1.
House music
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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
2.
Techno
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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
3.
Acid house
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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
4.
Chill-out music
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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
5.
Pop music
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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
6.
Classical music
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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
7.
Hardcore (electronic dance music genre)
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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
8.
Psychedelic music
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Psychedelic music may also aim to enhance the experience of using these drugs. Numerous spiritual successors followed in the decades, including progressive rock, krautrock. Since the 1970s, revivals have included psychedelic funk, neo-psychedelia, psychedelic as an adjective is often misused, with many so-called acts playing in a variety of styles. Dechronicization permits the user to move outside of conventional perceptions of time. Depersonalization allows the user to lose the self and gain an awareness of undifferentiated unity, dynamization, as Leary wrote, makes everything from floors to lamps seem to bends, as familiar forms dissolve into moving, dancing structures. Music that is truly psychedelic mimics these three effects, a number of features are quintessential to psychedelic music. Exotic instrumentation, with a fondness for the sitar and tabla are common. Songs often have disjunctive song structures, key and time signature changes, surreal, whimsical, esoterically or literary-inspired, lyrics are often used. There is often an emphasis on extended instrumental segments or jams. There is a strong presence, in the 1960s this especially using electronic organs, harpsichords, or the Mellotron. In the 1960s there was a use of electronic instruments such as early synthesizers. Later forms of electronic psychedelia also employed repetitive computer-generated beats, R. Veysey, they profoundly influenced the thinking of the new generation of youth. The psychedelic lifestyle had already developed in California, particularly in San Francisco, by the mid-1960s, with the first major underground LSD factory established by Owsley Stanley. There was already a culture of use among jazz and blues musicians. One of the first musical uses of the term psychedelic in the scene was by the New York-based folk group The Holy Modal Rounders on their version of Lead Bellys Hesitation Blues in 1964. His nineteen-minute The Great San Bernardino Birthday Party anticipated elements of psychedelia with its nervy improvisations, similarly, folk guitarist Sandy Bulls early work incorporated elements of folk, jazz, and Indian and Arabic-influenced dronish modes. His 1963 album Fantasias for Guitar and Banjo explores various styles, soon musicians began to refer to the drug and attempted to recreate or reflect the experience of taking LSD in their music, just as it was reflected in psychedelic art, literature and film. This trend ran in parallel in both America and Britain and as part of the folk, folk rock and rock scenes
9.
Goa
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Goa /ˈɡoʊ. ə/ is a state in India within the coastal region known as the Konkan in western India. It is bounded by Maharashtra to the north and Karnataka to the east and it is Indias smallest state by area and the fourth smallest by population. Goa is Indias richest state, with a GDP per capita two and a half times that of the country, Panaji is the states capital, while Vasco da Gama is its largest city. The historic city of Margao still exhibits the influence of the Portuguese. Goa is a former Portuguese province, the Portuguese overseas territory of Portuguese India existed for about 450 years until it was annexed by India in 1961. Goa is visited by large numbers of international and domestic tourists each year for its beaches, places of worship and it has rich flora and fauna, owing to its location on the Western Ghats range, a biodiversity hotspot. In ancient literature, Goa was known by names, such as Gomanchala, Gopakapattana, Gopakapattam, Gopakapuri, Govapuri, Govem. In the 3rd century BC, Goa was known as Aparantha and is mentioned by the Greek geographer Ptolemy, in the 13th century, the Greeks referred to Goa as Nelkinda. Other historical names for Goa are Sindapur, Sandabur, and Mahassapatam, Goas history goes back 20, 000–30,000 years. The rock art engravings exhibit the earliest traces of life in India. Upper Paleolithic or Mesolithic rock art engravings have been found on the bank of the river Kushavati at Usgalimal. Petroglyphs, cones, stone-axe, and choppers dating to 10,000 years ago have been found in places in Goa, such as Kazur, Mauxim. Evidence of Palaeolithic life is seen at Dabolim, Adkon, Shigao, Fatorpa, Arli, Maulinguinim, Diwar, Sanguem, Pilerne, difficulty in carbon dating the laterite rock compounds poses a problem for determining the exact time period. Early Goan society underwent radical change when Indo-Aryan and Dravidian migrants amalgamated with the aboriginal locals, in the 3rd century BC, Goa was part of the Maurya Empire, ruled by the Buddhist emperor, Ashoka of Magadha. Buddhist monks laid the foundation of Buddhism in Goa, between the 2nd century BC and the 6th century AD, Goa was ruled by the Bhojas of Goa. The rule later passed to the Chalukyas of Badami, who controlled it between 578 and 753, and later the Rashtrakutas of Malkhed from 753 to 963, from 765 to 1015, the Southern Silharas of Konkan ruled Goa as the feudatories of the Chalukyas and the Rashtrakutas. Over the next few centuries, Goa was successively ruled by the Kadambas as the feudatories of the Chalukyas of Kalyani, in 1312, Goa came under the governance of the Delhi Sultanate. The kingdoms grip on the region was weak, and by 1370 it was forced to surrender it to Harihara I of the Vijayanagara empire, the Vijayanagara monarchs held on to the territory until 1469, when it was appropriated by the Bahmani sultans of Gulbarga
