The origins of the name are to be found in Detroit and Berlin, in the early eighties. "Techno" is short for "technologic", since this is music that makes use of technological tools a main peculiarities.
The main difference between techno (technologic abbreviation) and house (from Warehouse, Chicago local historian) is that while techno defines a dance genre whose musical legacy goes to be found in the Kraftwerk and other related European musical reality in some way to rock, with the use characteristic of synthetic sound (generated by signals and no acoustic vibrations), house instead defines the music that came into being from the marriage of drum machines and samples already engraved discs belonging to the disco scene. This is the only difference found between those who divide the world of techno and house music together with that geographical, characterized by belonging to the music scene in Detroit (techno) and Chicago (house) at the turn of the early eighties. In this aspect of the story is not without anecdotes, first of all when, during one of the famous baseball meetings between Detroit and Chicago techno supporters burned tons of old vinyl disk shouting "Disco Sucks" (alluding to the word game between "Sucks" Sox and White Sox, the name of the Chicago team).
In the nineties, when the electronic dance music arrives in Europe with the London-based phenomenon of acid house, that of the hardcore in the Netherlands, the progressive in Italy (80/90 years), and when the United States begin to arrive dance productions very soft and clear matrix funk, techno the name is used to define, with respect to that of house, more aggressive productions, in line with the production of labels as the Belgian Bonzai, which is the master of the scene for all of the early nineties.
We must wait until the end of the nineties, when the hardest dance productions begin to be called by subcategory definitions (trance, hardstyle, hardcore, progressive) and only then techno returns the definition used for the electronic dance music totally independent from the scene black music such as funk or disco, just as you defined the scene the mother of Detroit eighties. With the Prodigy, the British band that imposes itself on the global market as a real techno band between 1994 and 1998, the rock musical scope critics realize how strong the link between this music and the other and try to take the intellectually techno coining, for example, the term big beat, the period after which fall almost exclusively techno bands such as Prodigy, Chemical Brothers and others.
What to divide the masses, during the nineties, the matrix techno from that house is the club membership factor (the discotheque) rather than to the rave party. The productions that have the birth of acid house rave scene are in fact generally cataloged in the history of techno and house music is not music. Similarly, electronic music bands like Prodigy, are out of the techno scene as star of the English rave parties. The link between the definition of techno and rave is indissoluble: the end of the 2000s, therefore, no longer speak of techno music in the disco unless there is a strong connection between the DJ and the origins of the genre, such as Jeff Mills or other DJs that for history and music belonging reproduce the scene of the Detroit-eighties.