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
Trance is a genre of electronic music that emerged from the British new-age music scene and the early 1990s German techno and hardcore scenes. At the same time trance music was developing in Europe. Trance music is characterized by a tempo lying between 110–150 bpm, repeating melodic phrases, a musical form that distinctly builds tension and elements throughout a track culminating in 1 to 2 "peaks" or "drops". Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno, pop, chill-out, classical music, tech house and film music. A trance is a state of hypnotism and heightened consciousness; this is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. A common characteristic of trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion leaving the melody or atmospherics to stand alone for an extended period before building up again. Trance tracks are lengthy to allow for such progression and have sufficiently sparse opening and closing sections to facilitate mixing by DJs.
Trance is instrumental, although vocals can be mixed in: they are performed by mezzo-soprano to soprano female soloists without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, described as "grand and operatic" and "ethereal female leads floating amongst the synths". However, male singers, such as Jonathan Mendelsohn, are featured; the "Trance" name may refer to an induced emotional feeling, euphoria, chills, or uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 1990s before the genre's focus changed. Another possible antecedent is Yuzo Koshiro and Motohiro Kawashima's electronic soundtracks for the Streets of Rage series of video games from 1991 to 1994, it was promoted by the well-known UK club-night "Megatripolis" whose scene catapulted it to international fame. Examples of early trance releases include but are not limited to KLF's 1988 release'What Time Is Love', German duo Jam & Spoon's 1992 12" Single remix of the 1990 song "The Age Of Love", German duo Dance 2 Trance's 1990 track "We Came in Peace".
The writer Bom Coen traces the roots of trance to Paul van Dyk's 1993 remix of Humate's "Love Stimulation". However, Van Dyk's trance origins can be traced further back to his work with Visions of Shiva, being the first tracks he released In subsequent years, one genre, vocal trance, arose as the combination of progressive elements and pop music, the development of another subgenre, epic trance, finds some of its origins in classical music, with film music being influential. Trance was arguably at its commercial peak in the second part of 1990s and early 2000s. Classic trance employs a 4/4 time signature, a tempo of 125 to 150 BPM, 32 beat phrases and is somewhat faster than house music. A kick drum is placed on every downbeat and a regular open hi-hat is placed on the upbeat or every 1/8th division of the bar. Extra percussive elements are added, major transitions, builds or climaxes are foreshadowed by lengthy "snare rolls"—a quick succession of snare drum hits that build in velocity and volume towards the end of a measure or phrase.
Rapid arpeggios and minor keys are common features of Trance, the latter being universal. Trance tracks use one central "hook", or melody, which runs through the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody. Instruments are removed every 4, 8, 16, or 32 bars. In the section before the breakdown, the lead motif is introduced in a sliced up and simplified form, to give the audience a "taste" of what they will hear after the breakdown; the final climax is "a culmination of the first part of the track mixed with the main melodic reprise". As is the case with many dance music tracks, trance tracks are built with sparser intros and outros in order to enable DJs to blend them together immediately. More recent forms of trance music incorporate other styles and elements of electronic music such as electro and progressive house into its production, it emphasizes harsher basslines and drum beats which decrease the importance of offbeats and focus on a four on the floor stylistic house drum pattern.
The bpm of more recent styles tends to be on par with house music at 120 to 135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns and longer transitions. Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance, uplifting trance. Uplifting trance is known as "anthem trance", "epic trance", "commercial trance", "stadium trance", or "euphoric trance", has been influenced by classical music in the 1990s and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tiësto, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Arctic Moon, Sergey Nevone & Simon O'Shine, among others. Related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music.
