This paper examines the transformative influence of music technology on the development of independent music (indie) in Hong Kong since the turn of the millennium. Drawing upon in-depth interviews with local indie musicians, the research explores how technological advancements have democratized music production, distribution, and promotion. Prior to the widespread adoption of digital audio workstations and online platforms, indie musicians faced significant barriers to entry, often relying on traditional label support. The advent of affordable and accessible music technology has empowered these artists to take control of their creative process, fostering a surge in independent music creation and challenging the established dominance of Cantopop.

The interviews also reveal how music technology has fostered a DIY ethos within the Hong Kong musical scene. Artists discuss utilizing online platforms like YouTube and social media to bypass traditional gatekeepers and connect directly with their audiences. This direct-to-fan model has enabled indie musicians to cultivate dedicated fan bases, build online communities, and generate revenue independently. Furthermore, such development has enabled artists to experiment with diverse genres and develop unique sonic identities.

The study finds that the lines between indie and mainstream music in Hong Kong have become increasingly blurred in recent years. This blurring is evident in the recognition of indie artists at mainstream music awards ceremonies, demonstrating a growing integration of independent music into the broader Hong Kong music landscape. The research argues that music technology has played a pivotal role in this shift. This presentation will offer valuable insights into the evolving dynamics of the Hong Kong music scene and the empowering influence of technology on the artistic expression and commercial viability of independent musicians.

This paper builds on findings from my research on standardised testing and embodied cultural capital in Taiwanese elite students. While that study focused on educational dispositions, this paper turns to the domain of music, exploring how a taste for musical virtuosity among academically elite youth reconfigures orthodox models of musical habitus and taste formation in Taiwan’s popular music scene. Theoretically, this study challenges the Bourdieusian dichotomy between large-scale and restricted cultural production by examining how the affirmation of instrumental virtuosity—a value historically tied to Western art music and conservatoire training—is transposed into the contexts of rock music and hip-hop culture. Drawing on interviews with student musicians, this study observe how technical capital, as a specific form of embodied cultural capital, becomes a marker of distinction not through cultural refinement but through perceived difficulty, mastery, and discipline. These qualities are not only valorised over aesthetic or subcultural authenticity (e.g., DIY or punk ethos), but also closely aligned with the exam-driven learning disposition cultivated in East Asian education systems. By foregrounding technical capital and the transposition of learning dispositions across institutional fields (from school to music), the paper aims to contribute to a renewed understanding of musical disposition formation in an East Asia context and its intersection with global cultural fields.