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Electronic music (late-20th century developments)
Cultural origins	1950s to 1980s, Europe, Japan and the United States
Typical instruments	Electronic
Derivative forms	Alternative dance post-rock
Subgenres
Hi-NRG Synth-pop Electro Trip hop house Big beat Jungle Drum and bass Downtempo trance Techno
Fusion genres
Electro house Electronicore Folktronica Indietronica Electronic rock Electropop Electropunk Indie electronic Neue Deutsche Härte Nu-jazz
Other topics
Computer music electro electronic musical instrument glitch Industrial IDM list of record labels

In the 1970s, electronic music began to have a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines and turntables, through the emergence of genres such as disco, krautrock, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers and the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 became popular and a group of musicians and music merchants developed the Musical Instrument Digital Interface (MIDI).

As the technology developed, it became possible for individuals or smaller groups to produce electronic songs and recordings in smaller studios, even in project studios. At the same time, computers facilitated the use of music "samples" and "loops" as construction kits for sonic compositions. This led to a period of creative experimentation and the development of new forms. Composers often create alternate versions of their compositions, known as "remixes"; this practice also occurs in related musical forms such as ambient, jungle, and electronic dance music. Wide ranges of influences, both sonic and compositional, are combined in electronica recordings.

All-electronic music is known under many names, including "electronica," an umbrella term to describe electronic music and electronic dance music developments of the late 20th century, including drone, ambient, industrial dance, house, techno, trance, trip hop, jungle, drum and bass, et al.

Terminology

The U.S.-based AllMusic categorizes "electronica" as a top-level genre, stating that it includes danceable grooves, as well as music for headphones and chillout areas. In other parts of the world, especially in the UK, electronica is also a broad term, but is associated with non-dance-oriented music, including relatively experimental styles of downtempo electronic music.

In North America, in the late 1990s, the mainstream music industry adopted and to some extent manufactured "electronica" as an umbrella term encompassing electronic music and electronic dance music styles such as techno, big beat, drum and bass, trip hop, downtempo, and ambient, regardless of whether it was curated by indie labels catering to the "underground" nightclub and rave scenes, or licensed by major labels and marketed to mainstream audiences as a commercially viable alternative to alternative rock music.

Prehistory

Post-punk

Developing further with artists who rejected conventional rock instrumentation and structure in favor of dance styles and the synthesizer. art pop's traditions would be continued in the late 1970s and 1980s through styles such as post-punk and synthpop as well as the British New Romantic scene.

Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature. The early post-punk vanguard was represented by groups including Siouxsie and the Banshees, Wire, Public Image Ltd, the Pop Group, Cabaret Voltaire, Magazine, Pere Ubu, Joy Division, Talking Heads, Devo, Gang of Four, the Slits, the Cure, and the Fall. The movement was closely related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, and industrial music. By the mid-1980s, post-punk had dissipated, but it provided a foundation for the New Pop movement and the later alternative and independent genres.

In the late 1960s bands such as Silver Apples created electronic music that was intended to be danced to. Other early examples of music that influenced later electronic dance music include Jamaican dub music during the late 1960s to 1970s, the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s, and the electro-pop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.

Synthesizer pop music

Early synthesizer pop pioneers included Japanese group Yellow Magic Orchestra, and British bands Ultravox, the Human League and Berlin Blondes. The Human League used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including late-1970s debutants like Japan and Orchestral Manoeuvres in the Dark, and newcomers such as Depeche Mode and Eurythmics. In Japan, Yellow Magic Orchestra's success opened the way for synth-pop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts (including Duran Duran and Spandau Ballet) in the United States.

The use of digital sampling and looping in popular music was pioneered by Japanese electronic music band Yellow Magic Orchestra (YMO). Their approach to sampling was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology. "Computer Game/Firecracker" (1978) interpolated a Martin Denny melody, and sampled Space Invaders video game sounds. Technodelic (1981) introduced the use of digital sampling in popular music, as the first album consisting of mostly samples and loops. The album was produced using Toshiba-EMI's LMD-649 digital PCM sampler, which engineer Kenji Murata custom-built for YMO. The LMD-649 was also used for sampling by other Japanese synthpop artists in the early 1980s, including YMO-associated acts such as Chiemi Manabe and Logic System.

