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This is the first detailed study of underground dance music or UDM, a phenomenon that has its roots in the overlap and cross-fertilization of African American and gay cultural sensibilities that have occurred since the 1970s. UDM not only predates and includes disco, but also constitutes a unique performance practice in the history of American social dance. Taking New York City as its geographic focus, this book shows how UDM functions in the lives of its DJs and dancers, and how it is used as the primary identifier of an urban subculture shaped essentially by the relationships between music, dance, and marginality. The author goes beyond stereotypical images of club and disco to explore the cult and culture of the DJ, the turntable and vinyl recordings as musical instruments, and the vital relationship between music and dance at underground clubs. Including interviews, photographs, and an extensive discography, this ethnographic account tells the story of a celebration of collective marginality through music and dance.

Underground dance music --- History and criticism --- Electronic dance music

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L'histoire de la musique du XXe siècle est profondément marquée par l'apport de l'électronique. Cette aventure, d'abord technologique, a commencé dès le début du siècle avec le développement de l'enregistrement et l'apparition des premiers instruments de synthèse sonore. Mais c'est dans les années cinquante qu'un élan impulsé par des musiciens savants consacre la naissance des premiers styles purement électroniques. De manière plus ou moins directe, ces avant-gardes ont influencé l'apparition de nombreux genres musicaux populaires comme le club, le hip-hop, l'electro, puis la house et la techno. La technologie a servi de fil conducteur à toutes ces expériences, tout comme l'intérêt primordial pour le son. Depuis les premiers essais de John Cage avec des tourne-disques joués en direct en 1939, le phénomène du Disc Jockey a pris une ampleur considérable pour le consacrer comme véritable créateur depuis les sound-systems jamaïquains jusqu'au développement des night-clubs de New York, Chicago, Detroit puis d'Europe. Le mouvement techno, au travers des raves et surtout des free parties, s'est révélé être une véritable contre-culture. Pour compléter cette approche historique, l'auteur propose une sélection anthologique de compact discs. Né en 1974, Guillaume Kosmicki, musicologue, est enseignant- conférencier, spécialiste du phénomène techno à travers les raves et les free parties. Il est également musicien sous le nom de Tournesol et participe au collectif Oko System.

Musique contemporaine --- Electronic music --- Underground dance music --- History and criticism --- Electronic music - History and criticism --- Underground dance music - History and criticism

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The Beyond the Dance Floor book is a path breaking study about the women who DJ electronic dance music. In this study, the main focus is given on the largely neglected relationship between women and the hegemonic conceptions of gender and technology that continue to inform this male dominated music culture. In this study, the author explores several important issues, such as the politics of identity and representation, women-centred DJ communities, and the role female DJs and producers play in dance music culture as well as the larger public sphere.

Music and technology. --- Disc jockeys. --- Underground dance music. --- Club music --- Dance music, Electronic --- Dance music, Underground --- EDM (Electronic dance music) --- Electronic music (Electronic dance music) --- UDM (Underground dance music) --- Underground dance music --- Dance music --- Electronica (Music) --- Remixes --- Deejays --- Disk jockeys --- DJs (Disc jockeys) --- Musicians --- Radio broadcasters --- Technology and music --- Technology --- Women in music. --- Women musicians. --- Popular music --- History and criticism. --- Social aspects.

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Electronic dance music --- Dance --- Dance. --- Electronic dance music. --- Club music --- Dance music, Electronic --- Dance music, Underground --- EDM (Electronic dance music) --- Electronic music (Electronic dance music) --- UDM (Underground dance music) --- Underground dance music --- Dance music --- Electronica (Music) --- Remixes --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Music --- dance --- electronic music --- djs --- music production --- critical theory

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This book uses ethnographic research to examine the role of dance in the construction of identity in the distinctly British electronic dance music club culture of drum ’n’ bass. Dancing is revealed as the central way in which drum ’n’ bass clubbers construct and perform their identities, which are informed, although not defined, by the club culture’s histories. The intertextual and intercultural development of drum ’n’ bass musical and clubbing culture is shown to be represented in the dancing body, prompting a challenge to the discourse of cultural appropriation. Popular representations of identities are embodied by drum ’n’ bass clubbers through affective transmission via the popular screen, and in this process are re-valued in their embodiment. Using a socially orientated understanding of intertextuality, the popular dancing body is shown to be heterocorporeal: containing traces of prior meaning and logic yet replete with new meaning and significance. .

Electronic dance music --- Club music --- Dance music, Electronic --- Dance music, Underground --- EDM (Electronic dance music) --- Electronic music (Electronic dance music) --- UDM (Underground dance music) --- Underground dance music --- Dance music --- Electronica (Music) --- Remixes --- Dance. --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics