Source:Palgrave Macmillan,, Singapore, p.1 online resource (2021)
Mots-clés:China, East Asia., Social aspects, Underground music
Intro -- Acknowledgements -- Contents -- Notes on Contributors -- List of Images -- 1: Introduction: Nomadism, Fragmentation, and Marginality -- The Hong Kong Music Underground in the East Asian Context -- Defining Musical 'Undergrounds' -- Positioning Hong Kong in East Asian Undergrounds -- Locality, Translocalism, Sceneness -- Hong Kong Underground Music Scenes as Fractured Scenes -- Chapter Outlines -- Part One: Different Perspectives on the Hong Kong Underground -- Part Two Take 1: Individual Case Studies in Noise/Experimental/Free ImprovisationPart Two Take 2: Individual Case Studies in Sound Art/Contemporary Approach -- Part Two Take 3: Individual Case Studies in Indie-Rock/Indie-Pop and Electronic Music -- Part Three: Inter/faces -- Mainland China -- Japan -- Towards a Plurality of Translocal Undergrounds in East Asia -- References -- Part One: Perspectives on the Hong Kong Underground -- 2: Ice Skating and Stinky Foods: Notes from the Hong Kong Underground, 2018-2019 -- Background to My Work and Residency -- Vessel: The First Night (October 9, 2019) -- Resonance: The Second Night (October 10, 2019)Bread: The Third Night (October 11, 2019) -- References -- 3: Interview with Xper. Xr. -- 4: Interview with Kung Chi Shing -- Part Two, Take 1: Individual Case Studies in Noise/Experimental Music/Free Improvisation -- 5: The Politics of Noise: An Interview with Sound Scientist Dennis Wong -- Foreword by Blair Reeve -- 6: Opportunities in Theatre Performing Arts Advancement in Bettering Underground Music Development: A Reflection on the Relevance of the Technical Production in Local/Global Experimental Music Performances7: A "No-Venue Underground": Making Experimental Music Around Hong Kong's Lack of Performance Spaces -- Unit 7, 8th floor, Block B, Wah Tat Industrial Centre, 8-10 Wah Sing Street, Kwai Hing, Kowloon, Hong Kong -- Hijacking the City -- An Underground Without Ground -- References -- Part Two, Take 2: Individual Case Studies in Sound and Contemporary Art -- 8: Interview with Samson Young -- 9: Noises That No One Else Hears -- Listening Under Unstable Conditions -- The Work of Amateurs -- ReferencesLyrics in Hong Kong's Indie Music.Online resource; title from digital title page (viewed on April 16, 2021).Fractured Scenes is the first extensive academic account of music and sound art practices that fall outside of the scope of mainstream music in Hong Kong. It combines academic essays with original interviews conducted with prominent Hong Kong underground/independent musicians and sound artists as well as first hand-accounts by key local scene actors in order to survey genres such as experimental/noise music, deconstructed electronic music, indie-pop, punk, garage rock, sound art and DIY computer music (among others). It examines these Hong Kong underground music practices in relief with specific case studies in Mainland China and Japan to begin re-defining the notion of a musical underground in the context of contemporary Hong Kong.