House Music (ποιά είναι η γνώμη σας?)
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Συμφωνώ και εγώ λίγο πολύ με τον Heartcore.Δεν μπορώ να πώ πως είμαι γνώστης του είδους.Τα μόνα κομμάτια που μου αρέσουν είναι αυτά με jazz στοιχεία.
Μπορεί να μην έχω ακούσει όμως και κάτι που θα έπρεπε... :roll:
Μπορεί να μην έχω ακούσει όμως και κάτι που θα έπρεπε... :roll:
Αφού ζητάς την γνώμη μας, ας την πω και εγώ να ησυχάσω:
Ένα είδος μουσικής απο το οποίο πέρασα και εγώ (λόγω δουλειάς / D.J.).
¶ξαφνα όμως φιλοσόφισα πολύπλευρα την house μουσική και τα παρακλάδια της και απο τότε όποτε ακούω house βγάζω καντίλες στα αυτιά μου και με πιάνει ναυτία.
Όσες φορές έχω πάει σε club και ο d.j. έπαιζε house (και με τα εκεφαλικά μας κύτταρα) έβλεπα τα teen-πιπίνια και τους hi-end μαμάκες να χορεύουν σαν μακάκες (χιμπατζίδες) και αναρωτιώμουν τι είναι αυτό που ενεργοποιεί το νευρικό τους σύστημα και τους κάνει να χορεύουν ακούγοντας αυτό το είδος μουσικής. Βέβαια, χόρευαν/κουνιόταν και άλλοι θαμώνες οι οποίοι δεν άνηκαν στις 2 παραπάνω κατηγορίες, αλλα ο χορός/κούνημα ήταν παράγωγο του ρυθμού που ακούγονταν απο τα τσιταρισμένα ηχεία και οχι απο την μελωδία.
Για μένα, οτιδήποτε είναι εμπορικό δεν είναι μουσική και η house είναι εμπορική μουσική και τίποτα άλλο.
Ένα είδος μουσικής απο το οποίο πέρασα και εγώ (λόγω δουλειάς / D.J.).
¶ξαφνα όμως φιλοσόφισα πολύπλευρα την house μουσική και τα παρακλάδια της και απο τότε όποτε ακούω house βγάζω καντίλες στα αυτιά μου και με πιάνει ναυτία.
Όσες φορές έχω πάει σε club και ο d.j. έπαιζε house (και με τα εκεφαλικά μας κύτταρα) έβλεπα τα teen-πιπίνια και τους hi-end μαμάκες να χορεύουν σαν μακάκες (χιμπατζίδες) και αναρωτιώμουν τι είναι αυτό που ενεργοποιεί το νευρικό τους σύστημα και τους κάνει να χορεύουν ακούγοντας αυτό το είδος μουσικής. Βέβαια, χόρευαν/κουνιόταν και άλλοι θαμώνες οι οποίοι δεν άνηκαν στις 2 παραπάνω κατηγορίες, αλλα ο χορός/κούνημα ήταν παράγωγο του ρυθμού που ακούγονταν απο τα τσιταρισμένα ηχεία και οχι απο την μελωδία.
Για μένα, οτιδήποτε είναι εμπορικό δεν είναι μουσική και η house είναι εμπορική μουσική και τίποτα άλλο.
