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House
Stylistic origins Disco
Soul
New Wave
Funk
Post-disco
Electro
Electronica
Electropop
Synthpop Latin
Cultural origins Late 1970s-mid 1980s in Chicago, U.S.
Typical instruments SamplerDrum machineSynthesizerSequencer
Mainstream popularity Worldwide popularity
Derivative forms Rave musicUS Garage
Subgenres
Acid house
  1. REDIRECT Template:• Chicago house
  2. REDIRECT Template:• Balearic beat
  3. REDIRECT Template:• Dark house
  4. REDIRECT Template:• Diva house
  5. REDIRECT Template:• Microhouse
  6. REDIRECT Template:• Progressive house
  7. REDIRECT Template:• Electro house
  8. REDIRECT Template:• Dream house
  9. REDIRECT Template:• Madchester
  10. REDIRECT Template:• Tribal house
  11. REDIRECT Template:• Disco house
  12. REDIRECT Template:• Vocal house
  13. REDIRECT Template:• Hardbag
  14. REDIRECT Template:• Grind house
  15. REDIRECT Template:•Beatdown
Fusion genres
Ambient house
  • REDIRECT Template:• Deep house
  • REDIRECT Template:• Funky house
  • REDIRECT Template:• Electronic rock
  • REDIRECT Template:• Ghetto house
  • REDIRECT Template:• Hip house
  • REDIRECT Template:• Latin house
  • REDIRECT Template:• Tech house
  • REDIRECT Template:• Skacid
  • REDIRECT Template:• Liquid funk
  • Regional scenes
    Chicago
  • REDIRECT Template:• France
  • REDIRECT Template:• San Francisco
  • REDIRECT Template:• Italy
  • REDIRECT Template:• United Kingdom
  • REDIRECT Template:• South Korea
  • REDIRECT Template:• New York
  • REDIRECT Template:•Detroit
  • Other topics
    Notable artists and DJs
  • REDIRECT Template:• Styles of house
  • House is a style of electronic dance music that originated in Chicago, Illinois, USA in the late 1970s and early 1980s. It was initially popularized in mid-1980s discothèques catering to the African-American,[1] Latino,[1] and gay[1][2][3] communities, first in Chicago, then in New York City and Detroit. It eventually reached Europe before becoming infused in mainstream pop & dance music worldwide.

    House is strongly influenced by elements of soul- and funk-infused varieties of disco. House generally mimics disco's percussion, especially the use of a prominent bass drum on every beat, but may feature a prominent synthesizer bassline, electronic drums, electronic effects, funk and pop samples, and reverb- or delay-enhanced vocals.

    Contents

    Musical elements

    House is uptempo music for dancing, although by modern dance music standards it is mid-tempo, generally ranging between 118 and 135 bpm. Tempos were slower in house's early years.

    The common element of house is a prominent kick drum on every beat (also known as a four-to-the-floor beat), usually generated by a drum machine or sampler. The kick drum sound is augmented by various kick fills and extended dropouts. The drum track is filled out with hi-hat cymbal patterns that nearly always include an open hi-hat on eighth note off-beats between each kick, and a snare drum or clap sound on beats two and four of every bar. This pattern is derived from so-called "four-on-the-floor" dance drumbeats of the 1960s and especially the 1970s disco drummers. Producers commonly layer sampled drum sounds to achieve a more complex sound, and they tailor the mix for large club sound systems, de-emphasizing lower mid-range frequencies (where the fundamental frequencies of the human voice and other instruments lie) in favor of bass and hi-hats.

    Producers use many different sound sources for bass sounds in house, from continuous, repeating electronically-generated lines sequenced on a synthesizer, such as a Roland SH-101 or TB-303, to studio recordings or samples of live electric bassists, or simply filtered-down samples from whole stereo recordings of classic funk tracks or any other songs. House bass lines tend to favor notes that fall within a single-octave range, whereas disco bass lines often alternated between octave-separated notes and would span greater ranges. Some early house productions used parts of bass lines from earlier disco tracks. For example, producer Mark "Hot Rod" Trollan copied bass line sections from the 1983 Italo disco song "Feels Good (Carrots & Beets)" (by Electra featuring Tara Butler) to form the basis of his 1986 production of "Your Love" by Jamie Principle. Frankie Knuckles used the same notes in his more famous 1987 version of "Your Love", which also featured Principle on vocals.

