THMMY.gr

Η ερώτηση απλή, απομένουν λιγότερες από 48 ώρες για το thmmy party, εσύ θα έρθεις;

Απάντησε από κάτω λέγοντας ναι ή όχι, αν θα είσαι με παρέα ή χωρίς, με ηλεκτρολόγους ή εξωτμηματικούς κτλ.

Μπα, το σκέφτομαι  ^shifty^

Πάμε παρτιιιιι

 ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^
 ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^ ^hello^

 ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^ ^sfinaki^

εννοειται παρταρα σημερα

Επιστημονική μελέτη είναι

Research article
First published online March 11, 2021
Exploring Relationships Between Electronic Dance Music Event Participation and Well-being

https://journals.sagepub.com/doi/full/10.1177/2059204321997102

Το λέει ξεκάθαρα, δεν έχουν γίνει πολλές μελέτες  ^shifty^ πρέπει να κάνουμε μία. Further research is needed. To λέει. Για την επιστήμη ρε γαμώτο  :P

"The EDM Event Experience
Though psychological studies exploring the well-being benefits of EDM event attendance are scarce,"


Abstract

While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. Two studies were implemented. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues.

Introduction

Much like ‘rock’ or ‘classical’ music, electronic dance music (EDM) is a varied overarching genre of music with over 300 distinct sub-genres (McLeod, 2001). From the sparse rhythms of half-time dubstep (D’Errico, 2015) to the repetitive, hypnotizing phrases of trance (Shapiro, 2000), EDM encompasses an array of varying electronically produced musical styles. A distinguishing feature of EDM is the presence of repetitive beats that drive a consistent pulse in the music, usually characterized by 4/4 rhythm (Neil, 2002), sitting typically between 120 to 180 beats per minute (Butler, 2006). EDM producers select and organize such sounds and structural features based on the perceived effect it will have on a live audience (Ferreira, 2008). As such, EDM is firmly situated within an event culture, as St John (2017) explains, ‘dance music cultures possess distinct festival roots, in the club, the rave, the party’ (p. 1). EDM events, or ‘raves’, may be summarized as ‘masses of young people dancing all night to a syncopated electronic rhythm mixed by DJs’ (St John, 2006, p. 2). The American cities of Detroit, Chicago, and New York are regarded as the birthplaces of early EDM genres such as techno and house (Reynolds, 2013), with electronic music outfit Kraftwerk being considered pioneers of the genre, credited with hugely influential tracks such as ‘Trans Europe Express’, released in 1982. Reynolds suggests that, in New York, this track ‘almost single-handedly sired the electro movement’ (p. 4). Indeed, the history of raves, according to Fritz (1999), may be traced to the rise of house music during this era with the first underground EDM events on the Balearic island of Ibiza occurring in the late 1980s and becoming a global phenomenon by 1992. Today, a once underground music scene is a mainstream musical phenomenon. Annual high-budget spectacles dedicated to the genre, such as Electronic Daisy Carnival and Tomorrowland, attract attendees in the thousands (Dineen, 2015; Little et al., 2018), with hundreds of individuals also frequenting EDM club nights across the UK, Europe, and the USA (IMS, 2019). As such, the EDM event context may be considered comparable to archetypal, culturally significant, musical spaces such as the concert hall. As Small (1998) posits regarding such contexts, ‘it is only by understanding what people do as they take part in a music act that we can hope to understand its nature and the function it fulfils in human life’ (p. 8). This article aims to explore the motivations for attending, and experiences of EDM events as a basis for understanding their influence on individuals’ well-being. In recent years, there has been an increased focus on the ways in which participation in accessible musical activities may improve well-being (Krause et al., 2018; MacDonald, 2013). However, despite the popularity of EDM events, relationships between participation in electronic dance music events (EDM events) and well-being have yet to be systematically explored. As such, this exploratory paper attempts principally to address the question: what facets of EDM event attendance may influence well-being? This is achieved through describing the results of two studies which capture individuals’ subjective experiences of EDM event participation (Study 1) and explore associations between EDM event attendance and various measures of well-being (Study 2).