Electronic rock

Electronic rock is a music genre that involves a combination of rock music and electronic music, featuring instruments typically found within both genres. It originates from the late 1960s, when rock bands such as the United States of America, White Noise, and Gong began incorporating electronic instrumentation into rock music. Other early acts to blend synthesizers and musique concrète's tape music techniques with rock instrumentation included Silver Apples, Fifty Foot Hose, Syrinx, Lothar and the Hand People, Beaver & Krause and Tonto's Expanding Head Band. Many such 1960s acts blended psychedelic rock with avant-garde academic or underground influences.

Post-disco

During the the backlash against "disco" which began in the mid to late 1979, which in the United States lead to civil unrest and a riot in Chicago known as the Disco Demolition Night, an underground movement of "stripped-down" disco inspired music featuring "radically different sounds" started to emerge on the East Coast. This new scene was seen primarily in the New York metropolitan area and was initially led by the urban contemporary artists that were responding to the over-commercialisation and subsequent demise of disco culture. The sound that emerged originated from P-Funk the electronic side of disco, dub music, and other genres. Much of the music produced during this time was, like disco, catering to a singles-driven market. At this time creative control started shifting to independent record companies, less established producers, and club DJs. Other dance styles that began to become popular during the post-disco era include dance-pop, boogie, electro, Hi-NRG, Italo disco, house, and techno.

Dance-pop

In the beginning of the 1980s, disco was an anathema to the mainstream pop. According to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma, chutzpah, and sex appeal. Erlewine claimed that Madonna "launched dance-pop" and set the standard for the genre for the next two decades. As the primary songwriter on her self-titled debut album and a co-producer by her third record, Madonna's insistence on being involved in all creative aspects of her work was highly unusual for a female dance-pop vocalist at the time. The staff of Vice magazine stated that her debut album "drew the blueprint for future dance-pop."

Dance-pop is generally uptempo music intended for nightclubs with the intention of being danceable but also suitable for contemporary hit radio. Developing from a combination of dance and pop with influences of disco, post-disco and synth-pop, it is generally characterised by strong beats with easy, uncomplicated song structures which are generally more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes. The genre, on the whole, tends to be producer-driven, despite some notable exceptions.

Developments: 1970s

Hi-NRG

In 1977, Giorgio Moroder and Pete Bellotte produced "I Feel Love" for Donna Summer. It became the first well-known disco hit to have a completely synthesized backing track, and influential on synthpop, house music, and techno.

Developments: 1980s

Electro

In the early 1980s, electro (short for "electro-funk") emerged as a fusion of electro-pop, funk, and boogie. Also called electro-funk or electro-boogie, but later shortened to electro, cited pioneers include Ryuichi Sakamoto, Afrika Bambaataa, Zapp, D.Train, and Sinnamon. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk and Yellow Magic Orchestra inspired the birth of electro. As the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808 and the Yamaha DX7. Early uses of the TR-808 include several Yellow Magic Orchestra tracks in 1980–1981, the 1982 track "Planet Rock" by Afrika Bambaataa, and the 1982 song "Sexual Healing" by Marvin Gaye. In 1982, producer Arthur Baker, with Afrika Bambaataa, released the seminal "Planet Rock", which was influenced by Yellow Magic Orchestra, used Kraftwerk samples, and had drum beats supplied by the TR-808. Planet Rock was followed later that year by another breakthrough electro record, "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 single "Rockit" the same year. The early 1980s were electro's mainstream peak. According to author Steve Taylor, Afrika Bambaataa's Planet Rock serves as a "template for all interesting dance music since".

House and techno

After the success of house music in a number of European countries, techno grew in popularity in the UK, Germany, Belgium and the Netherlands. In Europe regional variants quickly evolved and by the early 1990s techno subgenres such as acid, hardcore, ambient, and dub techno had developed. Music journalists and fans of EDM are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance.

The term "techno" originated in Germany in the early 1980s, but it was established as a name for a specific genre of electronic dance music produced in Detroit following the UK release of the 1988 compilation Techno! The New Dance Sound of Detroit. Detroit techno resulted from the melding of synthpop by artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra with African American styles such as house, electro, and funk. Added to this is the influence of futuristic and science-fiction themes relevant to life in American late capitalist society, with Alvin Toffler's book The Third Wave a notable point of reference. The music produced in the mid to late 1980s by Juan Atkins, Derrick May, and Kevin Saunderson (collectively known as the Belleville Three), along with Eddie Fowlkes, Blake Baxter and James Pennington is viewed as the first wave of techno from Detroit.

