Can music be made “independently” in the 21st century?
More than a generation of musicians, music workers, and music companies have now been operating in the context of the profound shifts in music production and dissemination in the “digital era.” Scholarly focus on musical independence has often been centered on genres, like punk and indie, rooted in the US and UK. This volume, focused outside the Euro-American context, shows the variety of ways musicians, music workers and businesses manage the economic, media and cultural shifts propelled by digitalization, asking what it means now to say one is “independent.” It brings together scholars from around the globe who are researching forms of music production, circulation, consumption and finance that blur the boundaries between the dominant corporate players and “independent” cultural production. With chapters detailing popular music in Argentina, Brazil, Chile, Cuba, Indonesia, Portugal, Spain and Taiwan, independence is shown to be a concept and practice simultaneously nebulous, contradictory, and practical.
Arvustused
Engaged, rigorous research; impeccable editing; scintillating, essential and illuminating reading for anyone who's interested in the political economy of music. * Simon Frith, Emeritus Professor, University of Edinburgh, UK * This collection of essays is highly informative, illuminates the contemporary music industry, and provides an assessment of the current situation with respect to independent music production and its place in modern capitalism. * CHOICE *
Muu info
Interrogates the concept of independent music making given the many changes wrought by digital technologies on music production and circulation in the 21st century.
List of Figures
Acknowledgments
Chapter 1: Putting Music Independence into Perspective: An Historical and
Global Overview
By Pedro Belchior Nunes, Shannon Garland, and Pedro Roxo
Part I: Labels, Genres and Mediations
Chapter 2: Independent, Alternative, Autonomous: Brazilian Experiences with
Recorded Music in the Digital Age
By Marcia Tosta Dias
Chapter 3: Clean Feed Jazz Label: Wrong but Strong. Independent Music
Production and the Continued Commercialization of Cds in the Global 21st
Century
By Pedro Roxo
Chapter 4: From the Ghetto to the World: Batida, the Nexus Príncipe
Discos-Filho Único and the Legitimization of Afrodiasporic Music Practices
From the Outskirts Of Lisbon
By Pedro Belchior Nunes and Otávio Raposo
Chapter 5: Independence is Our Only Choice: Associations and Collectives as
Micro-Independent Record Labels in Galicia (2010-2020)
By Cibrán Tenreiro Uzal
Part II: Government Funding, Self-Management and the Corporatization of
Independence
Chapter 6: Rising Under DIY Entrepreneurship and Subsidyism: Taiwans Indie
Music in the 21st Century
By Miaoju Jian
Chapter 7: From Crisis to Reinvention: Independent Music in Argentina
Post-2001
By Victoria Irisarri and Ornela Boix
Chapter 8: Funk De São Paulo: An Independent Music Production Circuit on the
Outskirts of a Brazilian Metropolis
By Eduardo Vicente and Leonardo De Marchi
Chapter 9: Independent of a Wage: Volunteering to Industrialize Indie for
Sofar Sounds
By Shannon Garland
Part III: Political Regimes, Independent Ethos & Forms of Music Organization
Chapter 10: Juvenile Pleasures, Embodied Fights: The Pokemón Scene and the
Early Reggaetón Industries in Chile, 2004-2010
By Ana María Díaz Pinto
Chapter 11: From College Campus to Superbad!A Trajectory of an Indie
Movement in Indonesia
By Rizky Sasono
Chapter 12: Sneaking Across the Digital Divide: Usb Sticks and the
Infrastructure of Independent Cuban Music
By Mike Levine
Afterword: Capitalism and Its Discontented
by Timothy D. Taylor
List of Contributors
Shannon Garland is Assistant Professor of Music at the University of Pittsburgh. Her research draws on economic anthropology, social reproduction theory and Marxism to examine the transnational indie music industry across the US and Latin America. She has published on music venues & social media; Spotify playlists; sociality, aesthetics and politics; and labor, value and commodification. Pedro Belchior Nunesis an integrated researcher at the Institute of Ethnomusicology (INET-md), New University of Lisbon and a Guest Lecturer with Lisbons Open University. He has researched and published several articles on topics such as music journalism and criticism, the recording industry in Portugal and questions of sustainability in independent labels and musicians.
Pedro Roxo is Assistant Professor on graduate and postgraduate courses focusing on Ethnomusicology, Jazz, and Popular Music Studies and an integrated researcher at the Institute of Ethnomusicology at the Faculty of Human and Social Sciences, New University of Lisbon, Portugal. He is co-editor of Current Issues in Music Research: Copyright, Power and Transnational Music Processes (2012).
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