House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s Early house music was generally characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized bass-lines. While house displayed several characteristics similar to disco music, it was more electronic and minimalistic, and the repetitive rhythm of house was more important than the song itself.
House music became popular in Chicago clubs in 1984. It was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, and Newark, all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia
Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a specific genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.
In Detroit, techno resulted from the melding of African American music including Chicago house, funk, electro, and electric jazz with electronic music by artists such as Kraftwerk, Giorgio Moroder, and Yellow Magic Orchestra. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, with Alvin Toffler’s book The Third Wave being a notable point of reference. Pioneering producer Juan Atkins cites Toffler’s phrase “techno rebels” as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality. In this manner: “techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness”.