Elektronisk dansemusikk

Elektronisk dansemusikk (også kjend som EDM, klubbmusikk, dance music eller berre dance,^[1] er ei nemning på eit sett perkussive sjangrar innan elektronisk musikk med musikk som primært er produsert til bruk av DJ-ar på nattklubbar og festivalar for å dansast til.^[2] Produsentar av elektronisk dansemusikk bruker hovudsakleg elektroniske instrument som synthesizer, trommemaskin, sequencerar og samplerar.^[3]

Felles i all elektronisk dansemusikk er eit stødig og relativt rask tempo (normalt på mellom 120 og 150 BPM, men enkelte sjangrar kan nå 180 BPM), eit bass-basert trommemønster som blir repetert, og nedtoning av tekstar og vokal - elektronisk dansemusikk er hovudsakleg instrumental.^[4]

Elektronisk dansemusikk oppstod mot slutten av 1970-talet som eit resultat av framveksten av disco, nattklubbar og moderne DJ-ing,^[5] saman med fallande prisar på effektive elektroniske musikkinstrument som synthesizerar, sequencerar og trommemaskinar.^[6] Mange disco-produsentar vende seg vekk frå tradisjonelle musikkinstrument (som gitar, bassgitar, trommer, piano, messingblåsarar, fiolinar og fløyter) og omfamna i staden elektroniske instrument. Donna Summer sin banebrytande låt «I Feel Love» frå 1977, produsert av Giorgio Moroder, er rekna som eit av de første eksempla på elektronisk dansemusikk.^[7] Kraftwerk sine singlar «Autobahn» frå 1975 og «Trans Europe Express» frå 1977 er to andre døme. Begge singlane blei store undergrunnshittar på diskotek verds over, og særleg i afroamerikanske klubbmiljø i New York, Detroit og Miami.^[8] På 1980-talet sprang dei første sjangrene ut av lokale klubbmiljøa, for eksempel oppstod «house» i Chicago, «garage» i New York, og «techno» i Detroit.^[9]

Kjelder

↑ (Koskoff 2004, s. 44)
↑ 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 (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.»

Denne artikkelen bygger på «Elektronisk dansemusikk» frå Wikipedia på bokmål, den 12. mars 2016.
- Wikipedia på bokmål oppgav desse kjeldene:
  - Butler, Mark Jonathan (2006). Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press. ISBN 9780253346629.
  - Koskoff, Ellen (2004). Music Cultures in the United States: an Introduction. Routledge. ISBN 9780415965897.
  - 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
  - Peter Shapiro (2009). Turn the Beat Around : The Secret History of Disco. London : Faber and Faber

[Koskoff_44-1] (Koskoff 2004, s. 44)

[2] 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.»

[3] 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.»

[4] 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.»

[5] 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.»

[6] 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.»

[7] 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.»

[8] 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.»

[9] 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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