One concerned with this problem of a serious lack of representation may lament that Sound Studies indeed is overwhelmingly white as well as Eurocentric, and the racial conservatism is limiting the fields’ research as well as social outreach. Furthermore, there is a serious lack of representation from the non-White, non-Western scholars, thinkers and researchers in the bibliographic resources and reference list of these works, which are now considered classics. The above-mentioned works have been canonized in the global community of sound researchers by the sheer amount of citations and reviews but they have a negligible number of non-White and non-Western contributors. Sounds in other Non-Western/Non-European contexts have largely remained underexplored and ignored. Notwithstanding this rapidly growing body of work (Sterne 2003, 2006, 2012 Born 2013 Théberge, Devine & Everrett 2015 Dyson 2009, 2014 Demers 2010 Novak and Sakakeeny 2015 Blesser 2007 Bijsterveld and Pinch 2013), much of the attention has been invested in studying sound within an American and/or European media cultural context. These publications show that now sound studies indeed is a rewarding area of research receiving wider academic attention within and outside of the broader disciplines of music, film and media studies, performing arts, and musicology. Two consecutive compendia such as The Routledge Sound Studies Reader (2012) and The Oxford Handbook of Sound Studies (2013) have been complemented with handy anthologies like Keywords in Sound (2015) and a number of peer-reviewed journals that are entirely dedicated to the studies of sound. In the arts and humanities, Sound Studies has rapidly established itself as a vibrant and productive academic field resulting in a profusion of scholarly writings on sound.
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