Παιδιά μην πέφτετε στην παγίδα.Η house μουσική είναι κι αυτή μουσική (ηλεκτρονική).Το αν θα είναι εμπορική ή όχι εξαρτάται από τους ίδιους παράγοντες που εξαρτάται και η rock,jazz κλπ.Για πολλοστή φορά θα πω ότι δεν υπάρχει "σωστό" και "λάθος" είδος μουσικής.Υπάρχουν γούστα.Όπως μπορείς να βρεις ένα άσχημο τραγούδι στην rock,έτσι μπορείς να βρεις κι ένα άσχημο τραγούδι στην house (όποια και αν είναι αυτή).Και κυρίως ας μην τα ισοπεδώνουμε όλα έχοντας ακούσει μόνο ένα ελάχιστο ποσοστό από τους δημιουργούς house.Ομολογώ πάντως πως από την στιγμή που άρχισα να ασχολούμαι με παραγωγή μουσικής στον Η/Υ κατάλαβα ότι ίσως η house να είναι η πιο εύκολη για να γράψεις.ΠΡΟΣΟΧΗ! δεν λέω η πιο εύκολη για να γράψεις κομματάρες.Απλά η πιο εύκολη για να γράψεις κάτι αντιπροσωπευτικό.Και σίγουρα πολλοί το έχουν εκμεταλλευθεί αυτό και σίγουρα κυκλοφορούν πολλά "μαργαριτάρια" όπως περιέγραψαν οι προλαλήσαντες.Να μην τα ισοπεδώνουμε όμως όλα.Υπάρχουν και σωστοί στον χώρο οι οποίοι έχουν δώσει ωραία δείγματα γραφής.Για παράδειγμα θέτω τον Danny Tenaglia (όλες του τις δουλειές όμως και κυρίως αυτές στην αρχή της καριέρας του,αν τον ψάξετε ίσως και να αλλάξετε γνώμη).Όπως στα αυτιά ενός αμετανόητου χαουζά π.χ. ίσως να ακούγεται μονότονη και εκνευριστική η metal,έτσι και σε έναν μεταλλά ίσως να ακούγεται μονότονη και ανόητη η house.
Υ.Γ. "Το να επιλέξεις ένα μόνο είδος μουσικής,είναι σαν να σου αρέσει μόνο ένα όμορφο κύμα του ωκεανού,να το κόψεις και να το πάρεις σπίτι σου.Η μουσική είναι μία και ενιαία" - Jimmy Hendrix
Υ.Γ. "Το να επιλέξεις ένα μόνο είδος μουσικής,είναι σαν να σου αρέσει μόνο ένα όμορφο κύμα του ωκεανού,να το κόψεις και να το πάρεις σπίτι σου.Η μουσική είναι μία και ενιαία" - Jimmy Hendrix
Εγώ έχω ένα μικρό πρόβλημα με τα χαουζάκια αλλά πριν μπω σε λεπτομέρειες θα ήθελα να διευκρηνίσω ότι δεν αρνούμαι ότι έχουν γραφτεί και πολύ καλά κομμάτια house και έτσι δεν θέλω να θάψω όσους ασχολούνται. Υπάρχει όμως ένα σημαντικό στοιχείο στην house που με προβληματίζει και η αλήθεια είναι ότι με ξενερώνει αρκετά. Όπως είπε και ο kokoman μπορεί να φτιάξεις πολύ εύκολα ένα κομματάκι house μόνο με την χρήση Η/Υ και ειδικά χωρίς την συνεργασία άλλων ατόμων( όχι απαραίτητα). Το τελευταίο από τα δύο που ανέφερα το θεωρώ πολύ σημαντικό. Καταργεί κάθε έννοια μπάντας - φίλων - ανταλλαγή ιδεών πραγματικά με το πάτημα ενός κουμπιού. Και εγώ ασχολούμαι αρκετά με τον υπολογιστή μου και με τις διευκολύνσεις που μου παρέχει όσο αναφορά την μουσική αλλά δεν μπορώ να με φανταστώ να ολοκληρώνω μουσικές ιδέες μόνο αγκαλιά με την οθόνη μου. Με άλλα λόγια όταν ακούω μουσική μου αρέσει να σκέφτομαι και να ξέρω ότι πίσω από την ντραμς κάθετε ένας λαχανιασμένος τύπος και όχι ότι τα τύμπανα ή το μπάσο που ακούω γραφτηκαν από έναν τύπο που είχε να μιλησει σε άνθρωπο βδομάδα και βάλε.....
γενναιοι πολεμιστες
σεβομενος απολυτα τις αποψεις ολων σας , κρινετε και μιλατε ολοι σας για την house μουσικη που ακουτε σημερα ή που εχετε ακουσει εδω στην ελλαδα , και στα εδω ελληνικα club της συμφορας (που λεει ενας φιλος ) .