    Electronically-generated sounds and samples of recordings from genres such as jazz, blues and synth pop are often added to the foundation of the drum beat and synth bass line. House songs may also include disco, soul-style, or gospel vocals and additional percussion such as tambourine. Many house mixes also include repeating, short, syncopated, staccato chord loops that are usually composed of 5-7 chords in a 4-beat measure.

    Techno and trance, which developed alongside house, share this basic beat infrastructure, but they usually eschew house's live-music-influenced feel and Black or Latin music influences in favor of more synthetic sound sources and approach.

    History

    Precursors

    House is a descendant of disco, which blended soul, R&B, funk, with celebratory messages about dancing, love, and sexuality, all underpinned with repetitive arrangements and a steady bass drum beat. Some disco songs incorporated sounds produced with synthesizers and drum machines, and some compositions were entirely electronic; examples include Giorgio Moroder late 1970s productions such as Donna Summer's hit single "I Feel Love" from 1977, and several early 1980s disco-pop productions by the Hi-NRG group Lime.

    House was also influenced by mixing and editing techniques earlier explored by disco DJs, producers, and audio engineers like Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M and others who produced longer, more repetitive and percussive arrangements of existing disco recordings. Early house producers like Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

    The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders, had elements that became staples of the early house sound, such as the 303 bass synthesizer and minimal vocals. It is sometimes cited as the 'first house record',[4][5] although other examples from the same time period, such as J.M. Silk's "Music is the Key" (1985) have also been cited.[6]

    Etymology

    The origins of the term "house" are disputed.

    The term may have its origin from a Chicago nightclub called the The Warehouse which existed from 1977 to 1982. The Warehouse was patronized primarily by gay black and Latino men,[3] who came to dance to disco music played by the club's resident DJ, Frankie Knuckles. Although Knuckles left the club in 1982 and it was renamed Music Box, the term "house", short for Warehouse, is said to have become popular among Chicagoans as being synonymous with Knuckles' musical selections as a DJ before becoming associated with his own dance music productions, even though those didn't begin until well after the closure of The Warehouse.

    Chip E.'s 1985 recording "It's House" may also have helped to define this new form of electronic music.[7] However, Chip E. himself lends credence to the Knuckles association, claiming the name came from methods of labelling records at the Importes Etc. record store, where he worked in the early 1980s: bins of music that DJ Knuckles played at the Warehouse nightclub was labelled in the store "As Heard At The Warehouse", which was shortened to simply "House". Patrons later asked for new music for the bins, which Chip E. implies was a demand the shop tried to meet by stocking newer local club hits.[8]

    Larry Heard, aka "Mr. Fingers", claims[citation needed] that the term "house" reflected the fact that many early DJs created music in their own homes, using synthesizers and drum machines, including the Roland TR-808, TR-909, and the TB 303 Bassline synthesizer-sequencer. These synthesizers were used to create a house subgenre called acid house.[9]

    Juan Atkins, an originator of Detroit techno music, claims the term "house" reflected the exclusive association of particular tracks with particular DJs; those tracks were their "house" records (much like a restaurant might have a "house" salad dressing).[10]

    This last reference goes in hand with the idea that as disco music began to lose popularity many club DJ's or 'House DJ's' replaced the originals with these newer stripped down versions of disco hits, still incorporating the high energy elements to create this new sound.

    Chicago years: early 1980s – late 1980s

    Not everyone understands House music; it's a spiritual thing; a body thing; a soul thing.

    From a track produced by Eddie Amador (listen to 22s sample (488Kb))

    House was developed in the houses, garages and clubs of Chicago initially for local club-goers in the "underground" club scenes, rather than for widespread commercial release. As a result, the recordings were much more conceptual, longer than the music usually played on commercial radio. House musicians used analog synthesizers and sequencers to create and arrange the electronic elements and samples on their tracks, combining live traditional instruments and percussion and soulful vocals with preprogrammed electronic synthesizers and "beat-boxes".

    Main stream record stores often did not carry these 12 inch vinyl singles, as they were not available through the major record distributors. In Chicago, records stores such as Importes Etc., State Street Records, JR’s Music shop and Gramaphone Records were the primary suppliers of this music. The record-store Importes Etc, is believed to be where the term “house” was introduced as a shortening of "Warehouse".

