stylistic:style_transfer, structural:summarization, structural:scholar_edition
Techno is a genre of electronic dance music which is generally produced for use in a continuous DJ set, with tempos being in the range from 120 to 150 beats per minute (BPM). The central rhythm is typically in common time (4/4) and often characterized by a repetitive four on the floor beat. Artists may use electronic instruments such as drum machines, sequencers, and synthesizers, as well as digital audio workstations. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro instruments are popular. Much of the instrumentation in techno is used to emphasize the role of rhythm over other musical aspects. Vocals and melodies are uncommon. The use of sound synthesis in developing distinctive timbres tends to feature more prominently. Typical harmonic practices found in other forms of music are often ignored in favor of repetitive sequences of notes. More generally the creation of techno is heavily dependent on music production technology. Use of the term "techno" to refer to a type of electronic music originated in Germany in the early 1980s. In 1988, following the UK release of the compilation Techno! The New Dance Sound of Detroit, the term came to be associated with a form of EDM produced in Detroit. Detroit techno resulted from the melding of synth-pop by artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra with African-American music such as house, electro, and funk. Added to this is the influence of futuristic and science-fiction themes relevant to life in contemporary American society, with Alvin Toffler's book The Third Wave a notable point of reference. The music produced in the mid-to-late 1980s by Juan Atkins, Derrick May, and Kevin Saunderson, along with Eddie Fowlkes, Blake Baxter, James Pennington and others is viewed as the first wave of techno from Detroit. After the success of house music in a number of European countries, techno grew in popularity in the United Kingdom, Germany, Belgium and the Netherlands. In Europe regional variants quickly evolved and by the early 1990s techno subgenres such as acid, hardcore, bleep, ambient, and dub techno had developed. Music journalists and fans of techno are generally selective in their use of the term, so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance.