Observing a Scene of Electronic Music Culture

2014 ◽  
pp. 89-130
Author(s):  
Florian Grote
Keyword(s):  
Electronic Music ◽  
Music Culture

scholarly journals Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

2021 ◽  
Author(s):  
Sara Wei-Ming Chan
Keyword(s):  
Digital Technology ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Performance ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Composition Methods ◽  
Unique Manner ◽  
And Performance

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.

scholarly journals Dancefloor-driven literature: subcultural big bangs and a new center for the aesthetic universe

Popular Music ◽  
2016 ◽  
Vol 36 (1) ◽  
pp. 43-54
Author(s):  
Simon A. Morrison
Keyword(s):  
Black Hole ◽  
Electronic Music ◽  
Dance Music ◽  
Music Culture ◽  
Drug Experience ◽  
Written Word ◽  
The Aesthetic ◽  
Literary Output ◽  
Literary Techniques ◽  
The Universe

AbstractThis paper sets coordinates squarely for Holleran's ‘aesthetic center of the universe’ – venturing towards the black hole of the nightclub dancefloor. Further, it will investigate those writers determined to capture the electronic essence of this at times alien dance music culture within the rather more earth-bound parameters of the written word. How might such authors write about something so otherworldly as the nightclub scene? How might they write lucidly and fluidly about the rigid, metronomic beat of electronic music? What literary techniques might they deploy to accurately recount in fixed symbols the drifting, hallucinatory effects of a drug experience? In an attempt to address these questions this paper will offer an altogether outerspace overview of this subculture and its fictional literary output.

scholarly journals UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL

10.23856/4301 ◽  
2021 ◽  
Vol 43 (6) ◽  
pp. 9-15
Author(s):  
Andriy Bondarenko
Keyword(s):  
National Identity ◽  
Electronic Music ◽  
World Culture ◽  
Music Culture ◽  
Stages Of Development ◽  
Musical Culture ◽  
The World ◽  
The Republic ◽  
The Aesthetic ◽  
The Impact

The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

scholarly journals Classical crossover in the modern musical space of Ukraine

2021 ◽  
pp. 179-183
Author(s):  
Svitlana Muravitska
Keyword(s):  
Electronic Music ◽  
Music Culture ◽  
Modern Music ◽  
Musical Space ◽  
Vocal Art ◽  
Academic School ◽  
Variety Performance ◽  
The 1960S ◽  
New Generation ◽  
First Time

The purpose of the article is to consider the genesis of the classical crossover and traces its path of development in the Ukrainian cultural and artistic space. The methodology involves a combination of historical and cultural, analytical, and comparative methods, which clarified the place of the classical crossover in modern music culture. The scientific novelty of the study is that for the first time in Ukrainian science, Ukrainian representatives of the classical crossover are considered. Conclusions. At the turn of the 20th – 21st centuries one of the areas that synthesize the achievements of academic and variety (rock, pop, electronic music) art has become a classic crossover. The origins of this trend are more ancient and go back to the 1960s when the first attempts were made to synthesize academic and variety performance. Famous Ukrainian singers of the academic school D. Hnatiuk, Yu. Gulyaev, A. Mokrenko, D. Petrinenko, L. Ostapenko performed both classical and variety works. Today, a striking example of the synthesis of academic and variety vocal art is the duets of F. Mustafayev – T. Samaya and V. Stepova – V. Sinchuk. Ukrainian singer, soprano of the new generation Arina Domski is the only representative of the Ukrainian scene, which consistently turns to the direction of the classical crossover, synthesizing in its performance variety and academic vocal repertoire.

Work and Play: Vagaries Surrounding Contemporary Cultural Production in Sydney's Dance Music Culture

2007 ◽  
Vol 123 (1) ◽  
pp. 123-137 ◽  
Author(s):  
Chris Brennan-Horley
Keyword(s):  
Social Relations ◽  
Cultural Production ◽  
Electronic Music ◽  
Research Direction ◽  
Creative Industries ◽  
Cultural Work ◽  
Dance Music ◽  
Music Culture ◽  
Music Scenes ◽  
Cultural And Creative Industries

