| 翻訳と辞書 |
| Popular music of Birmingham ： ウィキペディア英語版 |
Popular music of Birmingham
Birmingham's culture of popular music first developed in the mid-1950s. By the early 1960s the city's music scene had emerged as one of the largest and most vibrant in the country; a "seething cauldron of musical activity",〔 with over 500 bands constantly exchanging members and performing regularly across a well-developed network of venues and promoters.〔 By 1963 the city's music was also already becoming recognised for what would become its defining characteristic: the refusal of its musicians to conform to any single style or genre. Birmingham's tradition of combining a highly collaborative culture with an open acceptance of individualism and experimentation dates back as far back as the 18th century, and musically this has expressed itself in the wide variety of music produced within the city, often by closely related groups of musicians, from the "rampant eclecticism" of the Brum beat era, to the city's "infamously fragmented" post-punk scene, to the "astonishing range" of distinctive and radical electronic music produced in the city from the 1980s to the early 21st century.
This diversity and culture of experimentation has made Birmingham a fertile birthplace of new musical styles, many of which have gone on to have a global influence. During the 1960s the Spencer Davis Group combined influences from folk, jazz, blues and soul and to create a wholly new rhythm and blues sound〔 that "stood with any of the gritty hardcore soul music coming out of the American South",〔 while The Move laid the way for the distinctive sound of English psychedelia by "putting everything in pop up to that point in one ultra-eclectic sonic blender". Heavy metal was born in the city in the early 1970s by combining the melodic pop influence of Liverpool, the high volume guitar-based blues sound of London and compositional techniques from Birmingham's own jazz tradition. Bhangra emerged from the Balsall Heath area in the 1960s and 1970s with the addition of western musical influences to traditional Punjabi music.〔 The ska revival grew out of the West Midlands uniquely multi-racial musical culture. Grindcore was born in Sparkbrook from fusing the separate influences of extreme metal and hardcore punk. Techno's Birmingham sound combined the established sound of Detroit techno with the influence of Birmingham's own industrial music and post-punk culture.
==Early rock and roll==
Interest in rock and roll developed in Birmingham in the mid-1950s, after American recordings such as Bill Haley & His Comets' 1954 singles "Shake, Rattle and Roll" and "Rock Around the Clock"; and Elvis Presley's 1956 singles "Hound Dog" and "Blue Suede Shoes" began to appear on British airwaves.
Many performers who would be influential in the later growth of Birmingham music emerged during this era. Danny King had been receiving American blues and soul recordings by mail order from the United States since 1952, and soon afterwards began to perform covers of songs by artists such as Big Joe Turner in pubs such as The Gunmakers in the Jewellery Quarter. In 1957 he formed Danny King and the Dukes with Clint Warwick, performing rhythm and blues covers in local clubs and cinemas. Tex Detheridge and the Gators began performing Hank Williams covers on Saturday nights at The Mermaid in Sparkhill and on Sundays at the Bilberry Tea Rooms in Rednal in early 1956. The emergence of skiffle as a popular phenomenon in 1956 saw the birth of a new wave of Birmingham bands. The Vikings started as a skiffle group in Nechells in the spring 1957, with Pat Wayne and the Deltas also emerging as a skiffle group in Ladywood around the same time, spending the summer of 1957 busking on pleasure boats on the River Severn in Worcester.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「Popular music of Birmingham」の詳細全文を読む
スポンサード リンク
| 翻訳と辞書 : 翻訳のためのインターネットリソース |
Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.
|
|