Category Archives: Trance

Trance (Engelse uitspraak: trns) is een ondersoort van dance waarin de nadruk op de melodie en de euforische sfeer ligt. Een tranceplaat begint vaak met een eentonige beat, en na verloop van tijd komt er steeds meer percussie en melodie bij. In het midden van de plaat is vaak een break, die toewerkt naar een climax. Het aantal beats per minuut ligt vaak tussen de 125 en 150. De melodie wordt net als bij andere dancesoorten vaak herhaald, maar het stuk dat herhaald wordt is meestal langer (meestal 32 of 64 beats) dan bij andere dancesoorten. In een tranceplaat zou de luisteraar het gevoel krijgen alsof hij 'in trance' is, vandaar de naam.

Trance was vooral populair in de tweede helft van de jaren 90 en de eerste helft van de jaren 2000.

Trance ontstond begin jaren 90 nadat dj's steeds vaker house met synthesizer- en newagemuziek waren gaan combineren. De eerste tranceplaat dateert van 1989 en is "Time's Up (Remix)" van Age of Chance. In datzelfde jaar maakte Age of Love het gelijknamige nummer dat pas 1990 werd uitgebracht. In 1990 waren nummers als "Higher in the Sky" van Mackenzie en "We came in peace" van Dance 2 Trance relevant. De remix van "Age of Love" door Jam & Spoon (1992) zette de trance in een stroomversnelling. Aanvankelijk werd trance nog duidelijk benvloed door rave en techno, waaruit uiteindelijk de hardtrance is ontstaan. Later kwamen meer toegankelijke en populaire tranceplaten uit. Een daarvan die bij het grote publiek doorbrak, was Power of American Natives van Dance 2 Trance, die in 1993 op nummer 2 stond in de Nederlandse top 40. Maar rond deze tijd werd trance nog niet gezien als een aparte stroming binnen de dance. Vooral de Frankfurter scene oefende een grote invloed uit, met trendsettende labels als Eye Q, MFS, Planet Love en Le Petit Prince. Bekende Duitse producers van die tijd waren DJ Dag, Jam El Mar, Mark Spoon, Sven Vth, Talla 2XLC en Cosmic Baby. Ook in het Verenigd Koninkrijk stonden enkele producers op zoals Salt Tank en Art of Trance.

Rond 1994 kwamen er vanuit house en techno een aantal nieuwe stromingen, waaronder trance, maar deze stroming werd in Nederland bij het grote publiek overschaduwd door Mellow en (happy) Hardcore. Na de happy hardcore-hype midden jaren 90 in Nederland, Belgi en Duitsland trok ook de langzamere trance de belangstelling van het grote publiek door hits als Robert Miles - Children, BBE - Seven Days & One Week, en Energy 52 - Caf Del Mar. Maar trance werd pas echt enorm populair toen het genre in 1999 een gezicht kreeg in de vorm van bekende dj's als Tisto, Paul van Dyk, Armin van Buuren en Ferry Corsten. Ook werden er steeds vaker festivals met tienduizenden bezoekers georganiseerd die trance op het programma hadden staan. 1999 wordt door liefhebbers ook wel "the year of trance" genoemd.

Na 2000 verspreidde de muziekstroming zich snel. Het genre breidde zich vanuit Nederland, Duitsland, Belgi en Groot-Brittanni uit naar de rest van Europa. Met name in Scandinavi sloeg het genre erg aan. In de loop van de jaren 2000 kreeg de trance voet aan grond in Oost-Europa en Zuid-Europa. In de toonaangevende dj-top-100 van het Engelse DJ Magazine domineerden in deze jaren ook trance-dj's de top 10. Naarmate het eerste decennium van deze eeuw eindigde en de dancescene verder globaliseerde, namen een aantal oude en nieuwe populaire stromingen binnen de dance het roer langzaam over. Dit neemt niet weg dat trance nog steeds een van de grootste stromingen binnen de elektronische muziek is, met een zeer toegewijde en wereldwijde aanhang.

De huidige trance bevat nog wel de basiselementen die het had begin jaren 90, maar heeft wel een ontwikkeling doorgemaakt. De trance van nu is toegankelijker, eenvoudiger, bevat meer vocalen en de platen zijn meer op elkaar gaan lijken. Zoals bij elk genre dat populair wordt onder het grote publiek, is er vanuit de vooruitstrevende geluiden in de beginperiode een standaard ontstaan. De toonaangevende dj's als Tisto, Armin van Buuren en Paul van Dyk bepalen gezamenlijk de trend, waar vrijwel alle nieuwe artiesten zich aan conformeren. Een aantal tranceproducenten van het eerste uur (zoals Sven Vth en Oliver Lieb) keerden zich af van de commercile trance en sloegen hun eigen weg in.

In deze periode was de dance sterk in ontwikkeling en was trance nog geen apart subgenre. Deze platen kunnen als voorlopers van de trance gezien worden.

In deze periode werd trance geleidelijk een apart genre. De volgende platen zijn onvervalste trance klassiekers:

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Trance (muziek) - Wikipedia

Goa trance is an electronic music style that originated during the late 1980s in Goa, India.[1][2] Goa trance has often funky drone-like bass-lines, compared to techno minimalism of 21st century psytrance.[3]

Psychedelic trance music and culture (psyculture) is explored as a culture of exodus rooted in the seasonal dance party culture evolving in Goa, India, over the 1970s/1980s, and revealing a heterogeneous exile sensibility shaping Goa trance and psyculture[clarification needed] from the 1990s/2000s. That is, diverse transgressive and transcendent expatriations[clarification needed] would shape the music and aesthetics of Goa/psytrance. Thus, resisting circumscription[clarification needed] under singular heuristic formulas[clarification needed], Goa trance and its progeny are shown to be internally diverse. This freak mosaic was seasoned by expatriates and bohemians in exile from many countries, experienced in world cosmopolitan conurbations[clarification needed], with the seasonal DJ-led trance dance culture of Goa absorbing innovations in EDM productions, performance and aesthetics throughout the 1980s before the Goa sound and subsequent festival culture emerged in the mid-1990s. Rooted in an experimental freak community host to the conscious realisation and ecstatic abandonment of the self, psyculture is heir to this diverse exile experience.[4]

The music has its roots in the popularity of Goa in the late 1960s and early 1970s as a hippie capital, and although musical developments were incorporating elements of industrial music and EBM (electronic body music) with the spiritual culture in India throughout the 1980s, the actual Goa trance style did not appear until the early 1990s.[1][5]