σαφως και εχετε δικιο . σαφως και τα συμπερασματα σας τα βρισκω δικαιολογημενα . αλλα δεν ειναι μονο αυτη η house μουσικη . ΔΕΝ ΕΙΝΑΙ . η καλη house μουσικη δυστυχως παιζεται στο εξωτερικο .
για μενα η house μουσικη ειναι θησαυρος , ειναι απεραντη , ακουω πολυ house μουσικη , ευτυχως που υπαρχουν κατι ακρες και ακουω cd που δεν κυκλοφορουν στην ελλαδα . θεωρω οτι ειναι ενα ειδος "αγεραστο" , δεν εχει ξεφτισει ακομα , ειναι εν μερει ατμοσφαιρικη μουσικη , ειναι ακρως χορευτικη μουσικη , ειναι μια μουσικη που οπως συμβαινει με τα περισσοτερα ειδη της ηλεκτρονικης μουσικης , δεν εχουν φτασει ακομα στην ελλαδα στον βαθμο που θα επρεπε ( περα απο το progressive δεν νομιζω να εχει ακουσει ακουσει κανεις detroit ).
στο εξωτερικο καποιοι dj λενε ....house , music only for happy people
σεβομενος απολυτα τις αποψεις ολων σας , κρινετε και μιλατε ολοι σας για την house μουσικη που ακουτε σημερα ή που εχετε ακουσει εδω στην ελλαδα , και στα εδω ελληνικα club της συμφορας (που λεει ενας φιλος ) .
σαφως και εχετε δικιο . σαφως και τα συμπερασματα σας τα βρισκω δικαιολογημενα . αλλα δεν ειναι μονο αυτη η house μουσικη . ΔΕΝ ΕΙΝΑΙ . η καλη house μουσικη δυστυχως παιζεται στο εξωτερικο .
για μενα η house μουσικη ειναι θησαυρος , ειναι απεραντη , ακουω πολυ house μουσικη , ευτυχως που υπαρχουν κατι ακρες και ακουω cd που δεν κυκλοφορουν στην ελλαδα . θεωρω οτι ειναι ενα ειδος "αγεραστο" , δεν εχει ξεφτισει ακομα , ειναι εν μερει ατμοσφαιρικη μουσικη , ειναι ακρως χορευτικη μουσικη , ειναι μια μουσικη που οπως συμβαινει με τα περισσοτερα ειδη της ηλεκτρονικης μουσικης , δεν εχουν φτασει ακομα στην ελλαδα στον βαθμο που θα επρεπε ( περα απο το progressive δεν νομιζω να εχει ακουσει ακουσει κανεις detroit ).
στο εξωτερικο καποιοι dj λενε ....house , music only for happy people
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House , trance, dance, acid , Breakbeat κλπ.. Το είδη αυτά πέρασαν 40 κύματα στους σχολιασμούς των μουσικών. Πολλοί τα είπαν ευτελισμό της μουσικής, πολοί τα είπαν υποκουλτούρα, άλλοι τα συνέδεσαν με βία, ναρκωτικά και σπίντα.
Υπήρξαν φορές που και εγώ τα αμφισβήτησα για το άν είναι μουσική αυτά τα επαναλαμβανόμενα (και καλά μέτρα) , παρόλο που η γενιά μας μεγαλώσαμε με αυτά απο τα πρώτα μας βήματα στο clubbing.
Τώρα που "μεγάλωσα" και έμπλεξα και με τα pcdia και τέτοια , τώρα κατάλαβα για τι μιλάμε, τι εστί ηλεκτρονική μουσική και κυρίως τι αγγούρι είναι να φτιαχτεί. Για εμένα το είδος αυτό μουσικής και τα παράγωγά του είναι μια πραγματική πρόκληση, ακόμα και η σύνθεση και παραγωγή τέτοιας μουσικής έχει τόσες παραμέτρους , ανεξάντλητες δυνατότητες...
