অণুবর্গ

Zaheen: শুরু

”’অণুবর্গ”’ বলতে কোনও শিল্পকলার মূলধারা থেকে দূরে এক কোণে বা প্রান্তে অবস্থিত সৃষ্টিকর্মসমূহের একটি বর্গকে বোঝায়।{{sfn|Stevens|O’Donnell|2020|pp=1–6}} ইংরেজিতে একে “মাইক্রোজনরা” বলে। সঙ্গীত, সাহিত্য, চলচ্চিত্র ও অন্যান্য শিল্পকলার অত্যন্ত নির্দিষ্ট কোনও উপবর্গকে বোঝাতে এই পরিভাষাটি প্রচলিত।{{sfn|Stevens|O’Donnell|2020|p=6}}

যেমন সঙ্গীতের ক্ষেত্রে হেভি মেটাল সঙ্গীতের ও ইলেকট্রনীয় সঙ্গীত নামক বর্গগুলিতে বহুসংখ্যক উপ-উপবর্গ তথা অণুবর্গ বিদ্যমান।{{sfn|Stevens|O’Donnell|2020|pp=1, 6}} কখনও কখনও সঙ্গীত রেকর্ড ব্যবসায়ী ও সংগ্রহকারীরা কিছু কিছু রেকর্ডের আর্থিক মূল্য বাড়ানোর জন্য নতুন করে বিভিন্ন অণুবর্গ সৃষ্টি করে সেগুলিকে শ্রেণীবদ্ধ করেন, যেমন নর্দার্ন সোল, ফ্রিকবিট, গ্যারেজ পাংক, সানশাইন পপ, ইত্যাদি অণুবর্গ। ২০১০-এর দশকের শুরুতে আন্তর্জাল বা ইন্টারনেটের বিভিন্ন বিক্রয়কেন্দ্রে জনপ্রিয়তা ও হুজুগ তৈরি করার উদ্দেশ্যে নতুন নতুন প্রবণতা বা ধারাকে একেকটি অণুবর্গ হিসেবে সংজ্ঞায়িত করে ও সেগুলির ব্যাপারে সম্প্রচার করে,<ref name=”Marcus2017″/> যেমন [[চিলওয়েভ]], উইচ হাউস, সিপাংক, শিটগেজ, ভেপারওয়েভ, ক্লাউড র‍্যাপ, ইত্যাদি।
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==ব্যুৎপত্তি ও সংজ্ঞা==
===ইংরেজি===
Hyper-specific formulas and subgenres have always featured in [[popular culture]]. In a 1975 French article about [[historical fiction]], “microgenre” and “macrogenre” were invoked as concepts. The author defined microgenres as “a narrowly defined group of texts connected in time and space”, whereas macrogenres are “more diffuse and harder to generalize about.”{{sfn|Stevens|O’Donnell|2020|p=1}} Further discussion of the microgenre concept appeared in various critical works of 1980s and 1990s.{{sfn|Stevens|O’Donnell|2020|pp=1, 6}}

==সঙ্গীত==
===প্রারম্ভিক ইতিহাস===
Historically, musical microgenres were usually labelled by writers seeking to define a new style by linking together a group of seemingly disparate artists.<ref name=”AQNB”/> For example, when [[Lenny Kaye]] invoked the phrase “garage-punk” in liner notes for the 1971 compilation ”[[Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968|Nuggets]]”, it effectively created a style of [[rock music]] that, until then, was nameless and lingering in obscurity.<ref name=”Graham2015″>{{cite book|last=Graham|first=Ben|title=A Gathering of Promises: The Battle for Texas’s Psychedelic Music, from The 13th Floor Elevators to The Black Angels and Beyond|url=https://books.google.com/books?id=3arpCAAAQBAJ&pg=PT311|year=2015|publisher=John Hunt Publishing|isbn=978-1-78279-093-8|page=311}}</ref> The process of recognition for “[[power pop]]” was similarly formulated by a circle of rock writers who advocated their own annotated history of the genre.<ref>{{cite book |last=Cateforis |first=Theo |date=2011 |title=Are We Not New Wave: Modern Pop at the Turn of the 1980s |publisher=[[University of Michigan Press]] |pages=130, 132 |isbn=978-0-472-03470-3 |url=https://books.google.com/books?id=-MVrM3zKrHQC}}</ref> Music journalist [[Simon Reynolds]] has suggested that early examples of “genre-as-retroactive-fiction” include “Northern soul” and “garage punk”, both of which were coined in the early 1970s, and later followed by “freakbeat” and “sunshine pop”. According to Reynolds, such “semi-invented” genres were sometimes pushed by record dealers and collectors to increase the monetary value of the original records.<ref name=”Reynolds2011″>{{cite book|last=Reynolds|first=Simon|author-link=Simon Reynolds|title=Retromania: Pop Culture’s Addiction to Its Own Past|url=https://books.google.com/books?id=8FI3dVT9t34C&pg=PA152|year=2011|publisher=Farrar, Straus and Giroux|isbn=978-1-4299-6858-4|page=152}}</ref>

