Electronic dance music

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electronic dance music (also known as EDM , dance music , music club , or just dance ) are a variety of percussion electronic music genres made mostly for nightclubs, raves, and festivals. EDM is commonly produced for playback by disc jockeys (DJs) that make the smooth selection of tracks, called mixes, by segueing from one recording to another. EDM manufacturers also do their live music in a concert or festival setting in what is sometimes called live PA. In Europe, EDM is more often called 'dance music' or simply 'dance'.

In the late 1980s and early 1990s, following the rise of pirated radio, pirates, and increased interest in club culture, EDM achieved a major popularity in Europe. In the United States at that time the acceptance of dance culture was not universal, and although both Electro and Chicago house music were influential both in Europe and the United States, the mainstream media, and the recording industry, remained hostile to EDM. There is also a perceived relationship between EDM and drug culture that causes state and municipal governments to enact laws and policies intended to stop the spread of rave culture.

Furthermore, in the new millennium (2000s), the popularity of EDM is increasing globally, including the United States. In early 2010, the term "electronic dance music" and "EDM" initialism was driven by the American music industry and the music press in an attempt to change the American rave culture. Despite industry efforts to create a specific EDM brand, initialism remains used as an umbrella term for several genres, including homes, traps, techno, trance, drums and bass, dubstep, and subgenre respectively.

Video Electronic dance music

History

Various EDM genres have evolved over the last 40 years, for example; electro, house, techno hardcore, trance, drum and bass etc. Style variation in established EDM genres can lead to the emergence of so-called subgenres. Hybridization, in which elements of two or more genres are combined, can lead to the emergence of a completely new genre of EDM.

Precursors in the 1970s

Early examples of music that influenced electronic dance music later incorporated Jamaican music in the 1970s, disco-based music synthesizer Giorgio Moroder in the late 1970s, and Kraftwerk electro-pop and the Yellow Magic Orchestra in the mid to late 1970s.

Dub

The author of Michael Veal considers dub music, Jamaican music derived from reggae roots and the sound system culture that developed between 1968 and 1985, becoming one of the important precursors to contemporary electronic dance music. Dub production is a remix of reggae tracks that emphasize rhythm, lyrical elements and fragmented melodies, and resonate textures. The music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, and Scientist. Their production includes the forms of ribbon editing and sound processing that the Veal says is comparable to the techniques used in the musique concrÃƒÆ'Ã‚Â¨te . Dub producer made an improvised deconstruction of the existing multi-track reggae mix by using studio mixing boards as a performance instrument. They also foregrounded spatial effects such as reverb and delay using creative auxiliary delivery routing.

Although limited electronic equipment is available to dub a pioneer like King Tubby and Lee "Scratch" Perry, their experiment in remix culture is sophisticated music. Ambient dub spearheaded by King Tubby and other Jamaican voice artists, using DJ-inspired ambient electronics, complete with drop-out, echo, equalization and psychedelic electronic effects. It features layering techniques and incorporates elements of world music, deep bass lines and harmonic sounds. Techniques such as long echo delays are also used.

Hip hop

Hip hop music has played a key role in the development of electronic dance music since the 1970s. Inspired by the culture of the Jamaican sound system, Jamaican-American DJ Kool Herc introduced a large heavy bass speaker rig to the Bronx. It was credited with starting the New York hip-hop movement in 1973. The technique developed by DJ Kool Herc who became popular in hip hop culture played two copies of the same recordings on two turntables, alternately, and at the point where the track show pause. This technique is used further to manually wrap a really percussive break, which causes what is then called a break break. In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in their own right and the use of virtuoso developed into a creative practice called turntablism.

Disco

In 1974, George McCrae's early disco about "Rock Your Baby" was one of the first recordings to use a drum machine, an early Roland rhythm machine. The use of his drum machine was anticipated by Sly and Family Stone's "Family Affair" (1971), anticipating the sound of the disco, with the rhythm echoing in "Rock Your Baby". The use of drum machines in the "Family Affair" and Timmy Thomas's "Why Can not We Live Together" (1972), which used the Roland 1972 rhythm machine, influenced the adoption of drum machines by later disco artists. Producer Disco Biddu used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest (1976), "Soul Coaxing" (1977) and Eastern Man and Futuristic Travel (recorded from 1976 to 1977).

