Merging Gambling and Music

Gambling and listening to electronic music have a lot in common. Both activities provide an opportunity to shed all worries and enjoy the moment. Dancing on the dance floor and spinning slot machines provide a person with a dose of adrenaline and euphoria, which are so valuable in everyday life. Fast payouts from online casinos contribute to this fusion, adding the ability to enjoy your winnings immediately and keeping the excitement high.

Adrenaline at the Casino and on the Dance Floor

The moment of anticipation when the roulette ball drops on a number, when the dice produce the desired result or when the slots form a winning combination fills players with excitement and adrenaline. Such moments transport us into the world of gambling, where every twist of fate can lead to a big win or possibly a loss.

Similarly, when the first chords of electronic music are played on the dance floor, the atmosphere is filled with energy and excitement. Rhythmic melodies lead the way and people are immersed in a world of movement and freedom. Such experiences enrich us emotionally and lift our spirits to unprecedented heights.

Fast Payouts: Instant gratification

One of the great joys of playing at an online casino is the possibility of fast and reliable payouts. When luck smiles and winnings are on your side, fast payouts provide instant gratification and joy at the outcome, you can find out how to make a quick withdrawal from an online casino by checking out Adventure Magazine’s resource. The moment the money arrives in your account, you can feel like a winner and experience pride in your gaming prowess. In addition, fast payouts save players from the long wait and stress associated with receiving their winnings. This allows you to enjoy your money, whether you use it for further casino bets or for other needs.

The Energy of Music Festivals and Gambling

Music festivals and casinos share many similarities. Both attract crowds of people hungry for a unique and exciting experience. At music festivals, the sounds of electronic music attract dancers, creating unity and a positive mood. In casinos, gambling brings players together, giving them the opportunity to experience strong emotions and the hope of success.

The combination of these two worlds – music festivals and gambling – creates an unforgettable experience for visitors. Fast payouts at online casinos allow those who win to immediately relive the joy of victory and share it with friends on the dance floor.

Conclusion

Fast payouts from online casinos, the fusion of gambling and music on the dance floor, bring an extra boost of emotion to the lives of players and music lovers. Both worlds – casino and electronic music, strive to satisfy their visitors by offering them unique experiences and exciting moments. When the adrenaline of gambling merges with the rhythms of electronic music, it creates a special sense of excitement and thrill. Players immersed in gambling passions experience the added joy of knowing that fast payouts will allow them to receive their winnings instantly. This adds extra intrigue and excitement to the game, and music lovers enjoying the sounds of electronic music on the dance floor can share this joy with friends too, thanks to fast and reliable payouts. In summary, combining gambling and music allows us to enjoy every moment, adding vibrant colours to our lives. The experience of fast payouts and emotional music merge into a harmonious whole, giving us a pleasure and joy that cannot be forgotten.

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What is the name of very fast music

Speedcore is a style of electronic music, an extreme form of hardcore.

The fastest of all musical tempos is “Prestissimo”. Translated from Italian, this term means “very quickly.” The pulsation speed during the performance of such music is + / – 210 beats per minute. / There are other designations. The crossed-out tempo sign means to perform twice as fast as printed. /

What is the essence of electronic music

electronic music, english. Electronic music) – music created using electric musical instruments and electronic technologies (from the last decades of the 20th century – computer technology).

Who Invented Electronic Music

Lev Theremin – from music “out of thin air” to wiretapping without “bugs”. Lev Termen is a physicist-inventor, musician, businessman, Stalin Prize laureate and prisoner, as well as a man who is deservedly considered the father of electronic music.

When did electronic music appear?

Electronic music (German elektronische Musik, English electronic music) is music created using electric musical instruments and electronic technologies (computer technologies since the last decades of the 20th century). As a specific direction in the world of music, electronic music took shape in the second half of the 20th century and by the beginning of the 21st century it had become widespread in academic and popular culture.

The most popular genres of electronic music

To date, some of the most popular electronic genres are techno, house, drum and bass and IDM.

What genres of music are the most popular in 2021

The most popular genres in 2021 are pop music (neo-pop, pop rap), alternative (alternative rap, alternative rock), indie and electronic music (house).

What genres do DJs play?

• Dance.
• Dance-Pop.
• Dark Ambient.
• Deep House.
• Deep Techno.
• Detroit Techno.
• Dirty Rap.
• Dirty South.

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What is the difference between house and techno

Techno is the brother of house music, which uses all the same elements, but is characterized by a faster tempo. Techno is dark, strict and mechanical. In the words of one of its founders, Juan Atkins, “it’s music that sounds like technology.” It also has a 4×4 rhythm and a speed of 120-150 BPM.

In short, house is the EDM version of “black” music (soul, funk, jazz), while techno is the EDM version of “white” music (rock). House usually has a “rocking” (also known as “shuffling”) feel, while techno plays “straight”.

What are song remixes called?

