Like a Sustainable Version: Practising Independence in the Central Sydney Independent Music Scene
Like a sustainable version: Practising independence in the Central Sydney independent music scene Shams Bin Quader A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of Gender and Cultural Studies School of Philosophical and Historical Inquiry Faculty of Arts and Social Sciences University of Sydney 2020 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person, not material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement has been made in the text. Shams Bin Quader 22 April 2020 SHAMS QUADER i ABSTRACT Independent music is a complex concept. It has meant different things at different historical moments of popular music and within academic, music press and industry discourses. Even though what independent music refers to might not be substantive, it has tended to signify an oppositional ethos comprising practices related to maintaining distinction from commercialised popular music. Historical narratives of popular music reveal that independent music or indie, has been defined and re-defined, from signifying an ethos of resistance comprising anti-major record label and anti- corporatisation attitudes, to rubrics of sound aesthetics, marketing categories and niche audience segments. Its different connotations then should not be assumed. Comprehension of different dimensions of independent music call for theorisation of youth, rebellion, alternative cultures, and their connections with musical forms, along with production and distribution-related organisational infrastructures revolving around them.
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