Table of Contents

List of Contributors
List of Illustrations
Acknowledgements
Introduction: Sound Unmade
Gavin Williams

Sound, Technology, Sense

1. Sympathy and Synaesthesia: Tolstoy's Place in the Intellectual History of Cosmopolitan Spectatorship
Dina Gusejnova

2. The Revolution Will Not Be Telegraphed: Shari'a Law as Mediascape
Peter McMurray

3. Gunfire and London's Media Reality: Listening to Distance between Piano, Newspaper and Theater
Gavin Williams

4. Overhearing Indigenous Silence: Crimean Tatars during the Crimean War
Maria Sonevytsky


Voice at the Border

5. Orienting the Martial: Polish Legion Songs on the Map
Andrea Bohlman

6. Who Sings the Song of the Russian Soldier? Listening for the Sounds and Silence of War in Baltic Russia
Kevin C. Karnes

7. A voice that carries
Delia Casadei


Wartime as Heard

8. Operatic Battlefields, Theater of War
Flora Willson

9. Earwitness: Sound and Sense-Making in Tolstoy's Sevastopol Stories
Alyson Tapp

10. InConsequence: 1853-6
Hillel Schwarz


Bibliography

Index

About the Author

Gavin Williams is a musicologist and Leverhulme Early Career Research Fellow at King's College London. He wrote a PhD dissertation at Harvard University on sound and media in Milan ca. 1900, and was then a postdoctoral fellow at Jesus College, Cambridge. He has published articles and book chapters on Futurist music, Italian opera and ballet, and soundscapes in nineteenth-century London, and is currently writing a book on the imperial geographies of recorded sound
during the first half of the twentieth century.

Reviews

"Recommended." -- J.E. Druesedow Jr., CHOICE
"Hearing the Crimean War offers a crucial contribution not only to historical sound studies, but also to scholarly discourse on sound and affect in wartime. With essays that address the many forms of media in which sound and sense came to be inscribed during the Crimean War-from literature, legal texts, and news articles to opera, popular song, and silence- this book and its authors provide a profoundly interdisciplinary account, impressive it in its
historical and methodological scope, of how this global conflict was understood and remembered by those who lived through it." --Dr. Jillian Rogers, Lecturer in Musicology, University College Cork
"This relentlessly brilliant volume, bringing together sound studies scholars, musicologists, ethnomusicologists, literary scholars and cultural historians, will provoke lively, and timely, discussion of musicology's 'sonic turn'. The various soundscapes of the Crimean War take shape - and melt back into air - in these pages, both on and far beyond the battlefield. Williams' chief contention is that the global moment signaled and shaped by the Crimea conflict
anticipates and complicates our understanding of those of the present day. This volume will continue to raise questions about them long into the future." --Martin Stokes, King Edward Professor of
Music, King's College London