The most common disapproval shared among all non-clubbers on clubbing is this: the music is too loud.
Most big clubs here play R&B, Hip-Hop, Techno, Trance, and other music with fast bass beats. That means the average BPM (Beats per Minute) that clubbers encountered in clubs ranges from 80 to about 150 BPM or more.
Our average heartbeat per minute is about 60-75 per minutes, and about 100 BPM during physical exercises. I checked my own BPM when I was typing. It was about 65 BPM. So generally the surrounding BPM in clubs are faster than our heartbeat.
The effect of high BMP that we are exposed to in a contained space for a long time, like in a Trance club, is subtle but nonetheless significant.
Physiologically and psychologically our body responds according to BMP. Noticed the last time you tap your finger or toes according to the rhythm of a catchy song? Or the last time when a song with its own specific rhythm spoke right to your heart?
Or to clubbers who enjoy Trance, ever wonder why a certain dance move such as ‘Shuffle’ goes along well with the music?
If you have watched the youtube clip of Shuffle (through the link above) and think that those dancers and their dancing are weird, perhaps there is no much different with some of those found in this clip (HT: Kar Yong). The only observable difference is that the Shufflers did it with much more style. And if you count the BMP in this clip, it is no less than those songs played in clubs.
It all has to do with our created body and how it responds to stimuli. Through the right coordination of rhythm, beats, and songs, we can invoke certain physical and emotional responses from our audiences. Thus there can be intimate interaction between our body and music: Our body aroused by music.
Be it Bach or Armin Van Buuren, when we received enough auditory stimuli, we react in a controlled and expected way. It is as if there exists a synchronizing relationship in the fabric of our body in connection with music.
It seems that there is correspondence between our bodily movement and rhythm. As though the noumena world of music is apprehensible by our phenomenal mind, and resulting our expression in the form of bodily movement which converges with the noumena.
That's why a certain bodily expression (eg. classical Ballet) doesn't converge with certain music (eg. Trance). To force both in the same performance gives us the uneasy feeling that the performer is 'out-of-tune' with the music. We'll think that the dancer is stucked in her own world, dancing according to the rythm playing in her own mind or something.
And such convergence betrays the deeper structure underlying this world we occupy. This convergence also hints to us what 'aesthetic' should be like. When we see a dancer's expression blends well with the music, we judge it to be pleasant. When it doesn't, we fail it.
And the reason why the music in the clubs are in the way they are is because it serves as an invocation to convergence. And through that, revealing this deeper structure embedded within the creation. "My sheep listen to my voice; I know them, and they follow me" (John 10.27); A convergence.