“In pursuing the origin story of a single musical note, Gribenski shows us that nothing about the ways we hear, evaluate, or feel about music and musicians is ‘natural’ or ‘universal.’ Her virtuosic interdisciplinary research convincingly reveals how—as the battling forces of metaphysics, historical precedence, mathematics and experimental sciences, instrument construction, composition and repertoire, performers’ health, and aesthetic preference competed for attention—the relentless imperial ambitions of a few nations led to the pitch A’s designation as 440 hertz. Tuning the World is required reading for music scholars and practitioners, historians of science, and diplomats alike.”

Nina Eidsheim, University of California, Los Angeles

“Tuning the World is a lovely and profoundly important book. Through rigorous analysis and innovative use of archival materials, Gribenski strikes out on a rich, new path that will lead the way for historians of science, sound studies scholars, and musicologists for years to come.”

Alexandra Hui, Mississippi State University

“Tuning the World is an impressive achievement. At once sweeping and fine-grained, it reveals the high stakes of pitch standardization as it helped shape the contemporary soundscape. Gribenski compellingly weaves together pivotal yet overlooked episodes in the history of transatlantic sonic culture and political economy in the nineteenth and twentieth centuries. This book proposes a distinctive and original argument, supported by voluminous historical detail, most or all of which will be new to readers.”

Benjamin Steege, Columbia University

"Ultimately, Tuning the World reveals the intricate interconnectedness of science, music and globalization in the making of a fragile transnational sonic modernity, while offering, in a highly nuanced way, insight into its very limits. As such, this book should appeal to historians and students of scientific diplomacy and standardization, as well as those interested in the intersection of music and science, and the history of music and acoustics in particular."

British Journal for the History of Science