Abstract
Music teachers, who are working to develop students’ musicianship skills, often focus on exposing students to new styles and genres of music. These initiatives encourage students to analyze, develop opinions, create, and perform music they may not normally hear. The purpose of this article is to introduce music educators to Electronic Dance Music (EDM) as a viable option for inclusion in the music education classroom. This article explores the following questions: What is EDM? and What can you teach with EDM? An EDM track list is also included, containing musical and contextual highlights, as well as suggestions for creating, performing, responding, and connecting with EDM. The suggestions are applicable to a variety of classroom environments as well as both progressive and traditional teaching philosophies.
Keywords
Music teachers, who are working to develop students’ musicianship skills, often focus on exposing students to new styles and genres of music. These initiatives encourage students to analyze, develop opinions, create, and perform music they may not normally hear. The purpose of this article is to introduce music educators to Electronic Dance Music (EDM) as a viable option for inclusion in the music education classroom. This article explores the following questions: What is EDM? and What can you teach with EDM? This article also provides a list of EDM tracks to jump-start classroom exploration with EDM.
What Is EDM?
The term “electronic dance music” or EDM is a genre which includes a wide variety of music produced in the past 30 years. EDM was born from the ashes of disco in the early 1980s urban dance clubs of Detroit and Chicago. The genre quickly spread in the United States and throughout the world. There are many subgenres of music that can be considered EDM: Garage, Techno, House, Trance, Trip-Hop, Ambient, and Drum ‘n’ Bass, just to name a few (Butler, 2006; Snoman, 2009). The culture of EDM values creativity, improvisation, musicianship, individuality, diversity, and collaboration (Butler, 2006). The genre has demonstrated U.S. mainstream appeal. In January 2013, Billboard introduced a new EDM-focused dance/electronic songs chart (Khal, 2013) and EDM is heard in advertising, video games, television, and movies such as Wreck it Ralph, The Social Network (an Academy Award winner for Best Original Score; Anderson, 2012), Divergent, and Neighbors (Donegan, 2014).
As the name implies, EDM is produced with electronic technologies, has limited or no acoustic instruments and a fast pace (120 beats per minute and higher) suitable for dancing (Butler, 2006). The sound of EDM is often purposefully “unnatural,” using drum machines, synthesizers, sequencers, and samplers (Butler, 2006). Commonly used effects include compressors, limiters, noise gates, transient designers, equalization, reverb, and distortion (Snoman, 2009). EDM compositions, commonly called “tracks,” vary in length but are most often significantly longer than other popular music. There are no standard chord progressions, cadences, or phrases and no predetermined length or form. EDM typically does not rely on lyrics to convey meaning. Instead, the music gradually unfolds as layers of repeated patterns, or “loops,” are added and subtracted. The loops used in EDM vary widely in both length and character. As a dance-based genre, rhythm is essential and it is vital to never “lose” the beat. Live performance and improvisation are integral to the genre and tracks are sometimes produced “generically” first, anticipating the creation of “remixes” by disc jockeys (DJs). Many tracks contain intro and outro sections which facilitate smooth transitions. Stereotypically, these intro/outro sections have a thin musical texture, allowing successive tracks to be overlapped seamlessly. In this way, the music and dancing is never interrupted.
What Can You Teach With EDM?
EDM can be used throughout the general music curriculum (PreK–12) as well as discrete strands in secondary music programs such as composition and music theory. As a movement-based genre, EDM can (and should) be used for dancing. All grade and experience levels can benefit from moving to EDM as students internalize the beat, listen and respond to music transitions, explore creative movement, exercise, and have fun! EDM movement lesson plans will vary substantially based on the teacher, students, and classroom environment. Subsequently, there is a wide spectrum of possibilities and structures from improvised dancing to fully choreographed routines. As students gain experience they can be encouraged to create song sets (similar to the manner in which a DJ chooses tracks) as well as create and teach each other choreography. Introducing EDM in the classroom does not require extensive technology. EDM tracks can be accessed for free through Web sites such as YouTube and Pandora and can be purchased as downloads or CDs. Track Numbers 5, 10, 11, and 14 on the EDM track list are ideal for introducing EDM to students.
