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A DJ performing a mix.

Electronic dance music primarily known as (EDM) is an umbrella term term for "different forms of electronic music".^[1] The music is largely created for use by disc jockeys and is produced with the intention of it being heard in the context of a continuous DJ set; wherein the DJ progresses from one record to the next via a synchronized segue or "mix".^[2]

The term was created and is used primarily by Americans, to describe a set of percussive music genres that largely stem from the production methods of disco music, house music, techno music, and Trance music.^{[citation needed]} Such music was popularized via regional nightclub scenes in the 1980s, the warehouse party scene of the late 1980s, and the early rave scene of the acid house movement in the late 1980s. However, even in the later half of the 70's the Disco music dance scene began to shift away from its traditional orchestration (acoustic orchestras) on its recordings. By 1977 producer Giorgio Moroder worked with Donna Summer to release I Feel Love. The song was a dance/discotheque hit, that was made using synthesizers and drum machines. They would later collaborate and release the Donna Summer's Bad Girls Album in which tracks like Sunset People used similar techniques during production. This sound would wind up being the norm for Disco in the late 70's through to the 80's. By the mid 1990s, the presence of electronic dance music in contemporary culture was noted widely and its role in society began to be explored in published historical, cultural and social science academic studies. It was originally constructed by means of electronic instruments such as synthesizers, drum machines and sequencers, and generally emphasizes the unique sounds of those instruments, even when mimicking traditional acoustic instrumentation. Currently the music is now mostly made using software that that contains the contains sequencing sampling and synthesizers, as well as effect abilities all in one. Now the ability to produce and create has become much easier economically and physically since producers no longer need to buy large amounts of equipment. It sometimes encompasses music not primarily meant for dancing, but derived from the dance-oriented styles.^[3]. The genre had a large gain in mainstream popularity in the United States in 2012 as tens of thousands of fans flocked to EDM festivals. ^[4]

Synonyms[link]

Since around the mid-1970s, electronic dance music has enjoyed popularity in many nightclubs, and is the predominant type of music played in discothèques as well as the rave scene in the mid to late 80's. As such, the related term club music, while broadly referring to whichever music genres are currently in vogue and associated with nightclubs, has become synonymous with all electronic dance music, or just those genres—or some subset thereof—that are typically played at mainstream discothèques. It is sometimes used more broadly to encompass non-electronic music played at such venues, or electronic music that is not normally played at clubs but that shares attributes with music that is. What is widely considered to be club music changes over time, includes different genres depending on the region and who's making the reference, and may not always encompass electronic dance music. Similarly, electronic dance music sometimes means different things to different people. Both terms vaguely encompass multiple genres, and sometimes are used as if they were genres themselves. The distinction is that club music is ultimately based on what's popular, whereas electronic dance music is based on attributes of the music itself.^[5]

Genres[link]

Electronic dance music is categorized by music journalists and fans alike as an ever-evolving plethora of named genres, styles and sub-styles. With many types of dance music, the number of beats per minute (BPM) helps define a separation between genres. The presence of vocals, live instrumentation vs synthetic instrumentation, and pattern of drum beats also help differentiate genres of electronic dance music. Some genres, such as Electro, Electronica, Eurodance, House, French house, Progressive House, Trance, Uplifting Trance, Psychedelic Trance, Rave, Remix, Moombahton, Breaks, Techno, Hardstyle, Dubstyle, Dubstep, Hardstep and Bassline are primarily intended to promote dancing. Others, such as Ambient, IDM, VGM, Downtempo and Drumstep, are more experimental and tend to be associated more with focused listening than dancing.

Production technology[link]

In the 1980s many genres of popular electronic music exploited the use of MIDI protocol; a technological development that expanded interactivity and synchronized functionality across a range of music related technologies. In the 1990s, following the growth of personal computing, EDM creation began migrating to computer based production systems.

Some of the most widely used synthesizers in EDM music include the Yamaha DX7, Korg M1, and Roland's Jupiter and SH-101. In addition, the most widely used bass synthesizer is the Roland TB-303, while the most widely used drum machines are Roland's TR-808 and TR-909.

Notable artists, producers and DJs[link]

In the 1970's producers like Brian Eno and Giorgio Moroder were pushing the boundaries for synthesizers and drum machines. While Eno would go off and be one of the innovators of Ambient Music, Moroder would score his second dance hit (first being "I Feel Love" by Donna Summer) and Academy Award for best score with the song Chase which was the theme song for the film Midnight Express. By 1980's bands like Yello and artists like Gary Numan would go on to produce Electronic Dance Music hits even before the commercial advent of MIDI. MIDI (which allows for digital/electronic instruments to communicate with each other) would be the catalyst which would allow new electronic dance musicians and genres to flourish by the mid to late 80's such as Front 242 and Meat Beat Manifesto.

