An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Benbecula Records was a Scottish independent record label. Established in 1999 in Edinburgh, Scotland, by local musicians Phase 6 and Beluga, Benbecula Records began as a CD-R-based record label before moving towards large-run commercial vinyl record and CD releases in 2000; the label closed on 1 November 2009. Traditionally, Benbecula Records embodied the Scottish electronic music scene, releasing the works of local artists Christ. Reverbaphon, Frog Pocket and Operator. On, Benbecula Records represented artists from abroad Canadian musician Prhizzm, American free jazz artist Brian Ellis, German producer E. Stonji, English musicians Birdengine and Damien Shingleton. In the "spirit of independent music making", Benbecula Records announced a new initiative in 2005 titled the "minerals series"; this series aimed at producing limited CD-R runs of albums and compilations which, though deemed notable by the label in some regard, were not commercially viable as full-scale releases. The first installment of the minerals series was a 12-disc set of CD-Rs.
Customers who purchased the full set received a bonus CD containing rare unreleased Christ. Tracks, with the full package wrapped in a cloth band. Following the success of this initiative — the label sold out of the series during the pre-order phase — Benbecula Records continued producing CD-Rs as part of the minerals series as a complement to its range of commercial releases. List of record labels List of electronic music record labels Article in The Scotsman Genaro - My Space Benbecula 1999-2009 mixtape
Edinburgh is the capital city of Scotland and one of its 32 council areas. Part of the county of Midlothian, it is located in Lothian on the Firth of Forth's southern shore. Recognised as the capital of Scotland since at least the 15th century, Edinburgh is the seat of the Scottish Government, the Scottish Parliament and the supreme courts of Scotland; the city's Palace of Holyroodhouse is the official residence of the monarch in Scotland. The city has long been a centre of education in the fields of medicine, Scots law, philosophy, the sciences and engineering, it is the second largest financial centre in the United Kingdom and the city's historical and cultural attractions have made it the United Kingdom's second most popular tourist destination, attracting over one million overseas visitors each year. Edinburgh is Scotland's second most populous city and the seventh most populous in the United Kingdom; the official population estimates are 488,050 for the Locality of Edinburgh, 513,210 for the City of Edinburgh, 1,339,380 for the city region.
Edinburgh lies at the heart of the Edinburgh and South East Scotland city region comprising East Lothian, Fife, Scottish Borders and West Lothian. The city is the annual venue of the General Assembly of the Church of Scotland, it is home to national institutions such as the National Museum of Scotland, the National Library of Scotland and the Scottish National Gallery. The University of Edinburgh, founded in 1582 and now one of four in the city, is placed 18th in the QS World University Rankings for 2019; the city is famous for the Edinburgh International Festival and the Fringe, the latter being the world's largest annual international arts festival. Historic sites in Edinburgh include Edinburgh Castle, the Palace of Holyroodhouse, the churches of St. Giles and the Canongate, the extensive Georgian New Town, built in the 18th/19th centuries. Edinburgh's Old Town and New Town together are listed as a UNESCO World Heritage site, managed by Edinburgh World Heritage since 1999. "Edin", the root of the city's name, derives from Eidyn, the name for this region in Cumbric, the Brittonic Celtic language spoken there.
The name's meaning is unknown. The district of Eidyn centred on the dun or hillfort of Eidyn; this stronghold is believed to have been located at Castle Rock, now the site of Edinburgh Castle. Eidyn was conquered by the Angles of Bernicia in the 7th century and by the Scots in the 10th century; as the language shifted to Old English, subsequently to modern English and Scots, The Brittonic din in Din Eidyn was replaced by burh, producing Edinburgh. Din became dùn in Scottish Gaelic, producing Dùn Èideann; the city is affectionately nicknamed Auld Reekie, Scots for Old Smoky, for the views from the country of the smoke-covered Old Town. Allan Ramsay said. A name the country people give Edinburgh from the cloud of smoke or reek, always impending over it."Thomas Carlyle said, "Smoke cloud hangs over old Edinburgh,—for since Aeneas Silvius's time and earlier, the people have the art strange to Aeneas, of burning a certain sort of black stones, Edinburgh with its chimneys is called'Auld Reekie' by the country people."A character in Walter Scott's The Abbot says "... yonder stands Auld Reekie--you may see the smoke hover over her at twenty miles' distance."Robert Chambers who said that the sobriquet could not be traced before the reign of Charles II attributed the name to a Fife laird, Durham of Largo, who regulated the bedtime of his children by the smoke rising above Edinburgh from the fires of the tenements.
"It's time now bairns, to tak' the beuks, gang to our beds, for yonder's Auld Reekie, I see, putting on her nicht -cap!"Some have called Edinburgh the Athens of the North for a variety of reasons. The earliest comparison between the two cities showed that they had a similar topography, with the Castle Rock of Edinburgh performing a similar role to the Athenian Acropolis. Both of them had fertile agricultural land sloping down to a port several miles away. Although this arrangement is common in Southern Europe, it is rare in Northern Europe; the 18th-century intellectual life, referred to as the Scottish Enlightenment, was a key influence in gaining the name. Such luminaries as David Hume and Adam Smith shone during this period. Having lost most of its political importance after the Union, some hoped that Edinburgh could gain a similar influence on London as Athens had on Rome. A contributing factor was the neoclassical architecture that of William Henry Playfair, the National Monument. Tom Stoppard's character Archie, of Jumpers, said playing on Reykjavík meaning "smoky bay", that the "Reykjavík of the South" would be more appropriate.