    The music was still essentially disco until the early 1980s when the first stand-alone drum machines were invented. House tracks could now be given an edge with the use of a mixer and drum machine. This was an added boost to the prestige of the individual DJs. Underground club DJs like Ron Hardy and radio jocks the Hot Mix 5 played Italo Disco tracks like "Dirty Talk" and the "MBO Theme" by Klein M.B.O., Early B-Boy Hip Hop tracks such as Man Parrish's "Hip Hop, Be Bop (Don't Stop)" and Afrika Bambaataa and the Soul Sonic Force's Planet Rock and Looking for the Perfect Beat as well as electronic music by Kraftwerk; these genres were influential to the Chicago genre of House.

    Jesse Saunders “Jes Say Records” who had club hits with more “B-boy Hip Hop” oriented tracks like “Come to Me” by Gwendolyn and “Dum Dum” as well as the Italo Disco influenced “Under Cover” by Dr. Derelict released the first Chicago home made house hit, “On and On” (1984) which had hypnotic lyrics, driving bassline, and percussion. This was the first house record pressed and sold to the general public.

    In 1985, Mr Fingers's landmark "Can You Feel It?"/"Washing Machine"/"Mystery of Love" showed a jazz-influenced, lush, sound that was created using a Roland TR-707 and Juno 6 synthesizer. This song helped to start the trend for the Deep house genre, which had a slower beat of 110-125 bpm. In the same year, Chip E.'s "It's House" is a good example of the Chicago house style. In 1986, Phuture's "Acid Trax" (1986) showed the development of a house music subgenre called acid house which arose from experiments with a 303 machine by Chicago musicians such as DJ Pierre.

    Early house recordings were Jamie Principle and Frankie Knuckles' "Your Love"; "On and On" by Jesse Saunders (1985) and Chip E.'s "The Jack Trax" featuring the songs “It’s House” and “Time to Jack”, which used complex rhythms, simple bassline, sampling technology, and minimalist vocals. By 1985, house dominated the clubs of Chicago, largely in part due to the radio play the music received on 102.7 FM WBMX which was the brainchild of Program director Lee Michaels through WBMX's resident DJ team, the Hot Mix 5.

    bass synthesizer]] The music and movement was also aided by the electronic music revolution - the arrival of  cheap and compact music sequencers, drum machines (the Roland TR-909, TR-808 and TR-707, and Latin percussion machine the TR-727) and bass modules (such as the Roland TB-303) gave house creators even wider possibilities in creating their own sound. The acid house subgenre was developed from the experiments by DJ Pierre, Larry Heard (Mr. Fingers), and Marshall Jefferson with the new drum and rhythm machines.
    

    Many of the songs that defined the Chicago house sound were released by DJ International Records and Trax Records. In 1985, Trax released "Jack the Bass" and "Funkin' with the Drums Again" by Farley Jackmaster Funk. In 1986, Trax released "No Way Back" by Adonis, Larry Heard's (as Fingers Inc.) "Can You Feel It?" and "Washing Machine", and an early house anthem in 1986, "Move Your Body" by Marshall Jefferson, which helped to boost the popularity of the style outside of Chicago.

    In 1987, Steve 'Silk' Hurley's "Jack Your Body" was the first house track to reach No.1 in the UK Top 40 pop chart. 1987 also saw M/A/R/R/S' "Pump Up The Volume" reach No.1 in the UK Top 40 pop chart. In 1989 Hurley transformed Roberta Flack's soft ballad "Uh Oh Look Out" into a boisterous dance track. S'Express's "Theme from S'Express" (1988)is an example of a disco-influenced, funky acid house tune. It uses samples from Rose Royce's song "Is it Love You're After" over a Roland 303 bassline. In 1989, Black Box - "Ride on time" (which sampled Loleatta Holloway's 1980 disco hit, Love Sensation) hit number 1 in the UK top 40 and Technotronic's song "Pump Up the Jam" (1989) was one of the early house records to break the top 10 on the U.S. pop charts. A year later, Madonna's "Vogue" went to number one on charts worldwide, becoming the highest selling single on WEA up to that time. In 1992, Leftfield's song "Release the Pressure" helped to introduce a new subgenre of house called progressive house.