Remix (Remix) – processed (remade) version of the song. Most often this is a version of the track in a different musical direction. Bootleg (Bootleg) – unofficial Remix. That is, the artist or label did not agree to the remix of the track.

A remix is ​​a version of a piece of music recorded later than the original version, usually with a more modern version of the arrangement. Sometimes it is created by “mixing” several parts of the original composition, imposing various sounds, special effects on it, changing the tempo, key, etc. Special cases of a remix are: remixing, megamix (compilation of several pieces of music).

What is a remix in music

What is a remix? A remix is ​​a track that has been distorted or altered in such a way that it resembles the original song, but is altered so much that it appears as a standalone unit.

How to remix a song

One incredibly unique way to remix a song is to build your own chord progression to an existing tune. Of course, you may need a basic knowledge of music theory to change a chord progression, but you can also try working by ear, as many music producers do.

How to create a quality remix

The process of creating a quality remix is ​​very creative and largely depends on your musical background, ideas and willingness to experiment. It is difficult to single out any strict rules in it, however, for beginners, we have prepared a memo of 10 tips that will help them at the initial stage.

What is the name of beat music

Bridge in popular music In this regard, the musical theme of the bridge, as a rule, differs markedly from the main themes both harmonically and melodically; often there is also a change in rhythm and tempo.

Electronic music or EDM.

Also known as dance music, club music, or simply dancing. Electronic music is a variety of beat genres of electronic music, usually intended for nightclubs, raves and festivals. EDM is created to be played by DJs who seamlessly play selections of tracks, called mixes or sets, as they transition from one song to the next.

What is the name of calm electronic music

Ambient is a style of electronic music based on modulations of the sound timbre. Ambient is often characterized by atmospheric, enveloping, unobtrusive, background sound. Born in the 1970s thanks to the work of Brian Eno; has since developed several varieties.

Chillout is called light electronic music, quite slow and calm. The genre originated in the early 90s in the famous Cafe del Mar bar in Ibiza. Chill-out compositions are designed to immerse listeners in the atmosphere of life on the island and Mediterranean sunsets. Unlike the lounge, which is close to jazz and created to create a relaxed and festive mood, chillout should relieve tension and promote relaxation.

What is another name for electronic music?

Electronic music or EDM. Also known as dance music, club music, or simply dancing. Electronic music is a variety of beat genres of electronic music, usually intended for nightclubs, raves and festivals.

What is computer music called

Electronic music (from German Elektronische Musik, English Electronic music) is a musical genre that refers to music created using electronic musical instruments and technologies, as well as using special computer programs.

What direction of music is

There are only four musical directions: folk music, sacred music, academic music and popular music. Each direction belongs to a certain number of genres of music and each genre has many subgenres.

What is the name of the chorus in electronic music

Chorus (Chorus/Refrain) Since the chorus is the most repeated part of any track, it contains the main lyrical and musical ideas. It is here that the main informational message of the composition is located, as well as the musical hook that catches the listener.

And here it is – chorus, chorus (just in case – read through K). By the name, you can guess what is intended to be performed by the choir, who has it. Another name for the chorus is refrain, from the Latin “repeat” – and indeed, it will be repeated more than once. It is the refrain that is the most catchy, affectionate part of the song, it is the one they whistle while walking in the park, they sing it while washing themselves in the shower.

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Dubstep is a genre of electronic music that originated in south London in the late 1990s. It is usually characterized by sparse syncopated rhythmic patterns with accented sub-bass frequencies. The style emerged as an offshoot of British Garage, drawing on a lineage of related styles such as 2-step and dub reggae, as well as Jungle, broken beat and grime. In the United Kingdom, the genre’s origins can be traced back to the development of the Jamaican scene in the early ’80s.

By the late 2000s and early 2010s, the genre had become commercially successful in the UK, with more and more singles and remixes hitting the music charts. Music journalists and critics also noticed the influence of dubstep on the activities of some pop artists. Around the same time, musicians began combining elements of the original dubstep sound with other influences, creating fusion genres including future garage, slower and more experimental post-dubstep, and harder electro-house and heavy metal influenced brostep, which greatly helped popularize the genre.

Features

The music website Allmusic has described the sound of dubstep as “tightly woven pieces with stunning bass lines and reverberating drum patterns, with cut samples and occasional vocals.” The ingredients of dubstep originally came from bleep ‘n’ bass, jungle, techstep, Photek-style neurofunk, speedy garage and 2 step.

Dubstep’s roots stem from the more experimental recordings of British Garage artists, who sought to incorporate elements of drum ‘n’ bass into a two-step garage sound. The moods of the genre are usually dark; tracks often use a minor key and may contain dissonant harmonies, such as a tritone interval in the riff. Compared to other styles of garage music, dubstep tends to be more minimalist, focusing on prominent low frequencies.

Dubstep rhythms are usually syncopated, often shuffled or include deadlifts. The tempo is almost always in the 138-142 beats per minute range, with a clap or trap usually inserted every third beat in a measure.

