嘻哈
维基百科，自由的百科全书
嘻哈/黑浩普/協合/嬉蹦(hip hop)是一種源自非洲原始部落的流行文化。它首先在紐約市市區的非裔及拉丁裔青年之間興起，繼而发展壮大，并席捲全球。嘻哈文化包含以下四大元素：
此外，亦有人認為beatboxing是嘻哈文化的第五元素；亦有人指political activism、嘻哈時裝、嘻哈俗語或其他元素為嘻哈文化的重要元素。对于大多数听众这几项现在已经成为了嘻哈音樂和rap的同义词。然而它们并不是可以互换的，MCing中的rapping是在节奏下同步于音乐的歌词，而DJing中的rapping是嘻哈音乐的一部分。
目录 |
[编辑] 嘻哈音樂
嘻哈音乐与非洲西部的griots有关; 旅行歌手和一些诗人往昔的音乐风格被认为是嘻哈。 一些 griot 传统和非洲的奴隶一起来到新的世界。对于嘻哈最重要和最具创造力的影响力是在1960年代兴起的叫做牙买加dub配音风格。因为在俱乐部 (声音系统) 舞者较喜欢了富有激情短节奏的旋律，像King Tubby等dub音乐家使用打击乐器来制造这种效果。很快，表演者在表演打击时开始说唱。 在 1967 年，自牙买加的移民把dub带到了纽约，例如Kool Herc这样的DJ,在那里这种形式的流行文化发展形成了嘻哈。 在牙买加, dub音乐又演化为各种流派像ragga 和 dancehall 。
DJ Kool HercHerc--早在 70s纽约最流行的 DJ 之一, 经常在neighborhood party上演出。(也被称为block party) 自从 Herc的马车驶过Sedgewick大街后。在布朗克斯，他很快地从使用瑞格舞音乐卡带转向funk,rock和 disco的,因为纽约听众不是特别喜欢瑞格舞。 Herc 和其他的DJ使用混音技术和二笔记录延长了敲击的间隙，因而使得其他混音技术很快发展起来。表演者在演奏音乐的时候说唱，最初这些人被称为MC(司仪或主持人),后来改为rapper。这些早期的rappers把重心放在介绍他们自己和在听众中其他人身上,以一个简单合唱团进行即兴创作和简单的四连击形式。不久MCs增加了较多复杂的歌词, 时常富有幽默感, 和sex组合的主题。70 年代结束时，嘻哈音乐开始成为主要的商业和艺术的力量，而且开始在美国传播。 在80 年代和90 年代，嘻哈逐渐地在美国中变成主流 ( 转变通常被认为完成在1992年)一定程度上变成世界化的。
[编辑] DJ
在嘻哈中DJing(通俗称之为转碟子的人)把转碟子视为一种音乐上的乐器艺术。卡带/收集册，作为工具用来产生许多不同风格的音乐。一些技术包括切音，刮擦，身体上的trick，掉针, 混合或<多种混合>都被使用。
一般上来说，DJ 将会同时的使用二个转盘。 它连接着一个接收器，一个喇叭筒，扬声器,混合器 ( 或化音器) 和各种其他不同的电子音乐仪器。DJ在两个正在旋转的<albums>之间用以上列出的方法进行演出。 结果是会产生一种独特的声音--两首不相干的歌曲看上去仿佛被合成一气。因此DJ 和音乐制作人不应该被人们混淆。 (虽然在二个角色之间有相当的重叠)
一些出名的DJs是Grandmaster Flash,MrMagic,DJ Jazzy jeff,来自 EPMD的DJ Scratch、来自Gang Starr的首席DJ, DJ Miz、来自丝柏小山的DJ Muggs、来自Run-DMC的Jam Master Jay, Eric B., Tony Touch, DJ Clue, DJ Shadow, DJ Q-Bert, DJ D-Styles和DJ Spooky。
在他们自己成为音乐制作者之前，一个 MC的角色是要争取人们进入DJ创造的氛围。过去嘻哈是主要用来使得你的听众一起来跳舞。在欧洲，这种观念比美国更持久,在那儿MC很快地变成嘻哈的焦点中心。由于新的文化觉醒,一些DJ进一步探究了旋转卡带艺术,创造了<现场转盘>。
[编辑] MCing
而在台灣的嘻哈團體歌詞內容主要都在說金錢、女人、幫派、自怨自艾、自我吹噓等情節。
[编辑] Battling
Battling在嘻哈中是MCs彼此口水战的术语。Battling的目的是两MC尽力争取喜爱的观众降低对手的激情。观众对于特殊lyrical的喜好水平由各种形式的lyrical传输，技术，insults和他们“鼓动人群”的能力决定。人家同时用例如“ooh”和 “aah”的手势来回应lyricist的“请求”,或在一节结束的时候以喝彩回应。观众众然后决定哪个是比较好的lyricist,由此给lyricist承认，增加他赢得更多Battle的自信心。
最大多数的"真实的"battle发生在各种不同的地下嘻哈俱乐部,或者甚至发生在例如一条街道的一隅；这些活动混合着竞赛性质的。比较众所周知的 "战争" MC，像Canibus,可能用收音机广播上的一场battle或出自他们的潜在对手制作的“diss”卡带来公开召唤潜在对手。这能被藉由不敬对手的lyrical技术,主题素材,或仅仅平白的不喜欢那个人。最公众的battles通常可以赢得自我展示和赢得更多粉丝。不幸的是当battle的时候，一些lyricists越过了个人的底线，那导致了娱乐变成了实际的敌对。
当今这条个人的线时常被肆无忌惮的越过。许多评论说嘻哈中的这部分“走的太远”，rapper Nas说,“没有女人和孩子是[应当]包括在内的”。其他人则感觉这是所有的嘻哈的一个部份。他想告诉人们一些东西，使他们反对另一场甚至涉及到其他MC的家人和孩子的MC battle。这不是简单的两个人试图去赢得battle;一个MC对抗另一个。
[编辑] Beatboxing