The European act of the Silver, Love and Kisses, Munich Machine, and American Convention acts Donna Summer and the Village People is the act that defines the disco sound of the Euro of the late 1970s. In 1977, Giorgio Moroder and Pete Bellotte produced "I Feel Love" for Donna Summer. It became the first famous disco hit to have a fully synthesized support line. Another disco producer, America's most famous producer Tom Moulton, took ideas and techniques from dub music (which came with increasing Jamaican migration to New York City in the seventies) to provide the fourth alternative to the dominating floor style. During the early 1980s, the popularity of disco music declined sharply in the United States, abandoned by major US labels and producers. Euro Discotheque continues to thrive in the broad mainstream pop music world.

Synth-pop

Synth-pop (short for 'pop synthesizer', also called 'techno-pop') is a subgenre of new wave music that first became prominent in the late 1970s and featured synthesizers as the dominant musical instrument. It was made earlier in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronics, rock art, disco, and especially "Krautrock" from bands like Kraftwerk. It emerged as a different genre in Japan and England in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s.

Early synth-pop pioneers include the Japanese group Yellow Magic Orchestra, and the English bands Ultravox, Human League and Berlin Blondes. The Human League uses a monophonic synthesizer to produce music in a simple and loud voice. After Gary Numan's breakthrough in the UK Singles Chart in 1979, a large number of artists began to enjoy success with sound-based synthesizers in the early 1980s, including late 1970s debutants such as Japanese and Orchestra Maneuver in Dark, and newcomers such as Depeche Mode and Eurythmics. In Japan, the success of the Yellow Magic Orchestra paved the way for synth-pop bands such as P-Model, Plastic, and Hikashu. The development of cheap polyphonic synthesizers, MIDI definitions and the use of tap dance, generates a more commercially sound and accessible for synth-pop. This, its adoption by the style conscious actions of the New Romance movement, along with the rise of MTV, led to the successful completion of a large number of British synth-pop acts (including Duran Duran and Spandau Ballet) in the United States.

Play music in the 80s

Post-disco

During the post-disco era that followed a counterattack against the "disco" that began in the mid to late 1979, which in the United States led to civil unrest and unrest in Chicago known as the Disco Demolition Night, ^[13] movement the underground of discrete "suspended" disco music "stripped" featuring "very different sounds" ^[14] began to appear on the East Coast. ^{[15] [Note 1]} This new scene was seen mainly in the New York metropolitan area and was initially led by urban contemporary artists who responded to the excessive commercialization and subsequent disco culture collapse. The emerging sounds come from P-Funk ^[18] the electronic side of the disco, dub music, and other genres. Most of the music produced during this time, such as discos, serves a single controlled market. ^[14] At this time creative controls began to turn to independent record companies, less established producers, and club DJs. ^[14] Other dance styles that became popular during the post-disco era include dance-pop, ^{[19] [20]} boogie, ^{[14] electro, Italo disco, home, ^{[19] [21] [22] [23]} and techno. ^{[22] [24] [25] [26] [27]}}

Electro

In the early 1980s, electro (short for "electro-funk") emerged as a fusion of electro-pop, funk, and boogie. Also called electro-funk or electro-boogie, but then shortened to electro, the pioneers quoted include Ryuichi Sakamoto, Afrika Bambaataa, Zapp, D.Train, and Sinnamon. Early hip hop and rap combined with the influence of German and Japanese electropopes such as Kraftwerk and Yellow Magic Orchestra inspired the birth of electro. As electronics evolve, instruments such as bass and drum guitars are replaced by synthesizers and especially by iconic drum machines, especially Roland TR-808. The early use of the TR-808 included several Yellow Magic Orchestra songs from 1980-1981, 1982's track "Planet Rock" by Afrikaa Bambaataa, and 1982's "Sexual Healing" by Marvin Gaye. In 1982, producer Arthur Baker with Africa Bambaataa released the seminal "Planet Rock", which was influenced by the Yellow Magic Orchestra, using Kraftwerk samples, and had a drum beats supplied by the TR-808. Planet Rock was followed later that year by another breakthrough electro record, "Nunk" by Warp 9. In 1983, Hashim created an electro-funk sound with "Al-Naafyish (The Soul)" which influenced Herbie Hancock, resulting in his hit single. "Rockit" in the same year. The early 1980s were the main peaks of electro. According to writer Steve Taylor's African Bambaataa's Planet Rock serves as a "template for all the dance music that's interesting since".