One of the characteristic features of dubstep is the wobbling bass, often called “woob,” where extended bass notes are rhythmically manipulated. This style of bass is usually created by using a low-frequency oscillator to manipulate certain synth parameters such as volume, distortion or filter clipping. The final sound is a timbre that is interspersed with rhythmic changes in volume, filter cut or distortion.

Initially, dubstep releases had some structural similarities to other genres such as drum and bass and British garage. There’s usually an intro, a main section (often with a bass drop), a middle section, a second main section similar to the first (often with a different drop) and an exit.

Electro house

Electro house is a musical genre, characterized by heavy bass and tempo of about 130 beats per minute. Its origins were influenced by tech house and electro. The term has been used to describe the music of many DJs, including Benny Benassi, Daft Punk, Skrillex and Steve Aoki.

Electro-house is characterized by its heavy bassline. It is often performed in the form of buzzing bass lines, such as those created with sawtooth waves and distortion. A powerful bass drum sound is used in the 4/4 size. The tempo of electro house is usually from 125 to 135 beats per minute. Electro house sometimes resembles tech house, but it can contain melodic elements as well as samples and synths.

Subgenres

Big room

In the early 2010s, a type of electro house known as Big room began to develop, especially gaining popularity through EDM-oriented events and festivals such as Tomorrowland. Big room then began to move away from the classification of the electro house sub-genre and began to develop as a genre in its own right. Big room compositions resemble Dutch house, often incorporating drops, minimalist percussion, regular beats, multi-level sub-bass beats, simple melodies and synth-based drops. The Big room track layout is very similar to that of a typical electro house track. Big room is considered a subgenre of electro house.

Complextro

Complextro is characterized by glitchy, intricate bass lines and textures created by abrupt instrument clipping in quick succession. The term, portmanteau from the words “complex” and “electro,” was coined by Porter Robinson to describe the sound of music he was making in 2010. He cited the sounds of video games or chiptunes as an influence on this style of music along with the analog synth music of the 1980s. Other artists of the genre include Adventure Club, Kill The Noise, Knife Party, Lazy Rich, The M Machine, Madon Mord Fustang, Virtual Riot and Wolfgang Gartner.

Dutch house

Dutch house, sometimes referred to as “dirty Dutch,” is a style of electro house that originated in the Netherlands and gained prominence by 2009. The genre is primarily defined by complex rhythms made from Latin American drum sets, less emphasis on bass lines and screechy, high-pitched lead synths. The sub-genre has been influenced by Detroit techno, hip-hop and other urban music styles.

Fidget house

Fidget house, or fidget house, is characterized by stripped-down vocal snippets, messy bass lines with bent pitch, and synthesized 4/4 beats. It contains influences from Chicago house, Detroit techno, Baltimore club, Kuduro, Pimba and hip-hop.

Trap music (EDM)

EDM trap is a style of electronic dance music (EDM) that originated in the mid-2000s and early 2010s. It combines elements of trap-music, an offshoot of southern hip-hop, with elements of EDM such as build-ups, dips and breakdowns. The diversity of performers stimulated the Trap movement in pop music and EDM.

Trap music (EDM) comes from techno, dub and Dutch House, as well as southern hip-hop in the late 2000s and early 2010s. This form of music can be simplified with three features: 1/3 hip-hop; 1/3 Dance Music (Hardstyle) and 1/3 dub .

In the second half of 2012, Trap electronic music becomes more popular and has a noticeable impact on the dance music scene. Musicians and fans initially referred to the music simply as “trap,” which led to the term “trap” being used to refer to music by both rappers and electronic musicians, contributing to confusion among followers of both trends. Instead of referring to one genre, the term “trap” was used to describe two separate genres: hip-hop and dance music. The new wave has been referred to by some as Trap EDM to distinguish it from rap. The terms “Trap-house” and “Trapstep” are often referred to by musicians to describe the musical structure of an individual track. Evolving Trap EDM has witnessed the inclusion and stylistic influence of dubstep, with Trap being called a replacement for dubstep in the mid-2010s.

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Trance appeared on the UK rave scene in the late 1980s and was further developed in Germany in the early 1990s before spreading throughout the rest of Europe as a more melodic offshoot of Techno and House. The genre was formed in the Indian state of Goa. Trance is mostly instrumental, although vocals can be mixed: usually sung from mezzo-soprano to soprano for the female voice, often without the traditional verse and chorus structure. The structured vocal form in trance music is at the heart of the vocal trance subgenre, which has been described as “great, soaring and operatic” and “ethereal female voices floating among synthesizers.” Trance is broken down into several sub-genres, including Acid Trance, Classic Trance, Hard Trance, Progressive Trance, and Uplifting Trance.

Goa trance

Goa Trance is a style of electronic music that originated in the late 1980s in Goa, India. Goa Trance often has quirky, humming bass lines similar to the techno minimalism of 21st century Psy Trance.