For instance, Tech trance is a mixture of trance and tech
Euphoria is a series of dance music compilations that debuted on the Telstar Records label in early 1999. During the first year, Euphoria focused on Trance music until mid-2000 when Euphoria release the first Chill-out album in the series and the first Hard House album in late 2000. Euphoria was spun off into a number of associated club nights around the UK, Ibiza and Cyprus. Over the course of three years in excess of 500 tour dates were chalked up with tour DJ's such as Adam White, Robert Van Ryn, Simon Webdale and Darren James; the compilations included box sets priced at around £20.00. The Euphoria albums were of high quality and still are collectible and the earlier versions are somewhat rare. Frequent DJ's and/or producers who have mixed albums include Dave Pearce, Matt Darey, Lisa Lashes, John'00' Fleming, Adam White, The Tidy Boys, Jay Burnett, Red Jerry and Andy Whitby; when Telstar Records folded in 2004, the brand went to Ministry of Sound recordings. Since the debut release, the Euphoria brand has showcased other genres in Dance music including Hard House, Hard Dance and Psy-Trance as well as releasing some "one offs" that cover Old Skool, Funky House and the ever-popular "Mash Up".
Although focusing on "Best of" compilations in recent years under various guises, the Euphoria brand went "back to its roots" in mid-2008 with its first release of new Trance music in 3 years as opposed to the subgenre releases. Summer Euphoria was the first Digital Only release under the Euphoria brand. With no new releases for nearly 18 months, Ministry of Sound released Euphoria 2011 in September of that year; this was a new direction for the Euphoria brand in that the album contained the latest dance music including the recent fusion of dance beats with R&B. Telstar launched the Breakdown series in 1999, the same year as the inaugural Euphoria album, this brand went to Ministry of Sound following the folding of Telstar. Breakdown too focused on electronic dance music, but was never focused on trance music in particular, focusing on a wide range of subgenres of dance music, including non-electronic based such as a disco edition; the series did not list a DJ on its cover, but instead in its liner notes.
In the book The Complete Book of the British Charts: Singles and Albums, the Breakdown series is erroneously listed as being part of the Euphoria series. Unusually, the last installment of the Telstar years, Deeper Shades of Euphoria was a co-release with Virgin Records/EMI, rival labels with Telstar in the past, it has been suggested EMI helped support the album as Telstar entered closure. Released Euphoria Albums Reference
A synthesizer or synthesiser is an electronic musical instrument that generates audio signals that may be converted to sound. Synthesizers may imitate traditional musical instruments such as piano, vocals, or natural sounds such as ocean waves, they are played with a musical keyboard, but they can be controlled via a variety of other devices, including music sequencers, instrument controllers, guitar synthesizers, wind controllers, electronic drums. Synthesizers without built-in controllers are called sound modules, are controlled via USB, MIDI or CV/gate using a controller device a MIDI keyboard or other controller. Synthesizers use various methods to generate electronic signals. Among the most popular waveform synthesis techniques are subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis. Synthesizers were first used in pop music in the 1960s. In the late 1970s, synths were used in progressive rock and disco.
In the 1980s, the invention of the inexpensive Yamaha DX7 synth made digital synthesizers available. 1980s pop and dance music made heavy use of synthesizers. In the 2010s, synthesizers are used in many genres, such as pop, hip hop, metal and dance. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer; the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the Musical Telegraph, was invented in 1876 by American electrical engineer Elisha Gray, he accidentally discovered the sound generation from a self-vibrating electromechanical circuit, invented a basic single-note oscillator. This instrument used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray built a simple loudspeaker device into models, consisting of a vibrating diaphragm in a magnetic field, to make the oscillator audible.
This instrument was a remote electromechanical musical instrument that used telegraphy and electric buzzers that generated fixed timbre sound. Though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897 Thaddeus Cahill was granted his first patent for an electronic musical instrument, which by 1901 he had developed into the Telharmonium capable of additive synthesis. Cahill's business was unsuccessful for various reasons, but similar and more compact instruments were subsequently developed, such as electronic and tonewheel organs including the Hammond organ, invented in 1935. In 1906, American engineer Lee de Forest invented the first amplifying vacuum tube, the Audion whose amplification of weak audio signals contributed to advances in sound recording and film, the invention of early electronic musical instruments including the theremin, the ondes martenot, the trautonium. Most of these early instruments used heterodyne circuits to produce audio frequencies, were limited in their synthesis capabilities.
