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Michael Denning , Noise Uprising: The Audiopolitics of a World Musical Revolution (London: Verso, 2015), ISBN: 978-1-78168-855-7 (hb), 978-1-78168-856-4 (pb).

Published online by Cambridge University Press:  10 March 2017

SHAYNA SILVERSTEIN
SHAYNA SILVERSTEIN*
Affiliation:
shayna.silverstein@northwestern.edu
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Twentieth-Century Music , Volume 14 , Special Issue 1: Tape , February 2017 , pp. 164 - 168
Copyright
Copyright © Cambridge University Press, 2017 

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References

1 Hall, Stuart, ‘What Is This “Black” in Black Popular Culture?’, in Black Popular Culture, ed. Wallace, Michele and Dent, Gina (New York: Dia Center for the Arts, 1992), 28 Google Scholar.

2 Attali, Jacques, Noise: The Political Economy of Music, trans. Brian Massumi (Manchester: Manchester University Press, 1985)Google Scholar.

3 Novak, David, Japanoise: Music at the Edge of Circulation (Durham, NC: Duke University Press, 2013), 232, 231CrossRefGoogle Scholar.

4 Denning, Noise Uprising, 163, quoting Benjamin, Walter, ‘The Work of Art in the Age of Its Technical Reproducibility: Third Version’, in Walter Benjamin: Selected Writings, v. 4, 1938–1940, ed. Eiland, Howard and Jennings, Michael W. (Cambridge, MA: Harvard, 2003), 262 Google Scholar.

5 Jim Sykes and Gavin Steingo, ‘Introduction’, in Remapping Sound Studies, ed. Jim Sykes and Gavin Steingo, in prep.