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Electronic Dance Music: Themes, Theories and Scenes - Detailseite

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Veranstaltungsart Vorlesung Veranstaltungsnummer 53453
Semester WiSe 2021/22 SWS 2
Rhythmus keine Übernahme Moodle-Link  
Veranstaltungsstatus Freigegeben für Vorlesungsverzeichnis  Freigegeben  Sprache englisch
Belegungsfrist Es findet keine Online-Belegung über AGNES statt!
Veranstaltungsformat Präsenz


Gruppe 1
Tag Zeit Rhythmus Dauer Raum Gebäude Raum-
Lehrperson Status Bemerkung fällt aus am Max. Teilnehmer/-innen
Do. 10:00 bis 12:00 wöch 501 (Seminarraum)
Stockwerk: 4. OG

Kupfer5 Institutsgebäude - Am Kupfergraben 5 (AKU 5)

  findet statt     1000
Gruppe 1:

Zugeordnete Person
Zugeordnete Person Zuständigkeit
Butler, Mark J., Professor, Dr.
Abschluss Studiengang LP Semester
Bachelor of Arts  Musikwissenschaft Kernfach ( Vertiefung: kein LA; POVersion: 2014 )   -  
Bachelor of Arts  Musikwissenschaft Zweitfach ( Vertiefung: kein LA; POVersion: 2014 )   -  
Bachelor of Arts  Musikwissenschaft Kernfach ( Vertiefung: kein LA; POVersion: 2017 )   -  
Bachelor of Arts  Musikwissenschaft Zweitfach ( Vertiefung: kein LA; POVersion: 2017 )   -  
Bachelor of Science  Musikwissenschaft Zweitfach ( Vertiefung: kein LA; POVersion: 2017 )   -  
Master of Arts  Musikwissenschaft Hauptfach ( Vertiefung: kein LA; POVersion: 2017 )   -  
Zuordnung zu Einrichtungen
Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, Institut für Musikwissenschaft und Medienwissenschaft

Discos, clubs, and raves have been focal points for the development of new and distinctive musical and cultural practices over the past four decades. More recently, they have also become the subject of much scholarly research. This course introduces key themes, theories, and scenes of electronic dance music. Particular emphasis is given to the intersection of music, identity, and history. Other themes that will arise include genre, dance and embodiment, musical form, place, and underground/mainstream interactions.


Albiez, Sean. 2005. “Post-Soul Futurama: African American Cultural Politics and Early Detroit Techno.” European Journal of American Culture 24 (2): 131–52.

Barna, Alyssa. 2020. “The Dance Chorus in Recent Top-40 Music.” SMT-V: The Society for Music Theory Videocast Journal 6 (4).

Bakrania, Falu. 2008. “Roomful of Asha: Gendered Productions of Ethnicity in Britain’s ‘Asian Underground.’” In Transnational South Asians: The Making of a Neo-Diaspora, edited by Susan Koshy and R. Radhakrishnan, 215–43. New York: Oxford University Press.

Bradby, Barbara. 1993. “Sampling Sexuality: Gender, Technology, and the Body in Dance Music.” Popular Music 12 (2): 155–76.

Buckland, Fiona. 2002. “Mr. Mesa’s Ticket: Memory and Dance at the Body Positive T-Dance.” In Impossible Dance: Club Culture and Queer World-Making, 159–83. Middletown, Ct.: Wesleyan University Press.

Butler, Mark J. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Bloomington: Indiana University Press.

Butler, Mark J. 2014. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York: Oxford University Press. Ch. 2.

Cosgrove, Stuart. 1988. “Seventh City Techno.” The Face 97: 86–89.

D’Errico, Mike. 2015. “Electronic Dance Music in the Dubstep Era.” Oxford Handbooks Online.

Dyer, Richard. 1979. “In Defence of Disco.” Gay Left, 20–23.

Garcia, Luis-Manuel. 2015. “Beats, Flesh, and Grain: Sonic Tactility and Affect in Electronic Dance Music.” Sound Studies: An Interdisciplinary Journal 1.

Hughes, Walter. 1994. “In the Empire of the Beat: Discipline and Disco.” In Microphone Fiends: Youth Music & Youth Culture, edited by Andrew Ross and Tricia Rose, 147–57. New York: Routledge.

Lawrence, Tim. 2006. “‘I Want to See All My Friends at Once’: Arthur Russell and the Queering of Gay Disco.” Journal of Popular Music Studies 18 (2): 144–66.

Madrid, Alejandro L. 2006. “Dancing with Desire: Cultural Embodiment in Tijuana’s nor-Tec Music and Dance.” Popular Music 25 (3): 383–99.

Malbon, Ben. 1999. “The Dancer from the Dance: The Musical and Dancing Crowds of Clubbing.” In Clubbing: Dancing, Ecstasy, and Vitality, 70–104. London: Routledge.

McLeod, Kembrew. 2001. “Genres, Subgenres, Sub-Subgenres and More: Musical and Social Differentiation within Electronic/Dance Music Communities.” Journal of Popular Music Studies 13 (1): 59–75.

Pini, Maria. 1997. “Women and the Early British Rave Scene.” In Back to Reality: Social Experience and Cultural Studies, edited by Angela McRobbie, 152–69. Manchester, U.K.: Manchester University Press.

Reynolds, Simon. "How Rave Music Conquered America." The Guardian, 3 August 2012.

Saldanha, Arun. 2002. “Music Tourism and Factions of Bodies in Goa.” Tourist Studies 2: 43–62.

Salkind, Micah E. 2019. Do You Remember House? Chicago’s Queer of Color Undergrounds. New York: Oxford University Press.

Solberg, Ragnhild Torvanger. 2014. “‘Waiting for the Bass to Drop’: Correlations between Intense Emotional Experiences and Production Techniques in Build-up and Drop Sections of Electronic Dance Music.” Dancecult: Journal of Electronic Dance Music Culture 6 (1): 61–82.

Steingo, Gavin. 2016. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago Studies in Ethnomusicology. University Of Chicago Press. Preface and Ch. 2.

Thornton, Sarah. 1996. “Exploring the Meaning of the Mainstream (or Why Sharon and Tracy Dance around Their Handbags).” In Club Cultures: Music, Media, and Subcultural Capital, 87–115. Hanover, N.H.: Wesleyan University Press.


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Keine Einordnung ins Vorlesungsverzeichnis vorhanden. Veranstaltung ist aus dem Semester WiSe 2021/22. Aktuelles Semester: WiSe 2024/25.
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