Music
The songs used in Pump It Up consist primarily of Korean-based music. Premiere 3 and Exceed were the only versions to put a greater emphasis on international Pop music due to its branching into other markets such as North and Latin America. After Exceed, the focus shifted back to K-Pop as the players worldwide generally favored the game's original Korean music. Much of the music on Pump is contributed by an in-house (and mostly anonymous) collective known as BanYa. Two of the main members, Yahpp and Msgoon - recently became independent artists (and as of NX and Fiesta respectively, all of their songs are now branded using their aliases). Aside from the K-Pop licenses, most in-house songs on Pump it Up are of Korean influence. The diversity in genres is very great despite this, covering everything from general pop to heavy metal to Hip hop as well as an assortment of uncommon genres such as jazz, folk, and ska.
Some of BanYa's songs include covers of classical pieces such as Canon in D, mostly performed in a symphonic rock style.
In comparison to Konami's Bemani line-up and other arcade rhythm games, there has been negligible emphasis on electronic music in Pump, but the first instances of electronic music on Pump occurred on NX2, as five crossovers from the American-made spinoff appeared, who in contrast, has a greater emphasis on electronic music.
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Famous quotes containing the word music:
“Great music is that which penetrates the ear with facility and leaves the memory with difficulty. Magical music never leaves the memory.”
—Thomas Beecham (1879–1961)
“Nearly all the bands are mustered out of service; ours therefore is a novelty. We marched a few miles yesterday on a road where troops have not before marched. It was funny to see the children. I saw our boys running after the music in many a group of clean, bright-looking, excited little fellows.”
—Rutherford Birchard Hayes (1822–1893)
“If mass communications blend together harmoniously, and often unnoticeably, art, politics, religion, and philosophy with commercials, they bring these realms of culture to their common denominator—the commodity form. The music of the soul is also the music of salesmanship. Exchange value, not truth value, counts.”
—Herbert Marcuse (1898–1979)