Listening and analyzing EDM is an excellent way to further the development of a student’s “musical ear.” The “emphasis on rhythmic repetition in the style [of EDM] renders it excellent material for memorization and dictation” (Rosenberg, 2010, pp. 232–233). Similar to other popular genres, EDM often contains musical hooks which are catchy and easy to remember (see Track Number 14). This makes EDM accessible to all ages of students. It can strengthen students’ listening skills and understanding of timbre in an electronic medium when they are encouraged to actively listen for transitions, form, and effects. Elementary students can listen for the basic form of a track, while secondary students can be expected to identify form and use this analysis as a basis for compositions. EDM producers and DJs use a variety of methods to add drama and excitement to their tracks. For example, removing the bass drum line creates a temporary feeling of loss and builds anticipation of the eventual dramatic return of the beat. However, not all transitions are this apparent so discussion and analysis can occur at different levels of complexity, allowing teachers to differentiate curriculum and instruction per grade level and individual student goals.
Composition assignments in EDM provide numerous opportunities for music learning. By using EDM as a model, upper elementary and secondary students can explore creativity in sound without fear of “breaking the rules” of music theory found in both the Western classical tradition and most popular music. Synthesizing technology and effects open a new world of sounds to students. Rhythm is not restricted by meter or by patterns playable on a drum set. Computer programs and apps can realize complex rhythmic and metric configurations that would be unmanageable for a live drummer. Loops of tonal and atonal elements intertwine freely. And yet, mixed within these seemingly disparate elements, there is a framework of basic principles which guide and support composition.
The first principle is to never lose the feeling of beat or pulse. EDM is most often “structured in 4/4 meter” and includes “larger musical phrases which are simple divisions, or more often, multiples of four measures” (Butler, 2006, p. 81). The second principle is to remember the importance of texture in creating intensity and delineating the form. At the simplest level, it has an arc form where the listener hears sections of “intro, buildup, core, breakdown, and outro” based on the “density of the texture” or number of instruments sounding at any given moment (Butler, 2006, p. 223). Finally, it is important to remember that EDM follows musical principles found in other genres, including the importance of repetition, of balancing familiar and novel musical ideas, and of transitions marked by changes in dynamics, tonality, rhythm, and so on. These intersections create potential bridges between EDM and instrumental works in the Western European classical canon, which can be further explored by students.
Apps such as launchpad, propellerhead, and dubpad are free and can be accessed through tablets, smartphones, and other touch screens. These programs are ideal for beginning composition because they are user friendly and have a wide variety of preset configurations. Students will be able to compose tracks quickly and easily, allowing for turn taking with technology if needed. As students advance, additional computer software and hardware would be appropriate. The creation of one or more digital audio workstations (DAWs) in the classroom is ideal. A DAW technically refers to both the hardware (a computer, speakers, and any interfaces such as synthesizers or drum machines) and the software program which is “designed for editing, recording, mixing, and mastering files (digital audio)” (Sean, 2015, para. 2). Some common examples of DAW software include GarageBand, Apple Logic Pro, Abelton Live, and Pro Tools. Each of these programs has pros and cons but all perform the same basic function in the classroom. DAWs allow students to create, analyze, refine, and present compositions through both audio and visual formats. Additional information on DAWs including tutorials on how to use them is available on the Internet.
EDM is often created only with electronic instruments; however, traditional acoustic instruments (piano, guitar, percussion, and voice) are also used in EDM (see Track Numbers 4, 6, and 8). One way to introduce EDM composition to upper-elementary or secondary students is to have students create and perform EDM with voices and classroom percussion instruments (drums, tambourines, shakers, wood blocks, etc.). Each student (or small group of students) would have an instrument and be asked to create a loop (possibly 1–2 measures long). Next, the students would choose an order to layer the loops, following the arc form described earlier (which students are already familiar with due to earlier experience moving and listening to EDM). Depending on the age and experience level of the students, traditional or iconic notation can be required at this point in the lesson. Performance of the track can be led by a student (or teacher) conductor if necessary. Student analysis of the performance can be done from memory or through a recording. The composition can be considered complete at this point or if time allows, the process can continue as students make musical decisions about ways to refine their composition.
