Elektronisk dansemusikk

Elektronisk dansemusikk (også kjent som EDM eller klubbmusikk) er betegnelsen på et sett med perkussive sjangre i elektronisk musikk, hvor musikken primært er produsert til bruk av DJ-er på nattklubber for å bli danset til.^[1] Produsenter av edm bruker hovedsakelig elektroniske instrumenter som synthesizere, trommemaskiner, sequencere og samplere.^[2]

Felles i all elektronisk dansemusikk er et stødig og relativt rask tempo (normalt en fart på mellom 120 til 150 BPM, men enkelte sjangre kan nå 180 BPM), et bass-basert trommemønster som repeteres, og nedtoning av tekster og vokal - elektronisk dansemusikk er hovedsakelig instrumental.^[3]

De mange sjangrene i elektronisk dansemusikk kan deles inn i to hovedkategorier, basert på hvilket grunnleggende trommemønster som ligger i bunn: «Four-to-the-floor» og «breakbeats».^[4]

«Four-to-the-floor» refererer til trommemønstre hvor basstromma konstant slår fire fjerdedelslag hver takt. Begrepet stammer fra disco (og før det rock), og viser til trommeslageren som trår fotpedalen på basstromma fire ganger hver takt for å spille et firefjerdedelsmønster. I elektronisk dansemusikk er trommesettet og trommeslageren byttet ut med en trommemaskin. De primære grenene i «four-to-the-floor» er techno, house og trance.^[5]

«Breakbeats» refererer til trommemønstre i såkalte «breaks», det vil si partier med kun perkusjon som er samplet fra gamle funk- eller disco-plater.^[6] Begrepet stammer fra funk, og viser til når resten av bandet tar seg en pause, en «break», og lar trommeslageren fremføre en trommesolo.

Breakbeats skiller seg fra four-to-the-floor på flere måter. Breakbeats er vanligvis et helt trommesett-mønster, og ikke bare én basstromme som går i 4/4-takt. Breakbeats er opptak av «ekte» trommeslag og inneholder derfor tidsvariasjoner som ikke finnes i programmerte trommemaskinrytmer.^[7] I sjangre som jungle og drum and bass økes tempoet i breakbeaten kraftig (tempoet kan for eksempel økes fra 92 BPM til 160), mens i sjangre som big beat, breakbeat og hiphop økes tempoet i mindre grad (for eksempel en økning på 20-30 BPM).^[8]

Elektronisk dansemusikk oppstod mot slutten av 70-tallet som et resultat av fremveksten av disco, nattklubber og moderne DJ-ing,^[9] samt fallende priser på effektive elektroniske musikkinstrumenter som synthesizere, sequencere og trommemaskiner.^[10] Mange disco-produsenter vendte seg bort fra tradisjonelle instrumenter (som gitar, bassgitar, trommer, piano, messingblåsere, fioliner og fløyter) og omfavnet i stedet elektroniske instrumenter. Donna Summers banebrytende låt «I Feel Love» fra 1977, produsert av Giorgio Moroder, regnes som et av de første eksemplene på elektronisk dansemusikk.^[11] Kraftwerks singler «Autobahn» fra 1975 og «Trans Europe Express» fra 1977 er to andre eksempler. Begge singlene ble store undergrunnshits på diskoteker verden over, og spesielt i svarte klubbmiljøer i New York, Detroit og Miami.^[12]

På 1980-tallet sprang de første sjangrene ut av lokale klubbmiljøer, for eksempel oppstod «house» i Chicago, «garage» i New York, og «techno» i Detroit.^[13]

