Electronic dance music is a set of percussive
electronic music genres produced primarily
for dance-based entertainment environments,
such as nightclubs. The music is largely created
for use by disc jockeys and is produced for
use in DJ mixes, in which the DJ uses a synchronized
segue, or "mix", to progress from one recording
to the next.
In 2010, the acronym "EDM" was adopted by
the American music industry and music press
as a buzzword to describe the increasingly
commercial US electronic dance music scene.
History
Beginnings
Most dance-oriented recorded music before
the mid-1970s was played almost entirely on
acoustic and electric instruments—e.g.,
with electric bass and guitar, live drums,
horns, and acoustic orchestras. Since the
mid-1960s, however, electronic instruments
were increasingly utilized in popular music,
as demonstrated by the occasional use of organs
and Mellotrons in pop, rock, gospel and soul
jazz music. Also, in the late 1960s and early
1970s, a Moog synthesizer fad in pop music
yielded novelty hits like the rhythmic "Popcorn"
and various synthesized interpretations of
classical music. Similarly, in late 1974,
the group Kraftwerk used only electronic instrumentation
on the gentle, widely distributed Autobahn
album, a stepping stone in the group's shift
from krautrock to the dance-pop style of its
later albums.
Electronic instruments finally became a feature
of dance music in the second half of the 1970s,
when recordings in the blossoming disco genre
began to shift away from traditional orchestration
and increasingly embraced sounds created by
synthesizers and drum machines. Notable examples
include the 1977 collaboration between producer
Giorgio Moroder and vocalist Donna Summer
on the song "I Feel Love", a groundbreaking
dance/discothèque hit with no traditional
instruments. In 1979, the pair collaborated
again on Donna Summer's highest-selling album,
Bad Girls, which incorporated similar production
techniques. The trend continued into the 1980s.
Post-disco era
During the early 1980s, as the popularity
of disco music waned and major U.S. record
labels and producers abandoned the sound,
post-disco styles were developed by a mixed
community of DJs and producers. Relative to
disco much of this music displayed an increasingly
electronic character and it featured "radically
different sounds" to the former. The music
tended to be technology-centric, keyboard-ladden,
melodic, with funk-oriented bass lines, synth
riffs, dub music aesthetics, and background
jazzy or blues-y piano layers. Strings and
brass section synthesizer sounds were preferred
to the lush orchestration heard on many disco
tracks.
The use of electronic timbres, took root in
the various post-disco club scenes, yielding
occasional radio hits. Although not as strongly
influential as later genres, these styles
were mainstays in the 1980s club culture.
They include the hazy, studio effects-heavy
sound of dub; the strongly new wave-based,
upbeat fusion genre synthpop; the syncopated
hybrid electro-funk; electro's Latin-pop cousin
freestyle; the dark, rigid sounds of industrial
dance music, and an unnamed category of commercial,
danceable pop and R&B.
Partly to help satisfy the dwindling market
for disco-based dance music, some 1980s disco
DJs breathed new life into past hits via custom
remixes and re-edits on reel-to-reel tape,
and then took advantage of newly-affordable
electronic instruments and became record producers
themselves, combining disco with other contemporary
dance music styles. Without major-label backing,
their music evolved quickly to satisfy audiences
in isolated regional club scenes, yielding,
for example, Italo disco in Italy, electronic
body music in Belgium and Germany, house music
in Chicago and New York, techno in Detroit,
and New Beat in Belgium.
All these new genres and sounds were possible
at the time because of the commercial availability
of MIDI. MIDI, which stands for Musical Instrument
Digital Interface, became commercially available
in 1983. It allowed for Synthesizers, Drum
Machines, Samplers, and Sequencers to communicate
with each other digitally. All studios even
smaller ones and independent producers could
now afford to create new musicsounds with
out using any live instruments. MIDI is still
used today by many producers and artist, even
in non EDM genres.
Acid house and Rave
By 1988, house music had exploded in the UK
and Germany with acid house becoming increasingly
popular. There was also a long established
warehouse party subculture based around the
sound system scene. In 1988, the music played
at warehouse parties was predominantly house.
That same year, the Balearic party vibe associated
with Ibiza based DJ Alfredo Fiorito was transported
to London, when Danny Rampling and Paul Oakenfold
opened the clubs Shoom and Spectrum, respectively.
