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Music (Music and place (Hedonistic space (Hedonistic spaces are…

- - - - The point therefore is that EDM is closely associated with the use of a range of substances that seek to amplify the hedonistic experience of enjoying the music in specific types of space.
    - - EDM’s hedonistic spaces are by no means inclusive, open or progressive. In British D&B for example some DJ’s tend to stick to visceral, ‘harder’ styles that only appear to some members of the audience. More broadly, misogynistic and sexist attitudes pervade D&B, which has a knock-on effect on the number of women attending events.
      - EDM hedonistic spaces can also be seen as a reflection of neoliberal sensibilities. According to neoliberal thinking, individuals should pursue their personal goals with only minimum intervention from governments and states. There is a freedom to produce, accumulate, and consume. EDM spaces are characterised by an individual’s pursuit of enjoyment and tis maps neatly onto the spirit of neoliberalism which is about promoting personal freedoms and individual fulfilment.
- - - - The prevalence of the local is particular significance in relation to the consumption of music. For example, participation in local musical activities can contribute to people’s sense of identity. Street (1993) has argued that live performances, as the site of local activity, are extremely important in promoting a sense of community identity. Live music, because it is necessarily local, and is only available in a specific place to a limited audience, is particularly effective at serving a sense of community identity. It serves to differentiate those consumers from others. There is a temporary perceived comradeship among those present. Individuals are temporarily freed of the hierarchical roles and statuses that they ordinarily bear, the space thus created is a site of unity and equality – a community. (Kong 1995)
    - - Transculturation is apparent when musicians are influenced dually by their own local cultural traditions and by the transnational standards of the music industry. The result is a local music with a transnational flavour, or transnational music with a local flavour. (Kong 1995)
      - For example Dick Lee
        
        Lee’s music serves simultaneously as evidence of a fusion of East and West and of local and global. A new sound is thus created – sometimes referred to as ‘Singapop’, for example Lee often mixes traditional instruments with synthesisers blending pop funk beats with Asian instruments. He also ‘anglicises’ local songs – i.e. giving a traditional folk song English lyrics or infusing traditional folk songs with modern rap.
        
        In drawing on the East and the West, and traditional and modern, Lee believes he has found a way that crosses all barriers of language, age and cultures – he has sought to reinvent tradition.
        
        Lee uses his music to establish and assert a personal identity. Mixing together different sounds, instruments and cultures to create a new, hybrid sound that reflects his conflicted identity.