In the 18th century, Chladni developed the technique of drawing a violin bow across a metal plate of sand and observing the patterns that formed. In this title, Lauterwasser extends the idea to more complex and moving sounds in water, ranging from pure sine waves to music by Beethoven, Stockhausen and overtone chanting.

With enthusiasm and sincerity biologist Soren Bondrup-Nielsen recalls his experience as a graduate student in the 1970s researching the Boreal Owl in northern Ontario and Alberta. After receiving his BSc in the spring of 1974, Bondrup-Nielsen travels by train to Kapuskasing to begin his study of this tiny, elusive species, cousin to the Tengmalm's Owl of Scandinavia. Though initially dissuaded by his supervisor, the author sets about recording the owl's call and locating individual territories. On cross-country skis, pulling a toboggan of supplies, Bondrup-Nielsen begins his first field season with reason for optimism, recording two distinct calls and being struck in the head by a male Boreal within his first week. After repairing to the nearby logging camp (Camp 86) where the food is plentiful and the beds much warmer than his tent, Bondrup-Nielsen continues his research to the great amusement of the cutting crew and camp staff. Taking the first photos of the owls, learning to differentiate between male and female calls, and observing mating behaviour, he finishes the season having located ten males on territories. In subsequent field seasons, Bondrup-Nielsen completes his graduate research. The book details his experimental tracking and recording methods, including telemetry, homemade traps, and a recording device fashioned out of an alarm clock, some tinfoil and a sewing needle. Bondrup-Nielsen's inquiring mind and passion for both winter and the outdoors bring an infectious sense of adventure to his fieldwork. His studies are punctuated by close encounters with coyotes, bears and a moose, glimpses of the Aurora Borealis, first love and self-discovery. With some of the author's original journal entries, notes and sketches, A Sound Like Water Dripping captures the beginning of what continues to be a committed and inspiring dedication to the study of ecology. "Owls seem to hold a fascination for just about everyone," says Bondrup-Nielsen. "Maybe it's their appearance: We see ourselves reflected in their faces. Their beaks resemble our noses and their big eyes, similar to ours, look forward, with eyelids that close from above, unlike other birds whose eyelids close from below. They seem to represent wisdom rather than reminding us of the fierce predators that they are. Owls also have ghost-like qualities, flying on silent wings, active mainly at night. In some cultures, owls are harbingers of death. In any case, there's something magical about them. I studied the Boreal Owl in northern Ontario and Alberta from 1974 to 1976, and am still approached by naturalist societies with invitations to talk about this small northern owl so few people have ever seen. In my teaching, as well, when I get a chance to talk about my research on owls the whole class listens intently. Thus, after I had finished my first book, Winter on Diamond, I felt a longing for the solitary but exciting experience of disappearing into my head again, this time to relive my discovery of the Boreal Owl."

An impassioned and ultimately inspiring account of one woman's journey to help her son through auditory processing disorder, the aural equivalent to dyslexia that afflicts millions of children worldwide.

A book of timeless importance about the American West and a modern classic by National Book Award- and Pulitzer Prize-winning Wallace Stegner. The essays, memoirs, letters, and speeches collected in The Sound of Mountain Water encompass memoir, nature conservation, history, geography, and literature. Compositions delve into the post-World War II boom that brought the Rocky Mountain West--from Montana and Idaho to Utah and Nevada--into the modern age. Other works feature eloquent sketches of the West's history and environment, directing our imagination to the sublime beauty of such places as Robbers Roost and Glen Canyon. A final section examines the state of Western literature, of the mythical past and the diminished present, and analyzesd the difficulties facing any contemporary Western writer. Written over a period of twenty-five years, a time in which the West witnessed rapid changes to its cultural and natural heritage, and by a writer and thinker who will always hold a unique position in modern American letters, The Sound of Mountain Water is a hymn to the Western landscape, an affirmation of the hope emobided therein, and a careful and rich investigation of the West's complex legacy.

Long Island Sound is not only the most heavily used estuary in North America, it is also one of the most beautiful waterways, with picturesque seascapes and landfalls. But centuries of pollution and other abuse have gradually been killing off its marine life and have pushed the Sound to the brink of disaster. This fascinating book traces the history of the Sound and its use as a resource from the time of contact between the Native Americans and Dutch traders through the suburban sprawl of recent decades--and tells how a group of scientists and citizens has been working to save the Sound from ruin. Tom Andersen begins by describing the dramatic events of the summer of 1987, when a condition called hypoxia (lack of dissolved oxygen in the water brought about by a combination of pollution and other factors) killed large numbers of fish and lobsters in the Sound. He discusses how scientists first documented and explained the development of hypoxia and how research and cleanup are now being carried out to restore the Sound. Interweaving current events, natural history, and human history, Andersen presents a cautionary tale of exploitation without concern for preservation.

Writing on Water is an attempt to grasp the phenomenon of sound in prayer, that is: a meaning in sounds and soundscapes, and a musical essence in the act of praying. The impetus for the book was the author's fieldwork among traditional Jews during the era of communism in Budapest and Prague. In that era the Jewish religion and Jewishness in general were supressed; the rituals were semi-secret and became inward-turning. The book is a witness to these communities and their rituals, but it goes beyond documentation. The uniqueness of the sounds of the rituals compelled the author to try to comprehend how melodies and soundscapes became the sustaining/protective environment, as well as the vehicle, for the expression of a world-orientation—in a situation where open discourse was inconceivable. The book is based on extensive interviews, musical recordings, photographs and scholarly analyses. It is unique in its choice of communities, its wealth of original documents, and in its novel interpretation of sound. Writing on Water is creative non-fiction. The presentation is evocative and poetic, but nevertheless, it transmits knowledge. Where this potential is understood, the book can aid research and serve in courses in philosophy, religion, music, ethnomusicology, anthropology, aesthetics, Jewish studies, folklore, oral history, and performance studies. At the same time it could be read as belles lettres.

Finalist for the 2023 Pulitzer Prize in General Nonfiction and the 2023 PEN/E.O. Wilson Literary Science Writing Award Winner of the Acoustical Society of America's 2023 Science Communication Award “[A] glorious guide to the miracle of life’s sound.” —The New York Times Book Review A lyrical exploration of the diverse sounds of our planet, the creative processes that produced these marvels, and the perils that sonic diversity now faces We live on a planet alive with song, music, and speech. David Haskell explores how these wonders came to be. In rain forests shimmering with insect sound and swamps pulsing with frog calls we learn about evolution’s creative powers. From birds in the Rocky Mountains and on the streets of Paris, we discover how animals learn their songs and adapt to new environments. Below the waves, we hear our kinship to beings as different as snapping shrimp, toadfish, and whales. In the startlingly divergent sonic vibes of the animals of different continents, we experience the legacies of plate tectonics, the deep history of animal groups and their movements around the world, and the quirks of aesthetic evolution. Starting with the origins of animal song and traversing the whole arc of Earth history, Haskell illuminates and celebrates the emergence of the varied sounds of our world. In mammoth ivory flutes from Paleolithic caves, violins in modern concert halls, and electronic music in earbuds, we learn that human music and language belong within this story of ecology and evolution. Yet we are also destroyers, now silencing or smothering many of the sounds of the living Earth. Haskell takes us to threatened forests, noise-filled oceans, and loud city streets, and shows that sonic crises are not mere losses of sensory ornament. Sound is a generative force, and so the erasure of sonic diversity makes the world less creative, just, and beautiful. The appreciation of the beauty and brokenness of sound is therefore an important guide in today’s convulsions and crises of change and inequity. Sounds Wild and Broken is an invitation to listen, wonder, belong, and act.