House music

In the early 1980s, Chicago radio jocks The Hot Mix 5 and DJ clubs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco recordings (mostly Philly disco and Salsoul songs), electro funk tracks by artists such as Africa Bambaataa , newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and the Yellow Magic Orchestra. Some make and play their own edits of their favorite songs on reel-to-reel tape, and are sometimes mixed in effects, drum machines, and other rhythmic electronic instruments. "On and On" hypnotic dance songs, produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, have elements that are central to early home sounds, such as the Roland TB-303 bass synthesizer and minimal vocals as well as the Roland drum machine ( especially TR-808) and Korg (specifically Poly-61) synthesizers.

"On and On" is sometimes cited as the 'first home record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), has also been quoted. The house music quickly spread to other American cities such as Detroit, New York City, and Newark - all of which developed their own regional scene. In the mid to late 1980s, home music became popular in Europe as well as major cities in South America, and Australia. Chicago House underwent some commercial successes in Europe with releases such as "House Nation" by House Master Boyz and Rude Boy of House (1987). After this, a number of inspired home releases such as "Pump Up The Volume" by MARRS (1987), "Themes of S'Express" by S'Express (1988), and "Doctorin 'the House" by Coldcut (1988) entered the charts pop.

Techno, home acid, rave

In the mid-80s the music house flourished on the small Balearic Island of Ibiza, Spain. The sound of Balearic was the musical spirit that emerged from the island at that time; combinations of old LPs, pop, reggae, and disco paired with "whatever" attitude make Ibiza the center of drug experiment induced by the drug. The scene was mainly centered around a club called Amnesia where his resident DJ, Alfredo Fiorito, spearheaded the Balearic home. Amnesia became famous throughout Europe and in the mid to late 1980s it attracted people from all over the continent.

In 1988, house music has become the most popular form of music club in Europe, with acid houses evolving as an important trend in England and Germany in the same year. In Britain, an established warehouse subculture, centered on the scene of the African-Caribbean sound system of England, encourages underground parties featuring exclusive dance music. Also in 1988, the Balearic party vibrations associated with DJ Ibiza Alfredo were transported to London, when Danny Rampling and Paul Oakenfold opened Shoom and Spectrum clubs, respectively. Both places become synonymous with acid homes, and during this period MDMA became famous as a party drug. Other important English clubs include Back to Basics in Leeds, Sheffield Leadmill and Music Factory, and The HaÃƒÆ'Ã‚Â§ienda in Manchester, where Mike Pickering and Graeme Park, Nude, are important evidence sites for American underground dance music. The success of acid homes and homes paved the way for Detroit Techno, a style originally supported by several home music clubs in Chicago, New York and Northern England, with Detroit clubs following later. The term Techno first came into use after the release of a 10 Records/Virgin Records compilation titled Techno: The Dance Sound of Detroit in 1988.

One of Detroit's first productions that received wider attention was Derrick May (1987) "Strings of Life," which, together with previous releases from May, "Nude Photo" (1987), helped raise techno-profiles in Europe, particularly the UK and German. , during the musical boom of 1987-1988 (see Second Summer of Love). This became May's most recognizable song, which, according to Frankie Knuckles, "exploded like that.It's like something you can not imagine, the kind of power and energy that people get out of that tape when first heard." Mike Dunn says he has no idea how people can receive notes that do not have a bass line. "According to British DJ Mark Moore," Strings of Life "leads the London club's audience to receive homes:" as most people hate house music and it is a rare and hip hop... I will play 'Strings of Life' at Mudd Club and clean the floor ". In the late 1980s interest in homes, acid houses and techno rise in the club scene and the audience of the MDMA-fueled club, which faced a 2:00 closing time in the UK, began to seek out-of-home protection at the all-night barn party. Within a year, in the summer of 1989, up to 10,000 people at one time attended a commercially organized underground party called raves.