The music has its roots in Goa, which was the hippie capital of the late 1960s and early 1970s. Musical developments included elements of industrial music, new rhythm, electronic body music (EBM) and the spiritual culture of India. But the real style of Goa Trance did not emerge until the early 1990s. The music played was a mixture of styles defined as Techno, New Beat and various genres of “computer music”. For example: High Energy Disco without vocals, Acid House, Electro, Industrial Gothic, various House styles and Electronic Rock hybrids. The style was distributed on audio cassettes by traveling collectors and DJs. Electronic music was transcribed from tape to tape. Goa DJs were in an underground scene, unbeknownst to labels and the music industry.

Among the 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 Goa Gil. The style of music was eclectic based on instrumental dub tracks that evoked mystical, cosmic, psychedelic and existential moods.

By 1990-1991, Goa had become a popular party destination and was no longer a secretive scene: the scene became bigger. Goa-style parties have spread around the world since 1993. A lot of labels in different countries (UK, Australia, Japan, Germany) devoted themselves to the promotion of psychedelic electronic music, reflecting the spirit of Goa parties. The golden age and first wave of Goa Trance came between 1994 and 1997.

Sound

The original purpose of the music was to allow dancers to experience a state of collective bodily transcendence, similar to ancient shamanic dance rituals, through hypnotic, pulsating melodies and rhythms. Goa Trance electronic music has an energetic rhythm, often in the standard 4/4 dance size. The typical track usually builds up to a much more energetic rhythm in the second half, and then winds down fairly quickly towards the end. The tempo is usually in the 130-150 beats per minute range, although some tracks may have a tempo of only 110 or 160 beats per minute. Typically, 8-12 minute Goa Trance tracks focus on a steady build-up of energy, using changes in percussion patterns and more complex and layered synthesized parts as the music progresses to create a hypnotic feel.

The bass drum often has a low, dense sound with noticeable sub-bass frequencies. Electronic music very often includes many sound effects, which are often created by experimenting with synthesizers. The well known sound that originated with Goa trance and became much more common with its successor, which turned Goa trance into a musical genre known as Psytrance, has an organic “husky” sound (usually a sawtooth wave that goes through a resonant bandpass or high-pass filter).

Other music technologies used in Goa Trance include popular analog synthesizers such as the Roland TB-303, Roland Juno-60/106, Novation Bass-Station, Korg MS-10 and, in particular, the Roland SH-101. Hardware samplers made by Akai, Yamaha, and Ensoniq were also popular for sample storage and musical manipulation.

A popular element of Goa Trance is the use of vocal samples, often from science fiction movies. These samples mostly contain references to drugs, parapsychology, extraterrestrial life, existentialism, out-of-body experiences, dreams, science, time travel, spirituality, and mysterious and unconventional themes.

Not just music.

Goa parties are fun and have a certain visual aspect-the use of “flura” (fluorescent paint) is common on clothing and on jewelry such as tapestries. The graphics on these decorations usually relate to such themes as aliens, Hinduism, other religious (especially oriental) images, mushrooms (and other psychedelic art), shamanism and technology. Shrines with religious objects in front of DJs’ consoles are also a common decoration.

Psychedelic trance

Psychedelic trance, Psytrance or Psy is a subgenre of trance music characterized by arrangements of rhythms and layered melodies created on high tempo riffs.

Psytrance lies in the hardcore, underground field of the diverse trance spectrum. The genre offers diversity in terms of mood, tempo, and style. Some examples include Full On, Darkpsy, Forest, Minimal (Zenonesque), Hitech Psy, Progressive, Suomi, Psy Chill, Psycore, Psybient (fusion of psychedelic trance and ambient), Psybreaks or adapted tracks from other music genres.

Styles

Psy Trance has a distinctive, energetic sound that tends to accelerate unlike other forms of trance or techno music with tempos typically ranging from 135 to 150 beats per minute. But Psy Trance can reach 190 beats per minute, 200 beats per minute, 210 beats per minute and even 300 beats per minute. He uses a very distinctive bass rhythm that’s constant throughout the song and overlays the bass with different rhythms taken from funk, techno, acid house, and Eurodance. Different leads and rhythms usually change every eight bars. Layers are used to create a psychedelic effect. New musical ideas are added at regular intervals, often every four to eight bars. New layers will be added until a climax is reached, and then the song breaks down and begins a new rhythmic pattern over a constant bass line. Psychedelic trance tracks are usually six to ten minutes long.

Progressive

Progressive Trance is one of the most common themes at parties. It is usually played in the afternoon or on a second dance floor. Since the mid-2010s, its popularity has increased, to the point where it is often referred to as Psytrance. Examples include musicians from the Serbian label TesseracTstudio, such as Zyce, Talpa, E-Clip, Flegma, Shivatree, ILAI, Sideform, Manmachine, Vertex, Sonic Entity, Relativ, Arhetip. Other musicians in this sub-genre include Vini Vici, Astrix, Psycrain, Ritmo, Protonica and Major7.

