The study of listening—aurality—and its relation to writing is the subject of this eclectic edited volume. Theorizing Sound Writing explores the relationship between sound, theory, language, and inscription. This volume contains an impressive lineup of scholars from anthropology, ethnomusicology, musicology, performance, and sound studies. The contributors write about sound in their ongoing work, while also making an intervention into the ethics of academic knowledge, one in which listening is the first step not only in translating sound into words but also in compassionate scholarship.

Acknowledgments
Deborah Kapchan, The Splash of Icarus: Theorizing Sound Writing/Writing Sound Theory
I. WRITING SOUND THEORY
Suzanne G. Cusick, Musicology, Performativity, Acoustemology
J. Martin Daughtry, Acoustic Palimpsests
Michele Kisliuk, Writing the Magnified Musicking Moment
II. MEMOIR AND METAPHOR AS METHOD
Alex Waterman, Listening to Resonant Words
Tomie Hahn, Sound Commitments: Extraordinary Stories
David Henderson, Traffic Patterns
Carol Muller, In My Solitude: Jazz Song as "Sound Writing"
III. THEORIZING SOUND WRITING
Anne K. Rasmussen, Women Out Loud: Religious Performance in Islamic Indonesia
Katherine Johanna Hagedorn, "Where the Transcendent Breaks into Time": Toward a Theology of Sound in Afro-Cuban Regla de Ochá
Ana Pais, Almost Imperceptible Rhythms and Stuff Like That: The Power of Affect in Live Performance
IV. LISTENING AND WITNESS
Deborah Wong, Deadly Soundscapes: Scripts of Lethal Force and Lo-Fi Death
Deborah Kapchan, Listening Acts: Witnessing the Pain (and Praise) of Others
Michael Jackson, Afterword: Sound Properties of the Written Word
About the Contributors
Index