Electronic Music 101 -House
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40 yorumları 22 konu sayisi Joined: Aug 2021
08-18-2021, 05:37 PM -
After a long break, we are together again with “house”, the new episode of our Electronic Music 101 series. Frankie Knuckles, who had a great influence on the emergence and shaping of house, which emerged in the 1980s and is one of the mainstream electronic music genres today, defined it as "DISCO'S REVENGE". In order for us to understand this apt definition and therefore to grasp the house genre, we must first go back to the 1970s, the disco or discotheque period as it is known.

At the end of the 1960s and the beginning of the 70s, disco's impact on America became visibly important. Especially when we came to the late 70s, disco, which became a commercially important commodity and increased in popularity, began to be highly appreciated due to this popularity and faced many allegations, racist and homophobic discourses. The disco mostly made up of the African-American gay and Hispanic community, could not stand up to these accusations over time and had to go underground again. Disco's biggest blow was the “Disco Demolition Night” held on July 12, 1979. Steve Dahl, a rock DJ, was one of those dissatisfied with the rise of disco. The fact that the radio, which used to work for rock music, wanted to follow the mainstream, so he turned to house music, and Dahl lost his job because of this may be part of his hatred. Being an important part of the team that organized Disco Demolition Night, Dahl was constantly promoting this event on the radio where he was working, encouraging people to come to the match and bring their disco records. In Chicago, USA, during the match between the Chicago White Sox and Detroit Tigers baseball clubs, the show, which took place at halftime, reached its zenith with the destruction of hundreds of disco records on the field. Then, the match was postponed due to the spectators attacking the field and the uprising.

With Disco going underground again, it began to transform more freely and forcefully. After this transformation, an heir named House appeared. We can think of this transformation in the light of the Russian discourse theorist and semiotician Bakhtin's concept of carnivalesque. Accordingly, Bakhtin said the following about carnival culture: “Although it appears in many forms depending on time and culture, and sometimes invisible, carnival culture can become sterile or even degenerate, but it does not disappear completely”.
Disco, and therefore house, displays an inclusive attitude due to the P.L.U.R (Peace, Love, Unity, Respect) thought and dance floor concept that makes up its culture. Even if P.L.U.R is not mentioned much in today's electronic music scene, it has now permeated the culture. Individuals entering this world base these four pillars on which electronic music culture rises. Dance floor, on the other hand, offers everyone the opportunity to exist alone and on their own. You don't have to dance with someone, you don't have to dance with the opposite sex, you don't have to dress in the prevailing nightlife culture of the time. The only thing to remember is to be yourself. On the dance floor, both the doctor and the student are individuals who only want to dance, apart from all their external status. The dance floor is a liberated zone without hierarchical ranks, norms, and prohibitions of everyday life. Finally, in the electronic music scene, apart from the communication with conventional words, the communication established with the body and dance can be considered as the current reflection of Bakhtin's definition of "a new mode of communication between man and man", which he explained in the concept of a carnival. Another important benefit of the dance floor concept is the feeling of being together despite being as individuals. Anthropologists explain this with the term communitas. Each individual is unique on the dance floor, but the sum of the synergies created by each person on the floor creates the dance floor itself. The dance floor is not a region drawn with thick borders, but an area shaped by the wishes of the individuals who compose it. At the core of house music, dance floor, P.L.U.R, explains the terms communitas and the essence of the genre beautifully in Chuck Roberts' 1987 vocal recording for his friend Tony Lewis. The acapella recording named “My House” was used frequently in house music with different names such as “Jack Had A Groove” in the next 30 years.

40 yorumları 22 konu sayisi Joined: Aug 2021
08-18-2021, 05:38 PM -
There were two engines of nightlife in 1980s America. One of them is techno, which I mentioned in our previous article, which showed itself in Detroit, and the other is the house that started to bloom in Chicago. Frankie Knuckles and Ron Hardy, one of the leading DJs of the genre, created different faces in the works by remixing the tracks, using a drum machine and synthesizer. They presented these new products to the listeners in clubs such as The Warehouse and The Music Box in Chicago and changed their tracks for the next performance according to the reactions. The Warehouse club has come to stand at such a key point for the genre that it is said that the name of the genre comes from it.
The house, which we first saw in Chicago, started to become popular all over the world and to create new subgenres since the 80s. The tribal house when drum-dominated rhythms are used, funky house when upbeat and lyrics focused, minimal house when experimental and simplified melodies are used, those remaining in the gray area between techno and house are called tech-house and Eurohouse, acid house, deep house, UK house. Many sub-genres were formed, including melodic progressive house, ghetto house. With the subspecies formed, the house was not only closed in America and Europe but also spread all over the world.. In South Africa, it merged with house hip-hop and a new hybrid genre called kwaito emerged.

Another important figure of the genre, such as Frankie Knuckles, is Paul Johnson. His piece “Welcome to the Warehouse” stands out as one of the important examples of the new Chicago house or ghetto house genre in the 90s. The artist gained worldwide fame with his song "Get Get Down". The company released nearly 300 albums and singles between 1985-1999 when it was open. The record company, which was closed in 1999, became active again in 2013.
Technically, the infrastructure of house music; consists of the off-beat hi-hat, snare drum, clap, and bass drum set in an eight-bar, repeated 4/4 rhythm pattern. Parts generally hover around 110-130 BPM. Another characteristic structure of the genre is “four on the floor”. It is formed by announcing the kick drum for each beat of a 4-beat measure. The first-period house songs have a structure where drum machines such as Roland TR-808 and TR-909 are used a lot, besides, the powerful and robotic sound of the bass synthesizer like the Roland TB-303 is almost always noticeable, and strong gospel and soul vocals are heard. he had. Unlike Techno's industrial soundscape, the house creates a much more organic universe. The vocal melody that he takes to the center is surrounded by electronic instruments such as synthesizers and drum machines, as well as violin, cello, bongo, etc. as well as acoustic instrument samplers. Britannica explained the house type as follows; “... House combined the symphonic nature of 1970s disco and the diva vocals of the soul with the cold futurism of synthesizer-driven Eurodisco.”

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