According to Butler (2006:33) use of the term EDM "has become increasingly common among fans in recent years. During the 1980s, the most common catchall term for EDM was house music, while techno became more prevalent during the first half of the 1990s. As EDM has become more diverse, however, these terms have come to refer to specific genres. Another word, electronica, has been widely used in mainstream journalism since 1997, but most fans view this term with suspicion as a marketing label devised by the music industry".
Brewster 2006:354
Reynolds 1999:71. Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre.
Keyboard Magazine. 21 (231). 1995. Unknown parameter |month= ignored (help); More than one of |number= และ |issue= specified (help); Missing or empty |title= (help)
Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4 ed.). Backbeat Books. p. 582. ISBN0-87930-628-9. สืบค้นเมื่อ 26 May 2011. Typically, that birth is traced to the early '80s and the emaciated inner-city of Detroit, where figures such as Juan Atkins, Derrick May, and Kevin Saunderson, among others, fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space-race electric funk of George Clinton, the optimistic futurism of Alvin Toffler's The Third Wave (from which the music derived its name), and the emerging electro sound elsewhere being explored by Soul Sonic Force, the Jonzun Crew, Man Parrish, "Pretty" Tony Butler, and LA's Wrecking Cru.
Rietveld 1998:125
Sicko 1999:28
Having grown up with the latter-day effects of Fordism, the Detroit techno musicians read futurologist Alvin Toffler's soundbite predictions for change – 'blip culture', 'the intelligent environment', 'the infosphere', 'de-massification of the media de-massifies our minds', 'the techno rebels', 'appropriated technologies' – accorded with some, though not all, of their own intuitions, Toop, D. (1995), Ocean of Sound, Serpent's Tail, (p. 215).
Kodwo 1998
Reynolds 1999:51. ...techno artists often talk about what they do in the seemingly inappropriate language of traditional humanist art – 'expression', 'soul', 'authenticity', 'depth'.
Mc Leod, K.,"Space oddities: aliens, futurism and meaning in popular music", Popular Music (2003) Volume 22/3. Copyright 2003 Cambridge University Press, pp. 337–355.
Critzon, Michael (2001-09-17). "Eat Static is bad stuff". Central Michigan Life. คลังข้อมูลเก่า เก็บจาก แหล่งเดิม เมื่อ 2016-05-24. สืบค้นเมื่อ 2007-08-12. Unknown parameter |dead-url= ignored (help)
Hamersly, Michael (2001-03-23). "Electronic Energy". The Miami Herald: 6G.
Schoemer, Karen (1997-02-10). "Electronic Eden". Newsweek. p. 60. Every Monday night, Natania goes to Koncrete Jungle, a dance party on new York's lower East Side that plays a hip, relatively new offshoot of dance music known as drum & bass—or, in a more general way, techno, a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments, and performed by deejays instead of old-fashioned bands.
เทคโน, เปล, ยนทางมาท, สำหร, บดนตร, เล, กทรอน, กส, ในท, วไป, ดนตร, เล, กทรอน, กส, และ, ดนตร, เล, กทรอน, กส, แดนซ, งกฤษ, techno, เป, นร, ปแบบของดนตร, เล, กทรอน, กส, แดนซ, เก, ดข, นในด, ทรอยต, ฐม, แกน, ในสหร, ฐอเมร, กา, ในช, วงกลางถ, งปลายทศวรรษ, 1980, คำว, techn. ethkhon epliynthangmathini sahrbdntrixielkthrxniksinthwip duthi dntrixielkthrxniks aela dntrixielkthrxniksaedns ethkhon xngkvs techno epnrupaebbkhxngdntrixielkthrxniksaedns 1 thiekidkhunindithrxyt rthmichiaekn inshrthxemrika inchwngklangthungplaythswrrs 1980 khawa techno idthukcdepnaenwdntrikhrngaerkinpi kh s 1988 2 3 aemwaethkhoncamiaenwyxythihlayaenwaetdithrxytethkhonepnrakthanthimikarekidaenwephlngyxycanwnmak 4 ethkhonaehlngkaenidthangrupaebbehas xielkothr sinthpxp chikhaokehas EBM niwbit ih exnxarci aexsidehas dithrxytethkhonaehlngkaenidthangwthnthrrmklangthswrrs 1980 dithrxyt rthmichiaekn shrthxemrikaekhruxngbrrelngsamykhiybxrd ekhruxngsngekhraahesiyng siekhwnesxr drmaemchchin samephlxrupaebbxnuphnthuIDM aethrns exsidehas hardkhxraenwyxyexsid minimxl wxngki xindsethriylaenwprasanimokhrehas ethkhehas ethkhethrns ethkhsetpthsniyphaphinradbphumiphakhDetroit techno Nortec Schranz Yorkshire Bleeps and Bass Jtekxun Electronic musical instrument computer music record labels raves free party teknivalaerkerimethkhonidrwmdntrixielkthrxniksinsitlkhxngsilpinechn khrfthaewrkh Kraftwerk cxroc mxoredr Giorgio Moroder aela eylolaemcikxxrekhstra Yellow Magic Orchestra phrxmkbaenwephlngaexfriknxemrikn rwmthng fngk xielkothr chikhaokehas aelaxielkthrikaecs 5 nxkcakniyngmixiththiphlrupaebbmakmayaelabthephlngthiimmiKhwtn 6 thiekiywkhxngkbkarichchiwitinxemrikainplayyukhsngkhmthunniym odyechphaaxyangyinghnngsux The Third Wave edxaethirdewf ody xlwin thxfelxr Alvin Toffler 7 8 oprdiwesxrephlngphubukebik wan aextkins Juan Atkins klawthungkarthxykha ethkhonerebls techno rebels khxngthxfelxr idepnaerngbndalicihekhaidichkha ethkhon thicaxthibaydntrisitlekhathiidchwysrangiw phsmphsanexklksnidrbxiththiphlcakaenwethkhonkbsunthriyathieriykwa