With the explosive growth of computers music technology and consequent reduction in the cost of equipment in the late 1990s, the number of artists and DJs working within electronic music is overwhelming. With the advent of hard disk recording systems, it is possible for any home computer user to become a musician, and hence the rise in the number of "bedroom bands", often consisting of a single person. Nevertheless notable artists can still be identified.

Influential musicians in industrial, synth pop and later electronic dance styles include Kraftwerk, Yellow Magic Orchestra (YMO), The Human League, Silver Apples, A-ha, Pet Shop Boys, Duran Duran, Cut La Roc, Daft Punk, Depeche Mode, New Order, Cabaret Voltaire, and Throbbing Gristle. In Hardcore, Happy Hardcore, and Gabber notable producers and DJs include artists such as Angerfist, Neophyte, Endymion, Scott Brown, Brisk and Ham, DJ Hixxy, Darren Styles and Mark Breeze.

Musicians, producers and DJs such as Kin Dada, Armin van Buuren, Paul van Dyk, Tijs Verwest (aka Tiësto), ATB, Swedish House Mafia, Deadmau5^[6], Above & Beyond, Paul Oakenfold, Showtek, John Digweed, Sasha, Markus Schulz, Kaskade and Ferry Corsten have reached true superstar status, can command five-figure salaries for a single performance and regularly perform for hours on end. Some DJs have world wide radio, and internet broadcasted shows that air weekly, such as VONYC Sessions, a show mixed by Paul Van Dyk; Trance Around the World, a show mixed by Above & Beyond; A State of Trance, a show mixed by Armin van Buuren, Tiësto's Club Life mixed weekly by Tiësto.

In Hardstyle, influential musicians include Headhunterz, Showtek, Zany, Noisecontrollers, Donkey Rollers, The Prophet, Blutonium Boy, Technoboy, Tuneboy, Hardstyle Masterz, Dark Oscillators, Deepack.

In House, Techno and Drum and Bass, pioneers such as Juan Atkins, Derrick May, Goldie, A Guy Called Gerald, LTJ Bukem, Joey Beltram and Frankie Bones are still active as of 2008. The only electronic music album to reach number 1 on the Billboard 200 chart is The Prodigy's The Fat of the Land. In contrast to the American charts, many dance albums have reached number 1 in the UK and european charts including Scooter, Basement Jaxx, The Prodigy, 2 Unlimited and more recently Pendulum and Example.

Increase in popularity in the United States[link]

A few years ago EDM was only known to clubgoers and ravers in the United States. Due to crossover groups such as LMFAO EDM acts such as David Guetta and Calvin Harris have become known to the mainstream public there. It has also become common now for established commercial and Top 40 artist and producers to actively infuse elements of EDM in there music such as the Hip Hop artist Flo Rida or Pitbull who both score EDM crossover hits. Or they will even remix their work to make it EDM friendly. Black Eyed Peas's will.i.am not only incorporated EDM to his bands music he even began to DJ EDM at out door summer festivals. In 2012 for the first time the Grammy Awards telecast included EDM.^[7] The Electric Daisy Carnival a touring festival is drawing tens of thousands, and 100,000 people are expected to attend the festival at Met Life Stadium in New Jersey. Other festivals including Lollapalooza and Coachella have beefed up the number of EDM acts represented. Lollapalooza festivals organizer Perry Farrell and Rawley Bornstein an MTV music and talent programmer have described EDM as the new rock and roll. Explanations for the genre sudden rise in popularity range from the genre providing a means of escape from the poor economic climate for people in their 20s that rock music cannot, and the lack of music superstars and artist development leaving a void. Ray Waddell touring editor at Billboard magazine said the genres promoters have done a excellent job at branding. Unlike for rock music events EDM festival goers purchase tickets without knowing who the acts are.^[8][9][4]

Notable record labels[link]

Until the 1980s, there were virtually no record labels that exclusively promoted electronic dance music. This changed when Larry Sherman set up house label Trax Records, techno pioneer Juan Atkins started Metroplex Records, Richie Hawtin started his influential Plus 8 imprint. In the United Kingdom, Warp Records emerged in the 1990s as one of the notable sources of home-listening and experimental music. Later arrivals include Armada, Astralwerks, BPitch Control, Cocoon Recordings, Ed Banger Records, Ninja Tune, German Kompakt, !K7, and American Ghostly International.

See also[link]

• Electronica

References[link]

Further reading[link]

• Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. U.S. Cengage Learning, 2008. ISBN 139781598635034
• Electronic dance music glossary by Moby for USA Today published December 13, 2011

This article is about music for dancing in general. For electronic genres, see electronic dance music and its subgenre dance-pop.