The music played was a blend of styles loosely defined as techno and various genres of computer music (e.g., high energy disco without vocals, acid house, electro, industrial gothic, various styles of house, electronic rock hybrids). The music arrived on tape cassettes by fanatic traveler collectors and DJs. It was shared (copied) tape to tape among Goa DJs, which was an underground scene, not driven by labels or music industry.[citation needed]

The artists producing this 'special Goa music' had no idea that their music was being played on the beaches of Goa by "cyber hippies".[citation needed] The first techno that was played in Goa was Kraftwerk in the late 1970s on the tape of a visiting DJ.[citation needed] At the time the music played at the parties was live bands. Tapes were played in between sets. In the early 1980s, sampling synth and MIDI music appeared globally and DJs became the preferred format in Goa, with two tape decks driving a party without a break, facilitating continuous music and continuous dancing.[citation needed] There had been resistance from the old-school acid heads who insisted that only acid rock should be played at parties, but they soon relented and converted to the revolutionary wave of technodelia that took hold in the 1980s.[citation needed]

Cassette tapes were used by DJs until the 1990s when DAT tapes were used. DJs playing in Goa during the 1980s included Fred Disko, Dr Bobby, Stephano, Paulino, Mackie, Babu, Laurent, Ray, Fred, Antaro, Lui, Rolf, Tilo, Pauli, Rudi, and Goa Gil.[6] The music was eclectic in style but nuanced around instrument/dub spacey versions of tracks that evoked mystical, cosmic, psychedelic, political, existential themes. Special mixes were made by DJs in Goa which were the editing of various versions of a track to make it longer. This was taking the stretch mix concept to another level, trip music for journeying to outdoors.[7]

Goa Trance as a music industry and collective party fashion tag did not gain global traction until 1994 when Paul Oakenfold began to champion the genre[8] via his own Perfecto label and in the media, most notably with the release of his 1994 Essential Mix, or more commonly known as the Goa Mix.[9]

By 199091 Goa had become a hot destination for partying and was no longer under the radar: the scene grew bigger. Goa-style parties spread like a diaspora all over the world from 1993 and a multitude of labels in various countries (UK, Australia, Japan, Germany) dedicated themselves to promoting psychedelic electronic music that reflected the ethos of Goa parties, Goa music and Goa-specific artists and producers and DJs. Mark Maurice's 'Panjaea's focal point' parties brought it to London in 1992 and it's programming at London club megatripolis gave a great boost to the small international scene that was then growing (October 21, 1993 onwards). The golden age and first wave of Goa Trance was generally agreed upon aesthetic between 1994 and 1997.[citation needed]

The original goal of the music was to assist the dancers in experiencing a collective state of bodily transcendence, similar to that of ancient shamanic dancing rituals, through hypnotic, pulsing melodies and rhythms. As such, it has an energetic beat, often in a standard 4/4 dance rhythm. A typical track will generally build up to a much more energetic movement in the second half then taper off fairly quickly toward the end. The tempo typically lies in the 130150 BPM range, although some tracks may have a tempo as low as 110 or as high as 160 BPM. Generally 812 minutes long, Goa Trance tracks tend to focus on steadily building energy throughout, using changes in percussion patterns and more intricate and layered synth parts as the music progresses in order to build a hypnotic and intense feel.

The kick drum often is a low, thick sound with prominent sub-bass frequencies. The music very often incorporates many audio effects that are often created through experimentation with synthesisers. A well-known sound that originated with Goa trance and became much more prevalent through its successor, which evolved Goa Trance into a music genre known as Psytrance, has the organic "squelchy" sound (usually a sawtooth-wave which is run through a resonant band-pass or high-pass filter).[citation needed]

Other music technology used in Goa trance includes popular analogue synthesizers such as the Roland TB-303, Roland Juno-60/106, Novation Bass-Station, Korg MS-10, and notably the Roland SH-101. Hardware samplers manufactured by Akai, Yamaha and Ensoniq were also popular for sample storage and manipulation.[citation needed]

A popular element of Goa trance is the use of samples, often from science fiction movies. Those samples mostly contain references to drugs, parapsychology, extraterrestrial life, existentialism, OBEs, dreams, science, time travel, spirituality and similar mysterious and unconventional topics.[citation needed]

Old School Goa Trance:

New School Goa Trance:

The first parties were those held at Bamboo Forest at South Anjuna beach., Disco Valley at Vagator beach and Arambol beach(c. 1991-1993) [10] and attempt's initially were made to turn them into commercial events, which met with much resistance and the need to pay the local Goan police baksheesh they were generally staged around a bar, even though this may only be a temporary fixture in the forest or beach.[citation needed]. The parties talking place around the New Year tend to be the most chaotic with bus loads of people coming in from all places such as Mumbai, Delhi, Gujarat, Bangalore, Hyderabad, Chennai and the world over. Travelers and sadhus from all over India pass by to join in.[citation needed]

megatripolis in London was a great influence in popularising the sound. Running from June 1993 though really programming the music from October 1993 when it moved to Heaven nightclub it made all the national UK press, running until October 1996.

In 1993 a party organization called Return to the Source also brought the sound to London, UK. Starting life at the Rocket in North London with a few hundred followers, the Source went on to a long residency at Brixton's 2,000 capacity Fridge and to host several larger 6,000 capacity parties in Brixton Academy, their New Year's Eve parties gaining reputations for being very special. The club toured across the UK, Europe and Israel throughout the 1990s and went as far as two memorable parties on the slopes of Mount Fuji in Japan and New York's Liberty Science Center. By 2001 the partners Chris Deckker, Mark Allen, Phil Ross and Janice Duncan were worn out and all but gone their separate ways. The last Return to the Source party was at Brixton Academy in 2002.[citation needed]

Goa parties have a definitive visual aspect - the use of "fluoro" (fluorescent paint) is common on clothing and on decorations such as tapestries. The graphics on these decorations are usually associated with topics such as aliens, Hinduism, other religious (especially eastern) images, mushrooms (and other psychedelic art), shamanism and technology. Shrines in front of the DJ stands featuring religious items are also common decorations.[citation needed]

For a short period in the mid-1990s, Goa trance enjoyed significant commercial success with support from DJs, who later went on to assist in developing a much more mainstream style of trance outside Goa. Only a few artists came close to being Goa trance "stars", enjoying worldwide fame.[citation needed]

Several artists initially started producing Goa trance music and went on to produce psytrance instead.[citation needed]

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Goa trance - Wikipedia

Trance in its modern meaning comes from an earlier meaning of "a dazed, half-conscious or insensible condition or state of fear", via the Old French transe "fear of evil", from the Latin transre "to cross", "pass over". This definition is now obsolete.[1]

Wier, in his 1995 book, Trance: from magic to technology, defines a simple trance (p.58) as a state of mind being caused by cognitive loops where a cognitive object (thoughts, images, sounds, intentional actions) repeats long enough to result in various sets of disabled cognitive functions. Wier represents all trances (which include sleep and watching television) as taking place on a dissociated trance plane where at least some cognitive functions such as volition are disabled; as is seen in what is typically termed a 'hypnotic trance'.[2] With this definition, meditation, hypnosis, addictions and charisma are seen as being trance states. In Wier's 2007 book, The Way of Trance, he elaborates on these forms, adds ecstasy as an additional form and discusses the ethical implications of his model, including magic and government use which he terms "trance abuse".

