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| | Philip Tagg | From Refrain to Rave - The Decline of Figure and the Rise of Ground (1994) |
 | | Rave compilations are qualified by terms like 'urban', 'manic', 'megadance', 'power', 'ultrasonic', 'energy', etc. Most rave runs in regular two-bar periods of 4/4 (or 4 bars of 2/4, if you prefer). |
 | | The sampler is central to rave music's originality because it allows musicians to get out of the rut of just singing and playing by providing easy access to practically manageable sonic building blocks of aesthetic and ideological potential that aren't just chords, timbres, rhythm patterns, riffs and so on. |
 | | Particularly remarkable is rave music's penchant for the phrygian, a mode virtually unused previously in any form of internationally well-known music apart from what came out of Spain in the form of malgueñas, farrucas, fandangos and flamenco music. |
| www.tagg.org /articles/pmusrave.html (7100 words) |
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