Lost Sounds visits a number of lighthouses at different times over the last 130 years to reveal the philanthropic, scientific and romantic story of the fog signal - how it came about, how the machinery worked and, for the mariner and the keeper, what it sounded like! The development of fog signals complemented the expansion of lighthouse construction worldwide from the last quarter of the 19th century and represented the attempt to provide a vital navigation aid to mariners when the beam of light from the lighthouse lens was obscured by fog. Lost Sounds reveals the practical development of sound signals from the early percussion instruments to the later succession of compressed-air sirens and diaphones through to the last remaining electric emitters. But it is much more than that - it is a record of another part of maritime history.

A groundbreaking history of African Americans in the early recording industry, Lost Sounds examines the first three decades of sound recording in the United States, charting the surprising roles black artists played in the period leading up to the Jazz Age and the remarkably wide range of black music and culture they preserved. Drawing on more than thirty years of scholarship, Tim Brooks identifies key black recording artists and profiles forty audio pioneers. Brooks assesses the careers and recordings of George W. Johnson, Bert Williams, George Walker, Noble Sissle, Eubie Blake, the Fisk Jubilee Singers, W. C. Handy, James Reese Europe, Wilbur Sweatman, Harry T. Burleigh, Roland Hayes, Booker T. Washington, and boxing champion Jack Johnson, plus a host of lesser-known voices. Many of these pioneers struggled to be heard in an era of rampant discrimination. Their stories detail the forces––black and white––that gradually allowed African Americans to enter the mainstream entertainment industry. Lost Sounds includes Brooks's selected discography of CD reissues and an appendix by Dick Spottswood describing early recordings by black artists in the Caribbean and South America.

This book examines sonic signals as something both heard internally and externally, through imagination, memory and direct response. In doing so it explores how the mind 'makes' sound through experience, as it interprets codes on the written page, and creates an internal leitmotif that then interacts with new sounds made through an aural partnership with the external world, chosen and involuntary exposure to music and sound messages, both friendly and antagonistic to the identity of the self. It creates an argument for sound as an underlying force that links us to the world we inhabit, an essential part of being in the same primal sense as the calls of birds and other inhabitants of a shared earth. Street argues that sound as a poetic force is part of who we are, linked to our visualisation and sense of the world, as idea and presence within us. This incredibly interdisciplinary book will be of great interest to scholars of radio, sound, media and literature as well as philosophy and psychology.

Information Literacy in Music: An Instructor’s Companion is a practical guide to information literacy instruction for busy librarians and music faculty. This book contains examples of course-integrated assignments designed to help postsecondary music students develop foundational skills in information literacy. These assignments have been solicited from experienced librarians and faculty across the United States, and they represent a broad spectrum of approaches to music research, from historical to applied studies. Be inspired by new and creative solutions to students’ information literacy challenges and by the many examples of successful collaborations between librarians and music faculty.

In this tale of intrigue in India and England, a child who is the sole heir to the fortune of a wealthy Indian Army officer, disappears. The officer, a general, has died, having been murdered, leaving all his earthly goods to the child. But if the child is dead, or cannot be located, the will directs these goods be given to a rogue named Sanderson, who poses as John Simcoe. After many intrigues and adventures, Sanderson is exposed as the murderer, and forger of a false will, and the rightful heir, the child is found.