History of Music Genre 20th-21st Century - Essay Example

History of Music Genre, 20th-21st Century Introduction Electronic music can be described as music created with the help of electronic devices. The genre of music under which electronic music is categorized is referred as techno. On the other hand a fetish club can be referred as building which has been designed to cater for the customers who are interested in fetish behavior like dresses which are not accepted in the society. A good example would be dressing on clothes which reveal naked parts of the body. This essay will examine the relationship existing between electronic music and fetish club culture. Likewise it will also highlight the kinds of music which are associated to fetish clubs. Body Relationship between Electronic Music and Fetish Club Culture Complaints about music not satisfying the different needs of individuals started at the beginning of music history. Each time a listeners’ piece is always disturbed by agitation of any source arising from music, then the taste is always changed into dissatisfaction. Therefore, sensuality plays a large role in either determining the success of the music like whether it is good or bad. Moreover, in today’s electronic music, the essence of taste has been outmoded. As Scherer writes (2009), this is because many have believed that to like ones work of music; it means you recognize the work. Therefore, electronic music has mastered this piece and you will only find it using the values judgments which are fictional to make listeners listen to it. In addition, electronic music has become widely corrupted with the idea of commercial success and today in many occasions it conspires with authority to suppress freedom. According to Frank (2013), As noted majority of the musicians playing electronic music are now representatives towards the opposition of moral schema and have dumped themselves into a lot of things to achieve their commercial success. According to Taylor (2012), The issue of sex has further been used to achieve the commercialize success because everything today has been sexualized or are symbolized as sex images. This has the ability to draw the needed masses towards one kind or genre of music as long as the musicians turn a blind eye and keep on promoting and other crude or weird behavior through their different electronic music. A good example is that today’s electronic videos are full of nudity and promotes the use of different drugs as in so doing the musicians tends to pass specific messages to a certain group of audience. The end results is that the youths of today who listen to and love electronic music have grown to develop weird or fetish club culture like dressing nudity, partaking in heterosexual activities amongst other things. As Scherer writes (2009), in the past morality was so strict on individuals and many people adhered to be and such things weird of funny sexual acts were rarely unheard of. However, the invent of electronic music promoted this as the messages they passed and videos they displayed were in support of fetish cultures therefore, the society saw no harm or crime in acting the same, hence they too copied some of these acts promoting the development and spread of fetish club culture. The appreciation of electronic music has in turn degraded to fetishisms because of the vulgar materialistic fascination which is used in the composition of the genre of music. However, this has been made easier for most musicians because as mush electronic music is vulgar; its composition only requires a musician to posses a voice and the needed instruments to become a singer. According to Frank (2013), Surprisingly, the context always being passed out through such music is not always given much consideration hence resulting to the celebration of such music which lacks destitute functions. Moreover, electronic music has made it habit to legitimate the voice of a musician in question by using instruments which increase voluminous or speed of the music in question. As the music progresses into rapture, audiences have nothing to listen rather give themselves to the sounds of the instruments which have been fetishlike designed and removed away from the function they are made to serve in the music which is to give meaning. According to Taylor (2012), This has resulted to the response we see today in our society regarding music the society has not placed pleasure to be achieve from electronic music should appreciate the efforts they make in their attempt to attempts events of such music or other related efforts. A good example is that nowadays, the presence of electronic music has made audiences to place great value in the money they pay to attend similar concerts of buy devices like alums to listen to a collection of electronic music being played by either a single or group of musicians. This idea which place pleasure as an aspect that the idea of music is valuable and precious rather than taking pleasure in the music itself has resulted to promoted fetish cultures among audience leading to the fetish club culture. According to Frank (2013), Therefore a school of thought towards electronic music is being developed where musical arrangers are self serving. This they achieving by identifying small scale of task to kill the intimacy, but uses the dressing up and puffing to kill the protest which arises from the audience. A good example is that in today’s society you may find that audiences are charged heavily for a musical- event and promised that the event will take a specific element of time to end. However, this is not always so because the same audiences are times given dress codes to wear and encouraged to make merry while at the event. Getting merry may include use of drugs amongst others, in so doing, several fetish behavior are promoted, but ignored all in the name of an electronic music event. Moreover, under the pretense of what is considered a perfect interruption, conductors are used in the standardization of electronic music. This further reveals a fetish character of the conductor use to standardize the music as it the most obvious yet also most hidden. Moreover, the audiences after being intoxicated