Eurobeat

Eurobeat
Origen	Itàlia
Creació	1988
Part de	dance electrònic

Eurobeat és el nom de dos gèneres musicals d'Europa. Un és una variant britànica del dance-pop italià influït per l'eurodisco^[1] i l'altre és una forma d' italo disco impulsada per hi-NRG.^[2] Ambdues formes es van desenvolupar als anys 1980 del segle xx.

Eurobeat està també directament relacionat amb la cultura dance japonesa del Para Para però d'una manera diferent.^{[cal citació]}

Segells d'Eurobeat

Rodgers Music^{[cal citació]}
kyrmusic, que inclou projectes vocals trance tals com nR Element de Califòrnia.^{[cal citació]}

Referències

↑ Laitin, David «Culture and National Identity: 'The East' and European Integration» (en anglès). West European Politics, 25, 2, 4-2002, pàg. 55–80. DOI: 10.1080/713869599. ISSN: 0140-2382.
↑ Ang, Ien; Morley, David. Cultural Studies (en anglès). Routledge, 2005, p. 171, 173, 170. ISBN 9781134957927. «Eurorecords had to have immediate cross-national appeal, musical simplicity was of the essence- a bouncy beat, just one chorus hook, elementary lyrics. The fun of these records was entirely a matter of sound quality, but once a record was a hit it took on a kind of sleazy, nostalgic charm of its own. It was precisely the brazen utility of these records, in short, that gave them gay disco consumer appeal too.[…] Eurodisco also had an obvious element of camp -British club audiences took delight in the very gap between the grand gestures of Eurosingers and the vacuity of their songs.»

Enllaços externs

«Eurobeat Prime» (en anglès).: Base de dades i informació extensiva sobre l'Eurobeat. (anglès)

[1] Laitin, David «Culture and National Identity: 'The East' and European Integration» (en anglès). West European Politics, 25, 2, 4-2002, pàg. 55–80. DOI: 10.1080/713869599. ISSN: 0140-2382.

[2] Ang, Ien; Morley, David. Cultural Studies (en anglès). Routledge, 2005, p. 171, 173, 170. ISBN 9781134957927. «Eurorecords had to have immediate cross-national appeal, musical simplicity was of the essence- a bouncy beat, just one chorus hook, elementary lyrics. The fun of these records was entirely a matter of sound quality, but once a record was a hit it took on a kind of sleazy, nostalgic charm of its own. It was precisely the brazen utility of these records, in short, that gave them gay disco consumer appeal too.[…] Eurodisco also had an obvious element of camp -British club audiences took delight in the very gap between the grand gestures of Eurosingers and the vacuity of their songs.»

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