ROSS BROWN is Dean of Studies and Reader in Sound at the Central School of Speech and Drama, University of London, UK. He is Convenor of the International Theatre Sound Colloquium His professional career as a theatre composer, musician and sound designer includes productions for BBC Radio Drama, Shared Experience, RSC, The Almeida, BAC, The Gate, The Royal Court, The Shadow Syndicate, Glasgow Citizens', Lancaster Duke's, Derby Playhouse, Red Shift and many other prestigious companies in the commercial and subsidised sectors.

• Series Editor's PrefaceIntroduction: The Theatre of SoundPART I: DRAMATURGICALLY ORGANISED NOISEDefining Theatre Sound DesignWhat the Textbooks SayThe Pre-History of Sound DesignAlternative TakesFive Sound Designers in their Own WordsPART II: THEATRICALLY ORGANISED HEARINGProblems with Sound as ScenographyLive Listening: The Aural Phenomenology of Theatre Resounding TheatresAlternative RealitiesJohn Levack Drever on Sound Effect-Object-EventConclusionBibliography.

'Ross Brown approaches 'a reader' in a refreshing and engaging way - he provides a compelling narrative and argument, interspersing and amplifying them with extracts from aa range of key texts.' - Norie Neumark, Senses & Society 'There is no other book that considers equally and inseparably the theory, philosophy and practice of stage sound. A rigorously controlled piece of research of great originality and of terrific significance to the discipline.' - Chris Baugh, Professor of Performance and Technology, University of Leeds, UK 'A valuable assemblage of historical perspectives and current issues in Sound Design and perception...provocative in many ways.' - David Budries, Freelance Sound Designer; Professor of Sound Design, Yale University, USA

ROSS BROWN is Dean of Studies and Reader in Sound at the Central School of Speech and Drama, University of London, UK. He is Convenor of the International Theatre Sound Colloquium His professional career as a theatre composer, musician and sound designer includes productions for BBC Radio Drama, Shared Experience, RSC, The Almeida, BAC, The Gate, The Royal Court, The Shadow Syndicate, Glasgow Citizens', Lancaster Duke's, Derby Playhouse, Red Shift and many other prestigious companies in the commercial and subsidised sectors.

• Series Editor's PrefaceIntroduction: The Theatre of SoundPART I: DRAMATURGICALLY ORGANISED NOISEDefining Theatre Sound DesignWhat the Textbooks SayThe Pre-History of Sound DesignAlternative TakesFive Sound Designers in their Own WordsPART II: THEATRICALLY ORGANISED HEARINGProblems with Sound as ScenographyLive Listening: The Aural Phenomenology of Theatre Resounding TheatresAlternative RealitiesJohn Levack Drever on Sound Effect-Object-EventConclusionBibliography.

'Ross Brown approaches 'a reader' in a refreshing and engaging way - he provides a compelling narrative and argument, interspersing and amplifying them with extracts from aa range of key texts.' - Norie Neumark, Senses & Society 'There is no other book that considers equally and inseparably the theory, philosophy and practice of stage sound. A rigorously controlled piece of research of great originality and of terrific significance to the discipline.' - Chris Baugh, Professor of Performance and Technology, University of Leeds, UK 'A valuable assemblage of historical perspectives and current issues in Sound Design and perception...provocative in many ways.' - David Budries, Freelance Sound Designer; Professor of Sound Design, Yale University, USA

ROSS BROWN is Dean of Studies and Reader in Sound at the Central School of Speech and Drama, University of London, UK. He is Convenor of the International Theatre Sound Colloquium His professional career as a theatre composer, musician and sound designer includes productions for BBC Radio Drama, Shared Experience, RSC, The Almeida, BAC, The Gate, The Royal Court, The Shadow Syndicate, Glasgow Citizens', Lancaster Duke's, Derby Playhouse, Red Shift and many other prestigious companies in the commercial and subsidised sectors.

• Series Editor's PrefaceIntroduction: The Theatre of SoundPART I: DRAMATURGICALLY ORGANISED NOISEDefining Theatre Sound DesignWhat the Textbooks SayThe Pre-History of Sound DesignAlternative TakesFive Sound Designers in their Own WordsPART II: THEATRICALLY ORGANISED HEARINGProblems with Sound as ScenographyLive Listening: The Aural Phenomenology of Theatre Resounding TheatresAlternative RealitiesJohn Levack Drever on Sound Effect-Object-EventConclusionBibliography.

'Ross Brown approaches 'a reader' in a refreshing and engaging way - he provides a compelling narrative and argument, interspersing and amplifying them with extracts from aa range of key texts.' - Norie Neumark, Senses & Society 'There is no other book that considers equally and inseparably the theory, philosophy and practice of stage sound. A rigorously controlled piece of research of great originality and of terrific significance to the discipline.' - Chris Baugh, Professor of Performance and Technology, University of Leeds, UK 'A valuable assemblage of historical perspectives and current issues in Sound Design and perception...provocative in many ways.' - David Budries, Freelance Sound Designer; Professor of Sound Design, Yale University, USA