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At the beginning of the 1980s, some of the followers of punk rock became bored[original research?] with it and wanted to make it more stylish and introduce elements of glam. By 1981, this trend resulted in the development of the New Romantics, a group whose preferred music was synthesiser electropop. New Romantics tended to be slightly campy and fey, and visually there was an androgynous vibe to the subculture,[citation needed] regardless of the individual's sexual orientation. Clothing styles demonstrated a return to the freak scene's roleplay of fashions from previous eras or imagined future ones in order to use fashion to create a time warp.[citation needed] According to the music press at the time,[not specific enough to verify] the New Romantics identified themselves using a number of alternative terms including "Futurists" and "the cult with no name." Other punk rock followers took the genre and culture further underground, where it evolved into a faster, harder genre coined as hardcore punk. Along with the hardcore scene came the straight edge subculture. Straight edge is a lifestyle that advocates abstinence in relation to tobacco, alcohol and recreational drug use (especially psychoactive and stimulant drug use), and for some people, in relation to promiscuous sexual behavior. Other former punks searching for a new direction around 1979 eventually developed into the nucleus of what became the goth subculture. The goths are a subculture of dark dress and gloomy romanticism. Unlike the New Romantics, goth has lasted into the 21st century. In the UK, goth reached its popular peak in the late 1980s.
In American urban environments, a form of street culture using freeform and semi-staccato poetry, combined with athletic break dancing, was developing as the Hip hop and Rap subculture. In jazz jargon, the word rap had always meant speech and conversation. The new meaning signified a change in the status of poetry from an elitist artform to a community sport. Rappers could attempt to outdo each other with their skillful rhymes. Rapping is also known as MCing, which is one of the four main elements of Hip hop:[3] MCing, DJing, graffiti art, and breakdancing. From the early to mid-1980s, poetry culture in a broader sense caught the same kind of energy as rap and so began the first of the poetry slams. Poetry slamming became an irregular focus for the latest wave of poetry aficionados. In 1985, Stonehenge Free Festival was disrupted by a massive police presence attempting to prevent the festival and break up the Peace Convoy. The resulting Battle of the Beanfield was the largest mass civil arrest in English history. Free parties and raves began from the mid-80s and became a flourishing subculture. The music embraced by this subculture was electronic dance music which developed from Techno, pioneered in Detroit and Chicago by people like Juan Atkins, Derrick May, and Kevin Saunderson, as well as electronic music, pioneered by Karlheinz Stockhausen, John Cage and others, taken by way of progressive rock bands like Hawkwind, filtered through the sounds of dub-reggae and the electropop bands like Kraftwerk and Depeche Mode and given a different twist via Art of Noise and early hip hop and recycled psychedelia.[citation needed] Towards the end of the 80s rave culture had diversified into different forms connected to music such as Acid House and Acid Jazz and would continue to diversify into the 90s. Rave culture thrived from the mid-80s to the end of the century and beyond



The Usenet and BBS subculture had developed a subculture which involved its own forms of etiquette and behaviour patterns both social and anti-social and the phenomena of trolling, spamming, flaming etc. The computer subculture was also influenced by fictional subcultures in cyberpunk literature. 1990s [icon] This section needs expansion. You can help by adding to it. (October 2011) The term Generation X or Gen X, popularized by Douglas Coupland's novel Generation X: Tales for an Accelerated Culture, was used to describe the generation that followed the Baby Boom Generation, or those who came to adulthood in the late 1980s and early 1990s. In the UK, the Britpop scene arose in the 1990s, influenced by the 1960s mods, the 1970s/1980s mod revival, and other British rock music and subcultural styles. On the West Coast of the United States became popular a style of alternative rock known as Grunge, pioneered by bands like Nirvana, Soundgarden and Mudhoney, which developed his associated subculture. One of the main technological developments of the 1990s was the World Wide Web. Running on the older infrastructure of the Internet, the web allowed small subcultures to grow into large global online communities. Online game communities, forums, chat rooms and Internet cafes became popular. The 1990s saw the rise of the anti-globalization movement. This was a response to the increased impact of globalisation and global capitalism. The anti-globalisation protest movement was accompanied by the fair trade movement. 21st century [icon] This section needs expansion. You can help by adding to it. (October 2011) Named in relation to Generation X, Generation Y or "Echo Boomers" (a reference to the fact that many of the parents of this generation had belonged to the Baby boomer generation) consisted of individuals that had come to adulthood during the 2000s. Subcultures that emerged or became popular in the first decade of the 21st century included Emo, Scene[4] and Chav. The Emo subculture, rooted in the Post Hardcore genre of hardcore punk, changed over the years becoming more mainstream, following the commercial success in early '2000s. The contemporary hipster became prominent in the 2010s. On March 20, 2014, Alexis Petridis, a journalist for the British newspaper The Guardian, claimed that subcultures were rapidly declining, with only Emos and metalheads having any visual significance.