10.
Synthesizer
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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
11.
Keyboard instrument
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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
12.
Drum machine
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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
13.
Music sequencer
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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
14.
Sampler (musical instrument)
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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
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Digital audio workstation
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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
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Roland TR-909
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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
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Roland JP-8000
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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
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Access Virus
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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
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Psychedelic trance
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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
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Stage lighting
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Stage lighting is the craft of lighting as it applies to the production of theatre, dance, opera and other performance arts. Several different types of lighting instruments are used in this discipline. In addition to lighting, modern stage lighting can also include special effects, such as lasers. People who work on stage lighting are commonly referred to as lighting technicians, the personnel needed to install, operate, and control the equipment also cross over into these different areas of stage lighting applications. The earliest known form of lighting was during the early Grecian theatres. They would build their theatres facing east to west so that in the afternoon they could perform plays and have the natural sunlight hit the actors, natural light continued to be utilized when playhouses were built with a large circular opening at the top of the theatre. Early Modern English theatres were roofless, allowing light to be utilized for lighting the stage. As theatres moved indoors, artificial lighting became a necessity and it was developed as theatres, at an unknown date, candlelight was introduced which brought more developments to theatrical lighting across Europe. While Oliver Cromwell was ruling Britain, all production was suspended in 1642. During this theatrical famine, great developments were being made in theatres on the European mainland, Charles II, who would later become King Charles II witnessed Italian theatrical methods and brought them back to England when he came to power. New playhouses were built in England and their large sizes called for more elaborate lighting, English theatres during this time used dipped candles to light chandeliers and sconces. Dipped candles were made by dipping a wick into hot wax repeatedly to create a cylindrical candle, candles needed frequent trimming and relighting regardless of what was happening on-stage because they dripped hot grease on both the audience and actors. Chandeliers also blocked the view of some patrons, there were two different types of Restoration theatres in England, Restoration commercial theatres and Restoration court theatres. Commercial theatres tended to be conservative in their lighting, for economic reasons. Court theatres could afford to use most of the Continental innovations in their productions, two main court theatres, built between 1660 and 1665, were the Cockpit Theatre and the Hall Theatre. Chandeliers and sconces seemed to be the primary lighting sources here but other developments were being made, by the 1670s, the Hall Theatre started using footlights, and between 1670 and 1689 they used candles or lamps. It can be noted that by the end of the 17th century, French, there is not much written on theatrical lighting in England at the end of the 17th century and from the little information historians do have, not much changed by the middle of the 18th century. Gas lighting hit the English stage in the early 1800s beginning with the Drury Lane, in the 1820s, a new type of artificial illumination was developed
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Liquid light show
