Electronic Music Project in Seattle
The Electronic Music Project in Seattle is a non-profit organization that provides resources and opportunities for electronic music producers and DJs.
Introduction
The Electronic Music Project in Seattle (EMPS) is a nonprofit organization that fosters the creation and performance of electronic music.
EMPS was founded in 2014 by a group of musicians and producers who believed that electronic music could be more than just entertaining – it could be used to educate, inspire, and connect people from all walks of life.
Since then, EMPS has produced over 100 events, including concerts, workshops, and festivals. We’ve also worked with hundreds of local artists, helping them hone their craft and reach new audiences.
Our mission is simple: to create opportunities for people to experience electronic music in all its forms. Whether you’re a seasoned veteran or a curious newcomer, we welcome you to join us on this journey.
History of electronic music
The first electronic music project in Seattle was called the “Electronic Music Project” (EMP). It was started in 1957 by two teenagers, Bill Forman and Paul Lawrence. The project was originally funded by the United States Air Force. The first electronic music project in Seattle was called the “Electronic Music Project” (EMP). It was started in 1957 by two teenagers, Bill Forman and Paul Lawrence. The project was originally funded by the United States Air Force.
Early electronic music
In the late 19th century, scientists started toying with the idea of using electricity to create sound. In 1897, Thaddeus Cahill was issued a patent for his electrical music system, which he called the Telharmonium. The machine was massive, weighing in at 200 tons, and it wasn’t until 1906 that it was finally playable.
The Telharmonium was the first electronic instrument, but it wasn’t the only one. In 1917, Russian engineer Leon Theremin invented the eponymous theremin, which was later used by composers like Clara Rockmore and Philip Glass. And in 1930, French composer Edgard Varèse wrote “Poème électronique,” which was played at the World’s Fair in 1958.
However, it wasn’t until Robert Moog invented the modular synthesizer in the 1960s that electronic music really took off. Moog’s invention allowed composers to create sounds that had never been heard before, and his equipment was used by everyone from The Beatles to Pink Floyd. In the 1970s and 1980s, electronic music became increasingly popular, with artists like Kraftwerk and Giorgio Moroder becoming household names. Today, electronic music is more popular than ever, with artists like Skrillex and deadmau5 spearheading a new generation of producers.
The birth of techno
Techno is a style of electronic dance music that emerged in Detroit, Michigan, in the United States in the mid-to-late 1980s. The first recorded use of the word techno in reference to a specific genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.
Early techno was strongly influenced by the work of synthesizer pioneers like Kraftwerk and Giorgio Moroder, as well as disco and avant-garde jazz. The development of polyrhythmic possibilities enabled by drum machines and sequencers allowed for a greater degree of complexity and flexibility in patterns than was possible with live drumming. This, combined with the increased power and possibilities of sound generation provided by electronic synthesis, resulted in a form of music that was both more intellectually demanding and more physically satisfying than anything that had come before.
The early adoption of techno by predominantly black working-class youth in Detroit gave rise to a new subculture with its own fashion, language, and values. This culture would come to be known as “rave culture.” Rave culture developed around the same time as acid house in the United Kingdom and shared many similarities, including the use of illegal warehouses for parties and the abundance of drugs like Ecstasy. However, while acid house parties were often organized byPromoterslike Paul Oakenfoldand Danny Rampling, who were interested in making money from ticket sales, rave culture was built on a DIY ethic and parties were organized by anyone who wanted to do so. This inclusive approach meant that raves could be found in a wide variety of locations, from clubs and warehouses to fields and parking lots.
The popularity of rave culture peaked in the early 1990s, after which it began to decline due to increased police activity and competition from other forms of dance music such as jungle and garage. However, while the mainstream popularity of rave culture has faded, its influence can still be felt in many aspects of contemporary electronic dance music.
