N-Trance - Dance Mix 95 - 10 - Set You Free
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Having been at the forefront of dance music for over twenty years, Junior K kick-started his illustrious career, joining legendary dance group N-Trance in the late 90s, as their official member and tour DJ.
N-Trance DJ Junior K, is a versatile DJ, his passion and knowledge for music is second to none. Combine this with a perfect understanding of how to read the dance floor and execute seamless mixes, you have a first class DJ. His N-Trance DJ sets vary from each venue and rest assured will be tailored to accommodate any crowd.
N-Trance are a British electronic music group, from Oldham, Greater Manchester, who were formed by Kevin O'Toole and Dale Longworth, in 1990. The group has sold over 5 million records worldwide and some of their hit singles include \"Set You Free\", \"Forever\", as well as covers of the popular 1970s disco songs \"Stayin' Alive\", \"D.I.S.C.O.\" and \"Da Ya Think I'm Sexy\".Kevin O'Toole and Dale Longworth formed N-Trance, in 1990, after meeting at The Oldham College, where they were both studying sound engineering. Initially, O'Toole and Longworth, along with four or five other students used their college's recording studio for free recording and use of equipment, however they began producing music which they thought was comparable to other rave music in the charts at the time.
This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties); listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals).
Moore and Miles [17] found an association between substance use and alternative music styles in the electronic music scene: respondents were more likely to consume MDMA at \"hard house\" and \"trance nights\", and were more likely to drink alcohol if they attended \"funky house nights\". According to key informants and police sources in Belgium, frequenters of goa parties are more likely to use drugs than people who frequent other sub scenes within the electronic dance music world [18]. Goa trance (common at goa parties) is essentially \"dance-trance\" music; the goal being to assist dancers to experience a collective state of bodily transcendence, similar to that of ancient shamanic dancing rituals, through hypnotic, pulsing melodies and rhythms. It has its roots in the state of Goa in India [19]. Although a shift in the dance party scene away from \"underground\" events has been observed [20], a revival of the dance \"underground\" has recently been reported, with the advent of goa parties held at secret venues [18]. Moreover, this alternative music style within the electronic dance music scene seems to be associated with greater drug use.
Visitors to dance clubs and events were asked to participate in this study. To avoid selection bias, polltakers invited every fifth visitor to complete a short self-report questionnaire. Visitors were informed that filling out the questionnaire would take 5 to 10 minutes; respondents received no financial compensation.
To determine the relation between substance use and nightlife variables, two types of analyses were performed. First, to determine whether the odds of being an illegal substance user are higher for certain music and nightlife-related variables (i.e. music preference: rock, dance and southern/funky music; last month visits: clubs, pubs and goa parties; sampling venues: dance events, rock festivals and clubs), we calculated odds ratios for the subsample of respondents who claimed to have used an illegal drug during the last year and the subsample of those who did not. Focusing on use last year gives a more reliable insight than focusing on more recent use, because the latter category could be influenced by the timing of the survey: during holidays and free of responsibilities, young people tend to use more substances than during the school year [30]. We compared last year illegal drug use (yes/no) with the nightlife related variables (yes/no variables for dance, rock and southern/funky music, going to pubs, clubs, goa parties, sampled at dance events, rock festivals or in clubs). Second, to investigate the association between the frequency of use for specific types of drugs and the various independent variables, we performed five separate ordinal regression analyses using a proportional odds model [cf. [31]]. In each of these five analyses, the frequency of using a specific substance during the last year (alcohol, cannabis, amphetamines, MDMA or cocaine) was regressed on age (entered as continuous variable), gender, music preference (yes/no for dance music preference, southern and funky music preference, rock music preference), number of visits to clubs, pubs and goa parties within the last month (entered as continuous variables), and sampling venue. To interpret venue effects with regard to the grand mean, the original venue variable consisting of three categories was recoded using an effect coding scheme [32].
