Calls to ‘decolonise’ have swept across academia in recent years. Although music and sound studies have historically been slower than other disciplines to incorporate minoritised perspectives, they too have begun responding to the surge in attention to the entrenched consequences of colonialism and Empire. Yet, in many iterations, ‘decoloniality’ has become a buzzword for, or even a softer and less antagonistic way of referring to, the problem of racism. Fortunately, Dylan Robinson’s Hungry Listening: Resonant Theory for Indigenous Sound Studies thoughtfully and powerfully critiques the endemic whiteness of a field without reinforcing hegemonic epistemological norms. In doing so, particular fault lines of musical discourses are illuminated and profound steps are taken as new ground is paved in the emerging field of Indigenous Sound Studies.

中文翻译：

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主题书评：饥饿的聆听：迪伦·罗宾逊的原声研究共振理论

近年来，“非殖民化”的呼声席卷了整个学术界。尽管音乐和声音研究在历史上比其他学科在纳入次要观点时要慢一些，但它们也已经开始对人们对殖民主义和帝国主义根深蒂固的后果的关注激增做出反应。然而，在许多次迭代中，“拒绝殖民地”已成为种族主义问题的流行语，甚至是一种更为软性和较少敌对性的方式。幸运的是，迪伦·罗宾逊（Dylan Robinson）的“饥饿的聆听：土著声音研究的共振理论”在不加强霸权认识论规范的情况下，周到而有力地批判了一个领域的地方性白色。通过这样做，音乐话语的特定断层线被照亮了，并采取了深刻的步骤，为新兴的土著声音研究领域打下了新的基础。