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Techno Music: Its Special Characteristics and Didactic Perspectives Author(S): Ansgar Jerrentrup Source: the World of Music, Vol

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Techno Music: Its Special Characteristics and Didactic Perspectives Author(S): Ansgar Jerrentrup Source: the World of Music, Vol VWB - Verlag für Wissenschaft und Bildung Techno Music: Its Special Characteristics and Didactic Perspectives Author(s): Ansgar Jerrentrup Source: The World of Music, Vol. 42, No. 1, Gothic, Metal, Rap, and Rave - Youth Culture and Its Educational Dimensions (2000), pp. 65-82 Published by: VWB - Verlag für Wissenschaft und Bildung Stable URL: https://www.jstor.org/stable/41699314 Accessed: 07-06-2019 04:01 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms VWB - Verlag für Wissenschaft und Bildung is collaborating with JSTOR to digitize, preserve and extend access to The World of Music This content downloaded from 129.78.139.29 on Fri, 07 Jun 2019 04:01:36 UTC All use subject to https://about.jstor.org/terms the world of music 42(1)- 2000: 65-82 Techno Music: Its Special Characteristics and Didactic Perspectives Ansgar Jerrentrup Abstract First I will examine here the characteristics typical of the music and general scene of techno. Then the didactic perspectives and concrete instructional approaches of this music will be introduced. 1. On the Contemporary State of Techno Music In the past years things have quieted down considerably around the topic of techno music, compared to the near-panic provoked by this music in the first half of the 1990s, when it still seemed new. The excitement has died down, and it seems as though techno music has gone beyond its climax of popularity. In the 1980s, techno developed quite independently from the dominant offerings of hit parade, main- stream pop and rock, or even as a contrasting alternative to such music; it hardly took on influences from other pop music styles. This changed during the mid-1990s, as stylistic "crossing over" became more significant. Since then, "technoids" can be found increasingly as rock, hip hop, EBM (electric body music) or electro pieces, even reaching beyond to styles that are even more distant, such as heavy metal (e.g., Prodigy, Nine Inch Nails, Ethel, Oompf!, Cubanate). The borders seem to have been smashed open, as the the earlier isolation and independence have also decreased. In the 1980s and the early 1990s an abundance of stylistic variations or substyles spread over half the world, including some that can be scarcely recognized as sub- styles. But since the mid-1990s, hardly any new or noteworthy substyles have been developed, with the exception of drum 'n' bass (D'n'B). The once fashionable, high- ly promoted "big beat" is hardly mentioned anymore, and "Goa trance" can be re- garded more as a commercial ploy than as a real stylistic concept- not exactly un- typical for the pop scene. So-called "big bass" seems at this time not to be taking off. In addition, it should also be mentioned that many no longer count D'n'B and big beat as substyles of techno, but rather as belonging to its general sphere. This is par- ticularly the case when, for example, drum tracks sound like mechanical percussion, This content downloaded from 129.78.139.29 on Fri, 07 Jun 2019 04:01:36 UTC All use subject to https://about.jstor.org/terms 66 • the world of music 42(1)- 2000 or other tracks are added in which similarly mechanical instruments are used not only as spots of sound but also as decisive parts, such as in D'n'B. Incidentally, this style avoids the stable 4/4 beat ("Four to the Floor") so typical of techno and substitutes it with such a lively and frequently changing drum beat that at first the dancers in the discotheques felt confused rather than stimulated to dance. (Interesting, this chang- ing beat can only be produced with the help of technical machines or computers and not by a percussionist, although it sounds human-made.) But this unusual style has not grown in the last two years. Thus, there are many indications that techno music has lost its broader creative power. Articles in German music magazines speak of the disappearance of this music and scene, in spite of the increasing popularity of the internationally known Love Pa- rade in Berlin- or perhaps precisely because of this. In other words, the times are over when the music was so "randy" (to use a German slang expression) that only a few understood it and many hated it. (It should be mentioned that musics from the pop music camp also contributed to this denigration.) In the same way, the times are over when techno gatherings took place in spartanly furnished cellar rooms where you were more or less with others of your kind, and when raves were improvised at some bizarre and strange, sometimes half-legal, place where you could celebrate