Progressive music is music that attempts to expand existing stylistic boundaries associated with specific genres of music. The word comes from the basic concept of "progress", which refers to development and growth by accumulation, is deployed in the context of distinct genres such as progressive country, progressive folk, progressive jazz, progressive rock. Music, deemed "progressive" synthesizes influences from various cultural domains, such as European art music, Celtic folk, West Indian, or African, it is rooted in the idea of a cultural alternative and may be associated with auteur-stars and concept albums, considered traditional structures of the music industry. As an art theory, the progressive approach falls between eclecticism. "Formalism" refers to a preoccupation with established external compositional systems, structural unity, the autonomy of individual art works. Like formalism, "eclecticism" connotates a predilection toward style integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring to vastly different musical genres and cultural codes.
In marketing, "progressive" is used to distinguish a product from "commercial" pop music. Progressive jazz is a form of big band jazz, more complex or experimental, it originated in the 1940s with arrangers who drew from modernist composers such as Igor Stravinsky and Paul Hindemith. Its "progressive" features were replete with dissonance and brash effects. Progressive jazz was most popularized by the bandleader Stan Kenton during the 1940s. Critics were wary of the idiom. Dizzy Gillespie wrote in his autobiography. I said,'You're full of shit!"Stan Kenton? There ain't nothing in my music that's cold, cold like his."Progressive big band is a style of big band or swing music, made for listening, with denser, more modernistic arrangements and more room to improvise. The online music guide AllMusic states that, along with Kenton, musicians like Gil Evans, Toshiko Akiyoshi, Cal Massey, Frank Foster, Carla Bley, George Gruntz, David Amram, Sun Ra, Duke Ellington were major proponents of the style. "Progressive rock" is synonymous with "art rock".
Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes. With the arrival of a "progressive" label, the music was dubbed "progressive pop" before it was called "progressive rock". "Progressive" referred to the wide range of attempts to break with the standard pop music formula. A number of additional factors contributed to the label—lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", some harmonic language was imported from jazz and 19th-century classical music, the album format overtook singles, the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. During the mid 1960s, pop music made repeated forays into new sounds and techniques that inspired public discourse among its listeners; the word "progressive" was used, it was thought that every song and single was to be a "progression" from the last.
In 1966, the degree of social and artistic dialogue among rock musicians increased for bands such as the Beach Boys, the Beatles, the Byrds who fused elements of composed music with the oral musical traditions of rock. Rock music started to take itself paralleling earlier attempts in jazz. In this period, the popular song began signaling a new possible means of expression that went beyond the three-minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics; the Beach Boys' leader Brian Wilson is credited for setting a precedent that allowed bands and artists to enter a recording studio and act as their own producers. The music was developed following a brief period in the mid 1960s where creative authenticity among musical artists and consumer marketing coincided with each other. Before the progressive pop of the late 1960s, performers were unable to decide on the artistic content of their music. Assisted by the mid 1960s economic boom, record labels began investing in artists, giving them freedom to experiment, offering them limited control over their content and marketing.
The growing student market serviced record labels with the word "progressive", being adopted as a marketing term to differentiate their product from "commercial" pop. Music critic Simon Reynolds writes that beginning with 1967, a divide would exist between "progressive" pop and "mass/chart" pop, a separation, "also, one between boys and girls, middle-class and working-class." Before progressive/art rock became the most commercially successful British sound of the early 1970s, the 1960s psychedelic movement brought together art and commercialism, broaching the question of what it meant to be an artist in a mass medium. Progressive musicians thought that artistic status depended on personal autonomy, so the strategy of "progressive" rock groups was to present themselves as performers and composers "above" normal pop practice. "Proto-prog" is a retrospective label for the first wave of progressive rock musicians. The musicians that appr
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
Brooklyn Bounce is one of several pseudonyms used by German trance producers Matthias Menck and Dennis Bohn. They have produced music under the names Mental Madness Productions and Beatbox feat. Rael. Menck and Bohn have created remixes of a wide array of artists, including Scooter and Kool & the Gang. Menck and Bohn, both natives to Hamburg, met in 1995; the pair had their first chart hit starring as Boyz R Us with the single "Singin' In My Mind". In 1996 the duo debuted as Brooklyn Bounce and released "The Theme" which scaled the German dance charts as a club favourite before becoming a crossover hit for the group as well; this success set up The Beginning. Menck and Bohn work in the studio and are not part of the Brooklyn Bounce live act. Instead, the group was fronted by several different vocalists and dancers, who have collaborated with the two German producers throughout the years; the list includes René "Diablo" Behrens, Ulrika Bohn, Maeva Ehoulan, Alejandra Cuevas-Moreno and Stephan "Damon" Zschoppe.
