[1] Kate Carr, p.57, Animal Music: Sound and Song in the Animal World, ed. Tobias Fischer and Lara Cory, Strange Attractor Press, 2015

[2]  Dr Jamie Bacon in ‘Wildlife 101: Whistling Frogs with Dr Jamie Bacon’, 23 June 2024, TheBermudian.Com [https://www.thebermudian.com/home-a-garden/nature/wildlife-101-whistling-frogs/]

[3]  Pablo Diserens in conversation with Anton Spice for Through Sounds, 11 July 2024 [https://antonspice.substack.com/p/amphibious-sounds-and-melting-glaciers]

[4]  Ibid.

 [5] Album writeup for ‘turning porous’, released by forms of minutiae [https://pablodiserens.studio/turning-porous] 

[6] Pablo Diserens in conversation with Anton Spice

[7] Momo Kusama, ‘Imitation and Inspiration: Olivier Messiaen’, Animal Music, p.21

[8]  Album writeup for ‘turning porous’

[9] Tobias Fischer’s description of Yannick Dauby’s insights in ‘Father Frog’, Animal Music, p.56

[10]  Ibid.

[11]  David Abrams, The Spell of the Sensuous, 1994, Penguin Vintage, p.22.

[12] Pauline Oliveros, Quantum Listening, 1999, republished 2022, Ignota Press

[13] Neala MacDonald for Nature Canada, ‘Amphibial Pursuits: FrogWatch Teachers' Guide to Frogs as Indicators of Ecosystem Health’, 2002, p.10 [https://www.naturewatch.ca/wp-content/biguploads/senior_guide_712.pdf]

[14] Ibid., p.11

[15] Ibid., p.10

[16] Ibid., p.11

[17] Pablo Diserens in conversation with Anton Spice 

[18] George R. Zug, ‘vocal sac’, Britannica [https://www.britannica.com/science/vocal-sac]

[19] Ibid.

[20] Michael Smotherman & Peter Narins, ‘Evolution of the Amphibian Ear’, Evolution of the Vertebrate Auditory System, Springer, 2004, p.164 [https://link.springer.com/chapter/10.1007/978-1-4419-8957-4_6]

[21] Andrea Megela Simmons & Darlene R. Ketten, ‘How a Frog Hears’, Acoustics Today, Winter 2020, p.69 [https://acousticstoday.org/wp-content/uploads/2020/12/How-a-Frog-Hears-Andrea-Megela-Simmons-and-Darlene-R.-Ketten.pdf]

[22] Ibid.

[23] Evelyn Glennie writing in 1993, quoted in Animal Music, p.92

[24] Tobias Fischer’s description of Yannick Dauby’s insights in Animal Music, p.56

[25] Joel Cahen quoted in ‘Famous Montreal swimming pool is transformed into sound art experience for Red Bull Music Academy’, Decoded, 25 October 2016 [https://www.decodedmagazine.com/sound-art-rbma-montreal/]

[26]  ‘amphibious’, Online Etymology Dictionary [https://www.etymonline.com/word/amphibious]

[27] Ibid.

[28] Jacob and Wilhelm Grimm, ‘The Frog Prince or Iron Heinrich’, 1812, accessed via the University of Pittsburgh [https://sites.pitt.edu/~dash/grimm001.html]

[29] Yvonne Black, ‘In defence of great crested newts: why these elusive amphibians are worth the worry’, The Conversation, 22 September 2017 [https://theconversation.com/in-defence-of-great-crested-newts-why-these-elusive-amphibians-are-worth-the-worry-77288]

[30] Kim Willsher, ‘No croaks: French police intervene in neighbours’ frog row’, The Guardian, 9 May 2023 [https://www.theguardian.com/world/2023/may/09/french-police-intervene-in-neighbours-frog-row-croak]

[31] Pablo Diserens in conversation with Anton Spice

[32] Riley French’s perspective described by Tobias Fischer in Animal Music, p.167

[33] Marek Brandt quoted in Animal Music, p.138

[34] François-Bernard Mâche’s perspective described by Lara Cory in Animal Music p.27

[35] Pablo Diserens in conversation with Anton Spice