Electronica (Vietnamese Wikipedia)

Analysis of information sources in references of the Wikipedia article "Electronica" in Vietnamese language version.

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allmusic.com

  • "'Reaching back to grab the grooves of '70s disco/funk and the gadgets of electronic composition, Electronica soon became a whole new entity in and of itself, spinning off new sounds and subgenres with no end in sight two decades down the pike. Its beginnings came in the post-disco environment of Chicago/New York and Detroit, the cities who spawned house and techno (respectively) during the 1980s. Later in that decade, club-goers in Britain latched onto the fusion of mechanical and sensual, and returned the favor to hungry Americans with new styles like jungle/drum'n'bass and trip hop. Though most all early electronica was danceable, by the beginning of the '90s, producers were also making music for the headphones and chill-out areas as well, resulting in dozens of stylistic fusions like ambient-house, experimental techno, tech-house, electro-techno, etc. Typical for the many styles gathered under the umbrella was a focus on danceable grooves, very loose song structure (if any), and, in many producers, a relentless desire to find a new sound no matter how tepid the results." Electronica Genre trên AllMusic

archive.org

  • Vladimir Bogdanov; Jason Ankeny (2001). All music guide to electronica: the definitive guide to electronic music (ấn bản thứ 4). Backbeat Books. tr. 634. ISBN 0-87930-628-9.
  • Verderosa, Tony (2002). The Techno Primer: The Essential Reference for Loop-Based Music Styles. Hal Leonard Music/Songbooks. tr. 28. ISBN 0-634-01788-8. .
  • Gregory, Andy (2002). The International Who's Who in Popular Music 2002. Taylor & Francis Group. tr. 466. ISBN 9781857431612.
  • Flick, Larry (24 tháng 5 năm 1997). “Dancing to the beat of an indie drum”. Billboard. 109 (21). tr. 70–71. ISSN 0006-2510.

attrition.co.uk

billboard.com

books.google.com

  • Norris, Chris (21 tháng 4 năm 1997). “Recycling the Future”. New York: 64–65. With record sales slumping and alternative rock presumed over, the music industry is famously desperate for a new movement to replace its languishing grunge product. And so its gaze has fixed on a vital and international scene of knob-twiddling musicians and colorfully garbed clubgoers—a scene that, when it began in Detroit discos ten years ago, was called techno. If all goes according to marketing plan, 1997 will be the year "electronica" replaces "grunge" as linguistic plague, MTV buzz, ad soundtrack, and runway garb. The music has been freshly installed in Microsoft commercials, in the soundtrack to Hollywood's recycled action-hero pic The Saint, and in MTV's newest, hourlong all-electronica program, Amp.

c3.hu

subsol.c3.hu

  • Kim Cascone (Winter 2002). “The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music”. Computer Music Journal. MIT Press. 24 (4). The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th-century music who they feel best describe its lineage.

web.archive.org

worldcat.org