1.
House music
–
House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial
House music
–
An honorary
street name sign in
Chicago for house music and
Frankie Knuckles.
House music
–
Building in New York City where the
Paradise Garage nightclub was located
House music
–
Swedish House Mafia performing in 2011.
2.
Techno
–
Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, pioneering producer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation, in this manner, techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness. Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set, the tempo tends to vary between approximately 120 to 150 beats per minute, depending on the style of techno. The creative use of production technology, such as drum machines, synthesizers. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound, drum machines from the 1980s such as Rolands TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. The Electrifying Mojo was the first radio DJ to play music by the Detroit techno producers Juan Atkins, Derrick May, Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community. In exploring technos origins writer Kodwo Eshun maintains that Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones, the authentic, the origin, the real. Juan Atkins has acknowledged that he had an enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer. Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it. Regarding his initial impression of Kraftwerk, Atkins notes that they were clean, Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty, everything is an ugly mess in Detroit, and so we were attracted to this music. May has commented that he considered his music a direct continuation of the European synthesizer tradition and he also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk. In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year. These young promoters developed and nurtured the local music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs
Techno
–
Kraftwerk 's
Computer World (1981), first popularized in the U.S. by radio station
WLBS-FM, "Detroit’s version of New York’s
disco WBLS ".
Techno
–
Roland TB-303: The
bass line synthesizer that was used prominently in
acid house.
Techno
–
Cover art for the 1988 compilation album, Techno! The New Dance Sound of Detroit
Techno
–
UR Featured on the cover of
The Wire, November 2007
3.
Acid house
–
Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, acid house had moved into the British mainstream, Acid house brought house music to a worldwide audience. The influence of house can be heard on later styles of dance music including trance, breakbeat hardcore, jungle, big beat, techno. Other elements, such as strings and stabs, were usually minimal. Some acid house fans used a smiley face with a streak on it. The origin of this usage was the bloodied smiley from Watchmen on the label of Beat Dis by Bomb the Bass, there are conflicting accounts about how the term acid came to be used to describe this style of house music. One account ties it to Phutures Acid Tracks, before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub where psychedelic drugs were reportedly used. The clubs patrons called the song Ron Hardys Acid Track, the song was released with the title Acid Trax on Larry Shermans label Trax Records in 1987. Regardless, after the release of Phutures song, the acid house came into common parlance. Some accounts say the reference to acid may be a reference to psychedelic drugs in general, such as LSD. According to Rietveld, it was the house sensibility of Chicago, in a club like Hardys The Music Box, that afforded it its initial meaning. In her view acid connotes the fragmentation of experience and dislocation of meaning due to the effects on thought patterns which the psycho-active drug LSD or Acid can bring about. In the context of the creation of Acid Tracks it indicated a concept rather than the use of drugs in itself. One theory, holding that acid was a reference towards the use of samples in acid house music, was repeated in the press. In this theory, the term came from the slang term acid burning. In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation. Several accounts claim that Genesis P-Orridge coined the term on the 1988 Psychic TV release “Tune In. ”By other accounts, while shopping in Chicago in 1986, P-Orridge came across a bin of records marked acid, indicating a corrosive liquid, and mistook it for a reference to LSD
Acid house
–
The
Roland TB-303 bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.
Acid house
–
Beat Dis by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.
4.
Chill-out music
–
Some notable chill-out artists include, Moby, Air, Paul Kalkbrenner, and Moonbootica. The genres associated with chill-out are mostly ambient, trip hop, nu jazz, ambient house, sometimes, the easy listening subgenre lounge is considered to belong to the chill-out collection as well. Chill out room was at the legendary Madchester nightspot, Konspiracy, higher Intelligence Agency helped move the chill room concept from sideshow to main event with their Oscillate chill party events in Birmingham and elsewhere in the early to mid nineties. Their first releases came out on the now defunct Beyond record label, in 1990 the KLF released their seminal ambient house album named Chill Out. Chill out is generally tonal, relaxing, although used to describe the music played in chillout rooms at raves. Pads are used to enhance the atmosphere in chill out music, high frequencies on vocals are typically left intact instead of being compressed. Basses are usually synthesized and strings slowly evolve, a culture surrounding chill-out music has evolved, with many fashionable bars and clubs, designed with a retro or retro-futuristic ambience, devoted to the genre. Ministry of Sound in London has hosted many events in places such as Ibiza. As of 2005, all major UK dance magazines and their charts recognised the category chill-out, ministry of Sound released an album in 2008 named Chilled and described the songs in the album the best chill out songs from 1991 to 2008. Chill-out rooms at dance clubs fill a safety need for users of ecstasy, in 1992, a UK regulation required dance clubs to provide free water and chill-out rooms in response to a number of Ecstasy-related injuries and deaths. Groovera Illbient Space music Sirius XM Chill
Chill-out music
–
Renowned sunset at the
Café del Mar in Ibiza
5.
Pop music
–
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
Pop music
–
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as
the Rolling Stones (pictured here in a 2006 performance)
Pop music
–
According to several sources,
MTV helped give rise to
pop stars such as
Michael Jackson and
Madonna; and Jackson and Madonna helped make MTV.
Pop music
6.
Classical music
–
Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
Classical music
Classical music
–
Nineteenth-century composer and pianist
Clara Schumann is one of only a few female composers mentioned in the Concise Oxford History of Music.
Classical music
–
The Dublin Philharmonic Orchestra performs
Tchaikovsky 's
Fourth Symphony.
Classical music
–
A youth
concert band in performance.
7.
Hardcore techno
–
Hardcore Techno is a subgenre of electronic dance music that originated in the Netherlands from the emergent raves/gabber in the 1990s. To understand the emergence of one has to go back to the 1970s. Groups such as Throbbing Gristle, Coil, Cabaret Voltaire, SPK, Foetus, the message diffused by industrial was then very provocative. Some of the sounds and experimentation of industrial have directly influenced hardcore since the beginning of the movement. In the mid-1980s, under the influence of the Belgian group Front 242, electronic body music, a new genre more accessible and more dancing inspired by industrial and new wave, appeared. This style is characterized by minimalism, cold sounds unlike disco, funk or house, with beats, generally combined with aggressive vocals. When EBM has met new beat, another Belgian genre, and acid house, all the elements were here for the arrival of hardcore. The term hardcore is not new in the music world, the term hardcore techno has first been used by EBM groups like à, GRUMH. Pankow, and Leæther Strip in the late 1980s, although their music had nothing to do with hardcore, à, GRUMH. s Sucking Energy, released in 1985, was the first track ever to use the term hardcore, within an EDM context. Around 1993, the style became clearly defined and was simply named hardcore, acardipane founded the label Planet Core Productions in 1989 and has produced more than 500 tracks, including 300 by himself till 1996. Another important name of the scene has started at PCP, Miroslav Pajic. Among other things, the group PCP has popularized a slow, heavy, minimal, just during the single year 1993, four compilations were released with increasing success. At the same time, another scene grew around the DJ The Producer, Traffik, Bryan Fury and they have quickly been followed by SpeedyQs, Armaguet Nad, La Peste, Sarin Assault, XMF in which works The Hacker. Manu le Malin has given a great visibility to the genre in France, micropoint, composed by Radium and Al Core, which exists since middle 1990s has had a great success with their album Neurophonie in 1998. This album is considered as the start of the subgenre frenchcore, leading to a huge attraction for the hardcore in France. In the late 1990s, hardcore progressively changed, the early hardcore progressively died, leaving the place to other more accessible styles like mákina and hardstyle. Happy hardcore continues its movement underground and has evolved bringing out other related genres such as eurobeat, UK hardcore, Freeform hardcore, Hardcore is usually composed using music sequencers, and many earlier tracks were produced on home computers with module tracker software. Some examples of the software used are FL Studio, Ableton Live, Cubase, Logic, Nuendo, the wide availability of computers, combined with the absence of financial remuneration, means that many hardcore musicians write for their own enjoyment and the pleasure of innovation
Hardcore techno
–
Paul Elstak, the founder of Rotterdam Records.
8.
Synthesizer
–
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. 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 telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, 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
Synthesizer
–
Early
Minimoog by R.A. Moog Inc. (ca. 1970)
Synthesizer
–
Wolfgang von Kempelen's Speaking Machine in 1769–1791 (replica in 2007–2009)
Synthesizer
–
Rudolph Koenig 's sound synthesizer in 1865: consists of
tuning forks,
electromagnets, and
Helmholtz resonators.
Synthesizer
–
The
Teleharmonium console (1897) and
Hammond organ (1934).
9.
Keyboard instrument
–
A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
Keyboard instrument
–
The
piano, a common keyboard instrument
Keyboard instrument
–
Bandoneon
Keyboard instrument
–
Most common
10.
Drum machine
–
A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a drummer. Also, many modern drum machines can also produce sounds, as well as allowing the user to compose unique drum beats. In the 2010s, most modern machines are sequencers with a sample playback or synthesizer component that specializes in the reproduction of drum timbres. The invention could produce sixteen different rhythms, each associated with a pitch, either individually or in any combination, including en masse. Received with considerable interest when it was introduced in 1932. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, Chamberlin Rhythmate In 1957 Californian Harry Chamberlin constructed a tape loop-based drum machine called the Chamberlin Rhythmate. It had 14 tape loops with a head that allowed playback of different tracks on each piece of tape. It contained a volume and a control and also had a separate amplifier with bass, treble, and volume controls. The tape loops were of real acoustic jazz drum kits playing different style beats, with additions to tracks such as bongos, clave, castanets. First commercial product – Wurlitzer Side Man In 1959 Wurlitzer released a drum machine called the Side Man. The Side Man was intended as an accompaniment for the Wurlitzer organ range. The Side Man offered a choice of 12 electronically generated, predefined rhythm patterns with variable tempos, the sound source was a series of vacuum tubes which created 10 preset electronic drum sounds. Combinations of these different sets of rhythms and drum sounds created popular rhythmic patterns of the day, e. g. waltzes and these combinations were selected by a rotary knob on the top of the Side Man box. The tempo of the patterns was controlled by a slider that increased the speed of rotation of the wiper arm, the Side Man had a panel of 10 buttons for manually triggering drum sounds, and a remote player to control the machine while playing from an organ keyboard. The Side Man was housed in a cabinet that contained the sound-generating circuitry. Raymond Scott In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, scotts machines were used for recording his album Soothing Sounds for Baby series
Drum machine
–
Rhythmicon (1932) and
Joseph Schillinger, a music educator
Drum machine
–
A
Yamaha RY30 Drum Machine
Drum machine
–
Wurlitzer Sideman (1959, inner view)
Drum machine
–
Seeburg/Gulbransen Rhythm Prince using mechanical wheel, as seen on bailed out left panel
11.
Music sequencer
–
This software also improved on the quality of the earlier sequencers which tended to be mechanical sounding and were only able to play back notes of exactly equal duration. Software-based sequencers allowed musicians to program performances that were more expressive and these new sequencers could also be used to control external synthesizers, especially rackmounted sound modules, and it was no longer necessary for each synthesizer to have its own devoted keyboard. As the technology matured, sequencers gained more features, such as the ability to record multitrack audio, Sequencers used for audio recording are called digital audio workstations. Many modern sequencers can be used to control virtual instruments implemented as software plug-ins and this allows musicians to replace expensive and cumbersome standalone synthesizers with their software equivalents. Today the term sequencer is used to describe software. Workstation keyboards have their own proprietary built-in MIDI sequencers, drum machines and some older synthesizers have their own step sequencer built in. There are still also standalone hardware MIDI sequencers, although the demand for those has diminished greatly due to the greater feature set of their software counterparts. Music sequencers are often categorized by handling data types, as following, or, the phrase samplers including Groove machines, etc. Also, music sequencer can be categorized by its construction and supporting modes, realtime sequencers record the musical notes in real-time as on audio recorders, and play back musical notes with designated tempo, quantizations, and pitch. For editing, usually punch in/punch out feature originated in the recording is provided. For detailed editing, possibly another visual editing modes under graphical user interface may be more suitable, anyway, this mode provides usability similar to the audio recorder already familiarized by musicians, and it is widely supported on software sequencer, DAW, and built-in hardware sequencers. Analog sequencers are typically implemented with analog electronics, and play the musical notes designated by a series of knobs or sliders corresponding to each musical note and it is designed for both composition and live performance, users can change the musical notes at any time without regarding recording mode. And also possibly, the time-interval between each note can be independently adjustable. Typically, analog sequencer is used to generate the repeated minimalistic phrases which is reminiscent of Tangerine Dream, on the bass machines, select a step note from a chromatic keypads, then select a step duration from a group of length-buttons, sequentially. In general, step mode, along with roughly quantized semi-realtime mode, is supported on the analog drum machines, bass machines. Software sequencer is a class of application software providing a functionality of music sequencer, the features provided as sequencers vary widely depending on the software, even an analog sequencer can be simulated. The user may control the software sequencer either by using the user interfaces or a specialized input devices. The early music sequencers were sound producing devices such as musical instruments, music boxes, mechanical organs, player pianos
Music sequencer
–
1980s typical software sequencer platform, using
Atari Mega ST computer.
