Speaking, Stammering, Singing, Shouting traces the history of what was considered a good, normal, or healthy voice in the nineteenth century. From parrots and preachers to stammerers and singers, the book delves not only into changing medical norms and musical ideals but also into the sometimes painful and awkward daily work of having a voice.

Tracing the pathways through which sound traveled across a variety of conceptual and physical domains in the first half of the twentieth century, Sonic Circulations not only proposes a new account of the role of music, sound, and voice in modern knowledge production but also poses urgent questions about technology and empire.

Featuring more than 80 illustrations and easy access to related music files, this magisterial work argues that a ballad cannot be read as a fixed artifact, independent of its illustrations, tune, and movement across time and space.

Jennifer Rushworth argues for a new approach to Proust’s novel, reading it as a “songbook” because of its intermittent but intense engagement with song. She uncovers multiple Proustian uses of song, and shows how these are linked by desire, memory, repetition, and different kinds of resistance.

In Cosmos, Liturgy, and the Arts in the Twelfth Century, Margot E. Fassler takes readers into the rich, complex world of Hildegard of Bingen’s Scivias (meaning “Know the ways”) to explore how medieval thinkers understood and imagined the universe.

Tekla Bude starts from a simple premise—that music requires a body to perform it—to rethink the relationship between music, matter, and the body in the late medieval period. Sonic Bodies argues that writers thought of "music" and "the body" as mutually dependent and historically determined processes that called each other into being.