Decolonizing Electronic Music Starts With Its Software

If we want to decolonize electronic music, we need to start with its software. By examining the ways in which our music is made, we can begin to dismantle the colonial structures that have been embedded in it from the beginning.

Introduction

Colonialism is a system in which a country controls another country or territory and its people, mainly for economic reasons. colonialism happens when a strong country takes over a weaker country or territory and makes it a colony. The colonial power imperialist has control over the government, economy, and society of the colony.

The electronic music scene is no different, as it still relies on software that was created with colonialist attitudes. In order to decolonize electronic music, we need to start with its software. In this article, we will explore the origins of some popular electronic music software and how they Len needs to be updated in order to be more inclusive of non-western cultures.

What is electronic music?

Electronic music is a type of music that is made using electronic equipment, such as synthesizers, drum machines, and sequencers. It can be created in various styles, including dance music, ambient music, and noise music. While most electronic music is made by professional musicians, some people also create it as a hobby.

What is decolonizing electronic music?

Decolonizing electronic music is acknowledging and undoing the ways in which Eurocentric thinking has shaped the way we make and think about music. This can involve everything from using alternative tuning systems to creating new instruments and sounds that are not based on traditional Western scales.

It also means rethinking the way we use technology, specifically software. A lot of electronic music software is designed for specific types of music, namely rock and pop. But there are a growing number of alternatives that cater to non-Western musical traditions.

By using these alternatives, we can start to decolonize our musical practices and create new sonic possibilities that are not limited by Western biases. In doing so, we can create a more inclusive and diverse electronic music scene that is truly reflective of the world around us.

The need for decolonizing electronic music

The need for decolonizing electronic music is urgent. The mainstream music industry is centered in the West, and the vast majority of music software is developed by Western companies. This creates a huge imbalance in the representation of music genres and cultures within the industry, with Western music and culture dominating.

This imbalance has real-world consequences. It means that people from non-Western cultures are often excluded from participating in the creation and enjoyment of electronic music. It also means that when they do participate, they are often doing so on terms set by Westerners. This can lead to a feeling of cultural inferiority, or even resentment.

There are a number of ways to decolonize electronic music. One is to create more diverse representation within the industry, including people of color, women, queer and trans people, and people from non-Western cultures. Another is to create moreMusic software that is specifically designed for use by people from non-Western cultures. This would allow them to create electronic music on their own terms, without having to conform to Western standards.

Decolonizing electronic music is an important step in ensuring that everyone can enjoy its benefits equally. It will help to create a more inclusive and representative industry, and allow people from all over the world to participate in its creation and enjoyment on their own terms.

The history of electronic music

Some historians trace the origins of electronic music back to the 19th century, when musicians and inventors started experimenting with new ways to create and manipulate sounds. Others point to the early 20th century, when composers like Edgar Varèse and Alban Berg were using early electronic instruments in their experimental works.

Whatever its origins, electronic music has been an important part of the music scene for more than a century. And while it has undergone many changes during that time, one thing has remained constant: its relationship to colonialism and racism.

From its earliest days, electronic music has been used as a tool of oppression. In the 1940s and 1950s, for example, the US government used recordings of white noise and other electronic sounds as part of its “torture arsenal” in an effort to break down prisoners’ resistance. Similarly, in the 1960s and 1970s, the South African apartheid regime used subsonic frequencies broadcast through loudspeakers to control black people living in townships.

Today, electronic music is still being used as a tool of oppression. In Israel, for example, Jewish ultra-nationalists have been using so-called “sound bombs” – bass-heavy electronic tracks played at high volume – as a form of psychological warfare against Palestinian protesters.

And while some people might argue that electronic music is a victimless art form, the truth is that its software – like all software – is not neutral. It is developed by companies that are often complicit in racism and other forms of discrimination. These companies develop products that are used by people who may not be aware of or care about the politics of the software they’re using.

As we continue to fight for justice and equality in our society, it’s important that we decolonize all aspects of our lives – including our music. We can start by demanding that developers create fairer and more ethical software products. We can also support businesses that are owned by marginalized communities, such as women or people of color. And we can use our platforms to amplify the voices of those who are working to make Electronic Music more inclusive and equitable for all.

The future of electronic music

As electronic music moves away from its European and North American origins, we must also move away from the colonialist mindset that has pervaded the genre since its inception.

The future of electronic music lies in its ability to evolve with the ever-changing world around it. This starts with its software. The industry standard for music production, Ableton Live, was created by two white German men. In a world where Black and Brown people are creating some of the most innovative and exciting music, it is time for a change.

There are a number of ways we can decolonize electronic music. We can start by supporting initiatives that create opportunities for people of color in the industry. We can also seek out and use software that is created by people of color.

There are a number of initiatives that are working to decolonize electronic music. One such initiative is Black Diamonds, a project that is working to create opportunities for people of color in the industry. Black Diamonds offers workshops, mentorship, and safe spaces for people of color to learn about and create electronic music.

In addition to initiatives like Black Diamonds, we can also seek out and use software that is created by people of color. There are a number of companies who make software specifically for people of color, including: Ethnicity Synthesizers, BBE Sound, Bitwig Studio, and Mixed In Key. By using software created by people of color, we are putting our money into the hands of those who are working to decolonize electronic music.

Decolonizing electronic music starts with its software. By supporting initiatives that create opportunities for people of color and using software created by people of color, we can begin to dismantle the colonialist mindset that has pervaded the genre since its inception.