Much recent research has documented how, under ‘creative’ capitalism, approaches towards work and types of work are changing. This paper extends this research direction, uncovering the discourses that influence conditions of work in one sector of the cultural industries: what can loosely be defined as the ‘dance music industry’. It examines the role that networking and social relations play in maintaining a music scene through which work opportunities are created. The paper also explores how attitudes toward work in this particular cultural pursuit are emblematic of wider shifts in working practices within the cultural and creative industries. The findings are based on interviews with various DJs and promoters within dance and electronic music scenes in Sydney. It is argued that the boundaries between work and non-work, and between ‘industry’ and ‘scene’, are porous for those engaged in this form of cultural production, with a need to further discuss the implications of these observations for the future of cultural work under advanced capitalism.

scholarly journals Imaginary Soundscapes: Electronic Music Culture and the Aesthetics of the Virtual

2021 ◽  
Author(s):  
Sara Wei-Ming Chan
Keyword(s):  
Digital Technology ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Performance ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Composition Methods ◽  
Unique Manner ◽  
And Performance

This study is an exploration into how dance music cultures (better known as "rave" or "club" cultures) find ways to straddle the divide between human and machine through their incorporation of both of these oft-competing elements. Electronic dance music and its digital composition methods represent what Mike Berk calls "a new sonic paradigm." The different modes of production, performance and consumption within this paradigm require alternative ways of thinking about originality, creativity, and authenticity. While I do look briefly at issues of consumption and performance within dance music cultures, I focus specifically on how electronic music producers are bound by a unique vision of musical authenticity and creativity, borne out of their own "technological imagination" and the sonic possibilities enabled by digital technology. To use the concepts employed within my paper, I contend that dance music cultures make evident what Michael Punt calls the "postdigital analogue"--a cultural condition in which the decidedly more "human" or "analogue" elements of felt experience and authenticity coexist and converse with the predominance of the digital technologies of simulation and artifice. Dance music cultures are an emergent social formation, to use Williams' term, revising and questioning the typical relationships understood between digital and analogue. This postdigital analogue manifests in a number of ways in the cultural, aesthetic, and technological principles promoted by dance music cultures. In terms of production in particular, signs of digital and analogue coexist in a form of virtual authenticity, as the sound of the technological process engaged to make electronic dance music bears the mark of musical creativity and originality. This study reveals the unique manner in which dance music cultures incorporate both analogue and digital principles, bridging a sense of humanity with the acceptance of the technological.

Jazz Bubble

2018 ◽  
Author(s):  
Dale Chapman
Keyword(s):  
New York ◽  
Political Economy ◽  
Social Practice ◽  
Global Economy ◽  
First Century ◽  
Music Culture ◽  
Social Trends ◽  
Governmental Organizations ◽  
Early Twenty ◽  
A Site

Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period. The emergence of financialization as a key dimension of the global economy shapes a variety of aspects of contemporary jazz culture, and jazz culture comments upon this dimension in turn. During the stateside return of Dexter Gordon in the mid-1970s, the cultural turmoil of the New York fiscal crisis served as a crucial backdrop to understanding the resonance of Gordon’s appearances in the city. The financial markets directly inform the structural upheaval that major label jazz subsidiaries must navigate in the music industry of the early twenty-first century, and they inform the disruptive impact of urban redevelopment in communities that have relied upon jazz as a site of economic vibrancy. In examining these issues, The Jazz Bubble seeks to intensify conversations surrounding music, culture, and political economy.

DIGITAL TRANSFORMATION IN EDUCATION: ACTIVE LEARNERS

2019 ◽  
pp. 14-21
Author(s):  
Sevinç GÜLSEÇEN
Keyword(s):  
Computer Games ◽  
Digital Technology ◽  
Electronic Music ◽  
Teaching And Learning ◽  
Active Role ◽  
Digital Transformation ◽  
Technology Literacy ◽  
Digital Television ◽  
Student Centered ◽  
Student Centered Learning

It is argued that the digital technology has made possible the vast range of applications and media forms including virtual reality, digital special effects, digital film, digital television, electronic music, computer games, multimedia, the Internet, the World Wide Web, digital telephony and so on [8]. Digital transformation has been particularly influential in new directions of society.Providing schools with digital technology promises a high return on investment. The presence of computers and Internet access raises technology literacy and skills, better preparing the future generations to participate in the information society [12]. To this end, schools represent ideal access points because they cover a large part of the population, especially in developing countries. Starting from 1990s, many educators have been realised the potential of Internet for educational purposes and began to introduce it into classrooms. According to [10] the popularity of web-based teaching and learning lies in the strengths of its distributed nature and the case of its browsing facility. Both the use of digital technology and increased interest in student-centered learning may lead to a significant change of the teacher’s role, as well as the recognition of the active role of the learner in the learning process.

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