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ELECTRONIC dance music, SOCIAL status, DISC jockeys, POLAR effects (Chemistry), and MUSIC festivals

The social standing of an artist provides a reliable proxy for the value of the artist's product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs' tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing. [ABSTRACT FROM AUTHOR]

SOCIAL context, DANCE music, and BALLROOM dancing

Behind the scenes of the Congress of Laibach (modern day Ljubljana), a dance form called Deutscher came into existence and for a decade remained, in a specific local version, the most popular dance of bourgeois circles. This paper sheds light on the phenomenon of the Laibacher Deutscher within a broad social and cultural context and political background. [ABSTRACT FROM AUTHOR]

ELECTRONIC dance music and POPULAR music

This article discusses the functions of continuous processes in contemporary electronic dance music (EDM), providing an analytical framework for discussing their structural and aesthetic roles in this repertoire. Continuous processes are musical gestures with continuous changes to musical parameters, rather than discrete, "step-by-step" ones. Examples include pitch slides (glissandos), crescendos, fade ins, accelerandos, and filter sweeps. Continuous processes in this repertoire are created with "continuous controllers" such as sliders and knobs, or are programmed into tracks with "automation curves." Functionally, continuous processes often provide sonic instructions for dancers. They can be used by creators at strategic times to provide ornamentation, orientation (often accompanied by intensification or de-intensification), or disorientation (usually in breakdown sections). This article adds to existing analytical scholarship by drawing attention to the many roles of continuous processes in EDM, and showing how they contribute to the emotional waves experienced when listening to this music. [ABSTRACT FROM AUTHOR]

MEMORY and ELECTRONIC dance music

Na fotografiji/On the photo: Tomaz Grom, Katja Legin, Jurij Konjar. Na fotografiji/On the photo: Tomaz Grom Katja Legin, Zavezano, Nagib in/and Studio za raziskavo umetnosti igre, 2020. Na fotografiji/On the photo: Tomaz Grom Katja Legin, Zavezano, Nagib in/and Studio za raziskavo umetnosti igre, 2020. Na fotografiji/On the photo: Tomaz Grom, Katja Legin, Jurij Konjar Katja Legin, Zavezano, Nagib in/and Studio za raziskavo umetnosti igre, 2020. [Extracted from the article]

ELECTRONIC dance music

ELECTRONIC dance music, TANDEM mass spectrometry, DANCE festivals, LIQUID chromatography, and HARM reduction

Background and Objectives: Electronic dance music (EDM) party attendees who use ecstasy (3,4‐methylenedioxymethamphetamine [MDMA], Molly) are at high risk for ingesting adulterant drugs, but little is known regarding trends in exposure. We sought to determine whether adulteration has shifted in recent years. Methods: Adults entering EDM events at nightclubs and dance festivals in NYC were surveyed in 2016 and 2019. We tested hair samples from a subsample of those reporting past‐year ecstasy use using ultra‐high performance liquid chromatography—tandem mass spectrometry. Differences in unreported drug exposure and suspected adulteration were compared between 2016 (n = 90) and 2019 (n = 72). Results: MDMA detection was stable at 72‐74%. We detected decreases in unreported use of methamphetamine (from 22.2% to 5.6% [P =.003], an 74.8% decrease), new psychoactive substances (from 31.1% to 2.8% [P <.001], a 91.0% decrease), and synthetic cathinones in particular (from 27.8% to 2.8% (P <.001, an 89.9% decrease). Unreported ketamine exposure increased from 18.9% to 34.7% (P =.022, an 83.6% increase). We also detected decreases in participantsʼ suspicion of their ecstasy being adulterated with methamphetamine (from 20.0% to 5.6% [P =.010], an 72.0% decrease) and "bath salts" (synthetic cathinones, from 8.9% to 1.4% [P =.044], an 84.3% decrease). Discussion and Conclusions: Unknown exposure to adulterants among people who use ecstasy in the EDM scene is shifting. Monitoring of exposure to adulterants is needed to inform harm reduction. Scientific Significance: This was among the first studies to examine unintentional exposure to drugs over time in this population and unintentional exposure to synthetic cathinones in particular appears to be declining. (Am J Addict 2021;30:49–54) [ABSTRACT FROM AUTHOR]

DANCE music, MUSICAL perception, RECURRENT neural networks, STATISTICAL hypothesis testing, MODAL logic, and COGNITION

Music semantics is embodied, in the sense that meaning is biologically mediated by and grounded in the human body and brain. This embodied cognition perspective also explains why music structures modulate kinetic and somatosensory perception. We explore this aspect of cognition, by considering dance as an overt expression of semantic aspects of music related to motor intention, in an artificial deep recurrent neural network that learns correlations between music audio and dance video. We claim that, just like human semantic cognition is based on multimodal statistical structures, joint statistical modeling of music and dance artifacts is expected to capture semantics of these modalities. We evaluate the ability of this model to effectively capture underlying semantics in a cross-modal retrieval task, including dance styles in an unsupervised fashion. Quantitative results, validated with statistical significance testing, strengthen the body of evidence for embodied cognition in music and demonstrate the model can recommend music audio for dance video queries and vice versa. [ABSTRACT FROM AUTHOR]

BAROQUE music, DANCE music, UPPER class, LITERARY sources, HOME environment, and BALLROOM dancing

Masters of music and dance were very important figures within the European Baroque society. They were responsible for educating the upper classes and did so in the suitable privacy of the home environment. However, their presence in Portugal has been little noted, and few studies concerning their functions as teachers and choreographers have been produced in the last decades. Analysis of new iconographic and literary sources from the second half of the seventeenth and the first half of the eighteenth centuries has resulted in new data about their existence and relevance. A study of this new information proves the presence of this professional class in Portugal and allows for the contextualization of its members' activity, the evaluation of their importance to the musical life of that period, and the analysis of issues related to musical and dancing practices. [ABSTRACT FROM AUTHOR]

ELECTRONIC dance music, DRUG utilization, DANCE parties, SYNTHETIC drugs, CROSS-sectional method, RESEARCH funding, MUSIC, DANCE, and ELECTRONICS

Intention and willingness to use drugs are proximal predictors of drug use; however, willingness to use requires more research to inform prevention efforts. This study examines willingness to use drugs among electronic dance music (EDM) party attendees, a population at high risk for drug use. Data were examined from a repeated cross-sectional study of 2,426 adult EDM party attendees surveyed entering nightclubs and festivals in New York City from 2017 to 2019 using time-space sampling. Trends and correlates of reporting whether participants would use ten different synthetic drugs if offered by a friend in the next thirty days were examined. Ecstasy (31.9%), powder cocaine (25.5%), LSD (20.0%), and opioids (16.4%) were most likely to be used if offered. Willingness to use powder cocaine, LSD, ketamine, amphetamine, tryptamines, and 2C series drugs significantly increased from 2017 to 2019, particularly powder cocaine (increasing from 19.1% to 34.2%, p <.001). Any or more recent use of each drug was associated with increases in willingness to use. Past drug use is a consistent predictor of willingness to use if offered, and willingness to use is increasing in this population. Findings can inform prevention efforts by allowing better targeting of those at risk for use. [ABSTRACT FROM AUTHOR]