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2007)

The examples and perspective in this article deal primarily with Western culture and do not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (September 2009)

Dance music is music composed specifically to facilitate or accompany dancing. It can be either a whole musical piece or part of a larger musical arrangement. In terms of performance, the major categories are live dance music and recorded dance music.

Origins[link]

Folk dance music is music accompanying traditional dance and may be contrasted with historical/classical, and popular/commercial dance music. An example of folk dance music in the United States is the old-time music played at square dances and contra dances. Brazilian dance music includes Samba, Pagode, and Forró.

Historical dance music[link]

While there exist attestations of the combination of dance and music in ancient times (for example Ancient Greek vases sometimes show dancers accompanied by musicians), the earliest Western dance music that we can still play with a degree of certainty are the surviving medieval dances such as carols and the Estampie. The earliest of these surviving dances are almost as old as Western staff-based music notation.

By period[link]

The Renaissance dance music was written for instruments such as the lute, viol, tabor, pipe, and the sackbut.

In the Baroque period, the major dance styles were noble court dances (see Baroque dance). Examples of dances include the French courante, sarabande, minuet and gigue. Collections of dances were often collected together as dance suites.

In the Classical music era, the minuet was frequently used as a third movement in four-movement non-vocal works such as sonatas, string quartets, and symphonies, although in this context it would not accompany any dancing. The waltz also arose later in the Classical era, as the minuet evolved into the scherzo (literally, "joke"; a faster-paced minuet).

Both remained part of the Romantic music period, which also saw the rise of various other nationalistic dance forms like the barcarolle, mazurka, and polonaise. Also in the Romantic music era, the growth and development of ballet extended the composition of dance music to a new height. Frequently dance music was a part of Opera.

Popular dance music[link]

Modern popular dance music initially emerged from late 19th century's Western ballroom and social dance music.

By genre[link]

Dance music works often bear the name of the corresponding dance, e.g. waltzes, the tango, the bolero, the can-can, minuets, salsa, various kinds of jigs and the breakdown. Other dance forms include contradance, the merengue (Dominican Republic), and the cha-cha-cha. Often it is difficult to know whether the name of the music came first or the name of the dance.

Ballads are commonly chosen for slow-dance routines. However ballads have been commonly deemed as the opposite of dance music in terms of their tempo. Originally, the ballad was a type of dance as well (hence the name "ballad," from the same root as "ballroom" and "ballet"). Ballads are still danced on the Faeroe Islands.

Dansband[link]

"Dansband" ("Dance band") is a term in Swedish for bands who play a kind of popular music, "dansbandsmusik" ("Dance band music"), to partner dance to. These terms came into use around 1970, and before that, many of the bands were classified as "pop groups". This type of music is mostly popular in the Nordic countries.

Electronic[link]

By 1981, a new form of electronic dance music was developing. This music, made using electronics, is a style of popular music commonly played in dance music nightclubs, radio stations, shows and raves. During its gradual decline in the late 1970s, disco became influenced by computerization. Looping, sampling and seguing as found in disco continued to be used as creative techniques within Trance music, Techno music, and especially House music.

Electronic dance music experienced a boom after the proliferation of personal computers in the 1980s, manifest in the dance element of Tony Wilson's Haçienda scene (in Manchester) and London clubs like Delirium,The Trip, and Shoom. The scene rapidly expanded to the Summer Of Love in Ibiza, which became the European capital of house and trance. Clubs like Sundissential and Manumission became household names with British, German and Italian tourists.

Many music genres that made use of electronic instruments developed into contemporary styles mainly due to the MIDI protocol, which enabled computers, synthesizers, sound cards, samplers, and drum machines to interact with each other and achieve the full synchronization of sounds. Electronic dance music is typically composed using computers and synthesizers, and rarely has any physical instruments. Instead, this is replaced by digital or electronic sounds, with a 4/4 beat. Many producers of this kind of music however, such as Darren Tate and MJ Cole, were trained in classical music before they moved into the electronic medium.

Associated with dance music are usually commercial tracks that may not easily be categorized, such as "The Power" by Snap!, "No Limit" by 2 Unlimited, "Gonna Make You Sweat (Everybody Dance Now)" by C+C Music Factory, and the Beatmaster's "Rok Da House" but the term "dance music" is applied to many forms of electronic music, both commercial and non-commercial.

Some of the most popular upbeat genres includes House, Techno, Drum & Bass, Jungle, Hardcore, Electronica, Industrial, Breakbeat, Trance, Psychedelic Trance, UK Garage, and Electro. There are also much slower styles, such as Downtempo, Chillout and Nu Jazz.