Music sequencer
–
Today's typical software sequencer, supporting
multitrack audio (
DAW) and
plug-ins (
Steinberg Cubase 6)
Music sequencer
–
User interface on
Steinberg Cubase v6.0, a
digital audio workstation with an integrated software sequencer.
Music sequencer
–
An analog sequencer
12.
Sampler (musical instrument)
–
The samples are loaded or recorded by the user or by a manufacturer. These sounds are played back by means of the sampler program itself. Because these samples are stored in digital memory, the information can be quickly accessed. A single sample may often be pitch-shifted to different pitches to produce musical scales, often samplers offer filters, effects units, modulation via low frequency oscillation and other synthesizer-like processes that allow the original sound to be modified in many different ways. Most samplers have polyphonic capabilities – they are able to more than one note at the same time. Many are also multitimbral – they can play back different sounds simultaneously, prior to computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape, to change sounds a new set of tapes had to be installed in the instrument. The emergence of the sampler made sampling far more practical. Bruce Haack built a digital sampler which he demonstrated on Mister Rogers Neighborhood in 1967, the home made synthesizer device included a built-in sampler which recorded, stored, played back and looped sounds controlled by switches, light sensors and human skin contact. EMS Musys system, developed by Peter Grogono, David Cockerell, the system ran on two mini-computers, Digital Equipment PDP-8s. These had 12,000 bytes of memory, backed up by a hard drive of 32k. EMS equipment was used to control the worlds first digital studio, the E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Akai pioneered many processing techniques, such as crossfade looping and time stretch to shorten or lengthen samples without affecting pitch, during the 1980s, hybrid synthesizers began to utilize short samples along with digital synthesis to create more realistic imitations of instruments than had previously been possible. Examples are the Korg M1, Roland U-110, Yamahas SY series, samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape, usually a sampler is controlled by an attached music keyboard or other external MIDI controller or source. Each note-message received by the sampler accesses a particular sample, often multiple samples are arranged across the keyboard, each assigned to a note or group of notes. Keyboard tracking allows samples to be shifted in pitch by an appropriate amount, each group of notes to which a single sample has been assigned is often called a keyzone, and the resultant set of zones is called a keymap. For example, in Fig 1, a keymap has been created four different samples
Sampler (musical instrument)
–
An AKAI MPC2000 sampling sequencer (1997)
Sampler (musical instrument)
–
Licht-Ton Orgel (1936), an earlier sampling organ utilizing analog
optical disc
Sampler (musical instrument)
–
Mellotron
Sampler (musical instrument)
–
EMS Synthi-100 as a part of EMS Musys
13.
Digital audio workstation
–
Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece. DAWs are used for the production and recording of music, radio, television, podcasts, multimedia, early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. Interface cards that plugged into the PDP-11s Unibus slots provided analog and digital input and output for interfacing to Soundstreams digital recorders. The DAP software could perform edits to the recorded on the systems hard disks. By the late 1980s, a number of consumer level computers such as the Apple Macintosh, Atari ST, soon, people began to use them for simple two-track audio editing and CD mastering. This combination of software and hardware was one of the earliest examples of a DAW. Many major recording studios finally went digital after Digidesign introduced its Pro Tools software, modeled after the traditional method, at this time, most DAWs were Apple Mac based. Around 1992, the first Windows based DAWs started to emerge from such as IQS Innovative Quality Software, Soundscape Digital Technology, SADiE, Echo Digital Audio. All the systems at this point used dedicated hardware for their audio processing, in 1993, German company Steinberg released Cubase Audio on Atari Falcon 030. This version brought DSP built-in effects with 8-track audio recording & playback using only native hardware, the first Windows based software-only product, introduced in 1993, was Samplitude Studio. In 1996, Steinberg introduced Cubase VST, which could record, Cubase not only modelled a tape-like interface for recording and editing, but also modelled the entire mixing desk and effects rack common in analog studios. This revolutionised the DAW world, both in features and price tag, and was imitated by most other contemporary DAW systems. An integrated DAW consists of a console, control surface, audio converter. Integrated DAWs were more popular before commonly available personal computers became powerful enough to run DAW software, as computer power and speed increased and price decreased, the popularity of costly integrated systems with console automation dropped. Systems such as the Orban Audicy became standard equipment at radio. This could be as simple as a mouse or as sophisticated as a piano-style MIDI controller keyboard or automated fader board for mixing track volumes, the computer acts as a host for the sound card/audio interface, while the software provides the interface and functionality for audio editing. The software controls all related components and provides a user interface to allow for recording, editing
Digital audio workstation
–
Music production using a digital audio workstation (DAW) with
multi-monitor set-up
14.
Roland TR-909
–
The Roland TR-909 Rhythm Composer is a partially analog, partially sample-based, drum machine introduced by the Japanese Roland Corporation in 1984. The brainchild of Tadao Kikumoto, the engineer behind the Roland TB-303, it features a 16-step step sequencer and it is fully programmable, and like its predecessor, the TR-808, it can store entire songs with multiple sections, as opposed to simply storing patterns. It was the first MIDI-equipped drum machine, the 909 was launched three years after its 808 forebear, changing the game slightly by offering a part-analogue, part-sample-based sound generation hybrid. As with the 808, the 909 sounded a long way from the more realistic alternatives from Linn and Oberheim that had all, more expensive, sample-based drum computers were better at faithfully reproducing real drum sounds, while the TR-909 sounded synthetic. One of the first Roland instruments to be equipped with MIDI, but, like the TR808 before it, nobody could have predicted the reverence in which the TR909 would eventually come to be held. The TR909 soundset is part of Rolands AIRA TR-8 drum machine, on September 9,2016, 30+ years after the TR909 was introduced, Roland declared the day 909 Day. The event is being celebrated by the unveiling of over 30 new instruments, unlike its purely analog ancestor, the TR-09 is powered by the same analog modeling technology that powers the AIRA TR-8. The TR-09 is part of Rolands Boutique product line, the hi-hats and cymbals are 6-bit samples, compressed and combined with a volume envelope curve to allow slight modification. Thanks to the circuitry, various aspects of the drum sound can be modified. There is also a feature called accent—a primitive means of humanizing the drumbeat, in a simplified model of a drummer and a kit, the loudness of the sound created would basically depend on the velocity at which the drummer hits a given part of the kit. A human drummer can emphasize certain notes by playing louder. Part of the charm of the TR-909 comes from its 16-step sequencer — the 16 buttons along the bottom of the interface correspond to the 16th notes of a bar in 4/4 meter. For example, punching the buttons 1,5,9 and 13 on the drum part would create a simple four to the floor beat. While the sequencer is running, a light runs from step 1 to step 16, the TR-909 has several editing modes, pattern editing where one focuses solely on the 16 steps, and track editing, which allows for chaining various patterns in a row. Because it has MIDI, its possible to control other instruments with the sequencer. D16 Drumazon - software drum machine that emulates the TR-909, reBirth RB-338 - software synthesizer that emulates the TB-303, TR-808, and TR-909. 909 - A software drum machine for the Android operating system that emulates the TR-909
Roland TR-909
–
TR-909 Front Panel
Roland TR-909
–
Roland TR-909 rear view
15.
Roland JP-8000
–
The Roland JP-8000 is an analog modeling synthesizer released by the Roland Corporation in 1996. The Roland JP-8000 was released in early 1997 as part of the first wave of analog modeling synthesizers. Others from that included the Clavia Nord Lead, Korg Prophecy, Access Virus. The JP-8000 was viewed at the time as the modern incarnation of the classic Roland Jupiter-8. The programming interface, synthesis options and general tone is similar to Rolands Jupiter-6 as well. The JP-8000 sought to reproduce the warm analog tonalities and sheer power of its older. It also featured the unique Supersaw oscillators and analog-style controllers such as an arpeggiator, the JP-8000 had several features that differed from other analog modeling synthesizers of the time. Most notably, Rolands unique oscillator types and the use of sliders instead of rotary encoders to edit patch parameters, the Supersaw in particular was the reason why the JP-8000 was particularly successful as a main keyboard in the dance music market, especially for trance music. The sound processor is 16 bit, in 1998, Roland released a 6U,19 rack version of JP-8000 called the JP-8080. The JP-8080 combined the analog modeling sound engine of the JP-8000 with additional features such as an internal vocoder, also included on the JP-8080 was a distortion effect. The Supersaw is a special waveform originally created by Roland for their JP-8000, the idea behind the Supersaw is to emulate the sound of more than one sawtooth oscillator using just one oscillator. The waveform is described as an oscillator whose shape resembles 7 sawtooth oscillators detuned against each other over a period of time. Since production of the JP-8000 ceased, several companies have incorporated Supersaw-like oscillator algorithms into their hardware and software synthesizers, SUPERWAVE P8 is an example of a software synthesizer inspired by the architecture of the JP-8000, with its multiple sawtooth oscillators. Another is the Supersaw Plus, which has a JP-8000-style interface, in 2005, Access Music released the TI-line of synthesizers, which feature an oscillator type called Hypersaw that is similar to Rolands Supersaw oscillator. Roland also continues to other synthesizers, such as the SH-201, the SH-01, the Roland V-Synth. The Supersaw gained much popularity in dance music, especially with its use in hardcore, hardstyle. From 2006, as hard stomping dance music began to dominate the music charts, Roland JP-8000 at Vintagesynth. com Roland JP-8000 JP8000 user comments at Dancetech. com
Roland JP-8000
–
Roland JP-8080
Roland JP-8000
16.
Access Virus
–
The Access Virus is a virtual analog synthesizer made by the German company Access Music GmbH. It was first produced in 1997 and has since been upgraded frequently, early models include the Virus A, Virus B, and Virus C series, each available in various hardware configurations. In November 2005, the Virus TI series was released, including the 61-key Virus TI Keyboard, a small desktop model was released in February 2008 called the Virus TI Snow. A revision of the TI series called TI2 came out in March 2009, featuring faster digital processing, greater polyphony, more effects in the effect section. The Virus series also has come out with two software plugin versions, TDM for Pro Tools and VST for TC Electronic Powercore series, the term Access Virus can be used to refer to any one of these synthesizers. All of the Viruses are DSP-powered, virtual analog synthesizers and they have analog-style oscillators which can be tuned continuously from a pure sine wave to a square wave, as well as 63 spectral waveforms which are entirely synthetic, non-analog style waves. Oscillator waveforms may be modulated in a number of ways, ring modulation, phase distortion, the Virus has a Matrix Modulation specification. With the TI series, two new models were added, hypersaw and wavetable. The filter section is programmable, with two independent resonant filters which can be combined and modulated in various ways, the Matrix Modulation specification allows for the creation of complex and detailed sounds. The Virus features a filter saturation stage as well as different types of digital, the Virus has had 3 major hardware revisions since the original Virus A model as well as having numerous features added via firmware operating system updates. The Virus engine has largely remained the same since the Virus A up until the Virus C and they all utilize a single Motorola DSP chip and the sound is quite distinct between models when not factoring in the additional features provided by each hardware and firmware upgrade. The biggest effect of software optimisation is seen as a third oscillator control in the B-series menus, the latest incarnation of the Virus, The TI, utilizes 2 DSP chips and represents the most significant technical overhaul of the Virus series since its inception. The Virus Ti series allows for a very wide emulation of past and it is a digital synthesizer but can emulate the characteristic sound and behaviour of analogue synthesizers whilst also retaining some digital features. Wavetable synthesis for example can only be found on a few other synthesizers, what separates the Virus VA module from other analogue modelling synths in its price range is its twin multimode filter design and extensive modulation matrix. As of the Virus B OS4 update, it has 3 oscillators per voice with 2 filters per voice, additionally, the raw Virus oscillators have much less high frequency content than the oscillators found on other subtractive virtual analogues such as the Clavia Nord Lead and Roland JP-8000. This partially explains the Viruss characteristically dark and bass heavy sound, both Virus filters can be connected in series, parallel or set to process 2 oscillators independently. Connecting a 4 pole filter in series with a 2 pole filter also allows for a 36dB/octave 6 pole filter configuration, every parameter on the control surface of the synth and every parameter in every sub menu can be set as a modulation destination. The Virus also has a list of sources, including a random trigger
Access Virus
–
Virus B
Access Virus
–
Virus A
Access Virus
–
Virus KB
Access Virus
–
Virus Rack
17.
