Theodor W. Adorno, “The Form of the Phonograph Record,” translated by Thomas Y. Levin, October, no. 55 (Winter, 1990): 56-61.
—, “On the Fetish-Character in Music and The Regression of Listening,” The Essential Frankfurt School Reader, ed. Andrew Arato and Eike Gebhardt (1938; New York: Continuum, 1982), 270-299.
Rick Altman, “The Technology of the Voice,” Parts 1 and 2, Iris (1985).
—, ed. Sound Theory/Sound Practice (1992).
—, Silent Film Sound (2004).
Rudolf Arnheim, “Voices without Bodies,” Radio (1936).
Antonin Artaud, “Les souffrances de dubbing” (1933)
Jacques Attali, Noise (1977).
Philip Auslander, Liveness (1999).
Roland Barthes, “The Grain of the Voice,” “Listening,” in The Responsibility of Forms.
Douglas Baynton, Forbidden Signs (1996). Excerpt available at http://www.press.uchicago.edu/Misc/Chicago/039633.html
Alexander Graham Bell, “Prehistoric Telephone Days,” National Geographic Magazine, vol. 41, no. 3 (March, 1922).
Robert Brain, “Standards and Semiotics,” Inscribing Science, ed. Timothy Lenoir (1998).
Oren Brown, Discover Your Voice (1996)
Michel Chion, The Voice in the Cinema (1999).
Cathérine Clément, Opera, or, The Undoing of Women (1988).
Steven Conner, Dumbstruck (2000). See also http://www.dumbstruck.org
—, “Voice, Technology, and the Victorian Ear,” 1997.
—, “Edison’s Teeth: Touching Hearing,” 2001.
James A. Connor, SJ, “Radio Free Joyce: Wake Language and the Experience of Radio,” James Joyce Quarterly, vol. 30/31 (Summer/Fall, 1993): 825-843.
Catherine L. Covert, “‘We May Hear Too Much’: American Sensibility and the Response to Radio, 1919-1924,” in Mass Media Between the Wars, 1918-1941, ed. Catherine L. Covert and John D. Stevens (Syracuse: University of Syracuse Press, 1984).
Terrence Davies, dir., Distant Voices, Still Lives (1988).
Jacques Derrida, Voice (Speech) and Phenomena, Of Grammatology, much more.
Mary Ann Doane, “The Voice and the Body in the Cinema” (1980).
Mladen Dolar, “The Object Voice,” Voice and Gaze as Love Objects (1996).
Rob Drew, Karaoke Nights (2001).
Lesley Dunn and Nancy Jones, eds., Embodied Voices: Representing Female Vocality in Western Culture (1994).
Natasá Durovicová, “Local Ghosts: Dubbing Bodies in Early Sound Cinema” (2003).
Thomas Alva Edison, “The Perfected Phonograph” (1888), “The Phonograph and its Future” (1879).
Melvin Patrick Ely, “Inventing Radio and Toying with Color,” The Adventures of Amos ‘n’ Andy (1991): 47-63.
Aden Evens, Music, Machines, and Experience (2005)
Stephen Feld, Sound and Sentiment (1981).
Robert Ferguson, “On the Death of Scots Music” (1770s).
Felicia Miller Frank, The Mechanical Song (1995).
Simon Frith, “The Voice,” in Performing Rites (1996),183-202.
—, “Art versus Technology: The Strange Case of Popular Music,” Media, Culture and Society, 1986.
Jane Gaines, Contested Culture: The Image, The Voice, and the Law (1991).
Lowell Gallagher, “Jenny Lind and the Voice of America,” En Travesti (1995)
Manuel García, A Complete Treatise on the Art of Singing (1840?)
Lisa Gitelman, Scripts, Grooves, and Writing Machines (1999).
William Graham, Beyond the Written Word: Oral aspects of scripture in the history of religion
Michal Grover-Friedlander, “The Afterlife of Maria Callas’s Voice,” Musical Quarterly, 2006.
Ellis Hanson, “Technology, Paranoia and the Queer Voice,” Screen, vol. 34, no. 3, 1993.
Taylor Harrison, “Trying Hard to Hear You: Jean Arthur and the Problematics of Presence,” Velvet Light Trap (Spring, 1997).
—, UI dissertation on film voices.
Eric Havelock, The Muse Learns to Write (1982); lots of stuff on Greek orality and literacy.
Joy Elizabeth Hayes, “Did Herbert Hoover Broadcast the First Fireside Chat?” (2000).
