Hearing the Crimean War : Wartime Sound and the Unmaking of Sense
- Submitting institution
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King's College London
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 132756694
- Type
- B - Edited book
- DOI
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- Publisher
- Oxford University Press
- ISBN
- 9780190916756
- Open access status
- -
- Month of publication
- January
- Year of publication
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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10
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Williams was the sole editor of this book and underpinned the investigation through all of its stages. He wrote the call for papers that led to the conference—of which he was the sole convener—that first brought together the book’s contributors at King’s College London in 2014. He subsequently invited selected authors to contribute to the book and led the work through all of its stages: he provided comments on drafts, line-edited the contents, checked all the references, organised the chapters within the volume, compiled the bibliography and index. He wrote the book’s proposal, wrote a response to its peer-reviewers (and ensured authors made appropriate changes to their chapters in light of the reviewers’ suggestions), liaising closely with Oxford University Press—and their subcontractors at Newgen—to manage publicity and ensure timely publication.
Williams’ introduction attempts to define a new field of historical sound studies—hitherto a vaguely-defined area of research—while also making an intervention within the study of music in war (in arguing for the framework of “wartime” as a critical tool). The substantial introduction provides a key to the chapters that follow, including his own chapter on “Gunfire and London’s Media Reality.” This essay significantly develops the book’s central concept—of listening in wartime—and, in a book that surveys wartime listening in a transnational context, it contributes an historical perspective on the war’s major imperial centre.
- Author contribution statement
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- Non-English
- No
- English abstract
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