John Horgan in Rational Mysticism (2003) explores the neurological mechanisms and psychological implications of trances and other mystical manifestations. Horgan incorporates literature and case-studies from a number of disciplines in this work: chemistry, physics, psychology, radiology and theology.

The following are some examples of trance states:

Trance conditions include all the different states of mind, emotions, moods and daydreams that human beings experience. All activities which engage a human involve the filtering of information coming into sense modalities, and this influences brain functioning and consciousness. Therefore, trance may be understood as a way for the mind to change the way it filters information in order to provide more efficient use of the mind's resources.

Trance states may also be accessed or induced by various modalities and is a way of accessing the unconscious mind for the purposes of relaxation, healing, intuition and inspiration. There is an extensive documented history of trance as evidenced by the case-studies of anthropologists and ethnologists and associated and derivative disciplines. Hence trance may be perceived as endemic to the human condition and a Human Universal. Principles of trance are being explored and documented as are methods of trance induction. Benefits of trance states are being explored by medical and scientific inquiry. Many traditions and rituals employ trance. Trance also has a function in religion and mystical experience.

Castillo (1995) states that: "Trance phenomena result from the behavior of intense focusing of attention, which is the key psychological mechanism of trance induction. Adaptive responses, including institutionalized forms of trance, are 'tuned' into neural networks in the brain and depend to a large extent on the characteristics of culture. Culture-specific organizations exist in the structure of individual neurons and in the organizational formation of neural networks."

Hoffman (1998: p.9) states that: "Trance is still conventionally defined as a state of reduced consciousness, or a somnolent state. However, the more recent anthropological definition, linking it to 'altered states of consciousness' (Charles Tart), is becoming increasingly accepted."

Hoffman (1998, p.9) asserts that: "...the trance state should be discussed in the plural, because there is more than one altered state of consciousness significantly different from everyday consciousness."

According to Hoffman (1998: p.10), pilgrims visited the Temple of Epidaurus, an asclepeion, in Greece for healing sleep. Seekers of healing would make pilgrimage and be received by a priest who would welcome and bless them. This temple housed an ancient religious ritual promoting dreams in the seeker that endeavored to promote healing and the solutions to problems, as did the oracles. This temple was built in honor of Asclepios, the Greek god of medicine. The Greek treatment was referred to as incubation, and focused on prayers to Asclepios for healing. The asclepion at Epidaurus is both extensive and well-preserved, and is traditionally regarded as the birthplace of Asclepius. (For a comparable modern tool see Dreamwork.)

The Oracle at Delphi was also famous for trances in the ancient Greek world; priestesses there would make predictions about the future in exchange for gold.

Stories of the saints in the Middle Ages, myths, parables, fairy tales, oral lore and storytelling from different cultures are themselves potentially inducers of trance. Often literary devices such as repetition are employed which is evident in many forms of trance induction. Milton Erickson used stories to induce trance as do many NLP practitioners.

From at least the 16th century it was held that march music may induce soldiers marching in unison into trance states where according to apologists, they bond together as a unit engendered by the rigors of training, the ties of comradeship and the chain of command. This had the effect of making the soldiers become automated, an effect which was widely evident in the 16th, 17th and 18th century due to the increasing prevalence of firearms employed in warcraft. Military instruments, especially the snare drum and other drums were used to entone a monotonous ostinato at the pace of march and heartbeat. High-pitched fifes, flutes and bagpipes were used for their "piercing" effect to play the melody. This would assist the morale and solidarity of soldiers as they marched to battle.

Joseph Jordania recently proposed a term battle trance for this mental state, when combatants do not feel fear and pain, and when they lose their individual identity and acquire a collective identity.[3]

The Norse Berserkers induced a trance-like state before battle, called Berserkergang. It is said to have given the warriors superhuman strength and made them impervious to pain during battle. This form of trance could have been induced partly due to ingestion of hallucinogenic mushrooms.

As the mystical experience of mystics generally entails direct connection, communication and communion with Deity, Godhead and/or god; trance and cognate experience are endemic. (see Yoga, Sufism, Shaman, Umbanda, Crazy Horse, etc.)

As shown by Jonathan Garb,[4] trance techniques also played a role in Lurianic Kabbalah, the mystical life of the circle of Moshe Hayyim Luzzatto and Hasidism.

Many Christian mystics are documented as having experiences that may be considered as cognate with trance, such as: Hildegard of Bingen, John of the Cross, Meister Eckhart, Saint Theresa (as seen in the Bernini sculpture) and Francis of Assisi.

Taves (1999) charts the synonymic language of trance in the American Christian traditions: power or presence or indwelling of God, or Christ, or the Spirit, or spirits. Typical expressions include "the indwelling of the Spirit" (Jonathan Edwards), "the witness of the Spirit" (John Wesley), "the power of God" (early American Methodists), being "filled with the Spirit of the Lord" (early Adventists; see charismatic Adventism), "communing with spirits" (Spiritualists), "the Christ within" (New Thought), "streams of holy fire and power" (Methodist holiness), "a religion of the Spirit and Power" (the Emmanuel Movement), and "the baptism of the Holy Spirit" (early Pentecostals). (Taves, 1999: 3)

Taves (1999) well-referenced book on trance charts the experience of Anglo-American Protestants and those who left the Protestant movement beginning with the transatlantic awakening in the early 18th century and ending with the rise of the psychology of religion and the birth of Pentecostalism in the early 20th century. This book focuses on a class of seemingly involuntary acts alternately explained in religious and secular terminology. These involuntary experiences include uncontrolled bodily movements (fits, bodily exercises, falling as dead, catalepsy, convulsions); spontaneous vocalizations (crying out, shouting, speaking in tongues); unusual sensory experiences (trances, visions, voices, clairvoyance, out-of-body experiences); and alterations of consciousness and/or memory (dreams, somnium, somnambulism, mesmeric trance, mediumistic trance, hypnosis, possession, alternating personality) (Taves, 1999: 3).

Trance-like states are often interpreted as religious ecstasy or visions and can be deliberately induced using a variety of techniques, including prayer, religious rituals, meditation, pranayama (breathwork or breathing exercises), physical exercise, coitus (and/or sex), music, dancing, sweating (e.g. sweat lodge), fasting, thirsting, and the consumption of psychotropic drugs such as cannabis. Sensory modality is the channel or conduit for the induction of the trance. Sometimes an ecstatic experience takes place in occasion of contact with something or somebody perceived as extremely beautiful or holy. It may also happen without any known reason. The particular technique that an individual uses to induce ecstasy is usually one that is associated with that individual's particular religious and cultural traditions. As a result, an ecstatic experience is usually interpreted within the context of a particular individual's religious and cultural traditions. These interpretations often include statements about contact with supernatural or spiritual beings, about receiving new information as a revelation, also religion-related explanations of subsequent change of values, attitudes and behavior (e.g. in case of religious conversion).

Benevolent, neutral and malevolent trances may be induced (intentionally, spontaneously and/or accidentally) by different methods:

Charles Tart provides a useful working definition of auditory driving. It is the induction of trance through the sense of hearing. Auditory driving works through a process known as entrainment.[citation needed]

The usage of repetitive rhythms to induce trance states is an ancient phenomenon. Throughout the world, shamanistic practitioners have been employing this method for millennia. Anthropologists and other researchers have documented the similarity of shamanistic auditory driving rituals among different cultures.

Said simply, entrainment is the synchronization of different rhythmic cycles. Breathing and heart rate have been shown to be affected by auditory stimulus, along with brainwave activity. The ability of rhythmic sound to affect human brainwave activity, especially theta brainwaves, is the essence of auditory driving, and is the cause of the altered states of consciousness that it can induce.[citation needed]

Nowack and Feltman have recently published an article entitled "Eliciting the Photic Driving Response" which states that the EEG photic driving response is a sensitive neurophysiological measure which has been employed to assess chemical and drug effects, forms of epilepsy, neurological status of Alzheimer's patients, and physiological arousal. Photic driving also impacts upon the psychological climate of a person by producing increased visual imagery and decreased physiological and subjective arousal. In this research by Nowack and Feltman, all participants reported increased visual imagery during photic driving, as measured by their responses to an imagery questionnaire.

Dennis Wier (http://www.trance.edu/papers/theory.htm Accessed: 6 December 2006) states that over two millennia ago Ptolemy and Apuleius found that differing rates of flickering lights affected states of awareness and sometimes induced epilepsy. Wier also asserts that it was discovered in the late 1920s that when light was shined on closed eyelids it resulted in an echoing production of brainwave frequencies. Wier also opined that in 1965 Grey employed a stroboscope to project rhythmic light flashes into the eyes at a rate of 1025Hz (cycles per second). Grey discovered that this stimulated similar brainwave activity.

Research by Thomas Budzynski, Oestrander et al., in the use of brain machines suggest that photic driving via the suprachiasmatic nucleus and direct electrical stimulation and driving via other mechanisms and modalities, may entrain processes of the brain facilitating rapid and enhanced learning, produce deep relaxation, euphoria, an increase in creativity, problem solving propensity and may be associated with enhanced concentration and accelerated learning. The theta range and the border area between alpha and theta has generated considerable research interest.

Charles Tart provides a useful working definition of kinesthetic driving. It is the induction of trance through the sense of touch, feeling or emotions. Kinesthetic driving works through a process known as entrainment.

The rituals practiced by some athletes in preparing for contests are dismissed as superstition, but this is a device of sport psychologists to help them to attain an ecstasy-like state. Interestingly, Joseph Campbell had a peak experience whilst running. Roger Bannister on breaking the four-minute mile (Cameron, 1993: 185): "No longer conscious of my movement, I discovered a new unity with nature. I had found a new source of power and beauty, a source I never dreamt existed." Roger Bannister later became a distinguished neurologist.

Mechanisms and disciplines that include kinesthetic driving may include: dancing, walking meditation, yoga and asana, mudra, juggling, poi (juggling), etc.

Sufism (the mystical branch of Islam) has theoretical and metaphoric texts regarding ecstasy as a state of connection with Allah. Sufi practice rituals (dhikr, sema) use body movement and music to achieve the state.

Divination is a cultural universal which anthropologists have observed as being present in many religions and cultures in all ages up to the present day (see sibyl). Divination may be defined as a mechanism for fortune-telling by ascertaining information by interpretation of omens or an alleged supernatural agency. Divination often entails ritual, and is often facilitated by trance.

In Tibet, oracles have played, and continue to play, an important part in religion and government. The word oracle is used by Tibetans to refer to the spirit, deity or entity that enters those men and women who act as media between the natural and the spiritual realms. The media are, therefore, known as kuten, which literally means, "the physical basis".

The Dalai Lama, who lives in exile in northern India, still consults an oracle known as the Nechung Oracle, which is considered the official state oracle of the government of Tibet. He gives a complete description of the process of trance and possession in his book Freedom in Exile.[9]

Convergent disciplines of neuroanthropology, ethnomusicology, electroencephalography (EEG), neurotheology and cognitive neuroscience, amongst others, are conducting research into the trance induction of altered states of consciousness resulting from neuron entrainment with the driving of sensory modalities, for example polyharmonics, multiphonics, and percussive polyrhythms through the channel of the auditory and kinesthetic modality.

Neuroanthropology and cognitive neuroscience are conducting research into the trance induction of altered states of consciousness (possibly engendering higher consciousness) resulting from neuron firing entrainment with these polyharmonics and multiphonics. Related research has been conducted into neural entraining with percussive polyrhythms. The timbre of traditional singing bowls and their polyrhythms and multiphonics are considered meditative and calming, and the harmony inducing effects of this tool to potentially alter consciousness are being explored by scientists, medical professionals and therapists.

Scientific advancement and new technologies such as computerized EEG, positron emission tomography, regional cerebral blood flow, and nuclear magnetic resonance imaging, are providing measurable tools to assist in understanding trance phenomena.

Though a source of contention, there appear to be three current streams of inquiry: neurophysiology, social psychology and cognitive behaviorism. The neurophysiological approach is awaiting the development of a mechanism to map physiological measurements to human thought. The social-psychological approach currently measures gross subjective and social effects of thoughts and some critique it for lack of precision. Cognitive behaviorialists employ systems theory concepts and analytical techniques.

