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Thematische Bibliographien / Trance (Electronic dance music) / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Trance (Electronic dance music)“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Groth, Sanne Krogh, and Nils Bubandt. "Trance Against the Machine." Resonance: The Journal of Sound and Culture 6, no. 2 (2025): 125–48. https://doi.org/10.1525/res.2025.6.2.125.

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This article explores the musical performances, aesthetics, and multi-situated reception of Indonesian electronic dance music in Europe and Indonesia, focusing on the duo Gabber Modus Operandi (GMO). Since their first international tour titled “Trance Against the Machine” in 2019, the duo has gained significant attention, especially in Europe, because they are seen as part of a seismic shift in the electronic dance continuum. The article critically analyzes this perceived shift in relation to GMO’s music. It advocates for a mode of analysis that simultaneously traces the situated and the multi

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Gelažiūtė-Pranevičienė, Eglė. "Shifts in Authenticity: Electronic Dance Music as Environment for Contemporary Folklore Forms." Tautosakos darbai 61 (June 1, 2021): 122–40. http://dx.doi.org/10.51554/td.21.61.05.

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The article discusses the most prominent creators of the Lithuanian post-folklore electronic music and their stylistic uniqueness, mainly focusing on the Electronic Dance Music (EDM) branch. An important fact is that the authors tend to create full-length music albums rather than single songs, thus emphasizing their conscious choice, constant and consistent activity. The two fields – modern and old – expand each other, attracting regular listeners with new expressions, thus continuing the development of folklore and enriching electronic music with cultural values and identity. Authentic folklo

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McCallum, Clinton. "Falling Up." Journal of Popular Music Studies 33, no. 2 (2021): 99–129. http://dx.doi.org/10.1525/jpms.2021.33.2.99.

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This article investigates melodic figures and harmonic sequences that miraculously only step up to illuminate an aesthetic lineage that connects gospel to electronic dance music. It argues that the synth-risers and ever-opening filters of contemporary euphoric rave music like happy-hardcore and uplifting-trance find precedence in compositional devices that made their way into funk/soul and disco/garage from Black gospel music, and that these gospel inventions were derived from the Afro-diasporic ring-shout. Cognitive linguistic and psychoacoustic theories premise an analytical framework for mu

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Spencer, Edward K. "Re-orientating Spectromorphology and Space-form through a Hybrid Acoustemology." Organised Sound 22, no. 3 (2017): 324–35. http://dx.doi.org/10.1017/s1355771817000486.

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This article re-orientates Denis Smalley’s work on spectromorphology and space-form through a case study of electronic dance music (EDM) on YouTube. An EDM track and its related YouTube comments are analysed concurrently in order to examine how sound-shapes and sonic spatiality are experienced in practice on the social web. Using Stephen Feld’s notion of acoustemology as a theoretical base, I argue that semantic and somantic ways of knowing through sound are thoroughly entangled. A hybrid acoustemology model is outlined, merging spectromorphology and space-form with elements of ecosemiotics an

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Cvijanovic, Irina. "Performing sound of the past: Remix in electronic dance music culture." Muzikologija, no. 17 (2014): 87–104. http://dx.doi.org/10.2298/muz1417087c.

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The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s), reader(s), listener(s) or, in the contemporary world of DJs and

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Холопова, В. Н. "The Concept of “Multimedia” in the Music of Igor Kefalidi." Журнал Общества теории музыки, no. 4(28) (December 28, 2019): 10–17. http://dx.doi.org/10.26176/otmroo.2019.28.4.002.

