scholarly journals Dutch Dance, 1988-2018: How the Netherlands Took the Lead in Electronic Music Culture (Mark van Bergen, Trans. Andrew Cartwright)

Dancecult ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 148-151
Author(s):  
Sean Nye
Keyword(s):  
The Netherlands ◽  
Electronic Music ◽  
Music Culture

NEAR – The Netherlands Electro-Acoustic Repertoire Centre

1997 ◽  
Vol 2 (1) ◽  
pp. 19-21
Author(s):  
ALCEDO COENEN
Keyword(s):  
The Netherlands ◽  
Electronic Music ◽  
Music Publishers ◽  
A Performance

Electronic music seems to be a problem for music publishers. Providing a tape for a performance is not in itself so difficult, but how do you preserve such tapes? What do you do if the musician asks for an ‘8-track ADAT’? What do you do when s omebody comes back with an old 2-inch tape and tells you that there are dropouts in it? And what happens when a well-known work is requested which you, as publisher, appear not even to have in stock?

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 Canonisation and Documentation of Interdisciplinary Electroacoustic Music, Exemplified by Three Cases from the Netherlands: Dick Raaijmakers, Michel Waisvisz and Huba de Graaff

2017 ◽  
Vol 22 (2) ◽  
pp. 228-237
Author(s):  
Hannah Bosma
Keyword(s):  
The Netherlands ◽  
Technological Innovation ◽  
Electronic Music ◽  
Electroacoustic Music ◽  
The Other ◽  
Live Performance ◽  
Musical Life ◽  
The Past ◽  
Other Hand

Relations between histories, sources and preservation problematics are explored by evaluating how Dutch electroacoustic musical life is discussed in international histories of electronic music. Some Dutch cases consisting of different generations of interdisciplinary, live, performance-based electroacoustic work are discussed: the work of Dick Raaijmakers, Michel Waisvisz and Huba de Graaff. These cases point to some important aspects of preservation and the formation of histories. An emphasis in electronic music histories on technology and on technological innovation comes at the expense of information on the musical and artistic aspects. For greater interest in musical aspects, it is crucial to have more access to the music itself. The works and practices of Dick Raaijmakers, Michel Waisvisz and Huba de Graaff seem to resist documentation, ontologically and practically but, on the other hand, there is a desire for its documentation and dissemination. For their work, preservation means: making something new while being faithful to the past. It is therefore that I propose to regard preservation as performance. This music only remains alive when we are not solely interested in linear innovation, but in a profound relation with the past, in reworking the past.

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.

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