The data collection is primarily focused on participant descriptions of the mediations of dance floors, incorporating sonic structures, chemical effects, environmental arrangements and partygoer interactions. The in-depth, qualitative exploration of the electronic dance experience carried out in this project relies on the results of ethnographic fieldwork including participant observation, focus groups and individual interviews. This thesis explores this argument through the comparative research of the techno and psytrance scenes in Melbourne, Australia, emphasising the necessity of careful differentiation between EDM genres and cultures and addressing the translocal influences of local scenes. This analytical obstacle can be overcome by acknowledging that this apparent void comes from a mixture of mediations that are applied in particular ways within the various genres and scenes. However, due to the irrational nature of the dance experience, researchers tend to describe the all important dance floor vibe as a black box that short-circuits further analysis. Prior research recognises the dance floor as the ‘ground zero’ of electronic dance music (EDM) cultures. I also examine how electronic dance music reflects and reinforces imperialist desires (the white male producer’s use of orgasmic loops regenerated from the vocals of black/Latina female divas and racialized queers in ‘sexy’ dance tracks), Romantic notions (the widespread assumption that electronic music producers are divinely-inspired auteurs the techno/house fan’s elitist admiration of musicians that remain true to their “art” by remaining in unprofitable underground markets and the music critic’s celebration of sampling and remixing as high art), and modernist concerns (the DJ’s obsession with mastery, the intensely-policed borders between high/low genres, the producer’s preoccupation with technological progress). My work explores how electronic dance music employs “postmodern” technologies in the service of Enlightenment discourses (such as its tendency to cast itself as the universal language of the Information Age or its Cartesian delineation of the music listening audience into those that ‘feed the head’ and those that serve the hedonist flesh). In addition to considering the positive aspects of digitally-crafted music, this project demystifies the utopian rhetoric emanating from dance music aficionados/promoters/producers. By tuning into the contentious dialogues between the makers, shapers, and buyers of computerized dance music, I hope to illustrate the multifarious cultural functions a mass-produced sonic commodity can have. To grasp the possibilities and problematics of digitally-created pop music, I will draw upon a multiplicity of discourses generated by electronic musicians, disc jockeys (DJs), remixers, producers, club/rave promoters, techno/house fans, club-goers, ravers, popular music historians, cultural critics, music industry insiders, dance press, multinational major labels, independent imprints, and regional retailers. This dissertation examines electronic dance music: its transnational production and dissemination, its techno-universalist rhetoric, its racial and sexual politics, its Eurocentric mythologies and liberal humanist ideologies.
0 kommentar(er)