Many sub-genres of electronic dance music have evolved. Sub-genres of House include Acid House, Electro House, Hard House, Funky House, Deep House, Tribal House, Hip House, Tech House and US Garage. Sub-genres of Drum & Bass include Tech Step, Hard Step, Jump Up, Intelligent D&B/Atmospheric D&B, Liquid Funk, Sambass, Drum Funk, Neuro Funk and Ragga Jungle. Sub-genres of other styles include Progressive Breaks, Rave Breaks, Booty Bass, Goa Trance, Euro Trance, Hard Trance, Hardstyle, Minimal Techno, Gabber Techno, Breakcore, Broken Beat, Trip Hop, Folktronica and Glitch. Speed Garage, Breakstep, Bassline, Grime and the Reggae-inspired Dubstep are all sub-genres of UK Garage.

By decade[link]

1900s–1910s[link]

During the early 20th century, Ballroom dancing gained popularity among the working class who attended public dance halls.

1920s[link]

Dance music became enormously popular during the 1920s. Nightclubs were frequented by large numbers of people at which a form of jazz, which was characterized by fancy orchestras with strings instruments and complex arrangements, became the standard music at clubs. A particularly popular dance was the fox-trot. At the time this music was simply called jazz, although today people refer to it as "white jazz" or big band.

1930s–1940s[link]

Genres: Swing music, Western swing

1950s[link]

Genres: Rock and roll

1960s[link]

The late 1960s saw the rise of soul and R&B music which used lavish orchestral arrangements.

Genres: Funk, Motown, R&B

1970s[link]

It was with the rise of disco in the early 1970s that dance music once again became popular with the public. Disco was characterized by the use of real orchestral instruments, such as strings, which had largely been abandoned during the 1950s because of rock music. In contrast to the 1920s, however, the use of live orchestras in night clubs was extremely rare due to its expense. Disc jockeys (commonly known as DJs) played recorded music at these new clubs. The disco craze reached its peaked in the late 1970s when the word disco became synonymous with "dance music" and nightclubs were referred to as discos.

Other genres: Funk, Hip hop

1980s[link]

Genres: New Wave, Synthpop, Funk, House, Acid house, Techno, Freestyle, Electro, Eurodisco, Italo disco, Hi-NRG, Madchester, EBM, Cosmic Disco

1990s[link]

Genres: Eurodance, Euro house, Progressive house, Techno, Trance, New jack swing, Drum & bass, Happy hardcore, UK garage, Italian House

2000s[link]

Genres: Trance, Electropop, Snap music, Crunk, Dance punk, Nu-disco, Electro house, Minimal techno, Dubstep, R&B, Hip hop, Drum and bass, Electronica, Progressive House, Hardstyle

2010s[link]

Genres: Electropop, Electro Hop, Nu-Disco, Synthpop, Trance, New Wave, House (UK Garage in UK), Hi-NRG, Dance Pop, New Rave, Electroclash, Dubstep, Electro-Industrial, Drum and Bass, Electro House, Electroflow, Breakbeat, Hardstyle, Drumstep, Technopop, Hip Hop, Moombahton.

Radio formats[link]

The Dance/Mix Show Airplay chart tracks the most popular tracks played by radio stations using a "dance music" format. Dance music is also part of the mix of related formats, such as rhythmic adult contemporary and rhythmic contemporary.

Dance clubs[link]

The Hot Dance Club Play chart tracks which songs are currently most popular in nightclubs.

See also[link]

• List of ballroom and social dance albums
• Dance competition music

David Guetta
David Guetta at the 2011 MuchMusic Video Awards
Background information
Birth name	Pierre David Guetta
Born	(1967-11-07) 7 November 1967 (age 44) Paris, France
Genres	House, electro house, hip house
Occupations	DJ, record producer, songwriter
Years active	1984–present
Labels	EMI Music France, Virgin, Positiva, Astralwerks, Jack Back Records
Website	DavidGuetta.com

Pierre David Guetta (7 November 1967), known professionally as David Guetta (French pronunciation: [daˌvid ɡɛˈta]), is a French house music producer and DJ.^[1] Originally a DJ at nightclubs during the 1980s and 1990s, he co-founded Gum Productions and released his first album, Just a Little More Love, in 2002. Later, he released Guetta Blaster (2004) and Pop Life (2007). His 2009 album One Love included the hit singles "When Love Takes Over" (featuring Kelly Rowland), "Gettin' Over You" (featuring Chris Willis, Fergie & LMFAO) and "Sexy Bitch" (featuring Akon), the last becoming a top five hit in the United States and all three reaching #1 in the United Kingdom, as well as another internationally known single called "Memories" featuring Kid Cudi which became a top five hit in many countries. Guetta has sold over three million albums and 15 million singles worldwide.^[2] He is currently one of the most sought-after music producers.^[3] As at 2012 David Guetta is the world's most popular DJ, claiming the #1 poll position of the DJ Mag 100 popularity poll.^[4]