Με λίγα λόγια, thmmy party = rave party = EDM event = 120 -> 180 bpm (όπως το 2016 που ξεκίνησα στα 118 bpm (https://mixupload.com/track/va-_thmmy.gr__epic_party_2016-11-05__final_mix__part_one__katarameno_aroxol_final_party_mix) και έφτασα τα 175 (https://mixupload.com/track/va-_epic__thmmy.gr__party__2016-11-05__final_played__katarameno_aroxol__parttwo__dj_mix_part_two_00022))

...
"Study 1
Method
Participants
Semi-structured interviews were conducted in a university in northern England with 7 fluent English-speaking participants (4 male, 3 female, aged 21–33 years). Volunteer sampling (N = 4) and purposive sampling (N = 3) was used to recruit participants that regularly attended EDM events. Participant information is displayed in Table 1. All participants are given pseudonyms.
Table 1. Key interviewee information.
Name (alias)   Gender   Age   Occupation   Preferred genres
Alice     F   21   Student (undergraduate, England)   Techno, House
Blake   M   26   Student (postgraduate, England)   Techno, House
Callum   M   33   Student (postgraduate, England)   Dance, Electro
Eloise   F   21   Student (undergraduate, England)   House, Jungle, Techno
Lucy   F   23   Student (postgraduate, England)   UK Garage, Bassline, Drum & Bass
Phillip   M   23   Manual laborer (Australia)   UK Garage, UK Bass, Electro House
Thomas   M   27   Student (postgraduate, England)   Techno, House
H Lucy, ο/η Eloise, ο Phillip & ο Callum ξέρουν. Καιρός να συμμετάσχετε σε μια μεγάλη έρευνα ^shifty^

Στα decks αυτή τη στιγμή οι GrillOG και Ripper με trap & hip hop  ;)

Χωρίς να το θέλουμε φυσικά, μάθαμε  :D ότι τρίζουν τα τζάμια στον 1431 τα κορίτσια ήρθαν ευγενικά  <3 (έκληκτες κι αυτές και με το χαμόγελο έκπληξης και απορίας) και μας ζήτησαν να χαμηλώσουμε λίγο γιατί έχουν εκπομπή και τρίζουν τα τζάμια - δεν ακούγεται τί λένε. :D Θα τους πούμε συγνώμη με τους τρόπο μας.  ^beer^

Thmmy Party Update 2:40,
Ο ΗΧΟΣ ΤΑ ΣΠΑΕΙ
ΟΙ DJ ΕΙΝΑΙ ΓΑΜΑΤΟΙ
ΤΑ ΠΟΤΑ ΦΕΥΓΟΥΝ ΦΤΕΡΑ
ΤΟ ΜΠΑΡ ΤΡΕΧΕΙ

Όλα πάνε καλά, και αυτό μετράει.
αύριο θα βάλω και φωτό

Ο Carrier Of Carriers ξενυχτισμένος :D ;D έχει γαμήσει στα decks, και όλα πάνε τέλεια

12kW ήχος + 2kW monitor = 14 kW. (Με διόρθωσε o CarrierOfCarriers)
Λάθος ήταν 20kW + από 2,5 kW τα μόνιτορ = 25 kW
Μόνο σε παλιά party στο Αστεροσκοπείο είχαν ξανά >14kW ή επί Παπαθεμελή που κλείνανε όλα τα μαγαζιά (bar & club) στις 01:00 και έφερναν όλα τα μαγαζιά μηχανήματα μέσα στο ΑΠΘ και γινόταν κάθε μέρα ένα ολονύκτιο party με τη βοήθεια όλων που μάζευε όλο τον κόσμο από όλα τα μπαράκια - απίστευτες παρτάρες με τους καλύτερους dj της πόλης ως απάντηση στον Παπαθεμελή.
Oι Prodigy για να φανταστείτε στο Αλεξάνδρειο Μέλαθρο είχαν 50 kW

Βασικά όταν λέμε μόνιτορ μην φανταστείτε τίποτα μικρα, έχουμε δύο μόνιτορ θηρία  :D :D

τι παρταρα θεε μ

Ευχαριστούμε πάρα πολύ όλους όσους βοήθησαν στην ορθή διεξαγωγή του πάρτυ.
Πιο αναλυτικά αύριο. :D

Ωραία ήταν παιδιά. Μπράβο σε όλους.

Ψέματα λέει να μην παρεξηγηθούν όσοι δεν ήρθαν.

ΑΠΊΣΤΕΥΤΑ ΗΤΑΝ

Δεν μπορώ να κοιμηθώ από την υπερένταση και το βουητό στα αυτιά. Ο ήχος ήταν από άλλο πλανήτη.

Προσπάθησα να είμαι σεμνός. Μεταξύ μας εκφράστηκα όπως ένιωσα :D