三捣搬运自虾米官网
2021-01-25
目录¶
当代基督 CCM / Contemporary Christian Music
电子舞曲 EDM / Electronic Dance Music
中国地下说唱 Chinese Underground Hip Hop
原声芝加哥布鲁斯 Acoustic Chicago Blues
原声得克萨斯布鲁斯 Acoustic Texas Blues
电声德克萨斯布鲁斯 Electric Texas Blues
不列颠金属新浪潮 NWOBHM / New Wave Of British Heavy Metal
氛围泥浆金属 Atmospheric Sludge Metal
韩国传统音乐 Korean Traditional Music
日本 | 邦乐 Japanese Traditional Music
当代唱作人 Contemporary Singer-Songwriter
另类唱作人 Alternative Singer-Songwriter
华语唱作人 Chinese Singer-Songwriter
中国传统民歌 Chinese Traditional Folk
西藏传统乐 Tibetan Traditional Music
流行 Pop¶
流行音乐，是指那些结构短小、内容通俗、形式活泼、情感真挚，并被广大群众所喜爱，广泛传唱或欣赏，流行一时的甚至流传后世的器乐曲和歌曲。这些乐曲和歌曲，植根于大众生活的丰厚土壤之中。因此，又有“大众音乐”之称。 “流行音乐”。从字面上看，包含两层意思：第一，它必须是音乐（这说的是事物的属性问题）；第二，它必须具有“可传递性”（就是流行的特点）。只有具备了这两个方面的基本要求，亦即“是音乐”和“广为传递性”。那么，才能称得上是“广义上”的“流行音乐”。具体而言，流行音乐是与传统的“严肃音乐”的一个“相对概念”，请注意我的措辞，是“相对”。换句话说：他们之间的界限在实际中其实并不那么明显。就像我们现实中的“白天与黑夜”一样，不同的时刻，不同的国家，所处的“黑”与“白”都是不同的（也就是“时空的相对论”——因为音乐本身也是时空的东西）。比如浪漫派作曲家李斯特的《爱之梦》就是传统的古典音乐，但是你能说它不流行吗？所以，古典音乐也可以流行，流行音乐在特定的历史环境下，和人民认可度的前提下也可以成为“古典”也可以成为“流行”。 所谓流行音乐，准确的概念应为商品音乐，即以赢利为主要目的创作的音乐。它的市场性是主要的，艺术性是次要的。“商品音乐”这一概念比任何一个概念都科学、合理、准确。单从字面上看，“通俗”指易解易懂，“流行”指广为流传，这样看来象《义勇军进行曲》、《歌唱祖国》、《东方红》《南泥湾》等歌曲也可以称为通俗歌曲或流行歌曲。这些歌曲都虽然通俗易懂、流传很广。但是，这些歌曲是决不能称为商品歌曲的，因为它们决不是以赢利为主要目的创作的。从这一点也可以看出“商品音乐”这一概念是科学、合理、准确的。 流行音乐起源于美国的爵士音乐。20世纪初，美国出现了一种由多民族文化汇集而成的爵士音乐。这种新兴音乐，以它独特的演奏(演唱)方式，刷新了听众的耳目，轰动了全美国，又很快传遍西欧各国。
Pop music (a term that originally derives from an abbreviation of “popular”) is a genre of popular music which originated in its modern form in the 1950s, deriving from rock and roll. The terms popular music and pop music are often used interchangeably, even though the former is a description of music which is popular (and can include any style). As a genre, pop music is very eclectic, often borrowing elements from other styles including urban, dance, rock, Latin and country; nonetheless, there are core elements which define pop. Such include generally short-to-medium length songs, written in a basic format (often the verse-chorus structure), as well as the common employment of repeated choruses, melodic tunes, and catchy hooks. So-called “pure pop” music, such as power pop, features all these elements, using electric guitars, drums and bass for instrumentation; in the case of such music, the main goal is usually that of being pleasurable to listen to, rather than having much artistic depth. Pop music is generally thought of as a genre which is commercially recorded and desires to have a mass audience appeal.
1.国语流行 Mandarin Pop¶
华语流行音乐（英语：Mandarin pop、M-pop），或称国语流行音乐、华语歌曲、国语歌曲、普通话歌曲，是泛指用华语、国语、普通话或其他北方方言演唱的流行歌曲。它是中文流行音乐中商业性中文音乐类型之一。华语流行音乐主要流行于中国大陆、中国香港、中国澳门、中国台湾、马来西亚、新加坡以及其他通用华语的社区，且在华人社区外如韩国、日本等地也相当受欢迎。
2.粤语流行 Cantopop¶
粤语流行音乐（英语：Cantopop/Cantonese Pop），一般指香港的用粤语广州话唱的流行曲，由于香港的原创作曲家是广东人，又叫广东歌。一般所指是近代的“粤语流行音乐”，香港自1970年代起，由莲花乐队主音歌手许冠杰所带动的一股潮流，其后蓬勃发展的粤语流行歌曲；这一定义亦正符合了大部分1970年代或以后出生的香港人对“粤语流行歌曲”的认知范围。一如其他流行音乐，粤语流行曲是一种商品；一种反映某段时期社会面貌和价值观的商品。
3.欧美流行 Western Pop¶
广义来说，欧美流行乐（Western Pop）是欧美地区任何大众音乐，它们的特点是结构短小、内容通俗、形式活泼、情感真挚，并被广大群众所喜爱，广泛传唱或欣赏。而作为一种风格，欧美流行乐（Western Pop）则有着更具体的含义。它特指以商业为目的而创作的音乐形式，它的传播随着近几十年欧美流行乐工业的成熟而愈加广泛。其主要传播方式主要包括商业榜单、商业电台、80年代发展起来的MTV技术、商业巡演、颁奖典礼、以及2000年后发展起来的电视选秀等等。而从内容来说，Adult Contemporary（成人抒情）、说唱（Hip Hop）、节奏布鲁斯（R&B）以及流行舞曲（Dance-pop）、青少年流行（Teen Pop）等是它最广泛被接受的呈现载体。从Michael Jackson、Madonna、Britney Spears、Lady Gaga，再到Backstreet Boys、Maroon 5为代表的各类偶像团体，欧美流行乐也诞生了一大批流行巨星。美国和英国则成为欧美流行乐的中心。
4.电音流行 Electropop¶
电音流行(Electropop)从字面上来看是指一切加入电音元素的流行乐。但是从狭义来看，它只是电子流行(Electronic Pop)的一种。它和其他电子领域的流行音乐，比如合成器流行(Synth Pop)、舞曲流行(Dance Pop)是有区别的。从合成器音色的角度来看，舞曲流行(Dance Pop)被制作得更加明亮清透，也更容易在第一时间接受；而合成器流行(Synth Pop)的合成器部分则要显得稀疏一些，有的时候只是点缀作用。而电音流行(Electropop)的合成器大部分采用低频，呈现音色相对温润、扭曲、黑暗。
5.日本流行 J-Pop¶
J-POP，即Japanese POP(日本的流行音乐)。此名称由日本一家广播电台J-WAVE在1988年创造出来，并曾经用它来代表“新音乐”，而后在日本被广泛地用来代称呼受西洋影响的现代音乐，包括了流行音乐、R&B、摇滚、舞曲、嘻哈和灵魂音乐。
6.韩国流行 K-Pop¶
韩国流行音乐（英语：K-POP，朝鲜语：가요）是指源自韩国的流行音乐，包括有舞曲、现代节奏蓝调、流行电音、嘻哈音乐，是一音乐种类。
历史
早期韩国流行音乐
韩国演歌是朝鲜半岛的传统流行音乐，被称为朝鲜半岛最早期的流行音乐。韩国人声称韩国演歌早在日治时期前就已出现，尽管与日本演歌的音乐很相似，但两者并不相同。
韩国演歌据说源于狐步舞（Foxtrot）的音乐，所以它的韩语名称亦取自狐步舞的英语的最后几个音节，而这种舞踏有简单轻快的乐曲。
1990s: 多样化
在1992年出道的徐太志和孩子们是整个韩国流行音乐的转折点，他们结合了饶舌摇滚以及高科技舞曲。Hip Hop二人组, 例如Deux在1990年早期亦渐渐受欢迎。
韩流的诞生
最早可追溯至韩国SM Entertainment由李秀满在1996年推出H.O.T 。随后YG Entertainment 由杨贤硕在1996年推出的“Keep Six”和DSP Media在1997年推出的“Sechs Kies”与JYP Entertainment则由朴振英在1999年推出“G.o.d.”，开始了韩国走向现今风靡全球的偶像组合模式。
部分韩国歌唱组合，包括Roo`Ra、酷龙、IDOL、Sechs Kies、NRG、太四子、S.E.S.、Fin.K.L、Click-B、Fly to the Sky、神话等，在二十世纪九十年代中期，成功进军大中华地区。另一方面，Hip Hop和R&B音乐亦在这段时间被引入韩国，组合包括Drunken Tiger因此而获得成功。
2000s: 全球化影响
波兰华沙韩国文化中心外举着韩-波两国国旗的波兰歌迷
Super Junior、少女时代、B.A.P、SHINee、EXO、东方神起、BoA、f(x)、SS501、BIGBANG、4minute、Secret (组合)、Wonder Girls、T-ara、Brown Eyed Girls、2AM、2PM、U-Kiss、IU、MBLAQ、BEAST、FT Island、CNBLUE、INFINITE、TEEN TOP、ZE:A、B1A4、Boyfriend、金钟国、Leessang、A Pink等许多在韩国成功的组合或歌手开始进军日本市场，开始在日本接受访问或作表演、甚至固定演出日本综艺及出演电视剧等。
2011年，K-Pop已经成为在东亚和东南亚一支主流音乐。有鉴及此，许多韩国经纪公司已经开始计划把K-Pop传播至全世界。而于2012年透过网络视频网站Youtube爆红的江南style则把K-Pop热潮推至新的高峰。该歌曲在欧美主流乐坛引起震动，于欧美多国流行音乐排行榜位列第一，而且引起了全球性的模仿热潮。同时籍此机会，使韩国的文化娱乐服务产业收支在历史上首次实现顺差。
虽然K-Pop在非亚洲市场已经扎根，成为一支主流音乐，但大部分只在美国 、加拿大，以及澳洲。2001年，Nicholas Kim以单曲”Hello Goodbye Hello”，成为第一个打入美国告示牌百强单曲榜的韩国人。2009年，其中一队在韩国取得极大成功的组合Wonder Girls亦成功打入此榜。她们亦成为Jonas Brothers巡回演唱会的暖场嘉宾。其他韩国艺人亦曾与Kanye West、Teddy Riley、Diplo、Rodney Jerkins、Ludacris，以及Will.i.am等艺人合作。
K-pop은 대한민국에서 대중적 인기를 얻는 유행 음악을 총칭한 이름이다. 간단히 가요, 또는 유행가라고 부르기도 하며, 영미권의 대중음악을 팝(pop)이라고 부르고, 영미권 이외의 국가의 대중가요도 국가 이니셜을 붙여 나타내는 데서(일본:J-pop 중국:C-pop) K-pop이라고 쓴다. 특히 대한민국 대중가요가 해외에서 인기를 얻게 된 이후에 K-pop이라는 명칭이 대한민국 이외 국가에서 대한민국 대중가요를 가리키는 이름으로 널리 자리잡고 있다. 반면 조선민주주의인민공화국의 대중가요는 NK-pop이라고 불리고 있으며 버스터미널 출발 배경음악은 유스퀘어나 센트럴시티 삽입곡 이며, 금호고속 광주↔︎서울 간 우등,일반고속버스 운행을 시작했으며. 도착지는 센트럴시티나 유스퀘어에 도착한다.
7.梦幻流行 Dream Pop¶
Dream Pop，顾名思义，就是「如梦般的流行曲」。Dream Pop是八十年代中期于英伦兴起的一种Pop Music，它除了着重动听的旋律之外，也十分注重营造一种飘渺的氛围，乐手努力用Synthesizers（电子合成器）及电结他去炮制一种迷糊的音响质感，音乐部份大多有层层叠加的感觉，而歌者的歌声往往加上了回音，加强那种虚幻感觉，歌词也常常写得抽象而充满诗意。当你觉得世界一团糟糕，一片浑浊，正需要音乐来麻醉与过滤，Dream Pop那虚无与纯粹的声音，可以让心情再次变回蓝色。
在中国，也有具有该风格的艺人。王菲在98年的《唱游》中就做了大量的气声化处理，营造出一种梦幻飘渺的境界，这和王菲欣赏Cocteau Twins并与其在96年的《浮躁》中的合作是密不可分的，而《唱游》也获得了世界十佳Dream Pop专辑。
Dream Pop is a genre characterized by an overall subdued atmosphere - from the vocals to the melodies - producing a dream-like, sleepy, or spacious feel. As the name suggests, songs are structured around traditionally Pop-sounding progressions, often with a steady though de-emphasized beat and vocals that are lower in the mix and possibly run through effects so as to offer a more ethereal feel.
Band structures are usually pretty straightforward sporting a guitar, bass, drums, and vocals. Vocals are a distinguishing element of Dream Pop and can often be viewed predominantly as an instrument, with importance being placed moreso on providing melody and less on the actual lyrics. In addition, it is not uncommon for there to be more than one vocalist, either working in unison or switching off. Females have a very prominent role in this genre in this respect, with acts such as My Bloody Valentine, Slowdive, and Mazzy Star - among others - having female vocalists.
It is also not uncommon for Dream Pop to be fused with other genres like Shoegaze or Noise Pop. The main distinguishing factors though are that while they all offer a similar, “blanketing” feel, Dream Pop does not rely on “walls of sound” (as in Shoegaze) or heavily distorted, very driving guitars (as in Noise Pop).
8.流行舞曲 Dance-Pop¶
流行舞曲是一种以舞蹈为导向的音乐类型，从后期迪斯科（Post-Disco），合成器流行（SynthPop）,电音流行（ElectroPop)衍生发展而来，起源于1980年早期。歌曲通常伴随强烈的节奏，流行音乐为基础的歌曲结构，十分适合跳舞。流行舞曲是比流行音乐更注重自由形式舞蹈的风格，强调旋律以及琅琅上口的曲调。
舞曲流行音乐的代表人有Michael Jackson（迈克尔·杰克逊），Madonna（麦当娜），Janet Jackson(珍妮特·杰克逊)，Kylie Minogue(凯莉·米洛)，Christina Aguilera(克里斯蒂娜·阿奎莱拉)，Britney Spears(小甜甜布兰妮)，Beyoncé(碧昂丝)，Lady Gaga，ももいろクローバーZ(桃色幸运草),蔡依林，萧亚轩等。
Dance-pop is dance-oriented pop music that originated in the early 1980s. Developing from post-disco and synthpop, it is generally up-tempo music intended for clubs with the intention of being danceable but also suitable for contemporary hit radio. Dance-pop music is generally characterised by strong beats with easy, uncomplicated song structures which are generally more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes. The genre, on the whole, tends to be producer-driven, despite some notable exceptions.
Dance-pop is a popular style and there are several artists and groups who perform in the genre. Notable ones include Justin Timberlake, Corina, Britney Spears, Usher, Jennifer Lopez, Celine Dion, Madonna, Kylie Minogue, Rick Astley, Sheena Easton, Mel & Kim, Michael Jackson, Janet Jackson, Lady Gaga, George Michael, Bananarama, Spice Girls, Christina Aguilera, Katy Perry, Rihanna, Kesha, Backstreet Boys, and among others.
9.成人时代 Adult Contemporary¶
成人时代（Adult Contemporary，简称AC）如字面所说，主要面向成年的成熟的听众。它整体上延续了六七十年代的轻音乐、轻摇滚乐风，也受到灵魂、R&B、摇滚等风格的不同程度的影响，同时顺应时代适度融合流行/摇滚潮流。重抒情，特别是爱情。浪漫的、细腻的乃至是些许伤感的主题，和成人时代的舒缓氛围、动听旋律、优美和声搭配绝佳。旋律上漂亮得足够吸引人，然而又漂亮得很成人风范，谦逊稳重，不争夺注意力，也非常适合用作背景音乐。在AC电台，经典歌曲通常更受欢迎。多年来成人时代涌现了一批优秀的音乐家，包括Elton John, Billy Joel, Air Supply, Michael Bolton, Phil Cillins, Lionel Richie, Chicago, Celine Dion。
Adult contemporary music (AC) is a style of music, ranging from 1960s vocal and 1970s soft rock music to predominantly ballad-heavy music of the present day, with varying degrees of easy listening, soul, rhythm and blues, and rock influence. Adult contemporary is rather a continuation of the easy listening and soft rock style that became popular in the 1960s and 1970s with some adjustments that reflect the evolution of pop/rock music.
Adult contemporary tends to have lush, soothing and highly polished qualities where emphasis on melody and harmonies is accentuated. It is usually melodic enough to get a listener’s attention, and is inoffensive and pleasurable enough to work well as background music. Like most of pop music, its songs tend to be written in a basic format employing a verse-chorus structure.
Adult contemporary is heavy on romantic ballads which mostly use acoustic instruments (though bass guitar is usually used) such as acoustic guitars, pianos, saxophones, and sometimes an orchestral set. The electric guitars are normally faint and high-pitched. However, recent adult contemporary music may usually feature synthesizers (and other electronics, such as drum machines).
AC radio may play mainstream music, but they will exclude hip hop, dance tracks, hard rock and some forms of teen pop, as they are less popular amongst the target demographic of these radio stations, which is intended for an adult audience. The AC Radio stations will often target the 25–44 age group, the demographic that has received the most attention from advertisers since the 1960s. Many adult contemporary stations play less newer music because they also give ample airtime to hits of the past, so the de-emphasis on new songs slows the progression of the AC chart.
Over the years, AC has spawned numerous sub-genres: “hot AC”, “soft AC” (also known as “lite AC”), “urban AC”, “rhythmic AC”, and “Christian AC” (i.e., a softer type of Contemporary Christian music). Some radio stations play only “hot AC”, “soft AC”, or only one of the variety of sub-genres. Therefore, it is not usually considered a specific genre of music; it is merely an assemblage of selected tracks from musicians of many different genres.
10.网络流行 Cyber Hit¶
网络流行（Cyber Hit）是近年来的一种趋势，随着各种视频、短视频产品的火爆，音乐有了一种新的传播方式。音乐在Youtube，微博，抖音，快手上有着新的承载方式，在互联网流媒体时代，短视频碎片化的传递贴合了许多人的消费习惯，但是，我们是不是需要认真腾出一点时间来听一下歌呢？
11.独立流行 Indie Pop¶
Indie Pop起源于20世纪80年代初期的英国。你可以把Indie Pop看作是一种更有旋律、更少吵杂以及更少焦虑的Indie Rock类型，它所折射的是地下音乐柔和、唯美的一面。Indie Pop的音乐更着重于声音的融洽、音乐的编排以及歌词的创作。在从Chamber Pop华美的管弦乐编曲到Twee Pop的简单直率中，Indie Pop所包含的一切，其焦点或者说这种音乐的侧重点一如都是歌曲多于声响。
尽管Indie Pop和Indie Rock都信奉朋克的D.I.Y（Do It Yourself）精神，但是前者反对朋克的虚无主义态度以及音乐上的声音碾磨处理。
注：独立流行乐可以是一个宽泛的概念，它可以囊括一大堆具有分明特点的有着独立流行气质的音乐，比如Chamber Pop、Dream Pop、Twee Pop&C86等等，但是由于这些音乐都有着各自的特别气质，所以它们又都自成一派，因此也就有相对应的音乐风格术语来更加确切地描述它们。那么从另一个角度来看，那些不足以形成一派的独立流行乐将会呈现出一种多样化的音乐气质，此时，我们可以把这些理解为狭义上的独立流行乐。注意，即使是狭义上的独立流行乐，藉着音乐自身的多变性以及融合性，它也不可以被一种表达所能具体地确切描述。
Indie pop is a genre of alternative rock music that originated in the United Kingdom in the mid-1980s, with its roots in Scottish post-punk bands on the Postcard Records label in the early ‘80s (Josef K and Orange Juice) and the dominant UK independent band of the mid-‘80s, The Smiths. Indie pop was inspired by punk’s DIY ethic and related ideologies, and it generated a thriving fanzine, label, and club and gig circuit. Indie pop differs from indie rock to the extent that it is more melodic, less abrasive, and relatively angst-free.
The term “indie” had been used for some time to describe artists on independent labels (and the labels themselves), but the key moment in the naming of “indie pop” as a genre was the release of NME’s C86 tape in 1986. The compilation featured, among other artists, Primal Scream, The Pastels, and The Wedding Present, and “indie” quickly became shorthand for a genre whose defining conventions were identified as jangling guitars, a love of ‘60s pop, and melodic power pop song structures (the genre was initially dubbed “C86” after the tape itself).
In the mid to late ‘80s, indie pop was criticized for its associations with so-called “shambling” (a John Peel-coined description celebrating the self-conscious primitive approach of some of the music) and underachievement, but the C86 indie pop scene is now recognized as a pivotal moment for independent music in the UK, as is recognized in the subtitle of that compilation’s 2006 extended reissue: CD86: 48 Tracks from the Birth of Indie Pop. Indie pop continues to have a strong following and inspire musicians, not just in the UK but around the world, with new bands, labels and clubs devoted to the sound.
12.女子团体 Girl Group¶
起源于上世纪50年代的Girl Group通常是由三人或更多的女性成员组成的流行组合，风格上包括节奏布鲁斯、摇滚和传统流行等。这类形式的团体基本会有一个女主唱来配合背景和声。
A girl group is a popular music act featuring several young female singers who generally harmonise together.
Girl groups emerged in the late 1950s as groups of young singers teamed up with behind-the-scenes songwriters and music producers to create hit singles, often featuring glossy production values and backing by top studio musicians. Some acts had certain members taking the lead vocalist position with the other members as supporting vocalists. In later eras the girl group template would be applied to disco, contemporary R&B, and country-based formats as well as pop.
A distinction is made here with all-female bands, in which members also play instruments, though this terminology is not universally followed.
The Spice Girls and TLC are considered the best-selling girl groups of all time. Both of their sales records have surpassed any other girl group in the world and their albums (the Spice Girls’ Spice and TLC’s CrazySexyCool) are the best-selling albums of all time by a girl group.
13.男孩团体 Boy Band¶
Boy Band顾名思义是由几位男生组成的乐队。在90年代早期到新世纪中期的欧美乐坛中Boy Band一直是最受欢迎的模式，也出过不少组合。
代表组合有BACKSTREET BOYS、NEW KIDS ON THE BLOCK、BLUE、BOYZONE、WESTLIFE等组合,由于经济人的包装使得90年代后期boyband式的组合在欧美乐坛中不断涌现,所唱歌曲也形成了具有较统一风格的Boy Band式曲风,是20纪末较有影响力的一类曲风。
A boy band (or boyband) is loosely defined as a vocal group consisting of young male singers, usually in their teenage years or in their twenties at the time of formation. Being vocal groups, most boy band members do not play musical instruments, either in recording sessions or on stage, making the term somewhat of a misnomer. However, exceptions do exist. Most boy bands dance as well as sing, usually giving highly choreographed performances.
Some such bands form on their own. They can evolve out of church choral or gospel music groups, but are often created by talent managers or record producers who hold auditions. Due to this and their general commercial orientation towards a female audience of preteens, teenyboppers, or teens, the term may be used with negative connotations in music journalism. Boy bands are similar in concept to their counterparts, girl groups.
14.青少年流行 Teen Pop¶
Teen pop（青少年流行）音乐的典型特征包括自动调整声（Auto-Tune）、编排舞蹈、强调视觉上的吸引力（上镜的面孔，独特的身体素质，一尘不染的头发和名牌服装），歌词侧重于十几岁的青少年，主题都围绕着爱情/青春，在发现自己、迎接友谊时代的到来、改变、和成长过程中，无论艺术家们的年龄有多大还是重复合唱多久都与现在一般快乐的歌有关。
Teen Pop（青少年流行）是一个体裁的流行音乐，这是一个非常有争议性的词汇，一部分人认为Teen Pop的音乐只针对不到21岁的歌迷，是属于一种毫无内容而言的爱情歌曲而已而，演唱者的真正表演水准并不重要。许多说唱歌手或者一些批评者们多次在歌曲及文章里讽刺了这类音乐的无趣；另一部分人认为Teen Pop是带动美国唱片经济发展的最大原因之一。
早期的Teen Pop由后街男孩（Backstreet Boys）开创并带向了全世界。美国前总统比尔·克林顿曾在后街男孩鼎盛时期接见过这支演唱团体，并且称赞他们为美国唱片业做出的巨大贡献。而后街男孩的诞生则不仅仅是一个奇迹，它更拉开了全球男子团体及一个叫做Teen Pop的词汇。后街男孩则是最大的推动者，也是最大的受益人。
一般来说，Teenpop的音乐就是10几岁音乐家的音乐，过了这个年纪如果不有所转变，那么将会面临“过气”的窘境。小甜甜布兰妮在1998年出道至2002年走的都是Teenpop的路线，在02年之后Teenpop潮流有所锐减以及小甜甜的年龄长大，她开始尝试性感路线，03年发行转型专辑《In The Zone》。后街男孩同样如此，自从01年之后，后街男孩进入了长达4年的休整期，在05年发行的成功专辑《Never Gone》不再是Teen Pop路线，而是一个几乎“面目全非”的新风格（成人当代）。
Teen pop is a subgenre of pop music that is created, marketed and oriented towards preteens and teenagers. Teen pop copies genres and styles such as pop, dance, R&B, hip hop, country and rock. Typical characteristics of teen pop music include auto-tuned vocals, choreographed dancing, emphasis on visual appeal (photogenic faces, unique body physiques, immaculately attended hair and designer clothes), lyrics focused on teenage issues such as (sexual/emotional) love/relationships, finding yourself, friendships, coming of age, fitting in, and growing up, regardless of the artists’ age and repeated chorus lines along with a generally happy tune in the background.
15.迷幻流行 Psychedelic Pop¶
“迷幻”音乐是60年代中期的一个地下音乐现象，如同很多地下现象一样，它最终也跑到了地上，这并没有花费太长的时间——一旦“the Beatles”乐队在其1966年的专辑《Revolver》中深入钻研这种风格以后，剩下的便只是时间问题了。直接的“迷幻”音乐积极前推创作边界的地方，“迷幻流行”音乐大体上便吸收那些创新，并把它应用在简单的、朗朗上口的流行歌曲中。迷幻的效果是经由这些元素来实现——西塔琴、轻柔的吉他、磁带声效、反向弹奏的吉他，甚至“Beach Boys”乐队的和声，全都被融合进入某种致幻、但通常又不至于太变态的声景中，因为严格的歌曲结构和旋律为声景中的一切设定了一个框架。
“迷幻流行”歌曲有时是通过录音手段创作出来的，但也有诸如“Sagittarius”（其演绎的“迷幻”音乐相当明亮和具有旋律性）这样的真实乐队；作品中有着明显的来自“Beach Boys”乐队的影响，但也不会像“泡泡糖”（Bubblegum）音乐（比如“the LEmon Pipers”的）一样。
由于有着一种更强烈的“流行”内容，“迷幻流行”音乐比“迷幻”音乐有着一个略微更长的寿命，一直持续到70年代早期，这是有点奇怪的事情，甚至有更为奇怪的事情：一些“迷幻流行”音乐比通常的“迷幻”音乐更加有趣，因为前者有着古怪的、间或难以处理地对“迷幻”和“流行”传统的融合——“the Neon Philharmonic”乐队1969年的专辑《The Moth Confesses》便是绝佳的一例。
Psychedelic pop is a psychedelic musical style inspired by the sounds of psychedelic folk and psychedelic rock, but applied to a pop music setting. It reached its peak during the late 1960s, declining rapidly in the early 1970s.
16.氛围流行 Ambient Pop¶
Ambient Pop从其名字中就可以看出它来自于两个明显不同的音乐风格－当其音乐进行在传统流行乐的架构之上时，它的电子成分和氛围却显示出Ambient中的那种催眠冥想的品质。尽管Ambient Pop的音乐是很少具研磨性的，但是受到Krautrock的Lock-Groover式的旋律的影响很明显。原本Ambient Pop是在Shoegazer运动中出现的Dream Pop音乐的一个延伸，尽管从大部分看乐器仍继续定义着这种声音，但是由于其吸取了包括采样等当今的电子音乐手法使得它和前辈们明显区别开来。
Ambient Pop combines elements of the two distinct styles which lend the blissed-out genre its name – while the music possesses a shape and form common to conventional pop, its electronic textures and atmospheres mirror the hypnotic, meditative qualities of ambient. The mesmerizing lock-groove melodies of Krautrock are a clear influence as well, although ambient pop is typically much less abrasive. Essentially an extension of the dream pop that emerged in the wake of the shoegazer movement, it’s set apart from its antecedents by its absorption of contemporary electronic idioms, including sampling, although for the most part live instruments continue to define the sound.
17.阳光流行 Sunshine Pop¶
发源于60年代中期加利福尼亚的阳光流行乐，最主要风格为有着丰富伴奏的歌曲，管旋乐的合奏，以及没有间歇的欢呼三种类型，它通常受一些幻觉音乐的影响，但它的目的并不在于唤起任何在意识上已对药物依赖性减弱后的重新强烈需要；它简单的吸收了热烈而滑稽的幻觉流行的一面，合并产生成为时代的革新（尤其是Phil Spector和Beach Brian Wilson）。阳光流行通常似乎是更精致也更由于的巴罗克式流行（即不规则，奇怪的流行），尽管它也融入了民谣流行或者Brill Building流行风。阳光流行开始包括Beach Boys,Turtles,Association和爸爸妈妈乐队等；另一些乐队也在这种风格中取得成功，如Backinghams,Grass Roots和Left Banke,另一些乐队——Saggittarius,Yellow Balloon,Millennium——成为阳光流行乐疯狂的热衷追随者。
Sunshine Pop emerged in the early to mid 1960s as a more upbeat and cheerful style of Pop, with lyrical themes based largely around love. The music itself usually contains close vocal harmonies, clean production, and typical rock/pop instrumentation; instruments such as flute, harpsichord, and harp are also common in Sunshine Pop.
Well known Sunshine Pop artists include: The Association, The Turtles, The 5th Dimension, Harpers Bizarre, The Beach Boys, Lesley Gore, The Mamas & The Papas and Peter, Paul and Mary.
18.韩国抒情歌曲 Korean Ballad¶
Ballad（谣曲），又译民歌、民谣、歌谣，是一种用于吟唱或背诵的民间叙事歌谣形式，这种体裁在英国和爱尔兰诗歌中体现尤为显著。一般谣曲诗节简短，每节4行，第2、4行押韵。
一种音乐流派: 民谣,民歌;叙事歌谣;情歌;(节奏缓慢的)流行抒情歌曲
발라드는 장르가 아니라 스타일이다. 다시 말해 발라드는 외따로 떨어진 어떤 특정한 음악의 형태가 아니라 다른 장르의 음악과 결합함으로써만이 의미를 갖는, 특정한 장르의 음악이 종종 갖는 ‘분위기’를 가리키는 말이다(ex. 록 발라드, 팝 발라드, 재즈 발라드, 등등). 대중음악에서 ‘발라드 음악’이라는 말을 사용할 때, 그 음악은 주로 느린 템포와 슬픈 내용(주로 실연)을 갖고 있는 감상적인 노래를 일컫는다. 그러나 이것이 모든 장르의 음악에 일괄적으로 적용되는 것은 아니다. 이를테면 포크 음악에서 ‘발라드’는 줄거리를 가진 노래를 일컫는 말이며, 재즈의 경우에는 ‘노래’의 형식을 갖춘 짧고 서정적인 연주곡을 가리키는 말이다. 이러한 음악들을 통해 발라드는 일반적으로 청자들을 감상적인 상태에 빠뜨리는 것을 목적으로 삼는다.
19.台湾民歌运动 Taiwan Folk Scene¶
台湾民歌运动，也称校园民歌。在1970年代之前，台湾年轻人喜爱的音乐主流为西洋音乐。1972年，当时美国总统尼克松访问中华人民共和国，触发了部分“用自己的语言，创作自己的歌曲”的想法，并喊出“唱自己的歌”的口号。1970年代今是有限公司与歌林公司音乐出版部合作制播音乐节目《金曲奖》，由中国电视公司播出，主旨是鼓励优良歌曲创作；1981年至1983 年，天鼎传播公司制播歌词歌曲创作比赛节目《大学城》，由台湾电视公司播出；这两个节目带动了台湾的校园民歌风潮。
1975年，杨弦和胡德夫在台北市中山堂演唱以余光中的《乡愁四韵》等现代诗谱曲的作品，被视为是台湾现代民歌发展的开始。1976年，在淡江大学的一场民歌演唱会上，李双泽在台上抛掉可乐瓶，拿起吉他开始唱起了自己的歌，改写自蒋勋的“少年中国”，于是揭开校园民歌序幕的变点，也正式在全国校园里袭卷起一片民歌运动。当时著名的民歌手尚有陈明韶、包美圣、黄大城、赵树海、李建复、齐豫、叶佳修、王海玲、王梦麟、苏来与杨祖珺等人。《龙的传人》是台湾校园民歌的代表性作品，作者为侯德健，首唱者为李建复。
除了校园演唱之外，广播人陶晓清也是台湾民歌发展的重要推手。她开放自己的节目，让年轻的音乐创作者有一个发表的平台。1977年，陶女士邀请朱介英、吴统雄、吴楚楚、杨祖珺、韩正皓、胡德夫、陈屏、杨弦等八位民歌手灌录了唱片《我们的歌》，大大带动了校园民歌风潮。 之后，新格唱片推出金韵奖，海山唱片创办民谣风；这两项民歌创作比赛，将民歌带向商业化。这些在民歌奖项中脱颖而出的创作者，此外电视歌唱比赛节目如五灯奖、六灯奖也推波助澜的作用，为以后的台湾唱片市场打下基础。
民歌运动早期歌咏山水、青春，旋律清新自然、歌词朴素，并有浓厚的中国风和各大学及大专院校校园气味，包括中国景物怀咏、古典文学意识等等。早期有李双泽、叶佳修、苏来、李建复、刘蓝溪、邰肇玫、包美圣、施碧梧、齐豫、陈明韶、赵树海等歌手，后期的、潘越云、郑怡、林佳蓉、黄韵玲、许景淳、施孝荣、王梦麟、银霞、王海玲、木吉他合唱团等。
作曲作词者则有靳铁章、毕心一、毕奂一、林建助、许翰君、陈云山、黄大城、王新莲、吴楚楚等民歌主力。
1970年代后期，台湾社会运动风起云涌，人心鼓动，在侯德建、罗大佑、李泰祥的介入，民歌运动有了质的跃进，与初期的淳朴无瑕多了人文关怀和社会责任。此时大量的歌词是知名作家的诗作，如三毛、余光中、席慕容 、蒋勋等人的作品，而随着侯德建、罗大佑、李泰祥、李寿全的作品的流传，民歌运动达到前所未有的高度。
历史上台湾民歌主题根据分析，可以分为以下几类：
怀古与历史
龙的传人（李建复演唱）、唐山子民（黄大城演唱）、中华之爱（施孝荣演唱）、易水寒（施孝荣演唱）、古国今昔（王梦麟演唱）、侠客（施孝荣演唱）、我心似清泉（王海玲演唱）、送你一把泥土（费玉清演唱）、赤壁赋（施孝荣演唱，陈云山词）
乡愁
乡愁四韵（余光中作品）、归去来兮（侯德建作品，李建复演唱）、归人沙城（施孝荣演唱）、出塞曲（蔡琴演唱）、芦歌（李建复演唱）
中国诗词（含新诗）
钗头凤（包美圣演唱，宋陆游词）、雨霖铃（包美圣演唱，宋朝柳永词）、秘摩崖月夜（包美圣演唱，胡适新诗）、雪花的快乐（王海玲演唱，徐志摩新诗）、再别康桥（范广惠演唱，徐志摩新诗）、浮生千山路（潘越云演唱，陈幸蕙集诗词）、歌(罗大佑演唱，徐志摩译自英国女诗人 Christina Georgina Rossetti的短诗)。
文化经验
庙会（王梦麟演唱）、月琴（郑怡演唱）、今山古道（黄大城演唱）、乡间小路（齐豫演唱）、晚霞满渔船
台湾常民生活
雨中即景（赵树海、王梦麟、黄大城演唱）、酒干倘卖无（苏芮演唱）、外婆的澎湖湾（潘安邦演唱）、乡居记趣（叶佳修演唱）、正月调（简上仁演唱）、鹿港小镇（罗大佑演唱）、拼宵夜（木吉他合唱团）
流浪、告别与回归
橄榄树（李泰祥作品，齐豫演唱）、浮云游子（陈明韶演唱）、旷野寄情（李建复演唱）、就要挥别（杨芳仪、许晓菁演唱）、匆匆的走、露莎兰（苏格兰民谣，杨芳仪演唱）、告别忧伤（蔡蓝钦演唱）
遗忘
被遗忘的时光（蔡琴演唱，被用为香港电影无间道主题曲）、微风往事（郑怡演唱）、忘川（李建复演唱）、让我们看云去（陈明韶演唱）
童年童稚
捉泥鳅（侯德建作品、侯德建演唱）、童年（罗大佑作品、张艾嘉演唱）、老师斯卡也达（杨芳仪演唱）
自然咏叹与怀想
渔唱（黄大城演唱）、秋蝉（杨芳仪、徐晓菁演唱）、小贝壳（邰肇玫演唱）、小草（王梦麟演唱）、听泉（杨芳仪、徐晓菁演唱）、守住这一片阳光（林佳蓉 (台湾)、许淑绢演唱）、七月凉山、露莎兰（苏格兰民谣，杨芳仪、许晓菁演唱）、蜗牛与黄鹂鸟（银霞演唱）、夕阳伴我归（陈淑桦演唱）、兰花草（银霞演唱）、微光中的歌吟（郑怡演唱）
爱情
你那好冷的小手（银霞演唱）、小秘密（银霞演唱）、风告诉我（陈明韶演唱）、如果（施碧梧演唱）、神话（罗吉镇、李碧华演唱）、偶然（卓秀琴演唱）、木棉道（王梦麟演唱）、拜访春天（施孝荣演唱）、小茉莉（包美圣演唱）、忘了我是谁（王海玲演唱）、阿美阿美（王梦麟演唱）、离开你走近你（王梦麟演唱）、风中的往事（王新莲演唱）、生命中的阳光（木吉他合唱团）、欢颜、走在雨中(齐豫演唱)、阳光和小雨（潘安邦演唱）、守着阳光守着你、天天天蓝（潘越云演唱）、忘了我是谁(王海玲演唱)、恰似你的温柔（蔡琴演唱）、野百合也有春天(潘越云演唱)、梦的衣裳（李碧华演唱）、请拥抱我（郑人文演唱）、第一支舞、我深爱过（周秉钧、杨海薇演唱）、夜玫瑰（以色列民谣，杨芳仪、杨芳青演唱）、想你
友情、亲情、救国团团康歌曲
看我听我（包美圣演唱）、歌声满行囊（杨芳仪、徐晓菁演唱）、让我们看云去（陈明韶演唱）、神采飞扬（涂佩岑、詹育章演唱）、偶然（卓秀琴演唱）、走向我走向你（包美圣演唱）、那一盆火（包美圣演唱）、欢乐假期（王梦麟演唱）、爱的真谛
励志、和平
小草（王梦麟演唱）、祈祷（翁倩玉演唱）
20.无伴奏合唱 A cappella¶
无伴奏合唱(义大利语：a cappella；中文音译：阿卡贝拉)是一种无伴奏的音乐形式，仅由人声来哼唱出旋律与节奏，有别于文艺复兴时期的交响乐以及巴洛克时期的协奏风格，层次感极强，常见的音乐风格為15和16世纪的教堂音乐，亦有无伴奏乐团利用这种形式来重新编排流行音乐。在外国比较著名的无伴奏团体有国王合唱团、史温格歌手、Take 6、真实之声以及日本的The Gospellers。这种音乐风格的小组近年也流行于香港，台湾和日本。
A cappella (Italian for “in the manner of the church” or “in the manner of the chapel”,also see gospel music and choir) music is specifically solo or group singing without instrumental sound, or a piece intended to be performed in this way. It contrasts with cantata, which is accompanied singing. A cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato style. In the 19th century a renewed interest in Renaissance polyphony coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists led to the term coming to mean unaccompanied vocal music.
21.噪音流行 Noise Pop¶
作为另类/独立摇滚的一个分支，Noise Pop顾名思义就是有一些吉他回馈、音调不谐和声音磨损包装风格的流行音乐。它占据了介于Bubblegum（泡泡糖摇滚舞曲）和Avant-Garde（前卫音乐）的中点，是传统流行乐创作手法和略富攻击性的白色噪音（White Noise：用以掩盖令人心烦的杂音）的碰撞结果。
当Noise Pop的旋律飘忽于涡旋吉他所营造的声场中时，其音乐经常会给人一种朦胧、麻醉和催眠的感觉，当然Noise Pop可以是欢快活泼的，也可以是棱角分明、富有挑战性的。
最早期的Noise Pop植根于the Velvet Underground的诸如回馈、失真等音乐实验，然而更被公众认同的Noise Pop起源乐队是美国另类摇滚乐队Sonic Youth和Dinosaur Jr.，是他们将摇滚乐构架与粗重的吉他失真融合在了一起。第一支正规意义上的Noise Pop乐队则是the Jesus & Mary Chain，它以1986年的首张唱片Psychocandy崛起于地下，几乎同一时期还诞生了可以说是最多产和最具生命力的Noise Pop乐队Yo La Tengo，其首张专辑也于此时推出。
在80年代末，Noise Pop引发了英伦的Shoegazing（自赏）运动，自赏音乐更加内省，其旋律更加脆弱。在90年代，Noise Pop仍继续对Indie Rock产生着重要的影响。
Noise Pop is a vague term used to describe a wide range of bands who use the feedback and distortion of Noise in a Pop context.
Although the two often overlap each other, Noise Pop is generally considered more accessible than Noise Rock. The genre commonly features more melodic singing and vocal-based harmonies. In keeping with the loose theme of accessibilty, the structures and presentation of the songs are often less experimental.
The genre came into its own in the mid-80s following the Post-Punk boom, with bands like The Jesus and Mary Chain, My Bloody Valentine, Pixies, and Pavement defining its sound.
22.都市流行 City Pop¶
City Pop是一种带有轻松柔和质感音乐流派。主体为Smooth Jazz和AOR，还混有Jazz Fusion, Jazz Funk以及Boogie等的元素。作为一种“情绪”或者“生活方式”而存在的流派，City Pop带有上个世纪日本泡沫经济时代的色彩，因而在上个世纪八十年代吸引了一大批日本本土乃至海外的忠实拥趸。主题上来说，City Pop所展现的是日本在泡沫经济下都市奢华精致的生活层面。从上世纪八十年代起涌现出大批的优秀City Pop音乐人。例如山下達郎，大泷詠一，浜田金吾，安部恭弘，杉真理，山本達久，稲垣潤一，角松敏生，小田和正等等。
23.噪响流行 Jangle Pop¶
Jangle Pop是80年代中期的一次美国后朋克音乐运动，它的主要标志是其音乐上回归于60年代的和谐吉他和流行旋律。R.E.M.的到来所激起的瞬间火花使得Jangle Pop也具有民谣摇滚的色彩，但是从根本上说它仍是一种基于流行乐的音乐类型。Jangle Pop不是主流音乐－–乐队的歌词经常是故意地含糊其意、声响未经润色和具非职业性的特点，也就是说这种音乐具有do-it-yourself精神下的所有特点。
Jangle pop在1984至1987年间成为一支主要音乐力量－不仅是因为有着如R.E.M.和Let’s Active这样的南方流行乐队、也不仅是因为有着西海岸颇具迷幻风格的Paisley Underground运动中的诸多乐队，而且还因为有着遍布中西部的大量乐队。80年代末，这种声音不再受到欢迎，主要也是因为人们听到了太多的没有各自特色的类似音乐。尽管R.E.M.努力过渡到主流－事实上，这支乐队成为了世界上最流行的乐队－其它很多的乐队（包括Uncle Green和Miracle Legion）在90年代早期如同人间蒸发般的消失解散。
Jangle Pop is a Rock music sub-genre with roots in the Post-Punk explosion of the late 1970s and early 1980s. Influenced by 1960s Folk Rock artists like The Byrds as well as the Power Pop of groups like Big Star, Jangle Pop is characterized for merging the sound of chiming, “jangly” guitars and Pop-oriented melodies with a somewhat rawer musical approach and production values. The genre found its greatest critical and mainstream popularity in the mid-1980s, with bands like The Smiths, R.E.M. and Felt.
The Californian Paisley Underground movement, which emerged during the mid-1980s, is considered a derivation of this style, while also incorporating Psychedelic Rock influences.
24.前卫流行 Progressive Pop¶
Progressive Pop是前卫摇滚和流行乐之间衔接的桥梁。简而言之，将前卫摇滚的复杂音乐编排及结构与流行乐中简明易变通的旋律相结合，创造出一种有别于两者的音乐。
Progressive pop is a genre that bridges the musical elements of Progressive Rock and Pop to bring them together. In short, the complexity of arrangements and musical structure found in the former are combined with the catchiness, oftentimes simple melodies, and accessibility of the latter, to bring a sound distinct from both. Long song times (relative to most pop music) and changing themes are also a common feature.
Early influences and examples of progressive pop can be seen in The Beach Boys’ “Heroes and Villains” and The Moody Blues’ In Search of the Lost Chord. The 1970s see the appearance of Pop/Rock influenced artists such as The Alan Parsons Project and Supertramp (Breakfast in America being a prime example in particular). Later examples include artists such as The Fiery Furnaces, Make a Rising, Dirty Projectors and Super Furry Animals.
25.艺术流行 Art Pop¶
艺术流行将流行音乐的旋律与非传统的音乐架构或者实验元素结合起来，是一种比较折衷的手法。
Art pop is a genre that blends the melodies of Pop music with unconventional or experimental elements such as the use of progressive structures, unusual time signatures, abrupt tempo changes, vocal experimentation (like the search of extremely high-pitched tones, elongation of vocals, or the use of vocal techniques like Throat Singing), a symphonic, orchestral and theatrical performance, or the frequent addition of diverse Electronic elements like Trip Hop or Glitch. Important artists of the genre are Björk and Kate Bush.
26.传统流行 Traditional Pop¶
“传统流行”音乐指的是后“大乐队”（Big Band）和前“摇滚”（Rock）乐时期的“流行”音乐。
“传统流行”音乐的全部歌曲均是由专业的歌曲作者创作，由一名歌手在一支管弦乐队或小型“爵士”（Jazz）乐队的伴奏下进行演绎。在“传统流行”音乐中，歌曲是关键——尽管歌手是音乐的焦点，但演唱的风格并不像“爵士”乐演唱那样依赖于人声上的即兴。
“传统流行”音乐也可以涉及到为歌手提供器乐设置的管弦乐队的领班和编曲人。
Vocal jazz-oriented pop music highly popular in Western (and particularly American) cultures as the dominant commercial music style in the pre-rock & roll era. Mainly, traditional pop’s repertoire is based on songs written by professional songwriters (standards) and performed by vocalists mostly accompanied by an orchestra or big band.
27.童稚流行 Twee Pop¶
Twee Pop可能最适合被比作泡泡糖独立摇滚乐－它的音乐有着DIY的精神，但是又蔑视朋克乐的传统惯例，然而它有着一种自摇滚乐诞生之日起就未曾予听到的直率天真的特质。
Twee Pop的产生要追溯到1986年，当年英国周刊NME出版了一盘被称为C-86的磁带，这盘磁带中包括了如下的乐队：McCarthy、The Wedding Present、Primal Scream、The Pastels和the Bodines，这些乐队都受到了the Smiths乐队的噪音吉他流行乐、the Ramones的三和弦的影响，在音乐情感上则吸收了女子组合中的那种怀旧而甜蜜的忧愁。C-86后来又被英国音乐媒体称为“Anorak Pop”和“Shambling”，它本身作为一场音乐运动是短暂的，但是它影响了后来的大洋两岸的大批乐队，这些乐队专注于音乐上的直率、真诚，并且也取得了不错的成绩，这也使得Twee Pop成为了世界性的音乐标签，此时这种音乐的特点包括：男女和声、寄情相思的歌词、颇具感染力的旋律和简单不矫揉造作的演奏。
在英国，Twee Pop的中心许多年以来直到现今仍是具有传奇色彩的Sarah厂牌，旗下的乐队包括the Field Mice、Heavenly和the Orchids；在Sarah被转让后，它的创始人又建立了新的厂牌Shinkansen。在美国，Twee Pop集中在华盛顿区的奥林匹亚，那里是K厂牌的所在地，这个厂牌是由Beat Happening乐队的Calvin Johnson所拥有。
注：Twee Pop的直率天真的特质集中会体现在作品中的人声，其次才会反映到器乐的应用。很多时候，典型的Twee Pop音乐作品就是简单的略显噪色的吉它再配上娇滴可爱的人声。当以上两者都不太具备或突出之时，那么使成为Twee Pop音乐的因素则会是它的编曲了。
Twee Pop, as a genre, is more or less applied retroactively to bands part of the Indie Pop movement of the 80s and early 90s. Used at first in an almost derogatory fashion, the word “twee”, meaning overly quaint or cute, was applied by commentators who saw a “revolt into childhood” demonstrated by its practitioners. Musically, it can be characterized by jangling guitars with a distinct Post-Punk background and 60s Pop influence, similarly with other Indie Pop acts, but also with a more noticeable theme of innocent and amorous subject matter. UK label Sarah Records and US label K Records have exerted the most influence upon the genre. Notable bands include Beat Happening, The Field Mice, Tiger Trap, Heavenly, and Belle and Sebastian.
28.闽南语流行 Bân-lâm-gú Pop¶
闽南语流行音乐（英文：Taiwanese pop/T-pop、Hokkien Pop），属中文流行音乐的其中一个分支，泛指使用台语演唱的流行歌曲，主要流行于台湾、福建等地。早年曲风多为沉闷，如今已渐从暗转明，也加入现今流行元素。
至于台湾第一首流行歌曲，是1929年的《乌猫行进曲》，然而在之前只有民谣传唱于大街小巷。但后来广为人知的是1932年由纯纯所演唱的〈桃花泣血记〉。当时的流行女歌手则只有纯纯、爱爱。而古伦美亚唱片是台湾第一间发行台语流行音乐的唱片公司。
29.室内流行 Chamber Pop¶
Chamber Pop是指典雅、高贵、精致的一种流行乐，它有一定的古典音乐感觉。Chamber Pop一词来自古典音乐，中文叫”室内乐”，是种小组弦乐演奏曲式，气氛高雅。Chamber Pop于九十年代兴起，是对当时的LO-FI及GRUNGE的一种反应，强调优美的旋律、精致的配乐、干净的录音，每每多用弦乐、管乐制造巴洛克时代的音乐感觉。外国代表乐队有THE DIVINE COMEDY，RIALTO，ERIC MATTHEWS及BALLE & SEBASTIAN等，香港则有黄耀明、部分的彭羚、部分的MULTIPLEX等等。
Chamber Pop的崛起很大程度上是对1990年代另类音乐群落中的Lo-Fi美学的统治地位所作的回应，它从包括Brian Wilson、Burt Bacharach以及Lee Hazlewood的豪华管弦乐演奏作品中吸取养分。Chamber Pop部分灵感来自于驰放音乐，但是完全没有讽刺和庸俗在里面，它给予音乐的旋律和创作以一种全新的关注，如巴洛克风格的音乐层次、有着丰富质地的管弦和号角的华丽歌曲。Chamber Pop实际上是一直否认Grunge、Electronica和其它同时期的音乐运动的存在。
注：可以说室内流行乐是独立流行乐中极其讲求编曲和旋律的一支。在它的音乐中，艺人的编曲创作经常会用到各种古典以及管弦器乐（如各种提琴、钢琴、萨克斯、小号等等），因此有的室内流行乐作品在音乐的编曲上，你可以体会它所具有的复杂性和层叠性，另外，由于其它一些音乐风格元素的引用（比如轻柔的电子元素）更加使得此种音乐的乐感十分地丰富；这种音乐的旋律的确有着一种高雅的气质，有时，甚至是人声都是具有古典或者美声唱腔的。
Chamber Pop is a term commonly used in reference to Indie Pop artists such as Antony and the Johnsons, Tindersticks, Migala and Belle and Sebastian, who are strongly influenced by the Baroque Pop artists of the 1960s.
30.当代基督 CCM / Contemporary Christian Music¶
当代基督教音乐（英语：Contemporary Christian music，简称CCM，又称当代福音音乐、现代基督教音乐、现代福音音乐、流行基督教音乐和 流行福音音乐，中性名字为励志音乐），是一种音乐形式，歌词重点在于抒发对于基督教信仰的情感。
当代基督教音乐通常用以代表来自美国田纳西州纳许维尔的摇滚、流行和福音音乐。
现今，当代基督教音乐较为华人所熟知的的歌手或乐队有阿瓦隆乐队 （Avalon）、艾米·格兰特（Amy Grant）、巴洛女孩乐队、铸冠乐队、克里斯·汤姆林（Chris Tomlin）、城市丰收教会、戴夫·巴恩斯（Dave Barnes）、大卫克劳德乐队、癫狂?乐队（Delirious?）、山丘之歌教会、泥土壶子乐队、杰里米·坎普(Jeremy Thomas Camp)、约书亚乐队（Joshuaband）、怜悯我乐队、迈克尔·W·史密斯（Michael W. Smith）、娜塔莉·格兰特（Natalie Grant）、新闻男孩乐队、星球震动者乐队、丽蓓嘉·圣·詹姆斯（Rebecca St. James）、斯蒂夫·科蒂斯·查普曼（Steven Curtis Chapman）、第三天乐队、托比麦克等等。许多乐队都没有正式的中文译名，在此大都暂译列出。
较著名的当代基督教音乐排行如Billboard杂志的Top Christian Albums和Hot Christian Songs。而在iTunes Store内，则以分类“Christian & Gospel”代表。相关奖项有福音音乐协会圣鸽奖。
此外，还有很多的流行音乐也抒发了对于基督教信仰的情感，但那些作品通常并没有认定为当代基督教音乐。例如很多的地下和不健康的歌手或组合虽然也发表了抒发对于基督徒题材的作品，但是并不属于当代基督教音乐。同时，一些主流的音乐歌手或组合有时候也会发表基督徒题材的作品，例如：鲍勃·迪伦和U2乐队，亦不是当代基督教音乐。
Contemporary Christian music (or CCM—and occasionally “inspirational music”) is a genre of modern popular music which is lyrically focused on matters concerned with the Christian faith. Today, the term is typically used to refer to pop, rock, or praise & worship styles. Artists representing the genre include MercyMe, Casting Crowns, Jeremy Camp, Third Day, Matthew West, tobyMac, Chris Tomlin, Brandon Heath and Aaron Shust. Historically, Amy Grant, Jars of Clay, dc Talk, Steven Curtis Chapman, Newsboys and Michael W. Smith have also belonged to this genre.
The industry is represented by the Billboard Christian Albums, Hot Christian Songs Hot Christian AC (Adult Contemporary), Christian CHR, Soft AC/Inspirational, and Christian Digital Songs charts. On the iTunes Store, the genre is represented as part of the Christian and gospel genre.
Alternative sub-genres such as Christian punk, Christian hardcore, Christian metal and Christian hip hop, although not normally considered CCM, can also come under the genre’s umbrella. Contemporary worship music is also incorporated in modern CCM. Contemporary worship is both recorded and performed during church services.
Several mainstream artists, such as The Byrds, Bob Dylan, Van Morrison, Elvis Presley, Creed, Lifehouse and U2, have dealt with Christian themes in their music, yet are not part of the CCM industry.
31.文雅流行 Sophisti Pop¶
“文雅流行”是一种顺滑的、具有“爵士”（Jazz）味道的主流“流行／摇滚”（Pop/Rock）音乐，出现于80年代中期。
除“爵士”元素以外，很多“文雅流行”艺人还在其音乐中融入了“流行灵魂”（Pop-Soul）音乐元素，但通常对音乐编配进行润饰的合成器表明了“文雅流行”音乐是80年代的一个产物。
通过其花哨的制作与柔和、温文尔雅的感觉，“文雅流行”音乐符合了“成人当代”（Adult Contemporary）和“静谧风暴”（Quiet Storm）音乐电台节目的口味，但它从未成为一种广泛流行的趋势，并且截至到90年代伊始，已很大程度上消失了。
一些最著名的“文雅流行”艺人包括了：“Simply Red”、“Sade”、“the Style Council”；前“电子”（Electronic）风格的“Everything But the Girl”、“Basia”、“Swing Out Sister”和“Prefab Sprout”。
Sophisti-pop was a sub-genre of pop that flourished in the UK between the mid-1980s and early 1990s, incorporating elements of soft rock, jazz, new wave, and blue-eyed soul. The genre made extensive use of electronic keyboards, synthesizers, and polished arrangements, particularly horn sections.
Stylus suggested that acts were influenced by the work of Roxy Music and Bryan Ferry’s solo work. According to Allmusic, major artists included Sade, The Style Council, Basia, Swing Out Sister, Prefab Sprout, and the early work of Everything but the Girl.
32.凯尔特流行 Celtic Pop¶
凯尔特流行（Celtic Pop）相对于传统的凯尔特音乐有很多的相似之处，美国和英国的乡村流行就利用这点来模仿—虽然悦耳的音调或是乐器在跟随流行习俗并且很少误解传统形式的音乐核心上明显的被可信的文章影响。这种风格在很大程度上开发于80年代，沿袭了在70年代复苏的传统爱尔兰民谣，这些民谣随着时间的流逝，最初创立的坚定玩民谣的表演者开始在其曲风中混合了摇滚和流行的元素（尽管顶级的摇滚乐手像the Pogues并没有适应这种类型）。当新浪潮乐迷开始在一些死板的凯尔特音乐中发掘缥缈的元素，一些凯尔特流行也开始适应这种变化，除了标准基于声学的乐器外还融入了电子合成器（但不是和凯尔特溶解的风格很相似）。Capercaillie 和Clannad是玩这种风格中最重要的两支乐队。
Celtic Pop usually compares to traditional Celtic music in much the same way American and British folk-pop draws upon its counterparts – while the melodies (and perhaps instrumentation) are unmistakably influenced by the authentic article, at its core the music follows pop conventions and would rarely be mistaken for the traditional form. The style largely developed in the ‘80s, following a revival of traditional Irish folk during the ‘70s which, over time, found performers with strong folk roots gradually beginning to mix elements of rock and pop into their original compositions (although predominantly rock artists like the Pogues don’t fit the description). As new age music fans began to discover the ethereal, haunting properties of certain strains of Celtic music, some Celtic pop grew to encompass those tendencies as well, incorporating synthesizers in addition to standard acoustic-based instrumentation (but not quite to the same degree as Celtic fusion artists). Capercaillie and Clannad were two of the most important bands performing in the style.
33.致幻流行 Hypnagogic Pop¶
Hypnagogic Pop可以说是美国新迷幻运动的一个分支，以Not Not Fun Records、New Age Tapes等厂牌为代表。
David Keenan曾在2009年8月刊的《Wire》杂志中详细介绍过这种风格。
Coined by David Keenan in the August 2009 issue of the Wire magazine, hypnagogic pop is a broad term covering a constellation of artists that, while having many different “styles”, have a similar music making approach: (sometimes extremely) low fidelity production (that is intentional in a different way than that of Lo-Fi Indie) filtering, more often than not, reminiscences of pop culture in various degrees (ranging from transparent, blatant pastiches to nearly abstract filtering, reverbing, often also including Plunderphonics technique) and in different forms (from free-form, even cassette-side-long jams to almost complete copies of pop format, like in the case of Ariel Pink’s Haunted Graffiti).
Most often, hypnagogic pop use as starting point 1970s/1980s Pop/Rock, but genres as diverse as Exotica, House, Trip Hop etc. have been used as source. Many of the early artists associated with hypnagogic pop (including James Ferraro) actually belong to a specific American Neo-Psychedelia underground scene, centered around cassette labels such as Not Not Fun Records or New Age Tapes, that can be more often than not simply described with other terms, such as Drone, Noise or Progressive Electronic. However, even these artists have become a lot more transparent and the usage of the term hypnagogic pop has become increasingly relevant.
Even so, it is often confused with Chillwave. Some early chillwave artists, such as Nite Jewel, are borderline cases indeed, but, in time, chillwave has established itself as a full-blown niche with a specific sound, using lo-fi to a much smaller degree than hypnagogic pop, more conventional and accessible song formats (followed with more acclaim, as hypnagogic pop artists are often discarded as being too abrasive), as well as having its own themes and stereotypical sounds. Same notes apply almost entirely to other arguable offshoots, such as Witch House.
34.法国流行 French Pop¶
法国流行是以法语演绎的一种流行音乐，常见于法国、比利时、魁北克等法语地区的歌手。
French pop music is the pop music sung in the French language. It is usually performed by singers from France, Belgium, Quebec, or any of the other francophone areas of the world. The target audience is the francophone market (primarily France), which is considerably smaller and largely independent from the mainstream anglophone market.
35.德国流行 German Pop¶
对应法国流行，为了区别于欧美流行而单独划分出来的分类，主要指用德语演唱流行歌曲的德国乐队、团体或者个人创作者，也包含其它瑞士、奥地利、比利时等国家的德语系艺人；代表艺人有Die Ärzte、Silbermond、Wir Sind Helden、Nena、Die Fantastischen Vier 等等，将德语演绎出了一种独特的温柔。
用德语演绎并不会妨碍优秀的乐队获得成功且在世界范围内获得好评，像Trio, Tokio Hotel and Rammstein就是很好的例子；Nena乐队以德语演唱的单曲“99 Luftballons”更是取得了很大的成绩。
The corresponding French pop, in order to distinguish it from European and American pop and carved out a separate classification, mainly referring to German singing pop songs of the German band, group or individual creators, but also includes other German-speaking artists Switzerland, Austria, Belgium and other countries; German pop on behalf of artists have Die Ärzte、Silbermond、Wir Sind Helden、Nena、Die Fantastischen Vier, and so on, the German interpretation of a unique gentle.
Performing in German need not be a barrier to international chart success – as shown by acts like Trio, Tokio Hotel and Rammstein. Nena for example scored a huge hit singing “99 Luftballons” in German.
36.意大利流行 Italian Pop¶
在1960年代和70年代，意大利流行音乐通过融合拉丁美洲和盎格鲁的音乐传统而发生了变化，尤其是巴西的bossa nova和美国和英国的摇滚。同一时期，意大利电影业出现了多元化，Cinecittà的电影中包括Ennio Morricone，Armando Trovaioli和Piero Umiliani等作曲家的复杂乐谱。电影音乐在70年代仍然很流行，然后在1990年代复兴。
从1980年代开始，流行音乐变得更加多样化，并且更加符合国际声音。意大利“ House music”乐队“ Black Box”的首支单曲“ Ride on Time”在国际上很流行，在许多国家中排名前10位，在英国排名第一，这是1989年英国销量最高的单曲。Zucchero是意大利的佼佼者摇滚音乐家，还有卢西亚诺·利加布（Luciano Ligabue）和瓦斯科·罗西（Vasco Rossi）。乔瓦诺蒂（Jovanotti）是一位广泛流行的歌手，将舞蹈音乐元素与意大利流行音乐和说唱音乐融合在一起。其他著名的摇滚乐队包括Litfiba。
在2000年代舞蹈音乐团体DB Boulevard和歌手Moony的合作中，他们的歌曲“ Point of View”在2001年英国单曲榜上排名第三。这首歌的视频伴随着一个动画的纸板女人，她驾驶纸板车穿越纸板城。这首歌赢得了DB Boulevard的殊荣，成为第一个获得MTV欧洲音乐奖提名的意大利音乐团体。
During the 1960s and 70s, Italian popular music changed by incorporating Latin American and Anglo musical traditions, especially Brazilian bossa nova and American and British rock and roll. The same period saw diversification in the cinema of Italy, and Cinecittà films included complex scores by composers including Ennio Morricone, Armando Trovaioli and Piero Umiliani. The film music remained popular in the 70s, and then underwent a revival in the 1990s.
Beginning in the 1980s, pop grew more heterogeneous and more in line with international sounds. Italian “House music” band “Black Box” first single “Ride on Time” was an international hit, making Top 10 in many countries and No. 1 in the UK, the UK’s best-selling single of 1989. Zucchero is a leading Italian rock musician along with Luciano Ligabue and Vasco Rossi. Jovanotti is a widely popular singer mixing elements of dance music with Italian popular music and rap. Other prominent rock bands include Litfiba.
In the 2000s Dance music group DB Boulevard with vocalist Moony, charted at number 3 on the UK Singles Chart In 2001, their song “Point of View”. The video accompanying of the song featured a computer animated cardboard woman, driving a cardboard car, through a cardboard city. The song earned DB Boulevard the distinction of being the first Italian music group to be nominated in the MTV Europe Music Awards.
37.人声合唱团 Vocal Group¶
人声合唱团根基于预录时代的游吟曲风和前理发店派四重奏的一种风格，证明从20世纪20年代和50年代成为一种兼具流行性和艺术感的艺术风格。此风格在二战期间因为安德鲁斯姐妹的巨大成功而盛行。
A style with deep roots in the pre-recorded era of minstrelsy and barber-shop quartets, Harmony Vocal Group proved a popular, artistic style of music from the 1920s well into the ‘50s. Excellent close-harmony units like the Mills Brothers and the Boswell Sisters started the craze in the early ‘30s, though with regards to popularity, vocal groups really took off during World War II with the overwhelming success of the Andrews Sisters. During the early ‘50s, hundreds of harmony vocal groups recorded, paced by hit-makers like the McGuire Sisters, the Ames Brothers, the Four Lads, and the Hi-Lo’s. The rise of rock & roll obviously curtailed the movement, though nostalgia seekers certainly had many shows and recordings to choose from during the 1960s and ‘70s.
38.非洲流行 Afro-Pop¶
非洲流行乐，简称“Afropop”，通常是指20世纪下半叶，尤其是在1957加纳从大英帝国分离后独立的那个时代，非洲南撒哈拉沙漠地区普遍形成的融合了多种流行元素的音乐。非洲流行乐涵盖广泛，从20世纪5、 60年代，温和的棕榈酒音乐、强劲的爵士舞曲和南非爵士乐，到7、80年代活跃的吉他流行乐以及现在的非洲本土嘻哈。
随后，一些具有影响力的经久不衰的非洲嘻哈风格逐渐凸显。在50年代的非洲国际伦巴热潮期间，当地人接受了从塞内加尔到刚果的乐队带来的非洲—古巴（Afro-Cuban）乐。在七十年代，起源于刚果（那时叫扎伊尔）并从刚果伦巴演化而来的被称为soukous的狂热的吉他伴奏席卷了整个非洲大陆。在七十年代后期和八十年代，充满了泛非振兴和鲍勃马利1980年在津巴布韦首都哈拉雷巡回演出的音乐内容推动了牙买加雷鬼音乐海啸般的席卷非洲。在近几十年中，rap歌手在非洲各地如雨后春笋般的涌现，在塞内加尔，坦桑尼亚和南非地区嘻哈演出随处可见。
长期以来，非洲的音乐也有其自身的造诣。像南非，马里，塞内加尔，佛得角，津巴布韦和尼日利亚这些举办了具有震撼力及风格变幻的音乐节的国家，它们的音乐从不固步自封，而且只把最热门的音乐唱给国人听。当然，其中还包括刚果，非洲流行音乐的真正巨头，长期的内战已迫使该国最大的许多艺术家移居国外。这些移居国外的天才艺术家们使欧洲（特别是法国和比利时）成为非洲音乐得以衍生的温床，并用具有感染力的非洲流行音乐席卷了曾经占领过非洲的殖民国家。
Afro-Pop is a catch-all term encompassing the rich variety of contemporary African music styles – typically urban, electric dance music. As each of Africa’s 54 countries lays claim to dozens of distinct languages and musical traditions, Afro-Pop is a blanket description of the continent’s many diverse styles, from Algerian rai to Senegalese mbalax to East African taarab.
39.弗拉明戈流行 Flamenco Pop¶
弗拉明戈流行Flamenco Pop最初开发于1960年代中期，将palos Flamencos（佛拉明柯舞曲的子类别）和Copla合并成生动活泼的流行音乐（尤其是Yé-Yé）。它受到Rumba Flamenca的强烈影响，但Flamenco Pop不是帕洛弗拉门戈，被认为是“ pop aflamencado”，带有一些弗拉门戈泛音的流行，例如歌唱风格和节奏。
自1990年代后期以来，弗拉门戈流行音乐的新表演通常被称为“弗拉门基托”，这种风格也经常出现民谣和中速节奏，并且具有更多的当代影响力，例如舞蹈-流行音乐甚至雷鬼舞。评论家以其表面和陈词滥调的“轻”弗拉门戈元素而忽略了它。尽管如此，它在年轻观众中非常流行，在大多数情况下，他们对更纯净的弗拉门戈音乐形式不感兴趣。 1960年代/ 1970年代最受欢迎的弗拉门戈流行艺术家中有Encarnita Polo和Rosa Morena。在1990年代，AzúcarMoreno是最成功的乐队。最近，Los Rebujitos，LaHúngara，Fondo Flamenco和El Barrio在“ Flamenkito”风格上大获成功。
Originally developed in the mid 1960s, incorporated palos flamencos (Flamenco subgenres) and Copla into the format of feisty and lively Pop music (particularly, Yé-Yé). It was strongly influenced by Rumba Flamenca, but Flamenco Pop isn’t a palo flamenco, and is considered ‘pop aflamencado’, pop with some flamenco overtones, such as the singing style and rhythms.
Since the late 1990s the new acts of Flamenco Pop are commonly referred as ‘Flamenkito’, a style where ballads and mid-tempos are frequent too, and it has more contemporary influences such as Dance-Pop or even Reggaeton. It is dismissed by critics by its superficial and clichéd ‘light’ flamenco elements. Nonetheless, it has become very popular amongst a young audience that in most cases isn’t interested in more pure forms of flamenco music. Some of the most popular Flamenco Pop artists in the 1960s/1970s were Encarnita Polo and Rosa Morena. In the 1990s Azúcar Moreno was the most succesful band. More recently, Los Rebujitos, La Húngara, Fondo Flamenco and El Barrio have had great success in the ‘Flamenkito’ style.
40.夏威夷流行 Hawaiian Pop¶
夏威夷的音乐融合了多种文化，它用悠扬的旋律、诗一般的歌词来表达夏威夷的生活。从雷格（西印度群岛的一种流行音乐）到松弦吉他、钢吉他、假声、牙买加－夏威夷风格，夏威夷的音乐与世界上其它音乐不同。尤克里里琴是夏威夷的标志之一，其地位等同于aloha（“你好”、“再见”），夏威夷的美景激发了人们创作出最独特、最流畅而且不朽的旋律的灵感。
夏威夷的原声受到世界音乐的影响，那些帮助夏威夷音乐在国内流行起来的音乐家包括盖比?帕希纽、夏威夷之子乐队、艾迪?卡迈伊、伊莎里尔·卡莫卡卫勒等等。打开收音机听听夏威夷的乡村音乐吧，或者在当地的OC16频道看说唱音乐演出吧。类似亨利·卡帕罗的音乐家们伴着动人的旋律唱着优美的歌曲，这些歌使夏威夷人热情友好的精神永远流传。
十九世纪中期世界各地的音乐风格传到了夏威夷。夏威夷人在学弹外国移民带来的乐器的时候，培养了音乐的才能。他们给古代的赞歌第一次配了乐，而这些改编的音乐作品很快受到了欢迎。家族的历史、神话故事、当地传说、宗教信仰也用音乐这种以前从未使用过的方式表达出来，这极大地满足了保存夏威夷文化遗产的需求。
有了传统的夏威夷乡村音乐，人们可以演唱几百年前流传下来的赞歌，也能听到用特制的鼓和葫芦鼓敲出的震撼人心的声音，这是为草裙舞伴奏的。葫芦鼓是用空心葫芦做成的，它通过用手拍打鼓或在地上击打鼓而发出有节奏的声音。葫芦鼓的大小不一，大的是用两个葫芦做成的，两个葫芦在一起可以产生一种特别的共鸣声。
夏威夷的墨西哥牛仔，也叫潘尼尔罗，他们带来了吉他并告诉当地人如何弹出自己的特色，很多夏威夷人马上接受并学会了弹吉他，后来他们把西班牙风格改成了更适合夏威夷的风格，这就是现在人们所熟知的用手指弹拨松弦吉他的风格，也叫金好乐。如果你从未听过松弦吉他演奏的乐曲，那么你就错过了一次能使心灵为之震撼的机会。
钢吉他是一种夏威夷本土的乐器，用一根钢条拨动琴弦，就能发出有感染力的非常特别的声音。使用钢吉他是二十世纪早期，也是现在夏威夷乐队的一大特色，它是夏威夷现代音乐中的一种流行元素。
大卫·卡拉考阿国王被人们看成一个真正的文艺复兴主义者，他鼓励复兴音乐，号召所有的夏威夷人把音乐当成表达夏威夷人自豪感的一种方式。19世纪末当夏威夷最后一位君主丽丽乌库拉妮女王发表许多她自己作曲的歌曲时，夏威夷音乐达到了全盛时期。歌曲《再见，欧伊》、《希米勒拉辉，夏威夷》表达了夏威夷人的自豪和对这片美丽土地的热爱。夏威夷的作曲家们吸收并融合了几种文化，创造出一种新的音乐风格，那些给予夏威夷音乐家们灵感的有福音、流行乐、西方乡村乐、散拍乐、强节奏乐和爵士乐等。
自称“夏威夷民间歌王”的盖比·帕希纽被许多夏威夷人看作是夏威夷音乐家的典型代表，他把富含文化底蕴的歌词和爵士松弦吉他结合起来，他的功劳在于帮助夏威夷音乐在20世纪中期复兴。20世纪60年代，盖比·帕希纽和艾迪·卡迈伊组建了夏威夷之子乐队，这是一个把现代和传统音乐风格结合起来形成夏威夷音乐风格的乐队。
现在你还可以欣赏到独特的牙买加－夏威夷舞曲风格的音乐，这种音乐风格融合了雷格这种西印度群岛流行乐的风格和夏威夷本土的风格。这种音乐风格是用一些易于识记的记号和弱拍旋律来表现夏威夷人的生活，展现出一种活泼的摇摆乐风格。
尤克里里琴的字面意思是“跳跃的跳蚤”，它是一种四弦、高音、吉他形状的乐器。自从1915年夏威夷皇家四重奏乐队在旧金山举行的巴拿马－太平洋博览会上吸引了大量观众以后，尤克里里琴也得到了夏威夷人民的青睐。尤克里里琴小巧、携带方便而且价钱便宜，在夏威夷的任何一家小店都能买到。人们用它来演奏不同风格的乐曲，包括西印度群岛的流行乐雷格、摇滚乐、夏威夷传统音乐和牙买加－夏威夷音乐。现在到处都可以看到男女老少用尤克里里琴演奏美妙、令人兴奋的音乐，甚至能使眉头紧锁的人眉开眼笑。
在夏威夷想感受夏威夷音乐很容易，只要打开收音机就行，因为有一些电台只播放夏威夷本土的音乐，或者你也可以听一场现场演唱会，感受一下音乐震撼心灵而带来的快乐，而且你也可以去参加一些大型的节日庆祝活动如“快乐君主草裙舞节”、“莫洛凯岛音乐节”“大岛松弦吉他节”或“钢吉他联盟音乐节”等等，当地许多旅馆也会为客人举行周末演出。所以，不论你是第一次来到夏威夷的游客还是夏威夷的归国人士，享受夏威夷美妙的音乐、体会它的深层含义都会丰富你的内心世界。
Hawaiian pop refers to music that is Hawaiian-tinged but rooted in another popular style. Outside influences have impacted Hawaiian music since foreign colonizers arrived on the island in the late 18th century, all bringing sounds from their homelands that would be adopted and mixed into the island’s folk music. Hawaii’s tourism boom of the 1930s popularized the island’s music on the mainland while the 1940s and ‘50s found artists like Sol Hoopii crossing over to the pop charts by bringing jazz and big band music into the mix. Don Ho became the island’s unofficial musical ambassador to the world with his easy-listening blend in the 1960s. The “Hawaiian Renaissance” movement of the 1970s favored traditional elements and traditional artists, but rock and soul music was still popular with the younger generation and remained influential into the 21st century. Besides a healthy rock scene, Hawaii is also home to a growing number of hip-hop artists who use the Hawaiian language in their lyrics. Jawaiian music – a mix of reggae and Hawaiian music – exploded on the island in the 1990s and introduced the artist Israel Kamakawiwo’ole. Like many Hawaiian pop artists, superstar Kamakawiwo’ole – or “IZ” – borrowed from numerous popular genres while retaining distinctive elements from the traditional music of the island.
41.卧室流行 Bedroom Pop¶
卧室流行（Bedroom Pop），是新生代音乐人中流行的一种音乐风格，最初是由于许多独立的音乐人负担不起较高价钱的音源，而采用比较便宜的Lo-Fi的音源及效果，慢慢的流行起了这样一种风格。卧室流行的音乐带着像梦幻流行的音色和，旋律与歌词却带着一点青少年的细腻与搞怪，唱腔也非常的肆意。歌曲的封面也是非常随性的邻家自拍，整体看上去制作成本较低却透出一种可爱，这种类型的音乐逐渐走进了大众音乐的视野。
42.俄罗斯流行 Russian Pop¶
俄语流行音乐是在俄罗斯，独联体国家，波罗的海国家和其他外国生产的俄语流行音乐，其中的歌曲主要以俄语，独联体国家的语言以及世界其他语言演奏。这是流行的“多样化”苏联音乐及其流行偶像（如阿拉·普加乔娃或瓦列里·列昂捷夫）的继承者。
现代的主流俄罗斯语言流行音乐种类繁多，可以通过多种方式传播给听众。可以在普通电视上的音乐或脱口秀节目中以及在音乐电视频道（例如MTV Russia和Muz-TV）上看到最著名的流行歌星。还有俄罗斯的Pop广播电台，并且近年来有许多One-Hit奇迹。
俄语-音乐市场
随着苏联在世界舞台上的影响力的增强，流行音乐的俄语市场开始增长。 1990年，除了将近3亿苏联公民居住在世界13％的陆地上，苏联流行音乐在前《华沙条约》的国家中也变得很流行，尤其是在斯拉夫地区（波兰，捷克共和国，斯洛伐克，保加利亚）和前南斯拉夫，以及匈牙利，中国，古巴）。
当时，俄语-语言流行音乐创作的无可争议的中心是莫斯科，在较小程度上是圣彼得堡。苏联解体后，俄罗斯仍然是俄语的主要生产国和消费国-说音乐，在一些新的独立国家，尤其是乌克兰和白俄罗斯，需求仍然很高。对于相当重要的地区中心，除了莫斯科，圣彼得堡和基辅（乌克兰）外，当代俄语流行音乐还包括也面向俄语市场的音乐。
苏联解散和铁幕的倒塌，90年代初期的大规模移民，导致在欧盟，加拿大，美国，澳大利亚和其他地区（以当地人有机会通过互联网，卫星电视，各种媒体和夜总会的音乐来了解各种流派的俄罗斯音乐。
对并非来自俄罗斯的俄罗斯流行音乐表演者的杰出贡献。其中包括：保加利亚的Philipp Kirkorov，乌克兰的Ani Lorak，Verka Serduchka和VIA Gra，拉脱维亚的Laima Vaikule，白俄罗斯的Seryoga和Dmitry Koldun，叙利亚的Avraam Russo，哈萨克斯坦的A-Studio等。
历史
1960年代
马格马耶夫穆斯林，1960年代-70年代流行歌星
作为1960年代初世界上最大的市场之一，俄语流行音乐由1966年在莫斯科和列宁格勒组织的Edita Piekha，Valery Obodzinsky，穆斯林Magomayev，乐团等艺术家代表：Vesiolie Rebiata ，Poyushchiye Gitary。
1970年代
Alla Pugachova，1970年代-80年代流行歌星
索非亚·罗塔鲁（Sofia Rotaru），1970年代-80年代流行歌星
在1970年代，开始了他的职业生涯，然后获得了所有人的声誉-索菲亚·罗塔鲁（Sofia Rotaru），阿拉（Alla Pugacheva），瓦列里·列昂捷夫（Valery Leontiev）。在此期间，俄罗斯流行音乐开始影响各种西方流派（爵士，摇滚等），但流行的苏联音乐在东欧也获得了极大的普及。 1970年夏天发行的第一支Vesiolie Rebiata EP合奏，已经销售了15975,000册。 1973年，在英国利物浦的国际比赛纪录中，该乐队获得了二等奖。这是苏联流行音乐在西方的第一个重大成功。
1980年代
瓦列里·列昂捷夫（Valery Leontiev），1980年代-90年代流行歌星
在1980年代初期，俄语-说苏联语-时代的音乐蓬勃发展。拉脱维亚作曲家赖蒙兹·保罗（Raimonds Pauls）的作品，例如“百万朵猩红色的玫瑰”，是在这一时期创作的，随后将成为经典作品。尤里·切尔纳夫斯基（Yury Chernavsky）为电影写歌，并与合唱团维索里·里比亚塔（Vesiolie Rebiata）一起使香蕉树成为大型岛屿。在初学者中首次亮相弗拉基米尔·普雷斯尼亚科夫。在1980年代中期，弗拉基米尔·马特斯基（Vladimir Matetsky）开始与索非亚·罗塔鲁（Sofia Rotaru）合作，发行了歌曲《拉万达》。 Laskovyi Mai和Mirage乐队在1980年代后期成为流行音乐发展的新阶段。
1990年代
菲利普·科科洛夫（Philipp Kirkorov），1990年代-2000年代流行歌星
即使在1990年代初，当时该国正遭受严重的经济和政治危机，尤其是俄罗斯和莫斯科仍然继续是俄语-语言音乐作品的重要生产者。在此期间，创作了许多著名的流行音乐精选（Igor Nikolayev，Natasha Koroleva，Na Na，Tatiana Bulanova，Leonid Agutin，Oleg Gazmanov，Valery Meladze，Dmitry Malikov等）。这段时期在俄罗斯观众中非常受欢迎：DDT，Lyube，Sektor加沙。这一时期还以新兴艺术家和团体的出现为特征，这些艺术家和团体在未来几年特别受欢迎，例如Valeriya，Anita Tsoy，Blestyaschie和Ruki Vverh!。俄罗斯唱片销售记录属于Vesiolie Rebiata合奏，售出179,850,000张。
2000年代
t.A.T.u.，世界上最成功的俄罗斯流行乐团之一
1990年代末和2000年代初，世界显着增长，尤其是在传统的俄罗斯音乐统治下，美国音乐尤其如此。俄罗斯流行表演者非常了解音乐经验，他们从中汲取了很多经验，尤其是在安排方面。在2000年代后期，俄罗斯流行音乐市场加入了过渡时期。由于物理媒体形式的销售严重下降（这是全球整个行业的典型情况），因此对标签进行了重新分类，以通过Internet销售音乐（通常称为数字单打）。到2009年，由于数字内容（数字单打，铃声，回铃音等）的销量增加，与1990年代和2000年代中期相比，专辑的销量已大幅下降。
Russian pop music is Russian language pop music produced either in Russia, CIS countries, Baltic states and other foreign countries in which the songs are performed primarily in Russian language, languages of the countries of the CIS, and in the other languages of the world. This is the successor to popular “variety” Soviet music with its pop idols such as Alla Pugacheva or Valery Leontiev.
Modern-day mainstream Russian-language pop music is very diverse and has many ways to spread through the audience. The most famous pop stars can be seen on general television in music or talk shows, and also on music TV channels such as MTV Russia and Muz-TV. There are also Russian Pop radio stations, and there have been many One-hit wonders in recent years.
The Russian-language music market
Russian-language market of popular music began to grow with the increase of Soviet influence in the world arena. In addition to the nearly 300 million Soviet citizens living in the 13% of the world landmass in 1990, Soviet pop music has become popular in the countries of the former Warsaw Pact, especially in the Slavic regions (Poland, Czech Republic, Slovakia, Bulgaria and the former Yugoslavia, but also in Hungary, China, Cuba).
The undisputed center of the creation of the Russian-language pop music of that time was the Moscow and, to a lesser extent, St. Petersburg. After the dissolution of the Soviet Union, Russia is still a major producer and consumer of Russian-speaking music, demand is still high in some of the new independent states, especially Ukraine and Belarus. For quite significant regional centers contemporary Russian language popular music include, in addition to Moscow, St. Petersburg and Kiev (Ukraine), which is also focused on the Russian-speaking market.
The dissolution of the Soviet Union and the fall of the Iron Curtain, the mass emigration of the early ‘90s, led to the formation of large Russian-speaking diaspora in the European Union, Canada, the United States, Australia and other regions, where the local population has had an opportunity to get acquainted with the Russian music of different genres, through the Internet, satellite television, various media, music in nightclubs.
A notable contribution to Russian pop music performers that do not come from Russia. Among them: Philipp Kirkorov from Bulgaria, Ani Lorak, Verka Serduchka and VIA Gra from Ukraine, Laima Vaikule from Latvia, Seryoga and Dmitry Koldun from Belarus, Avraam Russo from Syria, A-Studio from Kazakhstan and others.
History
1960s
Muslim Magomayev, 1960s-70s pop star
Formed as one of the largest markets in the world in the early of the 1960s, the Russian-language pop music was represented by such artists as Edita Piekha, Valery Obodzinsky, Muslim Magomayev, ensembles, organized in Moscow and Leningrad in 1966: Vesiolie Rebiata, Poyushchiye Gitary.
1970s
Alla Pugachova, 1970s-80s pop star
Sofia Rotaru, 1970s-80s pop star
In the 1970s, started his career, and then got all-union reputation Sofia Rotaru, Alla Pugacheva, Valery Leontiev. At the same time in this period of the Russian pop music begin to influence various western genres (jazz, rock etc) But also the popular Soviet music is gaining tremendous popularity in Eastern Europe. First Vesiolie Rebiata EP ensemble released in the summer of 1970, for several years has sold 15,975,000 copies. In 1973 at the international competition record in Liverpool (England), the ensemble was awarded the second Prize. It was the first major success of Soviet pop music in the West.
1980s
Valery Leontiev, 1980s-90s pop star
In the early 1980s Russian-speaking Soviet-era music is booming. Works by Latvian composer Raimonds Pauls, such as “The Million scarlet roses”, were created in this period, then will almost classic examples. Yury Chernavsky writes songs for films and together with the ensemble Vesiolie Rebiata lets magnitoalbom Banana Islands. Among beginners debuts Vladimir Presnyakov. In the mid-1980s Vladimir Matetsky starts its cooperation with Sofia Rotaru with song “Lavanda”. Effect of a new stage in the development of pop music in the late 1980s was a group Laskovyi Mai and Mirage.
1990s
Philipp Kirkorov, 1990s-2000s pop star
Even in the early 1990s, when the country was going through a severe economic and political crisis, Russia and Moscow in particular, continue to be important producers of the Russian-language musical production. Many famous hits of popular music were written during this period (Igor Nikolayev, Natasha Koroleva, Na Na, Tatiana Bulanova, Leonid Agutin, Oleg Gazmanov, Valery Meladze, Dmitry Malikov and others.) Among the many areas of the rock group also had a huge popularity among the Russian audience in this period: DDT, Lyube, Sektor Gaza. This period was also characterized by the emergence of new artists and groups who have been especially popular in the coming years, such as Valeriya, Anita Tsoy, Blestyaschie, Ruki Vverh!. Russian record for the sale of records belongs to the ensemble Vesiolie Rebiata and makes 179,850,000 copies sold.
2000s
t.A.T.u., one of the most successful Russian pop groups in the world
The end of the 1990s and early 2000s were marked by a significant increase in the world, specially American music in the traditional dominance of Russian music. Russian popular performers in full acquainted with the world of music experiences, borrow a lot of it, especially in terms of arrangements. In the late 2000s, the Russian market of Pop joined the transitional period. Due to a serious drop in sales in the form of physical media (which is typical for the industry worldwide), there is a reclassification of labels to sell music through the Internet (mostly so-called digital singles). By 2009, album sales have dropped significantly when compared to 1990s and mid 2000s due to increasing sales of digital content (digital singles, ringtones, ringback tones, etc).
43.土耳其流行 Turkish Pop¶
土耳其音乐大致可分为古典音乐和民间音乐两大类。古典音乐包括宫廷艺术音乐、宗教音乐和奥斯曼军乐；民间音乐则由于地理和历史的原因，有着丰富多采的地方特色。塞尔柱和奥斯曼帝国的宫廷艺术音乐，采用阿拉伯-波斯风格；同时，其理论家和作曲家，亦对土耳其音乐艺术的发展作出了自己的贡献。
土耳其古典音乐的调式体系虽然是建立在阿拉伯－波斯的基础上，但它发展得更为精细。
土耳其的音程计算以“库玛”为基本单位，每个库玛为22～23音分，常用的音程有5种，分别包含4、5、8、9、12个库玛。4个库玛为小半音；5个库玛为大半音；8个库玛为小全音；9个库玛为大全音；12个库玛接近增二度。
土耳其音乐的调式称作“玛卡姆”，其种类繁多，部分来自波斯-阿拉伯，部分为土耳其人所创造。
土耳其音乐的节奏，主要以鼓来体现，同阿拉伯音乐一样，也是根据鼓不同时值的低音“迪姆”和高音“泰克”鼓点作各种组合来形成繁多的节奏型的。这种节奏型的周期性反复叫做“乌苏尔”。其中包括各种拍子，还有由48拍和88拍为一个周期的。音乐家在进行创作时，根据乐曲特性，选定一种乌苏尔通曲使用。但技艺高超的演奏家，对它却常加以变奏。
土耳其音乐的形式结构多样，歌曲严格遵循奥斯曼时代的诗词格律，并成为曲式的基础。声乐形式，有散板的“加泽尔”和“塔克西姆·莱亚利”以及以各种乌苏尔构成的“沙尔克”、“贝斯泰”、“卡尔”等。其中沙尔克也常作为古典歌曲的总称。器乐中最常见的形式是“塔克西姆”和“佩什雷夫”。塔克西姆是乐器即兴独奏，也常用作乐曲的序奏或不同玛卡姆乐曲之间的过渡；佩什雷夫则是固定节拍的器乐合奏，通常作为前奏。土耳其古典音乐中最重要的体裁叫“法瑟尔”，它是一种大型的多乐章的声乐和器乐组曲。乐曲一般首先是一段塔克西姆，然后是器乐合奏，接着是使用一玛卡姆的声乐和器乐段落。法瑟尔所用的乐器主要有坦布尔、乌德、凯门恰、卡侬、内伊、达夫等；声乐则以男声合唱为主，也有用混声合唱的。
土耳其的乐器种类很多，古典音乐和民间音乐所使用的乐器是不相同的。古典音乐所用主要乐器，弦乐器有坦布尔、乌德、卡侬，弓弦乐器亚伊勒·坦布尔、凯门恰·鲁米，管乐器有7孔竖笛内伊，膜鸣乐器有代夫和马兹哈尔、库迪姆，体鸣乐器有钹、济尔。奥斯曼军乐是土耳其古典音乐和民间音乐相结合的产物，它使用的管乐器有祖尔纳、博鲁；鼓类有纳卡拉、克斯、达武尔、达伊拉；体鸣乐器有济尔、指挥杖恰阿纳。民间乐器中弦乐器有萨兹、凯门恰；管乐器有祖尔纳、图卢姆、卡瓦尔、迪迪克、梅伊；鼓类有达尔布卡、代布莱克、达夫、达武尔；体鸣乐器有卡舍克等。
19世纪起，西洋音乐开始传入土耳其，给土耳其的传统音乐以很大的冲击，但音乐家们仍努力保持其传统的曲式和民族的音调。由于采用了和声手法，在音律上不得不改用12平均律；众多调式中，常用的也只剩下与大小调有关的数种。现代流行音乐通过无线电和咖啡馆广为传播，在青年中影响尤大，呈现着西洋音乐与土耳其传统音乐并存的局面。
Turkish pop music is now everywhere, whether it’s the latest from Tarkan, female singer/songwriter Sezen Aksu, or the more radical sounds of the Turkish club underground, like Mercan Dede.
Interestingly, the fusion of sounds work so well that Turkish pop music does not sound as Westernised as Indian or Indonesian pop even though it does include global influences such as technological developments from the west, western harmonies grafted onto folk songs, influences from Arabic music and, of course, American-influenced rap and hip-hop from artists such as Erci-E.
In the early 90s, Turkish gangster rap surged in popularity as artists such as Gokturk “G-Force” Sevinc influenced a younger generation newly exposed to Americas “West-Coast” culture. Gokturk had a string of hits including the #1 single “Istanbul G’s” however fell from grace in the mid 90s due to a well publicised falling out with collaborator Erci-E.
Many music critics argue that the surge of Turkstar (Pop Idol) type competitions on Turkish TV has only added to the pop industry’s shallow image, and is cited as the reason why underground and reactionary music is becoming more popular.
44.印度流行 Indian Pop¶
印度音乐的起源是隐藏在音乐创作者美丽的神话之中。印度人认为印度音乐 是由湿婆神「Shiva」所创造的。在印度，对於古代音乐之权威者中，最伟大的人物，即使在今日的印度仍然 受到音乐家们尊敬崇拜的，应该是13世纪初的莎兰咖提瓦(Sharangadeva)这位圣者。之后由於伊斯兰教入侵北方, 逐间影响南北音乐风格的区别, 而北方信伊斯兰教的国王阿克巴（1542－1605 A.D）则是一个非 常喜爱音乐的君主。因此，在他治理期间，其宫廷乐师Tan Sen开创了北印度音乐之先河, 印度音乐的raga(拉格)受到他的影响，而发生了很大的变化。另外印度 的室内乐，亦从阿克巴大帝即位之后，与印度寺院的音乐、戏剧等，一并获得了很好的发展。
印度音乐要素中，拍子占有极为重要地位。印度人对於拍子相当重视，这是来 自於他们自古以来的作诗法和诗的韵律之观念。因为在印度，无论是梵语或是地区方言,全部的音节都是适应 其时间的长短而被分类的。另一方面，由於印度的诗完全没有所谓的强弱音节之分，所以他们以时间的长短分 配做为分割法。目前的印度语言学者，对於诗中各种各样的拍子仍然相当的重视，而且也要求的非常严格，甚 至有些学者仍然依照诗的韵律法来教习。印度人对於节奏的感觉或有关时间之继续，皆非常的敏感和熟悉。这 也是印度人所以很容易将歌词或诗配上音乐或将音乐填上歌词或诗的原因。除此之外，印度人对於各种各样节 奏组合的预判能力也很强。例如印度人在鼓的即兴演奏中，能够很快速地而正确地判断大鼓的节拍法，是由二 拍加四拍或由七拍加二拍加七拍…..等节奏型组成的。
印度音乐如同其他民族音乐一样自成一格，强烈反映出其风土民情与生活型态。 印度音乐极富宗教性，一如印度的文明著重於心灵的精神层面一般，民族音乐复杂、神秘而多样化，且具有冥 想的性灵音乐特色。
印度音乐大致可分为南印度音乐与北印度音乐两派，虽然演奏乐器及歌曲风格不同，但音乐用语及理论却是相通的。西塔琴是北印度的代表乐器。北印度音乐受回教文化及波斯音乐的影响，属宫廷音乐一类，与具有印度教浓厚色彩的南印度音乐性质大异其趣。
印度音乐丰富而复杂的传统，实在是今天是世界音乐文化最丰富的宝藏，也正应验了这个历史攸久民族的伟大，在印度音乐中，我们常可以发现一些在其他音乐文化中已经失传的特质，音乐所具有的特殊力量与宗教情怀，即兴演奏的特殊能力，音乐与数学与整个宇宙之间特殊的关系等等；许多现代的音乐家，无论是古典的或是流行的，都由从印度音乐中寻找灵感的例子，但相对起来，真正研究印度音乐，演奏印度音乐仍然仅局限在印度人自己，我想，我们应该先从欣赏印度音乐开始，进而了解实践，必定能够开拓我们的听觉的领域，丰富我们的文化。
India lays claim to the largest and most prolific film industry in the world, with these movies determining the pop music trends of any given moment in time. Songs are popularized in motion pictures by playback singers – dubbing artists whose performances are broadcast back over loudspeakers on the movie set for actors to mime the lyrics and dance to the music.
45.阿拉伯流行 Arabic Pop¶
阿拉伯音乐包括了中东北非等地，甚至延伸到包括中亚的音乐，因此，才会有亚美尼亚语，黎巴嫩语，阿拉伯语等唱的各不相同的阿拉伯音乐。
阿拉伯流行主要产生于埃及首都开罗及黎巴嫩首都贝鲁特，是阿拉伯本土音乐在西方流行音乐影响下的产物。采用传统阿拉伯乐器，以阿拉伯语演绎，歌词通常是描述爱情相关的主题。
In the 1950s, Western influences became more and more widespread in Classical Arabic Pop. By the 70s and 80s, singers such as Dalida and Samira Said found success with disco and Western Pop styled music. By the mid 90s, Arabic Pop had reached it’s modern form, with the focus on Westernised pop songs sung by female singers such as Nancy Ajram and Diana Haddad. In the early 2000s, Spanish guitar became a prominent feature, mainly popularised by Amr Diab; while the later part of the decade saw increased influence from Electronic music.
Arabic Pop is generally the synthesis of Arabic Music with Western melodies, mostly using Arabic instruments (although some Western instruments such as the guitar are also often used) and sung almost always in Arabic. Lyrics are dominated by themes of love and romance,and explicit material, as well as songs about Islam-forbidden things and practices (such as drinking alcohol) are very rare.
摇滚 Rock¶
从最纯粹的形式来讲，所谓摇滚，就是三和弦加强硬持续的鼓点加上口的旋律。早期摇滚的音乐来源非常广泛，主要的包括布鲁斯、R&B、和乡村音乐，其它还有福音音乐、传统的流行乐、爵士、以及民间音乐。所有的这些影响加在一起构成了一种简单的以布鲁斯为基础的歌曲结构，它是快速的、适于跳舞的、而且容易让人记住的。第一批摇滚明星们— Chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly, Bo Diddley, Bill Haley, Gene Vincent, the Everly Brothers, Carl Perkins,还有好多其它的明星—确立了摇滚乐的模式，并且在以后的四十年内都一直为人们所追随。在每一个十年当中，总是有很多艺人复制着第一批摇滚乐手们的音乐，而剩下的那些艺人，有的扩大了摇滚原先的定义、有的则彻底打破了这种流派被限定的模式。从英式入侵、民间摇滚、迷幻摇滚，再到硬摇滚、重金属、华丽摇滚，再到朋克，事实上每一种摇滚的分支流派在产生的最初都是忠于摇滚最基本的结构的。但是一旦这样的改变发生，传统的摇滚就从流行榜上渐渐消失了—当然，也有一些艺人始终都保持着光芒。有一些乐队，比如 the Rolling Stones 和 the Faces,他们始终坚持着传统摇滚最基本的规则，但他们把音乐做得更加快速更加自由。其它的一些乐队，比如原型朋克the Velvet Underground, the New York Dolls,以及 the Stooges,他们保留了基础的音乐结构，但他们的行为中有了更多威吓性的元素。还有一些艺人成为了摇滚的传统主义者，比如 Dave Edmunds 和 Graham Parker,他们写的歌出的唱片，从来就没有离开过50年代末60年代初的摇滚模式。虽然在摇滚出现后的这几十年里，摇滚这个词已经开始指代越来越多不同的音乐风格，但是这种音乐的本质从未改变过。
In its purest form, Rock & Roll has three chords, a strong, insistent back beat, and a catchy melody. Early rock & roll drew from a variety of sources, primarily blues, R&B, and country, but also gospel, traditional pop, jazz, and folk. All of these influences combined in a simple, blues-based song structure that was fast, danceable, and catchy. The first wave of rock & rollers – Chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly, Bo Diddley, Bill Haley, Gene Vincent, the Everly Brothers, and Carl Perkins, among many others – set the template for rock & roll that was followed over the next four decades. During each decade, a number of artists replicated the sound of the first rockers, while some expanded that definition and others completely exploded the constrictions of the genre. From the British Invasion, folk-rock, psychedelia, and through hard rock, heavy metal, glam rock, and punk, most subgenres of rock & roll initially demonstrated an allegiance to the basic structure of rock & roll. Once these permutations emerged, traditional rock & roll faded away from the pop charts, yet there were always artists that kept the flame alive. Some, like the Rolling Stones and the Faces, adhered to the basic rules of traditional rock & roll but played the music fast and loose. Others, like proto-punk rockers the Velvet Underground, the New York Dolls, and the Stooges, kept the basic song structure, but played it with more menace. Still others, like Dave Edmunds and Graham Parker, became rock & roll traditionalists, writing and recording music that never wavered from the sound of the late ‘50s and early ‘60s. Although the term “rock & roll” came to refer to a number of different music styles in the decades following its inception, the essential form of the music never changed.
1.流行摇滚 Pop Rock¶
流行摇滚（Pop rock）是Pop音乐与摇滚乐的混合音乐，特色是使用平易近人的流行风格、明亮歌词以及吉他为基础的歌曲。流行摇滚有着许多不同的定义，从“乐观的摇滚音乐”到“Pop音乐的一个分支”。学者认为流行乐和摇滚乐常处于相反立场：流行乐的反对者常称流行乐为华而不实的商业产品，而摇滚乐的拥护者则主张摇滚乐是真实、真心、反商业的音乐。
《American Popular Music》这本书定义流行摇滚为乐观的摇滚音乐，代表歌手有艾尔顿·强、保罗·麦卡尼、艾佛利兄弟二重唱、洛史都华、芝加哥合唱团和彼得·佛莱普顿。相反地，音乐评论家 George Starostin 将流行摇滚定义为Pop音乐的一个分支，使用平易近人的流行风格、明亮歌词以及吉他为基础的歌曲。Starostin主张大部分被称为“power pop”的音乐都是属于流行摇滚的分支。他认为流行摇滚中充满感情的内容是“音乐的次要部份！”
评论家 Philip Auslander 认为，比起英国，美国流行乐和摇滚乐之间的差异更为明显。他认为美国的流行乐是发源于如派瑞·柯摩等的白人歌手，而摇滚乐则是来自摇滚（Rock and Roll）等受到黑人影响的音乐。Auslander 指出，流行摇滚的概念，与原来彼此对立的流行乐与摇滚乐是不同的。Auslander 和其他学者如 Simon Frith 和 Grossberg，主张流行乐常被认为是不真实、虚假、商业化的一种娱乐型态。而摇滚乐则是真实的、真心的、反商业的音乐，还有一个很显著的特点：摇滚乐的内容对于社会人文有批判性的独到见解。并强调由歌手或乐团自己创作，演奏的技巧，和“与听众的连结”。
Simon Frith 对于50年代到80年代流行音乐历史的分析，遭 B. J. Moore-Gilbert 的批评。他认为 Frith 和其他学者太过强调“摇滚乐”的脚色，在每个新音乐类型的字尾都加上“摇滚”。因此，当受到民谣影响的音乐开始在60年代发展，Frith称他为“民谣摇滚”，而70年代的音乐则称之为“流行摇滚”。Moore-Gilbert 认为这不合理的方式将摇滚乐放在顶点，让受到其他音乐影响的特色成为摇滚乐核心的附属品。
Pop rock is a music genre which mixes a catchy pop style and light lyrics in its (typically) guitar-based rock songs. There are varying definitions of the term, ranging from a slower and mellower form of rock music to a subgenre of pop music. The detractors of pop rock often deride it as a slick, commercial product, less authentic than rock music.
Pop rock has been described as an “upbeat variety of rock music represented by artists such as Elton John, Paul McCartney, Rod Stewart, Chicago, and Peter Frampton.” Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He claims in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American-influenced forms such as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars such as Simon Frith and Grossberg argue that pop music is often depicted as an inauthentic, cynical, “slickly commercial” and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a “real connection with the audience”.
Simon Frith’s analysis of the history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and other scholars have over-emphasized the role of “rock” in the history of popular music by naming every new genre using the “rock” suffix. Thus when a folk-oriented style of music developed in the 1960s, Frith terms it “folk rock”, and the pop-infused styles of the 1970s were called “pop rock”. Moore-Gilbert claims that this approach unfairly puts rock at the apex, and makes every other influence become an add-on to the central core of rock.
2.独立摇滚 Indie Rock¶
独立摇滚（Indie Rock），独立摇滚脱胎于80年代的地下摇滚和另类音乐，它强调乐队需要不受干扰地按照自己的思想制作音乐。独立摇滚崇尚朋克乐的“DIY”精神，具有极度鲜明的个性特色，因此很少被主流音乐所接受。同时它又借鉴了各个乐种的特色，在90年代衍生出许多风格迥异的分支。坚持自己的观点和见解就是独立摇滚的精髓所在。
独立摇滚是摇滚乐在独立音乐当中发展处来的一种音乐类型。独立摇滚与独立音乐有时候可以相互替换，不过独立摇滚比较偏向于有着摇滚音乐的性质，较不同于独立流行歌曲 。不过评判是否为摇滚的标准许许多多，像是从乐器方面(电吉他，贝斯，与鼓)或是从较抽象的摇滚精神方面来评断。
Indie Rock是independent rock的缩写。独立摇滚音乐人一般签约于独立唱片公司，而不是主流唱片公司。有时他们根本不签约。独立摇滚在严格意义上不是一种音乐类型（尽管这一术语通常用来特指某些乐队如人行道乐队已经受其影响的乐队），而是通常被用来泛指某一大部分推崇地下文化价值的音乐人或音乐风格，并且通常被称为摇滚音乐。与独立摇滚向关联的音乐风格或地下风格包括低保真音乐、后摇滚音乐，车库朋客，情绪摇滚，悲核音乐，c86，童稚摇滚和数字摇滚，等等；其相关（有时重叠）的音乐分类包括自赏乐队和独立流行乐。
作为一种特点，独立摇滚音乐人将保持自身音乐和职业生涯的独立性置于首要地位，通过他们独立的唱片公司发行唱片（有时就是他们自己），并通过巡演，口口相传以及在独立电台或大学广播站播放的方式宣传。然而他们中较为流行的歌手，往往最终签约主流唱片公司 ，尽管他们的口碑通常建立在之前独立表演的成功上。
Indie rock is a genre of alternative rock that originated in the United Kingdom and the United States in the 1980s. Indie rock is extremely diverse, with sub-genres that include indie pop, jangle pop, C86, and lo-fi, among others. Originally used to describe record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock. As grunge and punk revival bands in the US, and then Britpop bands in the UK, broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground and less testosterone-driven perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, a number of indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term.
3.另类摇滚 Alternative Rock¶
另类摇滚（英语：Alternative rock），也被称为另类音乐或替代摇滚或替代音乐，简称替代或另类。是摇滚音乐中的一种音乐类别，源于1980年代的地下独立音乐，并在1990年代到2000年代开始流行。Alternative这个词意味着有别于主流音乐，和主流音乐是区隔开来的，另类摇滚则是有别于主流摇滚乐，主要体现在独特的吉他表现形式，颠覆性的歌词和一种轻蔑漠不关心的态度。另类摇滚原本的范围是比较广的包括不同的声音表现形式，不同的社会背景，文化背景。在1970年代后期的时候，所有的地下摇滚，朋克摇滚（包括朋克、新浪潮、后朋克）都被认定为另类摇滚。
在1980年代后期，随着杂志报导，大学校园广播的唱片播放和一些口头宣传强调了另类摇滚的多样性与差异性，并帮忙定义了其中不同的音乐风格（比如哥德摇滚，噪音流行，独立摇滚，独立流行，油渍摇滚，工业摇滚，嘻哈摇滚，和另类嘻哈）。大部分的子分类都有自己的听众，其中的一些有代表性的乐队像Hüsker Dü 和 R.E.M.甚至签约了唱片公司。然而，在当时相对于其他的类别的摇滚乐和流行乐，大部分商业另类摇滚乐队的成就都是有限的。有些作品依然被归为个人作品，只有少部分的广播，电视媒体会播放他们的歌。在1990年代，随着超脱乐队带来的突破性的影响，油渍摇滚和英伦摇滚运动的普及，另类摇滚逐渐被大众接受，变成了一种主流音乐，许多的另类摇滚乐队也因此取得了商业上的成功。
在1990年代末，受到油渍摇滚和英伦摇滚热潮的消退的影响，另类摇滚在主流乐开始不再那么特别和突出。
另类摇滚的定义在英式英语中特别是指“indie rock”（独立摇滚）（虽然这个类型的定义界限在电子音乐和嘻哈音乐的融入下已经变得模糊），而在美式英语中则习惯使用“alternative rock”。有时也会以地下音乐（underground music）作为另类摇滚的代称，但地下音乐通常是指知名度不高的艺人或乐队所演出的音乐，而“indie”（独立）一词在英国经常被用来代表另类摇滚，而在台湾这个词曾被翻译成“硬地”，有着“硬式风格”和“地下”的含意（参见台湾的硬地音乐节，一个以地下乐队、另类摇滚为主的音乐活动）。或是简称 alternative）是摇滚乐中的一种类型，最早在1980年内出现，在1990年代开始广泛流行。“alternative”这个单字的本意“可选择的”，在1980年代也被用来指在独立唱片厂牌旗下的朋克摇滚风格乐队，他们和当时的主流音乐类型并不相同. 作为一种特定的音乐类型，另类摇滚自1980年代以来集合了许多独立音乐的子类型，例如油渍摇滚、独立摇滚、英式摇滚、哥德摇滚等。另类摇滚之所以叫另类摇滚，因为它本来确实是另类的、没人听的。它在70年代是地下的，在80年代是半地下的，在90年代上升为主流，这时已经不是“另类”了，但是由于历史原因“另类摇滚”一词保留了下来。所以今天听到的主流摇滚乐，虽然大家都在听，仍然叫另类摇滚。
独立摇滚和另类摇滚的区别：前者强调的是发行厂牌的规模，后者强调的是受众多少。然而，在90年代涅盘取得巨大成功，2000年代互联网上涌现出一批热门的独立乐队之后，现在无论是独立摇滚还是另类摇滚，都已成为主流音乐类型了。它仍然叫“另类摇滚”是为了保持和以前叫法的一致。换句话说，以前是另类的，现在变成了主流，这种现象在艺术领域屡见不鲜。贝多芬和斯特拉文斯基刚出来的时候，是绝对的另类，但是时间改变了另类与否的标准。
另类摇滚在本质上来源于80年代中期到90年代中期的后朋克乐队，虽然另类摇滚之中有很多种音乐形式，但是他们被放到了一起因为他们都有别于主流的音乐形式。另一方面，以nirvana在1991年的成功可以划分为两大类另类流行/摇滚。另外R.E.M.是一支于1980年组建于美国的另类摇滚乐团。音乐风格基本上是Alternative Pop/ College Rock。无论是评论界还是音乐界都一致认为”REM”是另类摇滚的创始者之一。R.E.M.是首批红起来的另类摇滚乐团。他们最先吸引大家注意的是Buck的吉他音色，带有一种急速变奏的吉他风格，以及Stipe迷蒙的歌词和唱腔。1988年，乐队转签约Warner Bros.唱片，并开始涉及政治以及环境问题。
在80年代，许多另类乐队都是独立的，因为他们的音乐形式使他们无法得到更多的来自主流的支持，这在80年代包括流行舞曲，后硬核朋克，疯克金属，流行朋克以及试验摇滚的所有形式；另一方面，自nirvana在90年代变得流行以后，另类泛指所有的非主流亚风格类型，但是区分并不一定很明显因为有些变成了主流音乐商业市场的一部分。硬核和复兴朋克音乐变得比导致了80年代后期的另类流行/摇滚的流行乐更能赢得商业市场，因此90年代的另类音乐失去了一些原本另类音乐的本质特征。许多试验乐队的风格转变成独立摇滚。
Alternative rock (also called alternative music, alt rock or simply alternative) is a genre of rock music that emerged from the independent music underground of the 1980s and became widely popular by the 1990s. The ‘alternative’ definition refers to the genre’s distinction from mainstream rock music, expressed primarily in a distorted guitar sound, transgressive lyrics and generally a nonchalant, defiant attitude. The term’s original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style, or simply the independent, D.I.Y. ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, “alternative” has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, that is seen to be descended from punk rock (including some examples of punk itself, as well as new wave, and post-punk).
Alternative rock is a broad umbrella term consisting of music that differs greatly in terms of its sound, its social context, and its regional roots. By the end of the 1980s magazines and zines, college radio airplay, and word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as gothic rock, jangle pop, noise pop, C86, Madchester, industrial rock, and shoegazing. Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R.E.M., had even signed to major labels. But most alternative bands’ commercial success was limited in comparison to other genres of rock and pop music at the time, and most acts remained signed to independent labels and received relatively little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became commercially successful.
4.英伦摇滚 Britpop¶
英式摇滚（英语：Britpop）是另类摇滚的类型之一，源自於英国九零年代初期的独立音乐圈，其中以几个受到英国六七零年代吉他流行乐影响的乐团最具代表性。这种音乐类型，发展成为对抗八零年代末及九零年初期音乐及文化的潮流，特别是针对来自美国的Grunge风潮。随著美国Grunge乐团入侵，新兴的英国乐团如Suede和Blur首先发声，自诩为反对派的音乐力量，延续过去英国吉他流行乐风，并且在歌曲中特别写入关於英国的主题。
所谓”Britpop”，可以直接翻译成“英式摇滚”或“英伦摇滚”。britpop作为一种音乐类型，自然难以被绝对化定义，所以以下定义都是相对而言。 典型的britpop由吉它，贝司，鼓组成。当中吉他是核心，通常以简单，略带迷幻色彩的扫弦为主，其和弦走向亦主导全曲；贝司负责低音部分的旋律，通常演奏和弦中的琶音；鼓多以中速演奏。从曲风上看，britpop继承了beatles时代以来的吉他流行风格，又吸纳了60年代晚期Kinks的田园之声，中速音乐（the Who, the Small Faces），70年代的迷幻（David Bowie, T.Rax, Roxy Music），朋克和新浪潮（the Jam, the Buzzcocks, Wire, Madness, XTC, Squeeze, Elvis Costello），还有the Smiths的另类吉他流行。从内容上看，britpop大多演唱同时代英国青年自己的生活，色彩多以黯淡，颓靡，桀骜为主，也由此在短时期内迅速风靡英伦三岛。
Britpop is a UK based music and culture movement in the mid 1990s which emphasised “Britishness”, and produced brighter, catchier alternative rock, partly in reaction to the popularity of the darker lyrical themes of the US-led grunge music, an alternative rock genre, and to the UK’s own shoegazing music scene.The most successful bands linked with the movement are Oasis, Blur, Suede and Pulp; those groups would come to be known as its “big four”.The timespan of Britpop is generally considered to be 1993-1997, with 1994-1995, and a chart battle between Blur and Oasis dubbed “The Battle of Britpop”, being the epicentre of activity.[6] While music was the main focus, fashion, art, and politics also got involved, with artists such as Damien Hirst being involved in creating videos for Blur, and being labelled as Britart or Britpop artists,and Tony Blair and New Labour aligning themselves with the movement.
Though Britpop is viewed as a marketing tool, and more of a cultural moment than a musical style or genre,there are musical conventions and influences the bands grouped under the Britpop term have in common, such as showing elements from the British pop music of the Sixties, glam rock and punk rock of the Seventies, and indie pop of the Eighties in their music. Britpop was a media driven focus on bands which emerged from the independent music scene of the early 1990s—and was associated with the British popular cultural movement of Cool Britannia which evoked the Swinging Sixties and the British guitar pop music of that decade.
In the wake of the musical invasion into the United Kingdom by American grunge bands, new British groups such as Blur and Suede launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, the Verve, Supergrass, Cast, Sleeper and Elastica.
Britpop is a subgenre of alternative rock that originated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. In the wake of the musical invasion into the United Kingdom of American grunge bands, new British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass, Sleeper and Elastica.Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia. Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade.
5.迷幻摇滚 Psychedelic Rock¶
迷幻摇滚（英文：Psychedelic rock）是一种摇滚乐流派，其源自迷幻文化及使用迷幻药而产生的思维骤变。迷幻摇滚涌现于1960年代的英美，与车库摇滚及民谣摇滚乐团属同一时期。迷幻摇滚介于早期以蓝调为基础的摇滚音乐，至前卫摇滚、艺术摇滚、实验摇滚、硬摇滚，甚至重金属间的过渡时期。迷幻摇滚同时并融入了非西方的音乐元素，如印度音乐的拉加（ragas）与西塔尔琴（sitars）。
迷幻摇滚指受吸毒产生的幻觉体验激发而创作的摇滚音乐，通常可以和“Psychedelic Rock）一词通用。1966年，“第十三层电梯”（Thirteenth Floor Elevators）演唱组在奥斯丁出版了第一张专辑，旧金山的“杰弗逊飞机”（JEFFERSON AIRPLANE）乐队紧随其后，而“数五下”（Count Five）的《疯子的反应》（Psychotic Reaction）进入了排行榜前5名。电台DJ对此类音乐的大力宣传使歌手们深受鼓舞，竞相效尤，纷纷用大量模糊的电吉他声、反馈噪音、电子合成器声以及单纯的高分贝噪音充斥自己的作品，以此模拟想象中大麻和麦角酸酰二乙酸（LSD）带给人的种种放纵迷幻的感觉。
盛行于60 年代中、后期，是嬉皮士运动的产物之一。其音乐特色是震耳欲聋的强烈节奏、尖厉响亮的电吉它单人或双人演奏。不同于重金属摇滚，迷幻摇滚没有一定的曲式，即兴演奏的成分较多，其无旋律的音调变化多端，常常富有精彩华妙的表现。“酸性”（acid) 一词是迷幻剂LSD的俚语代名词，酸性摇滚因为具有狂热的迷幻音乐特点，故有其名。代表乐手、乐队有：Jimi Hendrix、Jefferson Airplane、the beatles、the Doors、the Greatful Dead,Pink Floyd等。这些组合其歌迷都蓄长发、着彩色鲜艳的服装，持有反世俗的态度，这种外在表现与音乐一样重要。
Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It often uses new recording techniques and effects and draws on non-Western sources such as the ragas and drones of Indian music.
