Balancing Educational Purposes Within Higher Electronic Music Education – A Biestaian Perspective

2020 ◽  
pp. 211-232
Author(s):  
Eirik Sørbø
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Knowledge Base ◽  
Educational System ◽  
Electronic Music ◽  
Learning Objectives ◽  
Online Resources ◽  
Music Students ◽  
Dance Music ◽  
Electronic Dance Music

The massive invasion of electronic dance music in the popular music scene in combination with accessible and affordable technology has created a large group of young musicians having acquired their skills and experience via online resources, often in solitude. This, in turn, creates challenges for the teachers regarding what the expected knowledge base is for the students entering the programs, how to maintain a balanced program, and how to relate to ever-evolving technologies, just to mention a few. In an educational system such as the Norwegian system, based on learning objectives and effectivity, some aspects of the broader educational purpose tend to get downsized. Based on the framework of Biesta’s educational purposes, this article proposes that educators in higher electronic music education emphasize subjectification in addition to qualification and socialization, and the objective of this article is to address questions pertinent to how teachers and curriculum-makers in popular electronic music might create balanced programs for their students. It is argued that subjectification might be approached through the emphasis on the students’ unique artistic expression, and that this opportunity is distinct in art education in general and in electronic music education in particular. Further, it is argued that electronic music students might benefit from having a conscious relationship to the technologies they are immersed in, in order to see alternative ways of making (popular) electronic 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.

Mixing a DJ Set (Intermediate)

2020 ◽  
pp. 39-42
Author(s):  
Mark E. Perry
Keyword(s):  
Music Students ◽  
Musical Experience ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Sound Sources ◽  
Recorded Music ◽  
Recorded Sound

This chapter describes an activity that takes place over a semester, where students learn to mix a DJ set of electronic dance music (EDM). No previous musical experience is necessary, only the ability to recognize the beat in dance music. DJs utilize multiple sound sources in conjunction with a mixer to create continuous dance music. Students create a DJ set by mixing previously recorded music, which is not simply playback. By adjusting track selection in the course of performance, aspiring DJs learn how to make musical decisions and manipulate pre-recorded sound to construct continuous dance music, crafting a musical set.

scholarly journals KREATIVITAS ARI WULU SEBAGAI DJ DALAM EDM (Electronic Dance Music)

2019 ◽  
Vol 11 (1) ◽  
Author(s):  
Hanolda Gema Akbar
Keyword(s):  
Electronic Music ◽  
Rapid Development ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Normal Place

ABSTRACT EDM is an electronic music that is rising in popularity in the present era. This phenomenon that led to the birth of a young DJ, and also gave birth to a big festival with the theme of EDM. EDM has a relationship with the concept of DJ which is the operator who controls the music to be presented at every show. DJ has had a rapid development, which formerly departed from broadcaster radio. Now DJs can be found everywhere since EDM has expanded out of its normal place in discotheques. Ari Wulu is a DJ who has different characters. The purpose of this research is to know the creativity of Ari Wulu which is explained based on the opinion of Rhodes using 4P consisting of Person, Press, Procces, and Product. The result of the research is the creativity of Ari Wulu as a DJ in EDM, much influenced from his experience as an electronic music composer. The music form chosen by Ari Wulu is purely electronic music that has a repetitive rhythm and uses pentatonic melodies. Kata Kunci : EDM, Ari Wulu, kreativitas, dan bentuk musik

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.

ARTWORK: CEVDET EREK

Tempo ◽  
2016 ◽  
Vol 70 (278) ◽  
pp. 84-85
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Visual Representation ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Acoustic Characteristics ◽  
Simple Idea ◽  
The Voice

The solo exhibition ‘Week’ was conceived for the sky-lit gallery on the upper floor of the Kunsthalle Basel in 2012. At the very centre of the gallery space a mono-block of loudspeakers was playing 7, a visual representation of which was notated for the brochure of the exhibition. 7 is constructed from two versions of an acoustic bass drum sample, which acts as a minimal ‘audio-diagram’ representing the ever-repeating cycle of the seven days of the week. The piece was constructed using a scale of 1:86400 (24 hours × 60 minutes × 60 seconds); in other words, a second refers to a day in ‘real time’. The bass drum sample sounds on each second, creating a steady beat with a tempo of 60 bpm which, for some visitors, is a direct reminder of certain types of electronic dance music. On top of the beat, a computer-generated voice recites the days of the week in English, one day per second. Occasionally, the voice switches to counting the days without specific names: ‘day, day, day … ’. The audio piece used the vocabulary and acoustic characteristics of minimal electronic music in order to represent a temporal unit, by using the means of time itself, whilst the visual representation (notation) was used as an aid to describe the simple idea behind the sonic counterpart.

scholarly journals Rhythmic Concatenative Synthesis for Electronic Music: Techniques, Implementation, and Evaluation

2017 ◽  
Vol 41 (2) ◽  
pp. 21-37 ◽  
Author(s):  
Cárthach Ó Nuanáin ◽  
Perfecto Herrera ◽  
Sergi Jordá
Keyword(s):  
Electronic Music ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Extensive Evaluation ◽  
Concatenative Synthesis ◽  
User Friendly ◽  
Initial Target