Για εμένα είναι το πάντρεμα της σύνθεσης με την μίξη και την ηχητική επεξεργασία. Τα κομμάτια αυτου του είδους σίγουρα πολλές φορές είναι έρμαια της παραγωγής και της κατανάλωσης αλλά δεν μπορούμε να πούμε οτι δεν υπάρχουν και σε αυτό το είδος κομμάτια που έχουν πλέον διαχρονικότητα και δημιούργησαν και οπαδούς των παραλλαγμένων στύλ. νέα διάσταση στον ήχο
Βάση αυτών για εμένα είναι δύσκολο μουσικό είδος και θέλει μεράκι και πολλή δουλειά αλλά και γνώσεις μιλώντας απο δημιουργική πλευρά
Κοινώς λαϊκιστί, ναι μεγάλε, επαναλαμβανόμενα μέτρα είναι και samples διασκευασμένα αλλά κάντα να ακούγονται έτσι, δέσε τα σωστά!!!
(ρητορική η πρόκληση :lol
Υπήρξαν φορές που και εγώ τα αμφισβήτησα για το άν είναι μουσική αυτά τα επαναλαμβανόμενα (και καλά μέτρα) , παρόλο που η γενιά μας μεγαλώσαμε με αυτά απο τα πρώτα μας βήματα στο clubbing.
Τώρα που "μεγάλωσα" και έμπλεξα και με τα pcdia και τέτοια , τώρα κατάλαβα για τι μιλάμε, τι εστί ηλεκτρονική μουσική και κυρίως τι αγγούρι είναι να φτιαχτεί. Για εμένα το είδος αυτό μουσικής και τα παράγωγά του είναι μια πραγματική πρόκληση, ακόμα και η σύνθεση και παραγωγή τέτοιας μουσικής έχει τόσες παραμέτρους , ανεξάντλητες δυνατότητες...
Για εμένα είναι το πάντρεμα της σύνθεσης με την μίξη και την ηχητική επεξεργασία. Τα κομμάτια αυτου του είδους σίγουρα πολλές φορές είναι έρμαια της παραγωγής και της κατανάλωσης αλλά δεν μπορούμε να πούμε οτι δεν υπάρχουν και σε αυτό το είδος κομμάτια που έχουν πλέον διαχρονικότητα και δημιούργησαν και οπαδούς των παραλλαγμένων στύλ. νέα διάσταση στον ήχο
Βάση αυτών για εμένα είναι δύσκολο μουσικό είδος και θέλει μεράκι και πολλή δουλειά αλλά και γνώσεις μιλώντας απο δημιουργική πλευρά
Κοινώς λαϊκιστί, ναι μεγάλε, επαναλαμβανόμενα μέτρα είναι και samples διασκευασμένα αλλά κάντα να ακούγονται έτσι, δέσε τα σωστά!!!
(ρητορική η πρόκληση :lol
Να 'μαι! Λοιπον. Ακουω house απο τοτε που θυμαμαι τον εαυτο μου. Εχω ακουσματα απο πολλα είδη μουσικης. Πιστευω να ακουμε πολλα ειδη αλλα καλη μουσικη οπως ισχυει και στην house..
(Μενει λιγο πιο κατω απο εμε.) Ειναι λιγο hardrock τυπος..εγω πιο electronic και μονιμος house.. και καταλαβαινετε..
Γιατι το γραφω αυτο? Απλως πρεπει να καταλαβετε οτι πολλοι ξερουν απο μουσικη και απο νοτες αλλα το να γραφεις ενα είδος μουσικης πρέπει λιγο εως πολυ να το ξέρεις. Να το νιώθεις ετσι ωστε να βγαινει κατι σωστο.
Αλλο Αλκιστις και αλλο Κοκκινου.
Αλλο DJ Gregory (Yellow productions) και αλλο Alcazar (Sony..Ελλεος). (αυτο μου 'ρθε τωρα )
Προσπαθω να βρω ατομα να κανω αυτο που λεμε "μπαντα". Αλλα οι περισσοτεροι γνωστοι μου ακουνε αλλα πραγματα (π.χ. Aggelos :lol: )
Μια φορα με ενα φιλο μου τον αφισα με ενα θέμα μου να μου γραψει ενα κιθαριστικο σολο και δεν μου εκανε κατι..να μ'ακουμπάει.
Γενικοτερα σ'αυτη τη μουσικη τα θεματα βασιζονται στο feeling. Ομως καλο feeling θέλει καλη μουσικη..