It was pioneered by musicians including The Beatles, The Byrds, and The Yardbirds, emerging as a genre during the mid 1960s among folk rock and blues rock bands in the United Kingdom and United States, such as Grateful Dead, Jefferson Airplane, The Jimi Hendrix Experience, Cream, The Doors and Pink Floyd. It reached a peak in between 1967 and 1969 with the Summer of Love and Woodstock Rock Festival, becoming an international musical movement and associated with a widespread counter-culture, before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas.
Psychedelic rock influenced the creation of psychedelic pop and psychedelic soul. It also bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia.
6.后摇 Post-Rock¶
摇滚乐从20世纪中叶发展至今，想想也快近半个世纪了。然而摇滚乐到底是什么？或许到目前谁都还无法用任何的描述做一完整的定论；因为有人认为摇滚乐就是从当初的爵士、蓝调、民谣逐渐演化融合而成的混杂乐种；然而也有人认为摇滚乐当初就是禀着一种叛逆精神、生活态度或是一个观念而已。但不论如何，“Rock Music”在经过四十余年各种类型流派的萌芽与茁壮，才使得摇滚乐在今日得以呈现出这么多样的风格与类型出来。
Post-Rock名词的出现与争议
大约在95年，美国村声杂志刊载了一篇由英国乐评家西蒙·雷诺兹（Simon Reynolds）所写的文章，而文中，这位西蒙先生主要是企图想描绘出，在九十年代中期，一群以”Drag City”、”Trill Jockey”、”Too Pure”这几个厂牌为主的地下乐队的音乐，而他们不管是在乐风或观念上，主要是以酷派爵士（Cool Jazz）、即兴爵士（Free Jazz）、环境音乐 （Ambient）、雷鬼音乐的混音技术（Dub）再加上七十年代的前卫摇滚（ProgressiveRock）和Kraut-Rock等多重风格来做为他们在音乐创作实验的基本要素。而在此一大范畴下，恰好当时的芝加哥市、英美两国及欧洲各地，均有一堆当地的地下乐队符合西蒙先生的描述，而他在文中便首次以”Post-Rock”一词，暂时统称这些勇于突破现有摇滚乐定义的前卫团体。没想到，过没多久，一些音乐杂志便以”Post-Rock”来正式称呼这群致力于摇滚乐新美学的新生代乐队。
不过后摇滚（Post-Rock）虽然已经先有了一个较为正式的称呼，但其实在最初的时候，许多音乐杂志对这一群人所玩的音乐基本上都还是无法做一定论。像是滚石杂志当初在介绍这些团体时，还只是用”Instrument Rock”一词来称呼他们，其原因主要是这些乐队大部分都较偏向纯乐器演奏而且也没有主唱。但有的刊物又因针对其乐风或渊源，于是有人又称之为
“DroneRock”、”Space Rock”、”Out Rock”、”Neo-shoegazer-rock”或”Kraut-Rock”等各种名词。然而，”后摇滚”这个名称被正式采用，则还是后来英国《Wire》音乐杂志持续有系统的用”Post-Rock”一词做大幅度的介绍报导后，整个所谓的”后摇滚运动”才慢慢地传开来。只不过到现在为止，仍有许多乐评人或被贴上后摇滚乐队的团体都仍非常讨厌或否认”后摇滚”这一名词。因为他们认为这一名词卷标根本都不足以形容他们自己所玩的音乐风格；甚至被视为现今”后摇滚”大本营之一的芝加哥，在当初的时候，当地的另类音乐刊物或乐评也几乎不提”后摇滚”这个名词来形容当时刚崛起的代表乐队Tortoise或Sea And
Cake。更甚者，许多乐评家还认为所谓”后摇滚”这个观念根本早在七十年代就已出现，只是这些观念还只是蕴含在各种非主流的乐派及几个关键性乐队中，而且那时出现的还都只是零散的创作概念构想，而现在只不过经由西蒙先生的一番介绍，才这样由媒体的运作，就俨然成为新一代的音乐种类?
Post-Rock的基本概念
那么到底当初西蒙先生的定义到底是怎么一回事？而所谓的”后摇滚”到底又是什么？它和所谓一般的”摇滚乐”又有何区别？如果说”后摇滚”音乐便如同”后现代主义”相对于”现代主义”的反动，那么它主要便是企图颠覆摇滚乐的基本概念与传统架构，或是甚至针对整个所谓音乐工业的运作做一消极的反抗。譬如说，同样是玩电吉他、鼓及贝斯的摇滚团体，但换到玩”后摇滚”的乐手中，却可能完全转变成另一种完全不同的创作观念。简略地说，所谓”后摇滚”其实就是一种由概念或理论去颠覆传统摇滚音乐创作的模式（如主旋律-桥段-主旋律-桥段）。而如果你听过一点”后摇滚”的音乐的话，你或许就会发现，他们所引用的理论则大都是援用所谓”解构主义”或西洋文学理论里头的”后现代主义”或者”后结构主义”的观念。也因此，就像十年前南辕北辙的”解构主义”作品一样，现在你若去找寻所有的 “后摇滚”乐队，那你可能会发觉他们听起来没有一个乐队是相近或相类似的风格（或许在他们的脑中，风格早已被 打破或不存在了）。
所以，当初西蒙先生心里所想的定义应该是很广泛的，因为当94年芝加哥乐队Tortoise和Sea And Cake发表同名专辑时，这两张专辑便已呈现出两种颇为不同的风格：Tortoise深受七十年代前卫摇滚乐队Can及电子乐实验乐队Kraftwerk 的理念影响，但有的作品又直承现代音乐、极简主义（如Philip Glass）或是Free Jazz大师Miles Davis、Ornette Coleman 及Sun Ra的影响；至于Sea And Cake，则反而专注于营造漂浮低调的情感；甚至在”后摇滚”领域较为知名的Stereolab则是大量运用流行音乐的基调，然后再加以解构重组而成另一种风貌的。
音乐特点
在90年代兴起的深受电声器乐摇滚影响的实验摇滚运动中，后摇滚无疑是占有统治地位的音乐类型。后摇滚音乐中集结了一大堆实验流派－Krauft-Rock、氛围音乐（Ambient）、激进摇滚（Progressive Rock）、Space Rock、Math Rock、Tape Music、简约古典（Minimalist Classical）、British IDM, Jazz (both Avant-Garde and Cool), 和 Dub Reggae，一句话简言之就是：音乐大部分架构在摇滚音乐上，但是它实质上不是摇滚音乐。
后摇滚给听众的音乐感受是与传统意义上的摇滚乐激励情感是完全相反的，它的音乐富于使人催眠和声响低沉单调（尤见于一些以吉他为主的乐队），即使相对亮色的音乐也使人感到镇定和醒脑。之所以如此是因为后摇滚当初就是反对摇滚的一种回应，尤其是当主流乐界对另类音乐的同化后更加如此，很多后摇滚乐队是在一个相同的意识下建立起来的，这种意识就是：摇滚乐已经丧失了自身的真正的反叛意识，并且很难从自身的陈旧模式和空洞姿态的窠穴中自拔。所以后摇滚拒绝一切与传统摇滚乐相关的东西。
后摇滚音乐着力于纯粹声响和音色远甚于对旋律和歌曲结构的沉迷，其大部分作品倾向于器乐，即使作品中有人声出现，也仅仅是作为整体音乐效果的一种附属。
后摇滚音乐基架的建立是在1991年两部竭然不同的里程碑作品的发表：Talk Talk乐队的《Laughing Stock》和Slint乐队的《Spiderland》。《Laughing Stock》是Talk Talk乐队从合成器流行乐转型后的顶峰之作，其音乐是对情境音乐（Ambient）、爵士乐（Jazz）以及简约室内乐（Minimalist Chamber Music）进行情绪化的、精巧的融合；而《Spiderland》的音乐则是充满深思的、bass-driven grooves、喃喃的诗化歌词、晦涩的结构以及极度的音量切换。这两部作品对很多后来的后摇滚乐队都产生过影响。
后摇滚一词则是由评论家所创造的。Post Rock一词最初是由Simon Reynolds在描述Bark Psychosis受到Talk Talk乐队影响的氛围音乐实验时使用，结果该词被应用于称呼那些不曾归类的从勇于打破既定传统的乐队（如Gastr del Sol, Cul de Sac, Main）到像Stereolab, Laika和the Sea and Cake这样的Indie Rock乐队（注：这其中不包括Slint乐队的仿效者）。后摇滚被公众承认是在来自芝加哥的Tortoise乐队1996年发表的第二张专辑《Millions Now Living Will Never Die》之后，这部作品也许是后摇滚各种实验元素所达到的最极至的融合。这样，后摇滚瞬间就为评论界提供了区分各种此类型下不同乐队（艺人）及其前辈们的方法，之后后摇滚迅速成为了同时代的独立摇滚（Indie Rock）的堂兄弟，集中在Thrill Jockey, Kranky, Drag City, 和Too Pure这些厂牌之下。
具有讽刺意味的是在90年代末，后摇滚获得了千篇一律的名声，一些人发现这种音乐缺乏感情令人生厌，另一些人认为后摇滚已经没有了当初的激进融合而变得众所周知，这其中部分原因应归咎于许多后摇滚乐队在他们的最初音乐理念上甚少变化。然而即使在这种倒退的情况下，新一轮的乐队（the Dirty Three, Rachel’s, Godspeed You Black Emperor!, Sigur Ros）以其独特的声音获得了较为广泛的赞许，暗示着后摇滚这种音乐类型毕竟还未走到尽头。
Post-rock was the dominant form of experimental rock during the ‘90s, a loose movement that drew from greatly varied influences and nearly always combined standard rock instrumentation with electronics. Post-rock brought together a host of mostly experimental genres – Kraut-rock, ambient, prog-rock, space rock, math rock, tape music, minimalist classical, British IDM, jazz (both avant-garde and cool), and dub reggae, to name the most prevalent – with results that were largely based in rock, but didn’t rock per se. Post-rock was hypnotic and often droning (especially the guitar-oriented bands), and the brighter-sounding groups were still cool and cerebral – overall, the antithesis of rock’s visceral power. In fact, post-rock was something of a reaction against rock, particularly the mainstream’s co-opting of alternative rock; much post-rock was united by a sense that rock & roll had lost its capacity for real rebellion, that it would never break away from tired formulas or empty, macho posturing. Thus, post-rock rejected (or subverted) any elements it associated with rock tradition. It was far more concerned with pure sound and texture than melodic hooks or song structure; it was also usually instrumental, and if it did employ vocals, they were often incidental to the overall effect. The musical foundation for post-rock crystallized in 1991, with the release of two very different landmarks: Talk Talk’s Laughing Stock and Slint’s Spiderland. Laughing Stock was the culmination of Talk Talk’s move away from synth-pop toward a moody, delicate fusion of ambient, jazz, and minimalist chamber music; Spiderland, meanwhile, was full of deliberate, bass-driven grooves, mumbled poetry, oblique structures, and extreme volume shifts. While those two albums would influence many future post-rock bands, the term itself didn’t appear until critic Simon Reynolds coined it as a way to describe the Talk Talk-inspired ambient experiments of Bark Psychosis. The term was later applied to everything from unclassifiable iconoclasts (Gastr del Sol, Cul de Sac, Main) to more tuneful indie-rock experimenters like Stereolab, Laika, and the Sea and Cake (not to mention a raft of Slint imitators). Post-rock came into its own as a recognizable trend with the Chicago band Tortoise’s second album, 1996’s Millions Now Living Will Never Die, perhaps the farthest-reaching fusion of post-rock’s myriad touchstones. Suddenly there was a way for critics to classify artists as diverse as Labradford, Trans Am, Ui, Flying Saucer Attack, Mogwai, Jim O’Rourke, and their predecessors (though most hated the label). Post-rock quickly became an accepted, challenging cousin of indie rock, centered around the Thrill Jockey, Kranky, Drag City, and Too Pure labels. Ironically, by the end of the decade, post-rock had itself acquired a reputation for sameness; some found the style’s dispassionate intellectuality boring, while others felt that its formerly radical fusions had become predictable, partly because many artists were offering only slight variations on their original ideas. However, even as the backlash set in, a newer wave of bands (the Dirty Three, Rachel’s, Godspeed You Black Emperor!, Sigur Rós) gained wider recognition for their distinctive sounds, suggesting that the style wasn’t exhausted after all.
7.硬摇滚 Hard Rock¶
硬摇滚（英语：hard rock），或称重摇滚（heavy rock），是一种摇滚乐流派，最早发源于1960年代中期的油渍摇滚与迷幻摇滚，比以往的摇滚乐更为猛烈。硬式摇滚主要使用失真效果的电吉他、贝斯、鼓及钢琴等键盘乐器。
最早的摇滚乐队如ROLLING STONES，The WHO，BLOOD SWEAT; TEAR等，以及后来的LED ZEPPELIN，AC/DC，kiss乐队，CHEAP TRICK,Guns N’ Roses等可以说是硬摇滚乐队。
Hard rock is a term that’s frequently applied to any sort of loud, aggressive guitar rock, but for these purposes, the definition is more specific. To be sure, hard rock is loud, aggressive guitar rock, but it isn’t as heavy as heavy metal, and it’s only very rarely influenced by punk (though it helped inspire punk). Hard rock generally prizes big, stadium-ready guitar riffs, anthemic choruses, and stomping, swaggering backbeats; its goals are usually (though not universally) commercial, and it’s nearly always saturated with machismo. With some bands, it can be difficult to tell where the dividing line between hard rock and heavy metal falls, but the basic distinction is that ever since Black Sabbath, metal tends to be darker and more menacing, while hard rock (for the most part) has remained exuberant, chest-thumping party music.
Additionally, while metal riffs often function as stand-alone melodies, hard rock riffs tend to outline chord progressions in their hooks, making for looser, more elastic jams should the band decide to stretch out instrumentally. Like heavy metal, hard rock sprang from the mid-‘60s intersection of blues-rock and psychedelia pioneered by artists like Cream, Jimi Hendrix, and the Jeff Beck Group. Blues-rock and psychedelia were both exploring the limits of electric amplification, and blues-rock was pushing the repeated guitar riff center stage, while taking some of the swing out of the blues beat and replacing it with a thumping power. Hard rock really came into its own at the dawn of the ‘70s, with the tough, boozy rock of the Rolling Stones (post-Brian Jones) and Faces, the blues-drenched power and textured arrangements of Led Zeppelin, the post-psychedelic rave-ups of Deep Purple, and the loud, ringing power chords of the Who (circa Who’s Next) setting the template for much of what followed. Later in the decade, the lean, stripped-down riffs of AC/DC and Aerosmith, the catchy tunes and stage theatrics of Alice Cooper and Kiss, and the instrumental flash of Van Halen set new trends, though the essential musical blueprint for hard rock remained similar. Arena rock also became a dominant force, stripping out nearly all blues influence and concentrating solely on big, bombastic hooks. During the ‘80s, hard rock was dominated by glossy pop-metal, although Guns N’ Roses, the Black Crowes, and several others did present a grittier, more traditionalist alternative. Old-fashioned hard rock became a scarce commodity in the post-alternative rock era; after grunge, many guitar bands not only adopted a self-consciously serious attitude, but also resisted the urge to write fist-pumping, arena-ready choruses. Still, the ‘90s did produce a few exceptions, such as Oasis, Urge Overkill, and the serious but anthemic Pearl Jam.
8.新迷幻 Neo-Psychedelia¶
新迷幻包括了一大批从后朋克时期一直到现在的不同类型的艺人们，他们都来源于60年代的形式各异的迷幻音乐。不管他们是表演引起幻觉的迷幻流行（如 the Beatles，早期的 Pink Floyd，和数不清的其他乐队）、受 Byrds 影响的嘈杂的吉他摇滚、充满失真的形式自由的即兴演奏、或者让人神经混乱的音速试验，也不管他们的音乐是已经现代化了的还是完全厚着脸皮照搬最开始的那些艺人的，他们唤起性的异乎寻常的声音都是引起人们幻觉的源泉。有一些新迷幻很明显是吸毒后的产物，而其他的一些则逻辑上是把毒品作为他们怪异的歌词与激进的装扮的补充。新迷幻偶尔也会打入流行音乐的主流中，比如 Prince 80年代中期的作品和90年代 Lenny Kravitz 一些崇尚复兴的作品；但在很大程度上，它还是另类与独立摇滚乐队的领地。
新迷幻最初是在70年代末期英国的后朋克背景下出现的，主要的乐队包括 the Teardrop Explodes, Echo & the Bunnymen, 以及 the Soft Boys；但是除了80年代早期的佩斯利地下运动（Paisley Underground movement）与90年代末期的六大象团体（Elephant 6 collective），大部分后来的新迷幻都来自单独的行为乖张的人士或复兴运动者，而不是以上的背景。其中最著名的包括空幻的澳大利亚金属乐队 the Church，将美妙的旋律、诗一般的歌词与强大有力的三重奏干扰混合在一起的 Nick Salomans Bevis Frond，声音低沉单调的笼罩着吸毒者阴霾的 Spacemen 3，风格诡异的前温和派学院摇滚 Boy Robyn Hitch***，全然不可思议的 Mercury Rev and the Flaming Lips，以及电子英伦流行乐队Wales Super Furry Animals。
60年代中期，迷幻是一种隐秘的音乐元素，如许多的隐秘元素一样，它最终浮出水面。自bealtles创作出具有该风格的乐曲1966s Revolver之后，迷幻元素的出现就成为指日可待的事情。大体上说，纯迷幻音乐与其他音乐风格迥然不同，而迷幻流行则在揉和迷幻元素的基础上创造了一种简单明快，琅琅上口的流行音乐曲风。在歌曲结构和旋律都基本固定的音乐里，迷幻效果只作为装饰而存在—-锡塔尔琴，轻柔的吉他乐，合成效果，背景吉他乐，甚至Beach Boys风格混合在一起，创造出一种程度适当的迷幻感觉。有一度迷幻流行音乐都是在录音室里制成的，但其实仍然有许多正规的乐队如迷幻风格相当的凸现流畅Sagetterius；这些乐队都明显地受了Beach Boys风格的影响，但并不像Lemon Pipers的Green Tambourine那样单薄。因为音乐中有更为强烈的流行感，迷幻流行音乐比纯迷幻音乐具有更长久的活力，一直到70年代早期依然兴盛不衰。更为让人惊讶的是，部分迷幻流行乐比普通迷幻乐更具吸引力，因为迷幻流行乐飘忽诡异，偶尔兼有迷幻和流行的双重元素—-1969年the Neon Philharmonics的专辑The Moth Confesses是其主要代表作品。
Neo-psychedelia is music that emulates or is heavily influenced by the psychedelic music of the 1960s. It began to be revived among British post-punk bands of the later 1970s and early 1980s and was taken up by groups including bands of the Paisley Underground and Madchester scenes, as well as occasional interest from mainstream artists and bands into the new millennium.
9.噪音摇滚 Noise Rock¶
噪音摇滚是另类/独立摇滚的一个分属流派，正如它的名字所说的那样，它是被包裹在充满反馈、不和谐与磨损的尖利的吉他拂动中的摇滚乐。它占据了一个处于泡泡糖摇滚舞曲与先锋派音乐中间的位置，是传统的音乐创作方式与白色噪音的音速袭击相碰撞的产物。
噪音摇滚派生于朋克摇滚，尤其是指那些用令人耳眩纷乱的电吉他声来表达年轻人焦虑和自负的朋克音乐。Noise Rock就像它的前辈“无浪潮”（No Wave）一样，其目的就是要让音乐更加碾磨化并以此达到一种滑稽讽刺效果或是表明一种立场、声明，而其音乐则总是诉诸于纯粹的声响能量。
尽管大部分Noise Rock乐队的音乐注意力是集中在由电吉他失真所产生的脱粒般的声响（有时这些乐队也会使用一些电子仪器来作为打击乐器或是增强音乐整体的不谐和），但仍有部分乐队更加关注于声响和歌曲结构的融合，如先驱乐队Sonic Youth当把音乐的富于旋律和其单调低沉的噪音相结合时，无疑将Noise Rock带入了更为宽广的另类音乐听众中。
Sonic Youth带来了一群模仿者，但这其中并不是所有的乐队音乐都像它，如80年代的The Swan和Big Black的音乐就有更为黑暗、阴森的倾向，而当时的Touch&Go厂牌在80年代末成为这种风格的音乐的中心；再如90年代Noise Rock衍生出一些戏剧性的分支类型，这些分支经常会被诸如“邋遢摇滚”（scuzz-rock）这样的词汇所形容，这种风格的音乐是用吉他噪音营造出一种肮脏、颓废、令人厌恶的声场（如Royal Trux, Pussy Galore, the Dwarves和 the Butthole Surfers）。
Noise-Rock is an outgrowth of punk rock, specifically the sort of punk that expressed youthful angst and exuberance through the glorious racket of amateurishly played electric guitars. Noise-rock, like its forerunner no wave, aims to be more abrasive, sometimes for comic effect and sometimes to make a statement, but always concentrating on the sheer power of the sound. While most noise-rock bands concentrate on the ear-shattering sounds that can be produced by distorted electric guitars, some also use electronic instrumentation, whether as percussion or to add to the overall cacophony. Some groups are more concerned than others about integrating their sonic explorations into song structures; pioneers Sonic Youth helped bring noise-rock to a wider alternative-rock audience when they began to incorporate melody into their droning sheets of sound. Sonic Youth produced a bevy of imitators, but not all noise-rock resembles their music – ‘80s bands like the Swans and Big Black took a much darker, more threatening approach, and the Touch & Go label became a center for crazed, shock-oriented takes on the style in the late ‘80s and ‘90s. A certain theatrical sub-style of noise-rock, often described as “scuzz-rock” or with similar terms, uses the guitar noise to help create a dirty, decadent, repulsive atmosphere (bands like this include Royal Trux, Pussy Galore, the Dwarves, and the Butthole Surfers).
10.垃圾摇滚 Grunge¶
Grunge 或称Grunge Rock，中文名称为垃圾摇滚，邋遢摇滚，或油渍摇滚。是摇滚乐的一种风格形式。在即将进入21世纪之时，回顾一下这十年摇滚乐的发展史，会发现有一种音乐形式十分抢眼，这种音乐形式叫做GRUNGE。据说人们把从汽车里漏出的汽油与泥土形成得混合物叫GRUNGE。以此命名这种音乐形式，应该就是为了描述这种音乐的那种嘈杂而失真的感觉。由于在音乐上采用源于the Stooges 和 Black Sabbath这样乐队的泥泞黑暗的声响，Grunge实际上是重金属（heavy metal）和朋克（Punk）的混血儿。
不少的GRUNGE乐队都称自己玩得是PUNK，其实GRUNGE和PUNK之间的确有共同点，可以说GRUNGE是PUNK在90年代的一种表现形式。虽然GRUNGE的走红是在90年代，但早在80年代中期GRUNGE ROCK就已出现，Melvins、Green River、Mother Love Bone都是GRUNGE ROCK的奠基人。当时这类乐队使用的乐器、录音器材都比较简陋，乐手们的技巧也比较粗糙。原因主要是这类乐队主要来自社会底层，没有经过更专业的训练也缺乏资金，而且他们也没有宏图大志成为摇滚明星。从这可以发现GRUNGE和PUNK是多么的相似。从歌词内容上看，同PUNK相似，GRUNGE也多是描写社会阴暗面的，以愤怒、讽刺、抨击或是无奈的态度来表达自己的感情。歌词也基本上没什么艺术可言，有时甚至是脏话连篇，不过这也不是绝对的。从音乐形式上看，GRUNGE的编曲较简单，用一些简单的和弦作为伴奏的主体。同是火爆狂躁，但与重金属还有明显的区别。首先GRUNGE的鼓点又快又狠但变化不多；其次歌手的嗓音并不华丽；还有，GRUNGE吉他SOLO比较失真，而重金属则不同。最后这个区别比较明显，不过这些也不是绝对的。西雅图既是GRUNGE发源地又是其大本营，所以GRUNGE乐队多来自西雅图也是一大特点。
垃圾摇滚音乐的风格可以大体概括为“很脏”的吉他，强烈的反复演奏段落和重型鼓声。乐手们通过对标准朋克演奏方式的个性化和大量的运用吉他失真和回馈效果达到使声音“变脏”的目的。和朋克不同的是，垃圾摇滚音乐的节拍稍慢但却拥有一种不对称的和谐性。歌词方面，呈现出了一种典型的极端焦虑状态，作品大多表现了愤怒，挫折感，厌倦，悲伤，恐惧以及消沉的情绪。这些情绪的来源可能是普遍出现的青春期的叛逆性，这和很多垃圾摇滚乐手在青少年或青年期就开始音乐生涯不无关系。事实上，其他一些因素诸如贫困，对世俗偏见的反感以及对社会本质的清醒认识都会影响到垃圾摇滚音乐家的词曲创作。总而言之，不是所有的垃圾摇滚音乐都会涉及到这些强烈的情绪，比如涅槃乐队（Nirvana）具有嘲讽意味的作品《In Bloom》就很显著的运用了诙谐幽默的写作方式。其实其他的许多垃圾摇滚音乐也多少具备一些幽默的风格，只不过被大众媒体所忽视了。在20世纪80年代，垃圾摇滚音乐多含有对重金属以及其他摇滚音乐形式的讽刺。
Grunge (sometimes referred to as the Seattle sound) is a genre of music originating in Seattle that lasted from the mid 1980s to the mid 1990s. It is a sub-genre of alternative rock that emerged as a fusion of punk, alternative, and heavy metal.Inspired by hardcore punk, metal, and indie rock, grunge is generally characterized by heavily distorted electric guitars and contrasting song dynamics, and the grunge aesthetic is stripped-down compared to other forms of rock music. Lyrics are typically angst-filled, often addressing themes such as social alienation, apathy, frustration, sadness, fear, and depression.
The early grunge movement coalesced around Seattle independent record label Sub Pop in the late 1980s. Grunge became commercially successful in the first half of the 1990s, due mainly to the release of Nirvana’s Nevermind and Pearl Jam’s Ten. The success of these bands boosted the popularity of alternative rock and made grunge the most popular form of hard rock music at the time.However, many grunge bands were uncomfortable with this popularity. Although most grunge bands had disbanded or faded from view by the late 1990s, their influence continues to affect modern rock music.
11.低保真 Lo-Fi¶
在80年代初90年代末的时候，低保真已经不再只是对某张特定专辑录音质量的描述，它本身就成为了一种流派。贯穿整个摇滚史，唱片的录制往往都是在不合规格的设备上廉价而迅速地完成的。从这个意义上讲，那些最早的摇滚唱片、60年代绝大部分的车库摇滚和70年代后期许多的朋克摇滚都可以贴上低保真的标签。然而后来，低保真谈及的是搞地下独立摇滚的一类音乐人，他们用四轨的仪器在家录制其音乐素材。大部分这种音乐发源于80年代的美国地下，包括像R.E.M这样的乐队；另外还包括一批英国的原型朋克乐队和新西兰的乐队，比如the Chills 和 the Clean. 通常，这些低保真乐队会从简单的流行摇滚歌曲波动到自由形态的歌曲结构或纯粹的噪音与艺术性的实验音乐。尽管这些乐队保持了音乐的相对简单易与直接，但唱片质量低下的灌制、磁带涂层的声音失真与嘶嘶作响、以及抽象而愚钝的歌词依然使得他们的音乐声音显得不寻常而激进。最开始的时候，低保真的唱片都以自制磁带的方式进行交易，但也有一些独立的厂牌发布了正式的专辑，最著名的就是由Calvin Johnson经营的，领导了Beat Happening乐队的K Records.80年代末期，一些像Pussy Galore, Beat Happening 和 Royal Trux这样的乐队，在美国地下拥有了一小批狂热的追随者。到1992年，像Sebadoh 和 Pavement 这样的乐队已经通过他们蓄意做出的嘈杂而混乱的唱片成为在英美大受欢迎的崇拜偶像。几年之后，这种低保真美学在Liz Phair 和 Beck的帮助下以一种改进过的更加新型的式样侵占了主流市场。
Lo-fi (from the term “low fidelity”) is lower quality of sound recordings than the usual standard for music. The qualities of lo-fi are usually achieved by either degrading the quality of the recorded audio, or using certain equipment. Recent uses of the phrase have led to it becoming a genre, although it still remains as an aesthetic in music recording practice. Many lo-fi artists use inexpensive cassette tape recorders. The term was adopted by WFMU DJ William Berger who dedicated a half hour segment of his program to home recorded music throughout the late ‘80s under the name lo-fi.
12.前卫摇滚 Progressive Rock¶
前卫摇滚（Progressive rock），有时简称为prog rock，是在1960年晚期兴起的摇滚乐分支之一，它的内涵十分复杂并且吸纳众多其他乐派精神，因此并不能明确地定义出其精确范围。前卫摇滚最热门最颠峰的时期是在1970年代的早期，并继续流传至今日。前卫摇滚起源自英国，大多数的团体多出现于欧洲大陆，只有少数几支乐团是来自于美国加拿大的。此种乐风通常结合了爵士乐、古典音乐、民间音乐和世界音乐等元素，不同于美国摇滚是受到R&B以及乡村音乐的影响。经由多年累积的发展，在前卫摇滚中也出现了像是：交响摇滚、艺术摇滚、数学摇滚以及前卫金属等类型。
前卫摇滚乐手意图摆脱流行音乐的公式化及束缚，并亟力提升自身的音乐成就另外一种音乐类型，即便时常令人嗅到不小的古典与爵士影响。前卫摇滚最独特的地方便是“复杂”而不只是技术的出众，因为在流行音乐中技巧十分出众但却演奏单调乐章的乐手亦大有人在。
前卫摇滚并无绝对定义，名团克里逊王的领袖Robert Fripp就十分厌恶这个音乐分类上的术语。而构筑出前卫摇滚的作品多集中在1970年代，像是：Jethro Tull，Yes，创世纪合唱团，平克·弗洛伊德，爱默生、雷克与帕玛，匆促乐团，皇后乐队与克里逊王等等，音乐各有不同特色，无法同一而论。这些乐手与乐评家们（如：Bill Martin）对自身是否真的属于前卫摇滚感到疑问（不过在此我们必须要做如此假设，至少是70年代的他们）。同时也有人在争辩像是：Frank Zappa，深紫，Phish，电台司令，和Tool这类活跃于其他乐种的乐手是否隶属于前卫摇滚之下。
Progressive rock, also known as prog rock or prog, is a rock music subgenre that originated in the United Kingdom, with further developments in Germany, Italy, and France, throughout the mid-to-late 1960s and 1970s. It developed from psychedelic rock and originated, similarly to art rock, as an attempt to give greater artistic weight and credibility to rock music. Bands abandoned the short pop single in favor of instrumentation and compositional techniques more frequently associated with jazz or classical music in an effort to give rock music the same level of musical sophistication and critical respect. Songs were replaced by musical suites that often stretched to 20 or 40 minutes in length and contained symphonic influences, extended musical themes, fantasy-like ambiance and lyrics, and complex orchestrations. Music critics, who often labeled the concepts as “pretentious” and the sounds as “pompous” and “overblown,” tended to be hostile toward the genre or to completely ignore it.
Progressive rock saw a high level of popularity throughout the 1970s, especially in the middle of the decade. Bands such as Jethro Tull, The Moody Blues, Pink Floyd, Yes, King Crimson, Genesis, and Emerson, Lake & Palmer (ELP) were the genre’s most influential groups and were among the most popular acts of the era, although there were many other, often highly influential, bands who experienced a lesser degree of commercial success. The genre faded in popularity during the second half of the decade. Conventional wisdom holds that the rise of punk rock caused this, although in reality a number of factors contributed to this decline. Progressive rock bands achieved commercial success well into the 1980s, albeit with changed lineups and more compact song structures.
The genre grew out of the 1960s space rock of Pink Floyd and the classical rock experiments of bands like The Moody Blues, Procol Harum and The Nice. Most of the prominent bands from the genre’s 1970s heyday fall into the “symphonic prog” category, in which classical orchestrations and compositional techniques are melded with rock music. Other subgenres exist, including the more accessible neo-progressive rock of the 1980s, the jazz-influenced Canterbury sound of the 1960s and 1970s, and the more political and experimental Rock in Opposition movement of the late 1970s and onward. Progressive rock has influenced genres such as krautrock and post-punk, and it has fused with other forms of rock music to create such sub-genres as neo-classical metal and progressive metal. A revival, often known as new prog, occurred at the turn of the 21st century and has since enjoyed a cult following.
13.华丽摇滚 Glam Rock¶
华丽摇滚（Glam Rock或Glitter Rock）又称闪烁摇滚，是硬摇滚的一个分支，是摇滚乐和流行音乐的一个流派，特点是性别模糊的装扮，华丽戏剧化的台风和颓废慵懒的音乐风格。“Glam”来自单词“glamour”，指魔法与魅力。它产生、活跃和消亡于70年代的英国，高峰时期的代表人物包括英国的大卫·鲍伊、皇后乐队（70年代）、暴龙乐队、罗西音乐、加里·格利特。在美国也出现了一些华丽摇滚的歌手与乐队，如卢·里德、布鲁斯·韦恩·坎贝尔（Jobriath）、纽约娃娃等。
而华丽摇滚最兴盛的70年代，年轻人从理想烂漫的60年代一路走来。当爱与和平成为一个陈旧而烂俗的口号，当群居和乱性使人始终处于混乱的状态之中，当成天戴着花朵，穿着彩虹衣，吸着大麻当街舞蹈再也无法激起人们的兴趣，当没有更多的战争需要反对，没有更多的压迫和暴力之后。年轻人很自然的开始思考如何更好的表达自我，如何娱乐生活，如何将青春点燃到另一个High的高度。这时候，他们选择的依旧是摇滚乐。一部分摇滚乐手也开始厌恶了嬉皮士们的虚弱和颓废，开始思量着创造另外一种更酷更炫更富有激情的音乐风格，于是，华丽摇滚诞生了。
1974年，在Hollywood Palladium举办的“好莱坞街道的复兴和舞蹈”（Hollywood Street Revival and Dance）音乐会，参加的人包括了Iggy Pop 和他的助手乐队（Stooges），纽约妞乐队（the New York Dolls），还有Marc Bolan和他的雷克斯龙乐队（T.Rex）。在那场演唱会上，Marc Bolan宣布：“华丽摇滚死了（Glam Rock is dead）”。
由创造了华丽摇滚的人宣布华丽摇滚的死亡，一如发掘了美的人来毁灭这种美，也算是最好的结局，总胜过使之自然风干老化成为过街老妪，在羞辱中灭亡。
自华丽摇滚诞生到今天，已经过去三十多年。当年衣着性感，用极低和极高的嗓音滑越吉他SOLO，引爆音箱，放纵出耀眼的火花的少年们，今天业已融入社会，成为为人类进步贡献力量的墙上之砖。脱去镶嵌闪石，亮片的华服，穿上标有Giorgio Armani的黑色西装登堂入室，褪去发梢的红色，梳理下已见稀疏的头发，洗净妆容，等待岁月刻上皱纹。
Glam rock (also known as glitter rock) is a style of rock and pop music that developed in the United Kingdom in the early 1970s, which was performed by singers and musicians who wore outrageous clothes, makeup and hairstyles, particularly platform-soled boots and glitter. The flamboyant costumes and visual styles of glam performers were often camp or androgynous, and have been connected with new views of gender roles.
Glam rock peaked during the mid-1970s with artists including T. Rex, David Bowie, Sweet, Roxy Music and Gary Glitter in the UK and New York Dolls, Lou Reed and Jobriath in the US. It declined after 1976, but had a major influence on genres including punk, glam metal, New Romantics and gothic rock and has sporadically revived since the 1990s.
14.慢核 Slowcore¶
慢核（Slowcore）的确就是因为它核心音乐的缓慢步调而闻名的 — 始终游移的旋律和徘徊前行的节奏，而这所有的一切都包裹在一种厚重、阴冷潮湿的气氛之下。慢核和与之很相近的一种音乐“悲核”有着很密切的联系，慢核通常都更关注与音乐而不是歌词 — 事实上，有很多慢核乐队就是纯乐器乐队，即使有一些有歌词的乐队，他们通常也是使用一些愚钝的歌词，远比不上与之对应的开拓灵魂的悲核乐队。Cigarettes After Sex乐队是典型代表。
Slowcore is a subgenre of alternative and indie rock.
The music of slowcore artists is generally characterized by bleak lyrics, downbeat melodies, slower tempos and minimalist arrangements. Slowcore is often used interchangeably with the term sadcore.
15.工业摇滚 Industrial Rock¶
工业摇滚（Industrial rock）是融合工业音乐与庞克摇滚的一种音乐类型。工业摇滚后来衍生出工业金属，但这两者常互相混淆。最早试着将工业音乐与摇滚结合在一起的是一些后庞克乐团，包括 Chrome、致命玩笑乐团、 the Swans 与 Big Black。
早期工业摇滚乐团有 The Young Gods、Swamp Terrorists、内阁乐团和九寸钉。美国工业摇滚的兴起是在1990年代中期。
工业摇滚通常使用电吉他、鼓和贝斯等乐器，并搭配白噪声、电子音乐设备（合成器、sequencers、取样器和鼓机）。吉他大量使用失真效果或其他的效果器。贝斯和鼓可能会在现场演唱使用，或是由电子音乐器材和电脑代替。工业摇滚常常结合机械和工业音效，这方式最早开始于1980年代早期的团体（SPK、新建筑倒塌、Die Krupps、Test Dept 与 Z’ev），他们大量使用工业废弃的金属管、筒、或其他产品所制成的打击乐器。
工业音乐开始于1970年代中期至晚期，介于庞克摇滚革命与迪斯可热潮之间，代表乐团有 Throbbing Gristle、Cabaret Voltaire 与 SPK。之后，有许多音乐表演者将工业音乐元素与其他音乐结合在一起。
一些后庞克表演者发展出有工业音乐特色的音乐。Pere Ubu 的首张专辑《The Modern Dance》的曲风被形容为“工业”。样的还有来自旧金山，混合吉米·罕醉克斯、性手枪、录音带音乐的 Chrome，以及被知名乐评 Simon Reynolds 评论是“重金属音乐的后庞克版”的致命玩笑乐团。
之后陆续有其他乐团跟随他们的脚步。纽约乐团 Swans 受到本土无浪潮、庞克摇滚、噪音音乐（特别是 Whitehouse）、原始工业团体的启发。Steve Albini 的 Big Black 也踏上相似的道路， 他们音乐结合了美国硬核庞克、后硬核、噪音摇滚。瑞士三人团体 The Young Gods 用取样器代替电吉他， 他们也受到了硬核音乐与工业音乐的影响。
Industrial rock is a musical genre that fuses industrial music and specific rock subgenres. Industrial rock spawned and is often confused with industrial metal. The early fusions of industrial music and rock were practiced by a handful of post-punk groups, including Chrome, Killing Joke, Swans, Foetus and Big Black.
16.数学摇滚 Math Rock¶
数学摇滚（Math-rock）是一种实验性的摇滚风格，80年代后期 萌芽于美国。
数学摇滚曲风大多混合噪音摇滚（Noise rock)、后摇滚(Post rock)、前卫摇滚(progressive rock)、简约音乐(Minimal music)、电子音乐(Electronic music)等。它的一个特点是编曲复杂，经常使用不规则停顿或开始、不自然节拍结构（odd time signatures）、棱形旋律（Angular melody）、对位法（counterpoint）、延伸和弦（extended chords）、不协调和弦（dissonant chords）、非典型和弦进行(atypical Chord progression）。一般摇滚乐都以 4/4 拍 作歌曲结构，而数学摇滚则频繁使用不对称节拍，如 7/8 拍, 11/8 拍, 13/8 拍，并于歌曲中交错换拍， 例如一小段 9/8 拍，转换至 8/8 拍 ，再转换至 6/8 拍，让听众有错摸的诡异感觉。 又例如，在同一首乐曲使用 3/4 拍的鼓、4/4 拍的吉他、3/4 拍的低音吉他，却让每样乐器巧妙地于不同音轨上“对在一起”，听起来又顺畅不碍耳。因复杂结构如数学运算，故此称为“数学摇滚”。
Math Rock和后摇滚（Post Rock）有点沾亲带故，更为人熟知的是其作为Indie-Rock风格，它和Indie-Rock有着相近的音乐取向。在Post-Rock有着明显的爵士乐影响的地方，Math Rock则就如同是一枚硬币的反面－它的音乐显得浓厚而复杂，同时充满着艰涩的拍子记号和缠结在一起的乐段。而且，这种音乐比后摇滚要更为摇滚一些，因为它通常是由以吉他为主乐器的小乐队演绎。 Math Rock在90年代中期达到顶峰，那时，像Polvo和Chavez这些乐队在大学校园的独立摇滚乐人中有少数专注于这种音乐的追随者。
Math rock is a genre that developed in the late 1980s to early 1990s via the influence of bands such as Slint, Drive Like Jehu and Shellac who added to the already established sounds of Noise Rock and Post-Hardcore a sense of rhythmic variety and complexity that was claimed by many critics to sound almost mathematical, eventually being coined “math rock”. It became a large influence on some underground movements in the US and became a common instrumental style of certain genres including many bands of the Midwest Emo and Indie Rock scene.
By the dawn of the 21st century the sound of math rock was even more riff focused. Emphasised by polyrhythmic and winding yet consonant guitar riffs with the bass often used as a counter melody, vocals were usually used as a secondary instrument to the guitar or not at all. The genre took further influences from Jazz-Rock and Post-Rock often sounding both accessible and experimental with the dissonance of earlier math rock groups being far less dominant. Modern math rock groups include Don Caballero, Hella, 65daysofstatic and Tera Melos. Some modern groups have also acquired mainstream success whilst using math rock influences. These bands include Battles, Minus the Bear and Foals that further show math rock’s gradual divergence from the underground.
17.后垃圾摇滚 Post-Grunge¶
西雅图Grunge音乐对美国主流音乐产生影响不久，就出现了一批所谓Post-Grunge风格的乐队。他们与西雅图Grunge音乐的主要区别在于：西雅图Grunge音乐坚定地追随了80年代的地下另类摇滚乐风格，而Post-Grunge音乐则更多地被概念上的Grunge音乐风格—-内在形式广泛流行的，思想严肃的重摇滚—-所影响。所以很多Post-Grunge风格的乐队只是简单地模仿了Grunge音乐的风格表达，却不具有最初Grunge艺术的独立特质。
Post-Grunge乐队承袭了典型Grunge音乐中充满焦虑，冷静自省的音乐风格，并将其看作是Grunge艺术的必要元素。即使处于低蘼时期，Post-Grunge乐队们也保持了十分严肃清醒的态度对待自身的存在，最终，Grunge音乐的独特元素成为了正统音乐本质上不可或缺的成分。Post-Grunge风格几乎影响了整个90年代的主流成熟的重摇滚音乐。虽然音乐中包含了另类的元素，Post-Grunge依然是一种主流商业音乐—-其浑厚流转的Grunge吉他演奏是音乐优美流畅，脍炙人口。很多乐队在风格上十分相似却又不完全相同；除了旧式Grunge音乐，Post-Grunge还借鉴了80年代初期的喧闹流行，朋克流行，复兴斯卡乐，另类金属和古典纪念摇滚等音乐风格。此外，一部分怪异的Post-Grunge风格的物品还因其黑色幽默而非低调忧郁而大受欢迎。Post-Grunge音乐在旧式Grunge音乐产生不久后就已经浮出水面；代表旧式Grunge风格的nirvana乐队于1992年初进入巅峰时期，短短几年后，Post-Grunge风格的bush乐队和candlebox乐队也获得了巨大的成功。旧式Grunge音乐最初的的鼎盛时期过去后，Post-Grunge风格开始兴起，90年代中期到末期涌现出一批新生乐队；其中一部分持续走红，而另一些则昙花一现。时至今日，Post-Grunge风格仍然兴盛不衰，creed和matchbox20是美国最受欢迎的两支该风格乐队。
Post-grunge is a derivative of grunge and a style of alternative rock and hard rock that began in the 1990s. Originally, post-grunge was an almost pejorative label used to describe bands that emulated the grunge sound. During this time, bands like Bush, Candlebox and Collective Soul were viewed as post-grunge.
In the late 1990s, post-grunge morphed into a more clearly defined style that married the sound and aesthetic of grunge with a more mainstream approach. Post-grunge rose to prominence in the 1990s and continued to remain popular in the 2000s. Post-grunge bands such as Foo Fighters, Puddle of Mudd, Staind, Nickelback, Creed and Matchbox Twenty all achieved mainstream success.
During the 1990s, a post-grunge sound emerged which emulated the attitudes and music of grunge, particularly its thick, distorted guitars, but with a more commercially accessible tone.Unlike a lot of early grunge bands, post-grunge bands often worked through major record labels and incorporated influences from a variety of musical genres including: jangle pop, pop punk, ska revival, alternative metal and classic rock. Post-grunge music tends to be in mid-tempo and is noted for having “a polished, radio-ready production”. Grierson of About.com wrote that musically, post-grunge bands “split the difference between plaintive ballads and aggressive rockers, resulting in songs that combine the two extremes into a sad-eyed, propulsive middle ground”.Post-grunge tends to feature the “…same kind of melody as…bubblegum pop” and pop song structures. Sometimes post-grunge music features both an electric guitar and an acoustic guitar playing simultaneously. Post-grunge tends to have production quality that is much higher and cleaner than grunge.
A “major rift” between grunge and post-grunge is in the lyrical substance of the music; grunge expressed emotion through loose metaphors or third-person narratives, while post-grunge was known for being direct and blunt. While describing lyrics that are common in post-grunge, Sasha Geffen of Consequence of Sound wrote that post-grunge “plunged directly into the “I.” “ Geffen wrote that most post-grunge songs that achieved mainstream success “call after a prospective or past companion in the first person”. Post-grunge lyrics also tend to be about topics such as relationships, romance and drug addiction. According to Geffen, “grunge’s frontmen posed with their addictions; post-grunge’s songwriters sought redemption for them”. Geffen states that post-grunge songs “fit the mold of songs made for…teenage and pre-teen girls” who were “longing for a distant someone”, and the songs “wore signs of femininity” which she posits may be why the “…post-grunge moment pissed off so many angry dudes.” According to Geffen, artists such as Alanis Morissette, No Doubt and Sarah McLachlan all “crystallized the songwriting strategy that would form the emotional core of the post-grunge moment”.
Post-grunge is a derivative of Grunge that emerged in the mid-1990s with bands such as Live, Bush, and Foo Fighters. Although it adopted the vocal style, angsty lyrics, and “dirty” guitar sound of grunge, the songwriting placed more emphasis on pop hooks and conventional song structures. It became one of the leading popular music genres from the mid-1990s to the mid-2000s, particularly following the death of Nirvana lead singer Kurt Cobain in 1994. In the late 1990s and early 2000s, the genre reached its peak in popularity with the rise of such bands as Creed and Nickelback.
18.说唱摇滚 Rap Rock¶
说唱摇滚（Rap Rock）是说唱金属的一种延续，它是由 Anthrax 这样的乐队所倡导的说唱与重金属的混合体。说唱金属有着大量的不规则的古典和非常厚重的反复—有的时候，那些反复简直像是通过在吉他上乱擦和用拳击式的拍子敲打录制成的。相比之下，说唱摇滚则更有组织，经常歌手是因为这是一首摇滚歌曲才会在某些地方用说代替了唱。不过无论如何，在它的节奏里面当然也还是有着说唱的节奏的，因为说唱摇滚中含有更多的疯克元素而不是普通的硬摇滚元素。有时候，说唱金属与说唱摇滚之间的差别是很微小的，因为他们两个都很喜欢嘹亮的吉他与鼓点；因而二者最主要的区别就是说唱摇滚那有组织的、完整而和谐的声音了，其最好的体现就是 Kid Rock 在1998年推出的那张说唱摇滚杰作 Devil Without a Cause。
Rap rock is a cross-genre fusing vocal and instrumental elements of hip hop with various forms of rock. Rap rock’s most popular subgenres include rap metal and rapcore, which include heavy metal-oriented and hardcore punk-oriented influences, respectively. One of the earliest examples would be The Clash’s song “The Magnificent Seven” which fused new wave, hip hop and funk.
19.艺术摇滚 Art Rock¶
艺术摇滚（英语：Art rock）是摇滚乐的一个子流派，于1960年代在艺术音乐（先锋派音乐和古典音乐）的影响下形成。根据《韦氏词典》，该名称于1968年第一次被使用。艺术摇滚意图“扩展摇滚乐（rock and roll）的局限”，并在音乐上选择更具实验性和概念性的观点。该流派受其他几种流派的影响，尤其是古典音乐，以及实验摇滚、迷幻音乐、先锋派音乐、民谣音乐、巴洛克流行和后期创作中的爵士乐。
艺术摇滚是一种试图将古典音乐融入其中的摇滚乐。其特征为：结构较为庞大，和声语言较为复杂，并常借用古典音乐中的主题作为素材，并注重音乐的逻辑性和音乐素材的简练、统一。
艺术摇滚（Art Rock）于60年代末兴起于英国的一些受过古典音乐熏陶的摇滚音乐家中间。”披头士”乐队的《佩 普军士孤心俱乐部乐队》概念专集唱片被认为是”艺术摇滚”的先驱。 70年代中期，美国也出现了类似的倾向。”艾莫森、雷克与帕尔莫”（Emerson，Lake and Palmer）乐队将穆索尔斯基的《图画展览会》改编为摇滚乐；Yes乐队 在《接近边缘》中运用了古典奏鸣曲式。著名的美国乐队还有”纽约玩偶”（new York dolls），”路·里德”（Lou Reed）和”帕蒂·史密斯”（Patti Smith）。他们不强调摇滚乐与古典音乐的表面联系，而注重音乐逻辑的严密与 音乐素材的简练、统一，并由此启迪了朋克音乐与新浪潮音乐的产生。
艺术摇滚的创作一般可分为两种：一种是比较简单的做法，在摇滚乐中引用古典音乐片段，或把一首古典音乐作品改编成摇滚风格；另一种做法是将摇滚乐队和管弦乐队（或其他古典音乐合奏形式）混合而成，或者用摇滚乐语言按古典音乐的发展手法、结构形式创作而成。
Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from teen entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, and jazz.
Its music was created with the intention of listening and contemplation rather than for dancing, and is often distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock.The term may sometimes be used interchangeably with “progressive rock”, though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures.
The genre’s greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults, especially due to its virtuosity and musical/lyrical complexity.Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within later popular music genres of the 1970s–90s.
The term art rock has been employed to describe several works of Rock music developed right after the 1960s Psychedelic Rock explosion. Following on the heels of this phenomenon, art rock has been the result of musicians developing an interest towards a handful of forms of music out of the boundaries of rock and, in general terms, making an attempt to break away as much as possible from the constrains imposed by Rock & Roll (or from the roots of rock itself, which, in turn, inspired genres like Blues Rock, Country Rock or U.S. Folk Rock). A non-musical factor that could explain this development is the conscious transition that certain rock (and non-rock) artists made from singles-based music towards a bigger development of the album as a cohesive lyrical and thematic whole (an important step towards the popularization of the so-called Concept Album) as shown by the 1966–1967 set of examples like Pet Sounds, Freak Out!, The Who Sell Out or Sgt. Pepper’s Lonely Hearts Club Band (which can be counted as forerunners of later art rock).
The Velvet Underground & Nico, which interpolated raw Garage Rock and psychedelia with lengthy Modern Classical-inspired drone and noise passages, unorthodox guitar tunings with heavy use of feedback, and subject matter generally centered around stark lyrical topics (all tied in with elaborate pop art-inspired imagery and live performances) is considered by critics and fans as the starting point of art rock. This template of limit-breaching rock music, concept-oriented LPs and complex live performances would be the basis for many artists during the 70s that added various influences to this archetype, including Jazz, Western Classical Music, Funk, avant-garde and early Electronic and Ambient music (and even instrumentation typical of some of these styles). Examples of art rock musicians during this stage include Roxy Music (along with the solo careers of Brian Eno and Phil Manzanera, as well as the Roxy-related 801), Pink Floyd, Station to Station/Berlin trilogy-era David Bowie, Peter Gabriel, Barclay James Harvest, Steve Harley/Cockney Rebel and ex-Velvet Underground members Lou Reed and John Cale.
Ever since its beginnings, art rock has shared connections, musical ties and even presents apparent overlaps with Experimental Rock and Progressive Rock (eventually also bearing a relationship with styles like Art Pop, Glam Rock, Krautrock and Jazz-Rock). While art rock strives to find a level of complexity similar to the one present in these two affiliated genres, it generally features a mix of rock music that tends to follow certain Pop-based structures or patterns along with the aforementioned set of eclectic influences and certain degree of complexity and conceptuality, in contrast to the more classical/jazz-mimicking or inspired patterns of prog suites, or the more radical and angular experimental rock.
After the Punk Rock explosion of the second half of the 1970s, art rock dissolved, during the following decades, into other forms of rock music, including (but not limited to): Post-Punk, New Wave, Art Punk, and Post-Hardcore. The 1990s and 2000s would then see a series of newer bands taking inspiration from the musical and conceptual leanings of 60s/70s art rock acts (along with other influences) and as such, groups like late-90s/early-00s Radiohead, The Mars Volta, TV on the Radio, dEUS, АукцЫон [Auktyon], and The Mollusk-era Ween have been commonly credited with reviving popular interest in the genre into the new millennium.
20.默西之声 Merseybeat¶
默西之声是英式入侵的音乐源头，它强劲而有旋律性，是美国的摇滚与R&B,以及英国的噪音爵士的混合体。披头士早期的唱片，如”Please Please Me” 和 “Love Me Do” ，就是这种流派的原型。不久之后，其它一些利物浦的乐队，如Gerry & the Pacemakers, Billy J. Kramer, 和 the Searchers也追随了此种风格。它之所以被称为“默西之声”是因为利物浦那条叫默西的河，此种风格在整个1963年和1964年的前半年极其风靡。但没过多久，一些R&B导向的乐队，如the Rolling Stones, the Kinks, 和 the Yardbirds出现了，同时出现的还有一些流行团体，如the Hollies 和 Freddie & the Dreamers。虽然这些团体都受到了默西之声的影响，但是这种风格本身却渐渐失去了根基，而披头士乐队也将他们的风格形式扩展到了更广的范围。
Merseybeat is a light, highly melodic style of Beat Music popular in the UK during the early 1960s, named due to the abundance of bands from Liverpool beside the River Mersey. Merseybeat groups characteristically had simple guitar-dominated line-ups, with close vocal harmonies and catchy tunes. The resulting sound is chirpy, bouncy and simplistic, drawing influences from Rock & Roll, British Rhythm & Blues and late 1950s/early 1960s singles by acts such as Buddy Holly & The Crickets and Cliff Richard & The Shadows. The release of The Beatles’ “Love Me Do” in October 1962 is an important focal point for the huge popularity of the sound between 1963 and 1965 in the UK (and the early first ‘British Invasion’ in the USA), with bands such as Gerry and The Pacemakers, Billy J. Kramer & The Dakotas, The Searchers, The Merseybeats and The Fourmost achieving consistent success in the hit parade.
The most popular line-up comprised of lead, rhythm and bass guitars with drums. It is typified by the synchronization of the bass guitar (usually playing only the root and fifth notes of the chords) and the bass drum. Unlike in rock & roll, Merseybeat groups often incorporate two and three-part harmonies, and even those with a separate lead singer will often sing both verses and choruses in close harmony; the Liverpool accent also has a major role in the distinctive overall sound. Although there are instrumental breaks, the focus is on the presentation of the song rather than instrumental prowess.
It is important to note that merseybeat is not simply a synonym for “any beat music made by Liverpudlian bands”. This is exemplified by the rougher, more proto-Garage Rock sounds of “Walking the Dog” by The Dennisons and “Peter Gunn Locomotion” by Freddie Starr and The Midnighters.
21.基督摇滚 Christian Rock¶
Christian rock 基督摇滚，也可称为福音摇滚。
它是摇滚乐下面的一个分支。之所以叫基督摇滚是因为这个乐队里面的成员是基督教徒以及歌曲的歌词中是表达基督教信仰的。
这种音乐类型在美国的摇滚乐队中很流行。
曲风上来说一般都比较偏流行化的摇滚。
但Christian rock下面还包含了很多子流派，如Christian metal，Christian punk，Christian hardcore，Christian alternative，Christian hip-hop。
Most of the time, Christian Rock essentially follows the sonic blueprint of mainstream AOR and arena rock, except of course for its Christian-themed lyrics. It was initially a somewhat controversial style in Christian circles, as more conservative elements believed all rock & roll to be inherently evil by nature, and gospel radio programmers were accordingly reluctant to program the music when it appeared during the mid-‘70s. But others began to see Christian rock as an effective way to reach the unconverted, wrapping spiritual messages in an attractive package that strongly resembled a highly popular mainstream musical style. Petra’s two Dove Award nominations in 1984 effectively signaled the gospel music community’s acceptance of Christian rock as a viable and legitimate form, and helped pave the way for the heavier, flashier Christian style known as heaven’s metal (itself an attempt to hook secular fans with an already established sound and spiritual lyrics).
Harder, more uptempo Christian rock songs often try to project a firm, tough-minded, unshakable religious attitude, in keeping with the aggressive sound of the music, although many Christian rock bands have a fondness for majestic, sweeping power ballads; in both cases, the polished, squeaky-clean production is often just as close to the sheen of CCM pop as to the already slick sound of much AOR. Although some Christian rock bands experimented with rawer, more biting sounds in the late ‘80s and early ‘90s, the associations between the established conventions of big, anthemic hooks, loud yet smoothed-out guitars, and intense (yet fundamentally safe) spiritual emotion never completely died down. That time period also witnessed the unique phenomenon of King’s X, a band with roots in Christian rock which garnered a devoted cult following among secular listeners and critics, thanks to its willingness to deviate from established musical formulas and address spirituality in more general terms. As alternative CCM began to capture larger portions of the Christian rock audience during the mid- to late ‘90s, many Christian rock heavyweights conceded the impact of mainstream alternative rock and shifted their brands of hard rock accordingly, although Petra soldiered on into the new millennium with their sound virtually unchanged.
22.喜剧摇滚 Comedy Rock¶
喜剧摇滚是在摇滚中被设计成取笑传统和主流社会的摇滚音乐。在曲调和歌词上的抨击使它显得很幽默。有时喜剧摇滚是不成熟的—这种风格的教父: Frank Zappa, 喜欢对废物排放问题和傻瓜开玩笑——但是它最好的一面是：它很聪明的将陈词滥调与传统串联在一起。
在摇滚音乐中的喜剧摇滚，从主流中冲出,在中国国内的摇滚大地上独树一帜，调侃的曲风，诙谐的词语，细腻的制作，形成了自己的氛围与线路。把民间曲艺与摇滚音乐相结合是中国喜剧摇滚的特点，也是有别与世界各地其他喜剧摇滚，而更具有内涵的新音乐。
Comedy Rock is roughly defined as a mix of Rock or any of its sub-genres with elements of Comedy such as Satire and Musical Parody, as well as concepts of Novelty music. Frank Zappa, known for his regular usage of satirical references to certain aspects and trends of popular culture, is considered as one of the progenitors of the genre. While the style has developed a mostly cult following during its existence, some artists have achieved a moderate or sometimes even high level of mainstream popularity, including The Bonzo Dog Doo-Dah Band, Flight of the Conchords, The Dead Milkmen, Tenacious D and Spinal Tap.
23.实验摇滚 Experimental Rock¶
正如名字所示，实验摇滚是在形式上推动了音乐，远离了以前传统流行的敏感性的一种音乐派别。代表性的，实验摇滚是与诗歌般的合唱音乐背道而驰的。因为所有的指向都是释放改革，不再遵循严格的规律，包括像即兴的表演，avant-garde的影响，不固定的使用乐器，简单的歌词（或更本没有歌词），奇怪的合成结构和旋律还有对商业诱惑的潜在拒绝这样区别性的特征。
As the name suggests, Experimental Rock is music pushing the envelope of the form, far removed from the classic pop sensibilities of before. Typically, experimental rock is the diametric opposite of standard “verse-chorus-verse” music. Because the whole point is to liberate and innovate, no hard and fast rules apply, but distinguishing characteristics include improvisational performances, avant-garde influences, odd instrumentation, opaque lyrics (or no lyrics at all), strange compositional structures and rhythms, and an underlying rejection of commercial aspirations.
24.先锋前卫摇滚 Avant-Prog¶
先锋前卫摇滚作为前卫摇滚的支流，出现于60年代末期和70年代早期。当前卫摇滚乐队尝试在音乐中注入更偏向传统的西方古典和爵士元素时，先锋前卫艺术家们却从当代古典和先锋爵士中汲取灵感，以及非正统的器乐和实验摇滚的技术。高度复杂，某种程度的即兴，独特的乐器，较之前卫摇滚更抽象。
Avant-prog is a subgenre of Progressive Rock that emerged around the late 1960s and early 1970s. While progressive rock bands infuse Rock with elements from more traditional forms of Western Classical Music and Jazz, avant-prog artists draw more inspiration from Modern Classical and Avant-Garde Jazz, as well as the unorthodox instrumentation and techniques of Experimental Rock. The music is highly complex and densely arranged, sometimes involving a certain degree of improvisation but for the most part carefully composed (although many bands have recorded entirely improvised pieces as well). Avant-prog tends to be more abstract in nature than other styles of progressive rock, and as such many artists make exclusively instrumental music. If there are vocals they’re often wordless, or in certain cases sung in a language invented by the artist. This is particularly common for vocal pieces in the Zeuhl subgenre.
Frank Zappa’s work with the Mothers of Invention could arguably be considered the earliest example of avant-prog. The genre rose to prominence through Henry Cow and the Rock in Opposition movement, involving bands such as Univers zéro and Samla Mammas Manna. Avant-prog never gained any real mainstream recognition, but the genre has remained active and popular in underground circles.
25.民谣摇滚 Folk Rock¶
民谣摇滚（Folk Rock），在1965年鲍勃·迪伦在新港（Newport）音乐节用电声吉他弹唱之前，很少有人能想到严谨理性的民谣会与摇滚乐相互结合。民谣摇滚借鉴了民谣音乐简单直接的旋律以及摇滚乐强烈的节拍，以较通俗的手段表达哲理性的歌曲主题。民谣歌手对音乐传统的美学价值有很高的要求，鲍勃·迪伦就是以诗化的语言来吟唱时事和政治。飞鸟（The Byrds）乐队也对民谣摇滚的发展施加了重要的影响，他们较多地受到披头士乐队活泼的流行作品影响，以12弦原声吉他描绘出民谣摇滚的早期蓝本。民谣摇滚的鼎盛期十分短暂，1965年之后由于商业味道渐浓而令大众失去了兴趣。
Folk-Rock takes the simple, direct songwriting style of folk music and melds it to a prominent rock & roll backbeat. One of the most distinctive elements of folk-rock is the chiming, ringing guitar hooks, coupled with clear vocal harmonies. Folk-rock was pioneered in the mid-‘60s by the Byrds, who played Bob Dylan songs as if they were from the British Invasion. The Byrds established the blueprint that many bands followed. As the ‘60s winded down, more folk-rock groups emphasized the acoustic origins of folk and backed away from the ringing electric arrpeggios of the Byrds. In the next three decades, both the acoustic and electric folk-rock sounds were commonplace in rock & roll.
26.自赏 Shoegazing¶
自赏（Shoegaze）是指80年代末90年代初的英伦独立音乐的一个流派，之所以叫做自赏是源于这些乐队的一动不动的舞台表演风格，当这些乐队在舞台上表演时只盯着舞台地板就好比一直盯着自己的鞋子，Shoegazing 即自此而得名。因而有人就把这一类乐队称为“自赏派”。当“自赏派”音乐开始为听众所接受并传播之时，“自赏派”进而特指那些声响吵闹并且冗长而沉闷；乐器充满阵阵的失真和密集的回授效果；歌声和旋律被吉他音响声墙所淹没并无法分辨各种乐器之间音色的音乐。这类风格的代表性乐队有：My Bloody Valentine(血色情书)，Slowdive（慢潜），Medicine(药)，The Jesus and Mary Chain(耶稣玛丽链)，Ride(驾驭)，Lush(繁茂)，The chapterhouse(分会场),等。
“自赏派”在英国流行乐历史上具有重要地位，“自赏派”那迷人的旋律与巨大的吉他声墙，以及他们我行我素的个性，吸引着无数忠贞的乐迷的喜爱与怀念，尤其是那些不为时尚所惑的角落里的听歌者。
但是千万不要以为自赏就仅仅是从视觉角度进行的定义，它之所以代表一种音乐类型是特指这种音乐的纯粹声响。这种音乐往往带给你的是不可抗拒的喧吵并伴随着长时间低沉单调的吉他回复、扭曲失真的声波和一系列吉他回馈的层叠，人声和旋律消弥于吉他声墙中，营造出一种你完全分辨不出各种乐器音色的音乐冲击。大部分的自赏乐队的音乐都以 My Blood Valentine 乐队音乐为模板，My Blood Valetine 曾以早期的 EP 和第一张专辑《Isn’t Anything》 确立了 Shoegazing 的基本音乐模式，其他诸如 Dinosaur Jr., the Jesus & Mary Chain, 和 Cocteau Twins 这些乐队也对此种音乐有主要影响。后来跟进的乐队，像大家熟知的 Ride、Lush、ChapterHouse 和 the Boo Radleys 都在固有的音乐模式下加入了自己的特色，如 Ride 就加入了 60 年代迷幻乐元素，而 Lush 则结合了介于流行乐和 Cocteau Twins 似的梦幻流行乐（Dream Pop）之间的音乐元素。 没有一支自赏乐队是做动态表演的，而且对媒体采访也不感兴趣，正因这些阻止了这些英国乐队进入重要的美国市场。在这些乐队占据英国音乐媒体和排行榜达 3 年之久后的 1992 年，经过美国的 Grunge 和英国由 Suede 乐队始作俑者的 Britpop 这两次浪潮，自赏乐队不再被公众给予关注，有些乐队（如ChapterHouse、Ride）几年内便宣告解散，而另外一些乐队（如 the Boo Radleys 和 Lush）则与时俱进得以延续至今。
Shoegazing (also known as shoegaze) is a subgenre of alternative rock that emerged from the United Kingdom in the late 1980s. It lasted there until the mid 1990s, with a critical zenith reached in 1990 and 1991. The British music press—particularly NME and Melody Maker—named this style shoegazing because the musicians in these bands stood relatively still during live performances in a detached, introspective, non-confrontational state, hence the idea that they were gazing at their shoes. The heavy use of effects pedals also contributed to the image of performers looking down at their feet during concerts.
The shoegazing sound is typified by significant use of guitar effects, and indistinguishable vocal melodies that blend into the creative noise of the guitars. A general description given to shoegazing and other affiliated bands in London in the early 1990s was The Scene That Celebrates Itself. In the early 1990s, shoegazing groups were pushed aside by the American grunge movement and early Britpop acts such as Suede, forcing the relatively unknown bands to break up or reinvent their style altogether. Recent times have seen a renewed interest in the genre among “nu-gaze” bands.
Shoegazing (or shoegaze, originally interchangeable with “dream pop”) is a subgenre of indie and alternative rock that emerged in the United Kingdom in the late 1980s. Its sound is characterised by an ethereal mixture of obscured vocals, guitar distortion and effects, feedback, and overwhelming volume. The term “shoegazing” was coined by the British music press to ridicule the stage presence of a wave of neo-psychedelic groups who stood still during live performances in a detached, introspective, non-confrontational state with their heads down. This was because the heavy use of effects pedals meant the performers were often looking down at the readouts on their effects pedals during concerts.
Most shoegaze bands drew from the stylistic template set by My Bloody Valentine on their early EPs and 1988 debut Isn’t Anything. A loose label given to the shoegazing scene and other affiliated bands in London in the early 1990s was The Scene That Celebrates Itself. In the early 1990s, shoegazing groups were pushed aside by the American grunge movement and early Britpop acts such as Suede, forcing the relatively unknown bands to break up or reinvent their style altogether. In the 2000s, there was renewed interest in the genre among “nu gaze” bands.
Shoegaze combines ethereal, swirling vocals with layers of distorted, bent, flanged guitars,[4] creating a wash of sound where no instrument is distinguishable from another. Most bands drew from the music of My Bloody Valentine as a template for the genre,although co-founder Kevin Shields stated that the band’s choice of pedals never included chorus, flanger or delay effects.
27.日本摇滚 J-Rock¶
日系摇滚是有日本本土特色的摇滚乐，通偏向大调，曲风节奏轻快，也带有一点日式Pop的影子。英文称为J-Rock。
28.视觉摇滚 Visual Rock¶
Visual Rock（视觉摇滚），是受欧美华丽摇滚（Glam Rock）和新浪漫的影响80年代末在日本创立的，以华丽夸张的化妆造型著称，其音乐形式以流行类摇滚及极具性格的实验性音乐为主但大部分后逐步转向商业化音乐。
现在，日本出现的摇滚乐队特别是视觉系摇滚乐队很受欢迎。他们以夸张的化妆造型表及狂野激烈的舞台表演，来表达他们对音乐的看法。演唱会是那些视觉摇滚乐队诠释他们的音乐世界的最佳场合。 那么华丽摇滚就是视觉系摇滚吗？ 70年代末，在欧美出现了以DAVIDBOWIE为代表的“华丽摇滚”。华丽摇滚将视觉的要素引入了摇滚中，以华丽的装扮和现场演奏为特征。80年代初，在日本的千叶出现了一个叫X-JAPAN的乐队。他们继承了欧美80年代重金属的风格，同时更借鉴欧美摇滚的重妆并伴随着日本的民族性将其演化发扬成一种独特的造型美学——从此“视觉系”诞生。之后视觉系在日本逐渐发展壮大，而且曲风也越来越多元化，视觉系那种独特的美学和标新立异的视觉效果成了日本音乐界一大亮色，给日本摇滚界以极大的冲击赢得了无数歌迷的青睐。LunaSea，MaliceMizer,DirEnGrey……不断涌现的视觉系乐队不但在音乐性方面达到高水准，他们更将自己的个性融合到造型和装扮中，表现出超出音乐范畴的深层理念。这使得视觉系在日本音乐界占据了一个不可动摇的位置。
ヴィジュアル系 (ヴィジュアルけい) とは、日本のロックバンド及びミュージシャンの様式の一つである。「ビジュアル系」とも表記され、「V系」（ぶいけい）とも呼ばれる。過激で派手な化粧や髪型、衣装などの外見が最大の特徴。X JAPAN、COLOR、D’ERLANGERら1989年以降にデビューした装飾美バンドを主としてカテゴライズされたもので、それらの影響を強く受けた後の世代のバンドをも指す。
音楽的な特徴
どのバンドも基本的にはロックであり、ハードロックを基本としたヘヴィメタル及びポップロックが主流である。全体的に暗く激しい曲調にマイナー調の流麗なメロディーを乗せたものを好む傾向が強い。
黎明期のバンドには、エクスタシー系のX JAPANやLUNA SEA、ZI:KILLなど、ヘヴィメタルやハードロックを基礎にゴスやニューロマンティックに多い耽美で退廃的な歌詞を載せて歌っているバンドや、D’ERLANGERのようなビート·ロック的な物、フリーウィル系レーベルを中心としたCOLOR、かまいたち等の反抗的で反社会的な歌詞を含むパンク系とそれぞれが一定の勢力を保っていた。
1990年代中後期に爆発的に増えたバンドには黒夢やLUNA SEAからの影響を受けた者が多く、その後、21世紀に入ってからはムード歌謡やミクスチャー·ロックなどの音楽要素を含むスタイルが流行した。
歌詞の傾向としては「内省的」「自虐的」「攻撃的」なものが多かった。政治批判など外を向いた主張は少なく、より身近なものに対する反発や悲恋歌が主であり、基本は暗く陰湿なものが王道と解釈されていた。しかし、1997年に歌謡曲のカバーでヒットしたSHAZNAによって世間一般のもつヴィジュアル系という認識が従来のイメージとはかけ離れた色物的な集団として捉えられた。2001年にはcali≠gariなどの昭和歌謡的メロディや独特の言葉遊びの歌詞を特徴とするバンドが出現し、大きなセールスにはつながらなかったがのちに多くのフォロワーを生み出した。2006年は歌詞·音楽ともに王道と言われた傾向は影を潜めている。なお、1990年代流行時のヴィジュアル系バンドの中には、何故か暗黙の了解として「下ネタ禁止」というものもあったが、これについては黎明期のヴィジュアル系バンドとの相違点として指摘する者も少なくない。ただし、DIR EN GREYのように官能美を楽曲のテーマに取り入れるバンドもあった。 Janne Da Arcなどは一部楽曲で官能的な表現を使うことがあるが、あくまで女性視点からの作詞で、下品に聞こえないようにされている。
マーティ·フリードマンによれば、日本のヴィジュアル系はX JAPANの功績によって、一般的に広く認知され、曲調に関してもヘヴィメタルを基軸にしながらもその実は非常に広い音楽性の幅を持っているという。本来、ひとりの人間が好む曲調はある程度の幅に収まるはずであるがX JAPANは「Silent Jealousy」のような超攻撃的·超高速の曲から「Say Anything」のような美しいバラードまで発表しており、ファンもそれを受け入れている。それはX JAPANがその外見と共にサウンドもブランドとして確立した証拠であるとしている。
29.巴洛克流行 Baroque Pop¶
“巴洛克流行”音乐出现于60年代中期，其时，包括“the Left Banke”、“the Beach Boys”在内的艺人、制作人Phil Spector、以及作曲家／编排家Burt Bacharach，所有这些来自各方的人士开始将“古典”（Classic）音乐元素融入到“摇滚”（Rock）乐中，从而达到一种远离“摇滚”乐狂野、原始根源的雄伟的管弦乐之声。
层次化的和声、弦乐与号声都是“巴洛克流行”音乐的标记，还有音乐中戏剧性的（感情）强烈程度。
在“巴洛克流行”音乐的起初阶段，它是截止当时的“摇滚”乐最成熟的衍生物，并且其精神继续存在于各种音乐形式中——从70年代早期的“费城灵魂”（Philly Soul）之声到相似的90年代中期的“室内流行”（Chamber Pop）之声。
分层的协调，排列和喇叭是所有巴洛克流行的特点，具有强烈音乐戏剧性的，生动的特点。
在它刚开始形成的时候，它是摇滚成熟的产物，它的灵魂是建立在Philly所有70年代早期的思想到90年代中期chamber pop的思想上的。
Baroque Pop is a style that arose in the mid-1960s when artists such as The Beach Boys, The Left Banke, The Zombies, and producer Phil Spector began adding classical instruments such as strings and horns to their music; thus creating a more majestic, dramatic sound.
Baroque Pop has undergone a revival in recent years, with Indie Pop artists such as The Decemberists and Belle and Sebastian drawing on the template laid down in the 1960s. These modern artists are usually referred to as Chamber Pop, rather than Baroque Pop.
Baroque pop (sometimes called baroque rock) is a fusion genre that combines rock music with particular elements of classical music. It emerged in the mid 1960s as artists pursued a majestic, orchestral sound and is identifiable for its appropriation of Baroque compositional styles (contrapuntal melodies and functional harmony patterns) and dramatic or melancholic gestures. Harpsichords figure prominently, while oboes, French horns, and string quartets are also common.
Although harpsichords had been deployed for a number of pop hits since the 1940s, starting in the 1960s, some record producers increasingly placed the instrument in the foreground of their arrangements. Inspired partly by the Beatles’ song “In My Life” (1965), various groups were appropriating baroque and classical instrumentation by early 1966.The term “baroque rock” was coined in promotional material for the Left Banke, who used harpsichords and violins in their arrangements and whose 1966 song “Walk Away Renée” exemplified the style.
Baroque pop’s mainstream popularity faded by the 1970s, partially because punk rock, disco and hard rock took over; nonetheless, music was still produced within the genre’s tradition. Philadelphia soul in the 1970s and chamber pop in the 1990s both incorporated the spirit of baroque pop while the latter contested much of the time’s low fidelity musical aesthetic.
30.石人摇滚 Stoner Rock¶
Stoner rock这种风格是存在的，这个名字是准确的，它算是重金属/硬摇滚的一个分支。一般音色和制作手法比较复古，接近70年代的声音。歌曲一般速度较慢，以riff为结构的根基，多数旋律都比较低沉，迷幻味道很重。
Stone，其实在欧美俗语中，就是说吸毒以后的那种迷幻感觉，所以Stoner Rock也就是为了表达那种意境而逐渐从前辈的迷幻摇滚发展起来的。也就是因为这种联系，这种音乐形式才得到这个毒品味道很重的名字。Stone这个词，不是”石头”的意思，而是动词，表示”吸毒以后麻醉的感觉”。所以多年以来”Stoner Rock” 这个词一直没有准确的中文译名。
Stoner Rock combines Blues Rock, the psychedelic elements from Psychedelic Rock, and the repetitive riffs of Doom Metal. Guitars are tuned low, the bass is heavy and tempo is mostly slow-to-mid. The vocals and production are usually raw.
The term stoner rock comes from the genre’s connection with the use of marijuana, stoner being a slang term for a user of cannabis. It is sometimes believed that the bass heavy and psychedelic sound is meant to enhance the effects of drugs. The roots are in ‘60s and ‘70s bands like Black Sabbath and Blue Cheer, but what is called Stoner Rock today was pioneered by Californian bands such as Kyuss, Sleep and Fu Manchu.
31.凯尔特摇滚 Celtic Rock¶
凯尔特摇滚（Celtic Rock），从朋克管弦乐队如the Pogues到纽约/凯尔特的混合物如Black 47到轻微的改变爱尔兰曲调Cranberries，Celtic这些摇滚乐队通过摇滚的韵律结合了爱尔兰演奏乐器来创作音乐，那是狂热与激情，忧郁和浪漫共存的风格。凯尔特摇滚经常展现出明显的爱尔兰酒吧音乐的特征，但是它也同时描绘了与R&B和另类摇滚并列的流行音乐。
Celtic rock is a genre of folk rock and a form of Celtic fusion which incorporates Celtic music, instrumentation and themes into a rock music context. It has been extremely prolific since the early 1970s and can be seen as a key foundation of the development of highly successful mainstream Celtic bands and popular musical performers, as well as creating important derivatives through further fusions. It has played a major role in the maintenance and definition of regional and national identities and in fostering a pan-Celtic culture. It has also helped to communicate those cultures to external audiences.
32.布吉摇滚 Boogie Rock¶
Boogie Rock 是美国蓝调摇滚独特的南方风格，强调直白的凹槽导向声音，而不是在更进步和迷幻的蓝调摇滚乐队中发现的乐器实验。布吉岩在20世纪70年代达到了顶点。
Boogie Rock is a distinctively Southern-influenced style of American Blues Rock that emphasizes a straightforward groove-oriented sound, rather than the instrumental experimentation found in the more progressive and psychedelic Blues Rock bands. Boogie Rock reached its apex in the 1970s.
33.曼彻斯特音乐 Madchester¶
曼彻斯特音乐是80年代末90年代初英伦摇滚的统治力量。作为酸性家族中舞蹈节奏与旋律流行的融合体，曼彻斯特音乐的特色可以概括为平稳轻松的鼓点、迷幻的修饰乐句和上口的主调重复。它是以下几者后现代主义式的拼贴：熟悉的歌曲结构、时髦的编曲和态度、以及后流行的风格特色（也就是吵嚷的吉他、纷乱的风琴、加上敏锐的流行触觉）。
Madchester was a music and cultural scene that developed in the Manchester area of North West England in the late 1980s, in which artists merged alternative rock with acid house culture and other sources, including psychedelia and 1960s pop. The label was popularised by the British music press in the early 1990s, and included groups such as Happy Mondays, The Stone Roses, Inspiral Carpets, Northside, 808 State, James and The Charlatans, amongst others.
The rave-influenced scene is widely seen as heavily influenced by drugs, especially ecstasy (MDMA). At that time, the Haçienda nightclub, co-owned by members of New Order, was a major catalyst for the distinctive musical ethos in the city that was called the Second Summer of Love.
34.后英伦 Post-Britpop¶
后Britpop是另类摇滚风格，是Britpop在1990年代末和2000年代初之后的时期，当时媒体开始识别受“纸浆”，“绿洲”和“模糊”等行为影响的“新一代”或“第二波”吉他乐队， 但在歌词方面英国人对此不太关心，并更多地利用了美国摇滚和独立音乐的影响，以及实验音乐。 后英国流行时代的乐队已经确立了表演，但在英国流行音乐衰落之后，例如Radiohead和The Verve变得更加突出，诸如Travis，Stereophonics，Feeder尤其是Coldplay之类的新表演在国际上获得了广泛的成功 在他们之前的大多数英国流行乐团，都是1990年代末和2000年代初商业上最成功的行为。 后英国流行音乐时代的许多乐队都回避了英国流行音乐唱片公司，但仍在生产由此衍生的音乐。 大多数乐队的音乐都是以吉他为基础的，通常将英国传统摇滚的元素，尤其是甲壳虫乐队，滚石乐队和小脸乐队，融合美国的影响。 那个时代的乐队利用了1970年代英国摇滚音乐和流行音乐的特定元素。 他们的音乐主题来自英国各地，与英国，英国和伦敦的生活相比，其主题往往不太讲究重点，而与之相比，其音乐主题更具内省性。 除了更愿意吸引美国媒体和支持者外，这还可能帮助其中一些人取得了国际成功。 他们被视为以普通人或“邻家男孩”的身份呈现摇滚明星的形象，而他们越来越旋律的音乐因其平淡无奇或衍生而受到批评。
Post-Britpop is an alternative rock subgenre and is the period following Britpop in the late 1990s and early 2000s, when the media were identifying a “new generation” or “second wave” of guitar bands influenced by acts like Pulp, Oasis and Blur, but with less overtly British concerns in their lyrics and making more use of American rock and indie influences, as well as experimental music. Bands in the post-Britpop era that had been established acts, but gained greater prominence after the decline of Britpop, such as Radiohead and The Verve, and new acts such as Travis, Stereophonics, Feeder and particularly Coldplay, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.
Many bands in the post-Britpop era avoided the Britpop label while still producing music derived from it. The music of most bands was guitar based, often mixing elements of British traditional rock, particularly the Beatles, the Rolling Stones and the Small Faces, with American influences. Bands from the era utilized specific elements from 1970s British rock and pop music. Drawn from across the United Kingdom, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height. This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success. They have been seen as presenting the image of the rock star as an ordinary person, or “boy-next-door” and their increasingly melodic music was criticised for being bland or derivative.
35.原声摇滚 Acoustic Rock¶
原声摇滚即是指未经电子处理的，由传统乐器真实演奏的一种基本摇滚类型。
Acoustic rock is essentially Rock music with acoustic instrumentation, as opposed to the electric instrumentation typical of the genre.
36.悲核 Sadcore¶
悲核定义
悲核的音乐性质和结构是简单的——一个鼓，一把贝斯，一把吉他，单纯的LOFI音乐形式。不过，悲核唯一给力的是和声，可以说，悲核里的和声都是非常丰富的。但是，悲核所表达的思想又是复杂的，没有华丽的外表，没有五彩鲜艳的霓裳，这就是悲核。悲核代表了独立音乐的本质。
悲核理解
悲核，听名字感觉像是悲伤到极致。的确，悲核是一种主观艺术表现形式极高的独立音乐。
悲核也是一种形式，有句话叫“乐极生悲”，在悲核的音乐里，那这句话的意思应该反过来，就是“悲极生乐”。的确，在悲伤中寻找快乐，会比在快乐中寻找悲伤更加能体现悲剧的力量！
悲核元素
朋克成分：简单的歌词，随意的想法，漫漫吟唱，感觉有些漠不关心但其实却很在意……悲核中有许多朋克的元素，但这又不是仅仅只是朋克，独立音乐就是这样，编曲者想的到的，能用到的音乐元素的都会用上。
EMO成分：主唱不会呐喊，不会尖叫，甚至放弃噪音。为何又说悲核中有EMO成分呢？因为，EMO不仅仅是音乐，更是一种艺术——缺少男子气概的伪中性艺术。（不是人 妖的意思喔！）在悲核里，“林黛玉”的忧郁、有气无力的成分十分明显。这与充满活力和男子汉气概的摇滚是相反的两个概念。悲核，真正的艺术！摇滚中的林黛玉，独立音乐的象征！
独立音乐成分：在悲核中，有的时候似乎常人难以理解歌曲所要表达的意思。这与后摇滚（Post Rock）中的宏伟壮阔的主题和带有史诗色彩的中心思想可以形成一种对比：两者具相同的艺术表现力和底蕴，许多人似乎难以理解，但也有不同的两种表现方式——宏观与微观。后现代摇滚表现力是非常宏观的，而悲核的音乐很注重在一些很细节方面的事情，来体现宏观的事物。也许只有悲核作曲者和乐队自己能理解吧！所以说，悲核是一种独立的、具有自我意识的音乐流派。
情歌成分：有的时候，悲核甚至没有人声。完全的纯音乐形式。悲核中有很多抒情小调。值得一提的是，有部分悲核的作品竟然是用欢快明亮的大调谱写而成的。这与幽暗悲伤的小调形成幽默性的明显特征。用大调写出悲伤的情歌，恐怕只有悲核乐才能做到……
流行成分： 有的时候，悲核乐队会插入电音。电音的加入使悲核更加流行化，放弃了吉他的激烈失真，放弃了频繁的鼓点，放弃了咆哮的歌喉——其实悲核可以视为是非主流转主流音乐的一种音乐表现方式。
Sadcore is a subgenre occasionally identified by music journalists to describe examples of alternative rock characterised by bleak lyrics, downbeat melodies and slower tempos. The term is an example of use of the suffix “-core”. It is a loose definition and does not describe a specific movement or scene. It is categorised by Allmusic’s reference guide as music “by and for the depressed”. Sadcore is synonymous with the term Slowcore, and both share the distinction of often being dismissed as a label by the bands they would describe.
37.布鲁斯摇滚 Blues Rock¶
布鲁斯摇滚（Blues-Rock）着重于两种明确的特征—传统的三和弦蓝调歌曲和乐器的即席创作。结合了小型爵士乐队和摇滚不断扩大的喧闹特点，传统的布鲁斯摇滚—像Cream那样由Alexis Korner 和John Mayall的传统的英国蓝调风格而来的乐队，又如美国the Paul Butterfield Blues Band和 Canned Heat—也尝试着演奏在爵士唱片和蓝调演唱会中司空见惯的长的即席创作。这种混血儿很快就流行起来，与此同时很多乐队立刻开始模仿他们，甚至比他们更喧吵和更多的重复段。
在70年代早期，布鲁斯摇滚和硬核的界限越来越不清晰了，像以爵士乐为基础的ZZ Top就吸取了专辑摇滚作品的表演手法用以模糊他们的蓝调根源。不论如何，布鲁斯摇滚逐渐远离了硬核，并且有一部分的乐队仍继续演奏，重写和创作歌曲按照蓝调的标准。在80年代和90年代，蓝调摇滚比6，70年代更为坚定，即使当如Fabulous Thunderbirds 和Stevie Ray Vaughan这样的乐手玩弄起了摇滚演奏者身份。在80年代，布鲁斯摇滚已经成为像蓝调一样被认可的传统。
Blues Rock is Rock that relies on the chords/scales and instrumental improvisation of Blues. The genre started in the 1960s. Artists like Yardbirds, Cream, and John Mayall’s Bluesbreakers in the UK and The Allman Brothers Band, Canned Heat, and Johnny Winter in the US eventually brought the sound widespread popularity.
Blues rock is a fusion genre combining elements of blues and rock. It is mostly an electric ensemble-style music with instrumentation similar to electric blues and rock: electric guitar, electric bass, and drums, often with Hammond organ. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way it inspired and influenced hard rock, Southern rock, and early heavy metal. Blues rock continues to be an influence in the 2010s, with performances and recordings by popular artists.
Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs. They typically recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin’ Wolf, and Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones, the Yardbirds, and the Animals, who managed to place blues songs into the pop charts. In the US, Lonnie Mack, the Paul Butterfield Blues Band, and Canned Heat were among the earliest exponents and “attempted to play long, involved improvisations which were commonplace on jazz records”.[3] John Mayall & the Bluesbreakers and Peter Green’s Fleetwood Mac also developed this more instrumental, but traditional-based style in the UK, while late 1960s and early 1970s groups, including Ten Years After, Savoy Brown, the Climax Blues Band and Foghat became more hard rock oriented. In the US, Johnny Winter, the Allman Brothers Band, and ZZ Top represented a hard rock trend.
38.器乐摇滚 Instrumental Rock¶
器乐摇滚（Instrumental Rock），在最早期，摇滚强调的是容易的常包含着同样易记歌词的悦耳曲调。然而那不是经常的情形，假如曲调是足够的坚固，那么摇滚乐器就要理解并且开始打击。这种现象最常发生于在摇滚刚出现的十年里面，它在英国入侵之前建立了一种器乐摇滚的黄金时代。这种以打击乐器导向的曲调能够强调管风琴（the Tornados “Telstar”）或是萨克斯管(the Champs “Tequila”)，但是大部分时候它是以吉他为主的，如Duane Eddy的拨弦声，Link Wray内部模糊的音质，Ventures清晰摘取的反应，这些都对许多后来跟随于其后(Eddy 和the Ventures同样获得了相当多的单曲上的成功)的摇滚吉他乐手造成了一个极大的影响。The Ventures尤其受到了发展浪潮音乐的影响，它—除了一些像the Beach Boys 和Jan & Dean的组合—经常有重回音吉他乐器组成。尽管这种快速激情的挑选和中东的衡量有时被浪潮吉他的改革者Dick Dale借用，大部分浪潮音乐是相当简单，保留了它曲调的重点。在英国入侵之后，器乐敲打主要被限制于R & B领域，其中的乐手如Booker T. & the MGs 和萨克斯管手Junior Walker。疯克和disco在70年代创作了一些乐器打击单曲，并且许多艺术摇滚乐手技术上的艺术鉴别力使它的乐迷珍视器乐的演奏，即使大部分的歌曲是以一个或其他的要点为代表的。这种强调技术上的技巧延续到了80年代，当受过高等训练的吉他鉴赏家开始在重金属中占有支配地位，甚至开始录制他们的个人专辑。在90年代，器乐音乐造成了在独立摇滚团体中的复原，在eclectic, avant-garde post-rock团体如Tortoise的领导下，浪潮摇滚复兴运动者如Man or Astro-Man也是一样的。
Instrumental rock is a type of rock music which emphasizes musical instruments, and which features very little or no singing.
Examples of instrumental rock can be found in practically every subgenre of rock, often from musicians who specialize in the style.
39.山区乡村摇滚 Rockabilly¶
山区乡村摇滚是 country & western music（乡村与西方音乐）和早期的 rhythm & blues（节奏布鲁斯）相遇，激烈撞击迸发的产物。它是摇滚乐最早的形式之一，也是摇滚乐中第一种主要由白人音乐家（他们中大部分来自于南方）来演奏的形式。山区乡村摇滚是在很有限的乐器上演奏的：一把弦声的电吉他和一个作为支撑的贝斯 — 他们通常是通过敲击的方式使吉他发出劈啪声，这是一种叫做 “slap-back” 的技术，因而有时候鼓就显得不必要了。山区乡村摇滚的鼓点总是大声而具跳跃性的，从而轻而易举的使之成为同等的美国白人音乐中最具有推进性、最发自内心、也最隐含有性欲的音乐形式。本质上看，是它使摇滚进入到了白人听众当中，并激发了一场至今人们仍可以感受到其影响的文化革命。此种音乐风格的起源可以追溯到50年代早期，那个时候 Bill Haley 就开始把电子化的乡村摇摆乐与跳跃感较强的布鲁斯结合在一起。但这种风格真正确立下来是在1954-56年猫王在 Sun 唱片公司发行的几张唱片，它们捕获了那种能够成为山区乡村摇滚的主要元素的狂躁而原始的活力。它们同时还确立了山区乡村摇滚所特有的作品模式：重复的歌唱、加重的混响、以及一种温和易碎的氛围 — 这也成为了整个 Sun 公司的特色。Haley 的 “Rock Around the Clock” 使山区乡村摇滚从1955年开始进入了一个光辉的时代，也使得 Sun 公司的老板 Sam Phillips 得以将猫王的合约卖给了 RCA 公司并从中大赚了一笔。猫王在1956年成为了超级明星，于是大量低成本而毫无创新的仿制唱片如潮水般涌现，同时也激起了山区乡村摇滚的狂热者们自己制作唱片的疯狂的激情；另外，一些纯粹的乡村歌手也开始录制山区乡村摇滚的专辑，有些是因为这种风格太受欢迎，也有的是因为它狂野的激情。同时，Phillips 用猫王给他赚来的钱召集了一大批首屈一指的山区乡村摇滚艺人： Carl Perkins, Jerry Lee Lewis （他在音乐中还加入了钢琴，从而打破了此风格原有的标准），Roy Orbison, 以及一些在内心里其实算乡村歌手的艺人，如 Johnny Cash 和 Charlie Rich. 其他一些著名的艺人还包括：Buddy Holly, 他在歌曲中加入了感性的流行旋律；Gene Vincent, 他那一流的乐队拥有来自Cliff Gallup的弹奏地最快的吉他手；Eddie Cochran, 他那些年少反叛的事迹最终因为他的死而蒙上了一层阴影；还有 Johnny Burnette, 他在山区乡村摇滚作为一种流行事物获取了更多的认同之前，就扩大了一些最狂野的山区乡村摇滚的边界。由于同被卷入到骗人钱的商业事业中的摇滚乐的竞争，也由于这种音乐本身转化（而且是很快地）成的其它新的形式，山区乡村摇滚逐渐化为了尘埃，到1958年以后，它基本上已经从排行榜上消失了。可是，由于在随后的几十年中摇摆乐慢慢地从摇滚乐中分离了出来，艺人们又开始频繁地寻找一些方式来找回从前的“淫荡” — 山区乡村摇滚中疯狂摇摆的、扭动屁股的节奏。于是在80年代早期，音乐界产生了一次成熟的山区乡村摇滚复兴，很多像 Stray Cats 这样的乐队，开始效仿50年代后期那些艺人的演奏方式与油腔滑调的形象；而其它的一些，比如 the Cramps，则热衷于此种音乐原始、粗糙、不专业的那一面（通常还加上装模做样的本领），并创造了山区乡村摇滚的一个现代分支 psychobilly（迷幻山区摇滚）。
Rockabilly is one of the earliest styles of rock and roll music, dating to the early 1950s.
The term “rockabilly” is a portmanteau of “rock” (from “rock ‘n’ roll”) and “hillbilly”, the latter a reference to the country music (often called “hillbilly music” in the 1940s and 1950s) that contributed strongly to the style’s development. Other important influences on rockabilly include western swing, boogie woogie, and rhythm and blues. While there are notable exceptions, its origins lie primarily in the Southern United States.
The influence and popularity of the style waned in the 1960s, but during the late 1970s and early 1980s, rockabilly enjoyed a major revival of popularity that endures even now, often within a rockabilly subculture.
40.根源摇滚 Roots Rock¶
根源摇滚产生于80年代中期，这种音乐所包含的意义就是：回归摇滚最初的形式和精神，也就是5，60年代的摇滚乐。在80年代中期，当金属乐日渐堕落，一些乐手，开始反思什么是真正的音乐，在回顾摇滚乐发展的过程中，人们渐渐认定最伟大的音乐是出现在5,60年代，一个充满鲜花，和平，阳光，自然和爱的时代。 但这种音乐的本质只是崇尚对传统摇滚的回归，而并没有试图去寻找更新的音乐元素，所以在90年代中期以后，几乎再也没有此风格的乐队出现，这种类型的音乐也渐归于沉寂。
Roots rock is rock music that looks back to rock’s origins in folk, blues and country music. It is particularly associated with the creation of hybrid sub-genres from the later 1960s including country rock and Southern rock, which have been seen as responses to the perceived excesses of dominant psychedelic and developing progressive rock. Because roots music (Americana) is often used to mean folk and world musical forms, roots rock is sometimes used in a broad sense to describe any rock music that incorporates elements of this music. In the 1980s roots rock enjoyed a revival in response to trends in punk rock, New Wave and heavy metal music.
41.新浪漫 New Romantic¶
新浪漫是新浪潮里一支特别的流派，歌手通常浓妆艳抹，穿着华丽。 新浪漫除了象David Bowie 和Roxy Music 那样以视觉线索吸引人，还有他们的旋律。从Low-era Bowie 到 latter-day Roxy Music，新浪漫创作了一种圆滑的，合成的，适合于跳舞的流行音乐，这种音乐很时髦然而却十分短暂。与其它任何后朋流派相比，新浪漫更华丽并依赖于时尚。Duran Duran 是新浪漫里最后一支乐队，也是唯一一支成为巨星的乐队。 新浪漫音乐逐渐消失于1984年，但在90年代中期由Melody Maker-sponsored领导的 non-movement Romo.曾有过一段短暂的复兴。
New Romanticism (also called blitz kids and a variety of other names) was a pop culture movement in the United Kingdom that began around 1979 and peaked around 1981. Developing in London nightclubs such as Billy’s and The Blitz and spreading to other major cities in the UK, it was based around flamboyant, eccentric fashion and New Wave music. Several music acts from the era adopted the style of the movement and became known to epitomise it within the music and mainstream press, including Ultravox, Visage, Duran Duran, Spandau Ballet, ABC and Boy George (of Culture Club). Japan and Adam and the Ants were also labelled as New Romantic artists by the press, although they had no direct connection to the original scene. A number of these bands adopted synthesizers and helped to develop synthpop in the early 1980s, which, combined with the distinctive New Romantic visuals, helped them first to national success in the UK and, with help of MTV to play a major part in the Second British Invasion of the U.S. charts. By the mid-1980s, the original movement had largely dissipated and, although some of the artists associated with the scene continued their careers, they had largely abandoned the aesthetics of the movement and the synthpop sound. There were attempts to revive the movement from the 1990s, including the short-lived romo movement.
42.冲浪摇滚 Surf Rock¶
冲浪摇滚（Surf Rock）的诞生和1950年加利福尼亚的冲浪运动紧密相连，在1961-1966达到空前的欢迎的。以吉他手迪克•戴尔首创的带有回响的吉他声效为特色，潮湿而延绵不绝的音效使人自然而然地联想起加州海岸盛行的冲浪运动，因而得名。随后涌现的众多冲浪摇滚乐队中，一些是纯粹的“器乐冲浪者”，另一些则在乐队的编制中加入了主唱，The Beach Boys（沙滩男孩乐队）是后一种冲浪摇滚的典型代表，以完美的旋律及和声见长。早期冲浪摇滚的主题多半与阳光沙滩、摩托车和女孩相关，现在已经不局限主题性，更多的是延续了吉他回响音效的传承，当然都是轻快明朗的特质。不过直面事实冲浪摇滚已经落寞，可以说好久没有正统乐队出现了，更多的是新兴乐队在自身风格中呈现Surf Rock的特质。
Surf Rock is a musical genre associated with surf culture which appeared in the late 1950s in California. This genre gained huge popularity from 1961, becoming one of the most popular genres in America in the first half of 1960s.
In its original form, surf rock is characterised by short instrumental songs, with cheerful melodies played on guitar on Rock & Roll rythms. Extensive use of reverb and tremolo is also part of the sound, as is the influence of Latin American Music music. The popularity of surf music was launched by the single “Let’s Go Trippin’” by Dick Dale in 1961, and then confirmed by the hit “Miserlou” in 1962. Bands such as The Ventures and The Challengers followed in the same vein. From 1963, especially with the breakthrough of The Beach Boys, surf music became vocal, followed by The Trashmen and The Surfaris, for example. In 1966, the genre couldn’t react to the invasion of british rock and the emergence of Psychedelic Rock, and begin to fall into disuse.
Beginning from the late 1970s a number of Punk Rock musicians were inspired by the sonical ideas and concept of surf music, resulting in Surf Punk, a musical genre associated with underground acts such as The Barracudas, Man or Astro-Man? and Surf Punks. Skate Punk is also often associated with surf music, mainly because of its place of birth, California, and because of its close relation to boardsports culture. Surf rock has also be perceived as an important influence in the sound of similarly-minded and more popular bands of the 1980s and 1990s like Pixies and Dead Kennedys. Bands like the aforementioned Man or Astro-Man?, The Mermen, Los Straitjackets and Shadowy Men on a Shadowy Planet have also been credited with a sparse revival of the original surf rock sound. The heavy use of surf music hits in the soundtrack to the cult film Pulp Fiction in 1994 led to a moderate yet continuing popular interest in the genre since then.
43.电力流行 Power Pop¶
Power pop是一种流行的音乐风格，吸收了来自20世纪60年代英国和美国流行音乐和摇滚音乐的灵感。它通常包含一个强劲的旋律，清脆的和声。属于摇滚乐的一种。风格与流行朋克类似，很多乐队的风格是流行朋克与power pop并存的。
Power Pop is a genre that combines pop melodies with loud power chords. Its major melodic influences can be traced back to The Beatles and The Byrds and the guitar sound of The Who. It is characterized by relatively short songs, catchy melodies and prominent electric guitars. Usually people refer to three different waves of Power Pop. The first one is from the 1970s and features bands such as Badfinger, Raspberries, Cheap Trick and Big Star. The second originates on the late 1970s and early 1980s with bands such as The Knack, The Beat and The Romantics. The third one is from the 1990s, which also has some alternative rock influences and includes artists such as Matthew Sweet, The Posies and Superdrag.
44.沼泽摇滚 Swamp Pop¶
沼泽流行音乐是路易斯安那州南部阿卡迪亚纳地区和德克萨斯州东南部毗邻地区的一种音乐流派。 由十几岁的Cajuns和黑人克里奥尔人于1950年代和1960年代创建，结合了新奥尔良风格的节奏和布鲁斯，乡村和西方音乐以及法国路易斯安那传统音乐风格。 沼泽流行音乐虽然比较模糊，但在其路易斯安那州南部和德克萨斯州东南部的家园仍然吸引了大批观众，并且在英国，北欧和日本吸引了少量但热情的追随者。
Swamp pop is a musical genre indigenous to the Acadiana region of south Louisiana and an adjoining section of southeast Texas. Created in the 1950s and early 1960s by teenaged Cajuns and black Creoles, it combines New Orleans-style rhythm and blues, country and western, and traditional French Louisiana musical influences. Although a fairly obscure genre, swamp pop maintains a large audience in its south Louisiana and southeast Texas homeland, and it has acquired a small but passionate cult following in the United Kingdom, northern Europe, and Japan.
45.轻摇滚 Soft Rock¶
轻柔摇滚产生于70年代初的一种摇滚乐，最初是指那些不用电声乐器，以民谣为基础的摇滚乐。后来，那些虽然使用电声乐器，但旋律优美平滑的摇滚乐也称为轻柔摇滚。这种音乐在美国唱片工业界被称为“中间路线”。 著名的轻柔摇滚音乐家有杰姆斯·泰勒（James Taylor）、尼尔·杨（Neil Young）、凯特 ·斯蒂文斯（Cat Stevens）、卡彭特演唱组（The Carpenters）等。 广义上的 轻柔摇滚泛指一切带有柔和的摇滚节奏并使用电声乐器的抒情歌曲，与Pop（流行曲）相似，港台大部分流行歌曲都可归入轻柔摇滚的范畴。
Soft Rock emerged in the early ‘70s, partially as a reaction to the extreme sounds of the late ‘60s. Soft rock was commercial and inoffensive, taking the sound of singer/songwriter and pop/rock but smoothing out all the edges. Bands like Bread, the Carpenters, and Chicago relied on simple, melodic songs with big, lush productions. Throughout the ‘70s, soft rock dominated the airwaves and it eventually metamorphosed into the synthesized sounds of adult contemporary in the ‘80s.
46.车库摇滚 Garage Rock¶
车库摇滚（Garage rock）是早期摇滚乐的一种风格。是指一种创作未经太多的加工或是修饰、充满激情和活力的摇滚乐，简单粗糙却更显纯粹。1963年至1967年间车库摇滚开始风靡美国和加拿大。在20世纪60年代，车库摇滚还没有被定义为一种单独的音乐风格，因此没有具体的名称。在1970年代早期，一些摇滚评论家追溯称它为早期的朋克摇滚。然而，这种音乐风格后来被称为车库摇滚或60年代朋克，以免与20世纪70年代晚期的朋克摇滚乐队，如性手枪（the Sex Pistols）和冲撞乐队（The Clash）等相混淆。
车库摇滚(Garage rock)喜欢把摇滚乐的原始、年轻和冲动当作一切的听众，或许可以在60年代的“车库摇滚”乐队身上找到最爱。尽管后来的事实证明“车库摇滚”不仅启蒙了70年代的朋克运动，而且还为80年代地下摇滚的复兴提供了参考，但是在当年“车库摇滚”最辉煌的时候，评论界却对它不屑一顾并极尽冷嘲热讽之事。
Garage rock is a raw form of rock and roll that was first popular in the United States and Canada from about 1963 to 1967. During the 1960s, it was not recognized as a separate music genre and had no specific name. In the 1970s, some critics referred to the style as punk rock, the first form of music to bear this description; although it is sometimes called garage punk, protopunk, or 1960s punk, the style has predominantly been referred to as garage rock.
47.酸性摇滚 Acid Rock¶
酸性摇滚（Acid Rock）是幻觉摇滚的一种激烈、大声的变奏。它吸取了盛期已过的Cream和Jimi Hendrix即席演奏的精华。酸性乐队依赖变奏的吉它、迷幻的歌词和长时间的即兴表演。酸性摇滚存在的时间并不长——在迷幻摇滚的生命期限里，它不断的发展并形成一个中心——最后没有解散的乐队演变成了重金属乐队。
Acid Rock was the heaviest, loudest variation of psychedelic rock. Drawing from the overblown blues improvisations of Cream and Jimi Hendrix, acid rock bands relied on distorted guitars, trippy lyrics, and long jams. Acid rock didn’t last too long – it evolved and imploded within the life span of psychedelia – and the bands that didn’t break up became heavy metal bands.
48.暗潮 Dark Wave¶
暗潮是一种起源于后朋克和新浪潮的音乐风格，最早产生于70年代末期和80年代初期的欧洲（英国、德国、法国、意大利）和澳大利亚。
从IndustrialMovement(工业运动)的解体，80年代初Gothic(歌特)音乐文化的冷却很自然地过渡并催生出了DarkWave这个新生命。它最坚实的人文基础是大批颇具“死亡情愫”的低调颓废为生命本能，融合了形式各样的PostIndustrial(后工业噪音)音乐素材，同时积极主动地迎娶了Gothic之遗孀（即欧洲中世纪黑暗文化），再将工业噪音与歌特音乐文化消蚀并加入了键盘，拓展了古典音乐元素，孕育出自己独具大气恢宏与哀怨悲婉并济的——“DarkAge”开始了。(与4世纪到14世纪的黑暗世纪是完全不同的两个概念。前者是新兴的冰冷喧泄与特立独行的新音乐时代，而后者则是基督教在罗马君士坦丁大帝的庇护下大肆血洗扩张并对众多民间和满富人性的文化艺术进行扼杀后被后世艺术家们称之为的艺术黑暗时代，所以中世纪往往被人们一笔带过或压根儿根本不予提及。但是回归的历史巨轮使现在的人们反而开始重新审视研究中世纪一些辉煌的文化，在他们的音乐文化作品中往往浮现出中世纪的影子，可见一斑。)
特点：起初DarkWave最显著的特点是工业、古典兼容并举，它将古典音乐中严肃的音乐姿态与高雅的艺术格调和工业音乐中对恪守、呆板、封建、桎梏等现实社会顽疾的强烈颠覆性巧妙地融合在一起，完美而富于想象力的嫁接组合使DarkWave向世人证明，音乐不仅仅是音符的排列，它更是情感、气氛、奇想和幻觉，是灵魂中不停歇止迸发的痛苦。DarkWave的音乐世界里充满了阴森、黑暗、孤独、冰冷沉郁的低调余响，这种象征世纪末的遗韵徐徐游历于众生万物之间成了人类与大自然神冥对话的媒质，成了人们敢于真实赤裸地面对自己并勇于前往人性黑暗面乞求灵魂安宁的时空隧道，DarkWave是声音的画符、美艳的废墟、哀命的安魂曲，是奇诡的黑色而富有光泽的水银之旅。
渲染：大提琴那DarkWave中天然的阴暗氛围的烘托者，其与生俱来的声调是如此忧伤，可以捕捉到任何复杂难奈的情绪，用它来表达哀伤的敏感是再适合不过的了。延迟的人声古怪而阴沉，恍若仙境的女性的天堂咏唱，又是那么空灵和凄绝，加上莫名其妙的吉他音色，变调的弦乐，营造出的气氛凝重得就像痛不欲生的雨天，不知所谓的咒语，更加强化了以恶制恶这一古老的复仇手段。DarkWave的黑暗给无数诗情画意的夜空笼罩上凶杀的阴霾，原始旷野中裹满浓雾的夜晚，是被蚕食的光明残缺的肢体，这一切都被铺陈在乐队作品中的每一个层面，不论是贝司拖缚着的沉重的身躯，还是吉他凄然的悲鸣，亦或主音低调的歌声，无不展示了一个主题：无处不在的吞噬一切的黑暗。他们怪诞的想像力潜入那些人类模糊的神秘的羊水中，把人性中的阴暗面血淋淋地挖出来吃掉，宛如一柄精致而又布满倒刺的利刃的歌词，在不知不觉中已然潜入你心脏的最深处，剜出早已被你遗忘的腐烂的梦魇。
延续发展：在经过了80年代漫长的潜伏期后，风格与概念日趋完善成熟后的阴暗乐派终于在90年代在全世界范围内大规模地爆发了。90年代中期的DarkWave已经由最初的单一的弦乐背景、工业意识流和歌剧式的仿古典咏唱形式构建出了生物网般藕断丝连的各种复杂而形式多样的风格。新歌特、阴暗氛围音乐(DarkAmbient)、阴暗工业音乐(DarkIndustrial)、天堂咏唱(HeavenlyVoices)、阴暗中世纪音乐(DarkMedeival)、死亡民谣(DeathFolk)、新古典(NeoClassical)等形式处处显现出一派欣欣向荣的景象。先锋即兴乐(AvantGarde)、艺术摇滚(ArtRock)，甚至于重金属(HeavyMetal)、死亡金属(DeathMetal)、黑人说唱乐(怎么可能？)无一例外地惨遭DarkWave的黑手的侵袭与骨化，从某种意义上讲，DarkWave已经不再从属于摇滚乐的范畴，而已自立门户，独树旗帜地与传统摇滚乐形成了分庭抗礼的局面。这时候的德国，已经完成了它作为DarkWave原始产地的任务，异地开花的繁荣已经成为不争的事实。
代表乐队：独立厂牌4AD旗下具有中流砥柱意义的两支颇具传奇色彩的乐队DeadCanDance（逝者善舞）和CocteauTwins今天在中国境内已经是声名显赫了。DeadCanDance，她以最大的可能表现了黑暗乐风独具特色的魅力，即：无限优美的施律，不食人间烟火的主音空灵飘荡，中东色彩的神秘乐声层层浸染于西塔琴落寞的抽泣中，男主音BrendanPerry舒展而沉郁的演唱，响板孤独而轻盈的点击，使你置身于明暗世界的交界处。在一片混沌的空间中感受着不远处的光明，依稀看得见却又摸不着，那难以言喻的不可名状的悲伤，无望与宿命，在红尘俗世之外，这一切仅仅出现在既睡又醒的昏沉幻境中。这些音乐的精灵独自神秘而不可知地舞蹈着，跨越时空、命运和一切的人为建构，亘古不变地歌唱着死亡的壮观凄美与大自然无常变幻的美丽，荡气回肠地诉说着人世间的一切苦难与憧憬。其实，在仙乐派和天堂咏唱中具有优美声线或正统美声唱法的主唱并非是其精髓所在，真正灵魂的东西是隐藏在音乐中深厚的文化和宗教底蕴以及不可避免的缥缈黑暗的氛围。而出品这两派音乐归根结底的始作俑者是德国厂牌Hyperium，仅仅出版了5张唱的“HeavenlyVoices”系列选取了DarkWave界所有仙乐和天堂咏唱乐队艺人，它的出版无疑是对整个仙乐及天堂咏唱分支起着定义和注释权威性的。旗下著名乐队有Verpertina、Syria、Stoa、Anchroage、Ophelia’sDream，Chandeen等，美国厂牌Projekt的诞生也就是整个DarkWare运动的开始，而最具有代表性的乐队BlackTapeForABlueGirl就是其老板SAM自己的杰作。旗下有Area、LoveSpiralsDownward、Mira等。
Dark Wave or darkwave is a music genre that began in the late 1970s, coinciding with the popularity of New Wave and post-punk. Building on those basic principles, dark wave added dark, introspective lyrics and an undertone of sorrow for some bands. In the 1980s, a subculture developed alongside dark wave music, whose members were called “wavers” or “dark wavers”.
49.爵士摇滚 Jazz Rock¶
爵士摇滚最早出现在60年代末期，它试图将摇滚所拥有的发自内心的力量与爵士所拥有的音乐复杂性和即兴表演融合起来。由于摇滚通常强调的是直接和简单而不是精湛的技巧，因而大体上可以说，爵士摇滚的来源是60年代末70年代初，那些在追求艺术上最有野心的摇滚亚流派：迷幻剂、前卫摇滚、以及歌手/歌曲作者运动。
它融合了爵士乐更老练、更理智的一面，并常在乐器的即席创作中加入人声；此种学派的代表人物包括Joni Mitchell, Van Morrison, 和 Tim Buckle. 尽管如此，大部分爵士摇滚仍是由那些精力更为旺盛的摇滚团体来演奏的。他们中的一些是以即兴演奏为方向的，被他们扩展了的带有摇滚口味的即席创作充分借助了爵士乐中的和声及乐器，代表乐队是Traffic和Santana. 其它一些记录在案的带有爵士风味的R&B或流行乐队还有Blood, Sweat & Tears, Chicago和Steely Dan，他们运用了爵士乐中旋律性强、使用和声、富有节奏等特性，但对于即兴演奏和乐器使用上的技巧却不感兴趣。另外还有一些乐队，他们运用了爵士的复杂性来进一步扩展摇滚的音乐界限，不仅表现在器械技巧方面，还包括创作离奇的、令人深思的、难以预料的音乐作品，比如Frank Zappa和the Soft Machine. 而其中最主要的人物就是Miles Davis，他是自早期的R&B开始觊觎摇滚朴实的力量并对年轻的听众造成一定影响之后的第一个爵士音乐家。从“1970s Bitches Brew”开始，Davis70年代早期的作品 – 其中大部分灵感来源于Jimi Hendrix和 Sly & the Family Stone – 迅速成为爵士摇滚唱片中最疯克、最边缘、最前卫的那部分。尽管像Zappa 和 Steely Dan这类的人物在整个70年代都一直在灌制爵士摇滚的唱片，但到80年代，这场运动从本质上说已经消散，它的听众也被爵士摇滚其它更为成熟的音乐形式所俘获。
Jazz-rock may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation. Jazz-rock first emerged during the late ‘60s as an attempt to fuse the visceral power of rock with the musical complexity and improvisational fireworks of jazz. Since rock often emphasized directness and simplicity over virtuosity, jazz-rock generally grew out of the most artistically ambitious rock subgenres of the late ‘60s and early ‘70s: psychedelia, progressive rock, and the singer/songwriter movement. The latter drew from the mellower, more cerebral side of jazz, often employing vocal as well as instrumental improvisation; this school’s major figures included Joni Mitchell, Van Morrison, and Tim Buckley. Most jazz-rock, however, was played by higher-energy rock ensembles. Some of them were more jam-oriented, borrowing jazz harmonies and instruments for their extended, rock-flavored improvisations (Traffic, Santana). Others recorded jazz-flavored R&B or pop songs that used the melodic, harmonic, and rhythmic sensibilities of jazz, but weren’t as interested in improvisation or instrumental virtuosity (Blood, Sweat & Tears, Chicago, Steely Dan). Still others used jazz’s complexity to expand rock’s musical horizons, not just in terms of instrumental technique but in crafting quirky, challenging, unpredictable compositions (Frank Zappa, the Soft Machine). The major exception was Miles Davis, the first jazz musician since the early R&B era to covet the earthy power of rock & roll and the impact it had on young audiences. Starting with 1970’s Bitches Brew, Davis’ early-‘70s fusion workouts – greatly inspired by Jimi Hendrix and Sly & the Family Stone – quickly became some of the funkiest, edgiest, most aggressive jazz-rock ever recorded. While figures like Zappa and $Steely Dan| continued to record jazz-rock through the ‘70s, the movement had essentially dissipated by the ‘80s, as a mellower form of fusion captured its audience.