Full-On

Full-On is a psychedelic trance style, which is particularly popular in Israel. This genre has high energy at peak moments, often having melodic, energetic and clear bass lines with a fast tempo (usually 140 to 148 beats per minute). There are several related styles that are derived from this style and are distinguished as varieties of Full-On: Twilight and Night Full-on (or Dark Full-on), with bolder and lower notes on the bass lines, Mourning (light, good and happy) and Uplifting.

Darkpsy

Darkpsy is a heavier sub-genre of the psychedelic trance spectrum with tempos around 148 beats per minute or more. Related styles include Psycore (fast and crazy), Hi-tech (upbeat and killer), and Forest (organic and earthy). Characterized by a darker, deeper and more eschatological background that leads to a deep meditation on death, night and transcendence, often with somber sounds and heavy bass lines.

Suomisaundi

Suomisaundi (also known as Spugedelic Trance or Freeform Psy) is an experimental genre that emerged in Finland in the mid-1990s. Popular artists and bands include Luomuhappo and Texas Faggott.

Breakbeat hardcore, jungle, drum and bass

By the early 1990s, a musical style had emerged on the rave scene that was different from American House and Techno. This music, like Hip-Hop before it, combined sampled syncopated rhythms and beats, samples from a wide range of different music genres and, sometimes, samples of dialogues and sounds from movies and TV programs. Compared to earlier styles of dance music such as house and techno, so-called “rave music” tended to emphasize bass sounds and use faster tempos or beats per minute. This sub-genre was known as Hardcore rave. Since 1991 some music tracks consisting of break rhythms with high tempos, with heavy bass lines and samples of old Jamaican music were called Jungle Techno. The genre was shaped by Jack Smooth and Basement Records. Later just Jungle, which became a separate genre, popular at raves and on pirate radio in Britain.

Breakbeat hardcore

Breakbeat Hardcore (also called Oldschool Rave Hardcore) is a genre of hardcore music from the late 1980s and early 1990s that combines four-quarter size beats with accented bass drumming and is associated with the British rave scene. The genre also includes jumbled samples of drum machines, upbeat piano and old-school sounds.

In its early years, the underground sound was widespread. Even without radio, many hybrid and regional styles made it to the top 20 charts. However, in the early 1990s, the three main divisions of this underground rave movement were House, Techno and New Beat, or Breakbeat hardcore. Around 1993 this scene fragmented and split into Jungle (which later gave birth to Drum’n’Dass) and Happy Hardcore. The Jungle sound was more focused on bass lines, often with jazzy undertones, while Happy Hardcore retained a rave sound, 4/4 drumming and happier piano elements. An almost independent evolution of styles hit “bleep and bass”, brutalist techno, hardcore jungle, pop-rave, UK garage and ragga-techno.

Jungle

Jungle is electronic music, which appeared in England in the early 1990s as part of the British rave scene. Coming out of Breakbeat hardcore, the style is characterized by fast beats (often 150-200 beats per minute), dub reggae bass lines, heavily syncopated drum loops, samples and synthesized effects. Long offset drums are common in old school Jungle. Jungle was a precursor to Drum’n’Dass.

Musicians create drum patterns by cutting funk and jazz compositions. Jungle performers use slow, deep bass lines and simple melodies found in dub, reggae and dancehall as well as elements of hip-hop and techno.

Drum and bass

Drum and bass (drum’n’bass, drum & bass, D&B, DnB or “D’n’B”) is electronic music characterized by fast beats (usually 160-180 beats per minute) with heavy bass and sub bass lines, sampled melodies and synths. The style grew out of Hardcore and Jungle in the UK in the early 1990s. D&B was mainly influenced by the original dub and Jamaican sound. Another feature of the style is the complex syncopation of the drums.

Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk (aka liquid drum and bass), jump up, drumfunk, funkstep, sambass and drill ‘n’ bass. Drum and bass has influenced many other genres such as hip hop, big beat, dubstep, house, trip-hop, ambient, techno, jazz, rock and pop. Drum and bass remains most popular in the UK, although it has conquered scenes all over the world in countries such as the United States, Germany, the Netherlands, South Africa, Belgium, New Zealand, Greece, Canada, Austria, the Czech Republic, Slovakia, Slovenia and Australia.

Rhythmic Composition.

Many drum and bass tracks contain more than one sampled beat and a technique of switching between two breaks after each measure. The relatively fast drum beat forms a canvas on which the musician can create tracks to suit almost any taste, and often forms just the background for other elements of the music. The syncopated beats remain the most distinctive element, as without them a high tempo 4/4 dance track would be classified as Techno or Gabber.

The intricate syncopation of a drum track is another aspect of creativity that musicians can spend a great deal of time on. It is generally accepted that the Amen break was the most common (and often considered the most powerful) beat in drum’n’bass.