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Понятие «мультимедиа» в настоящее время весьма широко используется в образовании, науке, искусстве, рекламе; в сфере музыки — в клипах развлекательных жанров. Задача статьи — очертить круг явлений мультимедиа в творчестве композитора академической традиции — И. Л. Кефалиди. Наиболее типична для данного автора трехкомпонентность: электронные звуки, звучание акустических инструментов и видеоряд — в частности, в его лучших сочинениях «TapeEхt», «S_S_S». Кроме того, имеются произведения, включающие: инструментальный театр — электроника, ударные инструменты, театральные движения, видео («Percato mo

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Чатоджян, М. С. "Модернизация армянской хореографии через взаимодействие с современной музыкальной культурой". Journal of Applied Research, № 1 (10 лютого 2025): 176–81. https://doi.org/10.47576/2949-1878.2025.1.1.025.

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Статья рассматривает процессы модернизации армянской хореографии в контексте ее взаимодействия с современной музыкальной культурой. Цель данного исследования – анализ того, как музыкальные инновации – от электронных жанров до этно-джаза, минимализма – могут способствовать сохранению, преобразованию хореографического наследия Армении, что делает его доступным, привлекательным для широкой аудитории, включая международную. Методологический подход исследования включает анализ конкретных хореографических постановок, в которых прослеживается взаимодействие с новыми музыкальными формами. Также провод

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Kubiak, Anthony. "Virtual Faith." Theatre Survey 47, no. 2 (2006): 271–76. http://dx.doi.org/10.1017/s0040557406000251.

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The recent rubs and resistances within the various flows of religious thought and practice in American culture and politics have become near clichés. The impact of right-wing religions on government and cultural policies has been well noted, as have the concomitant attempts to keep religion of all kinds out of politics entirely. Meanwhile, the problematic status of Islam both locally and globally has become a continuous topic of debate, as have the debates over creationism and so-called intelligent design in American schools. These high-profile debates have in turn eclipsed the suspicions of a

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Hendriko, Thomas, and Elmeida Effendy. "Kuda Kepang: A Case Report of Javanese Cultural-Related Trance in Medan." Open Access Macedonian Journal of Medical Sciences 7, no. 16 (2019): 2705–7. http://dx.doi.org/10.3889/oamjms.2019.823.

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BACKGROUND: One of the works of Javanese culture is the kuda kepang. None of the historical records explains the origin of this dance. Kuda kepang or also called kuda lumping or jathilan. In the kuda kepang dance, the trance process takes place through the calling of the spirit or called endang through the songs that are played. In the International Classification of Disease Edition (ICD-10), it is called trance and possession disorders and in the Diagnostic and Statistical Manual of Mental Disorders five editions (DSM-5) it is included into Other Specified Dissociative Disorder. CASE RE

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Listiani, Wanda, and Ai Juju Rohaeni. "PEMANFAATAN ESTIMASI POSE GERAK PADA PENARI TRANCE DALAM RITUAL ADAT NGALAKSA." Jurnal Budaya Nusantara 6, no. 3 (2024): 365–71. http://dx.doi.org/10.36456/jbn.vol6.no3.8881.

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This research aims detected the motions poses of trance dancers as a computer vision model in the trance dancers performing arts. The annual ceremonies of the Ngalaksa ritual and the Tarawangsa art as cultural traditions in Rancakalong Tourism Village, located in Sumedang, West Java. This ritual serves as a reverent to the Rice Goddess, with the farmers engaging in ceremonial processions and traditional Ngalaksa rites. Accompanied by the melodic strains of Tarawangsa music, participants dancing in rhythmic dance, some even entering trance states. On the other hand, the advancement of artificia

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Turner, Ashley, and Artur Simon. "Gendang Karo (North Sumatra): Trance and Dance Music of the Karo-Batak." Yearbook for Traditional Music 21 (1989): 151. http://dx.doi.org/10.2307/767791.

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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negri

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Lambert, Jean, and Anderson Bakewell. "The Yemen Tihama: Trance and Dance Music from the Red Sea Coast of Arabia." Yearbook for Traditional Music 35 (2003): 234. http://dx.doi.org/10.2307/4149360.

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Vetter, Roger, and Artur Simon. "Gendang Karo/Northern Sumatra, Indonesia. Trance and Dance Music of the Karo Batak." Ethnomusicology 33, no. 3 (1989): 563. http://dx.doi.org/10.2307/851789.