Successful attempts that resulted in widespread usage include “[[post-rock]]” (Reynolds) and “[[hauntology]]” ([[Mark Fisher (theorist)|Mark Fisher]]).<ref name=”AQNB” /> In the mid 1990s, ”[[Melody Maker]]” journalists went so far as to make up fictional bands to justify the existence of an updated [[New Romantic]] scene they dubbed “[[Romo|Romantic Modernism]]”. That same decade, there was a trend of [[electronic music|electronic]] and [[dance music]] producers who created specialized descriptions of their music as a way to assert their individuality. In the instance of [[trance music]], this desire led to [[progressive trance]], [[Goa trance]], [[psytrance|deep psytrance]], and [[hard trance]].<ref name=”AQNB”>{{cite web|author1=Halciion|title=(micro)genres of music explored|url=http://www.aqnb.com/2014/04/09/microgenres-of-music-explored/|website=AQNB|date=April 9, 2014}}</ref> [[house music|House]], [[drum-n-bass]], [[dubstep]] and [[techno]] also contain a large number of microgenres.<ref>{{cite news|last1=Ramanthan|first1=Lavanya|title=Factory Floor album review|url=https://www.washingtonpost.com/goingoutguide/music/factory-floor-album-review/2014/04/17/49ff6fc6-c0f3-11e3-bcec-b71ee10e9bc3_story.html|newspaper=[[The Washington Post]]|date=April 17, 2014}}</ref>

===ডিজিটাল যুগ===
The concept of microgenres gained prominence during the [[digital age]], and despite its earlier history, is more often associated with later trends.{{sfn|Stevens|O’Donnell|2020|pp=2, 6}} The speed at which microgenres achieve recognition and familiarity also accelerated substantially.{{sfn|Stevens|O’Donnell|2020|p=3}} This 21st-century “microgenre explosion” was partly a consequence of “software advances, faster internet connections, and the globalized proliferation of music”.<ref>{{cite web|last1=Kneschke|first1=Tristan|title=On Wandering the Paths of a Spotify Analyst’s Mad Music Map|url=http://www.popmatters.com/feature/on-wandering-the-paths-of-a-spotify-analysts-mad-music-map/|website=[[PopMatters]]|date=February 10, 2017}}</ref>

In 2009, a writer for the ”[[New York Times]]” observed that [[indie rock]] was then evolving into “an ever-expanding, incomprehensibly cluttered taxonomy of subgenres.”<ref name=”fried19″>{{cite news |last1=Friedlander |first1=Emilie |title=Chillwave: a momentary microgenre that ushered in the age of nostalgia |url=https://www.theguardian.com/music/2019/aug/21/chillwave-microgenre-nostalgia-pop |work=[[The Guardian]] |date=August 19, 2019}}</ref> By the early 2010s, most microgenres were linked and defined through various outlets on the internet. Each of them, according to ”Vice” writer Ezra Marcus, were “music scenes [created] out of thin air”.<ref name=”Marcus2017″>{{cite web|last1=Marcus|first1=Ezra|date=May 12, 2017|title=Wave Music Is a Marketing Tactic, Not a Microgenre|url=https://thump.vice.com/en_ca/article/ae5nkp/wave-music-marketing-tactic-microgenre|website=[[Vice (magazine)|Vice]]}}</ref> ”[[Pitchfork (website)|Pitchfork]]”{{‘}}s Jonny Coleman commented: “The line between a real genre that sounds fake and a fake genre that could be real is as thin as ever, if existent at all. This is the uncanny genre valley that publicists-cum-neologicians live in and for.”<ref name=”realgenre”>{{cite web|last1=Coleman|first1=Jonny|date=May 1, 2015|title=Quiz: Is This A Real Genre|url=http://pitchfork.com/thepitch/756-quiz-is-this-a-real-genre/|website=[[Pitchfork (website)|Pitchfork]]}}</ref>