Vocalists were only credited from "Bass and Melody", released in November 2000. In 2006, Mental Madness Records released an album titled System Shock, which features some of the earliest material by the production duo; this album is available only in a digital format. Beatbox feat. Rael1998 "Let the Music Play" 1998 "Come Into My Club" 2000 "Show Me Love"Boyz-R-Us1996 "Singin' in my Mind" 1998 "Singin' in my Mind'98" 1999 "Alright" 2002 "All Day/Let It All Out"Other aliases1997 "Follow Me", as Mental Madness Productions 1998 "Deeper Love", as Mental Madness Productions 1998 "Watch Me", as Abuna E 2000 "Druck!", as DJ Bonebreaker 2001 "Friday Nite", as Double M 2002 "Husten", as DJ BonebreakerProduction for other artists2001 Terraformer - "All Over" Official Website Brooklyn Bounce discography at Discogs Brooklyn Bounce discography at MusicBrainz Non-official Fanclub
Germany the Federal Republic of Germany, is a country in Central and Western Europe, lying between the Baltic and North Seas to the north, the Alps to the south. It borders Denmark to the north and the Czech Republic to the east and Switzerland to the south, France to the southwest, Luxembourg and the Netherlands to the west. Germany includes 16 constituent states, covers an area of 357,386 square kilometres, has a temperate seasonal climate. With 83 million inhabitants, it is the second most populous state of Europe after Russia, the most populous state lying in Europe, as well as the most populous member state of the European Union. Germany is a decentralized country, its capital and largest metropolis is Berlin, while Frankfurt serves as its financial capital and has the country's busiest airport. Germany's largest urban area is the Ruhr, with its main centres of Essen; the country's other major cities are Hamburg, Cologne, Stuttgart, Düsseldorf, Dresden, Bremen and Nuremberg. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity.
A region named Germania was documented before 100 AD. During the Migration Period, the Germanic tribes expanded southward. Beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation. After the collapse of the Holy Roman Empire, the German Confederation was formed in 1815; the German revolutions of 1848–49 resulted in the Frankfurt Parliament establishing major democratic rights. In 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire. After World War I and the revolution of 1918–19, the Empire was replaced by the parliamentary Weimar Republic; the Nazi seizure of power in 1933 led to the establishment of a dictatorship, the annexation of Austria, World War II, the Holocaust. After the end of World War II in Europe and a period of Allied occupation, Austria was re-established as an independent country and two new German states were founded: West Germany, formed from the American and French occupation zones, East Germany, formed from the Soviet occupation zone.
Following the Revolutions of 1989 that ended communist rule in Central and Eastern Europe, the country was reunified on 3 October 1990. Today, the sovereign state of Germany is a federal parliamentary republic led by a chancellor, it is a great power with a strong economy. As a global leader in several industrial and technological sectors, it is both the world's third-largest exporter and importer of goods; as a developed country with a high standard of living, it upholds a social security and universal health care system, environmental protection, a tuition-free university education. The Federal Republic of Germany was a founding member of the European Economic Community in 1957 and the European Union in 1993, it is part of the Schengen Area and became a co-founder of the Eurozone in 1999. Germany is a member of the United Nations, NATO, the G7, the G20, the OECD. Known for its rich cultural history, Germany has been continuously the home of influential and successful artists, musicians, film people, entrepreneurs, scientists and inventors.
Germany has a large number of World Heritage sites and is among the top tourism destinations in the world. The English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine; the German term Deutschland diutisciu land is derived from deutsch, descended from Old High German diutisc "popular" used to distinguish the language of the common people from Latin and its Romance descendants. This in turn descends from Proto-Germanic *þiudiskaz "popular", derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- "people", from which the word Teutons originates; the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a coal mine in Schöningen between 1994 and 1998 where eight 380,000-year-old wooden javelins of 1.82 to 2.25 m length were unearthed. The Neander Valley was the location where the first non-modern human fossil was discovered.
The Neanderthal 1 fossils are known to be 40,000 years old. Evidence of modern humans dated, has been found in caves in the Swabian Jura near Ulm; the finds included 42,000-year-old bird bone and mammoth ivory flutes which are the oldest musical instruments found, the 40,000-year-old Ice Age Lion Man, the oldest uncontested figurative art discovered, the 35,000-year-old Venus of Hohle Fels, the oldest uncontested human figurative art discovered. The Nebra sky disk is a bronze artefact created during the European Bronze Age attributed to a site near Nebra, Saxony-Anhalt, it is part of UNESCO's Memory of the World Programme. The Germanic tribes are thought to date from the Pre-Roman Iron Age. From southern Scandinavia and north Germany, they expanded south and west from the 1st century BC, coming into contact with the Celtic tribes of Gaul as well
Dance Club Songs
The Dance Club Songs chart is a weekly chart published by Billboard in the United States. It is a national survey of the songs which are the most popular in nightclubs across the country and is compiled from reports from a national sample of disc jockeys, it was launched as the Disco Action Top 30 chart on August 28, 1976, became the first chart by Billboard to document the popularity of dance music. Since its inception, several artists garnered multiple achievements. In January 2017, Billboard proclaimed Madonna as the most successful artist in the history of the chart, ranking her first in their list of the 100 top all time dance artists and Janet Jackson being the second most successful dance club artist of all-time. Katy Perry holds the record for having eighteen consecutive number-one songs. Perry's third studio album, Teenage Dream, became the first album in the history of the chart to produce at least seven number-one songs between 2010–12, a record it held until Rihanna's eighth studio album Anti produced seven chart toppers through 2016-17.