The city has been known by several Latin names, such as Aneda or Edina. The adjectival form of the latter, can be seen inscribed on educational buildings; the Scots poets Robert Fergusson and Robert Burns used Edina in their poems. Ben Jonson described it as "Britaine's other eye", Sir Walter Scott referred to it as "yon Empress of the North". Robert Louis Stevenson a son of the city, wrote, "Edinburgh is what Paris ought to be"; the colloquial pronunciation "Embra" or "Embro" has been used, as in Robert Garioch's Embro to the Ploy. The earliest known human habitation in the Edinburgh area was at Cramond, where evidence was found of a Mesolithi
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Intelligent dance music
Intelligent dance music is a form of electronic music originating in the early 1990s, regarded as "cerebral" and better suited to "home listening" than dancing. Emerging from electronic and rave music styles such as techno, acid house, ambient music, breakbeat, IDM tended to rely upon individualistic experimentation rather than adhering to characteristics associated with specific genres. Prominent artists associated with the genre include Aphex Twin, μ-Ziq, the Black Dog, the Orb, the Future Sound of London, Luke Vibert, Venetian Snares and Boards of Canada; the term "intelligent dance music" has been criticised and rejected by artists associated with the style, including Aphex Twin and µ-Ziq, as elitist and derogatory towards other genres. The term is said to have originated in the US in 1993 with the formation of the "IDM list", an electronic mailing list chartered for the discussion of a number of prominent English artists appearing on the 1992 Warp compilation Artificial Intelligence. In 2014, music critic Sasha Frere-Jones observed that the term "is reviled but still used".
In the late 1980s, riding the wave of the acid house and early rave party scenes, UK-based groups such as The Orb and The KLF produced ambient house, a genre that fused house music with ambient music. By the early 1990s, the distinct music associated with dance music experimentation had gained prominence with releases on a variety of UK-based record labels, including Warp, Black Dog Productions, R&S Records, Carl Craig's Planet E, Rising High Records, Richard James's Rephlex Records, Kirk Degiorgio's Applied Rhythmic Technology, Eevo Lute Muzique, General Production Recordings, Soma Quality Recordings, Peacefrog Records, Metamorphic Recordings. In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled "electronic listening music from Warp", the record was a collection of tracks from artists such as Autechre, B12, The Black Dog, Aphex Twin and The Orb, under various aliases; this would help establish the ambient techno sound of the early 1990s.
Steve Beckett, co-owner of Warp, has said the electronic music that the label was releasing was targeting a post-club, home-listening audience. Following the success of the Artificial Intelligence series, "intelligent techno" became the favored term, although ambient—without a qualifying house or techno suffix, but still referring to a hybrid form—was a common synonym. In the same period, other names were used, such as "art techno," "armchair techno," and "electronica", but all were attempts to describe an emerging offshoot of electronic dance music, being enjoyed by the "sedentary and stay at home". At the same time, the UK market was saturated with frenetic breakbeat and sample-laden hardcore techno records that became formulaic. Rave had become a "dirty word," so as an alternative, it was common for London nightclubs to advertise that they were playing "intelligent" or "pure" techno, appealing to a "discerning" crowd that considered the hardcore sound to be too commercial. In 1993, a number of new "intelligent techno"/"electronica" record labels emerged, including New Electronica, Mille Plateaux, 100% Pure, Ferox Records.
In November 1991, the phrase "intelligent techno" appeared on Usenet in reference to Coil's The Snow EP. Off the Internet, the same phrase appeared in both the U. S. and U. K. music press in late 1992, in reference to Jam & Spoon's Tales from a Danceographic Ocean and the music of The Future Sound of London. Another instance of the phrase appeared on Usenet in April 1993 in reference to The Black Dog's album Bytes, and in July 1993, in his review of an ethno-dance compilation for NME, Ben Willmott replaced techno with dance music, writing "...current'intelligent' dance music owes much more to Eastern mantra-like repetition and neo-ambient instrumentation than the disco era which preceded the advent of acid and techno."Wider public use of such terms on the Internet came in August 1993, when Alan Parry announced the existence of a new electronic mailing list for discussion of "intelligent" dance music: the "Intelligent Dance Music list", or "IDM List" for short. The first message, sent on 1 August 1993, was entitled "Can Dumb People Enjoy IDM, Too?".
A reply from the list server's system administrator, Brian Behlendorf, revealed that Parry wanted to create a list devoted to discussion of the music on the Rephlex label, but they decided together to expand its charter to include music similar to what was on Rephlex or, in different genres but, made with similar approaches. They picked the word "intelligent" because it had appeared on Artificial Intelligence and because it connoted being something beyond just music for dancing, while still being open to interpretation. Artists that appeared in the first discussions on the list included Autechre, Atom Heart, LFO and Rephlex Records artists such as Aphex Twin, µ-ziq and Luke Vibert. By the end of 1996, Boards of Canada and the Schematic Records label were among the usual topics of discussion, alongside perennial favorites like Aphex Twin and the Warp repertoire; as of 2015, the mailing list is still active. Warp's second Artificial Intelligence compilation was released in 1994; the album featured fragments of posts from the IDM mailing list incorporated into typographic artwork by The Designers Republic.
Sleeve notes by David Toop acknowledged the genre's multitude of