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Nicolas, Arsenio. "TRADITIONAL MUSIC AND CONTEMPORARY TRENDS: MUSIC IN ASEAN COMMUNITIES." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (2019): 54–56. http://dx.doi.org/10.33153/sorai.v12i1.2623.

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The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region’s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for

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Ahmad, Siti Islamiah, Mohd Effindi Samsuddin, and Awang Azman Awang Pawi. "“ISIM” DAN “ISI” DALAM PERSEMBAHAN SENI PERMAINAN KUDA KEPANG." Jurnal Pengajian Melayu 34, no. 1 (2023): 107–25. http://dx.doi.org/10.22452/jomas.vol34no1.6.

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The art of “permainan” Kuda Kepang is a type of dance that goes through a ritual process before reaching a trance state during the performance. The current study focuses on the keywords “isim” and “isi, which refers to the form of practice taken and performed by Kuda Kepang players. This investigation focuses on the relationship between the possession of “isim” within the player and the filling of “isi” in the Kuda Kepang equipment to realize the presence of the trance state during the performance. Therefore, the objective of this study is to identify the factors contributing to the occurrence

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Wolfgang Mastnak. "Music, dance and painting to treat eating disorders; The Chinese TIBET-Model." World Journal of Advanced Research and Reviews 13, no. 1 (2022): 590–98. http://dx.doi.org/10.30574/wjarr.2022.13.1.0066.

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Eating disorders are considered an increasing public health problem, also in China. They comprise a broad spectrum of medical conditions such as anorexia nervosa, avoidant/restrictive food intake disorder, bulimia and binge eating, which often go hand in hand with considerable mental and physiological issues such as obesity and metabolic syndrome. Scientific research and clinical experience suggest distinct therapeutic interventions; many of them are related to cognitive behavioural therapy and psychoeducation. The present article introduces artistic approaches comprising music, dance and pain

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Wolfgang, Mastnak. "Music, dance and painting to treat eating disorders; The Chinese TIBET-Model." World Journal of Advanced Research and Reviews 13, no. 1 (2022): 590–98. https://doi.org/10.5281/zenodo.5904340.

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Eating disorders are considered an increasing public health problem, also in China. They comprise a broad spectrum of medical conditions such as anorexia nervosa, avoidant/restrictive food intake disorder, bulimia and binge eating, which often go hand in hand with considerable mental and physiological issues such as obesity and metabolic syndrome. Scientific research and clinical experience suggest distinct therapeutic interventions; many of them are related to cognitive behavioural therapy and psychoeducation. The present article introduces artistic approaches comprising music, dance and pain

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Becker-Blease, Kathryn A. "Dissociative States Through New Age and Electronic Trance Music." Journal of Trauma & Dissociation 5, no. 2 (2004): 89–100. http://dx.doi.org/10.1300/j229v05n02_05.

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Markoff, Irene. "Introduction to Sufi Music and Ritual in Turkey." Middle East Studies Association Bulletin 29, no. 2 (1995): 157–60. http://dx.doi.org/10.1017/s0026318400031552.

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It is difficult to appreciate and understand Sufism fully without an informed exposure to the expressive cultural forms that help define and enhance it. It is this dimension of Islamic mysticism that transports the seeker on the path of spiritual attainment into higher states of consciousness that promise spiritual intoxication (Wajd) and a unique and intimate union, even annihilation (fanā), in the supreme being. This emotional expression of faith is intensified and externalized in elaborate forms of meditation and esoteric techniques that are part of ritual ceremonies.Through ritual, many Su

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Gopal, Nirmala. "Music, Trance and Dance in the ThaipusamKavadyFestival: Reflections of a Select Group of South Africans." Journal of Sociology and Social Anthropology 4, no. 1-2 (2013): 159–66. http://dx.doi.org/10.1080/09766634.2013.11885593.