Συμφωνω πολύ με τον kokoman.. ετσι ειναι τα πραγματα.
ενας γνωστος μου "Γνωστος λαμπρος μουσικος" εφτιαξε ενα κομματι χαουζ αλλα δεν αρεσε σε πολλους και ζητησε την βοηθεια μου. που εγω μπροστα του μουσικα είμαι μηδεν!
DJ στο εξωτερικο σημαινει καλλιτεχνης. Γιατι οι ανθρωποι είναι και μουσικοι. Κυκλοφορουν και δικα τους κομματια..Εδω sto ellada DJ ειναι ακομη ενας υπαλληλος που.. "θα τον διωξω την επόμενη εβδομάδα".
Ειμαι υπερ των samples. αλλα οχι παντα. Δεν κλεβουμε κομματι το "αφομειωνουμε" αν ειναι η καταλληλη λέξη.
Θελετε να στειλω καποια demo να με κραξετε?.. εεεε!!! εννοω να με κρινετε?..
Διασκευασα το Γιορτη απο Τρύπες.. θελετε μια γευση..?
αυτα.. επιστρεφω
Λοιπον. Ακουω house απο τοτε που θυμαμαι τον εαυτο μου. Εχω ακουσματα απο πολλα είδη μουσικης. Πιστευω να ακουμε πολλα ειδη αλλα καλη μουσικη οπως ισχυει και στην house..Βρε Aggelos! Ποσες φορές σου χω πει να παιξουμε κατι μαζί?? :lol:
(Μενει λιγο πιο κατω απο εμε.) Ειναι λιγο hardrock τυπος..εγω πιο electronic και μονιμος house.. και καταλαβαινετε..
Γιατι το γραφω αυτο? Απλως πρεπει να καταλαβετε οτι πολλοι ξερουν απο μουσικη και απο νοτες αλλα το να γραφεις ενα είδος μουσικης πρέπει λιγο εως πολυ να το ξέρεις. Να το νιώθεις ετσι ωστε να βγαινει κατι σωστο.
Αλλο Αλκιστις και αλλο Κοκκινου.
Αλλο DJ Gregory (Yellow productions) και αλλο Alcazar (Sony..Ελλεος). (αυτο μου 'ρθε τωρα
)Προσπαθω να βρω ατομα να κανω αυτο που λεμε "μπαντα". Αλλα οι περισσοτεροι γνωστοι μου ακουνε αλλα πραγματα (π.χ. Aggelos :lol: )
Μια φορα με ενα φιλο μου τον αφισα με ενα θέμα μου να μου γραψει ενα κιθαριστικο σολο και δεν μου εκανε κατι..να μ'ακουμπάει.
Γενικοτερα σ'αυτη τη μουσικη τα θεματα βασιζονται στο feeling. Ομως καλο feeling θέλει καλη μουσικη..
Συμφωνω πολύ με τον kokoman.. ετσι ειναι τα πραγματα.
ενας γνωστος μου "Γνωστος λαμπρος μουσικος" εφτιαξε ενα κομματι χαουζ αλλα δεν αρεσε σε πολλους και ζητησε την βοηθεια μου. που εγω μπροστα του μουσικα είμαι μηδεν!
DJ στο εξωτερικο σημαινει καλλιτεχνης. Γιατι οι ανθρωποι είναι και μουσικοι. Κυκλοφορουν και δικα τους κομματια..Εδω sto ellada DJ ειναι ακομη ενας υπαλληλος που.. "θα τον διωξω την επόμενη εβδομάδα".
Ειμαι υπερ των samples. αλλα οχι παντα. Δεν κλεβουμε κομματι το "αφομειωνουμε" αν ειναι η καταλληλη λέξη.
Θελετε να στειλω καποια demo να με κραξετε?.. εεεε!!! εννοω να με κρινετε?..
Διασκευασα το Γιορτη απο Τρύπες.. θελετε μια γευση..?
αυτα.. επιστρεφω
Τελευταία επεξεργασία από moderator:
Θέλουμε. Ανέβασε το να το ακούσουμε. Ίσως αλλάξω και γνώμη για την houseΘελετε να στειλω καποια demo να με κραξετε?.. εεεε!!! εννοω να με κρινετε?..
