music recorded at the beginning of the twentieth century. Denning offers a convincing description of the transformative power of recording and the mass circulation of recorded music, and sheds light on the conditions out of which the vernacular music of the 1920s emerged. By combining history with musicology and cultural studies, Noise Uprising forces us to consider how music and sound can be used to gain greater insight into societies and cultures, and how music can be incorporated into social and political analysis. Even if some of the arguments can be contested, it contains valuable insights into the political power of popular music that should inform future scholarship. Historians should take note of Denning’s assertion that the stuff of mass culture is worthy of serious contemplation. The book succeeds in highlighting the birth of modern musical idioms. Through the inclusion of a digitally streamed playlist and a hint that it will be relocated as ‘vehicles of online music change’, it shows too that the world of popular music exists in a state of constant flux, and that that how we consume and engage with recordings continues to shift.

中文翻译：

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印度的造物主和摇动者

在20世纪初录制的音乐。丹宁（Denning）提供了令人信服的记录转换能力和已记录音乐的大众传播的描述，并阐明了1920年代本土音乐出现的条件。通过将历史与音乐学和文化研究相结合，“噪声起义”迫使我们考虑如何使用音乐和声音来获得对社会和文化的更深入的了解，以及如何将音乐融入社会和政治分析中。即使可以对某些论点进行辩论，它也包含了对流行音乐的政治力量的宝贵见解，这些知识应可为将来的研究提供信息。历史学家应注意丹宁的主张，即大众文化的内容值得认真考虑。这本书成功地突出了现代音乐成语的诞生。通过包含数字流媒体播放列表并暗示将其重新定位为“在线音乐变革的媒介”，它也表明，流行音乐的世界处于不断变化的状态，并且表明我们如何消费和参与与录音继续转移。