    House also had an influence of relaying political messages to people who were considered to be outcast of society. It offered for those who didn't fit into mainstream American society, especially celebrated by many black gays. Frankie Knuckles made a good comparison of house saying it was like "church for people who have fallen from grace" and Marshall Jefferson compared it to "old-time religion in the way that people just get happy and screamin'" (30). Deep house was similar to many of the messages of freedom for the black community. Both house CDs by Joe Smooth, "Promised Land" and Db "I Have a Dream" give similar messages of Martin Luther King's "I Have a Dream" speech."Someday" by CeCe Rogers, would move house further into the gospel stream later titled "gospel house". House was also very sexual and had much mystic in it. It went so far as to have a "eroto-mystic delirium" (31). Jamie Principle's "Baby Wants to Ride" begins in a prayer but surprisingly is about a dominatrix who seduces a man to "ride" her through the rest of the song. House dance itself is a lot older than house, which arose in the late 1970s upon the end of the disco era during the times of such nightclubs as Chicago's Warehouse and New York's Loft and Paradise Garage. House dance takes from many different dance elements such as the Lindy era, African, Latin, Brazilian, jazz, tap, and even modern.

    House dance has been debatingly broken down in three styles: Footwork, Jacking, and Lofting. It includes a variety of techniques and sub-styles that include skating, stomping, and shuffling. It also incorporates movements from many other sources such as whacking, voguing, Capoeira, tap, and Latin dances such as salsa. A wide variety of the movements came from jazz and bebop styles and even from African and Latin descent.

    One of the primary elements in house dancing is a technique that came from Chicago that involves moving the torso forward and backward in a rippling motion, as if a wave were passing through it. When this movement is repeated and sped up to match the beat of a song it is called jacking, or "the jack." All footwork in house dancing is said to initiate from the way the jack moves the center of gravity through space.

    House music especially deep house was a jarring kind of genre in music which brought the immoral and different aspect of the sexual and minority in the forefront. House was definitely concerned with the sensuality of the body and setting oneself free-- without the worry of outside barriers.[11]

    Detroit techno: mid 1980s – early 1990s

    See also Techno

    Detroit techno was developed in the mid 1980s. Though Detroit techno is a distinct musical form, its pioneers were also instrumental in spreading house music internationally. Detroit techno developed as the legendary disc jockey The Electrifying Mojo conducted his own radio program at this time, influencing the fusion of eclectic sounds into the signature Detroit techno sound. Juan Atkins released "NO UFO's" on Metroplex Records, which was very well received in Chicago and is considered a classic. He followed with the 1986 release of the track "Technicolor".

    Derrick May aka "MAYDAY" released "Nude Photo" in 1986 on his label "Transmat Records", which helped kickstart the Detroit techno music scene and was put in heavy rotation on Chicago's Hot Mix 5 Radio dj mix show and in many Chicago clubs. A year later releasing what was to become one of techno's classic anthems, the seminal track "Strings of Life", "Transmat Records" went on to have many more successful releases such as 1988's "Wiggin". As well, Derrick May had successful releases on Kool Kat Records and many remixes for a host of underground and mainstream recording artist.

    Kevin Saunderson's company KMS Records contributed many releases that were as much house as they were Techno, these tracks were well received in Chicago and played on Chicago radio and in clubs. Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and “the Groove that Won't Stop” and a remix of "Grooving Without a Doubt". In 1988, as house became more popular among general audiences, Kevin Saunderson’s group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.

    UK: late 1980s – early 1990s

    In Britain the growth of house can be divided around the "Summer of Love" in 1988/9. House had a presence in Britain almost as early as it appeared in Chicago; however there was a strong divide between the house as part of the gay scene and "straight" music.[citation needed] House grew in northern England, the Midlands and the South East. Founded in 1982 by Factory Records, The Haçienda in Manchester became an extension of the "Northern Soul" genre and was one of the early, key English dance music clubs.

    Until 1986 the club was financially troubled; the crowds only started to grow when the resident DJs (Pickering, Park and Da Silva) started to play house. Many underground venues and DJ nights also took place across the UK, such as the private parties hosted by an early Miss Moneypenny's contingent in Birmingham and many London venues. House was boosted in the UK by the tour in the same year of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour. One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. The first English house tune came out in 1986 - "Carino" by T-Coy. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, DJ Harvey brought in Larry Levan.

    The house scene in cities such as Birmingham, Manchester and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. One of the earliest and most influential UK house and techno record labels was Network Records (otherwise known as Kool Kat records) who helped introduce Italian and U.S. dance music to Britain as well as promoting select UK dance music acts.