Chillwave—termed sarcastically in a 2009 blog post<ref>{{cite web|last1=Cheshire|first1=Tom|title=Invent a new genre: Hipster Runoff’s Carles explains ‘chillwave’|url=https://www.wired.co.uk/article/invent-a-new-genre|website=[[The Wired]]|date=March 30, 2011}}</ref>—was one of the first music genres to formulate online.<ref name=”Scherer”>{{cite web|last1=Scherer|first1=James|title=Great artists steal: An interview with Neon Indian’s Alan Palomo|url=http://smilepolitely.com/music/great_artists_steal_an_interview_with_neon_indians_alan_palomo/|website=Smile Politely|date=October 26, 2016}}</ref> The term did not gain mainstream currency until early 2010, when it was the subject of articles by the ”[[Wall Street Journal]]” and the ”New York Times”.<ref name=”HoodVulture”>{{cite web|last1=Hood|first1=Bryan|title=Vulture’s Brief History of Chillwave|url=http://www.vulture.com/2011/07/vultures_a_brief_history_of_ch/|website=[[Vulture magazine|Vulture]]|date=July 14, 2011}}{{dead link|date=January 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Writing in 2019, journalist Emilie Friedlander, called chillwave “the internet electronic micro-genre that launched a hundred internet electronic micro-genres (think: vaporwave, witch house, seapunk, shitgaze, [[distroid]], [[hardvapour|hard vapor]]), not to mention its corollaries in this decade’s internet rap, which largely shared its collagist, hyper-referential approach to sound.”<ref name=”fried19″/>

===সমালোচনা===
In 2010, ”[[The Atlantic]]”{{‘}}s Llewellyn Hinkes Johns referenced the succession of chillwave, [[glo-fi]], and [[hypnagogic pop]] as a “prime example” of a cycle involving the invention of a new category that is quickly and “brazenly denounced, sometimes in the same article”.<ref name=”atlantic”>{{cite web|url=https://www.theatlantic.com/entertainment/archive/2010/07/downtempo-pop-when-good-music-gets-a-bad-name/59803/|work=The Atlantic|date=15 July 2010|title=Downtempo Pop: When Good Music Gets a Bad Name|last=Hinkes-Jones|first=Llewellyn}}</ref> ”[[Grantland]]”{{‘}}s Dave Schilling describes the “chillwave” designation as a pivotal moment that “revealed how arbitrary and meaningless labels like that really are. It wasn’t a scene. It was a parody of a scene, both a defining moment for the music blogosphere and the last gasp.”<ref name=”Schilling2015″>{{cite web|last1=Schilling|first1=Dave|title=That Was a Thing: The Brief History of the Totally Made-Up Chillwave Music Genre|url=http://grantland.com/hollywood-prospectus/that-was-a-thing-the-brief-history-of-the-totally-made-up-chillwave-music-genre/|date=April 8, 2015}}</ref> ”[[PopMatters]]”{{‘}} Thomas Britt argued that the “staggering number of niches created by writers and commenters to ‘distinguish’ musical acts is ultimately binding. If a band plays along and tailors itself to a category, then its fortunes are likely tied to the shelf life of that category.”<ref>{{cite web|last1=Britt|first1=Thomas|title=Pattern Is Movement – Pattern Is Movement|url=http://www.popmatters.com/review/180413-pattern-is-movement-pattern-is-movement/|website=[[PopMatters]]|date=April 2, 2014}}</ref>
–>
==অন্যান্য ক্ষেত্র==
২১শ শতাব্দীতে [[ডিজিটাল প্রকাশনা]]র বিস্তারের সাথে সাথে মার্কিন ইংরেজি সাহিত্যে উত্তরোত্তর বেশি বেশি প্রান্তিক অণুবর্গের উত্থান ঘটতে শুরু করে – [[আমিশ প্রণয়ধর্মী সৃষ্টিকর্ম]] থেকে শুরু করে [[ন্যাসকার প্রেম]] পর্যন্ত।<ref>{{Cite web|last=Melbourne|first=Dr Beth Driscoll, University of|date=2019-05-13|title=The rise of the microgenre|url=https://pursuit.unimelb.edu.au/articles/the-rise-of-the-microgenre|access-date=2021-03-08|website=Pursuit|language=en}}</ref>