Rihanna is the only artist to have achieved five number-one songs in a calendar year. The first number-one song on the Dance Club Songs chart for the issue dated August 28, 1976, was "You Should Be Dancing" by the Bee Gees; the current number-one song on the Dance Club Songs chart for the issue dated April 13, 2019, is "The Boss 2019" by Diana Ross. Dance Club Songs has undergone several incarnations since its inception in 1974. A top-ten list of tracks that garnered the largest audience response in New York City discothèques, the chart began on October 26, 1974 under the title Disco Action; the chart went on to feature playlists from various cities around the country from week to week. Billboard continued to run regional and city-specific charts throughout 1975 and 1976 until the issue dated August 28, 1976, when a thirty-position National Disco Action Top 30 premiered; this expanded to forty positions in 1979 the chart expanded to sixty positions eighty, reached 100 positions from 1979 until 1981, when it was reduced to eighty again.
During the first half of the 1980s the chart maintained eighty slots until March 16, 1985 when the Disco charts were splintered and renamed. Two charts appeared: Hot Dance/Disco, which ranked club play, Hot Dance Music/Maxi-Singles Sales, which ranked 12-inch single sales. Only Hot Dance Club Songs still exists today. In 2003 Billboard introduced the Hot Dance Airplay chart, based on radio airplay of six dance music stations and top 40 mix shows electronically monitored by Nielsen Broadcast Data Systems; these stations are a part of the electronically monitored panel that encompasses the Hot 100. On January 26, 2013, Billboard added a new chart, Dance/Electronic Songs, which tracks the 50 most popular Dance and Electronic singles and tracks based on digital single sales, radio airplay, club play as reported on the component Dance/Electronic Digital Songs, Dance/Electronic Streaming Songs, Dance Club Songs charts. Radio airplay is not limited to that counted on the Dance/Mix Show Airplay chart.
Although the disco chart began reporting popular songs in New York City nightclubs, Billboard soon expanded coverage to feature multiple charts each week which highlighted playlists in various cities such as San Francisco, San Diego, Los Angeles, Phoenix and Houston. During this time, Billboard rival publication Record World was the first to compile a dance chart which incorporated club play on a national level. Noted Billboard statistician Joel Whitburn has since "adopted" Record Worlds chart data from the weeks between March 29, 1975 and August 21, 1976 into Billboards club play history. For the sake of continuity, Record Worlds national chart is incorporated into both Whitburn's Dance/Disco publication as well as the 1975 and 1976 number-ones lists. With the issue dated August 28, 1976, Billboard premiered its own national chart and their data is used from this date forward. For the full list of all 100 All Time Top Dance Club Artists, click here. 19th week — "Wordy Rappinghood"/"Genius of Love" by Tom Tom Club 19th week — "Walking on a Dream" by Empire of the Sun 17th week — "Losing It" by Fisher 16th week — "The Look of Love" by ABC 16th week — "Most Precious Love" by Blaze presents U.
D. A. U. F. L. Featuring Barbara Tucker 16th week — "Where Have You Been" by Rihanna 16th week — "Right Now" by Rihanna featuring David GuettaSources: Thriller by Michael Jackson "The Boss" — Diana Ross, The Braxtons, Kristine W, again Diana Ross. Enrique Iglesias, Dave Audé and Pitbull are tied with 14 number-ones on the chart, the most among male artists. Iglesias, however, is the only male vocalist to accomplish this feat, while Audé is the only producer to achieve this milestone, as his singles feature a different vocalist. Rihanna is the first artist to earn 4 number-ones on the chart in a year and is the first act to earn 5 number-ones in a year as well. Three acts have attained thirteen number-one songs: Deborah Cox, Whitney Houston, Yoko Ono. Kylie Minogue became the first act to have two songs in the top three on March 5, 2011, her song "Better than Today" was number-one while "Higher", a song by Taio Cruz on which Minogue features, was number three. On July 28, 2016, Rihanna became the secon