The Persistence of the Underground in Dance Music Scenes

许多关于20世纪80年代后期电子舞曲出现的文本记录了其非商业起源（Reynolds，1999;班布里奇，2014）。最近的书籍专注于舞蹈音乐的主流流行和相关经济，特别是在美国，它在文化上被重新命名为EDM（Matos，2016;柯林，2018）。然而，很少有音乐学者调查故意边缘的“地下”舞蹈场景的持续流行，这将拒绝与首字母“EDM”的联系。尽管“地下”一词被广泛使用，但在流行或学术文献中几乎没有定义。此外，地下舞蹈音乐也不是一个可以明确界定为一个独特的音乐流派的概念。主流和地下舞曲的作曲过程，即兴形式和声音品质都非常相似（Butler，2014）。然而，虽然相同的演员角色都在发挥作用，音乐体验的使用和期望似乎不同的参与者。拟议的研究旨在通过对一个特定城市的地下场景的案例研究，为舞蹈音乐文化的知识体系提供一个新的视角，并了解“地下”是什么。

Numerous texts on the emergence of electronic dance music in the late 1980s document its non-commercial origins (Reynolds, 1999; Bainbridge, 2014). Recent books focus on dance music's mainstream popularity and associated economy, especially in the USA where it has been culturally rebranded as EDM (Matos, 2016; Collin, 2018). However, there has been little music scholarship investigating the ongoing prevalence of deliberately marginal 'underground' dance scenes, which would reject association with the initials 'EDM'. Revealingly, despite widespread use of the term 'underground', it is scarcely defined in either popular or academic literature. Furthermore, underground dance music is also not a concept that can be clearly delineated as a distinct musical genre. Both mainstream and underground dance music's compositional processes, improvisational forms, and sonic qualities are remarkably similar (Butler, 2014). However, whilst the same actor roles are at play in both, the usage and expectations of musical experience appear to differ for participants. The proposed research aims to contribute a fresh perspective to the body of knowledge on dance music cultures through a case study of a particular city's underground scene and derive an understanding of what the 'underground' is.