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Since the 1980s, productions in pop- and rock-music have changed into accurate, rhythmic constructions when newer music technologies such as Drum Machines and Synthesizers appeared and divulged on the music scene. Practice and performances have been considerably effected in approach of style and aesthetics. The act of organising rhythmic events on a time-based grid in music software is called quantisation and therefore has had and still has obviously a large impact on the specific components, which build the groove in popular music. In this context, diverse questions naturally appear: Why is an equal, machine-like order preferred in this type of music? Which ways, manners and interpretations of rhythmical play have been performed in the period before the mentioned technical innovations, and has a transformation taken place? Is there a significant difference of machine-based groove concerning analogue and digital ways of production? In which way change cultural meaning and aesthetics of popular music under the circumstances of modified standards in production? This presentation displays and analyses the impact of drum machines and quantisation on the groove of popular music from in most obvious appearance in the period of time from 1980 to 1995. It is assumed that until today, a paradigmatic change has been caused by quantisation, but has not been observed yet. An analysis of current discourse will be made to clarify, that contemporary productions use quantisation as a common tool and in a conscious way. Science and technology studies like the "Actor-Network-Theory (ANT)" and the "Actor-Media-Theory (AMT)" offer entries to explain the contrasting juxtaposition of human-made and technology-based groove.

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Robert Michler (Switzerland) 10963
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