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To browse Academia. This dissertation examines electronic dance music: its transnational production and dissemination, its techno-universalist rhetoric, its racial and sexual politics, its Eurocentric mythologies and liberal humanist ideologies. By tuning into the contentious dialogues between the makers, shapers, and buyers of computerized dance music, I hope to illustrate the multifarious cultural functions a mass-produced sonic commodity can have.
Sean Nye. Ali Morrison. This introduction provides an account of the motivations — both personal and academic — which led me to decide to analyse the Electronic Dance Music EDM scene and the role of the audience in live performance. Although EDM is a relatively new genre in the world of music, it has grown and evolved exponentially since its birth in the late s and the establishment of its foundations throughout the s, so much so that there are now innumerable subgenres and sub-subgenres within the sphere of EDM.
The genre is subject to constant evolution and as such, there is always the need for updated analysis. Lofland 3 states the need for proximity to the culture under examination. I have personally been involved as an audience member at EDM concerts and performances for the last six or seven years now, and have often considered how drastically different the structure of live EDM performances are to traditional models of performer and audience.
My hometown of Glasgow has a wonderful affiliation with live music, with an abundance of EDM clubs and globally-recognised institutions such as The Arches and Sub Club. I have spent many nights in these dark, sweaty and stifling clubs, and taken from them experiences and memories which will always live with me.