A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. Peak-pleasurable experiences and brain activityĬhanges within seconds of reported feelings of excitement Results suggest expectation is important in inducing Of subjective excitement during drop passages. Importantly, IFGĪnd MFG activity showed a correlation with ratings Gyrus (IFG) and middle frontal gyrus (MFG) were Post-central gyri and precuneus were moreĪctive during build-ups, and the inferior frontal Of build-up and of drop passages showed that preand Source reconstruction of EEG epochs for one second To break routines while undergoing continuous EEG. Of build-up and drop passages in EDM break routinesĪre therefore good candidates to study brainĬorrelates of emotion. The neural correlates of peak-pleasurableĮmotions (such as excitement) in the short seconds Prior to highly expected drop passages and peakpleasurableįulfilled. Withinīuild-ups music features increase to peak moments

Music segments, which may reduce the precision ofĬorrelating emotional cues to specific brain areas.īreak routines in electronic dance music (EDM) areĮmotive but short music moments containing three PREVIOUS BRAIN-RELATED STUDIES ON MUSICEVOKEDĮmotions have relied on listening to long This article adds to existing analytical scholarship by drawing a ention to the many roles of continuous processes in EDM, and showing how they contribute to the emotional waves experienced when listening to this music. They can be used by creators at strategic times to provide ornamentation, orientation (often accompanied by intensification or de-intensification), or disorientation (usually in breakdown sections). Continuous processes in this repertoire are created with 'continuous controllers' such as sliders and knobs, or are programmed into tracks with 'automation curves.' Functionally, continuous processes often provide sonic instructions for dancers. Examples include pitch slides (glissandos), crescendos, fade ins, accelerandos, and filter sweeps. Continuous processes are musical gestures with continuous changes to musical parameters, rather than discrete, 'step-by-step' ones. This article discusses the functions of continuous processes in contemporary electronic dance music (EDM), providing an analytical framework for discussing their structural and aesthetic roles in this repertoire. This is furthermore discussed and more broadly related to the club experience seen as a whole, drawing on the psychological concepts Peak experience, Strong experiences with music (SEM) and Absorption.

Through a theoretical framework consisting of musical expectancy and gravity, the analysis suggests that i) extensive use of uplifters, ii) the “drum roll effect”, iii) large frequency changes, iv) removal and reintroduction of bass and bass drum and v) a contrasting “breakdown” cause tension and anticipation, which seems to correlate with a possible intensification of emotional experience. This is done by descriptive and interpretive music analysis, where spectrograms and a schematic model visually represent the dominant production techniques. This study investigates the correlations between theories of intense emotional experiences and production techniques used in the electronic dance music (EDM) sections “build-up” and “drop”, which are designed to build tension and create a heightened emotional intensity among clubbers.

Bass space drop