listen for the formula of the genre of music as they believe that they are protected from the dangers of the exposure. Electronic music used to be done in open spaces that are all genders were allowed to come and attend such concerts. Although this was not the norm s electronic music was a male domain with its loud and terrifying noise women used to love it. However, this is not the case anymore since the modern fetish club nature has been intertwined with this type of music. The gothic people of Goth nature now associate itself with this kind of music as the noises have been made to resemble some dangerous, frightful and dark sound which is similar to satanic sounds. This kind of dark stuff is a fetish for the Goth community and they identify with darkness. Darkness can be seen in their fashion sense, food choices and social hangouts and leisure activities. In the contemporary world an attendance to an electronic music concert is an encounter out of a Halloween night as everybody is dressed up as if they are attending a burial service and their attitudes match their cold and frightening appearance. In addition, electronic music has also been invaded by the LGBT community which sees this music as the kind of music that accepts them for who they are. The loud eerie electronic noises form their bands act as stress relievers as they can shout out all their problems without a care in the world. Moreover, they can do all kinds of weird, twisted and dark stuff and nobody will judge them. They are at home in such venues and only normal or regular people or people who are not gothic or LGBT will be uncomfortable in these situations. A look at the electronic performer’s band members and the relationship between electronic music and fetish club cultures is evidenced. Band members play the part in fact they are the ones that have associated electronic music and fetish club notions. The members dress up in either gothic manner or drag queens and very bold make up. These are fetishes which drive away normal people and electronic music is no longer associated with normal regular people. The only people who are regular and normal but still like electronic music is the youths or teenagers. Teenagers have a thing for anything mysterious, dark and rebellious elements which electronic members have so perfected. As a matter of fact, electronic music has been so deeply involved in fetishes that music is no longer music. As long as there are electronic beats the rest is just weird and twisted fetish acts from the band members to the concert attendees. The attendees are so engrossed in their fetish acts that they never criticize the music, its lyrics or the band members as all they want is a place to portray their fetishes and wild fantasies. Electronic music is not music at all if it will continue in this trend of following fetish club practices rather than producing quality music. Kinds of Music Popular In Fetish Clubs Commercial jazz can be used as sample of music in these groups. According to Kotynek, & Cohassey (2008), the type of music is also considered fetish because it function are only carried our when the audiences are in state of distraction. The music is always not pleasing at all to the concentrated listening as it in most cases it always posses a background conversation to the music which most listeners have always been keen to realize. This creates the importance and need for atomized listening in order to effectively decompose the message being passed over in the music. Likewise, the form is always very standardized even to the number of beats and the exact duration it takes to accurately listen to a song hence most audiences do not care about listening to treatment and style being applied in the genre of music rather they are attracted to such things like use of colors and nudity portrayed in these type of music .Moreover, these types of songs are prepared in the language used by children as the vocabulary used in their composition always differs from the real meaning or intended meaning since the artist composing Jazz music distorts the artistic language used in their composition. Kotynek, & Cohassey (2008), Most hit Jazz songs are always full of mistakes in phrasing and harmony and other sorts of treatments which do not make sense at all yet, many audiences always rejoice in listening to those types of songs. A good example is that a musician may produce a hit song which totally degrades women yet or ironically you will find women who are being abused by the songs the ones used in producing the song videos and the ones who actually attend different events selected to promote the song. These mistakes made by different Jazz artist are always used in reconciling any opposition that may be raised by intended audiences and the end result is that the song turns out to be a hit. Kotynek, & Cohassey (2008), Rock n Roll music has origins as early as World War 2. It is characterized by hard metals and electric guitars. It is mostly associated with gothic people as it is believed that rock n roll is dark. The use of extremely black clothing, unusual hair styles, body piercing and bondage to items all characterize this group of people. Such groups of people are also characterized with extreme violence which is stereotypic. This genre of music concentrates on societal evils like war, racism, hatred of groups, unhappy and nasty topics which most people shun from. However, these are the kinds of music that are popular in fetish clubs and for the obvious reasons to allow fetish people to do their fetish behaviors without discrimination, judgment or consequences. For example a gothic group will not have fun at a normal club they will want an atmosphere where they can easily portray their fetish acts with people who are like them or think like them. Kotynek, & Cohassey (2008), Fetish clubs is their own small world of fantasy where they can live their fantasy and escape the realities of the normal world. Many people with fetishes reason the same way as the Goths do and go to fetish clubs for the same reasons; to escape reality. They can dance and enjoy the hard rock music which they are accustomed to. Goths are often discriminated upon by