Both night spots quickly became synonymous
with acid house, and it was during this period
that the use of MDMA, as a party drug, started
to gain prominence. Other important UK clubs
at this time included Back to Basics in Leeds,
Sheffield's Leadmill and Music Factory, and
in Manchester The Haçienda, where Mike Pickering
and Graeme Park's Friday night spot, Nude,
was an important proving ground for American
underground dance music. Acid house party
fever escalated in London and Manchester,
and it quickly became a cultural phenomenon.
MDMA-fueled club goers, faced with 2 A.M.
closing hours, sought refuge in the warehouse
party scene that ran all night. To escape
the attention of the press and the authorities,
this after-hours activity quickly went underground.
Within a year, however, up to 10,000 people
at a time were attending the first commercially
organized mass parties, called raves, and
a media storm ensued.
The success of house and acid house paved
the way for Detroit Techno, a style that was
initially supported by a handful of house
music clubs in Chicago, New York, and Northern
England, with Detroit clubs catching up later.
According to British DJ Mark Moore it was
Derrick May's "Strings of Life" that eased
London club-goers into acceptance of house,
with Moore stating that: "I was on a mission
because most people hated house music and
it was all rare groove and hip hop...I'd play
Strings of Life at the Mud Club and clear
the floor. Three weeks later you could see
pockets of people come onto the floor, dancing
to it and going crazy – and this was without
ecstasy."
Popularization
As alternatives to alcohol-fueled, "meat market"
nightclubs, the warehouse party, acid house,
rave and outdoor festival scenes of the late
1980s and early 1990s were havens and proving
grounds for the latest trends in electronic
dance music, especially house music and its
ever-more hypnotic, synthetic offspring techno
and trance, some of which fed back into mainstream
clubs and radio. These scattered scenes, along
with a bustling secondhand market for electronic
instruments and turntables, had a strong democratizing
effect, offering amateur, "bedroom" DJs the
opportunity to become proficient and popular
as both music players and producers, regardless
of the whims of the professional music and
club industries.
By the mid-1990s, acts like The Prodigy and
The Chemical Brothers began to get noticed
by listeners, music critics, and mainstream
music producers. This would lead mainstream
performers to work more and more with EDM
artists, and mainstream music producers to
experiment with more electronic sounds. MTV
produced and aired 2 TV shows that played
EDM, Amp and The Grind. Both played and aired
a large amount of EDM each episode. They also
released albums with EDM on them named after
those shows.
North American commercialization of EDM
Initially, electronic dance music achieved
limited popular exposure in America when it
was marketed as "electronica" during the mid
to late 1990s. At that time, a wave of dance
music acts from the UK, including The Prodigy,
The Chemical Brothers, Fatboy Slim and Underworld,
had been prematurely associated with an "American
electronica revolution." But, instead of EDM
finding wider mainstream success, it was relegated
to the margins of the industry. Despite the
domestic music media interest in "electronica"
during the latter half of the 1990s, American
house and techno producers continued to travel
abroad to establish their careers as DJs and
producers.
By the mid-2000s, a number of factors led
to an increased prominence for dance acts
in North America that was larger than previously
observed. Daft Punk's performance at the 2006
Coachella Festival, which featured the introduction
of a unique pyramid-shaped stage design and
lighting rig, influenced what Spin described
as an "arms race" for visual effects in electronic
music. Spin also considered the act to be
a "tipping point" for EDM, as the appearance
fueled nostalgia of the electronica era, and
introduced the duo to a new generation of
"rock kids" in attendance. In 2006 R&B artist,
Missy Elliott featured material from Cybotron's
1983 electro release Clear on "Lose Control",
resulting in a Grammy Award nomination for
American techno producer Juan Atkins, whose
writing credit appeared on the song.
In 2009, French house musician David Guetta
began to gain prominence in mainstream pop
music after the 2009 release of "When Love
Takes Over", which was internationally popular
on both pop and dance music charts. The success
of the song led to further collaborations
with other pop and hip-hop acts, such as Akon
and The Black Eyed Peas. His collaboration
with the latter, "I Gotta Feeling", was a
major success for both The Black Eyed Peas
and Guetta—in the U.S., the song achieved
sales of 249,000 downloads and debuted on
the Billboard Hot 100 at number two, behind
their previous single "Boom Boom Pow". The
song eventually reached number 1 on July 30,
2009, and Billboard magazine reported that
the song, along with "Boom Boom Pow," helped
the group maintain a 17-week run at the top
of the Hot 100, the longest time period achieved
by a single, duo or group.
The increased prominence of EDM was also fueled
by concerts and festivals, such as Electric
Daisy Carnival, that placed an increased emphasis
on visual experiences, fashion, and the DJs
themselves, who began to attain celebrity-like
statuses. Websites such as YouTube and SoundCloud
also helped fuel an increased interest in
house and other types of electronic music,
such as electro house and dubstep—both of
which had also developed a hard rock-influenced
sound popularized by producers such as Excision,
Knife Party, Rusko and, most prominently,
American dubstep/electro producer Skrillex.
In 2011 Spin declared the start of a "new
rave generation," led by names such as Guetta,
Canadian producer Deadmau5, and Skrillex,
that was followed by a new wave of mainstream
consumers. Elements of EDM also began to emerge
in songs by mainstream artists, as collaborations
occurred with artists such as Afrojack and
Calvin Harris. EDM producers and DJs also
began experiencing success playing club shows
in U.S. cities such as Las Vegas; at the time,
Diplo argued that promoters could generate
higher profits from DJs over other acts, stating
that "a band plays, it's 45 minutes; DJs can
play for four hours. Rock bands—there's
a few headliner dudes that can play 3,000-4,000-capacity
venues, but DJs play the same venues, they
turn the crowd over two times, people buy
drinks all night long at higher prices—it's
a win-win." Meanwhile, other acts gaining
popularity during this period include Avicii
and Swedish House Mafia, with the latter selling
out New York City's Madison Square Garden
in December 2011. In November 2013, Music
Trades magazine called EDM the fastest growing
genre on the planet.
In addition to the growth of EDM through live
events and the Internet, radio and television
were also credited with helping to increase
mainstream attention: analysts noted that
sales of Calvin Harris's "Feel So Close" and
Swedish House Mafia's "Don't You Worry Child"
dramatically increased after they began receiving
contemporary hit radio airplay. EDM songs
and artists have been featured in television
commercials and programs, while some artists
have produced more pop-oriented songs to make
their work more accessible to a mainstream
audience.
Corporate investment in EDM
In accordance with the significant growth
in mainstream popularity, EDM became increasingly
attractive to outside investors, with some
comparing it to the dot-com boom of the late-1990s.
The beginning of corporate consolidation in
the EDM industry began in 2012; especially
in terms of live events. In June 2012, media
executive Robert F. X. Sillerman founded SFX
Entertainment and announced his plan to invest
US$1 billion for the acquisition of EDM-related
properties. His purchases included a number
of regional promoters and festivals, along
with two nightclub operators in Miami, U.S.,
and Beatport, an EDM-oriented online music
store.
Live Nation also acquired two major EDM promoters:
Cream Holdings and Hard Events; CEO Michael
Rapino believed that EDM was the new "rock
'n' roll" of the generation. Advertisers have
also increasingly associated themselves with
the EDM industry; for example, alcoholic beverage
companies such as Heineken and Anheuser-Busch
have maintained marketing relationships with
the Ultra Music Festival and SFX, respectively.
Heineken also incorporated Dutch producers,
such as Armin van Buuren and Tiesto, into
their marketing campaigns. Avicii's manager
Ash Pournouri compared the increasingly commercial
EDM industry to the transformation and commercialization
of hip hop, which occurred in the early 2000s,
arguing that the "corporate world" was beginning
to "catch on" to EDM. Pournouri further stated
that "you have an estimated $4.5 billion generated
by this music every year. That turns a lot
of heads, and that’s without the potential
of commercializing it even more, which will
happen."
On December 20, 2012, WHBA, a Boston radio
station owned by Clear Channel Communications
transitioned from an Adult Hits format to
a dance radio format, under the moniker "Evolution
101.7," and claimed to be "the first real
EDM station in the country;" the station soon
changed its call letters to WEDX. WEDX is
an extension of Clear Channel's iHeartRadio
"Evolution", an internet radio channel. Clear
Channel also hired prominent DJ and BBC Radio
1 personality Pete Tong to produce content
for the station. However, the era of the station's
dance format ended 18 months later when, on
June 13, 2014, WEDX was changed to a country
music format. In 2014 Clear Channel partnered
with the aforementioned SFX, in a deal that
will see the broadcaster produce EDM-related
programming and concert events in collaboration
with SFX.
Criticism of commercial EDM
Despite the growing mainstream acceptance
of EDM, a number of producers and DJs, including
Carl Cox, Steve Lawler, and Markus Schulz,
have raised concerns that the perceived over-commercialization
of dance music has impacted the "art" of DJing.
