Sonic Perspectives from the Global Souths

Preface
Acknowledgements

1. Introduction: Throwing a Stone into the Pond
1.1 Listening Beyond Borders and Cultures
1.2 Sound Studies and the Global Souths
1.3 A Counter-canon
1.4 Connecting Resonances

2. Resounding Plurilogues
2.1 South Asia
2.2 Middle East
2.3 Africa
2.4 Latin America

3. Nomadic Listening: A Sonic Auto-ethnography

4. Audible Disjunctures and Epistemological Shifts
4.1 Non-linear Temporalities in Listening Cultures
4.2 Outdoor Sounds and Non-perspectival Sonic Space
4.3 Resonating Inter-subjectivity and Hyper-listening
4.4 Acoustic Innovations and Precolonial Technologies
4.5 Orality
4.6 Ephemerality of Sound and Unrecording
4.7 Adaptive Perception and Vibrant Urban Ambience
4.8 Post-digital Convergence and Unarchiving
4.9 Co-listening and Acoustic Commoning

5. Ears to the Ground
5.1 Situated Concepts, Extra-sonic Ideas and Thoughts
5.2 Ritual and Ceremonial Sounds, and Tuning Systems
5.3 Everyday Listenings
5.4 Religious Sonorities
5.5 Acoustic Communion and Gatherings
5.6 Sound-producing Instruments
5.7 Voicings

6. Global Sonic Interactions and Unheard Reciprocities
6.1 Gamelan, Sufi Music and Claude Debussy
6.2 Dhvani, Rasa, and John Cage
6.3 Tanpura Drone, American Minimalism and Ambient Music
6.4 Migrations of Pluri-rhythms
6.5 Transnational Synthesizing and Disco Time
6.6 Technologies of Capture, Cinema, and Oral Traditions of Storytelling
6.7 World Wide Web, Internet of Sounds and Sounding Arts

7. An Equal Sound
7.1 Sonic Global Souths: A Re-listening
7.2 Anti-/De-colonial Listening
7.3 Diversifying and Pluralizing the Canon, Dismantling Eurocentrism
7.4 Epistemicide, and Sonic Aesthesis
7.5 Resonant Relationality
7.6 Aural Confluence
7.7 Sonic Futurisms
7.8 An Equal Sound: Epilogue
7.9 A Silent Encore

Notes
References
Index