Classroom work can easily be shared through both traditional and digital performance. EDM can be included as part of traditional band/orchestra/chorus concerts in either live or recorded format. It is also possible to have students orchestrate tracks for traditional ensembles (see Track Number 8). Other opportunities include community-based festivals /farmers markets /holiday celebrations. Students could DJ school dances to debut original tracks, show off turntable skills, and demonstrate improvisation techniques. Collaboration between school or community dance companies is ideal for choreographers, dancers, and musicians. Online platforms such as YouTube and SoundCloud enable users to upload and share their originally created work for free. The public nature of these sites can be mediated through teacher-moderated groups (Albert, 2015). Once shared online, feedback from both teacher and peers could occur on a regular basis fostering a continuing cycle of development and refinement of compositions.
In addition to music learning, working with EDM in the classroom will benefit students in other areas. The four functions essential to EDM production involve synthesis, processing, sampling, and sequencing (Butler, 2006), and are also used in Science, Technology, Engineering, and Math (STEM) fields. Students who use technology in creative ways for music develop interdisciplinary skills which benefit them in other subjects. This is especially important for female students who continue to lag behind their male peers in STEM subjects. According to a 2011 report from the U.S. Department of Commerce (2011), “women are vastly underrepresented in STEM jobs and among STEM degree holders.” EDM production within the music classroom creates opportunities for students to gain real-world skills in audio production and a deeper understanding of the science of sound.
EDM has some potential educational advantages over other popular music styles. Butler (2006) claims, the “instrumental focus—distinguishes EDM from almost all other commercial popular music produced in America and Europe since the birth of rock ‘n’ roll” (p. 34). Its instrumental focus allows the teacher to completely avoid the issue of questionable lyric content and profanity, which can be a problem with popular music in schools. Gender, ethnic, and sexual orientation stereotypes which occur within lyrics are also not a concern. The instrumental nature, flexible form and undefined length of tracks shift emphasis away from lyrics and toward music elements such as texture, timbre, and form. This shift encourages creativity in sound, opening pathways to greater student exploration. In addition, compositions can (and often are) created using only “legal” or synthesized sounds. Teachers also avoid copyright issues and concerns about students sampling another artists’ music. But most important, teaching with EDM can provide students a musical voice of their own, for as George Gershwin once said, “True music must repeat the thought and inspirations of the people and the time.”
EDM Track List
The following is a list of 15 EDM tracks that could be used in a classroom setting. This list is intended as a starting point for teachers who want to learn more about EDM. It is not representative of the entire genre. Tracks were selected based on their suitability and flexibility for classroom use. The intention is to highlight the diversity of EDM through inclusion of tracks created by people of different genders, ages, nationalities, ethnicities, and cultural backgrounds. Tracks are listed alphabetically by artist, followed by year of release, track title, album title (where appropriate), and run time. Brief music and contextual highlights are included as well as suggestions for the classroom; organized using the four artistic processes adopted by the National Coalition for Core Arts Standards (2014); creating, performing, responding, and connecting. Also included are numbers which correlate to the 11 Anchor Standards (AS) as well as grade-level ranges. There are suggestions applicable to a variety of classroom environments as well as both progressive and traditional teaching philosophies.
