LEADER 03698nam 2200637 450 001 9910477180703321 005 20160726091700.0 010 $a0-472-12164-2 024 7 $a10.3998/mpub.8295270 035 $a(CKB)3710000000654159 035 $a(SSID)ssj0001663776 035 $a(PQKBManifestationID)16448646 035 $a(PQKBTitleCode)TC0001663776 035 $a(PQKBWorkID)14935010 035 $a(PQKB)10724901 035 $a(MiAaPQ)EBC4930594 035 $a(OCoLC)948511711 035 $a(MdBmJHUP)muse51346 035 $a(MiU)10.3998/mpub.8295270 035 $a(MiAaPQ)EBC4977974 035 $a(Au-PeEL)EBL4977974 035 $a(CaONFJC)MIL944125 035 $a(EXLCZ)993710000000654159 100 $a20151125d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSounds of the underground $ea cultural, political, and aesthetic mapping of underground and fringe music /$fStephen Graham 210 1$aAnn Arbor :$cUniversity of Michigan Press,$d[2016] 215 $a1 online resource (305 pages) $cillustrations 225 1 $aTracking pop 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-472-11975-3 320 $aIncludes bibliographical references (pages 269-289) and index. 327 $aIntro -- Contents -- Preface -- Part I-What Is the Underground? -- 1. Introduction to the Underground and Its Fringes -- 2. The Music and Musicians -- 3. Global and Local Underground/Fringe Scenes -- Part II-The Political and Cultural Underground -- 4. Politics and Underground/Fringe Music -- 5. Cultural Policy and Underground/Fringe Music -- 6. Artists and Music, Improv and Noise -- 7. The Digital Economy and Labels -- 8. Festivals and Venues -- Part III-Listening to the Underground -- 9. Noise as Concept, History, and Scene -- 10. The Politics of Underground Music and Noise -- 11. The Sounds of Noise -- 12. Extreme Metal -- Conclusion -- List of Interviewees -- Notes -- Bibliography -- Index. 330 $aIn this book, Stephen Graham examines the largely unexplored terrain of underground music-exploratory forms of music-making, such as noise, free improvisation, and extreme metal, that exist outside or on the fringes of mainstream culture, generally independent from both the market and from traditional high-art institutions. Until now there has been little scholarly discussion of underground music and its cultural, political, and aesthetic importance. In addition to providing a much-needed historical outline of this diverse scene, Stephen Graham focuses on the digital age, showing the underground and its fringes as based largely in radical anti-capitalist politics and aesthetics, tied to the political contexts and structures of late-capitalism. Sounds of the Underground explores these various ideas of separation and capture through interviews and analysis, developing a critical account of both the music and its political and cultural economy. 410 0$aTracking pop 606 $aUnderground music$xSocial aspects 606 $aUnderground music$xPolitical aspects 606 $aUnderground music$xHistory and criticism 606 $aSubculture 615 0$aUnderground music$xSocial aspects. 615 0$aUnderground music$xPolitical aspects. 615 0$aUnderground music$xHistory and criticism. 615 0$aSubculture. 676 $a781.64 700 $aGraham$b Stephen$0680275 712 02$aMichigan Publishing (University of Michigan) 801 0$bMiU 801 1$bMiU 906 $aBOOK 912 $a9910477180703321 996 $aSounds of the underground$92275219 997 $aUNINA