Bass Elements.

This genre attaches great importance to the bass line. A deep sub-bass musical pattern that can be felt physically through powerful sound systems. Bass lines come from discrete sources or synthesizers. Bass played with a bass instrument, whether electric, acoustic or double bass, is less common, but examples can be found in the work of musicians such as Shapeshifter, Squarepusher, Pendulum, Roni Size and STS9.

Tempo

DnB tends to be in the 160-180 beats per minute range, unlike other breakbeat-based dance styles such as new-school break, which maintain a slower tempo around 130-140 beats per minute. During the development of drum’n’bass, there was a general trend of increasing tempo. The earliest forms of drum and bass in 1990/1991 reached 130 beats per minute and, reaching 155-165 beats per minute by 1993. Since 1996, drum and bass tempos have largely remained in the 170-180 range. More recently, some musicians have started releasing slower tempo tracks again (that is, in the 150-170 beats per minute range), but a tempo of 170 beats is still a hallmark of DnB.

A track that combines the same elements (beat beat, bass, production technique) as a drum’n’bass track, but with a slower tempo (say, 140 beats per minute) may not be drum’n’bass.

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Post-disco

The Post-disco era, resulting from the negative reaction to Disco caused by drug use at parties, which began in mid-to-late 1979 and which led to civil unrest, including one in Chicago known as Disco Demolition Night. Post-disco is an underground movement of “trimmed down” disco-inspired music, displaying a radically different sound. It began to emerge on the East Coast. This new scene originated primarily in New York City and was initially promoted by urban musicians who were responding to the over-commercialization and subsequent decline of disco culture. The sound that emerged from P-Funk is the electronic side of Disco, Dub and other genres. Much of the music created at the time was geared toward a narrow market. At that time, creativity began to shift to independent record labels, to lesser-known producers and club DJs. Other dance styles that became popular during the Post-disco era include Dance-Pop, Boogie, Electro, Hi-NRG, Italo Disco, House and Techno.

Electro

In the early 1980s Electro emerged as an amalgamation of Electro-pop, Funk and Boogie. Also called Eletro Funk or Electro Boogie, but later shortened to Electro. The pioneers of the style were Ryuichi Sakamoto, Afrika Bambaataa, Zapp, D.Train and Sinnamon. Early Hip-Hop and Rap combined with German and Japanese Electro Pop, such as Kraftwerk and Yellow Magic Orchestra, inspired the birth of Electro. As the electronic sound evolved, instruments such as bass and drums were replaced by synthesizers, most notably the iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks from 1980-1981, the 1982 Afrika Bambaataa track Planet Rock, and the 1982 Marvin Gaye song Sexual Healing. Planet Rock was influenced by the Yellow Magic Orchestra, which used Kraftwerk samples and drum beats created on the TR-808. Later that year Planet Rock was followed by another breakthrough electronic music, Nunk by Warp 9. In 1983, Hashim created an Electro Funk sound with Al-Naafyish (The Soul) that influenced Herbie Hancock, resulting in his hit Rockit that same year. The early 1980s was a major Electro peak. According to Steve Taylor, Planet Rock Afrika Bambaataa serves as “a model for all interesting dance music since then.”

House music

House was created by musicians from Chicago’s underground club culture in the early to mid-1980s. This electronic music, was a form of musical bricolage (transforming the meaning of objects or symbols through new uses or unconventional reworkings of unrelated things). Early House synthesized elements of different genres and styles from Disco, Italo Disco, Synthy Pop, Funk, Soul, Latino and Jazz. Although House showed some characteristics of Disco, it was more electronic, repetitive and minimalist. House is closely related to the more complex and even more minimalist Techno, which developed in parallel with Chicago House in Detroit.

The genre was first introduced by DJs and producers mainly from Chicago and New York such as Frankie Knuckles, Larry Levan, Ron Hardy, Jesse Saunders, Chip E., Steve “Silk” Hurley, Farley “Jackmaster” Funk, Mr. Fingers, Marshall Jefferson, Phuture and others. It was originally associated with the black LGBT American subculture, but eventually spread into the mainstream. It became a global phenomenon with numerous subgenres such as Acid House, Deep House, Garage House, Hip House, Ghetto House, Progressive House, Tech House, Electro House, Microhouse and many others.

House as electronic music has had and continues to have a huge influence on pop music in general and dance music in particular. It has been picked up by major pop artists such as Madonna, Kylie Minogue and Janet Jackson. Many artists have made and are making remixes for pop artists. Today, House remains popular on the radio and in clubs, while maintaining an underground position around the world.

Characteristics

In its most typical form of “classic” Chicago House, this genre is characterized by repetitive rhythms in 4/4 size. Electronic music includes bass drums, unconventional hi-hats, snare drums and/or claps at a tempo of 110 to 130 beats per minute. Synthesizer riffs, deep bass lines and often, but not necessarily, sung, spoken or sampled vocals. House drum beats are almost always synthesized by a drum machine, often a Roland TR-808, TR-909, or TR-707, rather than a live drummer. One classic sub-genre, Acid House, features noise-like sounds created by a Roland TB-303 bass synth.