Psychedelic trance
–
Psychedelic trance, psytrance or psy is a subgenre of trance music characterized by arrangements of synthetic rhythms and layered melodies created by high tempo riffs. By 1998 psytrance had become a form of music. Psytrance lies at the hardcore, underground end of the diverse trance spectrum, the genre offers variety in terms of mood, tempo, and style. Some examples include full on, darkpsy, Hi-Tech, progressive, suomi, psy-chill, psycore, psybient, psybreaks, Goa trance preceded psytrance, when digital media became more commonly used psytrance evolved. Goa continues to develop alongside the other genres, during the 1970s the first Goa DJs were generally playing psychedelic rock bands such as the Grateful Dead, Pink Floyd and The Doors. The music played in the 1980s was a blend of styles loosely defined as techno and various genres of computer music e. g. acid house, the music was brought on tape cassettes by fanatic traveler collectors and DJs. This material was shared and copied tape-to-tape by Goa DJs, in a scene that was not driven by music industry labels. The artists producing this special Goa music had no idea that their music was being played on the beaches of Goa by cyber hippies, the first techno played in Goa was by Kraftwerk in the late 1970s on the tape of a visiting DJ. At that time, music played at most parties was performed by live bands, in the early 1980s, sampling synth and midi music appeared globally, and DJs became the preferred format in Goa. Two tape decks would drive a party with music and continuous dancing. Cassette tapes were used by DJs until the 1990s, then DAT tapes were used. Among DJs playing in Goa during the 1980s were Fred Disko, Dr Bobby, Stephano, Paulino, Mackie, Babu, Laurent, Ray, Fred, Antaro, Lui, Rolf, Tilo, Pauli, Rudi, and Gil. Their music was eclectic in style but nuanced around instrument/dub spacey versions of tracks that evoked mystical, cosmic, psychedelic, political, DJs in Goa made special mixes by editing various versions of a track to make it longer, taking the stretch mix concept to new levels. Trip music for journeying to outdoors, trance dancing to mind-expanding music while high on hallucinogens was the Goa mantra, the night clubs were not fueled by alcohol, but by hash and acid. The result was an anarchistic, alternative counterculture of DIY psychedelic exploration driven by future rhythm machine music, by 1990–91 Goa was no longer under the radar and had become a hot destination for partying. As the scene grew bigger, Goa-style parties spread like an all over the world from 1993. Goa Trance as commercial scene began gaining traction in 1994. The golden age of the first wave of Goa Psy Trance as an agreed upon genre was between 1994–97
Psychedelic trance
–
VooV Experience 2005 – one of the longest-existing psytrance openair events
Psychedelic trance
–
An indoor event
Psychedelic trance
–
Performance at a Russian psytrance festival, 2008
Psychedelic trance
–
Arronax performing at The Gathering, a psychedelic trance festival, in 2009
18.
Rave
–
A rave is a large dance party featuring performances by DJs and occasionally live performers playing electronic music. The music is amplified with a large, powerful sound reinforcement system, the music is accompanied by laser light shows, projected images, visual effects and fog machines. The word rave was first used in the late 1980s to describe the subculture grew out of the acid house movement. While some raves may be small parties held at nightclubs or private residences, some raves have grown to immense size, some electronic dance music festivals have features of raves, but on a large, often commercial scale. Raves may last for a time, with some events continuing for twenty-four hours. In the late 1950s in London the term rave was used to describe the wild bohemian parties of the Soho beatnik set, in 1958, Buddy Holly recorded the hit Rave On, citing the madness and frenzy of a feeling and the desire for it never to end. The word rave was used in the burgeoning mod youth culture of the early 1960s as the way to describe any wild party in general. People who were gregarious party animals were described as ravers, pop musicians such as Steve Marriott of The Small Faces and Keith Moon of The Who were self-described ravers. Presaging the words subsequent 1980s association with music, the word rave was a common term used regarding the music of mid-1960s garage rock. It was later part of the title of a music performance event held on 28 January 1967 at Londons Roundhouse titled the Million Volt Light. The event featured the only public airing of an experimental sound collage created for the occasion by Paul McCartney of The Beatles – the legendary Carnival of Light recording. With the rapid change of British pop culture from the mod era of 1963–1966 to the era of 1967 and beyond. Its use during that era would have perceived as a quaint or ironic use of bygone slang. Also during the 1970s the Chicago house movement continued to expand along with a new club - Studio 54, Studio 54 was a world-famous New York nightclub and discothèque. Founded and created by Steve Rubell and Ian Schrager in 1977, Rubell and Schrager hired Scott Bromley as architect, Ron Doud as interior designer and Brian Thompson as lighting designer. Where formerly all clubs had very dark, at Studio 54 the crowd could be lit brightly. In the late 1970s, the club was arguably the best-known nightclub in the world, the perception of the word changed again in the late 1980s when the term was revived and adopted by a new youth culture, possibly inspired by the use of the term in Jamaica. In the late 1980s, the word rave was adopted to describe the subculture grew out of the acid house movement
Rave
–
Strobing lights flash at a rave in
Vienna, Austria in 2005
Rave
–
A huge bank of speakers and
subwoofers from a rave
sound reinforcement system.
Rave
–
Rave - Juiz de Fora - MG, featuring bright psychedelic theming common at many raves.
Rave
–
Rave in Hungary in 2010, showing many of the fantastical theming elements common at such events.
19.
Strobe light
–
A strobe light or stroboscopic lamp, commonly called a strobe, is a device used to produce regular flashes of light. It is one of a number of devices that can be used as a stroboscope, the word originated from the Greek strobos, meaning act of whirling. A typical commercial strobe light has an energy in the region of 10 to 150 joules. Larger strobe lights can be used in “continuous” mode, producing extremely intense illumination, the light source is commonly a xenon flash lamp, or flashtube, which has a complex spectrum and a color temperature of approximately 5,600 kelvins. To obtain colored light, colored gels may be used, strobe lights usually use flashtubes with energy supplied from a capacitor, an energy storage device much like a battery, but capable of charging and releasing energy much faster. Recently, some lights have been found to use rectified mains electricity. In a capacitor-based strobe light, the capacitor is charged up to around 300 V, once the capacitor has been charged, a small amount of power is diverted into a trigger transformer, a small transformer with a high turns ratio. This generates the weak but high voltage required to ionize the xenon gas in a flash tube. An arc is created inside the tube, which acts as a bridge for the much bigger pulse to flow down later, arcs present almost a direct short circuit, allowing the capacitors to quickly release their energy into the arc. This rapidly heats the gas, creating an extremely bright plasma discharge. A strobe without a storage device simply discharges mains voltages across the tube once its fired. This type of strobe requires no charging time and allows for much quicker flash rates, such strobes require a form of current limiting, because as mentioned above, an arc acts as a kind of short circuit. Individual strobe flashes typically only last around 200 microseconds, but can be sustained for greater or lesser periods of time depending on the intended use. Since this stop is only apparent, a point on the rotating body will either appear to move backward or forward, or not move. If the flash occurs equal to the period of rotation the marked point will appear to not move. Any non integer flash setting will make the mark appear to move forward or backward, strobe lighting has also been used to see the movements of the vocal cords in slow motion during speech, a procedure known as video-stroboscopy. A common use of a flash is to optimize a car engines efficiency at a certain rotational period by directing the strobe-light towards a mark on the flywheel on the engines main axle. The strobe-light tool for such ignition timing is called a timing light, other applications are in alarm systems, emergency vehicle lighting, theatrical lighting, and as high-visibility running lights
Strobe light
–
Strobe light
20.
Glowsticking
–
Glowsticking is an umbrella term describing two broad categories, with the most agreed upon separation being whether it is stringed or not stringed. More importantly, glowsticking has roots in the electronica and rave scenes, some aspects include the culture of non-competitiveness, preferring sharing and performing in accordance with your observer, without any kind of negative statement implied. Because of this glowsticking competitions are frowned upon by most practitioners of glowsticking, although glowsticking as a field can largely be practiced anywhere, the roots it has with raving has led to the adoption of most of the ideals of the rave scene. In recent days complete glow stick costumes have been created that attach to ones body, both of these terms, freehand and glowstringing, describe the technical skills that relates to both. It is only when the practitioner intends to dance that it becomes glowsticking, otherwise, they may be a juggler who is simply choosing to juggle glowsticks, or a poist who is doing poi with glowsticks. That is not to say that a juggler or a poist cannot dance if they so choose with glowsticks—just that glowsticking implies dancing. In some case, handles may be used, because of moves which favor the fact that the handle can be grabbed and switched with the swinging part. In some cases, because of the existence of handles which glow both ways, moves which throw can be accomplished as it can be grabbed on either side, freehand glowsticking is glowsticking typically practiced without strings attached to the glowsticks. Freehand is defined by the growing body of concepts and moves. Some of these concepts include tracing, taps, tossing, stalls and threading, freehand glowsticking typically borrows from many other dance styles such as liquid dancing as well as having its own unique set of moves. Tracing is the act of dragging the glowsticks over the contours of ones body, an example of a common trace is the stomach trace, which includes dragging the glow sticks over ones stomach to create a circular pattern. In the context of this article, a lightshow is a given with glowsticks to a small audience of one or several people which are physically close to the performer. Lightshow is a term that can be used loosely to refer to performances given with LED lights, assorted light toys, lasers, there has been some who have claimed glowstringing is poi with glowsticks. This confusion is understandable, as the field of glowstringing is smaller and newer than the field of poi, Poi as a cultural art form is a hundreds of years old discipline coming from New Zealand. Glowstringing originally came from Poists who practiced the art at raves, many glowstringers can probably trace their roots to poi and many will often practice more poi at times than pure glowstringing. The nature of the glowstick, allowing for concepts which would otherwise be impossible with other objects, has significantly influenced the development of both freehand and glowstringing. In freehand, the shape of the glowstick is used in numerous ways to accent, or to catch. In terms of glowstringing, glowsticks have significantly impacted former pure poists in order to take advantage of the glowstick, for example, linked catches and glowstick manipulations borrow far more from a yo-yo string manipulation concept than poi
Glowsticking
–
A flower pattern from flow artist Nick Woolsey captured through long exposure photography; photograph is an example of
light painting
21.
Electronic music
–
In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely 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 for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and 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 accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made 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, amplified, 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
Electronic music
–
Telharmonium,
Thaddeus Cahill, 1897
Electronic music
–
Halim El-Dabh at a
Cleveland festival in 2009
Electronic music
–
Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991
Electronic music
–
Israeli composer
Josef Tal at the Electronic Music Studio in Jerusalem (c. 1965). On the right,
Hugh Le Caine 's sound
synthesizer the Special Purpose Tape Recorder.
22.
Germany
–
Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Munich, Cologne, Frankfurt, Stuttgart, Düsseldorf and Leipzig. 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, 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 German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. 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 G8, the G20, and the OECD. The national military expenditure is the 9th highest 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. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, 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 mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
Germany
–
The
Nebra sky disk is dated to c. 1600 BC.
Germany
–
Flag
Germany
–
Martin Luther (1483–1546) initiated the
Protestant Reformation.
Germany
–
Foundation of the
German Empire in
Versailles, 1871.
Bismarck is at the center in a white uniform.
23.