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Liquid light shows are a form of light art that surfaced in the early 1960s as accompaniment to electronic music and avant-garde theatre performances. They were later adapted for performances of rock or psychedelic music, Liquid light shows surfaced on both sides of the Atlantic around 1966 and were an integral part of the Progressive music scene well into the seventies. While the shows on both sides of the Atlantic had much in common they differed in two important ways, first, the American shows tended to be larger, with seven operators and over thirty projectors not being exceptional. In contrast, the shows in England seldom had more than three operators and ten or so projectors, second, American shows were generally built around the overhead projector with the liquids in large clock cover glasses. The surface tension of the liquids largely retained the mixtures, but the process was very messy indeed. A popular choice of colored liquids for light shows was Flo-Master ink, while this ink was very vivid it also had the problem of staining the operators hands very deeply. Light Sound Dimension was possibly the first psychedelic lightshow and was operated by the legendary Bill Ham, Bill pioneered kinetic lighting and actually used this technique at the Red Dog Saloon back in 1965. It was also at the Red Dog Saloon where Chet Helms first met Bill, the Joshua Light Show located in New York was founded by a filmmaker called Joshua White. The show was the ‘house lightshow’ at Bill Graham s Fillmore East for almost its entire existence, formed from a lighting company called Sensefex which had been started by Joshua White, Thomas Shoesmith and Bill Shwarzbach, they moved to the Fillmore and became the Joshua Lightshow. Cecily Jaffe had now joined the team, later they changed their name to Joes Lights having parted company with Joshua White. A video of Joshua White at work showing how some of the effects were achieved can be found here, brotherhood Of Light was formed in 1968 as a collective group of lighting and multimedia specialists. Brian Eppes, Brother Ed Langdon, Marcus Maximist and Bob Pullum gathered for the purpose of enhancing and augmenting the psychedelic music of the day. They also performed at the Grateful Dead New Years Eve shows at Winterland, the Heavy Water Light Show, did shows and album covers for Santana, the Jefferson Airplane and the Grateful Dead before moving into planetariums in the 1970s. The cover of the LP Santana III is an image from their show and their work is characterized by extensive use of photographs and film sequences in addition to psychedelic oil effects. Personnel, Mark Boyle, Joan Hills, Des Bonner, Cameron Hills and these events were groundbreaking in respect of projected lighting and consisted of chemical and physical reactions projected onto a screen whilst being surrounded by various taped sounds. Elements of this lightshow evolved and performances were made at the legendary UFO Club in London’s Tottenham Court Road, later that year he formed the Sensual Laboratory with Joan Hills, who would later become his wife. In 1967 the first of many collaborations started with The Soft Machine, with shows at the Edinburgh Festival and also in the Netherlands, also in 1967 Liquid Light Environments ran at the UFO throughout the year. Concerts with The Soft Machine followed in the Netherlands and again in France as well as work on the Structure of Dreams at the Arts Lab, if you were in Detroit, It was the Grande Ballroom and Eastown Theater
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Poi (performance art)
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Poi refers to both a style of performing art and the equipment used for engaging in poi performance. As a performance art, poi involves swinging tethered weights through a variety of rhythmical, Poi artists may also sing or dance while swinging their poi. Poi can be made from materials with different handles, weights. Poi originated with the Māori people of New Zealand, where it is practiced today. Poi has also gained a following in other countries. The expansion of poi culture has led to a significant evolution of the styles practiced, the used. In the Māori language, poi can mean the objects used by the dancers. In Maori culture, poi performance is practiced by women. Māori poi come in two forms, short, with equal to the length of the fingertips to the wrist. A performance includes storytelling and singing in conjunction with choreographed poi routines and is presented alongside other disciplines, such as waiata a ringa, haka. Poi feature in the 1980s hit song Poi E. Originally, poi were most commonly made from harakeke, makers stripped and scraped flax to provide the muka, which was twisted into two strands to make the taura as well as the aho. A large knot was tied at one end of the cord, dampened strips of raupō stems were then wrapped around the ball and tied off around the cord, forming the covering. The other end of the cord was often decorated with a mukamuka, occasionally, smaller tassels called poi piu were affixed to the base of the poi ball. Construction and design varied widely depending on regional, tribal, another variety of poi is poi tāniko. In the late 19th century and the first half of the 20th century, tourist-friendly variations included miniature poi that could be worn in buttonholes and as earrings. Traditional raupō poi are less likely to be used by modern poi artists since traditional materials wear quickly with frequent use, also, flax and raupō are becoming increasingly difficult to find as the wetlands where they are naturally found have been drained or made into conservation reserves. Today, most performance poi are made from durable and readily available modern materials, cores are often made of foam or crumpled paper, while skins consist of plastic or loomed fabrics, such as tulle. Tassels are usually made of wool, modern poi coexists with traditional Maori poi and enjoys a broader, worldwide audience
23.