Biography[link]

1984–2000: Early life and career[link]

At age 17, Guetta began DJing at the Broad Club in Paris.^[5] He first played popular songs, and he discovered house music when he heard a Farley master Funk track on French radio in 1987. The next year, he began hosting his own club nights.^[6] In 1990, he released "Nation Rap", a hip-hop collaboration with French rapper Sidney Duteil.^[7]

In the mid 1990s Guetta played in clubs including Le Centrale, the Rex, Le Boy, and Folies Pigalle.^[5][8] Released in 1994^[7] Guetta's second single, a collaboration with American house vocalist Robert Owens titled "Up & Away", was a minor club hit.^[6] In 1994, David Guetta became the manager of Le Palace nightclub and he continued to organise parties there and in other clubs, such as the "Scream" parties in Les Bains Douches.^[9]

[edit] 2001–2006: Just a Little More Love and Guetta Blaster

In 2001, David Guetta along with Joachim Garraud founded Gum Productions, and in the same year Guetta's first hit single, "Just a Little More Love", featuring American singer Chris Willis was released. Willis was vacationing in France when he met Guetta.^[6] Guetta's debut album Just a Little More Love was released in 2002 on Virgin Records and sold over 300,000 copies. The follow-up singles, ("Love Don't Let Me Go", "People Come People Go" and "Give Me Something"), were released in 2002. Guetta released a compilation, Fuck Me I'm Famous, in 2003, named after his party in Ibiza. It included "Just for One Day (Heroes)", a remix of David Bowie's song "Heroes".^[6] Later in his career, Guetta continued recording compilations under that title.

Guetta's second album, Guetta Blaster, was released in 2004. It released four singles: "Money" and "Stay" featuring Chris Willis and "The World Is Mine" and "In Love With Myself" featuring JD Davis. In 2006 the Just a Little More Love single "Love Don't Let Me Go" was re-released as a mash-up with the Tocadisco remix of "Walking Away" by The Egg. The mash-up single entitled "Love Don't Let Me Go (Walking Away)" was charted higher than the original release of the song.

[edit] 2007–2008: Pop Life

Guetta performing, May 2007

In 2007, Guetta's third album Pop Life was released. The album was successful in the UK and Ireland as well as in mainland Europe. According to EMI in 2010, the album has sold a total of 530,000 copies worldwide. The lead single "Love Is Gone" reached Number 1 on the American Dance Chart and charted on the Billboard Hot 100.

He played in many countries around the world to promote the album. He played in Mauritius in January 2008, accompanied by French rapper JoeyStarr. In the same year, he and his wife Cathy also planned a new event which took place in the Stade de France on 5 July 2008. The event was called "UNIGHTED", he performed with Tiësto, Carl Cox, Joachim Garraud and Martin Solveig in front of a crowd of 40,000.^[10]

In 2009, he was placed third in the "Top 100 DJs" poll by DJ Magazine,^[11] and was elected "Best House DJ" by DJ Awards in 2008. Since April 2009, Guetta had his own radio show on the internet radio station RauteMusik on Saturday evening. The show was afterwards moved into Radio 538, being aired every Friday evening after Tiësto's Club Life. Its name is DJ Mix. Guetta performs a one-hour set of house music, presenting mainly new talents inside.

[edit] 2009–2010: One Love and international breakthrough

David Guetta's fourth studio album, One Love, was released in August 2009. Its first single "When Love Takes Over", which featured Kelly Rowland, peaked at #1 on the UK Singles Chart and topped many other countries worldwide. His second single from the album, "Sexy Bitch" featuring Akon, became his second #1 in the UK. "One Love" featuring Estelle, "Memories" featuring Kid Cudi and "Gettin' Over You" featuring Chris Willis, Fergie and LMFAO followed. As of May 2011 the album had sold three million copies worldwide.^[12] Guetta's fourth studio album One Love was nominated as "Best Electronic/Dance Album" at the 52nd Grammy Awards.^[13] His song "When Love Takes Over" featuring American R&B singer Kelly Rowland received two nominations; Best Dance Recording and Best Remixed Recording, Non-Classical, and won the latter. After conflicts over whether or not an album re-issue should go ahead, One More Love was released on 29 November 2010. First single, titled "Who's That Chick?" featuring Rihanna was released a few weeks prior.^[14]

