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.

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.

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.

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.

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.

scholarly journals Popular Musics of India: An Ethnomusicological Review

2019 ◽  
Vol 6 (3) ◽  
pp. 111
Author(s):  
Devpriya Chakravarty
Keyword(s):  
Popular Music ◽  
Historical Analysis ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Music Scene ◽  
Urban Indian ◽  
Scholarly Attention

This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention. 

scholarly journals Disco Before Disco

2021 ◽  
Vol 33 (1) ◽  
pp. 50-69
Author(s):  
Jon Stratton
Keyword(s):  
Young People ◽  
Popular Music ◽  
Central Component ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Academic Literature ◽  
Musical Genre ◽  
The 1960S

Dancing has been a central component of the experience of popular music, yet with the exceptions of disco and electronic dance music, it is rarely discussed in the academic literature. This article focuses on a pivotal moment in the transformation of dancing to popular music in England. The second half of the 1960s saw the gradual move from dancing to live groups to dancing to records in clubs. Just before this dancing itself had changed from something done by couples to something done by individuals albeit usually in pairs, though often girls might dance together in a group. Young people in England learned to dance to music with a strongly emphasized beat. This article traces this genre from its early manifestations in tracks by the Honeycombs and the Dave Clark Five in the first half of the 1960s to the early 1970s in tracks by Mud and Slade. The article ends by looking at how this musical genre morphed into Eurodisco in the production work of Giorgio Moroder.

Special Issue of Popular Music and Society: Race and Electronic Dance Music

2016 ◽  
Vol 4 (1) ◽  
pp. 84-85
Author(s):  
David L. Brunsma ◽  
Nathaniel G. Chapman ◽  
J. Slade Lellock
Keyword(s):  
Popular Music ◽  
Dance Music ◽  
Special Issue ◽  
Electronic Dance Music

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

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.

Exploring genomes with a game engine

2014 ◽  
Vol 169 ◽  
pp. 443-453 ◽  
Author(s):  
Jeremiah J. Shepherd ◽  
Lingxi Zhou ◽  
William Arndt ◽  
Yan Zhang ◽  
W. Jim Zheng ◽  
...  
Keyword(s):  
Real Time ◽  
Video Game ◽  
Linear Structure ◽  
Structural Data ◽  
Game Engine ◽  
3D Genome ◽  
Genome Viewer ◽  
A Genome ◽  
Visualization Techniques ◽  
Insight Into

More and more evidence indicates that the 3D conformation of eukaryotic genomes is a critical part of genome function. However, due to the lack of accurate and reliable 3D genome structural data, this information is largely ignored and most of these studies have to use information systems that view the DNA in a linear structure. Visualizing genomes in real time 3D can give researchers more insight, but this is fraught with hardware limitations since each element contains vast amounts of information that cannot be processed on the fly. Using a game engine and sophisticated video game visualization techniques enables us to construct a multi-platform real-time 3D genome viewer. The game engine-based viewer achieves much better rendering speed and can handle much larger amounts of data compared to our previous implementation using OpenGL. Combining this viewer with 3D genome models from experimental data could provide unprecedented opportunities to gain insight into the conformation–function relationships of a genome.

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