Play music in the 90s

Trance

Trans emerged from a rave scene in England in the late 1980s and developed further during the early 1990s in Germany before spreading across Europe, as a more melodic branch of techno and home. At the same time, trance music flourished in Europe, the genre also garnered followers in the Indian state of Goa. Trance is mostly instrumental, though vocals can be mixed in: usually they are performed by mezzo-soprano for soprano female soloists, often without the traditional stanza/choir structure. The structured vocal form in trance music forms the basis of the trans vocal subgenre, which has been described as "grand, bouncy, and opera" and "smooth female leads floating between the synths". Music trance is broken down into a number of subgenres including acid trance, classic trance, loud trans, progressive trans, and trans uplifting. The thrilling trance is also known as "trance trance", "epic trance," "commercial trance," "trance stadium," or "trans euphoria", and has been heavily influenced by classical music in the 1990s and 2000s by leading artists Ferry Corsten, Armin Van Buuren, TiÃƒÆ'Ã‚ Ã‚ Â«sto, Push, Rank 1 and currently with the development of the" trans trance orchestral "subgenre or" tilt lifting with symphony orchestra "by artists such as Andy Blueman, Ciro Visone, Soundlift, Arctic Moon , Sergey Nevone & amp; Simon O'Shine etc. Closely linked to Trance Warming is Trans-Euro, which has become a generic term for various types of highly commercial European dance music. Some subgenres are crossovers with other major electronic music genres. For example, Tech trance is a mix of trance and techno, and Trans Vocal "combines progressive elements with pop music". The trance of the trance dream comes from the mid-1990s, with its popularity then led by Robert Miles.

AllMusic states on a progressive trance: "The progressive wing of the trance crowd leads directly to a more commercial, graphically oriented voice, since the trance has never enjoyed much of the first graphic action in the first place emphasizing the subtle sound of Eurodance or home (and sometimes more reminiscent of Jean- Michel Jarre of Basement Jaxx), Progressive Trance became the voice of the world's dance floor at the end of the millennium. Critics laughed at its focus on predictable damage and relatively lack of skill to beat-mix, but progressive trans is whipped by the hottest DJ. "

Breakbeat hardcore, jungle, drum and bass

In the early 1990s, music styles evolved in rave scenes that had a different identity from American homes and techno. This music, like previous hip-hop, combines a scrambled beat sample or a tap of a break, other samples from different genres of music and, occasionally, musical samples, dialogue, and effects of film and television programs. Relative to previous dance music styles such as homes and techno, called 'rave music' tend to emphasize bass sound and use faster tempo, or min beats (BPM). This subgenre is known as the "hardcore" rave, but since the beginning of 1991, several music tracks consisting of high tempo time beats, with heavy basslines and older Jamaican music samples, referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, and then only "jungle", which became recognized as a separate music genre that was popular in rave and pirate radio in the UK. It is important to note when discussing the history of drums & amp; bass that before the forest, rave music is faster and more experimental.

In 1994, forests began to gain mainstream popularity and music fans (often referred to as junglists) became part of a more recognizable youth subculture. The genre is further developed, combining and combining elements from different genres of music, including raggamuffin sound, dancehall, MC chanting, bass voices, and increasingly complex and edited breakbeat percussion. Despite being affiliated with the ecstasy-fueled rave scene, Jungle also inherited several associations with violence and criminal activity, both from gang cultures that have influenced the English hip-hop scene and as a consequence of forest sounds and themes that are often aggressive or threatening violence (usually reflected in sample selection). However, this is evolving along with the often positive reputation of music as part of a wider rave scene and the traditional Jamaican-based music hall in London. In 1995, whether in reaction to, or apart from this cultural split, some forest producers began to move away from ragga-influenced styles and create what would become collective labels, for convenience, such as drums and bass.

Dance music in the 21st century

Dubstep

Dubstep is an electronic dance music genre originating from South London in the late 1990s. It is generally characterized by a rare, syncopic rhythmic pattern with a bass line containing prominent sub-bass frequencies. This style appears as an English garage branch, drawing on lines of related styles such as 2-step, reggae dub, forest, broken tap, and dirt. In the United Kingdom genre origins can be traced back to the growth of the party scene of the Jamaican sound system in the early 1980s.

The earliest dubstep releases date back to 1998, and are usually shown as B-sides of the 2-step garage release. The track is darker, more experimental remix with little emphasis on vocals, and attempts to insert the breakbeat element and drum and bass into 2 steps. In 2001, this and other dark garage music began to be exhibited and promoted at the Plastic People London nightclub, on a "Forward" (sometimes stylish as FWD & gt; & gt;) night, which later became very influential on the development of dubstep. The term "dubstep" refers to music genres being used around 2002 by labels such as Big Apple, Ammunition, and Wrought, where the time style trends used in creating these remixes are beginning to become more real and different from 2-point and dirt.

