In the early years of the twenty-first century a set of anthologies appearing under the programmatic titles quoted in the heading above provided the basis for a new, transdisciplinary field of academic research into sound and music. What was new was the overall view of all areas of auditory culture, of hearing/listening (to) and 'Gestaltung'/shaping (sound), of media configurations and transcultural influences. Preferred topics include sound practices and environments, which, although being part of everyday culture, are hardly given due consideration in the established academic fields. Apart from a methodological renewal of the workoriented humanities the aim is to bring together different lines of traditions such as futurism, Bauhaus, Musique Concrète, etc., that reach deep into the 20th century. In this context the contribution pursues two objectives: first, it provides a general overview of the discourse and its subjects. In a second step it deals with possibilities of change and extension of the academic disciplines within the thematic field.