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Cover -- Contents -- Figures -- Preface -- Acknowledgements -- Chapter 1: Sound Art or Sound in Art: What Matters? -- Post-war decades: If you look at art, open your ears -- Materiality: A core theme -- Invisible, inaudible: Women artists -- No (Sound) Art without women: A collage from three decades -- The unfolding story: The chapters and their sources -- The relevance of this book: Emergency noises -- Chapter 2: Sound Art and the Hierarchy of Senses -- Towards a 'revival of the senses': The historiography of Sound Art -- Sound Art and theory: A loosening of frontiers -- Arts and the senses: How divisions came about -- The Romantic aesthetic: Autonomous realms? -- Sound: Not a monopoly of music -- Ranked and gendered: A history of the senses -- Left out of the framework: Technology and the canon -- Women amidst binaries: Visually objectified, aurally silent -- Chapter 3: From the Bauhaus to Für Augen und Ohren: Gender and the Institutional Incorporation of the Senses of Sight and Hearing -- 'For Eyes and Ears': The creation of canons -- Additional takes on seeing and hearing: Regional exhibitions -- Colour, sound, balance: Gertrud Grunow at the Bauhaus -- Women's rights at the Bauhaus and beyond: A history of battles -- Künstlerinnen International: Not mere 'women's art' -- Producing (art) history: 'proof of existence' is not enough -- Chapter 4: Noise in Painting: Mary Bauermeister's Early Practice and Collaboration with Karlheinz Stockhausen -- Artist and composer: Mutual exchanges -- Visual and aural parameters: A perpetual balance of opposites -- Bauermeister and Cologne: Contributing to avibrant artistic hub -- An empowering force -- Chapter 5: Unmasking the Masquerade: Aural and Visual Gender Dynamics in the Performance Series Emergency Solos by Christina Kubisch -- Challenging male hegemony: Freeing the body, freeing meaning.

Emergency Solos: Exposing the masquerade -- Stille Nacht -- Variations on a classical theme I -- It's so touchy -- Weekend -- Private Piece -- Break -- Erotica -- Untitled (Mumie) -- Performance art as a medium: Multiplied subjectivities -- Kubisch's achievement: Challenging tacit conventions -- Chapter 6: Playful Imagination: A Comparative Study of Gerda Nettesheim's and Monika von Wedel's Sound Objects -- Variations on sound objects: Two distinct approaches from Cologne and its region -- Gerda Nettesheim: Musical toys and play -- Monika von Wedel: Expanding sculpture via actual and imagined sound -- Asserting the 'I' -- Chapter 7: Listen to His Master's Voice: Authoritative Acousmatic Voices in an Audio Piece by Hildegard Westerkamp -- Hildegard Westerkamp: Ecological thinking and gender consciousness -- Voices of authority and issues of visibility -- His Master's Voice: The materiality of law -- 'Powerful listening': Awareness of sonic environments and their visual sources -- Hildegard Westerkamp and Hannah Höch: Polyvocal montages from different times and in diverse media -- The significance of His Master's Voice: A summary -- Chapter 8: Epilogue: Signifying Matter -- The five selected practitioners: A review -- Extending imagination: Alternative media and sensorial perception -- Gender issues: Revisiting meaning and matter -- Appendices -- Appendix 1 -- Appendix 2 -- Appendix 3 -- Bibliography -- Archives -- Books, articles, exhibition catalogues, digital sources -- Index.

Art history traditionally concentrates on the visual, often at the expense of sound art. This book is about recent attempts by artists trained in (West) Germany to provoke listening experiences to awaken the ear. Their work is revolutionary in artistic terms and in what it reveals about human relations, especially concerning issues of gender.