50.仙音 Ethereal Wave¶
仙音派是Darkwave典型的形式，虽然有些乐队有极明显的gothic倾向，但也可以说是最不象gothic的音乐，因为gothic音乐作为亚文化，多多少少有点邪异，怪诞，但Ethereal却很美同时往往很柔和。
Ethereal乐派充分体现了黑暗音乐的摄人魅力。极其优美的旋律，不食人间烟火的主唱如千年冰雪不着尘埃。大都是女声，偶尔也有男声。要说找一个具有优美声线的主唱并不难，但Ethereal乐派赋予专辑深厚的文化或宗教底蕴，并刻意营造一种缥缈黑暗的氛围，令人深陷其中不可自拔。
1984年，在早期歌特、后朋的一片烦嚣音浪之中，苏格兰三人乐队Cocteau Twins/极地双子星悄然推出了第三张专辑——Treasure。当时谁也不会想到，这张唱片以及乐队后续的多张专辑，会给现代流行音乐带来如此深远的影响，甚至导致了很多音乐流派的诞生。自Treasure起到玖拾年代早期大约十年间，中间经历了Shoegazing/自赏派、Synth-Pop/合成器流行、Ambience/氛围音乐等等一系列分支发展或相互影响，一个定位模糊但过耳既可辨识的乐派——Ethereal/仙音终于发展成熟。
说到这一乐派，有三个出版公司不得不提，英国的4AD，德国hyperium和美国projekt。
4AD公司在国内早已是声名显赫，她旗下的乐队在黑暗音乐乃自另类音乐里往往都是祖师级，在仙音派的教母COCTEAU TWINS，主唱elizabeth frazer公认为另类音乐第一女声。几乎所有的仙音乐队都承袭cocteau twins的衣钵。
德国hyperium公司实际上是仙音派的奠基公司，出版了heavenly voices系列唱片，选取了darkwave界所有仙音乐队歌手，目前出了5张。旗下著名仙音乐队有vespertina， syria， anchroage， ophelia’s dream， chandeen等…
美国PROJEKT公司成立于80年代，它的成立也代表了DARKWAVE这种音乐的正式成立。最代表的是其老板sam所在的乐队BLACK TAPE FOR A BLUE GIRL，可以说btfabg是darkwave里名气最大的乐队。旗下其他仙音乐队还有AREA，MIRA，LOVE SPIRALS DOWNWARDS等。
Ethereal Wave is a sub-genre of Gothic Rock closely related to the Darkwave movement. The genre was pioneered by Cocteau Twins, This Mortal Coil and early Dead Can Dance. The music is characterized by atmospheric guitar soundscapes and soprano female vocals that create an ethereal, surreal and otherworldly effect. Sound effects like echo and delay are also often used. Many Ethereal Wave artists are heavily influenced by Dream Pop or Darkwave.
51.学院摇滚 College Rock¶
本质上来说，学院摇滚是很大型的另类音乐，它在80年代（大约1983-84）中通过college radio playlists中占据优势。大部分的学院摇滚是在新潮，后朋克和早期的另类摇滚的混合中产生的。学院摇滚要求乐队不能像新浪潮一样去适应主流；尽管它可能是艺术的，但它又不同于试验或是分离的后朋克；并且在早期另类摇滚和美国地下根源于的朋克和硬核，并不是所有的学院摇滚都重复着一过程。（虽然，很多早期的另类乐队很精确的适应了这种风格）。早期的学院摇滚中两大最具影响力的乐队是R.E.M 和the Smiths，他们为无数美国（the DBs, Lets Active）和英国（Housemartins, Las ）jangly guitar-pop的开拓者展现了一条光明大路。但是学院摇滚还包括了很多的东西：萌芽阶段的前硬核风格的美国地下（SonicYouth, the Minutemen, the Mear Puppets, Dinosaur Jr., the Replacements）；离奇的英国流行在新浪潮中的幸存者XTC和Robyn Hitchcock；类似离奇的美国乐队如They Might Be Giants, the Violent Femmes, Camper Van Beathoven和the Pixies；有内涵的民谣摇滚（Billy Bragg, the Waterboys和10,000 Maniacs）；加入了很多流行元素在音乐中的后朋克（the Cure, Siouxsie & Banshees）；以电子合成器为基础的忧郁的舞曲流行，好自省的歌词（New Order, Depeche Mode）；和带有轻微流行，制造出使耳朵爆裂的快速吉他噪音（the Pixies, the Jesus & Mary Chain）。学院摇滚还包括了像U2, Peter Gabriel, Sting这样少数的主流明星，他们有思想的歌词以及社会意识的唯心论使他们在校园中广为流行。学院摇滚意义上的全盛期伴随着1991年Nirvana的突破而结束，它为那些主流的耳朵拓宽了更多关于另类流行的理解；如college radio playlists开始像商业的alternative radio, 更多另类音乐的实验分支以及独立摇滚在地下更被驱策地向前发展。
College rock was the alternative rock music played on student-run university and college campus radio stations located in the United States and Canada in the 1980s. The stations’ playlists were often created by students who avoided the mainstream rock played on commercial radio stations.The bands of this category combined the experimentation of post-punk and new wave with a more melodic pop style and an underground sensibility. It is not necessarily a genre term, but there do exist some common aesthetics among college rock bands.
College rock is a term that was used to describe alternative rock before the term “alternative” came into common usage, because it was played on student-run university and college campus radio stations located in the United States and Canada in the 1980s. The stations’ playlists were often created by students who avoided the mainstream rock played on commercial radio stations.
52.太空摇滚 Space Rock¶
Space Rock这个词最早得追溯到70年代，那时是用来形容那些有着太空幻游味道的像Pink Floyd和Hawkwind这样的乐队。然而如今Space Rock是指新一代的另类/独立乐队，这些乐队从迷幻摇滚、环境（氛围）音乐中吸取音乐养分，而且经常还会受到实验和前卫音乐的影响。
Space Rock是那种几乎总是缓慢、催眠和非现实的；它尤其喜欢在传统歌曲结构上进行冗长、扰乱心绪的声响探险；它的人声有时就如同是闪烁器乐质地的附着。
有些Space Rock乐队确实是以毒品来促发灵感，以此来给这种音乐带来令人麻醉的风格效果：沉重地混响的吉他声浪、极简的打击乐以及轻微的没精打采的人声。Space Rock的最显然的前辈当属Prog-Rock，但是在其后的发展中，它也从Krautrock、古典简约和The Jesus & Mary Chain风格的Noise Pop中吸取过灵感。
最初的第一支Space Rock乐队是英国的极度低沉的极简主义团体Spacemen 3，它的臭名昭著的“Taking Drugs To Make Music To Take Drugs To”信条影响了随其后来的大多数乐队。在参与到英国的Shoegazer运动中的有些乐队是和Spaced Rock是有关系的，尤其是The Verve的早期作品，还有大多数的实验团体（如My Bloody Valentine）影响了Space Rock的复兴。
Space rock is a subgenre of rock music; the term originally referred to a group of early, mostly British, 1970s progressive and psychedelic rock bands such as Hawkwind and Pink Floyd, characterised by slow, lengthy instrumental passages dominated by electronic organs, synthesizers, experimental guitar work and science fiction or astronomical lyrical themes, though it was later repurposed to refer to a series of late 1980s British alternative rock bands that drew from earlier influences to create a more ambient but still melodic form of pop music. The term was revived in the 21st century to refer to a new crop of bands including The Flowers of Hell, Comets on Fire, and Flotation Toy Warning who diversely draw upon the ideas and sounds of both waves of the genre’s founders.
53.车库摇滚复兴 Garage Rock Revival¶
上世纪80年代曾掀起一场车库摇滚复兴的运动，试图复兴60年代的车库摇滚，如DMZ，The Fuzztones，Lyres。虽在商业上并不成功，但催生了一大批地下追随者。
如今，一批更加年轻的乐队再一次玩起了这种似乎已经过时的音乐，他们大多成立于1998年到1999年并在2001年左右发表了各自的专辑，他们继承了60年代车库音乐的传统，并在其中加入了各自的音乐理念，毕竟，在摇滚乐近50年的历史中，音乐形式已经经过了巨大的变化，而不变的是摇滚乐的精神。
在这批新乐队中，领头的是来自纽约的The Strokes乐队，他们在2001年发表的首张专辑《Is This It》被当年的各大音乐杂志均评为年度最佳专辑。地下丝绒乐队和电视乐队对他们的影响是显而易见的，而同样来自纽约的他们的朋友“Yeah，Yeah，Yeahs”乐队却称自己是来自纽约的艺术朋克三人组，这支乐队由女主唱Karen O，吉他手Nicolas Zinner和鼓手Brian Chase组成，他们只在2001年和2002年发行了两张EP，但却受到评论家和歌迷的瞩目，他们和The Strokes一起构成了新一代CBGB乐队的中坚力量，和其他女主唱的乐队不同，Karen O的演唱风格更像是女子版的Iggy Pop。
另一支来自纽约的乐队是Interpol，他们所受的影响更多的来自像Joy Division这样的后朋克乐队，他们在2002年年底发表了首张专辑《Turn On the Bright Lights》。
来自底特律的the White Stripes乐队实际上是由前夫妻Meg White和Jack White组成的，他们成立乐队的初衷是想做一种最简单的摇滚乐，而他们几乎已经做到了。他们的音乐混合了车库音乐和布鲁斯音乐的成分，主唱Jack White的嗓音更接近于早期经典摇滚乐，他们俩也始终以红白两色的装扮示人。来自旧金山的Vue乐队的音乐也是一种布鲁斯化的车库乐，主唱Rex Shelverton的唱腔仿佛是新一代的理查·黑尔。
这股车库音乐的复兴浪潮让人值得关注的是它不仅仅是某个地区的潮流，它更是一个世界性的潮流。来自瑞典的the Hives乐队和来自澳大利亚的“the Vines”乐队和他们的美国同行们遥相呼应，一起为车库音乐的复兴推波助澜。不同的是，“the Vines”的音乐中多了一些Grunge音乐的元素，结构也更加的规整。而和慵懒冷静的The Strokes相比，the Hives乐队的音乐显得极为暴躁，狂烈，激情四射，在他们的专辑《Veni Vidi Vicious》中，他们将听众带回到仿佛Stooges和滚石乐队的时代。
是的，那是摇滚乐的黄金时代，它让每个人都成为可能，摇滚乐的魅力在于它总是在从一个点向另一个前进，即使这个点是它曾经出发的地方，在这个不停的吞噬自己，消化自己的过程中，一个新的自己总是会在一个恰当的时候出现，车库音乐的复兴也只是摇滚乐史上的另一幕的重演，有一天它会被另一股潮流所替代，但摇滚乐的本质并不会变化，人们只是为它披上了新的外衣。
Garage rock revival was a movement in the 1980s that recaptured the raucous spirit of 1960s garage rock. Key bands in this genre include DMZ, The Fuzztones and Lyres. The scene was never particularly commercially successful, but it gained a strong underground following.
Primarily led by The Strokes, The Hives, The Vines and The White Stripes, the early 2000s saw an explosion in Garage Rock influenced indie rock bands. These so-called ‘garage rock revival’ bands included other influences into the sound, such as Post-Punk, New Wave and Punk Rock. This revival was far more popular than the 80s revival and the original genre. This popularity helped the genre become a significant force in guitar music throughout the decade, with artists such as Kings of Leon, Arctic Monkeys and The Libertines all being influenced.
54.中国摇滚 Chinese Rock¶
55.成人另类 Adult Alternative¶
成人另类流行/摇滚是相对于主流音乐的另类摇滚的一个分支, 它具有柔和的旋律和另类柔美风格。成人另类流行具有很强的商业性，但是艺术家并并不是以商业为目的。他们来自传统的流行吉他音乐，80年代的流行舞曲(正如Gin Blossoms, Barenaked Ladies的音乐)，民谣和传统的歌者(正如Indigo Girls, Tori Amos, Jeff Buckley, Sarah McLachlan, Fiona Apple, Jewel的音乐)，美国传统摇滚乐(正如Sheryl Crow, Hootie & the Blowfish, Dave Matthews的音乐)，时髦的trip-hop电子(正如Portishead的音乐)。成人另类流行/摇滚的产生来自于人们感观的成熟：它有意和无意的成为90年代的主流音乐形式。它使摇滚的形式变得更加松散，更加注重创作技巧。它的缺点是，成人另类摇滚的灵感仅仅停留在物质表面上－经常在表演中因为刻意追求而变得做作，有意让音乐变得甜美，或使声音变得深沉。但就优点而言，这种风格造就了优秀的需要经典音乐而非凭借大声歌唱的艺术家。
Adult Alternative attracts a wide cross-section of listeners who are looking for something a little different without straying too far from the mainstream. It’s actually hard to say whether new adult contemporary radio formats were created to play this music or whether the music was created for radio airplay. Adult alternative styles – whether acoustic, electronic, or electro-acoustic – are heavily influenced by pop, rock, and jazz fusion elements. (Some albums feature a few vocal selections with lyrics, although the main orientation remains instrumental.) The best artists have a flair for melodic invention, colorful instrumentation, and rhythmic vitality while retaining a strong level of accessibility. At worst, adult alternative releases sound like trite pop songs without words. – Linda Kohanov
56.钢琴摇滚 Piano Rock¶
钢琴摇滚（piano rock）是一种以钢琴或诸如电子键盘的类钢琴乐器代替节奏吉他作为伴奏乐器的摇滚乐。在传统意义上，钢琴摇滚远不如经典摇滚知名，但Keane,Coldplay, The Fray, Jack’s Mannequin,Muse, Ben Folds Five,The Dresden Dolls, The Whitlams等当代乐队以及Elton John, Tori Amos, Vanessa Carlton, Billy Joel, Kate Bush, Fiona Apple, Rufus Wainwright, Jeff Reinholds, Aqualung等艺人正在逐渐提升这种音乐流派的影响力。
钢琴摇滚首先在1950年代中期浮出水面。当时，钢琴摇滚先锋雷·查尔斯（Ray Charles）和杰瑞·李·刘易斯（Jerry Lee Lewis）等创建了一个新的音乐风格。这种音乐风格与传统摇滚乐的主要区别是——钢琴在摇滚乐起着主要的作用，而不是吉他。现代钢琴摇滚艺人依然延续了这特点。
每个人都知道摇滚是非常受欢迎的音乐风格，甚至没有人没有听说过摇滚乐的。但实际上，摇滚乐涉及许多不同的风格。所以，你可能会遇到与你的理解不同的“摇滚乐”。在所谓的“经典摇滚”中，一切都围绕着吉他（在大多数情况下是电吉他），当代很多受欢迎的音乐风格都由这种音乐发展而来。但其实钢琴摇滚也是最早的摇滚风格之一，而这种音乐风格是以钢琴等乐器为主。
属于钢琴摇滚音乐风格的音乐家不多，但这种音乐风格仍然很受欢迎。例如，著名歌手多莉·艾莫丝（Tori Amos）使用钢琴作为主要乐器，继承钢琴摇滚先驱的传统。不过当然，当代钢琴摇滚风格的最有名的人物是埃尔顿·约翰（Elton John），许多人认为他是流行艺术家，但他仍然被认为是当代钢琴摇滚的典型代表。
由钢琴摇滚的先驱创造的钢琴摇滚风格出现在摇滚运动的开始。许多不同的著名人士被视为钢琴摇滚的先驱，但通常只有几位音乐家被视为最主要的钢琴摇滚先驱。
这些钢琴摇滚先驱是雷·查尔斯，史提夫·汪达（Stevie Wonder），杰瑞·李·刘易斯。他们为钢琴摇滚和许多其他的摇滚和流行风格奠定了基石，他们带来的巨大的灵感浪潮影响了后来许多不同风格的音乐家。
在钢琴摇滚先驱中，最具代表性的人物是雷·查尔斯。他的全名是雷·查尔斯·罗宾逊（Ray Charles Robinson），他出生于1930年9月23日。他5岁时失明，但这一事实并没有妨碍他成为一个著名的音乐家。他在1929年推出了他的第一首热歌“MESS AROUND”并相继推出一系列优秀作品。他很快成为了一位钢琴摇滚偶像——许多现代音乐家承认他们受到过雷·查尔斯的启发。雷·查尔斯获得过格莱美奖等众多音乐奖项，由于在音乐界的巨大贡献（摇滚，灵乐和许多其他的音乐风格），雷·查尔斯入选“爵士名人堂”。尽管他在生活和政治立场方面倍受争议，但他仍然被认为是历史上最伟大的音乐家之一。
另一位钢琴摇滚先驱的代表艺术家是杰里·李·刘易斯。同雷·查尔斯一样，他是一个伟大的钢琴家，但他同时也是一个曲作家（他的大部分歌曲都是乡村风格的）。他于1935年9月29日出生在美国路易斯安那州。幼年时他家境贫寒，但家人仍贷款给他买了一架旧钢琴。他的第一张唱片于1954年推出，这也是他不凡的音乐生涯的开端。他活跃甚至怪异的表演方式大受欢迎，并受到很多当代钢琴艺人的效仿。他在1986年入选“摇滚名人堂”。
尽管比以上两位年轻很多，但史提夫·汪达也为钢琴摇滚风格做出了巨大贡献，他的音乐影响了许多当代的R&B艺人。
Piano rock is a style of rock music that is based around the piano—and sometimes piano-related instruments such as keyboards–with piano typically replacing rhythm guitar as the rhythm instrument. Traditionally, piano rock has not been as prevalent as classic rock; however, modern groups such as Keane, Coldplay, The Fray, Jack’s Mannequin, Muse, PJ Harvey, Ben Folds Five, The Dresden Dolls, and The Whitlams, and solo artists such as Elton John, Tori Amos, Vanessa Carlton, Billy Joel and Kate Bush, Fiona Apple, Rufus Wainwright, Jeff Reinholds, and Aqualung have helped popularize the genre.
57.德国前卫摇滚 Krautrock¶
Krautrock为一英国乐评人发明的专有名词，泛指七十年从德国蹦出来，有别於英美风格的前卫摇滚乐团。他们就像当年的嘻皮一样，偏爱迷幻奇想、没事就来个十几二十分落落长的即兴，特别是在摇滚乐中加入革命性的电声实验，营造太空冥想氛围。至於为什么叫Krautrock我也不知道，Kraut本意为德国酸泡菜，也是对德国人的鄙称，也有人说Kraut和英文的herb一样有大麻的意思，指这些玩psychedelic的大麻味很重，还有人说是从 Faust IV这张专辑的第一首歌名「Krautrock」来的，反正众说纷纭，只好随便听听。
七十年代的德国年轻人吸收了来自大西洋两岸的摇滚乐文化，例如：爱玩火的Jimi Hendrix鬼魅般的吉他演奏，The Velvet Underground的地下实验精神，Pink Floyd充满的诗意的概念专辑，还有开始玩迷幻的B头四(著名的「胡椒军槽寂寞芳心俱乐部乐队」)。他们并非一成不变的把别人的东西抠过来，而是在摇滚乐中融合了极微主义的编曲概念，延续前辈Karlheinz Stockhausen的电声实验，大量地使用电子合成乐器，唱起了摇滚四件式的挽歌(如果没有他们，Roland、Korg等做电子乐器的老板可能要来台湾摆地摊了)。这些Krautrock先驱们，把高高在上的现代音乐理论拖进摇滚乐这滩混水，发挥科学家般的实验精神，改革传统摇滚乐架构，吉他拿来做噪音，主唱用ㄍㄞ的，鼓手不打4/4拍了，甚至完全就改用才刚开始起步的电子乐器，每个乐团都创造出自己独特的音乐风格，Krautrock可以说是最具「前卫」感的摇滚乐。
krautrock乐团皆发迹於德国的大城市，不约而同地带起了这股潮流，经由英国乐评人的推波助澜，Can、Faust、Kraftwerk、 Tangerine Dream…等一个个变成了经典传奇团，甚至连摇滚变色龙David Bowie、不太会弹keybaord的环境音乐大师Brian Eno等人还跨海到德国去向这些人取经(不过这股Krautrock风潮只是发生在英国乐评人的笔下，当时德国本土并没有引起很大的回应，而现今对 Krautrock最著迷的除了英国外，排第二的就是日本了吧)。
严格说起来，Krautrcok只是一个统称，绝对不是一种单纯的音乐类型。背负著Krautrock之名的几个乐团其实在音乐本质上有很大的不同： Amon Düül把progressive rock玩的更酸、更涩。Ash Ra Temple主打漫无边际、天马行空的吉他solo。Guru Guru在把玩instrumental rock之余，也会来段长篇迷幻奇想。Neu!则完全是Stereolab早期学习模仿的对象。Faust被誉为德国的The Velvet Underground，又麻又辣的droning嗡嗡噪音，总是会让人沉迷在那种神秘性的节奏中。而Krautrock中团员年龄最老却最funky的 Can，在现场即兴时，经常激发出惊人爆发力。Kraftwerk完全舍弃了传统摇滚乐器，利用电子合成乐器演奏出流行的曲调，专辑概念充满冷酷的机器人、电脑、现代化大都市。Cluster的电子乐则做出一片Ambient太空音效。Klaus Schulze、Tangerine Dream在实验电子一途外另辟New Age大道。另外，融合印度、中南美原住民的音乐元素的Popol Vuh，则充满神秘主义味道，追求原始宗教般的古老仪式。
总而言之，Krautrock在七十年代大放异彩，现在这些团现在散的散，单飞的单飞，重组的重组，做出来的东西也都没有早年来的有原创性了。虽然 Krautrock还没被诊断为性无能，却在最近兴起的Post Rock中找到了第二春。Stereolab、Tortoise等后摇滚名团抓著Krautrock尾巴，重现Analogue乐器的风采。许多Post Rock乐团重复性的极微编曲概念、加入的电子音效，主唱不唱歌制造气氛，都可看出是从Krautrock的实验报告那抄来的。而其他Space Rock、Noise Pop、Ambient…等也同样受到Krautrock深远的影响。Sonic Youth的Lee Ranaldo曾预言Krautrock会再度兴起，前几年Faust复出、Kraftwerk登上Spin史上最伟大的50个乐团、Julian Cope写了本Krautrocksampler、Krautrock的早年经典唱片一再复刻、致敬专辑一堆…。
“Krautrock” is a term coined by the British music press, and is generally used to refer to the progressive and experimental groups of late 1960s and early 1970s Germany.
These groups combined a variety of influences and styles, including British and American Psychedelic Rock groups, the Free Jazz of Ornette Coleman and Albert Ayler, and experimental classical composers (most notably Karlheinz Stockhausen as well as the minimalists Terry Riley and Steve Reich). The desire to eschew conventional song structure and melody also led to some groups developing a more mechanical sound and feel for their compositions, which also often made use of early synthesizers and other electronic instrumentation.
Although they all differed in their approach to their music, the underlying link between all the krautrock groups was the attempt to take the rhythm (“motorik” was the name given to the steady 4/4 beat used by many groups) and energy of American rock music and disassociate it as much as possible from its Rhythm & Blues roots, instead drawing inspiration from other sources.
Kraftwerk are far and away the most commercially successful of all the krautrock groups, finding major commercial success when they developed their sound into a pioneering form of Synth Pop combining catchy synthesizer melodies with the motorik rhythm. Critically, however, many krautrock groups are held in high esteem by the vast majority of commentators. Albums by groups such as Amon Düül II, Can, Faust, NEU!, Popol Vuh and Tangerine Dream are regarded as classics in the Experimental Rock and Progressive Rock canon.
It should be noted that, although “krautrock” has come to be accepted as the general term for the music of this style, it was (and is) perceived by some as a xenophobic or derogatory term, since “kraut” is an ethnic slur against Germans. As a result, some of the so-called krautrock groups have distanced themselves from the term, instead referring to their music as “German progressive rock” or “Kosmische Musik”.
民谣 Folk¶
民俗音乐（Folk music），又称民间音乐、民间歌谣、民间短篇诗歌等，简称民谣、民歌、民乐或民曲，于国际民间音乐协会（IFMC）之解释定义为“经过口传过程发展起来的普罗大众音乐”，也就是该音乐散布过程，纯粹是由演奏者或音乐接收者记录教习，并亲自相传所得。其范围包含歌曲、简单乐器演奏，甚至舞曲曲调与步伐。此解释与19世纪中期重新定义民间音乐、民间传说与民间舞蹈有相当重要之衍生与连带关系，一般认定，该名词与学说界定起自于1846年，英国人类学学者托马斯（W. J. Thomas）提出[来源请求]。
民间音乐有系统之定义研究虽起自19世纪，但实际形成却可溯自远古，例如中国春秋战国以前之诗经歌曲或今仍盛行之中国民歌等，亦可视为民间音乐。而不论古今或地区，民间音乐乐型态之传统要素与特性有下列几项：
1.民间音乐具有把现在与过去连结之连续性
2.个体与群体产生出不同类型的创作，并有其一定差异性
3.决定音乐形式或音乐存在，纯粹由社会力选择
民间流行的、富于民族色彩的歌曲，称为民谣或民歌。民谣的历史悠远，故其作者多不知名。民谣的内容丰富，有宗教的、爱情的、战争的、工作的，也有饮酒、舞蹈作乐、祭典等等。民谣既是表现一个民族的感情与习尚，因此各有其独特的音阶与情调风格。如法国民谣的蓬勃、意大利民谣的热情、英国民谣的淳朴、日本民谣的悲愤、西班牙民谣的狂放不羁、中国民谣的缠绵悱恻，都表现了强烈的民族气质与色彩。
民间流传的歌谣。有的内容与时事政治有关。近代作曲家，有用民谣为主题来创作各种乐曲的，如德沃夏克(antonin dvorák)的《自新大陆》交响曲、柴可夫斯基(peter llyitch tchaikovsky)的《第四交响曲》；丹第(vincentd’indy)的《山歌交响曲》；哈利斯(roy harris)的《民歌交响曲》；布鲁赫(mar bruch)的《苏格兰民歌协奏曲》；威廉士沃恩(williams vaughan)的《英吉利民歌组曲》；杜宾斯基(arcadydubensky)的《史蒂芬佛斯特组曲》；以及李亚道夫(anatol constantinovitch liadov)的《八段民歌管弦乐曲》等，皆为美妙动人的音乐，受到世人普遍的欢迎。
Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century but is often applied to music that is older than that. Some types of folk music are also called world music.
Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. One meaning often given is that of old songs, with no known composers; another is music that has been transmitted and evolved by a process of oral transmission or performed by custom over a long period of time.
Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller similar revivals have occurred elsewhere in the world at other times, but the term folk music has typically not been applied to the new music created during those revivals. This type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, in English it shares the same name, and it often shares the same performers and venues as traditional folk music. Even individual songs may be a blend of the two.
1.当代民谣 Contemporary Folk¶
当代民谣Contemporary Folk作为民谣下一大分支，根源于传统民谣但同时受到流行音乐的影响，在越来越多的创作中融入了流行/摇滚乐的制作形式和除主力吉他外的器乐。在后期几十年中，当代民谣歌手也时有跨界进入流行音乐的领域，但他们在内容创作，歌词格式，现场表演地点的特殊偏好等依然保持着源自传统民谣的印记，同时歌手对生活和社会现实的认识，依然保持一种非常私人化的创作和歌唱表达方式。
当代民谣又被指的是Bob Dylan之后的70年代及以后的“民谣”创作人群体。在Dylan之前，多数“民谣”乐手演绎传统的“民谣”歌曲或者创作广泛的关注时下的歌曲，Dylan之后，“民谣”歌手改变了原先的方法，他们的音乐不仅拓宽了边界、也接受了某些“流行／摇滚”（Pop/Rock）音乐的制作技巧和配器，而且他们的歌曲日益内省，所关注的内容则由个体取代了社会，当然按时间段来区分也是值得商榷的。
Contemporary Folk refers to post-Bob Dylan folk singer/songwriters of the 70s and beyond. Prior to Dylan, most folk performers interpreted classic folk songs or wrote broad-based, topical songs. After Dylan, folk singers changed their approach. Not only did their music open up, accepting certain pop/rock production techniques and instrumentation, but their songs became increasingly introspective, concentrating on the personal instead of the social. In the decades to follow, contemporary folk singers sometimes crossed over into the pop mainstream, but their sound stayed rooted in folk traditions and they tended to frequent their own circles, releasing albums on independent labels and playing folk clubs and coffee houses.
2.独立民谣 Indie Folk¶
Indie folk在1990年前后开始萌芽，独立摇滚圈的唱作人受到1950、1960、1960民谣和乡村音乐的影响，结合当代民谣的吉他原声和独立摇滚朗朗上口的旋律曲调创作出的新的歌曲形式。（早期的艺人有Lou Barlow, Jeff Buckley,Elliott Smith。）同时Indie folk和 freak folk, Psych folk, Baroque pop有着千丝万缕的联系，，在2000年一批优秀的艺人和乐队涌现了出来，包括 Bright Eyes, Beirut, Bon Iver, The Avett Brothers, Arthur & Yu, Fleet Foxes,The Decemberists,Iron & Wine, Okkervil River, Edward Sharpe and the Magnetic Zeros, Noah and the Whale等，Indie folk由此也达到了一个新的受众高度。
Indie folk is a music genre that arose in the 1990s from singer/songwriters in the indie rock community influenced by the folk music scenes of the 1950s, 1960s and early 1970s, country music and indie rock.
A few early artists included Lou Barlow, Jeff Buckley and Elliott Smith. The genre is commonly related to freak folk, psych folk, baroque pop and New Weird America.The genre saw a significant growth from the early 2000s to present, beginning with acts such as Bright Eyes, Beirut, Bon Iver, The Avett Brothers, Arthur & Yu, Fleet Foxes, The Decemberists, Iron & Wine, Okkervil River, Manel, Edward Sharpe and the Magnetic Zeros, Mumford & Sons, Noah and the Whale, The Mountain Goats, Cloud Control, Boy & Bear and others.
3.城市民谣 Urban Folk¶
城市民谣始于七十年代，把黑人布鲁斯、爵士乐甚至雷吉音乐元素融入进来。保罗·西蒙和阿特·加芬克尔这个二重唱组，用高超的吉他弹奏，美妙的嗓音让城市民谣进入了和谐的技术的时代。以前民谣中的抗议之声由一种“蓝领摇滚”表达。美国城市民谣在八十年代又有了传人——崔西·查普曼（Tracy Chapman），另一位是苏珊娜·薇格（Suzanne Vega）。
Urban Folk was a movement of singer/songwriters in the ‘80s that grew out of punk rock. Urban folk musicians were initially inspired by punk rock but they performed solo, either with an acoustic or electric guitar. Urban folk was extremely political — the songs had basic melodies and direct, angry lyrics. Though there was only a small handful of urban folk musicians, they made a significant impact in the mid-‘80s.
4.民谣流行 Folk Pop¶
民谣流行音乐大致分为2种。一种是指流行音乐式编曲的民谣，另一种则是民谣式编曲的流行音乐。 民谣流行音乐最早出现在60年代初期，到了60年代中期开始逐渐风靡起来。不同于民谣摇滚，民谣流行音乐更为温和、优雅，更偏向于流行音乐。
Folk-Pop falls into two categories. Either it is folk songs with large, sweeping pop arrangements, or pop songs with intimate, acoustic-based folk arrangements. Folk-pop began to evolve in the early ‘60s, but it came into full force after folk-rock became a sensation in the mid-‘60s. Folk-pop doesn’t have ringing guitars and rougher edges of folk-rock; instead, it is softer, gentler, and more pop-oriented.
5.传统民谣 Traditional Folk¶
传统民谣融合十九世纪初期美国东部乡村地区的爱尔兰及苏格兰移民的民谣、德州弦乐曲及江湖走唱卖药歌而成，曲调轻松诙谐，好听悦耳，和缓温暖，大多以叙事及抒发感情为主，主要乐器是民谣吉他及斑鸠琴琴有时会佐以曼陀林、手风琴、小提琴、口琴极简单手鼓调味，洋溢着浓浓乡村香草味及校园民歌自弹自唱风情。
Traditional Folk refers to the folk songs of the first half of the 20th century, before folk became the province of personal singer/songwriters like Bob Dylan. Traditional folk tends to be written as universal truths, and often concerns big issues instead of private matters.
6.校园民谣 Campus Folk¶
校园民谣就是广受学生喜爱，流行于校园，体现校园生活和学子心境或感受的创作，其或称为“校园歌谣”、“现代民歌”、“乐府民风”等等。校园民谣朝气蓬勃，极富有校园味道，毫无矫饰，完全是率真性情的流露，听起来十分感人，它形象地反映出青年学子的生活，表现出年轻人的蓬勃朝气、青春活力以及他们那富有诗意的浪漫气息，其曲风总体来说朴实明快、积极向上，充满活力，深受人们的喜爱和传唱。
校园民谣概念的首次出现，是在七十年代初的台湾。扬弦的《渡口》、赵树海的《子夜徘徊》、胡德夫的《少年中国》及”木吉他”全辑等。这些人的作品包括台湾民谣时代后期的大批校园歌手，如罗大佑、齐豫、侯德建、黄大成、红蚂蚁等，他们的涌现，构成了一个绝对经典的时代。
校园民谣在传入大陆后，逐渐成了一种音乐现象：它首先被那些对音乐有着执着追求的校园歌手们所吟唱、使之流行于中国大陆的各个高等学校，然后因为一个成功的商业运作迅速风靡了整个社会并产生了极大反响。校园民谣，它记录了一个时代、一种学校的文化氛围、一代莘莘学子的梦想与追求和对易逝的青春岁月的怀念。
7.新民谣 Neofolk¶
新民谣（Neo Folk）的精神源头可以追溯到上个世纪六十年代于欧美两地同时发生的民谣运动，后者对商业化和流俗文化的背叛也同时为新民谣所继承。
尽管新民谣音乐的主题对异教、浪漫主义、神秘主义多有涉及 其创作者也热衷于新古典音乐、军事音乐、后工业音乐和异教等繁杂的音乐类型和社会理念 。
但是它仍是一种根植于欧洲理念和后工业音乐的民谣音乐类型 。
原声吉它、钢琴和各种弦乐是这一类型偏爱使用的乐器 ，依据音乐主题和声音表现，新民谣的雏形期可以追溯到二十世纪六十年代 。
Neofolk is a form of folk music-inspired experimental music that emerged from post-industrial music circles. Neofolk can either be solely acoustic folk music or a blend of acoustic folk instrumentation aided by varieties of accompanying sounds such as pianos, strings and elements of industrial music and experimental music. The genre encompasses a wide assortment of themes. Neofolk musicians often have ties to other genres such as neoclassical and martial industrial.
8.迷幻民谣 Psychedelic Folk¶
Psychedelic Folk若翻译为中文可理解为“迷幻民谣”，在很多时候它可以和另外一个风格名词”Acid Folk”等同。这种音乐的主要特点是以原色器乐演绎民谣风格歌曲，而对原色器乐这种颇为精细和冷旷的乐色的激进演绎，使得大部分 的作品显得颇为迷幻，是有Acid一说，这种音乐还有另一大有可听之处是它的选曲经常是很具有民族色彩，对各种民族乐器予以原色、迷幻而激进的演绎。
Psychedelic folk, psych folk or acid folk is a loosely defined form of psychedelic music that originated in the 1960s through the fusion of folk music and psychedelic rock. It retained the largely acoustic instrumentation of folk, but added musical influences common to psychedelic rock and the psychedelic experience.
9.前卫民谣 Progressive Folk¶
前卫民谣最早是美国民谣歌曲在追求政治诉求时衍生出来的分支，但在英国变成不强调传统的民谣创作，更多的致力于新的文化创作，同时产生了新分支迷幻民谣，整体是受到前卫摇滚较大影响的。
Progressive folk or prog folk was originally a type of American folk music that pursued a progressive political agenda, but in the United Kingdom the term became attached to a sub-genre that rejects or de-emphasizes the conventions of traditional folk music and encourages stylistic or thematic innovation. It gave rise to the genre of psychedelic or psych folk and had a major impact on the development of progressive rock.
10.室内民谣 Chamber Folk¶
Chamber Folk是指典雅、高贵、精致的一种民谣乐，它有一定的古典音乐感觉。Chamber一词来自古典音乐，中文叫”室内乐”，是种小组弦乐演奏曲式，气氛高雅。Chamber Folk就是民谣的一类分支强调优美的旋律、精致的配乐、干净的录音，每每多用弦乐、管乐制造巴洛克时代的音乐感觉。Chamber Folk is a style of typically gentle fingerpicked acoustic guitar or harp-led music that initially gained prominence in the UK and the US during the mid-to-late 1960s. It is defined by an elegant and ornate style of arrangement and production, creating a sound that can be alternately described as wistful, fey, pastoral and whimsical, often featuring celestial, crystalline female vocals and a variety of instruments as accompaniment. These include, either separately or as part of an ensemble, piano, drums, harpsichord and various horns, woodwinds and stringed instruments (both orchestral and plucked).
While much of the style uses the traditional small ensemble sizes of Chamber Music within a non-classical acoustic style, Chamber Folk can also feature lush orchestral flourishes and similar aspects of arrangement found in other musical styles such as Baroque Pop, for example, Nico’s Chelsea Girl and Joanna Newsom’s Ys.
11.先锋民谣 Avant-Folk¶
在原有民谣基础上突破常规，加入不同风格的实验元素。
12.反民谣 Anti-Folk¶
反民谣的意思，并不就是反对民谣，而是强调不循规蹈矩。它是一种融合了民谣和朋克的音乐形态，他继承朋克音乐那尖刻的社会价值。如：Michelle Shocked、Roger Manning、Ani DiFranco。说到它的起源，不得不说一说1983年的那点儿破事。一个叫Lach的小青年带着自己的梦想来到了传说中的Folk City，渴望能够寻找到演出的机会。然而，老板在听了他的演出后，却说，你的音乐太朋克了。第二年，Lach自己在纽约东城区开了家名为the Fort的俱乐部。由于开业恰好撞上了纽约民谣艺术节，这个天生反骨的家伙就把the Fort的开业称为纽约反民谣艺术节。一年后，警方关闭了the Fort，于是the Fort就变成了一个流动性很强的反民谣演出场所。在1993年，反民谣已经得到了国际上的认可，并成为了多个艺人的垫脚石。Beck, Regina Spektor, 以及the Moldy Peaches，都是反民谣的代表人物。《纽约时报》曾在一篇报道中写道，他们（即以上提到的艺人）都有个共同的特征，那就是用颠覆传统且毫无惧怕的态度去创作。
到了2000年左右，反民谣的概念传入英国，并迅速在伦敦，曼彻斯特以及布莱顿的地下音乐圈中传播开来。直到2006年八月，在当月的Timeout杂志中，反民谣已经被认为是伦敦最热门的亚文化之一了。
从音乐来源看，反民谣主要来自于民谣与朋克。它继承了民谣的和缓和木吉他的伴奏，同时也吸收了朋克的激进，节奏以及大胆。它不再只拘泥于民谣对人生对世界亦或是对政治的忧郁和哀叹，它更多的是像朋克一般集中于自我以及自我与世界的关系。反之，它抛弃了朋克的简陋，无畏和大汗淋漓，而是采取了民谣的平静，冷眼旁观整个世界。而在歌词创作方面，反民谣大约可以分为两类。一类向流行靠近，另一类则向独立靠近。前者我们看到的是Regina Spektor，后者我们看到的是Kimya Dawson。歌词大多以简单的东西来表现歌曲的基调。在留给听者更多想象空间的同时，又不至于像听Bright Eyes似的消耗自己的脑细胞。而且，最要命的是，常常在这些简单哼唱的歌词中，我们听到的是更多更纯粹干净的温暖。
Lach在接受《纽约时报》的采访时曾说，刚开始的时候，我们是用民谣化朋克的方式来摇滚（When we started, we were to folk what punk was to rock.）。而当读到这句话的时候，我想到去年听Sonic Youth的新砖The Eternal时，曾读到过这样几句话，“民谣和朋克都对现状极度不满，两者以不同的方式逃避：民谣怀旧，通过退行到童年稚嫩、无辜、干净的状态，来维持起码的生存愿望；朋克破坏，通过否认仇视并破坏一切，在毁灭之后涅槃。”
可以说，民谣和朋克是音乐史上最激进的两种音乐。前者把一切都闷在心里，后者却毫无保留地表现出来。音乐史上从朋克转型到民谣，从民谣转型到朋克的音乐人都大有人在，诸如，Feist， Tony Dekker等。而反民谣，作为民谣与朋克的混合产物，让我们看到了其中和作用的奇妙反应物。或许少了民谣的内敛与深刻，少了朋克的张扬与无惧，但是反民谣的存在，却的确为这个世界上所不可缺少的。
Each country has their own folk music, but the genre usually refers to American and British music that has been passed through the generations by oral tradition. It’s simple, acoustic-based music that spins everyday events and common people into mythic status. Many traditional folksongs have no known author, they have simply evolved over the years. Most of the earliest recorded folk music was of this nature, but with Woody Guthrie, topical folk began making its way to record. Still, many artists, including the Weavers and Pete Seeger, chose to mix traditional songs with newer material, either written by the artists themselves or other contemporary musicians. Initially, Bob Dylan functioned in that style, but by his second album, =The Freewheelin’ Bob Dylan,= he began relying entirely on original material, thereby ushering the modern era of folk, where most performers sang their own (usually personally and introspective) material, and only occasionally throwing in covers.
13.凯尔特民谣 Celtic Folk¶
在很多人心目中，凯尔特人即为爱尔兰民族，这也许是1922年爱尔兰共和国独立给公众造成的印象。事实上，凯尔特人原为公元前一千年左右居住在中欧、西欧的一些部落集团，经过漫长迁徒来到英伦，其后代今散落于爱尔兰、威尔士、苏格兰北部与西部山地各处。凯尔特人包括爱尔兰人、苏格兰高地人、威尔士人及康尼士人，他们大多操双语——英语和本族语(盖尔语或凯尔特语)，但往往不同地区的同族后辈，语言上会有较显著的差异。除了文字或文物研究可以证明他们之间的族源关系，最直接的方式是倾听他们用小竖琴和风笛奏出的音乐，那种古老的、源远流长的音乐，已成为连接不同地域凯尔特民族的文化纽带。
14.爱尔兰民谣 Irish Folk¶
爱尔兰民谣特点是会加入本土特有的乐器，包括风笛、竖琴、肘风笛、锡哨、哨笛等，个人一种宁静致远的感觉。
15.苏格兰民谣 Scottish Folk¶
16.新传统主义民谣 Neo-Traditional Folk¶
在九十年代中期到末期，美国传统民谣曾经有过一次复兴，不仅仅是重录传统的谋杀歌谣和古老的小提琴曲调，也在用同样的方式书写并且表演。
在90年代中期至后期，人们对美国传统民间音乐的兴趣重新兴起。不仅可以重新录制传统的谋杀民谣和古老的小提琴曲调，而且还可以以相同的方式创作和演奏音乐。哈里·史密斯（Harry Smith）1952年具有里程碑意义的档案馆的《 1997年美国民俗音乐选集》在1997年发行CD，似乎在音乐迷中点燃了火花，就像原始唱片在50年代初期所做的一样（最终帮助实现了民族复兴）。像吉利安·韦尔奇（Gillian Welch）和艾里斯·迪门特（Iris Dement）一样，他们录制忠实于卡特家族和伍迪·格斯里的朴实的民间音乐，发现自己吸引了众多听众的注意，而这些听众都不认为自己是乡村音乐或民间音乐的粉丝。 2000年电影O Brother Where Thou的配乐在Billboard排行榜上获得了惊人的成功，并最终帮助重振了20世纪上半叶民间民乐的真实感觉。约翰·哈特福德（John Hartford），诺曼·布莱克（Norman Blake）和杰伊·安加（Jay Ungar＆Molly Mason）等音乐家扎根于阿巴拉契亚山脉的音乐和长期享有盛誉的沙碗民谣，他们录制了以传统民间结构和主题为基础的新歌，而艺术家如《英俊家庭》，《怪胎》和《尼克溪》音乐来自一种更为进步的“另类”倾向，仍然唤起了这次诚实，精神的本质-尊贵的风格。
During the mid- to late ‘90s, there was a resurgence of interest in American traditional folk music; not only re-recording the traditional murder ballads and old-timey fiddle tunes, but also writing and performing music in the same vein. The 1997 CD reissue of Harry Smith’s 1952 landmark archive Anthology of American Folk Music seemed to kindle a spark in music fans much in the same way that the original LPs did in the early 50s (which eventually helped bring about the folk revival). Artists like Gillian Welch and Iris Dement who had been recording earthy folk music faithful to the Carter Family and Woody Guthrie found themselves attracting attention from an audience who would not consider themselves fans of country or folk music. The soundtrack to the 2000 film O Brother Where Art Thou found surprising success on the Billboard charts and ended up helping to revive the earnest feel of the acoustic folk music from the first half of the 20th century. Rooted in music from the Appalachian mountains and long honored dust bowl ballads, musicians like John Hartford, Norman Blake and Jay Ungar & Molly Mason recorded new songs based around traditional folk structures and themes, while artists such as the Handsome Family, Freakwater and Nickel Creek came at the music from a more progressive “alternative” slant, still evoking the honest, spiritual nature of this time-honored style.
17.中东民谣 Middle Eastern Folk¶
18.瑞典民谣 Swedish Folk¶
瑞典民谣早期有部分只有乐器演奏，到后来的本国语言的人声演唱相结合，多以欢快为主，让人舞蹈的。
瑞典民间音乐是一种音乐流派，主要基于19世纪初期在瑞典开始的民间收藏工作。瑞典民间音乐的主要乐器是小提琴。 nyckelharpa是瑞典传统独特的另一种常见乐器。瑞典的大多数民间乐器音乐是舞蹈音乐。瑞典民间音乐中的标志性音乐和舞蹈形式是polska。瑞典的声乐和器乐传统在历史上倾向于分享乐曲，尽管它们是分开演奏的。从1970年代的民间音乐复兴开始，歌手和乐器演奏家也开始在民间音乐合奏团中共同演出。
Swedish folk music is a genre of music based largely on folkloric collection work that began in the early 19th century in Sweden. The primary instrument of Swedish folk music is the fiddle. Another common instrument, unique to Swedish traditions, is the nyckelharpa. Most Swedish instrumental folk music is dance music; the signature music and dance form within Swedish folk music is the polska. Vocal and instrumental traditions in Sweden have tended to share tunes historically, though they have been performed separately. Beginning with the folk music revival of the 1970s, vocalists and instrumentalists have also begun to perform together in folk music ensembles.
19.奇幻民谣 Freak Folk¶
奇幻民谣较好概括了一股嬉皮士民谣音乐风潮。波西米亚服饰、无处不在的世界元素采风，多语言组建的歌词，稠密的大胡子，艳丽的巫师长袍以及深靴，游离的人生轨迹等等，和美国60年代的氛围紧密贴合起来。
Freak folk is a genre of folk music which uses mainly acoustic instrumentation, but introduces elements of avant-garde music, baroque pop, and psychedelic folk, often featuring uncommon sounds, lyrical themes, and vocal styles.
20.中世纪民谣 Medieval Folk¶
新中世纪民间音乐(又名中世纪民间音乐)意在模仿中世纪的欧洲民间音乐。这一流派于20世纪80年代出现在德国的新中世纪乐章中，其特点是使用传统乐器，如风笛、鼓手、长笛、尼克尔哈帕、手鼓、达乌尔、高脚杯鼓、披肩、轰鸣、柑橘、特伦巴码头、定音鼓和琵琶。歌曲通常是欢快的、充满活力的，但也有更平和、庄严的曲调。艺术家们经常在歌词中使用中世纪的作品，如Carmina Burana。然而，抒情主题并不局限于中世纪，因为许多乐队也从其他时期获得灵感。这一体裁的主要例子包括牧神，乌鸦科拉克斯和月亮与夜灵，等等。
Neo-Medieval Folk (aka Medieval Folk) is meant to emulate European Folk Music from the Middle Ages. The genre emerged in 1980s in Germany from the Neo-Medieval movement and is characterised by the use of traditional instruments, such as bagpipe, hurdy gurdy, flute, nyckelharpa, tambourine, davul, goblet drum, shawm, bombard, cittern, tromba marina, timpani and lute. Songs are usually cheerful and energetic, but there are also more peaceful and solemn tunes. Artists frequently use medieval works, such as Carmina Burana, in their lyrics. The lyrical themes are not limited to Middle Ages though, as many bands also take inspiration from other periods.
Key examples of the genre include Faun, Corvus Corax and The Moon and the Nightspirit, among others.
21.黑暗民谣 Dark Folk¶
黑暗民谣最初是一个与新民谣和世界末日民谣互换使用的术语，用来描述一系列植根于后工业和后朋克的当代民谣音乐，但今天它主要指的是20世纪90年代中后期出现的一个特定的新民间子流派。与最初的“世界末日派”不同，它没有任何后工业或后朋克的影响。取而代之的是，经常可以听到环境音乐和北欧民间音乐元素。此外，先锋新民谣乐队的实验性和世界末日性质也被拒绝，取而代之的是更忧郁和极简主义的音景。人声可以是安静的，耳语的，空灵的，压抑的和受传统民俗影响的，尽管器乐也很常见。就歌词而言，黑暗的民间艺人通常专注于“黑暗”的主题，如荒凉、沮丧或死亡，以及异教、自然、历史等，并经常用表演者的母语演唱。由于抒情和风格的重叠，黑暗民谣与金属(最著名的是黑金属)音乐密切相关，许多艺术家将这两种流派结合在一起。Ulver的Kveldssanger被广泛认为是其最早和最重要的发行之一，但黑暗人物也植根于最初的新民粹主义运动，最著名的是对德国场景产生巨大影响的Fire+Ice。其他帮助建立这一流派的关键艺术家包括Orplid，Tenhi，Empyrium，Forseti，Darkwood和许多其他乐队和音乐家，主要是德国和北欧的乐队和音乐家。今天，最重要的黑暗民俗场景分布在德国、芬兰、挪威和俄罗斯联邦。
Dark Folk was initially a term used interchangeably with Neofolk and “apocalyptic folk” to describe a range of Contemporary Folk music rooted in post-Industrial and Post-Punk, but today it refers mostly to a specific neofolk sub-genre which emerged in the mid-to-late 1990s. Unlike original “apocalyptic folk”, it doesn’t incorporate any post-industrial or post-punk influences. Instead, Ambient and Nordic Folk Music elements can often be heard. Also, experimental and apocalyptic nature of pioneering neofolk bands is rejected in favour of more melancholic and minimalist soundscapes. Vocals can be hushed, whispered, ethereal, depressing and traditional folk influenced, although instrumental tracks are very common too. As far as lyrics are concerned, dark folk artists usually focus on “dark” themes such as desolation, depression or death as well as paganism, nature, history, etc. and they are often sang in languages native to performers. Due to lyrical and stylistic overlap, dark folk is closely related to Metal (most notably Black Metal) music with many artists combining these two genres.
Ulver’s Kveldssanger is widely considered as one of its earliest and most important releases, but dark folk has roots in the original neofolk movement as well, most notably Fire + Ice whose impact on the German scene was huge. Other key artists who helped to establish the genre include Orplid, Tenhi, Empyrium, Forseti, Darkwood and many other, mostly German and Nordic, bands and musicians. Today the most important dark folk scenes are located in Germany, Finland, Norway and Russian Federation.
电子 Electronic¶
随着时代的演进，音乐家有了更多制作音乐的方法。所谓电子音乐，就是以电子合成器，音乐软体，电脑等所产生的电子声响来制作音乐。电子音乐范围广泛，生活周遭常常能听到，在电影配乐，广告配乐，甚至某些国语流行歌中都有用到，不过以电子舞曲为最。很多人认为电子乐是一种冷冰冰，没有感情的音乐。其实电子乐也可融入Rock、 Jazz甚至Blues等多种元素而充满情感的。
从广义上来说，电子乐（Electronica）这个词可以指很多的音乐类型，因为电子乐器的使用变的越来越普遍了，而且很多80年代后期的跳舞音乐都是电子的。然而，通常电子乐是指当它刚成形时艺术家们通过电子设备所探索出的各种独一无二的声响，以及后人们所创造出的继承这些先驱们的作品。前卫作曲家们长时间的着迷于利用先进的技术手段，创造那些前所未有的电子声响。法国作曲家Edgard Vare是这个领域的一个先驱，早在上世纪20年代就发明了自己的电子乐设备，50年代一直在实验磁带延时技术。Vare的工作极大的影响了美国前卫艺术家John Cage和德国作曲家Karheinz Stockhausen，后两位极大的扩展了电子乐的曲式结构。然而，直到上世纪70年代，音序器和合成器变得越来越便宜和 简便时，电子乐才真正的进入大众的视野。1968年，Wendy Carlos发行了一张带有迷幻性质的Bach专辑，使用Moog合成器实现了Bach的一些音乐片断。这张专辑在公众中引起了极大的反响，Stockhausen对电子乐器的推广也在德国引起了实验音乐的风潮——Krautrock(德国摇滚)。诸如Can和Neu!等乐队开始将合成器和磁带机的使用带入他们的实验，但是这场风潮中最重要的乐队还是Kraftwerk和Tangerine Dream(橙梦)。
Kraftwerk开创了在pop中使用合成器的新观念，他们机器人般的，机械的，催眠性的形式极大的影响了20世纪几乎所有的电子乐。同时，Tangerine Dream受到简约古典作曲技法的启发Kraftwerk乐队，创造了一种称为space的音乐形式，顾名思义，这是一种氛围舒缓的， 曰没惚的音乐。其他重要的艺人还包括Klaus Schulze，他探索了比space还要迷幻的音乐形式；Brain Eno，对于电子元素在pop中的应用有着创造性的发明和实验，可是他最出名还是他的ambient music(氛围音乐)——一种依靠合成器创造出某种环境的音乐类型。
Ambient和space音乐引发了后来的new age(新世纪)，后者强调的是一种安宁的，平和的，深邃的氛围并且旋律及其优美。Progressive electronic(激进电子乐)是new age的一个分支，它表现的是一种更加戏剧化，管弦乐使用更多的形式，从而打破了电子乐根基中的简约风格。此外，诸如synth-pop，techno和 electronica等音乐形式也都在早期的电子乐基础上有了很大的创新。
Reaching back to grab the grooves of ‘70s disco/funk and the gadgets of electronic composition, Electronica soon became a whole new entity in and of itself, spinning off new sounds and subgenres with no end in sight two decades down the pike. Its beginnings came in the post-disco environment of Chicago/New York and Detroit, the cities who spawned house and techno (respectively) during the 1980s. Later that decade, club-goers in Britain latched onto the fusion of mechanical and sensual, and returned the favor to hungry Americans with new styles like jungle/drum’n’bass and trip-hop. Though most all early electronica was danceable, by the beginning of the ‘90s, producers were also making music for the headphones and chill-out areas as well, resulting in dozens of stylistic fusions like ambient-house, experimental techno, tech-house, electro-techno, etc. Typical for the many styles gathered under the umbrella was a focus on danceable grooves, very loose song structure (if any), and, in many producers, a relentless desire to find a new sound no matter how tepid the results.
1.电子舞曲 EDM / Electronic Dance Music¶
电子舞曲（Electronic Dance Music）是各种电子音乐的合称，它们的用途往往是在舞厅、派对里用来作跳舞的背景音乐。 电子舞曲流派分为 House、Techno、Trance、Big Beat、Drum `N` Bass、Break Beat和Big Beat、Reggae/Ska、Old school/Miami beat、R`N`B、Tribal、Mambo、Cha Cha、Hip House等等。
电子舞曲(也称为EDM、舞曲、俱乐部音乐或简单的舞蹈)是一种广泛的打击性电子音乐流派，主要为夜总会、狂欢派对和节日制作。EDM通常由音乐节目主持人(DJ)制作用于回放，他们通过从一个记录到另一个记录的顺序来创建无缝的曲目选择，称为MIX。[4]EDM制作人还在音乐会或节日现场表演他们的音乐，有时称为现场PA。在欧洲，EDM通常被称为“舞曲”或简称为“舞蹈”。在20世纪80年代末90年代初，随着狂欢、盗版电台的出现，以及人们对俱乐部文化的兴趣高涨，EDM在欧洲获得了主流的流行。当时美国对舞蹈文化的接受并不普遍，虽然电子音乐和芝加哥家庭音乐在欧美都有很大的影响力，但主流媒体和唱片业仍然对EDM怀有敌意。人们还认为EDM与毒品文化之间存在关联，这导致州和市两级政府颁布旨在阻止狂欢文化传播的法律和政策。随后，在新的千年里，包括美国在内的全球范围内，电火花加工的受欢迎程度都有所提高。到了2010年代初，美国音乐界和音乐出版社正在推动“电子舞曲”一词和“EDM”的缩写，以重塑美国狂欢文化的品牌。尽管业界试图创建一个特定的EDM品牌，但缩写仍然被用作多种流派的总称，包括房屋、电子音乐、恍惚、鼓和贝斯、Dubstep以及它们各自的子流派。
Electronic dance music (also known as EDM, dance music,club music, or simply dance) is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys (DJs) who create seamless selections of tracks, called a mix, by segueing from one recording to another.[4] EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. In Europe, EDM is more commonly called ‘dance music’ or simply ‘dance’.
In the late 1980s and early 1990s, following the emergence of raving, pirate radio, and an upsurge of interest in club culture, EDM acquired mainstream popularity in Europe. In the United States at that time acceptance of dance culture was not universal, and although both Electro and Chicago house music were hugely influential both in Europe and the USA, mainstream media outlets, and the record industry, remained hostile to EDM. There was also a perceived association between EDM and drug culture which led governments at state and city level to enact laws and policies intended to halt the spread of rave culture.
Subsequently, in the new millennium, the popularity of EDM increased globally, including the United States. By the early 2010s, the term “electronic dance music” and the initialism “EDM” was being pushed by the United States music industry and music press in an effort to rebrand American rave culture. Despite the industry’s attempt to create a specific EDM brand, the initialism remains in use as an umbrella term for multiple genres, including house, techno, trance, drum and bass, dubstep, and their respective subgenres.
2.未来贝斯 Future Bass¶
未来贝斯是在2006年出现的一种新音乐风格，从Trap音乐演变出来，在英国、美国、中国、日本、澳大利亚较为流行。特点是低音（bassline）较重，音色很尖十分跳脱。作为一个相对还在发展的风格，未来贝斯还未定型，同时受到Trap，footwork 和UK garage的影响。
未来低音是2006年左右在英国、美国、中国、日本和澳大利亚兴起的一种音乐流派。它是一种广泛的音乐流派，提供了各种各样的声音和节奏，通常由数字音频工作站上的合成器产生。未来的低音被描述为将重点放在带有失谐合成器的硬低音上，主要包括锯齿波和方波。声波通常使用控制音频过滤(通常是低通或高通过滤)的截止的自动或低频振荡来调制，使得波形声音更大或更安静。此外，常见的是使用一种“瞬间”的发音上升(音高逐渐上升)，包括琶音和弦和声码器。未来的低音流派源于陷阱、步法和英国车库。这与英国的后Dubstep运动有关。它可以与chiptune和gli相媲美。
Future bass is a music genre that arose around 2006 in the United Kingdom, United States, China, Japan, and Australia. It is a broad genre of music, offering a wide variety of sounds and rhythms normally produced by a synthesizer on a digital audio workstation.
Future bass is described as having a focus on a hard bassline with detuned synthesizers mostly including sawtooth waves and square waves. The sound waves are often modulated using automation or low-frequency oscillation controlling the cutoff of an audio filter (typically a low pass or high pass filter) making the waveform sound louder or quieter. In addition, it is common to find the utilization of a sort of “twinkly” sounding rise (gradual rise in pitch), including arpeggio chords, and vocoders.
The future bass genre stems from trap, footwork and UK garage. It is related to the post-dubstep movement in the United Kingdom. It is comparable to chiptune and gli
3.浩室舞曲 House¶
HOUSE是於八十年代沿自 DISCO发展出来的跳舞音乐。
为什么会叫”House”呢?就是说只要你有简单的录音设备,在家里都做得出这种音乐~House也是电子乐中 最容易被大家所接受的.
这是芝加哥的DJ玩出的音乐， 他们将德国电子乐团Kraftwerk的一张唱片和电子鼓(Drum Machine)规律的节奏 及黑人蓝调歌声混音在一,House就产生啦,为电子舞曲最基本的型式,4/4拍的节奏, 一拍一个鼓声,配上简单的旋律,常有高亢的女声歌唱. DISCO流行后，一些DJ将它改变，有心将DISCO变得较为不商业化， BASS和鼓变得更深沈， 很多时变成了纯音乐作品，即使有歌唱部分也多数是由跳舞女歌手唱的简短句子，往往没有明确歌词。 渐渐的，有人加入了LATIN(拉丁)、 REGGAE(瑞格源在西印度群岛)、 RAP(说唱)或 JAZZ(爵士)等元素， 至八十年代后期， HOUSE冲出地下范围，成为芝加哥、纽约及伦敦流行榜的宠儿。
Cher唱的Believe 就是个好例子.而M-People可说是House代表团体.House舞曲在1986年开始流行后,可说是取代了Disco音乐.
House可分为：
Acid House 也就是融合了TB-303的Acid声的House乐
Deep House 有着相当浓厚的灵魂唱腔,又叫作Garage,蛮流行化的. 像Real Mecoy, M-People, La Bouche都是Garage团体.
Hard House 简单来说,就是节奏较重,较猛的House.
Progressive House 这类House没啥灵魂唱腔,反而比较注重旋律和乐曲编排.有一 点像”演奏类”的House乐. 像SASH!的专辑It’’s My Life便是很好的Progressive House专辑.
Epic House 就是”史诗”House. Epic House有着优美,流畅的旋律和磅礴的气势, 很少会有vocal在里面(几乎是没有!). BT的音乐就是很棒的Epic House,而他也被称作”Epic House天皇”. 其实连Rock也有”Epic Rock”
Trible House 想像一下:带有非洲原始风貌或是印地安人的鼓奏的House是啥样? 这就是Trible House~ 这种House除了有一般House稳定的节奏外,在每拍之间,会加入一些带有原始风貌,零碎的鼓点. 蛮有趣的~ 不过,House的范围太广了,大家也不用硬要把一首曲子分类.这些只是告诉大家,House很多种”而已。
到了九十年代， HOUSE已减少了那前卫、潮流色彩，但仍是很受欢迎的音乐。
House music grew out of the post-disco dance club culture of the early ‘80s. After disco became popular, certain urban DJs – particularly those in gay communities – altered the music to make it less pop-oriented. The beat became more mechanical and the bass grooves became deeper, while elements of electronic synth pop, Latin soul, dub reggae, rap, and jazz were grafted over the music’s insistent, unvarying four-four beat. Frequently, the music was purely instrumental and when there were vocalists, they were faceless female divas that often sang wordless melodies. By the late ‘80s, house had broken out of underground clubs in cities like Chicago, New York, and London, and had begun making inroads on the pop charts, particularly in England and Europe but later in America under the guise of artists like C+C Music Factory and Madonna. At the same time, house was breaking into the pop charts; it fragmented into a number of subgenres, including hip-house, ambient house, and most significantly, acid house (a subgenre of house with the instantly recognizable squelch of Roland’s TB-303 bass-line generator). During the ‘90s, house ceased to be cutting-edge music, yet it remained popular in clubs throughout Europe and America. At the end of the decade, a new wave of progressive house artists including Daft Punk, Basement Jaxx, and House of 909 brought the music back to critical quarters with praised full-length works.
4.合成器流行 Synthpop¶
Synth Pop中的 “ Synth”，即 Synthesizer(合成器)，顾名思义，Synth Pop就是“由 Sythesizrs炮制出来的流行乐”，当然除 Synthesizers外还会用上其他电子乐器如电脑及鼓机等等。Synth Pop於八十年代初期开始流行，至八十年代中开始沉寂，当年在香港也曾掀起过一阵热潮。 Synth Pop的特点是科技感强，有时会颇冰冷，歌曲多是“三分钟流行曲” (3-minutes Pop)，很多时 Synth Pop乐手会作入时打扮。
合成流行音乐(也称为电子流行音乐，或技术流行音乐)是一种流行音乐流派，在20世纪80年代首次变得突出，其中合成器是占主导地位的乐器。20世纪60年代和70年代初，在进步摇滚、电子艺术摇滚、迪斯科，特别是克拉夫特沃克(Kraftwerk)等乐队的“德国摇滚”中使用合成器，预示着它的出现。它作为70年代末至80年代中期新浪潮运动的一部分，在后朋克时代作为一种独特的流派出现在日本和英国。早期的合成流行先驱包括日本组合黄色魔术管弦乐团和英国乐队Ultravox和Human League；后者主要使用单声道合成器来制作简单而朴素的音乐。在Tubeway Army和Gary Numan在英国单曲榜取得突破后，大量艺术家在20世纪80年代初开始享受基于合成器的声音的成功，包括Soft Cell、管弦乐机动in the Dark、日本和英国的Depeche Mode，而在日本，黄色魔术乐团的成功为P-Model、Plastic和Hikashu等合成流行乐队开辟了道路。廉价的复调合成器的发展，MIDI的定义和舞蹈节拍的使用，为合成流行音乐带来了更商业化和更容易获得的声音。这一点，它被新浪漫主义运动中有时尚意识的行为所采用，加上MTV的崛起，导致了大量英国合成流行表演的成功，包括杜兰·杜兰(Duran Duran)和斯潘道芭蕾舞团(Spandau Ballet)。在20世纪80年代末，Erasure和Pet Shop Boys等二人组采用了一种在美国舞蹈排行榜上非常成功的声音，但到了本世纪末，合成流行音乐基本上已经被抛弃。20世纪90年代末，人们对独立的电子和电撞运动重新产生了兴趣，在21世纪的头十年，随着La Roux和Owl City等乐队的商业成功，它获得了广泛的复兴。Synthop因其有限的人工声音以及与另类性行为的联系而受到批评。它帮助确立了合成器作为流行音乐和摇滚乐的主要元素的地位，直接影响了后来的流派，包括家庭音乐和底特律电子音乐，并间接影响了许多其他流派和个人录音。
Synthpop (also known as electropop, or technopop) is a genre of popular music that first became prominent in the 1980s, in which the synthesizer is the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic art rock, disco and particularly the “Kraut rock” of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the New Wave movement of the late-1970s to the mid-1980s.Early synthpop pioneers included Japanese group Yellow Magic Orchestra and British bands Ultravox and the Human League; the latter largely used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Tubeway Army and Gary Numan in the British Singles Chart, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including Soft Cell, Orchestral Manoeuvres in the Dark, Japan and Depeche Mode in the United Kingdom, while in Japan, Yellow Magic Orchestra’s success opened the way for synthpop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synthpop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synthpop acts, including Duran Duran and Spandau Ballet, in the United States.In the late 1980s, duos such as Erasure and Pet Shop Boys adopted a sound that was highly successful on the US dance charts, but by the end of the decade synthpop had largely been abandoned. Interest began to be revived in the indie electronic and electroclash movements in the late 1990s and, in the first decade of the 21st century, it enjoyed a widespread revival with commercial success for acts including La Roux and Owl City.Synthpop received criticism for its limited and artificial sound and for its associations with alternative sexualities. It helped to establish the place of the synthesiser as a major element of pop and rock music, directly influenced subsequent genres including house music and Detroit techno, and has indirectly influenced many other genres and individual recordings.
5.独立电子乐 Indietronica¶
独立电子乐（indietronica 或 indie electronic）是一种综合了独立音乐（英语：indie）、电子乐（英语：electronica）、摇滚（英语：rock）和流行（英语：pop）音乐风格的音乐流派。并伴随着录音/采样技术以及多媒体音乐技术(电脑音乐创作，即Laptop Music)的不断发展而有不同方向上的演绎，电子技术与不同的音乐风格元素相互融合衍生出众多繁杂的电子乐分支，在独立音乐中，独立电子大体上是说那些大量应用采样/拼贴音乐技术，而作品整体上却仍然具有传统的曲式架构(这和很多实验前卫的电子音乐不同)，如娇好的旋律、激赏的节奏等。
特征
独立电子乐中使用的典型乐器是电子琴、合成器、采样器、MIDI控制器和电子鼓等。这类作品在保证不失基本的聆听趣味下，会以各种多彩丰富的电子手法赋予作品独具各色魅力的音乐特色-或飘逸、或空灵、或清凉、或奇幻、或嬗变……从聆听趣味的角度看，独立电子音乐正在为我们拓展出一片极为宽广的聆赏选择空间，这个宽广的真实意义在于小电音乐的创作手法将极大地降低年轻人创作音乐的门槛，很多的独立电子音乐作品创作的物理实体就是一台笔记本电脑，而存于硬盘中的大量音乐素材(有专业的素材库，也可以自己于周遭生活中进行录音)在专业音乐软件的应用中被给予各种变异、剪切以及拼帖等折衷主义色彩的创作手法，这便形成了聆听趣味异彩纷呈的独立电子音乐特色风景。
流行时段
2000年后
英文简介
Less a style and more a categorization, Indie Electronic refers to rock-rooted artists who followed early electronic composers (especially the BBC Radiophonic Workshop), Krautrock, synth pop, and dance music by using synthesizers, samplers, drum machines, and computer programs. The initial wave of Indie Electronic artists began in the early ‘90s, with bands as disparate as Stereolab (who used vintage gear) and Disco Inferno (who pushed sampling technology to the limit). During the early 2000s, the number of indie electronic artists grew exponentially, as home recording and software synthesizers (or softsynths) became common. A few exceptions aside, these artists released their music on independent labels, such as Warp (Broadcast), Morr Music (Lali Puna, Múm), Sub Pop (the Postal Service, Dntel), and Ghostly International ($Skeletons, $School of Seven Bells).(by Allmusic)
6.回响贝斯 Dubstep¶
Dubstep是电子乐的一种，源于伦敦，受新千年早期的英伦车库乐影响，由AMMUNITION PROMOTIONS命名，从音乐理论来说，DUBSTEP以其黑暗色调，稀疏的节奏，和低音上的强调著称，Dubstep一开始只在当地的一些小地方传播，直到后来的2005和06年早期，由于一些网站的传播作用，才使这种类型的音乐得以保留和发展，像DUBSTEPFORUM，下载站点Barefile，还有像GUTTERBREAKZ通过博客来介绍，同时，一些杂志像THE WIRE和网络刊物PITCHFORK MEDIA对其进行了大篇幅报道，在2006年1月期间，BBC电台1的DJ MARY ANNE HOBBS开始用其来做电台秀（命名为DUBSTEP WARZ），之后人们对DUBSTEP越来越感兴趣。
Dubstep是电子舞曲的一种，起源于英国南伦敦。音乐网站Allmusic将其总体声音描述为“紧紧盘绕的产品，具有压倒性的低音线条和混响的鼓声，剪裁的样本以及偶尔的人声”。最早的dubstep版本可追溯到1998年，是深色的，更具实验性的，器乐性的2步车库音轨混音，试图将节拍的时髦元素或鼓和低音的黑暗元素纳入2步，其特征为B -单发行版。 2001年，在伦敦的夜总会Plastic People中，在“ Forward”之夜（有时被称为FWD >>），开始展示和推广这种黑暗的音乐以及其他一些黑暗的音乐，这些音乐对音乐的发展产生了重大影响。 dubstep。关于音乐流派的术语“ dubstep”在2002年左右开始被诸如Big Apple，Ammunition和Tempa之类的唱片公司所使用，到那时，用于创建这些混音的风格趋势开始变得更加引人注目，并且与2不同-步和污垢。 BBC Radio 1 DJ John Peel是声音的早期支持者，他从2003年开始播放该声音。在演出的最后一年2004年，他的听众将“距离”，“数字迷思”和“橡皮人”（前称“橡皮人”）评选为年度最佳50名。 Dubstep于2005年末和2006年初开始扩展到较小的本地场景。许多致力于该类型的网站出现在互联网上，并促进了场景的发展，例如dubstepforum，下载网站Barefiles和博客（例如gutterbreakz）。同时，该类型在音乐杂志（如The Wire）和在线出版物（如Pitchfork Media）中得到了广泛报道，并定期刊登了名为“ Month In：Grime / Dubstep”。自从BBC广播电台1 DJ玛丽·安妮·霍布斯（Mary Anne Hobbs）拥护该类型后，对dubstep的兴趣就大大增加了，从2006年1月的一场专门针对该类型的节目（名为“ Dubstep Warz”）开始。近十年来，该类型开始在商业上更加成功在英国，更多的单曲和混音进入音乐排行榜。音乐记者和评论家还注意到，在几位流行艺术家的作品中都产生了笨拙的影响。大约在这个时候，制作人还开始将原始dubstep声音的元素与其他影响融合在一起，创建了融合流派，包括较慢且更具实验性的post-dubstep，以及受更苛刻，电房和重金属影响的brostep，后者对此做出了巨大贡献是dubstep在美国日益流行的主流。
Dubstep is a genre of electronic dance music that originated in South London, England. The music website Allmusic has described its overall sound as “tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals”.
The earliest dubstep releases date back to 1998 and were darker, more experimental, instrumental dub remixes of 2-step garage tracks attempting to incorporate the funky elements of breakbeat, or the dark elements of drum and bass into 2-step, which featured as B-sides of single releases. In 2001, this and other strains of dark garage music began to be showcased and promoted at London’s night club Plastic People, at the “Forward” night (sometimes stylized as FWD>>), which went on to be considerably influential to the development of dubstep. The term “dubstep” in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.
A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. In 2004, the last year of his show, his listeners voted Distance, Digital Mystikz and Plastician (formerly Plasticman) in their top 50 for the year. Dubstep started to spread beyond small local scenes in late 2005 and early 2006; many websites devoted to the genre appeared on the internet and aided the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz. Simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork Media, with a regular feature entitled The Month In: Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, beginning with a show devoted to it (entitled “Dubstep Warz”) in January 2006.
Towards the end of the decade the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics also noticed a dubstep influence in several pop artists’ work. Around this time, producers also began to fuse elements of the original dubstep sound with other influences, creating fusion genres including the slower and more experimental post-dubstep, and the harsher, electro house and heavy metal influenced brostep, the latter of which greatly contributed to dubstep’s rising mainstream popularity in the United States.
7.陷阱舞曲 Trap¶
Trap音乐不断被更多的人所提及，EDM Trap也发展成为新浪潮，在音乐文化愈加发达的中国，Trap也在被人接受，那么追根溯源，Trap音乐是怎么一回事？基于我对Hip-Hop和电子音乐的经验写出一些东西，希望大家能更认真的审视这类音乐一首Harlem Shake让几乎所有人听到了Trap这种音乐，但是Trap音乐究竟是什么？毒品？Purple drank？美女和大麻？如果要让我解释，我的答案是: “Trap是一种极强的snare与浸泡过可待因的传统南部脏Bass自然的结合出的音乐，它将油腻的滴答声甩进了那些沉重的伴奏，人声以及鼓声中，无疑是最淫荡的一种音乐” 如果说我的形容是经过深思熟虑或者略显专业，那Mad Decent的Dirty South Joe给出了最直白的一种答案“Trap音乐是真正的Hip-Hop音乐和跳舞音乐结合而成的一种音乐方式，没人去特意的发明它，只是自然而然的形成了” 那么，Trap是什么意思？UrbanDic给出了专业的答案 “the act of going to a place in order to make money byselling drugs or other items, most often illegally. common areas are busystreet corners, shopping centers, aparment complexes, and any place of commonlylarge gatherings of people.” 也就是说Trap是指黑人为了生存或更好的生活去贩卖毒品赚钱的行为，也有意指贩毒的地方。所以，Trap出身极其卑微，几乎仅由一部分黑人所喜好和传播，就像DavidDrake说的“Trap在2000年以前根本不是一种音乐风格，它是一个真实的地方” DJ Scream告诉了我们它与音乐的联系，Trap是个开心的地方（因为 ‘The area where drug deals arecarried ou’），所以Trap音乐就是代表一种开心的音乐，当低频响起，所有的一切都是这样一种节奏和氛围。这样的话，也不难理解Trap音乐给人的感觉，因为Trap本身就是一种生活方式，像UGK, Lex Luger, T.I., Rick Ross, Lil Webbie, BunB这样的有关金钱，汽车，美女，舞蹈与奋斗，自然而然充满了油腻，而这些生活方式的存在远比Trap音乐的发展要早很多，如果你知道UGK，你就明白，传统的南部音乐早在80年代就已经形成 如果说真正将Trap音乐推向主流或大众，首先应该感谢的人则是T.I.，很多人知道Trap这个词是从他的第二张专辑”Trap Muzik”开始，而这张专辑的制作人我们看到了现在大名鼎鼎的Diplo，Flosstradamus,Dillon Francis, Flux Pavillion, Rustie, Baauer等等这样的连接着EDM圈子的音乐人和DJ。而之后的Lex Luger则更近了一步，除了为RickRoss制作的B.M.F.还有大名鼎鼎的Kanye West的H.A.M以及Waka Flocka Flame的音乐，而在此时Trap已开始趋向流行化。到了2011年和2012年，除了涌现了808Mafia, Southside, Young Chop这样的Trap音乐以外，更出现了两位牛逼的音乐制作人MikeWiLL Made It和AraabMuzik，他们不仅将Trap推广，更是将R&B与电子音乐和Trap音乐结合，此后更是有了Chief Keef，Future等现在炙手可热的音乐人出现，而同时Trap逐渐登上电子音乐的舞台，被Diplo,Flosstradamus, Baauer这样的音乐人传播，从“Acid Trap”,”Trap-ah-ton”，“TrapStep”这样的叫法到“新Dubstep”直到现在的“EDM Trap”，无疑说明受到更多的青睐。取代了毒品交易和汽车金钱，EDM Trap更接近于club音乐，这样就使得出现了两种争论，归属于EDM还是Hip-Hop。其实未必需要争论，Trap音乐本身就是拥有争议且无法脱离任何一点 (不论EDM或Hip-Hop) 的音乐，就像是Flosstradamus曾经被禁止在Chicago表演，因为他的演出曾出现暴乱，这好像只有摇滚和Hip-Hop现场能看到的景象，这也说明了现代的Trap仍然具有很强的Hip-Hop成分 不管怎么样，Trap音乐是现在炙手可热的音乐风格之一，甚至Diplo已经在BBC上开始了他的固定Trap电台节目，可想而知，Trap的浪潮已经开始。当你听到Miley Cyrus在23中唱 “J’s on my feet”或2Chainz的各种大热单曲甚至M.I.A的音乐时，你可能不会知道，这就是Trap，但是它却无处不在。不论你说它是一种新的音乐，它可能会很快消失，但我相信现在的DJ和音乐人会不断创造改进并找到自己的对于Trap的定位，重新诠释这种音乐，对于电子音乐这个校园来说，毕竟Trap还是个新生。最后，当你听到一首Trap音乐时，别忘了说“Damn Son, Where’dYa Find This!!!” ―—资料来源：Bloodz Boi-怎样定义TRAP MUSIC？(http://www.zhihu.com/question/22157912)
8.出神舞曲 Trance¶
迷幻舞曲,由Techno演变而来,听了会让你有”出神”的感觉,但还是保有舞曲的律动 ,很注重Bass的表现 ,某些听了会有”催眠”的效果.拍子也是以4/4拍为主.
Trance音乐中有很多的电子合成器音色，节奏的变化很少，偶尔的用合成器的来区分节奏的变化。1998年左右，一些全球著名的DJ Paul Oakenfold、Pete Tong、Tong De Vit、Sasha和Judge Jules在英国的很多大型的俱乐部播放trance音乐，最终连美国也开始散布trance音乐，例如Christopher Lawrence。
Trance突破了90年代初的德国技术和核心技术，强调简短的合成器谱系在整个曲目中无休止地重复，只增加了最小的节奏变化和偶尔的合成器气氛来区分它们-实际上使听众陷入了一种逼近的tr中具有宗教血统的人。尽管在90年代中期对声音的兴趣减弱了，但在上个十年的最后几年里，made声再次卷土重来，甚至取代了房子，成为全球最受欢迎的舞蹈音乐。受酸屋和底特律技术的启发，发呆与在比利时根特开设R＆S唱片和在德国法兰克福开设Harthouse / Eye Q唱片紧密结合。 R＆S在早期就用单曲定义了声音，例如Joey Beltram的“ Energy Flash”，CJ Bolland的“ The Ravesignal”以及Robert Leiner，Sun Electric和Aphex Twin的其他歌曲。Harthouse由SvenVäth与Heinz Roth＆Matthias Hoffman于1992年开始，用Hardfloor的史诗般的“ Hardtrance Acperience”和Väth自己的“ L’Esperanza”，以及Arpeggiators，Spicelab和Barbarella的发行，对of声产生了最大的影响。 Väth，Bolland，Leiner等许多艺术家都向全长领域过渡，尽管对更广阔的音乐世界没有太大影响。尽管很早就出现了ance状态，但逐渐消失了，取而代之的是节拍舞（三脚跳和丛林舞），但这种风格对英国舞蹈界的影响越来越大，最终在90年代后期达到顶峰。尽管经典的德国声音有所变化，但“渐进式” tr这个术语赢得了人们的青睐，用以描述房屋和欧洲舞蹈的顺利结束所带来的影响。到1998年，该国大多数最著名的DJ都曾在英国的超级俱乐部里tr迷，保罗·奥肯福德（Paul Oakenfold），皮特·唐（Pete Tong），托尼·德维特（Tony De Vit），丹尼·兰普林（Danny Rampling），萨沙（Sasha）和朱尔斯（Jules）法官。甚至美国也最终选择了声音，由自己的出色DJ演员领导，包括克里斯托弗·劳伦斯和金博尔·柯林斯。
Breaking out of the German techno and hardcore scene of the early ‘90s, Trance emphasized brief synthesizer lines repeated endlessly throughout tracks, with only the addition of minimal rhythmic changes and occasional synthesizer atmospherics to distinguish them – in effect putting listeners into a trance that approached those of religious origin. Despite waning interest in the sound during the mid-‘90s, trance made a big comeback later in the decade, even supplanting house as the most popular dance music of choice around the globe.
Inspired by acid house and Detroit techno, trance coalesced with the opening of R&S Records in Ghent, Belgium and Harthouse/Eye Q Records in Frankfurt, Germany. R&S defined the sound early on with singles like “Energy Flash” by Joey Beltram, “The Ravesignal” by CJ Bolland, and others by Robert Leiner, Sun Electric, and Aphex Twin. Harthouse, begun in 1992 by Sven Väth with Heinz Roth &Matthias Hoffman, made the most impact on the sound of trance with Hardfloor’s minimal epic “Hardtrance Acperience” and Väth’s own “L’Esperanza,” plus releases by Arpeggiators, Spicelab, and Barbarella. Artists like Väth, Bolland, Leiner, and many others made the transition to the full-length realm, though without much of an impact on the wider music world.
Despite a long nascent period when it appeared trance had disappeared, replaced by breakbeat dance (trip-hop and jungle), the style’s increasing impact on Britain’s dance scene finally crested in the late ‘90s. The classic German sound had changed somewhat though, and the term “progressive” trance gained favor to describe influences from the smoother end of house and Euro dance. By 1998, most of the country’s best-known DJs – Paul Oakenfold, Pete Tong, Tony De Vit, Danny Rampling, Sasha, Judge Jules – were playing trance in Britain’s superclubs. Even America turned on to the sound (eventually), led by its own cast of excellent DJs, including Christopher Lawrence and Kimball Collins.
9.前卫浩室 Progressive House¶
Progressive House前卫浩室，是浩室音乐的一个分支，在4/4拍子的基础上，注重整体的进行和编排，以及整体情绪的推进，优美的旋律也是这个音乐风格重要的一环。Progressive house的根源可以追溯到20世纪90年代初英国，后传播到欧洲，澳大利亚,北美的锐舞和俱乐部现场.在这个时代与US house, UK house, Italian house, German house, and Techno互相影响.在早期Progressive house这个词标签经常与Trance交换使用.在当时锐舞兴旺时期的英国俱乐部Progressive house一词经常作为反锐舞的标签。
渐进式房屋是房屋音乐的一种（子类型）。渐进式房屋风格出现于1990年代初期。它最初在英国发展，是1980年代后期美国和欧洲家庭音乐的自然发展。渐进式家庭音乐是在第一波家庭音乐浪潮之后出现的。渐进式房屋的起源可以追溯到1990年代初英国的狂欢和俱乐部风光。在1992年，Mixmag当时将其描述为“一种新的坚硬但调和，敲打但周到，令人振奋和tr的英国房屋”。在这个时代，美国房屋，英国房屋，意大利房屋，德国房屋和电子技术的结合在很大程度上相互影响。该术语主要用作营销标签，以区分新的狂欢屋与传统的美国房屋。渐进式房屋与芝加哥酸性房屋的声音有所不同。流行语出现在1990年至1992年的狂欢派对上，描述了一种新的房屋声音，其起源于美国。DJ Dave Seaman认为，“渐进式房屋”在英国俱乐部中的受欢迎程度有所提高，而突破性的硬派则在狂欢中盛行，因此被人们视为反狂欢。根据DJ Dave Seaman的说法，该声音在1990年代初遭到强烈反对，因为“在它之前。富丽堂皇，面面俱到，充满了自己的重要性。但基本上确实很无聊。”标签渐进式房屋在早期常常与tr交替使用
Progressive house is a style (subgenre) of house music. The progressive house style emerged in the early 1990s. It initially developed in the United Kingdom as a natural progression of American and European house music of the late 1980s。
Progressive house emerged after the first wave of house music. The roots of progressive house can be traced back to the early 1990s rave and club scenes in the United Kingdom. In 1992, Mixmag described it at the time as a “new breed of hard but tuneful, banging but thoughtful, uplifting and trancey British house.” A combination of US house, UK house, Italian house, German house, and techno largely influenced one another during this era. The term was used mainly as a marketing label to differentiate new rave house from traditional American house. Progressive house was a departure from the Chicago acid house sound. The buzz word emerged from the rave scene around 1990 to 1992, describing a new sound of house that broke away from its American roots. Progressive house was viewed by some as anti-rave as its popularity rose in English clubs while breakbeat hardcore flourished at raves.According to DJ Dave Seaman, the sound faced a backlash in the early 1990s because “it had gone the same way as progressive rock before it. Pompous, po-faced and full of its own self importance. But basically was really quite boring.”The label progressive house was often used interchangeably with trance in the early years
10.热带浩室 Tropical House¶
Tropical House热带浩室，如字面上理解，是一种充满阳光和度假心情的电子音乐。2013年澳大利亚的制作人Thomas Jack将自己听起来很慵懒的舞曲开玩笑的定义为Tropical House，随后制作人Kygo和Robin Schulz也实验性将这种风格融入到自己的作品中，越来越受欢迎并逐渐在乐坛取得了成功。Tropical house的BPM通常在100-115左右，是Deep House的一个子分支，在House音乐4/4拍的基础上，加入了排笛、马林巴琴、钢鼓、铜管乐器的音色以及人声，给听众营造出一个整体慵懒、欢乐、度假般的休闲氛围。
Tropical house, also known as trop house,[1] is a subgenre of deep house,[2][3] with elements of dancehall and Balearic house.[4] Artists of the genre are often featured at various summer festivals such as Tomorrowland.[5] The genre was popularized by artists including Thomas Jack, Kygo, Matoma, Lost Frequencies, Seeb and Klingande.
The term “Tropical House” began as a joke by Australian producer Thomas Jack, but has since been gaining popularity among listeners.[2] The term “trouse” should not be confused with tropical house, as “trouse” is a genre that instead combines the feeling of trance and the beats of progressive house, using electro synths.[6]
11.未来浩室 Future House¶
未来浩室，是指一种在2010年英国诞生的深度浩室舞曲，这种音乐是在House音乐的基础上，加入了许多新元素。其特点是4/4拍鼓点，每拍一个kick，将Tech house、Electro house用碎拍的手法加以Progressive调和，碎击元素多采用附点，bass音色带有金属感，融合了deep house风格，速度通常在120BPM到128BPM之间。这个风格的代表艺人有Oliver Helden，他的单曲《Gecko》掀起了Future House的热潮，以及Don Diablo，是全球最受喜爱的Future House制作人之一。Future House也被Raver们戏称为敲铁桶，特色的金属音色给予了新的能量，也成为了新一代风靡全球的舞曲风格。
Future house (also known as UK deep house) is an electronic dance music genre that emerged in the 2010s United Kingdom, described as a fusion of deep house, UK garage and other techniques of EDM.
The genre was pioneered by Oliver Heldens, who is credited with popularizing it and Tchami, who coined the term.
Heldens’ international chart successes “Gecko (Overdrive)” and “Last All Night (Koala)” brought the genre to wider mainstream recognition in 2014, leading to minor feuds between him and Tchami on social media. Artists such as Don Diablo, Kerri Chandler, Mike Williams, Mesto, Brooks, Curbi and Swanky Tunes have since incorporated the sound into their work, leading some commentators to observe the commercialisation of the style.
12.电气浩室 Electro House¶
顾名思义这类风格是浩室音乐（House music）和电子音乐（Electro）的一个结合，拥有浩室音乐的一个4/4拍的基本特征，但是在音色和段落中糅合了各种不同的合成器元素，因此Electro House可以有许多音乐上的创造性，因此衍生出了许多新的子风格，类似Complextro，Dutch House，Moombahton，Big room等等。
Electro house is a form of house music characterized by a prominent bassline or kick drum and a tempo between 125 and 135 beats per minute. Its origins were influenced by electro,electroclash,electropop,synth-pop,and tech house.The term has been used to describe the music of many DJ Mag Top 100 DJs, including Dimitri Vegas & Like Mike, Hardwell, Skrillex,and Steve Aoki.
Electro-house is typified by its heavy bass.This is often in the form of buzzing basslines,such as those created with sawtooth waves and distortion.It is also often in the form of large bass drum soundsin a four-on-the-floor pattern.The tempo of electro house is usually around 130 beats per minute.Electro house sometimes resembles tech house,but it can contain melodic elements and electro-influenced samples and synths.
13.蒙巴顿舞曲 Moombahton¶
蒙巴顿舞曲是一种结合了浩室音乐（House）和雷吉顿舞曲（Reggaeton）的新兴舞曲流派，是由美国DJ Dave Nada定义的一种风格，特点是厚实的电气声和慢慢扩散的低音线，；Build up的处理上比较情景化，不像是常规的堆叠式推动情绪，而是放空并切换场景的戏剧式；并且在放慢的Bpm里填充上快而密集的鼓点，并且伴有人声切片样本。Moombahton其实是一种放慢速度的Electro House，并且加入了Reggaeton和Dutch House的元素，有种魔性的节奏律动，充满了拉丁风情。这类风格慢慢受到了各大DJ的青睐，并且随着神曲《Lean On》的出现而火爆全球。
Moombahton is a fusion genre of house music and reggaeton that was created by American DJ and producer Dave Nada (born David Villegas) in Washington, D.C., in 2009. Identifying characteristics of moombahton include a thick and spread-out bass line, dramatic builds; and a two-step pulse, with quick drum fills. Occasionally moombahton includes ravey synthesizers and a cappella rap samples. Nada coined the name as a portmanteau of Moombah (a track by Dutch house DJ Chuckie and producer/DJ Silvio Ecomo), and reggaeton (itself a neologism combining reggae with the Spanish suffix -ton, signifying big).
14.科技舞曲 Techno¶
Techno起源于70年代处（后工业时代），BPM约在130拍以上，中文翻译成“工业舞曲”。House相比Techno要早出现，因为工业时代较电子时代来得早。
Technology， 即表示“高科技舞曲”啦！利用电脑，合成器合成，做出一些特殊音效，这种音乐常常是许多音效组合起来的。Techno的节拍也是4/4拍，但速度较House快，且听起来具重复性，较强硬，较机械化，所以某些人称Techno为“工业噪音”，但某些还是会注重旋律的。
在典型的Techno舞曲中常要听到工厂中一些重复、机械、固定和单调的音效影子。90年代Techno开始在欧洲逐渐趋于普及，也是我国北方舞厅舞曲的主要组成。Techno较一般舞曲隆重、激烈和嘈杂。
90年代Techno开始在欧洲逐渐趋于普及，也是我国北方舞厅舞曲的主要组成。Techno较一般舞曲隆重、激烈和嘈杂。TECHNO/TECHNO HOUSE来源于80年代中期的底特律和芝加哥，在80年代中晚期还只是地下的非主流音乐，到了89－92年间已成为美国舞潮的主宰者。其特点是：电子合成键盘的强烈电子声、比利时风格的贝斯击乐声、紧凑、狂乱的能量输出及动感，维持在130－150BPM的节奏。NEW BEAT TECHNO舞曲的欧州分支，节奏更重一些。流行于比利时，受到INDUSTRIAL和HI－NRG音乐的影响。
Techno起源于美国底特律，有三名DJ： Derrick May，Kevin Saunderson Juan Atkins尝试将电子乐与黑人音乐结合，而产生了Detroit Techno。 Detroit Techno通常较平缓， 不像一般的Techno那样强劲，可说是现代Techno的起源。
不同于 House 的欢愉氛围，Techno 的内敛恰恰体现着电子音乐的多元。Techno 诞生于 20 世纪 80 年代中后期的美国底特律，4/4 拍、重复、冰冷与机械是它的标志。它是流动的诗歌，是形式与功能合二为一的集大成者。从布鲁克林仓库到柏林地下的幽暗空间，这些 Techno 曲目牢牢占据舞池中心。
Techno had its roots in the electronic house music made in Detroit in the mid-‘80s. Where house still had explicit connection to disco even when it was entirely mechanical, techno was strictly electronic music, designed for a small, specific audience. The first techno producers and DJs – Kevin Saunderson, Juan Atkins, and Derrick May, among others – emphasized the electronic, synthesized beats of electro-funk artists like Afrika Bambaataa and synth-rock units like Kraftwerk. In the United States, techno was strictly an underground phenomenon, but in England, it broke into the mainstream in the late ‘80s. In the early ‘90s, techno began to fragment into a number of subgenres, including hardcore, ambient, and jungle. In hardcore techno, the beats-per-minute on each record were sped up to ridiculous, undanceable levels – it was designed to alienate a broad audience. Ambient took the opposite direction, slowing the beats down and relying on watery electronic textures – it was used as come-down music, when ravers and club-goers needed a break from acid house and hardcore techno. Jungle was nearly as aggressive as hardcore, combining driving techno beats with breakbeats and dancehall reggae – essentially. All subgenres of techno were initially designed to be played in clubs, where they would be mixed by DJs. Consequently, most of the music was available on 12-inch singles or various-artists compilations, where the songs could run for a long time, providing the DJ with a lot of material to mix into his set. In the mid-‘90s, a new breed of techno artists – most notably ambient acts like the Orb and Aphex Twin, but also harder-edged artists like the Prodigy and Goldie – began constructing albums that didn’t consist of raw beats intended for mixing. Not surprisingly, these artists – particularly the Prodigy – became the first recognizable stars in techno.
15.氛围音乐 Ambient¶
Ambient（氛围音乐）源于70年代艺术家们的一种实验性的电子合成音乐，代表人物如Brian Eno、Kraftwerk以及Harold Budd，同时也具有80年代trance风格的数码舞蹈乐曲。氛围音乐是一种有足够空间让人发挥的有着声波结构的电子音乐。它没有作词或作曲的束缚。尽管艺术家在创作之间有暗示性的差异，但对于偶然一次的听众来说，它只是不断地在重复和没有变化的声音。
Ambient music evolved from the experimental electronic music of ‘70s synth-based artists like Brian Eno and Kraftwerk, and the trance-like techno dance music of the ‘80s. Ambient is a spacious, electronic music that is concerned with sonic texture, not songwriting or composing. It’s frequently repetitive and it all sounds the same to the casual listener, even though there are quite significant differences between the artists. Ambient became a popular cult music in the early ‘90s, thanks to ambient-techno artists like the Orb and Aphex Twin.·
16.弛放 Chillout¶
Chillout（弛放）音乐是一个统称词汇，不是一个单独的流派，从流派的角度说它包括了电子音乐、爵士乐、Smooth Jazz、Cabaret、流行钢琴曲、Post-rock、新世纪音乐等，但并不是所有这些流派的音乐都属于Chillout。Chillout音乐需要符合以下特征：具有让人放松、休息、舒缓情绪的功能，具有慵懒闲适的气氛，常有现代大都市的感觉（也有的描绘自然风景），适合伴随听者进入梦乡。
17.鼓打贝斯 Drum & Bass¶
Jungle承袭了Hardcore的精神，听起来很〝硬〞，其碎拍更是迷人，也常出现一些Rap，使Jungle有很重的黑人味（其实早期许多Jungle乐手都是黑人）。基本上，要做出又快又复杂的节拍任何人都会，但如何在复杂且快速的节奏中，让听众了解〝你到底在做什么〞，就不是件容易事了。 一些Jungle先锋如Goldie等人，其对于节拍建构的功力真是一等一。
相较于Jungle，约95年左右出现的Drum’’n’’Bass，则结合了Jazz乐风，柔和了许多。顾名思义，Drum’’n’’Bass就是著重于鼓声和低音的表现。鼓声可能全部采用电子合成，也可能取样自真实鼓声。而它的Bass声则是显得格外巨大，有时声音还会扩散开来。但Drum’’n’’Bass音乐也可能清一色使用鼓声，然后将大鼓的声音用效果器〝压扁〞成Bass声。这类低音相当有压迫感，有点撞击的感觉，耳朵很容易听出来。但也有乐团有时使用真实的低音大提琴负责低音部份，如英国的4 Hero乐团。
虽说Drum’’n’’Bass有如Jungle的改良，但它俩其实界线不是非常明确。若是你听到曲子的节拍又快又复杂，或是很难抓它的节奏感，那可能就是Jungle/Drum’’n’’Bass了。
Based almost entirely in England, Jungle (also known as drum’n’bass) is a permutation of hardcore techno that emerged in the early ‘90s. Jungle is the most rhythmically complex of all forms of techno, relying on extremely fast polyrhythms and breakbeats. Usually, it’s entirely instrumental – it is among the hardest of all hardcore techno, often consisting of nothing but fast drum machines and deep bass. As its name implies, jungle does have more overt reggae, dub, and R&B influences than most hardcore – and that is why some critics claimed that the music was the sound of black techno musicians and DJs reclaiming it from the white musicians and DJs who dominated the hardcore scene. Like most techno genres, jungle is primarily a singles genre designed for a small, dedicated audience, although the crossover successes of Goldie (with his 1995 debut Timeless) and Roni Size (with the Mercury Award-winning New Forms) suggested a broader appeal and more musical possibilities than other forms of techno. Dozens of respected artists followed in their wake, fusing breakbeat with influences lifted from jazz, film music, ambient, and trip-hop.
18.复合电气 Complextro¶
Complextro（复合电气），如同字面上理解，是一种比较「复杂」的电子音乐，是由Electro House（电气浩室）衍生的一种新的浩室舞曲风格，Complextro融合的风格比较多，它是以House的鼓点为基础，通常会融合dubstep惯用的wobble音色，速度通常为100，也有128的，brostep（post dubstep）音色表现较多，节奏方面是四拍house鼓点，有些complextro作品会在第二拍和第四拍叠加snare或clap声音，再加上一些混乱的切片而形成的一种风格，skrillex的rock n roll就是一首典型的complextro风格作品。
Complextro is typified by glitchy, intricate basslines and textures created by sharply cutting between instruments in quick succession.[20][21] The term, a portmanteau of the words “complex” and “electro”,[20][21][22] was coined by Porter Robinson to describe the sound of the music he was making in 2010.[22][23] He has cited video game sounds, or chiptunes, as an influence on his style of music along with 1980s analog synth music.[24] Other producers of the genre include Adventure Club, Kill The Noise, Knife Party, Lazy Rich,[25] The M Machine, Madeon,[20] Virtual Riot, and Wolfgang Gartner.
19.英国车库舞曲 UK Garage¶
英国车库舞曲（UK Garage）是浩室舞曲（House）的后来产物。最初的浩室舞曲是产生于美国的芝加哥、纽约等地。1990年代中期，当它来到英国的俱乐部，Todd Edwards等DJ在传统的浩室舞曲加入了一些雷鬼乐元素、变调的女声采样、倒带及搓碟声效，搭配扭曲的鼓打贝斯（Drum’n’Bass）节奏。英国车库舞曲的早期被称为速度车库舞曲（Speed Garage），不久以后，节奏布鲁斯（R&B）、嘻哈（Hip Hop）等都市元素逐渐融入其中，演化成二步舞曲（2-Step）、
回响重拍 （Dubstep）等多种更流行的子风格。
特征
英国车库舞曲在很多乐迷眼里是一种非常含糊的风格，因为它的包容性。由于英国文化的多元性，DJ们在传统的浩室舞曲加入了很多流行元素，并将不同类型的采样及变化的节奏运用其中，所以不同的UK Garage作品也是有鲜明的差异的。
流行时段
1990年代中期至今
英文简介
UK garage (also known as UKG) is a genre of electronic music originating from England in the early 1990s. UK garage is a descendant of house music which originated in Chicago, Detroit, New Jersey and New York. The genre usually features a distinctive syncopated 4/4 percussive rhythm with ‘shuffling’ hi-hats and beat-skipping kick drums. Garage tracks also commonly feature ‘chopped up’ and time-shifted or pitch-shifted vocal samples complementing the underlying rhythmic structure. UK garage was largely subsumed into other styles of music and production in the mid-2000s, including dubstep, bassline and grime. The decline of UK garage during the mid-2000s saw the birth of UK funky, which is closely related.(by Wikipedia)
20.泡泡糖贝斯 Bubblegum Bass¶
Bubblegum Bass（有时被称为PC music、bubblebass、post-ringtone、hyper pop 或 bubblegum badass）是起源于20世纪20年代早期的一种电子舞曲。它将流行音乐中的可爱和女性化特征放大到极致。常见的表现形式为可爱有趣的流行音乐与UK Bass、Wonky音乐的融合。
SOPHIE和A.G.Cook是这个类型中最著名的两个制作人，后者创建的PC Music也成为了Bubblegum Bass最具代表性的音乐厂牌。
Bubblegum Bass (sometimes called PC music, bubblebass, post-ringtone, hyper pop or bubblegum badass) is a style of Electronic Dance Music that originated in the early 2010s. It takes Pop music and amplifies its cuteness and femininity to extreme levels, often pitching the vocals upward and warping the rhythm through a frenzied UK Bass and Wonky filter. The production uses bouncy, plastic-sounding synths and further draws from a variety of club sounds, including Electro House, Balearic Beat, Trance, Footwork, and Bubblegum Dance.
SOPHIE and A. G. Cook are the two best known producers in this genre; the latter producer’s label PC Music is the label most associated with the genre. A disorienting post-internet aesthetic exemplified by DIS Magazine also shapes the style of Bubblegum Bass both sonically and visually, though DIS’s output is not exclusively centered on Bubblegum Bass.
21.缓拍 Downtempo¶
喜欢沙发音乐的人一定永远也听不厌downtempo，这个音乐和chill-out也有点像，从名字上就可以知道，音乐节拍慢慢的，是一种可以坐在家里休息时收听的音乐，这种音乐比chill-out和ambient音乐多了点拍子，更有种节奏感，但是相对trip-hop来又简单朴素了很多。音乐听上去的感觉柔柔的但很有弹性，有种抚慰人心的感觉。
Downtempo artists tend to be more beat-oriented than ambience, but are not quite as earthy as trip-hop.
22.碎拍 Breakbeat¶
Breakbeat（也称Broken Beats）是对80年代后期的House（库房）加以采样和编排，将原先House的那种有规则的“咚咚咚”的鼓点声加以破碎化手法表现出来，并加以Sampling（采样）、Breaks（暂停）、Cuts（间断）等手法修饰。而Break Beat则是此类的一个总称，之下以特征更分Big Beat，Nu Breaks，Drum’n’Bass，Brit Hop等等，在此介绍Breaks的范畴，也就是以Nu Breaks/Big Beat为主，BPM略低的一类，而Drum’n’Bass因形成一定气候，几乎脱离Broken Beat的范畴，成为一种新的单独类型
比起容易围栏，场景更集中在西伦敦-声音断断续续的节奏可以追溯到70年代的爵士乐-Funk和Dub Reggae，同时还包含80年代和90年代运动的病菌，例如房屋，电子乐，鼓乐等低音和现代R＆B。与酸性爵士乐的礼貌倾向不同（上世纪80年代和90年代的运动也融合了多种风格），残破的节拍只是将其灵感作为发声点，而且经常使用狂躁的，不连续的节拍结构，听起来比原来听起来更易发散和结结直截了当。在许多曲目中，主要是女性的声乐演奏者，所有这些曲目大胆，明亮，并且在大多数情况下充满节奏感。键盘是另一个主要因素，通常会借鉴乔治·杜克和赫比·汉考克等人的暗示。在90年代后期发芽后，断裂的拍子在整个西伦敦迅速增长。制作人开始制作一些标签（2000 Black，Bitasweet，People，Co-Op，Motions，Motions，Main Squeeze），这些制作人通常使用多个别名。场景严重依赖于协作这一事实使得该样式的家谱更加难以绘制。此后，在其他几个国家/地区也建立了前哨基地，包括加拿大，日本，德国，奥地利，瑞士和意大利。
More a scene centered in West London than an easily fenced-in sound, broken beat looks as far back to ‘70s Jazz-Funk and Dub Reggae while also containing germs from ‘80s and ‘90s movements like house, techno, drum’n’bass, and contemporary R&B. Unlike the polite tendencies of acid jazz – a movement of the ‘80s and ‘90s that also blended several styles – broken beat takes its inspirations as mere launching points and often utilizes frenetic, syncopated beat structures that sound sputtery and stuttered more often than they sound straightforward. Vocalists, predominantly female, feature in many of the tracks, all of which are bold, bright, and – for the most part – full of rhythmic tension. Keyboards are another major factor, often taking cues from the likes of George Duke andHerbie Hancock. Immediately after its late-‘90s germination, broken beat underwent a fast growth throughout West London. Several labels (2000 Black, Bitasweet, People, Co-Op, Laws of Motion, Main Squeeze) were started by producers – producers who often worked under several aliases. The fact that the scene was heavily reliant upon collaborations made the style’s family tree all the more difficult to diagram. Outposts have since developed in several other countries, including Canada, Japan, Germany, Austria, Switzerland and Italy.
23.蒸汽波 Vaporwave¶
蒸汽波（Vaporwave）是一种音乐流派和艺术运动。
在2010年代初期出现了一些Indie Dance，如seapunk，bounce house, 或 chillwave，以及更广泛地说，电子舞曲。这为Vaporwave找到了一个巢穴。Vaporwave兴起于2010年初期，2014~2015年几乎达到全盛时期，关于vaporwave的音乐创制和艺术作品开始崭露头角，到现在已经衍生出一系列的子文化和周边产品。虽然有很多的多样性和模糊性的亚风格类别和信息传达，vaporwave有时既是批评和讽刺后工业时代的消费主义社会，80年代的雅皮士文化，和新世纪音乐，但同时那种低保真音质和Album Art展示了好奇与迷恋的怀旧文物。
Vaporwave是一种音乐流派和艺术运动，在2010年代初期出现了从一些Indie Dance，如seapunk，bounce house, 或 chillwave，以及更广泛地说，电子舞曲。
虽然有很多的多样性和模糊性的亚风格类别和信息传达，vaporwave有时既是批评和讽刺后工业时代的消费主义社会，80年代的雅皮文化，和新世纪音乐，但同时那种低保真（LO-FI）音质和Album Art展示了好奇与迷恋的怀旧文物。
和vaporwave前几年较为流行的一些类似风格相比，比如hypnagogic pop，hypnagogic pop是一种“让我乘着时光机回到了童年，看着美国卡通片，手里拿着玩具和虾条儿，一种昏昏欲睡的半梦半醒的状态”“把声音搞的恍惚遥远，这是来源于80后小时候的一种对于房间外面依稀传来的disco、电影等声音的回忆，一种年轻的创作者身上的无尽孩提回忆。”如果说hypnagogic pop建立一种乌托邦式气场，技术上用噪音，用disco采样，声音混杂\怀旧\加上来自于洛杉矶身上的嬉皮气质。
那么Vaporwave就是纯粹的那种1995年日式赛博朋克式的反乌托邦式一种完全架空的的，像是另一个平行世界的流行音乐。
24.迪斯科 Disco¶
迪斯科（英文：Disco)，来自法语的discothèque，意指那些播放录制好的跳舞音乐的舞厅。舞蹈是来源于美国黑人民间舞蹈和爵士舞。近几年在世界，特别是欧洲风靡一时的伴舞音乐，节奏是混合了爵士乐、摇滚乐以及拉丁美洲音乐的某些节奏特点。
与摇滚相比，它的特点是强劲的、不分轻重的、像节拍器一样作响的4/4拍子，歌词和曲调简单。
1977年，因澳大利亚流行音乐小组“比吉斯”（Bee Gees）的电影录音《周末狂热》在美国掀起迪斯科热。迪斯科经常在录音室进行音响合成，制成唱片，但终因节奏单调、风格雷同，于80年代初逐渐被其他节奏不那么显著、速度稍慢的流行舞曲所代替。
迪斯科标志着基于舞蹈的流行音乐现代时代的来临。迪斯科舞曲从70年代初逐渐趋于凹槽化的声音和放克音乐中成长而来，强调了节拍高于其他任何东西，甚至包括歌手和歌曲。迪斯科舞厅以迪斯科舞厅的名字命名，俱乐部只演奏跳舞音乐。大部分的迪斯科舞厅都是纽约的同性恋俱乐部，这些俱乐部的DJ专门挑选具有强烈沉重凹槽的灵魂和放克唱片。在迪斯科中播放后，唱片开始受到广播播放和可观的销售。很快，唱片公司和制作人削减了专门为迪斯科舞厅创建的唱片。当然，这些记录也具有很强的流行性，因此它们可以实现交叉成功。迪斯科专辑经常没有很多曲目-他们只有几首长长的歌曲使节奏继续前进。同样，单曲发行于12英寸的唱片上，可以进行更长的混音。D Js可以将这些音轨混合在一起，使每首歌曲的节拍匹配，因为它们被标记为以每分钟的节拍为单位的速度。紧随其后的是，强劲而持久的迪斯科节奏在流行音乐榜上占据了主导地位，并且所有人都创造了迪斯科唱片的记录，从摇滚乐队如滚石乐队和罗德·斯图尔特到流行乐队如Bee Gees和新潮歌手如Blondie。有迪斯科艺术家成为明星-Donna Summer，Chic，The Village People和KC和Sunshine Band是品牌名称-但音乐主要是制作人的媒介，因为他们创建了曲目并写了歌。上世纪70年代到80年代，迪斯科失去了发展势头，但它并没有消亡-它演变成各种不同的基于舞蹈的流派，从舞蹈-流行和嘻哈-到房子和电子舞。
Disco marked the dawn of the modern era of dance-based popular music. Growing out of the increasingly groove-oriented sound of early ‘70s and funk, disco emphasized the beat above anything else, even the singer and the song. Disco was named after discotheques, clubs that played nothing but music for dancing. Most of the discotheques were gay clubs in New York, and the DJs in these clubs specifically picked soul and funk records that had a strong, heavy groove. After being played in the disco, the records began receiving radio play and respectable sales. Soon, record companies and producers were cutting records created specifically for discos. Naturally, these records also had strong pop hooks, so they could have crossover success. Disco albums frequently didn’t have many tracks — they had a handful of long songs that kept the beat going. Similarly, the singles were issued on 12-inch records, which allowed for extended remixes. DJs could mix these tracks together, matching the beats on each song since they were marked with how fast they were in terms of beats per minute. In no time, the insistent, pounding disco beat dominated the pop chart, and everyone cut a disco record, from rockers like the Rolling Stones and Rod Stewart to pop acts like the Bee Geesand new wave artists like Blondie. There were disco artists that became stars — Donna Summer, Chic, the Village People, and KC & the Sunshine Band were brand names — but the music was primarily a producer’s medium, since they created the tracks and wrote the songs. Disco lost momentum as the ‘70s became the ‘80s, but it didn’t die — it mutated into a variety of different dance-based genres, ranging from dance-pop and hip-hop to house and techno.
25.电子民谣 Folktronica¶
电子民谣（Folktronica）是将民谣（Folk）和电子乐（Electronica）的结合。通常是将原声乐器，特别是弦乐，通过电子设备进行采样，辅助搭配一些电子乐中的常用节奏（比如嘻哈节奏或者舞曲节奏）模式生成的作品。最先使用这个词的是BurnitBlue.com网站的Jim Byers，用来描述Badly Drawn Boy在作品中的创新，后来Four Tet等音乐人让此风格走向成熟。
特征
和传统民谣相比，电子民谣的制作过程中会有电脑等数字设备的参与。它是一种折衷的做法，将民谣中的人情味与电子中的科技味进行融合，将两者热和冷的优点互补。
流行时段
2000年后至今
英文简介
or electrofolk is a genre of music comprising various elements of folk music and electronica, often featuring samplings of acoustic instruments—especially stringed instruments—and incorporating hip hop or dance rhythms.Typically, computers are used during the recording process.
26.后回响重拍 Brostep¶
后回响重拍（Brostep）是由Dubstep分裂出来的一个音乐类型。
Dubstep起源于英国，而Brostep起源于美国，Bostep是受了英国的Dubstep演变过来的。
Brostep相对于Dubstep来说，情绪上更加活跃一些，音色也更加张扬，而Dubstep则偏向于阴暗，有种昏昏沉沉的感觉。
Brostep的跳跃性比Dubstep强，节奏比较紧凑，而Dubstep的节奏比较稀疏。
27.深浩室舞曲 Deep House¶
深浩室舞曲（Deep House）是浩室舞曲（House）下的一个子风格，在1980年代末开始发展。它尝试将灵魂乐（Soul）、爵士乐（Jazz）等元素融入其中。在芝加哥浩室舞曲（Chicago House）的浓郁的科技味道之上加入了更多人情味，它也算是向已经退潮的迪斯科（Disco）的一次回溯。
特征
Deep House有着相当浓厚的灵魂唱腔,之所以称为Deep House就是因为有深邃的感觉，Deep House风格介于Garage和House之间，它同样源于Chicago，也许是这个老工业城市沉重阴郁的现实色调赋予了Deep House同样的气质，使得这种音乐更适合聆听而不是酣畅起舞。滚滚而来的Bassline，一反常态的人声代替采样，间或闪烁其间的Jazz Chord，有时Deep House听上去就像郁闷版的Garage。Deep House崇尚的是深度,精神至上,更偏重Jazz和Soul的感觉.
流行时段
1980年代中末期至今
英文简介
Deep house is a subgenre of house music that originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music. (by Wiki)
28.智能舞曲 IDM¶
IDM全称是Intelligent Dance Music，这种音乐既适合派队和跳舞，也适合躺在家里的沙发欣赏，产生于80年代末期的IDM音乐，在舞曲音乐的基础上更趋向于downtempo（电音类型之一），Warp Records是著名的发行过很多IDM专辑的厂牌，还有一些其他一些发行过高质量IDM音乐的厂牌：Rising High，Rephlex，Fat Cat，Astralwerks，M-Tronic Records。到90年代末，产生了很多固定的厂牌，包括Drop Beat，Isophlux，Suction，Schematic，Cytrax。
IDM（智能舞蹈音乐）是一个充满特色的术语，旨在区分90年代的电子音乐，此后在舞池上和起居室一样舒适，最终引起了很多负面宣传，尤其是在舞蹈制作人和那些被社区排斥的歌迷提示了他们是否制作了愚蠢的舞蹈音乐。声音发源于80年代后期，融合了狂欢派对和大型俱乐部活动在主楼层上听到的尖锐的舞曲音乐，以及附近放松室的低速音乐的融合。像Mixmaster Morris和Alex Paterson博士这样的Djs融合了芝加哥的房子，更柔和的合成器-流行/新浪潮以及环境/环境音乐，这激发了一批受各种来源启发的制作人。 （在那几年，许多DJ和制作人也对日益上升的图表舞蹈倾向做出了反应，例如Technotronic的“ Pump Up the Jam”和Smart E’s的“ Sesame’s Treat”等新颖的流行歌曲。）Sheffield的Warp Records事实证明，这是声音最好的家-实际上，仅凭开创性的Warp编译《人工智能》就向全世界的听众介绍了一半-数十位风格最关键的艺术家：Aphex Twin，The Orb，Plastikman，Autechre，Black Dog Productions和B12 。其他标签-Rising High，GPR，R＆S，Rephlex，Fat Cat，Astralwerks-也发布了优质的IDM，尽管到90年代中期，用于耳机消费的大部分电子产品已经转向了更多实验或更多拍子的道路方向。由于没有集中的商业场景，北美成为IDM的好客之地，到90年代末，数十种可靠的品牌开始营业，包括Drop Beat，Isophlux，Suction，Schematic和Cytrax。尽管经常尝试重命名该样式（Warp的“电子听音乐”和Aphex Twin的“聪明”是两个选择），IDM仍然是粉丝描述他们偶尔难以描述的最爱的事实上的方式。
A loaded term meant to distinguish electronic music of the ‘90s and later that’s equally comfortable on the dancefloor as in the living room, IDM (Intelligent Dance Music) eventually acquired a good deal of negative publicity, not least among the legion of dance producers and fans whose exclusion from the community prompted the question of whether they produced stupid dance music. Born in the late ‘80s, the sound grew out of a fusion between the hard-edged dance music heard on the main floor at raves and larger club events, and the more downtempo music of the nearby chill-out rooms. DJs like Mixmaster Morris and Dr. Alex Patersonblended Chicago house, softer synth-pop/new wave, and ambient/environmental music, prompting a wave of producers inspired by a variety of sources. (Many DJs and producers were also reacting against the increasingly chart-leaning slant of British dance music during those years, exemplified by novelty hits like “Pump Up the Jam” by Technotronic and “Sesame’s Treat” by Smart E’s.) Sheffield’sWarp Records proved home to the best in the sound – in fact, the seminal Warp compilation Artificial Intelligence alone introduced listeners worldwide to a half-dozen of the style’s most crucial artists: Aphex Twin, the Orb, Plastikman, Autechre, Black Dog Productions, and B12. Other labels – Rising High, GPR, R&S, Rephlex, Fat Cat, Astralwerks – released quality IDM as well, though by the mid-‘90s much of the electronica produced for headphone consumption had diverged either toward the path of more experimentation or more beat orientation. With no centered, commercial scene to speak of, North America became a far more hospitable clime to IDM, and by the end of the ‘90s, dozens of solid labels had opened for business, including Drop Beat, Isophlux,Suction, Schematic, and Cytrax. Despite frequent attempts to rename the style (Warp’s “electronic listening music” and Aphex Twin’s “braindance” were two choices), IDM continued to be the de facto way for fans to describe their occasionally undescribable favorites.
29.神游舞曲 Trip Hop¶
Trip-Hop是英伦／欧洲跳舞音乐的一种，它的名字来源是“ Trip＋ Hip Hop”＝ Trip-Hop”，因为它发源自英国的Bristol，因此最早时称作”Bristol Hip-Hop”.。
由于是把Hip-Hop（其实很多音乐都是架构在Hip-Hop上的…不知啥是Hip-Hop的去看看跳街舞的人, 他们多半是用Hip-Hop音乐来跳的.）节奏变慢(有时很慢很慢),加入一些迷幻的味道,如很阴沉,肥厚的Bass,轻微但迷幻的 合成音效,或是些唱片的取样,有时可能连唱片的杂音都会被”故意”取样进去.所谓“ Trip”，指迷幻，氤氲的药物「旅程」，所以， Trip-Hop是种慢板的迷幻的、有 Jazz感觉的、迷糊的、带点 Hip Hop节奏的 Break beat音乐。它虽然隶属跳舞音乐类，但其迷幻迷糊特色已令它跳一般跳舞音乐所有的明确节拍特色相去很远。
（神游舞曲）trip hop 是最新形成的伦敦街头舞曲，它大量使用小调合弦，而且加入从恐怖片和科幻片中取来的电影配乐。字面上”trip”的解释是「旅行」、「吸食毒品后的幻觉状态」，很明显地显示出了
trip-hop 的感官世界而”hop”一字则代表着其源自于hip-hop的过程。因此”trip-hop”我称它为神游，在trip-hop 的世界里，你可以是神游于黑暗的地狱（terrific type of trip-hop），你可以是神游于光明的天堂（non-terrific type of trip-hop），你会发现自己总彷佛陷入在迷失与希望的犹疑陷阱之中。
起源及形成
trip-hop 起源于９０年代英国bristol 一地，在欧洲不断面临美国hip-hop 侵入的冲击之时，英国的dj 们即开始将hip-hop 发展成自己的风格，他们将hip-hop的速度降慢（较为downtempo），强调沉重缓慢的鼓声及bass，抽掉hip-hop中的rap，于是形成了所谓的bristol hip-hop（trip-hop 之前身，当时尚未有trip-hop 这个名词）。至于真正trip-hop兴盛的关键时期则是在９４、９５年massive attack 推出第二张唱片「protection」，以及portishead 和tricky 的崛起。从portishead 女主唱beith gibbson 颓废、慵懒的唱腔加上６０、７０年代老旧唱片的sample（甚至唱片的杂音），到tricky 喃喃自语般愤世嫉俗的低沉声音，将bristol sound 营造出了一种迷幻抽象、黑暗诡谲的新环境。于是便有杂志将他们这种音乐型态称之为”trip-hop”
特点
（神游舞曲）是英国评论界创造出来的一个新名词，他们想要用这个词来描述一种兼有落魄、爵士、疯克、和受灵魂乐影响的实验性破拍舞曲的特色的新型音乐风格。神游舞曲与迅速转化成为实验性地下音乐的英国后酸性浩室舞曲（post-acid house dance）一脉相承，但它最早出现是在1993年，同时出现的还有一些厂牌，如 MoWax, Ninja Tune, Cup of Tea, 和 Wall of Sound. 它有很多地方与美国的hip-hop很相似（虽然大部分时候剔除了人声），它同样喜欢使用取样性的鼓点突变、同样具有典型的实验性、并喜欢把对氛围音乐的高度倾向性和明显的精神迷幻气氛（所以才会“神游”）结合在一起，于是这个词很快被用来形容所有来源于 Portishead and Tricky, DJ Shadow and U.N.K.L.E., Coldcut, Wagon Christ, 和 Depth Charge 的音乐 — 而这让这些音乐人非常的气恼，因为他们发现人们只是把他们的音乐看作是固有的hip-hop的一种延续，而不是一个巧妙的创造性的分支。作为商业上重要的混合产物之一 — 它成功地将跳舞时听的音乐与更加主流的听众交织在了一起 — 神游舞曲的一系列唱片理所当然的占据了英国独立排行榜的榜首；而像 Shadow, Tricky, Morcheeba, the Sneaker Pimps, 和 Massive Attack这样的艺人，则在为了获取美国本土听众而发起的电子运动（”electronica”）第一次浪潮中成为了中坚力量
Yet another in a long line of plastic placeholders to attach itself to one arm or another of the U.K. post-acid house dance scene’s rapidly mutating experimental underground, Trip-Hop was coined by the English music press in an attempt to characterize a new style of downtempo, jazz-, funk-, and soul-inflected experimental breakbeat music which began to emerge around in 1993 in association with labels such as Mo’Wax, Ninja Tune, Cup of Tea, and Wall of Sound. Similar to (though largely vocal-less) American hip-hop in its use of sampled drum breaks, typically more experimental, and infused with a high index of ambient-leaning and apparently psychotropic atmospherics (hence “trip”), the term quickly caught on to describe everything from Portishead and Tricky, to DJ Shadow and U.N.K.L.E., to Coldcut, Wagon Christ, and Depth Charge – much to the chagrin of many of these musicians, who saw their music largely as an extension of hip-hop proper, not a gimmicky offshoot. One of the first commercially significant hybrids of dance-based listening music to crossover to a more mainstream audience, trip-hop full-length releases routinely topped indie charts in the U.K. and, in artists such as Shadow, Tricky, Morcheeba, the Sneaker Pimps, and Massive Attack, account for a substantial portion of the first wave of “electronica” acts to reach Stateside audiences.
30.氛围科技舞曲 Ambient Techno¶
氛围科技舞曲（Ambient Techno）是科技舞曲（Techno）下的一个子风格。是科技舞曲（Techno）和氛围音乐（Ambient）的结合。氛围科技舞曲是氛围浩室舞曲（Ambient House）的承接。相对于之前的底特律科技舞曲（Detroit techno）更适于集体跳舞的特征，氛围科技舞曲更倾向于个人主义的实验。主要实践厂牌有Apollo、GPR, Warp和 Beyond。
特征
氛围科技舞曲具有传统科技舞曲的一般特点：808和909型鼓机带来的特定节奏；良好的制作手法、稀疏的电子音效；小调（Minor Key）的旋律；富有外太空科技感的声音采样。由于引入了氛围音乐的实验性特征，在保留了传统的疏离科技感外，它能让听众更松弛舒缓，也同时带来更多的想象空间。
流行时段
1990年代初至今
英文简介
A rarefied, more specific reorientation of ambient house, Ambient Techno is usually applied to artists such as B12, early Aphex Twin, the Black Dog, Higher Intelligence Agency, and Biosphere. It distinguished artists who combined the melodic and rhythmic approaches of techno and electro – use of 808 and 909 drum machines; well-produced, thin-sounding electronics; minor-key melodies and alien-sounding samples and sounds – with the soaring, layered, aquatic atmospheres of beatless and experimental ambient. Most often associated with labels such as Apollo, GPR, Warp, and Beyond, the terminology morphed into “intelligent techno” after Warp released its Artificial Intelligence series (although the music’s stylistic references remained largely unchanged).(by Allmusic)
31.脉冲流行 Glitch Hop¶
脉冲流行（Glitch Hop）顾名思义，是将脉冲（Glitch）技术用在流行乐结构中的一种手法。Glitch技术在90年代初成熟并发展，Junior Boys、Bjork、Mice Parade、Ellen Allien等流行音乐人都尝试在自己的作品中加入Glitch元素进行点缀。
特征
传统的Glitch作品重点强调Glitch所拼贴出的氛围色彩，而对于流行音乐人，Glitch元素则是他们的一项辅助法宝，不同的配置手法都可以产生独特的效果，比如烘托氛围感、增强想象力，节奏之间的巧妙交融、制造迷幻效果、增加趣味性等等。
流行时段：
2000年后至今
英文简介
Glitch hop is an Electronic genre that incorporates Glitch sounds in a Pop context.(By Rateyourmusic.com)
32.未来车库舞曲 Future Garage¶
未来车库舞曲（Future Garage）是英国车库舞曲（UK Garage）的一个子风格，在2000年代中后期发展迅速。顾名思义，它是将旧的车库舞曲（Gagare）翻新成具有未来感（Future）的呈现理念。在这之前，回响重拍（Dubstep）是UK Garage发展很热门的一个趋势，但是也有一些Dubstep音乐人开始摒弃Dubstep的一些特征，转而回到UK Garage / 2-step最开始的清淡，但是仍借鉴了很多2000以后才出现的新的制作手法。算是新与旧的结合。
特征
Future Garage没有Dubstep那样过度浑厚摇晃的贝斯。它虽然回到UK Garage的清淡，但是相比UK Garage更适合俱乐部跳舞的特点，Future Garage更适合室内聆听，它借鉴了一些智能舞曲（IDM）的制作手法，通常有着极简主义的思路，制作更光洁，旋律更悦耳。
流行时段
2000年代中期至今
英文简介
Future Garage is a newer style of UK Garage which originally developed as a result of some Dubstep producers reacting against the prevalent trends in that genre. These producers made music which was far closer to the 2-Step and UK Garage of the late 90s and early 00s than that of their contemporaries, deliberately eschewing the heavy wobble bass commonplace in dubstep. The other distinguishing feature of Future Garage is that it is much more accessible for “home listening” than UK Garage was - IDM is often a clear influence. The resulting sound is often quite minimalistic, with skittery, broken rhythms and bright, clean melodies. (by Rateyourmusic)
Of the dubstep producers who pioneered this strand of UK garage, the best known is Burial, along with many others on Hyperdub. Futher back in time, there are also clear similarities with the music of MJ Cole and the Broken Beat movement of the early 00s. The term Future Garage was originally coined by Sub.fm’s Whistla, who also set up L2S Recordings, the genre’s first dedicated label. Other notable artists include FaltyDL, Brackles, Shortstuff, and Joy Orbison.
33.恍惚嘻哈舞曲 Wonky¶
恍惚嘻哈舞曲（Wonky）是回响重拍（Dubstep）和嘻哈（Hip Hop）（特别是Glitch Hop）的结合，它出现于2000年代中后期。除了这两种元素外，它也受到诸如智能舞曲（IDM）和摇晃科技舞曲（Wonky Techno）的影响。当时一些Hip Hop艺人如J Dilla 和Madlib想尝试一些Dubstep和IDM的元素，而同时一些Dubstep制作人也开始将Hip Hop的节拍融入到自己的作品中，双方契合的想法也让这种风格在2009年开始成熟。
基本特征
不规则的Hip Hop节奏在Dubstep的速率中行进，有一种恍惚的、不稳定的听感。它也和克他命等药物相关，营造出在迷幻中跳舞的氛围。
英文简介
Wonky is the name given to a fusion of Dubstep and Hip Hop (particularly Glitch Hop) which first developed in the mid-to-late 2000s. Along with those main elements it also has secondary influences such as IDM and its namesake, Wonky Techno. It is defined by its off-kilter and unstable, wonky (hence the name) mid-range, with unquantised and offbeat hip-hop rhythms at dubstep tempos; this sound was at least partially influenced by and is often linked to ketamine use, as it reflects how the drug affects users and their ability to dance.
It first developed when hip-hop producers influenced by J Dilla and Madlib (such as Flying Lotus and Dabrye) began experimenting with dubstep & IDM elements, and around the same time dubstep producers (notably those on Hyperdub and those associated with the Purple Sound) began adding said hip-hop influences to their own productions. These two loose strands of early wonky would fuse together, resulting in the development of a fully-fledged genre during 2009.
One of the biggest and most notable wonky scenes is in Glasgow, centered around the LuckyMe collective and the Numbers. club night and label; some of the genre’s most notable producers, such as Hudson Mohawke and Rustie, come from this scene. Across the Atlantic, the big names are Flying Lotus and Starkey, who coined the genre’s American synonym, street bass. The Scandinavian genre of Skweee is also quite similar in sound, but has seperate roots.(by Rateyourmusic)
34.黑暗氛围 Dark Ambient¶
Brian Enos独创的unobtrusive musical wallpaper环境音乐，随后被温暖的室内旋律所包围。90年代，Orb给其俏皮的感觉，在一切的改变中，它发掘了风格相反的另一种音乐形式——Dark Ambient。这些音乐领域的新移民很大程度的冲击——从旧式工业和金属实验（ScornsMick Harris, Current 93s David Tibet, Nurse with Wounds Steven Stapleton）到电子研究（Kim Cascone/PGR, Psychick Warriors Ov Gaia），日本噪音乐队（K.K Null, Merzbow），和新进的独立摇滚（Main, Bark Psychosis）——黑暗氛围是以低沉的音调或是键盘弹奏的完全无规则的节拍，怪诞、令人不安的实验以及主要的吉他效果为特征的。像大部分在90年代有关电子舞曲的风格一样，它是很模糊的一种体系。许多乐队各自通过相继发表作品进入或脱离这种风格。它是和黑暗工业一起最能体现Darkwave之黑暗所在的音乐类型。CMI旗下此两类乐队无数。黑暗氛围的构型为大量厚重的氛围与人声合唱所制造的宏大浩淼的空间感觉，以Arcana,Ordo Equilibrio为体现。此外，Dark Ambient也与其他类型有所融合，如黑暗工业，以及新古典，新民谣，实验电子等。
Dark ambient is a subgenre of industrial music that features foreboding, ominous, or discordant overtones. Dark ambient has its roots in the 1970s, with the introduction of newer, smaller, and more affordable effects units, synthesizer and sampling technology. Dark ambient is an unusually diverse genre, related to ambient music and noise, yet generally free from derivatives and connections to other genres or styles.
35.氛围回响 Ambient Dub¶
氛围回响（Ambient Dub）顾名思义，即Ambient（氛围乐）和Dub（回响节拍）的组合。90年代初，英国厂牌Beyond发行了一系列有此风格特点的合辑作品，合辑名为”Ambient Dub, Volume One”、”Ambient Dub, Volume Two”等等，此风格因此得名。
特征：
氛围乐打底，配上有牙买加风味的鼓点节拍（通常会有厚实的贝斯音效），并辅助回声等电子特效制造出浓浓的迷幻感。相比较传统的牙买加雷鬼乐和后来的Dub乐，氛围回响（Ambient Dub）更强调一种冥想的效果。
流行时段：
1990年代初至今。90年代The Orb、Scorn等是此风格的代表，2000年后Deadbeat、Demdike Stare等音乐人尝试给此风格新的生命力。(By 虾米)
英文简介：
Coined by the Beyond label for its compilation series of the same name, Ambient Dub has since been generalized by artists, critics, and audiences alike to refer to any form of rhythmic, usually beat-oriented ambient using the tastes, textures, and techniques of Jamaican dub-style production (e.g. reverb, emphasis on bass and percussion, heavy use of effects). Although the term has fallen out of favor due to the fevered intermingling of styles characteristic of post-rave electronica, it remains useful in demarcating the denser, more electronic applications of dub from the more hip-hop derived styles of downtempo, atmospheric beat music. Artists include the Orb, Higher Intelligence Agency, Sub Dub, Techno Animal, Automaton, and Solar Quest.(By Allmusic)
36.大节拍 Big Beat¶
Big Beat是自约1997年左右兴起的音乐形态，其基本概念，就是将摇滚乐和电子乐结合起来，即是将演奏取向的摇滚乐，以电子乐方式制作，变成舞曲的形式。(不过外头也不乏以摇滚乐为主的舞会。)
Big Beat最明显的特征，应是它节奏的部份。Big Beat的节拍走Hip-Hop方向，但是被加重、加快很多。又重又碎的拍子，有时比Techno这类4/4拍强力机械式的舞曲更具有爆发力。因此Big Beat不只受舞曲迷欢迎，更受摇滚迷喜爱。
其实早在1990年The Prodigy乐团成立时，他们便有将摇滚和电子结合的概念。但当时他们的音乐电子成份还是很重，其节奏和音色的使用，可能较接近于Techno。直到1995年The Chemical Brothers的专辑Exit Planet Dust推出后，才将摇滚的部份明确化。那时乐评们称他们的音乐为Brit-Hop。很明显这个字源自于Hip-Hop，又因为The Chemical Brothers是英国团体，才使用＂Brit″这个字。（简化了British，＂英国的″之意。）
97年The Prodigy的专辑The Fat Of The Land推出之后，大家才见识到摇滚和电子结合的威力。相较于Exit Planet Dust的松散，The Fat Of The Land的制作更加成熟，节奏变得更肥厚，音色也接近于工业摇滚，更有爆发力。这张专辑更在英美两地的流行音乐榜上有非常好的成绩，表示大多数的人都很认同这种音乐，此时Big Beat这个字才正式浮现。不过这可能表示，Big Beat是电子乐中＂最不电子的一种″。虽说The Prodigy的气势好像压过了The Chemical Brothers，但说他们是都是电子摇滚的代表，绝对不为过。电子和摇滚的结合也花了六、七年才趋于成熟。又由于Big Beat实为摇滚乐建构在电子乐上，因此也有人称它为＂Techno-Punk″。
Rescuing the electronica community from a near fall off the edge of its experimental fringe, Big Beat emerged in the mid-‘90s as the next wave of big dumb dance music. Regional pockets around the world had emphasized the “less intelligent” side of dance music as early as 1994, in reaction to the growing coterie of chin-stroking intellectuals attached to the drum’n’bass and experimental movements. Big beat as a distinct movement finally coalesced in 1995-96 around two British labels: Brighton’s Skint and London’s Wall of Sound. The former – home to releases by Fatboy Slim, Bentley Rhythm Ace, and Lo-Fidelity Allstars – deserves more honors for innovation and quality, though Wall of Sound was founded slightly earlier and released great singles by Propellerheads, Wiseguys, andLes Rythmes Digitales. Big beat soon proved very popular in America as well, and artists attached to City of Angels Records (the Crystal Method, Überzone, Lunatic Calm, Front BC) gained a higher profile thanks to like-minded Brits. Other than Fatboy Slim, the other superstar artists of big beat were the Chemical Brothers and Prodigy, two groups who predated the style (and assisted its birth). Both the Chemical Brothers and Prodigy were never tight fits either, given productions that often reflected the more intelligent edge of trip-hop, and rarely broke into the mindless arena of true big beat.
The sound of big beat, a rather shameless fusion of old-school party breakbeats with appropriately off-the-wall samples, was reminiscent of house music’s sampladelic phase of the late ‘80s as well as old-school rap and its penchant for silly samples and irresistible breaks. Though the sample programming and overall production was leaps and bounds beyond its predecessors, big beat was nevertheless criticized for dumbing down the electronica wave of the late ‘90s. Even while recordings by the Chemical Brothers,Prodigy, and Fatboy Slim hit the American charts and earned positive reviews – granted, from rock critics – worldwide, many dance fans rejected the style wholesale for being too reliant on gimmicky production values and played-out samples. Big beat lasted a surprisingly long time, given the constraints of a style reliant on the patience of listeners who’ve heard the same break dozens of times, as well as the patience of DJs to hunt local thrift stores to find interesting samples on old instructional records.
37.芝加哥浩室舞曲 Chicago House¶
芝加哥浩室舞曲（Chicage House）应该算是浩室舞曲（House）的原型。它是迪斯科（Disco）退潮后的承接，也是后来各种浩室舞曲分支发展的基础。最早的浩室音乐源自于美国1980年代初期到中期。House一字是出自于芝加哥当代知名的舞厅“仓库”（Warehouse）,当时驻场DJ法兰奇·那寇斯（Frankie Knuckles）在此播放连续的经典迪斯科可以及欧陆合成器电子音乐的混音舞曲，而舞厅的常客把他的混音作品归纳于浩室类型。
特征
芝加哥浩室舞曲代表着浩室舞曲的最基本特征：由鼓机所组成4/4拍子，伴随着厚实的低音声线（bassline）。在这层基础之上再加入各种电子乐器制造出来的声音和取样（sample），比如爵士乐、蓝调或流行电音（synth pop）。
流行时段
由于芝加哥浩室舞曲的“基础性”，它并没有像后来的某些分支大规模的流行，但它也在从1980年代中至今的任何时段都存在着。
英文简介
Chicago house generally refers to house music which was produced during the mid-1980s and late-1980s within Chicago. Chicago house is not a particular style of house music, the term is generally used to refer to the first ever house music productions, which were by Chicago-based artists in the 1980s.(by Wiki)
38.氛围浩室舞曲 Ambient House¶
氛围浩室舞曲（Ambient House）是浩室舞曲（House）下的一个子风格。是浩室舞曲（House）和氛围音乐（Ambient）的结合。氛围浩室舞曲的出现主要是因为在1980年代末、1990年代初，在英国，当时的俱乐部音乐需求已不仅仅停留在跳舞，而是寻求一种更能让人冷静沉思的曲风。所以在当时流行的酸性浩室舞曲（Acid House）之上，The Orb、The KLF等音乐人开始将氛围音乐引入其中。
特征
氛围浩室舞曲具有传统浩室舞曲的一般特点：中速节奏、四四拍、合成器勾勒的弦乐、丰富的人声采样。新增的元素则是更具有梦幻、清冷的氛围效果。让人有一种在沉思梦境中曼舞的感觉。
流行时段
只是在1990初有过短暂的兴起，它从来没有大范围的流行，但是后来的Ambient Techno（氛围科技舞曲）、Ambient Dub(氛围回响)等曲风都以其为启发。
英文简介
Ambient house was a mostly British development in the beginning of the 1990s, employing beats, synthesizers and vocals in styles similar to House music, treated with effects that are often described as “dream-like” or “chilled out” in order to provide a more atmospheric, relaxed feel that can be compared to Ambient. While never growing into a larger scene, it provided an important stepping stone for several similar movements in the following years, including Ambient Techno, Ambient Dub, Psybient, and Progressive House. Key works include Chill Out by The KLF and the early career of close associates The Orb, e.g. The Orb’s Adventures Beyond the Ultraworld.(by Rateyourmusic.com)
39.寒潮 Chillwave¶
ChillWave（冷潮）是2009年开始在美国兴起的一种独立电子风潮。很多音乐人遵循DIY精神，用一些简单的合成器等设备，用低保真的方式制作出了一些作品，并加上一些回声音效，制造出一种弛放梦幻的氛围，而其中很多作品也有梦幻流行、阳光流行、迷幻流行的味道。
40.另类舞曲 Alternative Dance¶
另类舞曲或独立舞曲（在美国也被称为地下舞曲Alternative Dance）是一种将各种摇滚风格与电子舞曲相混合的音乐风格。曾经主要流行于英国，但通过80年代的New Order乐队和90年代的The Prodigy乐队的努力，另类舞曲已被美国乃至全世界所接受。
特征
Allmusic网站称另类舞曲在“另类和独立摇滚的歌曲结构中加入了电子节拍、合成和/或采样，和舞厅里的后迪斯科舞曲”。The Sacramento Bee报纸将其称为“后现代-欧洲合成-电子流行-新浪潮的混合”。文化历史学家Piero Scaruffi认为电子音乐最早出现于比利时，后来在加拿大，1980年至1984年之间奠定了盛行于90年代的另类舞曲的基础。
另类舞曲的灵感主要来源于舞厅文化，同时结合其他风格音乐，如合成流行乐， acid house，和trip hop。另类舞曲的表演者所创造的音乐有着显著的风格、质地、或特定音乐元素的融合。他们通常与小唱片公司签约。
二十世纪的概念
大多数另类舞曲艺术家是英国人，“因为英国舞厅和地下音乐文化中rave风格的盛行”。New Order因为在1982-93年之间所制作的音乐而被Allmusic网站视为另类舞曲风格的第一乐队，这些音乐结合了后朋克与德国乐队Kraftwerk的的电子合成流行乐风格。另类舞曲对英国80年代后期的Madchester风格（来源于曼彻斯特，New Order的家乡城市）和90年代的trip hop和rave风格有着巨大的影响。位于曼彻斯特由New Order和Factory Records唱片公司创建的The Haçienda舞厅，成为了80年代英国另类舞曲的中心。
90年代的英国还有两个突出的例子是The Prodigy和The Chemical Brothers，而在美国，芝加哥的Liquid Soud和旧金山的Dubtribe则颠覆了另类舞曲原先“以单曲为主导、没有著名而悠久的乐队的形象”。在美国，另类舞曲很少会在电台里播放，大多数创新的作品还维持其地下的状态，或还需进口。The Prodigy的第三张录音室专辑The Fat of the Land是第一张另类舞曲畅销专辑，1997年在25个国家（包括美国）销量第一。
二十一世纪的发展
随着二十一世纪初计算机技术和音乐软件的普及和进步，乐队开始放弃传统的录音室专辑制作方法。高品质的音乐往往通过一台笔记本电脑就能创造出来。这种进步导致自制的电子音乐数量有所增加，包括另类舞曲，可通过互联网下载。据BBC电台1的DJ Annie Mac称，新千年的这种现象的一部分是“社区感觉”；她指出，“网站， 博客和MySpace让人们越来越多地讨论唱片，互相推荐唱片。这不像以前的舞厅，将要流行什么都由DJ决定。口碑在现在是非常重要的。”
二十一世纪初，“Electroclash”被用来形容像Fischerspooner和Ladytron一样混合新浪潮与电子音乐的艺术家。2001年和2002年纽约举行了Electroclash节，随后2003年和2004年在美国和欧洲各地还举行了巡演。在2000年代中期，英国音乐杂志NME 通俗化了“New Rave”（“New Wave”和“Rave”）, 来形容类似Klaxons等乐队，这些乐队的摇滚审美观包括90年代的rave风格的道具如荧光棒和霓虹灯。
英文简介
Alternative dance describes artists that, while rooted firmly in Alternative Rock and Indie Rock, heavily integrate aspects of Electronic music into their songs, such as synthesizers and rhythms taken from Electronic Dance Music.
Alternative dance developed in the early 1980s with New Order’s mixing of Synth Pop and Electro-Disco influence with a Post-Punk foundation. The band began to integrate Acid House into their music in the latter half of the decade, and their influence in the Manchester area gave rise to the Madchester scene in the late ‘80s.
Alternative dance was also used to describe acts outside of Manchester in the late 1980s and early ‘90s, including Primal Scream, Jesus Jones, and Saint Etienne.(by Rateyourmusic.com)
41.脉冲 Glitch¶
Glitch字面上是指电脑或硬件设备出的小毛病，它是电子音乐的一种实验手法，主要是用一些数字器械故障所发出的声音作为录音来源，比如仪器爆破声、软件故障扭曲声、CD跳碟声、硬件噪声等等都是Glith音乐人常常喜好的。90年代初，Oval等音乐人尝试用此种声效与氛围乐结合，带动了其发展。
特征
Glitch不论是从音色还是编曲手法来说都是一种创新，它反映了当前科技时代的无所不能，遵循的是“变废为宝”的理念。广义上被置之不理的音色噪音产生了出其不意的效果。和单纯的噪音音乐天壤之别，Glitch取于噪音但没有躁动，它更阴柔温暖，富于灵性。
流行时段：
90年代初至今
英文简介
Glitch is a style of experimental Electronic music that uses the sounds created by malfunctioning digital technology - bugs, crashes, system errors, hardware noise, CD skipping, and digital distortion - as main technique of composition. This unusual method of musical creation arguably began in Germany in the early 90s, with artists like Oval combining the technique with Ambient music to help cement its place in modern electronic music history. At the other end of the Glitch spectrum, Japanese musician Yasunao Tone’s use of damaged CDs created dense, extreme walls of sound, with Solo for Wounded CD perhaps being the best example. Modern glitch tends to use software to recreate these sounds, as opposed to genuinely defecting technology, and this increased ease of creation has resulted in the genre spreading out into other areas, such as Glitch Pop and Glitch Hop. (By Rateyourmusic.com)
42.硬派舞曲 Hardstyle¶
Hardstyle是融合Hard Techno，Hardcore等曲风特点和影响所诞生的一种电子舞曲风格。 Hardstyle通常包括一个低沉，坚硬的底鼓，或者Reversed Bass，不协调的合成旋律，失真和扭曲的声音。许多Hardcore的艺术家也有涉及这曲风的制作。
Hardstyle是一种融合了Techno和Hardcore影响的电子舞蹈流派。硬式通常包括深沉，发硬的底鼓，伴随节奏的强烈淡入淡出或颠倒的低音线，不和谐的合成器旋律故事讲述以及失调和失真的声音。许多铁杆艺术家也制作硬式曲目，并且许多新的硬式曲目都是在复合时间内编写的（例如，较旧的Headhunterz和Noisecontrollers作品）。起源：硬派受到杂烩演员的影响。 Hardstyle的起源于荷兰，其中产生了铁杆的DJ Zany，Lady Dana，DJ Isaac，DJ Pavo，DJ Luna和The Prophet等艺术家在制作铁杆唱片的同时就开始进行实验。诸如Qlubtempo之类的第一批Hardstyle事件发生在21世纪初。硬式风格的头几年的特点是速度约为140-150 BPM，压缩的鼓声，短的人声样本，尖锐的声音和“反向低音”的使用，每次之后都可以在拍子上听到踢。在成功发行了Qlubtempo和Qlimax几个版本之后，Q-dance在2002年7月4日将hardstyle商标注册为他们的品牌。在2002年左右，出现了更多的hardstyle标签。 Fusion（由DJ Zany和Donkey Rollers担任艺术家）和Scantraxx（由Dov Elkabas创立）是荷兰的两个唱片公司，在那段时间开始制作硬风格曲目。 Dubstyle在2010年初，推出了新的硬式变体，名为dubstyle。 Dubstyle是硬风格和dubstep融合的流派名称。 Dubstyle倾向于颠倒摆动的低音线并采用硬风格音轨的底鼓样式，同时将它们与节奏，凹槽和dubstep节奏相结合，并实现硬风格元素与dubstep节奏（通常是2步或断步节奏）的融合。 。[8]由于dubstyle的零星节拍，低音通常会更易拉出和/或不遵循常规硬风格合并的严格的另类节奏模式，从而导致dubstyle低音线与dubstep低音线具有相似性。欣快硬式风格从大约2010年左右开始，从早期硬式风格向更加旋律式强调的方向演变为子类“欣快硬式风格”，其特征是高度感性的旋律和沉重的音调-踢动脚步。 Devin Wild，D-Block和S-te-Fan（DBSTF），Da Tweekaz，Code Black，Headhunterz和浪费的Penguinz。原始样式从2011年左右开始，引入了更多术语来标识样式的发展。 Raw硬式是一种受荷兰硬核或较旧的硬式影响的硬式，导致较暗的旋律，尖声和更深的敲鼓声。著名的原始硬派艺术家包括Adaro和The Prophet。
Hardstyle is an electronic dance genre mixing influences from techno and hardcore. Hardstyle typically consists of a deep, hard-sounding kick drum, intense faded or reversed basslines accompanying the beat, a dissonant synth melody story telling, and detuned and distorted sounds. Many hardcore artists produce hardstyle tracks as well, and many newer Hardstyle tracks are written in compound time (for example, older Headhunterz and Noisecontrollers work).
Origins：
Hardstyle was influenced by gabber. Hardstyle has its origins in the Netherlands where artists like DJ Zany, Lady Dana, DJ Isaac, DJ Pavo, DJ Luna and The Prophet, who produced hardcore, started experimenting while playing their hardcore records. The first Hardstyle events, like Qlubtempo,took place at the beginning of the 21st century. The first few years of hardstyle were characterized by a tempo of around 140–150 BPM, a compressed kick drum sound, a short vocal sample, a screech and the use of a “reverse bass”, which can be heard on the offbeat after each kick.
After several successful editions of Qlubtempo and Qlimax, Q-dance registered the word hardstyle as their brand on the 4th of July 2002.
Around 2002, more hardstyle labels emerged. Fusion (with artist as DJ Zany and Donkey Rollers) and Scantraxx (founded by Dov Elkabas) are two of the Dutch labels that started to bring out hardstyle tracks around that time.
Dubstyle
In early 2010, a new variation in hardstyle, named dubstyle was introduced. Dubstyle is the name given to the genre fusion of hardstyle and dubstep. Dubstyle tends to have reversed wobble basslines and take the kick styling of hardstyle tracks, while combining them with the rhythm, groove, and dubstep tempo and effects a fusion of elements of hardstyle with a dubstep rhythm, usually a 2-step or a breakstep rhythm.[8] Because of the sporadic beat in dubstyle, the bass is often more dragged out and/or it doesn’t follow a strict offbeat pattern that regular hardstyle incorporates, which in turn results in dubstyle basslines bearing similarities to dubstep basslines.
Euphoric hardstyle
From roughly 2010 onwards, the move towards a more melodic emphasis from early hardstyle evolved into the subgenre “euphoric hardstyle”, characterized by highly emotional melodies and heavy pitch-shifting of kicks.Notable euphoric hardstyle producers include Coone, Atmozfears, Sephyx, Devin Wild, D-Block & S-te-Fan (DBSTF), Da Tweekaz, Code Black, Headhunterz and Wasted Penguinz.
Raw hardstyle
Since around 2011, more terms to identify developments of hardstyle were introduced. Raw hardstyle, is a type of hardstyle influenced from Dutch hardcore or older hardstyle resulting in darker melodies, screeches and deeper-sounding kick drums. Notable raw hardstyle artists include Adaro and The Prophet.
43.高能量迪斯科 Hi-NRG¶
Hi-NRG是电子舞曲音乐的一个子流派。
Hi-NRG这个名字是英文High Energy的简写（与其说是简写，不如说是为了让名字听起来更酷），可翻译为“高能量舞曲”。
Hi-NRG起源于英国，在80年代比较流行。它是Disco的一个变种，速度较快，不太有旋律感，不强调主唱（人声常做了电脑特效的处理而显得像机器人）。这种音乐的用途完全是为了跳舞，非常重视节拍感。
它的机械化的节拍、单调的风格对后来的House和Techno舞曲有影响。
80年代很多派别都具有类似特点，如New Order的舞曲Blue Monday也是有电子化的节拍。
44.微声 Microsound¶
微声（Microsound）从名字可得知，是将处理对象放在更细微的，即波长周期更短的声音上。微声从字面来看是千分之一秒，但是在实际处理中，其延续时长甚至可达到十分之一秒。Microsound音乐人一般通过数字或模拟处理方式获取这些声音，并通过粒度合成（Granular Synthesis）、蒙太奇拼贴（Micromontage）的方式完成作品的架构。
特征
总的说来，Microsound和Glitch是属于“近亲”关系，都是将零碎的声音片段作为描绘作品的元素，将细碎之声融合成完整的氛围。但是Microsound因为截取的是更高频段，所以声音颗粒会比Glitch更加细碎，更加简短，更加尖锐。
英文简介
Largely defined by its own name, the term microsound largely stems from compositions built on sounds lasting no longer than a thousandth of a second, but generally can last up to a tenth of a second. A cousin to the glitch genre, microsound explores the lower and higher frequencies of the sound spectrum through digital and analog signal processing, granular synthesis, and micromontage. It focuses largely on the arrangement of sound particles within a composition.（By Allmusic）
45.极简科技舞曲 Minimal Techno¶
极简科技舞曲（Minimal Techno）是科技舞曲（Techno）下的一个子风格。它是科技舞曲（Techno）的一种极简主义表现方式。随着浩室舞曲（House）和科技舞曲（Techno）的发展，越来越多的音乐人在其之上加入各种层次点缀。极简科技舞曲则是一次向最初简约的回归，并吸收了极简主义音乐的“渐进”美学。90年代初，一些底特律音乐人如Robert Hood和Daniel Bell将其推进。
特征
极简科技舞曲有两个特征，一个是简明性，它使用直截了当的鼓点和鲜明的合成器程式。除了保留核心结构外，将一切繁杂去除。另一个是渐进性，虽然鼓点和音色看似一成不变，但它们是仍然极为缓慢的向前推进的，从而一点一点的升华情绪。
流行时段
1990年代初至今
英文简介
When house and techno first came on the scene in the mid-‘80s, productions were minimal out of necessity. As the art of sampling and programming developed, the music became more layered and professional sounding – a progression according to some, but an unnecessary crossover move to others. Reacting against these increasingly dense productions, Minimalist Techno figures cleared their productions of most everything except pointed drum programs and stark sequencer or synthesizer patterns. Detroit figures like Rob Hood, Jeff Mills, and Plastikman led the way, with later figures including Surgeon, Oliver Ho, and Stewart Walker also contributing to the new idiom. (by Allmusic)
46.极简潮 Minimal Wave¶
作为一个风格名，极简潮（Minimal Wave）并不是一开始就有的。2000年后，同名厂牌Minimal Wave发行了一系列此风格的回顾合辑和再版，引发了一波复兴热潮，此风格名才正式确定。简要的说，它是新浪潮（New Wave）, 冷潮（Coldwave）,合成器流行（Synth Pop）和后朋（Post-Punk）等曲风的电子极简形式。
特征：
因Minimal Wave诞生于Midi（乐器数字接口）电子技术发展之前，使用的仍是较原始的类比合成器（Analog Synthesizer）和鼓机，所以其更像业余玩家捣鼓出来的东西，有低保真的特质，没有太多花俏。人声部分不拘一格，较疏离，冷漠。
。
流行时段：
1970年代末至1980年代中，2000年以后有一波复兴潮。(By 虾米)
英文简介：
Minimal Wave was coined as a genre name in retrospect. It makes reference to the most electronic and minimal forms of New Wave, Coldwave, Synth Pop and Post-Punk. In its most purely electronic and synth driven form is referred as Minimal Synth. It is also named as Synth Wave and Minimal Electronics (instrumental Minimal-Synth).
In comparison to mainstream Synth-Pop the Minimal Wave sound is sparse, amateurish, stripped down and lo-fi, using analog synthesizers, drum machines and pre-MIDI electronics. The singing is unconventional, with detached/cold vocals. Minimal Wave was mainly developed during the years 1979-85, specially in Belgium, France and Germany. Most bands kept a low profile and a DIY ethic, sometimes releasing self-published cassettes or limited editions by private labels. Since the mid-2000s the interest in the genre has become more widespread, with several reissues and new releases by labels such as Minimal Wave or Anna Logue Records.(By RateYourMusic.com)
47.前卫迷幻舞曲 Progressive Trance¶
Progressive Trance 前卫迷幻舞曲，「Prog」在这里的意思跟Progressive House的理解是一致的，意为「循序渐进」，前卫迷幻舞曲具有优美的旋律以及不断推进的段落，能够让情绪更加激昂。Progressive Trance去除了重复，循环的旋律段落，而是达到了一种更加亢奋的出神舞曲模式，更加能够感染乐迷，受到了许多乐迷的喜欢。
48.科技浩室 Tech House¶
顾名思义，科技浩室舞曲(Tech House)即将科技舞曲(Techno)和浩室舞曲(House)的特征结合起来的一种曲风。Techno拥有钢制鼓点、粗糙扭曲的贝斯以及合成器音色，有疏离的科技冰冷感；而House则相反，它拥有鲜明的律动节拍(Groove)、温润的和声、厚实的鼓点。Tech House依然沿袭了House的基本结构，只是将House偏暖、更有灵魂的声效以及鼓点用Techno更冰冷、更扭曲、更黑暗、更深沉的特征代替，两者的结合是一种折中性的尝试。
49.女巫浩室 Witch House¶
女巫浩室（Witch House）是2000年代末出现的一种以神秘、黑暗为主题的电子音乐类型和视觉美学。Witch House这个说法起源于本名Travis Egedy（艺名Pictureplane）的音乐人于2009年和朋友开的一个玩笑，用于描述以神秘学为核心精神的House音乐。这个原本流行于网络的词汇很快就被权威音乐媒体Pitchfork Media、博客站点以及其他主流音乐媒体为了推广音乐而大量运用，现今Witch House这个音乐标签已被Pitchfork半正式的用于描述Industrial工业音乐的一种分支。
特征
Witch House的音乐一般融合了美国得克萨斯州休斯敦市的音乐厂牌Swishahouse所做的嘻哈音乐的一些技术特点：慵懒的速率加上跳拍、停顿的节拍，加上一些来自noise, drone, shoegaze这些音乐类型的元素。Witch House还受到了1980年代哥特乐队的影响，包括Cocteau Twins, The Cure, Christian Death和Dead Can Dance等乐队。Witch House同时还有强烈的早期工业音乐的影子。这种音乐风格的音乐人发布了不少流行和说唱歌曲的慢速度版本混音，或是把不同的歌很明显的放慢以后做成时间较长的混音歌曲。这种音乐类型的艺人和歌曲名常常使用三角形、十字架形或是其他几何图形命名（例如▲,▼,Δ, †），原因包括他们独特的审美风格以及一些艺人希望将这种音乐保持地下，不想轻易在网上被找到。
时至2011年8月2日，Pitchfork Media始终在使用这个音乐类型术语，但主要用于推广美国另类金属乐队Deftones主唱兼吉他手Chino Moreno的个人音乐作品†††，他的单曲EP唱片Crosses集合了极简主义、温和的、以电子音乐为基调氛围摇滚曲目，这使得这种模糊、难定义的音乐类型更加富有争议性。（by 猴头姑）
流行时段
2000年代末至今
英文简介
Witch house is an occult-themed dark electronic music genre and visual aesthetic that emerged in late 2000s. The music is heavily influenced by chopped and screwed hip-hop, dark ambient soundscapes, industrial and noise experimentation, and features use of synthesizers, drum machines, obscure samples, droning repetition and heavily altered, ethereal, indiscernible vocals. Witch house visual aesthetic includes occult, witchcraft, shamanism and horror-inspired artworks, collages and photographs as well as significant use of typographic elements such as Unicode symbols.Many works by witch house visual artists incorporate themes from 60s, 70s and 80s cult and obscure horror movies,the television series Twin Peaks,and mainstream pop culture celebrities. Common typographic elements in artist and track names include triangles, crosses, and other Unicode symbols, which are seen by some as a method of keeping the scene underground and harder to search for on the Internet. (by Wikipedia)
50.即兴舞曲 Freestyle¶
51.欧陆舞曲 Euro-Dance¶
52.锐舞音乐 Rave Music¶
锐舞的英文RAVE，原为一群人聚众热闹之意。后来它代表着在Disco-Jockey（DJ）打碟号召之下，打扮入时的年轻人，沉醉于DJ播放的新派跳舞音乐中，通宵达旦，热烈起舞。
1988年，4位英国DJ去西班牙度假岛屿阿利巴里群岛时发现了BALEARIC音乐风格，当地DJ如阿尔费多将来自芝加哥的HOUSE舞曲加入多种西班牙及其他音乐元素播放出来，再加上IBIZAE文化的刺激。让以保罗奥克福得为首的4人享受了极为精彩的一夜。回到英国他们决定要将这种派对搬回家乡，这就是RAVEPARTY（锐舞派对）的源头。
从丹尼.兰普里搞的SHOOMPARTY开始，从起始的ACIDHOUSE音乐播放开始，跳舞文化从此掀开了新的一页，随着英国众多优秀俱乐部、DJ、派对搞手的出现，这种青年次文化也让大家的想象空间无限扩大，为数码时代的年青人带来了他们最需要的精神食粮。
实际上，在同时间的欧洲，大部分年青人亦全是“蒲友”，意大利、比利时、荷兰、法国更是创造了自己的独特音乐风格，意大利的口水舞曲制作堪称世界第一，比利时、法国是欧洲新锐舞文化的核心地带，荷兰的HARDCORE舞曲让你一次颠个够，不过欧洲最厉害的是德国，首先它差不多成为了欧洲的TECHNO之都，德国人爱TECHNO的程度，可以比英国人有过之而无不及。1992年，在SVANVATH、JAMANANDSPOON的带领下，德国TRANCE成了全球跳舞新势力，而柏林每年一度的LOVEPARADE亦愈演愈烈，最近4年，来自全世界的蒲友每次都超过100万人，令柏林成为全球最有人气的锐舞中心。
亚洲地区的派对近年来愈发丰富。首先是泰国，曼谷本身已有一个不错的跳舞音乐环境，可万人的焦点集中在KOHSAMUI上，那儿的蒲友将源自印度岛屿GOA的圆月沙滩派对移师到泰国，想像一下，在圆月的沙滩上大跳特跳锐舞的心情，绝对终生难忘。
53.酸性浩室舞曲 Acid House¶
酸性浩室舞曲（Acid House）是浩室舞曲（House）下的一个子风格。顾名思义，它在之前的芝加哥浩室舞曲（Chicago House）之上加入更具有酸性（Acid）的迷幻味道。在1980年代中期浩室舞曲火热的芝加哥，一些DJ尝试将Roland TB-303合成器的音效加入其中，这种迷幻效果和当时俱乐部的药物文化很好的吻合了。后来这种曲风传到大洋彼岸的英国，迅速进入主流排行榜。
特征
酸性浩室舞曲具有传统浩室舞曲的一般特点：中速节奏、四四拍、合成器勾勒的弦乐、丰富的人声采样。新增的元素则是Roland TB-303合成器带来的支离破碎的贝斯音效，在跳舞中也同时给人一种嗑药般的迷幻感觉。
流行时段
1990年代初短暂盛行，后来逐渐被锐舞音乐（Rave Music）代替。
英文简介
Acid house is a sub-genre of house music that emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines instead of lyrics. Acid house’s core electronic squelch sounds were developed around the mid-1980s, particularly by DJs from Chicago who experimented with the Roland TB-303 electronic synthesizer-sequencer. Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, copycat tracks and acid house remixes brought the style into the mainstream, where it had some influence on pop and dance styles.Nicknamed “the sound of acid”,acid house’s influence on dance music is tangible considering the sheer number of electronic music tracks referencing acid house through the use of its sounds, including trance, Goa Trance, psytrance, breakbeat, big beat, techno, trip-hop and house music.(by Wiki)
54.新拍 New Beat¶
55.硬核科技舞曲 Hardcore Techno¶
56.放克电子 Electro (Electro-Funk)¶
Electro音乐混入了70年代的funk、80年代早期的合成器技术，它是种很纯的靠电子合成器来制造的音乐。90年代中期成熟了得electro音乐正是闯入了底特律和英国，非常独立的一个音乐类型，却有很多其它音乐的元素
将70年代的放克音乐与80年代初期出现的嘻哈文化和合成器技术融合在一起，产生了一种被称为Electro的风格。但是，对于公众来说，这似乎只是一时的流行-包括Afrikaa Bambaataa的“ Planet Rock”和Grandmaster Flash的“ The Message”（最多都不超过流行音乐前40名）的两三首歌，实际上是一次富有成效的测试为后来进入根本不同领域的创新者奠定了基础，其中包括Dre博士（曾与世界级“毁灭战士”一起工作）和Techno教父Juan Atkins（与Cybotron一起）。 Electro还为该风格的主要影响力之一提供了一个有趣的新方向：Herbie Hancock（其1973年的Headhunters专辑被证明很受融合）在1983年以电子单曲“ Rockit”席卷而来。尽管取得了成功（在Rhino的四碟Electric Funk装置中有完整记录），但这种风格很快就被80年代中期兴起的嘻哈音乐（通常来自摇滚唱片）而非音乐合成器所掩盖。然而，许多技术和舞蹈艺术家继续回想起声音，在90年代中期，底特律和英国出现了全面的电子复兴。
Blending ‘70s funk with the emerging hip-hop culture and synthesizer technology of the early ‘80s produced the style known alternately as Electro. But what seemed to be a brief fad for the public – no more than two or three hits, including Afrikaa Bambaataa’s “Planet Rock” and Grandmaster Flash’s “The Message,” neither of which made the pop Top 40 – was in fact a fertile testing ground for innovators who later diverged into radically different territory, including Dr. Dre (who worked with the World Class Wreckin’ Cru) and techno godfather Juan Atkins (with Cybotron). Electro also provided an intriguing new direction for one of the style’s prime influences: Herbie Hancock, whose 1973 Headhunters album proved a large fusion hit, came storming back in 1983 with the electro single “Rockit.” Despite its successes (documented in full on Rhino’s four-disc Electric Funk set), the style was quickly eclipsed by the mid-‘80s rise of hip-hop music built around samples (often from rock records) rather than musical synthesizers. Nevertheless, many techno and dance artists continued harking back to the sound, and a full-fledged electro revival emerged in Detroit and Britain during the mid-‘90s.
57.工业舞曲 Industrial Dance¶
58.部族浩室舞曲 Tribal House¶
59.迷幻科技舞曲 Acid Techno¶
60.旋律回响贝斯 Melodic Dubstep¶
Melodic Dubstep（旋律回响贝斯），是Dubstep的一个分支，顾名思义就是旋律性极强的Dubstep。Melodic Dubstep的BPM、段落编排都和Dubstep相似，也会融合入类似Brostep的烈性Wobble Bass，配合唯美的旋律创造完美的画面感，是一种不失能量，也具备动听旋律的电子音乐类型。
61.炸房浩室 Big Room House¶
Big Room House（Big Room）是Electro House（电气浩室）的一个子分类，也是当下最受欢迎的电子舞曲风格之一。炸房浩室是受Progressive House，Tech House，以及Trance影响而衍生的风格，除了浩室音乐标准4/4拍的特点，有一段非常长的Rise的Build-Up，整体没有花哨的旋律，震撼的合成器效果，极简的听感非常容易带起现场的气氛。像是Martin Garrix，Hardwell，Nicky Romero都加入了Big Room类舞曲的制作人行列。
Big room house is a subgenre of electro house. Since the mid-2010s it has become one of the most popular forms of electronic dance music. It is regarded as a combination of hard dance and electro techno.It has gained mainstream popularity after artists like Hardwell, Nicky Romero and Martin Garrix began infusing it into their musical style.
The genre is generally 126 to 132 bpm.It is composed of ‘lengthy techno-influenced build-ups, a powerful and driving electro-style drop’. It is also known to include a 4/4 hardstyle kick. A typical big room house track features bass-heavy kicks, with minimal musical elements and sometimes only a syncopated supersaw or percussion.It often incorporates drops, minimalist percussion, regular beats, sub-bass layered kicks, simple melodies, and synth-driven distorted breakdowns.
62.底特律科技舞曲 Detroit Techno¶
63.贝斯浩室 Bass House¶
Bass House(贝斯浩室)成型于2010年左右的Bass House发展至今仍是一个独特的存在，最初起源于英国，毕竟英国人玩音乐喜欢从Bass作为切入点从而玩出各种花样。说它特殊是因为严格意义上来定位的话Bass House既不属于电音的”Bass系”也不属于”House系”，一切源于其组合成分；Bass House其实是Bass Music（Trap/Dubstep/DNB等）与House Music（Techno/Trance/House等）的融合 ，具体来讲我们可以模拟一个等式，即Bass House=Electro House+Future House+Brostep/Trap
如果说Future House是以Deep House为底板，那么basshouse它则以Future House为模板，Bass House有时也会被听众混淆认为是Future House，Bass House是个让人亢奋躁动的电音风格绝对炸到无法接受
如今basshouse这种风格越来越受到各位电音爱好者的喜欢！我相信再不久，basshouse会引领一股新的热潮
64.电科技舞曲 Electro-Techno¶
65.电子乐 Electronica¶
66.能量电子 Power Electronics¶
67.放克打击乐 Funky Breaks¶
68.极端科技舞曲 Gabber¶
69.快乐硬核 Happy Hardcore¶
70.二步舞曲 2-Step¶
二步舞曲（2-Step）是英国车库舞曲（UK Garage）最典型的发展方向之一。相对于英国车库舞曲，二步舞曲有两个明显的特征：一个是将前者稳定的四四拍变成游离的、不规则的碎拍；另一个是融入了更多灵魂乐（Soul）、节奏布鲁斯（R&B）等元素，让其更有都市感。所以也有一些此类风格的作品登上了流行榜单。
2步声音的主要特征之一（该术语被创造来描述“不符合车库的传统“四声”地面脉冲的各种紧张，不规则节奏的通用规则”）是这种节奏缺乏许多其他风格的电子音乐所具有的鼓音鼓模式，并且具有定期的四拍打节奏。典型的2步鼓模式会在第一个和第三个拍子上有一个底鼓，节奏打乱，或者在打击乐器的其他元素上使用三重奏，从而产生“颤抖，颤抖-放克的感觉”，并导致拍子与其他房屋或电子技术中存在的明显不同。尽管仅将两个脚鼓拍打到一个小节的音轨被认为比传统的四层地板拍慢，但通过在鼓中引入不寻常的军鼓位置和口音或散落的rim声，可以保持听众的兴趣。和木刻画，以及低音贝司线和打击乐器，例如打击垫和琴弦的打击乐器。乐器通常包括键盘，合成器和鼓机。为扩展音乐风格而添加的其他乐器包括吉他，钢琴和牛角；这些添加几乎总是被采样。[需要引用]两步中使用的主要基于合成器的贝司线与该样式的祖先（例如UK garage）以及之前的鼓，贝司和丛林类似，但是受到放克和灵魂的影响也可以听到。 2步车库中的人声通常是女性的，类似于家庭音乐或现代R＆B中流行的风格。一些2步制作人还处理和切割无伴奏合唱歌手的元素并将其用作音轨的元素。就像其他来自英国车库的流派一样，MC经常被采用，尤其是在现场环境中，其声音风格让人联想到老式的丛林。评论家们还注意到了嘻哈，鼓和贝斯的影响，特别是硬步和技术步子流派。一些批评家还指出，与现场周围环境相比，现场环境具有明显不同，而在现场活动中的侵略性较小。
One of the primary characteristics of the 2-step sound – the term being coined to describe “a general rubric for all kinds of jittery, irregular rhythms that don’t conform to garage’s traditional four-on-the-floor pulse”– is that the rhythm lacks the kick drum pattern found in many other styles of electronic music with a regular four-on-the-floor beat. A typical 2-step drum pattern features a kick on the first and third beat, with a shuffled rhythm or the use of triplets applied to other elements of the percussion, creating a “lurching, falter-funk feel”, and resulting in a beat distinctly different from that present in other house or techno. Although tracks with only two kick drum beats to a bar are perceived as being slower than the traditional four-on-the-floor beat, the listener’s interest is maintained by the introduction of unusual snare placements and accents in the drum patterns, or scattered rimshots and woodblocks, as well as syncopated basslines and the percussive use of other instruments such as pads and strings.
Instrumentation usually includes keyboards, synthesizers and drum machines. Other instruments added to expand the musical palette include guitar, piano and horns; these additions are almost always sampled.[citation needed] The primarily synth-based basslines used in 2-step are similar to those in the style’s progenitors such as UK garage and before that, drum and bass and jungle, but influences from funk and soul can also be heard. Vocals in 2-step garage are usually female, and similar to the style prevalent in house music or contemporary R&B.Some 2-step producers also process and cut up elements of an a cappella vocal and use it as an element of the track. Much like other genres derived from UK garage, MCs are often featured, particularly in a live context, with a vocal style reminiscent of oldschool jungle.
Influences from hip hop and drum and bass, particularly the hardstep and techstep subgenres have also been noted by critics. The fact that the scene had a significantly different atmosphere to those that surrounded precursors with less aggression at live events was also noted by some critics.
71.果阿迷幻舞曲 Goa Trance¶
72.解构俱乐部舞曲 Deconstructed Club¶
73.工业音乐 Industrial music¶
“工业”这个词作为一种音乐形式及风格出现并发展于20世纪后半叶，伴随着当时文化思潮而存在。任何一种风格都是受环境影响而诞生的，正应了那句话：“环境铸造人”，什么样的环境决定什么样的艺术家，什么样的艺术家决定什么样的音乐，工业最为典型。
工业音乐产生于20世纪70年代，于80年代得到长足发展，90年代至今分化融解。当时的欧美人文思潮推崇未来主义、达达主义和超现实主义，又正是信息化与产业化成熟的阶段，更赶上工业化(这里用的是本义)流水线式的生产结构基本成熟，于是工业音乐应运而生。尤其第三点，很形象解释了此种风格诞生的原因和起源，正如“哥特”音乐的本质来源于古典、取材于诞生于欧洲中世纪教会统治时期哥特建筑一样。所以说，音乐的形成是历史文化的体现。
Industrial music is a style of experimental music that draws on transgressive and provocative themes. The term was coined in the mid-1970s with the founding of Industrial Records by the band Throbbing Gristle, and the creation of the slogan “industrial music for industrial people”. In general, the style is harsh and challenging. Allmusic defines industrial as the “most abrasive and aggressive fusion of rock and electronic music”; “initially a blend of avant-garde electronics experiments (tape music, musique concrète, white noise, synthesizers, sequencers, etc.) and punk provocation”.
The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, serial killers and the occult. Their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, SPK, Boyd Rice, Cabaret Voltaire, and Z’EV. The precursors that influenced the development of the genre included acts such as electronic group Kraftwerk, experimental rock acts such as The Velvet Underground and Frank Zappa, psychedelic rock artists such as Jimi Hendrix, and composers such as John Cage. Musicians also cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences.
While the term was initially self-applied by a small coterie of groups and individuals associated with Industrial Records in the 1970s, it broadened to include artists influenced by the original movement or using an “industrial” aesthetic. These artists expanded the genre by pushing it into noisier and more electronic directions. Over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label. Electro-industrial music is a primary sub-genre that developed in the 1980s. The two other most notable hybrid genres are industrial rock and industrial metal, which include bands such as Nine Inch Nails and Ministry, both of which released platinum-selling albums in the 1990s. These three genres are often referred to as simply industrial.
74.电工业舞曲 Electro-Industrial¶
75.钻击贝斯 Drill ‘n’ Bass¶
76.回响科技舞曲 Dub Techno¶
77.病态氛围 Illbient¶
78.微浩室舞曲 Microhouse¶
79.污垢舞曲 Grime¶
Grime最早出现在2000年初，发源于英国伦敦，是伦敦本土的地下音乐。这种音乐是由早期的英国电子音乐风格发展而来，包括UK Garage和Jungle，同时也受到牙买加Dancehall、Ragga和Hiiphop的影响。这种音乐风格的特点是快节奏、切分音碎拍，并且伴有强硬生涩的电子音色，BPM大约在130到140左右。
与时下流行的Trap不同，Grime的主题比Trap要深刻得多，歌词的内容通常都是对时下热点问题的尖锐批判。Wiley 于 2002 年发布的单曲《Eskimo》标志着 Grime 以独立乐种的身份正式诞生。其将 Garage、Dancehall、Jungle 音乐与 Drum / Bass 元素相糅其中，并散发着一股黑暗、躁动、不可一世的力量，「反主流文化运动」成为它最明显的标签。此外，140bpm 是 Grime 最具辨识度的节奏。
80.芯片音乐 Chiptune¶
81.新迪斯科 Nu-Disco¶
Nu-disco或nu-house是21世纪的舞蹈音乐风格，与1970年代和1980年代初的迪斯科舞曲，1980年代初至中期的italo迪斯科和布吉舞以及新的合成器-浓重的欧洲迪斯科舞曲和P-Funk美学思想有关。这个名字最早出现在2002年，直到2008年年中才被唱片零售商如在线零售商Juno和Beatport所使用。这些供应商经常将其与原始时代的迪斯科音乐的重新编辑以及欧洲制作人的音乐联系起来，这些音乐制作人的灵感来自原始时代的美国迪斯科，电子音乐和其他在70年代末和80年代初流行的流派而创作的舞蹈音乐。 Beatport还用它来描述几个以前与电击风格和法国风格相关的美国唱片公司的音乐。在2002年，《独立报》将nu-disco描述为对70年代的disco和funk应用了“现代技术和精确的生产”的结果。 Beatport在2008年将nu-disco形容为“从1970年代末和1980年代初出现的一切（电子）迪斯科，布吉，宇宙，巴利阿里和Italo迪斯科连续体，”而《旋转》杂志则对“ nu”中的“ u”表示不满”一词与Eurodisco互换使用，并引用了强烈的Italo迪斯科舞厅以及电子碰撞的影响。 Nu-迪斯科舞厅在欧洲和澳大利亚最受欢迎。诸如迈阿密恐怖片，Cut Copy，凯迪拉克和Bag Raiders等乐队都是澳大利亚nu-disco声音的缩影。迪斯科-复兴音乐可以在大型表演中看到，例如达夫特·朋克，星尘，莫德霍，马顿，Breakbot，Justice，Chromeo，以及鸭酱，阿曼德·范·海尔登与A-Trak的合作项目。虽然后者可能更适合作为电子乐队，但他们的低音提琴行和放克节奏（尤其是在“我想要你的灵魂”中看到）让人想起这种音乐。
Nu-disco or nu-house is a 21st-century dance music genre associated with a renewed interest in 1970s and early 1980s disco, early to mid-1980s italo disco and boogie, and the synthesizer-heavy Euro disco and P-Funk aesthetics.
The moniker appeared in print as early as 2002, and by mid-2008 was used by record shops such as the online retailers Juno and Beatport. These vendors often associate it with re-edits of original-era disco music, as well as with music from European producers who make dance music inspired by original-era American disco, electro and other genres popular in the late ′70s and early ′80s. It is also used by Beatport, to describe the music on several American labels that were previously associated with the genres electroclash and french house.
In 2002, The Independent described nu-disco as the result of applying “modern technology and pin-sharp production” to ′70s disco and funk. In 2008, Beatport described nu-disco as “everything that springs from the late 1970s and early 1980s (electronic) disco, boogie, cosmic, Balearic and Italo disco continuum,” while Spin magazine placed an umlaut over the “u” in “nu”, used the term interchangeably with Eurodisco, and cited strong Italo disco as well as electroclash influences.
Nu-disco is most popular in Europe and Australia. Bands such as Miami Horror, Cut Copy, Cadillac and Bag Raiders epitomize the Australian nu-disco sound. The French disco-revival sound can be seen in big acts such as Daft Punk, Stardust, Modjo, Madeon, Breakbot, Justice, Chromeo, as well as Duck Sauce, Armand Van Helden’s collaborative project with A-Trak. While the latter may qualify more as an electro band, their walking bass lines and funk rhythms (as seen especially in “I Want Your Soul”) are reminiscent of the genre.
82.电子行为舞曲 EBM¶
83.后迪斯科 Post-Disco¶
84.后回响贝斯 Post-Dubstep¶
在2011年早期，后回响贝斯（Post-Dubstep）被用来形容被回响贝斯（Dubstep）影响的当代流行音乐。这些作品借鉴了Dubstep的一些制作手法，比如浑厚的贝斯节拍。以及UK garage、2-step和其他跳舞音乐的特点。此领域的音乐人也会尝试将氛围音乐和2000年后复兴的R&B元素融入其中。另外，Post-Dubstep还有个很鲜明的特点：它的节拍一般在每分钟130拍左右。
Mount Kimbie、Fantastic Mr Fox和James Blake等音乐人是此风格的代表音乐人。2010年后兴起的Future Garage、Witch House等风格也常被视为Post-Dubstep运动的分支。
In early 2011 the term “post-dubstep” was used to describe urban music that was influenced by certain aspects of dubstep.The breadth of styles that have come to be associated with the term post-dubstep preclude it from being a specific musical genre. Pitchfork writer Martin Clark has suggested that “well-meaning attempts to loosely define the ground we’re covering here are somewhat futile and almost certainly flawed. This is not one genre. However, given the links, interaction, and free-flowing ideas … you can’t dismiss all these acts as unrelated”Such music often references earlier dubstep productions as well as UK garage, 2-step and other forms of underground electronic dance music.Artists producing music that has been described as post-dubstep have also incorporated elements of ambient music and early 2000s (decade) R&B. The latter in particular is heavily sampled by three artists described as post-dubstep: Mount Kimbie, Fantastic Mr Fox and James Blake.The tempo of music typically characterised as post-dubstep is approximately 130 beats per minute.
The production duo Mount Kimbie is often associated with the origination of the term post-dubstep.The commercially popular band The xx’s Jamie xx has released remixes which are considered post-dubstep, including We’re New Here (2011), a Gil Scott-Heron remix album.
85.迷幻氛围 Psybient¶
86.步法舞曲 Footwork¶
87.前卫电子 Progressive Electronic¶
88.极简合成器 Minimal Synth¶
在其最常见的形式中，最小合成器完全基于模拟合成器和鼓机。最小的合成黄金时代是从20世纪70年代末到80年代中期，显然它从来没有针对MTV/VH1播放，一直保持在地下。这一流派的特点是色调阴暗而喜怒无常。它有一个黯淡的剥离的声音，与原始的模拟合成，脉动的鼓点，和冷淡/分离的人声。这种没有人声的相同类型的音乐也被称为最小的电子产品(Minimal Electronics)。最小的合成唱片往往表现出DIY的品质，与其他形式的流行音乐相比，有些是相当实验性的。80年代早期大多数合成流行的主要流派是新浪潮，最小的合成也是如此，伞形流派是最小形式的新浪潮：最小的浪潮。在本说明书中解释的最小合成特征通常受到黑暗摇摆者和前卫流行音乐和电子音乐爱好者的青睐。当时，许多极小的Synth唱片的发行量非常有限，因此已经成为收藏家的藏品，在线拍卖网站上的7张唱片可以卖到几百美元。甚至现在的行为，比如电话和强尼·莫卧儿，发行的标签都很吸引人！COLCOLATES和安娜·罗格唱片公司(Anna Logue Records)越来越受追捧。一些有影响力的艺术家有约翰·福克斯、克拉夫特沃克、维萨奇、布莱恩·伊诺、YMO、人类联盟、大卫·鲍伊和软细胞。一些值得注意的最小合成艺术家包括：妮妮·拉维奥莱特、杰夫和简·哈德森、ADN‘Ckrystall、Guyer’s Connection、The Short Wave Mystery、Oviformia-SCi和凝固汽油弹婴儿。
In its most common form Minimal Synth is entirely based on analog synthesizers and drum machines.
Minimal Synth golden era was from late 1970s to mid 1980s, obviously it never was aimed for MTV/VH1 play and has remained underground. The genre is characterised by dark and moody tones. It has a bleak stripped down sound, with raw analog synths, a pulsating drum beat, and cold/detached vocals. This same sort of music without the vocals is also referred to as Minimal Electronics.
Minimal Synth records tend to show a DIY quality, some are pretty experimental when compared to other forms of pop music. The overarching genre of most early ‘80s synth pop is New Wave, the same applies for minimal synth, the umbrella genre is New Wave in its minimal form: Minimal Wave. The Minimal Synth features explained in this description are often favoured by dark wavers and the avant-garde pop and electronic music fans.
Many Minimal Synth records were released in very limited quantities at the time, so have become collectors’ items and 7”s can go for several hundred dollars at online auction sites. Even current acts, such as The Phone and Jonni Mogul, and releases by labels such as Attractive! Co-ordinates and Anna Logue Records are increasingly sought after.
Some examples of influential artists are John Foxx, Kraftwerk, Visage, Brian Eno, YMO, The Human League, David Bowie, and Soft Cell. Some noteworthy minimal synth artists include: Nini Raviolette, Jeff & Jane Hudson, ADN’ Ckrystall, Guyer’s Connection, The Short Wave Mystery, Oviformia-SCI and Napalm Babies.
89.实验回响 Experimental Dub¶
在距离阳光明媚的牙买加数千英里的地方，一群松散的柏林制作人启动了一种被称为实验都柏林的音乐风格。如果场景是中心的话，那就是发生在硬蜡唱片公司(Hard Wax Records)，这是一家唱片店，也是一家紧凑的发行公司，拥有几个风格的关键品牌(Basic Channel，Chain Reaction，Inflance)和制作人(Maurizio，Mark Ernestus，Porter Ricks，Pole，Monolake)。得益于芝加哥酸屋和杰夫·米尔斯(Jeff Mills)、罗布·胡德(Rob Hood)和普拉蒂克曼(Plattikman)等底特律极简主义电子音乐人物，试验性配音相当容易被描述出来；声音通常集中在爆裂、浑浊的氛围中，听起来几乎是水下的，带有中速节拍和强烈而叮当的敲击声。与牙买加经典配音制作人King Tubby和Lee“Scratch”Perry的相似之处充其量是间接的，但这个术语很好地识别了许多德国最好的实验制作人的签名声音。除了基本频道阵营，实验配音最重要的人物是迈克·墨克(又名沃尔夫冈·沃格特)和托马斯·布林克曼。墨克是柏林的一名长期制片人，负责六个以上的化名和标签，他的大部分重要工作都是在亵渎和Studio 1标签上完成的。布林克曼是这一风格的相对新手，他将墨水和Plattikman的材料混合在一起，赢得了赞誉。反过来，实验配音在90年代末激发了几位主要的科技人物(包括Plattikman和Mills)的灵感，它的影响力甚至出现在美国独立摇滚和后摇滚中。
Thousands of miles away from sunny Jamaica, a loose collective of Berlin producers jump-started the style of music known as Experimental Dub. If the scene was centered at all, it occurred at Hard Wax Records, a record store as well as a tight distribution company that was home to several of the style’s crucial labels (Basic Channel, Chain Reaction, Imbalance) and producers (Maurizio, Mark Ernestus, Porter Ricks, Pole, Monolake). Indebted to Chicago acid house and minimalist Detroit techno figures like Jeff Mills, Rob Hood, and Plastikman, experimental dub was rather easily characterized; the sound usually focused on a mix of crackling, murky atmospheres that sounded almost subaquatic, with a midtempo beat and strong, clanging percussion. The similarities to classic Jamaican dub producers King Tubby and Lee “Scratch” Perry were indirect at best, but the term worked well for identifying the signature sound of many of Germany’s best experimental producers. Other than the Basic Channel camp, experimental dub’s most important figures were Mike Ink (aka Wolfgang Voigt) and Thomas Brinkmann. Ink, a longtime Berlin producer responsible for more than a half-dozen aliases and labels, did most of his important work on the Profan and Studio 1 labels. Brinkmann, a comparative newcomer to the style, earned praise for his remixes of material by Ink and Plastikman. Experimental dub, in turn, inspired several major techno figures (including Plastikman and Mills) by the late ‘90s, and its influence was even seen in American indie rock and post-rock.
90.英国放克舞曲 UK Funky¶
91.英国贝斯舞曲 UK Bass¶
也称为：UK Bass Music（英国低音音乐），Future Bass UK Bass是一个宽松术语，用于表示2009年和2010年的Dubstep和UK Funky在英国舞蹈音乐中的某些风格发展。它特别强调低音和次低音。倾向于尝试使用bpm的结构和格式以及变体形式。来自其他流派的影响（例如Juke，Footwork，Techno，House，UK Garage，Contemporary R＆B和Wonky）经常被重新利用，并通过Dubstep和UK Funky声音进行过滤。结果是声音的变化范围扩大或打破了后一种类型的障碍。 Night Slugs，Numbers。，Hessle Audio和Swamp 81等标签以及Ben UFO，Oneman和Pearson Sound等DJ在推广这种风格方面都具有影响力。
Also known as: UK Bass Music, Future Bass
UK Bass is a loose term used for certain stylistic developments in British dance music, arising from Dubstep and UK Funky in 2009 and 2010. It includes a strong emphasis on bass and sub-bass, but tends to experiment with the structure and format, as well as variations of the bpm. Influences from other genres, such as Juke, Footwork, Techno, House, UK Garage, Contemporary R&B and Wonky, are frequently repurposed and filtered through a Dubstep and UK Funky sound. The result is a varied range of sounds that stretches or breaks the barriers for the latter genres.
Labels such as Night Slugs, Numbers., Hessle Audio, and Swamp 81, as well as DJs like Ben UFO, Oneman, and Pearson Sound, have been influential in popularizing this style.
92.工业科技舞曲 Industrial Techno¶
93.合成器潮 Synthwave¶
Synthwave是电子音乐的一种形式，它的大部分灵感来自于20世纪80年代的合成音乐和流行文化。在音乐上，合成波通常是器乐的，有一个“未来主义”的主题，有大型的，跳动的，复古的合成器。受房屋影响的重型鼓(通常是侧链的)也很受欢迎。它从20世纪80年代起源和/或最流行的各种流派中获得灵感，包括但不限于合成流行音乐、进步电子音乐、意大利迪斯科音乐、电迪斯科音乐和其他衍生风格。合成波专辑通常以类似于电影配乐、电影配乐、电视音乐或视频游戏音乐专辑的风格排列。合成波的视觉元素也很重要。专辑封面深受80年代电影(特别是科幻和动作片，如“银翼杀手”或“终结者”)、电视节目(特别是“迈阿密风云”和“骑士骑士”)、视频游戏(特别是“跑路”和类似的游戏)以及其他80年代文化中重要元素的影响。合成波的起源可以追溯到2000年代中期的法国电房场景。像卡文斯基这样的艺术家将豪斯音乐与80年代电子音乐的元素结合在一起，完成了80年代灵感的艺术作品。不久之后，几位法国制作人，如College，Anoraak和Minitel Rose开始制作类似风格的音乐。也有一些合成波配乐，如Drive和Hotline Miami。从那时起，许多唱片公司都专门为这种声音而成立(最重要的是法国品牌Valerie，美国品牌意大利人做得更好的唱片，以及加拿大的Rosso Corsa唱片公司)，随着这一领域的继续蓬勃发展，世界各地涌现出一批制作人。
Synthwave is a form of Electronic music that takes most of its inspiration from synth music and pop culture from the 1980s. Musically, synthwave is often instrumental and has a “futuristic” theme, with large, throbbing, retro synths. House influenced heavy drums (often side-chained) are also very popular. It draws inspiration from a variety of genres that originated and/or was most popular during the 1980s, including, but not limited to, Synth Pop, Progressive Electronic, Italo-Disco, Electro-Disco and other derivative styles. Synthwave albums are generally arranged in a style that is similar to a Film Soundtrack, Film Score, Television Music or Video Game Music album. The visual element of synthwave is important as well. Album covers are heavily influenced by 1980s films (especially Science Fiction and Action movies, such as Blade Runner or The Terminator), TV shows (specifically Miami Vice and Knight Rider), video games (notably OutRun and similar titles), and other elements important in 1980s culture.
The origins of synthwave can be traced back to French Electro House scene in the mid-2000s. Artists such as Kavinsky combined House music with elements of 1980s Electronic music, complete with 1980s inspired artwork. Soon after, several French producers, such as College, Anoraak and Minitel Rose began producing similar styled music. There have also been some synthwave soundtracks, such as Drive and Hotline Miami.
Since then, many record labels have been set up dedicated to this sound (the most important being the French label Valerie, American label Italians Do It Better Records, and the Canadian label Rosso Corsa Records), and a slew of producers have emerged from around the world, as the scene continues to flourish.
94.柏林学派 Berlin School¶
95.电子迪斯科 Electro-Disco¶
顾名思义，电子迪斯科(Electro-Disco)是在早期迪斯科(Disco)的结构之上，采用更多电子元素(合成器和鼓机)来替代原声器材的曲风。
96.未来流行 Futurepop¶
节奏布鲁斯 R&B¶
节奏布鲁斯（英语：Rhythm and Blues，简称：R&B或RnB，台湾、港澳、马新作节奏蓝调 ），又称节奏怨曲。是一种首先非裔美国人艺术家所演奏，并融合了爵士乐、福音音乐和布鲁斯音乐的音乐形式。这个音乐术语由是美国告示牌（Billboard）于1940年代末所提出。
这个术语最初在1947年的美国被公告牌杂志的Jerry Wexler创造为一个音乐的市场营销术语，取代了种族音乐（英语：Race Music，又译黑人音乐；最初来源于黑人社群，但是被战后的社会认为是会令人很不愉快的词语）而Billboard在1949年将其分类为Harlem 畅销排行榜。这个词最初被用于定义包含了12种布鲁斯格式和一种带有节拍背景爵士乐的摇滚音乐，后来这种音乐转变成了一种摇滚乐的基本元素。
在《Rock & Roll: An Unruly History》（1995）中 Robert Palmer 把节奏布鲁斯定义为那些约定俗成、用来意指任何一种美国黑人创造的音乐。在他1981年出版的《Deep Blues》中， Palmer 用“R&B”作为跳跃布鲁斯的缩写。
Lawrence Cohn是《Nothing But the Blues》的作者，写到节奏布鲁斯是一个宣传人员为了产业便利所发明的, 除了古典音乐和宗教音乐，节奏布鲁斯包括了所有的黑人音乐，除了那是一首福音歌并且其销售足以打入流行榜。
在 1960年代，节奏布鲁斯被用于总括灵魂乐和放克音乐的术语。而现在R&B的缩写差不多一直被用于代替全写“节奏布鲁斯”，而主流则用它来表示由迪斯科逐步变得不那么流行而发展出来的Contemporary R&B──一种现代灵魂乐和受放克音乐影响的流行音乐。
Evolving out of jump blues in the late ‘40s, R&B laid the groundwork for rock & roll. R&B kept the tempo and the drive of jump blues, but its instrumentation was sparer and the emphasis was on the song, not improvisation. It was blues chord changes played with an insistent backbeat. During the ‘50s, R&B was dominated by vocalists like Ray Charles and Ruth Brown, as well as vocal groups like the Drifters and the Coasters. Eventually, R&B metamorphosed into soul, which was funkier and looser than the pile-driving rhythms of R&B. Soul came to describe a number of R&B-based music styles. From the bouncy, catchy acts at Motown to the horn-driven, gritty soul of Stax/Volt, there was an immense amount of diversity within soul. During the first part of the ‘60s, soul music remained close to its R&B roots. However, musicians pushed the music in different directions; usually, different regions of America produced different kinds of soul. In urban centers like New York, Philadelphia, and Chicago, the music concentrated on vocal interplay and smooth productions. In Detroit, Motown concentrated on creating a pop-oriented sound that was informed equally by gospel, R&B, and rock & roll. In the South, the music became harder and tougher, relying on syncopated rhythms, raw vocals, and blaring horns. All of these styles formed soul, which ruled the black music charts throughout the ‘60s and also frequently crossed over into the pop charts. During the ‘60s and ‘70s, soul began to splinter apart – artists like James Brown and Sly Stone developed funk; Kenny Gamble and Leon Huff initiated Philly soul with the O’Jays and Harold Melvin & the Blue Notes; and later in the decade, danceable R&B became a mass phenomenon with the brief disco fad. During the ‘80s and ‘90s, the polished, less earthy sound of urban and quiet storm ruled the airwaves, but even then, R&B began adding stylistic components of hip-hop until – by the end of the millennium – there were hundreds of artists who featured both rapping and singing on their records.
1.当代节奏布鲁斯 Contemporary R&B¶
当代节奏布鲁斯（Contemporary R&B）结合了传统的R&B（1940、1950年代出现的老派R&B）、流行乐（Pop）、灵魂乐（Soul）、嘻哈（Hip Hop）、放克（Funk）等风格的影响。尽管简写“R&B”让人联想到最早的Rhythm and Blues，但是Contemporary R&B通常特指是1980年代当迪斯科（Disco）没落之后的美国黑人音乐。也有很多人将Contemporary R&B、Hip Hop、Dance Pop等风格统称为当代都市音乐（urban contemporary），它们被电台DJ们播放的频率很高。Contemporary R&B的入耳旋律和鲜明节拍让它一直拥有广大的受众，是当代流行音乐中的主流。
基本特征
Contemporary R&B的制作光洁精致，鼓机打底的节奏很鲜明，偶尔还有萨克斯的润色让其更有爵士（Jazz）的风味（这一点在1995年之前的作品中更常见）。另外丝滑松弛的嗓音也是一大特色。而随着时代发展，电子元素和更多的制作手法也让Contemporary R&B一直与时俱进。
流行时段
1980年代至今
英文简介
Contemporary R&B evolved from its link to traditional Rhythm & Blues music, but it is specifically defining a style of African American music from after the demise of Disco in the 1980s. This newer style combines some prior elements of Soul, Funk, Pop, and Dance-Pop but with an integrated approach and a slick modern production.（By Rateyourmusic）
2.放克 Funk¶
放克（Funk）是一种美国的音乐类型，起源于1960年代中期至晚期，非裔美国人音乐家将灵魂乐、灵魂爵士乐和节奏蓝调融合成一种有节奏的、适合跳舞的音乐新形式。放克“不再强调旋律与和声，而强调电贝斯与鼓的强烈节奏律动”。放克歌曲通常建立在单一和弦上的衍伸性即席伴奏，不同于节奏蓝调和灵魂乐围绕在和弦进行（chord progression）。
基本特征
如同其他受非洲音乐影响的音乐，放克通常具有一种借助电吉他、电贝斯、电子琴以及爵士鼓作伴奏而成的复杂的舞动感。放克艺术家们有时还会加入由萨克斯风、小号和长号演奏的“管乐部分”，以便加强乐曲的节奏“冲击感”。
放克风格的艺术家也会演奏迪斯科和灵歌，而放克音乐的小样也被广泛地使用在嘻哈音乐、浩室音乐和敲打贝斯中。同时，go-go风格作为放克音乐的子类别的一种，受到了较大放克音乐影响。
流行时段
1960年代中晚期、1970年代
英文简介
Funk originated in the mid-1960s by musicians who began mixing the genres of Rhythm & Blues, Soul, and Jazz. The genre is characterized by a strong groove, usually carried out by bass guitar or drumkits, a prominent use of extended chords, and a percussive guitar style using a wah pedal. Funk usually focuses less on melody and more on the danceable rhythm and groove.
One of the founders of funk was James Brown, who implemented a signature groovy sound by emphasizing the downbeat and singing in a distinctly emphatic voice. Other seminal acts in funk include Sly & The Family Stone, Funkadelic and Parliament (both headed by George Clinton who created the P-Funk sound), and The Meters.
Funk has also been fused with numerous genres, such as jazz (for Jazz-Funk), Latin-associated genres (for Latin Funk), and Rock (for Funk Rock).
During the late 1970s and early 1980s, funk expanded even further, incorporating elements from Disco, Electro, and Hip Hop. During this time Prince and Rick James along with others were vital in the development of Synth Funk.
Funk also advanced in countries outside of the United States of America. In West Africa, a particular blend of Vodoun and funk arose, resulting in what many call Afro-Funk. The most important artist of this style was T.P. Orchestre Poly-Rythmo de Cotonou. In Nigeria, Fela Kuti melded Highlife, Yoruba music, and funk to create what is known as Afrobeat. India, Ethiopia, and some European countries all had a hand in the development of distinct funk styles that broke away from the American norms.(by Rateyourmusic)
3.灵魂乐 Soul¶
灵魂乐（Soul Music），是1950年代发源自美国，它结合了黑人福音音乐（Gospel Music）、节奏蓝调（R&B）和爵士（Jazz）等音乐流派。灵魂乐通过节奏蓝调的加入让传统福音音乐其更加世俗化。它有鲜明的节奏、拍掌、即兴肢体动作。此外，独唱与伴唱之间的对唱、紧绷的发声技巧I也是其主要特色。早期灵魂乐的代表作是雷·查尔斯演唱的《I Got a Woman》。
整个60年代后期，灵魂乐开始颓废，像Rascals,the Box Tops,Mitch Ryder,Tony Joe White和Roy Head乐队受到一系列的重创。
70年代时，灵魂乐继续发展，如霍尔与奥兹、Robert Palmer、Average White Band、Boz Scaggs，和大卫·鲍伊等乐队的推进，使演奏风格更加现代化。
灵魂乐影响了摇滚乐的产生和发展，而后来不同形式的新时代元素的加入也带给灵魂乐各式各样新的音乐表现和内涵。
Soul music is a popular music genre that originated in the United States in the 1950s and early 1960s. It combined elements of African American gospel music, rhythm and blues, and often jazz. Soul music became popular for dancing and listening in the United States – where music such as that of the Motown, Atlantic and Stax labels was influential during the period of the civil rights movement – and across the world, directly influencing rock music and the music of Africa.
According to the Rock and Roll Hall of Fame, soul is “music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying.”Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the soloist and the chorus, and an especially tense vocal sound. The style also occasionally uses improvisational additions, twirls and auxiliary sounds.
4.流行灵魂乐 Pop Soul¶
流行灵魂乐（Pop Soul）是灵魂乐（Soul）的子风格，在1950年代中后期出现。顾名思义，Pop Soul是更接近于流行乐（Pop）的灵魂乐，它让灵魂乐的感情，通过更流行的方式让更多人接受，也因为造就了一批在电台和排行榜上的大热金曲，直到今天仍然有很大的商业受众群。传奇厂牌Motown在1960年代成为Pop Soul的先锋。
基本特征
相比于传统灵魂乐，尽管Pop Soul的人声部分仍然有粗粝感，但它有更精细光滑的制作方式，有更多跨界的表现手法，有更亲民上口的旋律。
流行时段
1950年代中后期至今
英文简介
Pop-Soul is soul music that has been polished slightly and given a commercially viable, crossover production. The vocals are still raw, but the material and the sound of the record could easily fit onto pop radio stations’ playlists. Motown was the pioneering label of pop-soul, and through much of the ‘60s, it was one of the most popular pop music genres. In the ‘70s, pop-soul became slicker, and it eventually metamorphosed into disco.
5.新灵魂乐 Neo-Soul¶
1997年，Motown唱片公司为歌手伊莲卡巴度（Erykah Badu）发行了她的第一张专辑《巴度主义》（Baduizm），而Motown唱片的老板卡德尔马森博格（Kedar Massenburg）相当喜欢这张专辑的风格并且为它取名新灵魂乐，这就是新灵魂乐名字的由来。新灵魂乐（Neo-Soul又称为Nu-Soul）是一种多元化的音乐类型，它是由当代R&B（Contemporary R&B），hip-hop和传统灵魂乐（Soul）结合而成的。作为R&B的一种，新灵魂乐拥有传统灵魂乐必备的优异唱腔，配合上现代化编曲，使得它更容易被现代乐迷接受。但是它却又深深的受到了爵士乐（Jazz）和诗歌文法的影响，这让新灵魂乐又赢得了不少非主流乐迷的喜爱。其实现在各种音乐类型之间的界线已经相当模糊了，而新灵魂乐这样的混合产物更是如此。但是所有的新灵魂乐歌曲都有一个特点，就是歌手歌颂世间万物的美丽并且宣扬灵与爱。所以可以说新灵魂乐是最能触动人心灵的音乐之一了。
Though it’s roughly analagous to contemporary R&B, Neo-Soul artists pay more devotion to the era of classic soul, often seeking a sound and a style of songwriting with few concessions to events in the music world post-1975. The work of Lauryn Hill, first in the Fugees and later with her 1998 solo debut The Miseducation of Lauryn Hill, proved very important to the neo-soul scene, as did the debut of Erykah Badu in 1997. Several more females made splashy debuts around the turn of the millennium, including Macy Gray, Jill Scott, India.Arie, and Alicia Keys, but only the latter broke through to broad stardom. Other figures pursuing the neo-soul sound include Raphael Saadiq, Remy Shand, Sunshine Anderson, Musiq, Peven Everett, and Jaguar Wright.
6.另类节奏布鲁斯 Alternative R&B¶
另类节奏布鲁斯（Alternative R&B）出现在2000年代末，在器乐选配、演唱方式、音色上都有别于传统的节奏布鲁斯形式，前者又和R-Neg-B, hipster R&B统称为PBR&B。
典型另类节奏布鲁斯风格的歌曲特征包括了微妙的顺滑感，节奏分明的重低音，空灵的回响人声，听起来会联想到Dream Pop（梦幻流行）, Future Garage（未来车库舞曲）, UK Bass（英国贝斯舞曲）。当然这也不足为奇，许多Alternative R&B歌手的歌曲都是由Future Garage和UK Bass艺人制作，例如Jessie Ware的《Running》和Jamie Woon的《Night Air》分别由Julio Bashmore、Burial制作。同时像Jai Paul和The Weeknd这样身兼歌手、制作人双重身份的也会按照自己特有的R&B方式演绎歌曲。
另类节奏布鲁斯（Alternative R&B）歌曲在歌词上也与当代节奏布鲁斯 （Contemporary R&B）小有不同，虽爱和性依然是前者的主要主题，但之外也会有包括对毒品，个人精神和理念的探讨，整体来说更加抽象和多样化。(By XIAMI)
7.摇摆舞 Boogie¶
8.合成器放克 Synth Funk¶
9.P放克 P-Funk¶
P放克（P-Funk，P Funk 或 P. Funk）为一种由乔治．克林顿（George Clinton）以及其率领的Parliament-Funkadelic乐团所主导的音乐类型，全盛期约于1970年代中期，后来并广为许多的hip hop音乐家采样，许多的现场乐队亦继续表演此类型之音乐，使得P-Funk得以继续于视听大众间继续流传。
P-Funk的词源得由许多不同的方面解释。有数种不同的说法，分别指为“Parliament-Funkadelic”、“纯放克”（pure funk）、或是“Plainfield Funk”，指美国新泽西州之 Plainfield 市，也就是该乐团的发迹地。 Motor Booty Affair专辑之CD版本内页说明指出”P”这个字母解释做“纯粹”（pure）。由于P-Funk极为广受欢迎，因此现在成为了单独的音乐形式。此类音乐的乐迷通常称作”The P”。
P-Funk 不宜与Rick James以及 Stone City 乐团擅长的punk funk混淆，尽管这是由Rick James受P-Funk启发而来的音乐形式。
基本特征
P-Funk的鲜明特点包括单一肥厚的鼓声、迷幻恍惚的合成器声、深沉的贝斯声、常常偏重的吉他。
流行时段
1970年代中期
英文简介
P-Funk is a distinctive sub-style of Funk created in the mid-1970s by George Clinton and his fellow musicians of Parliament and Funkadelic fame, among others. Characteristics are a “fat”, monotonic drum sound; spaced-out synthesizers; thumping, “squelchy” basslines; tight, syncopated horn sections; and sometimes heavy guitars. This sound has been brought by former Clinton collaborators to many spin-off bands, for example Bootsy’s Rubber Band and Jerome Brailey’s Mutiny.
P-Funk has been a fruitful source of sampling for Hip Hop acts since the late 1980s.
10.非洲放克 Afro-Funk¶
11.新杰克摇摆乐 New Jack Swing¶
New jack swing是一种R&B和Hip-Hop融合的曲风，从80年代晚期到90年代早期和中期开始流行。这种曲风融合了非典型Hip-Hop中的”Swing”节拍(这种节拍源自于大量的运用有节奏的即兴创作)和当代R&B的演唱风格，在Hip-Hop黄金年代非常流行。
New Jack Swing evolved in the late ‘80s, when urban contemporary soul artists began incorporating hip-hop rhythms, samples, and production techniques into their sound. Some songs simply had hip-hop beats, others had rapped sections and sung choruses, but the overall result was an edgier, more street-oriented sound that seamlessly blended both the melodic qualities of soul and the funky rhythms of rap. It paved the way for the ‘90s soul, where the dividing line between rap and R&B was frequently indistinguishable.
12.平静风暴 Quiet Storm¶
安静的风暴是R＆B的广播形式，音乐风格和子类型，具有深情的缓慢果酱，由华盛顿特区WHUR-FM的驻站实习生Melvin Lindsey于1970年代中期开创，Smokey Robinson的同名热门单曲 于1975年发行的“ A Quiet Storm”作为他的第三张个人专辑的主打曲目，将其名称归功于向公众介绍该专辑的格式和广播节目。 融合了非裔美国人音乐风格，低调的风暴音乐以低调，柔和的音色和轻松的节奏和节奏而著称。 它可以是舒缓的沉思，也可以是浪漫的情绪。 安静的暴风雨音乐类似于柔和的摇滚风格，但它更明确地植根于R＆B和灵魂音乐中，并且经常带有爵士乐的延伸。 如今，安静的风暴已成为广泛的名词，它代表了Melvin Lindsey的WHUR计划以及跟随他的领导的其他众多电台（最著名的KBLX- 旧金山的FM，于1979年成为美国首个提供24小时安静风暴格式的广播电台（历时32年，直到2011年4月被Entercom Broadcasting收购，并转换为直截了当的Urban AC 格式）。
Quiet storm is a radio format, musical style, and subgenre of R&B, featuring soulful slow jams, pioneered in the mid-1970s by then-station-intern Melvin Lindsey at WHUR-FM, in Washington, D.C. Smokey Robinson’s like-titled hit single, “A Quiet Storm”, released in 1975 as the title track to his third solo album, lent its name to the format and to the radio program that introduced it to the public. Encompassing a mix of African-American music genres, quiet storm music is distinguished by understated, mellow dynamics and relaxed tempos and rhythms. It can be soothingly pensive, or express romantic sentiment. Quiet storm music is similar to soft rock styles, but it is more closely and unmistakably rooted in R&B and soul music, often with jazz extensions.
Today, quiet storm is a broad term given to an array of mellow, slow-groove contemporary R&B, soul and smooth jazz offerings of the type featured on Melvin Lindsey’s WHUR program, and on myriad other stations that followed his lead—most notably KBLX-FM in San Francisco, which in 1979 became the first radio station in the U.S. to present a 24-hour quiet storm format (which lasted 32 years, until the station was acquired in April 2011 by Entercom Broadcasting and converted to straight-ahead Urban AC format).
13.都市音乐 Urban¶
起源于黑人音乐，现在包括很多种类 比如 hiphop R&B soul(灵魂乐)等等。
也被称为都市当代音乐，Urban是1980年代和90年代R＆B /灵魂音乐的术语。 就像安静的风暴和费城的灵魂一样，都市的影响力很强，非常光滑和优美，但是尽管浪漫的民谣很适合安静的风暴广播格式，都市也有快节奏，时髦的舞步的空间，通常都拥有相同的高科技 ，可广播的节目制作和可控但充满灵魂的人声。 这就是为什么城市城市尽管名字叫“灵魂音乐”，但通常并没有泥土感，而是倾向于淡化原始情绪，以求精巧精致。 直到80年代后期，大多数城市音乐都是以流行为导向的，经常带有旋律，但几乎总是在制作方面。 一些艺术家-珍妮特·杰克逊（Janet Jackson），比利·海洋（Billy Ocean）和惠特尼·休斯顿（Whitney Houston）-从R＆B排行榜跃入流行排行榜，尽管还有Freddie Jackson，Luther Vandross，Stephanie Mills和Levert这样的艺术家，但他们的R＆B受欢迎程度从未转化过 完全一样 随着嘻哈音乐的出现，城市景观开始发生变化。 制片人兼Guy成员Teddy Riley精心设计了两者的融合，偶尔插入说唱休息片，并戏称为新的千斤顶。 新杰克成为鲍比·布朗的超级巨星，并证明对他的前新版队友也大有裨益。 除了赖利（Riley）之外，歌曲创作/制作二人组的作品还跨越了流行音乐和节奏布鲁斯（R＆B），例如吉米（Jimmy Jam）和特里·路易斯（Janet Jackson）（珍妮特·杰克逊（Janet Jackson）），登泽·福斯特（Donzil Foster）和托马斯·麦克埃罗伊（Thomas McElroy）（En Vogue），以及安东尼奥·“洛杉矶” Reid＆Babyface-十年之交主导了城市音乐，Babyface凭借自己的职业生涯取得了巨大的成功。 在90年代初期，Urban和嘻哈音乐继续交叉授粉，最终产生了一个新的杂种，标记为“ hip-hop灵魂”。 嘻哈灵魂植根于新的千斤顶，但节拍更时髦，更有弹性且不可预测。 虽然嘻哈灵魂仍旧精巧，但与新杰克相比，它具有更硬朗的灵魂感。 不过，仍然有城市的一面植根于安静的风暴和成人时代，无论它们落在频谱的哪一面，歌曲都越来越成为精致声乐技术的代表。 在某种程度上，由于主流流行音乐/摇滚的急剧下降，部分原因是90年代后半叶的都市流行单曲排行榜居于主导地位，主要演出包括Mary J. Blige，Toni Braxton，R。Kelly ，Boyz II Men，SWV，Blackstreet，Jodeci，Monica和Brandy等。
Also known as urban contemporary, Urban was the term given to the R&B/soul music of the 1980s and ‘90s. Like quiet storm and Philly soul, both strong influences, urban was very smooth and polished, but while its romantic ballads fit well into quiet storm radio formats, urban also had room for uptempo, funky dance tracks, which usually boasted the same high-tech, radio-ready production and controlled yet soulful vocals. That’s why, in spite of its name, urban didn’t usually have the earthy grit associated with the term “soul music,” preferring to tone down the raw emotion in favor of a slick refinement. Up until the late ‘80s, most urban music was highly pop-oriented, often in melody but nearly always in terms of production. A number of artists – like Janet Jackson, Billy Ocean, and Whitney Houston – crossed over from the R&B charts to the pop charts, although there were others like Freddie Jackson, Luther Vandross, Stephanie Mills, and Levert whose R&B popularity never translated quite the same way. The urban landscape began to shift with the advent of hip-hop; producer and Guy member Teddy Riley crafted a fusion of the two, inserted occasional rap breaks, and dubbed it new jack swing. New jack made a superstar of Bobby Brown and proved greatly beneficial to his ex-New Edition mates as well. In addition to Riley, songwriting/production duos whose work straddled pop and R&B – like Jimmy Jam & Terry Lewis (Janet Jackson), Denzil Foster & Thomas McElroy (En Vogue), and Antonio “L.A.” Reid & Babyface – dominated urban music at the turn of the decade, with Babyface going on to a hugely successful singing career in his own right. Urban and hip-hop continued to cross-pollinate during the early ‘90s, eventually resulting in a new hybrid tagged “hip-hop soul.” Hip-hop soul was rooted in new jack swing, but the beats were funkier, more elastic and unpredictable; while hip-hop soul was still slickly produced, it had a grittier, more soulful feel than new jack. There was still a side of urban that retained roots in quiet storm and adult contemporary, though, and regardless of which side of the spectrum they fell on, the songs were increasingly becoming showpieces for elaborate vocal technique. Partly owing to the steep decline of mainstream pop/rock in the wake of alternative, urban more or less dominated the pop singles charts for the latter half of the ‘90s, with major acts including Mary J. Blige, Toni Braxton, R. Kelly, Boyz II Men, SWV, Blackstreet, Jodeci, Monica, and Brandy, among others.
14.嘟喔普 Doo Wop¶
“嘟 喔普”（Doo-Wop）是一种流行于20世纪40年代至60年代的重唱形式。它主要受到19世纪末兴起于美国的”理发店四重唱”（Barbershop Quartet）的影响发展而来，经常由4~5人组成重唱小组，由一人担任领唱，其他人以密集和声作伴唱。通常情况下，主旋律由第二声部演唱，在主旋律上方经常出现由平行三度或四度的叠置第一声部，和主旋律形成对应的和声效果。在主旋律下方的一个或二个声部，经常采用”嘟、吧”等无字意的衬词演唱和主旋律相对应的节奏声部。”嘟 喔普”的和声结构主要以适合人声演唱的密集和声为主，在三和弦的基础上，有时还会附加六度音，甚至还采用七和弦。
形成与发展
早期的”嘟 喔普”主要流行于黑人群体中，常采用节奏布鲁斯的乐队形式进行伴奏，节奏具有早期节奏布鲁斯中持续向前推进的特征，而且常用俚语演唱。60年代，出现了很多白人”嘟 喔普”演唱组，他们的演唱显得比较温文尔雅，节奏也变得相对柔和，伴唱声部也从原来的较强的节奏性或复调和声更多的转变成了主调和声。
“嘟 喔普”的演唱中，第一声部经常会出现纯假声演唱，技巧性较高。除主旋律声部以外，其他声部经常演唱的较有弹性。这种演唱方式在50~60年代曾影响了大量的乐队和组合。如：以演唱《Only you》而出名的”大浅盘”组合（The Platters），冲浪音乐（Surf Music）的代表乐队”沙滩男孩”（The Beach Boy），以及”猫王”（Elvis Presley）的很多作品（如：《Don‘t》、《True Love》等）。当今流行乐坛很多演唱组合的演唱概念（如：纯假声演唱、低声部以衬词演唱节奏等）以及声部概念，很大程度上都受到了”嘟 喔普”的影响。
代表组合
早期”嘟 喔普”的代表组合有：黑人演唱组”墨水瓶”（The Ink Spots）、”金莺”（Orioles）等；50年代的代表组合有：”红鹤”（The Flamingos）、”云雀”（Lark）等；60年代的白人演唱组有：”奇想”（The Capris）、”丹尼与孩子们”（Danny and Juniors）等。80年代，”嘟 喔普”曾再度复兴。
Doo Wop was one of the most popular genres of rock & roll and R&B in the late ‘50s. Doo wop artists were vocal groups, with each singer in the group taking a different part that interweaved with the other singers. Frequently, the backing vocalists sang nonsense words as rhythm, and the genre’s name derives from this trait. Most doo wop groups started as a cappella bands, performing without instrumental accompaniment. The hit doo wop singles inspired countless teenagers to form their own a cappella groups, though many of them were never recorded. Despite its a cappella origins, few doo wop records were made without instrumental backing. Doo wop faded away in the early ‘60s, though its influence was felt throughout popular music in the following decades.
15.摩城 Motown¶
摩城(Motown)音乐是一种商业化的灵歌音乐，几乎和灵歌音乐在60年代同时发展起来。由于它兴起于“摩托城”（Motown Town）底特律，所以被称为“摩城音乐”。
1960年，黑人青年Berry Gordy Jr.在底特律创办了一家专门小型唱片公司——“摩城”公司，从一开始就专门制作黑人音乐。 Gordy按照自己的理念，聘请了几位制作人主要制作便于传唱的流行歌曲，在歌曲中加入一些福音歌的成分，使其听起来有点像灵歌，但是又比灵歌要精细、流行。Gordy的坚持使得公司在十年中推出一大批知名黑人歌手以及一系列的热门歌曲。到60年代末，“摩城”公司从一家小小的独立制作公司发展成由黑人拥有的全美最大的唱片公司，它的唱片销量在60年代超过了美国任何一家公司。
摩城公司的运作模式采取了创作和表演相分离的方式。摩城的歌手很少自己创作歌曲，公司聘请专业制作者和制作人专门为他们创作歌曲。这种针对市场而创作的带有商业倾向音乐的“摩城”歌曲，旋律上口，音乐清新，不但使人更加容易接受，同时也为公司创造了品牌；但也有人认为成功商业化的“摩城”歌曲在音乐上失去了很多黑人音乐的本质。The Motown label crafted a uniform house sound so instantly identifiable that “Motown” unequivocally became a style unto itself. During the ‘60s, Berry Gordy, Jr.’s Detroit label became the biggest independent in the music industry, thanks to its smooth, sophisticated blend of R&B and memorable pop melodies. At Motown, the pop side of the equation took on greater importance than ever before, which helped make the records accessible to a wider audience; their velvety elegance helped cement black popular music firmly into mainstream American culture. Motown often utilized the same core session musicians on their records, which helped lay the Motown sound’s basic rhythmic foundation of bouncing bass and echoing drums. But their arrangements were frequently lush and elaborate, adding strings, horns, woodwinds, piano, extra percussion, or whatever else might enhance the music’s urbane stylishness. This polished pop craftsmanship, when matched with the smoothly soulful vocals of the Motown artist roster, became ubiquitously popular during the early ‘60s, with songwriters like Smokey Robinson and the team of Eddie Holland, Lamont Dozier, and Brian Holland turning out one gem after another with almost assembly-line regularity. When Holland, Dozier and Holland left the label in a dispute over royalties, producer Norman Whitfield became a major figure at Motown, keeping the label in step with the harder, funkier direction much soul music was heading in. In 1970, the Jackson 5 became superstars with a funky bubblegum-soul that began to break away from established Motown formulas, and during the rest of the decade, performers like Marvin Gaye and Stevie Wonder took greater control of their own music, investing it with their own personalities and helping break up the standardized Motown blueprint. It’s that blueprint, which brought artists like the Temptations, Four Tops, and Supremes stardom, that people mean when they describe music as “Motown.”
16.新奥尔良R&B New Orleans R&b¶
17.费城灵魂乐 Philly Soul¶
18.白人灵魂乐 Blue Eyed Soul¶
白人灵魂乐（Blue Eyed Soul）顾名思义，就是白人演绎的灵魂乐。灵魂乐一直以来是黑人音乐，但是到了1960年代中期，一些白人音乐人如the Righteous Brothers开始尝试灵魂乐，并在榜单上有很好的表现，这也让Blue Eyed Soul开始发展。
英文简介
Blue-Eyed Soul refers to soul and R&B music performed and sung by white musicians. The term first came into play during the mid-‘60s, when acts like the Righteous Brothers had hits with soulful songs like “You Lost That Loving Feeling.” Throughout the late ‘60s, blue-eyed soul thrived, as acts like the Rascals, the Box Tops, Mitch Ryder, Tony Joe White, and Roy Head had a series of hits. During the ‘70s, blue-eyed soul continued to be successful, as acts like Hall & Oates, Robert Palmer, Average White Band, Boz Scaggs, and David Bowie updated the formula.
19.走走放克 Go-Go¶
20.乡村灵魂乐 Country Soul¶
乡村灵魂乐（Country Soul）是灵魂乐（Soul）的子风格，它是乡村乐（Country）和灵魂乐（Soul）的结合。在1950年代末、1960年代初，白人的Country和黑人的Soul都有很大的发展，而福音元素在两者之间均有体现，也因为这个机缘，一些音乐人尝试将Country的音乐特色及其福音元素融入到自己的Soul中，这样才让Country Soul得以发展。
基本特征
尽管Country是白人主导的风格，但是Country Soul的大部分代表艺人是黑人。但是Country的元素在其中很明显，比如Country特有的清脆钢琴声、悠扬的布鲁斯吉他音色，以及对人生及爱情更复杂、更宿命论的歌词描述等等。另外福音的元素也不可少，Country和Soul分别特有的福音和声以及教堂中使用的风琴元素也都是其所常见的。
流行时段
1960年代-1970年代
英文简介
“Country Soul” resulted from the shared genealogy of gospel in both soul and country music; although white gospel and black gospel styles began life with major stylistic differences, they had merged somewhat by the 1950s, and, added to that fact, whites were by then hearing recorded black gospel at a much greater frequency than ever before. The result, oddly enough, worked to the reverse of then-current musical trends: country-soul was in actuality the triumph of country gospel traditions seeping into soul music. Although there were some white proponents of the new sound (Joe South, Charlie Rich), the typical “country soul” song was done by a black soul artist, usually with tinkling country piano, gospel harmonies of either tradition, and lead guitar lines that sounded high and twangy like country while playing what was essentially blues. Country-soul songs were also often grounded in stately church organ and likely to, as with country music, deal with more complex and fatalistic depictions of romantic relationships in their lyrics.
The new genre arose primarily in the South, where strong religious beliefs made gospel highly influential to both blacks and whites, and where musical miscegenation was, ironically, more likely to take place than in other areas of America. Although artists like Albert Alexander and Solomon Burke had already begun tentatively exploring this style by 1960, Ray Charles’ landmark 1962 album Modern Sounds In Country And Western is often considered the commercial breakthrough of the genre. The style lasted well into the early Seventies, with several spinoff genres like the more gospel-heavy and emotional “Deep Soul,” the grittier, bluesier “Southern Soul,” and the later, funkier variant known as “Swamp Rock.” Eventually, like most soul variants, it was killed off by disco and subsequent dance movements.(by about.com)
21.北方灵魂乐 Northern Soul¶
北部灵魂乐是一场音乐和舞蹈运动，于1960年代后期在英国北部的现代场景中兴起。 北部灵魂乐队主要基于1960年代中期Tamla Motown声音的沉重节拍和快速节奏，构成了一种特殊的黑色美国灵魂音乐风格。 但是，北部灵魂运动通常会避开Motown或受Motown影响的音乐，这些音乐在主流上取得了巨大的成功。 该类型的发烧友最喜欢的唱片通常是鲜为人知的艺术家，发行的唱片数量有限，通常是由美国的区域性小型唱片公司发行，例如Ric-Tic和Golden World Records（底特律），Mirwood（洛杉矶）以及Shout和 Okeh（纽约/芝加哥）。 北方灵魂与特定的舞蹈风格和舞蹈风格有关，这些舞蹈和风格源自1960年代后期在曼彻斯特的Twisted Wheel等场所的地下节奏和灵魂场景。 这个场景以及相关的舞蹈和时尚很快传播到其他英国舞厅和夜总会，如因普尼城堡（Droitwich），地下墓穴（Wolverhampton），黑泽麦加的高地客房，金火炬（特伦特河畔斯托克）和威根赌场。 随着受欢迎的节拍变得更加狂躁和狂热，到1970年代初，北方的灵魂舞蹈变得更加运动，有点类似于后来的迪斯科和霹雳舞的舞蹈风格。 俱乐部舞蹈以旋转，翻转，空手道踢和背景为特色，经常受到美国小灵魂安东尼（The Little Anthony＆The Imperials）和杰基·威尔逊（Jackie Wilson）等美国灵魂乐团巡回演出的舞台表演的启发。 在1960年代末和1970年代初，流行的Northern Soul唱片通常可追溯到1960年代中期。 这意味着运动由著名DJ发现罕见且以前被忽略的唱片而得以维持（并将“新”唱片添加到播放列表中）。 后来，某些俱乐部和DJ开始远离1960年代的Motown声音，并开始播放具有更现代声音的新发行版本。
Northern soul is a music and dance movement that emerged in Northern England in the late 1960s from the British mod scene. Northern soul mainly consists of a particular style of black American soul music based on the heavy beat and fast tempo of the mid-1960s Tamla Motown sound.
The northern soul movement, however, generally eschews Motown or Motown-influenced music that has met with significant mainstream success. The recordings most prized by enthusiasts of the genre are usually by lesser-known artists, released only in limited numbers, often by small regional American labels such as Ric-Tic and Golden World Records (Detroit), Mirwood (Los Angeles) and Shout and Okeh (New York/Chicago).
Northern soul is associated with particular dance styles and fashions that grew out of the underground rhythm & soul scene of the late 1960s at venues such as the Twisted Wheel in Manchester. This scene and the associated dances and fashions quickly spread to other UK dancehalls and nightclubs like the Chateau Impney (Droitwich), Catacombs (Wolverhampton), the Highland Rooms at Blackpool Mecca, Golden Torch (Stoke-on-Trent) and Wigan Casino.
As the favoured beat became more uptempo and frantic, by the early 1970s, northern soul dancing became more athletic, somewhat resembling the later dance styles of disco and break dancing. Featuring spins, flips, karate kicks and backdrops, club dancing styles were often inspired by the stage performances of touring American soul acts such as Little Anthony & The Imperials and Jackie Wilson.
In the late 1960s and early 1970s, popular Northern Soul records generally dated from the mid-1960s. This meant that the movement was sustained (and “new” recordings added to playlists) by prominent DJs discovering rare and previously overlooked records. Later on, certain clubs and DJs began to move away from the 1960s Motown sound and began to play newer releases with a more contemporary sound.
22.南方灵魂乐 Southern Soul¶
南方灵魂乐（Southern Soul）是灵魂乐（Soul）的子风格，在1950年代末，1960年代初出现在美国南方。它是很多风格的混合，比如布鲁斯（Blues）、乡村（Country）、早期的摇滚（Rock and Roll）和美国黑人教堂的福音歌曲。关于Southern Soul的焦点并不在它的歌词，而在于它的律动（Groove）。它的鲜明的节奏特点也让它对放克（Funk）的形成有强烈的影响。
基本特征
Southern Soul是比较粗粝、有Funky感觉的灵魂乐。它拥有南方福音（Southern gospel）的热情，也有R&B的能量。 它的元素通常包括一位热情的福音歌手、强劲的圆号、鸡抓(Chicken-scratch)节奏吉他以及紧致的节奏。
流行时段
1960年代，1990年代后有复兴
英文简介
Southern soul is a type of soul music that emerged from the Southern United States. The music originated from a combination of styles, including blues (both 12 bar and jump), country, early rock and roll, and a strong gospel influence that emanated from the sounds of Southern African-American churches. The focus of the music was not on its lyrics, but on the “feel” or the groove. This rhythmic force made it a strong influence in the rise of funk music.
23.深度灵魂乐 Deep Soul¶
深度灵魂乐（Deep Soul）是南方灵魂乐（Southern Soul）的子风格，在1960年代中出现。它的大部分特征和Southern Soul基本一致，但是它包含的福音元素比Southern Soul更多。
基本特征
和Southern Soul一样，Deep Soul也是比较粗粝、有Funky感觉的灵魂乐。它拥有南方灵魂乐（Southern Soul）的热情和0能量。 它的元素同样包括热情的福音歌手、强劲的圆号、鸡抓(Chicken-scratch)节奏吉他以及紧致的节奏。但是Deep Soul的节奏相对Southern Soul要缓慢一些,歌词内容中有更多福音以及救赎的内容，歌手的演绎情感也更加深沉和浓烈。
流行时段
1960年代
英文简介
Deep soul emerged in mid-1960s USA, drawing on the typical Southern Soul groove and accentuating the Gospel and Blues influence, particularly Chicago Blues. It is played at a relatively slow tempo and is primarily focused on the intense, intimate lead vocal delivery, emphasizing both the melancholic tone and lyrics, and producing a downbeat, reflective atmosphere. Common instrumental tropes include murky, ‘scratchy’ guitar sounds, prominent horn sections (accompanying strings more popular in 1970s recordings) and crystalline, spiritual-sounding piano and organ parts. The style declined in popularity in the late 1970s with the emergence of Disco and newer R&B genres.
Notable artists include James Carr, Otis Redding, Percy Sledge, O.V. Wright, Aretha Franklin, Lee Moses and Irma Thomas.
Due to sharing similar influences, southern soul backing and often moods and lyrical fare, some deep soul artists forayed into Country Soul.(By Rateyourmusic)
24.孟菲斯灵魂乐 Memphis Soul¶
25.芝加哥灵魂乐 Chicago Soul¶
芝加哥灵魂乐（Chicago Soul）是灵魂乐（Soul）的子风格，出现在1960年代的芝加哥。在当时的美国有三个灵魂乐重镇，包括底特律——Motown厂牌的源头，以及孟菲斯——拥有众多硬朗粗粝的灵魂乐表演者，也是孟菲斯灵魂乐（Memphis soul）之乡，而芝加哥，则通过Chicago Soul普及了灵魂乐的发行方式——不是单曲而是唱片，它在1970年代带来了灵魂乐革命。
基本特征
Chicago soul和南方灵魂乐（southern soul）一样，都有鲜明的黑人福音元素的影响，但是相比后者的“粗线条”的感觉，Chicago soul的声音更加轻巧细腻一些。通常伴有松弛甜美的和声、大型的管弦乐团、入耳的旋律，演唱人也运用了更多流行乐的方式去诠释，它也被称为福音灵魂乐中的“软灵魂乐”。
流行时段
1960年代末——1970年代初
英文简介
Chicago soul is a style of soul music that arose during the 1960s in Chicago. Along with Detroit, the home of Motown, and Memphis, with its hard-edged, gritty performers (see Memphis soul), Chicago and the Chicago soul style helped spur the album-oriented soul revolution of the early 1970s.
The sound of Chicago soul, like southern soul with its rich influence of black gospel music, also exhibited an unmistakable gospel sound, but was somewhat lighter and more delicate in its approach. Chicago vocal groups tended to feature laid-back sweet harmonies, while solo artists exhibited a highly melodic and somewhat pop approach to their songs.
Accompaniment usually featured highly orchestrated arrangements, with horns and strings, by such notable arrangers as Johnny Pate (who largely worked with horns) and Riley Hampton (who specialized in strings). This kind of soul music is sometimes called “soft soul”, to distinguish it from the more harsh and gospelly “hard soul” style.
26.柔顺灵魂乐 Smooth Soul¶
柔顺灵魂乐（Smooth Soul）是灵魂乐（Soul）的子风格，在1970年代的美国，由放克（Funk）、流行乐（Pop）及灵魂乐（Soul）发展而来，到1970年代获得商业成功。后来由于迪斯科（Disco）和平静风暴（Quiet Storm）等风格的流行而退出主流舞台。Smooth Soul的基本特征是鲜明的旋律走向，融合Funk的元素和光洁的制作手法。
基本特征
Allmusic描述Smooth Soul为”光滑、时髦和浪漫”。和流行灵魂乐（Pop Soul）受到当时的舞曲启发不同，Smooth Soul里更多的是情歌的浪漫以及尘俗的歌词主题。然而，和Pop Soul一样，Smooth Soul的鲜明旋律也让它成为跨界演绎的良好素材。而Funk对Smooth Soul节奏的影响则让它与一般流行乐区分开来。
流行时段
1970年代
英文简介
Smooth soul is a subgenre of soul music that developed in the early 1970s from soul, funk and pop music in the United States. The subgenre experienced mainstream success from the time of its development to the late 1970s, before its succession by disco and quiet storm.
Smooth soul is characterized by melodic hooks, funk influence and smooth production style.Allmusic describes smooth soul as “smooth, stylish, and romantic.”Unlike pop-soul, which predominantly featured dance-oriented music at the time, smooth soul was more ballad-oriented with generally romantic and seductive lyrical themes.However, its melodic hooks were ideal for crossover play, much like the former. The funk influence of smooth soul’s beats also gave the subgenre its distinction from pop.
The music enjoyed commercial success during the early to mid-1970s through the works of such artists as Al Green, The Spinners, Marvin Gaye, Harold Melvin & the Blue Notes, Bill Withers, Minnie Riperton, Earth, Wind & Fire and The Stylistics.Well-known works of the smooth soul genre include Let’s Get It On (1973), Spinners (1972), Just as I Am and Let’s Stay Together (1972).As pop-soul had metamorphosed into disco during the late 1970s,smooth soul was eventually followed by the development of the quiet storm format.
27.迷幻灵魂乐 Psychedelic Soul¶
迷幻灵魂乐（Psychedelic Soul）是灵魂乐（Soul）的子风格，从1960年代末开始发展。Sly & The Family Stone将迷幻摇滚（ Psychedelic Rock）的影响带入早期的灵魂乐（Soul），让灵魂乐有了与当时的药物文化的直接关联。Psychedelic Soul与摇滚（Rock & Roll）的相关也让它成为后来放克（Funk）的前身。
基本特征
Psychedelic Soul通常使用键盘和电吉他来制造迷幻效果，与Soul的演绎方式相结合。
流行时段
1960年代末-1970年代初
英文简介
Psychedelic soul came about when Sly & The Family Stone took the effects heard in Psychedelic Rock and brought them into Soul. Psychedelic soul often uses keyboards and electric guitars to create a psychedelic sound accompanying soul vocals. Psychedelic soul is closely related to the Funk of the late 1960s and early 1970s (psychedelic soul’s heyday), as many musical acts played music incorporating both styles, such as Stevie Wonder or The Temptations.
28.深度放克 Deep Funk¶
深度放克是一种朦胧地录制方克乐曲的形式。基本上也只有狂热的收藏家和乐迷们会对它感兴趣。就好像南方灵魂乐(也叫深度灵魂乐)，深度方克可以唤起方克音乐中那种强烈的，只属于美国黑人文化的韵味。它同时也给人感觉像是仅仅属于唱片收藏家的压箱宝底。它可以是清唱或者纯乐器演奏，但其精髓在于韵律、抑扬和音符本身，而不是写歌的过程。深度方克鲜于做形式上的革新，而基本上只从像James Brown或者the Meters这样的方克乐大师中才能体现其价值；或是根据作曲家们对于音乐认知度的差异，进入更加爵士味，更加即兴的领域。一些深度方克的歌曲曾经在大唱片公司的发碟中出现过，但被混搭并埋没在其它曲风中了。它们中的另一些歌曲则在发行量可怜的独立唱片制作中被筛选出了局。但不管是哪种情况，深度方克代表的是方克乐的根基。就好像是六十年代的那些美国地下乐队在车库里狂热地录制他们所喜爱的英伦或者迷幻乐。它们中的一些是神作，一些算是好歌，当然也有使人过耳即忘的。美国人对于深度方克的旧情复燃是跟说嘻哈的兴起息息相关的。由于当时的人们贪婪地寻找那些可以用来录制深度方克的新鲜或者稀有的“母版”歌曲，甚至是那种英国北部的灵魂乐俱乐部内所特有的味道，都被挖掘出来了。受益于这种“淘金运动”，美国人在不经意间发现了一些珍贵的乡村爵士乐和偏甜的灵魂乐中具有代表性的老碟。当这种运动达到变态的巅峰时，深度方克的收藏家们甚至都已经不在乎藏品的真实价值了，而只看重绝版或者发行量的稀少，从而享受于涉猎此种唱片的过程。这其实挺容易办到的，因为世人甚至连他们收集的这些曲目听都没有听过。结果呢，就有些收藏家和DJ们为了一些着实普通的唱片却付出了高昂的代价。虽然正宗的深度方克是单曲发行的，但诸如Goldmine、BBE和Stones Throw这样的唱片行以及Scottish DJ Keb Darge这样的编辑也在极大的程度上帮助这种以单曲发行为主的深度方克最终走向CD的时代立下了汗马功劳。
Deep funk is a term used to describe obscure funk recordings that appeal mostly to zealous collectors and groove fanatics. Like deep soul, the term deep funk can evoke the strongly African-American essence of the music, but deep funk also carries the connotation of a collector digging through crates of old records, looking for that special rare, underground find. It can be vocal or instrumental, but in most cases, it’s about rhythm, groove, and musicianship, not songwriting. Deep funk rarely innovates within the form, generally taking its cues from the hard, lean brand of funk epitomized by James Brown and the Meters, or – depending on the level of musicianship – moving into jazzier, more improvisational territory. Some of it was recorded for major labels and lost in the shuffle, and some was cut for small independent labels with poor distribution. Whatever the specifics, deep funk represents the sound of funk on its most elemental, grass-roots level; it’s something akin to the way ‘60s garage bands enthusiastically copied their favorite British Invasion or psychedelic records – some was truly inspired, some just competent, some instantly forgettable. The revival of interest in deep funk is closely tied to the hip-hop movement in America, with its ravenous appetite for fresh sample material, and to the rare groove and Northern soul club scenes in Britain, which place a premium on rediscovering vintage American musical artifacts (in funky jazz and sweet-leaning soul, respectively). In their worst leanings, deep funk collectors are concerned more with the object than the substance, prizing the thrill of the hunt and the single’s rarity above its quality – which is easy to do, since not many people have heard these tracks to begin with. The result is that some collectors and DJs wind up paying exorbitant prices for mediocre music. But at its best, deep funk is about giving credit to the unfairly overlooked – discovering great grooves and tight combos that really did stack up musically. Although deep funk’s true format is the vinyl single, labels like Goldmine, BBE, and Stones Throw, and compilers like Scottish DJ Keb Darge, have helped bring the pleasures of the funky 45 into the CD age.
29.深度放克复兴 Deep Funk Revival¶
爵士 Jazz¶
jazz即爵士乐源于蓝音，是一种从前居住在美国南部的非洲奴隶以及他们的后代们的民间音乐。蓝调深受西非文化和音乐传统的影响，这些奴隶也逐渐成为移居到城市的黑人的音乐家.
爵士乐的真正起源是贫穷。 1865年，美国内战结束，往日黑人奴隶获得了自由，但是生活依然困苦。他们多数是文盲，唯有靠自己故土培植出的音乐娱乐自己。劳动的号子和农田歌曲是在采摘棉花时候唱的，赞美诗歌和圣歌是在种族隔离的教堂里聚会时唱的，而即兴之作则是独唱歌手在一只班卓琴伴奏下吟唱的。在教堂中，黑人牧师借用英国领唱方式来解决唱歌不懂字的问题。
上世纪之交流行的音乐会标准的形式，也就是当时军乐团和舞曲乐队的音乐影响了最早的爵士乐的主流表达方式。这些音乐的乐器：铜管乐器，簧管乐器和鼓成为了爵士乐的基本乐器。
爵士乐(Jazz)以其极具动感的切分节奏、个性十足的爵士音阶和不失章法的即兴演奏（或演唱）赢得了广大听众的喜爱，同时也得到了音乐领域各界人士的认可。它以布鲁斯和拉格泰姆为源头，经过整整一个世纪的发展，如今已是异彩纷呈、百花齐放。自从1917年第一张爵士唱片诞生以来,它便显示出了巨大的发展潜力。20世纪初的新奥尔良爵士乐 、30 年代大乐队演奏的摇摆乐、40年代的比博普爵士、40 年代末的冷爵士、50年代的硬博普、60 年代的自由爵士、70 年代以后的摇滚爵士，而后拉丁爵士、融合爵士、爵士放克…… 一张张不同风格的爵士唱片汇成了一部爵士乐发展史。
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Jazz is seen by many as “America’s classical music”. Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as “one of America’s original art forms”
Classic Jazz refers more to a transitional era (1920s), rather than any specific style. During the 1920s jazz slowly shifted from the exuberant New Orleans and Dixieland styles toward a more sophisticated and urbane swing style. Many artists who participated in this transition had careers that overlapped into Dixieland in the early 20s, and into swing in the middle 30s. Not only was the music shifting during this time, but the performing ensembles were growing bigger as more dance orchestras began to use jazz elements creating a big band jazz/pop hybrid that would lead to the classic big bands of the swing era.
The leaders of classic 1920s jazz are orchestra leader Fletcher Henderson and his star soloist, Louis Armstrong. The Henderson orchestra did away with the constant polyphonic soloing of New Orleans jazz and replaced it with cool relaxed riffing which provided a background for Armstrong’s expressive melodies and exciting solos. Classic jazz is still played by jazz lovers all over the world, although not always with the right feel.
1.巴萨诺瓦 Bossa Nova¶
巴萨诺瓦(Bossa Nova)是一种融合巴西森巴舞曲和美国酷派爵士的一种“新派爵士乐”，承袭choro和samba-cancao的部分特色而又自成一格，乍听简洁轻快。巴萨诺瓦结构复杂；乐器的音阶或和弦转换的行进方式变幻莫测，往往乍听下以为可以掌握旋律的起落和节奏，和弦一转换后即捕足不及。它的旋律可以是行板或中板速度进行。
语源
巴萨诺瓦(Bossa Nova)是葡萄牙文，Bossa原意是演奏Samba时的自然风格与气质，Nova则是新的意思。结合起来，Bossa Nova就是一种融合了传统巴西森巴(samba)节奏与啼乐(choro)的一种”新派音乐”。正统的Bossa Nova的起源是南美洲巴西土生土长的音乐，之后流传到北美洲之后广为爵士乐坛所喜爱，由美国爵士乐手大力推广。也因此“Bossa Nova是拉丁爵士的一种”的这个印象，已经是后来的事情了。
风格
巴萨诺瓦的字面意思是“新节奏”，原来是一种拉丁音乐，听起来轻松柔和、慵懒甜美、浪漫性感。与传统南美及拉丁音乐不同的是，巴萨诺瓦不像森巴或伦巴(Rumba)那样节奏强烈，除拥有南美音乐的热情外，还带有一份慵懒和轻松的感觉。
历史
巴萨诺瓦在1950年代末期的巴西兴起。 1959年，由法国导演Marcel Camus执导的巴西电影“黑色奥菲斯”(Black Orpheus)勇夺康城电影节、奥斯卡、金球奖三项最佳外语片奖； 带有巴萨诺瓦风格的电影主题曲“A Felicidade”和“Desafinado”风行一时，人们开始对巴萨诺瓦产生兴趣。1960年代美国更掀起一阵巴萨诺瓦风潮，延烧到世界各地，影响了往后1970、80年代的电影及流行音乐。
著名音乐人
Antonio Carlos Jobim(1927-1994，巴西作曲家，巴萨诺瓦之父)
The Girl From Ipanema
Meditation
Água de Beber
Desafinado
Corcovado
How Insensitive一
Astrud Gilberto(João Gilberto前妻)
王俪婷 Olivia Ong
Rosalia de Souza
Cibelle
Stan Getz(1927-1991年)
The Girl From Ipanema
小野丽莎(Lisa Ono，小野リサ)
在亚洲的发展
日本在1960年代中期就流行巴萨诺瓦，闻名国际的萨克斯风手渡边贞夫就是日本推动巴萨诺瓦的先锋。日本的许多音乐人常表演巴萨诺瓦；除渡边贞夫外，还有李敬子、小野丽莎、铃木重子等爵士艺人，都有不少巴萨诺瓦的作品，其中小野丽莎更被定位为巴萨诺瓦歌手。
踏入21世纪，巴萨诺瓦在台湾开始有流行的趋势，频频在广告中出现，可说是历久弥新的“新节奏”。
Bossa nova is a genre of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music genres abroad. The phrase bossa nova means literally “new trend” or “new wave” (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] (About this sound listen)). A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students.
Although it had been developing throughout the 50s, Bossa Nova became popular in the early 60s as a more mellow alternative to the aggressive urban sounds of hard bop and the avant-garde. Bossa Nova was a Brazilian concoction that combined simplified and slowed down samba rhythms, relaxed cool jazz sensibilities and modern European impressionistic harmonies into a music that was pleasing, but hardly simplistic. The pulsing relaxed rhythm, marked with hypnotic accents, that defines Bossa Nova can be heard in the songs and guitar rhythms of Joao Gilberto and Antonio Carlos Jobim.
2.爵士流行 Jazz Pop¶
六十年代末期，爵士乐经历了一次危机，年轻的听众喜爱灵魂乐与摇滚乐，老一辈的乐迷则不再迷恋于那些大多数抽象且感情不足的现代爵士乐，爵士乐手意识到如果想挽回听众的心，他们势必要在爵士乐中吸取一些流行音乐的要素，而灵魂乐与摇滚乐就成为他们这种概念最佳来源。这样的音乐形式通常被称为融合爵士（Fusion）。
Jazz-Pop就是融合爵士下面的一种形式，爵士流行既保持了布鲁斯音阶和演唱音色的运用，但同时又把握流行乐的特点：通俗易懂朗朗上口，保证了内容的可传递性。
3.摇摆乐 Swing¶
摇摆乐不同于先前的新奥尔良爵士乐和迪克西兰爵士乐，通常乐队中的合奏更为简化，同时是作为更为成熟的独奏之间的反复演奏的连复段。而个人的即兴演奏也是主要是密切的建立在旋律的基础之上，其原因主要是由于音乐技法的进步。同以前的演奏相比，独奏的演绎更具有冒险性。在大乐队时代结束之后，摇摆乐风格的音乐家仍然坚持这种风格演出，他们的演奏堪称是一种主流的爵士乐。真正摇摆乐在流行乐坛的确立则要算是1935年Benny Goodman大乐队的成功，直至1946年大乐队时代的结束为止，摇摆乐一直是美国流行音乐的一支重要的力量。摇摆乐不同于先前的新奥尔良爵士乐和迪克西兰爵士乐，通常乐队中的合奏更为简化，同时是作为更为成熟的独奏之间的反复演奏的连复段。而个人的即兴演奏也是主要是密切的建立在旋律的基础之上，其原因主要是由于音乐技法的进步。同以前的演奏相比，独奏的演绎更具有冒险性。在大乐队时代结束之后，摇摆乐风格的音乐家仍然坚持这种风格演出，他们的演奏堪称是一种主流的爵士乐。
Swing music, or simply swing, is a form of popular music developed in the United States that dominated in the 1930s and 1940s. The name swing came from the ‘swing feel’ where the emphasis is on the off–beat or weaker pulse in the music. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, a period known as the swing era. The verb “to swing” is also used as a term of praise for playing that has a strong groove or drive. Notable musicians of the swing era include Louis Armstrong, Duke Ellington, Count Basie, Benny Goodman, Artie Shaw, Glenn Miller, Woody Herman, Tommy Dorsey, Jimmy Dorsey, Shep Fields, Sammy Kaye, Harry James and Cab Calloway.
The Swing genre represents a golden age for jazz that showed its first signs in the mid-20s, but really peaked from the mid-30s to the mid-40s. Going well into the 20s, most jazz bands still played in New Orleans or Dixieland styles in which the musicians all improvised simultaneously while staying within the boundaries of the original tune’s melody and harmony.
When cornetist Louis Armstrong joined Fletcher Henderson’s Orchestra in 1924, the band’s arranger, Don Redman, knew he had a rare talent on his hands and began to spotlight Armstrong’s melodic skills. No longer would the entire band improvise, instead Armstrong would be given the freedom to take solos to new heights while the rest of the band supplied supporting riffs. This new approach to band arranging spread and reached the public at a time when people were looking for large orchestral bands that could provide an evening’s worth of dance music. Thus the golden age for big band jazz was born.
From 1935 to about 1946 jazz dance bands led by the likes of Benny Goodman and Duke Ellington were the number one form of entertainment in the US. The swing era finally came to an end when new taxation laws on nightclubs made dance floors unprofitable and jazz became an entertainment for listening, not dancing.
4.柔顺爵士 Smooth Jazz¶
Smooth Jazz发现到现在已经二十多年了，如果追溯到起源，从各种各样的档案资料里都可以找到，Smooth Jazz是Fusion(融合爵士)的一种衍生物，在其音乐当中，音乐家们不再把他们的精力投入到即兴创作及演奏当中去，而是更加注重音乐的旋律化，以及和R&B等其它音乐之间的融合能力。的确， 当George Benson, Bob James, Grover Washington Jr. 等一批Smooth Jazz先驱把这样一种新型的现代爵士音乐类型带进唱片公司录音间的那一时刻开始，Smooth Jazz就注定和“商业”，“流行”，“现代”这些词汇紧紧联系，永不分离。但这些大师们把他们的音乐推销给千家万户以后，很多人都会有这样的一种感慨：“原来爵士乐还可以这样玩”。注意，他们提到了“爵士乐”这个词，可以见得他们的音乐还是爵士音乐，再退一步讲，他们音乐的根源是爵士乐而在这二十年来，这样的一种音乐发生了什么样的一种变化呢，其实只要听听我开始提到的那三首单曲之后，答案就很明显了。“Smooth Jazz不再爵士了”。 虽然这样一个结论不是绝对的，比如大量的以传统爵士作为根源的Smooth Jazz仍在不断继续的发展，但广义的Smooth Jazz 队伍明显庞大了许多，这正是因为越来越多的和爵士音乐并无多少关联的音乐加入到这个队伍当中
Smooth Jazz本身就是一种非常时尚的音乐类型，当然要领导这个潮流就需要不断的变化，在前两年Chill-Out音乐以及Lounge音乐风靡的时候，很多Smooth Jazz音乐家以及业内人事都嗅到了其在现代爵士音乐领域的巨大商业潜力，很快以Acid-Jazz这种非常电子化的爵士音乐为基础，加入大量的Ambient元素的音乐开始大行其道，比如英国音乐家Paul Hardcastle的Jazzmassters系列以及Hardcastle系列就是非常典型的范例，而在今年2月又一群欧洲的DJ共同发行的合辑《Rendezvous Lounge》其实是一张地地道道的电子类Down-tempo的音乐唱片，但其发行以及推广都是在Smooth Jazz领域里完成的，而且被业内人士打了非常高的分，作为一张经典现代Smooth Jazz来宣传。这些音乐当中经常也能找到一些爵士的影子，但只不过是用来为他们的时尚音乐点缀罢了。
Smooth Jazz已经不只是代表Smooth了的爵士音乐了，因为Smooth Jazz作为独立的一种音乐形式的趋势已经越来越明显了，而这种独立不仅仅是在音乐本身，还是发生在所有相关的商业体系。这样看来，“Smooth Jazz不再爵士”就不奇怪了，甚至成为了这种音乐发展的必然趋势， 但却不会被诸如New Age音乐的其它音乐形式所吞并，反而会有可能包容其它的音乐形式，其魅力根源就来自它巨大的商业背景。
Smooth Jazz is an outgrowth of fusion, one that emphasizes its polished side. Generally, smooth jazz relies on rhythms and grooves instead of improvisation. There are layers of synthesizers, lite-funk rhythms, lite-funk bass, elastic guitars, and either trumpets, alto, or soprano saxophones. The music isn’t cerebral, like hard bop, nor is it gritty and funky like soul-jazz or groove – it is unobtrusive, slick, and highly polished, where the overall sound matters more than the individual parts.
5.融合爵士 Jazz Fusion¶
融合爵士兴起于七十年代，是爵士乐的分支之一。只要你有足够的创新意识和胆量，任何音乐都可以成为爵士乐的调料。如今所谓的融合爵士一般是指在爵士乐的基础上融合了摇滚乐、世界音乐等成分，同时也融进一些流行音乐元素的爵士风格。因此，融合爵士给人的感觉是既新鲜又流行，而又不失爵士乐的色彩。
从乐队上看，融合爵士打破了传统爵士乐队一直以原声乐器为主体的原则，它大量的使用电声乐器和电子乐器，使其更具现代气息。比如用电贝司代替原声贝司，用电子合成器代替钢琴，电吉他使用效果器（传统爵士乐一般不使用使用效果器）等做法都是一次大胆的创新。从节奏形态上看，融合爵士经常加强鼓和贝司的力度，制造出奔腾不息的节奏律动，钢琴和吉他也从原来演奏旋律声部转变为节奏乐器。这种不规则的低音线条，疯狂的贝司击弦，厚重的摇滚节拍加上爵士乐的规则，有时又被称为爵士放克（Jazz Funk）。总之，融合爵士的电气味重了，流行味浓了，因此被人接受的可能度也就大了。
Jazz fusion (also known as fusion) is a musical genre that developed in the late 1960s when musicians combined aspects of jazz harmony and improvisation with styles such as funk, rock, rhythm and blues, and Latin jazz. During this time many jazz musicians began experimenting with electric instruments and amplified sound for the first time, as well as electronic effects and synthesizers. Many of the developments during the late 1960s and early 1970s have since become established elements of jazz fusion musical practice.
Rock and RnB came from jazz in the 1940s via the jump blues genre. Needless to say, over the years jazz, rock and RnB have enjoyed a close relationship and have cross-influenced each other from the beginning. In the mid to late 60s, rock and RnB under went major changes with rock becoming much louder and more experimental under the influence of artists such as Jimi Hendrix and Cream, while RnB became more syncopated and abstract with the new funk sound created by James Brown, Bootsy Collins, Sly Stone and Larry Graham. Meanwhile, Latin jazz was undergoing similar experimental changes under the guidance of artists such as Hermato Pascoal and Flora Purim.
At this point in the mid to late 60s, any intersection between jazz, rock, funk and Latin became a radically different form of music that eventually came to be called fusion.
6.爵士放克 Jazz Funk¶
放克爵士乐（Jazz funk），是1960年代受放克影响而发展出来的一种爵士乐风格，特色是强列的Backbeat，即兴演奏比重较放克音乐要多，与同时期的融合爵士乐相似使用大量电子乐器、合成器。
爵士放克（Jazz-funk）是爵士音乐的子流派，其特征是强劲的后拍（凹槽），带电的声音和早期流行的模拟合成器。 将爵士乐，灵魂乐和R＆B音乐和风格融合到爵士乐中，创造了一种流派，其流派范围很广，从强烈的即兴演奏到带有爵士乐安排，爵士即兴即兴和爵士独奏的灵魂乐，放克或迪斯科舞，以及 有时是灵魂的声音。
爵士放克音乐主要是美国风格，在整个1970年代和1980年代初期都很流行，但在1970年代中期，它在英格兰的俱乐部巡回赛中也引起了人们的注意。 类似的流派包括灵魂爵士乐和爵士乐融合，但都没有与爵士朋克音乐完全重叠。 与灵魂爵士乐相比，爵士放克音乐的人声更少，更易编排且具有更多的即兴表现，并且与某些爵士乐融合产品相比，保留了强烈的节奏感和节奏感。
放克爵士乐是爵士乐融合的子流派，基本上是将放克节奏与即兴爵士乐融合在一起。 一些经典的爵士乐歌手包括The JBs，The Meters，Brecker Brothers和Soulive。 在JMA，Fusion，Funk，Soul Jazz和Acid Jazz流派中还可以找到其他流行的爵士音乐。
Jazz-funk is a subgenre of jazz music characterized by a strong back beat (groove), electrified sounds and an early prevalence of analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals.
Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid-1970s. Similar genres include soul jazz and jazz fusion, but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production.
Funk jazz is a sub-genre of jazz fusion and is basically the blending of funk rhythms with jazz improvisation. Some classic funk jazz artists include The JBs, The Meters, The Brecker Brothers and Soulive. At JMA, additional funk jazz music can be found in the Fusion, Funk, Soul Jazz and Acid Jazz genres.
7.酸性爵士 Acid Jazz¶
酸爵士（英语：Acid Jazz），又译迷幻爵士，源于英国英格兰南部，是爵士乐的一种分支音乐类型，结合了部分灵魂乐、放克音乐（Funk）和迪斯科成分，尤其是循环拍子和调式和声方面。它在1980年-1990年间开始发展，由最初类似爵士放克（Jazz-funk）风格，转型至类似电子舞曲和波普音乐的混合。吉尔斯·彼得森（Gilles Peterson）和埃迪·皮尔勒（Eddie Piller）也成立了一家同样名为“酸爵士”（Acid Jazz Record，简称 Acid Jazz）的英国唱片公司，旗下歌手皆会唱酸爵士音乐。唱片公司愿意专为酸爵士出唱片，可见它很受欢迎（见右图）。酸爵士包含很多电子音乐元素，而且很适合作现场即兴改版演出，所以歌手都很喜欢在其演唱会演唱酸爵士歌曲。英格兰乐队“匿名者”（Incognito）和“新重骑兵”（Brand New Heavies）的演唱尤其着重酸爵士的和弦特质。酸爵士的发展也可算作爵士放克、灵魂爵士的复兴。因为多种乐器可作现场即兴演出，加上酸爵士特殊的编曲模式，让唱片骑师的“刮擦”技术得以体现 ─ 这协助诺曼·杰伊（Norman Jay）、吉尔斯·彼得森、帕特里克·福奇（Patrick Forge）等唱片骑师打响知名度。酸爵士的常用乐器包括：萨克斯管、小号、长号、单簧管、钢琴、吉他、低音提琴、鼓。
酸性爵士这类音乐是成长在爵士、funk、hip-hop之间的音乐。酸性爵士有三个基本元素：它作为一个极富力度的撞击而存在，起初的风格类似于爵士和非洲古巴舞曲，但是它又固执的游离在funk,hip-hop和舞曲音乐之间。1998年，最初它出现在作为美国唱片的说明性短语和重新发行的70年代的英语歌收录辑系列的标题中，被Brits称作在80年代中期再现的特别的夹缝音乐。
Acid jazz is a musical genre that combines elements of jazz, funk and hip-hop, particularly looped beats. It developed in the UK over the 1980s and 1990s and could be seen as tacking the sound of jazz-funk onto electronic dance: jazz-funk musicians such as Roy Ayers, Donald Byrd and Grant Green are often credited as forerunners of acid jazz. Acid jazz has also experienced minor influences from soul, house, and disco.
While acid jazz often contains various types of electronic composition (sometimes including sampling or live DJ cutting and scratching), it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. The compositions of groups such as Jamiroquai, Galliano, Urban Species, The Brand New Heavies and Incognito often feature chord structures usually associated with jazz music.
The acid jazz “movement” is also seen as a revival of jazz-funk or jazz fusion or soul jazz by leading DJs such as Norman Jay or Gilles Peterson or Patrick Forge, also known as “rare groove crate diggers” or “Cataroos”.
Q magazine stated “Acid jazz was the most significant jazz form to emerge out of the British music scene”.
Jazz music community with review and forums
Acid jazz grew out of the late 80s DJ scene in London in which record spinners would treat dancing patrons to difficult to find 45s released by 60s soul jazz artists. Eventually contemporary lounge/jazz performers such as James Taylor began to capitalize on this interest in 60s ‘rare groove’ and began to perform live music that had equal appeal for the trendy club crowd. Another aspect of early Acid Jazz involved the mixing of 60s RnB-jazz with the sounds and rhythms of acid house. Once Acid Jazz left England, confusion as to what it actually was created a diversity of influences including dub reggae, hip-hop, drumnbass and 60s psychedelic rock. More recently Acid Jazz is often seen as either 60s rare groove, or a merging of jazz with trip-hop or other club friendly electronica sounds and rhythms.
Typically the artists listed in JMA’s acid jazz genre are live bands while acid jazz artists who are more DJ based are listed in our DJ/Electronica jazz genre.
8.人声爵士 Vocal Jazz¶
Vocal Jazz（人声爵士） 尽管并不是全部采用人声爵士，20世纪的人声爵士演绎大师大都采用爵士语言进行演奏。从Russ Columbo，Doris Day到Johnny Mathis均将其天才与嗓音用于内容的表达。他们放弃了爵士器乐演奏家惯用的演绎标准的方式，而利用其即兴演奏的天赋，音乐家的素养，甚至个性化，带给了歌词新的意义。早期的一对巨匠，Louis Armstrong，Bing Crosby，留下了人声爵士的标准：随意却不失焦点。几乎就是当时人声爵士的专业标准。从大乐队集中的地区涌现出了大批爵士演唱家，几乎都是后来的大师级人物：Frank Sinatra， Billie Holiday， Ella Fitzgerald， Anita ODay, Sarah Vaughan，Peggy Lee, Joe Williams；他们均和摇摆舞乐队共事过很长一段时间，多数在人声爵士风格开始时因此取得了巨大成功。尽管区分人声爵士演唱家与传统流行乐歌手并不总是那么容易，很多爵士节目单还是以演奏内容来作目录的。人声爵士与爵士独奏家们展开了竞争。他们那时通常拒绝与无名乐队和具有流行音乐元素的乐队合作。而选择与真正天赋禀异的组织者（Nelson Riddle, Billy May）以及真正伟大的作家合作（Irving Berlin, Cole Porter, the Gershwins）。和40, 50年代的人声爵士演唱家汲取了摇摆舞的风格一样，后波普歌手们也用他们自己的经验来演绎疯狂的节拍，实验爵士器乐演奏家的独奏。Lambert, Hendricks, Ross陶醉在狂热的合声中，而Betty Carter, Mark Murphy, Abbey Lincoln 则发掘出更激进的即兴演奏方式。尽管70到80年代，人声爵士演奏家日趋减少，还是有很多艺术家坚持不懈，继续这种风格。
Vocal jazz or jazz singing is an instrumental approach to the voice, where the singer can match the instruments in their stylistic approach to the lyrics, improvised or otherwise, or through scat singing; that is, the use of non-morphemic syllables to imitate the sound of instruments.
Probably the easiest genre to define of all as the title says it best. Obviously here is where you will find vocalists who sing in a distictive jazz style, or styles I should say because although there is a similarity of delivery in the jazz nuances of these listed singers, the performing era and genre style of singers you will find here ranges from Billy Holliday to Doris Day and on to Norah Jones.
Most of the 20th century’s great vocalists performed in the jazz idiom, though not all rank in the style known as vocal jazz. While singers from Russ Columbo to Doris Day to Johnny Mathis relied on talent and vocal strength alone to carry material, vocal jazz artists instead chose to interpret standards in much the same way as the great jazz instrumentalists, so their readings of the great American songbook required talents related to improvisation, musicianship, harmony, even personalization to bring new meanings to the lyrics. A pair of early giants, Louis Armstrong and Bing Crosby, recorded distinctive readings of standards, relying on a delivery that was casual yet very focused — an almost total break with the professional vocal traditions of the past. From the big-band era came dozens of major jazz vocalists, and in fact, most of the best: Frank Sinatra, Billie Holiday, Ella Fitzgerald, Mel Tormé, Anita O’Day, Sarah Vaughan, Peggy Lee, Joe Williams; all of them worked long hours touring with swing bands, and most were repaid in kind with major success during the post-war era, when the style really bloomed. Though it wasn’t always easy separating jazz vocalists from traditional pop singers, many in the jazz repertoire usually earned the tag by delivering variations of their material in performance or scatting in emulation of a jazz soloist. They also generally refused no-name orchestras and generic pop hits of the day, preferring instead the work of talented arrangers (Nelson Riddle, Billy May) and truly great composers (Irving Berlin, Cole Porter, the Gershwins). Singers of the post-war era began stretching the concepts of not swing but bop, interpreting the frantic tempoes and exploratory solos of jazz instrumentalists with their own vocal experiments. Lambert, Hendricks & Ross indulged in manic harmonies, while a host of singers (including Betty Carter, Mark Murphy, and Abbey Lincoln) explored different charts, radical material, and much improvisation. Even while the ranks of jazz vocalists thinned during the 1970s and ‘80s, many artists continued in the style.
9.电爵士 Nu Jazz¶
NUJAZZ（新兴爵士）：爵士面新的型态，融合电子音乐为主，也就是所谓的Nu-Jazz。Nu Jazz于90年代后期形成，是一种将Jazz架构或是Jazz演奏透过电子手法表现出的一种音乐,有时称之为电子爵士Electro Jazz或者Jazz House等等），但Nu Jazz并无较明确的模式，有时候可能运用真实乐器演奏，有时透过电子手法来表现21世纪的爵士风貌，有时艺人们（或是DJS）又会给JAZZ加入不同类型的音乐元素,例如:funk, Soul, electronic dance和一些即兴创作等等。使JAZZ乐变得多元化，所以NU-JAZZ（NU JAZZ）有时候可分做electronic jazz, electro-jazz, e-jazz,jazztronica, jazz house, phusion, “neo-jazz” ,future jazz.例如像是来自法国的St.German和来自德国的Jazznova等，都是当时NUJAZZ领域中的佼佼者。Nu Jazz基本上比起它的表亲Acid Jazz更朝电子领域延伸，不管它是加入了Hip Hop，House，Drum & Bass或是Broken beat等节奏元素，但基本调性仍然离不开Jazz架构。
Nu jazz, also known as jazztronica, is a genre of jazz and contemporary electronic music. The term was coined in the late 1990s to refer to music that blends jazz elements with other musical styles, such as funk, soul, electronic music, and free improvisation.
Nu jazz grew out of the combined influences of Jon Hassel’s Kiranic trumpet playing and ‘fourth world’ rhythms, Miles Davis’ soft tone and use of ambience on “In a Silent Way”, and the early 90s intersection of jazz and electronica, particularly trip-hop, dub and down-tempo. Some early Nu Jazz artists include Nils Petter Molvaer and Bugge Wesseltoft. Over time, other influences were introduced to the Nu Jazz sound.
For a time, the jangling ambient guitar sound of post-rock was a big influence on Nu Jazz, but that has mostly faded now. Meanwhile, bands like Jagga Jazzist and Snarky Puppy have re-discovered the lush orchestrations of sophisticated easy listening and exotica arrangers such as Henry Mancini and Les Baxter. Yet another influence, one that has emerged from the sound of the popular Portico Quartet and others, is the use of repeating minimalist phrases. This use of short repeating melodic phrases not only comes from minimalist composers such as Steve Reich and Phillip Glass, but also from Zeuhl artists and a long history of European art rock. An influence from ambient music is also part of the Nu Jazz genre, this can be found in the early music of Nils Petter Molvaer, as well as others. Nick Bartsch is a popular Nu Jazz artist who often combines the repeating figures of minimalism with a dub reggae style ambiance.
All of the above mentioned influences may appear on a Nu Jazz album, but not necessarily all. As Nu Jazz continues to develop, the most constant factors tend be a relaxed ‘cool’ approach, an influence from modern electronica and an appreciation for ironic kitsch and retro sounds. Some early precedents for Nu Jazz can found in the Terry Riley influenced ambient sections on Soft Machine’s IIIrd album, Brian Eno’s use of Brand X’s funk/fusion backing tracks in building his late 70s ambient art rock albums, and Miles Davis’ lengthy “He Loved Him Madly” from his “Get Up With It” album.
Although there are musical differences between Nu Jazz and Contemporary Jazz, from a pop-culture standpoint, the more obvious difference between the two is Nu Jazz’s self-aware ’hipster’ stance, compared to Contemporary Jazz’s more emotionally earnest approach.
10.噪音爵士 Skiffle¶
噪音爵士乐（Skiffle）又称民谣爵士乐，是一种流行音乐，受到爵士乐、蓝调、民间音乐、美国民间音乐的影响，通常是一个小乐团，早期表演者经常使用自制或临时拼凑的乐器，比较著重于即兴演出。噪音爵士乐这个词起源于美国20世纪初期，在50年代英国开始流行，主要音乐家有Lonnie Donegan，The Vipers Skiffle Group，Ken Colyer和Chas McDevitt等。噪音爵士乐后来在许多杰出的爵士乐，流行乐，蓝调，民谣和摇滚音乐家的职业生涯中起到了重要作用，并被视为是英国民间复兴，英国蓝调热潮和英国入侵美国流行音乐界第二个关键的垫脚石。
Skiffle is a music genre with jazz, blues, folk and American folk influences, usually using a combination of manufactured and homemade or improvised instruments. Originating as a term in the United States in the first half of the 20th century, it became popular again in the UK in the 1950s, where it was associated with artists such as Lonnie Donegan, The Vipers Skiffle Group, Ken Colyer and Chas McDevitt. Skiffle played a major part in beginning the careers of later eminent jazz, pop, blues, folk and rock musicians and has been seen as a critical stepping stone to the second British folk revival, blues boom and British Invasion of the US popular music scene.
11.吉普赛爵士 Gypsy Jazz¶
吉普赛爵士（或称摇摆吉普赛爵士）是一种爵士乐演奏风格，多数人认为由金格·莱恩哈特（Django Reinhardt）于1930年期间开创了这种乐风。吉普赛爵士的发迹与法国息息相关，许多人也称其为”Jazz Manouche”（译为吉普赛爵士），即便在英文里也是这样称呼。这个词现在普遍指称这种音乐风格。
金格被认为是1930年到1950年间，活跃于巴黎的罗姆吉他四重奏中的灵魂人物，这个四人乐团由金格、Baro兄弟和金格的兄弟约瑟夫·莱恩哈特（Joseph Reinhardt）组成。
许多这种乐风的演奏家，同时也是当时著名的马赛特乐团中的一员。马赛特风格的华尔滋对吉普赛爵士影响深远。金格将大量暗悔的半音阶与当时的摇摆乐结合，成为他的个人特色。这样的结合使吉普赛爵士备受讨论。此外，金格的演奏手法更奠定了现代吉普赛爵士吉他的基础。金 格所属最著名的爵士乐团Quintette du Hot Club de France， 也让爵士小提琴手Stéphane Grappelli闻名于世。
Quintette du Hot Club de France最初没有鼓手，并以木吉他作为主导乐器。吉他和小提琴是主要的独奏乐器，不过单簧管、 曼陀林和手风琴也常在独奏中出现，并用节奏吉他特别的节奏手法”la pompe”来取代爵士鼓。大多数的吉普赛爵士吉他手，无论是主奏或节奏吉他手，都使用为金格量身定做的Selmer-Maccaferri吉他。
吉普赛爵士的乐团，通常由主奏吉他、小提琴、两个节奏吉他和贝斯组成。不管是大型的现场演出，小型的非正式即兴演出，或如每年在法国北部的萨穆瓦叙尔塞纳举办的「金格·莱恩哈特音乐节」中演出的乐团，都忠于乐器原音的呈现。
东方的吉普赛爵士乐中，节奏部的乐器通常是一或两个辛巴龙（一种匈牙利乐器），或一个辛巴龙加上一把木吉他，可能再加上一组爵士鼓，并由低音提琴当作基底。
Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music generally accepted to have been started by the gypsy guitarist Jean “Django” Reinhardt in and around Paris in the 1930s. Because its origins are in France and Django was from the Manouche Roma clan (although his frequent accompanists, and later solo performers/band leaders the Ferret brothers were not Manouches but Gitan Roma) it is often called by the French name, “jazz manouche”, or alternatively, “manouche jazz”, even in English language sources. The term is now commonly used for this style of music.
Rhythm guitar in gypsy jazz uses a special form of strumming known as “la pompe”, i.e. “the pump”. This form of percussive rhythm is similar to the “boom-chick” in bluegrass styles; it is what gives the music its fast swinging feeling, and it most often emphasizes beats two and four; a vital feature of swing. The strumming hand, which never touches the top of the guitar, must make a quick up-down strum followed by a down strum. The up-down part of la pompe must be done extremely fast, regardless of the tempo of the music. It is very similar to a grace note in classical music, albeit an entire chord is used. This pattern is usually played in unison by two or more guitarists in the rhythm section.
Another important aspect of this style of playing is based on the chord shapes Django was forced to use due to his injury. Standard barre chords are not as common in gypsy jazz. Standard major and minor chords are almost never played, and are instead replaced by major 7th chords, major 6th chords, and 6/9 chords. Gypsy reharmonisation is often aimed at giving a minor feel even where a song is in a major key, for instance the substitution of a minor 6th chord for a dominant seventh. Dominant seventh chords are also altered by lowering the 9th and 13th scale degree.
Gypsy jazz has its own set of frequently played standards, which are fairly distinct from the standards tunes of mainstream jazz. However, contemporary ensembles may adapt almost any type of song to the style.
Gypsy swing standards include jazz hits of the ‘20s and ‘30s, such as “Limehouse Blues”, and “Dinah”; Bal Musette numbers, often waltzes; original compositions by Django Reinhardt, such as “Nuages” and “Swing 42”; compositions by other notable gypsy swing players; and jazzed-up versions of gypsy songs, such as “Dark Eyes”.
Much of the repertoire is in minor keys, and the dorian and harmonic minor modes are frequently heard, lending a distinctively dark and modal sound to the tunes which contrasts with the uptempo and spirited performance style. One popular example is Django’s tune “Minor Swing”, perhaps the most well-known gypsy jazz composition. Slower ballads and duets may feature rubato playing and exotic harmonies.
12.大乐队 Big Band¶
又译大乐队或大乐队时代，是演奏爵士乐的乐团，流行于美国30年代初到50年代末的摇摆年代(Swing Era)。大乐团的编制通常有10到25位乐手，包括演奏萨克斯风、小喇叭、伸缩喇叭、铁琴的乐手，还有歌手以及负责节奏乐器的乐手。20年代末期出现的新型大乐队有更多即兴的成分。但这类型的爵士乐不若为跳舞而演奏的爵士乐来得受欢迎，期间只有少数音乐被录制成唱片，所制成的唱片被称为‘民族唱片’(Race records)，听众也只限于少数的都市人口，且只有极少数的白人乐手熟悉这类曲风。这类曲风主要在纽约市、芝加哥、堪萨斯市发展。
A Big Band is a type of musical ensemble that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term “big band” is also used to describe a genre of music. One problem with this usage is that it overlooks the variety of music played by these bands.
Big bands started as accompaniment for dancing. In contrast with the emphasis on improvisation, big bands relied on written compositions and arrangements. They gave a greater role to bandleaders, arrangers, and sections of instruments rather than soloists.
The Big Band genre at JMA is for large ensembles (generally ten or more musicians) who play in what best can be called a “big band style”. The big band style involves breaking the large ensemble into separate sections, usually grouped by instrument, that then engage in call and response type figures with each other. These motifs can be arranged or improvised. The big band arranging style can also use repeating interlocking riffs by the various sections that provide a rhythmic groove for soloists. Early innovators in big band music include Fletcher Henderson, Duke Ellington, Count Basie and Benny Goodman. Modern big band leaders include Quincy Jones and Maynard Ferguson.
The Big Band genre at JMA also includes jazz influenced pop orchetra leaders such as Paul Whiteman, Glen Miller and the Dorsey Brothers. Modern big bands that are influenced by avant-garde music, 3rd stream music or other types of modern elements can be found in the Progressive Big Band genre.
13.实验大乐队 Experimental Big Band¶
早在六十年代，实验性大乐队开始融入自由爵士乐和即兴创作的元素，并在较小的先锋乐团和古典作曲家的作品的推动下，在接下来的几十年中扩大了他们的范围，尝试无固定调性的音乐，不和谐和日益复杂结构。从像Sun Ra Arkestra和Carla Bley这样的大乐队这样的团体开始，到Little Huey创作音乐管弦乐队的全面混乱，实验大乐队在大型团体编制中产生了惊人的多样化声音。
Experimental big bands began to incorporate elements of free jazz and improvisation as early as the ‘60s, and fueled by the work of smaller avant-garde ensembles and classical composers, increased their scope in the following decades to embrace atonal music, discordance and increasingly complex structures. From the post-bop beginnings of groups like the Sun Ra Arkestra and Carla Bley’s big band, to the full-on chaos of the Little Huey Creative Music Orchestra, experimental big bands produce an amazing diversity of sounds within the large group format.
14.波普 Bop¶
比波普，亦称Bop可以看作是现代爵士的前身，由演奏摇摆乐的小乐队发展而来，注重表现演奏技巧和复杂和声，而不是演奏适合人演唱的旋律，这种风格影响了以后各种爵士乐。一种激进的爵士乐风格，可看作是现代爵士乐的前身。出现于20 世纪40 年代中期，由爵士小号手约翰· 伯克斯、古莱斯皮和萨克斯手查理· 帕克共同创立。比波普和摇摆乐最主要的区别是比波普演奏者参与即兴演奏，经常在第一个主题演奏之后就抛弃旋律，强调自由．富于冒险性．演奏速度非常快。又由于这种音乐风格的激进性，使其在出现不久之后就脱离了喜爱爵士乐和舞曲音乐的广大听众，虽大大提高了音乐的艺术性，但同时也削弱了商业价值。波普的发展为独奏和伴奏的乐手都开辟了新的天地，产生了许多新意，鼓手开始不再依恋Bass Drum,而开始大量运用Cymbal和Hi-hat.而Bass则担当低音节奏，演奏着近乎无视于人的游移四分音符低音旋律，维持着音乐的和弦进行。而钢琴手则不再过分强调左手的拍子和和弦基础音，而是喜欢用更轻的触键来演奏。这样，现代爵士的雏形就产生了。其代表乐手是Lester. Young和Coleman hawkins.
Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States, which features songs characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.
Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing style with a new “musician’s music” that was not as danceable and demanded close listening. As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a way that expanded their role. Whereas the key ensemble of the swing era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, bebop musicians typically played the melody of a song (called the “head”) with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo, then returned to the melody at the end of the song.
Bop, or be-bop in its full name, was a young jazz man’s answer to the more conservative prevailingly swing music of the time. Developed in New York City during the early 40s, bop hit the international scene in 1945 and took everyone by surprise with its energetic and radical approach to swing jazz music. In the hands of innovators such as Dizzy Gillespie, Charlie Parker and Bud Powell, the old swing music was given much faster tempos and more spare accompaniments from the rhythm section which opened up space for rapid fire pyrotechnical solos. Still a favorite genre in jazz music schools around the world, many clubs still feature be-bop to this day, but today’s bop sounds tamer and calmer than the original item.
15.室内爵士 Chamber Jazz¶
室内爵士是爵士乐流派的一种，深受新古典主义音乐与西洋音乐的古典形态影响，在有些国家也是受到传统凯尔特音乐，欧洲民间音乐，拉美音乐的影响而成型。
室内爵士乐的特点是小巧的基于声学的合奏，即兴演奏是主要因素。尽管有些团体比其他团体更倾向于爵士乐，但他们都倾向于采用新古典主义美学，尤其是印象派时期和20世纪后期的运动。种族因素也是一个重要因素。这些世界音乐倾向通常针对其他文化（印度，中东和亚洲）的古典传统，尽管南美风格在许多唱片中也占主导地位。 -琳达·科哈诺夫（Linda Kohanov）
Chamber Jazz is distinguished by small, acoustic-based ensembles in which improvisation is a major factor. Though some groups are more jazz-based than others, they all tend to employ neoclassical aesthetics, particularly from the Impressionistic period and later 20th-century movements. Ethnic elements are also an important factor. These world-music leanings, however, are usually oriented toward the classical traditions of other cultures (Indian, Middle Eastern, and Asian), although South American styles also figure prominently in a lot of these recordings. – Linda Kohanov
16.冷爵士 Cool Jazz¶
酷爵士乐(CoolJazz)一般而言指1949-1950年间，由小喇叭手迈尔士戴维斯(MilesDavis)所领导的九重奏为Capitol唱片公司灌录的专辑《BirthoftheCool》所代表的乐风，它的诞生使主流爵士乐风，从咆哮乐风的”热”，转向另一个反方向酷派乐风的”冷”，这是一种180度大逆转的历史性发展。酷派爵士乐代表一种内敛自省的情感，它是一种轻柔、清凉与抒情的含蓄情愫；它的音色不如一般铜管器那样亮丽夺目，取而代之的是柔和优美。若说咆哮乐是代表热情奔放，那么酷派爵士乐就是内敛自省。简而言之，酷派爵士乐是对咆哮乐的反抗与检讨，同时也唤醒美国西岸一些白人乐手的自觉运动，形成一股新兴的爵士乐潮流-西岸酷派爵士乐(WestCoastCoolJazz)。而酷派爵士最著名的作品，即是迈尔士戴维斯五重奏的「KINDOFBLUE」。因为这种乐风常被美国西海岸乐手使用，所以Cool Jazz也被称为西岸爵士乐(West Coast Jazz)，它可以说恰好是相对于比波普的风格而存在，相对于比波普的快速节拍、复杂的旋律、和弦、曲调，Cool Jazz会轻松很多。
1950年，Miles Davis九人小组推出的专辑《The Birth of The Cool》，标志着Cool爵士的产生。
Cool爵士选用的音调是轻柔的、淡雅的，音质柔和干爽。独奏中，带给你一种柔和舒缓、克制的感觉。其重奏部分微妙深奥，有时让你联想起欧州经典室内乐。Cool爵士虽然也揉进了Bop的音调、旋律与和声的优势，但是比Bop的即兴演奏更舒缓平滑，音色更加和谐，与Bop相比，Cool爵士乐经常突出体现一种松弛感，而没有Bop那么强的内在张力。
Cool爵士鼓手也更加安静，不干扰其他音色，总而言之，Cool爵士风格是节制的，“点到为止”，这正是为什么其乐迷称之为“Cool”的原因。
Cool jazz is a style of modern jazz music that arose in the United States after World War II. It is characterized by relaxed tempos and lighter tone, in contrast to the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest “the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors.”
Cool Jazz evolved directly from bop in the late ‘40s and ‘50s. Essentially, it was a mixture of bop with certain aspects of swing that had been overlooked or temporarily discarded. Dissonances were smoothed out, tones were softened, arrangements became important again, and the rhythm section’s accents were less jarring. Because some of the key pacesetters of the style (many of whom were studio musicians) were centered in Los Angeles, it was nicknamed “West Coast jazz.” Some of the recordings were experimental in nature (hinting at classical music) and some overarranged sessions were bland, but in general this was a viable and popular style. By the late ‘50s, hard bop from the East Coast had succeeded cool jazz, although many of the style’s top players had long and productive careers. Among the many top artists who were important in the development of cool jazz were Lester Young,Miles Davis, Gerry Mulligan, Stan Getz, Shorty Rogers, and Howard Rumsey (leader of the Lighthouse All-Stars). – Scott Yanow
Cool jazz arose slowly in the late 40s when many jazz musicians realised there was no point in following in the fast paced be-bop footsteps of Diz and Bird and began to try a more relaxed and quieter approach to playing. Early examples of cool jazz came from Miles Davis’ Nonet and Lenny Tristano’s group, while later practitioners like Gerry Mulligan and Chet Baker showed up on the west coast where cool jazz was often referred to as west coast jazz.
Many cool jazz saxophonists looked to the pre-bop languid sax style of Lester Young for inspiration. Also, 3rd Stream influenced arrangements that featured Baroque style counterpoint became popular during the cool era. One lasting innovation of the cool genre is the idea of concert hall influenced ‘chamber jazz’ as pioneered by The Modern Jazz Quartet. For some critics, west coast jazz seemed like a souless sell-out compared to the more challenging and urban flavored be-bop of New York City. In 1952 Miles Davis was one of the first ‘cool’ band leaders to lead the way to a more aggressive next phase in jazz, hard bop.
Cool jazz began to fade before the arrival of fusion and never made a comeback afterwards. Today Cool Jazz is a retro style that defines a certain time and place in jazz history, but is still played by some.
17.自由爵士 Free Jazz¶
自由爵士产生于60年代，这种全新的音乐刚一出现，就深受广大爵士音乐家和爵士乐迷的喜爱。
自由爵士不同于以往爵士乐，在和声、旋律方面没有太多的限制，演奏者在演奏过程中可以自由、大胆、随心所欲的发挥。自由爵士具有全新的节奏概念，节拍、对称性被统统打乱，同时，它也强调音乐本身的强度与张力，加入大量的不谐和音，把非洲、印度、日本、及阿拉伯等不同的音乐融合到了一起，采用了印度的西塔尔琴、塔布拉双鼓、扩音拇指钢琴、警笛和大量的电子设备及打击乐器，因此，有些自由爵士乐队看上去就象一支非爵士的先锋派乐队。
自由爵士乐对60代爵士乐的发展起到了深远的影响。
Dixieland and swing stylists improvise melodically, and bop, cool, and hard bop players follow chord structures in their solos. Free Jazz was a radical departure from past styles, for typically after playing a quick theme, the soloist does not have to follow any progression or structure and can go in any unpredictable direction. When Ornette Coleman largely introduced free jazz to New York audiences (although Cecil Taylor had preceded him with less publicity), many bop musicians and fans debated about whether what was being played would even qualify as music; the radicals had become conservatives in less than 15 years. Free jazz, which overlaps with the avant garde (the latter can use arrangements and sometimes fairly tight frameworks), remains a controversial and mostly underground style, influencing the modern mainstream while often being ignored. Having dispensed with many of the rules as far as pitch, rhythm, and development are concerned (although it need not be atonal or lack a steady pulse to be free jazz), the success of a free jazz performance can be measured by the musicianship and imagination of the performers, how colorful the music is, and whether it seems logical or merely random.
18.第三流派 Third Stream¶
第三流派爵士乐这个说法是1957年由作曲家冈瑟．舒勒最先提出的。这种称呼的意义主要是指这种风格的爵士乐是爵士乐和古典音乐的混合体，是这两种重要的音乐形式之外的一种音乐。这种风格的最大的特点是将爵士乐和古典音乐成功地融合在一起，在演奏中大量地采用弦乐并减低了独奏在爵士乐中的重要地位。这并非是冈瑟．舒勒的独创，早在二十年代，著名的音乐指挥和作曲家保罗．惠特曼就曾尝试在古典爵士乐的独奏和管弦乐队的弦乐部分之间找到结合点。正像他所说，他想在“爵士乐中制造出二位贵妇人”。在四十年代时，弦乐的使用已经出现在爵士乐队的演奏中，如阿蒂．肖和斯坦．肯顿都曾进行过这类尝试。但是在所有的这些尝试中，弦乐似乎总是处于一个被动的地位，音乐家总是依照自己面前的乐谱演奏或是充当伴奏的角色。
从1949年起，Charlie Parker在自己的录音中加入了弦乐部的演奏。大约是在五十年代的中后期，更为严肃的实践才大量出现，舒勒，约翰．刘易斯和比尔．罗素是主要的作曲家，他们试图在古典音乐和爵士乐之间寻求沟通。在五十年代中期，大部分音乐预言家们都相信爵士乐的下一个发展阶段必然是一种与古典音乐的融合的形式。但是由于前卫派爵士乐的兴起，第三流派爵士乐运动宣告结束。最终这种风格只是在学院派预音乐家圈子里才能找到一些痕迹。
Third stream is a term coined by composer Gunther Schuller to desribe music that attempts to mix jazz with classical concert hall music. Jazz caught the ear of many composers in the early 20th century and soon Ravel, Debussy, Stravinsky and others began to put elements of American ragtime into their music. French composer Darius Milhaud furthered these experiments that culminated in George Gershwin’s ‘Blue Monday’ and ‘Rhapsody in Blue’, two pieces which represented some of the first truly successful fusions of jazz and concert hall music.
From the jazz side of things, early attempts at classical influence came from Duke Ellington, Artie Shaw, Woody Herman, Bix Beiderbecke, James P. Johnson and others. Gunther Schuller and John Lewis’ ‘Third Stream Music’, which combined a string quartet with a cool jazz combo, was one of the first entirely successful concert hall pieces by a jazz composer.
In today’s music world, Third Stream often refers to compositions that have some element of jazz. At JMA, the Third Stream genre is also where you will find jazz or jazz related music that relies on composition more than improvisation.
Improvisation is generally seen as a vital component of Third Stream. In 1961, Schuller defined Third Stream as “a new genre of music located about halfway between jazz and classical music”.
19.先锋爵士 Avant-Garde Jazz¶
前卫的爵士乐（也称为前卫爵士乐）是一种音乐和即兴创作风格，将前卫的艺术音乐与爵士乐融为一体。它起源于20世纪50年代，并发展到20世纪60年代。最初是自由爵士乐的代名词，但是非常前卫的爵士乐与这种风格截然不同。先锋爵士乐可以是非常自由的，因为音乐家不用遵循某个规定好的结构，先锋爵士可能是极其嘈杂的，也可能是极其安静的。Avant-Garde最先被用在Free-Jazz运动刚爆炸的时候；拿来形容Ornette Coleman这些乐手；德布希的改变钢琴史的作法也被视为Avant-Garde，当然；实验性质强烈的剧场音乐更具有Avant-Garde Jazz的风格。
Avant-garde jazz (also known as avant-jazz) is a style of music and improvisation that combines avant-garde art music and composition with jazz. It originated in the 1950s and developed through the 1960s. Originally synonymous with free jazz, much avant-garde jazz was distinct from that style.
The Avant-garde Jazz genre at JMA generally consists of jazz that is usually atonal, and quite often a-rhythmic as well. Avant-garde jazz can be ‘free’, in that there is no prescribed structure for the musicians to follow, or there may be some sort of compositional structure being used as well. Other factors that can result in an avant-garde tag include the use of extremes, such as extremely loud music, or extremely quiet music etc. Also, experimental presentations can be considered, such as a piece where the performers are playing without being able to hear each other, or all of the musicians are submerged in water, etc. Generally the Avant-garde Jazz genre is reserved for musicians from a jazz background, but JMA also includes some non-jazz avant-garde musicians in our Jazz Related Improvisation/Composition genre.
20.当代爵士 Contemporary Jazz¶
21.后波普 Post-Bop¶
后波普也叫新波普，将摇滚乐、节奏布鲁斯以及流行音乐引入爵士乐,并在演奏中加入电子合成乐器。
后波普是20世纪60年代初到60年代中期发展起来的一种小组合爵士乐流派。后波普是从20世纪60年代中期开始的爵士乐，它吸收了硬波普、调式爵士乐、前卫爵士乐和自由爵士乐，但不一定立即被识别为上述任何一种。[需要引用]后波普可以指各种按时间顺序排列的后波普爵士乐，但在通常的理解中，后波普音乐反映了这些影响：第二个迈尔斯·戴维斯五重奏(Miles Davis五重奏)对爵士乐团的更开放的态度，以及
根据音乐学家杰里米·尤德金(Jeremy Yudkin)的说法，后波普并不遵循“波普的惯例或新爵士乐明显无形的自由”。
Post Bop是一种现代爵士乐风格，延续了爵士乐与流行和摇滚世界的区别特征；摇摆节奏和扩展的和声(第9和弦，第11和弦，变化和弦等)。Post Bop在20世纪60年代初到中期由Hard Bop流派发展而来，当时比尔·埃文斯(Bill Evans)、韦恩·肖特(Wayne Short)和赫比·汉考克(Herbie Hancock)等音乐家开始在他们的演奏和作曲中引入更广泛的和声、抽象的结构和更宽松的节奏。当汉考克和肖特在60年代中期加入迈尔斯·戴维斯(Miles Davis)的五重奏时，这个团队成为了扩展Post Bop形式可能发生的事情的完美工具。迈尔斯·戴维斯五重奏专辑“奈费尔蒂蒂”和“魔术师”仍然是Post Bop作曲和表演的巅峰之作。一些风格的自由调式爵士乐，如柯尔特朗的“至高无上的爱”，也是Post Bop声音的一部分。尽管仍有一些音乐家，如肯尼·加雷特(Kenny Garret)，以这种风格演奏，但自70年代初以来，这种声音大多已经褪色。
虽然还处于初级阶段，Post Bop在70年代被赶出了雷达，因为它的许多早期支持者都在追求更有利可图的融合和流畅爵士乐领域。随着融合风潮开始消退，音乐家们开始厌倦了三个和弦鞋面和摇滚/流行节奏的局限性，并渴望再次使用复杂的和弦变化和爵士乐节奏。舞台是在80年代初为“年轻的狮子”运动设置的，并为许多年轻音乐家和他们的粉丝基础回到了Post Bop和Hard Bop。
今天的Post Bop涵盖了各种各样的内容，从电台友好型到边缘前卫型，这是一种仍然成熟的体裁，可以进行更多的探索。一般来说，Post Bop和Hard Bop的不同之处在于，Hard Bop带有更强烈的蓝调痕迹和更直截了当的驾驶节奏，但当你试图分析某些艺术家或音乐作品时，这种差异并不总是明显的。布兰福德·马萨利斯的大部分音乐都是介于POST和HARD BOP之间的爵士乐的一个很好的例子。对于一些音乐来说，争论它是Post Bop还是Hard Bop变得毫无意义，因为根据视角的不同，这两种类型都可以被视为另一种类型的子集。虽然我们使用体裁术语Post Bop来标记上面描述的音乐，但在更一般的意义上，post bop可以是在be-bop时代过去后创作的任何基于摇摆的爵士乐的名称。
第二部分-新世纪的邮政Bop
随着爵士乐的不断成长和发展，现代融合和后波普的世界变得更加紧密，因为许多音乐家，如戴夫·道格拉斯(Dave Douglas)、克雷格·塔博恩(Craig Tborn)、格雷格·奥斯比(Greg Osby)和其他人，自由地将元素混合到新的混合音乐中。
在JMA，Fusion和Post Bop之间的区别仍然是被称为“Swing”的独特的非洲分音。一般来说，Post Bop应该摆动，而Fusion通常不会。随着我们进一步进入21世纪，发生了变化的是现代鼓手“摇摆”的方式。像杰夫·“泰恩”·瓦茨、鲁迪·罗伊斯坦和其他有创造力的鼓手不再仅仅把摇摆节拍放在骑锣上。取而代之的是，当他们摆动节拍时，他们可能会一次使用任何或所有的鼓组。此外，摇摆感本身在现代爵士乐中往往有些掩饰，它可能不是那么明显，鼓手可能会进出摇摆感，有时甚至在一个短语内。
Post-bop is a genre of small-combo jazz that evolved in the early to mid-1960s. Post-bop is jazz from the mid-1960s onward that assimilates hard bop, modal jazz, avant-garde and free jazz without necessarily being immediately identifiable as any of the above.[citation needed] Post-bop can refer to a variety of Jazz music that is post-bebop chronologically but in the common understanding post-bop music reflects these influences: the more open approach to the jazz ensemble crystallized by the second Miles Davis quintet, and the modal intensity of that group as well as of the classic John Coltrane Quartet.
According to musicologist Jeremy Yudkin, post-bop does not follow “the conventions of bop or the apparently formless freedom of the new jazz”.
Post Bop is a modern jazz style that continues the distinguishing characteristics that separate jazz from the world of pop and rock; swing rhythm and extended harmonies (9th chords 11ths, altered chords, etc). Post Bop grew out of the Hard Bop genre during the early to mid 60s as musicians such as Bill Evans, Wayne Shorter, and Herbie Hancock began to introduce more extended harmonies, abstract structures and looser rhythms in their playing and compositions. When Hancock and Shorter joined Miles Davis’ quintet in the mid-60s, that group became the perfect vehicle for extending the boundaries of what could happen in a Post Bop format. The Miles Davis Quintet albums, “Nefertiti” and “Sorcer”, continue to be pinnacles of Post Bop composition and performance. Some styles of free modal jazz, such as Coltrane’s “A Love Supreme”, are also part of the Post Bop sound. Although there are still some musicians, such as Kenny Garret, who play in that style, mostly that sound has been fading since the early 70s.
While still in its infancy, Post Bop was pushed off the radar during the 70s as many of its early proponents pursued the far more lucrative fields of fusion and smooth jazz. As the fusion fad began to fade, musicians began to tire of three chord vamps and the limitations of rock/pop rhythms and yearned to work with sophisticated chord changes and jazz rhythms again. The stage was set in the early 80s for the “young lion” movement and a return to both Post Bop and Hard Bop for a lot of young musicians and their fan base.
Today’s Post Bop covers a wide variety, from radio friendly to borderline avant-garde, and it’s a genre that is still ripe for more exploration. Generally speaking, the difference between Post Bop and Hard Bop is that Hard Bop carries a stronger trace of the blues and a more straight forward driving rhythm, but when you are trying to analyze certain artists or pieces of music, that difference is not always clear. Much of Branford Marsalis’s music is a good example of jazz that sits right between post and hard bop. With some music, arguing whether it is Post Bop or Hard Bop becomes pointless, since depending on perspective, either genre can be seen as a subset of the other. Although we use the genre term Post Bop to tag the music described above, in a more generic sense, post bop can be the name of any swing based jazz music created after the passing of the be-bop era.
Part 2 - Post Bop in the New Century
As jazz continues to grow and develop, the worlds of modern fusion and post bop have grown closer together as many musicians; such as Dave Douglas, Craig Taborn, Greg Osby and others, freely mix elements into new hybrids.
At JMA, the distinction between Fusion and Post Bop continues to be that distinctive African syncopation known as “swing”. Generally Post Bop should swing, while Fusion, quite often does not. What has changed, as we move further into the 21st century, is the way in which modern drummers are ‘swinging’. Inventive drummers such as Jeff “Tain” Watts, Rudy Roystan and others are no longer putting the swing beat solely on the ride cymbal. Instead, they are liable to use any, or all pieces of the drum set at once, while they swing the beat. Also, the swing feel itself is often a bit disguised in modern jazz, it may not be so obvious, and the drummer may move in and out of swing feel, sometimes even within one phrase.
22.调式爵士 Modal Jazz¶
调式爵士（Modal jazz）是爵士乐的一种，在和声架构方面采用调式而非进行式和弦。调式爵士乐发源于20世纪50年代末和60年代，最典型的代表是迈尔士·戴维斯的专辑《Milstones》（1958）、专辑《Kind of Blue》（1959）和1960至1964年约翰·柯川的古典四人组。其他重要的表演者包括比尔·艾文斯、贺比·汉考克、Wayne Shorter和McCoy Tyner。该名称原先源于在独奏时使用调式的不同音高，但此种音乐形式的作品或伴奏还可以有如下特点：
缓慢的和声节奏，一个和弦可以长达四至十六甚至更多个小节；
持续低音和反复；
没有或较少有全音阶功能性的进行式和弦；
四度音程的和声或旋律。
Modal jazz is jazz that uses musical modes rather than chord progressions as a harmonic framework. Though earlier precedents exist, modal jazz was crystallized as a distinct theory by composer George Russell in his 1953 book Lydian Chromatic Concept of Tonal Organization.
Particularly popular in the 1950s and 1960s, modal jazz is epitomized by Miles Davis’s 1958 composition “Milestones”, 1959 album Kind of Blue, and John Coltrane’s classic quartet from 1960–64,both of which were directly inspired by Russell.Other important performers include Woody Shaw, Bill Evans, Herbie Hancock, Wayne Shorter, McCoy Tyner, Larry Young, Pharoah Sanders, Joe Henderson, Chick Corea and Bobby Hutcherson.Though the term comes from the use of the pitches of particular modes (or scales) in the creation of solos, modal jazz compositions or accompaniments may only or additionally make use of the following techniques
slow-moving harmonic rhythm, where single chords may last four to sixteen or more measures
pedal points and drones
absent or suppressed standard functional chord progressions
quartal harmonies or melodies
polytonality
23.拉格泰姆 Ragtime¶
Regtime（拉格泰姆）爵士乐融合了欧洲古典音乐和欧洲军乐的特点而产生的。他打乱了古典音乐中严格的节拍规律，有演奏者掌握节奏的迟缓。乐曲的进行通常是起奏延缓，随即强调音节，这种风格在当时的钢琴演奏中极为常见。Regtime爵士乐在二十世纪出的十五年中非常盛行，虽然这种风格对爵士乐的形式具有非常重大的影响但是因为它缺乏Blues的感觉和没有即兴感觉，所以并不能称之为真正的爵士乐，但却是爵士乐发展中一种重要的音乐型态，以直立式钢琴演奏完全写谱的音乐，并强调切分音，风格略为呆板。
Ragtime是一种采用黑人旋律，依切分音法(Syncopation)循环主题与变形乐句等法则，结合而成的早期爵士乐，盛行於第一次世界大战前後。其发源与圣路易斯与纽奥尔良，而後美国的南方和中西部开始流行，它影响了纽奥尔良传统爵士乐的独奏与即兴演奏风格。繁音拍子後来发展成结合流行音乐、进行曲、华尔兹与其他流行舞蹈的型式，因此繁音拍子的歌曲、乐器管弦乐队编制的曲目陆续出现，它不但在黑人乐手与乐迷间流行，也被美国白人中产阶级所接受。Ragtime – also spelled rag-time or rag time – is a musical style that enjoyed its peak popularity between 1895 and 1918. Its cardinal trait is its syncopated, or “ragged”, rhythm.
Technically Ragtime isn’t really jazz because it does not involve improvisation, but ragtime ran a parallel career to the early New Orleans jazz and featured similar melodies and rhythms. A simple way to look at ragtime is to consider it as a form of composed jazz, or possibly America’s first classical music. Likewise, in a style similar to classical music, ragtime’s rhythmic syncopations don’t swing quite to the degree that they do in New Orleans jazz performance. Although ragtime first appeared in 1892, Scott Joplin would begin to dominate and define the genre in 1895.
The Smithsonian Collection of Classic Jazz opens with back to back renditions of Maple Leaf Rag by ragtime pianist Scott Joplin and early jazz pianist Jelly Roll Morton. In these two performances of this same piece you can clearly hear the difference between ragtime and jazz as Morton’s version swings with free abandon, while Joplin’s stricter version is more similar to the European late romantic period style of Chopin.
Although lacking the improvisation or the blues feeling inherent in jazz, Ragtime was a strong influence on the earlier forms of jazz. At its prime from 1899-1915, ragtime is best known as totally written out piano music, though it was also performed by orchestras. Its syncopations and structure (blending together aspects of classical music and marches) hinted strongly at jazz, and many of its melodies (most notably “Maple Leaf Rag”) would be played in later years by jazz musicians in a Dixieland context. – Scott Yanow
24.迪克西兰爵士 Dixieland¶
迪克西兰爵士乐是1917年到1923年在新奥尔良和芝加哥等地的爵士乐手发展出来的早期爵士乐风，它在30年代后期曾被一群拥护者重新找出来复兴一阵子。简单的说，迪克西兰爵士乐是新奥尔良传统爵士乐的一个分支，Dixieland的英文原意是军队露营之地——“Dixie’s Land”。这个字第一次出现在1859年Dan Emmett 先生的“殖民地歌曲与舞蹈”歌册中，因此，我们可以得知：迪克西兰爵士乐与进行曲、江湖卖唱艺人（Minstrels）等音乐有关，其第一首知名曲子是1860年出版的“Pocahontas”。到了1910年代，吹这种风格的爵士乐队己被衍化为小型团体，取材大半来自蓝调、进行曲与当时的流行歌曲，甚至某首乐曲的某一小段（Rags）都可以被拿来加以延伸、推展，这是即兴演奏的滥觞。迪克西兰爵士乐的主旋律一般都由小喇叭、竖笛或伸缩喇叭担任，而伴奏乐器是以钢琴、吉他、斑鸠琴、土巴号、贝斯或鼓为主。
Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century.
One of the first uses of the term “Dixieland” with reference to music was in the name of the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to “Original Dixieland Jazz Band”). Their 1917 recordings fostered popular awareness of this new style of music. At that time, there was no issue of subgenres of jazz, so “Dixieland” referred to the band and not the music. A revival movement for traditional jazz, formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds of the 1940s (referred to as “Chinese music” by Louis Armstrong[citation needed]), pulled “Dixieland” out from the somewhat forgotten band’s name for the music they championed. The revival movement included elements of the Chicago style that developed during the 1920s, such as the use of a string bass instead of a tuba, and chordal instruments, in addition to the original format of the New Orleans style. That reflected the fact that virtually all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format. “Dixieland” may in that sense be regarded as denoting the jazz revival movement of the late 1930s to the 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the traditional front lines consisting of trumpets, trombones, and clarinets, and ensemble improvisation over a 2-beat rhythm.
Dixieland started as a continuation of the original New Orleans jazz tradition (see New Orleans Jazz genre), but in a different locale and under different circumstances. During the early 1920s, many New Orleans musicians drifted up to Chicago seeking work where they continued their musical traditions, but no longer as marching bands. The more stationary aspect of these bands led to the addition of the piano to the band, while the stand up bass replaced the tuba.
The music also began to evolve as the musicians began to play with a faster more aggressive feel, and the rhythm section began to accent the 2 and 4 of the beat which led to the driving accented rhythms of RnB and rock-n-roll. Dixieland has had many revivals over the years, sometimes authentic and sometimes corny and amateur. To this day you can still find bands all over the world that play this traditional form of jazz.
25.爵士钢琴 Stride Piano¶
26.新奥尔良爵士 New Orleans Jazz¶
新奥尔良爵士是指三十年代（指二十世纪，下文中如未作注明均指二十世纪）以前的传统爵士乐，兴起于新奥尔良，盛行于芝加哥，是迪克西兰爵士（Dixieland Jazz）和芝加哥爵士（Chicago Jazz）的总称。我们所能听到的最早的爵士乐就是新奥尔良爵士，它出现于1917年（第一张爵士乐唱片诞生于1917年）。从唱片的音质上辨认，这个时期的唱片大多数都是用留声机播放的密纹唱片，音质较差，带有沙沙的噪声，并且缺乏立体感（第一批立体声唱片诞生于1958年）。从音乐形象上辨认，新奥尔良爵士讲究合奏，给人的感觉是激烈、兴奋并充满生机的。乐队编制一般为小号（或短号）一至二人吹奏主旋律，单簧管一人吹奏副旋律，长号一人吹奏固定低音，贝司（或大管）、鼓各一人担任节奏。后来又增加了萨克斯，使其从此成为爵士乐队的一大特色。新奥尔良爵士作为最早的传统爵士乐已被历史永久记载，但是作为有声爵士乐的源头，如今听起来还是别具一番风味。
新奥尔良爵士乐（New Orleans Jazz）是爵士乐最早的音乐风格。新奥尔良爵士讲究合奏，给人的感觉是激烈、兴奋并充满生机的。乐队编制一般为小号（或短号）一至二人吹奏主旋律，单簧管一人吹奏副旋律，长号一人吹奏固定低音贝司（或大管）、鼓各一人担任节奏。后来又增加了萨克斯，使其从此成为爵士乐队的一大特色。大致是从1895年当巴迪·博尔登在新奥尔良组建自己的第一支乐队时开始这种音乐就在新奥尔良演奏，直到1917年斯托瑞维尔俱乐部不幸关闭为止。由于新奥尔良爵士乐强调合奏，因此每一件乐器在乐队中的角色都受到了严格的限制，通常，小号和短号是乐队中的重要角色，常常演奏旋律部分，而长号则是和昔的主要来源，副部则通常由短号演奏。节奏部相对稳定，通常包括了钢琴，圆号，贝司和鼓，这种音乐同早期的行进乐队有直接的渊源。由于这种音乐相对来说，和音较为基本，合奏通常表现欢乐的主题，因此一直是爵士乐中最为欢快和容易接受的风格。
The genre New Orleans Jazz refers to jazz in its earliest forms. In the late 19th century New Orleans brass bands would perform in marches, parades and funerals playing anything from military tunes to rags in a polyphonic style similar to African-American vocal music. Since many of these marches were very lengthy, the tunes would have to be repeated many times leading the performers to improvise on the melodies to relieve their boredom.
Typical New Orleans bands in this era had a front line of coronet, clarinet and trombone, while the rhythm section was composed of banjo, tuba and a percussionist. The coronet would play the melody while the clarinet would improvise counter melodies and the trombone supplied pedal points that pointed out harmonic changes while the tuba covered the bass. Improvisation would take place in a similar counter-point style with no one member being a featured soloist. The rhythm sections in early New Orleans bands would place the accent on every beat. Later the Chicago Dixieland musicians would place the accent on 2 and 4, which eventually led to the creation of RnB and rock-n-roll. Unfortunately there are no recordings of early jazz bands because the first recording of a jazz band didn’t take place until 1917.
The earliest style of jazz, the music played in New Orleans from about the time that Buddy Bolden formed his first band in 1895 untilStoryville was closed in 1917, unfortunately went totally unrecorded. However with the success of the Original Dixieland Jazz Bandin 1917 and the many performances documented in the 1920s, it became possible to hear what this music sounded like in later years. Ensemble-oriented with fairly strict roles for each instrument, New Orleans Jazz generally features a trumpet or cornet providing a melodic lead, harmonies from the trombone, countermelodies by the clarinet, and a steady rhythm stated by the rhythm section (which usually consists of piano, banjo or guitar, tuba, or bass and drums). This music is a direct descendant of marching brass bands and, although overlapping with Dixieland, tends to de-emphasize solos in favor of ensembles featuring everyone playing and improvising together. Due to its fairly basic harmonies and the pure joy of the ensembles, it is consistently the happiest and most accessible style of jazz. – Scott Yanow
27.主流爵士 Mainstream Jazz¶
主流爵士其实是爵士乐的一位评论家斯坦利．丹斯创造的，他在描述五十年代的小号演奏家巴克．克莱顿和他同期音乐家的演奏时首次使用了这个词。这些音乐家大多都是摇摆乐时代的资深音乐家，他们并不是使他们的风格现代化，并不演奏波普爵士乐，或是加入五十年代重新兴起的迪克西兰乐队，从前的大乐队时代的明星们以小乐队的形式演奏昔日的标准曲，并获得巨大的成功。
在20世纪50年代斯坦利．丹斯定义了主流爵士之后，定义随着爵士音乐的演变和发展而改变。 那么以前主流的东西现在不会被认为是主流。从一般意义上讲，主流爵士乐可以被认为是当时最受欢迎的节目：例如，在摇摆乐时代 ，摇摆乐和大乐队音乐处于巅峰期，目标则是受众正在关注的音乐类型。 虽然Bebop在那段时间被引入爵士乐，但那时候的观众并没有对它有所了解。
Mainstream jazz is a term that was first established in the 1950s by music journalist Stanley Dance. At that time, Dance considered “Mainstream” anything within the popular jazz music of the Swing Era.[1] Another way to describe Mainstream Jazz in the 1950s was music that did not incorporate the bebop style.
After Dance defined Mainstream Jazz in the 1950s, the definition changed with the evolution and progression of jazz music. What was mainstream then would not be considered mainstream now. In a general sense, Mainstream Jazz can be considered what was most popular at the time: For example, during the Swing era, swing and big band music were in their prime and what target audiences were looking for. Although Bebop was introduced into jazz during that time, audiences had not developed an ear for it.
28.灵魂爵士 Soul Jazz¶
灵魂爵士乐（Soul Jazz)也被叫做疯克爵士乐。是1960年代最流行的爵士风格。它从硬波普中发展而来。但是与比波普和硬波普之间还是有区别的。灵魂爵士 将重点放在了节奏模式(Rhytmic Groove)上。它通常是由一些小型乐队所演奏。尤其是由一名高音（中音）萨克斯风手 ，或钢琴手，又或口琴手带领的三人乐队。灵魂爵士是和酷爵士对立产生的。那时酷爵士正当流行。前者有着后者所没有的一切：充满热情，大汗淋漓而且从不离开它那布鲁斯的根源。比如快节奏的灵魂爵士作品旋律明快，层次分明，并伴以强烈的敲击舞曲节奏。抒情的的灵魂爵士歌曲就更离不开布鲁斯。
Soul jazz is a development of jazz incorporating strong influences from blues, soul, gospel and rhythm and blues in music for small groups, often an organ trio featuring a Hammond organ.
Soul jazz is a subset of the hard bop genre and carries the hard bop tendency towards RnB and blues just a bit further. It was the original intention of JMA to list the soul jazz artists in hard bop, but the line was drawn at the bluesy B3 organ players such as Groove Holmes and Jack McDuff. Put simply, soul jazz is instrumental RnB or blues with a swing or funk beat topped with virtuoso jazz solos. You can also find soul jazz artists on JMA in the hard bop, funk jazz, and acid jazz genres.
Soul-Jazz, which was the most popular jazz style of the 1960s, differs from bebop and hard bop (from which it originally developed) in that the emphasis is on the rhythmic groove. Although soloists follow the chords as in bop, the basslines (often played by an organist if not a string bassist) dance rather than stick strictly to a four-to-the bar walking pattern. The musicians build their accompaniment around the bassline and, although there are often strong melodies, it is the catchiness of the groove and the amount of heat generated by the soloists that determine whether the performance is successful. Soul-jazz’s roots trace back to pianist Horace Silver, whose funky style infused bop with the influence of church and gospel music, along with the blues. Other pianists who followed and used similar approaches were Bobby Timmons, Junior Mance, Les McCann, Gene Harris (with his Three Sounds), andRamsey Lewis. With the emergence of organist Jimmy Smith in 1956 (who has dominated his instrument ever since), soul-jazz organ combos (usually also including a tenor, guitarist, drummer, and an occasional bassist) caught on, and soulful players became stars, including Brother Jack McDuff, Shirley Scott, Jimmy McGriff, Charles Earland, and Richard “Groove” Holmes, along with such other musicians as guitarists Grant Green, George Benson and Kenny Burrell; tenors Stanley Turrentine, Willis “Gator” Jackson, Eddie “Lockjaw” Davis, David “Fathead” Newman, Gene “Jug” Ammons, Houston Person, Jimmy Forrest, King Curtis, Red Holloway, and Eddie Harris; and altoist Hank Crawford. Despite its eclipse by fusion and synthesizers in the 1970s, soul-jazz has stayed alive and made a healthy comeback in recent years. — Scott Yanow
29.硬波普 Hard Bop¶
产生于50年代，是比波普的延伸和与Cool Jazz相对的乐风。它一方面延伸了比波普节奏上的特点，但旋律却更多采用了蓝调和福音歌曲的因素，旋律比特别强调技巧的Bebop要来得轻松。
硬波普的发展是波普爵士乐发展的必然，是波普爵士乐的一种延伸的形式。两者的主要不同是，硬波普的节奏相对更为简化，更体现灵歌的风格，节奏部乐器的演奏，主要是贝司的演奏相对松散的多，不像波普爵士乐的演奏那样相对严格遵循四拍一小节的固定节奏。福音音乐对于硬波普爵士乐的影响更为明显，钢琴和萨克斯的演奏很像早期的节奏布鲁斯音乐的风格。尽管硬波普爵士乐鼎盛时期相对波普爵士乐来说更长（从1955年到1970年），两者的区别很大程度上反映出两者的逻辑演变过程，硬波普爵士乐可以看作是波普爵士乐在五、六十年代的形式。到了六十年代的后期，在一些硬波普爵士乐音乐家的演奏中可以感觉到前卫爵士乐的影响。
硬跳是爵士乐的子流派，它是bebop（或“ bop”）音乐的延伸。记者和唱片公司在1950年代中期开始使用该术语来描述爵士乐中的一种新潮流，其中融合了节奏和布鲁斯，福音音乐和布鲁斯的影响，尤其是在萨克斯管和钢琴演奏中。硬碰碰有时被称为“笨拙的硬碰碰”。 “质朴”标签是指与样式相关的滚动，有节奏感。描述符也用于描述灵魂爵士乐，这通常与硬跳有关。根据马克·格里利（Mark C. Gridley）的说法，灵魂爵士乐更特别地指的是具有“泥土，蓝调旋律概念和……重复，舞蹈-如节奏……”的音乐。请注意，有些听众没有区分“灵魂爵士乐”和“灵魂爵士乐”。 “笨拙的硬跳”，许多音乐家并不认为“灵魂-爵士乐”与“硬碰头”是连续的。”“灵魂”一词表示教堂，还有传统的福音音乐元素，例如“阿门和弦”（节奏）和三合会和声，在这个时代似乎突然出现在爵士乐中。在bop逝世之后，酷派爵士统治了流行的爵士风格，这是短暂的，因为许多爵士乐演奏者，尤其是在东海岸，都希望恢复具有更多毅力和侵略性的爵士风格。硬碰头是对一些禁欲主义者的回归，但也提供了一些新的区别。硬碰头带回了Bop时代更快的节奏，但在硬碰头中，谐波变化并没有以如此迅速的火力接续而来，音乐家们发现自己正在使用更长的模态风格独奏。对专辑而不是单曲的新强调也导致了更长的歌曲。精打细算的球员也开始从教堂，布鲁斯和Rn B乐队带入爵士乐，这预示着灵魂爵士乐的到来。尽管在上世纪60年代涌入了前卫爵士乐，但直到60年代后期融合出现之前，硬跳仍然是流行的爵士风格。多年以来，硬碰头已经经历了许多复兴，并且仍然是爵士乐中最持久和最受欢迎的风格之一。迈尔斯·戴维斯（Miles Davis）被认为是硬式撞球领域的早期创新者，但是Art Blakey和许多在他的Jazz Messengers中演奏的音乐家被认为是这种风格的缩影。尽管一些历史书籍声称Hard Bop的出现是对酷炫爵士乐中柔和声音的反应，但实际上这是bop的延伸，在很大程度上忽略了西海岸爵士乐。硬碰头和碰碰头之间的主要区别是，旋律往往更简单，通常更“富有灵魂”。节奏部分通常比较宽松，贝斯手并不像在bop中那样紧紧地演奏4节拍到小节；在某些音乐中感受到了福音的影响；萨克斯风演奏家和钢琴演奏家常常听起来好像他们对早期的节奏和布鲁斯非常熟悉。由于硬碰头的黄金时段（1955-70）比bop晚了十年，因此这些差异是顺理成章的演变，人们可以将硬碰头视为50年代和60年代的碰头。到了1960年代下半叶，人们感受到了前卫的影响力，硬头造型师（例如杰基·麦克莱恩（Jackie Mc Lean）和李·摩根（Lee Morgan））的一些更具冒险精神的表演落在了两种风格之间。随着融合的兴起以及上世纪60年代后期Blue Note（硬顶的顶级商标）的销售，尽管风格在1980年代得到了一定程度的恢复，但这种风格在艰难时期逐渐衰落。尽管由于某些乐队（例如哈珀兄弟和TS蒙克的六重奏）保留了1960年代的惯用语，但在后十年中，由于其他因素（由于其他影响因素改变了他们的风格），所谓的“年轻狮子”表演的音乐大部分被认为是现代主流。活。 -斯科特·亚诺（Scott Yanow）
Hard bop is a subgenre of jazz that is an extension of bebop (or “bop”) music. Journalists and record companies began using the term in the mid-1950s to describe a new current within jazz which incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing.
Hard bop is sometimes referred to as “funky hard bop.” The “funky” label refers to the rollicking, rhythmic feeling associated with the style. The descriptor is also used to describe soul jazz, which is commonly associated with hard bop. According to Mark C. Gridley, soul jazz more specifically refers to music with “an earthy, bluesy melodic concept and… repetitive, dance-like rhythms…. Note that some listeners make no distinction between ‘soul-jazz’ and ‘funky hard bop,’ and many musicians don’t consider ‘soul-jazz’ to be continuous with ‘hard bop.’” The term “soul” suggests the church, and traditional gospel music elements such as “amen chords” (the plagal cadence) and triadic harmonies that seemed to suddenly appear in jazz during the era.
Cool jazz’s reign as the prevalent jazz style after bop’s demise was short lived as many jazz players, especially on the east coast, wanted to return to a style of jazz that had a little more grit and aggression. Hard bop was a return to some of the ascetics of bop, but also offered some new differences. Hard bop brought back the faster tempos of the bop era, but in hard bop the harmonic changes did not come in such rapid fire succession and musicians found themselves stretching out on longer modal style solos. The new emphasis on albums rather than singles also led to longer songs. Hard bop players also began to bring more influences from the church, blues and RnB into jazz which foreshadowed the coming of soul jazz. Despite an influx of avant-garde jazz in the 60s, hard bop remained the prevalent jazz style until the emergence of fusion in the late 60s. Hard bop has enjoyed many revivals over the years and remains one of the most enduring and popular styles in jazz. Miles Davis is considered an early innovator in the field of hard bop, but Art Blakey and the many musicians who played in his Jazz Messengers are considered to be the epitome of the style.
Although some history books claim that Hard Bop arose as a reaction to the softer sounds featured in cool jazz, it was actually an extension of bop that largely ignored West Coast jazz. The main differences between hard bop and bop are that the melodies tend to be simpler and often more “soulful”; the rhythm section is usually looser, with the bassist not as tightly confined to playing four-beats-to-the-bar as in bop; a gospel influence is felt in some of the music; and quite often, the saxophonists and pianists sound as if they were quite familiar with early rhythm & blues. Since the prime time period of hard bop (1955-70) was a decade later than bop, these differences were a logical evolution and one can think of hard bop as bop of the ‘50s and ‘60s. By the second half of the 1960s, the influence of the avant garde was being felt and some of the more adventurous performances of the hard bop stylists (such as Jackie McLean and Lee Morgan) fell somewhere between the two styles. With the rise of fusion and the sale of Blue Note(hard bop’s top label) in the late ‘60s, the style fell on hard times although it was revived to a certain extent in the 1980s. Much of the music performed by the so-called Young Lions during the latter decade (due to other influences altering their style) was considered modern mainstream, although some groups (such as the Harper Brothers and T.S. Monk’s sextet) have kept the 1960s’ idiom alive. – Scott Yanow
30.非洲古巴爵士 Afro-Cuban Jazz¶
古巴爵士（Afro-Cuban Jazz），也叫非洲古巴爵士，它被认为是拉丁爵士的发端，也深深影响了拉丁爵士的发展。非裔古巴的打击乐，融合进了爵士乐的特色，再加入点波普和摇摆乐、放克，便形成了独一无二的古巴爵士。古巴爵士承袭了古巴音乐微妙宁静和强而有力的双重品格，轻佻又不失轻柔。古巴爵士偏重于打击乐器和旋律，康加鼓Conga、沙槌Maracas、三弦吉他Tres等富有古巴特色的乐器，与传统管弦乐器交相呼应。拉丁美洲人民天生活泼喜悦，有属于自己的节奏律动，这种律动也是古巴爵士最重要的节奏模式，它叫Clave Rhythm。由于节奏和旋律都非常活泼跳跃，因此你听古巴爵士，会情不自禁跟着摇摆起来，无拘无束的音乐氛围令人陶醉其中。古巴爵士诞生于20世纪40年代早期（另一种说法是20至30年代），它的形成，归功于Mario Bauzá（马里奥·鲍扎）、Machito（马奇托）、Dizzy Gillespie（吉尔斯比）、Chano Pozo（加诺·波佐）这几位艺术家不懈的努力与推动。
可以毫不夸张地说，古巴爵士之于古巴，就如同巴萨诺瓦之于巴西一样，它俨然成为了古巴最重要的文化遗产之一。
非洲古巴爵士，将来自于古巴和非洲的节奏与爵士乐的即兴创作结合在一起的爵士乐类型。它也被人们称为拉丁爵士(Latin Jazz).但一些演奏者还是更喜欢用“非洲古巴爵士”这个词。古巴爵士有时也被称作为非洲古巴爵士，在所有后-摇摆乐的形式中，古巴爵士向来最受青睐。原因很简单：它对于打击乐器和古巴旋律的偏重，使得这一音乐形式相当合适跳舞，且易于理解。
20世纪20-30年代，有个别的爵士音乐家在他们的音乐中运用南美洲的节奏和拉丁流行乐元素。促使这种音乐产生的人是马里奥·鲍扎（Mario Bauza)，他是一位小号手兼编曲家。他把小号大师吉尔斯比（Dizzy Gillespie）介绍给了古巴打击乐大师加诺·波佐(Chano Pozo)。两人在1947年—1948年间共同创作了不少新颖的音乐，直到波佐去世。也正在是鲍扎的介绍下，拉丁乐队领袖马奇托（Machito)才是开始使用独奏爵士乐手。
20世纪40年代末，斯坦肯顿（Stan Kenton)开始在他的音乐里结合拉丁节奏。
20世纪50年代，这股风气开始盛行，“非洲古巴爵士”成为最流行的爵士风格之一。
近代的一些乐队在非洲古巴爵士的波普(Bop)根源基础之上加入疯克（Funk）元素并引入更多的独奏。这种音乐的精髓就是北美、南美、和中美的真正融合。重点就是具有感染力的节奏。
Afro-Cuban Jazz is a combination of jazz improvising and rhythms from Cuba and Africa; it is also known as Latin jazz. There were some hints of Afro-Cuban jazz in isolated cases during the 1920s and ‘30s — Jelly Roll Morton’s “Spanish tinge” in some of his more rhythmic piano solos, a few Gene Krupa performances where he sought to include South American rhythms, and even in the Latin pop music of Xavier Cugat. However, the true birth of Afro-Cuban jazz can be traced to trumpeter-arranger Mario Bauza. Bauza introduced trumpeter Dizzy Gillespie to the masterful Cuban percussionist Chano Pozo (they teamed up in 1947-48 to create innovative music before Pozo’s death) and also persuaded Latin bandleader Machito to use jazz soloists. During the late ‘40s, Stan Kenton began to integrate Latin rhythms in his music, and with the rising popularity of Tito Puente and Cal Tjader during the 1950s, Afro-Cuban jazz caught on as one of the most popular jazz styles. In more recent times some groups have developed Afro-Cuban jazz beyond its boppish roots, performing Thelonius Monk and John Coltrane tunes, adding funk to the mixture, and having more adventurous solos. The spirit of the music — a true fusion between North, South, and Central America — and an emphasis on infectious rhythms are the keys. — Scott Yanow
Afro-Cuban Jazz combines traditional African based rhythms from Cuba with the pyrotechnical solos of jazz or fusion. This genre got its start when Mario Bauza introduced bop trumpeter Dizzy Gillespie to Cuban percussionist Chano Pozo. The two made exciting new music together starting in 1947 and ending abruptly in 1948 when Pozo passed away. About this same time Cuban bandleader Machito began to feature jazzy solos in his band arrangements. With the rise of artists such as Tito Puente, Afro-Cuban jazz became one of the most popular styles of jazz in the 1950s.
Afro-Cuban is still one of the more popular styles of jazz today and continues to grow and evolve as it takes on influences from fusion and even the avant-garde. You can also check our genres; Latin Jazz, Bosasa Nove and World Fusion for other styles of Latin Jazz.
31.非洲爵士 African Jazz¶
African Jazz是南非的爵士音乐，结合了非洲狂放的节奏，在美国，非洲爵士的形成深受黑人音乐风格的影响。 第一次世界大战之后，一支来自美国新奥尔良的迪克西兰乐队给南非带来爵士的第一缕声响。在此期间，昆斯敦成为南非爵士乐发展的要点。As in the United States, South African jazz was strongly influenced by the music styles of the black population. That said influences from the US led to its formation. The first jazz in the country was done by a Dixieland band from New Orleans that came to the nation after World War I. In this period Queenstown would be an important point in the development of a South African jazz. Boet Gashe and William Mbali’s Big Four were among the early jazz successes in South Africa, although both had relationship to the blues as well. Later the Jazz Maniacs entered the scene and mixed influences from Marabi music to Duke Ellington.
轻音乐 Easy Listening¶
什么是轻音乐呢？到现在为止都没有一个完全的界定。用”Easy Listening”当做它的英文名再合适不过了。乐如其名，轻音乐能让耳朵感受最简单舒适的享受和放松，是休闲之上选。
关于轻音乐的起源，有人说，它最早起源于一战后的英国，以小型乐队的形式演奏简单明快的乐曲，营造温馨浪漫的情调。意大利音乐家曼托瓦尼（Mantovani）领衔成立了曼托瓦尼乐队，就标志着轻音乐的诞生，他本人也被称为“世界轻音乐教父”，这个乐团也被誉为世界三大轻音乐团之一（还有俩是保罗·莫里亚乐队、詹姆斯·拉斯特乐队）。最开始的轻音乐，以弦乐为主，风格多变。没有古典乐的厚重和庞大，轻音乐更加生活化更加通俗，明快舒展。大家听听《La Vie En Rose》这首世界名曲，能感受到两者的差别啦。还有一种说法，这种风格最早来自于20世纪70年代纽约的一种电台形式，以器乐为主。无论什么说法，万变不离其宗的，都离不开轻音乐小而美，简而悦的特质。
1.沙发音乐 Lounge¶
沙发音乐，Lounge Music。
很多人知道沙发音乐从JosePadilla开始接触到Chill-Out这个复合字。
西班牙的JosePadilla，青少年时期的他经常与友人搭公车到巴塞罗纳去混Pub、认识英国女孩，并且开始违背家里要他成为一个会计的意愿———他想当DJ！于是他离开家人，逃往外海一座名叫Ibiza的小岛。如今，他已是名扬世界的“Chill-Out的精神领袖”，全球每年慕名而去Ibiza的观光客难以估计。于是，在总是让舞客精尽人亡的Techno/HardHouse场子边，开始出现一些轻舞漫步的世外桃源..。
通常那会是一处这样的地方：有柔软的毛毯沙发可坐，平和的光芒会从头至脚温柔地包裹着你……
“我们怕吵，一般舞厅播的音乐都太吵了，我们想要一些对耳朵跟身体都友善点的音乐，一种无压力的聆听情境。”
“让我这样为你解释吧，其实很久以前就流行过一种东西叫沙发音乐LoungeMusic，应该可算是Chill-Out的爹了吧！大部分的人都会把身体放软了、陷在沙发里瘫着听，所以我们称之为‘沙发音乐’。”
“Lounge这个字在英文里，它总是带有‘闲散’、‘悠哉’、‘舒服’的意义”，“而什么样的音乐能给你这样的感觉呢？如果在音乐里头加点关于热带度假胜地的异国风情，比方是民谣、轻爵士、拉丁打击乐、阿根廷探戈、西班牙、佛朗明哥，是不是有一种难得的惬意？”
“这是一种时尚，要进入这样的境界并不难，放下手中的摇头乐CD和口哨之流的助兴物，然后，走进与欧美同步流行的Lounge/Chill-OutBar，试着以一种比较缓慢的律动，来达到狂喜的状态，这样才有立地成仙的可能。”
沙发音乐可算是Chill-out的一种，使听者把身体放软了、陷在沙发里瘫着欣赏的音乐，所以称之为
“沙发音乐”。Lounge有“懒洋洋地倚靠着”的意思；另外也可指的是机场的休息室或饭店的交谊厅。
总之，它都跟“闲散”、“悠哉”有关，这就是沙发音乐的风格。
Lounge Music可以是冷峻简约的电子音乐,也可以是随性浪漫的法国香颂或是热情奔放的
拉丁曼波,你想得出的各式音乐类型:Trance、Techno、House、Acid-Jazz、Chill-Out、
Latin、Downbeat、Bossa、World Music等等都可被Remix成各式Lounge Music. Lounge Music
似乎霸占了市场更长的时间,拓展了各大的乐迷地盘,原因无非它拥有易为一般人接受的元素:
慵懒、情调、迷幻,最重要的是它的无压特质,带给了现代都会人遁世的时尚感.因为Lounge Music
是指一种气氛和品味而非音乐型式,所以很少会有一首歌被归为Lounge…
沙发音乐经典代表作:
超值收录标致汽车307广告热门曲”Breathe”，陪你一同乘著法国温暖优雅电音去兜风。2003葛莱美奖大赢家诺拉琼斯、英伦人气团体酷玩乐团等多组热门抢手沙发音乐好手齐聚一堂，打造轻松聆听的舒适空间，让你沙发音乐带著走。全亚洲StarGroup和MTV音乐频道1700万广告预算强力支持，发片起强力放送！HitFM、WaveRadio和飞碟电台20秒广告大量露出，营造舒适生活空间的全方位沙发音乐生活态度！
Lounge refers to a strain of easy listening music from the ‘50s and ‘60s that was based on the lush styles of latter-day swing and big band music. Lounge scaled these back, borrowing ideas from the worldbeat exploration of exotica, as well as the futuristic aspirations of space age pop. Lounge wasn’t as adventurous as either form, yet it wasn’t as watered down as Muzak – instead, it occupied the middle ground, appealing to fans of traditional pop as well as space-age pop.
2.异域 Exotica¶
Exotica是一种轻松的聆听休闲音乐的形式，它借鉴了世界音乐，但它并非旨在进行真实的复制。取而代之的是，exotica的主要关注点是轻便的娱乐活动，将易于识别的民族声音收集成流畅，易于消化的流行形式。音乐通常会让人联想到针对白人美国人的异国情调的外国旅游目的地的图像，从这个意义上讲，这相当于预先打包好的度假胜地-有趣，虚假且安全地熟悉。通常为标准乐团安排Exotica，并根据引起的位置添加乐器（民族打击乐器，弦乐器等）；一些奇异的植物还借用了奇怪的，超凡脱俗的声音效果来定义空间-时代流行风格。即使在上世纪50年代初期或60年代的鼎盛时期，异国风情也常常被嘲笑为俗气和人为，但是90年代复兴的另类音乐迷也怀有这些特质（尽管具有讽刺意味的是），并且对音乐的创造力进行了真诚的重新评估。技术。太平洋，加勒比海，拉丁美洲，巴西和非洲是异国情调最受欢迎的地区音乐资源之一。主要的异国情调艺术家包括Les Baxter，Martin Denny，Esquivel和Yma Sumac
Exotica is a form of easy-listening lounge music that draws upon world music, but it doesn’t aim for authentic replication. Instead, exotica’s primary concern is lightweight entertainment, gathering readily identifiable ethnic sounds into a smooth, easily digested pop form. The music typically conjures up images of exotic foreign tourist destinations geared toward white Americans, and in that sense, it’s sort of the equivalent of a pre-packaged resort vacation – fun, inauthentic, and safely familiar. Exotica is usually arranged for standard orchestras, with instrumentation added according to the location being evoked (ethnic percussion, string instruments, etc.); some exotica also borrows the weird, otherworldly sound effects that define the space-age pop style. Even in its ‘50s/early-‘60s heyday, exotica was often derided as cheesy and contrived, but its ‘90s revival among alternative music fans embraced those very qualities (albeit ironically), and also brought a sincere reassessment of the music’s inventive production techniques. The Pacific, the Caribbean, Latin America, Brazil, and Africa are among exotica’s most popular regional musical sources; major exotica artists include Les Baxter, Martin Denny, Esquivel, and Yma Sumac
3.太空时代流行 Space Age Pop¶
太空时代流行音乐是一个笼统而松散的术语，指的是与20世纪50年代和60年代太空时代的某些墨西哥和美国作曲家和词曲作者联系在一起的一种音乐流派。它也被称为单身派音乐或休息室音乐。[1]太空时代的流行音乐的灵感来自那个时代的精神，一种基于战后强劲的经济和技术繁荣的乐观情绪，以及对人类早期进入太空的兴奋。[2][3]虽然没有具体的专辑、日期或年份，但制作人欧文·丘西德(Irwin Chusid)认为它的全盛时期是“大约1954年到1963年-从高保真(高保真)的黎明到披头士的到来
音乐并不局限于单一的风格，也不总是很容易归类。有几种风格可以被认为是一种影响：像拉威尔和德彪西这样的古典作曲家；20世纪40年代的大乐队；以及不同的异国风格，比如桑巴、拉丁和卡利普索爵士乐。太空时代的流行音乐与休息室音乐、异国情调或优美的音乐流派有关[2]，可以认为是太空音乐音乐流派的先驱。
Space age pop is a general and loosely based term for a music genre associated with certain Mexican and American composers and songwriters in the Space Age of the 1950s and 1960s. It is also called bachelor pad music or lounge music.[1] Space age pop was inspired by the spirit of those times, an optimism based on the strong post-war economy and technology boom, and excitement about humanity’s early forays into space.[2][3] Although there is no specific album, date, or year when the genre was born, producer Irwin Chusid identifies its heyday as “roughly 1954 to 1963—from the dawn of high-fidelity (hi-fi) to the arrival of the Beatles.”
The music is not limited to a single style, and it is not always easily categorized. There are several styles that can be recognized as an influence: classical composers like Ravel and Debussy; the big bands of the 1940s; and different exotic styles, such as samba, latin, and calypso jazz. Space Age pop is related to the genres of lounge music, exotica, or beautiful music,[2] and may be regarded as a precursor to the musical genre of space music.
4.管弦乐流行 Orchestral Pop¶
管弦乐是随着16，17世纪声乐与器乐的发展逐渐形成的，到了18世后，海顿确立了管弦乐队编制和主调音乐样式；莫扎特则进一步加以肯定，贝多芬以交响性、戏剧性手法写作管弦乐序曲。19世纪到20世纪管弦乐发展达到鼎盛时期，一大批优秀作曲家与优秀作品相继出现。
Easy Listening music is instrumental music that was designed to be soothing and relaxing. Unlike jazz, which demands your utmost attention, easy listening slips into the background, which is the very reason many critics and listeners dismissed the music as nothing more than disposible fluff. Although some records certainly fall into that category, there were a number of inventive arrangers and conductors working in the genre, such as Martin Denny, Les Baxter and Esquivel, who distinguished themselves with unpredictable instrumentation and idiosyncratic arrangements. Still, the primary characteristic of easy listening, from Ray Conniff’s lush wordless vocals to the Latin flourishes of Herb Alpert, is that it’s pleasant and easy on the ears.
5.器乐流行 Instrumental Pop¶
流行音乐中器乐作品的特点是：节奏鲜明，轻松活泼或抒情优美，演奏方法多种多样，音响多变，色彩丰富，织体层次简明，乐队规模不大，现代作品多使用电声乐器。声乐作品的特点是：生活气息浓郁、抒情、风趣、音域不宽，手法通俗、曲调顺口、易于传唱；歌词多用生活语言，浅显易，易为听者接受和传唱；歌手多是自成一格的流行歌星，发声方法各有千秋，不受声乐学派的约束，演唱时感情重于声音技巧，动和自由不羁，自然亲切，易引起听众的共鸣；小乐队的强声伴奏与歌声融为一体。由于流行音乐具备上述特点，所以就能够和群众连在一起，无论文化水平的高低，都易于接受。
Instrumental Pop is purely an easy listening style, not to be confused with instrumental pop/rock, instrumental R&B, or jazz-pop. It is most often performed by orchestras, which may feature symphonic or big-band-jazz instrumentation, but it may cover anything from small brass ensembles to – in the case of instrumental pop stalwart Lawrence Welk – polka groups. Many instrumental pop recordings draw upon an already existing repertoire of traditional pop standards, as well as jazz and rock songs that can be adapted to fit the easy listening style; this approach emphasizes the skills of the conductor and arranger, since the audience will likely be familiar with the melodies. There are many exceptions, however, one of the most immediately identifiable being the recordings of skilled composers like Henry Mancini and Bert Kaempfert, who introduced their own standards into the pop canon. Instrumental pop is sometimes geared to be romantic, sometimes carefree and upbeat, but above all, it’s light, soothing, comfortable music.
6.轻音乐流行 Light Pop¶
轻音乐，是指那种风格轻松、活泼的音乐，它是能给人以愉悦和抒情感，优美动听、通俗易懂的音乐。所谓“轻”，是指与庄重的严肃音乐对比而言。舞曲、进行曲、小夜曲比奏鸣曲、交响曲要“轻”；轻歌曲、抒情歌曲、诙谐歌曲比大合唱、清唱剧要轻；喜歌剧要比正剧要“轻”。形象地说，它是音乐中的轻武器，和文学里的小品文、笑话、抒情诗等大致相同。轻音乐作品的旋律优美动听、清晰流畅，节奏鲜明轻快，音色丰富多彩，深受人们喜爱。
Easy Pop is a strand of easy listening that relies on light arrangements of pop hits. Often, easy pop is instrumental, but it isn’t sweeping orchestral, nor is it processed. Instead, it is performed in small groups, occasionally with unusual instruments (like the Harmonicats, who only played harmonicas), but more often with a balance of frothy strings, sweet vocals, and pop studio musicians.
7.器乐独奏 Solo Instrumental¶
Solo Instrumental 器乐独奏
这种音乐通常是音乐家们经由民间音乐激发的灵感而创作，其演绎通常是纯乐器，如钢琴、吉他、塞尔特的竖琴纯乐器，甚至还有铸打成的洋琴。这种音乐直接促成了Windham Hill和Narada这样的成功的新世纪音乐厂牌，而这些厂牌又在其发展中将这种音乐导向印象主义的方向。这种音乐中有不少作品是颇具创新的，并且也非常感人。只是到后来，有些二流的音乐机会主义分子混进来，结果使得这种音乐落了个“听觉壁纸”这么个名声，当然，一些出色的音乐艺人仍一直在向人们展示着这种音乐的真实所在。
Solo Instrumental recordings launched successful labels like Windham Hill and Narada, ushering in a whole movement oriented toward impressionistic, often folk-inspired originals for piano, guitar, Celtic harp, and even hammered dulcimer. Though some of these releases offer innovative, emotionally moving performances, enough second-rate opportunists have jumped on the bandwagon to give the genre its “aural wallpaper” reputation. Still, some fine musicians continue to battle this stigma. – Linda Kohanov
嘻哈(说唱) Hip Hop¶
嘻哈音乐（英语：Hip-hop Music，也叫做hip-hop或rap music），是一种跟着伴奏、带着韵律吟诵（饶舌）的音乐风格，诞生于美国1970年代，并于1980年代成为大众流行文化之一。该音乐所用的伴奏多产生于音乐取样手段，亦被称作“嘻哈音乐”，两者均诞生于广义的嘻哈文化。该文化包含了司众（饶舌）、控盘（刮碟）、歇段舞（霹雳舞）和涂鸦等几种街头艺术。
嘻哈音乐及嘻哈文化首先在1970年代美国贫民区的青年中出现，其中大多数是纽约的美国黑人。当时纽约的街区聚会越来越盛行，尤其是在南布朗克斯特别盛行。DJ会在街区聚会中播放流行歌曲的打击乐。嘻哈音乐一开始出现，当时的音乐取样技术及鼓机都已容易取得，且价格不贵。唱盘技术随着歇段间奏（breaks）一起发展，配合牙买加式的Deejay唱法。饶舌是演出者依照乐器或是合成的节拍念词的演出方式。这个阶段的嘻哈称为旧学派嘻哈，著名的艺人有DJ库尔·贺克、闪耀大师与狂暴五人、妙手佛迪、马尔雷·马尔、Afrika Bambaataa、Kool Moe Dee、克帝斯·布罗、Doug E. Fresh、霍迪尼乐团、Warp 9、肥胖男孩及Spoonie Gee。一般认为The Sugarhill Gang1979年的歌曲《Rapper’s Delight》是第一首在主流音乐界广为流行的嘻哈音乐。1980年代的嘻哈音乐开始分化，发展出更复杂的音乐风格。在1980年代以前，嘻哈音乐主要局限在美国。不过嘻哈音乐在1980年代开始变成许多国家音乐风格中的一部分。
新学派嘻哈是嘻哈音乐的第二波，起源于1983–84年Run DMC及LL Cool J早期的专辑。黄金年代嘻哈是指1980年代中期到1990年初之间一段创新的年代。著名的艺人有Juice Crew、全民公敌乐团、Eric B & Rakim、Boogie Down Productions、KRS-One、EPMD、Slick Rick、野兽男孩、Kool G Rap、Big Daddy Kane、Ultramagnetic MCs、De La Soul及A Tribe Called Quest等。
帮匪说唱是嘻哈音乐中的一种，强调的是巿中心年轻人的暴力生活型态以及其贫穷的生活条件。Schoolly D、N.W.A、Ice-T、Ice Cube及Geto Boys是建立帮匪说唱风格的艺人。其最为人知的是混合有政治及社会评论的政治说唱及帮匪说唱中的犯罪故事及犯罪元素。
在西海岸嘻哈中，G-funk自1990年代起就主导了主流的嘻哈音乐。1990年代初期至中期的东海岸嘻哈是由非洲中心的爵士说唱及Native Tongues的另类嘻哈主导，而当时硬核说唱也相当流行，艺人有纳斯、武当帮及声名狼藉先生。
1990年代的嘻哈音乐开始和美国各地的音乐风格融合，例如南部嘻哈及亚特兰大嘻哈，同时嘻哈音乐也和其他的流行音乐风格同化，例如新灵魂乐。嘻哈音乐是1990年代中间最畅销的音乐风格之一，流行风潮到21世纪仍延续著。嘻哈音乐也持续在主流音乐发挥影响力。在美国也看到一些相关类型音乐的成功，例如强调节奏及音乐多于歌词内容的旷课乐。不过自2005年起，嘻哈音乐的销售量严重的下滑，在2000年代中期，因为像OutKast及肯伊·威斯特等跨界音乐人的成功，另类嘻哈仍在主流音乐中占有一席之地。 2000年代末直到2010年代初期，小韦恩、Soulja Boy、巴比瑞等人是最受欢迎的饶舌乐手。2010年代，许多歌手像是德雷克、妮姬·米娜、 杰寇以及肯德里克·拉马尔皆取得巨大的商业成功。此时陷阱音乐团体或歌手，如Migos及未来小子也受到欢迎。
1.流行说唱 Pop Rap¶
流行说唱/Hip-Hop 是适合电台广播的说唱，主要特点是吸引人的旋律与节奏、干净利落的制作，以及噱头的推广，这种风格也称“干净说唱”。相当于用说唱的形式在流行音乐中演唱，主题大多为情感，爱情等主流音乐主题，音乐编曲也更为主流化，可以说是流行音乐对于嘻哈文化的一种借鉴。艺术家包括Will Smith , MC Hammer 和 Young M.C 等，尽管常受硬核说唱者嘲弄，但因注意年轻人的市场而不断掀起强力热潮。
流行说唱是嘻哈节拍和说唱与强烈的旋律挂钩的结合，通常作为标准流行歌曲结构中合唱部分的一部分。流行说唱往往不像大多数街头嘻哈那样咄咄逼人，歌词也不那么复杂，尽管在90年代中后期，一些艺术家将这种风格注入了更核心的态度，试图平息人们对其可及性的强烈反对。流行说唱始于80年代末，当时像Run-D.M.C.，L.L.Cool J和The Beastie Boys这样的艺术家开始进入主流。此后不久，Tone Loc、Young MC和DJ Jazzy Jeff and the Fresh Prince等说唱歌手录制了单曲，强调了他们幽默的讲故事能力，获得了巨大的排行榜成功；紧随其后的是其他一些以单身为导向的行为，也有类似的和蔼可亲的派对曲调和新奇之处。随着大众接受的可能性非常真实，大约在同一时间，其他艺术家开始强调说唱与R&B和舞曲的联系。后者经常依靠样本来提供他们的旋律，随着1990年MC Hammer和Vanilla Ice的爆炸，流行说唱经常因为愿意借用著名热门歌曲的钩子而不太改变拨款(如果有的话)而经常受到嘲笑(偶尔还会被告上法庭)。这给了这种风格一个并不完全配得上坏名声的名声，因为许多90年代的艺术家在发展自己独特的声音(PM Dawn，Naughty by Nature，House of Pain，Arced Development，Coolio，Salt-N-Pepa，Sir Mix-a-Lot等)的同时，继续在流行音乐中大放异彩。与此同时，德雷博士朗朗上口的G-Funk和泡芙爸爸对80年代流行歌曲的锤子般的掠夺，帮助将黑帮和铁杆主题带到了排行榜的榜首；到了90年代末，流行说唱被他们影响和/或指导的艺术家主导，以及将说唱与城市灵魂融合在一起的艺术家。
Pop-Rap is a marriage of hip-hop beats and raps with strong melodic hooks, which are usually featured as part of the chorus section in a standard pop-song structure. Pop-rap tends to be less aggressive and lyrically complex than most street-level hip-hop, although during the mid- to late ‘90s, some artists infused the style with a more hardcore attitude in an attempt to defuse backlash over their accessibility. Pop-rap got its start in the late ‘80s, when artists like Run-D.M.C., L.L. Cool J, and the Beastie Boys began to cross over into the mainstream. Shortly thereafter, rappers like Tone Loc, Young MC, and DJ Jazzy Jeff and the Fresh Prince recorded singles emphasizing their good-humored storytelling abilities, to massive chart success; a number of other, mostly singles-oriented acts followed in their wake with similarly good-natured party tunes and novelties. With the possibility of popular acceptance very real, other artists – around the same time – began to play up rap’s connection to R&B and dance music. This latter group often relied on samples to supply their melodies, and with the 1990 explosion of MC Hammer and Vanilla Ice, pop-rap was often derided (and, occasionally, taken to court) for its willingness to borrow hooks from well-known hit songs without altering those appropriations very much, if at all. This gave the style a not entirely deserved bad reputation, since many ‘90s artists continued to score big pop hits while developing their own distinctive sounds (PM Dawn, Naughty by Nature, House of Pain, Arrested Development, Coolio, Salt-N-Pepa, Sir Mix-a-Lot, etc.). Meanwhile, Dr. Dre’s catchy G-funk and Puff Daddy’s Hammer-esque plundering of ‘80s pop hits helped bring gangsta and hardcore themes to the top of the charts; by the end of the ‘90s, pop-rap was dominated by artists they had influenced and/or mentored, as well as artists who blended rap with urban soul.
2.陷阱说唱 Trap Rap¶
陷阱说唱（Trap Rap）起源于美国南部的亚特兰大，是说唱音乐的一个重要分支，也是目前最为流行的说唱风格，它吸收了美国南部流行音乐旋律性极好的特点同样也受到陷阱舞曲（Trap Music）的启发与影响，在听觉上加了很多“冲击效果”的硬式新型舞曲，比如有些低音bass特别沉闷，有些节奏速度快beats又重，还有和声带有迷幻空间感等等。
Form of hip hop characterized by beats with high-pitched synthesizers (often imitating brass or orchestral tones) and hard, frequently polyrhythmic 808 drum machine lines at moderate to slow tempos with fast hi-hats as counterpoints. The term ‘trap music’ was coined by T.I. with his 2003 album Trap Muzik; as he describes it, the ‘trap’ is “basically where drugs are sold.” Accordingly, in ‘trap music’, images and descriptions of the drug-dealing lifestyle are invoked heavily. The style evolved in the southern United States–particularly in the Atlanta, Georgia area–in the mid 2000s as a less dance-oriented cousin of Crunk, with a looser and less sharply aggressive vocal delivery characteristic of Dirty South MCs.
Major trap rap artists include Young Jeezy, Gucci Mane, and Waka Flocka Flame.
3.硬核说唱 Hardcore Hip Hop¶
硬核说唱（Hardcore Rap）Hip-Hop之一种，说唱中一种更具有力量感的音乐形式，打破以往说唱及舞曲的形式，具有更强的破坏力和煽动力，其背景总是伴以不断弱化的鼓点，而歌词也大都反映与社会背道而驰或与一般人相异的思维方式。
硬核说唱涉及到好几种不同的音乐感受，其特征可以概括为对峙性和侵略性，它表现为：热情奔放的主题、猛烈强劲的鼓点、吵杂的取样与制作、或是其中任意几种的结合 。
硬核说唱是强硬的、体察民情的、激烈的、而且常常是威胁性的（不过威胁并不是总都存在，它也有幽默和生机勃勃的一面。）匪帮说唱（Gangsta rap）是与硬核说唱最普遍联系的一种风格，二者之间有很多的交叠，特别是在90年代的硬核说唱歌手之中，不过并不是所有的硬核说唱都是围绕着匪盗的主题。最早的硬核说唱出现在80年代后期的东海岸，那时候艺人们开始远离了派对节奏以及对扩音器技术的夸夸其谈，他们的音乐和语言开始反映这个布满沙砾的、粗糙而残酷的城市环境，通常它们也是在这个环境中被创作和被欣赏。在任何关于匪帮说唱的具体准则被制定出来之前，像New Yorks Boogie Down Productions和L.A.s Ice-T这样的艺术家们正把他们对街头生活的观察详尽地记录到磁带中；与此同时，Public Enemy混乱的声音拼贴正为录制能力设定新的标准，而N.W.A则以一种过多的大男子气展现着犹太人与匪徒们荒凉萧瑟的生活方式。
While the term can refer to several different musical sensibilities, Hardcore Rap is marked by confrontation and aggression, whether in the lyrical subject matter, the hard, driving beats, the noisy sampling and production, or any combination thereof. Hardcore rap is tough, streetwise, intense, and often menacing (although the latter isn’t always the case; there is room for humor and exuberance as well). Gangsta rap is the style most commonly associated with hardcore rap, but not all hardcore rap revolves around gangsta themes, even though there is a great deal of overlap, especially among hardcore rappers of the ‘90s. The first hardcore rap came from the East Coast during the late ‘80s, when artists began to move away from party rhymes and bragging about their microphone skills; their music and language began to reflect the gritty, often harsh urban surroundings in which it was usually created and enjoyed. Before any specific formula for gangsta rap had been invented, artists like New York’s Boogie Down Productions and L.A.’s Ice-T were committing detailed observations of street life to tape; plus, Public Enemy’s chaotic sound collages were setting new standards for production power, and N.W.A. celebrated the bleakness of the ghetto and the gangsta lifestyle with an over-the-top machismo. In the early ‘90s, hardcore rap was essentially synonymous with West Coast gangsta rap until the 1993 emergence of the Wu-Tang Clan, whose spare, minimalistic beats and haunting string and piano samples became a widely imitated style. With its slamming, hard-hitting grooves and street-tough urban grit, hardcore rap became hip-hop’s most popular crossover style during the latter half of the ‘90s, its subject matter now a mix of party anthems, gangsta’s money/sex/violence obsessions, and occasional social commentary. Artists like the Notorious B.I.G., DMX, and Jay-Z became platinum-selling superstars, and Master P’s brand of gangsta-oriented Southern hardcore also became a lucrative commercial force, even if it didn’t produce crossover hit singles on the same level.
4.西岸说唱 West Coast Hip Hop¶
在Hip-Hop 世界里，这不仅是一个地理的分割。东西海岸说唱的区别在于它们不同的风格和内容。尽管也受 Hip-Hop 前辈如 Grandmaster Flash 和 Afrika Bambatta 的影响，西海岸说唱比起东海岸说唱，进一步从老派说唱游离开去。他们使用更 funky 的独特节奏，支持着流畅的、有旋律的曲调。西海岸说唱手还率先把“黑帮”文化良莠不分地带入 Hip-Hop 文化的前沿。尽管在说唱乐继续演变的过程中，东西海岸说唱的界限正在慢慢淡化，但仍有一个明显的 西海岸体系，包括从精髓的说唱乐队 N.W.A. 到 Snoop Dogg 和 Vallejo，以及加州的 E-40 等。
1989年时 N.W.A.发行了专辑 Straight Outta Compton ，从此西海岸说唱在它研磨的唱腔与市井的内容之上又加入了更强硬的嗓音，再加上它保持了其原有的作为聚会音乐的基本功能，这一切都使它在90年代成为 hip-hop 的主要力量。另外，南方说唱的兴起也使得东海岸说唱无法再保有其原先的音乐地位，但它也没有在90年代完全消失。除了 Puff Daddy 靠着 Bad Boy 的招牌占据了极其有利的地势并在流行乐坛也极负盛名以外，东海岸说唱还影响了一批风格各异且获得高度评价的艺人们，包括词作鉴赏家 Nas、电子化的 Fugees and Roots、以及受其影响极深的硬核组合 Wu-Tang Clan.
West Coast Rap dominated the hip-hop scene for the middle section of the ‘90s, making gangsta rap into a popular phenomenon and establishing Dr. Dre as one of the most influential figures in rap history. Still, even if Dre’s patented G-funk defined the West Coast sound and style for many, California’s rap scene was a great deal more diverse. Up until the mid- to late ‘80s, West Coast rap mostly imitated East Coast party rap, already considered old-school in its place of origin; however, both Los Angeles and the Bay Area soon proved to be fertile pastures. The former produced the landmark proto-gangsta recordings of Ice-T, the hugely influential, Latino-tinged stoner funk of Cypress Hill, and the warped comedy of the Pharcyde; the Bay Area countered with the pimp-obsessed rhymes of TOO|$HORTToo $hort, the P-Funk-inspired, good-humored Digital Underground, and the pop breakthrough of MC Hammer. In short, West Coast rap became as eclectic and difficult to pigeonhole as East Coast rap. However, N.W.A.’s 1989 gangsta-rap landmarkStraight Outta Compton set the stage for a more identifiable West Coast style — its sound was hard-hitting and minimalistic, its lyrics alternating between violent hedonism and righteously angry social commentary. Upon leaving N.W.A., Ice Cube made solo records which maintained that lyrical tone while employing noisy, Public Enemy-style production; his bandmate Dr. Dre discovered Snoop Doggy Dogg, signed to Death Row Records, and at the end of 1992 released The Chronic, the album that defined G-funk and spawned legions of imitators. The Chronic’s gangsta hedonism and production style — whiny synthesizers, rolling P-Funk beats, and deep, slow grooves — provided the blueprint that made Death Row the biggest hip-hop label of the early ‘90s, scoring hits by Snoop, Warren G.,Tha Dogg Pound, and more. Controversial gangsta star 2Pac joined the label in late 1995 and became a crossover superstar with theDre duet “California Love,” and Coolio had taken a more pop-oriented version of the West Coast sound to the top of the charts earlier in the year with “Gangsta’s Paradise.” However, West Coast dominance soon crumbled — 2Pac was murdered in 1996, Drejumped ship, and Death Row CEO Suge Knight was jailed over business practices. By the end of the ‘90s, hip-hop’s focus had turned back to the East Coast and to the emerging South.
5.东岸说唱 East Coast Hip Hop¶
东海岸说唱/Hip-Hop 总的来说比其西海岸说唱保留了更多的老派风格。Public Enemy, Boogie Down Productions, Run-D.M.C. 和其他精华的东海岸艺术家直接引鉴他们的前辈的简朴与直接性，与西海岸的华丽风格形成对比。由此产生了更有棱角的节奏和严谨而又有力的韵律。随着东西海岸的融合，说唱成为两岸文化的合金，清晰明快的东海岸之声继续蓬勃发展，涌现了一批如Nas, Mobb Deep 和Juru the Damaj a 之流的年轻有为的创新艺人。
说唱乐（Rap）一开始几乎全部来自美国东岸（East Coast），而早期重要的说唱歌手（Rappa）也大都出现在纽约，如老派说唱（Oldschool）的传奇人物DJ Kool Herc（来自牙买加的嘻哈之父）、“闪手大师”（Grandmaster Flash）、“祖鲁帮首领”（Africa Bambaataa）、“糖山帮”（The Sugarhill Gang）、柯蒂斯·布洛（Kurtis Blow）以及“饶舌先锋”（Run DMC）等，直到80年代说唱乐逐渐成长且变得更加多元化，也开始在美国各地萌芽。
虽然东岸的说唱开始并无统一性，但从80年代中期至晚期还是可以听的出来它们较倾向于强烈的音乐节奏及取样（Sample）技术。在说唱歌手部分，它们较擅长于反映时事政治并较能引人思考其主题，这也从一定程度上提升了说唱的层次。
东岸说唱的黄金时期知名的说唱歌手有“埃里克·比与拉基姆”（Eric b & Rakim）、“摇摆制造”（Boogie Down Production）、“独眼里克”（Slick Rick）他们用老派说唱等自夸的文字写作并进行说唱，EPMD以及“人民公敌”（Public Enemy）强烈的音乐性和内容的批判性带领东岸说唱乐茁壮成长，“探索一族”（A Tribe Called Quest）、“追魂者”（De La Soul）、“丛林兄弟”（Jungle Brothers）等多数来自纽约的团体，也是影响80年代后期的重要团体，他们的特点是带有爵士味道的音乐性及正面的歌词；自90年代后期，东岸又涌现出一批更巩固东岸力量的“中坚分子”，如稳坐东岸头一把交椅的“声名狼藉先生”（Biggie）、街头诗人“纳斯”（Nas）、硬核（Hardcore）团体“武当派”（Wu-Tang Clan）、把爵士说唱进行到底的“根”（The Roots），爵士说唱节奏（Jazz Beats）大师皮特·罗克（Pete Rock）以及吹牛老爹（Puff Daddy）的商业化的“派队说唱”（Party Rap）……这些人无不对东岸的嘻哈有着莫大的影响。在多样化的音乐发展下，东岸的说唱乐逐渐近化成一种音乐艺术文化，使得东岸说唱乐进而被划分出来，成为社会上倍受尊重且表现细腻的一种音乐。
At the dawn of the hip-hop era, all rap was East Coast rap. All of rap’s most important early artists were based in the New York City area — old-school legends like DJ Kool Herc, Grandmaster Flash, Afrika Bambaataa, the Sugarhill Gang, Kurtis Blow, and Run-D.M.C. As rap grew and became more diverse over the course of the ‘80s, productive scenes began to spring up in other locations around the country; nonetheless, East Coast rap dominated through most of the ‘80s. Although the sound of East Coast rap wasn’t completely uniform, from the mid- to late ‘80s it tended to gravitate to more aggressive beats and sample collages, and many MCs prided themselves on their technical dexterity in crafting lyrics. In other words, with some exceptions East Coast rap became a music intended more for intense listening than for the dancefloor, helping develop the genre into a respected art form as it grew more elaborate and complex. Typifying this golden era of the East Coast sound were artists like Eric B. & Rakim, Boogie Down Productions, and Slick Rick, all of whom boasted immense lyrical skill rooted in old-school style, as well as the harder-hitting sounds of EPMD and Public Enemy. Also based on the East Coast were the Native Tongues, a collective of positive, Afrocentric artists assembled by Afrika Bambaataa; while De La Soul, A Tribe Called Quest, the Jungle Brothers, and other, mostly New York-based groups had a major impact on hip-hop in the late ‘80s, they were more readily identified with their musical eclecticism than any specific geographic location. N.W.A’s 1989 album Straight Outta Compton served notice that the West Coast had toughened its sound to go along with its already gritty, street-level subject matter; combined with West Coast rap’s ability to retain its primary function as party music, this helped make it the dominant force in hip-hop during the ‘90s. The rise of Southern rap further ensured that East Coast rap could no longer dominate as it once had, but the ‘90s were hardly a wash for the region. In addition to Puff Daddy’s hugely lucrative, pop-accessible Bad Boy label, the East Coast produced its share of varied, highly acclaimed artists, including lyrical virtuoso Nas, the eclectic Fugees and Roots, and the hugely influential hardcore unit Wu-Tang Clan.
6.老派说唱 Old-school Hip Hop¶
老派说唱指的是说唱的初创时期，在 1979-84 期间，当时的节拍更直接，重点在于娱乐，而不是对社会的诠释或讲述堕落的故事。老派说唱的全盛期是由 Sugarhill Gang 的劲曲 “Rapper’s Delight” 开始的，随后走红的分别是一些其它单曲，而非某一位艺人。U.T.F.O 的 “Roxanne Roxanne”，Whodini 的 “Freaks Come Out At Night” 和 Kurtis Blow的 “Basketball” 在此期间尽享成功，但是被流行主流所记住的主要是热门单曲，而没有包括他们广泛的其他作品。几个现代乐队如 the Arsonists 和 Jurassic 5 有着明显的老派说唱音调，为新一代听众介绍 B-boy 的精髓，如高能量的合成音韵以及 DJ 的重要性。
老派说唱是70年代末80年代初从纽约市涌现出来的第一批说唱艺人的风格。老派很容易从相对简单的说唱中辨认出来-大多数台词占用的时间大致相同，语言的节奏很少围绕歌曲的节拍扭曲。节奏通常随着节拍而下降，如果不是这样，他们就不会偏离太久，回到原来的模式以求快速解决。重点不是抒情技巧，而只是美好时光-除了Flash一代宗师的具有社会意识的素材极大地拓展了说唱的视野外，大多数老式说唱都有它诞生时挡路派对和舞蹈的乐趣和嬉戏气息。与悠闲、社区的良好氛围保持一致的是，老式说唱似乎对女性MC有更多的空间和欣赏，尽管没有人能达到闪电侠&速度与激情五人组或糖山帮的更高知名度。一些老派歌曲是通过迪斯科或放克风格的曲目表演的，而另一些则以合成配乐为特色(后一种类型的音乐，无论有没有说唱，都被称为电子音乐)。老派说唱的有记录的历史始于1979年的两首单曲，胖子的“国王蒂姆三世”和糖山帮的“说唱歌手的喜悦”，尽管这一运动在近十年前就已经形成了。糖山唱片迅速成为老式说唱的中心，主导着市场，直到Run-D.M.C.在1983-84年提高了对技术和核心城市韧性的赌注。他们的声音和风格很快就席卷了说唱世界，使得老派的派对取向和70年代的放克影响似乎过时了。与现代说唱中更为复杂的节奏和韵律相比，甚至与“说唱歌手的喜悦”之后不到十年才出现的嘻哈相比，老派说唱听起来可能有些过时，有点缺乏冒险的意味。(注：现代说唱的节奏和韵律更为复杂，甚至与“说唱歌手的喜悦”(Rapper‘s Delight)后不到十年的嘻哈音乐相比)。然而，无论在什么时代，最好的老式曲目都能保持其作为伟大派对音乐的活力，考虑到此后发生的一切，它们的表现出人意料地好。
Old-School Rap is the style of the very first rap artists who emerged from New York City in the late ‘70s and early ‘80s. Old school is easily identified by its relatively simple raps — most lines take up approximately equal amounts of time, and the rhythms of the language rarely twisted around the beats of the song. The cadences usually fell squarely on the beat, and when they didn’t, they wouldn’t stray for long, returning to the original pattern for quick resolution. The emphasis was not on lyrical technique, but simply on good times — aside from the socially conscious material of Grandmaster Flash, which greatly expanded rap’s horizons, most old-school rap had the fun, playful flavor of the block parties and dances at which it was born. In keeping with the laid-back, communal good vibes, old-school rap seemed to have more room and appreciation for female MCs, although none achieved the higher profile ofGrandmaster Flash & the Furious Five or the Sugarhill Gang. Some old-school songs were performed over disco or funk-style tracks, while others featured synthesized backing (this latter type of music, either with or without raps, was known as electro). Old-school rap’s recorded history begins with two 1979 singles, Fatback’s “King Tim III” and the Sugarhill Gang’s “Rapper’s Delight,” although the movement had been taking shape for almost a decade prior. Sugarhill Records quickly became the center for old-school rap, dominating the market until Run-D.M.C. upped the ante for technique and hardcore urban toughness in 1983-84. Their sound and style soon took over the rap world, making old-school’s party orientation and ‘70s funk influences seem outdated. When compared with the more complex rhythms and rhyme schemes of modern-day rap — or even the hip-hop that was being produced less than ten years after “Rapper’s Delight” — old-school rap can sound dated and a little unadventurous. However, the best old-school tracks retain their liveliness as great party music no matter what the era, holding up surprisingly well considering all that’s happened since.
7.爵士嘻哈 Jazz Hip Hop¶
爵士说唱（Jazz Hip Hop）的起源可以追溯到1920年代的爵士乐，随后受1950年代的波普（Bop）和爵士放克（Jazz Funk）、1970年代的爵士融合（Jazz Fusion）、1980年代的说唱（Hip Hop）的影响，爵士说唱（Jazz Hip Hop）——或者说Jazz-rap——作为一种流派终于在1980年代中期出现，标志为Cargo乐队1985年所发行的唱片《Jazz Rap, Volume One》和Stetsasonic在1988年发行的单曲《Talkin’ All That Jazz》。
而真正推动Jazz Hip Hop发展的，是东岸说唱传奇A Tribe Called Quest在1991年发行的唱片《The Low End Theory》和爵士大师Miles Davis于1992年发行的唱片《Doo-Bop》，尤其是前者：RIAA认证白金唱片，《滚石》杂志史上500强唱片第154位，曾入选《时代》杂志史上100强唱片。这两张唱片的器乐演奏姿态属于Jazz，但Beats却是Hip Hop风格，演唱方式也为Rap。同时期还有一大批爵士艺术家和Eastcoast Hiphop歌手同样尝试过Jazz Hip Hop音乐，如Herbie Hancock、Digable Planets 、Us3、Naughty by Nature、De La Soul、Camp Lo甚至大名鼎鼎的“街头诗人”Nas等等，由此，Jazz Hip Hop的发展终于在90年代中期走上正轨，这段时期的代表唱片为《Hand on the Torch》、《Illmatic》、《Uptown Saturday Night》。时间跨过千禧年，众多深受Jazzhiphop影响的音乐人开始活跃起来，譬如J. Rawls、Nujabes、Fat Jon、Madlib、Kero One、Kondori等等。
在这里要提一下Nujabes这位日本音乐人，他将Jazzhiphop传播到东方，同DJ Okawari等日本Hiphoper对日本和中国的Underground Hiphop产生了很深的影响，其代表唱片为《Modal Soul》。而在2010年代的今天，Jazzhiphop的故事仍在继续。
8.南方说唱 Southern Hip Hop¶
南方说唱（Southern hip hop），是美国嘻哈乐的一个流派，兴起于20世纪80年代晚期包括新奥尔良、休斯敦、纳什维尔、亚特兰大、孟菲斯、夏洛特及迈阿密等美国南部城市的夜店之中。
该音乐流派是对自80年代以来从纽约市到加州席卷全美的嘻哈风潮的回应，可视作是继东海岸嘻哈和西海岸嘻哈之后，美国第三大主流嘻哈流派。许多早期的南部嘻哈艺人在90年代由于无法签下唱片合约，选择通过独立发行音乐或混音带。
所有的 Hip-Hop 种类中，南部说唱/Hip-Hop 包括的艺人和风格是最宽泛的。从歌词上讲，南部说唱乐人的共同特点是带有浓重的地方口音。然而音乐上，在不同地区的乐队间的区别各不相同。亚特兰大的 Organized Noize Productions 的创新器乐，就很大程度地区别于新奥尔良的 Cash Money 和 No Limit 的粗旷的合成跳跃风味。而 Underground Kingz（来自德克萨斯州的休斯顿）和 Eightball & MJG（来自田纳西州的孟菲斯）这些乐队则以慷慨深情的、用吉他点缀的动感，进一步扩展了此风格的范围。
历史发展：
在20世纪80年代、90年代，嘻哈音乐主要由东海岸和西海岸的艺人主导。洛杉矶和纽约市是嘻哈乐受到关注的两个主要区域。80年代，南部城市开始发展嘻哈乐。来自休斯敦的说唱组合Geto Boys，是最早受到广泛关注的。南部嘻哈的源起最早可以追溯到Geto Boys在1989年的“Grip It! On That Other Level”以及1990年的专辑《The Geto Boys》，还有1991年的“We Can’t Be Stopped”的成功。在他们星途大展之时，休斯敦开始成为南部嘻哈的中心。迈阿密也在南部嘻哈的兴起中扮演了重要角色，同时期兴起的知名艺人有2Live Crew、Uncle Luke等。
90年代，亚特兰大成为南部嘻哈运动的中心城市。如OutKast、Goodie Mob之类的组合在很大程度上帮助南部成为嘻哈乐的一个发展中心。OutKast成员Big Boi和Andre 3000成为专辑销量能和东海岸和西海岸的说唱大腕们媲美的南部艺人。南部最为成功的厂牌则出自90年代中后期的新奥尔良。该市的嘻哈乐吸收了本地特色的Bounce音乐。这种形式最早出现在80年代末纽约说唱组合Showboyz的“Triggerman”一曲中。Cash Money唱片公司、No Limit唱片公司以及已经倒闭的Big Boy唱片公司造就了南方说唱厂牌的商业成功。他们的艺人唱片销量以百万计，并且在嘻哈圈内也获得很高的赞誉。在21世纪初，来自南方的艺人开始涌现。如T.I.、Lil Flip、卢达克里斯、Nappy Roots、Trick Daddy、Trina以及Trae都在这一时期出现在主流音乐界。2004年，OutKast以其专辑《Speakerboxxx/The Love Below》获得六项格莱美奖，其中包括最佳专辑奖。
Long a third wheel to the East Coast and West Coast hip-hop scenes, Southern Rap emerged in the ‘90s as a fertile scene unto itself, particularly in Miami, New Orleans, and Atlanta. In the late ‘80s, Southern rap was primarily associated with Miami bass music, also popularly known as “booty rap” both for its rump-shaking grooves and the central preoccupation of its lyrics. Chief among its artists was Luther Campbell’s 2 Live Crew, which took the sexual content of its lyrics to a hard-partying extreme, provoking outcries from pro-censorship forces across the country. The sound of Miami bass spread through the rest of the South and remained a national dance-floor staple through the ‘90s, with artists like Tag Team, 95 South, the 69 Boyz, Quad City DJ’s, and Freak Nasty all scoring huge hit singles (albeit with lyrics far less explicit than Campbell’s). Atlanta had its share of bass-heavy party rap artists, but also offered a quirkier, more distinctive (and critically acclaimed) style incorporating the funk of classic Southern soul. The cerebral Arrested Development was the first to hit the national scene in 1992, and they were followed a few years later by protégés of the harder-edged Organized Noize production squad, most notably OutKast and Goodie Mob. If Atlanta was the creative center of Southern rap, New Orleans was surely its commercial center. Master P built a lucrative empire with No Limit record label, and even if he and his roster didn’t really push the envelope artistically – most No Limit albums stuck to West Coast G-funk, Wu-Tang-style hardcore, and nothing but straight-up gangsta lyrics – No Limit pumped out product with assembly-line efficiency and became a constant presence on the national album charts during the late ‘90s. Toward the end of the decade, fellow New Orleans label Cash Money and its house producer Mannie Fresh – whose distinctive approach reworked the Southern bass sound – scored a national breakout with Juvenile, establishing them as a legitimate rival force.
9.中西部说唱 Midwest Hip Hop¶
中西部说唱是指那些由来自美国中西部地区的艺人演唱的一种说唱音乐风格。与之相对应的是美国的东、西、南部说唱风格。
这种风格在九十年代中期开始进入主流视野，例如Bone Thugs-n-Harmony（克利夫兰）、Twista（芝加哥）、Tech N9ne（堪萨斯城）、Atmosphere（明尼阿波利斯）、Eminem（底特律）和Big Sean（底特律）。和东、西、南部说唱具有明显的地域风格不同，定义一个“典型”的中西部说唱可能是非常困难的。
中西部嘻哈是由来自美国中西部的艺术家表演的嘻哈音乐。与东海岸、西海岸和南部同行相比，中西部嘻哈的常量很少。它在全国范围内的第一次流行是在90年代中期，以极快节奏的说唱歌手被称为Choppers的风格，如bone thugs-n-Harmony(克利夫兰)，Twista(芝加哥)，Tech N9ne(堪萨斯城，密苏里州)，Attenere(明尼阿波利斯，明尼苏达州)，Freddie Gibbs(加里，印第安纳州)和Eminem/Slim Shady(底特律，密歇根州)。然而，尽管上面提到的艺术家成为第一个引入中西部嘻哈的艺术家，这些嘻哈与西海岸和东海岸风格的受欢迎程度不相上下，但随后的表演后来在全国范围内声名鹊起，如Nelly，D12，Common和Kanye West，但它们几乎没有相似之处。正是因为来自不同城市的行为之间(有时甚至是来自同一城市的艺术家之间)之间缺乏一致性，所以很难定义“典型的”中西部声音。中西部嘻哈的一个特点是节拍可以从90到180，而东海岸的节拍是90-120，西海岸是100-120，南方说唱是80-180。
Midwest hip hop is hip hop music performed by artists from the Midwestern United States. In contrast with its East Coast, West Coast and Southern counterparts, Midwest hip hop has very few constants. Its first dose of national popularity came in the mid-90s with the extremely fast-paced styles of rappers known as Choppers, such as Bone Thugs-n-Harmony (Cleveland), Twista (Chicago), Tech N9ne (Kansas City, Missouri), Atmosphere (Minneapolis, Minnesota), Freddie Gibbs (Gary, Indiana), and Eminem/Slim Shady (Detroit, Michigan).
However, while the artists mentioned above became the first to introduce Midwest hip hop that rivaled the popularity of West and East Coast styles, subsequent acts have since risen to national prominence such as Nelly, D12, Common and Kanye West but they share very few similarities. It is because these lack of constants between acts from different cities (and sometimes even between artists from the same city) that it can be extremely difficult to define a “typical” Midwest sound. One characteristic of Midwest hip hop is that beat tempos can range from 90 to about 180, while East Coast’s beat tempo is 90–120, West Coast is 100–120, and Southern rap is 80–180.
10.爵士说唱 Jazz Rap¶
爵士说唱（Jazz Hip Hop）的起源可以追溯到1920年代的爵士乐，随后受1950年代的波普（Bop）和爵士放克（Jazz Funk）、1970年代的爵士融合（Jazz Fusion）、1980年代的说唱（Hip Hop）的影响，爵士说唱（Jazz Hip Hop）——或者说Jazz-rap——作为一种流派终于在1980年代中期出现，标志为Cargo乐队1985年所发行的唱片《Jazz Rap, Volume One》和Stetsasonic在1988年发行的单曲《Talkin’ All That Jazz》。
而真正推动Jazz Hip Hop发展的，是东岸说唱传奇A Tribe Called Quest在1991年发行的唱片《The Low End Theory》和爵士大师Miles Davis于1992年发行的唱片《Doo-Bop》，尤其是前者：RIAA认证白金唱片，《滚石》杂志史上500强唱片第154位，曾入选《时代》杂志史上100强唱片。这两张唱片的器乐演奏姿态属于Jazz，但Beats却是Hip Hop风格，演唱方式也为Rap。同时期还有一大批爵士艺术家和Eastcoast Hiphop歌手同样尝试过Jazz Hip Hop音乐，如Herbie Hancock、Digable Planets 、Us3、Naughty by Nature、De La Soul、Camp Lo甚至大名鼎鼎的“街头诗人”Nas等等，由此，Jazz Hip Hop的发展终于在90年代中期走上正轨，这段时期的代表唱片为《Hand on the Torch》、《Illmatic》、《Uptown Saturday Night》。时间跨过千禧年，众多深受Jazzhiphop影响的音乐人开始活跃起来，譬如J. Rawls、Nujabes、Fat Jon、Madlib、Kero One、Kondori等等。
在这里要提一下Nujabes这位日本音乐人，他将Jazzhiphop传播到东方，同DJ Okawari等日本Hiphoper对日本和中国的Underground Hiphop产生了很深的影响，其代表唱片为《Modal Soul》。而在2010年代的今天，Jazzhiphop的故事仍在继续。
前身：(第2版)伦敦：Rough Guides，2005)在他的嘻哈时间表中列出了路易斯·阿姆斯特朗1925年录制的“Heebie Jeebies”。在20世纪70年代，“最后的诗人”、吉尔·斯科特-海伦和瓦茨先知将口语和押韵的诗歌放在爵士乐的背景音乐上。爵士乐和自由式说唱的即兴短语之间也有相似之处。尽管有这些不同的主线，爵士乐说唱直到80年代末才融合为一种流派。流行的开端：1985年，由迈克·卡尔(Mike Carr)领导的爵士乐融合乐队Cargo发行了单曲“爵士乐说唱”(Jazz Rap)，出现在专辑“爵士乐说唱”(Jazz Rap)的第一卷[1]中。1988年，Gang Starr发行了首支单曲《Words I Manifest》，品尝了眩晕的吉莱斯皮1952年的《突尼斯之夜》；Stetsasonic发行了《Talkin‘All That Jazz》，品尝了朗尼·利斯顿·史密斯(Lonnie Liston Smith)。刚·斯塔尔的首张唱片“不再是好人先生”(Wild Pitch，1989)，以及他们为莫的“Better Blues”配乐的歌曲“Jazz Thing”(哥伦比亚广播公司，1990)，进一步普及了爵士乐说唱风格。本土语言：被称为“本土语言”的群体倾向于爵士乐的发行：其中包括丛林兄弟的处女作“直奔丛林”(“魔术师”，1988)、“部落探索”(Jive，1990)、“节奏之路”(Jive，1990)和“低端理论”(Jive，1991)。低端理论已经成为嘻哈最受好评的专辑之一，也赢得了爵士贝斯手罗恩·卡特(Ron Carter)的赞誉，他在一首曲目中演奏了低音提琴。De La Soul的“Buhloone Mindstate”(汤米男孩，1993)的特色是Maceo Parker，Fred Wesley和Pee Wee Ellis的贡献，以及Eddie Harris，Lou Donaldson，Duke Pearson和Milt Jackson的样本。这一时期还有多伦多的Dream Warriors的1991年发行，现在是遗产开始(4&B‘Way/Island/PolyGram)。它制作了热门单曲“我对繁荣爵士乐风格的定义”和“在我的水槽里洗脸”。第一个是基于昆西·琼斯(Quincy Jones)的“灵魂·博萨新星”(Soul Bossa Nova)中的一个循环，而第二个样本是贝西伯爵1967年演绎的“挂在斯鲁皮上”(Hang On Sloopy)。与此同时，洛杉矶嘻哈乐队Freestyle Fellowship在具有不同寻常的时间签名和受SCAT影响的人声的录音中追求一条不同的爵士乐影响路线。爵士乐艺术家们来到嘻哈：尽管爵士乐说唱几乎没有取得主流的成功，但爵士乐传奇迈尔斯·戴维斯(Miles Davis)的最后一张专辑(1992年发行)Doo-Bop是基于嘻哈节拍和与制作人Easy Mo Bee的合作。戴维斯的前乐队成员赫比·汉考克(Herbie Hancock)在90年代中期重返希普影响力乐队，并于1994年发行了专辑“Dis da Drum”。同年，爵士音乐家布兰福德·马萨利斯(Branford Marsalis)与冈斯塔尔的DJ Premier合作推出了Buckshot LeFonque项目。20世纪90年代至今：可消化星球1993年发行的“Reachin”(时间和空间的新驳斥)是一张热门的爵士乐说唱唱片，采样了唐·切里、桑尼·罗林斯、阿特·布莱基、赫比·曼、赫比·汉考克、格兰特·格林和拉桑·罗兰·柯克等人。它催生了热门单曲《滑头重生(Cool Like Dat)》。同样在1993年，US3发布了“蓝色音符上的火炬”唱片。所有样品都来自蓝皮书目录。单曲“坎塔卢普”是蓝音符的第一张金唱片。这段时间是爵士乐说唱在嘻哈听众中受欢迎的最高峰，随后一段时间它被认为是一种“发挥出来”的趋势。音乐爵士乐的引用变得不那么明显，也不那么持久，抒情爵士乐的引用肯定更少见。然而，爵士乐已经加入了嘻哈制作人的调色板，它的影响持续了整个20世纪90年代，无论是在Nas(Illatic，Columbia，1994)粗暴的街头故事背后，还是支持更波西米亚的行为，如根和常识。自2000年以来，它可以在制片人的作品中检测到，如J.Rawls，Nujabes，Fat Jon，Madlib，Kero One，以及英国二人组The Herbaliser，等等。一个有点类似于Buckshot Le Fonque的项目是布鲁克林方克精华(Brooklyn Funk Essentials)，这是一个总部设在纽约的团体，也在1994年发布了他们的第一张唱片。普林斯本人在1991-1992年的一些歌曲中为这一体裁做出了贡献，以及他的新动力一代专辑Gold Nigga，这张专辑融合了爵士乐、放克和嘻哈，发行时非常保密。一个继续与爵士乐保持直接联系的嘻哈项目是Guru的Jazzmatazz系列，它使用了录音棚里的现场爵士乐音乐家。从1993年到2007年，它的四卷本汇集了弗雷迪·哈伯德(Freddie Hubbard)、唐纳德·伯德(Donald Byrd)、考特尼·派恩(Courtney Pine)、赫比·汉考克(Herbie Hancock)、肯尼·加勒特(Kenny Garrett)和朗尼·利斯顿·史密斯(Lonnie Liston Smith)等爵士名人，以及库尔·基思(Kool Keith)、MC Solaar、Common和Guru‘s Gang Starr同事DJ Premier
Precursor：
（2nd ed. London: Rough Guides, 2005） lists Louis Armstrong’s 1925 recording of “Heebie Jeebies” in his timeline of hip hop. In the 1970s, The Last Poets, Gil Scott-Heron, and The Watts Prophets placed spoken word and rhymed poetry over jazzy backing tracks. There are also parallels between jazz and the improvised phrasings of freestyle rap. Despite these disparate threads, jazz rap did not coalesce as a genre until the late 80s.
Beginnings of a trend：
In 1985, jazz fusion band Cargo, led by Mike Carr, released the single “Jazz Rap”, appearing on the album Jazz Rap, Volume One [1]. In 1988, Gang Starr released the debut single “Words I Manifest”, sampling Dizzy Gillespie’s 1952 “Night in Tunisia”, and Stetsasonic released “Talkin’ All That Jazz”, sampling Lonnie Liston Smith. Gang Starr’s debut LP, No More Mr. Nice Guy （Wild Pitch, 1989）, and their track “Jazz Thing” （CBS, 1990） for the soundtrack of Mo’ Better Blues, further popularized the jazz rap style.
Native Tongues：
Groups making up the collective known as the Native Tongues tended toward jazzy releases: these include the Jungle Brothers’ debut Straight Out the Jungle （Warlock, 1988） and A Tribe Called Quest’s People’s Instinctive Travels and the Paths of Rhythm （Jive, 1990） and The Low End Theory （Jive, 1991）. The Low End Theory has become one of hip hop’s most acclaimed albums, and also earned praise from jazz bassist Ron Carter, who played double bass on one track. De La Soul’s Buhloone Mindstate （Tommy Boy, 1993） featured contributions from Maceo Parker, Fred Wesley, and Pee Wee Ellis, and samples from Eddie Harris, Lou Donaldson, Duke Pearson and Milt Jackson.Also of this period was Toronto-based Dream Warriors’ 1991 release And Now the Legacy Begins （4th & B’way/Island/PolyGram）. It produced the hit singles “My Definition of a Boombastic Jazz Style” and “Wash Your Face in My Sink”. The first of these was based around a loop taken from Quincy Jones’ “Soul Bossa Nova”, while the second sampled Count Basie’s 1967 rendition of “Hang On Sloopy”. Meanwhile, Los Angeles hip hop group Freestyle Fellowship pursued a different route of jazz influence in recordings with unusual time signatures and scat-influenced vocals.
Jazz artists come to hip hop：
Though jazz rap had achieved little mainstream success, jazz legend Miles Davis’ final album （released posthumously in 1992）, Doo-Bop, was based around hip hop beats and collaborations with producer Easy Mo Bee. Davis’ ex-bandmate Herbie Hancock returned to hipp influences in the mid-nineties, releasing the album Dis Is da Drum in 1994. Jazz musician Branford Marsalis collaborated with Gang Starr’s DJ Premier on his Buckshot LeFonque project that same year.
1990s–present：
Digable Planets’ 1993 release Reachin’ （A New Refutation of Time and Space） was a hit jazz rap record sampling the likes of Don Cherry, Sonny Rollins, Art Blakey, Herbie Mann, Herbie Hancock, Grant Green, and Rahsaan Roland Kirk. It spawned the hit single “Rebirth of Slick （Cool Like Dat）”. Also in 1993, Us3 released Hand on the Torch on Blue Note Records. All samples were from the Blue Note catalogue. The single “Cantaloop” was Blue Note’s first gold record.
This period was the high-water mark for jazz rap’s popularity among hip hop listeners, following which it came to be regarded for a time as a trend which was “played out”. Musical jazz references became less obvious and less sustained, and lyrical references to jazz certainly more rare. However, jazz had been added to the palette of hip hop producers, and its influence continued throughout the 1990s whether behind the gritty street-tales of Nas （Illmatic, Columbia, 1994）, or backing the more bohemian sensibilities of acts such as The Roots and Common Sense. Since 2000 it can be detected in the work of producers such as J. Rawls, Nujabes, Fat Jon, Madlib, Kero One, and the English duo The Herbaliser, among others. A project somewhat similar to Buckshot Le Fonque was Brooklyn Funk Essentials, a New York based collective who also released their first LP in 1994. Prince himself contributed to the genre on some songs from 1991-1992, as well as with his New Power Generation album Gold Nigga, which mixed jazz, funk and hip-hop and was released very confidentially.
One hip hop project which continued to maintain a direct connection to jazz was Guru’s Jazzmatazz series, which used live jazz musicians in the studio. Spanning from 1993 to 2007, its four volumes assembled jazz luminaries like Freddie Hubbard, Donald Byrd, Courtney Pine, Herbie Hancock, Kenny Garrett and Lonnie Liston Smith, and hip hop performers such as Kool Keith, MC Solaar, Common, and Guru’s Gang Starr colleague DJ Premier.
11.英伦说唱 British Hip Hop¶
尽管英国金属在大不列颠和北爱尔兰联合王国以及欧洲以外很少听说，但却是有英国说唱传统并一脉相承的音乐风格。尽管它没有很受美国hip-hop传统的影响，但许多说唱音乐人却成长在肥沃的加勒比海，因为当地的传统和方言成了hip-hop的风格。应该说说唱开始于80年代后期，“公敌”乐队的声波社团成为一个登陆的标志。很快，许多联合王国的说唱乐家纷纷加入酸性乐房，充实到他们的歌声中，而这类音乐风格在同期比美国更
British hip hop is a genre of music, and a culture that covers a variety of styles of hip hop music made in Scotland, England, Wales and Northern Ireland (The United Kingdom).[2] It is generally classified as one of a number of styles of urban music.[3] British hip hop was originally influenced by the dub/toasting introduced to the United Kingdom by Jamaican immigrants in the 1960s–70s, who eventually developed uniquely influenced rapping (or speed-toasting) in order to match the rhythm of the ever-increasing pace and aggression of Jamaican-influenced dub in the UK and to describe street/gang violence, similar to that in the US. UK rap, or speed-toasting, has also been heavily influenced by US hip-hop. British hip hop, particularly that originating from London, was commercially superseded by grime, however, after a post-millennium boom period, the genre remains a hotbed of talent.
In 2003, The Times described British hip hop’s broad ranging approach:
“…’UK rap’ is a broad sonic church, encompassing anything made in Britain by musicians informed or inspired by hip-hop’s possibilities, whose music is a response to the same stimuli that gave birth to rap in New York in the mid-Seventies.”
12.喜剧说唱 Comedy Hip Hop¶
喜剧说唱是 Hip-Hop 的轻松一面，远离硬核与黑帮说唱的攻击性和暴力性的形象，喜剧说唱者在现代城市音乐的低音和敲击中加入了风趣和幽默的独特感觉。
喜剧嘻哈或喜剧说唱是嘻哈音乐的一个子流派，本质上是喜剧的，通常包含讽刺歌词。虽然许多喜剧嘻哈的例子可以被认为是嘻哈流派的恶搞，但对于那些仅仅将幽默融入到他们更严肃、更纯粹的嘻哈风格中的艺术家来说，比如阿姆，情况并不一定是这样。在20世纪90年代的冈斯塔说唱以更黑暗的主题为特征之前，喜剧嘻哈以其更轻松、更幽默的风格在20世纪80年代声名鹊起，由“野兽男孩”(The Beastie Boys)等流行乐队担纲[1]。各种有影响力的喜剧嘻哈组合始于20世纪90年代初，如Das EFX和Fu-Schickens，在整个90年代末和21世纪头10年，Eamon、Hopsin、Eminem、Jon Lajoie和The Lonely Island等说唱歌手越来越受欢迎。Eamon因其2004年的热门歌曲“I Love They Ho‘s”而闻名。鲁卡·鲁卡·阿里(Rucka Rucka Ali)也是一位尝试喜剧嘻哈的艺术家，同时还触及了种族主义等社会问题，就像他的歌曲“我可以做任何我是白人的事”(I Can Do do What I‘m White)。“怪异的艾尔”扬科维奇和Nerdcore一起进入了这一音乐流派。Macklemore和Ryan Lewis的“Thrift Shop”也是一首广为人知的喜剧嘻哈歌曲。虽然很少有说唱歌手将喜剧嘻哈作为他们的重点，但这一流派保持着大量的忠诚追随者。
Comedy hip hop or comedy rap is a sub-genre of hip hop music that is comedic in nature, often incorporating satirical lyrics. While many examples of comedy hip hop could be considered a parody of the hip hop genre, in the case of artists who merely incorporate humor into their more serious, purist hip hop styles, such as Eminem, this is not necessarily the case.
Before the darker themes that are characteristic of the Gangsta rap of the 1990s, comedy hip hop, with its lighter and more humorous style, came to prominence in the 1980s,[1] carried by popular acts such as the Beastie Boys. Various influential comedy hip hop groups began in the early 1990s, such as Das EFX and Fu-Schnickens, and throughout the late 1990s and 2000s, rappers like Eamon, Hopsin, Eminem, Jon Lajoie, and The Lonely Island gained popularity. Eamon is known for his 2004 hit, “I Love Them Ho’s” in 2004. Rucka Rucka Ali is also an artist who experiments with comedy hip hop while touching on social issues like racism, as in his song, “I Can Do Whatever I’m White”. “Weird Al” Yankovic has made entries to this music genre, along with Nerdcore. “Thrift Shop” by Macklemore and Ryan Lewis is also a well known song of comedy hip hop. While few rappers make comedy hip hop their focus, the genre maintains a substantial loyal following.
13.地下说唱 Underground Hip Hop¶
当说唱进入地下领域，这个音乐种类自身的进化和逐渐被主流的接受，为那些曾明目张胆反商业或者非常以特立独行自傲的艺术家打开了一扇门。地下说唱并没有特别严苛的定义，它可以是质朴而生猛的，或者非常激进，或者用很低的制作资金来竞争主流说唱。
While rap began in the underground, the genre’s evolution and gradual mainstream acceptance opened the door for artists who were brazenly anti-commercial and/or proudly independent, indifferent to the exposure promised by major-label promotion and distribution. Underground Rap has no sonic signifiers. It can be raw and unvarnished (hardcore lyrics over stripped-down beats), left-of-center to an extent that it has no potential to cross over, or emulate mainstream rap production on a low budget. It is an umbrella term that groups weirdoes like Ultramagnetic MC’s, firebrands like Paris and the Coup, and gangsta rap entrepreneurs who sell mixtapes out of the trunks of their cars.
14.中国地下说唱 Chinese Underground Hip Hop¶
中国说唱音乐的雏形形成于80年代中期，很多人对于嘻哈文化的启蒙是来自于1984年的美国电影《霹雳舞》（Beat Street）。1984年在北京的俱乐部Juliana’s开始有了DJ播放说唱音乐，1992年在北京昆仑饭店的水晶的士高俱乐部里出现了经常性的嘻哈夜现场表演，1994年上海百老汇也出现了嘻哈主题的俱乐部。
2003年，随着北京Vic’s和Mix俱乐部的开业说唱音乐变得更加主流。
1986年，香港歌手林子祥发表的《Ahlam日记》是一首粤语说唱，跟当时美国80年代流行的old school的说唱风格是非常相似，崔健于1989年发布的专辑《新长征路上的摇滚》中。收录了一首偏摇滚风格的说唱歌曲《不是我不明白》，算是国语Rap的启蒙。
2002年，来自北京的说唱组合“隐藏”发行了他们的专辑《为人民服务》走进了大众视野。
美国人Dana Burton在2001年开始举办Iron Mic说唱比赛来推广说唱音乐，这项每年举办的比赛在中国说唱界有着十分重要的位置。
2017年，随着爱奇艺的网络节目《中国有嘻哈》的播出，许多中国说唱歌手从地下被大众所熟知，中国说唱也在大众文化中逐渐有了属于自己的位置。
15.意识说唱 Conscious Hip Hop¶
意识说唱是政治说唱的衍生风格，两者是平行的关系，前者主题相对于后者更加宽泛，除了政治主题之外还涉及社会问题，包含移民、经济、非裔美国人文化问题等，跟个人生活息息相关。
有意识的嘻哈，或有社会意识的嘻哈，是嘻哈的一个子流派，挑战占主导地位的文化、政治、哲学和经济共识，和/或对社会问题和冲突的评论。有意识的嘻哈不一定是公开的政治性的，但这两者有时可以互换使用。“有民族意识的说唱”一词被用来更具体地描述带有强烈政治信息和主题的嘻哈音乐。有意识的嘻哈音乐的主题包括民族中心主义、宗教、对犯罪和暴力的厌恶、文化、经济或对普通人斗争的描绘。有意识的嘻哈经常寻求提高人们对社会问题的认识，让听众形成自己的观点，而不是积极倡导某些想法和要求采取行动。
Conscious hip hop, or socially conscious hip-hop, is a subgenre of hip hop that challenges the dominant cultural, political, philosophical, and economic consensus,and/or comments on social issues and conflicts. Conscious hip hop is not necessarily overtly political, but the two are sometimes used interchangeably. The term “nation-conscious rap” has been used to more specifically describe hip hop music with strong political messages and themes.Themes of conscious hip hop include afrocentricity, religion, aversion to crime & violence, culture, the economy, or depictions of the struggles of ordinary people. Conscious hip hop often seeks to raise awareness of social issues, leaving the listeners to form their own opinions, rather than aggressively advocating for certain ideas and demanding actions.
16.另类说唱 Alternative Hip Hop¶
大多数说唱乐手常拘泥于一些既有的式样，而另类说唱/Hip-Hop 艺术家则大胆走向新方向。拒绝附和传统老套的说唱风格的一种音乐，比如gangsta、疯克、贝斯、硬核和聚会说唱。
Alternative Rap refers to hip-hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, funk, bass, hardcore, and party rap. Instead, they blur genres, drawing equally from funk and pop/rock, as well as jazz, soul, reggae, and even folk. Though Arrested Development and the Fugees managed to cross over into the mainstream, most alternative rap groups are embraced primarily by alternative rock fans, not hip-hop or pop audiences.
17.实验说唱 Experimental Hip Hop¶
实验说唱又叫抽象说唱，是采用了通常被认为是非传统说唱的结构元素的一种说唱音乐风格。一般认为实验说唱起源于说唱音乐的“黄金年代”也就是“八十年代晚期至九十年代早期”。
作为一个相对年轻的音乐风格，这个时期的嘻哈音乐是关于新思想和实验的。在非洲中心主义和政治斗争的主题推动下，再加上实验音乐和采样技术，引发了大量的音乐结构上的创新。
实验性的说唱音乐制作非常兼收并蓄，吸引了大量音乐流派的影响。伴随着电子音乐和配音的元素，艺术家从其他风格，包括摇滚，灵魂，雷鬼，古典和爵士乐。总的来说，实验说唱产生于20世纪90年代早期的嘻哈艺术家，如Wu-Tang Clan，A Tribe Called Quest和De La Soul等。
Experimental hip hop (also known as abstract hip hop) is a style of hip-hop that refers to the experimental use of structural elements outside of hip-hop considered unconventional within the larger hip hop music genre. Definitive Jux, Anticon and Ninja Tune are experimental hip hop and acid jazz labels. Experimental hip hop is usually electronically produced and incorporates turntablism. There are many artists that introduce acoustic elements to the genre to enhance the ability of being played live (this is also notable in trip hop, and its subgenre trip rock).
18.法国说唱 French Hip Hop¶
法国说唱是流行于法语国家的一种说唱类型。法国说唱结合了法语丰富的文化内涵和说唱“自由表达”的精神内核流行于欧洲。
法国嘻哈是法语国家发展起来的嘻哈音乐风格。法国嘻哈音乐中心的抗议可以直接追溯到二战后的经济繁荣时期。法国需要人力来维持其新兴的产业，而政府的解决方案是让来自过去法国殖民占领地区的人们大规模移民，以填补人才短缺造成的缺口。早在1945年，国家移民局(ONI)就成立了，负责监督新工人的移民。新到的非洲人没有得到与其法属加勒比同行相同的就业机会，因为他们不是公民，往往最终成为公务员和居住在破旧住房项目中的卑微雇员。法国嘻哈音乐中对社会和经济失衡的抵制很大程度上与这种历史上的不平等状况有关。阿克维斯特歌曲“ILS ONT”的歌词证明了这一点，这首歌的摘录在翻译后写道：“阿克维斯特谴责对所有移民父亲的不容忍/自50-60年代以来在法国受到剥削/…他们的身体正在崩溃/他们的孩子仍在根据他们的出身接受评判。”许多法国嘻哈艺人来自被称为郊区(“郊区”)的大城市郊区的贫穷城市地区。巴黎、马赛、里昂、南特、里尔、斯特拉斯堡、雷恩、卡昂、勒阿弗尔、鲁昂、图卢兹、波尔多、格勒诺布尔和尼斯都培养出了各种法国嘻哈艺术家。居住在法国的少数民族的政治和社会地位对法国嘻哈有着直接的影响，许多法国说唱歌手都是HLM租金管制住房的产物，并以他们在这种环境中的成长为创作灵感的源泉。到目前为止，法国的嘻哈乐界是欧洲最活跃的。
French hip hop is the hip hop music style which was developed in French-speaking countries.
The protest at the heart of French hip-hop can be traced directly to the economic boom following World War II. France required manpower to sustain its newly booming industries and the governmental solution was the mass immigration of peoples from regions of past French colonial occupation to fill the gaps caused by shortage in personnel. As early as 1945, l’Office national d’immigration (ONI) was formed to supervise the immigration of new workers. Newly arrived Africans were not given the same employment opportunities as their French Caribbean counterparts because they were not citizens and often Africans ended up working as civil servants and menial employees living in dilapidated housing projects. Much of the resistance to social and economic imbalances in French hip-hop relate to this historically unequal situation. This is proved by lyrics of Aktivist’s song, “Ils ont”, The extract when translated states “Aktivist denounces intolerance to all immigrant fathers/Exploited in France since the 50s-60s/…their bodies are falling apart/And their children are still being judged according to their origins.”
Many of the French hip hop artists come from the poor urban areas on the outskirts of large cities known as banlieues (“suburbs”). Paris, Marseille, Lyon, Nantes, Lille, Strasbourg, Rennes, Caen, Le Havre, Rouen, Toulouse, Bordeaux, Grenoble and Nice have produced various French hip hop artists. The political and social status of the minority groups living in France have a direct influence on French hip hop.Many French rappers are products of the HLM rent-controlled housing and draw upon their upbringing in this environment as a source of inspiration for their lyrics. France’s hip hop scene is, by far, the most active in Europe.
19.基督教说唱 Christian Hip Hop¶
基督教说唱就是在 Hip-Hop 节奏上唱出颂赞歌词。起初，Hip-Hop 的都市生活和暴力的主题与现代基督教音乐的和平与轻松似乎无缘。然而，DC Talk, T-Bone 和 Transformation Crusade 发现这两者的混合体是有观众的。MC Hammer 是第一个以明确的基督主题获得成功的说唱乐者；在 20 世纪 90 年代早期，他创作的热门单曲“Pray”把至今仍在萌芽期的基督教说唱介绍给他的广大听众。
Christian hip hop (originally Gospel rap, also known as Christian rap, Gospel hip hop, holy hip hop, or Christ hop) is a form of hip hop music that uses Christian themes to express the songwriter’s faith. Only during the 1990s did this term “Christian hip hop” become descriptive of this type of music. While the audience is typically Christian, the music is also used in (Christian) missions work for the purpose of evangelization. Christian rap and hip hop artists are often professed Christians who often use their background to express their beliefs.
20.说唱浩室 Hip House¶
说唱浩室是一种结合了电子音乐“浩室”风格和说唱音乐的一种音乐类型。这种风格在20世纪80年代后期在芝加哥和纽约崛起之后在美国和英国迅速流行起来。
Hip house, also known as rap house or house rap, is a musical genre that mixes elements of house music and hip-hop. The style rose to prominence during the 1980s in Chicago and New York. Hip house originated in Chicago and quickly became popular across the U.S. and in the UK, with tracks like “Rok Da House” by UK producers the Beatmasters featuring British female emcees the Cookie Crew.
Minor controversy ensued in 1989 when a U.S. record called “Turn Up The Bass” by Tyree Cooper featuring Kool Rock Steady claimed it was the “first hip house record on vinyl”. The Beatmasters disputed this, pointing out that “Rok Da House” had originally been written and pressed to vinyl in 1986. The outfit then released “Who’s in the House?” featuring British emcee Merlin, containing the lines “Beatmasters stand to attention, hip house is your invention” and “Watch out Tyree, we come faster”. More claims to the hip-house crown were subsequently laid down in tracks by Fast Eddie, Rob Base and DJ E-Z Rock, and Toni Scott.
21.弛放节拍 Chill Beats¶
弛放节拍Chill Beats是爵士嘻哈（Jazz Hip-Hop）以及器乐嘻哈（Instrumental Hip Hop）的一种派生，包括了Lo-Fi Hip-hop等较为放松的Hip-Hop Beats。这种音乐风格会采样一些爵士乐甚至一些电影对白，加上慢速的节拍，mix成一段慵懒，舒缓的Hip-hop Beats，让人产生非常放松的感觉。
22.器乐嘻哈 Instrumental Hip Hop¶
器乐嘻哈是一种“去掉人声只留伴奏”的音乐风格。这种风格没有了MC，使制作人能够灵活地创建更复杂，更丰富的细节和多样化的伴奏。这种类型的歌曲可能在不同的音乐方向上流浪，并探索各种子类型，因为乐器不必为MC提供稳定的节拍。虽然自嘻哈音乐诞生以来，制作人已经制作并发行了没有MC的伴奏带，但这些唱片却鲜有出名。
Hip hop productionis the creationof hip hop music. Though the term encompasses all aspects of hip hop music, it is most commonly used to referto the instrumental, non-lyrical aspects of hip hop. This means that hip hop producers are the instrumentalists involved ina work. Modernhip hop productionuses samplers, sequencers, drum machines, synthesizers, turntables, and live instrumentation. A hip hop instrumental is casually referred to as a beat, and a hip hop produceris casually referred to as a beatmaker. However, inthe studio, a hip hop produceralso functions as a traditional record producer, being the personwho is ultimately responsible forthe final sound of a recording.
23.蹦啪说唱 Boom Bap¶
Boom Bap是80年代末到90年代中期的old school style beat，Boom Bap是忠于Hiphop最原始的存在。“The Boom”意味着敲击鼓点，而“Bap”意味着敲击外沿。
在嘻哈音乐中，boom bap是一种唱片制作风格。“boom bap”是“boom bap”中鼓声突出的拟声词。这个词因专辑“轰轰烈烈”的回归而流行起来。它与20世纪80年代末和90年代初纽约市的制片人联系在一起，如DJ Premier、Pete Rock、KRS-One、Ali Shaheed Muhammed、EPMD、Marley Marl、大型教授、保罗王子和Scott La Rock。然而，它传播得很远很广。例如，在洛杉矶和伦敦的Recordkingz，boom bap是由楼梯下的人制作的。尽管仍在制作，但boom bap不再是嘻哈生产的主导风格，在另类嘻哈中仍有些突出，但很少出现在前40名嘻哈单曲中。2013年3月，Busta Rhymes声称他的下一张专辑将把Boom Bap带回嘻哈。
In hip-hop music, boom bap is a style of record production. “Boom bap” is an onomatopoeia for the drum sounds prominent in boom bap. The term was popularized by the album Return of the Boom Bap.
It is associated with producers from New York City in the late 1980s and early 1990s, such as DJ Premier, Pete Rock, KRS-One, Ali Shaheed Muhammed, EPMD, Marley Marl, Large Professor, Prince Paul and Scott La Rock. However, it spread far and wide. For example, boom bap is made by People Under the Stairs in Los Angeles and Recordkingz in London. Although it is still made, boom bap is no longer the dominant style of hip-hop production, remaining somewhat prominent in alternative hip hop but rarely appearing in Top 40 hip hop singles. In March 2013, Busta Rhymes claimed his next album would bring the Boom Bap back to hip hop.
24.云雾说唱 Cloud Rap¶
云雾说唱（Cloud rap）也称Trillwave或based music，是一种说唱音乐风格，具有Lo-fi（低保真）的制作风格和空灵感的人声采样。这种风格给人以“云雾”的感觉，故称云雾说唱。
25.拉丁说唱 Latin Rap¶
拉丁说唱是指由拉丁裔说唱歌手使用拉丁语、西班牙语进行说唱的一种说唱音乐风格，受到很多拉丁歌曲的影响，在北美和拉美地区很受欢迎。
Latin rap music is hip hop performed by artists of Latin America or Latinos in the USA that may contain Spanish lyrics and/or Latin influenced samples.
动漫 ACG¶
1.日本动漫游戏 Japanese ACG¶
日本ACG代表的是日本的动画(Anime)、漫画(Comics)与游戏(Games)，为华人地区常用的文化词汇，爱好者们喜欢把ACG称为“二次元”。从字面意思上理解的二次元，是指“二维空间”、“二维世界”，亦即平面。我们现在所说的二次元也指ACGN次文化中对动漫、游戏等作品中虚构世界的一种称呼用语，与“三次元”（现实世界）相对。
通常我们谈的ACG指的就是日本的动漫和游戏。随着这几年文化的发展，ACG这些词所容纳的东西正渐渐不再单纯的指代日本产品，因此有人会在ACG前加上“日本”两个字便于区分。
谈到日本ACG的音乐，爱好者习惯称之为”ACG音乐”或”动漫音乐”，指的是与日本动画、漫画和游戏作品相关的音乐。在日本，动画歌曲也称之为”Anisong”，一部动画里的音乐包括：片头曲(OP)、片尾曲(ED)、插曲(IN)、主题曲(TM)、原声(BGM/OST)等，而围绕这部动画所发行的唱片可能包括：原声专辑(OST)、角色歌(Character Song)、广播剧(Drama)、印象集(Image Album)、合集(Collection)等。漫画上涉及到的音乐较少，若发行唱片，通常为作品相关的有声读物或广播剧。游戏方面，多数为原声专辑，通常也会收录游戏主题歌等人声歌曲。除了单独发行唱片，一些厂商会把音乐作为特典内容(BONUS CD)放入商品(动画BD/DVD、游戏软件等)里进行出售以便能有更好的销量，这种做法在最近几年变得流行起来，但也有一定的弊端。
ACG音乐在日本唱片业有着比较重要的地位，如《Macross》、《ONE PIECE》、《银魂》、《轻音少女》等系列作品创造了唱片百万级的销量，一些Anisong歌手也因为唱过某些歌曲而家喻户晓。日本ACG音乐影响着本土唱片工业的发展，而未来唱片工业的发展也关乎着日本ACG音乐的命运。
2.同人音乐 DouJin¶
同人就是一些有志向，有爱好的人，将自己的爱与志通过漫画、画册、音乐、游戏、视频等多种途径表达出来与他人分享。有别于企业，同人作品一般是在各个同人展销会上颁布。随着同人活动规模的发展壮大，很多有实力的同人团体已然一脚步入商业领域。
同人作品可分为二次创作与原创两类。而同人音乐作为同人产品中不可或缺的重要组成部分受到大批二次元爱好者的青睐。催使了更多团体诞生，进一步推动同人的发展。
同人界的领军
東方相关同人：ZUN将東方Project发展成了日本同人界的龙头。近几年，東方相关同人作品霸占了所有同人展销会的三分之二左右。
VOCALOID同人： YAMAHA的VOCALOID2在日本同人界又掀起了一股旋风。MIKU、LEN、RIN等拟声软件在同人领域的扩大趋势有增无减。
NICONICO(ニコニコムービーメーカー)：提供nico制作软件进行画面声音及字幕合成的动画制作，很多同人艺人通过此平台出道。
主要的大型同人展
Comic Market(コミックマーケット)
M3
THE VOC@LOiD M@STER(TVM)
VOCALOID PARADISE
博麗神社例大祭(例大祭)
東方紅楼夢
同人音楽(どうじんおんがく)とは、同人活動の表現方法に音楽を選んだ者、その活動、行為などの総称。
音楽CDなどの形で自主制作物を作成し、主にコミックマーケットなどの同人誌即売会や同人ショップなどで作品を公開、配布、頒布するスタイルが一般的。
制作する楽曲は、著作権の観点から、アレンジ楽曲とオリジナル楽曲に分けられる。
Dōjin music (同人音楽), also called otokei dōjin (音系同人) in Japan, is a sub-category of dōjin activity. Dōjin are basically non-official self-published Japanese works which can be based on official products or completely original creations. Such products are sold online on specialized sites, on the author’s own sites and in conventions such as the very popular Comic Markets.
布鲁斯 Blues¶
蓝调（英文：Blues，解作“蓝色”，又音译为布鲁斯）是一种基于五声音阶的声乐和乐器音乐，它的另一个特点是其特殊的和声。蓝调起源于过去美国黑人奴隶的灵魂乐、赞美歌、劳动歌曲、叫喊和圣歌。蓝调中使用的“蓝调之音”和启应的演唱方式都显示了它的西方来源。
蓝调对后来美国和西方流行音乐有非常大的影响，拉格泰姆、爵士乐、蓝草、节奏蓝调、摇滚乐、乡村音乐和普通的流行歌曲，甚至现代的古典音乐中都含有蓝调的因素或者是从蓝调发展出来的。[1]在诗歌里这个词常被用来描写忧郁情绪。蓝调一词是与“蓝色魔鬼”（Bluedevils）一致的意思，意思是情绪低调、忧伤、忧郁。早在1798年乔治·科曼就写过一部名为《蓝色魔鬼，一幕滑稽戏》的滑稽戏。19世纪里这个词被用来表示震颤谵妄和警察。在美国黑人音乐中这个词的应用可能更老。1912年孟菲斯威廉·克里斯托弗·汉迪的《孟菲斯蓝调》是这个词在音乐中最早的书面纪录。
蓝调音乐始于二十世纪初美国的南部。其中亦混合了在教会中类似朗诵形式的节奏及韵律。
这种音乐有一种很明显的特式，便是使用类似中国民俗唱山歌的“一呼一应”的形式进行，英文叫作“Call and Reponse”。乐句起初会给人们一种紧张、哭诉，无助的感觉，然后接着的乐曲便像是在安慰、舒解受苦的人。就好像受苦的人向上帝哭诉，而其后得到上帝的安慰与响应！
所以蓝调音乐很着重自我情感的宣泄和原创性或即兴性，这种即兴式的演奏方法，后来慢慢地演变为各种不同类形的音乐，如Rock and Roll、Swing、Jazz……所以蓝调亦是现代流行音乐的根源。
至于口琴被广泛用于蓝调音乐中是起始于约二十年代中，那时候在美国当地有很多街头艺人表演音乐，他们常用乐器是五弦琴、鼓、和一种叫“pan quill pipes”的吹奏乐器。而由于吉他和口琴的性能比这些传统乐器好和更适合于空旷的地方表演，所以渐渐地口琴便常被用作吹奏蓝调音乐。
及后三十年代左右，很多黑人移往大城市芝加哥居住，蓝调音乐和蓝调口琴亦随之在芝加哥这地开支散叶，及后更自成一派名为Chicago Blues。
在听蓝调音乐的时候，你会发觉它们好像都依着一个相同的曲式来进行。其中原因是因为蓝调音乐会常用到一种标准曲式，名为12 Bar Blues。
蓝调的来源
由于蓝调成形于其个人表演，因此要指出所有蓝调的共同特征很难。但在现代蓝调出现以前所有的美国黑人音乐有一定的共同点。最早的蓝调式的音乐是一个“功能式的表达，其启应的歌唱没有任何伴奏、和谐，不拘束于任何形式，没有任何特别的音乐结构。”这些从奴隶田野工作时的叫喊和呼唤来源的蓝调以前的音乐逐渐扩展为“简单的、带有感情内容的单声歌”。今天的蓝调可以看作是基于欧洲的和弦结构和从非洲的启应传统上发展为歌唱与吉他的交替演奏的音乐。
许多蓝调的元素，比如启应的形式和使用的蓝调之音都可以追踪到非洲音乐。西尔维安·迪欧弗（Sylviane Diouf）指出一定的特征——比如使用花音（melisma）和轻的、鼻音声调——似乎说明蓝调与中非和西非音乐的联系。民族音乐学家格哈特·库比克（Gerhard Kubik）可能是第一个指出蓝调的一定元素来自非洲的人。比如库比克指出汉迪在他的自传里所描写的使用刀刃来弹吉他的密西西比技术在西非和中非文化里非常普遍，当地的类似吉他的二十一弦竖琴（Kora）是最常用的歌唱伴奏弦乐器。这个技术包括吉他手用刀压吉他的弦，它可能是滑音吉他（Slide guitar）技术的来源。
后来蓝调又吸收了黑人音乐中走唱秀（minstrel show）和黑人圣歌（Spiritual），包括其乐器和和弦伴奏。蓝调与拉格泰姆的关系也很密切，不过蓝调更好地保存了“原始非洲音乐的旋律结构”。[5]早期的歌的结构非常不同。在铅肚（Leadbelly）和亨利·托马斯的录音中可以找到这个时期的歌。但是后来基于主音和声、次属音和声和全桔第五音和声的蓝调形式成为最普及的形式。今天被看作是典型的12节蓝调是1900年代初在密西西比河下游的黑人社群中出现的，这个过程既有口述历史也有乐谱的纪录。孟菲斯的比尔大街是早期蓝调形成的地方之一。
蓝调的歌词
早期的蓝调往往是松散的叙事歌曲，歌唱家诉说他或她在“一个残酷的现实中的个人遭遇：失爱、警官的残忍、白人的迫害、艰巨的日月。”[6]与当时的其它音乐纪录相比许多最早的蓝调纪录中含有坚忍不拔的、真实的歌词。最极度的例子之一是Memphis Minnie的《深入小巷》，其歌词描写一个妓女在 小巷里与男人做爱的事。这样的音乐被称为“吊肠蓝调”（”gut-bucket” blues）这个名字来自于一种使用清洗猪的小肠的铁桶自造的低音乐器，这种食物往往被与贫困和奴隶生活联系到一起。吊肠蓝调一般描述男人与女人之间的 爱与恨、不幸和艰苦生活。吊肠蓝调与一般演奏这样的音乐的粗暴的酒店给蓝调音乐带来了其不快的名声。虔诚的基督教徒避免它，一些布道者甚至将它称为是 罪恶的。由于它的歌词一般是关于生活的艰难和不公正，有些人总是将蓝调与贫困和压迫联想到一起。但蓝调的歌词不只是关于艰苦，有些也非常诙谐和淫秽。
一开始的蓝调可能只有一段，重复三次，现在通见的结构——一段，重复一次，然后接着一个单段的结束——是后来发展出来的。
有人认为约鲁巴神话在早期蓝调中有一定的作用。但是大多数蓝调艺术家更主要的是受到基督教的影响。
Blues is about tradition and personal expression. At its core, the blues has remained the same since its inception. Most blues feature simple, usually three-chord, progressions and have simple structures that are open to endless improvisations, both lyrical and musical. The blues grew out of African spirituals and worksongs. In the late 1800s, southern African-Americans passed the songs down orally, and they collided with American folk and country from the Appalachians. New hybrids appeared by each region, but all of the recorded blues from the early 1900s are distinguished by simple, rural acoustic guitars and pianos. After World War II, the blues began to fragment, with some musicians holding on to acoustic traditions and others taking it to jazzier territory. However, most bluesmen followed Muddy Waters’ lead and played the blues on electric instruments. From that point on, the blues continued to develop in new directions — particularly on electric instruments — or it has been preserved as an acoustic tradition.
1.电声布鲁斯 Electric Blues¶
电声布鲁斯（Electric Blues）是和原声布鲁斯（Acoustic Blues）相对的，如果说后者是“不插电”的布鲁斯，主要用原声乐器弹奏，那前者就是“插电”的布鲁斯，用一些电音设备作主要部分。Electric Blues也是日后布鲁斯摇滚（Blues Rock）的基础。
特征
虽然电声布鲁斯以电吉他的使用为标志，它也同样以电贝司为标志——拾音器（用来放大原声乐器的一种装置）被装到倍大提琴、原声吉他等原声器乐中，起到放大音乐能量及渲染的效果。
流行时段
1930年代发源
Electric Blues is an eclectic genre that embraces just about every kind of blues that can be played on an amplified instrument. Its principal component is that of the electric guitar, but its amplified aspect can extend to the bass (usually a solid body Fender type model, but sometimes merely an old “slappin’’’ acoustic with a pickup attached), harmonica, and keyboard instruments. Stylistically, the form is a wide open field, accessible to just about every permutation possible – embracing both the old, the new, and sometimes futuristic, and something that falls between the two. Some forms of it copy the older styles of urban blues (primarily the Chicago, Texas, and Louisiana variants) usually in a small combo format, while others head into funk and soul territory. Yet electric blues is elastic enough to include artists who pay homage to those vintage styles of playing while simultaneously recasting them in contemporary fashion. It is lastly a genre that provides a convenient umbrella for original artists of late ‘40s and early ‘50s derivation who seemingly resist neat classifications.
2.三角洲布鲁斯 Delta Blues¶
三角洲布鲁斯（Delta Blues）是布鲁斯音乐最早出现的风格之一。 它发源于密西西比三角洲,一片有着肥沃土地，但同时却很贫穷的区域。在Delta Blues中，最明显的特征是滑棒吉他（Slide Guitar）的使用。同时，口琴和雪茄盒吉他（Cigar Box Guitar）也是常常被使用的乐器。演唱的风格从自省到深情到热烈再到激昂都有。Delta Blues也被认为是乡村布鲁斯（Country Blues）的一个区域性演变。和其他早期的布鲁斯音乐一样，它的歌词主要是普通百姓对当时生活环境（如监狱、农场、工厂等）和状况的倾诉。
特征
一些学者认为Delta Blues在音乐性、在本质上和其他地区的布鲁斯没有太多差别。但是它也有着一些特别的演奏和编曲方式，比如单调低沉的E弦、 平衡的三弦、节奏中的平滑音和圆滑音，对节奏感的强调。滑棒吉他是它的重要特征，而口琴则在其他布鲁斯风格中也很普遍。相对于音乐性，Delta Blues发源地的独特地域性（密西西比是Blues的发源地之一）则更加被人津津乐道。
流行时段
1920年代末出现以来，虽没有大范围流行，但是在各个年代都有一批音乐人坚守。
英文简介
The Delta Blues style comes from a region in the southern part of Mississippi, a place romantically referred to as “the land where the blues were born.” In its earliest form, the style became the first black guitar-dominated music to make it onto phonograph records back in the late ‘20s. Although many original Delta blues performers worked in a string-band context for live appearances, very few of them recorded in this manner. Consequently, the recordings from the late ‘20s through mid-‘30s consist primarily of performers working in a solo, self-accompanied context. The form is dominated by fiery slide guitar and passionate vocalizing, with the deepest of feelings being applied directly to the music. Its lyrics are passionate as well, and in some instances remain the highest flowering of blues songwriting as stark poetry. The form continues to the present time with new performers working in the older solo artist traditions and style.(By Allmusic)
3.钢琴布鲁斯 Piano Blues¶
钢琴布鲁斯（Piano Blues）是布鲁斯音乐中很宽泛的一个派别。 所有用钢琴弹奏的布鲁斯音乐都可包含在内。
特征
很多布鲁斯子风格中都使用钢琴作为主要伴奏，同时也遵循传统布鲁斯音乐的和声结构。一些属于钢琴布鲁斯的子风格包括三角洲布鲁斯（Delta Blues）, 跳跃布鲁斯（Jump Blues）, 新奥尔良布鲁斯（New Orleans Blues）, 圣路易斯布鲁斯（St. Louis Blues)和芝加哥布鲁斯（Chicago Blues）。布基伍基（Boogie Woogie）是最早出现的钢琴布鲁斯子风格。
流行时段
1920年代初发源
英文简介
Acoustic Blues is a general catch-all term describing virtually every type of blues that can be played on a non-electric musical instrument. It embraces a wide range of guitar and musical styles including folk, the songster tradition, slide, fingerpicking, ragtime, and all of the myriad regional strains (Chicago, Delta, Louisiana, Mississippi, Texas, Piedmont, etc.) that thrived in the early days of the genre’s gestation. But acoustic blues is not limited to merely guitar music; its “acoustic” appellation is an elastic enough term to also include mandolin, banjo, piano, harmonica, jug, and other non-electric instruments including homemade ones, like the one string monochord bottleneck diddleybow.(By Allmusic)
Piano Blues runs through the entire history of the music itself, embracing everything from ragtime, barrelhouse, boogie woogie, and smooth West Coast jazz stylings to the hard-rocking rhythms of Chicago blues.
4.原声布鲁斯 Acoustic Blues¶
原声布鲁斯（Acoustic Blues）是布鲁斯音乐中很宽泛的一个派别。 所有用原声乐器弹奏的布鲁斯音乐都可包含在内。
特征
原声布鲁斯中的“原声”不仅仅指的吉他，其乐器也可以是钢琴、曼陀林、口琴、班卓琴等其他一切非电声乐器。所以原声布鲁斯中存在很多风格的影子，比如民谣、传统乐、滑棒、指弹、拉格泰姆等等。
流行时段
1920年代初发源
英文简介
Acoustic Blues is a general catch-all term describing virtually every type of blues that can be played on a non-electric musical instrument. It embraces a wide range of guitar and musical styles including folk, the songster tradition, slide, fingerpicking, ragtime, and all of the myriad regional strains (Chicago, Delta, Louisiana, Mississippi, Texas, Piedmont, etc.) that thrived in the early days of the genre’s gestation. But acoustic blues is not limited to merely guitar music; its “acoustic” appellation is an elastic enough term to also include mandolin, banjo, piano, harmonica, jug, and other non-electric instruments including homemade ones, like the one string monochord bottleneck diddleybow.(By Allmusic)
5.爵士布鲁斯 Jazz Blues¶
爵士蓝调有着坚实的蓝调根基，但又吸收了富变化而又稍快的爵士音乐。这类音乐家们通常把爵士乐的即兴演奏特点掺进了经典的蓝调音乐三和弦结构。爵士蓝调包括从钢琴师 Mose Allison 以爵士为主的作品，到吉它手 Lonnie Johnson 的扎实的蓝调，还有 Ray Charles 的激情荡漾而又博采百风的钢琴蓝调。
As a specific stylistic term, Jazz Blues can refer either to a) a blues artist who employs more advanced harmonies and/or rhythms which break out of traditional, straightforward blues patterns; or b) to a jazz artist who keeps his harmonies and/or rhythms relatively simple, making the music more visceral and emotional than intellectual or sophisticated. The results might sound more like one side of the equation with a touch of the other mixed in, or even approach R&B. Blues and jazz were rooted in the same African-American musical traditions in the first place, and they have always intersected enough that an absolute dividing line has never been a reasonable (or, to many listeners and musicians, desirable) proposition.
6.灵魂布鲁斯 Soul Blues¶
一种传统蓝调和 60 年代灵魂音乐的快速旋律的熔合物，灵魂蓝调是涵盖两种传统的艺人。以标准的蓝调乐队为基础——钢琴、吉它、贝斯、口琴和打击乐——有时加入节奏蓝调曲调的管乐，灵魂蓝调的音乐家们延伸了传统的界线，又保持了灵魂乐的根基。Etta James, Bobby “Blues” Bland 和 Jonnie Taylor 都曾是灵魂蓝调的佼佼者。
Perhaps one of the most modern forms of blues, Soul-Blues fuses disparate elements of black popular music to create a wholly urban amalgam of its own. Artists who wanted to move stylistically beyond the three-chord confines of conventional blues forms found the rhythm & blues strain of the 1950s and the southern soul style of the mid-‘60s far more to their creative liking. Soul-blues combines the best elements of the two and blends that with the standard blues band instrumentation – sometimes augmented with an R&B-styled horn section. The genre also provides more traditional blues artists with a style to visit on occasion, injecting some contemporary life into their recordings.
7.芝加哥布鲁斯 Chicago Blues¶
芝加哥布鲁斯（Chicago Blues）反映了布鲁斯音乐在美国芝加哥的发展。从现在来看，它是天时地利人和的结果。尽管传统的布鲁斯于1920年代源于密西西比三角洲,然而由于经济大萧条，一些南方的黑人来到北方一些都市打工。在包容的芝加哥，很多黑人开始参与一些现场演出，将这种南方的原汁原味的乡土气息的音乐带入了快节奏的都市中。在保留了传统之外，一些音乐人在也芝加哥开始了对布鲁斯音乐更广阔的探索，以于都市气息更好的吻合。
特征
Chicago Blues从名字来看有着强烈的地域性。广义来看，它包含了所有在芝加哥发展的布鲁斯音乐。然而用得更多的是它狭义的定义。在1947年，为了帮一部电影配原声，Muddy Waters在传统布鲁斯的原声器乐内加入电声放大器，并引入了副吉他手、口琴手、鼓手、贝斯手等组成了一个小型乐团，以匹配芝加哥喧闹的城市气息。
流行时段
1950年代左右发源
英文简介
What is now referred to as the classic Chicago Blues style was developed in the late ‘40s and early ‘50s, taking Delta blues, fully amplifying it and putting it into a small-band context. Adding drums, bass, and piano (sometimes saxophones) to the basic string band and harmonica aggregation, the style created the now standard blues band lineup. The form was (and is) flexible to accommodate singers, guitarists, pianists, and harmonica players as the featured performer in front of the standard instrumentation. Later permutations of the style took place in the late ‘50s and early ‘60s, with new blood taking their cue from the lead guitar work of B.B. King and T-Bone Walker, creating the popular west side subgenre (which usually featured a horn section appended to the basic rhythm section). Although the form has also embraced rock beats, it has generally stayed within the guidelines developed in the 1950s and early ‘60s. (By Allmusic)
8.乡村布鲁斯 Country Blues¶
是一种起源于美国南方和中西部的大部分由原声吉它演奏的蓝调。乡村蓝调利用了从早期的滑音吉它到指拨演奏的独奏、二重奏和弦乐合奏。先锋者 Skip James, Brownie McGhee, Lead Belly 和 Lightnin’ Hopkins 创导了这种现已不存在的风格。以后的电子吉它使之平稳地转变成电子和现代的乡村蓝调。
Country Blues is a catch-all term that delineates the depth and breadth of the first flowering of guitar-driven blues, embracing both solo, duo, and string band performers. The term also provides a convenient general heading for all the multiple regional styles and variations (Piedmont, Atlanta, Memphis, Texas, acoustic Chicago, Delta, ragtime, folk, songster, etc.) of the form. It is primarily – but not exclusively – a genre filled with acoustic guitarists, embracing a multiplicity of techniques from elaborate fingerpicking to the early roots of slide playing. But some country-blues performers like Lightnin’ Hopkins and John Lee Hooker later switched over to electric guitars without having to drastically change or alter their styles.
9.非洲布鲁斯 African Blues¶
10.原声芝加哥布鲁斯 Acoustic Chicago Blues¶
11.原声得克萨斯布鲁斯 Acoustic Texas Blues¶
12.东海岸布鲁斯 East Coast Blues¶
13.当代布鲁斯 Contemporary Blues¶
14.德克萨斯布鲁斯 Texas Blues¶
15.英国布鲁斯 British Blues¶
英国布鲁斯（British Blues）是指的从美国传入英国后发展的布鲁斯音乐。在1950年代末至1960年代初，早期的British Blues严格遵照美国布鲁斯音乐的原型依葫芦画瓢，这也是为了向那些布鲁斯前辈致敬。而到了1960年代中期的布鲁斯音乐复兴时期，英国的由Eric Clapton为代表的一批吉他手们开始尝试革新，将 B.B. King、Albert King和Freddie King音乐中的热情的吉他弦和放到极致的拾音器结合，也慢慢演变为后来的布鲁斯摇滚（Blues Rock），也让the Rolling Stones和Eric Clapton等布鲁斯音乐人成为巨星。
特征
和1950年代发迹的老摇滚（Rock&Roll）不同，British Blues与摇滚乐有更加紧密直接的联系。也正是它将传统风味变为流行市场的主流。
流行时段
1960-1970年代
英文简介
More than a mere geographical distinction, the early British Blues of the late ‘50s and early ‘60s paid strict adherence to replicating American blues genres, with an admiration for its originators bordering on reverence. But by the time of the blues revival of the mid-‘60s, British guitarists – in the main led by Eric Clapton – were starting to bend the form to create their own amalgam. Wedding the string-bending fervor of the B.B., Albert, and Freddie King styles to the extreme volume produced by large amplifiers, British blues largely coalesced into blues rock, with formerly traditional blues artists like the Rolling Stones and Clapton becoming rock stars. The British style has perhaps the closest ties to rock music as opposed to rock & roll, a distinct stylistic descendant of the 1950s. It is this constant shift between preserving older styles and mainstreaming it into the pop marketplace that is the hallmark of British blues.(by Allmusic)
16.电声德克萨斯布鲁斯 Electric Texas Blues¶
几十年来，被称为德克萨斯布鲁斯的地理子流派包含了许多风格变化，但其持续时间最长、最发达的是它的电动化身。该地区声音的这种变化是在第二次世界大战后发生的，带来了一种完全电动的风格-主要由T-bone Walker首创-以爵士乐、单弦独奏为主，以号角驱动的背景为特色。这种风格在整个20世纪50年代几乎保持不变，但随着十年的推移，开始走向更小的组合，没有号角部分。但是，正如德克萨斯电气布鲁斯所代表的住宅区声音一样，它的点唱机连锁店的根源从来没有太深的表面，像Lightnin‘Hopkins，Juke Boy Bonner，Hop Wilson和Frankie Lee Sims这样的艺术家以令人恐惧的强度以二人和三人组的形式摇晃着连锁店。这种风格从较大的号角引导的声音转移到越来越小的组合格式，最终接受了与芝加哥电音风格相同的乐器，甚至更强调主奏吉他工作。这一流派保持流行并蓬勃发展，一批地区性表演者主要在小组合背景下工作，其中许多人来自奥斯汀地区。德克萨斯州电子蓝调是蓝调的一种流派，尽管它是以其发源地的地理位置命名的，但并不局限于那个地区。它植根于德克萨斯州声学布鲁斯，自电吉他发明以来，它就是从这个布鲁斯发展而来的。著名的德克萨斯州电气蓝调艺术家是T-bone Walker和Freddie King。它区别于其他流派的一些特征是显著的爵士乐影响，如摇摆节奏，广泛的单弦吉他独奏，经常在组合中增加圆号部分。
The geographical subgenre known as Texas blues has encompassed a number of style variations over the decades, but its longest-lasting and most developed is its electric incarnation. This change in the region’s sound came after World War II, bringing with it a fully electric style – largely pioneered by T-Bone Walker – that featured jazzy, single-string soloing over predominantly horn-driven backing. The style stayed much the same throughout the 1950s, but started moving toward a smaller combo, sans horn section, as the decade moved on. But as much of an uptown sound as Electric Texas Blues represented, its juke-joint roadhouse roots were never too far below the surface, with artists like Lightnin’ Hopkins, Juke Boy Bonner, Hop Wilson, and Frankie Lee Sims rocking the joint in duo and trio formats with a frightening intensity. The style moved away from the larger horn-led sounds to smaller and smaller combo formats, eventually embracing much of the same instrumentation as the electric Chicago style, with even more emphasis placed on the lead guitar work. The genre stays current and thriving with a spate of regional performers primarily working in small combo contexts, with a great many of them hailing from the Austin area.
Electric Texas blues is a genre of blues that, although named after the geographic location of its origin, is not bound to that region. It has its roots in Acoustic Texas Blues, from which it developed since the invention of the electric guitar. Notable Electric Texas Blues artists are T-Bone Walker and Freddie King.
Some characteristics that distinguish it from other genres are the notable jazz-influences such as swing rhythms, extensive single string guitarsoloing and often the addition of a horn section to the group.
金属 Metal¶
重金属音乐亦称金属音乐，是摇滚乐的一个分支，发源于二十世纪六十年代末期、七十年代早期。重金属音乐根源于布鲁斯摇滚、迷幻摇滚，其特征通常表现为：声响巨大而厚重，失真音效高度放大，伴有长时间的吉他独奏，节奏强劲凶猛，整体上创造出嘈杂狂躁的印象。重金属音乐的歌词与表演风格常常突显男性气概、攻击性等特质。
最早一批重金属乐队（例如齐伯林飞艇 「Led Zeppelin」、深紫乐队「Deep Purple」、黑色安息日「Black Sabbath」）吸引了大批听众，但在评论界却饱受轻视；这一境况贯穿了金属乐的整个历史。七十年代中期，犹大圣徒（Judas Priest）抛弃了传统的布鲁斯音乐影响，重金属音乐由此开始丰富多彩的内部演变。摩托党（Motörhead）将朋克摇滚元素引入金属乐，并标志着金属乐开始愈发重视速度。随后的英国重金属新浪潮运动中，也出现了一些与之类似的乐队，诸如铁娘子（ Iron Maiden）、撒克逊（Saxon）。八十年代，随着克鲁小丑（Mötley Crüe）、毒药（Poison）等乐队的兴起，华丽金属逐渐商业化，成为金属乐界的商业力量。而地下音乐界则诞生了一批更为极端、更具侵略性的流派；其中的激流金属以金属乐队（Metallica）、大屠杀（Megadeth）、杀手乐队（Slayer）、Anthrax（炭疽）为代表，已强力突入主流音乐界，但其他诸如死亡金属、黑金属等最为极端的金属风格则仍然是次文化现象。九十年代中期，蛊戮金属、新金属、金属核等风格开始大受欢迎，进一步扩展了金属乐的内涵。
1.重金属 Heavy Metal¶
重金属音乐亦称金属音乐，是摇滚乐的一个分支，发源于二十世纪六十年代末期、七十年代早期。重金属音乐根源于布鲁斯摇滚、迷幻摇滚，其特征通常表现为：声响巨大而厚重，失真音效高度放大，伴有长时间的吉他独奏，节奏强劲凶猛，整体上创造出嘈杂狂躁的印象。重金属音乐的歌词与表演风格常常突显男性气概、攻击性等特质。
最早一批重金属乐队（例如齐伯林飞艇 「Led Zeppelin」、深紫乐队「Deep Purple」、黑色安息日「Black Sabbath」）吸引了大批听众，但在评论界却饱受轻视；这一境况贯穿了金属乐的整个历史。七十年代中期，犹大圣徒（Judas Priest）抛弃了传统的布鲁斯音乐影响，重金属音乐由此开始丰富多彩的内部演变。摩托党（Motörhead）将朋克摇滚元素引入金属乐，并标志着金属乐开始愈发重视速度。随后的英国重金属新浪潮运动中，也出现了一些与之类似的乐队，诸如铁娘子（ Iron Maiden）、撒克逊（Saxon）。八十年代，随着克鲁小丑（Mötley Crüe）、毒药（Poison）等乐队的兴起，华丽金属逐渐商业化，成为金属乐界的商业力量。而地下音乐界则诞生了一批更为极端、更具侵略性的流派；其中的激流金属以金属乐队（Metallica）、大屠杀（Megadeth）、杀手乐队（Slayer）、Anthrax（炭疽）为代表，已强力突入主流音乐界，但其他诸如死亡金属、黑金属等最为极端的金属风格则仍然是次文化现象。九十年代中期，蛊戮金属、新金属、金属核等风格开始大受欢迎，进一步扩展了金属乐的内涵。
2.激流金属 Thrash Metal¶
激流金属亦称鞭挞金属、敲击金属，起源于二十世纪七十年代末期、八十年代早期，当时许多乐队（美国乐队为主）尝试将英国重金属新浪潮中的元素与硬核朋克的速度和攻击性结合。通常认为，激流金属的兴起部分是为了对抗同时期产生，但融合了流行乐元素、更加大众的华丽金属。激流金属与速度金属相近，但更为猛烈，速度极快，极具侵略性。鼓点急促，伴有快速的低音吉他重复乐段、吉他独奏乐段，并大量使用shredding型主音吉他弹奏。此外，激流金属音乐大多使用两面低音鼓，同摇滚乐使用一面低音鼓的惯例形成对比。歌词通常讨论社会问题、谴责既得利益群体，语言直接强烈，这点与硬核共通。金属乐队（Metallica）、大屠杀（Megadeth）、杀手乐队（Slayer）、Anthrax（炭疽）是激流金属中最成功、影响力最为深远的四支乐队，即俗称的“激流金属四巨头”，它们的音乐在八十年代对于激流金属这一风格而言具有开创性意义。
3.另类金属 Alternative Metal¶
另类金属，顾名思义，融合了重金属音乐和通常看起来与之相去甚远的风格（例如另类摇滚）。另类金属通常有着厚重的吉他重复乐段，人声演唱富有旋律性，并运用其他金属风格中少见的声效与歌曲结构，有时甚至具有实验性。另类金属一词在八十年代就已出现，但是在九十年代才真正成为对这一类型音乐的主流称谓。另类金属衍生了数种子风格，包括新金属、放克金属、饶舌金属。
4.死亡金属 Death Metal¶
死亡金属是金属乐的一种极端风格，其典型特征为高度失真的吉他音效、颤音奏法的运用、低沉的怒吼式人声，鼓乐演奏方面运用双踩（double kick，即使用两面低音鼓或一面低音鼓配双踏板）及/或blast beat，并表现出无调性，节奏切换较多。死亡金属起源于二十世纪八十年代中期，其音乐结构继承自激流金属及早期黑金属。杀手乐队（ Slayer）、缔造者（Kreator）、凯尔特霜冻（Celtic Frost）、毒汁（Venom）等乐队对于这一风格的形成起到了至关重要的作用，而着魔（Possessed）、死亡乐队（Death）、生死讣（Obituary）、尸体乐队（Carcass）、弑神者（Deicide）、食人尸（Cannibal Corpse）、病态天使（Morbid Angel）等乐队则是这一风格的先驱者。八十年代末九十年代初，Combat、Earache、Roadrunner等知名厂牌开始签约死亡金属乐队，旗下的此类乐队数量迅速增长，这使得死亡金属这一风格得到了更多的媒体关注。至今，死亡金属已演变出了多种子风格，包括旋律死亡金属、技术死亡金属，并与其他风格融合衍生了一系列风格，例如死核、死碾、黑暗死亡金属、厄运死亡等等。
5.前卫金属 Progressive Metal¶
前卫金属下属于前卫摇滚与重金属音乐，二十世纪八十年代晚期发源于英美。前卫金属结合重金属与前卫摇滚，抛弃了前者感官上的嘈杂凶猛及增强电吉他音效的做法，并采用后者更为实验性、更为复杂的“伪古典”结构以及概念性主题。数十年以来，前卫金属从包括古典、爵士融合在内的多种流派中吸收了影响。
虽然起源于八十年代末，前卫金属直至九十年代中才迎来商业上的繁荣，以梦剧场（Dream Theater）、女皇杀手（Queensrÿche）、工具乐队（Tool）、命运警告（Fates Warning）等乐队的成功为代表，而其他重金属乐队诸如Metallica也在其作品中借用了前卫金属元素。然而到九十年代末，前卫金属便渐趋衰落，但依然拥有坚实的乐迷基础。
6.石人金属 Stoner Metal¶
石人金属是金属音乐的一个子类，它结合了厄运金属元素与迷幻摇滚和蓝调摇滚元素，创造出沉重却又富含旋律的段落。石人金属跟石人摇滚近似，吉他riff都有着律动感和迷幻感，音乐整体的节奏相对中速偏慢。Stoner metal 乐队校正了 Black Sabbath, Blue Cheer, Blue Oyster Cult, 以及 Hawkwind 这类乐队中冗长而致幻的即兴表演，那些带有致幻剂色彩的金属和酸性摇滚成分被过滤成早期流行分支的 grunge 风格的那种嗡嗡声。Stoner metal 可以是装模作样而有自知之明的，能够唤起污秽与零乱的，甚或是一种泰然自若的对以往的回顾。无论如何，像 Monster Magnet 和 Kyuss 那样的乐队，完美地契合了90年代早期另类金属运动的电子乐口味。即使是在 grunge 风格已经褪色，而工业和 hip-hop 的影响也开始加诸于另类金属的时候，stoner metal 依然是进入新世纪以来深受推崇的一种风格。
Stoner metal is a subgenre of metal music that combines elements of doom metal with elements of psychedelic rock and blues rock to create a melodic yet heavy sound. Like stoner metal’s close relative genre stoner rock, riffs are often groovy and psychedelic, while the tempo of the music as a whole is generally slow to mid paced. The guitar tuning is kept low and, unlike stoner rock, there is an additional emphasis on a bass-heavy sound. This form of music was first pioneered in the early 1990s by such bands as Kyuss, Sleep, and Cathedral.
Several of the genre’s earliest establishers shared a common characteristic in that both band members and fans alike were frequent marijuana users. This fixation on cannabis, which can also be found within the lyrics of many songs, when combined with the heavy and psychedelic sound of the music gave the genre its now defining nickname as stoner metal. Due to the similarities in styles, some stoner metal bands will borrow and incorporate certain aspects of sludge and vice versa.
7.黑金属 Black Metal¶
黑金属（英语：Black metal）是在重金属音乐中一个分支流派。黑金属的曲风特色总体来説，运用尖叫式的黑腔、强烈失真的吉他、猛烈却阴沉的双大鼓、快速行进的节奏和旋律，给人冷冽、黑暗、带有绝望的感受。
黑金属流派初期的代表乐团包含Bathory、Mercyful Fate、Hellhammer、Celtic Frost和Venom。这些乐团的根基建立在鞭笞金属（英语：Thrash metal）流派上。直到1980年代到1990年代早期又有所谓第二波黑金属在挪威出现，像是Darkthrone和Mayhem乐团。尽管没有明确的第三波黑金属定义，但是现代黑金属乐队的曲风和歌词上对比起老的黑金属乐队，吸收了很多其他音乐风格的元素。
黑金属具有很强烈的反主流意识，主要是因为许多乐队的厌世感和反基督教态度。同时，少数黑金属乐队因爲和焚毁教堂、杀人和国家社会主义的紧密关系而闻名。黑金属音乐总体来説是一个地下音乐流派，因爲和主流品味背道而驰以及多数黑金属音乐人的低调处世态度。
黑金属的表现形式
1.黑金属使用的乐器上除了传统的吉他贝斯鼓外，黑金属的分支流派交响黑金属经常会使用电子合成器以及其他的古典乐器像是钢琴，小提琴，大提琴或者是歌剧的女高音。
2.现代黑金属音乐的最主要特征是高失真吉他进行的反复扫弦，同时极少使用吉他独奏（solo）；鼓的方面大多数乐队使用双大鼓连踩（或是双踏），以及小鼓、双面钹（Hi-hat）、定音钹（Ride）的连击，有些乐队特别是单人乐队经常在录音时使用鼓机来代替真鼓。
3.多数黑金属乐队的主唱使用尖利的黑嗓进行歌唱，与死亡金属使用的死嗓不同之处在于，黑嗓的发声方式更爲靠近两颚。早期黑金属乐队的歌词基本上都是有关反基督，凟神和撒旦崇拜，而后期的黑金属乐队的歌词内容则丰富很多，包括厌世、自杀、反人类、虚无主义、神秘学、宇宙、国家社会主义、纳粹、战争、奇幻等内容；而与此相对应，极少数的黑金属乐队的歌词内容则是关于基督和圣经。
黑金属的分支流派
原始黑金属(Raw Black Metal)
自杀黑金属(Depressive Black Metal)
交响黑金属(Symphonic Black Metal)
旋律黑金属(Melodic Black Metal)
维京黑金属(Viking Black Metal)
异教黑金属(Pagan Black Metal)
民谣黑金属(Folk Black Metal)
纳粹黑金属(National Socialist Black Metal)
Black metal is an extreme subgenre of heavy metal music. Common traits include fast tempos, shrieked vocals, highly distorted guitars played with tremolo picking, blast beat drumming, raw recording and unconventional song structures.
During the 1980s, several thrash metal bands formed a prototype for black metal. This so-called “first wave” included bands such as Venom, Bathory, Hellhammer and Celtic Frost. A “second wave” arose in the early 1990s, spearheaded by Norwegian bands such as Mayhem, Burzum, Darkthrone, Immortal and Emperor. The early Norwegian black metal scene developed the style of their forebears into a distinct genre. Norwegian-inspired black metal scenes emerged throughout Europe and North America, although some other scenes developed their own styles with no connection to the Norwegian one.
Initially a synonym for “Satanic metal”, black metal has often been met with hostility from mainstream culture, mainly due to the misanthropic and anti-Christian views of many artists. Moreover, several of the genre’s pioneers have been linked with church burnings and murder. Some artists have also been linked to neo-Nazism, although most black metal fans and most prominent black metal artists shun Nazism and oppose its influence on the black metal subculture.Much like punk, the black metal community generally condemns the seeking of mainstream success or attention, preferring the genre to remain underground.
8.民谣金属 Folk Metal¶
民谣金属是重金属音乐的其中一个分支。它的演奏特色主要是加入了民谣用到的乐器，如小提琴、中提琴、竖琴等。
民谣金属乐团常常在自己本土的商业发展上没有太大的成功，但却在别的国家流行起来。 如Northumbrian民谣金属乐团Skyclad，在英国不太出名，却在欧洲、美洲大陆拥有大批支持者。又如凯尔特金属乐团Cruachan，在爱尔兰不太出名但却在俄罗斯流行。然而整体而言，民谣金属大多被视为离不开奇幻小说的内容。此类金属乐团大多利用自己的民族文化注入重金属音乐内，但因好奇的心态，此种特色吸引了不少人接触。较出名的民谣金属乐团有Skyclad， Waylander，Cruachan，Vintersorg，Finntroll和Elvenking。
毋庸置疑，Skyclad被公认为民谣金属的先导者，但当时并未开始流行起来，直至90年代中期至末期出现了 Cruachan、Otyg 及 Windir 带动民谣金属的潮流。东欧成了很多具民谣色彩黑金属乐团的发源地，如著名的Graveland和Nokturnal Mortum。乐团Bathory更首先发表专辑如Hammerheart，带来了将维京神话、历史元素注入民谣金属的议论。 后来 Amon Amarth沿袭Bathory的特色,但用另一种曲风演绎，成了一支旋律死亡金属的乐团。一些乐团虽把民谣金属的特色加入歌词上，但普遍并不被承认为民谣金属类。
9.说唱金属 Rap Metal¶
10.厄运金属 Doom Metal¶
厄运金属（英语：Doom Metal）是一种曲速非常缓慢的重金属音乐，不管是歌词、唱腔、吉他即兴的展现上，都给人异常沉重绝望的氛围。
早期厄运金属受到70年代的黑色安息日的影响，后来，Tony Iommi发展出了一套充满吉他的咆啸巨响跟毁灭性高的演奏方法，加上黑暗又充斥着悲观主义的歌词，他们被认定为为厄运金属定下定义的一群艺术家，在70年代早期，Black Sabbath跟Pentagram将这股又重又黑暗的音乐音乐传到美国，这股潮流在1980年代时被定义成一个新名称”Doom Metal”。
到了80年代中早期，来自英美的乐团对于厄运金属的独特形态贡献良多。在1982年，英国厄运金属拓荒者乐团Pagan Altar跟Witchfinder General分别发表了他们的首张专辑Volume 1、Death Penalty。在1984到1985年间，三支美国乐团也发表了首张专辑，Saint Vitus发行了Saint Vitus，Trouble发表了Psalm 9，Pentagram发行了Relentless。同时，瑞典的重金属乐团Candlemass也在1986年的首张专辑Epicus Doomicus Metallicus展现了他们的权威。还有在1984发表Day of Retribution专辑的Nemesism，都将厄运金属这个名称更加发扬。
史诗厄运
史诗厄运金属〈Epic Doom〉在最初是一种较重视主唱声音的厄运金属音乐，主唱的声线是史诗厄运的代表，包括使用清腔、歌剧腔、或是唱诗；歌词则是取材自神话或幻想，但鼓却是用夸张的方式来呈现。然而，区别传统厄运金属跟史诗厄运金属是有困难的。代表性乐团有：Candlemass、Solitude Aeturnus、Solstice、Doomsword等。
迷幻厄运
迷幻厄运〈Stoner Doom〉是一种加入迷幻金属元素的音乐，迷幻厄运较注重于贝斯低音或吉他的毛燥破音，迷幻金属可视为一个比迷幻摇滚更重、更慢的重金属音乐。代表性乐团有：Kyuss、Sleep、Acid King、Electric Wizard、Son of Otis等。
11.新金属 Nu Metal¶
新金属（Nu Metal）是重金属音乐的一个分支，融合了重金属音乐与说唱、硬核朋克、垃圾摇滚等风格，属于另类金属的一种，又称new metal、neo-metal、nü-metal、aggro-metal。它保留了传统重金属音乐中失真的音色和极端的音量，并在其中混合了嘻哈节奏、说唱和更具旋律性的主音部分；新金属音乐的音色与重金属相比，其实更加生猛和原始，因为新金属的吉他部分，不像是在重金属音乐中那么复杂，和占据那么重要的位置。
新金属乐队在1990年早期，就开始在美国进行表演，但新金属音乐作为一种风格，露面于主流乐界却是在1994年晚期到1995年早期的事情了。最早在美国国内闯出名堂的新金属乐队，是“科恩”（Korn）乐队和“盲音”（Deftones）乐队。“科恩”乐队的首张专辑《Korn》，其中充斥着大量从重金属音乐,朋克风中吸收来的吉他扫弦和失真音色，这种生猛、撕破脸式的作风，与传统重金属音乐讲究的繁复、高难度的主音吉他形成了鲜明的对比，同时新金属在节奏上更具跳舞性。这种新的风格吸引了大量已经对“涅槃”（Nirvana）乐队的Grunge风格进行简单模仿的乐坛感到厌倦的年轻听众。在科恩乐队之后，“盲音”乐队迅速推出了专辑《肾上腺素》（Adrenalin）。“盲音”成立于1988年，原本其实是一支传统的重金属乐队，1990年，乐队开始改变自己的音色，接受了嘻哈音乐的影响，在歌词中加入了说唱的部分。这种节奏强烈、融合嘻哈和说唱、吉他编排直来直去的音乐风格，在日后成为了新金属风格的核心特色。其他操练着同样风格的乐队，在“盲音”之后，也迅速得到了美国国内音乐市场的注意。在二十一世纪，由Linkin Park为代表的新金属继续前行，人气极佳，每张唱片更是卖到了几百几千万张。
新金属其实是一个十分笼统的名词，有广义和狭义之分。广义的新金属包含了九十年代兴起的几乎所有的新派重型音乐形式，包括Metalcore、Rap-Metal、Industrial-Metal等等；而狭义的新金属指的仅仅是说唱金属。由于这种广义和狭义的分辨不清，导致很多和说唱毫无关联的乐队被一些不了解新金属的朋友误认为是说唱金属。Nu-Metal，从权威媒介的解释上来看，本意是指暴怒金属，与传统重金属相比多了乐团成员灌输音乐其中的愤怒、狂暴元素在里面，而团员们借以表达这种思想的媒介又各不相同，借助core、Rap、Industrial等等。以至于这种类型的音乐夹杂的音乐元素、风格过于丰富，所以直到现在新金属也并没有成为一种独立的音乐风格。至于大多数朋友所持有的将新金属定义为说唱金属的观点是一种误区。这也许是因那些名气相对而言较大的新金属乐团很多都将他们的音乐渗透以说唱所致吧。
12.放克金属 Funk Metal¶
放克金属（Funk Metal）从重金属中赚取了重型的吉他音色和riff,并将其爆破性的贝斯线条和简化了的放克节奏融合在了一起。这种风格出现在八十年代的中期， 像Red Hot Chili Peppers 和Fishbone算是最早的代表，从他们的音乐中可以感觉到疯客的感觉明显强与重金属的影响。尽管后来的一些乐队保留了狂野的贝斯线条，但是风格逐渐更加偏向于重金属。同重金属一样，放克金属同样也是表现乐手高超演奏技巧的良好途径。
Funk metal (also known as thrash funk or punk-funk) is a fusion genre of funk rock and alternative metalwhich infuses heavy metal music (often thrash metal) with elements of funk and punk rock. It was prevalent in the mainstream during the late 1980s and early 1990s, as part of the alternative metal movement. The genre has been described as a “brief but extremely media-hyped stylistic fad”.
13.基督金属 Christian Metal¶
14.碾核 Grindcore¶
碾核即Grindcore，是一种音乐风格。碾核这个名词经常与有些联系的死亡金属交换使用，这两个其实是有很大差别的，虽然有相似的特征，同样结构的音乐，特别是21世纪以来来越来越相像。当它在80年代中期第一次露面的时候，碾核因它完美用短的篇章所组成的机构带起了重金属乐器风格上噪音演奏的一阵潮流（扭曲的吉他，贝斯和鼓声）。
虽然碾核不是随便的临时准备，它的确也没有沿袭传统的音乐结构；即使有时重复段被精选出来，完美的碾核从不以诗篇，合唱甚至是悦耳的音调为特征。碾核的声乐特点听起来是痛苦的，归类于高倾斜的尖叫到低声，从喉咙发出的低沉的咆哮；尽管歌词经常是冗长的，很难被理解的。碾核带来的思想意识上的侵略就是如此，超越了指向其发起于鞭挞金属和硬核朋克根源的顶端，很难让人完全描绘出它事实上听起来的效果。无可争议的，碾核音乐形式的发起者是Napalm Death，他们在1987年发行了第一张专辑Scum，这也是一张最具碾核风格代表性的专辑。在Napalm Death这个乐队里，碾核更具有艺术性，在音乐中隐含着阴冷，暴虐和现代社会的腐朽；加之他们的歌词被愤怒的社会群体所包裹着。在歌词写作上更极端的乐队便是Carcass，这是唯一一个真正成为原始碾核音色缩影的乐队；他们可怕，血淋淋的咆哮形式是逐字的从解剖课本上参考而来的，为了最大的震动效果。然而碾核最初的形式是有固定限制的，它的强度可以很容易就转为self-parody；在Napalm Deaths的第二张专辑中，他们已经开始尝试工业的质地，一种融化，它可以证实流行不仅仅是依靠热爱用鼓奏出jackhammer节奏的乐队，而是同样可以用像Godflesh那样缓慢，忧郁的韵律（它本身就是一个Napalm Death的支流）。碾核酷热的强度不仅被地下重金属吸收了，还被avant-garde和试验音乐这两个派系借鉴：如日本的噪音乐队the Boredoms和Merzbow发现了它的灵感，爵士乐手John Zorn形成了碾核思想的乐队Painkiller（它是以早期Napalm Death的鼓手为号召物的）。尽管完美的碾核是完全的英国现象，但早期佛罗里达乐队Death的专辑带有自然的，粗糙的和好供给的性质，从而使它们非常相像。除了吸取大部分碾核自然，恶魔般咆哮的嗓音特点，美国那些在有限的技术能力上相关联的死亡金属乐队，演奏出类似碾核般很快的节奏的歌曲效果。事实上，在90年代，Napalm Death的声音已很难分出是死亡金属或是碾核，并且Carcass已经成为一个成熟的死亡乐队。A.C.是少数几个仍坚持演奏原始碾核风格的乐队之一了。
碾核是一种极端的音乐态度！虽然不是metal，但是它的表现手法要比metal极端的多。极端意识是碾核的精髓。碾核的派系也有多种，Old School Grindcore 、Goregrind、Gore Metal 、德式Porngrind 、美式Porngrind 、Cybergrind、Grind Roll 、Noisegrind 、Toilet/Shit Noisegrind ，这些碾核的形式就不在这里多多赘述了，有兴趣的朋友可以到百度或者google搜集一些相关资料。当然，碾核的形式除了以上几种之外还有很多种，碾核的宗旨：摆脱一切音乐理念束缚！随心所至，用最极端的音乐彻底毁灭一切！
代表性乐队：Napalm Death，Brutal Truth，Terrorizer，Anal Cunt，Fuck…I’m Dead，Last Days Of Humanity，Disgorge（Mex），Cock And Ball Torture，Gut，Intestinal Disgorge，Abosranie Bogom等。
碾核音乐的流派与发展
Grind 意思就是碾碎，而加上Core就变成了极端的地下音乐类型。Grindcore可译为“碾核”，因为极为粗糙、扭曲恶劣的音乐派系而成为地下音乐中的地下。早期主题大多是强烈批判社会，步入21世纪则转为单纯不平衡的泄愤，特色是变态血腥、情色封面及短促激烈的曲风。碾核可以分成以下几种，当然还有些碾核流派在不断涌出，在不久的将来碾核会以更多极端的形式来碾碎你们的耳膜！
1）老式碾核风格
老式碾核风格，师承早期Napalm Death、Brutal Truth及Terrorizer，主唱一般为标准的一高一低双主唱，吉他演奏为典型的粘质的核味十足的riff，而比起Napalm Death等老前辈来，21世纪这些乐队的音乐更快、更重也更加背经离道。代表乐队有美国的Pig Destroyer、Phobia、Benumb；瑞典的Birdflesh、Nasum（后期）；法国的Blockheads、日本的324等等。不过这一类型的碾核乐队似乎在整体上已不占主流。
2）血腥碾核
这类风格的乐队占据了大多数，风格主要受Carcass及Impetigo等乐队的影响，歌曲的主题嗜血如癖，对疾病、尸体赤裸裸的阐述到了极尽详细而无可附加的地步。主唱以深喉兽吼及经加工处理的“水喉”效果唱腔为主；吉他演奏以Grindcore类的噪音riff为主，并伴有Death Metal式的工整而充斥邪恶感的riff；鼓则是blast beat从头至尾高速暴猛无比。代表乐队有较早期的波兰的Dead Infection、捷克的Pathologist、瑞典的Regurgitate、西班牙的Haemorrhage，21世纪后有墨西哥的Disgorge、荷兰的Last Days of Humanity、德国的Sanitys Dawn、巴西的Neuro-Visceral Exhumation等等。
3）Gore Metal
严格地说，这一风格应该是核与死亡金属之间的过渡类型。虽然在主题上、歌词上与Goregrind一样，对“血腥”充满了无限的渴求，但比起Goregrind乐队，这类风格的乐队更接近中期Carcass（他们的3rd）。大量Death Metal，甚至是Thrash Metal中常见的音乐元素被采用，比如吉他演奏就非常工整，与核类乐队有着明显的不同；再比如鼓的节奏变换频繁，重型而缓慢的敲击方式与金属乐颇为相象。按理说，这类乐队与其说是碾核乐队，更应该归Death Metal一类的乐队中去，但奇怪的是这类乐队都以碾核乐队自居并不与纯粹的Death Metal乐队为伍。鉴于这是一种Death/Grind的过渡型乐队，所以这里也归在Grindcore中。代表乐队有Exhumed、Impaled、Lord Gore、The Country Medical Examiners等。
4）色情碾核
这类乐队公认的“鼻祖”应该是德国的Gut。这种风格的乐队大都大量使用色情引子；通过歌本、歌词极尽淫荡之能事；音乐上晦涩怪异；曲速以中速甚至是慢速为主，以快速为辅；主唱大都是加入效果器处理的超级“水”嗓唱腔。由于此类乐队大多集中在德国乐队中，所以也称为德式色碾。代表乐队有德国的Cock and Ball Torture、Meatknife、Mucupurulent（早期）、Cunt Grinder；法国的Gronibard、Purulent Excretor、芬兰的Creamface等等。
5）美式Porn Grind
美式色碾从音乐形式上与Old School Grindcore较为接近，主要是通过主题内容及歌词上区分开，而较新的乐队则有与US Style Brutal Death融合的趋势。代表乐队早期的有Anal Cunt、Meat Shits；21世纪有Anal Blast等。
6）电子碾核
这是德式Porn Grind的一个分支。主要特征是很少或者根本没有吉他、贝司、鼓等乐器，而是使用电子乐器创造出Grindcore一样的音乐效果，用冷冰冰的电子和声来表达“Porno”这一主题。代表乐队有德国的Libido Airbag；荷兰的S.M.E.S.；美国的Microphallus等。
7）摇滚碾核
这是一种比起德式Porn Grind更加缓慢的碾核音乐，也可以说是整个碾核音乐领域中最慢的。有的时候甚至会有大量的硬摇滚一样的节奏，但这种音乐也是最富变化、最不可揣摩的诡怪的音乐，经常有出人意料的小节。代表乐队有德国的Dead；澳洲的Blood Duster；日本的C.S.S.O.等。
8）噪音碾核
这些乐队追求终极的噪音效果，是目前地球上最疯狂的音乐。音乐放荡不羁，毫无悦耳可言。录音混乱而粗糙；吉他与敲打乐器（大多使用鼓机）均以制造噪音为己任；而主唱更是发出各式外星人般的声响。主要代表乐队有美国的Intestinal Disgorge、Asscavern；法国的Blue Holocaust；日本的Gore Beyond Necropsy等等。
9）厕碾
严格地讲，这是噪音碾核的一个分支。从歌词到主唱再到音乐气氛无不让人联想到Toilet/Shit一类的东西。代表乐队有美国的moebic Dysentery、Rectal Explosion；以色列的Abosranie Bogom；巴西的C.V.I.；德国的Anal Whore，日本的Basket of Death等等。
10）鼓机Grind
其实这并不应该单独算作一种风格，之所以把它单拿出来，是因为这些乐队很难归于以上的某种风格中。这类乐队使用鼓机代替真鼓，鼓机编排在乐队中所占分量很重，基本上是能多快就编多快，达到了敲击乐器的极限光速的地步。而主题大多涉及色情与暴力，主唱则以水喉唱腔为主（有时也使用低吼及尖叫演唱）。代表乐队有澳洲的Decomposing Serenity、Fuck…I’m Dead；巴西的Lymphatic Phelgm；美国的Agoraphobic Nosebleed、Prosthetic Cunt；荷兰的Brutality Reigns Supreme等等。
11）搞笑碾
因为有搞笑的成分所以称之为搞笑碾核， 它更体现了碾核的随意性。代表乐队有德国乐队Excrementory，Grindfuckers；加拿大的Shy Shit；法国的Gronibard，Ultra Vomit，中国第一欢乐搞笑碾核：Cave Have Rod穴有棍乐队。德国乐队的可听性比较强。搞笑度都要大于其他的乐队。中国的乐队搞笑实力也不容小觑，穴有棍乐队（Cave Have Rod）成立于2011年7月底，他们用快乐的态度，创作属于他们自己的碾核音乐。
12）高速碾核
所谓高速碾核大概就是因为音乐中鼓的速度像高频的砸锤机，就是一个字 快 ！代表乐队有瑞典的Nasum。
13）其他
碾核的类型真可谓多种多样，比如：带有很强Black Metal味道的巴西的Flesh Grinder；使用了Funky及Jazz音乐元素的南非的Groinchurn；有很强Horror Metal味道的西班牙的Gruesome Stuff Relish；工噪感十足的德国的Nunwhore Commando 666等等等等。鉴于碾核是一种自由自在、随心所欲的音乐，所以很难说清它到底有多少类型。
综上所述，碾核音乐由于其无拘无束的气质及不断扩展的外延，不但在这些年中不但没有减少消失，反而越发年轻而显得富有朝气。在不久的将来世界各地的Grinders必将带给我们更多、更好的作品。
15.速度金属 Speed Metal¶
速度金属流派是80年代早期美国地下音乐中最受欢迎的重金属形式之一。速度为其标榜的主要特色。经常会和“鞭击金属”产生混淆，通常“速度金属”的音乐较具旋律性，主唱歌词咬字较清楚，吉他间奏富旋律性且快速而流畅；而“鞭击金属”则较缺乏旋律性，完全与速度、重量、压迫感和破坏力并重。通常“鞭击金属”乐队和“速度金属”乐队的乐手们都拥有纯熟高超的乐器演奏技巧。
作为英国重金属新浪潮与硬核朋克的交叉，速度金属极其地迅速、极具研磨性、而且对技术有着很高的要求，因为乐队一方面要演奏得很快，一方面又要使弹奏准确而干净。从这个意义上讲，速度金属一直都保持了它金属根源的真实性。但是它从硬核那里借鉴来的元素——疯狂而快速的节奏，和反叛的自己动手的精神——却是同样重要的，因为它们不仅使乐队拥有了一种独特的音乐手法，还使他们在圈子外的大批年轻人中树立了一种极富魅力的形象。因为它是如此激烈，对技术的要求又颇高，速度金属很快就转化为了鞭鞑金属，因为后者在节拍、音乐套路、乐器技巧上有更大的发展空间。在 Metallica, Megadeth, Anthrax和 Slayer 引领下的金属乐队的新浪潮与那些在80年代统治了排行榜的流行导向的金属乐队是站在直接对立的立场上的，但他们仍得以没有主流媒体、广播、音乐电视的支持的情况下，成功的培养了一批狂热而忠实的追随者，并最终使他们的唱片达到了白金销量。
Speed Metal自1980年代中末期兴起之后，至今依然是欧洲重金属乐的主流乐风，其快速流畅且音色优美的吉他solo，加上高音主唱、速踩双大鼓和优美的旋律线，这样兼具了爆发力与美感的组合，自然成为多数乐迷的最爱。
促成Speed Metal乐派开始扬威于全欧洲的经典之作，首推Helloween的《Keeper of The Seven Keys》双专辑，时至今日，依然有大量的新生代speed乐团延续早期的Helloween风格，这类型的风格被称为传统(正统)式Speed Metal。当然Speed Metal亦有不同型式的衍生，如Melodic Metal，虽通常指的就是Speed Metal，不过一些没有Speed Metal那么「速」而又十分强调旋律优美感的乐团，在分类上便会将其标上「melodic」，以突显其音乐风格有较流畅的旋律感。
代表性乐队
Helloween，Blind Guardian，Gamma Ray，Riot，Rage，Anthrax，Kreator，Megadeth，Metal Church，Metallica，Motorhead，Overkill，Paradise Lost，Sepultura，Slayer，Testament ，DragonForce
16.工业金属 Industrial Metal¶
工业金属是工业音乐中的工业摇滚所衍生出的曲风，是重金属的其中一个分支。此乐风最主要的乐器搭配和团员配置通常是是主唱、电吉他、贝斯、爵士鼓，当然也会搭配一些电子的元素，所以会有些MIDI音效的搭配如音序器（sequencers）、取样器或合成器等。
Industrial metal is a musical genre that draws from industrial dance music, thrash metal and hardcore punk, using repeating metal guitar riffs, sampling, synthesizer or sequencer lines, and distorted vocals. Founding industrial metal acts include Ministry, Godflesh, and KMFDM.
Industrial metal’s popularity led to some criticism from other artists associated with the industrial scene. Subsequently, it is most well known in various European permutations. Industrial metal groups have produced many acclaimed music videos.