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Király, Lajos. "Music and the Altered State of Consciousness." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 165–75. http://dx.doi.org/10.24193/subbmusica.2023.2.12.

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"Tourists travelling to Turkey may encounter circling (mevlevi) dervishes in Konya, spinning in circles to achieve a kind of altered state of consciousness and enter a trance-like state of ecstasy. The world of popular music has also been inspired by the concepts of Christianity and ecstasy, and some rock bands have emerged from a combination of the two. This altered state of consciousness is brought about by the combined effect of dance and music, which they believe can be an ecstatic experience of dual action, freeing one from the agonies and pains of everyday life. In some religions, the ec

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Lebaka, Morakeng Edward Kenneth. "Ethnographic Research of the use of Music in Healing as a Cultural Phenomenon in Greater Sekhukhune District Municipality, Limpopo Province in South Africa." DIALOGO 7, no. 2 (2021): 60–66. http://dx.doi.org/10.51917/dialogo.2021.7.2.5.

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This study investigates the relationship between music and healing in the African context, as well as the relationship between music, culture, and identity. Since the traditional approach to music-making makes it a part of the institutional life of the Bapedi community, among the Bapedi people, the music itself was and is thought to enable communication with the living-dead, often inducing ancestral spirit possession, ‘causing the spirits to descend’. We observe in this study how traditional healers in the Greater Sekhukhune District Municipality express their emotions through music, and how t

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Solberg, Ragnhild Torvanger, and Nicola Dibben. "Peak Experiences with Electronic Dance Music." Music Perception 36, no. 4 (2019): 371–89. http://dx.doi.org/10.1525/mp.2019.36.4.371.

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This paper investigates the role of musical features in shaping peak-pleasurable experiences of electronic dance music (EDM). Typically, large structural and dynamic changes occur in an EDM track, which can be referred to as the break routine, consisting of breakdown, build-up, and drop. Twenty-four participants listened to four EDM excerpts featuring break routines, and one excerpt without a break routine. Measures were taken of skin conductance, self-reported affect, and embodied aspects of subjective experience, and incidence of pleasant bodily sensations. Participants reported intense affe

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Bondarenko, Andrii. "Electronic Dance Music in Ukrainian Musical Culture." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 60–66. https://doi.org/10.31866/2410-1176.43.2020.220071.

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The purpose of the work is to analyse the features of electronic dance music (EDM) in the cultural space of Ukraine in the late 2000s and early 2010s based on the study of online publications on electronic dance music, review the most important events in EDM culture and provide an interpretation of the most relevant musical trends over the past two decades. The research methodology includes descriptive and interpretive approaches, statistical analysis, synthesis and generalization of the collected information to complete the scientific understanding of the electronic dance music existence in U

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Simoncelli, Adriana. "Dance in Indian culture: A cosmic manifestation of divine creation and a path to liberation." Dziennikarstwo i Media 15 (June 29, 2021): 15–25. http://dx.doi.org/10.19195/2082-8322.15.2.

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Dance is a human cultural activity aimed at non-verbal emotional communication, mentioned for the first time in the circle of European culture by Homer in the Iliad (8th/7th century BC). In Indian culture — the most extensive one of four contemporary civilizations of antiquity (next to Egyptian, Mesopotamian, and Chinese), whose cradle is the Indus Valley Civilization — the first material evidence of the presence of dance is dated between 2300–1750 BC. It is a bronze statuette of a dancing girl, making us aware of the fact that this type of activity has accompanied people since the dawn of tim

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Baklanoff, Joy Driskell. "The Celebration of a Feast: Music, Dance, and Possession Trance in the Black Primitive Baptist Footwashing Ritual." Ethnomusicology 31, no. 3 (1987): 381. http://dx.doi.org/10.2307/851662.

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Jóri, Anita. "On the terminology of electronic (dance) music." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 467–83. http://dx.doi.org/10.31724/rihjj.44.2.9.

