At a time when night-singing insects have slipped beyond our notice—indeed, are more likely to be heard as NatureSounds than in a backyard—John Himmelman seeks to reconnect us to creatures whose songs form a part of our own natural history.

On warm summer evenings, night-singing insects produce a whirring, chirping soundscape—a calming aural tapestry celebrated by poets and naturalists for millennia. But “cricket radio” is not broadcast for the easy-listening pleasure of humans. The nocturnal songs of insects are lures and warnings, full of risks and rewards for these tiny competitive performers. What moves crickets and katydids to sing, how they produce their distinctive sounds, how they hear the songs of others, and how they vary cadence, volume, and pitch to attract potential mates, warn off competitors, and evade predators is part of the engaging story Cricket Radio tells.

Himmelman’s narrative weaves together his personal experiences as an amateur naturalist in search of crickets and katydids with the stories of scientists who study these insects professionally. He also offers instructions for bringing a few of the little singers into our homes and gardens. We can, Himmelman suggests, be reawakened to these night songs that have meant so much to the human psyche. The online insect calls that accompany this colorfully illustrated narrative provide a bridge of sound to our past and to our vital connection with other species.

Tuning the World tells the unknown story of how the musical pitch A 440 became the global norm.

Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies to tell the unknown story of how A 440 became the global norm. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most “natural” objects of contemporary musical performance and shows how this century-old effort was ultimately determined by the influence of a few powerful nations.