Rave
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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
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Nightclub
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A nightclub is an entertainment venue and bar which serves alcoholic beverages that usually operates late into the night. Another distinction is that whereas many pubs and sports bars aim at a market, nightclubs typically aim at a niche market of music and dancing enthusiasts. The upmarket nature of nightclubs can be seen in the inclusion of VIP areas in some nightclubs, for celebrities, nightclubs are much more likely than pubs or sports bars to use bouncers to screen prospective clubgoers for entry. Some nightclub bouncers do not admit people with ripped jeans or other clothing or gang apparel as part of a dress code. The busiest nights for a nightclub are Friday and Saturday night, most clubs or club nights cater to certain music genres, such as house music or gothic rock. A nightclub may also be called a discothèque, disco, or dance club, from about 1900 to 1920, working class Americans would gather at honky tonks or juke joints to dance to music played on a piano or a jukebox. Webster Hall is credited as the first modern nightclub, being built in 1886 and starting off as a hall, originally functioning as a home for dance. During Prohibition in the United States, nightclubs went underground as illegal speakeasy bars, with Webster Hall staying open, with rumors circulating of Al Capones involvement and police bribery. With the repeal of Prohibition in February 1933, nightclubs were revived, such as New Yorks 21 Club, Copacabana, El Morocco, in Germany, possibly the first discothèque was Scotch-Club. These discothèques were also patronized by anti-Vichy youth called zazous, there were also underground discothèques in Nazi Germany patronized by anti-Nazi youth called the swing kids. In Harlem, Connies Inn and the Cotton Club were popular venues for white audiences, before 1953 and even some years thereafter, most bars and nightclubs used a jukebox or mostly live bands. The Whisky à Gogo set into place the elements of the modern post World War II discothèque-style nightclub. At the end of the 1950s, several of the bars in Soho introduced afternoon dancing. In the early 1960s, Mark Birley opened a members-only discothèque nightclub, Annabels, in Berkeley Square, in 1962, the Peppermint Lounge in New York City became popular and is the place where go-go dancing originated. However, the first rock and roll generation preferred rough and tumble bars and taverns to nightclubs, disco has its roots in the underground club scene. It brought together people from all walks of life and backgrounds and these clubs acted as safe havens for homosexual partygoers to dance in peace and away from public scrutiny. Disco allowed patrons to explore sexuality and push the envelope on the dance floor, disco clubs acted as an escape from such depressing environments and acted as the fantasy marginalized peoples could escape to forget oppression and racism. Disco clubs originally functioned as liberated party spaces and were seen as places of political statement, a smooth mix of long single records to keep people dancing all night long
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Electronic music
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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
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United Kingdom
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The United Kingdom of Great Britain and Northern Ireland, commonly known as the United Kingdom or Britain, is a sovereign country in western Europe. Lying off the north-western coast of the European mainland, the United Kingdom includes the island of Great Britain, Northern Ireland is the only part of the United Kingdom that shares a land border with another sovereign state—the Republic of Ireland. The Irish Sea lies between Great Britain and Ireland, with an area of 242,500 square kilometres, the United Kingdom is the 78th-largest sovereign state in the world and the 11th-largest in Europe. It is also the 21st-most populous country, with an estimated 65.1 million inhabitants, together, this makes it the fourth-most densely populated country in the European Union. The United Kingdom is a monarchy with a parliamentary system of governance. The monarch is Queen Elizabeth II, who has reigned since 6 February 1952, other major urban areas in the United Kingdom include the regions of Birmingham, Leeds, Glasgow, Liverpool and Manchester. The United Kingdom consists of four countries—England, Scotland, Wales, the last three have devolved administrations, each with varying powers, based in their capitals, Edinburgh, Cardiff and Belfast, respectively. The relationships among the countries of the UK have changed over time, Wales was annexed by the Kingdom of England under the Laws in Wales Acts 1535 and 1542. A treaty between England and Scotland resulted in 1707 in a unified Kingdom