Compositions are usually structured with an intro, a chorus, various verse sections, a middle, and an outro. Some compositions have no verse, with the vocal part coming from the chorus and repeating the same loop. House is often based on bass loops or bass lines created by a synthesizer, and/or taken from Disco, Soul or Funk songs.

Deep House

Deep house is a genre of house music that originated in the 1980s, originally combining elements of Chicago House with 1980s Jazz Funk and Soul notes. This style can evoke an acoustic feel.

Characteristics

Deep House electronic music is characterized by tempos typically between 110 and 125 beats per minute, deep muted bass lines (using a Roland Juno synthesizer), extensive use of percussive elements (using a Roland TR-909 drum machine), soft synth sounds (pads), use of advanced chord structures, ambient mixes and soulful vocals. The lyrics usually focus on positive, uplifting or moody blues. In the early compositions (1986-89), the influence of jazz music was most often evident in the use of more complex chords, which were used in many bars and gave the compositions a slightly dissonant feel. Sound qualities include soulful vocals (if vocals are present), slow and concentrated pleasant dissonant melodies, and smooth, stylish and chic performances. Female vocals are used more often than male vocals. Deep House rarely climaxes, but remains comfortable, hypnotic and with a relaxing sound.

Techno, acid house, rave

By 1988 House had become the most popular form of club music in Europe, and in the same year the development of Acid House became a major trend in the UK and Germany. A warehouse party subculture based on the British-African-Caribbean scene formed in the UK, which fueled underground afterparties that featured exclusively danceable electronic music. It was during this period that MDMA came to prominence as a club drug. The main British clubs were Back to Basics in Leeds, Leadmill and Music Factory in Sheffield and Haçienda in Manchester, where Mike Pickering and Graham Park’s Nude became a testing ground for American underground dance music. The success of House and Acid House paved the way for Detroit Techno, a style originally supported by house music clubs in Chicago, New York and Northern England. The term Techno first came into use after the release of a 10 Records / Virgin Records compilation called Techno: The Dance Sound of Detroit in 1988.

Techno is dance electronic music that originated in Detroit, USA in the mid to late 1980s. Techno is typically repetitive instrumental music, often created for use in a continuous DJ set. The basic size is 4/4, while the tempo usually ranges from 120 to 150 beats per minute. Electronic music involves musicians using electronic instruments such as drum machines, sequencers and synthesizers, as well as workstations with digital sound. Drum machines from the 1980s, such as the Roland TR-808 and TR-909, are highly regarded, and software emulations of such retro instruments are popular.

The style emerged from the fusion of House, Funk and Electro with the technopop of musicians such as Kraftwerk, Giorgio Moroder and the Yellow Magic Orchestra. To this should be added the influence of futuristic and sci-fi themes relevant to life in late capitalist society. Some performers see the style as an expression of technological spirituality. The work of Detroit techno-musicians in the mid-1980s Juan Atkins, Derrick May, and Kevin Sanderson (collectively known as Belleville Thre) is usually seen as the foundation on which a number of techno-genres were built.

As mentioned above, the term Techno emerged as the name of the 1988 compilation Techno! The New Dance Sound of Detroit. In the following years Techno electronic music spread to European countries, such as Germany and Great Britain, where such subgenres as Acid, Hardcore, Ambient and Dub Techno would develop. Music journalists and Techno fans tend to use the term selectively. Therefore, a clear distinction can be made between sometimes related, but often qualitatively different styles, such as Tech House and Trance.

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Electronic music or EDM

Also known as dance music, club music, or just dance music. Electronic music is a variety of beat-driven genres of electronic music, usually designed for nightclubs, raves, and festivals. EDM is created to be played by DJs who smoothly sound out samples of tracks, called mixes or sets, moving from one track to another.

In the late ’80s and early ’90s, after the emergence of raves, pirate radio stations and the growth of interest in club culture, electronic music or EDM became widely popular in Europe. In the U.S. at the time, there was no recognition of dance culture as such. Although Electro and Chicago House were highly influential in both Europe and the states, the mainstream media and the recording industry remained hostile to dance culture. The connection between EDM and drug culture was obvious. This led state and city governments to implement policies to prevent the spread of rave culture.

Subsequently, in the new millennium, EDM’s popularity increased worldwide. By the early 2010s, the American music industry and the music press had adopted the term “electronic dance music” and the acronym “EDM” in an attempt to rebrand American rave culture. Electronic music has become globally recognized. Although the music industry is trying to create a specific brand of EDM, the acronym is still used as a generic term for many genres including Dance-pop, House, Techno, Trance, Drum and Bass, Dubstep, Trap, Footwork and their sub-genres.

