Techno, House et musiques électroniques populaires aux États-Unis
In assessing the American character of a musical genre that has only become part of American popular culture in the past twenty years, one is likely to be misled. Certainly, there is a general agreement on the role played by black artists in Chicago, New York and Detroit. But that does not settle th...
保存先:
| 第一著者: | |
|---|---|
| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2005
|
| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | In assessing the American character of a musical genre that has only become part of American popular culture in the past twenty years, one is likely to be misled. Certainly, there is a general agreement on the role played by black artists in Chicago, New York and Detroit. But that does not settle the question of the European influences that have gone into the making of this tradition. Techno and house would not have achieved their present fame and status without the subsequent extension of the genre in Europe. The very notion of establishing itself as a genre goes against the “living spirit” of the techno “scene.” Indeed, the ideology that drives it insists on transcending differences and overcoming boundaries, a priority that expresses itself in an aesthetics of collage, sampling and mixs. For those who support these claims, defining the origins of techno and setting it down on the map can only arrest the movement that animates it. |
|---|