of Great Britain, which merged in 1801 with the Kingdom of Ireland to form the United Kingdom of Great Britain and Ireland. Five-sixths of Ireland seceded from the UK in 1922, leaving the present formulation of the United Kingdom of Great Britain, there are fourteen British Overseas Territories. These are the remnants of the British Empire which, at its height in the 1920s, British influence can be observed in the language, culture and legal systems of many of its former colonies. The United Kingdom is a country and has the worlds fifth-largest economy by nominal GDP. The UK is considered to have an economy and is categorised as very high in the Human Development Index. It was the worlds first industrialised country and the worlds foremost power during the 19th, the UK remains a great power with considerable economic, cultural, military, scientific and political influence internationally. It is a nuclear weapons state and its military expenditure ranks fourth or fifth in the world. The UK has been a permanent member of the United Nations Security Council since its first session in 1946 and it has been a leading member state of the EU and its predecessor, the European Economic Community, since 1973. However, on 23 June 2016, a referendum on the UKs membership of the EU resulted in a decision to leave. The Acts of Union 1800 united the Kingdom of Great Britain, Scotland, Wales and Northern Ireland have devolved self-government
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Germany
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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
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Melody
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A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches, pitch range, tension and release, continuity and coherence, cadence, the true goal of music—its proper enterprise—is melody. All the parts of harmony have as their purpose only beautiful melody. Therefore, the question of which is the significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end, given the many and varied elements and styles of melody many extant explanations confine us to specific stylistic models, and they are too exclusive. Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly, melodies in the 20th century utilized a greater variety of pitch resources than ha been the custom in any other historical period of Western music. While the diatonic scale was used, the chromatic scale became widely employed. Composers also allotted a structural role to the dimensions that previously had been almost exclusively reserved for pitch. Kliewer states, The essential elements of any melody are duration, pitch, and quality, texture, for example, Jazz musicians use the term lead or head to refer to the main melody, which is used as a starting point for improvisation. Rock music, melodic music, and other forms of popular music, indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a melody played simultaneously. In western classical music, composers often introduce an initial melody, or theme, classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, richard Wagner popularized the concept of a leitmotif, a motif or melody associated with a certain idea, person or place. Appropriation Hocket Parsons code, a notation used to identify a piece of music through melodic motion—the motion of the pitch up. Harvard Dictionary of Music, 2nd ed. p. 517–19, the Art of Melody, p. xix–xxx. A Textbook of Melody, A course in functional melodic analysis, a History Of Melody, Barrie and Rockliff, London
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Phrase (music theory)
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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
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Musical form
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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
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Trance
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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
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Hypnosis
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Hypnosis is a state of human consciousness involving focused attention and reduced peripheral awareness and an enhanced capacity to respond to suggestion. The term may refer to an art, skill, or act of inducing hypnosis. Theories explaining what occurs during hypnosis fall into two groups, altered state theories see hypnosis as an altered state of mind or trance, marked by a level of awareness different from the ordinary conscious state. In contrast, nonstate theories see hypnosis as a form of imaginative role enactment, during hypnosis, a person is said to have heightened focus and concentration. The person can concentrate intensely on a thought or memory. Hypnotised subjects are said to show a response to suggestions. Hypnosis is usually induced by a known as a hypnotic induction involving a series of preliminary