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Title: INDIE INDIAN MUSIC -- MARKET TRENDS IN INDIE MUSIC PRODUCTION AND DISSEMINATION IN INDIA
Authors: Apaar Mehra
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Apaar Mehra The British School, New Delhi, India
MLA 8 Mehra, Apaar. "INDIE INDIAN MUSIC -- MARKET TRENDS IN INDIE MUSIC PRODUCTION AND DISSEMINATION IN INDIA." Int. j. of Social Science and Economic Research, vol. 4, no. 6, June 2019, pp. 4145-4151, ijsser.org/more2019.php?id=315. Accessed June 2019. APA Mehra, A. (2019, June). INDIE INDIAN MUSIC -- MARKET TRENDS IN INDIE MUSIC PRODUCTION AND DISSEMINATION IN INDIA. Int. j. of Social Science and Economic Research, 4(6), 4145-4151. Retrieved from ijsser.org/more2019.php?id=315 Chicago Mehra, Apaar. "INDIE INDIAN MUSIC -- MARKET TRENDS IN INDIE MUSIC PRODUCTION AND DISSEMINATION IN INDIA." Int. j. of Social Science and Economic Research 4, no. 6 (June 2019), 4145-4151. Accessed June, 2019. ijsser.org/more2019.php?id=315.
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Abstract: Independent music is the music developed and produced by artists independent of commercial studios. This helps artists experiment and develop their own forms of music across genres as commercial studios usually produce standard music to generate revenue from the pre-established market. Higher rates of internet penetration, easier access to equipment and technology, exposure to western media and increase in disposable income has led to the accelerated growth of the Indie music industry in developed cities of India. Indie Music has become an integral tool of protest for the preservation of freedom of speech and equality in a country that has been suffering from religious polarization attacks on cultural diversity by the present ruling political party. However, only the most privileged sections of society have been at the forefront of Indie Music in India. Poor networking and the lack of adequate infrastructure has led to the creation of multiple barriers to entry for musicians on the basis of gender, caste, ethnicity, religion, gender, sexuality, economic background, and domicile. The onus to include musicians of diverse identities into the mainstream lies on promoters, established musicians, sponsors, entertainment companies and the audience. The development of independent music in north-eastern parts of the country despite its economic backwardness is an example of how effective networking and investment by promoters and sponsors can create opportunities for artists irrespective of their identity or economic background.

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