xfofrfiwecxrrism afrofuturism oprdiwesxrechn edxrrik emy Derrick May idklawwa inkarepliynaeplngkhxngcitwiyyanxxkcakrangkayipyngekhruxngckrklthimkcaepntnehtukhxngkhwamhlngihlthiepnhlkkaraesdngxxkcakcitwiyyanethkhonolyi 9 10 inkrnini ethkhonaednsmiwsiksinhwngechnir xodron ehnwaepnphlkarthaihehinhangkhxngkarnaekhruxngckrmaichaethnkhnincitsanukthithnsmy 11 echphaarupaebbaelw odythwipethkhon idphlitaebbbrrelngdntrixyangsa inkarichnganxyangtxenuxngkhxngchuddiec cnghwaesiyngklxngswnihymkcaxyuinewlapanklang 4 4 thiewlathuktngkhakbklxngebsinaetlacnghwaontsiswn cnghwaelnyxnhlngcaepnesiyngklxngelkhruxesiyngtbmuxinsxngaelasicnghwakhxngthxnaelaepidesiyngchabephuxkarthaihekidesiynginthukkhrngtxwinathithithxnaepd cnghwamikhxnkhangthicaaetktangkniprahwangpraman 120 cnghwatxnathi cnghwaontsiswnethakb 120 txnathi aela 150 khrngtxnathithikhunxyukbsitlkhxngethkhonichkhwamkhidsrangsrrkhkhxngethkhonolyiinkarphlitephlng echn drmaemchchin ekhruxngsngekhraahesiyngaeladicithlxxdioxewirksetchn thukmxngwaepnsingsakhykhxngsunthriyakhxngephlng hlayoprdiwesxrephlngidich ekhruxngdntrixielkthrxniksaebbyxnyukhinkarsrangsingthiphwkekhakhidwacaepnethkhonesiyngcring drmaemchchininthswrrs 1980 echn thixar 808 khxngoraelnd aela thixar 909 mirakhaaephngmakaelakareliynaebbsxftaewryxnyukhkhxngethkhonolyidngklawidxyuinkhwamaephrhlayinhmuoprdiwesxrnkkhawaelaaefnephlngethkhon mkcaeluxkichkhani ephuxxthibaythungdntrithiekiywkhxngknidthungaemwamikhwamaetktangthichdecn aetmkmiaenwdntrilksnathiaetktangkn echn ethkhehas aela aethrns 12 13 14 xangxing aekikh According to Butler 2006 33 use of the term EDM has become increasingly common among fans in recent years During the 1980s the most common catchall term for EDM was house music while techno became more prevalent during the first half of the 1990s As EDM has become more diverse however these terms have come to refer to specific genres Another word electronica has been widely used in mainstream journalism since 1997 but most fans view this term with suspicion as a marketing label devised by the music industry Brewster 2006 354 Reynolds 1999 71 Detroit s music had hitherto reached British ears as a subset of Chicago house Neil Rushton and the Belleville Three decided to fasten on the word techno a term that had been bandied about but never stressed in order to define Detroit as a distinct genre Keyboard Magazine 21 231 1995 Unknown parameter month ignored help More than one of number aela issue specified help Missing or empty title help Bogdanov Vladimir 2001 All music guide to electronica the definitive guide to electronic music 4 ed Backbeat Books p 582 ISBN 0 87930 628 9 subkhnemux 26 May 2011 Typically that birth is traced to the early 80s and the emaciated inner city of Detroit where figures such as Juan Atkins Derrick May and Kevin Saunderson among others fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space race electric funk of George Clinton the optimistic futurism of Alvin Toffler s The Third Wave from which the music derived its name and the emerging electro sound elsewhere being explored by Soul Sonic Force the Jonzun Crew Man Parrish Pretty Tony Butler and LA s Wrecking Cru Rietveld 1998 125 Sicko 1999 28 Having grown up with the latter day effects of Fordism the Detroit techno musicians read futurologist Alvin Toffler s soundbite predictions for change blip culture the intelligent environment the infosphere de massification of the media de massifies our minds the techno rebels appropriated technologies accorded with some though not all of their own intuitions Toop D 1995 Ocean of Sound Serpent s Tail p 215 Kodwo 1998 Reynolds 1999 51 techno artists often talk about what they do in the seemingly inappropriate language of traditional humanist art expression soul authenticity depth Mc Leod K Space oddities aliens futurism and meaning in popular music Popular Music 2003 Volume 22 3 Copyright 2003 Cambridge University Press pp 337 355 Critzon Michael 2001 09 17 Eat Static is bad stuff Central Michigan Life khlngkhxmuleka ekbcak aehlngedim emux 2016 05 24 subkhnemux 2007 08 12 Unknown parameter dead url ignored help Hamersly Michael 2001 03 23 Electronic Energy The Miami Herald 6G Schoemer Karen 1997 02 10 Electronic Eden Newsweek p 60 Every Monday night Natania goes to Koncrete Jungle a dance party on new York s lower East Side that plays a hip relatively new offshoot of dance music known as drum amp bass or in a more general way techno a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments and performed by deejays instead of old fashioned bands aehlngkhxmulxun aekikhSounds Like Techno Ishkur s Guide to Electronic Music Techno Music Style Archived 2007 09 28 thi ewyaebkaemchchin Korg EMX Summer in Detroit Photophunk com Techno Music Linksekhathungcak https th wikipedia org w index php title ethkhon amp oldid 9549821, wikipedia, 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