instructions. The use of hypnotism for therapeutic purposes is referred to as hypnotherapy, stage hypnosis is often performed by mentalists practicing the art form of mentalism. The term hypnosis comes from the ancient Greek word ὕπνος hypnos, sleep, and the suffix -ωσις -osis, or from ὑπνόω hypnoō, put to sleep and the suffix -is. The words hypnosis and hypnotism both derive from the term neuro-hypnotism, all of which were coined by Étienne Félix dHenin de Cuvillers in 1820 and these words were popularized in English by the Scottish surgeon James Braid around 1841. Braid based his practice on that developed by Franz Mesmer and his followers, a person in a state of hypnosis is relaxed, has focused attention, and has increased suggestibility. It could be said that suggestion is explicitly intended to make use of the placebo effect. For example, in 1994, Irving Kirsch characterised hypnosis as a placebo, i. e. a method that openly makes use of suggestion. Have defined hypnosis in terms of dissociation, Social psychologists Sarbin and Coe. have described hypnosis in terms of role theory. Hypnosis is a role that play, they act as if they were hypnotised. Defined hypnosis in terms of behavioural parameters, such as task motivation. Conceptualised hypnosis as a state of enhanced suggestibility and he has defined hypnotism as a form of influence by one person exerted on another through the medium or agency of suggestion. Described hypnosis by using the concept of regression in the service of the ego
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Consciousness
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Consciousness is the state or quality of awareness, or, of being aware of an external object or something within oneself. Despite the difficulty in definition, many believe that there is a broadly shared underlying intuition about what consciousness is. Western philosophers, since the time of Descartes and Locke, have struggled to comprehend the nature of consciousness, the majority of experimental studies assess consciousness in humans by asking subjects for a verbal report of their experiences. The origin of the concept of consciousness is often attributed to John Lockes Essay Concerning Human Understanding. Locke defined consciousness as the perception of what passes in a mans own mind and his essay influenced the 18th-century view of consciousness, and his definition appeared in Samuel Johnsons celebrated Dictionary. Consciousness is also defined in the 1753 volume of Diderot and dAlemberts Encyclopédie, the earliest English language uses of conscious and consciousness date back, however, to the 1500s. This phrase had the meaning of knowing that one knows. In its earliest uses in the 1500s, the English word conscious retained the meaning of the Latin conscius. For example, Thomas Hobbes in Leviathan wrote, Where two, or more men, know of one and the fact, they are said to be Conscious of it one to another. The Latin phrase conscius sibi, whose meaning was more related to the current concept of consciousness, was rendered in English as conscious to oneself or conscious unto oneself. For example, Archbishop Ussher wrote in 1613 of being so conscious unto myself of my great weakness, Lockes definition from 1690 illustrates that a gradual shift in meaning had taken place. A related word was conscientia, which primarily means moral conscience, in the literal sense, conscientia means knowledge-with, that is, shared knowledge. The word first appears in Latin juridical texts by such as Cicero. Here, conscientia is the knowledge that a witness has of the deed of someone else, rené Descartes is generally taken to be the first philosopher to use conscientia in a way that does not fit this traditional meaning. Descartes used conscientia the way modern speakers would use conscience, in Search after Truth he says conscience or internal testimony. The dictionary meaning of the word consciousness extends through several centuries, B. inward awareness of an external object, state, or fact. The philosophy of mind has given rise to many stances regarding consciousness, something within ones mind is introspectively conscious just in case one introspects it. Introspection is often thought to deliver ones primary knowledge of ones mental life, an experience or other mental entity is phenomenally conscious just in case there is something it is like for one to have it
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Instrumental music