On 16 June 2009, The Black Eyed Peas released the David Guetta-produced "I Gotta Feeling" as their second single from their fifth studio album, The E.N.D.. It became a worldwide hit topping the charts in seventeen countries. It became the most downloaded song of all-time in the United States with almost 7.5 million downloads and in the United Kingdom selling more than 1 million copies.^[15][16] He was nominated twice for his work with The Black Eyed Peas at the 52nd Grammy Awards; in the category Record of the Year for "I Gotta Feeling" and Album of the Year for their album The E.N.D.. In 2010, David Guetta co-wrote and produced Kelly Rowland's "Commander" from her third album Here I Am. It peaked at number one on Billboard's Hot Dance Club Songs chart in the United States, and reached top ten positions in Belgium and the United Kingdom. Guetta has also co-produced "Forever and a Day", which was Kelly's next UK single from that album.^[17][18] Guetta also produced the singles "Acapella" and "Scream" for American singer-songwriter Kelis's fifth studio album, Flesh Tone, released on 14 May 2010. "Acapella" was released as the lead single on 23 February 2010 and topped the dance charts in the United Kingdom and United States. On 28 June 2010 American rapper Flo Rida released the single "Club Can't Handle Me" featuring David Guetta. The song is included on the soundtrack album to the American 3D dance film Step Up 3D.

Guetta on the One Love Tour, January 2010.

[edit] 2011–present: Nothing But the Beat

Guetta's fifth studio album, Nothing But the Beat was released on August 30, 2011. It was released as a double-disc album; one disc being vocal and the other being electronic.^[19] The French DJ was inspired by rock bands such as Kings of Leon and Coldplay to add rock influences to his dance productions.^[20] "Where Them Girls At" featuring Nicki Minaj and Flo Rida, the first single off the album, was released worldwide on May 2, 2011.^[21][22] "Little Bad Girl" featuring Ludacris and Taio Cruz, was released as the second single on June 28, 2011.^[19][23] The third single "Without You" featuring Usher was released on September 27, 2011. Guetta also released three promotional singles for Nothing But the Beat, "Titanium" featuring Sia, "Lunar" with Afrojack and "Night of Your Life" featuring Jennifer Hudson. The album also features the hit single "Sweat" with Snoop Dogg.

Guetta is also scheduled to perform alongside Nicky Romero and Nervo at London's Alexandra Palace on June 1, 2012.^[24]

Personal life[link]

Guetta and his wife Cathy in January 2012 at the NRJ Music Awards ceremony.

His father was a restaurateur of Moroccan Jewish descent,^[25] and his mother is of Belgian descent.^[26][27][28] He is married to socialite and night club manager Cathy Guetta; they have two children, Tim Elvis Eric (born 2004) and Angie (born 2007).^[29]

Discography[link]

• Just a Little More Love (2002)
• Guetta Blaster (2004)
• Pop Life (2007)
• One Love (2009)
• Nothing but the Beat (2011)

Awards and nominations[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010)

References[link]

External links[link]

• David Guetta on Myspace
• David Guetta on Twitter
• David Guetta's channel on YouTube
• David Guetta at the Internet Movie Database
• David Guetta official store
• David Guetta information at Ultra Records
• Review of 'Memories' on the Daily Music Guide
• David Jeffries. "David Guetta biography". Allmusic. http://www.allmusic.com/artist/p572357. Retrieved 2008-09-22. 
• David Guetta in PACHA NEWS
• David Guetta at Billboard.com
• Review of 'Gettin Over you' on the Daily Music Guide

Matthew Parker
Archbishop of Canterbury
Enthroned	19 December 1559
Reign ended	17 May 1575
Predecessor	Reginald Pole
Successor	Edmund Grindal
Personal details
Born	6 August 1504 Norwich
Died	17 May 1575 (aged 70)
Buried	Lambeth Chapel

Matthew Parker (6 August 1504 – 17 May 1575) was Archbishop of Canterbury from 1559 until his death in 1575. He was also an influential theologian and arguably the co-founder (with Thomas Cranmer and Richard Hooker) of a distinctive tradition of Anglican theological thought.

Parker was one of the primary architects of the Thirty-Nine Articles, the defining statements of Anglican doctrine. The Parker collection of early English manuscripts, including the book of St. Augustine Gospels and Version A of the Anglo-Saxon Chronicle, was created as part of his efforts to demonstrate that the English Church was historically independent from Rome, creating one of the world's most important collections of ancient manuscripts.