There are four principal brainwave states that range from high-amplitude, low-frequency delta to low-amplitude, high-frequency beta. These states range from deep dreamless sleep to a state of high arousal. These four brainwave states are common throughout humans. All levels of brainwaves exist in everyone at all times, even though one is foregrounded depending on the activity level. When a person is in an aroused state and exhibiting a beta brainwave pattern, their brain also exhibits a component of alpha, theta and delta, even though only a trace may be present.

The University of Philadelphia study on some Christians at the Freedom Valley Worship Center in Gettysburg, Pennsylvania, revealed that glossolalia-speaking (vocalizing or praying in unrecognizable form of language which is seen in members of certain Christian sects) activates areas of the brain out of voluntary control. In addition, the frontal lobe of the brain, which monitors speech, significantly diminished in activity as the study participants spoke glossolalia. Dr. Andrew B. Newberg, in analysis of his earlier studies as opposed to the MRI scans of the test subjects, stated that Buddhist monks in meditation and Franciscan nuns in prayer exhibited increased activity in the frontal lobe, and subsequently their behaviors, very much under voluntary control. The investigation found this particular beyond-body-control characteristic only in tongue-speakers (also see xenoglossia).

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Trance - Wikipedia

Trance is a genre of electronic dance music that developed during the 1990s in Germany. It is characterized by a tempo lying between 125 and 150 beats per minute (BPM),[5] repeating melodic phrases,[5] and a musical form that distinctly builds tension and elements throughout a track often culminating in 1 to 2 "peaks" or "drops."[5] Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno,[3]house,[1]pop,[3]chill-out,[3]classical music,[3][4]tech house, ambient, and film music.[4]

A trance refers to a state of hypnotism and heightened consciousness. This is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. A characteristic of virtually all trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion entirely,[3][5] and leaving the melody and/or atmospherics to stand alone for an extended period before gradually building up again. As a result, trance tracks are often lengthy to allow for this progression and have sufficiently sparse opening and closing sections to facilitate mixing by DJs.

Trance can be purely instrumental, although vocals are also a common feature. Typically they are performed by mezzo-soprano to soprano female soloists, often without verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, which has been described as "grand, soaring, and operatic" and "ethereal female leads floating amongst the synths".[8][9]

The trance name may refer to an induced emotional feeling, high, euphoria, chills, or uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 1990s before the genre's focus changed.[5]

Some trace Trance's antecedents back to Klaus Schulze, a German experimental electronic music artist who concentrated in mixing minimalist music repetitive rhythms and arpeggiated sounds (specifically his 1988 album "En=Trance".[citation needed] In truth it was really Sven Vth, his labels and others in the same group that saw the initial releases of trance[citation needed] Another possible antecedent is Yuzo Koshiro and Motohiro Kawashima's electronic soundtracks for the Streets of Rage series of video games from 1991 to 1994, and the Wangan Midnight Maximum Tune series.[10][11][12][13] It was promoted by the well-known UK club-night megatripolis (London, Heaven, Thursdays) whose scene catapulted it to international fame.

Examples of early Trance releases include but are not limited to German duo Jam & Spoon's 1992 12" Single remix of the 1990 song The Age Of Love.,[1] German duo Dance 2 Trance's 1990 track "We Came in Peace".[5]

One writer[who?] traces the roots of trance to Paul van Dyk's 1993 remix of Humate's "Love Stimulation".[1] However, van Dyk's trance origins can be traced further back to his work with Visions Of Shiva, which were his first ever tracks to be released.[original research?] In subsequent years, one genre, vocal trance, arose as the combination of progressive elements and pop music,[3] and the development of another subgenre, epic trance, had some of its origins in classical music.,[3] with film music also being influential.[4]

Trance was arguably at its commercial peak in the second part of 1990s and early 2000s.[14][15]

Classic trance employs a 4/4 time signature,[5] a tempo of 125 to 150 BPM,[5] and 32 beat phrases and is somewhat faster than house music.[16] A kick drum is usually placed on every downbeat and a regular open hi-hat is often placed on the upbeat or every 1/8th division of the bar.[5] Extra percussive elements are usually added, and major transitions, builds or climaxes are often foreshadowed by lengthy "snare rolls"a quick succession of snare drum hits that build in velocity, frequency, and volume towards the end of a measure or phrase.[5]

Rapid arpeggios and minor keys are common features of Trance, the latter being almost universal. Trance tracks often use one central "hook", or melody, which runs through almost the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody.[5] Instruments are added or removed every 4, 8, 16, or 32 bars.[5]

In the section before the breakdown, the lead motif is often introduced in a sliced up and simplified form,[5] to give the audience a "taste" of what they will hear after the breakdown.[5] Then later, the final climax is usually "a culmination of the first part of the track mixed with the main melodic reprise".[5]

As is the case with many dance music tracks, trance tracks are usually built with sparser intros ("mix-ins") and outros ("mix-outs") in order to enable DJs to blend them together immediately.[3][5] As trance is more melodic and harmonic than other electronic dance music,[citation needed] the construction of trance tracks in the proper way is particularly important in order to avoid dissonant (or "key clashing," i.e., out of tune with one another) mixes.[citation needed]

More recent forms of trance music incorporate other styles and elements of electronic music such as electro and progressive house into its production. It emphasizes harsher basslines and drum beats which decrease the importance of offbeats and focus primarily on a four on the floor stylistic house drum pattern. The bpm of more recent styles tends to be on par with house music at 120 - 135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns and longer transitions.[17]

Trance music is broken into a large number of subgenres.[citation needed] Chronologically, the major subgenres are classic trance, acid trance, progressive trance,[3]uplifting trance,[3] and hard trance.[citation needed]Uplifting trance is also known as "anthem trance", "epic trance",[3] "commercial trance", "stadium trance", or "euphoric trance",[5] and has been strongly influenced by classical music in the 1990s[3] and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tiesto, Push, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Soundlift, Arctic Moon, Sergey Nevone&Simon O'Shine etc. Closely related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of highly commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music. For instance, Tech trance is a mixture of trance and techno, and Vocal trance "combines [trance's] progressive elements with pop music".[3]Balearic beat, which is associated with the laid back vacation lifestyle of Ibiza, Spain, is often called "Balearic trance", as espoused by Roger Shah.[citation needed] The dream trance genre originated in the mid-1990s, with its popularity then led by Robert Miles. There is also a slower bpm trance music, this styles are often called "psybient" (synonyms are "psychill", "ambient trance").[citation needed]

AllMusic states on progressive trance: "the progressive wing of the trance crowd led directly to a more commercial, chart-oriented sound, since trance had never enjoyed much chart action in the first place. Emphasizing the smoother sound of Eurodance or house (and occasionally more reminiscent of Jean-Michel Jarre than Basement Jaxx), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJ."[18]

The following is an incomplete list of dance music festivals that showcase trance music.