Substance use prevention at rock festivals should focus on the use of alcohol and cannabis. Based on our results, going to rock festivals or listening to rock music does not appear to be directly linked to the use of other illegal drugs. However, prevention measures are still needed, including free water, especially when it is very hot outside. Rock festivals are mostly held in the summer and can attract tens of thousands of visitors (sometimes up to 80,000 people). The use of alcohol and/or cannabis in combination with the summer heat and other circumstances might cause health problems. Furthermore, music festivals may serve as an occasion for trying cannabis for the first time, and are therefore important targets for the prevention of cannabis use onset [16].
A specific at-risk population are those who visit goa parties. As these parties are increasingly organised within the public scene, collaborations with party organisers should be developed in order to set up prevention activities. Organisers are generally willing to take some precautions, especially since most of them have experienced first-hand the potential health risks associated with visitors who misuse drugs [40]. Substance use prevention for this group of party people needs to be tailored to their specific situation, and should start from the premise that drug use is deeply-rooted within this scene. Like prevention programmes that target overheating and drunk/drug-influenced driving, the overall objective should be to minimise harm. Sumnall et al. [52] suggest that hedonistic young people should be targeted with messages that increasing healthy choices will lead to more years in which to experience happiness and fun. Possible prevention and safety measures could include (as at other dance music events or clubs): 1) providing free water; 2) setting up an information stand on drug use; and 3) setting up a \"chill-out\" area where people can go when they have a bad trip. In addition, improved training for medical staff could enable visitors suffering from drug intoxication to be appropriately assessed [53]. Goa parties typically last a whole weekend; music is played both at night and during the day. Designating peers to check whether people who appear to be sleeping are sleeping and not unconscious could therefore be of importance at these parties. Peer support interventions can be valuable. A recent evaluation of a peer-led intervention in Australia has suggested that peers are seen as credible sources of information and that messages delivered are remembered up to three months later [54].
MUS 0040 Music of Africa. Music systems and musical instruments from selected music cultures on the African continent and of the African diaspora; music as an integration of song, instrumental ensembles, and dance; music in its historical, social, and cultural context; lecture, discussion and hands-on performance labs.
MUS 0046 Music of The Middle East. Survey of Middle Eastern musics in their cultural, religious, and historical contexts. Introduction to Arabic, Turkish, and Persian musical systems, including ritual, folk, and popular music and dance traditions. Topics may include the relationship between music and the sacred; gender, music, and dance in the public sphere; music and poetics; popular music, technology, and globalization; politics and music.
MUS 0054 Developments in New Music. A study of music by late twentieth-century and recent composers. Such topics as serialism, minimalism, new Romanticism, postmodernism, electro-acoustic music, globalization, and cross-over, considered in their sociological and cultural contexts. Guest lectures by Boston-area composers, and attendance at concerts of new music.
MUS 0101 Jazz Theory. Harmonic and melodic techniques of jazz and popular music. Extended chords (ninths, elevenths, thirteenths) and substitutions; modulations and free melodic treatment of dissonance. Song forms. Written exercises and analysis; emphasis on student composition. Continuation of aural and keyboard skills. Recommendations: MUS 112 or permission of instructor.
MUS 0104 Jazz Analysis. Formal analysis of important jazz compositions and improvised solos from the 1920s to the present, including early jazz, swing, bebop, free jazz, and fusion. Application of theory through composition and performance. Critique of the value, meaning, and definition of jazz analysis. Recommendations: MUS 104 or permission of instructor.
MUS 0117 Methods of Music Analysis: Schenkerian, Set, and Transformation Theories. Introduction to the leading systems for analyzing harmony in tonal and atonal musics. Schenkerian theory (for functional tonal repertoires, e.g. Beethoven); pitch-class set theory (for free atonal repertoires, e.g. Schoenberg); and transformation/neo-Riemannian theory (for chromatic triadic repertoires, e.g. Schubert). Students apply these methodologies through analysis of works of their choice and explore the critical and historical discourses surrounding each system. Pre-requisite: Music 112 or permission. 59ce067264
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