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An instrumental is a musical composition or recording without lyrics, or singing, although it might include some inarticulate vocals, such as shouted backup vocals in a Big Band setting. The music is primarily or exclusively produced by musical instruments, if the instrumental section highlights the skill, musicality, and often the virtuosity of a particular performer, the section may be called a solo. If the instruments are percussion instruments, the interlude can be called a percussion interlude or percussion break and these interludes are a form of break in the song. One example of a genre in which both vocal/instrumental and solely instrumental songs are produced is blues, another example of a genre in popular culture is Hip Hop, Pop, and R&B. Many upcoming or rising artists in Hip Hop, Pop, and R&B will find an instrumental online on a website, like www. beatsbytoon. com, an instrumental version of a song which otherwise features vocals is also known as a -1. The opposite of instrumental music, that is, music for voices alone, without any accompaniment instruments, is a cappella, an Italian phrase that means in the chapel. In early music, instruments such as trumpet and drums were considered outdoor instruments, a capella music exists in both Classical music choir pieces and in popular music styles such as doo wop groups and Barbershop quartets. Some recordings which include brief examples of the voice are typically considered instrumentals. An ominous statement at the end Inclusion of field recordings which may or may not contain non-lyrical words, a few songs categorized as instrumentals may even include actual vocals, if they appear only as a short part of an extended piece. Falling just outside that definition is Theme From Shaft by Isaac Hayes. com with a sample of each
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Utrecht
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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
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KaZantip
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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
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Feeling
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Feeling is the nominalization of the verb to feel. The word was first used in the English language to describe the sensation of touch through either experience or perception. The word is used to describe experiences other than the physical sensation of touch, such as a feeling of warmth. In Latin, sentire meant to feel, hear or smell, in psychology, the word is usually reserved for the conscious subjective experience of emotion. Phenomenology and heterophenomenology are philosophical approaches that provide some basis for knowledge of feelings, many schools of psychotherapy depend on the therapist achieving some kind of understanding of the clients feelings, for which methodologies exist. Feelings are also known as a state of consciousness, such as that resulting from emotions, people buy products in hopes that the product will make them feel a certain way, either happy, excited or beautiful. Some people buy beauty products in hopes of achieving a state of happiness or a sense of self beauty, past events are used in our lives to form schemas in our minds, and based on those past experiences, we expect our lives to follow a certain script. A social psychologist, Daniel Gilbert, conducted a study on the influence of feelings on events alongside other researchers, the results showed that when the participants predicted a positive feeling for an event, the higher the chances that they wanted to relive the event. Predicted feelings were either short-lived or did not correlate to what the participant expected, individuals in society predict that something will give them a certain desired outcome or feeling. Indulging in what one might have thought wouldve made them happy or excited might only cause a temporary thrill, events and experiences are done and relived to satisfy ones feelings. Gilbert and Wilson conducted a study to show how pleased a person would if they purchased flowers for themselves for no specific reason. People who had no experience of purchasing flowers for themselves and those who had experienced buying flowers for themselves were tested, arlie Russell Hochschild, a sociologist, depicted two accounts of emotion. The organismic emotion is the outburst of emotions and feelings, in organismic emotion, emotions/feelings are instantly expressed. Social and other factors do not influence how the emotion is perceived, in interactive emotion, emotions and feelings are controlled. The individual is constantly considering how to react or what to suppress, in interactive emotion, unlike in organismic emotion, the individual is aware of their decision on how they feel and how they show it. Erving Goffman, a sociologist and writer, compared how actors withheld their emotions to the everyday individual, like actors, individuals can control how the emotions are expressed, but they cannot control their inner emotions or feelings. Inner feelings can only be suppressed in order to achieve the expression one wants people to see on the outside, Goffman explains that emotions and emotional experience are an ongoing thing that an individual is consciously and actively working through. Individuals want to conform to society with their inner and outer feelings, anger, happiness, joy, stress, and excitement are some of the feelings that can be experienced in life
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