    But house was also developing on Ibiza. In the 1970s Ibiza was a hippie stop-over for the rich party crowd. By the mid-1980s a distinct Balearic mix of house was discernible. Several clubs like Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987 DJs like Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs like the Hacienda in Manchester, Shoom in Southwark (London), Heaven, Future, Spectrum and Purple Raines in Birmingham.

    In the U.S., the music was being developed to create a more sophisticated sound, moving beyond just drum loops and short samples. New York-based performers such as Mateo & Matos and Blaze had slickly produced disco house crossover tracks. In Chicago, Marshall Jefferson had formed the house group Ten City (from "intensity"). In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

    Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with underground venues such as multi storey car parks and more legal dance stations such as the Digbeth Institute (now the 'Sanctuary' and home to Sundissential).

    US: late 1980s – early 1990s

    Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit and New York. Paradise Garage in New York City was still a top club, although they now had Todd Terry, his cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. While hip-hop had made it onto radio play-lists, the only other choices were Rock, Country & Western or R & B.

    Other influences from New York came from the hip-hop, reggae, and Latin community, and many of the New York City super producers/DJs began surfacing for the first time (Erick Morillo, Roger Sanchez, Junior Vasquez, Danny Tenaglia, Jonathan Peters) with unique sounds that would evolve into other genres (tribal house, progressive house, funky house). Producers such as Masters At Work and Kerri Chandler also started pioneering a richer Garage sound that was picked up on by 'outsiders' from the worlds of jazz, hip-hop and downbeat as much as it was by house aficionados.

    In the late 80's Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Registford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

    Influential gospel/R&B-influenced Aly-us released "Time Passes On" in 1993 (Strictly Rhythm), then later, "Follow Me" which received radio airplay as well as being played in clubs. Another U.S. hit which received radio play was the single "Time for the Perculator" by Cajmere, which became the prototype of ghetto house sub-genre. Cajmere started the Cajual and Relief labels (amongst others). By the early 1990s artists such as Cajmere himself (under that name as well as Green Velvet and as producer for Dajae), DJ Sneak, Glenn Underground and others did many recordings. The 1990s saw new Chicago house artists emerge such as DJ Funk, who operates a Chicago house record label called Dance Mania, which primarily distributes ghetto house. Ghetto house, along with acid house, were house music styles that were started in Chicago.

    UK: early 1990s – mid-1990s

    In Britain, further experiments in the genre boosted its appeal. House and rave clubs like Lakota, Miss Moneypenny's and Cream emerged across Britain, hosting house and dance scene events. The 'chilling out' concept developed in Britain with ambient house albums such as The KLF's Chill Out and Analogue Bubblebath by Aphex Twin. Chillout music is often defined as a fusion of different genres, such as Ambient, Trip hop or downtempo (later on) or New Age (older). The unifying feature of Chill Out electronica is long sustained tones and a smoother sound, rather than the noisy, percussive sound of other styles.

    At the same time, a new indie dance scene emerged. In New York, bands such as Deee-Lite furthered house's international influence. Two distinctive tracks from this era were the Orb's "Little Fluffy Clouds" (with a distinctive vocal sample from Rickie Lee Jones) and the Happy Mondays' "Wrote for Luck" ("WFL") which was transformed into a dance hit by Paul Oakenfold.

    The UK Criminal Justice and Public Order Act 1994 was a government attempt to ban large rave dance events featuring music with "repetitive beats". There were a number of abortive "Kill the Bill" demonstrations. Although the bill became law, in November 1994, it had little effect. The music continued to grow and change, as typified by the emergence of acts like Leftfield with "Release the Pressure", which introduced dub and reggae into the house sound. In more commercial recordings, a mix of R&B with stronger basslines was used. The house scene was shaped by a variety of inflences, including the club culture scene. Like the 1970s disco club scene, the house club scene was associated with a number of drugs which club-goers used to enhance the dancing experience, such as amyl nitrite "poppers", MDMA, ketamine, and GHB.

    As well, like the disco scene that preceded it, the house club scene attracted a mix of cultural and racial groups. Tunes like "The Bouncer" from Kicks Like a Mule used sped-up hip-hop breakbeats. With SL2's "On A Ragga Tip" they gave the foundations to what would become drum and bass and jungle. Initially called breakbeat hardcore, it found popularity in London clubs like Rage as an "inner city" music. Labels like Moving Shadow and Reinforced became underground favorites.