Se også

Liste over sjangere i elektronisk dansemusikk

Referanser

^ Butler (2006) s. 13: «It is true that most EDM tracks are made with the expectation that, in live performance, they will be combined with other tracks and danced to; as a result, several key potentials of this music are only realized fully within a live dance context.»
^ Butler (2006) s. 33: «One of the most distinctive charecteristics of electronic dance music is the way which it is produced - namely, through the use of electronic technologies such as synthesizers, drum machines, sequencers, and samplers.»
^ Butler (2006) s. 34: «Although the styles created and enjoyed can vary considerably from one place to another, certain musical characteristic are shared among almost all EDM. In general, it has a steady, relatively fast tempo - mostly in range of 120-150 beats per minute (BPM), although certain genres regulary reach speeds of 180. Expect in certain ambient genres, a repeating bass drum battern is almost always present. And finally, the majority of contemporary electronic dance music is instrumental.»
^ Butler (2006) s. 78: «Fans and musicians often divid electronic dance music into two broad categories on the basis of its metrical characteristics. This divission is clearly evident in the quotation that introduced this chapter, where genres are divided into "breaks and/or jungle" versus "house and techno". Drawing on two of the most comonly used terms employed in this discourse, I will describe these categories as breakbeat-driven and four-to-the-floor.»
^ Butler (2006) s. 78: «The latter terms comes from rock, in which a performer playing a drum would need to drepress the foot pedal on the bass drum (the "kick" drum) four times per measure in order to play a four-quarter-note pattern. The constant stream of steady bass-drum quarter notes that results is the distinguishing feature of four-on-the-floor genres, and the term continues to be used within EDM even though the only feet hitting the floor are those of the dancers. The primary genres within this category are techno, house, and trance.»
^ Butler (2006) s. 78: «Breakbeats are drum patterns sampled from the percussion-only sections, or "breaks", of old funk records.»
^ Butler (2006) s. 78-79: Breakbeat-driven tracks depart from four-on-the-floot styles in several ways. First, they include entire drum-set patterns rather than just one instrument. Second, because hey originate within live percussion, their rhythms may include expressive timing variations, which do not occur in programmed drum-machine rythms. Third, breakbeat rhythms tend to de-emphasize strong beats, instead placing considerable stress on metrically weak locations.
^ Butler (2006) s. 78: «When used in EDM, breakbeats are sped up, often considerably. The amount of acceleration depends on the genre; the breakbeats heard in jungle/drum 'n' bass are much faster than the original (for instance, they might be accelerated from 92 BPM to 160), wheras in slower genres as big beat and breakbeat the tempo change is more moderate (e.g., an increase of 20-30 BPM).»
^ Butler (2012) s. xii: «The origins of today's electronic dance music (EDM) begin with disco. The 1970s witnessed not only the development of the club concept (...), but also essential elements of musical practice such as beat-matching (using variable-speed turntables to bring the tempi, beats, measures and phrases of records into perfect alignment) and overlapping records to create a constantly soudning, never interrupting mix.»
^ Kirn (2001) s. 38: «Major social and political change of the '60s and '70s was tapering off by the late 1970s and early 1980s. (...) Simultaneously, analog electronic instruments and equipment were becoming more widely available around the United States throughout the 1980s. Young men and women in Detroit could go to music stores like Grinnell's in Detroit (...) and play around with synthesizers, sequencers and drum machines. These instruments were affordable enough that some kids could ask their parents or grandpartens to buy them.»
^ Stevie Huey (2014?). «Biography: Donna Summer», Allmusic.com. «Eschewing the strings and typical disco excess, "I Feel Love" was the first major pop hit recorded with an entirely synthesized backing track; its lean, sleek arrangement and driving, hypnotic pulse laid the groundwork not only for countless Euro-dance imitators, but also for the house music revolution of the '80s and '90s.»
^ Shapiro (2009) s. 84: «Both "Autobahn" and "Trans Europe Express" were underground disco hits and were, perhaps more surprisingly, very popular in the black ghettos of New York, Detroit and Miami.»
^ Butler (2012) s. xii: «The 1980s witnessed the emergence of the first dance-music styles centred around exclusively electronic instrumentation, ushering in a trend towards increasingly electronic modes of production. Origination in stronlgy local scenes within the US, these styles included "house" music in Chicago, "garage" in New York and what eventually came to be called "techno" in Detroit.»

Kilder

Peter Kirn (2011). «The Ethnomusicology of Dance Music : Denise Dalphond Goes Inside EDM CUlture's Roots». I: Peter Kirn (2011). Keyboard Presents: The Evolution of Electronic Dance Music. Backbeat Books
Mark J. Butler (red.) (2012). The Library of essays on popular music : Electronica, Dance and Club Music. Ashgate
Mark J. Butler (2006). Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press.
Peter Shapiro (2009). Turn the Beat Around : The Secret History of Disco. London : Faber and Faber

Eksterne lenker

Ayesha Adamo (8. mars 2013). «Can't Tell the Difference Between Witch House and Nu Disco? Welcome to Electronic Dance Music 101», AlterNet

[1] Butler (2006) s. 13: «It is true that most EDM tracks are made with the expectation that, in live performance, they will be combined with other tracks and danced to; as a result, several key potentials of this music are only realized fully within a live dance context.»

