Professional Documents
Culture Documents
Roland TB-303: The bass line synthesizer that was used prominently in acid house.
History
Notable examples include the 1977 collaboration between producer Giorgio Moroder and vocalist Donna
Summer on the song "I Feel Love", a groundbreaking
dance/discothque hit with no traditional instruments.[6]
1.1
and in Manchester The Haienda, where Mike Pickering and Graeme Parks Friday night spot, Nude, was an
important proving ground for American underground [8]
dance music. Acid house party fever escalated in London
and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M.
closing hours, sought refuge in the warehouse party scene
that ran all night. To escape the attention of the press and
the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10,000 people
at a time were attending the rst commercially organized
mass parties, called raves, and a media storm ensued.[9]
1.2
The success of house and acid house paved the way for
Detroit Techno, a style that was initially supported by
a handful of house music clubs in Chicago, New York,
and Northern England, with Detroit clubs catching up
later.[10] According to British DJ Mark Moore it was
Derrick Mays Strings of Life that eased London clubgoers into acceptance of house, with Moore stating that:
I was on a mission because most people hated house music and it was all rare groove and hip hop...I'd play Strings
of Life at the Mud Club and clear the oor. Three weeks
later you could see pockets of people come onto the oor,
dancing to it and going crazy and this was without ecstasy. [11][12]
1
1.3
HISTORY
North American commercialization of acts gaining prominence during this period, such as Avicii
and Swedish House Maa, elected to hold concert tours at
EDM
3
dance radio brand,[40] and announced a partnership with
SFX Entertainment in January 2014 to co-produce live
concert events and EDM-oriented original programming,
such as a Beatport countdown show, for its top 40 radio stations. iHeartMedia president John Sykes explained
that he wanted his companys properties to be the best
In May 2014, the NBC comedy series Saturday Night Live destination [for EDM]", and felt that its planned Beatport
North
parodied the stereotypes of EDM culture and push-button top 20 show would provide increased mainstream,[41][42]
American exposure to up and coming producers.
DJs through a Digital Short entitled When Will the Bass
Drop?". The short featured a DJ named Davvincii EDM festivals have also had considerable economic imwho is seen performing a number of unrelated tasks pacts on the cites which host them. The Ultra Music Fesincluding playing a computer game, frying eggs, and col- tival brought 165,000 attendees in 2014, and more than
lecting money rather than actually mixing, and pressing $223 million to Miami's economy,[39] while the inaugua giant BASS button to cause the heads of attendees to ral TomorrowWorld festival brought $85.1 million in revexplode.[29][30][31]
enue to the Atlanta areaas much revenue as the nals of
the 2013 NCAA college basketball tournament that was
also held in Atlanta.[43]
1.3.2 Corporate investment in EDM
performance, Deadmau5 was also criticized on Twitter by
fellow electronic musician Tisto for sarcastically mixing Aviciis "Levels" with his own "Ghosts 'n' Stu", asking in response How does one play a track sarcastically?
Am I supposed to sneer while hitting the sync button?
