It seems as though everybody’s raising money on Kickstarter.com these days, and Daniel Bernard Roumain has joined the wave, as this video shows. Roumain’s bringing his “Symphony for the Dance Floor” to the Miami Light Project (at The Light Box in the Goldman Warehouse) from Oct. 6 through 8, before it moves to the Brooklyn Academy of Music in New York from Oct. 13 through 15 in Brooklyn Academy of Music’s Next Wave Festival.

At about this time last year, Roumain’s “Dancers, Dreamers and Presidents” had its premiere at the New World Center, following a commission by the Sphinx Organization, a Knight Arts grantee. That work was a three-part symphony inspired by the feelings Roumain got from watching then-Sen. Barack Obama of Illinois do a little dance with Ellen DeGeneres on an episode of the comedian’s show in late 2007.

I talked to him last year for a piece for The Miami Herald, and I found him to be passionate and committed to music-making, but not for vainglory. He struck me as a person who was thoroughly wed to the idea that making music can be about something and, in this way, be public art, not just self-expression. I like what he says about wanting the violin to be “cool” on his Kickstarter pitch, and that, too, is part of the current Zeitgeist: String players are hot these days, and that’s not going away anytime soon.

Roumain grew up in Margate as the son of Haitian immigrants, and he maintains a strong interest in all things having to do with his parents’ homeland. He also has done a good deal of writing for the dance, including for African-American dance icon Bill T. Jones, and it may be that this is his strongest compositional suit.

Like much of the music on his two records, “Etudes 4 Violin & Electronix” (2007) and “Woodbox Beats & Balladry” (2010), the excerpts available of “Symphony for the Dance Floor” have a club ambience, with repeated catchy riffs and a steady pulse. “It’s classical music that wants to groove,” Roumain says on the Kickstarter video, and the music has an engaging, coolly rhythmic feel in which the dancers that appear on the promo seem to be doing the only logical thing you can do to this music, and that’s shake it. (Here’s another interview I did with him for Palm Beach ArtsPaper.)

DBR, as he’s often known, is a musician very much in tune with his times, in which genres of music have been unmoored from their recent past, and, truth to tell, many of those genres were little more than artificial marketing schemes. But today’s most cutting-edge musicians have no patience with that and want to be able to respond to any music, whatever its origin or original intent.

It seems to me this can’t be anything but a healthy development, not only for music, but the arts in general, and the crowds that gather at the Goldman Warehouse early next month are likely to be people who like their music free of old constraints and, therefore, more than likely to go dancing when this fiddler calls the tune.