Kate Hayles, “Voices out of Bodies, Bodies out of Voices: Audiotape and the Production of Subjectivity.” In Sound States: Innovative Poetics and Acoustical Technologies. Chapel Hill, NC. 1997. 74-96.
Martin Heidegger, Being and Time (1927).
Hermann von Helmholtz, The Sensations of Tone (1860s)
J. G. Herder, On the Origin of Language (use Rousseau also—and Adam Smith!)
Michele Hilmes, Radio Voices (1997).
Michele Hilmes and Jason Loviglio, eds., Radio Reader (2001).
Barbara Houseman, Finding Your Voice: A Step-by-Step Guide for Actors (2002).
Aldous Huxley, “Over the Telephone,” Smart Set Anthology (1934).
Don Ihde, Listening and Voice: A Phenomenology of Sound. Athens: Ohio University Press, 1976, 149-186.
James Johnson, Listening in Paris (1995).
Wendell Johnson, http://www.uiowa.edu/~cyberlaw/oldinav/wjhome.html
The Journal of Voice: chief outlet for medical-acoustic-rehabilitation voice science (Hardin Library).
Franz Kafka, “Josephine,” “My Neighbor,” Complete Stories.
Keir Keightley, “‘Turn it Down!,’ She Shrieked: Gender, Domestic Space, and High Fidelity, 1948-59,” Popular Music 15 (1996): 149-177.
Hugh Kenner, The Mechanic Muse (not at Iowa).
Friedrich A. Kittler, Gramophone, Film, Typewriter, Aufschreibesysteme, everything.
Friedrich A. Kittler, Thomas Macho, and Sigrid Weigel, eds., Zwischen Rauschen und Offenbarung: Zur Kultur- und Mediengeschichte der Stimme (2002).
Melanie Klein on voice as part object, Envy and Gratitude, 61-71.
Bernard M. W. Knox, “Silent Reading in Antiquity.” Greek, Roman and Byzantine Studies 9 (1968), 421-435.
Wayne Koestenbaum, The Queen’s Throat (1993).
Sarah Kozloff, Invisible Storytellers: Voice-Over Narration in American Fiction Film (1988).
Ivan Kreilkamp, “A Voice Without a Body: The Phonographic Logic of Heart of Darkness,” Victorian Studies 40.
—, Voice and the Victorian Storyteller (200x)
Josh Kun, Audiotopia (2006)
Jacques Lacan, “La voix de Jahvé,” L’angoisse (Paris: Seuil, 2004), 281-295. Plus almost anything else.
Kate Lacey, Feminine Frequencies, Plauderei piece in Media, Culture and Society.
Dave Laing, “A Voice without a Face: Popular Music and the Phonograph in the 1890s,” Popular Music 10 (1991): 1-9.
Harlan Lane, histories of the deaf.
James Lastra, Sound Technologies and the American Cinema: Perception, Representation, Modernity (2000).
Amy Lawrence, Echo and Narcissus, “Introduction” and “The Pleasures of Echo: the ‘Problem’ of the Speaking Woman,” 1-34. See also “The Pleasures of Echo,” Journal of Film and Video 40.4 (Fall 1988): 3-13.
Theo van Leeuwen, Speech, Music, Sound (1999).
Tom Levin, “Before the Beep: A Short History of Voice Mail” (1995).
Paula Lockheart, “A History of Early Microphone Singing,” Popular Music and Society (2003)
Evangeline Machlin, Speech for the Stage (1996).
Bronislaw Malinowski, Coral Gardens and their Magic, 2 vols. (1935).
Michèle Martin, Hello Central? Gender, Technology, and Culture in the Formation of Telephone Systems (Montréal: McGill University Press, 1991).
Susan McClary, Feminine Endings (1991).
Allison McCracken, “God’s Gift to Us Girls”: Crooning, Gender, and the Re-Creation of American Popular Song, 1928-1933,” American Music, Winter 1999. Available at http://www.findarticles.com/cf_dls/m2298/4_17/63583955/print.jhtml
Anne McKay, “Speaking Up: Voice Amplification and Women’s Struggle for Public Expression,” Technology and Women’s Voices, ed. Cheris Kramerae (NY: Routledge, 1988), 187-206.
Richard Menke, “Telegraphic Realism: Henry James’s In the Cage.” PMLA 115 (October 2000).
David Morton, Off the Record (2000).
New Literary History, 32.3 Summer 2001, issue on “Voice and Human Experience.” Available at http://muse.jhu.edu/journals/new_literary_history/toc/nlh32.3.html
Walter Ong, Orality and Literacy (1982). Interfaces of the Word (1977), The Presence of the Word (1967).