Cox sees the "press-play" approach of a new
generation of EDM DJs as not being representative
of what he calls the "DJ ethos". Writing in
Mixmag DJ Tim Sheridan questioned whether
or not EDM was responsible for affecting the
art of traditional DJing. Sheridan contends
that the emergence of "push-button DJs" who
use auto-sync functions and pre-recorded sets
featuring "obvious hits" rather than a diverse
selection of music has lead to a situation
where "the spectacle, money and the showbiz
[had] overtaken all—even notions of honesty."
Some house producers have openly admitted
that "commercial" EDM required further differentiation
and creativity. Avicii stated that there was
"no longevity" in the majority of EDM. Deadmau5
has also criticized the homogenization of
EDM, stating that the music he hears "all
sounds the same"—he emphasized his diversification
into other genres, such as techno and, in
2014, he released a techno song under the
moniker "testpilot" for Richie Hawtin's label,
Plus 8. At Ultra, where he filled in for Avicii,
Deadmau5 also played an edited version of
Martin Garrix's song "Animals" remixed to
the melody of "Old McDonald Had a Farm". Following
the performance, deadmau5 was also criticized
on Twitter by fellow musician Tiësto for
"sarcastically" mixing Avicii's "Levels" with
his own "Ghosts 'n' Stuff", asking in response
"How does one play a track sarcastically?
"Am I supposed to sneer while hitting the
sync button? Or is that ironic?”
In May 2014, the NBC comedy series Saturday
Night Live parodied the stereotypes of EDM
culture through a Digital Short entitled "When
Will the Bass Drop?". The short featured a
DJ named Davvincii—who is seen performing
a number of unrelated tasks instead of DJing,
and triggering a drop with a giant "BASS"
button—causing the heads of attendees to
explode.
Terminology
The term "electronic dance music" was used
in America as early as 1985, although the
term "dance music" didn't catch on as a blanket
term for the genre(s) until the second half
of the 1990s, when it was embraced by the
American music industry with their "Dance"
charts, as well as the consistent use of the
term "dance music" in reference to artists
in reviews. In July 1995 Nervous Records and
Project X magazine held their first award
ceremony titled "Electronic Dance Music Awards."
During the mid-late 2000s, the further establishment
of "dance music" began to occur in the USA
and the genre entered the nation's commercial
sphere—it was around this time that the
term "EDM" surfaced online. Writing in The
Guardian journalist Simon Reynolds noted that
music industry adoption of the term EDM was
part of a drive to re-brand "rave culture"
in the USA; an attempt to "draw line between
today's EDM and 90s rave". While "EDM" has
become the common blanket term for dance music
genres in the USA, in many parts of Europe
and online, in the UK the usage of "dance
music" or "dance" is more commonly used.
Synonyms
The related term club music, while broadly
referring to whichever music genres are currently
in vogue and associated with nightclubs, has
become synonymous with all electronic dance
music, or just those genres—or some subset
thereof—that are typically played at mainstream
discothèques. Sometimes, club music used
more broadly to encompass non-electronic music
played at such venues, or electronic music
that is not normally played at clubs but that
shares attributes with music that is.
What is widely considered to be club music
changes over time, includes different genres
depending on the region and who's making the
reference, and may not always encompass electronic
dance music. Similarly, electronic dance music
sometimes means different things to different
people. Both terms vaguely encompass multiple
genres, and sometimes are used as if they
were genres themselves. The distinction is
that club music is ultimately based on what's
popular, whereas electronic dance music is
based on attributes of the music itself.
Genres
Just as rock, jazz and other musical genres
have their own set of sub-genres, so does
electronic dance music. Continuing to evolve
over the past 30 years dance music has splintered
off into numerous sub-genres often defined
by their varying tempo, rhythm, instrumentation
used and time period. The broadest categories
include house, techno, trance, hardstyle,
UK garage, drum & bass, dubstep, progressive,
electro and hardcore.
Production
In the 1980s, many genres of popular electronic
music, including EDM, were constructed with
the use of electronic instruments such as
synthesizers, drum machines and sequencers,
and these genres generally emphasized the
unique sounds of those instruments, even when
mimicking traditional acoustic instrumentation.
Some of the most widely used synthesizers
in electronic dance music include the Yamaha
DX7, Korg M1, and Roland's Jupiter and SH-101.