other people in the society due to their differences in ideologies. Most of them are ridiculed in school and even miss on opportunities in job markets due to their look, this hence makes most of them to grow with very low self esteem and only do well among other Goths. Only then can they be comfortable. Reggae Music According to Wilkinson, (2009), the word “reggae” was coined from Jamaica to identify with the ragged style of dance music with its origin from New Orleans rhythm n blues. Reggae music is often associated with the Rastafarians both in lyrics and drumming styles. Compared to rock music, reggae music basically inverted the role of bass and guitar: the former was the lead, the latter beat the typical hiccupping pattern. The paradox of reggae, of course, is that this music "unique to Jamaica" is actually not Jamaican at all, having its foundations in the USA and Africa. Rastafarianism began in 1930 in Jamaica. Rastas believe in living close to nature. They are vegetarians and ideally, they grow their own food. They do not believe in smoking cigarettes or drinking alcohol or coffee. Interestingly enough, however, they do believe in smoking marijuana or cannabis, since this is to them a natural and beneficial herb. They smoke it as part of their worship. Reggae music has closely been associated with Rastafarians as most people believe that because rastas grow dreadlocks and smoke marijuana are reggae fans. This relationship between reggae and Rastafarianism was widely propagated by personalities such as Bob Marley, Marcus Garvey, Peter Tosh, and Burning Spear and much other. Reggae music has become an important means of transporting vital messages of Rastafarianism. The musician becomes the messenger. According to Wilkinson, (2009), Reggae evokes a message of universal suffrage, and in doing so spreads a theme of class consciousness to the poor, illiterate, and oppressed."It still serves as a social safety valve through which oppressed peoples express their discontent." This theme of unity is matched with the idea that social change is not long in the coming, and that the change will be for the better of all. Reggae also states that it is possible to enjoy life even in the presence of tragedy, since there is always a hope for improvement. Music is an important part of the Jamaican way of life, and reggae music has become a means of expressing the discontent found in Jamaican society. As a social commentary, reggae is a powerful means of attacking what is wrong in Jamaica, as well as the rest of the world. Police beatings, jail time, love, gang warfare, poverty, downpression (oppression), ganja, and rastafarian beliefs are all dealt with in reggae music. The music of Rastafarians is not only an artistic creation in the Jamaican society, but an expression of deep seated social rage. Early reggae artists, such as Jimmy Cliff, Peter Tosh, Bob Marley, and Burning Spear, brought the message of Rastafarianism into the musical world. It is hard to imagine that Rastafarianism would have spread outside of Jamaica without the aid of reggae music."Bob Marley gave the poor a voice in the international arena of ideas." While most Rastafarians desire a peaceful change, it is the individual believers who are likely to engage in acts of crime. The Rastafarian movement with its unorganized militancy could be fertile ground for guerrilla resistance. These crimes and other acts of violence seem to emerge as the only means of protest that a poor and overlooked group of people can use. According to Wilkinson, (2009), since they have no direct control of the government or any other manners of teaching, the Rastafarians only way of making an impact is through deviant behavior. This behavior emerged as smoking marijuana, a peaceful means of non conformity, growing dreadlocks, a means of causing fear into non believers, and protesting about inequalities, a way of causing change. As Wilkinson writes (2009), Reggae music has therefore been deeply linked to the Rastafarians as they have used reggae as a means for social change. When this music is played in the fetish clubs, rastas identify more with it as opposed to other genres of music. Reggae music is used as a peaceful protest to get their demands. Reggae music has currently received international recognition cutting across all races and religions. This kind of music is said to contain message easily understood by the Rastafarians. According to Wilkinson, (2009), Pronunciation of words in the lyrics of the songs maybe misunderstood by ordinary people but not a rasta man. Ganja for example is widely used to refer to marijuana which is common knowledge to them. Words such as “ a gwine” in English means I’m going to,” annada” to mean another, “ a door” to mean outdoors and many others. This kind of language used in reggae can only be conversant with the Rastafarians. This hence is the reason why reggae music played in fetish clubs targets mostly the Rastafarians and would not bring much satisfaction to anyone outside this group of people. Conclusion In conclusion, the kind of music played in these fetish clubs are determined by the crowd ranging from the different age groups, genders and sexual orientations. Ultimately, it’s the crowd that generates the atmosphere for an event. Fetish clubs are never tied to one style of music just like our tastes change with time and sub-culture we are into however the kind of music popular in fetish clubs can be categorized as lower music References FRANK, K. (2013). Plays Well in Groups a Journey Through the World of Group Sex. Lanham, Rowman & Littlefield Publishers. http://public.eblib.com/choice/publicfullrecord.aspx?p=1339424. TAYLOR, J. (2012). Playing it queer: popular music, identity and queer world-making. Bern, Peter Lang. SCHERER, B. (2009). Queering paradigms. New York, NY, P. Lang. WILKINSON, M. (2009). Defying disability the lives and legacies of nine disabled leaders. London, Jessica Kingsley Publishers. http://www.123library.org/book_details/?id=2104. KOTYNEK, R., & COHASSEY, J. (2008). American cultural rebels: avant-garde and bohemian artists, writers and musicians from the 1850s through the 1960s. Jefferson, N.C., McFarland & Co. Read More