17.新古典金属 Neo-Classical Metal¶
新古典金属（Neo-classical metal）是重金属音乐的一种分支，在音乐风格、演奏及编曲上受到西洋古典音乐的极大影响。音乐中常有高技术性的演奏，或是加入知名古典音乐的桥段或元素。英格威·玛姆斯汀（Yngwie Johann Malmsteen）在1980年代为新古典金属的发展做出极大的贡献。
新古典金属不同于音乐上的新古典主义。新古典主义代表着音乐上的现代主义，作曲者受到古典主义音乐的影响，流行时期是在两次世界大战之间。这类型的音乐可视为对19世纪浪漫主义音乐（特别是理查德·瓦格纳的音乐）的反动。作曲者如伊戈尔·斯特拉文斯基与保罗·亨德密特，将古典音乐元素与他们独特的和声语汇与节奏变化融合在一起。
另一方面，新古典金属音乐并未限制自己回到古典艺术的规范，如要求音乐的平衡或形式。事实上，比起古典主义音乐，新古典金属受到巴洛克音乐及浪漫主义音乐更大的影响。因此，新古典金属与新古典主义音乐并不相同。新古典金属将“古典”这个字视为一般民众所认知的西方古典音乐－从巴洛克、浪漫主义到早期现代主义的作品－而不是古典主义音乐的复兴。因此，有些人认为“新古典”的名称是不适当的，而且会使人误解。
在1980年代时，就已有最纯粹的新古典金属。但在之前，新古典金属就已存在于许多重金属音乐家的音乐风格之中。早期受到古典乐影响的硬摇滚和重金属音乐的知名音乐人有Ritchie Blackmore、 Uli Jon Roth、Randy Rhoads和布赖恩·梅。这种演奏风格以吉他手为主，但也有其他乐器的乐手，如键盘手 Rick Wakeman。从摇滚乐出现以来，电吉他的演奏技巧就快速发展，而在1970年代以前，新古典金属所需要的演奏技巧并不存在。到了80年代，摇滚乐的吉他技巧发展到最高峰。新古典金属为人所熟知的，是源自于西洋古典乐的高超技巧与理论面。新古典金属的普及化及成长，与吉他速弹运动风气的上升有密切的关系，许多新古典金属吉他手的演奏灵感来自于古典音乐家，像是尼科罗·帕格尼尼和弗雷德里克·肖邦。
瑞典吉他手英格威·玛姆斯汀被多数人认为是最原始的新古典金属形式的创立者。他在青少年时期受到了摇滚和古典乐两种音乐风格的影响。1982年，Shrapnel Records 的 Mike Varney 将英格威的音乐引进美国。
新古典金属的黄金时代是在1980年代晚期，当时许多吉他手与 Shrapnel Records 签约成为旗下艺人，包括英格威·玛姆斯汀、东尼·麦考潘 、菲尼·摩尔、保罗·吉尔伯特、Greg Howe、Joey Tafolla、David Chastain、杰森·贝克和马帝·菲曼。这些音乐家大部分都走向英格威·玛姆斯汀在80年代早期至中期的演奏形式。
今日，许多乐团选择作为一个整体，而抛弃过去的独奏音乐家形式。一些知名的新古典金属音乐家或乐团有 Michael Angelo Batio、乔·史丹、大卫·凡迪斯、Symphony X、Stratovarius、Adagio、Apocalyptica和死神悍将（Warmen）。有些主流金属乐团也稍微受到了新古典金属的影响，像是死神之子、Between the Buried and Me、The Human Abstract 和 Protest the Hero。
新古典金属经常改编古典音乐作品，并以乐团的形式演奏。特别是巴洛克音乐和古典主义音乐，其独特的音乐及技巧能有效地融入摇滚之中。常用的古典乐技巧有对位和持续音等等。
18.华丽金属 Glam Metal¶
Glam Metal也可以叫做Hair Metal（头发金属）或Pop Metal(流行金属)。Glam Metal通常是一个行为上的代名词，指的是80年代开始，一群装扮华丽中性的金属族群，或者是指这样的一个潮流。这个名词实际上不是指一种音乐类型的风格。在音乐上Glam Metal都是建立在Hard Rock上，并且或多或少结合朋克元素或是旋律摇滚元素。当然受到70年代到英国重金属浪潮的影响，往往Glam Metal和其他同时代的重金属风格一样，也带有大段的吉它弹速以及独奏，其中也有部分乐队偏向布鲁斯元素或是Funk元素等。
在1970年代末，英国的金属浪潮席卷之后，大家都知道这充满阳刚味的东西到底是怎么的一个玩意了。但是到了80年代的美国，金属开始有了一些变化。重金属出现了一些流行化元素，这就出现了新的金属乐品种，叫Glam Metal。这新的金属潮流很快的出现其影响力，并且又反向影响到了欧洲同时代的乐队。不只是乐队的听众有所增加，也带来了新的服饰潮流，尤其是各种皮夹克，以及各种皮裤，还有精心修剪、以喷雾发胶，吹风机或是甲板来定型的发型，新的潮流很快就完全代替了70年代的装扮。Glam Metal除了推动了新的重金属「外表」，歌词也吸引更广泛的听众群，特别是建立了重金属的女性市场。后来的人们，多称呼这个时代为黄金时代。
(百度百科)
Glam metal (also known as hair metal and often used synonymously with pop metal) is a subgenre of hard rock and heavy metal. It combines elements of these genres with punk rock and pop music, adding catchy hooks and guitar riffs, while borrowing from the aesthetic of 1970s glam rock.
It arose in the late 1970s and early 1980s in the United States, particularly on the Los Angeles Sunset Strip music scene, pioneered by bands such as Kix, Hanoi Rocks, Mötley Crüe and Quiet Riot. It was popular throughout the 1980s and the beginning of the 1990s, bringing to prominence bands including Poison, Cinderella and Bon Jovi.
The genre rapidly lost mainstream interest from 1991 to 1994 with the rise of grunge and the release of albums such as Nirvana’s Nevermind, but it has enjoyed something of a revival since the beginning of the new millennium with reunions of many popular acts from the genre`s 1980s heyday, as well as the retro styling of new bands including The Darkness and Steel Panther.
19.不列颠金属新浪潮 NWOBHM / New Wave Of British Heavy Metal¶
20.朋克金属 Punk Metal¶
朋克金属是硬核朋克和鞭鞑金属的混合体，它在80年代中期的时候开始变得突出。这两者会结合到一起是很自然的，因为这两种风格都是强硬而偏好连复段的，并都常具有狂躁的速度。朋克金属乐队通常比普通的硬核朋克有着更好的技术，而他们的连复段又不像鞭鞑金属他们的那样复杂，歌曲结构通常也更简单明了。在早期的时候，朋克金属与滑板朋克有着极其密切的联系，但是随着时间的推移，它越来越成为金属乐迷的领地。进入90年代以后，那些依然留存的朋克金术逐渐转向了后来人们所称作的“另类金属”领域：比如，Corrosion of Conformity 就演奏一种朴素的甚至破旧的音乐，有点像经典的 Black Sabbath 的声音；而 Suicidal Tendencies 则实验将另类摇滚与放克金属结合到了一起。
Hard rock is a term that’s frequently applied to any sort of loud, aggressive guitar rock, but for these purposes, the definition is more specific. To be sure, hard rock is loud, aggressive guitar rock, but it isn’t as heavy as heavy metal, and it’s only very rarely influenced by punk (though it helped inspire punk). Hard rock generally prizes big, stadium-ready guitar riffs, anthemic choruses, and stomping, swaggering backbeats; its goals are usually (though not universally) commercial, and it’s nearly always saturated with machismo. With some bands, it can be difficult to tell where the dividing line between hard rock and heavy metal falls, but the basic distinction is that ever since Black Sabbath, metal tends to be darker and more menacing, while hard rock (for the most part) has remained exuberant, chest-thumping party music. Additionally, while metal riffs often function as stand-alone melodies, hard rock riffs tend to outline chord progressions in their hooks, making for looser, more elastic jams should the band decide to stretch out instrumentally. Like heavy metal, hard rock sprang from the mid-‘60s intersection of blues-rock and psychedelia pioneered by artists like Cream, Jimi Hendrix, and the Jeff Beck Group. Blues-rock and psychedelia were both exploring the limits of electric amplification, and blues-rock was pushing the repeated guitar riff center stage, while taking some of the swing out of the blues beat and replacing it with a thumping power. Hard rock really came into its own at the dawn of the ‘70s, with the tough, boozy rock of the Rolling Stones (post-Brian Jones) and Faces, the blues-drenched power and textured arrangements of Led Zeppelin, the post-psychedelic rave-ups of Deep Purple, and the loud, ringing power chords of the Who (circa Who’s Next) setting the template for much of what followed. Later in the decade, the lean, stripped-down riffs of AC/DC and Aerosmith, the catchy tunes and stage theatrics of Alice Cooper and Kiss, and the instrumental flash of Van Halen set new trends, though the essential musical blueprint for hard rock remained similar. Arena rock also became a dominant force, stripping out nearly all blues influence and concentrating solely on big, bombastic hooks. During the ‘80s, hard rock was dominated by glossy pop-metal, although Guns N’ Roses, the Black Crowes, and several others did present a grittier, more traditionalist alternative. Old-fashioned hard rock became a scarce commodity in the post-alternative rock era; after grunge, many guitar bands not only adopted a self-consciously serious attitude, but also resisted the urge to write fist-pumping, arena-ready choruses. Still, the ‘90s did produce a few exceptions, such as Oasis, Urge Overkill, and the serious but anthemic Pearl Jam.
21.旋律死亡金属 Melodic Death Metal¶
旋律死亡金属（Melodic Death Metal）被认为是一种从死亡金属分支出来的乐风。此类音乐含大量有旋律吉他复式和单独演奏，有时是木吉他，使极端的死亡金属变得旋律动听。有时主唱也会以清晰的唱法取代死亡金属中惯常用的传统低沉咆哮声线（俗称“死腔”）。音乐结构较死亡金属明显，主旋律较强，比死亡金属更少使用变拍与变速等编曲技巧，而且经常出现吉他独奏（Solo），音乐概念也用不同的主题（歌词）演绎出来。
九十年代摇滚乐界最重要的事之一，就是旋律死亡金属 （Melodic Death Metal） 的兴起。有关死亡旋律金属的起源，有的人认为 Sentenced 发表的大碟 North From Here 是第一张旋律死亡金属唱片。但是，大多数人认为旋律死亡金属真正的发源地是哥德堡。
极端的时代带来极端的力量，旋律死亡金属是死亡金属这一风格中一股新兴的巨大力量，这种音乐含有大量的吉他旋律solo演奏，多数具有双吉他的组合型态，有的以键盘来突显音乐的旋律节奏感和编曲的丰富性。旋律死亡金属除了传统死亡金属的极端粗暴和强烈的节奏元素外，也很重视编曲的旋律性。简单的歌词，连贯的歌唱和传统死亡的咆哮声，有时用清晰的唱法取代传统低沉咆哮声线。旋律死亡金属多半来自北欧斯堪的那维亚半岛一带，特别是瑞典和芬兰。
四天王Dark Tranquillity的“The Gallery”、In Flames的“The Jester Race”、At The Gates的“Slaughter of the Soul”， Dissection （但是该团已将乐风转变为黑死金属），一同带动瑞典金属新浪潮运作，成为旋律死亡金属流行的基石，甚至有人把他们玩的音乐类型，以该地地名命名为歌德堡金属。
22.哥特金属 Gothic Metal¶
哥特金属 Goth Metal（港台地区则译作哥德金属）是一种揉合了重金属音乐及哥特风格音乐的混合物。它的发源时间始于九十年代初的欧美。某种程度上，哥特金属是难于确认和肯定的。有些乐迷及音乐人对於曲式分类有强烈的理念，但另外的人则认为这些曲式分类是没有用的。
哥特金属的出现要追溯到20世纪90年代初，英格兰北部的Paradise Lost、My Dying Bride与Anathema掀起的潮流。这三支乐队同时也催生了死亡厄运金属，哥特金属因此与死亡厄运金属有着密切的联系。三支乐队均签约于Peaceville Records唱片公司，被称为“ Peaceville三巨头”。来自哈利法克斯的Paradise Lost，1990年的首张专辑《Lost Paradise》对死亡厄运金属做了很好的定义，1991年的次张专辑《Gothic》加入了零星的键盘与女声点缀，在氛围上制造出些许差异，形成了哥特金属。Paradise Lost的前五张专辑，被形容为“一只深爱着Sisters Of Mercy的乐队演奏着黑暗时期Metallica的作品”，他们“最早播下了哥特的种子，才有了近年来其他乐队的收割”。同样来自哈利法克斯的My Dying Bride在1993年的专辑《Turn Loose the Swans》中，加入了小提琴，这一创造性的做法进一步增添了暗色浪漫，也启迪了诸多后来者。来自利物浦的Anathema，在发出了死亡厄运金属之声后，走得更远。从1995年的第二张专辑《The Silent Enigma》开始，Anathema进行了音乐上的探索，不再局限于传统死亡厄运金属领域。评论家甚至拿他们和Pink Floyd做比较。到了1996年的第三张专辑《Eternity》，Anathema甚至转向用清嗓演唱。他们这种营造悲伤大气氛围又不失哥特背景的主流摇滚姿态，对后来的主流哥特金属乐队，产生了深远影响。
美国的Type O Negative、瑞典的Tiamat、荷兰的The Gathering则是哥特金属在英国以外地区的先行者。Type O Negative的音乐源于死亡金属和鞭笞金属。在1993年的专辑《Bloody Kisses》中，他们引入了一些哥特摇滚的元素，歌词中也充斥着“性、死亡、基督、吸血鬼”等内容。哥特金属从此在北美地区受到了关注。Tiamat早在1988年就开始了活动，那时他们做的是纯正的死亡金属。在1992年的专辑《Clouds》中，Tiamat降低了音乐的速度性而加强了旋律与氛围。到了1994年的《Wildhoney》，他们的转变更为明显与彻底：插入的原声吉他、呢喃耳语、天使般的合唱与失真的吉他、咆哮的死嗓形成强烈对比冲击，所营造的哥特氛围深深影响了后来的北欧乐队。The Gathering则是第一支配备了女主唱的哥特金属乐队，以Bart Smits的死嗓为主，辅以女主唱的吟唱，形成了具有黑暗根源的中板哥特厄运金属。然而早期几个女主唱均无法达到乐队期望制造的效果，直到第三张专辑《Mandylion》中Anneke van Giersbergen的出现。Anneke用她的声音将The Gathering带向了巅峰，也启迪了一大批荷兰以及欧洲其他地区女声哥特金属乐队。
葡萄牙的Moonspell和英国的Cradle of Filth最早将黑金属与哥特金属进行了融合。Moonspell的早期作品以葡萄牙的乡野传说为背景，将浓郁的民族元素与极端金属结合，以Riff和键盘制造出独特忧郁氛围的恶魔之声。首张专辑《Wolfheart》出现了狼人、吸血鬼等主题的歌曲，次张专辑《Irreligious》进一步强化了哥特意味。凭着这两张专辑，Moonspell奠定了在欧洲哥特金属浪潮中的地位。Cradle of Filth则从成立之初便做着具有独特扭曲美感的哥特黑金属音乐。从1994年的首张专辑《The Principle of Evil Made Flesh》开始，由键盘演绎的前奏、不时插入的歌剧女声以及Dani Filth扭曲的嗓音和用黑与血编织的浪漫诗句就成了乐队的标志。1996年的第二张专辑《Dusk… and Her Embrace》更是一张“令人毛骨悚然的哥特史诗”，其中《Gothic Romance》一曲成为哥特黑金属的代表作。
“美女与野兽”是指天籁般的女声与侵略性的死嗓对比产生的美学体验。这种技巧虽然Paradise Lost和The Gathering早已采用，但直到1995年挪威乐队Theatre of Tragedy才推出了完全“美女与野兽”式的全长专辑《Theatre of Tragedy》。随后他们又推出了《Velvet Darkness They Fear》和《Aégis》，赞誉不绝。在《Aégis》中他们进行了一些新鲜的尝试，最显著的便是Raymond Rohonyi放弃了死嗓而代之以念白与呢喃耳语，这造就了另一种对比的美学体验。90年代末，越来越多的乐队开始采用侵略性男声与天籁女声的技巧，仅挪威就又涌现出Tristania、Trail of Tears、The Sins of Thy Beloved三支乐队。Tristania除了“美女与野兽”之外，还加入了男声清嗓，进一步丰富了作品带来的听觉体验。此外，Tristania还加入了管风琴、小提琴等交响元素，引领了此后的交响哥特金属浪潮。在“美女与野兽”的推动下，涌现了一大批极具代表性的女性金属乐主唱。
尝试在哥特金属中加入交响元素的不只是Tristania，来自荷兰的Within Temptation也为交响哥特的普及与推广做出了巨大贡献。成立于1996年的Within Temptation，最初做的是Sharon den Adel与Robert Westerholt构成的“美女与野兽”式哥特金属。在2000年的第二张专辑《Mother Earth》中，他们去除掉了死嗓，仅保留Sharon的天籁之音，同时加强了交响氛围，制造出极为优美动听的声音。2004年，他们凭《The Silent Force》将交响哥特金属推至一个新高度。这张专辑找来了整支交响乐团以及80人的唱诗班进行录制，充分展现了交响哥特金属的气势磅礴与华美壮丽。自此，不只是欧洲，整个世界都被这种重型吉他与交响女声的结合所征服。另一支荷兰乐队After Forever及其关联乐队Epica，不仅延续了Tritania式的交响化“美女与野兽”，还加入了前卫式的复杂编曲架构，奉献出一场场史诗般的交响盛宴。这些出色的交响哥特女声，成为了荷兰的骄傲。
哥特金属的风行使得一些原本做其他风格音乐的乐队也加入了进来。瑞士的Lacrimosa，最初做的是暗潮音乐。随着女声兼键盘手 Anne Nurmi的加入，他们尝试在原有风格的基础上引入了重型吉他以及古典乐器，形成了独有的兼具暗潮感和古典氛围的交响哥特金属。交响金属名团Therion，也在2007年推出了名为《Gothic Kabbalah》的专辑，展露出他们想和哥特金属接轨的想法。
23.泥浆金属 Sludge Metal¶
泥浆金属是一种重型音乐，通常认为是厄运金属和硬核的融合，并在一定程度上受到布鲁斯的影响。一般认为The Melvins发明了这种音乐类型，Black Flag的My War则对该音乐类型的硬核部分有较大的影响，其歌词在一定程度上近似Crust Punk。一部分新奥尔良乐队使这种音乐逐渐流行开来。音乐特征是吉他和贝司通常采用强烈的失真和反馈其硬核部分受到产生一种脏的氛围，有时甚至没有吉他solo，从而营造一种“泥浆”的感觉。鼓采用硬核的鼓点和节奏但是速度非常慢，通常是50~80BPM。主唱用硬核的唱法，歌词多反映蓝领生活状态，社会等，愤世嫉俗，带有压迫感。泥浆金属最早是一种比较纯的门类，现在已经和其他音乐相融合。如 stoner metal（Electric Wizard），black metal（Unearthly Trance），death metal（Coffins），industrial music（Fudge Tunnel） or grindcore（Soilent Green）等。
24.能量金属 Power Metal¶
能量金属(Power Metal)为重金属音乐的一种分支。力量金属大可再分为美国派别和欧洲派别。
美国能量金属
当英国新浪潮重金属音乐中的铁娘子(Iron Maiden)和犹大圣徒（Judas Priest）在流行时，美国能量金属已经在1980年代冒起。Metal Church、Savatage、Helstar、Jag Panzer、Manowar及近似的乐队，他们演绎出来的乐曲带有敲击金属的味道。有人认为现代的美国乐队如Iced Earth和 Nevermore就是该类型音乐的代表者，但始终被欧洲能量金属和敲击金属所盖过，并意味著美国能量金属的没落。另外又有人认为美国能量金属又再次复兴，如Gothic Knights、Phoenix Reign、Twilight Odyssey、Virgin Steele兴起.
欧洲能量金属
欧洲能量金属主要在1980年代由德国乐队Accept带领而成，他们融合了类似犹太祭司重复段和仿AC/DC乐队唱法，再引入德国民谣和传统音乐于重金属音乐中。他们的音乐无论是唱的部分还是吉他的部分都充满史诗色彩、吸引的旋律和凯旋味道。歌曲如”Breaker”和”FastAsAShark”都被认为是欧洲能量金属音乐的先河。到了1980年代中期，欧洲乐队如德国的万圣节乐团（Helloween）注重发展乐曲上的旋律。万圣节乐团混合了速度金属的重复段并加入了类似铁娘子的主音唱法，更使唱腔变得更响亮。他们的大碟《七把钥匙的主人第一乐章》（Keeper of the Seven Keys,Part1）(1987年)和《七把钥匙的主人第二乐章》（Keeper of the SevenKeys,Part2）(1988年)都被当作能量金属的奠基。
音乐特征
演绎：速度金属为主旋律加上吸引的旋律。
歌词：集中于真实世界，如个人经验、历史事件或社会评论，亦以史诗、宇宙论、超自然学作为歌词的主题。大部份力量金属的乐曲受宗教、科幻小说、奇幻小说和神话所影响，歌词较为乐观正面。
唱腔：以响亮为主，与低音嗥叫为特色的死亡金属形成鲜明对比。
25.氛围黑金属 Atmospheric Black Metal¶
氛围黑金属是黑金属的一种，较为柔和，通常较多运用合成器或古典编排，常见主题包括自然、民谣、神话、自省。代表乐队包括Burzum (Hvis lyset tar oss)、Summoning (Minas Morgul)、Blut aus Nord (Ultima Thulée)。
Atmospheric Black Metal is a sub-genre of Black Metal which relies on heavy incorporation of atmospheric, sometimes even dreamy textures, therefore moving away from its parent into a less aggressive direction. Atmospheric Black Metal often features synthesizers or classical instrumentation, typically for melody or ethereal “shimmering” over the wall of sound provided by the guitars. The music is usually slow to mid paced with rare blast beat usage, without any abrupt changes and generally features slowly developing, sometimes repetitive melodies and riffs, thus providing another notable distinction from its parent and other Black Metal sub-genres. Subject matter usually concerns nature, folklore, mythology, and personal introspection.
Some influential bands include Burzum (Hvis lyset tar oss), Summoning (Minas Morgul) and Blut aus Nord (Ultima Thulée).
26.自杀黑金属 Depressive Black Metal¶
27.旋律黑金 Melodic Black Metal¶
28.残忍死亡金属 Brutal Death Metal¶
残忍死亡金属又名残酷死亡金属、残暴死亡金属。欧洲的死亡金属中心无疑是瑞典的Stockholm，所以无论是残暴死亡金属还是旋律死亡金属，瑞典乐队都是非常优秀的。欧洲的残暴死亡金属代表乐队有：瑞典的Dismember、Defleshed、Hypocrisy、Gardenian；德国的Krabathor；英国的Carcass。
通常认为残酷死亡金属的开端为Suffocation，他们的第一张EP仍带有老式死亡金属的痕迹，但第一张全长则基本上摆脱了老式死亡金属的框架，不论是演奏技法，还是编曲方式，或是复杂程度都和老式死亡金属有了明显的区别。随着残暴死亡金属的发展，一部分乐队完全脱离了老式死亡金属和其他各类金属的影响，创作的音乐更加极端和独特，被称为新派残暴死亡金属，这些音乐创作和演出的重心从对主题的阐述逐步转移到了对音乐客观极限的追求和对乐手能力技术的挑战，甚至还有专门的技术残暴死亡金属以在死亡金属的范围内尽可能的展示乐手对各乐器的高超演奏技术为宗旨。残暴死亡金属在客观音乐性上的鉴赏价值十分突出，但是由于大多数都缺乏明确并且始终如一的主题而显得缺少内涵，例如很多乐队开始不再唱歌词甚至有些不再写歌词，转而着力于演唱方式和技巧的变革，因此长期来看，很多残暴死亡金属的耐听性相对而言会比较低。
29.死亡摇滚 Death n’Roll¶
30.死碾 Deathgrind¶
31.技术死亡金属 Technical Death Metal¶
技术死亡金属是死亡金属的一种，注重创作及编排技巧。这种风格起源于90年代早期至中期，由Death、Atheist、Nocturnus、Pestilence等乐队开创，代表性乐队包括Necrophagist、Nile、Decapitated、Cryptopsy、Origin、Spawn of Possession、Obscura、The Faceless。
(虾米编译自Rate Your Music)
Technical death metal is a sub-genre of Death Metal with particular focus on challenging, demanding songwriting and instrumental skill that began and developed in the early- to mid-1990s with bands like Death, Atheist, Nocturnus and Pestilence, to name a few.
Some of the distinct features of this genre include dynamic song structures, complex and atypical rhythmic structures, abundant use of diminished chords and arpeggios, frequent employment of odd time chord progressions and a lot of string skipping on the guitars. The music is normally extremely fast-paced and the representative bands remain firmly rooted in death metal due to their unbending devotion to rhythmic heaviness and conceptual darkness. However, when compared to death metal and its other sub-genres, aside from the features mentioned above, technical death metal bands usually give a different feeling to the music by frequently using more exotic scales. The bass lines are usually complex and the drums are extremely fast-paced with abundant use of blast-beats and other extreme drumming techniques.
Some of the most known representative bands nowadays include Necrophagist, Nile, Decapitated, Cryptopsy, Origin, Spawn of Possession, Obscura and The Faceless.
32.死亡厄运金属 Death Doom Metal¶
33.蜂鸣金属 Drone Metal¶
无人机金属(也被称为无人机末日和动力环境)是一种重金属风格，它将末日金属的慢节奏和沉重与无人机音乐的长持续音调融合在一起。无人机金属有时与后金属或实验金属联系在一起。通常，电吉他的演奏有大量的混响或音频反馈，而人声，如果有的话，通常是咆哮或尖叫。歌曲通常缺乏传统意义上的节拍或节奏，而且通常很长。小说家约翰·雷在“纽约时报”上将无人机金属表演的体验描述为与在地震中间听印度说唱无异。雷还说，“很难想象还有比这更重或更慢的音乐了。”一支先锋的无人机金属乐队(名为Sunn O)表明了与声音雕塑的亲缘关系。Jan Tumlir指的是“持续的次低音隆隆声–所谓的布朗噪音”。无人机金属音乐融合了各种音乐影响的元素，包括摇滚/金属艺术家，如黑色安息日、睡眠、天鹅，以及极简主义作曲家，如菲尔·尼布洛克、查理曼·巴勒斯坦、拉蒙特·杨和托尼·康拉德。来自Sunn O)的斯蒂芬·奥马利(Stephen O‘Malley))与艺术家班克斯·维奥莱特(Banks Violette)合作创作了一件装置作品，后者将无人机金属比作唐纳德·贾德(Donald Judd)的作品。Tumlir在Robert Rauschenberg身上找到了一个先例。然而，维奥莱特指出，无人机金属“既是一种声学现象，也是一种生理现象”，并伴随着一种物理现象。奥马利还提到了对科马克·麦卡锡和理查德·塞拉的赞赏。里斯·查塔姆(Rhys Chatham)的本质论包括罗伯特·隆戈(Robert Longo)的预测。吉姆·贾姆什(Jim Jarmusch)2009年的电影“控制的极限”(The Limits Of Control)以一些无人机金属乐队的音乐为特色。Jarmusch说：“我喜欢他们创造的这些视觉景观，它们真的给我的电影带来了灵感…因为当我写作的时候，我在聆听那些激励我朝着我想象的世界方向前进的东西。Boris和Sunn O))和地球在我脑海中找到了一个位置，这对我真的很有帮助。”
Drone metal (also known as drone doom and power ambient) is a style of heavy metal that melds the slow tempos and heaviness of doom metal with the long-duration tones of drone music. Drone metal is sometimes associated with post-metal or experimental metal.
Typically, the electric guitar is performed with a large amount of reverb or audio feedback while vocals, if present, are usually growled or screamed. Songs often lack beat or rhythm in the traditional sense and are typically very long. The experience of a drone metal performance has been described as not unlike listening to an Indian raga in the middle of an earthquake, by novelist John Wray, in The New York Times. Wray also states, “It’s hard to imagine any music being heavier or, for that matter, very much slower.” A pioneer band of drone metal called Sunn O))) has indicated a kinship with sound sculpture. Jan Tumlir indicates a “sustained infra-sound rumble of sub-bass–-so-called brownian noise”.
Drone metal music blends elements from a variety of musical influences, including rock/metal artists such as Black Sabbath, Sleep, Swans, and minimalist composers such as Phill Niblock, Charlemagne Palestine, La Monte Young, and Tony Conrad.
Stephen O’Malley from Sunn O))) collaborated on an installation with artist Banks Violette, who has likened drone metal to the work of Donald Judd. Tumlir locates a precedent in Robert Rauschenberg. Violette points out, however, that drone metal is “as much a physiological phenomenon as an acoustic one”, with an attendant physicality. O’Malley has also mentioned an appreciation for Cormac McCarthy and Richard Serra. Rhys Chatham’s Essentialist included projections by Robert Longo. Jim Jarmusch’s 2009 film The Limits of Control features music by a number of drone metal groups. Jarmusch said, “I love these kind of visual landscapes they make, and they really inspired things for me for my film …, because when I write I’m listening to things that inspire me in the direction of whatever world I’m imagining. Boris and Sunn O))) and Earth were really instrumental in me just finding a place in my head.”
34.葬礼厄运金属 Funeral Doom Metal¶
35.交响金属 Symphonic Metal¶
Symphonic Metal是近年来声势快速高涨的分支乐派，此新兴乐派又是以意大利乐团为首，Symphonic指的是交响式的编曲，通常是运用大量keyboard合成器的弦乐效果来营造出交响乐式的盛大华丽气氛，当然也有乐团会采用真实的弦乐器。金属乐与交响乐的结合，在欧洲古典音乐发展的历史背景下，自是一种自然的趋势。
老外给交响金属下了这样一个定义：交响金属包括含有交响元素的金属音乐；这种元素听起来接近古典交响音乐。交响金属是金属音乐中的一种流派，同时也可以融合在金属音乐的各个流派之中，比如交响黑金属，就交响力量金属等。
这个定义有一定的意义，但是也很模糊。比如“听起来像交响音乐”，这就因人而异了，因为每个人对事物都有自己的区分方法。我想，如果让一个交响音乐爱好者来听现在的交响金属，那么“交响”这两个字恐怕对大多数“交响金属”是多余的。反过来说，如果让一个非音乐爱好者去听一支善于应用键盘的乐队，那么很有可能这支乐队的作品就会被认为是“交响金属”。
Symphonic metal is a term used to describe heavy metal music that has symphonic elements; that is, elements that are borrowed from other music genres (i.e classical music, progressive rock) but usually with more keyboards or acoustic guitars and typically an operatic female lead vocalist.
When referring to bands from other genres, it refers to bands who use minor classical and operatic themes in their music similar to what one finds in the symphonic metal genre, to show they are more “symphonic” than other bands within their genre. Although many symphonic metal bands base their style solidly on classical music, few follow a theatrical, more epic approach to this genre by including or basing their style in Film Music or movie soundtracks. A popular example of this type of approach would be the works of the successful Finnish symphonic metal band Nightwish.
36.凯尔特金属 Celtic Metal¶
37.中世纪民谣金属 Medieval Folk Metal¶
38.血碾 Goregrind¶
39.电子碾 Cybergrind¶
40.律动金属 Groove Metal¶
蛊戮金属（英语：Groove metal，又译为律动金属），也称为后鞭金（post-thrash）或新鞭金（neo-thrash）是重金属音乐中的一个子流派。通常被用来描述潘特拉、强谏者和机械头这类乐队的音乐风格。蛊戮金属大多演奏中板的鞭击金属即兴重复段，强调音乐力道和富有律动感的切分音。吉他手通常弹奏低的切分音强力和弦与中等速度的吉他独奏，有时会使用闷音技巧。音色通常较厚重、增强高频与低频的音量与失真效果，使音乐更有重量感。他们经常透过晶体管音箱来制造不对称的谐和音，有时也使用真空管音箱。贝斯手也普遍使用失真效果，与大部分重金属音乐相同，蛊戮金属的贝斯声线通常跟着节奏吉他的即兴重复段行进，有时也会为吉他即兴重复段或间奏开场。主唱风格则经常混合鞭击金属的呐喊、硬核朋克的吼腔、清腔和死亡金属的死腔。鼓手通常是双大鼓，强调如浪潮一般的连踩大鼓，但并非极端金属所使用的疾踩。有一部分喜好节奏变换的乐队会运用不寻常的节奏以及复节奏。
Groove metal (also known as post-thrash or neo-thrash) is a subgenre of heavy metal music. Music journalists and fans have used groove metal to describe Pantera, Exhorder and Machine Head. At its core, groove metal takes the intensity and sonic qualities of thrash metal and plays them at mid-tempo, with most bands making only occasional forays into fast tempo.
41.电子金属 / 科幻金属 Cyber Metal¶
电子金属是工业金属的一支，深受电子音乐影响，许多元素为EBM、Aggrotech等风格特有。电子金属的riff具有更强的旋律性，同时也更加多变，有别于工业金属的机械金属之声，电子部分则营造出空旷辽阔的太空氛围，而从EBM继承而来的交响式结构也是其显著特点之一。唱腔刺耳，种类多样，包括黑嗓、死嗓。吉他演奏近似旋死，键盘则采用了交响黑的独特演奏方式。
电子金属起源于1999年左右，由The Kovenant及其他风格近似的乐队开创。虽然在90年代，这个词也用来形容Fear Factory及其相似乐队的音乐，但这些乐队的音乐更偏向工业金属。电子金属的代表乐队包括The Kovenant、Neurotech、Sybreed。
(虾米编译自Rate Your Music)
Cyber metal is a sub-genre of Industrial Metal which incorporates numerous elements found predominantly in EBM and Aggrotech. Characteristic features of the genre include the use of more melodic and less repetitive riffs, in opposition to mostly metallic and mechanical sound of Industrial. Electronic layers sound like vast and “cosmic” feeling, symphonic structures incorporated from EBM genre. The vocals are harsh, ranging from singing techniques typical for aggrotech to Black Metal shrieks and Death Metal growls. Guitar melodies are played in a similar way to Melodic Death Metal, and keyboards specific to Symphonic Black Metal are frequent as well. Some bands like Deathstars, fascinated by the symbolism of totalitarianism, using it as part of the image also incorporated same aesthetic to their sound.
Cyber metal began around the year of 1999 with the bands like The Kovenant. In 1990s, the name cyber metal was used to describe bands like Fear Factory, however they still stay close to Industrial Metal aesthetics. Important bands of the genre are The Kovenant, Neurotech and Sybreed.
42.氛围泥浆金属 Atmospheric Sludge Metal¶
43.维京金属 Viking Metal¶
维京金属（Viking Metal），是黑金属的近亲，起源于斯勘迪纳维亚地区的歌颂北欧维京异教文化和自然的乐团。一般看法认为，最早的维京金属来自转型的黑金属，比如瑞典的BATHORY，挪威的BURZUM和ENSLAVED。在黑金属全盛的时期，在黑嗓和死亡邪恶主题全面泛滥的时候，有的乐队开始寻找突破，把主题转向北欧神话或传说，嗓音加入清唱合唱与嘶嚎并用，让人感觉到极北人的健壮彪悍，乐器中穿插很多民族乐器的使用，旋律中混合北欧的民族曲调甚至民族舞曲，演奏方法中除了高速轮拨还加入了老式重金属的弹奏方法。
如今大多数维京金属乐队都相对较集中在北欧地区，那么究竟什么样的乐队才可以被视为维京金属乐队呢？首先，必须满足血统。因为所谓维京，指的就是传统意义上的北欧，所以只有欧裔白人才是可以被称为维京乐队的基础，自然就屏弃了其他地区的乐队，甚至是金属大国美国（打心眼里说，美国人做不出这么有文化底蕴的音乐）。然后，不论是黑金属，死亡金属或民谣金属等等音乐风格的乐队（选择什么样的编曲风格只是一种载体，以上三种风格的维京派金属比较多见，因为其他风格的如厄运或氛围金属的话，就比较难刻画出维京所需要表达的一种生生不息的自豪感来，当然也不是完全不可以的），只要是由始至终都贯彻前面所讲的维京金属创作理念以及所表达的感情的话，那么就可以称为是一支维京金属乐队了。基本在编曲上倾向于黑金属的有早期的enslaved，死亡金属的有unleashed，传统重金属的有einherjer。（注意，很多民谣金属或旋律金属比如AMORPHIS，从听觉上很类似于维京金属，但是由于创作理念和地域的原因，并不算是维京金属，一些东欧乐队和俄罗斯的乐队，比如NOKTURNAL MORTUM（NOKTURNAL MORTUM真的很棒，可惜不是在北欧，漂亮的乌克兰小调加上残暴的黑金属。撤远了……）。再看看维京金属乐团的装束，在形象上他们喜欢把自己刻画成为维京勇士，这就是最显著的标志。最后，瞧瞧歌迷在现场的装束，头带双角海盗头盔，腰带牛角大酒杯，高声合唱，开怀畅饮……
44.先锋金属 Avant-Garde Metal¶
45.死核 Deathcore¶
46.数学金属 Djent / Math Metal¶
数学金属是近两年新兴的重金属音乐风格，经常与前卫金属、前卫金属、工业金属、技术死和金属核搭配出现，最大的特点体现在其前卫性、旋律以及技术上的复杂性。通常认为这一风格始于瑞典乐队Meshuggah，在这支乐队之后衍生了众多模仿者，使其成为了一种流派。
英文“Djent”一词是一个拟声词，它本意是指一个非常短促的金属音色，在演奏电吉他的时候使用中高程度的增益产生失真，并用手掌制音产生的声响效果。数学金属大范围地用到这种声响效果，并且音乐大部分也开始围绕这一点展开，以这一声响效果为突出特点，因此得名Djent。这也是它与其它众多音乐风格区分开来的一个重要特征，而且这个唯一的音乐元素贯穿整个乐队的歌曲始终。同时，吉他经常在音乐的中频的范围内非常突出，而贝司则通常也使用失真音色，着重于低频的声响效果。
Djent的另一个重大特点是类似计算机数码感觉的声响效果。许多Djent风格的音乐人，比如Misha Mansoor，他们在开始出道的时候是在家里使用音箱模拟和鼓机录制自己的音乐。这种录音方式被用在正式的专辑录制中，比如Periphey的首张专辑里的鼓采样（鼓手Matt Halpern演奏一套Roland TD-20电鼓来触发采样）和来自一个Axe FX Ultra的吉他音箱模拟单元。一些Djent乐队，比如澳大利亚的Circles，会在他们的音乐中用到合成器或其它更电子化的音色，并且经常与数码程序相结合。这种朝数码电子方向发展的音乐趋势最早来自于Periphery，包括他们的吉他手Jake Bowen(他也同时也有一个做电子音乐的个人团)的吉他段落中，偶尔会使用一些合成音色和“误差”效果。
Djent音乐的鼓部分往往使用了复合节拍。军鼓通常会保持基本的4/4拍律动，并以每小节第一拍为重音。在一首歌的主riff中，底鼓紧跟着吉他的律动部分，烘托出一个个强有力的节奏重音，这是Djent的一个非常基础的律动风格。这种风格的鼓的打法非常重，你可以看看Tomas Haake的演奏。Djent的鼓点有点类似Jazz的鼓点，比如它们都会使用一些“幽灵音”以及一些持续不断的稳定的拍子（通常这种持续不断的拍子会使用踩镲）。
尽管Djent融合了沉重并具有复合节拍的吉他riff，复合节拍的鼓点以及一些核嗓唱腔，但它同时也包含了一些旋律段落，使用吉他的清音和合唱音色，以及传统的演唱方式营造旋律氛围。一些Djent艺术家属于专门演奏器乐曲，比如Animals As Leaders，Sky Harborh和Chimp Spanner。
Djent的贝司演奏通常都是跟着吉他的音符贯穿歌曲始终，但偶尔也会背离这种传统的方式。不同的乐队在编配贝司时候的方式也是不同的，一些乐队只是用贝司来铺底，来提供额外的低频冲击力，而其它一些乐队，比如TesseracT和Monuments则让贝司的演奏更富有变化，形成特有的贝司演奏风格。
Djent的一个重要的特征是使用非常低的定音方式，并且使用7弦或8弦吉他。
作为Djent之父，Meshuggah掀起了一股Djent风潮，一些乐队和音乐人也开始推崇新派的Djent风格，他们是Periphery, TesseracT, Vildhjarta, Benea Reach, Chimp Spanner以及现在已经解散的Fellsilent。有一些前卫金属乐队也比较向Djent风格靠拢，而同时他们的音乐也时常会涉及到Djent。，但他们使用的和声实际上相对来说是比较有限的。这就像是一场典型的音乐风格的进化。这些乐队包括Textures, Veil of Maya, Animals As Leaders, Monuments, After the Burial, The Contortionist, Mnemic, Threat Signal, The Acacia Strain以及Meshuggah自己。
47.自赏黑 Blackgaze¶
自赏黑融合黑金属与自赏，形成于二十世纪初，同法国音乐人Neige相关的一批乐队开创了这一风格，其中包括著名的Alcest、Amesoeurs。这些乐队深受Ulver、Burzum、Summoning等老牌氛围黑金属乐队的影响，同时也吸收了后摇、新古典暗潮等非金属风格，因此这一风格也被称为后摇黑金属。这一风格的代表乐队还有Lantlôs、Woods of Desolation、Deafheaven，其中Deafheaven的专辑《Sunbather》虽然褒贬不一，但不可否认是这一风格中最成功最受欢迎的代表性专辑。
(虾米编译自Rate Your Music)
A style emerging around the turn of the 21st century that became increasingly popular during the latter part of the aughts. Blackgaze was pioneered by bands associated with a French musician Neige (most notably Alcest and Amesoeurs). They were influenced by Atmospheric Black Metal classics such as Ulver, Burzum and Summoning, as well as non-metal genres like Post-Punk and Neoclassical Darkwave.
The blackgaze sound is a mixture of black metal aesthetics with more dreamy and mellow textures. One of the main characteristics of the genre are tremolo picking riffs creating an ethereal wall of sound, which is softer than usual black metal and resembling Shoegaze (hence the name). Other common features are rapid blast beats and shrieking vocals, often interchanging with slower sections, clean singing and acoustic or Post-Rock-like instrumental breaks.
Other important blackgaze performers include Lantlôs, Woods of Desolation, and Deafheaven, whose critically acclaimed album Sunbather is one of the most successful and popular records representing the genre.
Because of its post-rock leanings, the genre is commonly referred to as “post-black metal”. However, that term can also mean several different styles, e.g. the Norwegian scene of Avant-Garde Metal artists rooted in black metal (Solefald, Arcturus, Ved Buens Ende, etc.).
朋克 Punk¶
朋克摇滚是最原始的摇滚乐—-由一个简单悦耳的主旋律和三个和弦组成。其变化在于朋克摇滚将过去的旧式摇滚演奏得更快速更激昂。由于有些乐队片面地理解了朋克音乐的风格—-包括60年代的车库摇滚乐队和the velvet underground, the stooges, the new york dolls—-直到70年代中期朋克音乐流派才正式形成。西方的许多新生乐队不再强调区别于主流硬核摇滚的超音乐形式，而是直指音乐的本质。纽约的第一只朋克乐队是the ramones; 在伦敦则以sex pistols为代表。尽管他们的音乐表现不尽相同—-the ramones显得轻快随意，相比之下the pistols更强调了重复段落表达—–可是这些独特的尝试革命性地影响了美式音乐和英式音乐的风格。朋克音乐在美国一直低调地存在，最终在80年代孕育了硬核摇滚和独立摇滚概念。而在英国，朋克摇滚则成为大众的宠儿。sex pistols被看作是对政府和君主制的严重颠覆。更重要的是，有越来越多的乐队加入了朋克摇滚。一些乐队几乎照搬了pistols的原始风格，另一些则创出了属于自己的新的元素，如buzzcocks的尖锐摇滚，clash的赞美诗般的瑞格摇滚，以及wire 和 joy division的艺术试验。不久，朋克分裂为后朋克（比原先更具艺术性和试验性），新浪潮（更具东方流行意味），和硬核摇滚（一种形式上更激烈更快速更具侵略性的朋克音乐）。整个八十年代，英国和美国都将朋克的定义与硬和摇伦联系在一起。90年代初，一批朋克复兴主义者—-以green day和rancid为代表—-从美国地下乐坛浮出。这一批新生力量将朋克音乐重新带回到最初的风格道路上，并尝试着在其音乐中加入重金属元素。
Punk rock is a rock music genre that developed between 1974 and 1976 in the United Kingdom, United States, and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed perceived excesses of mainstream 1970s rock. Punk bands created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic; many bands self-produced recordings and distributed them through informal channels.
The term “punk” was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. By late 1976, bands such as the Sex Pistols, The Clash and The Damned in London and Television and the Ramones in New York City were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world, and it became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. At the start of the 21st century, pop punk had been adopted by the mainstream, as bands such as Green Day, The Offspring and Blink-182 brought the genre widespread popularity.
1.流行朋克 Pop Punk¶
流行朋克(Pop Punk)是朋克摇滚(Punk Rock)和流行音乐的一种融合，将朋克急速的节奏、变化的和弦，和流行化的旋律和歌词相结合。
Pop Punk这个词最早是在何时被使用的已无从考证，但最早雏形可以追溯到上世纪70年代中后期，六七十年代的原型朋克(Proto-Punk)和电力流行(Power Pop)乐队为Pop Punk的出现铺下了基石。早期代表乐队有美国的Ramones和英国的Buzzcocks、The Undertones。
到了80年代中期，一些乐队尝试把硬核朋克(Hardcore Punk)和流行音乐结合，开创了Pop Punk的一种新声音。
80年代中后期，来自“加利福尼亚地下朋克圈”的Green Day、The Offspring等乐队开始在本土范围内流行。1994年，Green Day的第三张专辑《Dookie》的空前成功真正带动了90年代的“Pop Punk热潮”，使其登上了主流音乐的舞台。第二波“Pop Punk热潮”在上世纪末爆发，同样来自美国加州的Blink-182凭借99年的专辑《Enema of the State》，勇登Billboard排行榜的前十名，专辑的全球销量突破了一千五百万张，开创了Pop Punk在主流市场的巅峰地位。
由地下逐渐走向主流的流行朋克，其歌词演绎内容由讽刺批判社会，转变成关于爱情、生活、流行文化等，传统朋克的“愤世嫉俗”也正在被“健康向上”的商业流行因素所取代。流行朋克也越来越受到欧美流行音乐界的追捧，因为它代表着年轻人的时髦潮流和对生活的态度。
2005年开始，情绪硬核(Emo)的融入让Pop punk继续流行了几年，直至2009年开始日渐式微。
带动流行朋克发展的艺人主要有Green Day、Blink-182、Simple Plan、Good Charlotte、Sum 41、Avril Lavigne、My Chemical Romance、Fall Out Boy、Paramore等。
Pop punk (also known as pop-punk, punk-pop or easycore) is a fusion music genre that combines elements of punk rock with pop music to varying degrees. Pop-influenced punk rock first emerged in the mid-1970s in multiple countries, and was stylistically similar to power pop. The Ramones are generally considered among the earliest bands to merge pop melodies with punk rock, and were followed by bands such as the Buzzcocks and Bad Religion. The music typically combines fast punk tempos, chord changes and loud guitars with pop-influenced melodies and lyrical themes.
By the early 1980s, several groups—most notably the Descendents, Screeching Weasel and The Vandals—merged hardcore punk with pop to create a new, faster pop punk sound. Regionally, pop punk thrived in California where independent labels adopted a do it yourself (DIY) approach to releasing their music. In the mid 1990s, Green Day and The Offspring rapidly brought mainstream acceptance to the genre, selling millions of records and receiving extensive radio and television airplay. Ska punk, which shared many characteristics with pop punk, also gained popularity with notable bands Sublime and No Doubt.
A “second wave” of pop punk was spearheaded by Blink-182 in the late 1990s, who became a worldwide phenomenon by the turn of the century and represented the genre’s mainstream peak. Other second wave acts such as New Found Glory, Sum 41 and Good Charlotte scored successful album chartings in the early 2000s. Fall Out Boy rose to the forefront of both emo pop and pop punk shortly thereafter, but the genre generally waned in popularity by the late 2000s. The genre still retains a smaller but dedicated following, and the Vans Warped Tour and the mall chain store Hot Topic are closely associated with the genre.
2.后朋克 Post-Punk¶
后朋克（Post Punk，简称“后朋”）：自1977年朋克革命后，在朋克的独立精神和直白表达的鼓舞下，许多乐队涌现出来。他们没有重复 Sex Pistols 的风格，而是延续了除朋克摇滚外的 Roxy Music,David Bowie,和T.Rex的道路，进入到一种更具实验性质的领域，形成了后朋克风格。部分乐队因其反文化精神和对既定的摇滚习俗的反抗而联合在一起，许多这样的组织—-如 Joy Division，The Cure—-用合成器和吉他创造了一种黑暗、阴郁的音乐表达形式。其他的乐队则尝试着做轻音乐，但是旋律和歌词不协调，颠覆了传统摇滚/朋克的歌曲结构。到了80年代，后朋克最终演变成为一种选择性的摇滚/朋克音乐。
后朋克和朋克虽只一字之差，实质上有质的差别，音乐复杂严肃、富有挑战性和创新意识，音乐内涵极具有深度。它拥有的只是音乐本身，仅此而已。于是就有了这样的说法：如果说朋克试图毁灭整个世界，那么后朋克希望毁灭的只是他们自己。
后朋克比朋克更加艺术化（The Fall），也更加黑暗晦涩(Joy Division)，它甚至和根源摇滚的关系都不非常密切。划分风格是件费力不讨好的事，尤其是对后朋克这样一个非常模糊的概念。后朋克表现出的“离经叛道”比朋克更加坚决，而且也要智慧很多，在后朋克看来反主流摇滚、反传统、反文化是一项极富创造性的艺术，而且他们善于通过这种破坏的艺术使自己与众不同——他们是清高的、自负的。
后朋克野史
由于后朋克的历史众说纷纭，这里仅列出一些说法供大家参考：
历史上第一批后朋克艺人，诸如 Gang of Four、Siouxsie & the Banshees、Joy Division、Adam & the Ants 几乎同时组建于在 Sex Pistols 成名后。这些乐队仅仅继承了朋克桀骜不逊的倔强精神而没有成为Sex Pistols的过剩复制品。在音乐上，他们体现出令人难以置信的复杂和试验特色。抛开了朋克粗糙的三和弦，作品充满艺术性、挑战性和高精尖的音乐素材。鉴于他们反主流摇滚、反传统、反文化的朋克精神，他们开始被叫作后朋克。这些乐队各有特点，Gang of Four尖锐的左派政治立场和凶猛的吉他噪音。Siouxsie & the Banshees 和 Adam & the Ants 喜欢使用大量的刺耳键盘、生硬的吉他。萧瑟凄惨的 Joy Division 的早期专辑《Unknown Pleasures》和《Closer》更是被看作歌特摇滚最初的奠基石之一。1978年， Pere Ubu 推出了一张令人跌破眼镜的专辑《The Modern Dance》，乐队摒弃了当时正在流行的以 The Yardbirds 和 The Who 为代表的城市布鲁斯摇滚，向着一个相反的音乐方向做出了第一次尝试。几年后，当新浪潮波及美国时，美国也很快拥有了自己的成功的后朋克乐队 Devo——表现出独特的漫不经心、内向、艺术气质。
后朋克乐队数量有限，商业成绩平平，而且多已作古。Devo之所以会获得成功，在很大程度上应该感谢乐队古怪离奇的表演服饰，MTV这个公认的音乐白痴正是看中了这一点才注意到了这支的乐队。与此同时，大多数的后朋克艺人则根本无人问津，在地下世界沉沦（如 The Feelies、The Residents）。
80年代初，后朋克试图和新浪潮的其它音乐划清界线。它的特立独行和不解风情从一开始就注定了它追随者的命运——大多数乐队极为短命。即使Adam & the Ants、Siouxsie & the Banshees、The Cure 这样的中坚力量也在逐渐发生变化，逐渐收敛了攻击性，转向更加纯粹的艺术性、娱乐性。后朋克第一次浪潮随着Joy Division的Ian Curtis的自杀和Bauhaus的解散而逐渐让位给新生代的代表艺人，The Birthday Party、The Fall、Pop Group、Echo & the Bunnymen、Teardrop Explodes 虽然依然可以划分在后朋克的大范畴内，但实际上音乐大相径庭了，总不能拿欢快滑稽的 The Fall 和浪漫忧郁的 Echo & the Bunnymen 相提并论吧？
后朋克在80年代中期开始没落，R.E.M.的崛起标志着后朋克在美国最终完成了向另类摇滚的转变。它的后来者中，Sonic Youth、Pixies等一批出色的艺人在不断的努力下最终走出了地下世界，在 90 年代使另类摇滚成功主流化。在英国，后朋克代表人物逐渐转向了 The Smiths 和 Jesus & the Mary Chain。前者确立了英国80年代独立摇滚，终结了合成器的新浪潮时代，重新树立了吉他为主的摇滚乐。后者则延续了英国摇滚驾驭噪音摇滚的天赋，用实验音乐的视角让后朋克得到了进一步发展。先前的后朋克乐队依然有不俗的表现，Siouxsie & the Banshees、Nick Cave和Love& Rockets（Bauhaus后身）、The Fall、The Cure、New Order（Joy Division后身）顺利地进入 90 年代，成为铭记后朋克运动的里程碑。
Post-punk is a rock music movement with its roots in the late 1970s, following on the heels of the initial punk rock explosion of the mid-1970s. The genre retains its roots in the punk movement but is more introverted, complex and experimental. Post-punk laid the groundwork for alternative rock by broadening the range of punk and underground music, incorporating elements of Krautrock (particularly the use of synthesizers and extensive repetition), Jamaican dub music (specifically in bass guitar), American funk, studio experimentation, and even punk’s traditional polar opposite, disco, into the genre.
It found a firm place in the 1980s independent scene, and led to the development of genres such as gothic rock, industrial music, and alternative rock.
3.新浪潮 New Wave¶
70年代末90年代初的时候，新浪潮是一个紧随于朋克摇滚之后的涵盖面极广的音乐名词；有的时候，这个词也包含了朋克本身。现在再回顾，事情就变得清晰起来，朋克之后的音乐形式，或多或少的，可以划分为两个类别：后朋克与新浪潮。后朋克是艺术性的、复杂的、充满挑战性的；而新浪潮则属于流行音乐，纯粹而简单。新浪潮保留了朋克音乐的叛逆与新鲜的活力，同时又迷恋于电子、时尚与艺术。因此，新浪潮的风格表现出很大的差异性。它既指代了像 XTC 和 Nick Lowe 这样激烈有力的流行乐，也指代了像 Gary Numan 这样的电子合成摇滚乐队，以及像Graham Parker 和 Rockpile这样的复兴摇滚乐队。
New Wave is a subgenre of rock music that emerged in the mid to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, disco and 1960s pop music. New Wave, as a term, has been used to describe all post-punk rock music, yet, it distances itself from other post-punk movements as it displays characteristics common to pop music, rather than the more “arty” post-punk.
4.后朋复兴 Post-Punk Revival¶
后朋复兴(Post-Punk Revival)主要指90年代末，2000年后，一些独立乐队吸取一些Post-Punk老乐队的美学机理而旋起的复兴风潮，相对于老乐队，这一批新乐队取得了更好的商业成绩。
The post-punk revival (also described as new wave revival, garage rock revival, or new rock revolution) was a development in alternative rock of the late 20th and early 21st centuries in which bands took inspiration from the original sounds and aesthetics of garage rock of the 1960s and post-punk and new wave of the late 1970s. Bands that broke through to the mainstream from local scenes across the world in the early 2000s included The Strokes, Interpol, The White Stripes, The Hives and The Vines, who were followed to commercial success by many existing and new acts. By the end of the decade, most of the bands had broken up, moved on to other projects or were on hiatus, although some bands returned to recording and touring in the 2010s.
5.车库朋克 Garage Punk¶
车库朋克（Garage Punk），在美国90年代朋克复苏时的流行朋克派别冲击了主流音乐前，一个不同于复兴朋克的种类已经塑造了地下音乐的独立摇滚的形态。一般来看，车库朋克并不是和流行朋克的旋律接近；代替的是，车库朋克勾画出自身的主要灵感是来自于the Stooges和the MC5的the Detroit proto-punk。相对于车库朋克容易上口的旋律来说，它所表现的态度和噪音更为重要，并且它的态度是通过音乐中的声音来表示的：下流的，污秽的，简单的，愤怒的威胁的和平白显露的丑恶。在80年代末和90年代初一些最早的车库朋克乐队带有Sub Pop的形式开始在舞台上显露（Mudhoney, the Supersuckers），早期的车库乐队参与了一些同样的影响和美学（实际上，Mudhoney成为了车库音乐的创始人之一）。虽然车库朋克从没有打击到主流音乐，像New Bomb Turks 和the Humpers这样的乐队却帮助此风格维持了一群乐迷在整个90年代。加上一些重摇滚乐队的复兴运动（例如Nebula）开始创造了一些细微的迷幻变化在车库朋克上。
Garage punk, also called killer rock, is a fusion of garage rock and modern punk rock. It is music characterized by a dirty, choppy guitar sound— lyrics dealing with bad taste and rebelliousness, usually played by bands who are on independent record labels or who are unsigned. Garage punk bands often distance themselves from hardcore and political punk bands.
6.后硬核 Post-Hardcore¶
后硬核（Post-hardcore）是一个发展自硬核朋克（Hardcore punk）的音乐类型，也是广泛的朋克摇滚运动中的一个分支，就如后朋克（Post-Punk）。许多后硬核的乐团都是来自硬核朋克乐坛，或是受到硬核音乐的启发，但这些乐团更关注于表达内心深处。
随着一些来自美国中西部的乐团发行了他们的作品，这个类型逐渐形成于1980年代的中晚期，特别是来自华盛顿特区的乐团Fugazi，以及一些声音些微独特的乐团，像是Big Black和Jawbox，他们更接近起源自噪音摇滚的后硬核。
Post-hardcore is a genre of music that is derived from and has origins in the hardcore punk music genre, itself an offshoot of the broader punk rock movement. Like post-punk, post-hardcore is a term for a broad constellation of groups. Many emerged from the hardcore punk scene, or took inspiration from hardcore, while concerning themselves with a wider degree of expression.
The genre took shape in the mid-to-late-1980s with releases from bands from cities that had established hardcore punk scenes, in particular from the scenes in Washington, D.C. such as Fugazi as well as slightly different sounding groups such as Big Black and Jawbox that stuck closer to the noise rock roots of post-hardcore. The style became commercially prominent in the first decade of the 21st century.
7.情绪硬核 Emo¶
Emo（参考中译名：情绪硬核或情绪化硬核）最初是从Hardcore Punk中派生出来的一种有着艺术家气派的音乐，但在1990年代末它成为地下摇滚的一支重要力量，投合了当时的朋克和独立摇滚乐手。其他的解释包括EMO其实是“emotional”的缩写，这是一种独立的摇滚风格。还有一种叫做EMO的生活。
Emo最初是从Hardcore Punk中派生出来的一种有着艺术家气派的音乐，但在1990年代末它成为地下摇滚的一支重要力量，投合了当时的朋克和独立摇滚乐手。一些Emo音乐是倾向于激进一边，其作品中充满了复杂的吉他弹奏、非传统的歌曲结构、艺术家气派的噪音和极端的乐器演奏位置的变化；还有一些Emo音乐和朋克流行乐更加接近，尽管它仍显得有一些难以理解。Emo的歌词是非常个人化的，通常不是恣意幻想的诗句便是个人的忏悔。尽管Emo确实较少男子气，但它仍是Hardcore作为追求真实和反商业主义的嫡系后代；Emo音乐确信商业倾向的音乐太过虚假和造作以至于不能表达任何真实的情感。由于Emo的理念是真实、深切可触及的情感而反对理性的分析，因此它倾向于音乐中的过多的应用较之以往更强的音高和释放，但最好的Emo音乐作品中会有一种彻底的力量使之同时具备内容性、挑战性和私密性。
Since its origination in the mid-80s, Emo has undergone many changes both stylistically and in the public perception of what exactly the term means. To attempt to nail down a singular standard for all Emo here would be folly, as no such thing exists. The unifying factor that makes emo (short for emotional) what it is, is a determination to use deeply personal and sincerely expressed feelings the central theme, whether that be through furious anger and personal climax or by heartfelt confession and poetic crooning.
There is general agreement that the origins of Emo grew out of the Washington, D.C. area Hardcore Punk scene, as former punk rockers looked for new forms of expression and formed the bands Rites of Spring and Embrace. The scene quickly spread to California, then across the landscape. The early Emo scene (1984-1989) sound featured mid-tempo, rock based guitar with an occassional flourish riff, and punk vocals that were sung rather than yelled. Emo was at this point still largely underground.
A second wave of emo bands like Moss Icon emerged around the turn of the decade, and introduced new elements to the sound. The quiet/loud dynamic became popular, as well as catchy riff based songs featuring octave chords, pop song structure, and more mainstream, clean vocals. It could be argued that the genre’s first breakout band was Sunny Day Real Estate, and this style of Emo is what has stuck in many people’s heads as definitive of the style, although during this same period bands like Mohinder were playing a more abrasive, punkish Emo featuring staccato, distortion-wracked music over screamed vocals. A divergence was already apparent.
From the mid-90s onward, this style of indie/post-rock-leaning Emo remained the larger sect, and spawned armies of like-minded bands. Though far removed from its roots, this incarnation has expanded the Emo fanbase into a major demographic as groups like The Get Up Kids and Dashboard Confessional carry the style toward the pop commercialism that its originators detested.
8.情绪核 Screamo¶
Screamo（有译作情绪核）是一种硬核朋克（Hardcore punk）的子类型，大多承袭于情感核这种音乐类型，与其他在1990年代的音乐。“Screamo”这个词源先是用在1991年发展于美国圣地牙哥一些比较激进的情感核乐团，他们利用曲长较短的创作，结合抽搐般的强度来刻意实验出不和谐与力度变化。
说起Screamo就不得不提到情感核，虽然大多数Screamo乐队很反感外界对他们的身世探究，而且一直可以在音乐和感情上与情感核保持着相当的距离。但是，他们无法消除情感核在他们的音乐中烙下的“胎记”，以至于他们永远无法摆脱令他们深恶痛绝的卑贱血统和“私生子”身份。
1984年，华盛顿的地下摇滚乐圈浮现出了一支背离传统曲风的朋克/硬核乐队《春天的祭礼》（Rites of spring），乐队主唱ROS以极度情绪化的歌词，在歌曲中暴露著个人化的情感和十分危险的情绪，这种带有明显攻击性的音乐风格和令人肝肠寸断、撕心裂肺的情绪化表演方式，以及歌曲中传递出的痛苦甚至扭曲的脆弱敏感情绪，给听着带来了一种前所未有的触动。可以说“春天的祭礼”是第一支真正意义上的情感核乐队。
任何一种新兴文化形式的出现直至作为一种大众文化存在下去，必将招致人们对它存在的意义和价值质疑，更何况他是以一种妥协的姿态存在着，这将招来更多的非议。一些乐评讽刺的说:情感核最为显著的特征就是“清脆响亮的吉他来复加上哭哭啼啼的歌词”。 乐迷则更加不留情面的将情感核批评为“软核”（Softcore）或者“雌性激素泛滥的朋克乐”。 而那些拒绝妥协的乐手们对抗主流文化的方式则是最为直接、最为现实也更为行之有效，那就是做出更为暴戾、更为吵闹的“噪音核”（Noisecore 情感核），或者索性从传统情感核音乐的戚戚哀哀中彻底抽身出来，创作出更具破坏性，更具爆发性和挑衅性，也更真实、诚恳的音乐。
当时很多乐手吸收了80年代哥伦比亚州的朋克/情绪乐队如：Fugazi以及《春天的祭礼》等乐队的音乐中传递的社会和政治方面的信息和态度，产生了一批结合了金属的音色和硬核的价值观而词作上更为激烈、尖锐和痛苦的乐队，包括Earth Crisis、Neurosis以及Cave In等。 他们激发了更多的音乐人打破金属和硬核的界限，推进这两种音乐的共同发展。无论创作初衷如何，他们的行动直接促成了日后的Screamo音乐的产生。 同早期的硬核朋克一样，Screamo也出现于美国的东北部和东海岸。
源自情感核的Screamo虽然带有明显的情感核痕迹，但是它的音乐的攻击性和侵略性较情感核要凶狠的多。 这类音乐中充斥着硬核急速啸叫的吉他，但音乐旋律较为流畅，而歌手则已充满挑战的尖叫，声嘶力竭的呼喊出郁结心头的苦痛苦和愤懑，这种音乐不但具有朋克和硬核的特质，并且由于乐手来自不同的音乐阵营，以及对各种音乐风格成分庞杂的汲取，以至于他们的音乐又带有深重的金属特点。 鉴于风格源头，Screamo还是要分两派。一个是更偏向朋克，比如:Thursday、Taking Back Sunday、The Used、Underoath等；另一派则是更偏向于金属，如：Atreyu、Poison The Well、Story of the year、Funeral for a friend等。 Screamo在音乐态度、审美观和价值观上虽然没有传统硬核那样蛮横，但比起鼻涕眼泪的情感核却已经足够生猛、凶悍了，歌曲词作涉及的题材也远比EMO单纯反应自杀、女人和自身苦痛经历的创作主题要开阔许多，死亡、毁灭、绝望、痛苦和混乱成为了他们音乐共同的主题。
作为Screamo重要特征的尖声叫喊的演唱方式，在摇滚史上已经由来已久。现在在一些硬摇滚乐队，特别是死亡金属的一些分支流派，更是在演唱中融入呼喊、咆哮。 摇滚史上最著名的尖叫声也许应该首推The Who的主唱Roger在乐队1971年的经典歌曲《Won’t get fooled again》中的原始嚎叫。 但乐迷对这种骇人的叫声却情有独钟：“在听乡村歌曲中的时候，你会期待带着硕大牛仔帽的歌手在他们的演唱中插入岳得尔调，Screamo歌手为什么就不能用血脉喷张的嘶吼来表达情绪。 当然那些Screamo乐手也不是仅仅凭借尖叫声掩盖创作能力的匮乏，正好相反，他们有着超乎其他摇滚乐手的才能。他们在歌曲中用明了而机警的诗句表达着年轻一代的悲哀和焦虑。在他们的音乐中流淌著美妙的旋律，音乐的风格也表现出于他们年龄不符的成熟与睿智。
另外，乐手惊世骇俗的台风也是Screamo的一大特色。 Jonathan Dee在他发表于2003年6月29日《纽约时报》的文章《The Summer of Screamo》中这样描述The Used的主唱Bert McCracke的演出现场：“与其说他是在表演不如说是在举行向歌迷献身的宗教仪式。他倾尽了自己的感情和精力，不停的地跳跃、狂跑，最后纵身跃入台下高举双手的人群中，宛如一场献身的祭礼。”这样的感情宣泄，这样表达亲密与纯洁的冒险方式在主流音乐中是罕见的。
Screamo乐队和他们的硬核、EMO前辈一样，在早期是长期处理地下状态的，只能在一些独立地下厂牌DIY一些七寸唱片。很不辛，当时很多Screamo乐队同早期的EMO乐队一样短命，通常只发行一两张七寸唱片后就销声匿迹了，这种状态持续了很多年，大大限制了Screamo作为一种新生摇滚乐流派的发展。
近年，网络的传播和销售在很大程度上帮助了Screamo的流传。乐迷们通过eBay，在网上交换或是出售他们收藏的一些乐队早期作品的稀有版本，甚至是绝版唱片。这些拷贝在网上被叫买到令人瞠目结舌的价格，而这些唱片在最初发行的时候最多买到十美元。
Screamo的渐趋流行于当下美国青少年厌倦了被动跟随主流文化，厌倦了老套的资本主义价值观不无关联。 “人们希望能够形成自己对事物的看法，他们希望他们听到的歌是写给他们自己的。”Atreyu的主唱Alex Varkatzas说。的确对于很多人来讲，Screamo太过于粗野，制作也过于粗糙，很难得到主流的肯定和商业上的成功。但是事实证明，在当前静如死水，走势低迷的摇滚市场，他们已经取得了广大乐迷和主流媒体的认可。更客观的是，他们的乐迷分别来自曾经老死不相来往的朋克和金属两大阵营。这种壮观的景像只在十几年前Grunge大潮兴起时间出现过。这种外界的认可正是来自他们穿做态度的诚恳，和他们音乐内容的真诚。
随着Screamo的走红，“Screamo”作为一顶时髦的帽子，被兰扣在了其他任何一支EMO，后朋或者受EMO影响的硬核乐队头上。很多乐队勉为其难不清不白顶着Screamo这顶帽子，但是从某种意义上说，这并不完全是一件坏事，凭借著顶帽子，他们才得到主流的垂青，得到了大唱片公司的一纸合同。他们的成功也为后来更多的同类型乐队进军提供借鉴，铺平了道路。
上前年Screamo已经成为一种主流的音乐形式，乐队进入主流金属杂志和使无数乐队扬名的MTV2 Headbanger’s Ball节目频道。前年OZZFEST（奥兹音乐节）更像鲨鱼修道血腥味一样对Screamo做出了反应，它的第二舞台就是用来做各种新式重型音乐的演练场————1998年时的“体制崩溃“，1999年的Slipknot,以及2002年的The Used，去年大胆地邀请来一帮嚎叫着青春的年轻乐队：Atreyu、Every Time I Die、Unearth、Hatebreed以及Throwdown等。 Screamo显然已杀入了严肃的重型音乐圈。
Screamo is an intense offshoot of Emo that began in the early 1990s. It merges the emotional lyrics and melodicism of Emo with the intensity, aggression and speed of Hardcore Punk. Songs tend to be short in length but complex in structure, often featuring many changes in tempo and rhythm. As such, the style shares some similarities with Powerviolence, another hardcore punk subgenre that developed around the same time. Important screamo bands include Saetia, Heroin, Orchid, and pageninetynine. In later years the term “Screamo” has been used by the mainstream to describe modern Post-Hardcore and Metalcore bands, and as these genres are very different from the word’s original definition many screamo fans have adopted the term “Skramz” as a classification instead to avoid confusion. The term “emoviolence”, which has been used to describe particularly powerviolence-infused bands, is also used as an alternative name.
Screamo has continued evolving and introducing new stylistic elements since the genre’s birth - in particular, many bands have integrated prominent influences and elements from Post-Rock into their sound. Popular examples of this include Envy and Circle Takes the Square.
9.硬核朋克 Hardcore Punk¶
硬核朋克是朋克摇滚中最强硬最极端的一个变种.属于极端摇滚。
硬核朋克诞生于七十年初，它把朋克摇滚进一步引向极端——更快、更噪、更僵硬的演奏，喊叫式的演唱、邋遢肮脏的录音效果（有时也包括专辑封套）。这种音乐极其之快速，旋律简单,录制质量水平不高,歌手简直就是在叫喊,叠句很简单,作品看起来(或者听起来)就像是在在什么人家的地下室里录制的.大多数这类乐队相互之间听起来都相似得另人难以置信,但也多少有一些带有与众不同的声音抛在身后,而仅仅保留其观念.
硬核朋克最初产生于美国,主要是一种美国的现象,并且主要集中在洛杉矶和纽约地区,但在美国的全境内还有一些小规模的零星分布,先后涌现了BlackFlag、HuskerDu、Descendents、MeatPuppets、DeadKennydys、BadBrains等著名的硬核乐队。
而硬核在整个领域的影响面之广，是很少有风格可以望其项背的。
硬核的发展甚至影响了整个八十年代的金属圈子，启发了整个黄金时代。当时几乎每种风格的发展都渗透着HardCore的影子，尽管有的很多喜欢技术派的人不愿意承认，可激流金属本身就是硬核与传统金属的结合产物。启发了激流金属的元老VENOM的，早期激流金属乐队EXODUS，甚至荷兰死亡金属元老THANATOS，美国老派死亡金属乐队Nunslaughter等一干早期乐队，都在接受采访时承认他们曾受到过硬核的影响。
甚至一些激流金属乐队干脆加强了自己编曲中的硬核成分，造就了Crossover这一激流金属中非常重要的风格。
Witches Hammer这样的加拿大地下硬核乐队也曾经坦言，80年代早期你能在加拿大罗斯湾看到身着Slayer服装的鸡冠头，激流金属演出现场也经常聚集一些喜欢硬核的人。因为有着同样疯狂的Riff。在现场音乐界限很模糊。而金属和硬核的分家直到1986年才开始。
.核心朋克继续出现在90年代,而且继续没有汇入主流圈子,可是一些受到”核心朋克美学”影响的乐队包括Nirvana为代表的一批新人成为90年代主要的摇滚明星,而早期的那些核心朋克乐手如Bob Mould,Henry Rollins,Mike Watt,Ian McKaye和Dinosaur Jr.乐队的J Mascis却转变成了另类音乐的偶像,核心朋克的不少观念和特点也被其他不少同时代的风格吸收和转化(如重金属和电子乐领域).另外,核心朋克还有一个更加快速,吵闹,非旋律性,有暴力倾向和白人至上主义倾向的分支——”Oi”.
硬核朋克虽然对以后众多的摇滚风格产生了深远的影响，但一直没有主流化，这种情况一直持续到了今天。
Hardcore Punk (often referred to as simply Hardcore) is a derivation of Punk Rock that appeared during the late 1970s and early 1980s. Hardcore initially borrowed much from Punk’s original music framework and energy and made it faster, heavier and more aggressive, while retaining Punk’s anti-establishment image and DIY ethics/practices. Other common characteristics include an extensive use of yelling and/or screaming, a stripped-down style of production (also inherited from many earlier Punk acts) and the prevalence of short-length songs.
Hardcore Punk has been associated with the releases of independently-run record labels such as Dischord Records, SST Records, and Alternative Tentacles, and acts such as Adolescents, Bad Brains, Black Flag, Circle Jerks, Dead Kennedys, Fear, The Germs, Minor Threat, and Scream. While in its beginnings the genre was mainly a phenomenon rooted in the American underground music circuit, the term has also been applied to the works of non-U.S. bands from this era. These include D.O.A. from Canada; Discharge, G.B.H. and Rudimentary Peni from the United Kingdom and a Japanese Hardcore scene represented by groups like G.I.S.M. and The Stalin.
The genre would eventually splinter into other subgenres and derivative forms in a similar manner as Punk Rock did, some of which still remain rooted in the original Hardcore style. The interest of several Hardcore Punk musicians in various Metal genres played an important role in the creation of various new styles, exemplified by Crossover Thrash, Crust Punk, Grindcore, Metalcore, and New York Hardcore. The dissatisfaction of various Hardcore-rooted and associated musicians by the constraints of the genre and their growing attention for diverse forms of music (including Jazz, Experimental Rock, Dub, Funk and Post-Punk) derived in the creation of Post-Hardcore, which sought to experiment with the Hardcore template and dynamics. The focus given by some bands to melodic exploration would result in Melodic Hardcore. Beatdown Hardcore would be the result of much more slower tempos and increased breakdowns.
Although Hardcore Punk has mantained cult status for most of its existence, it has been seminal for the development of several other (and more popular) genres, many of them outside of Punk Rock. Examples include Grunge, Pop Punk, Sludge Metal, Riot Grrrl, Alternative Metal and Thrash Metal (itself an influence for several Hardcore Punk styles).
10.金属核 Metalcore¶
也叫硬核金属，融合了极端金属和硬核朋克的音乐风格， 金属核是如同定义新金属一样困难的事情。金属核乐队往往混杂着很多金属风格，最初大家称呼金属核为 Crossover Thrash，最早使用这种名字是在1980年Dirty Ritten imbelcile的同名专辑，该风格的早期开拓者还有Nuclear Assault，Sucidal Tendencies等等。
但到目前为止，Crossover和Metalcore已经是两种不同的风格，前者是单纯的混合，而后者则是一种稍慢的，够厚重的，以硬核朋克为根基的极端金属。
尽管现在人们认为他们更偏重于金属，Nuclear Assult是第一支自称金属/硬核的乐队。另外一面，很多没被认为是金属核的但深受金属影响的硬核乐队，诸如Biohazard，Madball，Raw Deal早期的专辑为现在的金属核奠定了深厚的基础。这些乐队的多数歌曲和New York Hardcore类似，但是他们的音乐却更金属，特别是大量使用的双踩，重型RIFF，嘶吼，强烈失真等等。金属核的这种基本形式带来了他们的两个绰号：”硬汉硬核”，这是因为他们的歌词有时像老硬核乐队一样呼唤人性，有时却以暴力为主；”Moshcore”，这是因为他们大量使用breakdown。
在90年代中期，金属核开始慢慢扩张。最早的例子就是来自欧洲的从声名狼藉的H8000现象发迹的Liar和Congress。H8000现象是在比利时西佛兰德斯兴起的，随后很多乐队追随他们的脚步比如Sektot，Regression，Spineless等等，他们造就了金属核这个名词。在美国，Rorschah，Starkweather，Adamantium，Deadguy开始尝试创作没有结构性，不和谐，不同于传统的音乐。加上自称用Slayer的东新玩硬核的小子Converge，他们这些乐队使金属核迅速的发展为混合了硬核，金属，前卫纯器乐，实验电子的音乐，而人们这时候称他们为朋克金属。
从90年代末，特别是2000年，金属核不可想象的开始成长。各大主要唱片公司开始挖掘金属核。07年的As I Lay Dying，06年Unerath的 III以及众多金属核专辑都在公告牌取得了不错的成绩。受到歌德堡旋死影响的金属核开始大受欢迎，目前最受欢迎的金属核乐队很多都是这类被称为Swedecore的乐队，协调的主音，凶残的节奏和主唱成为了基本元素。另外Norma jean这一派乐队则继续着Roarchah等乐队的事业，形成了更进一步的噪音核。还有一些从死金转型而立或者深受死金影响的乐队发展的死核，如Red Chord，Emmure。这些乐队给金属核带来了更广阔的空间，他们的作品实验型更强，打破了已往音乐的形式。而从死核走出的Between the Buried and me的新专辑也表现出更多的前卫金属的端倪。再有一些Groove metal/Nu Metal乐队像Chimaira，LOG，也开始走向金属核，Spineshank，Coalchamber干脆解散重组。有些更偏重于hardcore的如Hatebreed，Carpthain，Bury You Dead的乐队更强调breakdown的乐队也走出了和以上乐队不一样的路线。
新金属中的金属核
这一派别实际上和说唱毫无关系，而且有些乐队还对说唱金属表现出一定程度上的厌恶（Slipknot就曾对LB表示过不满）。他们沿袭的是Pantera、Fear Factory、Machine Head等前辈的路线，同时又融合了其他的音乐元素，比如另类金属、激流金属以至死亡金属等。但因为多数乐队省去了solo、编排也多半更简单，并且大量的应用了电声，因此并不是特别金属，仍然显得新潮和时髦；这也和后来NWOAHM中的那些同样可以被称作Metalcore的乐队有差别。最早被归在了新金属当中的Metalcore是谁？也许就是Slipknot吧——这也是这个阵容里最成功的乐队。Slipknot的Slipknot这张唱片宣布了一股新力量的诞生。乐队在专辑中融合了Metalcore、Industry、Thrash、Death-Metal等多种成分，而特别的装束和9人的阵容也成为了乐队的标志。乐队随即成为商业上最成功的乐队之一而被人指责，但起码这张唱片是伟大的——如果你单单因为它商业就抵制它，那你就大错特错了——它和说唱金属完全是两回事。其实这一类型的新金属乐队的走红已经是在九十年代中后期了，也许是说唱金属已经不能满足乐迷的口味，这种风格才会一夜“暴富”，成为新金属中的新力量吧。Roadrunner公司成为这一流派乐队集中的重要厂牌（公司也因此在死硬乐迷群中得到了很不好的名声），它签下的乐队都还是值得一听的，除了上面说过的Slipknot外，个人还尤其推荐Soulfly（充满着死亡金属的质感和南美民族特色）、Coal Chamber。另外Mudayne也是个十分优秀的乐队，其首张专辑L。D。50是一张需要时间来消化、有一定深度的专辑，你若要指责新金属的技术和编排，先听听这张专辑再说话。这个阵容就和传统重金属更亲近，因此在新浪潮袭来的时代，这个派别的乐队可以说是应变最灵活的，他们纷纷加入激流、旋律死元素，完成了向Nu-Thrash的转变，从新金属的残兵成为新浪潮的弄潮儿。另外我一直认为如果没有这一批乐队让年轻乐迷的口味变得更重而并不仅仅限于说唱金属，之后的新浪潮运动是难以成大流的。虽然这些乐队被视为新金属，但他们和后来的好多NWOAHM乐队是有共同的根基的。从某种意义上说，他们也是重金属回潮的铺路人。
重要乐队：Slipknot、Mushroom Head、Mudvayne、Coal Chamber、Spineshank、Soulfly、Kittie、Down the sun、Flaw、Ultraspank、As I lay Dying、Trivium、the GazettE（日本）等
11.电子核 Electronicore¶
电子核结合了旋律金属核、迷幻舞曲、流行朋克、合成器流行等多种风格，最主要的吉他和鼓仍然继承自旋律金属核，并常常同时采用清嗓和死嗓，唱段及副歌编排通常较为简单，贯穿全曲的迷幻舞曲段落是其显著特点之一，有时甚至盖过金属部分，人声通常用autotune处理过，或采用流行朋克式清嗓。breakdown的运用也非常多，旋律金属核的部分反而相对不明显。代表乐队包括Attack Attack!、Asking Alexandria、Abandon All Ships。
Electronicore(也称为synthcore，或简称为电子硬核)描述了后硬核和metalcore与电子音乐，特别是电子音乐在风格上的融合。这一流派的著名艺术家来自英国、美国、澳大利亚、加拿大、法国、香港和日本。苏美尔唱片公司指出，“近来电子音乐/硬核音乐过剩。”进攻进攻！通常被认为是这种风格的主要贡献者。我看到Stars的首张专辑，3-D，在“合成核心场景”中很受欢迎。进入Shikari是一个电子核心乐队，于2003年在英国圣奥尔本斯形成。该乐队已经获得了国际电台广播和大量的音乐奖项，来自Kerrang！，NME，Rock Sound Magazine和BT Digital Awards。他们表达了与恍惚等电子音乐流派的关系，并被称为“恍惚之王”。他们的第二张专辑名为“共同的恐惧”，于2009年6月发行，16岁时首次登上英国专辑排行榜。“Punk Goes Pop 4”是Punk Goes众多专辑中的一张……系列“以当今音乐中一些最热门的流行歌曲为特色，由不同的金属核心、后核心和电子核心艺术家演唱。独立音乐杂志AltSound指出，“将电子和金属音乐风格结合在一起的乐队数量突然增加。”文章指出，许多为Punk Go Pop4创作翻唱歌曲的乐队都融合了电子核心的特点，特别是提到了我看到的星星和悲哀，就是我。电子核心的特点是典型的后核心乐器，金属核心影响的故障，大量使用音序器和合成器，自动调谐的歌声和尖叫的嗓音。这一体裁通常以从柔和的电子歌谣到激烈的金属核心段落的动态过渡为特色。然而，结合金属芯特性的程度可能有所不同。除了电子音乐之外，这种融合还可能涉及多种其他电子音乐流派，包括电子音乐、恍惚音乐、Dubstep音乐、电子音乐和舞蹈。
Electronicore (also known as synthcore, or simply electronic hardcore) describes a stylistic fusion of post-hardcore and metalcore with electronic music, specifically electronica. Notable artists of this genre have originated from England, the United States, Australia, Canada, France, Hong Kong and Japan.
Sumerian Records notes that “there has been a surplus of electronica/hardcore music as of late.” Attack Attack! is often recognized as a primary contributor of the style. I See Stars debut album, 3-D, was popular “amongst the synthcore scene.” Enter Shikari are an electronicore band that formed in 2003 in St Albans, England. The group has received international radio airplay and a substantial number of musical awards, from Kerrang!, NME, Rock Sound Magazine and BT Digital Awards. They express a relationship with electronic music genres such as trance and have been referred to as the “kings of trancecore.” Their second album, titled Common Dreads, was released in June 2009 and debuted on the UK Albums Chart at 16.
The compilation Punk Goes Pop 4, one of many albums in the Punk Goes… series, “features some of the hottest pop songs in music today being performed by various metalcore, post-hardcore and electronicore artists.” Altsounds, an independent music journal, noted that there has been a “sudden rise in the amount of bands combining electronic and metal styles of music.” The article noted that many of the bands who created cover songs for Punk Goes Pop 4 incorporated characteristics of electronicore, specifically referencing I See Stars and Woe, Is Me.
Electronicore is characterized by typical post-hardcore instrumentation, metalcore-influenced breakdowns, heavy use of sequencers and synthesizers, auto-tuned singing, and screamed vocals. The genre often features dynamic transitions from soft electronica ballads to intense metalcore passages. However, the degree to which metalcore characteristics are incorporated may vary. In addition to electronica, the fusion may involve a variety of other electronic music genres, including techno, trance, dubstep, electro, and dance.
12.合成器朋克 Synth Punk¶
合成器朋克（Synth Punk）中的 “ Synth”，即 Synthesizer(合成器)，顾名思义， Synth Punk就是“由合成器炮制出来的朋克”，将传统朋克（Punk）中的吉他及鼓用合成器及鼓机等电子器材代替。Synth Punk的灵感来源于德国前卫摇滚（Krautrock）,无浪潮（No Wave）及其他实验音乐风格。
基本特征
尽管Synth Punk摒弃了传统Punk中的原声器材，但是它仍然延续了Punk的激进和反动的一面，只是它在激进直接中加入了更多实验性的理念。和舞曲朋克（Dance Punk）的积极向上的舞池中的感觉不同，Synth Punk则显得低调梳理许多，而且由于使用了低保真（Lo-fi）器材，它的音色更加有粗粝感。
流行时段
1970年代末至今，地下
英文简介
Synth Punk appropriates the harsh elements of Punk Rock but replaces the predominance of guitars with synthesizers and drum machines. The genre can be traced back to bands such as Suicide and The Screamers and borrows elements from Krautrock, No Wave and the experimental tradition. Synth Punk differs from music that may be termed Dance-Punk in that it is often dissonant and lo-fi, rather than the more upbeat, dance-floor ready feel of Dance Punk.(by Rateyourmusic)
13.哥特摇滚 Gothic Rock¶
哥特摇滚（gothic rock或goth rock）是自1970年代晚期开始出现的摇滚乐类型。原本是指少数庞克摇滚或后庞克乐团的标签，而后在1980年代早期哥特一词（goth）开始成为某中分隔运动的定义。和庞克乐团精力旺盛的音乐风格相反，早期哥特乐团的音乐感觉较为自省，并与美学、黑暗主题文学或哲学相关，如哥特式恐怖、浪漫主义、存在主义、虚无主义等。著名哥特摇滚乐团包括包豪斯乐团（Bauhaus）、苏克西与女妖（Siouxsie & the Banshees）、仁慈姐妹（The Sisters of Mercy）和Fields of the Nephilim等。
哥特摇滚的主要特色就是幽暗、低调，并运用电子节奏及键盘合成器，以营造出一种黑闇深沈的美感。往后的哥特摇滚则逐渐朝向电子乐发展，进而成为Darkwave乐派。而哥特文化的素材也在90年代初期开始受到金属乐团的采用。英国知名的毁灭金属乐团失乐园乐团（Paradise Lost）可说是哥特金属的先驱，其于1991年所发表的专辑《Gothic》中，便尝试将少许女音主唱和弦乐衬底加入作品当中，93年的专辑《Icon》，其在美编设计上更进一步采用了哥特式图像做为意象表征。随后，挪威的悲怆剧场（Theatre of Tragedy）则是将哥特元素与毁灭/死亡金属彻底融合，正式确立了新一派的哥特死亡金属，而TOT也可说是为金属乐带起歌德风的首要功臣之一，悲怆剧场的成功使得这股哥特金属风潮开始迅速于欧陆蔓延。
然而对比于前面所谈及的哥特摇滚，对于欧陆的哥特金属乐派而言，大多仅是汲取哥特文化的黑闇、唯美氛围，将之纳入于音乐的表现或是视觉美学上，其所着重的仍是在音乐的本质上，不同于所谓的哥特音乐乃是哥特精神的延伸与实践，两者之间其实存在着很大的区别。
哥特金属发展的历史尚不到二十年的时间，已累积出丰富的面貌，就风格特色上来谈，大致可以粗分成以下几类，不过这并不是绝对的分类，因为不同类别之间的界线有时并不明显，而且有些乐团作品也可能会同时跨越不同类别。
与1980年代其他另类摇滚不同，哥特摇滚提升了哥特次文化的范围，包含哥特俱乐部、哥特时尚和哥特杂志。
Gothic rock (also referred to as goth rock or simply goth) is a musical subgenre of post-punk and alternative rock that formed during the late 1970s. Goth rock bands grew from the strong ties they had to the English punk rock and emerging post-punk scenes. According to both Pitchfork and NME, proto-goth bands are Joy Division, Siouxsie and the Banshees, Bauhaus and The Cure.
The genre itself was defined as a separate movement from punk rock during the early 1980s largely due to the significant stylistic divergences of the movement; goth rock, as opposed to punk, combines dark, often keyboard-heavy music with introspective and dark lyrics. Goth rock then gave rise to a broader subculture that included clubs, fashion and numerous publications that grew in popularity in the 1980s.
14.现代主义复兴 Mod Revival¶
Mod 的复兴 ( Mod Revival ) 。 1979 年 Quadrophenia ( 四重人格 ) 这部由电影的上映，带起了 Mod 的复兴，片中内容讲述 1960 年代因为出生於劳工阶级的 Mods，因为无法摆脱现实的桎梏，无法摆脱自己的社会阶级，以及生活当中的苦闷，完全呈现了 Mods 的生活。本片由 The Who 监制，配乐除了使用 The Who 的 Quadrophenia 专辑当中的音乐外，还加上 Mods 最爱的黑人灵魂乐等乐风，Sting 在当中也有饰演一角。
此片重新复兴了 Mod 精神，再次带动 Mod 风潮，而此时新的精神领袖是英国三大庞克团之一的 The Jam，被誉为新的 The Who，而其中的主唱 Paul Weller ( 保罗．威勒 ) 後来更被尊称为 Mod 之父。
The mod revival was a music genre and subculture that started in England in 1978 and later spread to other countries (to a lesser degree). The mod revival’s mainstream popularity was relatively short, although its influence lasted for decades. The mod revival post-dated a Teddy Boy revival, and mod revivalists sometimes clashed with Teddy Boy revivalists, skinhead revivalists, casuals, punks and rival gang members.
The late 1970s mod revival was led by the band The Jam, who had adopted a stark mod look and mixed the energy of punk with the sound of early 1960s mod bands. It was heavily influenced by the 1979 film Quadrophenia (film). The mod revival was a conscious effort to harken back to the earlier generation in terms of style and presentation. In the early 1980s in the UK, a mod revival scene influenced by the original mod subculture of the 1960s developed.
15.无浪潮 No Wave¶
No Wave很短命，是70年代Punk音乐的一个先锋性的分支，几乎全部来源于1978到1982的New York市东部地下音乐。就象Post-Punk是以英国为中心起源的一样，No Wave则是起源于较具艺术性的Punk–但是正当英国的Post-Punk已经剧减降温并且绝望之际，No Wave却仍然在经历其刺耳，磨砺和攻城占地的阶段。大部分No Wave乐队都拥有使人神魂颠倒的可以由电吉它制造出来的纯噪音，这也是No Wave乐队音乐的重要组成部分（时常极为集中）。不象Punk那样，旋律就象乐器的技术一样不重要，大部分的No Wave音乐家人都喜欢集中他们所有的精力去制造一些无调的,不和谐的喧闹（却还算节奏感十足）。由于其喜好武力的艺术形式和戏剧性的焦虑，No Wave应该更加象一种表演艺术而非音乐。两个No Wave的中心象征：主音和吉它演奏者Lydia Lunch以及萨克斯管吹奏者James Chance，他们都在Teenage Jesus和The Jerks进行表演；Lunch进行了漫长的单飞表演生涯，而Chance则创新的开拓了No Wave和Punk的混合乐队–名叫The Contortions。而No Wave的标志性专辑应该是1978年Brian Eno录制的，而其实质的特点则来源于Chance和The Contortions, Teenage Jesus, DNA (以先锋派吉它手Arto Lindsay为象征), 和Mars。虽然没有任何No Wave艺术家们真正想过要打动更多的听众(Lunchs很多产，协作性的重型Solo让她极为接近他们)，Sonic Youth通过吉它艺术家和先锋派作曲家Glenn Branca的保证了No Wave扭曲的不和谐音能够进行更加深思熟虑的噪音实验，并成功在音乐里加进更多的旋律结构而成为了地下音乐的传奇。
No wave was an underground music, super 8 film, performance art, video art, and contemporary art scene that had its beginnings during the late 1970s through the mid-1980s in downtown New York City when the city was a wasteland of cheap rent and cheap drugs. The term “no wave” is in part a punk subculture satirical wordplay rejecting commercial elements in general, that was based in the specific rejection of the then-popular new wave genre. No wave music was a reaction against new wave acts, like Talking Heads, signing with record labels, and the use of Chuck Berry guitar riffs commonly used by new wave music groups in the late 1970s. The term became used in downtown New York City concurrent with the 1981 show, “New York/New Wave” that had been curated by the artist/curator Diego Cortez. The movement would last a relatively short time but profoundly influence the development of independent film, fashion and visual art.
16.原型朋克 Proto-Punk¶
原型朋克出现于60年代末期，以其沙哑的、基本无旋律的音乐著称，简单流转的吉他重复段，霸气的音乐风格，和演唱者地道的英格兰口音（这其中不包括另类音乐代表David Bowie和Roxy Music）都激发了未来朋克音乐的进一步兴盛。
出现于1969年左右的the MC5和the Stooges以其沙哑的、基本无旋律的音乐著称，他们比其他乐队更明晰地阐述了朋克音乐风格。70年代初，the New York Dolls浮出水面，以其直白的硬摇滚音乐和迷人的形象揭开了美国纽约朋克音乐的幕角；同时，也有另一些小范围的准朋克音乐流行开来，如Patti Smith, RICHARD HELL，和Televisions Tom Verlaine。许多被认为是原型朋克的英格兰音乐人也成为迷惑摇滚的一部分，他们简单流转的吉他重复段，霸气的音乐风格，和演唱者地道的英格兰口音（这其中不包括另类音乐代表David Bowie和Roxy Music）都激发了未来朋克音乐的进一步兴盛。
Proto-punk is a term used retrospectively to describe a number of musicians who were important precursors of punk rock in the mid-1960s to mid-1970s, or who have been cited by early punk musicians as influential. Typically, these artists were not themselves considered punk; furthermore, the typification is not widely regarded to have been the result of a distinct musical genre as these precursors came from a wide array of backgrounds, styles, and influences.
American acts like Death, The Seeds, Paul Revere & the Raiders, The Monks, The Sonics, Shadows of Knight, The Velvet Underground, The Doors, The Trashmen, MC5, The Stooges, Suicide, The Modern Lovers, New York Dolls, The Dictators, Lou Reed, Big Star, The Fugs, Television, Captain Beefheart, Patti Smith, Richard Hell, Rocket from the Tombs, and Love, German acts such as Ton Steine Scherben, Neu! and Can, Australian band Radio Birdman, and acts from the United Kingdom including The Kinks, The Troggs, The Who, David Bowie, T. Rex, Faces, Mott The Hoople, Roxy Music, Peter Hammill’s Nadir’s Big Chance, Doctors of Madness and Hawkwind are commonly cited as the most noteworthy artists that would ultimately influence punk.
17.舞曲朋克 Dance-Punk¶
Dance-punk也就是Disco-punk，产生于70年代后期，是一种将朋克、后朋精神及放克的律动性和早期迪斯科相融合的音乐风格。以纽约朋克运动为开端，更与70年代后期的无浪潮运动息息相连。代表艺术家有ESG，Lizzy Mercier Descloux，Liquid Liquid。
到了21世纪，类似LCD Soundsystem、The Rapture这样的乐队将Dance-punk带入了公众的视野，这也直接引发了new rave（新锐舞）潮流，21世纪10年代中后期，英伦大地上涌现了一大批这样的乐队。
Dance-punk was born in the late 1970s. The genre mixed the energy of Punk Rock and Post-Punk’s experimentalism with the danceable rhythms of Funk and early Disco. It was mainly prominent in New York City’s punk music movement and had close associations with the late 1970s No Wave scene. Key artists included ESG, Lizzy Mercier Descloux and Liquid Liquid.
In the 2000s, bands such as Death From Above 1979, LCD Soundsystem and The Rapture brought the genre much more into the public eye. This led to the ‘new rave’ scene, which gained huge popularity in the mid to late 2000s in the UK. Spearheaded by the UK’s Klaxons, Test Icicles and NYPC, the scene mixed dance-punk with Indie Rock influences.
18.朋克俱乐部 Psychobilly¶
70年代THE CRAMPS把ROCKABILLY和地下PUNK结合，在80年代的英国，THE METEORS确立了PSYCHOBILLY这个风格，加入了DOUBLE BASS(低音提琴)的同时对音乐形式上做出了一些改变。歌词多数是比较诡异的，耸人听闻的和不被主流社会所接受的禁忌话题。PSYCHOBILLY乐队的政治观点也非常多，歌词的内容多数恐怖、政治、和一些诡异的东西。
Psychobilly is a fusion genre of rock music that mixes elements of punk rock, rockabilly, and other genres. It is one of several subgenres of rockabilly which also include thrashabilly, trashabilly, punkabilly, surfabilly and gothabilly. Merriam-Webster defines it as “music that blends punk rock and rockabilly”; another dictionary defines it as “loud frantic rockabilly music.” About.com defines psychobilly as “tak[ing] the traditional countrified rock style known as rockabilly, ramp[ing] up its speed to a sweaty pace, and combin[ing] it with punk rock and imagery lifted from horror films and late-night sci-fi schlock,…[creating a] gritty honky tonk punk rock.” Psychobilly, “while rooted in the twang of rockabilly, owes just as much to the sound of straight up three-chord punk, often with a dose of thrash metal.”
19.冷潮 Coldwave¶
Coldwave（冷潮）也叫Cold Wave，起源于法国，是后朋的一种变种流派，常见于法国、比利时等地。Coldwave是一个没有严格定义的概念，它也许只是来自某个记者或乐迷的灵机一动。沉静、幽邃富有冥想色彩的电子元素配合传统哥特男声以及迷幻吉他够成了这个词所要表达的全部。
Coldwave（也称为Cold Wave）是法国后朋克音乐的变体，主要传播于法国，南比利时和罗曼迪。 “冷浪”一词最早是由记者Vivien Goldman于1977年在英国《声音》杂志上发表的有关苏族和女妖的文章中使用的。 Coldwave的灵感来自Souuxsie和Banshees and Joy Division等后朋克乐队。 1977年，Siouxsie和女妖将他们的音乐描述为“冷酷，机器般且充满激情”，Sounds杂志对此乐队进行了预言：“听从70年代到80年代的寒潮咆哮”。音乐史学家西蒙·雷诺兹（Simon Reynolds）也将女妖的首张专辑《尖叫》（The Scream）于1978年11月发行，并被称为“冷潮”。对于评论家而言，冷浪也适用于马丁·汉内特（Martin Hannett）为乔伊司（Joy Division）制作的作品，该作品在1970年代末和1980年代初很出名。 Hannett于1978年底初次与Joy Division见面。他与乐队的第一张录音是歌曲“ Digital”的合辑A Factory Sample。早期的法国朋克摇滚乐队，例如Stinky Toys，MétalUrbain和The Opposition等场景的先驱，都试图在70年代后期出国演出。八十年代初出现了另一种以英语唱歌的法国和比利时音乐家的场景。这些乐队是Marquis de Sade，Ka S Product，Siglo XX，Martin Dupont，Deux，Asylum Party，Twilight Ritual，Norma Loy，Pavillon 7 B，Résistance，Clair Obscur，Richard Pinhas，Artefact，Opera Multi Steel，Trisomie 21， Lizzy Mercier Descloux and Die Form。在1980年代后期，诸如庇护党，小尼莫，虔诚博物馆和生命之息等组织继续实践这种风格。音乐史学家米克·默瑟（Mick Mercer）称，《生命的呼吸》以“微妙的力量和情感上的混乱”，夺取了“ 70年代末苏族和女妖的一些明亮元素”。记者让-弗朗索瓦·比佐特（Jean-FrançoisBizot）最初记录了现场。原始的冷浪人群通常不在美国分布，也不用英语唱歌。 Pieter Schoolwerth对这些法国乐队的风格进行了描述，类似于《十七秒》和《 Faith-The Cure》。 1980年，当帕特里克·泽比卜（Patrick Zerbib）在《 Actuel》杂志上撰文报道了侯爵侯爵（Marquis de Sade），手工艺品（Artefact）和贾科诺（Jacno）时，这些团体开始在法国获得主流报道，其标题为“现代青年爱他们的母亲”。 ）。最近的一篇回顾性文章列举了各种风格和概念上的影响（翻译成英文）：“利用朋克所允许的实验方法的双重效率和朋克允许的实验主义激进主义策略激起的挑衅。同时具有历史性的艺术前卫-前卫艺术（建构主义，未来主义，象征主义，达达主义，社会主义现实主义），文学（浪漫主义，科幻小说），电影院（法国新浪潮，德国表现主义）和最新的先进技术（电子技术，机器人技术，核技术） ）。” Wierd Records在美国对这种风格产生了浓厚的兴趣，而自由蛇俱乐部（The Liberty Snake Club）为在英国推广这种风格做了很多工作。 Ivan Smagghe编写的《 Tigersushi Records汇编》《 So Young But So Cold》是现场的一份文件。
Coldwave (also written as cold wave) is a French variant of post-punk music, primarily spread in France, South Belgium and Romandy.
The term “coldwave” was first used by journalist Vivien Goldman in British paper Sounds in 1977 in an article about Siouxsie and the Banshees.
Coldwave was inspired by post-punk groups such as Siouxsie and the Banshees and Joy Division. In 1977, Siouxsie and the Banshees described their music as “cold, machine-like and passionate at the same time” and Sounds magazine prophecised about the band: “Listen to the cold wave roar from the ‘70s into the ‘80s”.Siouxsie and the Banshees’ first album, The Scream, released in November 1978, was also pictured as “cold wave” by music historian Simon Reynolds. For critics, coldwave also applies to Martin Hannett’s production for Joy Division, prominent in the late 1970s and early 1980s. Hannett first met Joy Division in late 1978. His first recording with the band was for the song “Digital” for the compilation A Factory Sample.
Early French punk rock groups, forerunners to the scene such as Stinky Toys, Métal Urbain and The Opposition, tried to play abroad in the late seventies.
Another scene of French and Belgian musicians who sang in English emerged in the early eighties. These bands were Marquis de Sade, KaS Product, Siglo XX,> Martin Dupont, Deux, Asylum Party, Twilight Ritual, Norma Loy, Pavillon 7B, Résistance, Clair Obscur, Richard Pinhas, Artefact, Opera Multi Steel, Trisomie 21, Lizzy Mercier Descloux and Die Form. In the late 1980s, groups such as Asylum Party, Little Nemo, Museum of Devotion and The Breath of Life continued to practice the style. The Breath of Life, according to music historian Mick Mercer, took “some of the brighter elements of late ‘70s Siouxsie and the Banshees”, with “subtle power and emotionally charged confusion”. The journalist Jean-François Bizot initially documented the scene. The original coldwave groups were generally not distributed in the United States and did not sing in English.
Pieter Schoolwerth describes the style of these French bands as similar as Seventeen Seconds and Faith-era The Cure.
The groups began to achieve mainstream coverage in France in 1980 when Patrick Zerbib wrote an article for the magazine Actuel covering Marquis de Sade, Artefact and Jacno, titled “Les jeunes gens modernes aiment leurs mamans” (“The Modern Young People Love Their Mothers”).
A recent retrospective article enumerates various stylistic and conceptual influences (translated to English):
“Taking advantage from the double efficiency of the do it yourself method and the provocation established by the activist strategy of experimentation which punk had permitted, the new wave recalled at the same time the historical artistic avant-gardes (constructivism, futurism, symbolism, dadaism, socialist realism), literature (romanticism, science fiction), the cinema (French New Wave, German Expressionism) and the latest advanced technologies (electronics, robotics, nuclear).”
Wierd Records is credited with establishing interest in the style in the United States, while The Liberty Snake Club did a great deal to popularize it within the United Kingdom. The Tigersushi Records compilation So Young But So Cold, compiled by Ivan Smagghe, is one document of the scene.
20.滑板朋克 Skate Punk¶
Skatepunk最初是由硬核朋克派生而来，如此命名是因为这种音乐在滑板运动和文化中颇为流行。对于外行人来说如何判定一支乐队是否是skatepunk风格不是一件容易的事情，但要作出判断仍是有迹可寻。Skatepunk特别倾向于音乐的高释放，甚至于其硬核朋克根源，这也就意味着更加快速和鞭笞的吉他。Skatepunk同时也倾向于一定的幽默感，mostly of the smartass variety－因为毕竟这只是为了娱乐而已。多数的Skatepunk乐队为了保持住他们的那些持有极其反合作、反独裁态度的歌迷，往往会签约到独立厂牌，而且多数的乐队会很乐意将此作为一种基本原则。Skatepunk这种音乐一直在随着朋克乐本身的不断变化而变化，从80年代的硬核到90年代的朋克流行乐复兴；它的音乐上的躁狂也受到了the third-wave ska revival音乐运动的部分影响。
Skate-punk,是属于PUNK里的一种分类，它的诞生来源于美国的Skate guy，是一种全新的美式PUNK乐，或称为NEW-SCHOOL风格。
Skate-punk区别于英式OLD-SCHOOL风格的PUNK乐表现在两个方面：OLD-SCHOOL风格的穿着只要特征就是鸡冠头，皮衣，身上别有徽章，各种铁钉装饰；NEW-SCHOOL主要的特征就是体恤直筒仔裤。在音乐风格上面，OLD-SCHOOL明显要偏向于硬核PUNK一边，NEW-SCHOOL则显得很简单轻松，比如在各种美式青春喜剧中听到的就是典型的NEW-SCHOOL风格Skate-punk。
Skate punk is a derivative of Punk Rock, and to a large extent, Hardcore Punk. The sound of skate punk is typified by fast tempos and extensive use of riffing and licks influenced by ‘50s/’60s Surf Rock. The lyrical content of Skate Punk is often comical, anti-establishment, and/or absurdist in nature, sometimes with political or cultural overtones due to the hardcore punk influence. Skate Punk has also shown to be a strong influence to modern Pop Punk.
世界音乐 World Music¶
1.韩国 | 演歌 Korea Trot¶
韩国演歌（朝鲜语：트로트、트롯트或뽕짝；英语一般写作Trot）是朝鲜半岛的传统流行音乐，被称为朝鲜半岛最早期的流行音乐。韩国人声称韩国演歌早在日治时期前就已出现，尽管与日本演歌的音乐很相似，但两者并不相同。
韩国演歌据说源于狐步舞（Foxtrot）的音乐，所以它的韩语名称亦取自狐步舞的英语的最后几个音节，而这种舞踏有简单轻快的乐曲。
트로트(Trot)는 일제 강점기에 발생한 대한민국 대중가요의 장르이다.
트로트는 일본 엔카 음악이 한국에서 현지화한 음악이다. ‘트로트’라는 이름은 구미 춤곡의 하나인 폭스트롯(foxtrot)에서 유래한 것이며, 일본 토속 음악에 접목 돼 엔카가 되었고, 일제 강점기 한국에 전해졌다.
한국에서 전해오던 세 박자 또는 다섯 박자(3+2)를 기본으로 하는 것을 ‘트로트’라고 부르고, 빠른 두 박자(쿵짝, 쿵짝…)를 기본으로 하는 것을 ‘뽕짝’이라고 부르기도 한다. 다만 ‘뽕짝’은 속어로 보아 공식적으로 사용하지는 않는다.
2.韩国传统音乐 Korean Traditional Music¶
传统音乐，顾名思义就是保有韩国旧有节拍的音乐。有时指的也可以是韩国国乐。
历史
三国时代(57 B.C.-A.D. 676) 时，韩国已制造出高句丽的玄琴(类似古筝)、伽倻的伽倻琴等古典乐器，而同中国及西方国家的文化交流又将外来音乐引入了韩国。进入高丽时代，雅乐和乡乐活跃起来。雅乐，即正雅之乐，由中国传来的大晟乐演变发展而成，是宗庙祭典时演奏的宫中音乐； 乡乐则是高句丽、百济、新罗时代传承至高丽时代的音乐，指区别于雅乐和唐乐的韩国传统祭礼音乐。到了朝鲜时代(1392-1910)时代，音乐形式初、中期以宫中音乐、后期则以民俗音乐为代表。属宫中音乐的雅乐和宫中的礼仪习习相关，多于款待国宾贵客的宴席上演奏，以赞扬王室的内容为主。至15世纪，集中整理了音乐理论、历史及演奏乐器等内容的音乐理论著作《乐学轨范》得以编撰出版。而朝鲜后期，随着农业生产力的提高及工商业的发达，市民文化得到了很大发展。表现在音乐领域就是享有音乐的阶层扩大，音乐形式多样化，尤其是出现了市民创作的清唱(板索里)和民谣。民俗音乐真实地表现了当时人民的感情并对社会的不公进行了讽刺批判。这样的民俗音乐发展到后来，以四物表演等新形式出现，深受人们的喜爱。四物表演指用锣、钲(类似于锣，但声音较低沉)、长鼓(可两面敲打的鼓)和鼓四种乐器演奏的打击乐。
韩国传统音乐尽管受到中国的巨大影响，还是很富于特色的。在韩国有叫做“唐乐”的韩国化的中国音乐，在日本有叫做“高丽乐”的日本化的韩国传统音乐。
“唐乐”这个韩文名称的字面意思是中国唐朝的音乐。同样，“高丽乐”这个日文名称的字面意思是韩国高丽王朝的音乐。韩国传统音乐大体上可以分成两大类，一类叫“正乐”，一类叫“俗乐”，前者是统治阶级的音乐，后者是平民的音乐。这两大类又可以分成许多小类，从而构成整个韩国音乐。例如“正乐”有两种不同然而在某种程度上相互关联的意思。
从广义上说，这个名称是指被认为在儒家哲学方面对韩国统治阶级“合适”的优美音乐风格，在这一广泛含意之内，这个名称也是指宫廷以外社会地位高的人的合奏音乐。在这方面，三个重要名称是“雅乐”、“唐乐”和“乡乐”。“正乐”和“雅乐”在广义上可以换用，指统治阶级的音乐，包括“唐乐”、“乡乐”和儒教礼乐。
从狭义上说，“雅乐”指寺庙仪式音乐，这种音乐目前只留下一个例子，这就“文庙乐”。“文庙乐”是在文庙一祭祀孔子及其弟子的神殿一演奏的音乐。唐乐是指中国唐宋两朝的世俗音乐，这种音乐在引进韩国以后变成了宫廷音乐。乡乐只是指韩国本地音乐，一个重要的例子是“寿齐天”，这是一部器乐作品，常常听到有人说它至少有1,300年历史。
这比第一次编格列高利圣咏的时间还要早。宫廷音乐是正乐的一部分，包括三种：仪式音乐、宴会音乐和军乐。
仪式音乐包括儒乐和王室神殿音乐，而宴会音乐当时是气派大的宴会上的音乐。“寿齐天”是最有名的宴会音乐作品之一。原来上层阶级的音乐是一种叫做“风流”的合奏音乐（属于最复杂的韩国传统抒情歌曲一类）、“歌曲”和韩国本地流行歌曲“时调”。“风流”是一个已不通用的古词，这个词以前的意思是一般音乐，现在的字面意思是一个身心悠闲自在的人摆脱日常事务，而有一种适于欣赏诗歌、音乐和同女友交往的和谐心情。然而在联系到韩国传统古典音乐用这个字眼的时候，它是指一种供贵族享受的合奏音乐。这种音乐中有一类叫做“线风流”，主要是弦乐器。第二类叫做“竹风流”，主要是管乐器。第三类是头两类的结合。“歌曲”用一种16拍专长短（节奏），或者用一种略加改变的10拍长短（节奏）。任何“歌曲”的选择都是基于“羽调”或者“界面调”调式，有时候基于两者。用来伴奏的乐器是玄鹤琴、伽耶琴、洋琴、奚琴、笛子和杖鼓。普通人的音乐“俗乐”，包括萨满教音乐、佛教音乐、民歌、叫做“农乐”的农民音乐、一种叫做“板声”的剧歌和一种叫做“散调”的器乐独奏。在萨满教音乐中，叫做巫婆的受神灵启示的女萨满教士起很重要的作用。巫婆扮演的角色是充当现实世界和超自然世界之间的媒介。唱歌、跳舞和奏乐器总是少不了的。最重要的佛教音乐之一叫做“梵呗”，这是一种对佛的赞歌，今天只有少数教士演唱这种赞歌。为了提倡这种音乐，政府把“梵呗”定为国家文化瑰宝，并且正在采取措施来鼓励更多的人献身于这种艺术。08新年了解韩国传统文化,韩国传统音乐
韩国传统音乐,韩国传统文化
由于韩国历来是农业国，农民的生活一向对韩国的音乐史产生重大影响。农民音乐的最令人感兴趣的特点是它的叫做“十二彩”的12种不同的节奏型式，带头的是一面叫做“小金”的小锣。“俗乐”中比较富于吸引力的形式之一是“散调”，这是一种原来用各种乐器即席演奏的器乐独奏，这些乐器有伽耶琴、玄鹤琴、大令、奚琴、短箫和笛子。“板声”是韩国的另一种非常重要的音乐瑰宝，可以定义为剧歌，这是本地的一种歌剧式的音乐。在这种“板声”中，“旁白”是对歌曲中间的戏剧内容的口头说明。“身手动作”是戏剧的具体动作。08
乐器
用于传统音乐的乐器多达100多种，按演奏方法的不同分为拨弦弹奏的弦乐乐器、用嘴吹奏的管乐乐器和击打发生的打击乐器三种。
· 弦乐器：伽倻琴、玄琴、洋琴(四角形板面玄琴，因自西洋传入而称洋琴)、 二胡、牙筝(7弦筝，弦乐乐器中音域最窄的低音乐器)等。
· 管乐器：大笛、小笛、箫、短箫、太平箫、笙簧、喇叭、螺角、洞箫等。
· 打击乐器：拍(也叫拍板，类似快板，但木板的数量为6块)、编钟、编磬、腰鼓、锣、鼓等。
3.日本 | 岛呗 Shima Uta¶
岛呗(島唄 / シマ唄)指的是奄美群岛(现属日本鹿儿岛县)的民谣。在琉球语奄美方言中，“シマ”(shima)不仅是“岛”的意思，更包含“故乡”的意思；“唄”(うた / uta)则是“民谣”的意思。因此“岛呗”一词原本意思是“故乡的民谣”，而正是因为“シマ”一字特殊含义，许多奄美人不将这种歌谣写作“島唄”，而是将它写作“シマ唄”。唱岛呗的人被称作“呗者”。
由于“呗”字的发音与日本语中“歌”字的发音相同，一些中文媒体亦将“岛呗”写作“岛歌”。
岛呗与日本本土的和歌在音律上有很大的不同。与琉歌一样，岛呗的音律为8、8、8、6；与和歌的5、7、5、7、7，以及日本民谣的7、7、7、5都不相同。岛呗的音域很广。在德之岛以北地区，使用的是与日本本土相同的五声调式阳音阶(D、F、G、A、C、D)；冲永良部岛以南则使用琉球音阶(C、E、F、G、B、C)。岛呗的伴奏乐器往往是三味线。
在奄美群岛，不同地区的岛呗其风格亦不相同。例如，奄美大岛北部流行“笠利节”，其节奏平缓稳重；而南部则流行“东节”，情绪充沛，回转变化丰富。笠利节和东节是岛呗最主要的两大流派。元千岁和中孝介的演唱方式就属于东节风格。
岛呗的演唱需要类似于女性的假声，这是因为琉球群岛地区妹神(おなり神)的缘故。
4.日本 | 演歌 Enka¶
演歌，是日本独有的歌曲种类。是基于日本人的情感或感觉所演唱出具有娱乐性质的歌曲。由歌手独特的唱法或者是歌曲所表达的意思又有(艳歌)、(怨歌)等等的称呼。
演歌起源于明治时代，并一度在日本流行起来。但随着西方文化在日本影响力渐大，演歌的流行度已远远不及日本流行曲(J-POP)。但近年由于如冰川清志的年轻演歌歌手的出现和如早安少女组等的日本流行曲歌手也有唱演歌，所以有重新流行起来的趋势。
一般而言，在公开唱合中演歌歌手在唱演歌时会穿着和服。
演歌中所使用的音阶大多使用日本古时候的民谣采用的五音音阶(ペンタトニック·スケール)。意即，从西洋音乐的7音阶移开第4音和第7音，使用把第5音和第6音做为第4音和第5音的五音音阶，被称作为抽出4和7音的音阶法。这种音阶法由古贺正男所发扬跟普及。自此之后成为了演歌独特的音阶。在古贺旋律普及初期，由东京艺术大学的藤山一郎(声乐家增永丈夫)是为主流。直到1960年代美空云雀确定了在演歌界巨匠的地位之后，这种利用装饰音突显演歌歌手个别的个性的古贺旋律正式成为日本演歌的主流地位。
演歌中独特的唱腔，称为“装饰音(小节)”的独特的歌唱法被用得多。同时，还可以技巧性的放入“颤音”。这个2种表现的方法在演歌中是不可或缺的。
演歌歌手中，特别是女性歌手，为了加强日本的印象，常常在表演的时候穿和服。
歌词的内容里以”海·酒·眼泪·女人·雨·北国·雪·离别”最常被拿来使用，以这种词句为中心，来表达男女之间的悲情、悲恋等等。其中以美空云雀“悲しい酒”，都晴美“大阪しぐれ”，大川荣策略“さざんかの宿”，吉几三“雪国”等等最为代表。
就算演歌有上面所说的特征，也很难明确的分类演歌跟其他流行歌曲。一般认为譬如爵士乐钢琴家山下洋辅就曾经说过不能用“音乐理论性的观点”来分类两者。
除了男女之间以悲剧收场为主题的歌曲以外还有以下的主题为代表歌曲:
夫妻间的幸福—村田英雄“夫妇春秋”、三笠优子“夫妇舟”、川中美幸“二轮草”等等。
母亲—菊池章子·二叶百合子“岸壁の母”、金田たつえ“花街の母”等等。
家庭之间—鸟羽一郎“兄弟船”、芦屋雁之助“娘よ”、大泉逸郎“孙”等等。
人生、特质—村田英雄“人生剧场”、“花と竜”、北岛三郎“山”、“川”、中村美律子“河内おとこ节”等等。
流浪—ディック·ミネ“旅姿三人男”、桥幸夫“潮来笠”、冰川きよし“箱根八里の半次郎”等等。
侠义—北岛三郎“兄弟仁义”、高仓健“唐狮子牡丹”等等。
歌谣浪花—三波春夫“俵星玄蕃”、“纪伊国屋文左卫门”等等。
望乡—北岛三郎“帰ろかな”、千昌夫“北国の春”、“望郷酒场”等等。
另外，还有不属于以上任何分类的细川贵志“北酒场”。是作曲家根据“酒馆”的样子而创作出来的歌曲。以完全跳脱出一般演歌歌词的情景模式独树一方，获得了日本唱片大奖。
演歌成为日本大众所接受，成为了日本流行音乐潮流的其中之一。但是，事实上讨厌演歌的人也是不少。比方说，在日本歌谣界大有影响力的歌手“淡谷のり子”就成公开表示她非常讨厌演歌，接着提倡所谓的“演歌扑灭运动”。还有，作曲家“椙山 浩一”在他的自传里写着“演歌架构了日本音乐史上的黑暗时代”。
Enka (演歌) is a popular Japanese music genre. Although considered to resemble traditional music stylistically, modern enka is a relatively recent musical form which arose in the context of such postwar expressions of modern Japanese nonmaterial nationalism as nihonjinron, while adopting a more traditional musical style than Japanese prewar popular ryūkōka music in the vocalism.