Early years[link]

The eldest son of William Parker, he was born in Norwich, in St Saviour's parish. His mother's maiden name was Alice Monins and she may have been related by marriage to Thomas Cranmer. When William Parker died, in about 1516, his widow married John Baker. Parker was sent in 1522 to Corpus Christi College, Cambridge^[1] and graduated with a Bachelor of Arts degree in 1525. He was ordained deacon in April 1527 and priest in June the same year. In September 1527 he was elected a fellow of Corpus Christi and began his Master of Arts degree in 1528. He was one of the Cambridge scholars who Thomas Wolsey wished to transplant to his newly founded "Cardinal College" at Oxford.

Parker, like Cranmer, declined Wolsey's invitation. He had come under the influence of the Cambridge reformers, and after Anne Boleyn's recognition as queen he was made her chaplain. Through her, he was appointed dean of the college of secular canons at Stoke-by-Clare in 1535. Hugh Latimer wrote to him in that year urging him not to fall short of the expectations which had been formed of his ability. Shortly before Boleyn's death in 1536, she commended to his care her daughter Elizabeth.^[2] In 1537 he was appointed chaplain to King Henry VIII. In 1538 he was threatened with prosecution, but Richard Yngworth, the Bishop of Dover, however, reported to Thomas Cromwell that Parker "hath ever been of a good judgment and set forth the Word of God after a good manner. For this he suffers some grudge." He graduated DD in that year, and in 1541 was appointed to the second prebend in the reconstituted cathedral church of Ely. In 1544, on Henry VIII's recommendation, he was elected master of Corpus Christi College, and in 1545 vice-chancellor of the university. He got into some trouble with the chancellor, Stephen Gardiner, over a ribald play, Pammachius, performed by the students, which derided the old ecclesiastical system.

Rise to power[link]

On the passing of the act of parliament in 1545 enabling the king to dissolve chantries and colleges, Parker was appointed one of the commissioners for Cambridge, and their report may have saved its colleges from destruction. Stoke, however, was dissolved in the following reign, and Parker received a generous pension. He took advantage of the new reign to marry in June, 1547, before clerical marriages had been legalized by parliament and convocation, Margaret, daughter of Robert Harlestone, a Norfolk squire. They had initially planned to marry since about 1540 but had waited until it was not a felony for priests to marry.^[3] During Kett's Rebellion, he preached in the rebels' camp on Mousehold Hill, without much effect, and later encouraged his secretary, Alexander Neville, to write his history of the rising.

Parker's association with Protestantism advanced with the times, and he received higher promotion under John Dudley, 1st Duke of Northumberland than under the moderate Edward Seymour, 1st Duke of Somerset. At Cambridge, he was a friend of Martin Bucer and preached Bucer's funeral sermon in 1551. In 1552 he was promoted to the rich deanery of Lincoln, and in July 1553 he supped with Northumberland at Cambridge, when the duke marched north on his hopeless campaign against the accession of Mary Tudor. As a supporter of Northumberland and a married man, under the new regime Parker was deprived of his deanery, his mastership of Corpus Christi, and his other preferments. However, he survived Mary's reign without leaving the country – a fact that probably aggravated more ardent Protestants who went into exile and idealized their fellows who were martyred by Queen Mary. Parker respected authority, and when his time came he could consistently impose authority on others. He was not eager to assume this task, and made great efforts to avoid promotion to the archbishopric of Canterbury, which Elizabeth designed for him as soon as she had succeeded to the throne.

Archbishop of Canterbury (1559–1575)[link]

He was elected on 1 August 1559 but, given the turbulence and executions that had preceded Elizabeth's accession, it was difficult to find the requisite four bishops willing and qualified to consecrate Parker, and not until December 19 was that ceremony performed at Lambeth by William Barlow, formerly Bishop of Bath and Wells, John Scory, formerly Bishop of Chichester, Miles Coverdale, formerly Bishop of Exeter, and John Hodgkins, Bishop of Bedford. The allegation of an indecent consecration in the Nag's Head Fable seems first to have been made by the Jesuit, Christopher Holywood, in 1604, and has since been discredited. Parker's consecration was, however, legally valid only by the plenitude of the royal supremacy; the Edwardine Ordinal, which was used, had been repealed by Mary Tudor and not re-enacted by the parliament of 1559. The Roman Catholic Church has asserted that the form of consecration used was insufficient to make a bishop, and therefore represented a break in the Apostolic Succession, but the Church of England has rejected this, arguing that the form of words used made no difference to the substance or validity of the act.

