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Experimental music refers, in the English-language literature, to a compositional tradition which arose in the mid-twentieth century, applied particularly in North America to music composed in such a way that its outcome is unforeseeable. Its most famous and influential exponent was John Cage (Grant 2003, 174). More loosely, the term "experimental" is used in conjunction with genre names to describe music within specific genres that pushes against their boundaries or definitions
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1.
Experimental music refers, in the English-language literature, to a compositional tradition which arose in the mid-twentieth century, applied particularly in North America to music composed in such a way that its outcome is unforeseeable. Its most famous and influential exponent was John Cage (Grant 2003, 174). More loosely, the term "experimental" is used in conjunction with genre names to describe music within specific genres that pushes against their boundaries or definitions, or else whose approach is a hybrid of disparate styles, or incorporates unorthodox, new, distinctly unique ingredients (Anon. [n.d.]a). Similarly, it has sometimes been used to describe "transethnic" music: the mixture of recognizable music genres. A quite distinct sense was current in the late 1950s to describe computer-controlled composition, and the term at that time also was sometimes used for electronic music and musique concrète. "Experimental music" has also been used in music journalism as a general term of disapprobation for music departing from traditional norms.
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Electronica includes a wide range of contemporary electronic music designed for a wide range of uses, including foreground listening, some forms of dancing, and background music for other activities; however, unlike electronic dance music, it is not specifically made for dancing.[1][2] The term was first used in the United States in the early 1990s with regards to post-rave global-influenced electronic dance music.[citation needed] Genres such as techno, drum and bass, downtempo, and ambient are among those encompassed by the umbrella term, entering the American mainstream from "alternative" or "underground" venues during the late 1990s.[2][3] Prior to the adoption of electronica for this purpose, terms such as electronic listening music, and intelligent dance music (IDM) were used.[citation needed]
Allmusic categorises electronica as a top-level genre on their main page, where they state that electronica includes danceable grooves to music for headphones and chillout areas.[4]
Electronica has grown to influence mainstream crossover recordings. Electronic sounds began to form the basis of a wide array of popular music in the late 1970s, and became key to the mainstream pop and rock sounds of the 1980s. Since the adoption of "electronica" in the 1990s to describe more underground music with an electronic aesthetic, elements of modern electronica have been adopted by many popular artists in mainstream music.
Electronic Dance Music Culture, a contemporary subculture centered on raves, is a global phenomenon that has been attracting the interest of scholars across the globe. Originating from "Acid House" parties in Ibiza and "Psychedelic Trance" dance parties in Goa, raves became the most dynamic digital counterculture of the 1990s. First in Europe, then in the US, and then all over the world, raves have become associated with peace-and-love idealism, community, an embrace of technology, and psychedelic consciousness, though they have been criticized for their acceptance of drug usage and sexual practices that are of questionable safety. The music performed at most events is called electronic dance music, or EDM.[5][6]
