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 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 Exploring dress, identity and performance in contemporary dance music culture

2014 ◽  
Vol 34 (5) ◽  
pp. 603-620 ◽  
Author(s):  
Dewi Jaimangal-Jones ◽  
Annette Pritchard ◽  
Nigel Morgan
Keyword(s):  
Contemporary Dance ◽  
Dance Music ◽  
Music Culture ◽  
And Performance

scholarly journals Synthesizers, Virtual Orchestras, and Ableton Live: Digitally Rendered Music on Broadway and Musicians’ Union Resistance

2019 ◽  
Vol 13 (03) ◽  
pp. 273-304
Author(s):  
LIAM E. GIBBS
Keyword(s):  
Hip Hop ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Values ◽  
Downward Pressure ◽  
Acoustic Instruments ◽  
Union Local ◽  
And Performance ◽  
Industry Professionals ◽  
Previous Scholarship

AbstractAs Broadway musicals embrace contemporary popular music styles, orchestrators must incorporate the digital technologies necessary for producing convincing simulations of genres like hip hop and electronic music. At the same time, as production values soar, producers work to minimize their budgets, often putting downward pressure on the size of the orchestra. Although digital and electronic music technologies can expand the sonic register of the Broadway orchestra, they can also replace traditional acoustic instruments and save money. The Broadway musicians’ union, Local 802, has regularly sought to control the use of digital technologies and ensure that live musicians produce as much music as possible. Thus, Local 802's advocacy for the employment of their members can limit the sounds heard on Broadway.The following narrative considers three digital technologies—synthesizers, virtual orchestras, and Ableton Live—and examines case studies and controversies surrounding their use in Broadway orchestras and implications for liveness in performance. Informed by interviews with industry professionals, author observation of pit orchestras in rehearsal and performance, archival research, popular and industry media, and previous scholarship, I argue that the union's entrenched interests and antiquated regulations can stifle musical innovation on Broadway by resisting the use of digital music technologies.

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

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.

Trance Systems

2018 ◽  
Author(s):  
Jonathan Weinel
Keyword(s):  
Youth Culture ◽  
High Energy ◽  
Sound Design ◽  
Dance Music ◽  
Music Culture ◽  
Electronic Dance Music ◽  
Sound System ◽  
Affective Experiences ◽  
The Uk ◽  
Conceptual Meaning

This chapter explores how sound systems place electronic sounds in a social context, eliciting powerful affective experiences that are framed by conceptual meaning. The chapter begins by tracing the origins of the sound system culture and dub-reggae of Jamaica. This approach, which prioritizes DJ performances over ‘live’ musicians, would prefigure the electronic dance music culture of the 1980s and 1990s. Exploring this area, this chapter examines how the design of Chicago house and Detroit techno provided high-energy dance experiences that reflected the ethos of the respective sub-cultures. Later, in the UK rave scene, breakbeat hardcore, drum & bass, and ambient house each used sound design to support an accelerated youth-culture fuelled by ecstasy, delivering trance-like experiences framed by conceptual meaning. In the global Goa trance and psy-trance scenes, this capability is explicitly characterized as ‘technoshamanic’, and the DJ as a ‘master of ecstasies’.

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