Electrical home

Electro house is a home music form characterized by bassline or kick drum that stands out and tempo between 125 and 135 beats per minute. Its origins are influenced by electro, electroclash, electropop, synth-pop, and home technology. This term has been used to describe music from many of the top DJs, including Dimitri Vegas & amp; Like Mike, Hardwell, Skrillex, and Steve Aoki. Italian DJ Benny Benassi, with the song "Satisfaction" released in 2002, is seen as the forerunner of the electro-house that took him to the mainstream. In the mid-2000s, electro-homes saw an increase in popularity, with hits such as Tom Neville remix from Studio B I See Girls in 2005 (UK # 11). In November 2006, the song Electro-house "Put Your Hands Up For Detroit" by Fedde Le Grand and remix D. Ramirez of "Yeah Yeah" by Bodyrox and Luciana holding number one and number two, respectively, in the UK Top 40 single charts. Since then, electro-house producers such as Feed Me, Knife Party, Machine M, Porter Robinson, Yasutaka Nakata, and Dada Life have emerged.

Maps Electronic dance music

Popularized in the United States

Initially, electronic dance music is associated with European raves and club culture. It achieved limited popular exposure in America but in the mid-1990s an effort was being made to market a variety of dance genres using the label "electronica." At that time, the wave of electronic music bands from Britain, including The Prodigy, The Chemical Brothers, Fatboy Slim and Underworld, was prematurely attributed to the "American electronica revolution". However, instead of finding mainstream success, much of the established EDM action is downgraded to US industry margins. In 1998 Madonna's Ray of Light brought the genre to the attention of popular music listeners. In the late 1990s, despite US media interest in re-branded dance as an electronica, American homes and techno manufacturers continued to travel abroad to build their careers as DJs and producers.

In the mid-2000s, the Dutch producer, TiÃƒÆ'Ã‚ Â«sto, brought the popular world attention to the EDM after providing the soundtrack for the entry of athletes during the opening ceremony of the 2004 Summer Olympics - an event that The Guardian deemed as wrong one of the 50 most important events in dance music. In 2003, the influence of dance music on American radio produced Billboard which created the first Airplay Dance/Mix Show chart. In 2005, the popularity of dance music in the popular culture of North America has increased sharply. According to Spin , Daft Punk's performance at Coachella in 2006 was a "tipping point" for EDM - it introduced the duo to a new generation of "rock kids". As recorded by Entertainment Weekly , "SexyBack" Justin Timberlake helped introduce EDM sound to top 40 radio, as it brings together a variety of electronic dance music with the voice of an R & B. In 2009, French home musician David Guetta began to become famous in mainstream pop music thanks to several crossover hits on the Top 40 charts such as "When Love Take Over" with Kelly Rowland, as well as his collaboration with US pop and hip hop acts such as Akon ( "Sexy Bitch") and The Black Eyed Peas ("I Gotta Feeling"). YouTube and SoundCloud help drive interest in EDM, as well as home electro and dubstep. Skrillex popularized the louder voice dubbed "brostep", or dubstep.

The increasing popularity of EDM is also influenced by live events and performances. Promoters and venues realize that DJs can generate greater profits than traditional musicians; Diplo explained that "a band plays for 45 minutes; DJs can play for four hours." Rock bands - there are some headliner dudes that can play places with a capacity of 3,000-4000, but DJs play the same place, they change the crowd more of twice, people buy drinks all night for a higher price - it's a win-win. "Electronic music festivals especially Electric Daisy Carnival (EDC) and Ultra Music Festival are also growing in size, placing increased emphasis on the visual experience, and the DJs themselves, who are starting to reach celebrity status. Other major acts that became famous include Avicii and Swedish House Mafia held a concert tour in the arena rather than a nightclub; in December 2011, the Swedish House Mafia became the first electronic music act to sell Madison Square Garden in New York City.

In 2011, Spin declared a "new generation" led by actions like David Guetta, Deadmau5, and Skrillex. In January 2013, Billboard introduced the new EDM/Electronic Songs Songs song, tracking the top 50 electronic songs based on sales, radio broadcasts, club games and online streaming. According to Eventbrite, EDM fans are more likely to use social media to find and share events or shows. They also found that 78% of fans said they were more likely to attend the show if their peers did, compared to 43% of fans in general. EDM has many young and social fans. At the end of 2011, Music Trades described electronic dance music as the fastest-growing genre in the world. Elements of electronic music are also becoming increasingly prominent in pop music. Radio and television also contribute to the mainstream reception of dance music.