Notes:' Sunburn was not the first festival/event to specialize in India in trance music much earlier pioneers of Goa parties[19] held events as early as the late 80's and through all of the 1990s[20]

Electronic Dance Music festivals in the Netherlands are mainly organized by four companies ALDA Events, ID&T, UDC and Q-dance:

Electronic music festivals in the US feature various Electronic Dance Music genres such as trance, House, Techno, Electro, Dubstep, and Drum & Bass:

The trance scene in South America is constantly growing. The most important trance festival in South America is called Universo Parallelo.

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Trance music - Wikipedia

N-Trance () are a British electronic music group who were formed by Kevin O'Toole and Dale Longworth in 1991.[1] 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?".[1]

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.

Their first demo tape was a dance remix of the theme tune to Roobarb, a children's television show. The next record the group produced was a more credible dance track, consisting mainly of sampled music, called "Back to the Bass". Within days of being recorded, the song had caught the attention of Dead Dead Good Records (owned by the manager of The Charlatans) who had wanted to sign the record, but shortly before signing they were outbid by Pete Waterman's 380 Records (a sub-label of PWL). Following the interest from record labels, the band and their manager decided a new band name was needed. Previously, they had been using a variety of band names such as Quartech, but settled on changing their name and signing their record contract as N-Trance.

However, problems with the sample clearance prevented "Back to the Bass" from ever being released as a single. The band continued to write and record music, joined by vocalist Kelly Llorenna.

Set You Free was recorded at Revolution Studios in Cheadle Hulme in July 1992, and it was pressed to 500 12" vinyl copies on promotional release. However, due to troubles within their record label, this song was not released as a single. N-Trance then chose to buy themselves out of their recording contract with 380 Records, after only one year with the company, and they signed to a new label, All Around the World.

By now, N-Trance had developed their live shows and were gaining some popularity, and on their new label, "Set You Free" was finally released, in 1993, but it failed to enter the Top 40, reaching No. 83 in the charts.

In 1994, "Set You Free" was re-released achieving a higher chart position of No. 39.[1] N-Trance's next single was a eurodance song called "Turn Up the Power" which featured vocals from Rachel McFarlane, of Loveland, and a rap by T-1K. This song was a fairly big hit, getting to No. 23.

After a few years of performing live over the UK, N-Trance's popularity and the reception towards "Set You Free" had increased significantly. The record was in popular demand, and after a third release of the song in 1995, the single became a huge hit, being played by television and radio stations, reaching No. 2 in the charts and being certified Platinum in the UK, after selling over 600,000 copies. The single was also released in other European countries and Australia.

The group recorded their first full-length album, Electronic Pleasure, in November 1995, which featured seven of the group's ever-expanding roster of vocalists (including David Grant), and musicians such as Vinny Burns and Snake Davis. Similarly, N-Trance's musical range expanded, embracing rap, disco and other styles in its scope.

The group's next single, a surprising cover of the Bee Gees hit "Stayin' Alive", was not only a massive international hit, but also featured a vocalist who would help define N-Trance's sound in the future, Ricardo da Force, formerly rapper with The KLF.

Upon its release in the UK it debuted at no. 2, and internationally it became one of the biggest UK exports of 1995, reaching no. 1 in Australia and being top 5 in a number of European charts.

The release of further commercially successful singles, like "Electronic Pleasure", afforded N-Trance the possibility of building their own recording studio, Deep Blue, in 1996. They spent the following year and a half recording their second full-length album, Happy Hour, which was eventually released in 1999.

Hit singles from the album included cover versions of Rod Stewart's "Da Ya Think I'm Sexy?" and Ottawan's "D.I.S.C.O.", and the hardcore techno clatter of "The Mind of the Machine", which featured the actor Steven Berkoff.

A best of album, entitled The Best of N-Trance 19922002 was released in early 2001, backed by a trance remix of "Set You Free" which reached number 4 in October of that year.

In February 2009, the group released "The Mind of the Machine" as their third album. Two new tracks (Free Running and The Earth Is Dying) were recorded for the album to go with the recordings previously made in 1997. The album was released as digital download only.

Main members

Regular vocalists

Featured vocalists

Dancers

MCs

Other musicians

Featured performers

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N-Trance - Wikipedia

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From all four corners of the world to everything in between, Trance music continues to enjoy a global reign not many genres can match. Few have such a strong and loyal following all over the world, as more and more countries, places, and territories add to its range. To get in A State Of Trance with likeminded people generates a magical feeling words cannot even begin to describe. And the people of Ibiza know exactly what that feels like.

For the third year in a row, A State Of Trance shakes up the party island of Ibiza with a sound both fresh and timeless. Cooked up by Armin van Buuren and seasoned with his own musical flavor, A State Of Trance, Ibiza 2016 provides its fans with 37 breathtaking records in two parts, each capable of uniting the world in a way only music could.

With exclusive tracks and current floor fillers from the likes of Andrew Rayel, Arty, Ben Nicky, Cosmic Gate, ilan Bluestone, Jason Ross, KhoMha, Omnia, rjan Nilsen, MaRLo, Simon Patterson, Super8 & Tab, and never-heard-before remixes on several acclaimed Armin van Buuren originals, Ibiza once again gets its own piece of Trance history. Will you be a part of that?

SIDE 1 - On The Beach

01 Luke Bond - Before The Story 02 Arty & Andrew Bayer - Follow The Light 03 Paris Blohm & Taylr Renee - Left Behinds * 04 David Gravell - Battlefront * 05 Estiva - Sun Goes Down 06 ilan Bluestone & Jason Ross - Amun 07 Rodg - Wired 08 Kryder - Crocodile Tears 09 Same K & Stendahl - Body Language 10 Cosmic Gate & Eric Lumiere - Edge Of Life 11 Willem de Roo - Hyperdrive 12 Mohamed Ragab & Attila Syah - Crux 13 Assaf - Vela 14 Snatt & Vix - Revive (Airborn Remix) 15 Protoculture & Johnny Yono - Luna 16 Omnia - Mystique 17 KhoMha feat. Mike Schmid - Restart (Henry Dark Remix) 18 DRYM & Jennifer Rene - Smile 19 MaRLo feat. Chloe - You And Me

