Industrial Music for Industrial People: The History and Development of an Underground Genre
Industrial music was born in 1976 in London, England with the creation of Industrial Records. Originally, "industrial music" referred to the musical output of the label, which included a variety of experimental, electronic, often noise-oriented compositions, altered instruments, and music-accompanied performance art. The first artists that recorded at Industrial Records were Throbbing Gristle, Non (Boyd Rice), Cabaret Voltaire, The Leather Nun, Surgical Penis Klinik, and Clock DVA; each sharing a similar anti-bourgeois rejection of mainstream culture and social order. Since those early days (often deemed the "first wave," 1976–c.1982) industrial music has come to represent any underground electronic music either directly tied to or influenced by Industrial Records as well as those musicians who share in the cultural and musical aesthetic of industrial. In the second decade as the genre grew in relative popularity (referred to as the "second wave," c.1982–c.1990), several sub-genres emerged and many bands began to change the shape, sound, and style of the genre as the fan base became more populous and diverse. This thesis examines the elements that comprise this broadly-encompassing music genre, the influence it has had throughout history, and its current concepts and practice in order for a well-informed and contextually working definition to become evident. What follows is a look into the history of industrial music since its inception three decades ago, as well as a genre-based approach to music. The focus of this study is three-fold. First, the ambiguity of industrial music will be addressed by discussing the history and development of the genre. Second, the textual versus contextual aspects of industrial culture, and of the music itself, will be explored. Lastly, the nature of genre in music will be addressed. This thesis will look at genre in the theoretical sense, as it represents communication in culture. In communication about music–stylistic elements, genre classification, influences, history, and sound–generalized speech become part of a dialogue which consists of shared understanding about issues of text and context concerning the music. In industrial culture we can see an example of how these issues can generate debate regarding the nature of genre, as well as how genre studies can reveal an understanding of the music not only through its purely musical features, but through communicative elements of culture.
Wreckers Of Civilisation, Ethnomusicology, Anthropology Of Music, Industrial Culture, Industrial Music Community, Industrial Music Identity, Industrial Interview, Genesis P-Orridge, Musicology, Cosey Fannit Tutti, Coil, Spk, Leather Nun, Surgical Penis Klinik, Bret, Einstuerzende Neubauten, Text, Context, Text Versus Context, Industrial Music History, Industrial Music, Music Genre, Genre Studies, Industrial, Industrialist, Throbbing Gristle, Popular Music Studies, Meta-Genre, Sub-Genre, Subgenre, Genre, Cabaret Voltaire, Monte Cazazza, Industrial Records, Context, Definitional Approach, Text, Genres, Swales, Bakhtin, Generic Modifier, Genre Analysis, Sub-Genre, Genre Studies, Noitekk, Sterile Records, Mute Records, Industrial Records, Kraftwerk, SPK, Einstürzende Neubauten, NON, Cabaret Voltaire, Throbbing Gristle, Industrial Records, Invisible Records, Wax Trax!, This Morn' Omina, Klinik, Aghast View, Haujobb, Front Line Assembly, Wumpscut, Industrial Music Development, Intertextual, Contextual, Hocico, Industrial Rock, Neo-Folk, Acid House, Aggrotech, Terror Ebm, Ebm, Abstract, Free Improvisation, Dark Ambient, Noise, Avant-Garde, Avant Garde, Avantgarde, Experimental, Industrial, Electronica, Field Recordings, Glitch, Microsound, Montage, Psychedelic, Soundscape, Sound Art, Spoken Word, Experimentalism, Electronica, Electronic Art Music, Electrodark, Darkwave, Acid House, Acidhouse, Post-Industrial, Industrial Movement, Thesis By Bret Woods, Bret's Thesis, Bret Woods Thesis, Industrial Music Thesis, Industrial Thesis, Thesis About Industrial Music, Thesis On Industrial Music, Technoid, Aggrotech, Coldwave, Tape Loops, Cut-Ups, Vocal Experimentation, Instrumental Experimentation, Power Electronics, Ambient Industrial, Neofolk, Neo-Folk, Death Industrial, Noise Music, Skinny Puppy, Numb, COUM Transmissions, Intertextuality, Post-Punk, Boyd Rice, Non, Mute Records, Electronic Body Music, Electro-Industrial, Elektro, Electro, House Music, Trance Music, Dance Music, Underground Genre, Bret D. Woods, Bret Woods, Bahktin, Industrial Aesthetic, Kraftwerk, Attali, Experimental, Electronic, Electronic Music, Avant Garde, Experimentalism, Noise, Russolo, Luigi Russolo, Futurist, Synth-Pop, Futurepop
Date of Defense: June 6, 2007.
A Thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music.
Includes bibliographical references.
Florida State University