The interests of US companies

The consolidation of companies in the EDM industry began in 2012 - primarily in terms of live broadcasts. In June 2012, media executive Robert F. X. Sillerman - the founder of what is now Live Nation - relaunched SFX Entertainment as an EDM conglomerate, and announced plans to invest $ 1 billion to acquire the EDM business. Its acquisitions include regional promoters and festivals (including ID & T, which governs Tomorrowland), two nightclub operators in Miami, and Beatport, an online music store focused on electronic music. Live Nation also acquired Cream Holdings and Hard Events, and announced a "creative partnership" with the organizers of EDC Insomniac Events in 2013 that will enable it to access its resources while remaining an independent company; Live Nation CEO Michael Rapino described EDM as "[new] rock 'n' roll".

US radio conglomerate iHeartMedia, Inc. (formerly Clear Channel Media and Entertainment) are also making efforts to adjust to EDM. In January 2014, the company recruited the British DJ and BBC Radio 1, Pete Tong's personality to produce programming for the "Evolution" dance radio brand, and announced a partnership with SFX to produce live and programming oriented EDM broadcasts for the top 40 radio. station. IHeartMedia President John Sykes explains that he wants his company's property to be "the best destination [for EDM]".

Major brands have also used the phenomenon of EDM as a means to target millennia and EDM songs and artists are increasingly being featured in television advertisements and programs. The Avicii manager, Ash Pournouri compared these practices with the commercialization of hip-hop in the early 2000s. Heineken has a marketing relationship with the Ultra Music Festival, and has incorporated Dutch producers Armin van Buuren and TiÃƒÆ'Ã‚ ststo into his advertising campaign. Anheuser-Busch has a similar relationship as a beer sponsor of the SFX Entertainment show. In 2014, 7 Up launches "7x7Up" - an EDM-centered multi-platform campaign that includes digital content, display-producing ads, and branded stages at Ultra and Electric Daisy Carnival. T-Mobile US wireless carrier entered into an agreement with SFX to become the official wireless sponsor of its shows, and partnered with Above & amp; Beyond to sponsor his 2015 tour.

In August 2015, SFX began to decline in value, and a failed bid by Sillerman's CEO to take the company personally. Companies start looking for strategic alternatives that can generate company sales. In October 2015, Forbes stated the possibility of a "bubble" of EDM, amid decline in SFX Entertainment, slowing revenue growth, increasing festival and talent booking costs, and an oversaturation festival in the eastern and western United States. Insomniac CEO Pasquale Rotella feels that the industry will overcome the overall financial uncertainty of the market by focusing on "innovation" and entering new markets. Despite estimates that interest in popular EDM will be reduced, by 2015 it is estimated to be a Â£ 5.5bn industry in the US, up 60% compared to 2012 forecasts.

SFX emerged from bankruptcy in December 2016 as LiveStyle, under the leadership of Randy Phillips, a former AEG Live executive.

Criticism

After popularizing EDM in America, a number of producers and DJs, including Carl Cox, Steve Lawler, and Mark Schulz, voiced concern that the excessive commercialization of dance music has influenced DJing's "art". Cox sees a "press-play" approach taken by the newer DJ EDM as not representing what he calls the "DJ ethos". Writing on Mixmag , DJ Tim Sheridan argues that "push-button DJs" that use automatic sync and play "clear hit" pre-recorded recordings result in situations taken over by "watch, money and showbiz".

Some home manufacturers openly acknowledge that "commercial" EDM requires further differentiation and creativity. Avicii, whose 2013 True album featuring songs incorporating bluegrass elements, such as the lead single "Wake Me Up", states that most EDMs do not have "longevity". Deadmau5 criticized the popular homogenization of EDM, and suggested that "it all sounds the same." During the 2014 Ultra Music Festival, Deadmau5 made critical comments about the latest EDM artist Martin Garrix and then played an edited version of the Garrix "Animal" that was remixed into the melody of "Old McDonald Had a Farm". After that, TiÃƒÆ' Ã‚ Â«sto criticized Deadmau5 on Twitter for" sarcasticly "mixing Avicii's" Levels "with his" Ghosts "and his" Ghosts "himself.

In May 2014, NBC's sitcom series Saturday Night Live parodied the EDM culture stereotype and DJ push-button in Digital Short entitled "When Will the Bass Drop?". It featured a DJ performing daily activities - playing computer games, frying eggs, collecting money - which then hit the giant "BASS" button, which blew the head of the concert's visitors.

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International population

In May 2015, the International Music Summit Business Report estimated that the global electronics music industry had reached nearly $ 6.9 billion in value; counts including music sales, event revenue (including nightclubs and festivals), sales of DJ equipment and software, and other revenue sources. The report also identifies some emerging markets for electronic dance music, including East Asia, India and South Africa, primarily credited for investment by domestic interests, as well as America and Europe. A number of major festivals also began to flourish to Latin America.

