Series Editor: Emma Dillon is Professor of Music at King’s College London, and author of The Sense of Sound: Musical Meaning in France, 1260–1330.
Staff editorial contact: Jerome E. Singerman, Senior Editor

What did the past sound like? What technologies have been available, even in antiquity, to capture the sensory experience of hearing music or language? How has sound shaped systems of knowledge in the past, and how did it interact with other ways of knowing? Penn Press’s new series Sound in History embraces these questions and more by publishing works of scholarship with an explicit sonic orientation, as practiced by cultural and media historians, literary critics, anthropologists, and musicolo- gists.
Fostering a long historical reach, from the frontiers of history to the more recent past, Sound in History aims to illuminate points of contact between works emanating from different periods and to highlight continuities—and discontinuities—in historical acts of hearing, performing, theorizing, representing, and preserving music and sound.
The inaugural volume in the series is Miranda Eva Stanyon’s Resounding the Sublime: Music in English and German Literature and Aesthetic Theory, 1670–1850 (see next page).
Forthcoming volumes include Sonic Bodies: Text, Music, and Silence in Late Medieval England, in which author Tekla Bude takes a simple premise—that music requires a body to perform it—and uses it to rethink the relationship between music and the body in the late medieval period.