Abstract
At the intersection of sound studies and the history of ethnomusicology, this article explores the production of sonic colour zones through Laura Boulton’s recordings in Africa and the Caribbean in the 1920s and 30s. Her own accounts, correspondence, field notes and recordings offer an opportunity to attend to alternative understandings of the relationship between humans and animals, and to situate recording practices within the field of natural history. At the same time, attention to technology and Boulton’s relationship to it allows for further theorisation of the gendering of ethnographic recording. And evidence about her interlocutors opens up an interpretive strand that considers their motivations and agendas as distinct from Boulton’s.
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