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.

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

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

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.

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.

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