[5] Throughout the 2010s, subcultures have split into smaller subcultures that grow into the mainstream. This is possible due to the widespread accessibility of the internet and social media platforms. Some of the newer groups of the late 2010s include: Twitter Stans, koreaboos, art hoes, edgelords, niche memers, E-Girls, IG baddies, hypebeasts, soft boys, and thousands of others. The 2010s also saw revivals of many past subcultures, particularly from the 80s and 90s following the release of many television shows set in that era Music history, sometimes called historical musicology, is a highly diverse subfield of the broader discipline of musicology that studies music from a historical point of view. In theory, "music history" could refer to the study of the history of any type or genre of music (e.g., the history of Indian music or the history of rock). In practice, these research topics are often categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The terms "music history" and "historical musicology" usually refer to the history of the notated music of Western elites, sometimes called "art music" (by analogy to art history, which tends to focus on elite art). The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism), style criticism, historiography (the choice of historical method), musical analysis, and iconography. The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Some of the intellectual products of music historians include peer-reviewed articles in journals, university press-published music history books, university textbooks, new editions of musical works, biographies of composers and other musicians, studies of the relationship between words and music, and reflections upon the role of music in society. Contents 1 Pedagogy 2 History 2.1 Before 1800 2.2 18001950 3 Critiques 3.1 Exclusion of disciplines and musics 3.2 Exclusion of popular music 3.2.1 Examples 4 Notes 5 References Pedagogy Although most performers of classical and traditional instruments receive some instruction in music history, whether this is the history or art music, pop, or rock and roll, from their music teachers throughout their lessons and high school classes, the majority of formal music history courses are offered at the post-secondary (college or university) level. In Canada, some music students receive training prior to undergraduate studies because examinations in music history (as well as music theory) are required to complete Royal Conservatory of Music certification at the Grade 9 level and higher Most medium and large institutions will offer music appreciation courses for non-music majors and music history courses for music majors. The two types of courses will usually differ in length (one to two semesters vs. two to four), breadth (many music appreciation courses begin at the late Baroque or classical eras and might omit music after WWII while courses for music majors traditionally span the period from the Middle Ages to the current era), and depth. Both types of courses tend to emphasize a balance among the acquisition of musical repertory (often emphasized through listening examinations), study and analysis of these works, biographical and cultural details of music and musicians, and writing about music, perhaps through music criticism. More specialized seminars in music history tend to use a similar approach on a narrower subject while introducing more of the tools of research in music history. The range of possible topics is virtually limitless. Some examples might be "Music during World War I," "Medieval and Renaissance instrumental music," "Music and politics," "Mozart's Don Giovanni, or Women and music." The methods and tools of music history are nearly as many as its subjects and therefore make a strict categorization impossible. However, a few trends and approaches can be outlined here. Like in any other historical discipline, most research in music history can be roughly divided into two categories: the establishing of factual and correct data and the interpretation of data. Most historical research does not fall into one category solely, but rather employs a combination of methods from both categories. The act of establishing factual data can never be fully separate from the act of interpretation. Archival work may be conducted to find connections to music or musicians in a collection of documents of broader interests (e.g., Vatican pay records, letters to a patroness of the arts) or to more systematically study a collection of documents related to a musician. In some cases, where records, scores, and letters have been digitized, archival work can be done online. One example of a composer for whom archival materials can be examined online is the Arnold Schoenberg Center.[1] Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Scholars investigate questions such as which instruments or voices were used to perform a given work, what tempos (or tempo changes) were used, and how (or if) ornaments were used. Although performance practice was previously confined to early music from the Baroque era, since the 1990s, research in performance practice has examined other historical eras, such as how early Classical era piano concerti were performed, how the early history of recording affected the use of vibrato in classical music, or which instruments were used in Klezmer music. Biographical studies of composers can give us a better sense of the chronology of compositions, influences on style and works, and provide important background to the interpretation (by performers or listeners) of works. Thus biography can form one part of the larger study of the cultural significance, underlying program, or agenda of a work; a study which gained increasing importance in the 1980s and early 1990s. Sociological studies focus on the function of music in society as well as its meaning for individuals and society as a whole. Researchers emphasizing the social importance of music (including classical music) are sometimes called New musicologists. They may examine the intersection of music and music-making with issues such as race, class, gender, sexuality (e.g. LGBTQ), and disability, among other approaches


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