Beatboxing被认为是嘻哈文化的第五元素，也就是嘻哈文化中的“语音处理”vocal percussion. 它主要被认为用人的嘴来创造音乐节奏, 节拍和旋律的一种艺术。
Beatboxing is 嘻哈's vocal percussion 早期的代表人物包括Doug E. Fresh, Biz Markie, 以及Fat Boys组合的Buffy. The term 'beatboxing' is derived from the mimicry of the first generation of drum machines, then known as beatboxes.
The art form enjoyed a strong presence in the 80s. Beatboxing declined in popularity along with breakdancing in the late 80s, and almost slipped even deeper than the underground. Beatboxing has been enjoying a resurgence since the late 90s, marked by the release of Rahzel's "Make the Music 2000." The internet has greatly aided the rebirth of modern beatboxing—on a global level never seen before—with thousands of beatboxers from over a dozen countries interacting on UK's Humanbeatbox.com.
The art form has radically evolved, extending its reach to include physical theater routines, and has integrated itself into 嘻哈 (and other forms of theater).
[编辑] Music Production
The record producer is an often overlooked component of 嘻哈, sometimes confused with the DJ position. This is a misconception because not all DJs make beats, and not all producers can DJ. Although 嘻哈's original music consisted solely of the DJ's recycled breakbeats and other vinyl record pieces, the advent of the drum machine allowed hip hop musicians to develop partially original scores. Drum set sounds could be played either over the music from vinyl records or by themselves. The importance of quality drum sequences became the most important focus of 嘻哈 musicians because these rhythms (beats) were the most danceable part. Consequently, drum machines were equipped to produce strong kick sounds with powerful (sine) bass behind them. This helped emulate the very well-engineered drum solos on old funk, soul and rock albums from the late 1960s and early to mid 1970s. Drum machines had a limited array of predetermined sounds, including hi-hats, snares, toms, and kick drums.
The introduction of the digital sampler changed the way 嘻哈was produced. A sampler can digitally record and save small sound clips from any output device, such as a turntable. Producers were able to sample their own drum sounds from the records they grew up listening to. Perhaps more importantly, they could sample horns, upright basses, guitars and pianos to play along with their drums. 嘻哈 had finally gathered its complete band.