All tracks were found on YouTube and the audios are appropriate for classroom use for the grade levels suggested. The videos are not intended for classroom use. YouTube links with static images were chosen whenever possible. However, even static images can be a distraction for students and should be avoided. It is crucial that teachers verify the content of any online materials before displaying in the classroom. In addition to YouTube, the site https://www.discogs.com is extremely valuable in researching and documenting EDM. As described on their Wiki, “Discogs,” short for discographies, is a Web site and database of information about audio recordings, including commercial releases, promotional releases, and bootleg or off-label releases (Discogs, n.d.). Because of the ever-growing and changing nature of the genre, the majority of information about particular tracks/artists/producers will be found online in periodicals, blogs, and wikis. However, there are two books I found especially valuable. Mark Butler’s Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (2006) and Rick Snoman’s Dance Music Manual: Tools, Toys and Techniques (second edition; 2009). Both of these books contain historical and cultural information about EDM as well as practical material for composition and analysis.
Track List
1. 808 State. 1990. Cubik (Kings County Perspective; 3:19 minutes) Cubik was produced in the United Kingdom and is an example of an early 1990s Techno track. The drum set sounds are representative of the timbre of a Roland TR-808 drum machine. There is a detailed analysis of this track in Butler’s Unlocking the Groove (2006), which demonstrates one way to quantify EDM on paper. Responding: Students explore Butler’s analysis of “Cubik” then they choose another EDM track to analyze using this notation or create a new iconic notation to use. AS#7 Grades K–12 Connecting: Explore cultural (U.K.) and historical (early 1990s) issues within EDM. Do not tell students initially where and when the track was created and see if students can “hear” these elements within the music. AS#11 Grades 6–12
2. Chemical Brothers. 2002. Star Guitar. Come With Us (3:59 minutes [video version]) The Chemical Brothers are a British duo creating EDM since 1991. Over the years they have won numerous awards including four Grammys. This track has a laid back vibe and an ambient sound with subtle transitions and effects. The official music video synchronizes the music and images providing a possible classroom connection to film editing and video production. Creating: Students create an EDM track using a variety of synthesizers, filters, and effects per teacher parameters and rubric. AS#1–3 Grades 4–12 Performing: Students choose an EDM track (or a section of a track) and a video to synchronize which is later presented to an audience. AS#4–6 Grades 5–1
3. Daft Punk. 2005. Technologic. Human After All. (4:48 minutes [lyrics only]) Daft Punk is a French duo known for using disguises while in public and/or performing. Typically they appear in robot-like personas wearing ornate helmets and gloves. This track includes an electronically transposed voice chanting technological commands. Daft Punk has been a prominent group in EDM for 20+ years. Their most recent album, Random Access Memory (2013) won five Grammy awards in 2014. Creating/Connecting: Students could use this track as a model for their own EDM compositions. Consider having student use lists of terminology from another core subject to create an EDM track in the style of “Schoolhouse Rock!” (http://en.wikipedia.org/wiki/Schoolhouse_Rock!) Encourage students to create their own stage names and/or costumes. AS#1–3, 10, and 11 Grades 2–8 Creating/Performing: There are numerous examples of covers/medleys/tributes of Daft Punk music. One example, https://youtu.be/4hkn7AAtEGk is a guitar duo. The five-person a cappella group, Pentatonix won a 2015 Grammy for their medley of Daft Punk songs. See https://youtu.be/3MteSlpxCpo (Pentatonix. 2013. Daft Punk. PTX Vol II. 4:11 minutes) https://grammy.com/news/the-making-of-pentatonixs-daft-punk. Encourage students to realize and perform a cover of an EDM track. AS#1–6 Grades 7–12 Responding: This is an EDM example with lyrics. How are these lyrics similar or different to traditional pop lyrics? What is the meaning conveyed in this work? AS#7–8 Grades 4–12 Connecting: Aliases and costumes are fairly common in EDM. Why might this be the case? How do the costumes add/detract from the performance and/or artistic value/meaning? AS#10–11 Grades 6–12
