Duke University Press, ISBN-13: 978-0822370604, English, 312 pages, 2018, USA

Stemming from the recent tradition in digital humanities, there is a new field of studies tentatively assembled in this anthology and defined as ‘digital sound studies’. It appropriately follows the original attitude to extend the attention towards a technology to multiple other fields, whose main connection is then the referential medium under scrutiny, in its possible innovative applications. Here ’sound’ emerges mainly as an opportunity, often oriented towards a more appealing pedagogy, which can be implemented in a variety of fields, changing the use of sound in scholar practices. Indeed, sound in this book is interpreted mainly as a tool to accomplish different strategies, and not as the main object of investigation. Its unconventional use in unusual areas is intended to inspire and to enable distinct approaches. And the aim of the editors seems to assemble a wider arena where these different methodologies can communicate to each other, possibly producing further cross-pollinated experiments. So from didactical audio-ethnography to visual images’ sonification processes, from enabling the listening of old scores to the use of traditional orality in performances, the specific sound qualities are used to ’amplify’ underrepresented content, reimagine the educational spaces and the collateral support through scholarship and publishing.