Beats per minute
–
In musical terminology, tempo is the speed or pace of a given piece or subsection thereof, how fast or slow. Tempo may be separated from articulation, or articulation may be indicated along with tempo, while the ability to hold a steady tempo is a desirable skill, tempo is changeable, and often indicated by a conductor or drummer. While practicing, an electronic or mechanical device, a metronome, may indicate the tempo, in other words, it is the speed at which a passage of music is or should be played. A piece of musics tempo is written at the start of the score. This means that a note value is specified as the beat. The greater the number of beats per minute, the smaller the amount of time between successive beats, and thus faster a piece must be played. For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per minute is twice as rapid, signifying one beat every 0.5 seconds. Beethoven was one of the first composers to use the metronome, with the advent of modern electronics, bpm became an extremely precise measure. Music sequencers use the bpm system to denote tempo, instead of beats per minute, some 20th-century composers specify the total playing time for a piece, from which the performer can derive tempo. Tempo is as crucial in contemporary music as it is in classical, in electronic dance music, accurate knowledge of a tunes bpm is important to DJs for the purposes of beatmatching. Some musical pieces do not have a mathematical time indication, in classical music it is customary to describe the tempo of a piece by one or more words. Before the metronome, it was difficult to specify the tempo of a composition, yet, after the metronomes invention, musicians continued to use these words, often additionally indicating the mood of the piece. This blurred the distinction between tempo and mood indicators. For example, presto and allegro both indicate a speedy execution, but allegro also connotes joy, presto, on the other hand, simply indicates speed. Additional Italian words also indicate tempo and mood, for example, the agitato in the Allegro agitato of the last movement of George Gershwins piano concerto in F has both a tempo indication and a mood indication. In some cases, the conventions that governed musical composition were so strong that composers didnt need to indicate tempo, for example, the first movement of Bachs Brandenburg Concerto No.3 has no tempo or mood indication whatsoever. To provide movement names, publishers of recordings resort to ad hoc measures, for marking the Brandenburg movement Allegro. In Renaissance music, performers understood most music to flow at a tempo defined by the tactus, the mensural time signature indicated which note value corresponded to the tactus
Beats per minute
–
Electronic metronome, Wittner model
Beats per minute
–
The first two measures of
Mozart 's
Sonata K. 331, which indicates the tempo as "Andante grazioso" (Italian for "at walking pace, graceful") and a modern editormarking: " ♪ = 120". Play (
help ·
info)
24.
Phrase (music)
–
In music theory, a phrase is a unit of musical meter that has a complete musical sense of its own, built from figures, motifs, and cells, and combining to form melodies, periods and larger sections. Terms such as sentence and verse have been adopted into the vocabulary of music from linguistic syntax, john D. White defines a phrase as, the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, edward Cone analyses the typical musical phrase as consisting of an initial downbeat, a period of motion, and a point of arrival marked by a cadential downbeat. Charles Burkhart defines a phrase as Any group of measures that has degree of structural completeness. What counts is the sense of completeness we hear in the not the notation on the page. To be complete such a group must have an ending of some kind …, phrases are delineated by the tonal functions of pitch. They are not created by slur or by legato performance …, a phrase is not pitches only but also has a rhythmic dimension, and further, each phrase in a work contributes to that works large rhythmic organization. In common practice phrases are often four bars or measures long culminating in a more or less definite cadence. A phrase will end with a weaker or stronger cadence, depending on whether it is an antecedent phrase or a consequent phrase, however, the absolute span of the phrase is as contestable as its pendant in language, where there can be even one-word-phrases. Thus no strict line can be drawn between the terms of the phrase, the motiv or even the separate tone, discovering a works phrase rhythm is a gateway to its understanding and to effective performance. The term was popularized by William Rothsteins Phrase Rhythm in Tonal Music, techniques include overlap, lead-in, extension, expansion, reinterpretation and elision. A phrase member is one of the parts in a phrase separated into two by a pause or long note value, the second of which may repeat, sequence, or contrast with the first
Phrase (music)
–
Phrase-group of three four
bar phrases in
Mozart 's
Piano Sonata in F, K. 332, first movement. Play (
help ·
info)
25.
Musical form
–
The term musical form refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. According to Richard Middleton, musical form is the shape or structure of the work and he describes it through difference, the distance moved from a repeat, the latter being the smallest difference. Difference is quantitative and qualitative, how far, and of what type, in many cases, form depends on statement and restatement, unity and variety, and contrast and connection. This phrase may be regarded as the unit of musical form. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, thus, form may be understood on three levels of organization. For the purpose of exposition, these levels can be roughly designated as passage, piece. The smallest level of construction concerns the way musical phrases are organized into musical sentences and this may be compared to, and is often decided by, the verse form or meter of the words or the steps of a dance. In the analysis of form, any components that can be defined on the time axis are conventionally designated by letters. Upper-case letters are used for the most fundamental, while lower-case letters are used for sub-divisions, if one such section returns in a varied or modified form, a numerical digit or an appropriate number of prime symbols appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger timescales, for example, consider the analogy with rhyme schemes, The following verse is composed of two differently-rhymed couplets, and thus its organization is binary or twofold. Twinkle, twinkle, little star, How I wonder what you are, up above the world so high, like a diamond in the sky. There once was a fellow from Leeds Who swallowed a packet of seeds, in less than an hour he burst into flower And he died trying to pull up the weeds. The next level concerns the structure of any single self-contained musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in strophic form overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a theme and variations. If the theme is played, then a new theme is introduced, great arguments and misunderstanding can be generated by such terms as ternary and binary, as a complex piece may have elements of both at different organizational levels. The grandest level of organization may be referred to as cyclical form and it concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a theme may be presented as a song-cycle
Musical form
–
Thought-form of the Music of
Gounod, according to
Annie Besant and
C.W. Leadbeater in Thought Forms (1901)
26.
Trance
–
Trance denotes any state of awareness or consciousness other than normal waking consciousness. Trance states may occur involuntarily and unbidden, the term trance may be associated with hypnosis, meditation, magic, flow, and prayer. It may also be related to the generic term, altered states of consciousness. With this definition, meditation, hypnosis, addictions and charisma are seen as being trance states, john Horgan in Rational Mysticism explores the neurological mechanisms and psychological implications of trances and other mystical manifestations. Horgan incorporates literature and case-studies from a number of disciplines in this work, chemistry, physics, a state of hyper or enhanced suggestibility. Trance conditions include all the different states of mind, emotions, moods, all activities which engage a human involve the filtering of information coming into sense modalities, and this influences brain functioning and consciousness. Therefore, trance may be understood as a way for the mind to change the way it filters information in order to more efficient use of the minds resources. Trance states may also be accessed or induced by various modalities and is a way of accessing the unconscious mind for the purposes of relaxation, healing, there is an extensive documented history of trance as evidenced by the case-studies of anthropologists and ethnologists and associated and derivative disciplines. Hence trance may be perceived as endemic to the human condition, principles of trance are being explored and documented as are methods of trance induction. Benefits of trance states are being explored by medical and scientific inquiry, many traditions and rituals employ trance. Trance also has a function in religion and mystical experience, castillo states that, Trance phenomena result from the behavior of intense focusing of attention, which is the key psychological mechanism of trance induction. Adaptive responses, including institutionalized forms of trance, are tuned into neural networks in the brain, culture-specific organizations exist in the structure of individual neurons and in the organizational formation of neural networks. Hoffman states that, Trance is still defined as a state of reduced consciousness. However, the more recent anthropological definition, linking it to altered states of consciousness, is becoming increasingly accepted, Hoffman asserts that. the trance state should be discussed in the plural, because there is more than one altered state of consciousness significantly different from everyday consciousness. According to Hoffman, pilgrims visited the Temple of Epidaurus, an asclepeion, seekers of healing would make pilgrimage and be received by a priest who would welcome and bless them. This temple housed an ancient religious ritual promoting dreams in the seeker that endeavored to promote healing and this temple was built in honor of Asclepios, the Greek god of medicine. The Greek treatment was referred to as incubation, and focused on prayers to Asclepios for healing, the asclepion at Epidaurus is both extensive and well-preserved, and is traditionally regarded as the birthplace of Asclepius. The Oracle at Delphi was also famous for trances in the ancient Greek world, stories of the saints in the Middle Ages, myths, parables, fairy tales, oral lore and storytelling from different cultures are themselves potentially inducers of trance
Trance
–
The
Oracle at Delphi was famous for her
divinatory trances throughout the ancient Mediterranean world.
27.
Utrecht
–
Utrecht is the capital and most populous city in the Dutch province of Utrecht. It is located in the corner of the Randstad conurbation and is the fourth largest city in the Netherlands with a population of 330,772 in 2014. Utrechts ancient city centre features many buildings and structures several dating as far back as the High Middle Ages and it has been the religious centre of the Netherlands since the 8th century. It lost the status of prince-bishopric but remains the religious center in the country. Utrecht was the most important city in the Netherlands until the Dutch Golden Age, Utrecht is host to Utrecht University, the largest university in the Netherlands, as well as several other institutions of higher education. Due to its position within the country, it is an important transport hub for both rail and road transport. It has the second highest number of events in the Netherlands. In 2012, Lonely Planet included Utrecht in the top 10 of the world’s unsung places, a series of such fortresses was built after the Roman emperor Claudius decided the empire should not expand north. To consolidate the border the limes Germanicus defense line was constructed along the branch of the river Rhine. These fortresses were designed to house a cohort of about 500 Roman soldiers, near the fort settlements would grow housing artisans, traders and soldiers wives and children. In Roman times, the name of the Utrecht fortress was simply Traiectum, Traiectum became Dutch Trecht, with the U from Old Dutch uut added to distinguish U-trecht from Maas-tricht. In 11th-century official documents it was Latinized as Ultra Traiectum, around the year 200, the wooden walls of the fortification were replaced by sturdier tuff stone walls, remnants of which are still to be found below the buildings around Dom Square. From the middle of the 3rd century Germanic tribes regularly invaded the Roman territories, around 275 the Romans could no longer maintain the northern border and Utrecht was abandoned. Little is known about the next period 270–650, Utrecht is first spoken of again several centuries after the Romans left. Under the influence of the realms of the Franks, during Dagobert Is reign in the 7th century. In ongoing border conflicts with the Frisians this first church was destroyed, by the mid-7th century, English and Irish missionaries set out to convert the Frisians. The pope appointed their leader, Willibrordus, bishop of the Frisians, the tenure of Willibrordus is generally considered to be the beginning of the Bishopric of Utrecht. In 723, the Frankish leader Charles Martel bestowed the fortress in Utrecht, from then on Utrecht became one of the most influential seats of power for the Roman Catholic Church in the Netherlands
Utrecht
–
Aerial view of the
Dom Tower in the city centre
Utrecht
–
Many of the features in
Blaeu 's 1652 map of Utrecht can still be recognised in the city center
Utrecht
–
The
Dom tower, with – to the left behind it – the remaining section of the
Dom church. The two parts have not been connected since the collapse of the nave in 1674.
Utrecht
–
Prince Maurits in Utrecht, 31 July 1618
28.
Netherlands
–
The Netherlands is the main constituent country of the Kingdom of the Netherlands. It is a densely populated country located in Western Europe with three territories in the Caribbean. The European part of the Netherlands borders Germany to the east, Belgium to the south, and the North Sea to the northwest, sharing borders with Belgium, the United Kingdom. The three largest cities in the Netherlands are Amsterdam, Rotterdam and The Hague, Amsterdam is the countrys capital, while The Hague holds the Dutch seat of parliament and government. The port of Rotterdam is the worlds largest port outside East-Asia, the name Holland is used informally to refer to the whole of the country of the Netherlands. Netherlands literally means lower countries, influenced by its low land and flat geography, most of the areas below sea level are artificial. Since the late 16th century, large areas have been reclaimed from the sea and lakes, with a population density of 412 people per km2 –507 if water is excluded – the Netherlands is classified as a very densely populated country. Only Bangladesh, South Korea, and Taiwan have both a population and higher population density. Nevertheless, the Netherlands is the worlds second-largest exporter of food and agricultural products and this is partly due to the fertility of the soil and the mild climate. In 2001, it became the worlds first country to legalise same-sex marriage, the Netherlands is a founding member of the EU, Eurozone, G-10, NATO, OECD and WTO, as well as being a part of the Schengen Area and the trilateral Benelux Union. The first four are situated in The Hague, as is the EUs criminal intelligence agency Europol and this has led to the city being dubbed the worlds legal capital. The country also ranks second highest in the worlds 2016 Press Freedom Index, the Netherlands has a market-based mixed economy, ranking 17th of 177 countries according to the Index of Economic Freedom. It had the thirteenth-highest per capita income in the world in 2013 according to the International Monetary Fund, in 2013, the United Nations World Happiness Report ranked the Netherlands as the seventh-happiest country in the world, reflecting its high quality of life. The Netherlands also ranks joint second highest in the Inequality-adjusted Human Development Index, the region called Low Countries and the country of the Netherlands have the same toponymy. Place names with Neder, Nieder, Nether and Nedre and Bas or Inferior are in use in all over Europe. They are sometimes used in a relation to a higher ground that consecutively is indicated as Upper, Boven, Oben. In the case of the Low Countries / the Netherlands the geographical location of the region has been more or less downstream. The geographical location of the region, however, changed over time tremendously
Netherlands
–
The Netherlands in 5500 BC
Netherlands
–
Flag
Netherlands
–
The Netherlands in 500 BC
Netherlands
–
An oak figurine found in
Willemstad, North Brabant (4500 BC).