China is a market where EDM initially made only a few breakthroughs; although the promoters believe that most of the instrumental music will remove the metaphorical language barrier, EDM growth in China is hampered by the lack of a leading rave culture in the country as in other areas, as well as the popularity of domestic Chinese pop overseas. artist. Former Universal Music executive Eric Zho, inspired by US growth, made the first significant investment in electronic music in China, including the organization of the inaugural Storm festival in Shanghai in 2013, the achievement of a title sponsorship deal for the Budweiser Anheuser-Busch brand festival, local talent search, and set up collaborations between EDM producers and Chinese singers, such as Avicii and Wang Leehom "Lose Myself". In subsequent years, a large number of EDM shows began to emerge in China, and Storm itself was preceded by a larger number of pre-parties in 2014 than in its inaugural year. A new report released during China's first International Music Summit in October 2015 revealed that China's EDM industry experienced moderate gains, citing the larger number of events (including major new festival brands like Modern Sky and YinYang), an increase of 6% in electronic music sales in the country, and a significant measure of the overall market. Zho also believes that the country's "direct" political climate, as well as investment by China into cultural events, helps "push" the growth of EDM in the country.

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Terminology

The term "electronic dance music" (EDM) was used in the United States in early 1985, although the term "dance music" does not appear as a blanket term ^[95]. Writing in The Guardian, journalist Simon Reynolds notes that the adoption of the American music industry over the EDM term in the late 2000s is an attempt to re-brand the "rave culture" of the US and distinguish it from the rave atmosphere of the 1990s. In the UK, "dance music" or "dance" is a more general term for EDM. ^[4] What is widely regarded as "club music" has changed over time; now including various genres and may not always include EDM. Similarly, "electronic dance music" can mean different things to different people. Both "music club" and "EDM" seem vague, but the term is sometimes used to refer to different genres and unrelated (the music club is defined by what is popular, whereas the EDM is distinguished by the music attribute). ^[96] Until the late 1990s, when the larger US music industry created music charts for "dance" ( Billboard magazines have been maintaining "dance" charts since 1974 and continues to this day.). ^[93] In July 1995, Nervous Records and Project X Magazine held its first award ceremony, calling it the "Electronic Dance Music Awards". ^{[Note 4]}

