Philosophy Compass 11 (8):426-436 (2016)

Nick Wiltsher
Uppsala University
What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own ontology, distinct from ontologies of recordings or improvisations. Finally, I explore two aspects of dance music's aesthetics: its connection with repetition and repetitiveness and its use of electronic sounds and technologies. I conclude with some speculative thoughts about the unique relation dance music bears to repetition and electronics. This article is Part II of two; in Part I, I consider the problem of defining dance music, via the framing question of authenticity. I explore history, genre, scenes and subcultures, and blackness.
Keywords dance music  dance  expression  DJ  ontology of music  electronic art  repetition
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DOI 10.1111/phc3.12332
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References found in this work BETA

The Principles of Art.R. G. Collingwood - 1938 - Philosophy 13 (52):492-496.
Works of Music: An Essay in Ontology.Julian Dodd - 2008 - Journal of Aesthetics and Art Criticism 66 (2):201-203.
Improvisation in the Arts.Aili Bresnahan - 2015 - Philosophy Compass 10 (9):573-582.
All Play and No Work: An Ontology of Jazz.Andrew Kania - 2011 - Journal of Aesthetics and Art Criticism 69 (4):391-403.

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Citations of this work BETA

The Aesthetics of Country Music.John Dyck - 2021 - Philosophy Compass 16 (5):e12729.
Knowing When to Stop.Uku Tooming - forthcoming - Australasian Journal of Philosophy:1-14.

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