4. DJ Terance featuring DJ Clock. 2014. Texas. (5:00 minutes) DJ Terance and DJ Clock are South African. This instrumental House track includes flute and harmonica melodies above the more traditional percussion background. It is an interesting combination of EDM, jazz, and bluegrass idioms. Responding/Connecting: How does this track compare with other House? What meaning is conveyed by this track and how does it connect to the lived experience of these artists in South Africa? AS#7–8 and 11 Grades 7–12 Connecting: EDM is an international genre and exploring this track opens up multicultural issues. It also encourages discussion of the reasons for EDM’s international appeal. AS#10–11 Grades 5–12
5. DVBBS & Borgeous. 2013. TSUNAMI. (3:56 minutes) TSUNAMI is a song by Canadian electronic music duo DVBBS and American DJ Borgeous. It was released as a single in September 2013 on the Dutch label Doorn Records. The song charted worldwide on iTunes, as well as on primary singles charts in the Netherlands, Belgium, Austria, Denmark, Sweden, Canada, and Germany. This track has stereotypical sparse intro/outro, obvious form, and a fat kick drum. Creating: Improvise a remix of this track through changing effects, looping, and/or layering. Record the improvisation and evaluate/analyze. AS#1–3 Grades 4–12 Performing: Create a DJ set including this track. Plan and practice the transitions between tracks. Perform the set for a school dance. AS#4–6 Grades 6–12
6. Frankie Knuckles. 1991. Whistle Song. (4:16 minutes) Frankie Knuckles is a producer/DJ who was instrumental in the development of House music, sometimes called the “Godfather of House” (Snoman, 2009, p. 231). This track uses acoustic flute melodies over synthesized drum beats. It has a commercialized sound similar to early 1990’s pop tunes. Creating: Recording acoustic instruments and sampling techniques can be incorporated into classroom projects modeled after this track. AS#1–3 Grades 6–12 Responding: Compare and contrast the flute melodies used in this track with those of DJ Terance ft. DJ Clock’s “Texas.” Develop connections between these EDM tracks and other genres such as jazz and blues. AS#7–9 Grades 7–12
7. James T. Cotton. 2008. The Second Night Cycle. Like No One. (5:38 minutes) Created by U.S. producer/DJ, Tadd Mullinex (aka James T. Cotton). This track is an example of Acid House. It features interesting electronic timbres, contrasting syncopated rhythms, and an especially intense breakdown starting around 3:35. Creating: Use this track as a springboard for creating breakdowns in EDM. Discuss and incorporate music elements such as tempo, texture, timbre, and rhythmic complexity into student compositions. AS#1–3 Grades 4–12 Responding: The characteristic “squelching” bass sound found in Acid House comes from the Roland TB-303 bass synthesizer. Explore and identify the unique sounds created by this and other early 1980’s synthesizers such as the Roland TR-808 drum machine. AS#7 Grades 6–12 Connecting: The term “acid” is often linked to drugs (i.e., LSD and ecstasy). How does this affect the genre? Students can investigate the different definitions for “acid” and what the term may have meant in different cultures/times. AS#11 Grades 9–12
8. Jeff Mills. 1996. The Bells. (3:01 minutes) U.S. producer/DJ Jeff Mills is a pioneer of Techno. This track is representative of his late 1990’s industrial sound and the “four on the floor” kick drum. This track and 14 others were arranged for orchestra and performed live in France in 2006 with Mills on turntables and the Montpelier Philharmonic Orchestra. https://youtu.be/STpOak4iAJY Creating/Performing: Encourage students to arrange EDM works for live performance. AS#1–6 Grades 6–12 Responding: Compare and contrast the original track and the live performance in France. How do the two performances affect the artistic intent and meaning? AS#7–9 Grades 3–12
9. Kate Simko. 2009. Take You There. (7 minutes) This track was created by U.S. female producer/DJ Kate Simko a classically trained pianist and composer. It is an example of Minimal House and as such demonstrates a “simpler” aesthetic. Responding: Why is this genre called “minimal”? Is it actually “simpler”? Why or why not? AS#7 Grades 7–12 Responding: Listen, discuss, compare, and contrast other “minimalist” music such as the American composer Steve Reich. AS#7–9 Grades 7–12
