This dissertation explores the place of sound, noise and silence in Milan at the turn of the twentieth century. By focusing on this particular urban environment, it aims to investigate the notion of sonic modernity through a series of four case studies. It begins in 1881, the year of the city's National Industrial Exposition, with the premiere of the ballet Excelsior. A second case study examines workers' songs, which comprised a resonant document in the rise of Italian socialism. The third case study focuses on a media event: the death of Giuseppe Verdi. Verdi's death can provide a fresh perspective on the political unconscious of Milan's lugubrious fine secolo. It is against this historical context that the fourth case study examines Luigi Russolo's famous "L'arte dei rumori" (The Art of Noises), showing how Russolo's ideas stand out against the resonant background of Milan's symbolic architectural sites and the noise of its human multitudes. Ultimately, this dissertation provides alternative contexts against which to understand Futurist noise, seeking to move beyond existing interpretations of Futurism as a turning point in music history and to position it instead as a refraction of Milan's increasingly industrial soundscape.