* David Gravell Mash Up

SIDE 2 - In The Club

01 Armin van Buuren & Dave Winnel - The Race 02 Hardwell & Armin van Buuren - Off The Hook (Mark Sixma Remix) 03 Armin van Buuren & rjan Nilsen - Flashlight 04 Robbie Rivera vs Tom Staar - The Funkatron 05 Andrew Rayel & KhoMha - All Systems Down 06 Armin van Buuren feat. BullySongs - Caught In The Slipstream (KhoMha Remix) 07 Markus Schulz - The New World (Fisherman & Hawkins Remix) 08 Super8 & Tab - Into 09 Armin van Buuren feat. Lyrica Anderson - Gotta Be Love (Giuseppe Ottaviani Remix) 10 Omnia & Audrey Gallagher - I Believe 11 Jorn van Deynhoven - Neo Paradise 12 Armin van Buuren feat. Rock Mafia - Hands To Heaven (Chris Schweizer Remix) 13 Mark Sixma & Emma Hewitt - Restless Hearts (Ben Nicky Remix) 14 Simon Patterson - Smack (Waio Remix) 15 Heatbeat - Aerys (Mark Sherry Remix) 16 Gareth Emery feat. Ben Gold - Until We Meet Again (Ben Nicky Remix) 17 Allen & Envy & UDM - Ignite (Allen Watts Melodic Remix) 18 Ben Nicky & Chris Schweizer - The Switch

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A State Of Trance - YouTube

Trance describes a state of mind. A trance is when a person is conscious, and not sleeping, but is unaware of what is happening around him or her.

The term trance is associated with hypnosis, meditation, magic, flow, religion, and certain kinds of music. It is an "altered state of consciousness".[1][2]

There are many efforts to define what a trance is.[3][4] Some think it is a borderland between normal consciousness and spirituality[5]

The most straightforward example is when a person is hypnotized, they are in a trance. Conscious, and responding to the hypnotist, the person seems to block out other thoughts and other information.

Another common example is the day-dream, where a person's mind drifts across private thoughts.[6] Everyone daydreams, but young children constantly daydream, and have vivid imaginary fantasies. This is entirely normal. In the language of psychology, this kind of temporary separation from one's surroundings is called "dissociation". Research shows that a lot is going on when we daydream.[7][8]

There are many examples of trance in religion. African animistic religions, such as that of the Yoruba, feature dances in celebration of the spirits. Under the influence of rhythm and song, a group dances, often for hours at a time. During this time, various members of the group may fall into trances, and some may act as if possessed by one of the spirits being worshiped.[9][10][11] States of "spiritual ecstasy" are known in most forms of Christian worship. It is a main part of those aspects of religion known as "mysticism".[12]

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Trance - Simple English Wikipedia, the free encyclopedia

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Trance Top 100 - Beatport

By far the best form of music that exists. A recent study showed that if a population is divided into musical preference, those who claim a strong allegiance to trance have the highest average IQ.

Trance is the music of the genius-generation.

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Can you define these popular missing words?

Trance is indisputably one of the most emotional genres that actually exists, because it is all self-interpretation. There are no instrumental or musical limits to trance, and rather than listening to some random guy screaming about his life, associating with a trance progression or hookline is much more deep, and much more personal.

Like other genres, trance has many subgenres, some of which have become very commercialised to the extent where the musical merit of some tracks must be questioned (eg. Flip'n'Fill, Scooter etc.)

At the higher end of the more uplifting, melodic (and relatively popular) styles of trance are DJs such as Tiesto, Armin van Buuren, and Ferry Corsten. These DJs in particular can make beautifully structured mixes their own music, and the music of others, building it into a euphoric collage which spans multiple energy levels, in order to provide the listener with peak/trough feelings, and carry them through numerous emotions and mental states.

The creation and spread of trance music is mainly down to machinery such as the Roland JP-8000 (providing the prominently manipulated supersaw wave), and experimental DJs such as Sasha & John Digweed.

I want to listen to a melodic, energetic form of music that emotionally affects my state of mind. Therefore, I will listen to trance.

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Your favorite word on a white mug.

One side has the word, one side has the definition. Microwave and dishwasher safe. Lotsa space for your liquids.

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The most sublime, divine, advanced music genre known to man, representing a quantum leap in artistic creativity analogous to the development of the frontal lobe in the human brain. Having an IQ below 130 renders one incapable of apreciating, let alone enjoying trance. Being a connoisseur of trance bespeaks of extremely high intelligence and impeccable level of personal sophistication. On the other hand, those who despise trance can uniformly be characterized as primtive troglodytes, closer to ape than man.

OMFG, this Tunnel Trance Force compilation pwnz!

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To put it simply...The best music ever devolped. Uses a pulse pounding beat and uplifting, euophoric melodies. Trance music can be listened to under any circumstances: Getting pumped b4 a game, get wild at a club or party, speeding down the freeway, Chillin in a lounge, sleeping too, even trippin out...

The club exploded when Paul Oakenfold began spinnin.

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Trance has a strong influence from early Detroit techno, but tends to be more dramatic or "emotional" than the minimalism of earlier techno. Common elements in trance include heavy, compressed kick drums, dramatic sweeping pads, and cascading synth arpeggios.

As with any kind of music, there are a billion sub-classifications possible -- hard trance, psytrance, acid trance, goa trance, etc. Trance has been one of the most popular forms of club music over the past few years, and has arguably produced more mainstream appeal (Oakenfold, Van Dyk, etc.) than most other electronic sub-genres.

"She spun a sick trance set in the big room last night; lots of distorted 909s and squelchy basslines, none of this shite that sounds like a car commercial."

Lotsa space for your liquids.

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Soft and offensive. Just like you.

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The ultimate music for improving your concentration. Great for studying, writing papers, reading long books, ect. Has a great beat to drown out all distractions but no words to distract you.

Fuck the mozart effect, i'm gonna listen to some trance while I write my report.

Lotsa space for your liquids.

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The mental state one is in after being hypnotized. The music genre was named after this mental state.

Donnie's therapist put him in a hypnotic trance to examine his subconscious memories.

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One side has the word, one side has the definition. Microwave and dishwasher safe. Lotsa space for your liquids.

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Urban Dictionary: trance

Origem: Wikipdia, a enciclopdia livre.

Trance, uma das principais vertentes da msica eletrnica, apreciadas sobretudo por pessoas jovens, que, emergiu no incio da dcada de 1990. O gnero caracterizado pelo tempo entre 130 e 190 bpm, apresentando partes meldicas de sintetizador e uma forma musical progressiva durante a composio, seja de forma crescente ou apresentando quebras. Algumas vezes vocais tambm so utilizados. O estilo derivado do house e do techno[1], tendo pegado uma melodiosidade no caracterstica do techno, com seus sons industriais, e menos orgnicos, alm de parecerem menos meldicos.

Em geral, a maioria das canes so calmas e de efeito lento e constante na energia-alma e no estado de pensamento. A traduo literal do termo trance para portugus transe. O nome foi recebido devido s batidas repetitivas e pelas melodias progressivas caractersticas, que levam o ouvinte a um estado de transe, de libertao espiritual, enquanto ouve.