২০২০ সালে আন্তর্জালিক ভিডিও সম্প্রচারমঞ্চ নেটফ্লিক্স তার কলনবিধি বা অ্যালগোরিদমে প্রায় ৭৭ হাজার (৭৬,৮৯৭টি) অণুবর্গ শনাক্ত করে, যার সূত্র ধরে নেটফ্লিক্স ব্যবসাসফল ধারাবাহিক নাটক যেমন ”[[হাউজ অফ কার্ডস (মার্কিন টেলিভিশন ধারাবাহিক)|হাউজ অফ কার্ডস]]” ও ”[[অরেঞ্জ ইজ দ্য নিউ ব্ল্যাক]]” নির্মাণ করে। {{sfn|Stevens|O’Donnell|2020|p=6}}

==অণুবর্গের তালিকা==
{{Main|অণুবর্গের তালিকা}}

==আরও দেখুন==
{{Wikitionary}}
* [[আন্তর্জাল নান্দনিকতা]] <!–Internet aesthetic]]–>
* [[হেভি মেটাল সঙ্গীতের বর্গসমূহ]] <!–Heavy metal genres]]–>
* [[পাংক রক সঙ্গীতের বর্গসমূহ]] <!–Punk rock genres]]–>
** [[হার্ডকোর পাংক রক উপবর্গের তালিকা]] <!–List of hardcore punk subgenres|Hardcore punk subgenres]]–>
* [[ইন্ডাস্ট্রিয়াল সঙ্গীতের বর্গসমূহের তালিকা]] <!–List of industrial music genres|Industrial music genres]]–>
* “[[সঙ্গীত নিয়ে লেখা হল স্থাপত্য নিয়ে নাচার মতো]] <!–Writing about music is like dancing about architecture]]”–>

==তথ্যসূত্র==
{{সূত্র তালিকা}}

”’গ্রন্থপঞ্জি”’
* {{cite book|editor-last1=Stevens|editor-first1=Anne H.|editor-last2=O’Donnell|editor-first2=Molly C.|title=The Microgenre: A Quick Look at Small Culture|url=https://books.google.com/books?id=RkzODwAAQBAJ&pg=PA6|year=2020|publisher=Bloomsbury Publishing|isbn=978-1-5013-4583-8}}

==আরও পড়ুন==
* {{cite web|ref=none|last1=Britton|first1=Luke Morgan|title=Music Genres Are A Joke That You’re Not In On|url=https://noisey.vice.com/en_ca/article/a-definitive-guide-to-trolling-music-genres|website=[[Vice (magazine)|Vice]]|date=September 26, 2016}}
* {{cite book|ref=none|last1=Slobin|first1=Mark|title=”Subcultural Sounds: Micromusics of the West” (Middletown, CT: Wesleyan University Press, 1992)|date=April 1993|isbn=9780819562616|url=https://books.google.com/books?id=5kXRPVdUxysC}}

[[Category:অণুবর্গ| ]]
[[Category:সাঙ্গীতিক উপসংস্কৃতি]]
[[Category:সঙ্গীত সাংবাদিকতা]]

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