History

Club music abounds in different genres. EDM genres such as: House, Techno, Dance-pop, etc. have evolved over the past 40 years. A stylistic change in a particular EDM genre leads to the emergence of a so-called sub-genre. Hybridization, in which elements of two or more genres are combined, results in an entirely new EDM genre.

Background

Electronic dance music was created in the late 1960s by the band Silver Apples. Other early examples of music that influenced later electronic dance music include the Jamaican Dub of the late 1960s and early 1970s, the synthesized Disco music of Italian producer Giorgio Moroder of the late 1970s, and the Electro-pop of Kraftwerk and Yellow Magic Orchestra of the mid to late 1970s.

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But electronic music owes its appearance not a DJ and musicians, and the employees of various scientific laboratories, experimenting with sound waves.

The world of electronic music is in constant movement and its changes are directly connected with technical progress …..

The history of electronic music can be seen as a parallel of development of corresponding electronic musical instruments, devices and gadgets. On this basis, it can be argued that the electronic music in 2010 is 140 years old!

Progenitor of today’s electric rhythms can be considered the German physicist Hermann Ludwig Ferdinand von Helmholtz (1821-1894). In 1860 he published “SENSATIONS OF TONE” – practical conclusions and analysis of his own findings in the field of electromagnetic vibrations. The electrically controlled device he designed was called the Helmholtz Resonator.

List of landmark inventions that influenced the development of electronic music:

• 1870 – first electronic instruments using various sound generation techniques “Telharmonium and Chorelcello” (William Duddell and Elisha Grey, USA).
• 1876 – electromagnetic instrument with two octaves of grand piano keyboard and built-in loudspeaker “Musical Telegraph” by American scientist Elisha Gray.
• 1897 – The first full polyphonic electronic multi-octave instrument “Dynamophone/Telharmonium”, a huge design using 145 modified dynamos. A simplified version of these designs was later used in the famous Hammond organ. (Thaddeus Cahill, USA).
• 1888/1908 – electronic/electroacoustic instrument “Choralcello Electric Organ”, a virtually modified version of the “Telharmonium” project (Melvin Severy and his brother George B. Sinclair. USA).
• 1899 – incredible experiments with street gas lanterns, which served to create the “Singing Arc”, a device controlling voltage changes in the amplitude and frequency characteristics of sound (William Du Bois Duddell, France).
• 1913/1922/1931 – “Intonorumori, Rumorarmonio and Enharmonic Piano. Creations of the Italian futurist artist and musician Luigi Russolo (together with Marinetti and Piatti), whose technical and musical creations continue to influence many composers today. Among the outright “plagiarizers” of his work are Pierre Schaefer, John Cage and Edgar Varese.
• 1915 – The first electromusical instrument on vacuum tubes, the Audion Piano, working on the principle of frequency modulation (Lee De Forest, France).
• 1916 – the first electron-optical instrument “Optophonic Piano”, using the technique of painted glass disks, mirrors, lenses and filters (artist – futurist, musician Dmitry Baranov-Roshchin, Ukraine/France)
• 1921/1930 – Electrophon, Spheraphon, Partiturophon and Kaleidophon (German microtonal musician Joerg Mager).
• 1926 – the “Pianorad” (a modified “Staccatone”), a polyphonic polyphonic electric musical instrument still in use today (Clyde Finch, Radio News Lab, USA).
• 1931/1936 – “Radio Organ of a Trillion Tones”, used the technique of rotating photoelectric disks and rays of light. Later this principle was called “Polytone” (A.Lesti and F. Sammis, USA).
• 1935 – the legendary “Hammond” organ. Reduced and modified “Telharmonium” design (Laurens Hammond, USA).
• 1939/1940 – the first “Speech Synthesisers”, “The Vocoder” and “Voder” (physicist Homer Dudley, Bell Laboratories USA). Then there was Luciano Berio’s Studio for Electronic Music in Milan and the mighty Synclavier and Fairlight and so on.

The situation changed a bit after the emergence of several projects of fully electronic bands, which brought electronics closer to the mass listener.

A kind of elitism and a label “not for everyone” was almost always with this music and its numerous manifestations.

The ’70s were a springboard for psychedelic sentiments in musical culture in general. Illusory, futuristic worlds were preached by rock bands and electronic artists alike. Electronics began to be embodied in more accessible rhythms and harmonies: electro-pop projects appeared (Kraftwerk, Telex, Alphaville, Rockets, etc.).

In the mid-’70s, the music scene was shifting sharply in the direction of light, beautiful “disco,” which affected many serious genres as well.

Hundreds, thousands, maybe millions of homegrown computer composers saturated the World Wide Web with their often lowbrow, homemade creations, ranging from classical to urban electronica. Primitive and super-powerful musical computer programs allow anyone with little or no relevant skills today to feel like a creator.

Electronic music can be discovered at club concerts, not from home loudspeakers.

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