yourself as being part of the "underground." Until the early 1990s, everything about techno and house music was new, exciting and stimulating in the Federal Republic of Germany. One reason for this was because- particularly in Berlin- the authorities were always searching for places where drugs were being consumed and pursuing hidden cellar discos like cats after mice. Signs of the decline or retreat of techno have been perceivable for a while in Ger- many: 1. Several formerly independent, small techno labels (techno independent labels) have joined large international record and distribution firms (major companies), and cooperation between techno labels and extra-musical commerce is conspic- uous. Large music companies organize DJ competitions; cigarette companies sponsor tours with techno musicians; travel bureaus organize trips to raves. Techno magazines introduce the newest creations related to lifestyle and dress code, including underwear, and record stores also offer these magazines. 2. Techno music has become almost a part of our everyday listening environment. It already is played in boutiques, hotel reception halls, warehouses and eleva- tors. (These are usually popularized mix versions of older pieces.) 3. Television and popular magazines hardly treat the scene anymore after having practically devoured it in the first half of the 1990s, the exception being the still widely covered Love Parade in Berlin. 4. Techno has become particularly popularized on the dance floors; show pro- grams for a mass public have been furnished with such music. 5. Recordings with techno music have been already available for a while not only in stores for a particular market niche but also in the large warehouse stores, and This content downloaded from 129.78.139.29 on Fri, 07 Jun 2019 04:01:36 UTC All use subject to https://about.jstor.org/terms Jerrentrup. Techno Music • 67 even in the medium-sized stores. In the past years the two largest chain stores also have offered this music in maxi-vinyl format. 6. The flair of being special, exclusive, and also underground, as still exuded at the first special houses and raves, is long gone. Techno discotheques have been established around the world and no longer draw only a select crowds of insid- ers. 7. In this techno scene as well, stardom has set in. A few "great artists" are mar- keted worldwide by distribution companies and agencies. Others who initiated and inspired this scene, but who do not want to be a part of this new turn in events, have withdrawn. Many of the vague ideas about a techno community have disappeared or have been turned around to the exact opposite. 8. According to this author's observations, more techno labels have dissolved as have been newly founded. Other labels that until now have only dealt with techno music are now broadening their musical supply to neighboring styles. It may be that in the past ten years little has changed outwardly in the creation and manifestation of this music, but ambitious techno musicians are still searching for unusual sounds and subtle processes that remain, in their own way, bound to the pri- macy of dance stimulation. As sound manifestations and in the way these sounds are made into an arrangement, these products reach a respectable level for techno and pop music, rising above the mass of uniform and hardly inspired techno music. But such artistic and aesthetic efforts remain individual; there are few signs of a creative movement that would stimulate many musicians to initiate similar activities. Typical for music of such ambitions is that it is hardly played in the usual discotheques. In- stead, it can be heard in smaller specialized houses and at special techno events, as organized occasionally by their creators or by special fans (e.g., the "Battery Park" Festivals of 1998 and 1999 in Cologne). Whether such unusual, minimalistic-tech- noid sound structures can provide the breeding grounds for substantial further devel- opment-who knows? As far as creative power goes, it would be possible. But it is doubtful whether techno youths would see it this way. 2. On Techno Music and Its Ambience Whoever approaches techno music should know that it is fundamentally produced from vinyl. Only in this form can the DJ do something with the music so that it can be used in a discotheque (see below). It is also hardly available in the usual record stores in Germany, which passes over this kind of music. Only small specialty music stores offer LPs or maxis with current techno productions that are being played in discos. When CDs with techno music are for sale, it is above all those which: a) enjoy mass popularity in the discotheques, usually due to lesser originality; b) are thus easy to play elsewhere and; c) they are recordings expected by the larger companies to have reasonable com- mercial success.
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