Carol Padden and Tom Humphreys, Deaf in America (1988).
Judith Pascoe, forthcoming book on Sarah Siddons.
J. D. Peters, “Helmholtz, Edison, and Sound History,” Memory Bytes (2004), 177-198.
—, “The Voice and Modern Media.” Kunst-Stimmen. Ed. Doris Kolesch and Jenny Schrödl. Berlin: Theater der Zeit Recherchen 21 (2004). 85-100.
—, ch. 5 of Speaking into the Air (1999).
The Philosophy of Singing
“The Phonograph.” The New York Times (November 7, 1877), 4; available at http://www27.brinkster.com/phonozoic/a0006.htm
John M. Picker, “The Victorian Aura of the Recorded Voice,” NLH 32.3 (2001): 769-86.
— “The Tramp of a Fly’s Footstep,” American Scholar (Spring, 2002). 85-94.
— Victorian Soundscapes (2003).
Michel Poizat, “The Objectified Voice and the Vocal Object,” 93-109, in The Angel’s Cry (1992).
—, La voix du diable.
James Porter on Derrida and Saussure on the voice, Yale French Studies, 1986.
Richard Cullen Rath, How Early America Sounded (2003)
Jonathan Rée, I See a Voice: Language, deafness and the senses, a philosophical history.
Rhetorica ad Herennium, book 3.
Avital Ronell, The Telephone Book (198x)
Oliver Sacks, Seeing Voices (1991).
Salecl & Zizek, Gaze and Voice as Love Objects (1996).
Paddy Scannell, “Sincerity,” in Radio, Television, and Modern Life (1997), pp. 58-74.
David A. Schwartz, Catherine Q. Howe, and Dale Purves, “The Statistical Structure of Human Speech Sounds Predicts Musical Universals,” Journal of Neuroscience, August 6, 2003, 23(18):7160-7168. http://www.jneurosci.org/cgi/content/abstract/23/18/7160
Carl Seashore, writings on psychoacoustics (weird and fascinating)
Thomas Sheridan, Lectures on Elocution (1762)
Bernhard Siegert, Relays: Literature as an Epoch of the Postal System (1999).
—, “The Nut(t) Case,” in Inscribing Science, ed. Timothy Lenoir (1998).
Kaja Silverman, The Acoustic Mirror (1988).
Singin’ in the Rain; maybe with Julie Dash, Illusions.
Bruce R. Smith, The Acoustic World of Early Modern England (1999).
Mark M. Smith, Listening to Nineteenth-century America (2001).
Russell A. Stamets, “Ain’t Nothin’ Like the Real Thing, Baby: The Right of Publicity and the Singing Voice,” Federal Communications Law Journal (1994)
Jonathan Sterne, The Audible Past (2003). See also sterneworks.org, many other articles.
Suzanne R. Stewart, “The Theft of the Operatic Voice,” Musical Quarterly, 1996.
Strauss, Radiotext(e) (1993).
August Strindberg, The Roofing Ceremony (1906).
Carl Stumpf, writings on music and hearing.
Jesper Svenbro, Phrasikleia (1993)
Michael Taussig, Mimesis and Alterity (1993).
Emily Thompson, The Soundscape of Modernity (2001).
—, “Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1915-1925,” Musical Quarterly, vol. 79 (1995), 131-171.
Ingo R. Titze, Principles of Voice Production (1994).
—, “Exploring the Human Voice with Computer Simulation,” Univ. of Iowa, 1998.
Anthony Trollope, “The telegraph girl” (1877).
Mark Twain, “A Telephonic Conversation” (1880).
Ufema, Kate and Bill Brandwein (1997): “The Pros and Cons of Voice Amplification in the Theatre.” The Vocal Vision: Views on Voice by 24 Leading Teachers, Coaches and Directors, ed. Marion Hampton and Barbara Acker, New York and London.
Allen S. Weiss, Breathless: Sound Recording, Disembodiment, and the Transformation of Lyrical Nostalgia (2002).
Charles Wolfe, “Historicizing the ‘Voice of God’: The Place of Vocal Narration in Classical Documentary,” Film History 9 (1997): 149-167.
Steve Wurtzler, “She Sang Live but the Microphone was Turned Off,” Sound Theory/Sound Practice, ed. Altman (1992).
—, The social construction of technological change: American mass media and the advent of electrical sound technology, 2 vols., Ph.D. Diss, Iowa, 2001. à Electric Sounds (Columbia, 2007).
Paul Zumthor, Oral Poetry: An Introduction (1990), chs. 8-11.