In this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.

中文翻译：

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从麦克风到电线：1970 年代和 1980 年代音乐创作的文化变迁

在这篇文章中，我研究了本地化的文化变化，它仍然是更广泛变化的一个应用实例。主要关注 1970 年代和 1980 年代初期活跃于英国（以及在较小程度上是美国和欧洲）的即兴和实验音乐场景中的英国白人男性音乐家和音乐作家，我发现品味和态度发生了明显变化，并练习。这些转变从 Ben Piekut 所说的 1960 年代的“混合前卫”到我所说的 1970 年代后期和 1980 年代的“非流行前卫”，其中流行音乐和非西方音乐的影响更为显着角色比以前和阈限，准流行的做法，如噪音正在出现。我通过那个时期的独立音乐出版物来追溯非流行前卫的出现，最突出的是麦克风,音乐,共谋,动力， 和研究，使用这些已发表的场景话语作为当时音乐氛围的晴雨表。