The Politics of Tango
2019; Wiley; Volume: 31; Issue: 4 Linguagem: Inglês
10.1525/jpms.2019.31.4.51
ISSN1533-1598
Autores Tópico(s)Spanish Literature and Culture Studies
ResumoResearch Article| December 01 2019 The Politics of Tango: A Response to Michael Denning's Noise Uprising1 Matthew B. Karush Matthew B. Karush George Mason University Email: mkarush@gmu.edu Matthew B. Karush is professor of history at George Mason University and editor-in-chief of the Journal of Social History. He has published numerous articles and books on the political and cultural history of Argentina, including Musicians in Transit: Argentina and the Globalization of Popular Music (Duke University Press, 2017). Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2019) 31 (4): 51–66. https://doi.org/10.1525/jpms.2019.31.4.51 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Matthew B. Karush; The Politics of Tango: A Response to Michael Denning's Noise Uprising. Journal of Popular Music Studies 1 December 2019; 31 (4): 51–66. doi: https://doi.org/10.1525/jpms.2019.31.4.51 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search In his strikingly ambitious and provocative book, Noise Uprising, Michael Denning argues that the early recording industry unleashed a worldwide sonic revolution. Focusing on the five-year period inaugurated by the invention of electric recording technology in 1925, Denning analyzes the recording boom that played out in port cities throughout the world. He argues that these recordings broadcast to the world a collection of "vernacular musics" whose rhythms, timbres and unconventional conventions "disrupted the hierarchical orders and patterns of deference that structured colonial and settler societies" (Denning, 2015, p. 155). In so doing, they "decolonized the ear," laying the essential ideological groundwork for the global wave of political decolonization of subsequent decades. Noise Uprising offers a powerful synthesis and a suggestive new approach to the history of popular music, but its analysis of the political impact of the "phonograph musics" of the late 1920s is ultimately unconvincing. Denning's... You do not currently have access to this content.
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