Or is that ironic?[25][26][27][28]
Following the mainstream success of EDM it became increasingly attractive to outside investors; with some comparing it to the dot-com boom of the late-1990s. The
beginning of corporate consolidation in the EDM industry began in 2012; especially in terms of live events. In
June 2012, media executive Robert F. X. Sillerman
founder of what is now Live Nationre-launched SFX
Entertainment as an EDM-focused conglomerate, and announced his plan to invest US$1 billion for the acquisition of EDM-related properties. His purchases included
a number of regional promoters and festivals (including ID&T, organizers of the annual Tomorrowland festival in Belgium), along with two nightclub operators in
Miami, U.S., and Beatport, an EDM-oriented online music store.[32][33] Live Nation itself also invested in the
EDM market with the acquisition of Cream Holdings
and Hard Events, and the announcement of a creative
partnership with EDC organizers Insomniac Events in
2013;[34] Live Nation CEO Michael Rapino described
EDM as the "[new] rock 'n' roll.[35][36][37]
Advertisers have also increasingly associated themselves
with the EDM industry; for example, alcoholic beverage companies such as Heineken and Anheuser-Busch
have maintained marketing relationships with the Ultra
Music Festival and SFX, respectively. Heineken also
incorporated Dutch producers, such as Armin van Buuren and Tiesto, into their marketing campaigns.[22] Soft
drink brand 7 Up introduced branded stages at both Ultra
and EDC in 2014.[38][39] Aviciis manager Ash Pournouri
compared the increasingly commercial EDM industry to
the transformation and commercialization of hip hop,
which occurred in the early 2000s, arguing that the corporate world was beginning to catch on to EDM.[22]
2 Terminology
The term electronic dance music was used in America as early as 1985,[44] although the term dance music
didn't catch on as a blanket term for the genre(s) until
the second half of the 1990s, when it was embraced by
the American music industry with their Dance charts
(which continue to this day), as well as the consistent
use of the term dance music in reference to artists in
reviews.[44] In July 1995 Nervous Records and Project
X magazine held their rst award ceremony titled Electronic Dance Music Awards. [45][46]
Writing for The Guardian, journalist Simon Reynolds
noted that music industry adoption of the term EDM
was part of a drive to re-brand rave culture in the United
States; an attempt to draw line between todays EDM
and 90s rave.[47] While EDM has become the common blanket term for dance music genres in the USA, in
many parts of Europe and online, in the UK the usage of
dance music or dance is more commonly used.[48]
What is widely considered to be club music changes
over time includes dierent genres depending on the region and whos making the reference, and may not always
encompass electronic dance music. Similarly, electronic
dance music sometimes means dierent things to dierent people. Both terms vaguely encompass multiple genres, and sometimes are used as if they were genres themselves. The distinction is that club music is ultimately
based on whats popular, whereas electronic dance music is based on attributes of the music itself.[49]
3 Genres
REFERENCES
5 Festivals
4
Production
6 Industry Awards
Dance music wouldnt be so successful
without bass. If you think about it, weve
really only had amplied bass for around 50
years. Big bass is only a couple of generations old. Before the invention of speakers
that could project true bass frequencies, humans really only came across bass in hazardous
situationsfor example, when thunder struck,
or an earthquake shook, or from explosions
caused by dynamite or gunpowder. That is
probably why it is by far the most adrenalineinducing frequency that we have. Bass gets humans excited basically. Below 90 or 100 Hz,
bass becomes more of a physical thing. It vibrates specic organs. It vibrates our bones.
It causes minor molecular rearrangement, and
that is what makes it so potent as a force in
dance music. The molecular vibration caused
by bass is what gives dance music its power. It
is what makes dance music so pleasurable to
hear through a proper sound system.[51]
7 See also
Timeline of electronic music genres
List of electronic dance music record labels
List of electronic musicians
Freetekno
Rave music
Remix
8 References
[1] Kosko, E. (2004). Music Cultures in the United States:
An Introduction, Routledge, p44.
[2] ibid.
[18] How rave music conquered America. Guardian. Retrieved 25 January 2014.
[19] New Dance/Electronic Songs Chart Launches With
Will.i.am & Britney at No. 1. Billboard. Retrieved 13
August 2014.
[20] Just How Big is EDM?". Music Trades Magazine. Retrieved 14 June 2014.
[21] The Year EDM Sold Out: Swedish House Maa, Skrillex
and Deadmau5 Hit the Mainstream. Billboard.biz. Retrieved 27 January 2014.
[22] Booming business: EDM goes mainstream. Miami Herald. Retrieved 31 March 2014.
[23] Is EDM killing the art of DJing?". Mixmag. Retrieved 7
June 2014.
[24] EDM Will Eat Itself: Big Room stars are getting bored.
Mixmag. Retrieved 20 January 2014.
