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This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Thesis Declaration I, Tami Gadir, certify that the thesis has been composed by me, that the work is my own, and that the work has not been submitted for any other degree or professional qualification. Signed: Tami Gadir 1 Musical Meaning and Social Significance Techno Triggers for Dancing Tami Gadir Doctor of Philosophy University of Edinburgh 2014 2 Contents Abstract .................................................................................................................................... 4 Acknowledgements .................................................................................................................. 5 Guide to Reading Thesis with Audio and Video ....................................................................... 6 Part I: Introduction ................................................................................................................... 7 Chapter 1 – Defining Dance Music ....................................................................................... 7 Chapter 2 – Methodology and Literature Overview .......................................................... 16 Part II: Dancing Triggers ......................................................................................................... 52 Chapter 3 – Low Frequencies, Repetition and Contrast .................................................... 54 Chapter 4 – Sound .............................................................................................................. 69 Chapter 5 – Melody and the Voice .................................................................................... 91 Chapter 6 – Genre, Familiarity and Nostalgia .................................................................. 115 Chapter 7 – Intoxication ................................................................................................... 142 Part III: Philosophies of Techno ........................................................................................... 158 Chapter 8 – Old and New ................................................................................................. 159 Chapter 9 – Underground and Commercial ..................................................................... 179 Chapter 10 – Community and the Individual ................................................................... 198 Chapter 11 – Mind and Body ........................................................................................... 215 Part IV: Closing ..................................................................................................................... 238 Chapter 12 – Techno Politics ........................................................................................... 238 Chapter 13 – Conclusion .................................................................................................. 246 Appendix A: technical notes ................................................................................................ 252 Appendix B: list of interviewees .......................................................................................... 253 Bibliography ......................................................................................................................... 255 Discography .......................................................................................................................... 274 List of Audio Excerpts ........................................................................................................... 280 List of Video Excerpts ........................................................................................................... 285 3 Abstract Electronically-produced dance music has only recently achieved as much visibility in the global pop music industry as ‘live’ or instrumental pop. Yet the fascination of cultural scholars and sociologists with dance music predates its rise as a product of mass culture. Much of this interest derives from early associations of dance music with marginalised groups and oppositional ideologies. It therefore follows that many explorations of dance music focus on the ways in which techno, house and practices of ‘raving’ are expressions of dissent. As a result, the cultural aspects of dance music are necessarily the focus of these studies, with few musicologists addressing musical features and fewer dance scholars considering the specifics of dance movement. What is more, these differing approaches tend to compete rather than collaborate. In my thesis, I seek to address this divergence and to draw attention to the ways that contrasting disciplinary approaches can complement and enrich the study of any music. I use contemporary techno club nights in Edinburgh as a focal point for addressing musical and social triggers for dancing. I explore subjective experiences of dancing, DJing and producing by interspersing a review of existing literature with my own ethnographic research and musical analysis. Subsequently, I consider how the philosophies of techno are embodied within the movements and postures of the dancing body and social interaction. Participants in techno settings adopt strikingly similar attitudes to the institutionalised classical music world, despite the fundamental differences between the practices of composition, performance and listening. Moreover, these attitudes are repeatedly disseminated by participants, journalists and scholars. My enquiry into social and musical dancing triggers leads me to question the perpetuation of these ideas. 4 Acknowledgements This PhD thesis has involved the collaboration and cooperation of others to whom I would like to extend my thanks. Prof. Simon Frith and Dr. Annette Davison, thank you for your combined wisdom, pragmatism and constructive feedback as my supervisors. Andrew Cowan and Brian Hamilton, there would be no website, audio or video without your time, effort, technical know-how and willingness to experiment. Adam Behr and Sean Williams, I appreciate your advice and reassurance at the time it was most needed. Richard Worth, thanks for lending me your sharp musical ears and eyes. Joe Stroud, I am grateful for your helpful feedback at the early stages of writing. To all my participants, thank you for sharing this part of your leisure and professional time with me. Gabriel, Tommy, Hailey, Polly and the Davidson family, DD and Malcolm, I wish to particularly express my gratitude to you for your ongoing generosity and enthusiastic support of my nosiness. I am indebted to the early members and co- founders of the Edinburgh University Dance Music Society and the club night promoters and venue managers who were willing to work with us. Irene Noy and Fiona Hanley – thanks to our inspiring conversations and collaborations, I was able to approach my thesis with fresh eyes. Credit is due to my childhood friends: Gyana Mergelian for kick-starting my obsession with dance music and Leora Mucsnik for being there the first time I danced to it. To my immediate family, Raya, Simon and Jonathan Gadir, your unquestioning support of every one of my pursuits is the fundamental ingredient of this project. In addition, all the thinking aloud (critically and laterally) and debating of ideas at home was imperative to the development of my own interests. I consider it a great privilege to have grown up with such academic role models. Lastly, to Jake Poole: you listened, provided me with a critical perspective and were present during the majority of my field work. Thank you for uprooting your previous life and moving sixteen thousand, eight-hundred and sixty-five kilometres across the world with me so that I could do this. 5 Guide to Reading Thesis with Audio and Video The audio and video selections are integral to this thesis. I therefore recommend that good quality speakers or headphones be used for listening to audio excerpts if possible. Lower frequencies tend to be lost in smaller speakers such as those of laptops and small earphones. I offer a number of formats for audio and video files so that they may be accessed as conveniently as possible. In the case of technological failure or breakdown of any of the formats, the files may still be accessed any of the ways listed below. The formats are as follows: 1. Online links in electronic thesis. This format is designed for reading the electronic (PDF) version of the thesis with an internet connection. Click anywhere on the text that indicates an audio or video file, for example, on ‘Audio 1’. The default internet browser should open and stream the relevant file automatically. Some browser settings may prevent streaming playback. In these cases, changing the default browser may help,