Διασκευασα το Γιορτη απο Τρύπες.. θελετε μια γευση..?
αυτα.. επιστρεφω
Τελευταία επεξεργασία από moderator:
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Σιγουρα ο περισσοτερος κοσμος μπερδευει την house με τα "Dance Ηits"
http://www.youtube.com/watch?v=HucIRZhWuCk 2:10
http://www.youtube.com/watch?v=HucIRZhWuCk 2:10
Τι ειναι η House Μουσικη ισως? ;D
Παραθετω παρακατω ενα αρθρακι με ολη την ιστορια τις House Μουσικης.
House music 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, Latino 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 music is strongly influenced by elements of soul- and funk-infused varieties of disco. House music 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.
House music 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 music's early years.
The common element of house music 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 music, 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 music, 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.
House music 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 music 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 music sound, such as the 303 bass synthesizer and minimal vocals. It is sometimes cited as the 'first house music record', although other examples from the same time period, such as J.M. Silk's "Music is the Key" (1985) have also been cited.
Etymology
The origins of the term "house music" are disputed. The term may have its origin from a club called the The Warehouse, which was one of the nightclubs that became popular among the teenagers living in the Chicago area in the late 1970s and early 1980s. The Warehouse was patronized primarily by gay, black and Latino men, who came to dance to DJ Frankie Knuckles's mix of classic disco. Knuckles released his dance tracks and mixes on D.J. International Records as well as on the Trax Records label. These dance tracks became known as house music. The club gained considerable fame in the mid '70s and grew tremendously towards the end of the '70s. Knuckles's productions increased at that time, and his mix of the Jamie Principle song "Your Love" is considered by many the track that was the launching pad for house music.
Chip E.'s recording "It's House" may also have helped to define this new form of electronic music. Chip E. claims the name came from methods of labelling records at the Imports Etc. record store, where he worked in the early 1980s; 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 music".
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 music subgenre called acid house.
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).
House music 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 Music 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 music 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.
The Roland TB-303 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 music 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 music 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 music 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. 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 music, 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 3 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.
Detroit techno: mid 1980s – early 1990s
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".
Etc, Etc. Link Here : http://en.wikipedia.org/wiki/House_music
H γνωμη μου? Μουσικη χωρις Ορια!
;D
Παραθετω παρακατω ενα αρθρακι με ολη την ιστορια τις House Μουσικης.
House music 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, Latino 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 music is strongly influenced by elements of soul- and funk-infused varieties of disco. House music 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.
House music 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 music's early years.
The common element of house music 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 music, 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 music, 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.
House music 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 music 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 music sound, such as the 303 bass synthesizer and minimal vocals. It is sometimes cited as the 'first house music record', although other examples from the same time period, such as J.M. Silk's "Music is the Key" (1985) have also been cited.
Etymology
The origins of the term "house music" are disputed. The term may have its origin from a club called the The Warehouse, which was one of the nightclubs that became popular among the teenagers living in the Chicago area in the late 1970s and early 1980s. The Warehouse was patronized primarily by gay, black and Latino men, who came to dance to DJ Frankie Knuckles's mix of classic disco. Knuckles released his dance tracks and mixes on D.J. International Records as well as on the Trax Records label. These dance tracks became known as house music. The club gained considerable fame in the mid '70s and grew tremendously towards the end of the '70s. Knuckles's productions increased at that time, and his mix of the Jamie Principle song "Your Love" is considered by many the track that was the launching pad for house music.
Chip E.'s recording "It's House" may also have helped to define this new form of electronic music. Chip E. claims the name came from methods of labelling records at the Imports Etc. record store, where he worked in the early 1980s; 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 music".
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 music subgenre called acid house.
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).
House music 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 Music 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 music 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.
The Roland TB-303 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 music 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 music 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 music 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. 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 music, 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 3 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.
Detroit techno: mid 1980s – early 1990s
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".
Etc, Etc. Link Here : http://en.wikipedia.org/wiki/House_music
H γνωμη μου? Μουσικη χωρις Ορια!
;DΠαρόμοια θέματα