29.
KaZantip
–
The entrance ticket is called a viZa. It takes place for 2–3 weeks in August, and about 100,000 paradiZers visit each year, there is a cult of orange-coloured fashion and yellow suitcases associated with the festival. In 2014, the took place outside of Crimea for the first time ever. In 2015, it was to be held 18–28 February on the Koh Puos Island in Sihanoukville, Cambodia, the festival is named for the Kazantyp headland, near which it was held from 1995–99. During that time, the took place inside the turbine hall of the unfinished Crimean Atomic Energy Station. The festival was moved to the Vesele settlement in 2000, since 2001, the festival has been held in the Crimean town of Popivka. The president, creator, and initiator of Kazantip is Nikita I, in the beginning, the festival was very low-key and was nothing more than a bunch of windsurfers partying after a hard days wave riding. But later, Nikita decided to include a techno and trance music party to celebrate the end of the season and this gave birth to the festival as it is today. The 2014 edition, called Z22, took place in Anaklia, Georgia, the Anaklia festival proved controversial from the start, as members of the Georgian Orthodox Church protested the event due to fears of drugs and nudity at the festival. The head of Georgias National Tourism Administration also publicly claimed that he was fired over a dispute with the church about the 2014 festivals taking place in Anaklia. There is a celebration called Mayovka, or Happiness Parade. This is the Z-national holiday, dedicated to spring, friendship, during these days, Z-people dance, take part in a Happiness Parade, show their happiness to each other, and prepare for the big summer events. KaZantip presents itself as a republic, with over 300 DJs on more than 14 dance floors. The republic is held on a piece of land covering 60,000 square metres, DJs performing during KaZantip 2010 were Carl Cox, Hybrid, Marco Carola, Oliver Huntemann, DJ URI, Armin Van Buuren, Josh Wink, and Seba. Season 2011 brought Pendulum as a headliner, Leeroy Thornhill as one of the guest DJs, as well as John B, Marc Romboy, Richie Hawtin, Ricardo Villalobos. The 2012 lineup included Armin Van Buuren, DJ URI, Tiesto, Carl Cox, Josh Wink, Skrillex, Rusko, Benny Benassi, Vika Jigulina, David Guetta, and quite a few more. In 2013, there were performances by Bobina, Ferry Corsten, Markus Schulz, Gabriel & Dresden, Maceo Plex, Adam Freeland, list of electronic music festivals Johnstone, Sarah, Bloom, Greg. Official website President of The Kazantip Republic, IMS2011 speech Kazantip, Life with no pants, an article by Resident Advisors editor Will Lynch
KaZantip
–
Republic of KaZantip Республика КаZантип
KaZantip
–
Orange is the main color of KaZantip.
30.
Klaus Schulze
–
Klaus Schulze is a German electronic music composer and musician. He also used the alias Richard Wahnfried and he was briefly a member of the electronic bands Tangerine Dream and Ash Ra Tempel before launching a solo career consisting of more than 60 albums released across five decades. In 2002, two Klaus Schulze albums were included in 25 Most Influential Ambient Albums Of All Time, in 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album Electronic Meditation. Before 1969 he was a drummer in a band called Psy Free and he met Edgar Froese from Tangerine Dream in the Zodiac Club in Berlin in that time West-Germany. In 1970 he left group to form Ash Ra Tempel with Manuel Göttsching. In 1971, he chose again to leave a newly formed group after one album. In 1972, Schulze released his debut album Irrlicht with organ, despite the lack of synthesizers, this proto-ambient work is regarded as a milestone in electronic music. The follow-up, Cyborg, was similar but added the EMS Synthi A synthesiser, since this point, Schulzes career has been most prolific, and he can now claim more than 40 original albums to his name since Irrlicht. Highlights of these include 1975s Timewind, 1976s Moondawn, 1979s Dune, in 1976, he was drafted by Japanese percussionist and composer Stomu Yamashta to join his short-lived supergroup Go, also featuring Steve Winwood, Michael Shrieve, and Al Di Meola. They released two albums and one live album, which went on to become a cult favourite. On occasions he would also compose film scores, including horror and thriller movies such as Barracuda and it is to be noted that some of his lighter albums are appreciated by new-age music fans, despite the fact that Schulze has always denied connections to this genre. By mid-decade, with the release of Timewind and Moondawn, his style transformed from Krautrock to Berlin School, Klaus Schulze had a more organic sound than other electronic artists of the time. Often he would throw in decidedly non-electronic sounds such as acoustic guitar, Schulze developed a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert. His use of the pseudonym Richard Wahnfried is indicative of his interest in Richard Wagner, in the 1980s Schulze started using digital instruments besides the usual analog synthesizers, and his work accordingly became less experimental and more accessible. Although the switch to using digital equipment is audible in the style of Dig It and this is particularly noteworthy in the Trancefers first track A Few Minutes After Trancefer, although the second track Silent Running is more reminiscent of Schulzes earlier works. This newer style can also be found in Schulzes next release Audentity, Schulzes next studio-based album Angst moved away from the harshness of sharp, heavily sequenced style of the 3 previous albums and, once again, had the more organic feel of earlier recordings. Another highlight of this era was En=Trance with the dreamy cut Fm Delight, the album Miditerranean Pads marked the beginning of very complex percussion arrangements that continued into the next two decades. In 1989, German band Alphaville released their album The Breathtaking Blue, sampling was such an unpopular diversion that when In Blue was released in 1995 without samples it was hailed as a return to form
Klaus Schulze
–
Klaus Schulze with
Lisa Gerrard, 2009
31.
Video game
–
A video game is an electronic game that involves interaction with a user interface to generate visual feedback on a video device such as a TV screen or computer monitor. The word video in video game referred to a raster display device. Some theorists categorize video games as an art form, but this designation is controversial, the electronic systems used to play video games are known as platforms, examples of these are personal computers and video game consoles. These platforms range from large mainframe computers to small handheld computing devices, the input device used for games, the game controller, varies across platforms. Common controllers include gamepads, joysticks, mouse devices, keyboards, the touchscreens of mobile devices, and buttons, or even, with the Kinect sensor, a persons hands and body. Players typically view the game on a screen or television or computer monitor, or sometimes on virtual reality head-mounted display goggles. There are often game sound effects, music and, in the 2010s, some games in the 2000s include haptic, vibration-creating effects, force feedback peripherals and virtual reality headsets. In the 2010s, the game industry is of increasing commercial importance, with growth driven particularly by the emerging Asian markets and mobile games. As of 2015, video games generated sales of USD74 billion annually worldwide, early games used interactive electronic devices with various display formats. The earliest example is from 1947—a Cathode ray tube Amusement Device was filed for a patent on 25 January 1947, by Thomas T. Goldsmith Jr. and Estle Ray Mann, and issued on 14 December 1948, as U. S. Written by MIT students Martin Graetz, Steve Russell, and Wayne Wiitanens on a DEC PDP-1 computer in 1961, and the hit ping pong-style Pong, used the DEC PDP-1s vector display to have two spaceships battle each other. In 1971, Computer Space, created by Nolan Bushnell and Ted Dabney, was the first commercially sold and it used a black-and-white television for its display, and the computer system was made of 74 series TTL chips. The game was featured in the 1973 science fiction film Soylent Green, Computer Space was followed in 1972 by the Magnavox Odyssey, the first home console. Modeled after a late 1960s prototype console developed by Ralph H. Baer called the Brown Box and these were followed by two versions of Ataris Pong, an arcade version in 1972 and a home version in 1975 that dramatically increased video game popularity. The commercial success of Pong led numerous other companies to develop Pong clones and their own systems, the game inspired arcade machines to become prevalent in mainstream locations such as shopping malls, traditional storefronts, restaurants, and convenience stores. The game also became the subject of articles and stories on television and in newspapers and magazines. Space Invaders was soon licensed for the Atari VCS, becoming the first killer app, the term platform refers to the specific combination of electronic components or computer hardware which, in conjunction with software, allows a video game to operate. The term system is commonly used
Video game
–
Two girls playing a driving-themed video arcade game in 2007.
Video game
–
Tennis for Two, an early
analog computer game that used an
oscilloscope for a display
Video game
–
Nolan Bushnell at the
Game Developers Conference in 2011
32.
Megatripolis
–
The club combined New Age ideology with Rave culture to create a vibrant, festival-like atmosphere presenting a wide variety of cross-cultural ideas and experiences. Club nights ran regularly on Thursdays from 1993 until 1996, being the focus of much of the Zippie movement, the club and its related activities also helped to popularise ideas such as cyberculture and the Internet between those years. The club first started at The Marquee in London when it was at 105 Charing Cross Road, promoted by evolution / dream, and at first as a collaboration with Tribal Energy on Thursday nights in June 1993. With techno music playing, about 250 people attended, after eight weeks, a disagreement between the Tribal Energy and Evolution / dream crews led to the latter being asked to leave. Tribal Energy then continued at the Marquee with a club on the night, called Metropolis. On October 21,1993, the Heaven nightclub under Charing Cross Station became home to the club,4,000 people attended for the free opening night. Heaven was Londons original gay-only nightclub, but had run non-gay nights for many years, including such as Rage, Earth, Spectrum. The club had the distinction of being full or almost full for every night of its 155-week run at Heaven, the Megatripolis Festival in a box on Thursday nights attracted a diverse audience from a wide age range, many of whom would not otherwise have considered going clubbing. The club ran until New Years 1995 when internal pressures forced it to continue with an agenda, the club eventually closing on Thursday, October 24,1996. A three-CD album representing the music was released in July 1996 on Funky Peace Productions 2000 featuring mixes by DJ regulars. All production equipment owned by the club was distributed to members of the clubs crew, the rented premises under St. Pancras station were handed over to what was to become Escape from Samsara. Megatripolis proved popular, although some reporting of it suggested a conflict between an avowed downplay of psychedelic drugs and an enthusiasm for substance use by some club-goers. In any event, the club provided a place of like-minded people and served as a platform for social awareness. Typical evenings combined lectures and workshops with live musical performances accompanied by live video mixing, musical styles were diverse, and included progressive house, trance, deep house, minimal techno and dub. The club played a role in promoting trance music. Visits from speakers such as Allen Ginsberg, Terence McKenna, George Monbiot, Howard Marks and Ram Dass were common, ginsbergs 1995 appearance was made into the film Allen Ginsberg Live in London. Guest DJs included Colin Faver, Colin Dale, Alex Paterson, Andrew Weatherall, Mr C, Tsuyoshi Suzuki, the clubs resident DJs were Darius Akashic, Nick Sequenci, Richard Grey and Marco Arnaldi. Atmospheric music combined with sound effects was played along to films in the chill-out rooms set apart from the dance floors, new-age stalls occupied the central hallway selling non-alcoholic energy drinks, body jewellery, alternative small press comics and magazines, as well as T-shirts and other clothing
Megatripolis
–
This article needs additional citations for
verification. Please help improve this article by
adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2009)
33.
Age of Love (song)
–
Age of Love is the 1990 self-titled track by the Age of Love. It is notable as a popular example of trance music. To this day, the continues to be remixed and featured on compilations. As of February 2007, the online resource Discogs has cataloged a total of 73 known releases, the track was featured in the hit film based on the UK club scene, Human Traffic. Sanchioni and Cherchia never released another single under the moniker Age of Love, Sanchioni would continue to produce as part of the trance music act B. B. E
Age of Love (song)
–
The Age Of Love (Watch Out For Stella Mix) from Album Test One by
React in 1992
34.