The ondes martenot and trautonium were continuously developed for several decades developing qualities similar to synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, similar graphical sound and tonewheel systems were developed around the world. In 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. Although his idea of reconstructing a sound from its visible image was simple, the instrument was not realized until 20 years in 1958, as Murzin was, "an engineer who worked in areas unrelated to music". In the 1930s and 1940s, the basic elements required for the modern analog subtractive synthesizers — electronic oscillators, audio filters, envelope controllers, various effects units — had appeared and were utilized in several electronic instruments; the earliest polyphonic synthesizers were developed in the United States. The Warbo Formant Orgel developed by Harald Bode in Germany in 1937, was a four-voice key-assignment keyboard with two formant filters and a dynamic envelope controller.
The Hammond Novachord released in 1939, was an electronic keyboard that used twelve sets of top-octave oscillators with octave dividers to generate sound, with vibrato, a resonator filter bank and a dynamic envelope controller. During the three years that Hammond manufactured this model, 1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers. In the 1940s and 1950s, before the popularization of electronic organs and the introductions of combo organs, manufacturers developed various portable monophonic electronic instruments with small keyboards; these small instruments consisted of an electronic oscillator, vibrato effect, passive filters. Most were designed for conventional ensembles, rather than as experimental instruments for electronic music studios, but contributed to the evolution of modern synthesizers; these instruments include the Solovox, Multimonica and Clavioline.
In the late 1940s, Canadian inventor and composer, Hugh Le Caine invented the Electronic Sackbut, a voltage-controlled electronic musical instrument that provided the earliest real-time control of three aspects of sound —corresponding to today's touch-sensitive keyboard and modulation controllers. The controllers were impl
The Beauty of Silence
The Beauty of Silence is an uplifting trance track, composed and produced by Sven Maes and Johan Gielen. The song was a huge hit in Japan and was the title track for a compilation of singles released by Avex; the Beauty of Silence was the theme to the 5th edition of the European dance event called Trance Energy. It has retained its popularity over the years, it has been included on the two-disc album Club Nation America by Tall Paul. It is the title track of Svenson & Gielen's only studio album The Beauty of Silence. One of the show points of this tune is the silence transitioning two passages of the tune. Trance is marked by repetitious rhythmic electronic beat and here it is played in point and counterpoint; as a result of the song's success in Japan, it was included on beatmania IIDX 7th Style as a playable song with two other songs licensed by Avex. Two official music videos have been made for the song; the first is of Gielen performing to club goers attending a stadium trance festival. It can be found on Be Yourself Music's official YouTube channel.
The second is a CGI animated video of Sven Maes and Johan Gielen fighting an android in a virtual arena. Official reworks of the song have been released twice on the record label High Contrast Recordings. In 2010, the W&W vs. Jonas Stenberg remix was released and in 2013, two separate remixes by Menno de Jong and Artento Divini were released. Original versions "The Beauty of Silence" - 3:03 "The Beauty of Silence" - 9:15 "The Beauty of Silence" - 7:18 "The Beauty of Silence" - 9:37 2010 Remix "The Beauty of Silence" - 6:38 2013 Remixes "The Beauty of Silence" - 6:41 "The Beauty of Silence" - 5:11 Other versions beatmania IIDX 7th Style Original Soundtrack - "The Beauty of Silence" - 2:00 Dawnseekers UR/A Tear in the Open
Sint-Niklaas is a Belgian city and municipality located in the Flemish province of East Flanders. The municipality comprises the city of Sint-Niklaas proper and the towns of Belsele, Nieuwkerken-Waas, Sinaai. Sint-Niklaas is the capital and major city of the Waasland region straddling the East Flanders and Antwerp provinces; the city is known for having the largest market square in Belgium. At one point this square boasted the largest Christmas tree, the largest easter egg in Europe. Although some traces of pre-Roman activity have been found on the territory of Sint-Niklaas, the regional centre during Roman times was neighbouring Waasmunster, better located on the river Durme. Belsele was mentioned in a 9th-century document; the history of Sint-Niklaas proper, starts in 1217, when the bishop of Tournai, following advice from the local clergy, founded a church dedicated to Saint Nicholas here. The new parish was to depend on the See of Tournai until the middle of the 16th century. Politically, however, it was part of the County of Flanders.