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Due to rapid technological developments, the terminology of electronic (dance) music is constantly changing. This also causes challenges for the discourse community of electronic dance music in the use of different technical terms. This paper gives a general overview on the subject as it is a pioneer investigation of research. Firstly, it summarises the characteristics of the discourse community’s language use. Later, it highlights the different types of technical terms used by the terminology users. For this, tech terms of a web discussion forum are analysed in detail. The article also descri

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Matejovski, Dirk. "DIE KÜNSTLICHEN PARADIESE DER ELECTRONIC DANCE MUSIC." POP 7, no. 2 (2018): 130–52. http://dx.doi.org/10.14361/pop-2018-070219.

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de Quay, Yago, Ståle Skogstad, and Alexander Jensenius. "Dance Jockey: Performing Electronic Music by Dancing." Leonardo Music Journal 21 (December 2011): 11–12. http://dx.doi.org/10.1162/lmj_a_00052.

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The authors present an experimental musical performance called Dance Jockey, wherein sounds are controlled by sensors on the dancer's body. These sensors manipulate music in real time by acquiring data about body actions and transmitting the information to a control unit that makes decisions and gives instructions to audio software. The system triggers a broad range of music events and maps them to sound effects and musical parameters such as pitch, loudness and rhythm.

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Fang, Yuting. "A Hybrid Density Network-Based Dance Movement Generation Algorithm and Internet of Things for Young Children." Wireless Communications and Mobile Computing 2022 (September 20, 2022): 1–8. http://dx.doi.org/10.1155/2022/2245284.

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The music development matching model and the quantifiable planning model have an undesirable fit between the dance produced by the model and the music self in terms of music-driven dance development age (e.g., generated dance development is lacking, and long-distance dance arrangements are lacking in perfection and discernment). The traditional methodology cannot produce new dance moves or other associated concerns. To address these concerns, we are working on a dance age estimation based on technological developments and neural networks that will eliminate the need for voice and development p

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Brunsma, David L., Nathaniel G. Chapman, and J. Slade Lellock. "Special Issue ofPopular Music and Society:Race and Electronic Dance Music." Popular Music and Society 39, no. 4 (2016): 482–83. http://dx.doi.org/10.1080/03007766.2016.1214008.

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Minett, Mark. "Beyond the badass: Electronic Dance Music meets film music practice." New Review of Film and Television Studies 11, no. 2 (2013): 191–210. http://dx.doi.org/10.1080/17400309.2012.746553.

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Gurung, Raj Kumar. "Ghãtu: Femininity and Indigenous Aesthetics." Bon Voyage 6, no. 1 (2024): 107–14. http://dx.doi.org/10.3126/bovo.v6i1.68264.

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Ghãtu is a cultural capital that explores the esteem of femininity and Indigenous aesthetics. Despite its aesthetic value, the main theme is sati custom, the over-exploitation of females. This tribal festival does not only belong to Gurung or Magar. Its horizon is up to Tamang, Dura, Darai, Baram and Aryal Kshetri in central and mid-western Nepal. All of them observe with almost similar methods and rituals. Except for Aryal Kshetri, other Indigenous groups claim that it is their hereditical cultural activity. The slow-motion meditative trance dance and melodious verses of songs represent the a

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DEMERS, JOANNA. "Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste." Popular Music 25, no. 3 (2006): 401–14. http://dx.doi.org/10.1017/s0261143006001012.

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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 ‘mainstre

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Wang, Huaxin, Yang Song, Wei Jiang, and Tianhao Wang. "A Music-Driven Dance Generation Method Based on a Spatial-Temporal Refinement Model to Optimize Abnormal Frames." Sensors 24, no. 2 (2024): 588. http://dx.doi.org/10.3390/s24020588.