Paul van Dyk
–
Matthias Paul, better known by his stage name Paul van Dyk is a German Grammy Award-winning DJ, record producer and musician. He was named the Worlds number one DJ in both 2005 and 2006, something only few DJs have ever achieved and he was the first ever DJ to be named number one by Mixmag in 2005. By 2008, he had sold over 3 million albums worldwide, Paul van Dyk is currently the radio host of Vonyc Sessions with Paul on Dash Radio. Paul van Dyk grew up in East Berlin in a single parent household, his father left him, while living there, he worked as a broadcast technician and began training to become a carpenter. Paul van Dyk claims his musical education came from radio, shortly before the fall of the Berlin Wall, van Dyk and his mother were given permission to leave East Germany and moved to Hamburg to live with his aunt. In 1990, van Dyk moved back to Berlin and his first appearance as a DJ was in the Tresor in March 1991. After several more dates, he was given the chance to perform at AndreHoches Dubmission parties in the Turbine club, the shows were called Paul vs. Paul. With Cosmic Baby, he collaborated as The Visions of Shiva and their single Perfect Day was released by the Berlin independent label MFS Records, run by English ex-patriat producer Mark Reeder and manager Torsten Jurk. In February 1993, van Dyk and Kid Paul hosted an installment of the weekly three-hour HR3 Clubnight radio show, the second and final Visions of Shiva single How Much Can You Take. was released, and van Dyk and Cosmic went their separate musical ways. By late summer, Paul released his first DJ-mix compilation X-Mix-1 – the MFS Trip, in 1994, Paul van Dyk released The Green Valley EP, Pump This Party and Emergency 911. Meanwhile, MFS acquired many remixes for Paul, MFS label owner Mark Reeders close friendship with artists such as New Order gave Paul the opportunity to mix the track Spooky from the Republic album. He recorded his debut LP45 RPM with Johnny Klimek and VOOV, seven Ways established Paul van Dyk as a trance pioneer and was Paul van Dyks first real success in Britain. Seven Ways was voted the No.1 album by readers of DJ Magazine, in early 1997, Paul van Dyk began collaborating with U. S. music producer BT. Together, they produced such as Flaming June, Forbidden Fruit. By the time they realised I was a German, it was too late, Van Dyk also remixed a well known early-90s track, Age of Love, in 1997. In 1998,45 RPM was re-released in the UK and in the US, to mark the event, and in homage to the defunct E-Werk, Paul released a remix of For An Angel. Van Dyk took up a residency at Sheffields Gatecrasher and declared himself anti-drugs, in 1998, Paul remixed British trance duo Binary Finarys famous 1998 single, which was a successful version that took Binary Finary to the top of the German Dance charts. In mid-1998, Van Dyk left MFS Records and took a share in the new label Vandit Records
Paul van Dyk
–
Paul van Dyk
Paul van Dyk
–
Paul van Dyk at the Lizard Lounge in Dallas on February 14, 2015.
35.
Time signature
–
The time signature is a notational convention used in Western musical notation to specify how many beats are to be contained in each bar and which note value is to be given one beat. A mid-score time signature, usually following a barline, indicates a change of meter. | Simple time signatures consist of two numerals, one stacked above the other, The lower numeral indicates the value that represents one beat. The upper numeral indicates how many beats there are grouped together in a bar. For instance,24 means two quarter-note beats per bar—38 means three eighth-note beats per bar, the most common simple time signatures are 24,34, and 44. The symbol is used for 44 time, also called common time or imperfect time. In modern notation, it is used in place of 22 and is called alla breve or, colloquially, in compound meter, subdivisions of the main beat are in three equal parts, so that a dotted note becomes the beat unit. Compound time signatures are named as if they were simple time signatures, in which the part of the beat unit is the beat. The lower number is most commonly an 8, as in 98 or 128,34 is a simple signature that represents three quarter notes. To the ear, a bar may seem like one singular beat, for example, a fast waltz, notated in 34 time, may be described as being one in a bar. Terms such as quadruple, quintuple, and so on are also occasionally used, as mentioned above, though the score indicates a 34 time, the actual beat division can be the whole bar, particularly at faster tempos. Correspondingly, at slow tempos the beat indicated by the time signature could in actual performance be divided into smaller units, on a formal mathematical level the time signatures of, e. g.34 and 38 are interchangeable. In a sense, all simple triple time signatures, such as 38,34,32, etc. —and all compound duple times, such as 68,616, a piece in 34 can be easily rewritten in 38, simply by halving the length of the notes. Other time signature rewritings are possible, most commonly a simple time signature with triplets translates into a compound meter, though formally interchangeable, for a composer or performing musician, different time signatures often have different connotations. First, a note value in the beat unit implies a more complex notation. Second, beaming affects the choice of actual beat divisions and it is, for example, more natural to use the quarter note/crotchet as a beat unit in 64 or 22 than the eight/quaver in 68 or 24. Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 48 or 42. For all meters, the first beat is stressed, in time signatures with four groups in the bar
Time signature
36.
Bass drum
–
A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. Bass drums are percussion instruments and vary in size and are used in musical genres. Three major types of bass drums can be distinguished, the type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra, the kick drum, a term for a bass drum associated with a drum kit. It is struck with an attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps and this is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is cylindrical with the drums diameter much greater than the drums depth. There is normally a head at both ends of the cylinder. The heads may be made of skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings, Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics, music Bass drums have many synonyms and translations, such as Gran Cassa, Grosse caisse, Grosse Trommel, and Bombo. Bass drums are too large to be held and are always mounted in some way. The usual ways of mounting a bass drum are, Using a shoulder harness so that the heads are vertical, on a floor stand as part of a drum kit. The heads are always vertical when mounted in this way, in this situation, the heads may be adjusted to any position between vertical and horizontal. It is possible for the drum to have a single cymbal mounted on it. Bass drums can have a variety of strikers depending on the music, when the drum is mounted vertically, the mallet above may be held in one hand and a rute held in the other. 2 matching bass drum mallets or a double headed mallet are used for playing drum rolls, when used as part of a drum kit, a variation of the mallet described above is mounted on a pedal and called a beater. The earliest known predecessor to the drum was the Turkish davul
Bass drum
–
Bass drum
Bass drum
Bass drum
–
Bass drums with "woofers" or additional resonating sections attached to enhance tone and depth. Drum set used by
Alex van Halen
Bass drum
–
Conventional single pedal
37.
Beat (music)
–
In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. In popular use, beat can refer to a variety of related concepts including, tempo, meter, specific rhythms, Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats and divided into bars organized by time signature and tempo indications. Metric levels faster than the level are division levels. Beat has always been an important part of music, some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance. The downbeat is the first beat of the bar, i. e. number 1, the upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat. Both terms correspond to the direction taken by the hand of a conductor, an anticipatory note or succession of notes occurring before the first barline of a piece is sometimes referred to as an upbeat figure, section or phrase. Alternative expressions include pickup and anacrusis, the latter term was borrowed from the field of poetry, in which it refers to one or more unstressed extrametrical syllables at the beginning of a line. In music that progresses regularly in 44 time, counted as 1234,1234. The first beat of the bar is usually the strongest accent in the melody and the likeliest place for a change, the third is the next strongest. The second and fourth are weaker—the off-beats, subdivisions that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it off-beat. The effect can be simulated by evenly and repeatedly counting to four. This is a technique of African polyrhythm that transferred to popular western music. According to Grove Music, the Offbeat is where the downbeat is replaced by a rest or is tied over from the preceding bar, the downbeat can never be the off-beat because it is the strongest beat in 44 time. Certain genres tend to emphasize the off-beat, where this is a characteristic of rocknroll. A back beat, or backbeat, is a syncopated accentuation on the off beat, in a simple 44 rhythm these are beats 2 and 4. A big part of R&Bs attraction had to do with the stompin backbeats that make it so eminently danceable, an early record with an emphasised back beat throughout was Good Rockin Tonight by Wynonie Harris in 1948. There is a back beat on Roll Em Pete by Pete Johnson and Big Joe Turner. A distinctive back beat can be heard on Back Beat Boogie by Harry James And His Orchestra, outside U. S. popular music, there are early recordings of music with a distinctive backbeat, such as the 1949 recording of Mangaratiba by Luiz Gonzaga in Brazil
Beat (music)
–
It's got a backbeat, you can't lose it -
Chuck Berry
Beat (music)
–
Metric levels: beat level shown in middle with division levels above and multiple levels below.
38.
Hi-hat (instrument)
–
A hi-hat, also spelled hihat or high-hat, is a combination of two cymbals, a foot-operated pedal which moves a rod which in turn moves one of the cymbals, all mounted on a metal stand. Hihats are a part of the standard drum kit used by drummers in many popular music. It consists of a pair of small to medium-sized cymbals mounted on a stand. The bottom cymbal is fixed and the top is mounted on a rod which moves the top cymbal towards the one when a foot pedal is depressed. The hi-hat evolved from a cymbal, a pair of similar cymbals mounted at ground level on a hinged, spring-loaded foot apparatus. Drummers invented the first sock cymbals to enable one drummer to play percussion instruments at the same time. Over time these became mounted on short stands - also known as low-boys -, when extended upwards roughly 3 they were originally known as high sock cymbals, which evolved over time to the familiar high-hat term. While the term normally refers to the entire setup, in some cases. Initial versions of the hi-hat were called clangers, which were small cymbals mounted onto a drum rim. Then came shoes, which were two hinged boards with cymbals on the ends that were clashed together, next was the low-sock, low-boy or low-hat, pedal-activated cymbals employing an ankle-high apparatus similar to a modern hi-hat stand. A standard size was 10, some with heavy bells up to 5 wide, hi-hats that were raised and could be played by hand as well as foot may have been developed around 1926 by Barney Walberg of the drum accessory company Walberg and Auge. In the early 1970s, hard rock drummers began to use 15-inch hi-hats, in the early to mid-1990s, Paiste offered 8 inches mini hi-hats as part of its Visions series, these were among the worlds smallest hi-hats. Starting in the 1980s, a number of manufacturers also experimented with rivets in the lower cymbal, but by the end of the 1990s, the standard size was again 14 inches, with 13 inches a less-common alternative, and smaller hats mainly used for special sounds. Rivets in hi-hats failed to catch on, modern hi-hat cymbals are much heavier than modern crash cymbals, reflecting the trend to lighter and thinner crash cymbals as well as to heavier hi-hats. Another evolution is that a pair of cymbals may not be identical, with the bottom often heavier than the top. Some examples are Sabians Fusion Hats with holes in the cymbal, and the Sabian X-cellerator, Zildjian Master Sound and Zildjian Quick Beats, Paiste Sound Edge. Some drummers even use completely mismatched hi-hats from different cymbal ranges, of different manufacturers, max Roach was particularly known for using a 15-inch top with a 14-inch bottom. Other recent developments include the X-hat and cable-controlled or remote hi-hats, Sabian introduced the Triple Hi-Hat, designed by Peter Kuppers
Hi-hat (instrument)
Hi-hat (instrument)
–
Dance band drummer with low-hat
Hi-hat (instrument)
–
Sabian 10" mini hats, 1980s
Hi-hat (instrument)
–
Vented
UFIP 14" hi-hat cymbals
39.
