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dc.contributor.authorGraham, Stephen
dc.date.accessioned2021-02-10T12:58:18Z
dc.date.issued2016
dc.date.submitted2020-12-15T14:06:28Z
dc.identifierhttps://library.oapen.org/handle/20.500.12657/43885
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/32684
dc.description.abstractIn basements, dingy backrooms, warehouses, and other neglected places around the world music is being made that doesn't fit neatly into popular or classical categories and genres, whose often extreme sounds and tiny concerts hover on the fringes of these commercial and cultural mainstreams. The term “underground music” as it’s being used here connects various forms of music-making that exist outside or on the fringes of mainstream institutions and culture, such as noise, free improvisation, and extreme metal. This is music that makes little money, that’s noisy and exploratory in sound and that’s largely independent from both the market and from traditional high art institutions. It sometimes exists at the fringes of these commercial and cultural institutions, as for example with experimental metal or improv, but for the most part it’s removed from the mainstream, “underground,” as we see with noise artists such as Werewolf Jerusalem or Ramleh, obscure black metal artists such as Lord Foul, and improvisers such as Maggie Nicols. In response to a lack of previous scholarly discussion, Graham provides a cultural, political, and aesthetic mapping of this broad territory. By outlining the historical background but focusing on the digital age, the underground and its fringes can be seen as based in radical anti-capitalist politics or radical aesthetics while also being tied to the political contexts and structures of late capitalism. The book explores these various ideas of separation and captures, through interviews and analysis, a critical account of both the music and the political and cultural economy of the scene.
dc.languageEnglish
dc.rightsopen access
dc.subject.classificationbic Book Industry Communication::A The arts::AV Music::AVA Theory of music & musicology
dc.subject.otherMusic
dc.subject.otherEthnomusicology
dc.titleSounds of the Underground
dc.title.alternativeA Cultural, Political and Aesthetic Mapping of Underground and Fringe Music
dc.typebook
oapen.identifier.doihttps://doi.org/10.3998/mpub.8295270
oapen.relation.isPublishedByb7359529-e5f7-4510-a59f-d7dafa1d4d17
oapen.relation.isFundedBy969f21b5-ac00-4517-9de2-44973eec6874
oapen.collectionKnowledge Unlatched (KU)
oapen.imprintUniversity of Michigan Press
oapen.review.commentsThe proposal was selected by the acquisitions editor who invited a full manuscript. The full manuscript was reviewed by two external readers using a double-blind process. Based on the acquisitions editor recommendation, the external reviews, and their own analysis, the Executive Committee (Editorial Board) of U-M Press approved the project for publication.en_US
peerreview.review.decisionYes
peerreview.review.typeFull text
peerreview.anonymityDouble-blind
peerreview.reviewer.typeExternal peer reviewer
peerreview.review.stagePre-publication
peerreview.open.reviewNo
peerreview.publish.responsibilityScientific or Editorial Board
peerreview.idd98bf225-990a-4ac4-acf4-fd7bf0dfb00c
dc.number104007
dc.relationisFundedByb818ba9d-2dd9-4fd7-a364-7f305aef7ee9


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