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Since existing music-driven dance generation methods have abnormal motion when generating dance sequences which leads to unnatural overall dance movements, a music-driven dance generation method based on a spatial-temporal refinement model is proposed to optimize the abnormal frames. Firstly, the cross-modal alignment model is used to learn the correspondence between the two modalities of audio and dance video and based on the learned correspondence, the corresponding dance segments are matched with the input music segments. Secondly, an abnormal frame optimization algorithm is proposed to car

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Brett, Thomas. "Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture." Popular Music and Society 37, no. 4 (2013): 505–8. http://dx.doi.org/10.1080/03007766.2013.855437.

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Hearsum, Paula. "Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture." Feminist Media Studies 15, no. 2 (2015): 359–61. http://dx.doi.org/10.1080/14680777.2015.1008751.

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FitzGibbon, Kathleen M., Jose V. Nable, Benjamin Ayd, et al. "Mass-Gathering Medical Care in Electronic Dance Music Festivals." Prehospital and Disaster Medicine 32, no. 5 (2017): 563–67. http://dx.doi.org/10.1017/s1049023x1700663x.

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AbstractIntroductionElectronic dance music (EDM) festivals represent a unique subset of mass-gathering events with limited guidance through literature or legislation to guide mass-gathering medical care at these events.Hypothesis/ProblemElectronic dance music festivals pose unique challenges with increased patient encounters and heightened patient acuity under-estimated by current validated casualty predication models.MethodsThis was a retrospective review of three separate EDM festivals with analysis of patient encounters and patient transport rates. Data obtained were inserted into the predi

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Anderson, Christopher, Arne Eigenfeldt, and Philippe Pasquier. "The Generative Electronic Dance Music Algorithmic System (GEDMAS)." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 5 (2021): 5–8. http://dx.doi.org/10.1609/aiide.v9i5.12649.

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The Generative Electronic Dance Music Algorithmic System (GEDMAS) is a generative music system that composes full Electronic Dance Music (EDM) compositions. The compositions are based on a corpus of transcribed musical data collected through a process of detailed human transcription. This corpus data is used to analyze genre-specific characteristics associated with EDM styles. GEDMAS uses probabilistic and first order Markov chain models to generate song form structures, chord progressions, melodies and rhythms. The system is integrated with Ableton Live, and allows its user to select one or s

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St John, Graham. "Electronic Dance Music Culture and Religion: An Overview1." Culture and Religion 7, no. 1 (2006): 1–25. http://dx.doi.org/10.1080/01438300600625259.

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Conklin, Darrell, Martin Gasser, and Stefan Oertl. "Creative Chord Sequence Generation for Electronic Dance Music." Applied Sciences 8, no. 9 (2018): 1704. http://dx.doi.org/10.3390/app8091704.

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This paper describes the theory and implementation of a digital audio workstation plug-in for chord sequence generation. The plug-in is intended to encourage and inspire a composer of electronic dance music to explore loops through chord sequence pattern definition, position locking and generation into unlocked positions. A basic cyclic first-order statistical model is extended with latent diatonicity variables which permits sequences to depart from a specified key. Degrees of diatonicity of generated sequences can be explored and parameters for voicing the sequences can be manipulated. Feedba

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Rietveld, Hillegonda C., and Alexei Monroe. "Gabber: Raising hell in technoculture1." Metal Music Studies 7, no. 3 (2021): 399–421. http://dx.doi.org/10.1386/mms_00057_1.

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Gabber is a hardcore electronic dance music genre, typified by extreme speed and overdrive, which developed in the Netherlands, with Rotterdam as its epicentre, during the early 1990s, when house music-inspired dance events dominated. The use of distorted noise and references to popular body horror, such as Hellraiser, dominated its scene, and soon gabber was commented on as ‘the metal of house music’, a statement that this article aims to investigate. Applying a genealogical discographic approach, the research found that the electronic noise music aesthetic of industrial music was crucial for

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Schaller, Jonathan G. "A home on the floor: The musical expression of a DJ in a queer place." Journal of Popular Music Education 4, no. 3 (2020): 329–47. http://dx.doi.org/10.1386/jpme_00033_1.

