Think: Analysi Analysis Form: La Buenaventura By Cultura
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On the program are solo and collaborative performances by Terry Riley and the Kronos Quartet, veritable pioneers in American experimental music. Also included is Mike Einziger, experimental composer and founder of the rock band Incubus. Given the sheer size of the place, the characteristic bass-drum beat of EDM, four-on-the-floor, acquires seismic proportions. They banged on their music stands and stools, and gradually the chaos morphed into a patterned rhythm.
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But how? In this article, I investigate the descriptive potential of the categories involved in sound object analysis with regard to EDM, in the hope of suggesting a specific and telling vocabulary for this music and the Analysiz it affords. As an embodied form of dialogue, Analysi Analysis Form: La Buenaventura By Cultura does not compromise, but rather complements, the co-inhabitance and co-creation of EDM that happens on the dance floor. Thus, listening and dancing are comparable and valuable avenues of engagement with EDM.
Perspectives 7Many authors feel that, outside clubs and raves, EDM is an aesthetic failure see for instance Gaillot, ; Taylor, ; Ferreira, Analysi Analysis Form: La Buenaventura By Cultura Similarly, Anqlysis Taylor takes psychedelic trance music itself to be reducible to the gatherings and drugs that often but not always attend this music.
Thus, many analyses of EDM confront aspects of the genre other than its relationship to listening. Michel Gaillot, Simon ReynoldsTimothy Taylor, Brian Wilsonand Robert Strachan discuss the critical social perspectives or quasi-religious escapism conveyed by EDM in various sociocultural contexts.
With several of the aforementioned authors, Matthew Collin links the characteristics of EDM to the effects of hallucinogens. Butler identifies the formal, rhythmic, and textural structures typical of EDM. Joanna Demers interrogates all experimental electronic music from aesthetic, ontological, and epistemological perspectives.
EDM poses a daunting challenge to discourse and description — to language. It is one thing to listen intently to an EDM track and enjoy it, and know within oneself, without saying a word, why one is enjoying Analyis. Moreover, he link that such discussion characteristically relies on metaphorical descriptors.
This description is affirmative and exciting, replete with strong action verbs. And indeed, Demers suggests that metaphor is inevitable in descriptions of electronic music.
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He thus devotes his analysis to what some artists consider a subgenre of EDM that is meant only for listening and contemplation, not for dancing. Admittedly, it is possible to do many other things while listening to EDM, but it is the immersion in the intense experience of nonstop dancing, more than anything else, which defines its specificity, its operative nexus. The failure to grasp this elementary principle has led many to take EDM for what it is not Thus the identities of a track and its creator relentlessly vary Ibid. Sound Object Analysis 14Regarding most musical genres, listeners can describe what they hear by pointing to melodies, harmonies, basslines, and rhythmic patterns, and by naming timbres according to their instrumental sources.
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But in many EDM tracks, harmony is absent, timbres unnamable — while melodic, bass, and percussive tracks may be difficult to differentiate. An isolated chord marks every other downbeat; but for the duration of the track, the pitches of this chord remain unchanged.
Typically we listen for what sounds signify, and assess how they contribute to meaningful structures. Sound object identification and description constitute what I call sound object analysis. This method has several advantages. Moreover, sound objects are purely audible, not notated. Thus sound object analysis enables discourse on sonic details that score-based analysis consigns to the margins, and is appropriate to experimental, electronic, and improvised genres that are independent of notation. Sound object analysis takes sound as its starting point instead of fixed, abstract systems, a priori conditions that many listeners cannot even detect, such as twelve-tone rows and large-scale tonal forms.]
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