In addition, the most widely used bass synthesizer
is the Roland TB-303, while the most widely
used drum machines are Roland's TR-808 and
TR-909.
The introduction of MIDI in 1983 allowed personal
computers to be used as sequencers to control
the instruments, and by the mid-1990s, computers
were fixtures in multitrack recording studios,
augmenting or replacing dedicated recording
and editing equipment. By the early 2000s,
computer software for audio synthesis and
sound manipulation allowed for bedroom EDM
studios to become completely computer-based.
Currently the music is now mostly made using
software that contains sequencing, sampling,
synthesizers, effects, and multitrack recording
features. The ability to produce and create
has become much easier economically and physically
since producers no longer need to buy large
amounts of equipment. It sometimes encompasses
music not primarily meant for dancing, but
derived from the dance-oriented styles.
In an April 2014 interview with Tony Andrew,
the owner and founder of the Funktion-One
sound system—considered a foremost model
of audio technology and installed in venues
such as Berghain, Output and Trouw—Andrew
explains the critical importance of bass to
dance music:
Dance music wouldn’t be so successful without
bass. If you think about it, we’ve really
only had amplified bass for around 50 years.
Big bass is only a couple of generations old.
Before the invention of speakers that could
project true bass frequencies, humans really
only came across bass in hazardous situations—for
example, when thunder struck, or an earthquake
shook, or from explosions caused by dynamite
or gunpowder. That is probably why it is by
far the most adrenaline-inducing frequency
that we have. Bass gets humans excited basically.
Below 90 or 100 Hz, bass becomes more of a
physical thing. It vibrates specific organs.
It vibrates our bones. It causes minor molecular
rearrangement, and that is what makes it so
potent as a force in dance music. The molecular
vibration caused by bass is what gives dance
music its power. It is what makes dance music
so pleasurable to hear through a proper soundsystem.
Andrew also warns that too much bass, as well
as too much sound overall, can be harmful
and a "good sound engineer will understand
that there is a window between enough sound
to give excitement and so much that it is
damaging."
For those producing dance music in their home
studios, Andrew recommended that producers
place their speakers at "the perfect eye and
ear level", so that the "space in between
the tweeter and the woofer" is between the
producer's eyes—this formation allows the
"woofer and tweeter frequencies" to be heard
simultaneously. Andrew also recommends the
use of dampening blankets to prevent the hearing
of sounds that are "reflections from walls"
and warns home producers about losing bass
through the misplacement of the speakers,
referring to rooms as "just a big speaker
cabinet".
Venues and performances
In most modern music, the artist/producers
will perform in front of the audiences, but
EDM artists are heard mostly through DJs in
dance clubs. From the 1970s to 1990s, clubs
would occasionally hire artists/producers
to perform live; but on most nights, when
people went to dance venues, they would be
listening to DJs. Night clubs and discos such
as Paradise Garage and Studio 54 in New York
City, or The Warehouse in Chicago, would employ
DJs for every night they were open—so-called
"resident DJs"—and have their sound system
geared towards the needs of DJs rather than
live acts. By the late 1980s to early 1990s,
the DJs themselves were the main attraction.
Nightclub patrons began to enjoy the abilities
of DJs to keep the crowd dancing and the groove
going.
DJs, although not strictly producers, began
to produce more of their own material while
trying to match the groove or beat already
set by what they were playing— this led
to DJs making remixes. These remixes made
it possible for DJs to extend songs or make
a previous non-dance song danceable. Thus,
DJs began to experiment with artists and singers
to create material. Suzanne Vega's "Tom's
Diner" remix by the DJ duo DNA and DJ Jellybean
Benitez's work with very early Madonna demos
are prime examples of this practice.
Eventually, the recording of DJ sets became
highly sought after by nightclub attendees.
The DJ would sell the tapes or CD and earn
a few dollars from their sale; however, the
sound quality of the DJ set recordings were
usually fair to poor, since many of them were
recorded using normal commercial tape recorders.
As this practice grew, more and more nightclubs
began to commercially produce DJ sets. Clubs
and venues such as Ministry Of Sound, Limelight
and Groove Jet would frequently release full-length
CDs of the DJ sets and sell them in record
stores throughout the country. All of this
would create a popularity for DJs that would
elevate them to the status of a performer
or producer.