As principais vertentes do trance so:

Pode-se encontrar elementos primitivos da msica trance nas razes religiosas do shamanismo, hindusmo e budismo. Mas o trance da forma moderna, eletrnica e evoluda em conjunto com outras formas de msica eletrnica danante, surgiu na Alemanha no incio da dcada de 1990[2].

Ao longo da dcada de 1970, Klaus Schulze gravou vrios lbuns de msica eletrnica caracterizados pelo ambiente atmosfrico e o uso de sequenciadores. Em alguns dos lbuns da dcada de 1980 a palavra trance era includa nos ttulos, como Trancefer (1981) e En=Trance (1987).

Elementos que tornaram-se caractersticos da msica trance tambm foram explorados por artistas do gnero industrial da msica eletrnica no final da dcada de 1980. O objetivo era produzir sons de efeitos hipnticos aos ouvintes, o que tambm poderia levar a um alto grau de estado de transe ou euforia.

Esses artistas do gnero industrial eram dissacioados cultura rave, embora muitos j mostravam interesse no Goa trance, no qual o som mais pesado comparado ao som que agora conhecido como trance. Muitos dos lbuns produzidos por artistas industriais eram em sua grande maioria experimentais, e no tinham o intuito de originar um gnero musical com uma cultura associadaeles permaneceram fiis s suas razes industriais. Com o trance dominando cultura rave, a maior parte desses artistas abandonaram o estilo.

As primeiras gravaes realizadas comearam no exatamente com a cena trance, e sim pelo acid house originrio do Reino Unido, mais precisamente pela banda The KLF. Eles utilizaram o termo pure trance para designar algumas gravaes que na verdade eram verses, e que fizeram um grande sucesso comercial em 1991.

Alm deste nascimento no Reino Unido pode tambm ser mencionado o comeo do gnero trance em clubes alemes durante os meados da dcada de 1990 como uma ramificao do techno. Frankfurt frequentemente citada como o bero do estilo. DJ Dag (Dag Lerner), Oliver Lieb, Sven Vth e Torsten Stenzel, so considerados pioneiros e produziram vrias composies utilizando diversos nomes artsticos. Em 1991, Dag Lerner e Rolf Ellmer formaram o "Dance 2 Trance" (Dance to Trance), cuja msica "We Come In Peace" representou a definio inicial do trance como estilo musical[3].

O Chinese Trance uma vertente do gnero Trance, que surgiu em meados do ano 2000 na China. Seu principal fundador o DJ Sunny. O tempo mais acelerado, girando entre 160 e 190 bmp. O estilo derivado do House, Techno, Psy e Goa Trance, criado na ndia.

Atualmente, aps ter perdido um pouco da sua fora no fim da dcada de 1990, o trance voltou a ganhar fora novamente a partir do ano de 2000 e permanece forte at hoje. Produtores consagrados na cena eletrnica como , Armin van Buuren , Paul van Dyk , Ferry Corsten, Paul Oakenfold , Above & Beyond , ATB , Gareth Emery, Aly & Fila , Markus Schulz , Solarstone , Jorn Van Deynhoven , The Thrillseekers, Ronski Speed, Alex M.O.R.P. H , Giuseppe Ottaviani , Cosmic Gate , 4 Strings ,, John O'Callaghan e tambem novos artistas que surgiram como David Gravell , Rafael Frost , Ferry Tayle, Deniz Aydin , Ost & Myer , BenGold , Simon Thaur, Andrew Bayer , Beat Service , Mohamed Hagab , Marlo , Eximinds ,Protoculture , Alexander Popov , Andy Moor dentre outros novos e consagrados mantem o estilo em alta, alguns iniciantes no mundo Psychedelic [[John O'Callaghan|confundem o Trance com Psytrance , Fullon etc. Porem so estilos diferentes.

Na era 1997-2008 o Trance vivia os famosos "Anos de Ouro", quando era o mais popular estilo de msica eletrnica do mundo. Cujo pblico lotava estdios e festivais relembrando os grandes shows de rock do passado.

de facto conhecida uma certa rivalidade entre o Trance e o Psychedelic, mais conhecido como PsyTrance, no Brasil e Portugal. Na sua essncia, o Psychedelic mantm a mesma proposta de transe atravs do som. Porm musicalmente o estilo diferente do Trance, o que caracterizou a antiga sub-vertente do GoaTrance como um novo estilo de Trance, para evitar subdivises desnecessrias. O Psychedelic atual apresenta uma estrutura musical baseada em bpms altos, kicks sintticos e pode apresentar, ou no, melodias (um dos elementos bsicos no Trance e no GoaTrance).

Enquanto o Trance nasceu na Alemanha, o Psychedelic Trance foi originado em Israel com base tambm na ndia - devido ao GoaTrance, que surgiu em Goa na India derivado do Trance, caracterizando assim o Psy como um tipo de Trance. Sendo Goa Gil (Gilbert Levey) seu maior expoente no ramo (sub-gnero).

O trance formado em sua grande parte por batidas retas (4x4),que algumas vezes difere da batida do techno por ter um alcance de freqncia um pouco mais alto alm dos sons graves. mas algumas vezes ocorre a mistura de batidas do hip hop ou quebra da estrutura 4x4 (quebradas). O baixo pode ter uma base de swing ou preencher totalmente a base remetendo ao full-on. Uma caracterstica marcante do estilo uso do sintetizador TB-303, que utilizado para fazer levadas variando constantemente ou no a frequncia de corte e com uma ressonncia alta ou para produzir sons psicodlicos como "borrachas", "gotas", "bombas".usa-se tambm o Roland JP-8000.

Nos estilos mais meldicos h o uso constante de pads (notas com alta sustentao, tambm chamado string) deixando a composio mais atmosfrica.

O termo tem sido usado para descrever o que a maioria das pessoas chamam de "transe pico" na cena trance do Reino Unido, para descrever alguns no sediadas no Reino Unido atos transe comerciais, como Brooklyn Bounce ou Darude, que criou alguma confuso na terminologia e classificao. 'Muitos fs britnicos chamam esses actos "uplifting house" (quando na verdade esses artistas esto mais perto de progressive house / trance e de trance uplifting)'. O termo tambm usado no psytrance / Goa trance, embora estes estilos no so realmente significava a soar uplifting (existe a possibilidade de algumas pessoas podem estar pensando do termo "uplifting" neste caso significa "euforia").

Amrica Dance 90's

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Trance Wikipdia, a enciclopdia livre