Sonic Infrastructures and Participation in China's Independent Music Scene

Abstract

This paper examines the technological developments that give rise to the culture of independent music in contemporary China. Informed by what Kielman (2017) terms as sonic infrastructure, this chapter looks at three types of sonic infrastructures: the media matrix, music events, and what may seem remote yet is equally essential, high-speed railways, which I call postdakou sonic infrastructures. I will show that these infrastructures are highly accessible and social and immediately relate to one’s participation in independent music. First, I use “media matrix” to incorporate both music streaming platforms and social media sites, as well as the crossover between the two. Second, I focus on how music events extend one’s online participation to physical participation. Third, the rapid development of high-speed railways in China enables fans to travel across the country at an affordable price and fair amount of time, which allows them to join music events at a trans-local scale. I emphasize how post-dakou sonic infrastructures facilitate interactions between different players in the music scene and stimulate fans to organize themselves into communities. I argue that independent music is not only to be listened but also, more importantly, to be participated in. Post-dakou sonic infrastructures provide plentiful opportunities for fans to participate in independent music, which encourage what I term as “participatory sociality” – the underlying attraction of this culture.