zachary wallmark's nothing but Noise: Timbre and Musical Meaning at the Edge appears at a moment when the emerging movement of “timbre studies” might be ready to drop the quotation marks and become an established musicological subdiscipline. As Wallmark recounts in his introduction (7), the past decade has seen a constant growth of timbre-oriented publications in Anglo-American musicology and music theory, from scholars such as Cornelia Fales, Nina Sun Eidsheim, and Stephen McAdams. Just last year, The Oxford Handbook of Timbre, edited by Emily I. Dolan and Alexander Rehding (2021), received the Ruth A. Solie Award for “a collection of musicological essays of exceptional merit,” a distinction that, tellingly, was also bestowed on another collection of essays on timbre, The Relentless Pursuit of Tone: Timbre in Popular Music (2018), edited by Robert Fink, Melinda Latour, and Wallmark himself. Nothing but Noise, the first monograph...

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