By the 1990s, EDM performers started to perform
at both indoor and outdoor dance music festivals
called "raves". As the decade drew to a close,
more and more DJs and performers/producers
branched out and performed at traditional
music festivals, either "spinning" a DJ set,
or actually performing live. The EDM subculture
became increasingly mainstream, with DJs attracting
crowds of 20,000 or more on a daily basis.
Tomorrowland a popular EDM music festival
in Belgium has amassed millions of followers
through YouTube and other social media. Tomorrowland
broadcast the show live over YouTube and over
16.8 million viewers tuned in. The 20 minute
recap video of Tomorrowland in 2012 amassed
over 90 million views on YouTube, a testament
to the growing popularity of electronic dance
music.
Awards
Festivals
Europe
Love Parade was a popular German dance music
festival that ran until 2010 when it was permanently
cancelled after a crowd rush at the Love Parade
caused the death of 21 people, with at least
500 others injured.
Mayday in Dortmund, Germany. Some Mayday events
took place in Berlin, Frankfurt and Cologne,
Germany.
Street Parade in Zurich, Switzerland. It is
the most attended technoparade in Europe,
since the end of Love Parade 2010.
Boom Festival in Portugal started out specializing
in Psy-Trance, but eventually moved to expand
into House and forms of chillout.
Creamfields Based in the UK now tours all
over Europe as well as hosting their main
event in Daresbury, England.
Sensation White/Black started in the Netherlands,
spread across Europe, and first made it to
the United States in 2012. Dependent on the
event attendees would dress solely in that
colour.
Global Gathering takes place annually at Long
Marston Airfield, England and has spread out
across Europe.
Bang Face is well known as one of the more
broader ranged dance music events that takes
place annually in the UK.
Q-Dance, based in the Netherlands, is a leading
hardstyle event.
Tomorrowland takes place in Boom, Belgium
and has become a notable music festival due
to its elaborate themes and stages. Stands
today as one of the biggest upcoming festivals
in the world.
Ultra Europe take place in Hvar, Croatia and
is a new European edition of the Ultra Music
Festival stationed In Miami, FL and played
here top DJ´s.
Defqon.1 Festival in the Netherlands is one
of the biggest hardstyle festivals in the
world.
Weekend Festival aims to be the biggest EDM
festival in Scandinavia. Festival is held
in Helsinki, Finland
Electric Castle Festival is a medium sized
electronic music festival taking place annually
at the end of June on Bánffy's Castle Domain
in Cluj county, Romania.
dominator takes place at the E3-strand in
Eersel, Netherlands.
Electrobeach Music Festival(2009–Present)
aims to be the biggest EDM festival in France.
Festival takes place annually at Port-Barcarès,
France.
Canada
Shambhala Music Festival, Salmo, BC
United States
Nocturnal Wonderland, multiple cities
Electric Daisy Carnival, multiple cities
Global Dance Festival, Morrison, Colorado
Ultra Music Festival, Miami
Movement Festival, Detroit
Lightning in a Bottle, California
Decibel Festival, Seattle
Moogfest, Asheville
San Francisco LovEvolution Technoparade
Sonic Bloom, Colorado
HARD, multiple cities
Electric Forest Festival, Rothbury, Michigan
Spring Awakening, Chicago
Electric Zoo Festival, New York City
Wavefront Music Festival, Chicago
What The Festival, Oregon
Kaleidoscope Music Festival, Oregon
Mountain Oasis Electronic Music Summit, Asheville
Sunset Music Festival, Tampa
TomorrowWorld, Atlanta
Decadence, Denver
Paradiso Festival, The Gorge Amphitheater,
WA
Other festivals, including Lollapalooza and
Coachella have increased the number of EDM
acts represented. Coachella in particular
took an adventurous path giving electronic
acts a high profile in a time when they were
seldom booked alongside rock bands, in the
United States at least. Rawley Bornstein,
an MTV music and talent programmer, described
EDM as "the new rock and roll," as has Lollapalooza
organizer Perry Ferrell. Ray Waddell, touring
editor at Billboard magazine, noted that festival
promoters have done an excellent job at branding.
See also
Dance music
Disco polo
Timeline of electronic music genres
List of electronic dance music record labels
List of electronic musicians
Electronica
Freetekno
Rave music
Remix
References
Further reading
Hewitt, Michael. Music Theory for Computer
Musicians. 1st Ed. U.S. Cengage Learning,
2008. ISBN 978-1-59863-503-4
Electronic dance music glossary by Moby for
USA Today published December 13, 2011