Developments: 1990s

Trance

Trance is a genre of electronic music that emerged from the British new-age music scene and the early 1990s German techno and hardcore scenes. At the same time trance music was developing in Europe, the genre was also gathering a following in the Indian state of Goa.

Trance is mostly instrumental, although vocals can be mixed in: typically they are performed by mezzo-soprano to soprano female soloists, often without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, which has been described as "grand, soaring, and operatic" and "ethereal female leads floating amongst the synths". However, male singers, such as Jonathan Mendelsohn, are also featured.

IDM

IDM is a style of electronic music originating in the early 1990s, regarded as "cerebral" and better suited to home listening than dancing. Emerging from electronic and rave music styles such as techno, acid house, ambient music, and breakbeat, IDM tended to rely upon individualistic experimentation rather than adhering to characteristics associated with specific genres. Prominent artists associated with the genre include Aphex Twin, μ-Ziq, the Black Dog, the Orb, the Future Sound of London, Autechre, Luke Vibert, Squarepusher, Venetian Snares, and Boards of Canada.

Big beat

Around the mid-1990s, with the success of the big beat-sound exemplified by The Chemical Brothers and The Prodigy in the UK, and spurred by the attention from mainstream artists, including Madonna in her collaboration with William Orbit on her album Ray of Light and Australian singer music of this period began to be produced with a higher budget, increased technical quality, and with more layers than most other forms of dance music, since it was backed by major record labels and MTV as the "next big thing".

According to a 1997 Billboard article, "the union of the club community and independent labels" provided the experimental and trend-setting environment in which electronica acts developed and eventually reached the mainstream. It cites American labels such as Astralwerks (The Chemical Brothers, Fatboy Slim, The Future Sound of London, Fluke), Moonshine (DJ Keoki), Sims, and City of Angels (The Crystal Method) for playing a significant role in discovering and marketing artists who became popularized in the electronica scene.

Developments:2000s

Popular artists

Non-exhaustive list of musical acts:

• Björk (Post and Homogenic)
• Madonna (Ray of Light)
• Dannii Minogue with her 1997 album Girl,
• Goldfrapp
• Autechre, and Aphex Twin (IDM, downtempo, downbeat, trip hop)
• The Prodigy, Fatboy Slim, Daft Punk, The Chemical Brothers, The Crystal Method, Moby, Underworld, and Faithless.

See also

• Timeline of electronic music genres
• Electronic music genres
  • Electronics in rock music
  • Electronics in pop music
  • Electronics in folk music
  • Punk electronics
  • Jazz electronics
• Electronic dance music