    "London Hardcore Techno" was a style of music that Moonshine music released with an increased tempo of around 160 bpm. UK garage developed later. Originally an underground style combining house beats with pitched up RnB vocals and the ragga MCing and warping bass of jungle, it broke into the mainstream via artists like The Artful Dodger and 187 Lockdown, and influenced pop acts like Liberty X and Victoria Beckham.[11] The 4 Hero subgenre adopted soul and jazz influences, and some used a full orchestral section to create a more "sophisticated" sound. Later, this led directly to the West London scene known as Broken beat or Breakbeat.

    A new generation of clubs like Miss Moneypenny's, Liverpool's Cream (as opposed to the original underground night, C.R.E.A.M.) and the Ministry of Sound were opened to provide a venue for more commercial sounds. Major record companies began to open "superclubs" promoting their own acts. These superclubs entered into sponsorship deals initially with fast food, soft drinks, and clothing companies. Flyers in clubs in Ibiza often sported many corporate logos. A new sub-genre, Chicago hard house, was developed by DJs such as Bad Boy Bill, DJ Lynnwood, DJ Irene, Richard "Humpty" Vission and DJ Enrie.

    2000s

    Chicago Mayor Richard M. Daley proclaimed August 10, 2005 to be "House Unity Day" in Chicago, in celebration of the "21st anniversary of house music" (actually the 21st anniversary of the founding of Trax Records). The proclamation recognized Chicago as "the original home of house music" and that the music's original creators "were inspired by the love of their city, with the dream that someday their music would spread a message of peace and unity throughout the world". DJs such as Frankie Knuckles, Marshall Jefferson, Paul Johnson and Mickey Oliver celebrated the proclamation at the Summer Dance Series, an event organized by Chicago's Department of Cultural Affairs.[12]

    In the mid-2000s, fusion genres such as electro house, dark house, and tech house emerged. This fusion is apparent in the crossover of musical styles by artists such as Dennis Ferrer and Booka Shade, with the former's production style having evolved from the New York soulful house scene and the latter's roots in techno. Another genre known as Fidget House started making some noise by Djs and Producers, Switch and Jesse Rose, who considered it an "accident". DJs today can be heard blending all sub-genres of house as many of the best musical elements are shared across these sub-genres.

    As of the late 2000s, house and house influenced music retains widespread popularity in clubs throughout the world.

    Further reading

    • Sean Bidder 2002 Pump Up the Volume: A History of House Music, MacMillan. ISBN 0-7522-1986-3
    • Sean Bidder 1999 The Rough Guide to House Music, Rough Guides. ISBN 1-85828-432-5
    • Bill Brewster & Frank Broughton 2000 Last Night a DJ Saved My Life: The History of the Disc Jockey, Grove Press. ISBN 0-8021-3688-5 and in UK: 1999 / 2006, Headline.
    • Kai Fikentscher 2000 "'You Better Work!' Underground Dance Music in New York City". Middletown, CT: Wesleyan University Press. ISBN 0-8195-6404-4
    • Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. U.S. Cengage Learning, 2008. ISBN 978-1-59863-503-4
    • Chris Kempster (Ed) 1996 History of House, Castle Communications. ISBN 1-86074-134-7 (A reprinting of magazine articles from the 1980s and 90s)
    • Simon Reynolds 1998 Energy Flash: a Journey Through Rave Music and Dance Culture, (UK title, Pan Macmillan. ISBN 0-330-35056-0), also released in U.S. as Generation Ecstasy : Into the World of Techno and Rave Culture (U.S. title, Routledge, 1999, ISBN 0-415-92373-5)
    • Hillegonda C. Rietveld 1998 This is our House: House Music, Cultural Spaces and Technologies, Ashgate. ISBN 1-85742-242-2
    • Silcott Mireille. Rave America: New School Dancescapes (1999), ECW Press. ISBN 1550223836

