Rave Music and the Death of Rock

Music is a form of art whose medium is sound. Many different forms of art exist, but music in particular has the ability to invoke intense messages and feelings, and can change anyone’s particular mood through their ears. Music also has the ability to represent societies’ values as a whole at any given time. Historically, contemporary music uses drums, guitar, and vocals to produce a track, but since the 80’s after the disco era, electronic music has swiftly come on the scene. Rock music and concerts give listeners a denotative message, where as electronic techno music conveys an overall emotional connotative feeling.
While mainstream rock has always been in the general public’s eye, electronic music has been seemingly forced into the underground. It was in the 1980’s when electronic music appeared in continental Europe sparking an enormous underground youth rave movement. When the Berlin Wall fell on the 9th of November 1989, free underground techno parties bloomed in East Berlin, and a rave scene comparable to that in the UK was made. (D, 134) East German DJ Paul van Dyk has remarked that the techno based rave scene was a major force in re-establishing social connections between East and West Germany during the unification period. (Messemer, 34)
Rave music deals primarily with space rather than (as in traditional rock) with time. Traditional and contemporary rock is most often talked about as developing and progressing in linear terms. Its structure is usually defined by its narrative and it takes the listener on a journey starting at the intro, followed by two verses, a chorus, the instrumental interlude, the final verse and the climax at the end. It could be argued that the structure of traditional rock/pop is inextricably bound up with its narrative content, which is most often concerned with heterosexual relationships and the attainment of climax. This obsession with heterosexual seduction within pop music reproduces conventional social obligations...