References

1. Vladimir Bogdanov; Jason Ankeny (2001). All music guide to electronica: the definitive guide to electronic music (4th ed.). Backbeat Books. p. 564. ISBN 0-87930-628-9.
2. "Electronica lives and dies by its grooves, fat synthesizer patches, and fliter sweeps.". Page 376, DirectX Audio Exposed: Interactive Audio Development, Todd Fay, Wordware Publishing, 2003, ISBN 1-55622-288-2
3. "This loop slicing technique is common to the electronica genre and allows a live drum feel with added flexibility and variation." Page 380, DirectX Audio Exposed: Interactive Audio Development, Todd Fay, Wordware Publishing, 2003, ISBN 1-55622-288-2
4. "Electronically produced music is part of the mainstream of popular culture. Musical concepts that were once considered radical - the use of environmental sounds, ambient music, turntable music, digital sampling, computer music, the electronic modification of acoustic sounds, and music made from fragments of speech-have now been subsumed by many kinds of popular music. Record store genres including new age, rap, hip-hop, electronica, techno, jazz, and popular song all rely heavily on production values and techniques that originated with classic electronic music." Page 1, Electronic and Experimental Music: Pioneers in Technology and Composition, Thomas B. Holmes, Routledge Music/Songbooks, 2002, ISBN 0-415-93643-8
5. "Electronica and punk have a definite similarity: They both totally prescribe to a DIY aesthetic. We both tried to work within the constructs of the traditional music business, but the system didn't get us - so we found a way to do it for ourselves, before it became affordable.", quote from artist BT, page 45, Wired: Musicians' Home Studios : Tools & Techniques of the Musical Mavericks, Megan Perry, Backbeat Books Music/Songbooks 2004, ISBN 0-87930-794-3
6. " For example, composers often render more than one version of their own compositions. This practice is not unique to the mod scene, of course, and occurs commonly in dance club music and related forms (such as ambient, jungle, etc.—all broadly designated 'electronica')." Page 48, Music and Technoculture, Rene T. A. Lysloff, Tandem Library Books, 2003, ISBN 0-613-91250-0
7. Pages 233 & 242, Popular Music in France from Chanson to Techno: Culture, Identity and Society , By Steve Cannon, Hugh Dauncey, Ashgate Publishing, Ltd. 2003, ISBN 0-7546-0849-2
8. Sellin, Yara (1999). San Francisco Style: Rave Music Performance Practice and Analysis. University of California, p. 71. Quote: "lectronica is not a school of composition or genre of music; it's a blanket term as broad as, say "classical," used to describe hundreds of developing movements from all over, including drone, ambient, trip hop, hardcore, "
9. Campbell, Michael (2012). "Electronica and Rap". Popular Music in America: The Beat Goes On (4th ed.). Cengage Learning. ISBN 978-0840029768.
10. Verderosa, Tony (2002). The Techno Primer: The Essential Reference for Loop-Based Music Styles. Hal Leonard Music/Songbooks. p. 28. ISBN 0-634-01788-8. Electronica is a broad term used to describe the emergence of electronic music that is geared for listening instead of strictly for dancing.
11. "'Reaching back to grab the grooves of '70s disco/funk and the gadgets of electronic composition, Electronica soon became a whole new entity in and of itself, spinning off new sounds and subgenres with no end in sight two decades down the pike. Its beginnings came in the post-disco environment of Chicago/New York and Detroit, the cities who spawned house and techno (respectively) during the 1980s. Later in that decade, club-goers in Britain latched onto the fusion of mechanical and sensual, and returned the favor to hungry Americans with new styles like jungle/drum'n'bass and trip hop. Though most all early electronica was danceable, by the beginning of the '90s, producers were also making music for the headphones and chill-out areas as well, resulting in dozens of stylistic fusions like ambient-house, experimental techno, tech-house, electro-techno, etc. Typical for the many styles gathered under the umbrella was a focus on danceable grooves, very loose song structure (if any), and, in many producers, a relentless desire to find a new sound no matter how tepid the results." Electronica Genre at AllMusic
12. ^ Flick, Larry (May 24, 1997). "Dancing to the beat of an indie drum". Billboard. Vol. 109, no. 21. pp. 70–71. ISSN 0006-2510.
13. Kim Cascone (Winter 2002). "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". Computer Music Journal. 24 (4). MIT Press. The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th century music who they feel best describe its lineage.
14. Norris, Chris (April 21, 1997). "Recycling the Future". New York: 64–65. With record sales slumping and alternative rock presumed over, the music industry is famously desperate for a new movement to replace its languishing grunge product. And so its gaze has fixed on a vital and international scene of knob-twiddling musicians and colorfully garbed clubgoers—a scene that, when it began in Detroit discos ten years ago, was called techno. If all goes according to marketing plan, 1997 will be the year "electronica" replaces "grunge" as linguistic plague, MTV buzz, ad soundtrack, and runway garb. The music has been freshly installed in Microsoft commercials, in the soundtrack to Hollywood's recycled action-hero pic The Saint, and in MTV's newest, hourlong all-electronica program, Amp.
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18. For verification of these groups as part of the original post-punk vanguard see Heylin 2007, Siouxsie & the Banshees, Magazine and PiL, Wire harvnb error: no target: CITEREFHeylin2007 (help); Reynolds 2013, p. 210, "... the 'post-punk vanguard'—overtly political groups like Gang of Four, Au Pairs, Pop Group ..." harvnb error: no target: CITEREFReynolds2013 (help); Kootnikoff 2010, p. 30, " bands like Joy Division, Gang of Four, and the Fall were hugely influential" harvnb error: no target: CITEREFKootnikoff2010 (help); Cavanagh 2015, pp. 192–193, Gang of Four, Cabaret Voltaire, The Cure, PiL, Throbbing Gristle, Joy Division harvnb error: no target: CITEREFCavanagh2015 (help); Bogdanov, Woodstra & Erlewine 2002, p. 1337, Pere Ubu, Talking Heads harvnb error: no target: CITEREFBogdanovWoodstraErlewine2002 (help); Cateforis 2011, p. 26, Devo, Throbbing Gristle, Siouxsie and the Banshees, the Slits, Wire harvnb error: no target: CITEREFCateforis2011 (help)
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23. ^ Rockin'f, March 1982, pages 140–141
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33. Smay, David & Cooper, Kim (2001). Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears: "... think about Stock-Aitken-Waterman and Kylie Minogue. Dance pop, that's what they call it now — Post-Disco, post-new wave and incorporating elements of both." Feral House: Publisher, p. 327. ISBN 0-922915-69-5.
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43. Short excerpt from special on German "Tele 5" from Dec. 8, 1988 on YouTubeThe show is called "Tanzhouse" hosted by a young Fred Kogel. It includes footage from Hamburg's "Front" with Boris Dlugosch, Kemal Kurum's "Opera House" and the "Prinzenbar".
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48. Brewster 2006:354
49. Reynolds 1999:71. Detroit's music had hitherto reached British ears as a subset of Chicago house; Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre.
50. Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4 ed.). Backbeat Books. p. 582. ISBN 0-87930-628-9. Retrieved May 26, 2011. Typically, that birth is traced to the early '80s and the emaciated inner-city of Detroit, where figures such as Juan Atkins, Derrick May, and Kevin Saunderson, among others, fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space-race electric funk of George Clinton, the optimistic futurism of Alvin Toffler's The Third Wave (from which the music derived its name), and the emerging electro sound elsewhere being explored by Soul Sonic Force, the Jonzun Crew, Man Parrish, "Pretty" Tony Butler, and LA's Wrecking Cru.
51. Rietveld 1998:125
52. Sicko 1999:28
53. Having grown up with the latter-day effects of Fordism, the Detroit techno musicians read futurologist Alvin Toffler's soundbite predictions for change – 'blip culture', 'the intelligent environment', 'the infosphere', 'de-massification of the media de-massifies our minds', 'the techno rebels', 'appropriated technologies' – accorded with some, though not all, of their own intuitions, Toop, D. (1995), Ocean of Sound, Serpent's Tail, (p. 215).
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62. "The electronic listening music of the nineties is a prime example of an art form derived from and stimulated by countless influences. Partisan analyses of this music claim a baffling variety of prime sources (Detroit techno, New York electro + Chicago acid, Eno + Bowie, Cage + Reich, Gary Numan + Tangerine Dream) but this is beside the point. To claim ascendancy of one source over another is to deny the labyrinthine entwinements of culture: rooted in political history + the development of science + technology, yet tilting at the boundaries of society + language." Toop, David, in the Artificial Intelligence II sleeve notes Archived 7 July 2011 at the Wayback Machine.
63. Toop, D. (1995),Ocean of Sound, Serpent's Tail, pp. 215-216. (ISBN 978-1-85242-743-6).
64. "…the label ‘IDM’ (for avant-garde, ‘intelligent dance music’) seems to be based more on an association with individualistic experimentation than on a particular set of musical characteristics." Butler, M.J., Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Indiana University Press, 2006, (p. 80).
65. ^ "Billboard: Madonna Hung Out on the Radio". Billboard. VNU Media. July 2006.
66. "Electronica reached new heights within the culture of rave and techno music in the 1990s." Page 185, Music and Technoculture, Rene T. A. Lysloff, Tandem Library Books, 2003, ISBN 0-613-91250-0
67. Girl (Dannii Minogue album)
68. "Crystal Method...grew from an obscure club-culture duo to one of the most recognizable acts in electronica, ...", page 90, Wired: Musicians' Home Studios : Tools & Techniques of the Musical Mavericks, Megan Perry, Backbeat Books Music/Songbooks 2004, ISBN 0-87930-794-3

Literature

• Cummins, James. 2008. Ambrosia: About a Culture – An Investigation of Electronica Music and Party Culture. Toronto, ON: Clark-Nova Books. ISBN 978-0-9784892-1-2

• Electronica
• 1970s in music
• 1980s in music
• 1990s in music
• 2000s in music
• 2010s in music
• 2020s in music
• Popular music