10. Lock ’N Load. Blow Ya Mind (Club Caviar Remix; 6:34 minutes) First released in the Netherlands in 1999 by the Dutch House duo, Lock ’N Load, there are 33 versions in 11 different countries from 1999 to 2011 and numerous remixes. This track is high energy, with stereotypical “sparse beat” intro/outro, “four on the floor” kick drum, club/crowd noise, and obvious musical form. Responding/Connecting: Listen to a variety of the remixes and discuss the ways the track has been altered over the years. Students choose a favorite remix and present both music and personal reasons why it is their favorite. AS#7–9 and 10 Grades 3–12 Connecting: An excellent opportunity to discuss the “ownership” of the track and the legal issues surrounding remixes. AS#11 Grades 3–12
11. Martin Garrix. 2013. Animals (5:04 minutes) Martijn Garritsen (aka Martin Garrix) is a Dutch DJ and producer. “Animals” was a Top 10 hit in more than 10 countries. This track has an interesting jungle-like groove created with a synthesized wood block–type sound. The form is simple and easy to hear. Creating: Remix this track. What might you add or subtract to deepen understanding and the artistic expression of the “animals” concept? AS#2–3 Grades 3–12 Responding: Why is this track called “Animals”? What are the musical elements which support this name? AS#7–8 Grades 3–12
12. Skrillex. 2010. Scary Monsters and Nice Sprites. Scary Monsters and Nice Sprites (4:03 minutes) Skrillex (aka Sonny John Moore). This album won the Grammy for best dance/electronica album in 2012. He has six Grammy awards to date. This track is Dubstep, and includes interesting combinations of distorted sounds, spoken word, and ambient timbres. Some of the recorded voices in this track are played backward. Responding: What music elements might make this track popular with both underground and mainstream audiences? AS#7–9 Grades 6–12 Responding: Compare and contrast this track with atonal 20th-century classical works. AS#7–9 Grades 5 to 12
13. Swedish House Mafia. 2012. Greyhound. Until Now (6:43 minutes) This track, created by a Swedish trio of producers/DJs, was originally composed for an advertising campaign. It is Electro or Progressive House with a “sparse beat” intro/outro and “four on the floor” style. This group broke up in 2014 but continue to work solo careers. Responding: Can you tell this track was created for advertising? Why or why not? Compare and contrast with other tracks by Swedish House Mafia. AS#7–9 Grades 5–12 Connecting: Why did the company choose this music for their advertising campaign? What products would you sell using EDM? AS#10–11 Grades 3–12
14. Tiësto. 2012. Maximal Crazy. Club Life: Volume Two Miami (4:17 minutes [video version]) World renowned, Dutch producer/DJ, Tiësto (aka Tijs Michiel Verwest) is one of the highest paid EDM producer/DJs in the world earning an average of $250,000 a night (Greenburg, 2012). This track has a catchy melody which is repeated using a wide variety of electronic timbres. Creating: Compositions modeled on this track would help develop skills in creating theme and variations. AS#1–3 Grades 7–12 Responding: Compare and contrast the theme and variation in this track with works from the Western Classical tradition. AS#7–9 Grades 7–12
15. Trent Reznor and Atticus Ross. 2010. The Social Network soundtrack. This electronic music soundtrack, created by Reznor and Ross (from Nine Inch Nails) is about 60 minutes long, including a variety of music, not limited to dance tracks. The track, “In Motion” has a familiar EDM “four on the floor” kick drum pattern with a dark, ambient vibe over the top. https://youtu.be/Yczul_609Gg (5:02 minutes) Creating/Performing/Responding/Connecting: (cyclical) AS#1–10 Grades 6–12 Students choose an emotion and create an EDM track which expresses that emotion. Student compositions are presented to the class. Students and teacher guess which emotion may be portrayed in the track, identifying specific musical elements which contributed to their guess. Students receive feedback from both peers and teacher on their track. Students develop and refine their track based off of feedback. Compositions are performed for the class again and the cycle continues . . .
Footnotes
Appendix
Declaration of Conflicting Interests
The author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author received no financial support for the research, authorship, and/or publication of this article.