Atoms

Journalist-coined genre labels can persist even when the artists they name reject them

Juan Atkins is credited as the originator of Detroit Techno

Juke is a faster (150–165 BPM) ghetto-house variant with rapid, syncopated kicks matched to footwork dance

Jump-Up DnB prioritizes crowd energy over technical complexity with wobbling basslines and punchy drums

Jungle broke from hardcore by removing the four-on-the-floor kick and foregrounding chopped breakbeats

Jungle combines rapid, syncopated breakbeats with reggae/dub basslines and dancehall vocal samples

Jungle is the direct ancestor of Drum & Bass, built on chopped breakbeats and reggae/dancehall bass

Jungle music emerged from Detroit techno and hip-hop breakbeats filtered through reggae influence and London's Black urban community

Jungle scene participants saw breakbeat as the UK music most fully pushing music technology in the early 1990s

Jungle was associated with sound system traditions, MC culture, and Jamaican dancehall influences before splitting into DnB

Jungle was formed by sampling across reggae, R&B, hip-hop, and rare groove — a UK parallel to hip-hop's genesis

Jungle's reggae and dancehall influences were structural: sound system culture and ragga bass defined the genre's character

Keep low-frequency content centered in the stereo field for mono compatibility and equal speaker loading

Kick, snare, bass, and lead vocal go centre for mono survival and bass efficiency

Kraftwerk and Yellow Magic Orchestra were the immediate European and Japanese forebears of electro

Kraftwerk is to techno what Muddy Waters is to the Rolling Stones — the authentic origin

Kraftwerk sounded alien to young Detroit listeners, sparking imagination rather than imitation

Kraftwerk's 'Trans Europe Express' and 'Numbers' were the direct sonic blueprint for 'Planet Rock,' making Kraftwerk electro's European ancestor

La Monte Young's 1958 'Trio for Strings' is the first Western piece made entirely of sustained tones, originating drone music

Larry Levan's Paradise Garage DJing prized reading the crowd and song selection over technical mixing

Larry Levan's Paradise Garage in New York City directly inspired the soulful, emotional dimension of Kevin Saunderson's music

Larry Tesler's modelessness principle — no person should be trapped in a mode — led to cut/copy/paste

Late-1980s UK ambient house fused acid-house pulse with ambient soundscapes, prefiguring IDM's home-listening strand

Later progressive house arranges tracks as a long build-up, a breakdown, then a climax

Lead vocals should almost always be built from a composite of multiple takes

Light-dark contrast is the most plastic contrast — white and black are its poles with an infinite gray scale between

Liquid DnB foregrounds melodic layers and harmony over bar-oriented samples

Live audiovisual performance is both an umbrella generic term and a specific category for work that fits none of the other four labels

Live cinema distinguishes itself from VJing through artistic autonomy, venue, and rejection of secondary-collaborator status

Live coding and modular synthesis share the same motivation: working with systems as musical material from the inside

Live coding elevates programming to a central performance act by modifying algorithms in real time in front of an audience

Live coding emerged from computer music history that begins with MUSIC-N and flows through Max, SuperCollider, and real-time audio in the 1990s

Live coding emerged from hacker culture and could not have developed in a commercial music industry context

Live coding is a community construction — performance implies an audience; the practice developed through communal venues and networks, not isolated invention

Live coding is improvisation with a map that generates the territory: you cannot read the code until you run it

Live coding is process-first: you start with something and follow where it leads rather than executing a fully-formed idea

Live coding languages are classified by target medium, host platform, and implementation language

Live coding makes private intellectual activity publicly visible, which can function as a political act

Live coding treats open-source music as folk tradition — ideas and patterns are borrowed freely rather than owned as intellectual property

Live coding's hacker-derived 'what you do, not who you are' ethos supports an inclusive community

Live coding's legitimacy depends on building music from a blank slate in real time — not from pre-prepared patches or stems

Live hot-swap — replacing a running pattern or voice definition live without stopping audio — is the single most portable concept in the registry

Liveness in AV performance means the bodily co-presence of performer and audience, not merely that something is happening in real time

Liveness, intermediality, performativity, and cinematicity are the four axes shared across all AV performance practices

LMMS composes repeating rhythms in the Beat+Bassline Editor and non-repeating lines in the Song Editor

LMMS volume lives at three tiers, and each tier is meant for a different job

Lofi hip hop is a 2010s downtempo derivative that became a major YouTube streaming genre

London pirate radio stations were instrumental in developing and distributing drum and bass before the internet

loop do ... end in Sonic Pi runs forever and prevents any code after it from executing

Lumia are dynamic, improvisable, real-time visual works analogous to music pieces

Lyn Collins's 'Think (About It)' breakbeat is a foundational sampled element of Baltimore and Jersey club

Magenta has no spectral wavelength — it is the brain's response to simultaneous red and blue stimulation

Major and minor in interval names simply mean bigger and smaller versions of the same interval type

Manchester's Madchester movement shows how acid house aesthetics crossed into guitar-based rock in 1988-90

Mapping sin(angle) to canvas y-coordinates draws a smooth periodic wave

Mapping UV coordinates directly to RGB channels visualizes the coordinate space as a gradient

Marshall Jefferson's 'Move Your Body' added piano to house music despite resistance, naming the genre in the process

Mashcore fuses breakcore intensity with mashup culture and irreverence toward copyright

Mastering follows 'do as much as necessary and as little as possible' — sometimes nothing at all

Mastering is an art form and finishing step, not an automatic device audio is run through