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Existing studies about DJ learning and experience hint at the importance of place and music in the development of DJ musicianship. An exploration of the experiences of a queer DJ performing electronic dance music in a queer place might broaden our understanding of how musical expression and identity intermingle with musical places. I sought to understand how the monthly queer event Bronco functioned as a place for musical expression for an electronic dance music DJ named Greg. Using the remix as a methodological framework, I layered samples from interviews and field texts to depict Greg’s expe

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BUTLER, MARK J. "Hearing Kaleidoscopes: Embedded Grouping Dissonance in Electronic Dance Music." Twentieth-Century Music 2, no. 2 (2005): 221–43. http://dx.doi.org/10.1017/s1478572206000272.

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The rhythmic and metrical qualities of electronic dance music (EDM) are clearly among its most prominent and appreciated features. Yet scholarship on rhythm, as well as popular discourse surrounding EDM, often frames the pervasively duple metres that characterize popular dance-based styles as simplistic and limited in capacity. Given the allure of EDM’s temporal qualities, how do musicians devise creative solutions to the constraints of its duple metrical organization? This article addresses this question through a consideration of embedded grouping dissonance, one of several distinctive rhyth

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Sosani, Yuga Anggana. "Local Wisdom in Kebangru'an Rites in Pringgabaya East Lombok." Sophist : Jurnal Sosial Politik Kajian Islam dan Tafsir 5, no. 2 (2023): 199–235. http://dx.doi.org/10.20414/sophist.v5i2.95.

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This paper discusses the local wisdom in the Kebangru'an rite, a traditional procession of the people of Pringgabaya District, East Lombok Regency in overcoming trance disorders. The method used is qualitative ethnography where the researcher is involved and interacts directly in in the community whom is the object of research, to find out the historical value, form of presentation, local wisdom and challenges in the entire series of Kebangru'an Rites. Data collection was conducted by means of observation and in-depth interviews. Observations were made by observing various actions that were pa

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Stirling, Christabel. "‘Beyond the Dance Floor’? Gendered Publics and Creative Practices in Electronic Dance Music." Contemporary Music Review 35, no. 1 (2016): 130–49. http://dx.doi.org/10.1080/07494467.2016.1176772.

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Duncan, Sean-Lee, and Guido Orgs. "Move Your Body! Low-frequency Amplitude and Syncopation Increase Groove Perception in House Music." Music Perception: An Interdisciplinary Journal 42, no. 2 (2024): 95–108. http://dx.doi.org/10.1525/mp.2024.42.2.95.

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Studies demonstrate that low frequencies and syncopation can enhance groove—the pleasurable urge to move to music. This study examined the simultaneous effect of low-frequency amplitude and syncopation on groove by manipulating basslines in house music, a subgenre of electronic dance music (EDM). One hundred and seventy-nine participants listened to 20 novel house music clips in which basslines were manipulated across two levels of low-frequency amplitude and syncopation. Music and dance-related experience, as well as genre preferences, were also assessed. Groove perception was most pronounced

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Brunsma, David L., Nathaniel G. Chapman, and J. Slade Lellock. "Special Issue of Popular Music and Society: Race and Electronic Dance Music." Rock Music Studies 4, no. 1 (2016): 84–85. http://dx.doi.org/10.1080/19401159.2016.1214010.

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Wang, Li-Juan. "Research on the Application of Hybrid Density Network Combined with Gaussian Model in Computer Music Choreography." Journal of Sensors 2022 (September 12, 2022): 1–11. http://dx.doi.org/10.1155/2022/3385134.

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Dance, as a unique form of expression, is usually accompanied by music and presented to the audience visually, improving people’s cultural and spiritual lives while also strengthening their creative energy. And dance choreography is usually created by a few skilled choreographers, either individually or together, with a high level of expertise and complexity. With the introduction of motion capture technology and artificial intelligence, computers can now do autonomous choreography based on music, and science and technology are changing the way artists produce art today. Computer music choreog

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