The Soundscape
of Modernity: Architectural Acoustics
and the Culture of Listening in America,
1900-1933
by Emily Thompson
The MIT Press, Cambridge, MA, 2002
509 pp., illus. Cloth, $47.95
ISBN: 0-262-20138-0.
Reviewed by Trace Reddell
Digital Media Studies, University of Denver,
treddell@du.edu
Emily Thompsons account of the modern
American soundscape moves like a grand
tape loop, slowly passing the chronological
spindles of 1900 and 1933 to build an
increasingly active acoustic mirror of
the era. Buildings stand in for either
loop point: Symphony Hall in Boston, which
opened on October 15, 1900, and Rockefeller
Centers Radio City Music Hall, opened
on December 27, 1932. The Boston facility
was the first in American history to be
designed on the principles of reverberation
outlined by the formula of Harvard physics
researcher, Wallace Sabine. At this point,
acoustic science first met the field of
commercial design and architecture. By
1932, interior sound design had taken
a weird trip through the circuits. Acoustic
tiles and loudspeakers cancelled out most
of the natural reverberation. Reverb was
then applied electronically to the outgoing
signal. This narrative of the loss of
natural reverberation and its electroacoustic
reconstruction participates in "a
larger cultural matrix of modernity dedicated
to the destruction of traditional time-space
relationships" (172).
Between an introduction to modern acoustics
and a closing chapter on electroacoustic
theater design, Thompson follows four
chronological trails through several specific
fields: first, acoustics; next, musical
composition and noise abatement engineering;
then, environmental control and acoustic
materials manufacture; and finally, the
motion picture industry and electroacoustics
engineering. The influence of certain
players, like Sabine, echoes across the
chapters. Sabine provides his formula
as open source to academics, engineers,
and commercial designers and builders.
The resulting field of acoustics depends
on the application of ideas across disciplines
and institutions, while tools like the
condenser transmitter, developed around
1917, are hybrids of this theoretical
and practical exchange.
The pages of Thompsons book are
filled with examples of cross-disciplinary
transaction, theft and influence. Sometimes
this contact is direct, chronicled in
accounts of academics like Vern Knudsen,
who taught physics at UCLA while fostering
lucrative consulting assignments with
both the city of Los Angeles and the motion
picture industry. The most interesting
chapter in the book, "Noise and Modern
Culture, 1900-1933," offers an example
of less direct influences. This rambunctious
chapter constructs a compact noise-portrait
of the era. Anecdotes of New York apartment
livingwhere neighbors squabble over
noisy parties and attempt to use noise-controlling
legislation to settle their complaintsjuxtapose
against tales of the various musicians
seeking to imitate urban noise (particularly,
jazz composers like Duke Ellington) or
to devise instruments for making raw noise
(such as Tomasso Marinetti and Luigi Russolo).
Advocates for noise control team up with
engineers promising to measure and eliminate
noise from the public soundscape even
as audiences struggle to come to terms
with the radical soundscapes assaulting
them in the concert hall, including Man
Rays inauguration of the mosh-pit
decades early by throwing punches during
the 1923 premiere of George Antheils
Mechanisms.
Noting the general failure to abate urban
noise, Thompson tracks the interiorization
of sound as the design industry treats
sound as one element of environmental
control. She next defines the microphones
and loudspeakers of electroacoustics as
"modern sound" itself. As the
reverberating space of live performance
transforms into its own electronically
generated double, Sabines formula
for reverberation is first revised, then
rendered obsolete as it becomes a matter
for electronic circuitry rather than a
law of physical space. Thompson follows
a general movement from the soundscape
of the physical into the sound track,
which she claims "epitomized the
sound of modern America" due to "its
commodified nature, in its direct and
nonreverberant quality, in its emphasis
on the signal and its freedom from noise,
and in its ability to transcend traditional
constraints of time and space" (284).
Radio City Music Hall represents the final
stage of modern aural architecture, a
physical recreation of the virtual space
of the sound track.
Thompson constructs a tangible cultural
artifact not only through descriptions
of sound but also through the lavish use
of photographs, illustrations, vintage
ads, charts, graphs, and figures. The
book is an excellent resource for scholars
of Modernism, featuring an additional
100 pages of footnotes and a 45-page bibliography,
and an efficient but thorough index of
30 pages. The book also has clear relevance
for theorists and practitioners of the
contemporary soundscape. A twenty-page
coda dashes through the past 70 years,
suggesting numerous lines of further research
in almost cliff-hanger fashion, as Thompson
considers the "dial-a-reverb"
technologies of Wegner V-Rooms, now standard
in music school practice facilities. Finally,
the book provides an excellent standard
for a type of transdisciplinary scholarship
and should appeal to readers situated
in many various fields.