ABSTRACT
Conventions dealing with time in music scholarship inscribe peculiar ways of listening. The particularity of this is that most people talk or write about music in ways that make little sense of how they move to it or feel for it. Commonly it is taken for granted that a clear distinction exists between listening and responding, but, in practice, the boundaries of such difference are blurred. The ordering of dance takes place in countless spaces, where the perception of time is significant for mediating style and sound. These social spaces or host environments are all about temporal situatedness. Edits and samples are the main characteristics of both tracks, mirroring the significant developments in music technology in late twentieth-century dance music. Beltram's trailblazing production can be read as a moment in dance history when house and techno metamorphose into hardcore techno.
