> Seminárky/Referáty > > Techno hudba: psychologický rozbor - anglicky

Techno hudba: psychologický rozbor - anglicky

Kategorie: Psychologie, Hudba moderní

Typ práce: Seminárky/referáty

Škola: nezadáno/škola není v seznamu

Charakteristika: Práce krátce charakterizuje techno hudbu a prostřednictvím konceptu nevědomí nahlíží na způsob, jakým působí na člověka.


Základní charakteristika
Působení techno hudby
Filozofie techno hudby
Zážitek z techno hudby


"Growing popularity of techno music understandably creates a question what is about this “technoculture” – as it calls itself – so attractive that it fascinates people practically around the whole world.
The name “techno” refers to the fact that it is based on computerisation of music. Technomusic or electronic dance music originated in the United States, Detroit, during the mid to late 1980s. The initial take on techno arose from the synthesizer-based music with various African American styles such as Chicago house, funk, electro, and electric jazz; added to this was the influence of futuristic and science-fictional themes that were relevant to life in American society of late era of capitalism. From U.S. this style travelled overseas, to England, where it settle and divaricated into dozens of various techno styles, depending on the “typology” of dancer (raver). But its characteristic feature, a “rhythmic drum”, on which is this music basically built, remained crucial in all of them. Different styles, such as “acid”, “house”, “drum-and-base”, “trance” and so on differs only by its heaviness and speed, but the main point, - i.e. gradation, or dramatisation of theme, then climax, followed by stereotypical phase - remains practically the same. Older generation would probably – and rightly – say that this music lacks melody. In this music is the form, which gives other music melody irrelevant. What is allowed by neo-cortex, like creativity and complex inventiveness is in this case basically useless: what matters in technomusic is rhythm and repetitiveness. By its structure and rhythmicallity it resembles an African tribe music used in initiation rituals where it serves purpose of inducing ecstatic trance. We can say that this music appeals to the most archaic level of our psyche, or that from this depth emerges. Basal vibrations which could be observed on most fundamental organic and inorganic molecular level are by this music exaggerated and amplified, then projected and imposed on raver with such intensity that it is virtually impossible avoid synchronous movement. Indeed, the rave parties are more shamanistic rituals than dance parties in classic terms. In rave, harmony with technique or norm is not important, only norm is purely subjective: raver has to find his own individualized movements synchronized with rhythm to express his emotional experience and to be able dance for many hours without stopping."


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