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Writing in the 1920s, Robert Musil opens his novel The Man Without Qualities by evoking Vienna in the final days before the Great War changed everything. His visual imagery recalls contemporary experiments in abstract and rhythmic film-making by Walther Ruttmann, Hans Richter or Viking Eggling. Blocks of light and shade are cross-cut by lines in motion—speeding automobiles in Musil’s case—while the movement of pedestrians negotiating their way through the city’s streets creates more fluid, fractal patterns. The way Musil ‘hears’ the city, however, is more ambivalent and less assertively modernist. His ‘wiry texture’ of sound shares the jagged angularity and dynamism of the visual images, but the way in which he then anchors this particular soundscape to Vienna seems to hark back to an earlier, more traditional aesthetic that assumed sound to be characteristic of, and specific to, place.1

A Complex Kind of Training: Cities, technologies and sound in jazz-age Europe