What many fail to recognize is the distinct importance of the gritty, choppy sound of 嘻哈. The music seldom sounds like other organic forms. Even 嘻哈crews that have their own band often use samples and the gritty, choppy texture of machines to create their beats in the studio as featured on their album. (When performing live, they usually recreate this sound with a full band).
Beats are almost always in 4/4 time signature and almost always have a constant pattern of music throughout.
At its rhythmic core, 嘻哈 swings. Instead of a straight 4/4 count (pop music; rock 'n' roll; etc.), 嘻哈 is based on a triplet feel somewhat similar to the "swing" emphasis found in jazz beats. 嘻哈takes this concept a step further, however. Whereas jazz swing implies three eighth notes (a triplet) per beat, 嘻哈implies six sixteenth notes (a "double triplet") per beat. Like the triplet emphasis in swing, 嘻哈's double triplet "bubble" is subtle, rarely written as it sounds (4/4 basic; the drummer adds the 嘻哈 interpretation) and is often played in an almost "late" or laid back way.
Here's a basic 嘻哈 drum set example --one bar that would be repeated indefinitely. Note that no single instrument plays all of the implied double triplets. This is usually the case. In this example, the bass drum plays part of the double triplet subdivision. The bass drum pattern is most often the part that provides the 嘻哈 feel.
Count 1 2 3 4 Implied *** *** *** *** *** *** *** *** Hi Hat x-- x-- x-- x-- x-- x-- x-- x-- Snare --- --- x-- --- --- --- x-- --- Bass Drum x-- --x --- --x x-- x-- --- --x
This style was innovated predominantly in soul and funk music, where beats and thematic music were repeated for the duration of tracks. In the 1960s and 1970s, James Brown (known as The Godfather of Soul) talked, sung, and screamed much as MCs do today. This musical style provides the perfect platform for MCs to rhyme. 嘻哈 music generally caters to the MC for this reason, amplifying the importance of lyrical and delivering prowess.
Instrumental hip hop is perhaps the lone exception to this rule. In this 嘻哈 subgenre, DJs and producers are free to experiment with creating instrumental tracks. While they may mix in sampled rap vocals, they are not bound by the need to cater to an MC.
[编辑] 塗鴉藝術
一個最早期和重要的塗鴉藝術是Savage Seven (後來隨著人數增加，被稱為「the Black Spades」)，是在後來old school rap出現的Afrika Bambaataa。The Black Spades有很多追隨者，而塗鴉藝術興起的其中一個目的是標誌著他們的界限。塗鴉藝術是在最早五十年代城市出現的街頭藝術，1969年正式得到發展，至七十年代就已經非常普遍了。原創性對塗鴉藝術非常重要，例如在1972年，著名塗鴉藝術家Super Kool以在一罐烤爐清潔劑上而dispersion cap較闊的噴漆取代，至今仍是常見的做法。到了1976年，一些塗鴉藝術家如Lee Quinones開始使用較先進的技術作塗鴉，他的出名作品多以政治為題材，如要求停止軍事競賽(arms race)。塗鴉藝術可追溯至古埃及(ancient Egyptian)的象形文字藝術(hieroglyphics)。
中國大陸及台灣
cmcb（china mc brother） 中国说唱兄弟/ kungfoo 功夫乐队/ hi-bomb 黑棒/ yintsang 隐藏/ D.D.RHYTHM D.D.节奏/ 等等
台灣
Dog G 大支/ Mc Hotdog 熱狗/ Tha Westsidaz/
[编辑] 其他連結
- Davey D's Hip-Hop Corner - 真正嘻哈愛好者提供大量恰當的資訊
- hiphopmusic.com - 網上第一的嘻哈部落
- [1] - 嘻哈音樂如何超越它的圓形文化 - PopMatters撰文
- [2] Old School Hip Hop Party Flyers
- AccessHipHop.com - 獻給地下嘻哈
- MemphisRap.com - Memphis' 最好饒舌音樂網站和嘻哈社區
- All Rap Lyrics - 包含嘻哈音樂歌詞、10個本星期歌曲排行榜和20個本月歌曲排行榜