    See also

    Notes

    1. ^ a b c Fikentscher, Kai (July–August 2000), "Youth’s sonic forces: The club DJ: a brief history of a cultural icon", UNESCO Courier (UNESCO): 45 
    2. ^ Creekmur, Corey; Doty, Alexander (1995), Out in Culture, Duke University Press, pp. 440–442, ISBN 9780822315414 
    3. ^ a b "House". Encyclopaedia Brittanica. http://www.britannica.com/eb/article-9097024/house. Retrieved on May 1 2007. 
    4. ^ Marshell Jefferson - 4clubbers.net
    5. ^ http://www.flyglobalmusic.com/fly/archives/uscanada_features/finding_jesse_-.html
    6. ^ Paoletta, Michael (1989-12-16). "Back To Basics". Dance Music Report: 12. 
    7. ^ Bidder, Sean (2001). Pump Up the Volume: A History of House. London: Channel 4. ISBN 978-0752219868. 
    8. ^ Chip E. (interviewee); Hindmarch, Carl (director). (2001). Pump Up The Volume. Channel Four. http://www.imdb.com/title/tt0847411/. "If you were a DJ in Chicago, if you wanted to have 'the' records, there was only one place to go and that was Importes. This is where Importes was. People come in, they're looking for 'Warehouse music', and we would put, you know, 'As heard at the Warehouse' or 'As played at the Warehouse', and then eventually we just shortened that down to - because people also just in the vernacular, they started saying 'yeah, what's up with that 'House music' - now at this time they were talkin' about the old, old classics, the Salsoul, the Philly classics and such - so we put on the labels for the bins, we'd say 'House music'. And people would start comin' in eventually and just start askin', 'yeah, where's the new House music?'" 
    9. ^ Cowen, Andrew (1999-10-30). "SOUNDS AMAZING!; MUSIC LIVE Andrew Cowen previews the giant show at the NEC which offers great new ideas for musicians of all styles and all levels.". The Birmingham Post (UK). http://www.highbeam.com/doc/1G1-60489757.html. Retrieved on 2007-08-11. 
    10. ^ Trask, Simon (December 1988), Future Shock (Juan Atkins Interview), http://www.mobeus.org/archives/juanatkins/, retrieved on 2008-04-05 
    11. ^ a b Reynolds, Simon. Generation Ecstasy
    12. ^ "CHICAGO MAYOR DECLARES "HOUSE UNITY DAY"". Remix (Penton Media, Inc.). 2005-08-03. http://remixmag.com/transmissions/chicago-house-080405/. 

    References

    1. Peter Shapiro (2000) Modulations: A History of Electronic Music: Throbbing Words on Sound. ISBN 1-891024-06-X
    2. The History of House (2004) HouseKeeping: Funky House DJs from the UK

    External links

    Template:House-footer


    Wiktionary

    Up to date as of January 14, 2010

    Definition from Wiktionary, a free dictionary

    Contents

    English

    Etymology

    From the name of the Warehouse club in Chicago, where this style of music was invented

    Noun

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    Wikipedia

    Singular
    house music

    Plural
    uncountable

    house music (uncountable)

    1. A particular type of electronic dance music.
    2. Music of this type.

    Synonyms

    Translations


    French

    Noun

    house music f.

    1. house music, house

    Synonyms


    Simple English

    House is a form of dance music that began during the early 1980s from disco and the black American soul-music tradition. It takes its name from the Warehouse, a Chicago club where DJs such as Frankie Bones first played their (often self-produced) records to a mass audience. ("Garage" house, a more laid-back, "deep" variation of house, evolved around the same time and takes its name from Larry Levan's Paradise Garage in New York City.) The original "House" sound is characterized by "four on the floor" beats at 120-130 BPM, forward-driven bass lines, an emphasis on the second and fourth beats of each measure, handclaps, and hi-hat cymbals. Over the years, house has spawned a number of variations, including:

    • Acid house (with its "trippy" melodic lines, usually generated on a Roland 303 synthesizer)
    • Deep house (with a greater emphasis on "soul" and atmospheric background sounds)
    • Speed garage (featuring choppy basslines, reggae-style vocals and often "broken" beats)
    • Progressive house (usually faster than traditional house, with many volume and phase variations and a "progression" of different background sounds)
    • Disco house (even greater emphasis on the bassline, and the return of many disco-ish accoutrements such as violin sections)
    • Tech house ("electric" / techno sounds featured over a house-derived beat, with melodic progression often less emphasized)
    • Latin house (incorporating elements of traditional Latin American music)
    • Tribal house (greater emphasis on drumlines; melodies may be present, but with less traditional "progression")


    Citable sentences

    Up to date as of December 23, 2010

    Here are sentences from other pages on House music, which are similar to those in the above article.








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