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Techno Music
Techno Music, an important genre of electronic dance music, developed in Detroit in the mid-1980s but commercially successful throughout the world.
Techno music began with three friends—Juan Atkins, Derrick May, and Kevin Saunderson—who met at Belleville High School in Detroit in 1984. They created synthesized music that reflected both the post-industrial decay of Detroit, and the growing importance of computer technology. It was Atkins who first used the word “techno” to describe his experiments with analogue and digital synthesizers, and the term has since been applied to a bewildering variety of styles of dance music. Under the influence of European electronic pop (particularly the German band Kraftwerk, who were the first pop band to use purely synthesized sounds to make music) and the psychedelic funk of George Clinton and Bootsy Collins, Detroit techno created futuristic soundscapes supported by dance rhythms. While Chicago “house” music (a hybrid of disco, soul, and funk) relied on heavy basslines and a relentless up- or mid-tempo ¹ beat, early techno experimented with different areas of sound to generate a variety of moods and rhythms.
In the United States, where rave culture is less widespread than in Europe, techno has been largely overshadowed by hip hop (the basis of rap music). In Europe, however, techno is a pervasive influence on both commercial and underground dance music, and has mutated into innumerable forms since the mid-1980s.
Microsoft ® Encarta ® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.
Techno music began with three friends—Juan Atkins, Derrick May, and Kevin Saunderson—who met at Belleville High School in Detroit in 1984. They created synthesized music that reflected both the post-industrial decay of Detroit, and the growing importance of computer technology. It was Atkins who first used the word “techno” to describe his experiments with analogue and digital synthesizers, and the term has since been applied to a bewildering variety of styles of dance music. Under the influence of European electronic pop (particularly the German band Kraftwerk, who were the first pop band to use purely synthesized sounds to make music) and the psychedelic funk of George Clinton and Bootsy Collins, Detroit techno created futuristic soundscapes supported by dance rhythms. While Chicago “house” music (a hybrid of disco, soul, and funk) relied on heavy basslines and a relentless up- or mid-tempo ¹ beat, early techno experimented with different areas of sound to generate a variety of moods and rhythms.
In the United States, where rave culture is less widespread than in Europe, techno has been largely overshadowed by hip hop (the basis of rap music). In Europe, however, techno is a pervasive influence on both commercial and underground dance music, and has mutated into innumerable forms since the mid-1980s.
Microsoft ® Encarta ® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.
House Music
House Music, disco-based electronic dance music that first appeared in New York and Chicago in the early 1980s, using new technology (including samplers and synthesizers) to strip dance music back to simple bass lines and a heavy ¹ drumbeat, using the synthesizer sounds and treated vocal lines to add interest.
As a distinctive sound it was first heard at The Loft in New York, and was then taken to Chicago by Disc Jockey (DJ) Frankie Knuckles, who set up the Warehouse club. It gained its name both from the club and from the warehouse parties at which it was first played, and was principally the music of the gay black community until Farley Jackmaster Funk’s Chicago DJ collective the Hot Mix 5 and New York’s Tony Humphries began to play it on the radio. House gained growing attention with J. M. Silk’s 1985 chart hit “Music is the Key”: new clubs, radio programmes, and independent record labels (like Trax—which released records by Marshall Jefferson and Frankie Knuckles—and DJ International) appeared, but it was Steve “Silk” Hurley’s number-one hit “Jack Your Body” (1986) that confirmed the new style’s popularity.
Built from samples, looped and electronically altered, Chicago house music focused on the most danceable elements of disco (extended drum breaks and special effects) to the exclusion of traditional musical structures (such as the verse/chorus divisions of 32-bar song form). As with the related style of techno music, it was rapidly hybridized into a variety of sub-styles. New York garage (named after DJ Larry Levan’s club, Paradise Garage) reintroduced soul vocals and piano-stylings, exposing house’s roots in disco, while the release of Phuture’s “Acid Trax” (1987) with its characteristic “squelchy” bass sound (generated by the Roland 303 synthesizer) made Acid house the music of choice for the warehouse raves of the late 1980s—hits included Maurice’s “This is Acid” (1987) and D-Mob’s “We Call It Acieed” (1988). Crystal Waters’s “Gypsy Woman” and CeCe Peniston’s “Finally” (both 1991) signalled the arrival of house as a staple of the pop charts, with house remixes becoming a routine part of pop marketing.
Microsoft ® Encarta ® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.
As a distinctive sound it was first heard at The Loft in New York, and was then taken to Chicago by Disc Jockey (DJ) Frankie Knuckles, who set up the Warehouse club. It gained its name both from the club and from the warehouse parties at which it was first played, and was principally the music of the gay black community until Farley Jackmaster Funk’s Chicago DJ collective the Hot Mix 5 and New York’s Tony Humphries began to play it on the radio. House gained growing attention with J. M. Silk’s 1985 chart hit “Music is the Key”: new clubs, radio programmes, and independent record labels (like Trax—which released records by Marshall Jefferson and Frankie Knuckles—and DJ International) appeared, but it was Steve “Silk” Hurley’s number-one hit “Jack Your Body” (1986) that confirmed the new style’s popularity.
Built from samples, looped and electronically altered, Chicago house music focused on the most danceable elements of disco (extended drum breaks and special effects) to the exclusion of traditional musical structures (such as the verse/chorus divisions of 32-bar song form). As with the related style of techno music, it was rapidly hybridized into a variety of sub-styles. New York garage (named after DJ Larry Levan’s club, Paradise Garage) reintroduced soul vocals and piano-stylings, exposing house’s roots in disco, while the release of Phuture’s “Acid Trax” (1987) with its characteristic “squelchy” bass sound (generated by the Roland 303 synthesizer) made Acid house the music of choice for the warehouse raves of the late 1980s—hits included Maurice’s “This is Acid” (1987) and D-Mob’s “We Call It Acieed” (1988). Crystal Waters’s “Gypsy Woman” and CeCe Peniston’s “Finally” (both 1991) signalled the arrival of house as a staple of the pop charts, with house remixes becoming a routine part of pop marketing.
Microsoft ® Encarta ® Encyclopedia 2003. © 1993-2002 Microsoft Corporation. All rights reserved.
sound
From: The Oxford Pocket Dictionary of Current English | Date: 2007
sound1 / sound/ • n. vibrations that travel through the air or another medium and can be heard when they reach a person's or animal's ear: light travels faster than sound. ∎ a group of vibrations of this kind; a thing that can be heard: she heard the sound of voices in the hall don't make a sound. ∎ the area or distance within which something can be heard: we were always within sound of the train whistles. ∎ short for speech sound. ∎ the ideas or impressions conveyed by words: you've had a hard day, by the sound of it. ∎ (also musical sound) sound produced by continuous and regular vibrations, as opposed to noise. ∎ music, speech, and sound effects when recorded, used to accompany a film or video production, or broadcast: [as adj.] a sound studio. ∎ broadcasting by radio as distinct from television. ∎ the distinctive quality of the music of a particular composer or performer or of the sound produced by a particular musical instrument: the sound of the Beatles. ∎ (sounds) inf. music, esp. popular music: sounds of the sixties।
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