Upbeat
–
In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. In popular use, beat can refer to a variety of related concepts including, tempo, meter, specific rhythms, Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats and divided into bars organized by time signature and tempo indications. Metric levels faster than the level are division levels. Beat has always been an important part of music, some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance. The downbeat is the first beat of the bar, i. e. number 1, the upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat. Both terms correspond to the direction taken by the hand of a conductor, an anticipatory note or succession of notes occurring before the first barline of a piece is sometimes referred to as an upbeat figure, section or phrase. Alternative expressions include pickup and anacrusis, the latter term was borrowed from the field of poetry, in which it refers to one or more unstressed extrametrical syllables at the beginning of a line. In music that progresses regularly in 44 time, counted as 1234,1234. The first beat of the bar is usually the strongest accent in the melody and the likeliest place for a change, the third is the next strongest. The second and fourth are weaker—the off-beats, subdivisions that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it off-beat. The effect can be simulated by evenly and repeatedly counting to four. This is a technique of African polyrhythm that transferred to popular western music. According to Grove Music, the Offbeat is where the downbeat is replaced by a rest or is tied over from the preceding bar, the downbeat can never be the off-beat because it is the strongest beat in 44 time. Certain genres tend to emphasize the off-beat, where this is a characteristic of rocknroll. A back beat, or backbeat, is a syncopated accentuation on the off beat, in a simple 44 rhythm these are beats 2 and 4. A big part of R&Bs attraction had to do with the stompin backbeats that make it so eminently danceable, an early record with an emphasised back beat throughout was Good Rockin Tonight by Wynonie Harris in 1948. There is a back beat on Roll Em Pete by Pete Johnson and Big Joe Turner. A distinctive back beat can be heard on Back Beat Boogie by Harry James And His Orchestra, outside U. S. popular music, there are early recordings of music with a distinctive backbeat, such as the 1949 recording of Mangaratiba by Luiz Gonzaga in Brazil
Upbeat
–
It's got a backbeat, you can't lose it -
Chuck Berry
Upbeat
–
Metric levels: beat level shown in middle with division levels above and multiple levels below.
40.
Arpeggio
–
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord, an arpeggio is a type of broken chord where the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also more than one octave. The word arpeggio comes from the Italian word arpeggiare, which means to play on a harp, even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, Arpeggios enable composers writing for monophonic instruments that play one note at a time, to voice chords and chord progressions in musical pieces. Arpeggios and broken chords are used to help create rhythmic interest. A notable example of which is the Alberti bass figuration which was used in piano music from the Classical music period. With an Alberti bass, rather play the notes of a chord all at once. An arpeggio is a group of notes which are played one after the other, executing an arpeggio requires the player to play the sounds of a chord individually to differentiate the notes. The notes all belong to one chord, the chord may, for example, be a simple chord with the 1st, 3rd, and 5th notes of the scale in it. An arpeggio for the chord of C major going up two octaves would be the notes, an arpeggio is a type of broken chord. Other types of broken chords play chord notes out of sequence or more than one note, Arpeggios can rise or fall for more than one octave. Students of musical instruments and singers learn how to play and sing scales and they are often a requirement for music examinations. An arpeggiated chord means a chord which is spread, i. e. the notes are not played at the same time, arpeggiated chords are often used in harp and piano music. An arpeggiated chord may be written with a vertical line in front of the chord. It is spread from the lowest to the highest note, occasionally, composers such as Béla Bartók have asked for them to be played from top to bottom. This is shown by adding an arrow pointing down, some ostinato figures consist of arpeggios. Any instrument may employ arpeggiation, but the instruments use arpeggios most often
Arpeggio
41.
Minor key
–
In music theory, the key of a piece is a group of pitches, or scale upon which a music composition is created in classical, Western art, and Western pop music. Notes and chords other than the tonic in a piece create varying degrees of tension, the key may be in the major or minor mode, although major is assumed in a phrase like this piece is in C. Popular songs are usually in a key, and so is classical music during the common practice period, longer pieces in the classical repertoire may have sections in contrasting keys. Methods that establish the key for a piece can be complicated to explain. The key signature is not always a reliable guide to the key of a written piece, occasionally, a piece in a mode such as Mixolydian or Dorian is written with a major or minor key signature appropriate to the tonic, and accidentals throughout the piece. Pieces in modes not corresponding to major or minor keys may sometimes be referred to as being in the key of the tonic. A piece using some type of harmony, resolving e. g. to A. An instrument may be said to be in a key, an unrelated usage referring to the pitches considered natural for that instrument. For example, modern trumpets are usually in the key of B♭, a key relationship is the relationship between keys, measured by common tones and nearness on the circle of fifths. The key usually identifies the tonic note and/or chord, the note and/or major or minor triad that represents the point of rest for a piece. For example, the key of G includes the following pitches, G, A, B, C, D, E, and F♯, and its corresponding tonic chord is G—B—D. Most often at the beginning and end of traditional pieces during the common practice period, a key may be major or minor. Music can be described as being in the Dorian mode, or Phrygian, languages other than English may use other key naming systems. Although many musicians confuse key with scale, a scale is a set of notes typically used in a key, while the key is the center of gravity. All of these notes and chords, however, are used in patterns that serve to establish the primacy of the tonic note. Cadences are particularly important in the establishment of key, even cadences that do not include the tonic note or triad, such as half cadences and deceptive cadences, serve to establish key because those chord sequences imply a unique diatonic context. Short pieces may stay in a single key throughout, more elaborate pieces may establish the main key, then modulate to another key, or a series of keys, then back to the original key. In the Baroque it was common to repeat a phrase of music, called a ritornello
Minor key
–
Perfect authentic cadence (V-I [here in
V7 -I form] with roots in the bass and tonic in the highest voice of the final chord):
ii-V7-I progression in C Play (
help ·
info).
42.
Electro house
–
Electro house is a form of house music. Electro house is characterized by a prominent bassline and/or kick drum and its origins were influenced by electro, electroclash, electropop, synthpop, and tech house. The term has been used to describe the music of many DJ Mag Top 100 DJs, including Dimitri Vegas & Like Mike, Hardwell, Skrillex, electro-house is typified by its heavy bass. This is often in the form of buzzing basslines, such as those created with sawtooth waves and it is also often in the form of large bass drum sounds in a four-on-the-floor pattern. The tempo of electro house is usually around 130 beats per minute, electro house sometimes resembles tech house, but it can contain melodic elements and electro-influenced samples and synths. The genre has been described as a genre of house and electro, either in its original form or as fused with electropop and techno in its late-1990s revival. The word electro is now used as an adjective, such as electro-house. Early songs that have been labelled retroactively as electro-house include Dark Invader by Arrivers in 1996, mr. Oizos 1999 hit Flat Beat has also been considered an early example of the genre. Benny Benassi, with his track Satisfaction released in 2002, is seen as the forerunner of electro-house who brought it to the mainstream, by the mid 2000s, electro-house saw an increase in popularity. Since then, electro-house producers such as Feed Me, Knife Party, The M Machine, Porter Robinson, in the early 2010s, a type of electro-house known as big room began to develop, particularly gaining popularity through EDM-oriented events and festivals such as Tomorrowland. Big room now is beginning to subside from the classification of a subgenre of electro house, big room songs resemble Dutch house, often incorporating drops, minimalist percussion, regular beats, sub-bass layered kicks, simple melodies, and synth-driven breakdowns. The layout of a big room track is similar to the layout of a typical electro-house song. Big room is thought of as a subgenre of electro-house, complextro is typified by glitchy, intricate basslines and textures created by sharply cutting between instruments in quick succession. The term, a portmanteau of the complex and electro, was coined by Porter Robinson to describe the sound of the music he was making in 2010. He has cited video game sounds, or chiptunes, as an influence on his style of music along with 1980s analog synth music and it is primarily defined by complex rhythms made from Latin-influenced drum kits, a lower emphasis on basslines, and squeaky, high-pitched lead synths. Influences on the subgenre include Detroit techno, hip hop and other styles of music. It contains influences from Chicago house, Detroit techno, Baltimore club, Kuduro, Pimba, bassline, bouncy techno, dubstep, techstep, hip hop easy listening and world music. Purveyors of the genre include The Bloody Beetroots, AC Slater, Danger, Hervé, Sinden, Jack Beats, the term fidget house was coined by DJs/producers Jesse Rose and Switch, as a joke, which has now gone a little too far
Electro house
–
(From left to right)
Porter Robinson,
Zedd, and
Skrillex perform at the 2012
South by Southwest music festival.
43.
Four on the floor (music)
–
Four-on-the-floor is a rhythm pattern used in disco and electronic dance music. It is a steady, uniformly accented beat in 4/4 time in which the drum is hit on every beat in common time. This was popularized in the music of the 1970s and the term four-on-the-floor was widely used in that era, it originated with the pedal-operated. Many styles of dance music, particularly those that are derived from house and techno. Sometimes the term is used to refer to a 4/4 uniform drumming pattern for any drum, a form of four-on-the-floor is also used in jazz drumming. Instead of hitting the drum in a pronounced and therefore easily audible fashion. Typically, this is combined with a cymbal and hi-hat in syncopation. When a string instrument makes the rhythm, all four beats of the measure are played by identical downstrokes, in reggae drumming, the bass drum usually hits on the third beat but sometimes drummers play four on the floor. Sly Dunbar from Sly & Robbie was one of the drummers who played mostly in this style. Also Carlton Barrett from Bob Marley & The Wailers played four on the floor on several hits by The Wailers like Is This Love, in reggae, four on the floor usually goes by the hand with a low end and powerful bassline. Four on the floor can be found in more modern reggae derivative styles such as dancehall, while it is less common to find it in roots reggae
Four on the floor (music)
–
"Four on the floor" on the bass drum play within typical rock beat (
help ·
info) & Play alone (
help ·
info)
44.
Ferry Corsten
–
Ferry Corsten is a Dutch DJ, record producer and remixer, the majority of his music has been trance. He is well known for producing many pioneering trance tracks during the 1990s–2000s under his numerous aliases, including System F, Moonman, Pulp Victim and Gouryella. In recent years, he has shifted to an electronic music style, playing everything from progressive house to melodic trance. Ferry Corsten was born in Rotterdam, Netherlands, when he was young, he would listen to a Dutch radio show called The Soulshow. This show played different selections of various music, including disco. Whenever he heard a track that he liked, he would go to the record store and his first experience in DJing was when he was 15 years old at that time when he was playing at his school parties. As a teenager he saved money to buy his first keyboard by washing cars, during these years, Corsten also studied to become an electrical engineer. In 1996, while living in his parents home, Ferry made his debut at the United Kingdom Singles Chart with his single Dont be Afraid under the pseudonym Moonman which ranked at #46. This was his very first major European achievement as a dance artist. 1997 saw the release of Interspace, and his first singles under the Pulp Victim alias, Im Losing Control, which was a limited vinyl-only release, and Dreams Last For Long. They were followed a year later by The World, which contained vocals by Maire Brennan and got re-released in 1999 with some new remixes. Under the guise of Albion, Ferry Corsten produced a track titled Air, due to its continued popularity, it was re-released two years later, with new remixes by Oliver Lieb, Hybrid and The Swimmer. The same year Corsten finished his track Out of the Blue which, the track became a worldwide hit and achieved a top twenty position in the UK Singles Chart. The follow-up single, Cry, which was produced together with Robert Smit, a trance hit, Out of The Blue formed spear tip of Corstens trance sound – one that was quickly galvanized by co-productions like Gouryellas Gouryella and Veracochas Carte Blanche. The track Gouryella was released in May 1999 and became a huge hit scoring various chart positions around the world, the next single, entitled Walhalla, also made it on the charts worldwide, peaking at No.27 in the UK Singles Chart. Released through the Tsunami imprint, both went on to be certified Gold on record sales. Corstens club and chart success as an artist and producer led him to become an in-demand remixer for both underground and high-profile artists, and Mobys Why Does My Heart Feel So Bad. as well as New Years Day for U2. His remix of Barbers Adagio For Strings, released in late 1999, Ferry made his debut on DJ Magazines Top 100 DJs Poll in the same year at the #77 position
Ferry Corsten
–
Ferry Corsten live in
Toronto,
Canada
Ferry Corsten
–
Ferry Corsten performing at the
San Francisco club 1015 Folsom on February 17, 2003.
Ferry Corsten
–
Ferry Corsten mixing for the event Garuda Live at
Sankeys,
Manchester, April 2009.
Ferry Corsten
–
Corsten at the 2009 Dance Parade in
Rotterdam.
45.
