Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste

Popular Music ◽  
2006 ◽  
Vol 25 (3) ◽  
pp. 401-414 ◽  
Author(s):  
JOANNA DEMERS
Keyword(s):  
Video Game ◽  
High Accuracy ◽  
Dance Music ◽  
Accuracy Rate ◽  
Electronic Dance Music ◽  
Home Video ◽  
Musical Taste ◽  
Teenagers And Young Adults ◽  
Mainstream Culture ◽  
Dance Dance Revolution

In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstream’ culture and musical taste.

scholarly journals Pedagogical Applications of the Video GameDance Dance Revolutionto Aural Skills Instruction

2010 ◽  
Vol 16 (1) ◽  
Author(s):  
Brent Auerbach
Keyword(s):  
Popular Music ◽  
Real Time ◽  
Video Game ◽  
Sight Reading ◽  
Dance Music ◽  
Aural Skills ◽  
Electronic Dance Music ◽  
Rhythmic Performance ◽  
Dance Dance Revolution

In the video gameDance Dance Revolution(DDR), players earn points by depressing buttons with their feet in time with instructions given on the screen by scrolling arrows. The arrows, which reveal the step components of pre-programmed dance routines, are spaced such that all rhythmic attacks are perfectly coordinated with the beats and/or rhythms of Electronic Dance Music. Many aspects of the game, including its emphasis on accurate rhythmic performance and the presence of an objective, real-time scoring mechanism, causeDDRto have significant implications for musicianship training. This article discusses howDDRmay be profitably incorporated into the undergraduate aural skills classroom to help improve sight-reading, rhythm performance, and the dictation of popular music. This article includes both video recorded demonstrations of the game along with a sample curriculum for instructors interested in setting up labs for students to train withDDR.

Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes

2007 ◽  
Author(s):  
Tammy L. Anderson ◽  
Philip R. Kavanaugh ◽  
Ronet Bachman ◽  
Lana D. Harrison
Keyword(s):  
Hip Hop ◽  
Dance Music ◽  
Electronic Dance Music

The Dance Chorus in Recent Top-40 Music

2020 ◽  
Vol 6 (4) ◽  
Author(s):  
Alyssa Barna
Keyword(s):  
Popular Music ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Production Techniques ◽  
Top 40

Contemporary trends in popular music incorporate timbres, formal structures, and production techniques borrowed from Electronic Dance Music (EDM). The musical surface demonstrates this clearly to the listener; less obvious are the modifications made to formal prototypes used in rock and popular music. This article explains a new formal section common to collaborative Pop/EDM songs called the Dance Chorus. Following the verse and chorus, a Dance Chorus is an intensified version of the chorus that retains the same harmony and contains the hook of the song, which increases memorability for the audience. As the name implies, the Dance Chorus also incorporates and acknowledges the embodiment performed in this section.

Rock in Broader Context

2018 ◽  
Author(s):  
David Temperley
Keyword(s):  
Dance Music ◽  
Historical Survey ◽  
Electronic Dance Music ◽  
Tin Pan Alley

This chapter zooms out to examine the broader historical and stylistic context of rock. The roots of rock—especially in common-practice music, the blues, and Tin Pan Alley / jazz—have been widely discussed, but this chapter attempts to identify more systematically the features that rock shares with these previous styles, as well as its unique features. A historical survey of rock itself and its various subgenres finds that it underwent major changes in the early 1960s but remained rather stable over the next three decades, and in some respects rather homogenous. The chapter then considers some other genres with which rock has interacted and sometimes fused: folk, Latin pop, jazz, electronic dance music, rap, and country. Finally, it considers the development of rock since 2000, finding some changes in the style but also many continuities.

