The music that was produced in Dunedin, New Zealand, during the 1980's occupies a unique place in the global indie music canon. In writing about this supposed ‘Dunedin sound,' critics and scholars alike have fixated on the city's remoteness: it is believed to be distant from metropolitan centres of music industry power and influence, and consequently supported a subversive and democratised local music scene. This article explores the implications of the ongoing historicisation of Dunedin's popular music scene along these lines, and highlights the ways in which the valorisation of the city’s musical heritage obstructs problematic power dynamics that impact the way young musicians in the city express place and musical identity. Our research applies an embedded participatory ethnography to unpack the ideological positions occupied by contemporary local musicians, and to critique factions within the contemporary musical scene in the city.

中文翻译：

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不是我们的“但尼丁之声”：对但尼丁流行音乐历史化的回应

1980 年代在新西兰达尼丁制作的音乐在全球独立音乐经典中占有独特的地位。在撰写这种所谓的“但尼丁之声”时，评论家和学者都关注这座城市的偏远：人们认为它远离音乐产业权力和影响力的大都市中心，因此支持了颠覆性和民主化的当地音乐场景。本文探讨了但尼丁流行音乐场景的持续历史化所带来的影响，并强调了该市音乐遗产的价值化如何阻碍有问题的权力动态，这些权力动态影响城市中年轻音乐家表达地方和音乐身份的方式。