In this article, we summarize recent research examining concatenative synthesis and its application and relevance in the composition and production of styles of electronic dance music. We introduce the conceptual underpinnings of concatenative synthesis and describe key works and systematic approaches in the literature. Our system, RhythmCAT, is proposed as a user-friendly system for generating rhythmic loops that model the timbre and rhythm of an initial target loop. The architecture of the system is explained, and an extensive evaluation of the system's performance and user response is discussed based on our results.

scholarly journals Teaching Aesthetics – A Case Study of One-To-One Tuition in Popular Electronic Music in Higher Education

2020 ◽  
pp. 257-278
Author(s):  
Eirik Sørbø ◽  
Andreas Waaler Røshol
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Informal Learning ◽  
Electronic Music ◽  
Classical Music ◽  
Teaching Practice ◽  
Educational Framework ◽  
One To One ◽  
The University

Research regarding informal learning over the last few decades has shown how popular musicians acquire skills and knowledge through informal learning, suggesting new methods for formal music education compared to the structures of western classical music. Today, the realm of popular electronic music education faces some similar challenges that popular music education initially did; new ways of informal learning, and a different and diverse knowledge base for the students entering popular music programs. Related to these challenges is the question of how to teach one-to-one tuition in higher electronic music education, and this article seeks to address this challenge. We present a case-study of the practice of a teacher at the University of Agder in Norway that teaches electronics in one-to-one tuition, where the research data is based on interviewing this teacher and his students. An important aspect of the practice in question is the process of listening to and discussing the student’s original recorded music. We discuss some of the challenges of one-to-one teaching in electronic music education, and argue that this particular teaching approach accommodates some of these challenges. Bringing in the educational framework of Biesta, we argue that this form of teaching practice also facilitates subjectification by addressing both uniqueness and expression. Further, we argue that this practice, which focuses on the teaching of aesthetics instead of technicalities, combined with the development of the students’ unique artistic expression can open some interesting possibilities related to addressing subjectivity in higher music education. One of these is how the students need to articulate both the objectives and aims within their music, and the objectives and aims of their music, which in turn develops a terminology to talk about and beyond aesthetics.

Observed Benefits to On-site Medical Services during an Annual 5-day Electronic Dance Music Event with Harm Reduction Services

2016 ◽  
Vol 31 (2) ◽  
pp. 228-234 ◽  
Author(s):  
Matthew Brendan Munn ◽  
Adam Lund ◽  
Riley Golby ◽  
Sheila A. Turris
Keyword(s):  
Public Health ◽  
Harm Reduction ◽  
Medical Care ◽  
Electronic Music ◽  
Rural Setting ◽  
Medical Services ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Festival ◽  
Medical Response

AbstractBackgroundWith increasing attendance and media attention, large-scale electronic dance music events (EDMEs) are a subset of mass gatherings that have a unique risk profile for attendees and promoters. Shambhala Music Festival (Canada) is a multi-day event in a rural setting with a recognized history of providing harm reduction (HR) services alongside medical care.Study/ObjectiveThis manuscript describes the medical response at a multi-day electronic music festival where on-site HR interventions and dedicated medical care are delivered as parallel public health measures.MethodsThis study was a descriptive case report. Medical encounters and event-related data were documented prospectively using an established event registry database.ResultsIn 2014, Shambhala Music Festival had 67,120 cumulative attendees over a 7-day period, with a peak daily attendance of 15,380 people. There were 1,393 patient encounters and the patient presentation rate (PPR) was 20.8 per one thousand. The majority of these (90.9%) were for non-urgent complaints. The ambulance transfer rate (ATR) was 0.194 per one thousand and 0.93% of patient encounters were transferred by ambulance. No patients required intubation and there were no fatalities.Harm reduction services included mobile outreach teams, distribution of educational materials, pill checking facilities, a dedicated women’s space, and a “Sanctuary” area that provided non-medical peer support for overwhelmed guests. More than 10,000 encounters were recorded by mobile and booth-based preventive and educational services, and 2,786 pills were checked on-site with a seven percent discard rate.ConclusionDedicated medical and HR services represent two complementary public health strategies to minimize risk at a multi-day electronic music festival. The specific extent to which HR strategies reduce the need for medical care is not well understood. Incorporation of HR practices when planning on-site medical care has the potential to inform patient management, reduce presentation rates and acuity, and decrease utilization and cost for local, community-based health services.MunnMB, LundA, GolbyR, TurrisSA. Observed benefits to on-site medical services during an annual 5-day electronic dance music event with harm reduction services. Prehosp Disaster Med. 2016;31(2):228–234.

Seeded Composition (Advanced)

2020 ◽  
pp. 147-150
Author(s):  
Leila Adu-Gilmore
Keyword(s):  
Hip Hop ◽  
Electronic Music ◽  
Electroacoustic Music ◽  
Dance Music ◽  
Compositional Process ◽  
Electronic Dance Music ◽  
University Level

This open electronic music compositional activity is designed as preparation for a university-level final assignment in any style, including electroacoustic music, electronic dance music, hip-hop, and song. Working with a seed requires discipline and creativity, and when used in the context of electronic music, it pushes composers to learn the ins and outs of the platform they are using. In addition, there is also a reflective written element (scratchpad) embedded in this activity, which is intended to percolate students’ creative goals. Finally, this activity is designed to induce a rigorous, fulfilling, and well-paced compositional process for an autonomous yet supported final piece.

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