• Bombos2



The idea of independence in music making has been the subject of academic research and discussion ever since the establishment of popular music studies as well as in intersecting areas of knowledge such as ethnomusicology and the sociology of music.  Most studies on independence in the 20th century address the possibilities for musicians and other agents within the sphere of music making, distribution and mediation to operate and reach an audience outside the oligopoly of the big music corporations. The last twenty years have seen important changes in the power balance between those forms of music making and the big companies due to the effects of digitalization and disintermediation in the music production cycle.  These opened new possibilities for artists and micro-labels to release music by bypassing the distribution chain provided by big companies. However, we also see the rise of new forms of corporate distribution and funding, such as through streaming platforms and brand sponsorship. These changes raise important questions about the shifting notions of independence and what it means in these new contexts. Many of these changes and what they meant have been scrutinized, especially in the contexts of the UK and the US. This book seeks contributions on independent music making outside of the UK and US in relation to the impact of digitalization on music related practices in the 21st century. 


We are interested in the following subtopics:

  1. Music playing, recording and performance;
  2. Distribution;
  3. Record labels and self-releasing artists;
  4. The mediators (radio, press and social networks);
  5. Concert and tour production and promotion;
  6. Management and booking;
  7. The notion of independence in music;
  8. Income streams, sources, and debates;
  9. Other topics.

Those interested should send an abstract (300-500 words in English + bibliographical references) and a short biographical note to Este endereço de email está protegido contra piratas. Necessita ativar o JavaScript para o visualizar. by 18 March 2022.

       All notifications of acceptance will be emailed no later than 22 April 2022. If accepted a 6000-10000 word essay will then be required for peer review.


The editors:

  • Pedro Belchior Nunes
  • Pedro Roxo
  • Shannon Garland