In its inaugural 2007 press release, New York–based New Amsterdam Records announced its mission to “foster a sense of connection among musicians and fans in this ‘indie classical’ scene.” New Amsterdam's publicity apparatus brought “indie classical” into widespread media circulation, but by 2013 the label had ceased using the term. In the intervening years, the meaning of indie classical had been hotly contested by the community of musicians it was meant to champion. Drawing on more than fifty interviews, archival research, and reception history from traditional publications and new online sources, I recreate the rise and fall of indie classical as it transpired over a decade. Tracing the background of the composers and performers who first labeled themselves as indie classical, unveiling the origins of the term and how it was disseminated, and examining the debates that surrounded it and its subsequent decline reveals how the aesthetic discourse of new music is constructed in the twenty-first century.

中文翻译：

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“独立古典”的兴衰：追溯 21 世纪新音乐中一个有争议的术语

在 2007 年的首份新闻稿中，总部位于纽约的新阿姆斯特丹唱片公司宣布其使命是“在这个‘独立古典’场景中培养音乐家和粉丝之间的联系感”。新阿姆斯特丹的宣传机构将“独立经典”带入了广泛的媒体传播，但到 2013 年，该标签已停止使用该术语。在其间的几年里，独立古典音乐的意义受到了它所支持的音乐家群体的激烈争论。借鉴来自传统出版物和新在线资源的 50 多次采访、档案研究和接收历史，我重现了独立古典音乐十多年来的兴衰。追溯最初将自己称为独立古典音乐的作曲家和表演者的背景，揭示该术语的起源及其传播方式，