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Normal0falsefalsefalseMicrosoftInternetExplorer4st1\: *{behavior: url(#ieooui) }/* Style Definitions */table.MsoNormalTable{mso-style-name: Table Normal ;mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow: yes;mso-style-parent: ;mso-padding-alt:0in 5.4pt 0in 5.4pt;mso-para-margin:0in;mso-para-margin-bottom: .0001pt;mso-pagination: widow-orphan;font-size:10.0pt;font-family: Times New Roman ;mso-ansi-language: #0400;mso-fareast-language: #0400;mso-bidi-language: #0400;} Paul Hegarty's Noise/Music is one of the more provocativebooks I've read this past year. When I first encountered the book, Iassumed like many readers that it would be a book about a genre that has cometo be known as noise music, which evolved in Japan in the1990s but has subsequently become a world-wide phenomenon. While noisemusic does in fact get addressed in the latter part of the book, Hegarty's book is actually about something much larger; it is asocio-musicological examination of the ever-changing threshold of tolerancebetween music and noise in a wide variety of musical genres during the 20thcentury. -newmusicbox.com

Normal0falsefalsefalseMicrosoftInternetExplorer4st1\: *{behavior: url(#ieooui) }/* Style Definitions */table.MsoNormalTable{mso-style-name: Table Normal ;mso-tstyle-rowband-size:0;mso-tstyle-colband-size:0;mso-style-noshow: yes;mso-style-parent: ;mso-padding-alt:0in 5.4pt 0in 5.4pt;mso-para-margin:0in;mso-para-margin-bottom: .0001pt;mso-pagination: widow-orphan;font-size:10.0pt;font-family: Times New Roman ;mso-ansi-language: #0400;mso-fareast-language: #0400;mso-bidi-language: #0400;} Paul Hegarty's Noise/Music is one of the more provocativebooks I've read this past year. When I first encountered the book, Iassumed like many readers that it would be a book about a genre that has cometo be known as noise music, which evolved in Japan in the1990s but has subsequently become a world-wide phenomenon. While noisemusic does in fact get addressed in the latter part of the book, Hegarty's book is actually about something much larger; it is asocio-musicological examination of the ever-

Normal 0 false false false MicrosoftInternetExplorer4 st1\: *{behavior: url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name: Table Normal ; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow: yes; mso-style-parent: ; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom: .0001pt; mso-pagination: widow-orphan; font-size:10.0pt; font-family: Times New Roman ; mso-ansi-language: #0400; mso-fareast-language: #0400; mso-bidi-language: #0400;} Paul Hegarty's Noise/Music is one of the more provocative books I've read this past year. When I first encountered the book, I assumed like many readers that it would be a book about a genre that has come to be known as noise music, which evolved in Japan in the 1990s but has subsequently become a world-wide phenomenon. While noise music does in fact get addressed in the latter part of the book, Hegarty's book is actually about something much larger; it is a socio-musicological examination of the ever-changing threshold of tolerance between music and noise in a wide variety of musical genres during the 20th century. -newmusicbox.com

Author Information

Paul Hegarty is Professor of French and Francophone Studies at the University of Nottingham, UK. He is the author and editor of 11 books that span critical and cultural theory, rock, experimental and noise music, as well as audiovisual art including Noise/Music (Bloomsbury, 2007), Rumour and Radiation (Bloomsbury, 2014) and Annihilating Noise (Bloomsbury, 2020). He is also Co-editor of Bloomsbury's Ex:Centrics series.

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