Between Authenticity and the Market: Music, Subculture, and Values in the United States since the 1970s

自从20世纪60年代末反文化运动的扩散以来，美国的音乐日益成为不同亚文化主张其价值观并向更广泛的社会表达这些价值观的平台。本项目通过五个案例研究来考察这种亚文化价值观的表现形式：a)消费者价值观、品牌和社区认同在广告音乐中的融合（便利和路边连锁餐厅华夫屋的自制自动点唱机音乐）；b)新时代音乐中种族和世界观的重新定义（R. Carlos Nakai）；c)第二波Detroit Techno电子舞曲（Underground Resistance和Plus 8）中的反消费主义倾向；d)古典音乐界的精英主义问题（查尔斯·e·艾夫斯）；e)当代基督教音乐中保守基督教价值观的商业化（艾米·格兰特和巴洛女孩）。我从三个方面来分析这些案例：1)音乐表达；2)亚文化价值观；3)市场需求。至少从20世纪80年代开始，被认为是独立的亚文化价值观就不得不面对关于消费社会有效性的更广泛的霸权共识的巨大影响。随着生活方式和种族被商品化，宗教和人文价值也变成了产品。然而，真实性（艺术标准和价值表达）和市场并不是相互排斥的范畴。我试图发现新的音乐和社会的意义，已经出现在过去的三十年，因为小型音乐企业遇到了消费社会的压力。该项目采用了批判/文化研究、美国研究和音乐学的跨学科方法。

Ever since the proliferation of countercultural movements in the late 1960s, music in the United States has increasingly become a platform through which different subcultures assert their values and express these to a broader society. This project examines manifestations of such subcultural values through five case studies: a) the fusion of consumer values, branding, and community identity in advertisement music (the self-produced jukebox music of the convenience and roadside restaurant chain Waffle House); b) the redefinition of ethnicity and world-views in New Age Music (R. Carlos Nakai); c) anti-consumerist tendencies in the second wave of Detroit Techno electronic dance music (Underground Resistance and Plus 8); d) the question of elitism in the classical music scene (Charles E. Ives); and e) the commercialization of conservative Christian values in Contemporary Christian Music (Amy Grant and BarlowGirl). I analyze these cases via three fields of entanglement and tension: 1.) musical expression; 2.) subcultural values; 3.) the requirements of the market. Since at least the 1980s, supposedly independent subcultural values have had to confront the massive impact of a broader hegemonic consensus about the validity of a consumer society. As lifestyle and ethnicity have been commodified, religious and humanistic values have become products. Yet authenticity (artistic standards and the expression of values) and the market are not mutually exclusive categories. I seek to discover the new musical and social meanings that have emerged in the last thirty years as small music business encountered the pressures of consumer society. The project uses interdisciplinary approaches from Critical/Cultural Studies, American Studies, and musicology.