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Production
Electronic dance music is generally composed and produced in recording studios with specialized equipment such as samplers, synthesizers, effects units, and MIDI controllers ready to interact with each other using MIDI protocols. In the early days of the genre, electronic musical instruments used hardware and focused in production mainly on manipulating MIDI data as opposed to manipulating audio signals. However, since the late 1990s the use of software has been increasing. Modern electronic music production studios generally consist of computers running digital audio workstations (DAW), with various plug-ins installed such as synthesizer software and effects units, controlled by MIDI controllers such as MIDI keyboards. This setting is enough for a producer to make the whole song from start to finish, ready to be mastered.
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Festival
In the 1980s, electronic dance music was often played at illegal underground rave parties held in secret locations, for example, warehouses, abandoned hangars, fields and other open areas. In the 1990s and 2000s, aspects of underground culture in the 1980s and early 1990s began to evolve into legal and organized EDM concerts and festivals. Great festivals often feature a large number of actions representing different EDM genres spread over several stages. The festival has placed greater emphasis on visual glasses as part of their overall experience, including intricate stage design with underlying themes, complex lighting systems, laser performances, and fireworks. Fashion Rave also evolved among the participants, the The Guardian described as the development of the 1990s "raver temple" into "[a] a neat and sexified but also kitsch-sureal image between Venice Beach and Cirque du Soleil, Willy Wonka and a gay pride parade. "These events differ from underground raves by their organized nature, often in key places, and steps to ensure the health and safety of participants. MTV Rawley Bornstein describes electronic music as a "new rock and roll", as did Perry Ferrell's Lollapalooza organizer.
Ray Waddell of Billboard noted that the festival promoters have done an excellent job in branding. Larger festivals have proven to have a positive economic impact in their host cities The Ultra 2014 Music Festival brings 165,000 participants - and over $ 223 million - to the Miami/South Florida region economy. The first edition of TomorrowWorld - the US-based Belgian Tomorrowland festival, generated $ 85.1 million for the Atlanta area - as much as the host's income from the NCAA Final Four at the beginning of the year. The rise of mainstream electronic music has also led to major US multi-genre festivals, such as Lollapalooza and Coachella, to add more electronic action and dance to their lineup, along with specially oriented EDM stages. Even with this accommodation, some major electronic acts, such as Deadmau5 and Calvin Harris have made appearances at a major stage during the last nights of Lollapalooza and Coachella, respectively - a place traditionally reserved for leading non-electronic genres, such as rock and alternatives.
Russell Smith of The Globe and Mail feels that the commercial festival industry is an antithesis to the original principles of the rave subculture, citing "expensive tickets, giant corporate sponsors, rough bro cult - shirtless muscle boys who are exploring the stadium, the popular little girls in bikinis who ride on their shoulders - not to mention the whiny music itself. "Drug-related incidents, as well as other complaints surrounding the behavior of their participants, have contributed to negative perceptions and opposition to electronic music events by local authorities; After the 2014 Ultra Music Festival, where the gatecrashers crowd trampled a security guard on the first day, Miami city commissioners considered banning festivals held in the city, citing trampling incidents, lewd behavior, and complaints by harassed downtown residents. by the participants. The commissioners chose to allow Ultra to continue to be held in Miami for a positive economic effect, under the condition that the organizers deal with security, drug use and lewd behavior by participants.
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Association with recreational drug use
Dance music has a long relationship with drug use, especially with a variety of drugs that have been categorized under the name "club drug". Russell Smith notes that drug associations and musical subcultures are not at all exclusive to electronic music, citing previous examples of music genres associated with certain drugs, such as psychedelic rock and LSD, disco and cocaine music, and punk and heroin music. Similarly, the 1980s grunge scene in Seattle is associated with heroin use.
Methylenedioxymethamphetamine (MDMA), also known as ecstasy, "E", or "Molly", is often considered a drug of choice in rave culture and is also used in clubs, festivals and home parties. In a rave environment, the sensory effects of music and lighting are often very synergistic with the drug. Psychedelic amphetamine quality MDMA offers many reasons to attract users' attention in a "rave" setting. Some users enjoy the feeling of mass communion from drug inhibitory effects, while others use it as party fuel due to the effects of drug stimulation.
MDMA is sometimes known as psychedelic drugs. More common combinations include MDMA combined with LSD, MDMA with psilocybin mushrooms, and MDMA with ketamine dissociative drugs. Many users use products that are mentholasi when using MDMA for its cooling sensation when experiencing drug effects. Examples include menthol cigarettes, Vicks VapoRub, NyQuil, and lozenges.

The incidence of nonmedical ketamine has increased in the context of raves and other parties. However, its emergence as a club drug is different from other club drugs (eg MDMA) because of its anesthetic properties (eg, , unclear speech, immobilization) at higher doses; In addition, there are reports of ketamine sold as "ecstasy". The use of ketamine as part of the "postclubing experience" has also been documented. Ketamine increased in the culture of fast dance in Hong Kong in the late 1990s. Prior to becoming a federally controlled substance in the United States in 1999, ketamine was available as a pharmaceutical dosage which was diverted and as a pure powder sold in bulk from domestic chemical supply companies. Most of the current ketamine that is diverted for non-medical use comes from China and India.

Drug-related deaths on electronic dance music events

A number of deaths attributed to drug use have clearly occurred in major music concerts and electronic festivals. The Los Angeles Memorial Coliseum lists Insomniac in the blacklist after an underage participant dies of "ischemic encephalopathy complications due to methylenedioxymethamphetamine intoxication" during Electric Daisy Carnival 2010; as a result, the show was re-placed to Las Vegas the following year. Drug-related deaths during the 2013 Electric Zoo in New York City, USA and Future Music Festival Asia 2014 in Kuala Lumpur, Malaysia, prompted the final day of both events to be canceled, while Life in Color canceled planned events in Malaysia. concern over the incident at the Future Music Festival Asia and other drug-related deaths that occurred at the A State of Trance 650 concert in Jakarta, Indonesia.

In September 2016, the city of Buenos Aires, Argentina banned all electronic music events, awaiting future law, after five drug-related deaths and four injuries at the Warp's Time Festival event in the city in April 2016. The ban forced the Kraftwerk electronics band to canceled a planned concert in the city, although it argues that there is a difference between the festival and their concert.

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Industrial awards

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Note

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References

Bibliography

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Electronic dance music

Kamis, 14 Juni 2018

Electronic dance music

Video Electronic dance music