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Local Identity, World Music 2.0, and Electronic Dance Music
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Chapter 8 discusses the orientation of Central European musicians to aesthetics, production technologies, and distribution networks of the turn of the millennium that are collectively termed world music 2.0, arguing that study of local information flow enriches the overall notion of world music 2.0. The chapter reviews how electronic dance music (EDM) became a key component of the millennial sound world and of world music 2.0 in Central Europe. The chapter then describes musicians who continue to think locally as they merge sensibilities: the Slovak duo Longital developed a futurist aesthetic; the Austrian composer and musician Christof Dienz blended alpine ideas, avant-garde art music, and EDM; and Hungarian composer-producer Károly Cserepes infused musical dreamscapes with local sounds. The chapter concludes that the Central European musicians occupy a liminal space between analog world music 1.0 and networked world music 2.0.
Title: Local Identity, World Music 2.0, and Electronic Dance Music
Description:
Chapter 8 discusses the orientation of Central European musicians to aesthetics, production technologies, and distribution networks of the turn of the millennium that are collectively termed world music 2.
0, arguing that study of local information flow enriches the overall notion of world music 2.
The chapter reviews how electronic dance music (EDM) became a key component of the millennial sound world and of world music 2.
0 in Central Europe.
The chapter then describes musicians who continue to think locally as they merge sensibilities: the Slovak duo Longital developed a futurist aesthetic; the Austrian composer and musician Christof Dienz blended alpine ideas, avant-garde art music, and EDM; and Hungarian composer-producer Károly Cserepes infused musical dreamscapes with local sounds.
The chapter concludes that the Central European musicians occupy a liminal space between analog world music 1.
0 and networked world music 2.
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