrating this method by examining important audio cues such as dialect, pausing, and accent in presidential recordings at the turn of the twentieth century. Goodale also shows how clocks, locomotives, and machinery are utilized in film and literature to represent frustration and anxiety about modernity, and how race and other forms of identity came to be represented by sound during the interwar period. In highlighting common sounds of industry and war in popular media, Sonic Persuasion also demonstrates how programming producers and governmental agencies employed sound to evoke a sense of fear in listeners. Goodale provides important links to other senses, especially the visual, to give fuller meaning to interpretations of identity, culture, and history in sound.
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Sound Ideas
Music, Machines, and Experience
Aden Evens
University of Minnesota Press, 2005
As people from record collectors to file swappers know, the experience of music - making it, marketing it, listening to it - relies heavily on technology. From the viola that amplifies the vibrations of a string to the CD player that turns digital bits into varying voltage, music and technology are deeply intertwined. What was gained - or lost - when compact discs replaced vinyl as the mass-market medium? What unique creative input does the musician bring to the music, and what contribution is made by the instrument? Do digital synthesizers offer unlimited range of sonic potential, or do their push-button interfaces and acoustical models lead to cookie-cutter productions? Through this interrogation of sound and technology, Aden Evens provides an acute consideration of how music becomes sensible, advancing original variations on the themes of creativity and habit, analog and digital technologies, and improvisation and repetition. Evens elegantly and forcefully dissects the paradoxes of digital culture and reveals how technology has profound implications for the phenomenology of art. Sound Ideas reinvents the philosophy of music in a way that encompasses traditional aspects of musicology, avant-garde explorations of music's relation to noise and silence, and the consequences of digitization.
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Sound in Indian Film and Audiovisual Media
History, Practices and Production
Budhaditya Chattopadhyay
Amsterdam University Press, 2024
This book is the first ever systematic attempt to study film sound in the Indian subcontinent by artistic research. The book aims to fill the scholarly void on the issues of sound and listening in the Global Souths’ cultures. It develops a comprehensive understanding of the unique sound world of Indian film and audiovisual media through the examination of historical developments of sound from early optical recordings to contemporary digital audio technologies. The book is enriched with a practice-based methodology informed by the author’s own practice and based on extensive conversations with leading sound practitioners in the Indian subcontinent. The book locates an emerging social and spatial awareness in Indian film and media production aided by a creative practice of sound, occurring alongside the traditionally transcendental, oral, and pluriversal approach to listening. By tracing this confluence of tradition and modernity, the book makes valuable contributions to the fields of film history, sound, and media studies.
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Special Effects on the Screen
Faking the View from Méliès to Motion Capture
Martin Lefebvre
Amsterdam University Press, 2022
Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.
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Thinking with Sound
A New Program in the Sciences and Humanities around 1900
Viktoria Tkaczyk
University of Chicago Press, 2023
Thinking with Sound traces the formation of auditory knowledge in the sciences and humanities in the decades around 1900.
 
When the outside world is silent, all sorts of sounds often come to mind: inner voices, snippets of past conversations, imaginary debates, beloved and unloved melodies. What should we make of such sonic companions? Thinking with Sound investigates a period when these and other newly perceived aural phenomena prompted a far-reaching debate. Through case studies from Paris, Vienna, and Berlin, Viktoria Tkaczyk shows that the identification of the auditory cortex in late nineteenth-century neuroanatomy affected numerous academic disciplines across the sciences and humanities. “Thinking with sound” allowed scholars and scientists to bridge the gaps between theoretical and practical knowledge, and between academia and the social, aesthetic, and industrial domains. As new recording technologies prompted new scientific questions, new auditory knowledge found application in industry and the broad aesthetic realm. Through these conjunctions, Thinking with Sound offers a deeper understanding of today’s second “acoustic turn” in science and scholarship.
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Tuning the World
The Rise of 440 Hertz in Music, Science, and Politics, 1859–1955
Fanny Gribenski
University of Chicago Press, 2023
Tuning the World tells the unknown story of how the musical pitch A 440 became the global norm.

Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies to tell the unknown story of how A 440 became the global norm. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most “natural” objects of contemporary musical performance and shows how this century-old effort was ultimately determined by the influence of a few powerful nations.
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Vibrational Communication in Animals
Peggy S. M. Hill
Harvard University Press, 2008

In creatures as different as crickets and scorpions, mole rats and elephants, there exists an overlooked channel of communication: signals transmitted as vibrations through a solid substrate. Peggy Hill summarizes a generation of groundbreaking work by scientists around the world on this long understudied form of animal communication.

Beginning in the 1970s, Hill explains, powerful computers and listening devices allowed scientists to record and interpret vibrational signals. Whether the medium is the sunbaked savannah or the stem of a plant, vibrations can be passed along from an animal to a potential mate, or intercepted by a predator on the prowl. Vibration appears to be an ancient means of communication, widespread in both invertebrate and vertebrate taxa. Hill synthesizes in this book a flowering of research, field studies documenting vibrational signals in the wild, and the laboratory experiments that answered such questions as what adaptations allowed animals to send and receive signals, how they use signals in different contexts, and how vibration as a channel might have evolved.

Vibrational Communication in Animals promises to become a foundational text for the next generation of researchers putting an ear to the ground.

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