Armin Van Buuren
–
Armin van Buuren is a Dutch DJ, record producer and remixer. Since 2001, Van Buuren has hosted a radio show called A State of Trance. According to Djs And Festivals, the radio show propelled him to stardom, Van Buuren has won a number of accolades. He has been ranked the No.1 DJ by DJ Mag a record of five times and he is currently ranked No.4 on DJ Mag list for 2016. In the United States, he holds the record for most entries, twenty-one and his 2008 studio album, Imagine, entered the Dutch album chart at No. 1, a first for a trance artist in Dutch music history, Armin van Buuren was born in Leiden, Netherlands, on 25 December 1976, but grew up in Koudekerk aan den Rijn. Van Buuren started making music when he was 14 and he was inspired by French electronic music composer Jean-Michel Jarre. Van Buuren graduated from the Stedelijk Gymnasium Leiden in 1995, and he began working as a DJ in Club Nexus, playing multiple sets a week, most of which lasted six or more hours. In 1999, he met Dave Lewis who introduced him as a DJ in England, as his musical career began to take off he put his law degree on hold, although he returned to graduate from law school in 2003. On 18 September 2009, Van Buuren married Erika van Thiel and their daughter Fenna was born in July 2011. Van Buuren announced just hours before he was due to headline the main stage at Tomorrowland that his wife had given birth to a son, in 2011, Van Buuren was appointed Officer of the Order of Orange Nassau for his services to music. In 1996, Armin released EP and Push on Timeless Records, Van Buuren had his first major success with a track called Blue Fear, which was released under the Cyber Records label in 1997. Another successful track, Communication, was released under the label and became popular in Ibiza. After being signed to AM PM Records, this track entered the UK Singles Chart at No.18 in 2000, in the beginning of 1999, Van Buuren started his label Armind together with United Recordings. The first release, Gig – One, was well received, the second release, Touch Me under the name Rising Star, was signed to Ministry of Sound in the UK, before the record was released. By the time of his release, Gimmick – Free was signed to R&S Records. During this year, he remixed the first two singles of Gouryella and, under the guise of Rising Star, produced a remix of LEsperanza, in 2000, Van Buuren started his own Armin van Buuren compilation series. He found a balance between proper progressive house, and vocal trance music styles and his first compilation album, A State of Trance, sold 10,000 copies and contains Van Buurens remix of Moogwai, Viola
Armin Van Buuren
–
Van Buuren performing at
TomorrowWorld 2013
Armin Van Buuren
–
Van Buuren at
Sensation White, 2005.
Armin Van Buuren
–
Van Buuren at Epic Event Center,
Minneapolis, in 2009
Armin Van Buuren
–
Van Buuren broadcasting the milestone 500th episode of his
A State of Trance show at the official pre-party, live from Club Trinity in
Cape Town on 17 March 2011.
46.
Ibiza, Spain
–
Ibiza is an island in the Mediterranean Sea off the east coast of Spain. It is 150 kilometres from the city of Valencia and it is the third largest of the Balearic Islands, an autonomous community of Spain. Its largest settlements are Ibiza Town, Santa Eulària des Riu and its highest point, called Sa Talaiassa, is 475 metres above sea level. The islands government and the Spanish Tourist Office have been working to promote more family-oriented tourism, the port in Ibiza Town is a UNESCO World Heritage Site. Ibiza and the island of Formentera to its south are called the Pine Islands. The official name of the island is in Catalan Eivissa and its name in Spanish is Ibiza. In British English, the name is pronounced in an approximation of the Spanish /ɪˈbiːθə/, whereas in American English the pronunciation is more anglicized. Phoenician colonists called the island Ibossim and it was later known to Romans as Ebusus. The Greeks called the two islands of Ibiza and Formentera the Pityûssai, in the 18th and 19th centuries the island was known to the British, and especially to the Royal Navy, as Ivica. In 654 BC, Phoenician settlers founded a port on Ibiza, with the decline of Phoenicia after the Assyrian invasions, Ibiza came under the control of Carthage, also a former Phoenician colony. The island produced dye, salt, fish sauce, and wool, a shrine with offerings to the goddess Tanit was established in the cave at Es Cuieram, and the rest of the Balearic Islands entered Eivissas commercial orbit after 400 BC. Ibiza was a trading post along the Mediterranean routes. During the Second Punic War, the island was assaulted by the two Scipio brothers in 209 BC but remained loyal to Carthage. With the Carthaginian military failing on the Iberian mainland, Ibiza was last used by the fleeing Carthaginian General Mago to gather supplies and men before sailing to Minorca, for this reason, Ibiza today contains excellent examples of late Carthaginian-Punic civilization. During the Roman Empire, the became a quiet imperial outpost. Ibiza together with the islands of Formentera and Minorca were invaded by the Norwegian King Sigurd I of Norway in the spring of 1110 on his crusade to Jerusalem. The king had previously conquered the cities of Sintra, Lisbon, King Sigurd continued to Sicily where he visited King Roger II of Sicily. The island was conquered by Aragonese King James I in 1235, the local Muslim population got deported as was the case with neighboring Majorca and elsewhere, and Christians arrived from Girona
Ibiza, Spain
–
View of the port from the ramparts
Ibiza, Spain
–
Flag of Ibiza
Ibiza, Spain
–
Old city of Ibiza Town.
Ibiza, Spain
–
Ancient Greek
aryballoi found in the necropolis of Puig des Molins. Museo de Puig des Molins, Ibiza.
47.
AllMusic
–
AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website
AllMusic
–
AllMusic's
logotype and logo (since July 2013)
48.
Jean-Michel Jarre
–
Jean-Michel Jarre is a French composer, performer, and record producer. He is a pioneer in the electronic, ambient, and new-age genres, and known as an organiser of outdoor spectacles of his music featuring lights, laser displays, Jarre was raised in Lyon by his mother and grandparents, and trained on the piano. From an early age, he was introduced to a variety of art forms, including those of street performers, jazz musicians, and the artist Pierre Soulages. He played guitar in a band, but his style was perhaps most heavily influenced by Pierre Schaeffer. His first mainstream success was the 1976 album Oxygène, recorded in a makeshift studio at his home, the album sold an estimated 12 million copies. More albums were to follow, but his 1979 concert served as a blueprint for his performances around the world. Several of his albums have been released to coincide with large-scale outdoor events, as of 2004, Jarre had sold an estimated 80 million albums. He was the first Western musician officially invited to perform in the Peoples Republic of China, Jean-Michel Jarre was born in Lyon on 24 August 1948, to France Pejot, a French Resistance member and concentration camp survivor, and composer Maurice Jarre. When Jarre was five, his parents split up and his moved to America. He did not see his father again until reaching the age of 18, for the first eight years of his life, Jarre spent six months each year at his maternal grandparents flat on the Cours de Verdun, in the Perrache district of Lyon. Jarres grandfather was a player, engineer and inventor, designing an early audio mixer used at Radio Lyon. He also gave Jean-Michel his first record player, from his vantage point high above the pavement, the young French boy was able to watch street performers at work, an experience he later cited as proving influential on his art. Jarre struggled with classical studies, although he later changed teachers. A more general interest in musical instruments was sparked by his discovery at the Saint-Ouen flea market and these early jazz experiences suggested to him that music may be descriptive, without lyrics. He was also influenced by the work of French artist Pierre Soulages, Soulages paintings used multiple textured layers, and Jarre realised that for the first time in music, you could act as a painter with frequencies and sounds. I also saw the last concert by the great Arabic singer Om Khalsoum and she is the goddess, the Maria Callas of the Orient. Then I heard Georgia on My Mind by Ray Charles, and I realised that music can talk to your tummy, I was so impressed by the organic sensuality coming from Ray Charless music – there was no intellectual process and it was great. As a young man Jarre earned money by selling his paintings, exhibiting some of his works at the Lyon Gallery – LŒil écoute, and by playing in a band called Mystère IV
Jean-Michel Jarre
–
Jarre in Milan, 2008
Jean-Michel Jarre
–
Rendez-vous Houston, 5 April 1986
Jean-Michel Jarre
–
Destination Docklands, October 1988
Jean-Michel Jarre
–
Jarre playing the
laser harp in Helsinki
49.
Basement Jaxx
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Basement Jaxx are an English electronic music duo consisting of Felix Buxton and Simon Ratcliffe. The pair got their name from the night club they held in their hometown of Brixton, London. They first rose to popularity in the mid 1990s, in 1993, the pair first met in a pub in Clapham, London through a mutual friend. They bonded over an appreciation of New York house music and they released their first extended play called EP1 via the British independent record label Wall of Sound, with the help of its founder Mark Jones. The album went on to sell over a thousand copies, with plays from Tony Humphries in New York City, a thing that caught member Ratcliffe mind-blow. Knowing that people you respect are supporting your music is so important in the days as encouragement to keep going, it means you are doing something right. They then began working with vocalist Corrina Joseph in their first attempts at making proper songs, one of the collaborations outputs was Fly Life. They were joined by DJs including DJ Sneak, Daft Punk and they mutated the night into an equally popular club called Rooty, the namesake of their second album. In 1995, Samba Magic was picked up for distribution by Virgin Records, in the same year, they moved their studio out of the basement to a place in Camberwell and started their writing there. Their fourth extended play was named EP3 in an example of their trademark eccentricity. In 1997, Basement Jaxx was the act for Daft Punks Daftendirektour when Daft Punk first came to the UK. Thanks to the success of the single, they ended up signing a deal with XL. In 1999, the released their first full-length album, Remedy. Remedy included the single Red Alert, which was featured in the film Bend It Like Beckham as well as Nickelodeon and Coca-Cola commercials. Other singles on album were Jump N Shout, Bingo Bango, and Rendez-Vu. Basement Jaxx also released Jaxx Unreleased, an album of B-sides, remixes. 2000 saw them release Camberwell, another release of new material and their next album, 2001s Rooty included singles Romeo, Jus 1 Kiss, Wheres Your Head At. Do Your Thing, and Get Me Off, the music video for album opener Romeo is an homage to the Bollywood film style
Basement Jaxx
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Basement Jaxx in 2009. From left: Felix Buxton, Simon Ratcliffe
50.
Paul Van Dyk
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Matthias Paul, better known by his stage name Paul van Dyk is a German Grammy Award-winning DJ, record producer and musician. He was named the Worlds number one DJ in both 2005 and 2006, something only few DJs have ever achieved and he was the first ever DJ to be named number one by Mixmag in 2005. By 2008, he had sold over 3 million albums worldwide, Paul van Dyk is currently the radio host of Vonyc Sessions with Paul on Dash Radio. Paul van Dyk grew up in East Berlin in a single parent household, his father left him, while living there, he worked as a broadcast technician and began training to become a carpenter. Paul van Dyk claims his musical education came from radio, shortly before the fall of the Berlin Wall, van Dyk and his mother were given permission to leave East Germany and moved to Hamburg to live with his aunt. In 1990, van Dyk moved back to Berlin and his first appearance as a DJ was in the Tresor in March 1991. After several more dates, he was given the chance to perform at AndreHoches Dubmission parties in the Turbine club, the shows were called Paul vs. Paul. With Cosmic Baby, he collaborated as The Visions of Shiva and their single Perfect Day was released by the Berlin independent label MFS Records, run by English ex-patriat producer Mark Reeder and manager Torsten Jurk. In February 1993, van Dyk and Kid Paul hosted an installment of the weekly three-hour HR3 Clubnight radio show, the second and final Visions of Shiva single How Much Can You Take. was released, and van Dyk and Cosmic went their separate musical ways. By late summer, Paul released his first DJ-mix compilation X-Mix-1 – the MFS Trip, in 1994, Paul van Dyk released The Green Valley EP, Pump This Party and Emergency 911. Meanwhile, MFS acquired many remixes for Paul, MFS label owner Mark Reeders close friendship with artists such as New Order gave Paul the opportunity to mix the track Spooky from the Republic album. He recorded his debut LP45 RPM with Johnny Klimek and VOOV, seven Ways established Paul van Dyk as a trance pioneer and was Paul van Dyks first real success in Britain. Seven Ways was voted the No.1 album by readers of DJ Magazine, in early 1997, Paul van Dyk began collaborating with U. S. music producer BT. Together, they produced such as Flaming June, Forbidden Fruit. By the time they realised I was a German, it was too late, Van Dyk also remixed a well known early-90s track, Age of Love, in 1997. In 1998,45 RPM was re-released in the UK and in the US, to mark the event, and in homage to the defunct E-Werk, Paul released a remix of For An Angel. Van Dyk took up a residency at Sheffields Gatecrasher and declared himself anti-drugs, in 1998, Paul remixed British trance duo Binary Finarys famous 1998 single, which was a successful version that took Binary Finary to the top of the German Dance charts. In mid-1998, Van Dyk left MFS Records and took a share in the new label Vandit Records
Paul Van Dyk
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Paul van Dyk
Paul Van Dyk
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Paul van Dyk at the Lizard Lounge in Dallas on February 14, 2015.
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