[25] Deadmau5 Trolls Martin Garrix with Old MacDonald
Had a Farm Remix of Animals at Ultra. radio.com.
Retrieved 25 April 2014.
[26] Deadmau5 gives reason for techno track: EDM sounds
the same to me"". inthemix.com.au. Retrieved 25 April
2014.
[27] Deadmau5: The Man Who Trolled the World. mixmag.
Retrieved 25 April 2014.
[28] Afrojack and Deadmau5 argue over whats good music"". Mixmag. Retrieved 20 January 2014.
[29] SNL Digital Shorts return with 'Davvincii' to skewer
EDM and overpaid DJs. The Verge. Retrieved 7 June
2014.
[30] Watch Saturday Night Live Mock Big Room DJ Culture. Mixmag. Retrieved 7 June 2014.
[31] SNL takes stab at EDM culture in new digital short featuring Davvincii". Dancing Astronaut. Retrieved 7 June
2014.
[32] Exclusive: SFX Acquires ID&T, Voodoo Experience.
Billboard. Retrieved 18 April 2013.
[33] SFX Purchases 75% Stake in ID&T, Announce U.S. Edition of Tomorrowland at Ultra. Billboard.biz. Retrieved
16 April 2013.
[34] Live Nation Teams With Insomniac Events in Creative
Partnership'". Billboard.biz. Retrieved 20 July 2013.
[35] Live Nation Acquires L.A. EDM Promoter HARD: Will
the Mainstream Get More Ravey?". Spin. Retrieved 25
April 2014.
[36] Live Nation Buys EDM Entertainment Company Cream
Holdings Ltd, Owner of Creamelds Festivals. Billboard.biz. Retrieved 25 April 2014.
[37] Electronic Dance Concerts Turn Up Volume, Tempting
Investors. The New York Times. Retrieved 25 April
2014.
9 FURTHER READING
9 Further reading
Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. U.S. Cengage Learning, 2008. ISBN
978-1-59863-503-4
[44] Bogart, Jonathan (10 July 2014). Buy the Hype: Why
Electronic Dance Music Really Could Be the New Rock.
The Atlantic. Retrieved 11 July 2014.
[45] Flick, Larry (Aug 12, 1995). Gonzales Prepares More
Batches of Bucketheads. Billboard: 24. Josh Wink,
Moby, and the Future Sound Of London were among the
fortunate folks honored at the rst Electronic Dance Music Awards, which were presented July 27 in New York.
Produced by Nervous Records and Project X magazine,
the evening saw trophies doled out to some of the club
communitys more cerebral and experimental producers,
DJs, musicians and record labels. Winners were tallied
from ballots from Project X readers.
[46] Prince, David (1995). Rhythm Nation. Rolling Stone
(705): 33.
[47] ""After 20 years, electronic dance music has made it big
in the US url=http://www.theguardian.com/music/2012/
aug/02/how-rave-music-conquered-america".
[48] ""Denition
url=http://dictionary.cambridge.org/
dictionary/british/dance-music?q=dance+music".
[49] McLeod, Kembrew (2001).
Genres, Subgenres,
Sub-Subgenres and more: Musical and Social Difference Within Electronic/Dance Music Communities
(PDF). Journal of Popular Music Studies 13: 5975.
doi:10.1111/j.1533-1598.2001.tb00013.x.
[50] Brief History of Electronic Music
[51] Terry Church (10 April 2014). Funktion-Ones Tony
Andrews on Setting Up Soundsystems From Wembley
Stadium to Your Bedroom. DJTechTools. DJTechTools.
Retrieved 13 April 2014.
[52] House Music Comes Home: How Chicagos Summer
of Music Festivals Has Reinvigorated the Citys Dance
Spirit. Noisey. Vice.
[53] How Coachellas nal day symbolizes the electronic music fever pitch. Las Vegas Weekly. Retrieved 9 December
2014.
10
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10.3
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