Elizabeth wanted a moderate man, so she chose Parker. There was also an emotional attachment. Parker had been the favourite chaplain of Elizabeth's mother, Anne Boleyn. Before Anne was arrested in 1536, she had entrusted Elizabeth's spiritual well-being to Parker. A few days after this, Anne had been executed following charges of adultery, incest and treason. Parker also possessed all the qualifications Elizabeth expected from an archbishop except celibacy. He mistrusted popular enthusiasm, and he wrote in horror of the idea that "the people" should be the reformers of the Church. He was not an inspiring leader, and no dogma, no prayer-book, not even a tract or a hymn is associated with his name. The 55 volumes published by the Parker Society include only one by its eponymous hero, and that is a volume of correspondence. He was a disciplinarian, a scholar, a modest and moderate man of genuine piety and irreproachable morals. His historical research was exemplified in his De antiquitate ecclesiae, and his editions of Asser, Matthew Paris, Thomas Walsingham, and the compiler known as Matthew of Westminster; his liturgical skill was shown in his version of the psalter and in the occasional prayers and thanksgivings which he was called upon to compose. He left a priceless collection of manuscripts, largely collected from former monastic libraries, to his college at Cambridge. The Parker Library at Corpus Christi bears his name and houses his collection. Parker collaborated with his secretary John Joscelyn in his manuscript studies.

Later years[link]

Parker avoided involvement in secular politics and was never admitted to Elizabeth's privy council. Ecclesiastical politics gave him considerable trouble. Some of the evangelical reformers wanted liturgical changes and at least the option not to wear certain clerical vestments, if not their complete prohibition. Early presbyterians wanted no bishops, and the conservatives opposed all these changes, often preferring to move in the opposite direction toward the practices of the Henrician church. The queen herself begrudged episcopal privilege until she eventually recognised it as one of the chief bulwarks of the royal supremacy. To Parker's consternation, the queen refused to add her imprimatur to his attempts to secure conformity, though she insisted that he achieve this goal. Thus Parker was left to stem the rising tide of Puritan feeling with little support from parliament, convocation or the Crown. The bishops' Interpretations and Further Considerations, issued in 1560, tolerated a lower vestiarian standard than was prescribed by the rubric of 1559, but it fell short of the desires of the anti-vestiarian clergy like Coverdale (one of the bishops who had consecrated Parker) who made a public display of their nonconformity in London.

The Book of Advertisements, which Parker published in 1566, to check the anti-vestiarian faction, had to appear without specific royal sanction; and the Reformatio legum ecclesiasticarum, which John Foxe published with Parker's approval, received neither royal, parliamentary nor synodical authorization. Parliament even contested the claim of the bishops to determine matters of faith. "Surely," said Parker to Peter Wentworth, "you will refer yourselves wholly to us therein." "No, by the faith I bear to God," retorted Wentworth, "we will pass nothing before we understand what it is; for that were but to make you popes. Make you popes who list, for we will make you none." Disputes about vestments had expanded into a controversy over the whole field of Church government and authority, and Parker died on May 17, 1575, lamenting that Puritan ideas of "governance" would "in conclusion undo the queen and all others that depended upon her." By his personal conduct, he had set an ideal example for Anglican priests.^[4]

See also[link]

• Tunes for Archbishop Parker's Psalter

References[link]

Manuscript collection[link]

Matthew Parker's manuscript collection is mainly housed in the Parker Library at Corpus Christi College, Cambridge with some volumes in the Cambridge University Library. The Parker Library on the Web project has made digital images of all of these manuscripts available online.

Sources[link]

• Graham, Timothy and Andrew G. Watson (1998) The Recovery of the Past in Early Elizabethan England: Documents by John Bale and John Joscelyn from the Circle of Matthew Parker (Cambridge Bibliographical Society Monograph 13). Cambridge: Cambridge Bibliographical Society
• John Strype, Life of Parker, originally published in 1711, and re-edited for the Clarendon Press in 1821 (3 vols.), is the principal source for Parker's life.
  • This work can be found online here: Volume I, Volume II, Volume III
• Archbishop Parker by W. P.M. Kennedy (1908, reprint by BiblioBazaar LLC, 2008) full text online at google.com
• J. Bass Mullinger's scholarly life in the Dictionary of National Biography
• Walter Frere's volume in Stephens and Hunt's Church History
• Strype's Works (General Index)
• Gough's Index to Parker Soc. Publ.
• Fuller, Gilbert Burnet, Collier and Richard Watson Dixon's Histories of the Church
• Henry Norbert Birt, The Elizabethan Religious Settlement
• Henry Gee, The Elizabethan clergy and the Settlement of religion, 1558-1564 (1898)
• James Anthony Froude, History of England
• vol. vi. in Longman's Political History.
•  Chisholm, Hugh, ed. (1911). "Parker, Matthew". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Matthew Parker, "De antiquitate Britannicae Ecclesiae", binding for Queen Elizabeth I

External links[link]

• Treasure 2 at the National Library of UK displayed via The European Library
• Parker Library on the Web
•  "Parker, Matthew". The American Cyclopædia. 1879. 

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