[2] Butler (2006) s. 33: «One of the most distinctive charecteristics of electronic dance music is the way which it is produced - namely, through the use of electronic technologies such as synthesizers, drum machines, sequencers, and samplers.»

[3] Butler (2006) s. 34: «Although the styles created and enjoyed can vary considerably from one place to another, certain musical characteristic are shared among almost all EDM. In general, it has a steady, relatively fast tempo - mostly in range of 120-150 beats per minute (BPM), although certain genres regulary reach speeds of 180. Expect in certain ambient genres, a repeating bass drum battern is almost always present. And finally, the majority of contemporary electronic dance music is instrumental.»

[4] Butler (2006) s. 78: «Fans and musicians often divid electronic dance music into two broad categories on the basis of its metrical characteristics. This divission is clearly evident in the quotation that introduced this chapter, where genres are divided into "breaks and/or jungle" versus "house and techno". Drawing on two of the most comonly used terms employed in this discourse, I will describe these categories as breakbeat-driven and four-to-the-floor.»

[5] Butler (2006) s. 78: «The latter terms comes from rock, in which a performer playing a drum would need to drepress the foot pedal on the bass drum (the "kick" drum) four times per measure in order to play a four-quarter-note pattern. The constant stream of steady bass-drum quarter notes that results is the distinguishing feature of four-on-the-floor genres, and the term continues to be used within EDM even though the only feet hitting the floor are those of the dancers. The primary genres within this category are techno, house, and trance.»

[6] Butler (2006) s. 78: «Breakbeats are drum patterns sampled from the percussion-only sections, or "breaks", of old funk records.»

[7] Butler (2006) s. 78-79: Breakbeat-driven tracks depart from four-on-the-floot styles in several ways. First, they include entire drum-set patterns rather than just one instrument. Second, because hey originate within live percussion, their rhythms may include expressive timing variations, which do not occur in programmed drum-machine rythms. Third, breakbeat rhythms tend to de-emphasize strong beats, instead placing considerable stress on metrically weak locations.

[8] Butler (2006) s. 78: «When used in EDM, breakbeats are sped up, often considerably. The amount of acceleration depends on the genre; the breakbeats heard in jungle/drum 'n' bass are much faster than the original (for instance, they might be accelerated from 92 BPM to 160), wheras in slower genres as big beat and breakbeat the tempo change is more moderate (e.g., an increase of 20-30 BPM).»

[9] Butler (2012) s. xii: «The origins of today's electronic dance music (EDM) begin with disco. The 1970s witnessed not only the development of the club concept (...), but also essential elements of musical practice such as beat-matching (using variable-speed turntables to bring the tempi, beats, measures and phrases of records into perfect alignment) and overlapping records to create a constantly soudning, never interrupting mix.»

[10] Kirn (2001) s. 38: «Major social and political change of the '60s and '70s was tapering off by the late 1970s and early 1980s. (...) Simultaneously, analog electronic instruments and equipment were becoming more widely available around the United States throughout the 1980s. Young men and women in Detroit could go to music stores like Grinnell's in Detroit (...) and play around with synthesizers, sequencers and drum machines. These instruments were affordable enough that some kids could ask their parents or grandpartens to buy them.»

[11] Stevie Huey (2014?). «Biography: Donna Summer», Allmusic.com. «Eschewing the strings and typical disco excess, "I Feel Love" was the first major pop hit recorded with an entirely synthesized backing track; its lean, sleek arrangement and driving, hypnotic pulse laid the groundwork not only for countless Euro-dance imitators, but also for the house music revolution of the '80s and '90s.»

[12] Shapiro (2009) s. 84: «Both "Autobahn" and "Trans Europe Express" were underground disco hits and were, perhaps more surprisingly, very popular in the black ghettos of New York, Detroit and Miami.»

[13] Butler (2012) s. xii: «The 1980s witnessed the emergence of the first dance-music styles centred around exclusively electronic instrumentation, ushering in a trend towards increasingly electronic modes of production. Origination in stronlgy local scenes within the US, these styles included "house" music in Chicago, "garage" in New York and what eventually came to be called "techno" in Detroit.»

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