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Unlocking the groove: Rhythm, meter...

Butler, Mark J.

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Unlocking the groove: Rhythm, meter, and musical design in electronic dance music.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Unlocking the groove: Rhythm, meter, and musical design in electronic dance music./
作者:	Butler, Mark J.
面頁冊數:	427 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1892.
Contained By:	Dissertation Abstracts International64-06A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3094278

Unlocking the groove: Rhythm, meter, and musical design in electronic dance music.
Butler, Mark J.

Unlocking the groove: Rhythm, meter, and musical design in electronic dance music. - 427 p.

Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1892.

Thesis (Ph.D.)--Indiana University, 2003.

Rhythmic and metrical characteristics are at the forefront of musical experience in electronic dance music, a broad category of popular music encompassing styles such as techno, house, trance, and drum 'n' bass. This dissertation explores the rhythmic and metrical organization of electronic dance music from the measure to the complete DJ set, uncovering recurring principles of design that shape this repertory at multiple structural levels. The methodology employed integrates musical analysis, current theories of rhythm and meter, and ethnographic fieldwork. Nine complete tracks are analyzed and transcribed. The voices of DJs, producers, and fans provide important musical details as well as a broad sociocultural grounding.Subjects--Topical Terms:

516178
Music.

Unlocking the groove: Rhythm, meter, and musical design in electronic dance music.
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245 1 0 $a Unlocking the groove: Rhythm, meter, and musical design in electronic dance music.
300 $a 427 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1892.
500 $a Director: Marianne Kielian-Gilbert.
502 $a Thesis (Ph.D.)--Indiana University, 2003.
520 $a Rhythmic and metrical characteristics are at the forefront of musical experience in electronic dance music, a broad category of popular music encompassing styles such as techno, house, trance, and drum 'n' bass. This dissertation explores the rhythmic and metrical organization of electronic dance music from the measure to the complete DJ set, uncovering recurring principles of design that shape this repertory at multiple structural levels. The methodology employed integrates musical analysis, current theories of rhythm and meter, and ethnographic fieldwork. Nine complete tracks are analyzed and transcribed. The voices of DJs, producers, and fans provide important musical details as well as a broad sociocultural grounding.
520 $a In both large- and small-scale organization, electronic dance music tends toward duple patterning, but within these constraints it creates metrical diversity through asymmetrical rhythms, displaced patterns, and conflicting rhythmic groupings. Rhythm and meter interact closely with texture: textural processes almost always have metrical ramifications, and independent textural layers frequently lead to metrical dissonance. The processive dimensions of music are foregrounded through a step-by-step approach to the construction of meter and the gradual presentation of metrical dissonances.
520 $a Rhythmic and metrical experience in electronic dance music often involves ambiguity: the beginning point of a pattern may be unclear, and the absence of layers of motion may undermine the clarity of metrical perception. Formal organization is modular and open-ended. Three types of repeating entities—loops (short rhythm patterns), sequences (multimeasure instrumental combinations), and records—function as building blocks that can be combined and juxtaposed with great flexibility. While each constructive element governs a different level of musical structure, all are based upon cyclical repetition rather than linear progression.
520 $a The modular design of electronic dance music both reflects and supports the interactive nature of its creation and reception. Dancers interact individually with the music and communally with each other and the DJ. The DJ uses fixed materials within a flexible performance that develops in response to a dancing audience. Though technology is central to this experience, it does not dominate it; rather, the creative and performative contexts of electronic dance music reveal an ongoing negotiation between humans and technology.*
520 $a *This dissertation is multimedia (contains text and other applications not available in printed format). The CD requires the following system application: Windows MediaPlayer or RealPlayer.
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790 1 0 $a Kielian-Gilbert, Marianne, $e advisor
790 $a 0093
791 $a Ph.D.
792 $a 2003
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