The power of Flanders at that time favoured the rapid economic development of the city, which became the administrative centre of the region in 1241. A document dated from 1248 records that Margaret II, Countess of Flanders, ceded additional territory to the parish of Sint-Niklaas with the proviso that it would remain bare, which explains the unusual size of the central market square today; the city was never walled. In 1381, it was engulfed by plundered. However, the central location of Sint-Niklaas between Ghent and Antwerp, not far from the Scheldt, favoured further development. By 1513, Emperor Maximilian had granted the city the right to hold a weekly market. Around 1580, the church of Saint Nicholas suffered heavy damage from roving iconoclasts; the 17th century was a period of prosperity, marked by economic growth in the flax and wool industries. This was the time when Sint-Niklaas was endowed with administrative buildings and three cloistered communities, which provided educational and medical services to the region.
On 25 May 1690 another fire destroyed most of the city. During this period the famous Spanish noble family Sanchez de Castro y Toledo resided in Sint-Niklaas. In the 18th century, the Austrian regime was favourable to Sint-Niklaas; the flagship textile industry adapted well to mechanization and added cotton products to its portfolio in 1764. At the end of the century, the French Revolution brought its mixture of religious intolerance and modern administration to the city. Napoleon came to visit Sint-Niklaas in 1803 and promoted it to the rank of city; the 19th century witnessed a general decline in the textile industry. Several new buildings were erected, including the Onze-Lieve-Vrouwekerk. After World War II, the textile industry went through a crisis. Today, the historic centre of the city has become a shopping and services district; the Tour of Flanders bicycle road race moved its start to the market square at Sint-Niklaas from Ghent in 1977 because the great square provided close proximity for the growing number of spectators.
By 1988 the start had grown into a two-day affair with a spectacle presented by BRT television the previous night. Since 1998 the start of the race has taken place in Brugge; the main Church of Saint Nicholas gave its name to the city. After heavy damage in the 16th century, the interior was redone in the Baroque style. St. Joseph Minor Seminary, catholic school; the Church of Our Lady, built in the 19th century, famous for its Byzantine revival interior, 6m tall statue of our lady on top, covered in fine gold. Town Hall, in gothical revival style was built after the old hall burned down; the largest market square in Belgium, founded by Margaret II, Countess of Flanders. The Gerardus Mercator Museum traces the history of cartography back to its origins; the museum houses two original globes that belonged to the famous cartographer. Other churches and museums include: Saint Joseph, Christ the King, Saloons of Fine Arts and Zwijgershoek. On the first weekend of September, Sint-Niklaas hosts an international balloon meeting and a three-day music festival called "Villa Pace".
During the last week of the year, Sint-Niklaas is the host of the Flanders Volley Gala, an international volleyball tournament. The city keeps seven giants: Janneken, Mieke and Zwarte Piet, the three Magi: Caspar and Balthasar; because of its location on the vital axis from Ghent to Antwerp, Sint-Niklaas has excellent connections by train and car. The E17, one of Belgium's busiest highways, passes the city. Trains depart every half-hour to Ghent and Antwerp and hourly to Brussels and Leuven from the new railway station; the city has an extensive network of buslines, both regional and local. Throughout the city's main thoroughfares, buses drive in designated lanes. Sint-Niklaas was awarded the title of Most Pedestrian Friendly City in Flanders after the restoration of its central Market area. Mayors since the end of World War II: Henri Heyman. Christel Geerts, the first female mayor of Sint-Niklaas. Lieven Dehandschutter S