Sound and Technology

The proposed Sound and Technology working group is concerned with the a focus on scholarship coming from history of technology and science towards a history of sonic technocultures. This group welcomes scholars interested in sound and sound technology from all time periods, though the group’s reading and writing will focus on cases, debates, and actors that engage the conditions of sound’s technological reproducibility since the late 19th century. Because of the interdisciplinary nature of the topic, relevant studies have been fragmented across a variety of fields within the humanities, arts, social sciences, engineering, acoustics, and the sciences. This working group will work across these disciplines to collectively interpret sources and commentary that share an interest in sound.
The group meets at 1:00 Eastern Time on second Fridays of each month.

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Consortium Respectful Behavior Policy

Participants at Consortium activities will treat each other with respect and consideration to create a collegial, inclusive, and professional environment that is free from any form of discrimination, harassment, or retaliation.

Participants will avoid any inappropriate actions or statements based on individual characteristics such as age, race, religion, ethnicity, sexual orientation, gender identity, gender expression, marital status, nationality, political affiliation, ability status, educational background, or any other characteristic protected by law. Disruptive or harassing behavior of any kind will not be tolerated. Harassment includes but is not limited to inappropriate or intimidating behavior and language, unwelcome jokes or comments, unwanted touching or attention, offensive images, photography without permission, and stalking.

Participants may send reports or concerns about violations of this policy to

Upcoming Meetings

  • Friday, September 10, 2021 1:00 pm to 2:30 pm EDT


  • Friday, October 8, 2021 1:00 pm to 2:30 pm EDT


  • Friday, November 12, 2021 1:00 pm to 2:30 pm EST


  • Friday, December 10, 2021 1:00 pm to 2:30 pm EST


  • Friday, January 14, 2022 1:00 pm to 2:30 pm EST


  • Friday, February 11, 2022 1:00 pm to 2:30 pm EST


  • Friday, March 11, 2022 1:00 pm to 2:30 pm EST


  • Friday, April 8, 2022 1:00 pm to 2:30 pm EDT


  • Friday, May 13, 2022 1:00 pm to 2:30 pm EDT


Group Conveners

  • eamonnbell's picture

    Eamonn Bell

    Eamonn Bell is a Research Fellow at the Department of Music, Trinity College Dublin (TCD). Most generally, his research examines the history of digital technology in relation to contemporary musical production, consumption, criticism, and analysis. He holds a doctoral degree in music theory from Columbia University (2019) and a bachelor’s degree in music and mathematics from TCD (2013). His current project, a media history of the audio CD format, is funded by the Irish Research Council under the Government of Ireland Postdoctoral Fellowship program.


  • Brian Miller

    Brian A. Miller earned his Ph.D. in music theory from Yale University in 2020, where he has also served as a lecturer. His research focuses on the role of computation in both the intellectual history and current practice of music theory, particularly in relation to the work of music theorist Leonard Meyer and his influential theory of musical style. His work on computer improvisation and the stylistic modeling of jazz recently appeared in Music Theory Online. He previously completed a B.S. in Computer Engineering and an M.M. in Music Theory from the University of Kansas.


  • Ezra Teboul

    Ezra J. Teboul is an independent researcher working on the role of labor and land in the making, re-making and decay of sound technologies. His research offers a critical understanding of reverse engineering of electronic circuits, computer code and interface designs as an extension of media archaeology in countering disorigining, "the complex processof removing information about the relations that anobject has been a part of." (McKay 2020, 23). This is complemented by an artistic practice which both operationalizes and informs this countering. He holds a Ph.D. in electronic arts from Rensselaer Polytechnic Institute, an A.M. in digital musics from Dartmouth College, and a B.A. from Hampshire College.


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