A study on encoding-based oracle bone script recognition

2020 ◽  
Vol 4 (4) ◽  
pp. 281-290
Author(s):  
Tingzhu Chen ◽  
Yaoyao Qian ◽  
Jingyu Pei ◽  
Shaoteng Wu ◽  
Jiang Wu ◽  
...  
Keyword(s):  
General Public ◽  
Expert Knowledge ◽  
Recognition Accuracy ◽  
Fundamental Problem ◽  
High Accuracy ◽  
Time Range ◽  
Accuracy Rate ◽  
Script Recognition ◽  
Processing Techniques ◽  
Accuracy Speed

Oracle bone script recognition (OBSR) has been a fundamental problem in research on oracle bone scripts for decades. Despite being intensively studied, existing OBSR methods are still subject to limitations regarding recognition accuracy, speed and robustness. Furthermore, the dependency of these methods on expert knowledge hinders the adoption of OBSR systems by the general public and also discourages social outreach of research outputs. Addressing these issues, this study proposes an encoding-based OBSR system that applies image pre-processing techniques to encode oracle images into small matrices and recognize oracle characters in the encoding space. We tested our methods on a collection of oracle bones from the Yin Ruins in XiaoTun village, and achieved a high accuracy rate of 99% within a time range of milliseconds.

scholarly journals Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music

2020 ◽  
Vol 3 ◽  
pp. 205920432097421
Author(s):  
Agata Zelechowska ◽  
Victor E. Gonzalez Sanchez ◽  
Bruno Laeng ◽  
Jonna K. Vuoskoski ◽  
Alexander Refsum Jensenius
Keyword(s):  
Individual Differences ◽  
Big Five ◽  
Body Movement ◽  
Empathic Concern ◽  
Reactivity Index ◽  
Neutral Position ◽  
Dance Music ◽  
Regression Analyses ◽  
Spontaneous Movement ◽  
Electronic Dance Music

Moving to music is a universal human phenomenon, and previous studies have shown that people move to music even when they try to stand still. However, are there individual differences when it comes to how much people spontaneously respond to music with body movement? This article reports on a motion capture study in which 34 participants were asked to stand in a neutral position while listening to short excerpts of rhythmic stimuli and electronic dance music. We explore whether personality and empathy measures, as well as different aspects of music-related behaviour and preferences, can predict the amount of spontaneous movement of the participants. Individual differences were measured using a set of questionnaires: Big Five Inventory, Interpersonal Reactivity Index, and Barcelona Music Reward Questionnaire. Liking ratings for the stimuli were also collected. The regression analyses show that Empathic Concern is a significant predictor of the observed spontaneous movement. We also found a relationship between empathy and the participants’ self-reported tendency to move to music.

The Oxford Handbook of Electronic Dance Music

2021 ◽  
Keyword(s):  
Online Publication ◽  
Review Process ◽  
Publication Date ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Print Publication ◽  
Pass Through

This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online. For more information, please read the site FAQs.

Falling Up

2021 ◽  
Vol 33 (2) ◽  
pp. 99-129
Author(s):  
Clinton McCallum
Keyword(s):  
Analytical Framework ◽  
Art Music ◽  
Gospel Music ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Spiritual Transcendence ◽  
Modal Jazz ◽  
Musical Representations ◽  
Ring Shout ◽  
Black Gospel Music

This article investigates melodic figures and harmonic sequences that miraculously only step up to illuminate an aesthetic lineage that connects gospel to electronic dance music. It argues that the synth-risers and ever-opening filters of contemporary euphoric rave music like happy-hardcore and uplifting-trance find precedence in compositional devices that made their way into funk/soul and disco/garage from Black gospel music, and that these gospel inventions were derived from the Afro-diasporic ring-shout. Cognitive linguistic and psychoacoustic theories premise an analytical framework for musical representations of endless ascent. Through close readings of representative recordings—a 1927 Pentecostal sermon by Reverend Sister Mary Nelson, James Cleveland’s “Peace Be Still,” Chic’s “Le Freak,” Trussel’s “Love Injection,” and DJ Hixxy’s remix of Paradise's “I See the Light”—the article examines various historical intersections with parlour music, European art music, and modal jazz, and suggests that musical ascent has a non-causal but, nevertheless, objective relationship with a type of spiritual transcendence.

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