Neo-Aristotelian Criticism of Electronic Dance Music

A look at how Neo-Aristotelian Criticism can be applied to Electronic Dance Music in order to better understand the genre as a whole.

Introduction

Aristotle’s Poetics has been highly influential in the development of Western literary criticism, and remains one of the most important works on the subject. In the Poetics, Aristotle outlined the principles of tragedy, and discussed various aspects of dramatic structure and interpretation.

However, in recent years, there has been a growing trend among literary critics to apply Aristotle’s ideas to new genres and mediums, including electronic dance music (EDM). This approach, known as neo-Aristotelian criticism, has yielded some interesting insights into the nature of EDM and its appeal to listeners.

In this article, we will provide an overview of neo-Aristotelianism and its key tenets. We will then apply these ideas to a close analysis of the song “Levels” by Avicii.

What is Electronic Dance Music?

Electronic Dance Music, also known as EDM, is a genre of music that emerged in the early 1990s. It is characterized by a fast tempo, electronic sound, and often contains elements of house, techno, and trance. EDM is often played at nightclubs, festivals, and raves.

A Brief History of Electronic Dance Music

Electronic dance music, also known as EDM, is a genre of music that is produced using electronic devices. It is made for dancing, and is often played in nightclubs and festivals.

The first electronic dance music was created in the 1970s, and was called disco. Disco became very popular in the 1980s, and helped to spawn the genres of house and techno. In the 1990s, trance and drum and bass were created, and in the 2000s, dubstep and electro house were popularized.

EDM has become one of the most popular genres of music in recent years. It is often criticized for being “repetitive” or “mindless,” but its fans enjoy its energizing and hypnotic properties.

The Various Genres of Electronic Dance Music

There are many different genres of electronic dance music, and each has its own distinct sound and feel. Here are some of the most popular genres:

-House: House music is characterized by a driving, repetitive beat and often features synthesizers and electronic drums. It originated in Chicago in the 1980s and has since become one of the most popular genres of electronic dance music.
-Techno: Techno is a fast-paced, often avant-garde genre that emerged from Detroit in the 1980s. It is characterized by a repeating, robotic sound and often features synthesizers and drum machines.
-Trance: Trance is a genre of electronic dance music that is characterized by a hypnotic, repetitive sound. It often features soaring, ethereal vocals and a build-up/breakdown structure that creates a sense of suspense and release.
– Drum & Bass: Drum & bass is a fast-paced genre that emerged in the UK in the early 1990s. It is characterized by its heavy basslines and breakbeats.

These are just some of the most popular genres of electronic dance music; there are many others, including dubstep, grime, and IDM (intelligent dance music).

Neo-Aristotelian Criticism of Electronic Dance Music

Electronic dance music, also known as EDM, is a type of music that is often associated with nightclubs and raves. It is characterized by a heavy use of electronic instruments and a fast tempo. Neo-Aristotelian criticism is a type of criticism that uses the ideas of Aristotle to analyze a work of art. In this article, we will be using neo-Aristotelian criticism to analyze the electronic dance music genre.

The Neo-Aristotelian Approach

The Neo-Aristotelian approach to criticism is derived from Aristotle’sPoetics, which is concerned with the nature of tragedy. In this approach, the critic seeks to identify the ways in which a work of art imitates life, in order to understand the work’s overall purpose or message.

This approach has been applied to a wide range of art forms, including literature, film, and music. In recent years, it has also been applied to electronic dance music (EDM).

There are a number of Neo-Aristotelian theorists who have applied this approach to EDM. One of the most prominent is Professor Andrew Wicks of the University of Warwick.

In his book The Tragic Dimension of Electronic Dance Music, Wicks applies Aristotle’s concepts of catharsis and hamartia to EDM. He argues that listeners experience catharsis when they listen to EDM because it helps them confront and process their own emotions. Hamartia, meanwhile, refers to the ways in which artists create works that are both tragic and hopeful at the same time.

Wicks’ book has been praised by many scholars for its insights into the nature of EDM. However, it has also been criticized by some for its lack of focus on the positive aspects of the genre.

Criticism of Electronic Dance Music

Aristotelian criticism of electronic dance music (EDM) is a recently developed form of music criticism that uses Aristotle’s theories of art and aesthetics to analyze the form, structure, and meaning of EDM tracks and albums. This type of criticism is concerned with identifying the ways in which EDM music meets or fails to meet the Aristotelian criteria for a good work of art.

The most important aspects of Aristotle’s theory for the purposes of EDM criticism are his views on the nature of art, the role of the artist, and the function of art in human life. According to Aristotle, works of art are products of human activity that imitate or represent reality in some way. The purpose of art is to create pleasure and knowledge in the viewer or listener by providing them with a new way to see or understand the world.

Good works of art are those that are well-crafted and successful in achieving their representational or imitative goals. In order for a work to be considered good, it must possess certain formal qualities such as unity, coherence, simplicity, and elegance. It must also be expressive of positive emotional states such as love, joy, pity, or fear. Finally, Aristotle believed that good works of art should have some educational value, teaching us something about ourselves or the world around us.

EDM music can be good or bad depending on how well it meets these Aristotelian criteria. For example, a well-crafted EDM track with a simple but effective melody could be considered good because it is unified, coherent, and expressive of positive emotions. On the other hand, an overly complex track with little musical interest could be judged as bad because it fails to meet the standards of unity and coherence.

In order for EDM music to be truly great, however, it must not only meet the standards set by Aristotle but also exceed them in some way. This can be achieved by innovating within the genre so as to create new sounds or ideas that have never been heard before (as Skrillex did with dubstep) or by using traditional forms in new and interesting ways (as Aphex Twin did with IDM). Neo-Aristotelian criticism can help us to identify and appreciate these moments of greatness in EDM music.

Conclusion

Aristotle’s ideas about the nature of art are still relevant today, even in the context of electronic dance music. This type of music often relies on a repetitive structure and a lack of traditional melodies, which can be seen as a departure from the Aristotelian ideals of art. However, many neo-Aristotelian critics argue that this does not make electronic dance music any less valid as an art form. In fact, some argue that the very things that make it different from other genres are what make it so special. Ultimately, it is up to each individual to decide whether or not they believe that electronic dance music can be considered a true work of art.