Fan discourse and the construction of noise music as a genre

Atton, Chris

Authors

Chris Atton

Abstract

Recent theoretical interest in Noise has drawn attention to the difficulties of making sense of it as a musical practice. Various claims have been made: Noise challenges the entire history of musical codes; it represents the end of music; it is a new, all-subsuming genre; it is not a genre at all. These tensions and contradictions suggest important questions about how genres are constructed (and how they are denied). This paper examines how listeners construct the “genre-culture” of Noise. An examination of fan-writing practices reveals tensions (similar to those within theory) within an amateur critical discourse that considers Noise as generic and anti-generic, as private and public, and as transcendental and mundane. However, the study provides evidence that fans rely on generic markers for the purposes of distinction and classification to guide them through purchasing choices, from which they are able to engage in the more problematic questions of the aesthetics of Noise.

Citation

Atton, C. (2011). Fan discourse and the construction of noise music as a genre. Journal of Popular Music Studies, 23, 324-342

Journal Article Type	Article
Publication Date	2011
Deposit Date	Oct 3, 2011
Print ISSN	1524-2226
Electronic ISSN	1533158
Publisher	Wiley
Peer Reviewed	Peer Reviewed
Volume	23
Pages	324-342
Keywords	Popular music; genres; cultural artefacts; Japanese noise music;
Public URL	http://researchrepository.napier.ac.uk/id/eprint/3853