The term “enka” was first used to refer to political texts set to music which were sung and distributed by opposition activists belonging to the Freedom and People’s Rights Movement during the Meiji period (1868–1912) as a means of bypassing government curbs on speeches of political dissent – and in this sense the word is derived from “enzetsu no uta” (演説の歌), meaning “speech song”.
Modern enka, as developed in the postwar era, is a form of sentimental ballad music. Some of the first modern enka singers were Hachiro Kasuga, Michiya Mihashi and Hideo Murata. One theory holds that modern enka means “enjiru uta” (演じる歌), meaning “performance song”. The revival of enka in its modern form is said to date from 1969, when Keiko Fuji made her debut.
5.日本 | 邦乐 Japanese Traditional Music¶
邦乐(日语：ほうがく)可说是日本音乐的统称。通常一般都用“洋乐”做为反义词，指西洋音乐以外的日本传统音乐。相对于西洋音乐的七音音阶，近世邦乐是五音音阶，邦乐的节奏多半为两拍、四拍的偶数拍子，几乎没单数的拍子，且歌曲繁多，纯乐器乐曲鲜少。
乐器一般是当作声乐的伴奏乐器为使用，但是仍然与声乐的进行，有着微妙不一致的复杂差异。 此外，因为三味线、琴与尺八等之乐器本身的构造，具有的杂音性要素，也成为邦乐复杂的音色之一而受到广大的喜爱。
自从明治时代开始，洋乐传入日本以后，洋乐即成为了日本音乐的主流，邦乐而因此受到压抑。 可是近年来，邦乐重新受到肯定，爱好邦乐者不断地增加。外国人士的爱好者也越来越多了。
乐器总类
雅乐：举行宫廷仪式之时所演奏的仪式音乐。是古代由中国和朝鲜传入的音乐，可说是日本现存最古老的音乐形式。
琵琶乐：战国时代以后，以琵琶伴奏说讲战争故事而兴起的音乐。是边弹边唱的声乐曲。
声明：佛教的典礼音乐，属于声乐之一。随着佛教传入日本，对其后的日本音乐产生极大的影响。
筝曲：筝曲除了只琴曲之外，尚指琴(古筝)、三味线(三弦琴)与尺八(萧、竖笛)的合奏曲。琴是十三弦的拨弦乐器，在江户时代，因为与三弦琴音乐结合，而发展起来。
能乐：集现今“能”剧形式之大成的，是在室町时代初期。能是音乐、舞蹈与戏剧的综合艺术，能的音乐，是由称为“谣”的声乐与称为“杂子”(由笛、鼓、三弦乐器组成)的乐器伴奏所构成的。
尺八乐：尺八是镰仓时代虚无僧取代诵经所吹奏的竖笛。由于长度是一尺八寸(约五十五厘米)，故称之为尺八。
三弦琴音乐：三弦琴有三条弦，其共鸣箱的鼓面以猫或狗皮制成，是极具代表性的日本乐器。三弦琴在江户时代被运用得极为广泛，不论是歌舞伎、人形净琉璃的剧场音乐，或是各种歌曲音乐的伴奏，即使到了现在，也常常被使用。
民谣：各地流传下来的歌谣，以劳动歌为居多。
The Music of Japan includes a wide array of performers in distinct styles both traditional and modern. The word for music in Japanese is 音楽 (ongaku), combining the kanji 音 (“on” sound) with the kanji 楽 (“gaku” fun, comfort).Japan is the second largest music market in the world, behind the United States,and most of the market is dominated by Japanese artists.
Local music often appears at karaoke venues, which is on lease from the record labels. Traditional Japanese music has no specific beat[clarification needed], and is calm. The music is improvised most of the time. In 1873, a British traveler claimed that Japanese music, “exasperate[s] beyond all endurance the European breast.”
6.世界节拍 Worldbeat¶
世界节拍是一种将西方流行音乐或摇滚乐与传统、民间或世界音乐影响相融合的音乐流派。WorldBeat与当代和根部流派的其他异花授粉标签相似，表明其现代元素和民族元素之间存在节奏、和声或质地的对比。
Worldbeat is a music genre that blends Western pop music or rock music with traditional, folk or world music influences. Worldbeat is similar to other cross pollination labels of contemporary and roots genres, and which suggest a rhythmic, harmonic or textural contrast between its modern and ethnic elements.
7.非洲打击乐 Afrobeat¶
非洲-Beat由尼日利亚超级巨星费拉·阿尼库拉波-库蒂（Fela Anikulapo-Kuti）创作并几乎独家表演；他还于1963年为其命名，尽管直到1970年代他的经典唱片发行后，他才充分发挥其创造力，这很快使非洲裔在尼日利亚引起了广泛的欢迎，并开始引起其他人的关注世界的。到80年代，库蒂的音乐风格已经很成熟，尽管他的表演规模宏大，个性鲜明，几乎没有模仿者到场，但他的音乐才华和政治积极性使他倍受赞誉。库蒂（Kuti）的《非洲-拍子（Afro-Beat）》最初扎根于西非上流社会-一种由喇叭和/或吉他驱动的明亮，阳光明媚的舞蹈音乐-但与非洲-美国音乐形式如放克（特别是詹姆斯·布朗（James Brown）和爵士乐）融合在一起。结果非常有节奏，强调了大的合奏，加长的凹槽和即兴的果酱，而不是歌曲的结构（实际上，Kuti的许多专辑都精选了半个小时的作品）。尽管Afro-Beat的舞蹈音乐是最底层的，但是Kuti的表演很少让听众迷失自己的音乐-无论是通过乐队和后备歌手的华丽编舞，要求苛刻的歌曲长度，还是频繁的针对性的政治风潮引起智力反应。库蒂（Kuti）在1997年去世后，他的儿子费米（Femi）经常在费拉（Fela）的定期监禁中接任乐队负责人。接班人。
Afro-Beat was created and almost exclusively performed by Nigerian superstar Fela Anikulapo-Kuti; he also gave the style its name in 1963, although he would not bring it to its fullest creative fruition until his classic recordings of the 1970s, which quickly made Afro-beat into a wildly popular sensation in Nigeria and began to attract attention from the rest of the world as well. By the ‘80s, Kuti’s style had been well established, and although the massive scale and distinctive personality of his performances attracted few imitators, he was revered as a legend for his musical virtuosity and political activism. Kuti’s Afro-Beat was primarily rooted in West African highlife – a bright, sunny dance music driven by horns and/or guitars – but synthesized it with African-American musical forms like funk (particularly that of James Brown) and jazz. The results were intensely rhythmic and emphasized large ensembles, extended grooves, and improvised jams instead of song structure (many of Kuti’s albums, in fact, featured pieces that were half an hour in length). Although Afro-Beat was at bottom a dance music, Kuti’s performances rarely allowed his audiences to get lost in the grooves – whether through the flashy choreography of his band and backup singers, the demanding length of his songs, or the frequent political tirades aimed at provoking intellectual response. Following Kuti’s death in 1997, his son Femi – who had often taken over as bandleader during Fela’s periodic imprisonments – picked up the Afro-Beat torch and began a full-fledged career of his own, keeping his father’s music alive and proving himself a worthy successor.
8.葡萄牙 | 法朵 Fado¶
法朵/法多(葡萄牙语：Fado，意为命运或宿命)，或称葡萄牙怨曲，是葡萄牙著名的传统民谣。
法朵是一种已经具有一百五十多年历史的葡萄牙音乐，在大街小巷的酒馆、都会里的咖啡室和会所都可听得到，其地位相当于西班牙著名的弗拉明戈舞蹈。这种音乐擅长表达哀怨、失落和伤痛的情怀。特殊的吉他乐声与独唱者的特有腔调，空灵动人，令听者无不感到的哀凄。
葡萄牙悲歌法朵来历不明，有阿拉伯、吉卜赛和更多的黑人血统。据称，其真正源于刚果，黑人将此歌舞形式带至巴西，但直至1819年，才有人在里约热内卢街头看到混血儿表演法朵。
1850年左右，法朵才来到葡萄牙，以唱为主。民间歌手们面向特茹河，为海员泣歌，凄怆动人。一时，妻女竞相习唱。
19世纪末，科英布拉大学生将少年男女爱情主题引入法朵，形成“北部唱法”。
在20世纪，主流的法多表演只包括一个歌手，一个葡萄牙吉他手和一名古典吉他手，经常还会加入低音吉他。乐器演奏传统上由男性完成。不过更为近代的演出阵容包括了从歌手，到弦乐四重奏，再到整支管弦乐队。虽然在以旅游业为主的餐厅，法多的演唱往往局限于一人独唱，不过在里斯本的非商业性质的法多集会上，能有多达十二名与会者自发参与到演唱中。此时每位歌手都热情地演唱一小段，加上自己想出来的歌词，紧跟着迎来换场时的掌声喝彩。在非商业性质的法多餐厅，一种良好的交流方式便是演唱过程中时时叫好鼓励。另外，一曲精湛演绎的法多结束后，观众应该先预留明显几秒的停顿，再开始鼓掌。
目前，法朵最为有名的歌手是葡萄牙女歌手Mariza。
Fado (Portuguese pronunciation: [ˈfaðu], “destiny, fate”) is a music genre which can be traced to the 1820s in Portugal, but probably with much earlier origins. Fado historian and scholar Rui Vieira Nery states that “the only reliable information on the history of Fado was orally transmitted and goes back to the 1820s and 1830s at best. But even that information was frequently modified within the generational transmission process that made it reach us today.” In popular belief, fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor, and infused with a characteristic sentiment of resignation, fatefulness and melancholia (loosely captured by the word saudade, or “longing”). However, although the origins are difficult to trace, today fado is regarded, by many, as simply a form of song which can be about anything, but must follow a certain structure. The music is usually linked to the Portuguese word saudade which symbolizes the feeling of loss (a permanent, irreparable loss and its consequent lifelong damage). Famous singers of fado include Amália Rodrigues, Dulce Pontes, Carlos do Carmo, Mariza, Mafalda Arnauth, António Zambujo, Ana Moura and Cristina Branco.
On 27 November 2011, Fado was inscribed in the UNESCO Intangible Cultural Heritage Lists
9.古巴 | 颂乐 Son¶
颂(Son)乐形成在1880年,不但是古巴的主流舞曲类型,也是影响整个拉丁美洲舞曲最重要的元素。它源自古巴东部的Oriente,这是一个融合多元族裔和丰富音乐文化的地方,主要因为1800年海地发生革命战役,数以千计的难民涌进此地,和古巴的非洲人与西班牙人又进行了一次文化血统的交流所致。因此颂乐不免散发出一种迷人的混血文化风采。可参考帕特巴斯拉的《马车夫》,和喜瑞拉梅斯特拉的《恶灵》、《百分百古巴》。
最初的颂乐只是原始又朴素的东部乡村音乐,艺人多半用一种有着三对弦的古巴吉他(tres)自弹自唱,衬以古巴打击乐器沙铃(maracas)和刮葫(guiro)。经由奴隶的传唱传到哈瓦那后,为了取悦资产阶级,企图在乐风上壮大声势,于是乐器的编制渐渐变得复杂起来。这样的颂乐飘洋过海向北到了纽约,融合20年代盛行的爵士大乐队乐风就变成了Salsa,是纽约人耳熟能详的新兴乐风。如果颂乐向南进入南美洲,混入迷幻的电子合成乐,则成了商业化的哥伦比亚Salsa。
1912年开始,美国的唱片公司到古巴录制颂乐专辑,接着各地广播电台也陆续成立,全国性甚至国际性的古巴艺人,终于要借着大众传播媒体站上舞台亮相了。当艺人有了更多元化的发展时,自然不愿被局限在制式的音乐传统里,于是帮颂乐变声的游戏开始。1927年曾经参与Sexteto Habanero的Felix Chapotin,首先尝试加入小喇叭;盲人吉他手Arsenio Rodriguez,则在他的乐团里加入更多的管乐、节奏和钢琴,此举果然投合大众口味,成为四零到五零年间最具影响力的乐团。古巴乐团的团长Beny More更酷,他干脆把颂的节奏加快,把慢板的bolero抒情舞曲改成超快板,创造出了Mambo。笛子和大提琴的介入,则是颂乐最后的变奏charanga,也是如今所能听到的最活泼的当代颂乐综合版。集合各大艺人在1979年录制的《哈瓦那之星》,收录颂乐在这个时期中所有变化的样貌,值得一听。
可以说,颂乐在古巴,是一种永恒延续的声音。或许在每一个年代,它刻印出不同的标记,也许是mambo,也许是salsa…,但是骨子里,它永远是颂(Son)。
The Son cubano is a style of music and dance that originated in Cuba and gained worldwide popularity in the 1930s. Son combines the structure and elements of Spanish canción and the Spanish guitar with African rhythms and percussion instruments of Bantu origin. The Cuban son is one of the most influential and widespread forms of Latin American music: its derivatives and fusions, especially salsa, have spread across the world.
The word son (one of the words that translates to English ‘rhythm’ from Spanish) has also come to be used for other traditional rural musical styles of Spanish-speaking countries. For example, in Mexico the Son Jarocho of Veracruz and the Son Huasteco of the Sierra Huasteca constitute distinct popular musical genre. They are not derived from the Cuban son.
10.巴基斯坦 | 卡瓦里 Qawwali¶
“Qawwali”是巴基斯坦的一种传统的民间音乐形式，大约出现于九世纪时，是一种建立在类似“Tala”的节奏和 “Raga”的旋律基础上进行即兴表演的音乐。此种音乐多使用传统的印度乐器，诸如Tabla、Sarangi(印度一种古老的弓弦乐器)等，充满北印度古典音乐自由多变的特质，不过“Qawwali”更偏重于演唱，用人声来进行即兴演唱或与乐器相互对答。
这么多年来，一个家族始终统制着这个音乐领域，几乎所有杰出的“Qawwali”演唱者都出自于一个叫做“The Khans of Pakistan”的家族而这个家族中最为显赫当数巴基斯坦已故的卡瓦里音乐家Nusrat Fateh Ali Khan，他的音乐不但被形容为「来自天堂的声音」，更成功地将巴基斯坦卡瓦里传统乐风融合西方音乐元素而受到世人的瞩目，进而把巴基斯坦卡瓦里音乐推上世界音乐的舞台。
英文简介
Qawwali (Nastaʿlīq: قوّالی; Gurmukhī: ਕਵਾਲੀ; Devanāgarī: क़व्वाली; Eastern Nagari: ক়ব্বালী) is a form of Sufi devotional music popular in South Asia, particularly in the Punjab and Sindh regions of Pakistan, aside at Hyderabad, Delhi and other parts of India as well as Dhaka, Chittagong, Sylhet and many parts of Bangladesh. It is a musical tradition that stretches back to more than 700 years.
Originally performed mainly at Sufi shrines or dargahs throughout South Asia, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Pakistani singer Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Other famous Qawwali singers include Pakistan’s Sabri Brothers, Bahauddin Qutbuddin and Aziz Mian.
Origins
The roots of Qawwali can be traced back to 8th century Persia (today’s Iran and Afghanistan). During the first major migration from Persia, in the 11th century, the musical tradition of Sema migrated to South Asia, Turkey and Uzbekistan. Amir Khusro Dehelvi of the Chisti order of Sufis is credited with fusing the Persian and Indian musical traditions to create Qawwali as we know it today in the late 13th century in India. The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.
Qaul (Arabic: قَوْل) is an “utterance (of the prophet)”, Qawwāl is someone who often repeats (sings) a Qaul, Qawwāli is what a Qawwāl sings.
11.印度 | 拉格 Raga¶
“拉格”(Raga,梵语的”raga”,意热情。)被称为印度古典音乐的灵魂,也是印度古典音乐的基本调(Tune),也可说是旋律的种子。它是一种旋律的框架。它有很多种,每种拉格都有自己特有的音阶,音程以及旋律片断,并表达某种特定的味(Rasa),但拉格本身只是一种框架,它要靠音乐家的即兴表演加以丰富、完善。
拉格原意为色彩(Color)或热情(Passion),因此拉格企图藉特定音符组合的旋律,来引领聆听者的情绪和感情,由五个到七个的音符所组成的基本旋律,做自由的变化。这种先人所制定的旋律型(Raga) 北印度有3百种,但很多也失传了,有谱可循的拉格有80余种,如今常用的约60余种。在传统习惯上,不论是演唱或演奏,要点选的拉格是完全依据时间、季节、情绪来决定的,早晨、中午、晚上或春夏秋冬,悲伤、喜悦或敬神等拉格是不容混淆的。拉格不只是固定的旋律型,由于加上时间、加上更细致等抽象的情境情绪的诉求和即兴的技巧、演奏长短、速度的掌控,因此表演者也是创作者,具有作曲家的能力,才算得上是胜任称职的印度的音乐家。
A raga (literally “colour, hue” but also “beauty, melody”; also spelled raag, raaga, ragam; pronounced rāga, rāg or rāgam) is one of the melodic modes used in Indian classical music.
A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.
Joep Bor of the Rotterdam Conservatory of Music defined Raga as “tonal framework for composition and improvisation.” Nazir Jairazbhoy, chairman of UCLA’s department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.
12.印度 | 邦拉 Bhangra¶
Bhangra (邦拉) 舞曲是从英国昔日殖民地—印度半岛上流传的锡克教传统丰年祭舞曲,原本以手鼓伴奏的强烈节奏,在印巴移民的社区中大为流行,后来经过一些夜总会的DJ将其改编成电子旋律,融合了各种元素,成为世界音乐中的新兴流派,俨然是继印度古典音乐Raga之后,又一种风靡全英的异国音乐,其欢愉的气氛也成为印度电影制作中心—Bollywood最爱使用的配乐类型。
Bhaṅgṛā (Punjabi: ਭੰਗੜਾ (Gurmukhi); pronounced [pə̀ŋɡɽaː]) is a genre of riff-oriented popular music associated with Punjabi culture. It was developed in Britain in the 1980s by first and second generation immigrants from the Punjab region of India and Pakistan forming the Punjabi diaspora, drawing from music and song of the Punjab region as well as various Western musical styles. It is seen by some in the West as an expression of South Asian culture as a whole. Bhangra music was replaced by Punjabi folk music in the mid 1990s. Using the derivative form of Punjabi Folk music and Hip hop, known as Folkhop.
13.蒙古 | 呼麦 Throat Singing¶
“呼麦”是图瓦文xoomei的中文音译，又名“浩林·潮尔”，原义指“喉咙”，即为“喉音”，一种藉由喉咙紧缩而唱出“双声”的泛音咏唱技法。“双声”(biphonic)指一个人在演唱时能同时发出两个高低不同的声音。另外，呼麦又称“蒙古喉音”。呼麦作为一种歌咏方法，主要流传于中国内蒙古，南西伯利亚的图瓦、蒙古、阿尔泰和哈卡斯(Khakass)等地区。西藏密宗格鲁派的噶陀(Gyuto)、噶美(Gyume)两寺，也有使用低沉的喉音来唱诵经咒的传承。
呼麦是一种古老的歌唱方式，声音从喉底里发出来，悠悠远远地往一个很深很深的隧道里面钻，那个隧道是时间的记忆。据说，呼麦已经有千年历史，而今已是蒙古国宝级的艺术，在全世界独一无二。国家非常重视非物质文化遗产的保护，2006年5月20日，蒙古族呼麦经国务院批准列入第一批国家级非物质文化遗产名录。2009年10月1日，中国蒙古族呼麦成功入选世界非物质文化遗产名录。
Throat Singing is a type of singing in which the singer manipulates the resonances (or formants) created as air travels from the lungs, past the vocal folds, and out the lips to produce a melody.
The partials (fundamental and overtones) of a sound wave made by the human voice can be selectively amplified by changing the shape of the resonant cavities of the mouth, larynx and pharynx. This resonant tuning allows the singer to create apparently more than one pitch at the same time (the fundamental and a selected overtone), while in effect still generating a single fundamental frequency with his/her vocal folds.
14.格里高利圣咏 Gregorian chant¶
格里高利圣咏(英语：Gregorian chant)，是西方单声圣歌的主要传统，是一种单声部、无伴奏的罗马天主教宗教音乐。格里高利圣咏主要是在第9世纪和第10世纪，法兰克人到达西欧和中欧期间发展起来，后来继续有所增加和编写。通常人们认为是教宗额我略一世发明了格里高利圣咏，但学者们认为是在后来的加洛林王朝时期，综合了罗马圣咏和高卢圣咏而形成。
格里高利圣咏共有8种调式。传统上，格里高利圣咏由男人或男孩组成的唱诗班在教堂中演唱。
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church.Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope St. Gregory the Great with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of Roman chant and Gallican chant.
Gregorian chant was traditionally sung by choirs of men and boys in churches, or by women and men of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship. During the 20th century, Gregorian chant underwent a musicological and popular resurgence.
15.犹太 | 克莱兹梅尔 Klezmer¶
Klezmer (克莱兹梅尔) 由希伯来语中的「kley」(乐器）和「zemer」(歌) 所组成，意思是「犹太音乐家」。Klezmer音乐最常出现在波兰、罗马尼亚、俄国和乌克兰等地的犹太人教堂或小区 (非犹太人小区也有) ，一般多在结婚生子的喜庆场合中演奏，且以各种形式的舞曲居多。除了小提琴、黑管、手风琴等乐器演奏外，多半以Yiddish语 (伊第绪，一种混合德语和希伯莱语的犹太语言) 发音演唱，电影《屋上提琴手》里的音乐就是相当典型的Klezmer。
十七世纪以来，中东欧的犹太人 (Ashkenazic) 在音乐自主性上保有了较大的权力 (相对于南欧拉丁语系的Sephardic犹太人而言) ，在历经一千多年的流离漂泊后，音乐方面受到了异族文化的影响而产生变化，二次大战以色列建国后，犹太音乐的重心也从欧洲转到了美洲，甚至与爵士乐或乡村音乐融合，Klezmer更是其中代表，传统中从事音乐演奏的犹太乐师多半以口耳相传，因此职业和业余乐手在技巧上的差距颇大，现在则加入许多学院派从事考察、整理旧曲目与创作新曲的工作，Giora Feidman是最具知名度的Klezmer黑管大师，无论在古典乐坛或世界音乐领域中都很活跃。
Klezmer (Yiddish: כליזמר or קלעזמער (klezmer), pl.: כליזמרים (klezmorim), כליזמר from Hebrew: כלי זמר — instruments of music) is a musical tradition of the Ashkenazi Jews of Eastern Europe. Played by professional musicians called klezmorim, the genre originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddish-speaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924, met and assimilated American jazz. During the initial years after the klezmer revival of the 1970s, this was what most people knew as klezmer, although in the current century musicians have begun paying more attention to the “original” pre-jazz traditions as revivalists including Josh Horowitz, Yale Strom, and Bob Cohen have spent years doing field research in Eastern/Central Europe. Additionally, late immigrants from the Soviet Union such as German Goldenshtayn brought their surviving repertoires to the United States and Israel in the 1980s.
Compared to most other European folk music styles, little is known about the history of klezmer music, and much of what is said about it must be seen as conjecture. Starting in 2008, “The Other Europeans” project, funded by several EU cultural institutions, spent a year doing intensive field research in Moldavia under the leadership of Alan Bern and scholar Zev Feldman. They wanted to explore klezmer and lautari roots, and fuse the music of the two “other European” groups. The resulting band now performs internationally. As with this ensemble, groups like Di Naye Kapelye and Yale Strom & Hot Pstromi have incorporated Rom musicians and elements since their inceptions.
16.巴西 | 桑巴 Samba¶
桑巴(葡萄牙语：Samba)，是源于巴西巴伊亚的一种舞蹈和音乐类型。音乐主要是由弦乐、打击乐和歌手来共同完成，而舞者则负责舞蹈的部分。桑巴是巴西最具代表性的国家象征之一。桑巴最早根源于非洲土著带有宗教仪式性的舞蹈，通过被贩卖到巴西的黑人奴隶带到巴西，再遇流传至当地的其他文化混合，渐渐反演成今日的桑巴。桑巴现已被世界公认为巴西和巴西狂欢节的象征。桑巴被认为是最大众化的巴西文化表达形式之一，已经变成巴西国家认同的符号。巴伊亚的圆圈桑巴舞(一种里约热内卢的桑巴)在2005年被联合国教科文组织列入人类非物质文化遗产代表作名录。
桑巴原是非洲土著舞蹈，原是一种带有宗教仪式性的舞蹈。在16至18世纪间，葡萄牙人由非洲如安哥拉、刚果等地引进了大量黑奴至殖民地巴西，以取代巴西人与原住民不愿做的工作，而黑奴也将他们的舞蹈带入巴西。
三十年代桑巴舞传入美国，由于它趣味性强，生动活泼。后来经过美国舞蹈专家们的提练和加工，在基本训练、舞步规范及编排上不断研究与改进，把它纳为拉丁舞系列的五大舞种之一，并正式定为国际标准舞的比赛项目。每逢节日，巴西城镇盛行狂欢，人们会跳起豪放而又带点即兴发挥的桑巴舞蹈，因为它那节奏活泼，一重一轻，很快便流传到欧美各大城市。
桑巴风格：
节拍：2/4 节奏： 每小节有2拍，第二拍为重拍。 速度：每分52-54小节。 风格：音乐欢欣，舞态生动，步伐摇曳绵密。
英文简介
Samba (Portuguese pronunciation: [ˈsɐ̃bɐ]) is a Brazilian dance and musical genre originating in Bahia, Brazil, and with its roots in Rio de Janeiro and Africa via the West African slave trade and African religious traditions. It is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity.The Bahian Samba de Roda (dance circle), which became a UNESCO Heritage of Humanity in 2005, is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro.
The modern samba that emerged at the beginning of the 20th century is predominately in a 2/4 tempo varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.
In addition to distinct rhythms and bar, samba brings a whole historical culture of food, varied dances (miudinho, coco, samba de roda, and pernada), parties, clothes such as linen shirts, and the NAIF painting of established names such as Nelson Sargento, Guilherme de Brito, and Heitor dos Prazeres. Anonymous community artists, including painters, sculptors, designers, and stylists, make the clothes, costumes, carnival floats, and cars, opening the doors of schools of samba. There are also a great tradition of Balroom samba in Brazil, with many styles. Samba de Gafieira is the style more famous in Rio de Janeiro, where comom people used to go to the gafieira parties since the 30’s, and where the moves and identity of this dance has emerged, getting more and more different from its African, European, argentinian and cubam origins and influences.
The Samba National Day is celebrated on December 2. The date was established at the initiative of Luis Monteiro da Costa, an Alderman of Salvador, in honor of Ary Barroso. He composed “Na Baixa do Sapateiro” even though he had never been in Bahia. Thus 2 December marked the first visit of Ary Barroso to Salvador. Initially, this day was celebrated only in Salvador, but eventually it turned into a national holiday.
Samba is a local style in Southeastern Brazil and Northeast Brazil, especially in Rio de Janeiro, São Paulo, Salvador and Belo Horizonte. Its importance as Brazil’s national music transcends region, however; samba schools, samba musicians and carnival organizations centered around the performance of samba exist in every region of the country and, while regional musics prevail in other regions (for instance, in Southern Brazil, Center-West Brazil, and all of the Brazilian countryside, Sertanejo, or Brazilian country music, is the most popular style).Since Rio de Janeiro is the most popular Brazilian city worldwide,usually samba is used to identify Brazilians as part of the same national culture.
17.日本 | 雅乐 Gagaku¶
雅乐(ががく)意指中文”雅正之乐”，是日本兴盛于平安时代的一种传统音乐，也是以大规模合奏型态演奏的音乐。乐曲以器乐曲为多，至今仍是日本的宫廷音乐，是现存于世界最古老的音乐形式。 雅乐最初在奈良时代自中国及朝鲜传入日本，随后经模仿及融合而产生日本雅乐。
不伴随舞蹈的乐器合奏称为管弦；伴随舞蹈的是舞乐；在神乐、东游、久米、催马等曲式中，还包含汉诗(中国诗)的吟诵，称为朗咏。雅乐大约是从1500多年前传入日本。它不单是外来的元素，而且是一种混合多种文化的音乐艺术，因为它是由中国的唐乐、朝鲜的高丽乐(独乐)、百济乐、亚洲其他古代音乐以及日本传统的本土音乐结合而成，并以之为基础，逐渐融入日本的文化中去。
我国也有一种叫雅乐的传统音乐，虽同名，但内容却区别于日本的雅乐。
雅乐的曲式：乐曲依序分为“序”、“破”、“急”三个乐章。序的主旋律最从容，演奏的快慢自由，没有节拍的限制。破的旋律也是从容不迫地流动著，而拍子固定是一小节八拍。急则是轻快的旋律，一小节四拍；但是依演出曲目的不同，“急”的节奏不一定快，因此也是一组乐曲中第三首的意思。
雅乐一般可以分为三部分：
一、国风歌舞(本土的古传节目)。有着著名的《神乐歌》、《东游》、《大和歌》、《久半歌》、《大歌》等。其中的《神乐歌》是雅乐中最神秘庄重的节目，为历代宫中举行最高祭殿仪式时所采用。
二、外来乐舞(国外输入的节目)。主要有唐乐和高丽乐。唐乐有管弦合奏曲和舞乐伴奏曲。高丽乐的所有节目，都是作为舞乐的伴奏曲而存在，没有单独演奏的曲目。
三、歌舞(日本平安时代的歌曲)。专为贵族演奏的声乐曲。形式多样，既有在歌词中吸收了古日本的民歌的“催马乐”，也有以汉诗为歌词进行歌唱的“朗咏”等。这些音乐才是在宫中“御游”时和贵族宴会时演奏的音乐。
日本雅乐乐器：远古演奏雅乐的乐器真的是多不胜数，但随着年代的推移，乐器的数量则逐渐简化。一般有笙、七弦琴 、神乐笛、和琴、笏拍子、三之鼓、琵琶等几十种乐器，而箫、五弦、尺八、箜篌、方响就已经淘汰了。
18.犹太音乐 Jewish Music¶
公元初犹太人在反对罗马帝国的“犹太战争”中失败，不少人被迫离开故土，陆续流散在世界各地，因此，在地域上未能形成一个固定的文化中心。但其古老的文化，尤其是音乐，却通过犹太教的世代流传，在一定程度上通过口头传授而将其特点保持下来。
据《旧约》所载，古代犹太音乐已相当发达，用于宗教、宫廷和日常生活之中。当时还有多种乐器，如银号、羊角号、竖笛、各种利拉、钹、水铃、手鼓和鼓等。乐器除用于伴唱外，还可独奏。据西方音乐学家的考证，留存在也门、巴比伦、伊朗、叙利亚各地的犹太宗教歌曲，可能比较接近古代犹太音乐的原型，有些曲调的骨架与天主教的格列高利圣咏颇为相似,并有多种调式,每一种调式都表现一种气质。 有关犹太音乐的文献不多,已知的约到7世纪。在巴勒斯坦和巴比伦的犹太教堂中所吟唱的宗教歌曲与基督教早期音乐比较相近，没有纯器乐演奏，只有经文吟诵调、诗篇的歌调以及祈祷文,主要是单旋律的歌曲。9世纪时，犹太教的经文吟诵已具有一定的重音规则，用记号记载在经文之上,其意义及唱法由歌唱者口头传授,不同的经文各有不同的吟诵方式。祈祷文根据不同的仪式要求有不同的旋律模式，歌唱时可由歌手即兴地加以装饰性的发展,这种传统一直持续到19世纪中叶。在7世纪时，还出现了合唱队。9世纪以后,出现一些旋律比较定型的歌调，这些歌调往往带有阿拉伯民歌与天主教圣歌的影响。
Jewish music is the music and melodies of the Jewish people which have evolved over time throughout the long course of Jewish history. In some instances Jewish music is of a religious nature, spiritual songs and refrains are common in Jewish Services throughout the world, while other times, it is of a secular nature. The rhythm and sound of Jewish music varies greatly depending on the origins of the Jewish composer and the time period in which the piece was composed.
As Velvel Pasternak writes, “The importance of music in the life of the Jewish people is found almost at the beginning of Genesis… [musicians are] mentioned among the three fundamental professions…. Music was viewed as a necessity in everyday life, as a beautifying and enriching complement of human existence.”
19.西班牙 | 弗拉门戈 Flamenco¶
弗拉门戈（Flamenco），是一种源于西班牙南部安达卢西亚地区的艺术形式，包括歌曲、音乐和舞蹈。
弗拉门戈的形成深受安达卢西亚地区的摩尔人和犹太人的影响，还吸收了大量罗姆人（吉普赛人）的艺术元素。当代著名的弗拉门戈舞蹈家大多是罗姆人。由于西班牙政府以此推动旅游业，弗拉门戈舞已经成了西班牙舞蹈甚至西班牙文化的代表。
弗拉门戈音乐有50种，每种有自己的节奏模式。弗拉门戈舞蹈是一种即兴舞蹈，没有固定的动作，全靠舞者和演唱、伴奏的人以及观众之间的情绪互动。
Flamenco (Spanish pronunciation: [flaˈmeŋko]) is a form of Spanish folk music and dance from the region of Andalusia in southern Spain. It includes cante (singing), toque (guitar playing), baile (dance) and palmas (handclaps). First mentioned in literature in 1774, the genre grew out of Andalusian and Romani music and dance styles.Flamenco is often associated with the Romani people of Spain (Gitanos) and a number of famous flamenco artists are of this ethnicity. While flamenco originally crystalized among gypsies in the 18th century,some authors believe that modern flamenco mostly emerged out of late nineteenth-century romanticism.
In recent years flamenco has become popular all over the world and is taught in many countries: in Japan there are more academies than there are in Spain. On November 16, 2010 UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
20.美国 | 凯金 Cajun¶
凯金音乐(Cajun)是一种节奏欢快,充满切分音的音乐,流传于西南部路易斯安那讲法语的Acadian的人群中。这种音乐主要采用小提琴和手风琴,乐队还包括了一个鼓手,但这种音乐仍然被认为更接近原声音乐。Jimmy C.Newman,Dong Kershaw和Eddy Raven是当代Cajun音乐的佼佼者。
Cajun music is rooted in the music of the French-speaking Catholics of eastern Canada and became transformed into a unique sound of the Cajun culture. In earlier years of the late 18th century the fiddle was the predominant instrument and the music tended to sound more like early country music. Cajun music is typically a waltz or two step. Unlike the folk music of Quebec it is not associated with the Celtic tradition.
21.美国 | 柴迪科舞曲 Zydeco¶
柴迪科舞曲是美国路易斯安那州南部的一种黑人舞曲，将法国舞曲与加勒比音乐和布鲁斯结合在一起，使用的乐器如吉他和手风琴，甚至连洗衣板也拿来当作乐器使用，相当具有传统草根性的音乐，听起来类似蓝调，却多了一些俏皮活泼的感觉。(更别具一格的，是挂在胸前的“洗衣板”──盔甲状的铁皮“刮击”乐器。)
Zydeco is a musical genre evolved in southwest Louisiana by French Creole speakers which blends Cajun music, blues and rhythm and blues.
22.巴西 | 全域音乐 MPB¶
MPB (巴西全域音乐；音读作[emi-be-‘be])，是Musica Popular Brasileira (即英文的Brazilian Popular Music)的缩写，但其定义并非如此“简单”，也不能直接照字面来翻译，且亦不能和一般所谓的pop乐及巴西本土的pop乐混为一谈。因为，所谓的MPB (巴西全域音乐)，也就是对于被归类为MPB的巴西musicians，乃系代表着他们的音乐是包罗万象而各自独树一帜的。其创作唱奏音乐的素材曲风是没有地域背景或乐风范畴的局限而能运用自如，且主要在于巴西所有的音乐风格和其他乐风皆是他们用作诠释创作的题材而从中加以发挥创新。
所以，MPB是一种象征，是一种领域，是一种代表，是一种称号；举凡是MPB的musicians，就像是“十项全能”的音乐健将，或者可说其是具备了“十八般武艺”。换言之，他们即是代表着拥有丰富乐思而唱作俱佳的“全能musicians”。也因而，MPB所引申而意指的则是所谓“巴西全域音乐”的领域总称。
巴西丰富的人文和地理背景，使其拥有着数十种的乐风如bossa nova、samba-cancao、choro、modinha等等。而在MPB出现前，巴西乐手唱奏的音乐，系有其固守的范畴类别，也就是依一个或数个州划分的区域(region)如东南、东北、中西部等，以及视该州或区域源创或盛行那些乐风，还有乐手生长于哪一州或属哪一区域，而自然形成壁垒分明的乐派风格，即如samba的乐者不会去唱奏forro，或是bumba-meu-boi的乐者不会去唱奏choro；而MPB的出现，却打破了巴西传统音乐固守疆域的藩篱。虽然，MPB亦是巴西音乐的其中一范畴类别，但其所代表象征的，系指隶属于MPB的乐者，其所创作及唱奏的音乐内涵遍及涉猎了巴西本土的各式乐风以及包含国际其他音乐素材。
MPB的诞生，除了与1964年3月31日的巴西政坛之变化而造成由军人执政 (至1985年始恢复平民总统)，其对于文字言论的箝制，使得像乐手、记者、作家等，皆有因歌词或文章有政治抗议成分的而相继被捕入狱或暂自我放逐他国一段时日外，主要是自1965年后陆续崛起的巴西乐坛菁英，无论之前是否已有灌录唱片或已具备知名度，皆还是为了一展其音乐才华实力而积极参加由巴西的几家电视媒体或唱片界所举办或赞助的一连串竞争激烈的音乐比赛，并从其中脱颖而出。而这些比赛的参赛过程大致均须经由音乐家、乐评主笔和唱片界人士所组成之评审来初审筛选参赛者能否入围参赛，到获得参赛资格，再到评审列席和现场观众聚集的正式比赛，并透过现场转播而呈现于电视萤光幕前，可以说能够在比赛中夺得冠军或名列前茅的参赛者均是具备有过人实力，以致是实至名归而无法有半点侥幸的。
所以，像是自1965年第一届的“Festival da Musica Popular Brasileira巴西全域音乐大赏”中，以一首由Edu Lobo (艾都．娄伯)作曲、Vinicius de Moraes (费尼希邬斯．迪摩赖斯)作词的”Arrastao”(撒网)夺得冠军的Elis Regina (艾莉丝．海吉娜)。到翌年第二届时，Chico Buarque (席古．布瓦奇)与Nara Leao (娜拉．黎翁)合作对唱由Chico Buarque自行创作的”A Banda” (乐团)，以及与Jair Rodrigues (贾伊．侯迪里给斯)演唱Geraldo Vandre (杰劳度．法得雷)和Theo de Barros (得欧．迪巴何斯)所创作的”Disparada”(全速)而同时并列为第一。再到第三届时，由Edu Lobo唱奏他与Capinam (噶毕拿)所创作的”Ponteio”(乱弹一把)而夺得冠军，另亚军则由Gilberto Gil (吉贝度．吉尔)和Os Mutantes (突变体乐团)演唱Gilberto Gil自行创作的”Domingo no Parque”(星期天在公园)获得，而Caetano Veloso (盖登弩．斐娄叟)与来自阿根廷的乐团Os Beat Boys (节奏男孩)所合唱的个人创作”Alegria, Alegria”(兴高采烈)则获得该届的第四名；而由Gilberto Gil、Caetano Veloso、Gal Costa (高儿．歌丝达)、Os Mutants、Nara Leao、Tom Ze (东．泽)等发动的Tropicalia (热潮乐流)之巴西全域音乐movement即从此时展开，虽然至1969年时因军政府的强势干预而嘎然而止，但MPB已是屹立不摇。
再者，由于这些身经百战而过关斩将且脱颖而出的参赛者均有自成一格的独特风格，并在创作和诠译唱奏上予人不落俗套且擅于推陈出新的气势格局。因而，在他们相继成为巴西乐坛的全能菁英时，也同时对巴西音乐瞬间掀起了巨大的风潮并建立起所向披靡而突破传统藩篱的全能领域。况且，由于这些建立起巴西音乐全能领域的元老菁英皆从巴西各大音乐竞赛脱颖而来，尤其是从1965年所展开的“Festival de Musica Popular Brasileira”在率先发掘乐坛新秀的同时，也带动了其他的音乐大赏的蓬勃举办而加入发掘乐坛菁英的行列，因而，MPB就这么地被用来象征代表巴西全能musicians之所谓“巴西全域音乐”之领域总称。
英文简介
Música Popular Brasileira (Portuguese pronunciation: [ˈmuzikɐ popuˈlaʁ bɾaziˈlejɾɐ], Brazilian Pop Music) or MPB is a trend in post-Bossa Nova urban popular music. It is not a distinct genre but rather a combination of original songwriting and updated versions of traditional Brazilian urban music styles like samba and samba-canção with contemporary influences, like folk, rock, pop and jazz.
MPB is a contemporary trend that has produced many renowned Brazilian artists, like Jorge Ben, Novos Baianos and Chico Buarque, whose individual styles generate trends within the genre. The term can mean either any kind of music with Brazilian origins or a voice and guitar style that arose in the late 1960s. MPB can also be influenced by newer, non-traditional musical trends.
23.福音 Gospel¶
福音音乐(Gospel Music)是一种宗教音乐，主要强调有节奏的器乐伴奏和即兴演唱。
福音音乐是历史上美国的黑人农奴接受了基督教的信仰之后，常在田里祈祷，希望减少劳动的痛苦。不久便演变成即兴的音乐表演。在奴隶制废除之后，黑人们组织了自己的教堂，并把这种音乐形式作为教堂活动的一种。20世纪中期，猫王把福音音乐引进到自己的风格中，随后汽车城唱片公司将这种音乐商业化。70年代后期，福音音乐逐渐流行化，并采用流行音乐的制作和造星方式，演变成当代基督教音乐。主要的福音音乐艺术家有艾瑞莎·弗兰克林、苏珊大妈、维南斯家族和柯克·弗兰克林。
福音音乐(Gospel Music)，主要强调有节奏的器乐伴奏和即兴演唱。演唱风格以运用单音节装饰音(几个音符合为一个音节演唱)、歌词高声喊唱为特点。鼓和电吉他伴奏出亢奋的节拍和突出的节奏。
Gospel music is a music genre. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace.
24.墨西哥音乐 Regional Mexican¶
墨西哥地区电台是一种音乐电台的广播格式，通常定义为包括班达、兰切拉、马里亚奇、Tejano、Grupero和Norteña。它是美国最受欢迎的针对拉美裔美国人的广播格式。来自墨西哥北部的大量移民可能会导致墨西哥地区广播电台强调北欧，尽管拉美裔听众较多的市场可以有多个墨西哥地区电台，不同地区的音乐来自哪个地区。
Regional Mexican is a radio format for music radio, typically defined to include Banda, Ranchera, Mariachi, Tejano, Grupero and Norteña. It is the most popular radio format targeting Hispanic Americans in the United States.
The large number of immigrants from Northern Mexico can lead to an emphasis upon Norteña on Regional Mexican radio stations, though markets with larger Hispanic audiences can have multiple Regional Mexican stations, with variations in which region from which the music is taken.
25.加勒比 | 卡吕普索 Calypso¶
Calypso指的是加勒比群岛上流传的一种即兴讽刺歌，曲调相当的轻鬆幽默，歌词也十分俏皮可爱，让人跟着节奏不知不觉地随之摇摆，一如我们对岛国音乐的印象。音乐在加勒比群岛的地位是相当重要的，不管是婚丧喜庆都需要有音乐的辅助，才能更增加气氛。
Calypso是一种非洲加勒比音乐风格，起源于20世纪初至中期的特立尼达和多巴哥。它的节奏可以追溯到西非凯索和17世纪来自法属安的列斯群岛的法国种植园主和他们的奴隶的到来。这种音乐受到非洲和法国的影响，成为人们的声音，其特点是高度节奏性和和谐性的人声，最常用法国克里奥尔人演唱，由骗子领唱。随着卡里普索的发展，格里特(最初是西非的一位类似的旅行音乐家)的角色被称为chantuelle，并最终被称为calypsonian。随着英语取代波托语(克里奥尔法语)成为主导语言，加里普索人迁移到英语中，在这样做的过程中，它引起了政府更多的关注。它允许群众质疑未经选举产生的州长和立法委员会以及西班牙港和圣费尔南多选举产生的城镇议会的所作所为。卡里普索继续在政治表达中发挥重要作用，也记录了特立尼达和多巴哥的历史。虽然大多数权威人士都强调卡利普索起源于非洲，但在他1986年出版的书《从法国到特立尼达：800年的历史》(Calypso from France to特立尼达：800年of History)中，经验丰富的卡里普索咆哮狮子(Rafael De Leon)断言，卡利普索起源于中世纪法国吟游诗人的音乐。
Calypso is a style of Afro-Caribbean music that originated in Trinidad and Tobago during the early to mid 20th century. Its rhythms can be traced back to West African Kaiso and the arrival of French planters and their slaves from the French Antilles in the 1600s.
The music, which drew upon African and French influences, became the voice of the people, and was characterized by highly rhythmic and harmonic vocals, which was most often sung in a French creole and led by a griot. As calypso developed, the role of the griot (originally a similar traveling musician in West Africa) became known as a chantuelle and eventually, calypsonian. As English replaced patois (creole French) as the dominant language, calypso migrated into English, and in so doing it attracted more attention from the government. It allowed the masses to challenge the doings of the unelected Governor and Legislative Council, and the elected town councils of Port of Spain and San Fernando. Calypso continued to play an important role in political expression, and also served to document the history of Trinidad and Tobago.
While most authorities stress the African roots of calypso, in his 1986 book, Calypso from France to Trinidad: 800 Years of History, that veteran calypsonian, The Roaring Lion (Rafael de Leon) asserted that calypso descends from the music of the medieval French troubadours.
26.多米尼加 | 默朗格 Merengue¶
默朗格舞曲(Merengue)多米尼加一种舞曲,据说是非洲和西班牙歌曲混合延伸而来,传说有可能是早期黑奴多遭到地主压榨劳力,为了防止奴隶逃走,往往将两个人的脚用脚镣铐在一起,以便利采收甘蔗,因此搭配鼓声,奴隶们随着鼓声,让两个人拖着脚步一起采收甘蔗,有一点像是,二人三脚的动作。不过默朗格舞曲真正来源已不可考。
1920年代多米尼加人Ñico Lora正式把此舞曲定位,多国独裁者楚希略于1930年代把默朗格舞曲风格推广到全国各地,由于其舞曲轻快,很快的就传遍各地。演奏默朗格舞曲的乐器主要有沙鼓、小喇叭、手风琴和多国特有的Güira(铁刷)。1980年代和1990年代,外流的多米尼加移民把默朗格舞曲传到国外,而逐渐的流行到美国东岸各大城市间。
Merengue is a type of music and dance originating in the Dominican Republic which has become one of the most popular genres throughout Latin America. The etymology of its name is much disputed. It may derive from the French dessert meringue, but it is also likely to be related to similar West African words related to dance and music.
Merengue was first mentioned around the middle of the 1800s. In the Dominican Republic it was promoted by Rafael Trujillo, the dictator from the 1930 to 1961, who turned it into the country’s national music and dance style. In the United States it was first popularized by New York-based groups and bandleaders like Rafael Petiton Guzman, beginning in the 1930s, and Angel Viloria y su Conjunto Típico Cibaeño in the 1950s. It was during the Trujillo era that the merengue “Compadre Pedro Juan”, by Luis Alberti, became an international hit and standardized the 2-part form of the merengue.
27.古巴 | 伦巴 Rumba¶
伦巴，起源于非洲，19世纪初出现于古巴，于20世纪初发展并流行起来。30年代初，伦巴传入美国及欧洲各国，同时融入爵士乐成分，使其风靡一时，伦巴的基本节奏型为：×× ×× ×× ×× ，传入欧美后出现了 0 ×× ×× 0× 0× 的变体，并采用沙球、响棒、康加鼓等拉美打击乐器加强节奏。传统伦巴速度中庸，每分钟约40至50拍，通常为4/4拍，后来也出现快速的2/4拍的伦巴。
伦巴作为一种音乐风格的起源同样植根于商业和文化交流。当禁酒令将在美国出售酒类定为非法时，美国暴徒南下前往古巴，建立走私活动和夜总会、酒店和赌场等旅游网点。在“千人谋杀案主席”马查达将军(General Machada)的支持下，哈瓦那周围地区成为了像Tropicana这样的世界著名俱乐部的所在地，并成为寻求逃离家乡严峻苍白的美国富人的主要目的地。随之而来的美国游客的涌入，帮助美国人对古巴音乐产生了强烈的渴望，当游客们带着充满活力的拉丁音回家时。然而，利用这一趋势的纽约夜总会和好莱坞电影制片人被岛上正宗的Son和伦巴乐队的黑皮肤球员和复杂的节奏吓跑了，转而推广了一种由洛杉矶的泽维尔·库加特(Xavier Cugat)等音乐家推出的大乐队混合体。这种音乐虽然与伦巴的名字几乎相同，但与起源于哈瓦那和其他城市黑人社区的音乐几乎没有什么共同之处。伦巴这个名字在向美国观众推销时有效地唤起了异国情调和充满活力的形象，尽管正宗的伦巴在这个时候也在经历变化，因为新一代音乐家采用了钢琴和直立的低音等西方乐器，以努力听起来不那么俗气和民族。这个名字被广泛使用，伦巴的许多原创热门歌曲，比如唐·阿兹皮亚苏(Don Azpiazu)改编的莫伊斯·西蒙(Moises Simón)的“El Manciero”，实际上都是儿子的歌曲。民间音乐的节奏为伦巴提供了一个起点，但库加特的泛拉丁影响和纽约的摇摆乐队帮助它发出了迅速演变的声音，几乎立即成为全球热潮。哈瓦那以文化中心而闻名，但那里的许多乐队知道钱是从哪里来的，并给自己起了像Happy Happy和Swing Havana这样的英文名字，以增加他们的商业吸引力。迈阿密和纽约都成为伦巴热潮的中心-纽约伦巴从迈阿密的大乐队和乐队指挥那里得到了启示，比如德西·阿纳兹(Desi Arnaz)，引入了康加鼓和嘉年华风格的排舞等新元素(传统的伦巴舞蹈被认为对非古巴人来说太难学了)，创造出比伦巴更具感染力、更简单的舞曲。到了40年代末，大多数伦巴音乐都采用了迈阿密风格的康加鼓和排舞，取而代之的是“康加”。然而，直到70年代，“萨尔萨”这个无处不在的术语开始被用于几乎所有的大乐队拉丁音乐，伦巴才被普遍用于识别几乎所有来自古巴的音乐。–斯塔西亚·普罗伊弗洛克(Stacia Proefrock)–斯塔西亚·普罗弗罗克(Stacia Proefrock)–斯塔西亚·普罗弗洛克(Stacia Proefrock)
Rhumba’s beginnings as a musical style are equally rooted in commercialism and cultural exchange. When Prohibition made it illegal to sell alcohol in the United States, the American mob journeyed south to Cuba to set up smuggling operations and tourist outlets like nightclubs, hotels and casinos. Supported by General Machada, “The President of a Thousand Murders,” the area around Havana became home to world-famous clubs like the Tropicana and became a major destination for wealthy Americans seeking to escape the austere pallor that had descended back home. The resulting influx of visitors from the U.S. helped create fervent cravings for Cuban music in the States when the tourists returned home with heads full of vibrant Latin sounds. The New York nightclubs and Hollywood movie producers who capitalized on this trend, however were scared away by the dark-skinned players and complex rhythms of the authentic son and rumba bands from the island, and instead promoted a kind of big-band hybrid which was introduced by musicians like Los Angeles-based Xavier Cugat. This music, while sharing a nearly identical name with rumba, had little in common with the music that had originated in the black neighborhoods of Havana and other cities. The name rhumba was effective in conjuring up exotic and exuberant images to market to American audiences, even though authentic rumba was also going through changes at this time as a new generation of musicians adopted western instruments like the piano and upright bass in an effort to sound less folky and ethnic. The name was broadly applied, with many of rhumba’s original hits, like Don Azpiazu’s arrangement of Moises Simón’s “El Manciero” actually being son songs. The rhythms of folk music provided rhumba a jumping-off point, but Cugat’s pan-Latin influences and the swing bands of New York helped give it a rapidly evolving sound that nearly immediately became a worldwide craze. Havana became known as a cultural center, but many of the bands there knew where the money was coming from and gave themselves English names like Happy Happy and Swing Havana to increase their commercial appeal. Both Miami and New York became centers of the rhumba craze — with New York rhumba taking cues from big bands and bandleaders in Miami like Desi Arnaz importing new elements like conga drums and carneval-style line dances (the traditional rumba dances were thought to be too hard for non-Cubans to learn) to create dance music that was even more infectious and uncomplicated than rhumba had been. By the late ‘40s, most rhumba music had picked up the conga drums and line dances of the Miami style and began to be known as “conga” instead. However, until the ubiquitous term, “salsa” began to be applied to nearly all big-band Latin music in the ‘70s, the term rhumba was used generically to identify nearly all music from Cuba. — Stacia Proefrock
28.法国 | 香颂 Chanson¶
香颂(法语：chanson)，意为歌曲，源自于拉丁文cantio，是法国通俗歌曲和情爱流行歌曲的泛称，以甜美浪漫的歌词著称于世。专业的香颂歌手称为chanteur(男)或chanteuse(女)。
今天在法国，香颂往往指的是像雅克·布雷尔、艾迪特·皮雅芙等著名歌手的作品，区别于其他法国流行音乐，按照法语的节奏，而不是英语的节奏，因此被认为特别“法国”。此外，香颂的歌词也特别讲究韵味和意境。
A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specializing in chansons is known as a “chanteur” (male) or “chanteuse” (female); a collection of chansons, especially from the late Middle Ages and Renaissance, is also known as a chansonnier.
29.世界融合 World Fusion¶
World Fusion 指第三世界音乐的融合，也指融合了爵士乐的世界音乐,尤指融合了异教徒音乐，非西方音乐，以及新音乐三方面的元素。 异教徒音乐混合了爵士乐的即兴方式（拉丁爵士）；通常，其中独奏的部分更多的使用即兴爵士乐 ，而伴奏和合成部分则和异教徒音乐一样。第二种元素也是以融合了特定的非西方音乐的爵士乐为主。比如Dizzy Gillespies 在“突尼斯之夜”中的表演；70年代Keith Jarretees录制的四重奏，其中合声和中东乐器的使用；50年代到90年代Sun Ras也融合了非洲音乐的节奏；Yusef Lateefs录制的一些唱片也兼容了传统伊斯兰乐器和配乐方式。第三种元素则是受到新音乐的影响，显著的变化来自于爵士的即兴革新创作：乐器，合声，合成实践，以及已有的异教徒传统韵律。尽管这样的融合具有独创性，但仍能反映出非爵士，异教徒的传统。比如Don Cherrys，Codona and Nu；John McLaughlins从70年代到90年代的一些音乐很大程度地吸取了印度的传统音乐；而Don Ellis 70年代也借鉴了不少印度和保加利亚的音乐； Andy Narrell 在90年代则把特立尼达岛的音乐与乐器和即兴爵士，funk style 融合起来。World Fusion 并不是和现代爵士一起首次出现，其发展趋势并没有游离在美国爵士之外。举例来说，波力尼西亚音乐在20世纪初融入了西方流行音乐 ，吸引了早起的爵士音乐家。加勒比海舞蹈的节奏在整个20世界成为了美国流行文化的一个重要组成部分，而爵士音乐家们越来越多的汲取流行音乐元素势必使这种融合继续下去。Django Reinhardt 30年代的音乐，融合了吉普赛音乐，法国即兴爵士以及印象派室内乐。
World Fusion refers to a fusion of Third World music, but the term also refers to world music with jazz, specifically with one of three subgenres (ethnic, non-Western, and new music). The ethnic music subgenre has incorporated jazz improvisations (for example, Latin jazz); frequently, only the solos are improvised jazz. The accompaniments and compositions are essentially the same as the ethnic music.
The second subgenre features jazz that has incorporated limited aspects of a particular non-Western music. Examples include performances of Dizzy Gillespie’s “A Night in Tunisia”; music on some of the 1970s’ quartet recordings by Keith Jarrett’s quartet and quintet on Impulse, in which Middle Eastern instruments and harmonic methods are modified and used; some of Sun Ra’s music from the 1950s into the 1990s, in which African rhythms are incorporated; and some of Yusef Lateef’s recordings that feature traditional Islamic instruments and methods.
The last subgenre of world fusion with jazz influences consists of new musical styles that result from distinctly original ways of combining jazz improvisation with innovative ideas – and the instruments, harmonies, compositional practices, and rhythms of an existing ethnic tradition. The product is original, but its flavor still reflects some aspects of a non-jazz, ethnic tradition. Examples include Don Cherry’s bands Codona and Nu; some of John McLaughlin’s music from the 1970s and the 1990s that drew heavily on the traditions of India; some of Don Ellis’ music of the 1970s that drew on the music of India and Bulgaria; and work by Andy Narrell in the 1990s that melds the music and instruments of Trinidad with jazz improvisations and funk styles.
World fusion jazz did not first occur with modern jazz, and its trends are not exclusive to American jazz. For instance, Polynesian music was fusing with Western pop styles at the beginning of the 20th century, and its feeling attracted some of the earliest jazz musicians. Caribbean dance rhythms have been a significant part of American pop culture throughout the 20th century, and since jazz musicians frequently improvised when performing in pop music contexts, blends have been occurring almost continuously. Django Reinhardt was melding the traditions of Gypsy music with French impressionist concert music and jazz improvisation during the 1930s in France. Also see Latin jazz and jazz-rock fusion. – Mark C. Gridley
The subgenre world fusion is often mistakenly assumed to refer exclusively to a blending of Western jazz fusion elements with world music. Although such a hybrid expression falls easily into the world fusion category, the suffix “fusion” in the term world fusion should not be assumed to mean only jazz fusion. Western jazz combined with strong elements of world music is more accurately termed world fusion jazz, ethnic jazz or non-Western jazz. World fusion and global fusion are nearly synonymous with the genre term worldbeat, and though these are considered subgenres of popular music, they may also imply universal expressions of the more general term, world music. Throughout the 1970s and 80s, fusion in the jazz music genre implied a blending of jazz and rock music, which is where the misleading assumption is rooted.
The world fusion genre at JMA is not just a collection of world beat artists, but is instead a collection of artists who bring world beat influences to the ever expanding world of jazz fusion. Since fusion artists from the US, Western Europe and Latin America are usually covered in our other fusion genres, the world fusion genre typically carries fusion artists with African, Asian, Middle Eastern and East European influences.
Once again though, the world fusion artists at JMA also display the improvisational aspects and virtuoso soloing associated with jazz and fusion.
新世纪 New Age¶
新世纪音乐（英语：New Age music）又译作新纪元音乐，是一种在1970年代后期出现的一种音乐形式，原本的用途在于帮助冥思及作心灵的洁净，但后期的创作者不少已不再抱有这种出发点。有一种说法讲，由于其丰富多彩、富于变换，不同于以前任何一种音乐：它并非单指一个类别，而是一个范畴，一切不同以往，象征时代更替诠释精神内涵的改良音乐都可归于此内，所以被命名为New Age，即新世纪音乐。而提倡这种利用音乐心灵洁净的人，主要源自一个叫作新纪元运动的宗教派别。
New Age music is downtempo music intended to create artistic inspiration, relaxation, and optimism. It is used by listeners for yoga, massage, meditation,and reading as a method of stress management or to create a peaceful atmosphere in their home or other environments, and is often associated with environmentalism and New Age spirituality.
The harmonies in New Age music are generally modal, consonant, or include a drone bass. The melodies are sometimes recordings of nature sounds and used as an introduction to a track or throughout the piece. Pieces of up to thirty minutes are common.
New Age music includes both electronic forms, frequently relying on sustained synth pads or long sequencer-based runs, and acoustic forms, featuring instruments such as flutes, piano, acoustic guitar and a wide variety of non-western acoustic instruments.
Vocal arrangements were initially rare in New Age music but as it has evolved vocals have become more common, especially vocals featuring Native American, Sanskrit, or Tibetan influenced chants, or lyrics based on mythology such as Celtic legends or the realm of Faerie.
1.自然新世纪 Nature New Age¶
新世纪音乐作为在1970年代出现的一种音乐形式，最早用于帮助冥思及洁净心灵 。但许多后期的创作者认为，新世纪音乐不同于以前任何一种音乐，其丰富多彩、富于变换的特征不同以往，象征时代更替、诠释精神内涵。
自然新世纪主要取样于自然界的天然声响，如鸟鸣林啸、风声鹤唳等。在自然之声的基础上，加以自然乐器演奏，包括一般听众熟悉的常规乐器，如钢琴、小提琴、吉他等等，其中被用得最多的一方面是接近东方乐器音色的乐器，如双簧管、英国管等，另一方面，民间性质的乐器，如曼多林、手风琴、排箫等也常可听到；有些演奏者特别喜欢东方的打击乐器，如小铃、大锣和钟等，现在还有些新世纪音乐家热衷于把那些非洲的战鼓等原始的乐器掺入他们的音乐中。有的则是电声乐器，它所制造的音响也偏重神秘的、飘渺的色彩，许多新世纪音乐家都是电脑音乐高手。
大自然，都是新世纪艺术家们所热衷的题材。自然新世纪运用最纾缓圆滑的旋律，以及高度放松、高度宁静的音乐情绪，一点一滴的安定、松放过度运作的交感神经细胞。让人享受真正得到休息后，所带来的宁静与幸福感。
2.精神新世纪 Spiritual New Age¶
精神音乐专辑的设计意图，在于通过聆听一些温和的音乐，以帮助听众探寻他们的精神世界，精神音乐专辑的基本结构以现代乐器为主，与普通器乐专辑的区别在于其设计意图与受众，人们或许也能从其他器乐专辑中寻得精神寄托，而精神音乐专辑却是以此为目的专门设计而成的
Spiritual albums are designed to help the listener explore their spiritual side through listening to the gentle music. It shares the basic structure and sound of many contemporary instrumental records. The difference is the intent and marketing – while other contemporary instrumental albums may help the listener discover spirituality, spiritual albums are designed to do so.
3.民族融合新世纪 Ethnic Fusion New Age¶
不要将这里的Ethnic Fusion和World Fusion（爵士音乐和世界音乐的融合）以及Worldbeat（加入了西方流行音乐元素的世界音乐）搞混了。Ethnic Fusion一般是建立在New Age音乐的声音和哲学之上，是将传统的各民族音乐融入当代的电子音乐中，以期在西方的偏重技术和自然与民族的文化间找到一种和谐与平衡。爵士音乐家Tony Scott和Don Cherry可能是第一次将世界音乐合成到西方音乐体裁中；Jon Hassell的著名的音乐拓宽了这些Ethnic Fusion实验的范围，并由此在70年代促成了这种音乐类型，后来他又在80年代早期和Ambient的先驱Brian Eno进行合作。渐渐地，这种音乐类型成了当代诸多敢于冒险的器乐家们借用新鲜的节奏和非西方的乐器来拓宽自身音乐领域的一种乐衷的方式，而另外一些人则是在独特的民族音乐中加入当代器乐或是新世纪音乐的成分。后者的艺术家如Clannad（塞尔特民谣）、Ottmar Liebert（弗拉门哥）、Kitaro（日本传统音乐）和R. Carlos Nakai（美国本土笛乐）。90年代早期，Enigma, Dead Can Dance和Deep Forest又在这种音乐中引入了俱乐部跳舞节奏以及混音技术，其应用可以从欧洲中世纪音乐直到采样的非洲土著音乐。但尽管如此，这种音乐也很少可能有更大的市场突破。
Ethnic Fusion is not to be confused with world fusion (a synthesis of jazz and world music) or worldbeat (which may draw from any number of world musics, often adding a Western pop influence). Instead, ethnic fusion is generally rooted in the sounds and philosophies of new age music, seeking to incorporate traditional ethnic folk musics into contemporary electronic music. Often, though not always, the aim is to find ways to create unity and harmony between Western technology and more earth- and nature-oriented cultures. Jazz musicians like Tony Scott and Don Cherry were some of the first to synthesize world music with Western forms, and minimalist composers like Terry Riley and Philip Glass sometimes drew upon non-Western scales and structures. These experiments informed early ethnic fusion, most notably the music of Jon Hassell, who helped establish the style during the late ‘70s and early ‘80s with his solo work and his collaborations with ambient pioneer Brian Eno. In time, ethnic fusion became a favorite way for adventurous contemporary instrumental musicians to broaden their sound with new rhythms or non-Western instrumentation; others came naturally to a particular ethnic music and fused it with a contemporary instrumental/new age sensibility. Artists in the latter category included Clannad (Celtic folk), Ottmar Liebert (flamenco), Kitaro (Japanese folk melodies), and R. Carlos Nakai (Native American flute music). During the early ‘90s, ethnic fusion artists like Enigma, Dead Can Dance, and Deep Forest found a wider audience with the introduction of club-ready dance beats into the mix, which could feature anything from medieval European music to sampled field recordings of African pygmies. But even if there were very few larger commercial breakthroughs, ethnic fusion maintained a degree of popularity through the remainder of the ‘90s.
4.宗教新世纪 Religionary New Age¶
5.太空新世纪 Space New Age¶
Space 太空乐
音乐的太空时代始于霍尔斯特。1918年，他的《行星》组曲上演的时候就已经让听众大吃一惊，霍尔斯特身处新旧时代的交汇点。他的音乐中保留了晚期浪漫派的庞大和幽远，又加入了现代音乐独有的神秘感和紧张度。进入1900年以后，科学的飞速发展极大地影响和改变了作曲家的宇宙观。《行星》组曲的七个乐章分别对应太阳系的七大行星(地球未包括，冥王星则尚未发现)，作曲家不再拘泥于行星古代神话中相同名字的神，全曲要表达的是在众行星间作宇宙漫游而不是宗教崇拜。生动的音乐形象、优美的意境、浅显的音乐语言使这部作品成了管弦乐曲的经典曲目之一，并且直接影响了后来的《星球大战》、《异形》等电影配乐。
与《行星》组曲有异曲同工之妙的还有理查·斯特劳斯的《查拉图斯特拉如是说》。这部作品被用在库布里克的电影《2001年太空漫游》中，当日光划破黑暗的宇宙，随之而来是由远及近的隆隆鼓声。这部交响诗正是表现人类在对自身的思考中不断进步。配合影片的背景，更让人顿生无数暇想，但觉时空无穷。影片摄于1968年，是在阿姆斯特朗登月的前一年。
科幻电影时代
科幻电影从七十年代起广受欢迎，电影配乐也随之崛起。尽管由于众所周知的原因，太空中其实是寂静无声的。但在欣赏电影时，谁又会对太空中的爆炸、射击、音乐声感到奇怪呢？以约翰·威廉斯和范吉利斯为首的作曲家们创作出众多宏伟、感人的太空音乐来烘托影片所极力要传达给观众的那种神秘的、虚无飘渺的气氛。70年代，范吉利斯全心投入电子音乐创作，并转往伦敦为电影制作配乐，开启他辉煌的电影配乐时代，其中包括1981年荣获奥斯卡金像奖最佳配乐的《火之战车》、1982年的《银翼杀手》、1983年的《南极物语》、1992年的《1492征服天堂》等重要作品，范吉利斯开创了电子音乐与电影配乐的崭新前景，奠定了所谓未来太空音乐的发展。国际天文联盟甚至决定将新发现的“6354号星云”正式定名为“范吉利斯”，藉以向这位音乐大师致敬。
太空摇滚时代
流行音乐家们也不甘落后于时代，在他们的努力下，一个新的摇滚乐风格在70年代被创造出来，这就是太空摇滚乐。太空摇滚通常都是缓慢的、有催眠效果的。它往往具有大量沉重的混响吉他、尽量减到最低的鼓声、以及温和而无力的人声。它比传统的歌曲结构更长、包含了更能使人产生幻觉的音速探索，有时候音乐家们还会在作品中加入例如小提琴之类的乐器伴奏来丰富其音响结构。
Yes乐队1970年发行的专辑《Timeand a World》中部分歌曲贯穿着气势恢宏的管弦乐，这张专辑初步显示出Yes乐队著名的太空音乐元素的神秘感。1971年4月Yes乐队的专辑《The Yes Album》的发行则引来了公众更多的惊奇的目光。其中以同名小说命名的歌曲“(星河舰队)”(Starship Prooper)进一步确立了乐队太空音乐的形象。整张专辑由乐曲构成的创意尚无先例，Tony Kaye丰富而优扬的键盘和风琴，Steve Howe尖锐呼啸的吉他，Chris Squire浑厚而有弹性的贝斯，以及 Jon Anderson的假声共同构成了一幅意境幽远的音响图画，唤起人们无尽的想像。而接下来的《来自海洋的传说(Tales From Topographic Oceans)》更是把人们带到了一个只在科幻小说中存在的世界。
另一支著名的乐队Pink Floyd也在1973年的经典专辑《月亮的阴暗面(the Dark Side of Moon)》中发挥了他们对太空的超凡的想象力。而他们对宇宙神秘性的激情早在乐队的第一张专辑中就已经显露出来。
同样来自英国的大卫·鲍伊早在1969年就创作了歌曲《Space Oddity》，这首歌讲述了一名宇航员在航天过程中遇到危险而无法返回地球的故事。几年后阿波罗13号在返航过程中真的遇上了故障，幸运的是3名宇航员顺利地回来了。到了1972年，大卫·鲍伊再一次涉足太空主题，这次他是以火星蜘蛛人的身份出现在公众面前，这个来自火星的空间怪物把鲍伊推上了音乐生涯的第一个高峰，这也是摇滚乐历史上最突出和最成功的形象之一。
到了80年代末，太空摇滚乐再一次回潮，新的太空摇滚乐队中排在最前列的要属来自英国的Spacemen 3。他们的音乐风格坚持沉重的单持续音与极端的简约主义，而他们臭名昭著的信条“Taking drugs to make music to take drugs to(嗑药、做音乐、再嗑药)”在日后影响了一大批在他们激发下组建的具有相似想法的乐队。一部分卷入到英国自赏乐派(Shoegazing)风潮的乐队就受到了太空摇滚的影响，而其中最具试验性的乐队，如 My Bloody Valentine 则持续影响并引发了太空摇滚的复兴运动。1991年，Spacemen 3 分裂成了两支乐队：Spectrum 和 Spiritualized; 其中后者采取了和原乐队完全相反的音乐手法，他们丰富了太空摇滚的声音，使得它更加豪华、轻柔、像管弦乐一般宏大，而这一切最终使他们成为了这种风格中最受欢迎的一支乐队。大部分后来的乐队要不就是奉行极简的方法，要不就是像 Spiritualized 一样极其奢华；偶尔他们还会在音乐中加入后摇滚与独立摇滚的元素。
太空声响音乐的浮出
和上面这些音乐家们创作的音乐不同的是，另一类关于太空的音乐也越来越受到人们的关注。这就是太空声响音乐。这个概念来自于具像音乐，是指将大自然中的各类声响利用磁带录制下来以后，通过调整转速和重叠等方法创造出新的声音，往往带来超现实的听觉体验。太空声响音乐承袭了这一观念，将美国宇航局发射到太空中的探测器录下各个行星发出的电波音频(原先是人耳无法听见的)，以电子设备转换到我们的可听频率内，目前已经有如土星光环，天王星的卫星米兰达，天王星，木星的最小的卫星等星体发出的自然星体音乐。
美国宇航局发射的飞往木星的探测器“卡西尼”号也收到了从木星上传来的一种非常怪异的音乐旋律，这是一种低频无线电波，据称这种电波被转化成声音之后听起来很像一种奇怪的民间音乐。科学家们说这些信号并非生命活动的迹象，而是在太阳风(solar wind)扫过木星强大的磁场时发生的一种现象。太阳风是从太阳发散出的一薄层带电粒子形成的气体。它碰到行星时和海浪拍打水上的船体时的效果一样。专家们认为这种碰撞就是引起这种电磁“太空音乐”的原因，这种声音是在距离木星2300万公里时收到的。
宇宙是如此神秘，太空这么遥远，和这些相比，人类的喜怒哀乐似乎是那么地微不足道。但是这些情感也许是我们唯一可以握在手中的东西，人类正是在所有的这些情感的激发下，创造了另一个世界。也许一个人永远都无法知道宇宙是什么，但他仍然可以通过音乐去幻想，去创造，去开始一个心灵的宇宙。
6.放松新世纪 Relaxation New Age¶
冥想放松（可以看作是一种高级的打盹方式）。在New Age风行的今日，冥想成为New Agers实践的一种重要方式，同时也产生了配合这种方式的音乐。在New Age音乐中就有很多的音乐就是专门为冥想活动而做的（有时是不太适合当音乐来听的）。这种音乐一般没有明显的节奏，音乐上表现地平滑、流畅，使听者能够放松身心，有时音乐家们也会借助一些自然的声效来加强意境的渲染。
Arguably, all music can be said to be useful for Meditation. The styles, cadences, arpeggiations, and rhythms of meditational music for contemplative practices is characteristically different than most other forms of music. Generally speaking, the music is relaxing, lacking definitive rhythms. Meditation and music have been relational partners for centuries. Mellow, repetitive, and redundant sequences of smoothly contoured melodic lines help to relax the mind as arrhythmic tempos do not distract the listener into a beat but rather a flow. Harmonies are often absent unless one accepts the musical nuance of imitation as structured harmony. Meditation music can also include recordings of sounds in the “natural” world: rainfall, waterfalls, birds, insects, whales, and others, separately and in synthetic combination. – Keith Johnson
7.凯尔特新世纪 Celtic New Age¶
凯尔特新时代是凯尔特主题、乐器和歌曲的混合体，加上新时代的制作和情感。Clannad和Enya是这一流派中最知名的人物，但他们并不是唯一专门从事这种融合的艺术家。这种梦幻般的、空灵的声音在80年代末随着Enya的Watermark专辑进入主流，并在整个90年代继续蓬勃发展。
Celtic New Age is a hybrid of Celtic themes, instrumentation, and songs, plus new age production and sensibilities. Clannad and Enyaare the best-known figures of this genre, but they’re hardly the only artists that specialize in this fusion. This dreamy, ethereal sound crossed over into the mainstream in the late ‘80s with Enya’s Watermark album, and continued to thrive throughout the ‘90s.
8.日本新世纪 Japanese New Age¶
9.疗愈音乐 Healing¶
疗愈音乐，不止是心灵的药，也是身体的。 国外大量的研究证实，音乐可以引起各种生理反应，如使血压降低、血管容积增加、去甲肾上腺素含量增加等等，可明显地促进人体的内稳态，减少紧张焦虑，促进放松。
乡村 Country¶
乡村音乐（Country music），也称乡村与西部（Country and Western），是一种当代的流行音乐，起源于美国南部与阿帕拉契山区。乡村音乐的根源可追溯至1920年代，融合了传统民谣音乐、凯尔特音乐、福音音乐及古时音乐。1940年代，当乡土音乐（hillbilly music）地位渐衰时，人们开始以统一的术语“乡村音乐”作为称呼，1970年代更大大普及，并在世界各地（除了美国及爱尔兰）取代了“乡村与西部”的称呼。
Country music is a genre of American popular music that originated in the rural regions of the Southern United States in the 1920s. It takes its roots from the southeastern genre of American folk music and Western music. Blues modes have been used extensively throughout its recorded history. Country music often consists of ballads and dance tunes with generally simple forms and harmonies accompanied by mostly string instruments such as banjos, electric and acoustic guitars, fiddles, and harmonicas.
The term country music gained popularity in the 1940s in preference to the earlier term hillbilly music; it came to encompass Western music, which evolved parallel to hillbilly music from similar roots, in the mid-20th century. The term country music is used today to describe many styles and subgenres. In 2009 country music was the most listened to rush hour radio genre during the evening commute, and second most popular in the morning commute in the United States.
1.当代乡村 Contemporary Country¶
Contemporary Country出现于70年代末期，以George Strait和Randy Travis为首的乡村歌手们回归根源乡村音乐，但加入了电吉他和鼓，使此类型乡村音乐更接近摇滚、流行乐化。
当代乡村是具有美国民族特色的流行音乐。早期，不同于流行摇滚乐那样有属于自己的俱乐部、录音公司、电视节目，乡村音乐多传播于电台，电台播音也是他们唯一可以扬名的媒介。到了后期，随着信息媒介的日益发达，当代乡村音乐也越来越多的被广大群众所熟知，而不仅限于南部地区，从95年恢复的格莱美最佳乡村专辑，到独立的乡村音乐学院奖，在美国主流的Billboard榜单也可以看到乡村歌曲取得好成绩。
田纳西州Nashville是美国乡村音乐的发源地，在美国有很大影响，现在已经成为乡村音乐的代名词，像其他特有风格的厂牌一样，你会见到例如Mercury Nashville、Capitol Nashville、 Sony Nashville、Arista Nashville等，可以说看到Nashville的字样就应该想到这张专辑的大风格了～
当代乡村音乐和流行乐、摇滚乐在歌曲主题还是小有不同，前者有八大主题：一、爱情；二、失恋；三、牛仔幽默；四、找乐；五、乡村生活方式；六、地区的骄傲；七、家庭；八、上帝与国家。前两个主题绝不是乡村音乐所独有，但是后六大主题则把当代乡村与其他音乐流派区分开来。简而言之，乡村的人们有他们自己的幽默感；喜欢牛仔风格的疯玩；以一种与城市人很不同的方式生活；以自己所在的乡镇、州、地区为荣；极为重视家庭；不羞于表达宗教情感与爱国情感。
Following the rise of the pop-oriented Urban Cowboy style in the late ‘70s and early ‘80s, singers like George Strait and Randy Travis set their sights on bringing country music back to its roots, beginning a movement known as the New Traditionalists. While their sound drew primarily on classic honky tonk, it also boasted all the advantages of updated production techniques and equipment, proving that pure country music could sound authentic yet modern. At its outset, Contemporary Country built upon this revelation, taking the foundation laid by new traditionalist country and infusing it with pop/rock sensibilities — without sounding wimpy. During the late ‘80s and early ‘90s, contemporary country was still essentially country at its core, even though it was reaching a wider audience than ever, thanks in no small part to Garth Brooks and his latent rock influences. Although pop-crossover hit singles were still a rare occurrence at this point, contemporary country albums began to sell in unprecedented numbers in the wake of Brooks’ success, and while contemporary country was by no means restricted to male singers, they — with a few notable exceptions — were the main early beneficiaries of the music’s greater visibility. This wave of male artists dominated the early to mid-‘90s, mixing country grit and simple, line-dance-ready songcraft in varying proportions, with the new traditionalist movement continuing to hold a strong influence over many; some of the less substantive in the bunch were dubbed “hat acts,” after what cynics described as their most appealing attribute. All of the increased exposure eventually pulled contemporary country farther and farther into mainstream pop music, and a number of (mostly) female artists began to actively pursue crossover success; in the most pronounced cases, their music differentiated itself from full-fledged pop/rock only by a certain twang in the vocals. While shifting contemporary country away from its roots, this willingness to play to an even wider audience resulted in massive, genre-dominating popularity for acts like Shania Twain, LeAnn Rimes, the Dixie Chicks, and Faith Hill in the late ‘90s. Whether the songs were closer to neo-honky tonk or pop/rock, though, contemporary country was always marked by its shiny, radio-ready production, which occasionally incorporated synthesizers, but above all kept the music smooth and polished, helping make it more accessible to country, rock, and pop fans alike.
2.乡村流行 Country Pop¶
乡村流行乐源自城市乡村乐和轻柔摇滚乐，是1970年代后期的乡村音乐分支之一。虽然起初被归类为乡村音乐里，但因为与流行乐的不断融合，作为一种混合音乐风格，现在的乡村流行音乐比较像是融合成人抒情乐的音乐。相较于当代乡村音乐，乡村流行节奏更轻快也更具活力，对年轻群体有很强的吸引力。
历史
早期： 纳什维尔之声
乡村音乐第一次融合流行榜可能性是在1960年代，由Owen Bradley 和 Chet Atkins 创立，并称自己作纳什维尔之音（Nashville Sound）。
这是故意让乡村音乐歌手在流行音乐里能够取得更大的成功，以便销售他们的专辑。第一位成为这个新起的音乐类型男歌手是Jim Reeves和Eddy Arnold，两位均被广泛承认在乡村音乐和流行音乐。第一位成为这个新起的音乐类型女歌手是1960年代早期的Patsy Cline。她培育很多例如Crystal Gayle和仙妮亚·唐恩等在后期成为杰出的歌手。即使Patsy Cline被普遍承认在乡村音乐和流行音乐里，纳什维尔之声走红的时间不是很长，由开始被Bakersfield Sound投诉，之后引至Outlaw Country风暴(Outlaw country)。
1970年代晚期和1980年代
乡村流行音乐在1970年代因为多位流行歌手如 Glen Campbell, John Denver, Olivia Newton-John和Anne Murray，都有热门歌曲在乡村音乐榜，因而开始被广泛接受。像Glen Campbell 的歌曲《Rhinestone Cowboy》，曾是在乡村音乐史上，在流行音乐界和乡村音乐界均极受欢迎的歌曲之一。这些以流行音乐为主的歌手为了增加销售量和赢取更多歌迷源，而纷纷跨足至乡村音乐界。
在云云未被欣赏的乡村流行乐歌手当中，Olivia Newton-John就是其中一位，她在1970年中期在澳大利亚显露出来。当她的作品《Let Me Be There》成为1974年横跨流行音乐和乡村音乐两边的名曲时，尤其在Olivia Newton-John凭此曲赢得格莱美奖“最佳乡村女歌手”和乡村女歌手最梦寐以求的奖项──CMA“年度最佳乡村女歌手”后，事情变得更具争议性。
一群因当时的趋势而感到不安的歌手们，在1974年成为组成了一个名为“Association of Country Entertainers ”的组织。事情在1975年开始白热化，延伸至该年的美国年度乡村音乐奖(CMA)，而当前任“最佳艺人”Charlie Rich负责把奖项颁发给得奖者─约翰·丹佛时把事件推至顶峰。当Charlie Rich正读出约翰·丹佛的名字之前，用打火机把信封烧着。Charlie Rich的这个行为被视为对对乡村音乐加入更多流行元素提出抗议。
在1977年，肯尼·罗杰斯(Kenny Rogers)推出了单曲《Lucille》令他成为乡村流行乐最成功的人士，《Lucille》几乎在国际间各大大小小的排行榜都名列前矛，把乡村流行乐推至极盛时期。期后，肯尼·罗杰斯推出了一系列，包括全由Larry Butler制作的《Daytime Friends》、《 The Gambler》和《Coward of the County》，均在全球的流行榜和乡村榜榜上有名。肯尼·罗杰斯把他在乡村音乐的影响力扩大至流行音乐里，演唱由The Bee Gees、Lionel Richie、David Foster和George Martin制作的歌曲，全部都在乡村音乐和流行音乐的市场里取得成功。
但是在1980年代中期，更多传统乡村音乐的歌迷得不到持续地焦躁不安。接下来的几年，即使很多乡村流行歌手继续制作很多热门歌曲，乡村电台仍被Neotraditional Country的歌手控制。
1990年代重新兴起
乡村流行音乐在1990年代复苏，最初是因为 Garth Brooks。 仙妮亚·唐恩(Shania Twain)期后取得成功。近代的乡村音乐歌手黎安·莱姆丝(LeAnn Rimes)证明她有能力唱乡村流行音乐歌曲，例如《How Do I Live》(在告示牌热门100榜连续69周，比在历史上任何歌留停得更久，包括她的热门歌曲《Can’t Fight the Moonlight》)。
在乡村流行音乐里受欢迎的歌手包括Alabama, Martina McBride, Reba McEntire, Garth Brooks, 黎安·莱姆丝, 约翰·丹佛, Lila McCann, 菲丝·希尔, 提姆·麦克罗, Kenny Chesney, Alan Jackson, 卡丽·安德伍, Big and Rich, Trace Adkins, Ronnie Milsap, Rascal Flatts, Eddie Rabbitt, 肯尼·罗杰斯（Kenny Rogers）, 仙妮亚·唐恩, Glen Campbell, 和 泰勒·斯威夫特.
近年来，有很多流行音乐歌手把事业跨至乡村音乐。至2003年， Sheryl Crow, Michelle Branch (The Wreckers), Los Lonely Boys, MercyMe 和 Kid Rock都有歌曲在热门乡村单曲及歌曲榜上 。Jimmy Buffett, 艾尔顿·约翰, Uncle Kracker, John Mellencamp, 和 Bret Michaels 各自都有与乡村音乐歌手合唱，那些歌手也被列入为乡村流行乐。
当乡村流行乐的支持者声称已经有很多新的歌迷喜爱这种音乐类型，其他人(特别是旧式乡村音乐歌手和歌迷)比较接受传统模式，批评乡村流行乐。他们主要批评乡村流行乐太过商业化，特别是那些自1990年代制作的歌曲太过主流流行音乐──即使缺少了像 pop-sounding的下属类型。肯尼·罗杰斯回应双方争论时说：“For Country music, I’m not Country enough. Everywhere else I’m too Country”。
Prior to the rise of rock & roll, country music was rarely heard outside of its intended market, effectively isolating it from any concerns about wide accessibility. When rockabilly took off, however, country musicians were forced to consider whether their true affinities lay with traditional country or with this popular new style, which allowed artists to reach crossover audiences for the first time. This flirtation with the mainstream marked the beginnings of country-pop, which grew out of the realization that country-influenced music (as opposed to straight-ahead honky tonk) could be hybridized and smoothed out for mass consumption. RCA Records producer Chet Atkins was the most important figure in the initial cross-breeding of country and pop, creating a sound that was dubbed “countrypolitan” for its blend of rural sensibility and urban sophistication. Because the melodies and song structures of country music were usually very simple and catchy, they worked well when placed in a pop-oriented format; Atkins’ productions often placed the songs in orchestral arrangements heavy on the strings, which sometimes blended with country instrumentation and sometimes stood alone. This approach resulted in a bevy of pop crossover hits for singers who could make the transition to Atkins’ smooth, polished style, most notably Jim Reeves. Decca Records producer Owen Bradley crafted an even lusher sound for his artists, most importantly providing the sympathetic sonic environment that best showcased the angelic voice of Patsy Cline, and making her a star in the process. Countrypolitan pop eventually came to be tagged “the Nashville Sound,” since nearly all of its records were produced there. But even as its practitioners racked up hit after hit, the first of many backlashes against country-pop began to form in the 1960s among artists frustrated at not fitting into the Nashville mold; the biggest came in the form of the Bakersfield sound, with its hard-driving beat, electric instrumentation, and love of old-style honky tonk. Nevertheless, the Nashville sound continued to prosper among fans of mainstream-oriented country. In fact, it became more popular than ever during the ‘70s thanks to producer Billy Sherrill, whose orchestrations and recordings were even more grandiose and detailed, and owed as much to “Wall of Sound” rock producer Phil Spector as they did to Atkins and Bradley; George Jones, Tammy Wynette, Charlie Rich, and Conway Twitty all benefited immensely from his touch. A simpler country-pop sound, which more closely resembled pop/rock with country trappings, also made inroads on non-country radio during the decade, thanks in part to country-rock fusion efforts by Bob Dylan, the Byrds, and the Flying Burrito Brothers; this sound was spearheaded by artists like Glen Campbell, John Denver and B.J. Thomas. The mid-‘70s saw another rebellion in the edgier, more eclectic form of outlaw country, but by the end of the decade, the film Urban Cowboy had popularized a new variation on country-pop (named after the film), which smoothed the music out even more by blending it with soft-rock influences. During the mid- to late ‘80s, the new traditionalist movement sought to return country to its honky tonk roots, but its polished (yet not elaborate) production helped lay the groundwork for a new breed of country-pop that was informed by rock & roll, both in its driving beat and its big-sounding production techniques. This sound made Garth Brooks a superstar during the ‘90s and brought pop crossover success to Billy Ray Cyrus; toward the end of the decade, the emphasis had shifted to female vocalists like Shania Twain, LeAnn Rimes, and Faith Hill, whose brands of country-pop could encompass soft-rock covers, roots-rock, or arena-rock-style production
3.蓝草 Bluegrass¶
蓝草音乐（bluegrass music）美国基础音乐的一种形式，根源于爱尔兰、苏格兰和英国传统音乐。同Jazz音乐相似，在蓝草音乐中，每种乐器轮流主导演奏的节奏旋律，与此同时其他乐器作背景伴奏；而在古时音乐（old-time music）中，所有乐器或者同时协同演奏，或者由一种乐器主导演奏的节奏和旋律，而其他乐器只能伴奏。
与主流的乡村音乐不同，演奏蓝草音乐时基本使用原声学乐器，几乎很少会用到电声乐器。经常使用的乐器有小提琴（fiddle）、班卓琴（banjo）、原声吉他（acoustic guitar）、曼陀林（mandolin）和立式贝司（upright bass），这些乐器最初由农庄黑人舞蹈乐队普遍使用，这些乐队擅长布鲁斯和爵士音乐的集体表演，但与此同时他们也在遗弃这些原声学乐器，后来由白人音乐家们（van der Merwe,1989）重新使用并得以推广。
Bluegrass music grew out of traditional string band music that formed the roots of country music. In the ‘40s, country music began to splinter into different directions, as honky tonk and country-pop became genres of their own. A certain segment of country musicians continued playing traditional string music. Led by Bill Monroe, these musicians adhered to the songs, structures, and conventions of string bands, but they made the music faster, harder, and more technically demanding. The result was bluegrass; the genre was named after Bill Monroe’s backing band, the Blue Grass Boys. After its inception in the mid-‘40s, and its popularization in the ‘50s, the sound had become part of country music, and there were legions of bands that followed in their footsteps. In the late ‘60s, a number of bluegrass groups began expanding the possibilities of the genre, much to the chagrin of many of the music’s most popular artists and dedicated fans. Consequently, the new breed of bluegrass groups were dubbed progressive bluegrass, while those that adhered to the music’s heritage were tagged traditional bluegrass. Over the next three decades, progressive bluegrass changed frequently, while the sound of traditional bluegrass rarely varied.
4.另类乡村 Alt-Country¶
另类乡村音乐
乡村摇滚乐的当代衍生物，强调嘈杂的电吉他，这使它更接近于摇滚乐而不是乡村乐。这个逐渐兴起的运动的名称”No Depression”来源于Carter Family的一首歌，高举着自由自足的旗帜，而他们的唱片亦是由一些独立的小厂牌所出版。Uncle Tupelo（现已逝）和The Jayhawks是这个运动的先锋人物，现今的Son Volt，Wilco和Golden Smog则将其推至高潮。
Alternative Country refers to country bands that play traditional country but bend the rules slightly. They don’t conform to Nashville’s hitmaking traditions, nor do they follow the accepted “outlaw” route to notoriety. Instead, alternative country bands work outside of the country industry’s spotlight, frequently subverting musical traditions with singer/songwriter and rock & roll lyrical (and musical) aesthetics.
5.乡村摇滚 Country Rock¶
一种来源于加利福尼亚的音乐形式，后与嬉皮运动交互影响，把他们那”回归自然”的感情带到了乡村音乐中。由于他们吸毒、蓄发遭到了传统乡村音乐价值的诅咒，乡村摇滚艺人极力想以次开拓那些传统乐迷的口味。60年代末的先驱者象Gram Parsons（还有The Byrds，Flying Burrito Brothers和后来的Emmylou Harris）把传统的怀乡和心碎的乡村歌曲加上了摇滚的节奏。后来，一些象The Eagles这样的乐队把这种混合音乐形式带上了流行排行榜的榜首。今天，象The Desert Rose Band（由Byrds的合作者Chris Hilman领衔的）还在继续这一音乐传统。
Country rock is a subgenre of country music, formed from the fusion of rock with country. The term is generally used to refer to the wave of rock musicians who began to record country-flavored records in the late 1960s and early 1970s, beginning with Bob Dylan and The Byrds; reaching its greatest popularity in the 1970s with artists like Emmylou Harris and the Eagles.
6.前卫乡村 Progressive Country¶
乡村音乐(country)由早期美洲的开拓者们代代相传直到今天。最早的欧洲移民在北美东海岸登陆后，就以小聚居的团体形式开始慢慢地向美洲大陆腹地推进。当他们来到阿巴拉契亚山脉脚下时，偏远宁静的原野和绿荫覆盖的山峦唤起了他们对家乡的无限思念。于是，许多人便在田纳西州、阿肯色州东北部和肯塔基州西部定居下来。在很长一段时间，这些地区一直没有修建道路，所谓的“交通”只不过是大篷车在荒野上压出的车辙和蜿蜒曲折的河流。虽然闭塞的环境阻碍了经济的发展，但也带来了平静的田园生活。由于这些地区一直处于与世隔绝的封闭状态，很少有什么人和事来打扰他们，几百年来，这些乡民们的生活几乎没有什么变化。
每天傍晚这些乡民总会举行劳作之余的乡间小聚——这是他们主要的文化活动。19世纪20年代，当纽约那些所谓的“都市文明人”正沉迷于爵士乐的浅吟低唱时，这些偏僻地区的乡民们却仍然弹着自制的乐器，吟唱着他们的祖先早年从欧洲大陆带来的古老歌曲。虽然乡间生活的大部分时间总是充满艰辛坎坷，但这些生性无所畏惧的欧陆移民，却始终十分开朗乐观。在宽泛的文化体系影响下，这些民歌无论是曲调还是歌词都十分自由，渐渐形成了美式性格的开朗奔放。伴随着乡间舞蹈，这些简单质朴的民歌渐渐发展起来。就这样，美洲大陆移植了这些传唱了几个世纪之久的欧洲民歌——而这种乡间小唱正是乡村音乐的前身。
实际上，我们通常所说的乡村音乐，在严格的意义上只是乡村音乐中的冰山一角——现代乡村音乐，而真正的乡村音乐本身是个非常庞大的概念。像所有美国流行音乐一样，乡村音乐最初的起源也是多方面的：l9世纪欧洲的民间歌谣、非洲黑人歌曲以及南方的宗教音乐都给了乡村音乐很多养分。正是在这些音乐基础上，乡村音乐历经岁月洗礼，通过无数人的不断发展，才成为最有特色的美国本土音乐之一。
Progressive Country developed in the late ‘60s as a reaction to the increasingly polished and pop-oriented sound of mainstream, Nashville-based country. Inspired equally by the spare, twangy, hard-driving sound of Bakersfield country, the singer/songwriter introspection of Bob Dylan, classic honky tonk, and rock & roll, progressive country was the first anti-Nashville movement to emerge since the dawn of rock & roll. Progressive country was rootsier and more intellectual than many of its contemporary genres; it was more concerned with breaking boundaries than with scoring hits. The genre was also songwriter-based. Many of its key artists — Kris Kristofferson, Willie Nelson, Billy Joe Shaver, Tom T. Hall, Jimmie Dale Gilmore, Butch Hancock — were not “good” singers by conventional standards, yet they wrote distinctive, individual songs and had compelling voices. By the early ‘70s, such artists had developed a sizable cult following, and progressive country began to inch its way into the mainstream, usually in the form of cover versions (Sammi Smith took Kristofferson’s “Help Me Make It Through the Night” to the country Top Ten). Progressive country also provided the basis for outlaw country, a harder-edged genre that shook country-pop (briefly) off the top of the charts in the mid-‘70s. Even after Outlaw’s five-year reign in the late ‘70s, progressive country continued to exist, until it eventually metamorphosed into alternative country in the ‘80s.
7.美式乡村 Americana¶
早期商业操作的乡村音乐是与美国南部18、19世纪大不列颠移民带来的传统民歌谣一脉相承的。但早期乡村乐并不坚持口头叙事的传统，而是经常用小提琴这种乐器奏出旋律，代替人声的作用。乡村音乐家John Carson把这两种传统结合了起来，在1923年他的”78”这首歌中既演唱又演奏，被认为是早期乡村乐的第一首畅销单曲。
这一时期最负盛名的组合无疑是The Carter Family（卡特家族）—-他们对乡村音乐发展的重要性怎么描述都不为过。他们是南部民谣传统的坚守者。他们被认为是”乡村第一家”（The First Family of Country Music），他们的那首歌《Will the Circle Be Unbroken》就象”野花”《Wildwood Flower》一样是乡村音乐的典范，并第一次把Maybelle Carter的极富感染力的吉他风格介绍给人们。The Stoneman of Galax，Virginia也是早期乡村乐的先驱者。
Jimmie Rodgers，”乡村音乐之父”。他把大众对乡村音乐的接受度提高到一个新的水平，并且是流行音乐史上最具影响力的歌手之一。他那独一无二的嗓音和为潦倒者写的歌词给它带来了全国性的知名度。由此，他为乡村乐打下了一个崭新的牢固的基础。他在那短暂的录音生涯（1927-33年）的原创，他的歌唱和写曲风格.
Much like its next of kin (alternative country-rock), Americana developed during the 1990s as a roots-oriented reaction to the slick commercial sounds that dominated mainstream country during the decade. But while alternative country-rock developed out of punk, alternative rock, and country itself, Americana sprung from less raw and edgy source material. In fact, much of what fell under the Americana umbrella was in fact a revival of dormant country styles, including Western swing and rockabilly. Though considered an alternative radio format, Americana did not break with country tradition; instead, it embraced it — something, ironically enough, that the music hitting the Nashville charts throughout the era did not do.
8.牛仔 Cowboy¶
牛仔音乐来源于美国人对大西部的迷醉，这还体现在好莱坞的电影里。乡下人现在变成了打扮漂亮、精神抖擞的牛仔男孩和牛仔女郎 ，唱着来自乡间的浪漫歌曲。展示着孤独大草原中的浪漫景象。西部片中总会拍一个自由的牛仔在一天的辛劳后围着篝火旁唱歌，追逐着 长途汽车的情景。这干干净净的扮相被许多音乐人采用，象Gene Autry，Roy Rogers和The Sons of the Pioneers，这使乡村音乐越来越受到人们的欢迎。
Cowboy Music was originally handed down from the genuine Old West articles, its repertoire consisting of songs sung on the open range to pass the time on cattle drives. This tradition continued to inform country & western music long after its attendant lifestyle had all but disappeared, since romanticized cowboy mythology still held a fascination for many. That fascination resulted in the production of innumerable Western and cowboy films, and with those films came a revival of interest in cowboy music. Actually, it wasn’t so much a revival as a hunger for more mythology – singer/actors like Roy Rogers and Gene Autry relied far more on new compositions which evoked similar themes of cowboy life. The performances and production of cowboy songs depend largely on the context – while movie songs were usually recorded with modern soundtrack-style orchestras, old-time groups like the Sons of the Pioneers relied on traditional, unadorned acoustic instruments. While it’s the spirit of cowboy music, rather than specific standard songs, that has generally survived in country music, some artists have sought to preserve the tradition and educate their audiences about authentic cowboy songs; Michael Martin Murphey became a notable figure in these efforts during the ‘90s.
9.传统乡村 Traditional Country¶
乡村音乐诞生于1920年，Jimmie Rodgers将多种音乐风格混合，Dalhart的流行乐风格。正是界于这些之间文化–乡村音乐。
他们的才能得助于当时的时代气息：如果大量的无线电和录音产品被弃之一边，美国风格的音乐就会被禁锢起来，无法得以传播，而乡村音乐也就无法在20年代得以创造出来了。
Dalhart也许已为大多数人所遗忘，但他却是乡村音乐真正的第一位大明星。
出生于德克萨斯州东部Marion Try Slaughter的一个牧牛家庭的他，在1910年来到了纽约，找到了一份在葬礼上唱歌的工作。然后，他参加了轻歌剧的表演。他的录音生涯始与1924年他的”囚徒之歌”（”The Prisoner’s Song”）及其B面的”97遗骸”（”The Wreck of the Old 97”）的发售。他的用特有的方式演唱南部山区的歌曲，赢得了大众的欢迎，并使其成为在乡村音乐史中第一个获得百万销量的歌手。
为了寻求更大的成功，录音公司开始向南部派出星探。Victor录音公司的Ralph Peer发现了Jimmy Rodgers和Carter家族，在1927年分别为他们在Bristol和Va录了音。”这些录音在乡村音乐的历史上独具重要性。”资深乡村艺人JohnnyCash这样说。Rodgers和Carter家族包括了A. P. ，其拥有纯真音色的妻子 Sara，以及吉他高手Maybelle（Sara的堂妹）， 在形成两种不同风格音乐的上，他们起到了非常重要的作用。Rodgers结合了蓝调（Blues）、白人山区歌谣(Yodels)、民谣（Fulk Tunes）的风格来演唱关于游荡者和码头工人。而Carter一家则着眼于家园、上帝、母亲、家庭和信仰。用的是一种安逸的、谐和的曲风。
Traditional Country is a nebulous term — it can refer to anything from Roy Acuff’s simple songs to the electrified honky tonk of Johnny Paycheck — but the name does evoke a specific sound, namely the long-standing tradition of simple country songs delivered with simple instrumentation and a distinct twang. The era of traditional country didn’t begin until the late ‘20s, when Jimmie Rodgers became the first national country music star. Rodgers brought the formerly rural music into the industrial era by streamlining the music and lyrics; in the process, he made the genre a viable commercial property. Following Rodgers’ success, old-time music faded in popularity and traditional country was born. For the next 40 years, most country music fell under the traditional country umbrella, regardless if it was the big-band dance music of Western swing or driving roadhouse honky tonk. The majority of the popular artists from the ‘30s and ‘40s — Acuff, Eddy Arnold, Ernest Tubb, Hank Williams — became the foundation of the Grand Ole Opry, a weekly radio broadcast that became the definitive word of country music. This generation of musicians inspired all the artists that emerged in the following two decades, who put their own spin on traditional country. Following the emergence of rock & roll, country music began to incorporate more pop production techniques, and although this Nashville sound was smoother than the music of the ‘40s and early ‘50s, it still conformed to the conventions of traditional country. During the ‘60s, mainstream country became progressively more pop-influenced, yet traditional country held strong until the early ‘70s, when country-pop became the dominant form of country music. Many fans of hard country turned toward the tougher sounds of progressive country and outlaw country, yet most of the country audience continued to listen to country-pop, especially since traditional country singers like George Jones, Conway Twitty, and Loretta Lynn had turned toward that subgenre. By the late ‘70s, most new country singers were either raised on country-pop or pop/rock, and consequently, the reign of traditional country came to an end. During the mid-‘80s, a wave of new-traditionalist singers such as George Strait emerged, but their music tended to be influenced by contemporaries as well, making the movement as much an evolution as a revival.
10.传统蓝草 Traditional Bluegrass¶
蓝草音乐（Bluegrass）是美国民谣音乐的一种，同时也是乡村音乐的分支。它在爱尔兰、苏格兰、英格兰的传统音乐分别有不同的来源。蓝草音乐的灵感来自于英国与爱尔兰、尤其是苏格兰阿巴拉契亚的新移民，和爵士乐与蓝调一样。相对于传统音乐里，所有乐器同时演奏，或某项乐器做主角、其他乐器负责配乐的演奏模式，在蓝草音乐里，就像爵士乐，每项乐器都有机会独奏，或是在其他乐器的伴奏下即兴演奏。典型的传统蓝草音乐，是以弦乐器为基础，像是曼陀林、空心吉他、班卓琴、小提琴、直立式贝斯等，也可以再配上歌声。
Bluegrass music grew out of traditional string band music that formed the roots of country music. In the ‘40s, country music began to splinter into different directions, as honky tonk and country-pop became genres of their own. A certain segment of country musicians continued playing traditional string music. Led by Bill Monroe, these musicians adhered to the songs, structures, and conventions of string bands, but they made the music faster, harder, and more technically demanding. The result was bluegrass; the genre was named after Bill Monroe’s backing band, the Blue Grass Boys. After its inception in the mid-‘40s, bluegrass didn’t change for nearly 20 years. In the late ‘60s, a number of bluegrass groups began expanding the possibilities of the genre, much to the chagrin of many of the music’s most popular artists and dedicated fans. Consequently, the new breed of bluegrass groups were dubbed progressive bluegrass while those that adhered to the music’s heritage were tagged Traditional Bluegrass. Over the next three decades, progressive bluegrass changed frequently, while the sound of traditional bluegrass never varied.
11.乡村福音 Country Gospel¶
基督徒音乐 (有时销售作为激动人心的音乐，称赞音乐， 崇拜音乐或者 当代基督徒音乐/CCM)是被写表达个人或共同信仰关于基督徒生活的音乐，并且(根据变化的音乐样式)到授予每基督徒选择到主流世俗的音乐。
象其他形式 音乐 创作、表现、意义和基督徒音乐的甚而定义根据文化和社会环境变化。 基督徒音乐为许多目的组成并且执行，排列从审美乐趣，宗教或者礼仪目的，或者作为娱乐产品为市场。 然而，多数基督徒音乐一个共同主题是称赞、崇拜和感谢对上帝。
风格和subgenres
基督徒音乐可以被划分成几种风格和次级风格，虽然音乐风格之间的分界线和关系经常是微妙，有时开放到单独解释和偶尔地有争议的。 这些风格(有时指‘样式’)象音乐的其他形式也许靠技术区别、样式、上下文和题材或者地理起源。 历史的类别和风格包括(但没有被限制) ： 赞美诗, Motets, 序列, 唱赞美诗, 轮唱, 当代基督徒音乐, 南部的福音书和 都市当代福音书. 基督徒音乐具体subgenres也许包括(但没有被限制) ： 进步南部的福音书, 基督徒乡村音乐, 基督徒流行音乐, 基督徒岩石, 基督徒金属 (包括 基督徒metalcore), 基督徒废物, 基督徒供选择的岩石, 基督徒Hip Hop (包括 基督徒斥责), 周年纪念四重唱和许多唱诗班音乐。
圣经的基础为基督徒音乐在崇拜
基督徒音乐在称赞和崇拜有它的根在圣经的旧约。 称赞是崇拜的一个重要部分在提供信徒机会的许多基督教会里表达他们的喜悦和谢意对上帝。 其中一个崇拜表示的最重要的目的在犹太和基督徒信念是称赞上帝。
诗篇集在旧约在犹太教和基督教提供称赞和崇拜许多章节和经常被背诵以各种各样的形式。 诗篇集包括五本不同“书”祷告和称赞。 大卫，认为是赞美诗的部分的作者，是合并称赞和崇拜到寺庙崇拜里的竖琴家和作曲家。
七个不同场合词组“在赞美诗的国王詹姆斯· Version弄出快乐的声响”被找到。 诗篇集通过拍手鼓励崇拜，演奏各种各样的乐器，呼喊和唱歌。 “O来，让我们崇拜，并且压垮，让我们在我们的制作商”的阁下之前下跪(赞美诗95.6，詹姆斯· Version)国王是显示谦逊的态度的段落是重要的在上帝崇拜。 其中一个被认可的段落是赞美诗100以它“服务阁下的敦促以高兴; 在他的存在之前来以唱歌。“他的人是“输入他的门以感恩和到他的法院里以称赞”。
虽然一些基督教会不相信崇拜用乐器，多数犹太寺庙和犹太教堂以及基督教会在他们的崇拜使用各种各样的类型的仪器。 唱歌经常是崇拜经验的部分。
表现
它执行的基督徒音乐也许也被分类根据设置。 最传统的方式将听见基督徒音乐是活，在，或者作为其中一位音乐家面前在崇拜或宗教设置。
崇拜服务
基督徒音乐最流行的表现在宗教或崇拜服务。 这在星期天早晨传统上做了在教堂，然而它也许通过一个教会做在星期的其他天和晚上或在其他地点，例如咖啡馆、音乐厅、校园，甚至酒吧。 表现音乐的具体形式包括(但没有被限制) ： 礼拜仪式的音乐, 大量(音乐)或者 崇拜服务. 这样表现也许包括a 崇拜领导, 唱诗班崇拜带，并且/或者 崇拜介绍节目.
音乐节&会议
很多个基督徒 音乐节 被组织了。 第一个是 Ichthus音乐节 哪些1970年开始的和最大部分是 基石节日 并且 创作节日 哪些可以画向上100,000个人。 他们是共同的在夏令时并且画许多另外人，具体地那些从组织的小组例如教会 青年小组 并且校园小组。 除音乐节之外喜欢是一部分的那些 基督徒节日协会也有许多基督徒 会议 更哪个焦点在报告人，但通常也把演奏，特别是为a 崇拜服务.
音乐会
象所有乐团或行动，许多基督徒音乐艺术家执行音乐会 音乐厅酒吧&俱乐部，室外地点，或者，无论哪里一位世俗音乐家也许演奏。 有时它也许是在前面纯净的娱乐，其他次打算 改变信仰 或目击的和其他时间也许作为部分 崇拜 。
媒介
今天基督徒音乐通过多数可利用的媒介是可利用的。 基督徒音乐是广播在收音机、电视或者互联网。 基督徒册页和录影记录(CD, LP, 数字式下载, DVD等等)是越来越更加普遍的和继续了到销售增加。
Along with old-time, Country Gospel is the oldest genre in country music. Though it somewhat changed with the times, country gospel remained the most simple and straightforward of all country subgenres. The sound of country gospel is similar to traditional country – the only difference is, the subject matter is religious, not secular. Like traditional country, the sound of country gospel became smoother and more pop-oriented as the decades progressed, and by the early ‘70s, it became nearly indistinguishable from the lush sounds of mainstream pop. That trend continued throughout the rest of the ‘70s and ‘80s, and by the ‘90s, contemporary country gospel sounded identical to the adult contemporary inclinations of CCM. Nevertheless, that music was never widely recognized as country gospel, which will always be identified with its simple arrangements, small vocal choirs, and twangy instrumentation.
12.纳什维尔之声 Nashville Sound¶
纳什维尔之声是1950年代乡村音乐的别称，主要盛行于田纳西州的纳什维尔。从音乐风格上看，它介于乡村音乐和流行音乐之间，既具有乡村音乐的乡土特色，同时也带有流行音乐的时代气息。具体来看，纳什维尔之声主要以钢琴、弦乐和背景合音来作为音乐基础，它与传统的提琴、班卓琴伴奏的乡村音乐有所不同，比传统乡村音乐显得更加流行化，更具盛业气息。
Countrypolitan — an outgrowth of the Nashville sound of the ‘50s — is among the most commercially-oriented genres of country music. The Nashville sound emerged in the ‘50s as a way to bring country music to a broad pop audience. The movement was led by Chet Atkins, who was the head of RCA Records’ country division. Atkins designed a smooth, commercial sound that relied on country song structures but abandoned all of the hillbilly and honky tonk instrumentation. He hired session musicians and coordinated pop-oriented, jazz-tinged productions. Similarly, Owen Bradley created productions — most notably with Patsy Cline — that featured sophisticated productions and smooth, textured instrumentation. Eventually, most records from Nashville featured this style of production and the Nashville sound began to incorporate strings and vocal choirs. In the late ‘60s, the Nashville sound metamorphosed into countrypolitan, which emphasized these kinds of pop production flourishes. Featuring layers of keyboards, guitars, strings, and vocals, countrypolitan records were designed to cross over to pop radio and they frequently did. The sound dominated the country charts in the ‘70s and stayed popular until the early ‘80s.
13.当代蓝草 Contemporary Bluegrass¶
二十世纪80年代中期，第三代蓝草音乐家将蓝草推向鼎盛。期间的蓝草音乐和以往相比有了不少显著变化，音乐家们对主流蓝草重新做了诠释。高质量音响设备使得每个乐队成员都可以单独表演，“wall of sound”风格也开始形成。仿效Tony Rice的音乐模式，吉他领奏也逐渐普遍起来。电贝司替代传统原声贝司也开始为大众接受，而其他电声乐器则继续遭到激进派蓝草圈以外的抵制。非传统的和音也为更多人所接受。另一方面，这一代人通过新的演奏方式使得更多的传统歌曲重新焕发生机。
Contemporary Bluegrass developed during the ‘80s, when traditional bluegrass had incorporated the innovations of progressive bluegrass. It isn’t as jazzy or experimental as progressive bluegrass — sticking to familiar traditional forms — but it is slightly less classicist than traditional bluegrass. Essentially, it is an updated and fresh version of bluegrass for modern times.
14.都市牛仔 Urban Cowboy¶
牛仔音乐来源于美国人对大西部的迷醉，这还体现在好莱坞的电影里。乡下人现在变成了打扮漂亮、精神抖擞的牛仔男孩和牛仔女郎 ，唱着来自乡间的浪漫歌曲。展示着孤独大草原中的浪漫景象。西部片中总会拍一个自由的牛仔在一天的辛劳后围着篝火旁唱歌，追逐着 长途汽车的情景。这干干净净的扮相被许多音乐人采用，象Gene Autry，Roy Rogers和The Sons of the Pioneers，这使乡村音乐越来越受到人们的欢迎。
15.新原音 New Acoustic¶
新原音音乐是蓝草音乐与爵士乐的混合物，各种民族乐器，比如曼陀林，提琴，班卓琴，原声吉他在新园音音乐中扮演着重要角色，音乐家门的精湛技巧是新原音音乐中的重要元素，他们充满着激情的即席演奏与爵士乐和声赋予了新原音音乐无穷的魅力。
An exhilarating mix of bluegrass and jazz, New Acoustic features lead roles for folk instruments like the mandolin, fiddle, banjo, and acoustic guitar. Virtuosity is the name of the game as the musicians stretch the boundaries of their traditional roles with heated improvisations and complex jazz harmonies.
16.前卫蓝草 Progressive Bluegrass¶
由乡村音乐派生而来的音乐流派。最初，它是作为一种乡村音乐继续发展的同时能够保持其纯净性的方法而存在的，后来蓝草发展成为一种具有自己风格与特点的流派。如果说到蓝草产生的原因，那么就是Bill Monroe；这个流派便是以他的乐队命名的(Bluegrass Boys)。Monroe在40年代中期开创了这种流派的标准风格——硬而快的节奏；高而密集的合声；并且显着地强调乐器的作用，后来，他在50年代将此流派普及。到那十年的结尾时，他们的音乐已经成为乡村音乐的一部分，并且，有众多的乐团跟上了他们的脚步。在60年代，像the Dillards这样的乐团让蓝草走得更远，他们在音乐中加入了摇滚和爵士元素并以此创造了蓝草流派的支派——现代蓝草(Progressive Bluegrass)。现代蓝草在接下来的三十年中继续发展，于此同时，传统蓝草继续守卫着蓝草的传统风格。
Bluegrass is one of the most rigid music genres, one that steadfastly refuses to change its direction. Therefore, Progressive Bluegrass is viewed with skepticism at best, derision at worst, by some hardcore bluegrass fans. Progressive bluegrass expands the sonic palette of bluegrass either by adding elements of jazz, folk, country, and rock, or by amplifying the instruments. The subgenre developed in the late ‘60s, but it flourished in the ‘70s, when bands like the Dillards, Boone Creek, Country Gazette, and New Grass Revival began coming to the forefront of bluegrass and folk festivals. Throughout the ‘80s and ‘90s, progressive bluegrass continued to evolve, moving closer toward folk and rock in some quarters and closer to jazz in others.
17.叛道乡村 Outlaw Country¶
所谓的”叛道”，只是在强调根源色彩的乡村音乐传统的继续，它是在纳什维尔之声的背叛。这并不是一种新的音乐类型，只是一种对传统的回归和对当时制作体系的背叛。
这场风暴的中心人物是Willie Nelson。1968年时，纳什维尔对他那较新的更多个人化的尝试的音乐的排斥，使他很沮丧。Nelson由此离开纳什维尔，到了德州（Texas）的奥斯汀（Austin），在那里他开始了一年一度的音乐会，并吸引了其他一些相似的当时不被注意的歌手，作曲人如Waylon Jennings和Kris Kristofferson等。
他们那种淳朴的，根源化的尝试，是为了保持乡村音乐在一味迎合大众流行口味之前，独特的甚至粗野的个人化表现方式。不仅”叛道运动”迎合了那些彻头彻尾的乡村乐迷，而且在电台和校园中也得到了回应。结果，1976年如Waylon&Willie所愿，”The Outlaws”成为了乡村音乐史上第一张达到百万销量的大碟，更为带有根源特质的乡村音乐打开了大门。
Outlaw Country was one of the more significant trends in country music in the ‘70s. During that decade, many of the most popular hardcore country singers of the ‘60s — from George Jones to Merle Haggard — softened their sound slightly, moving away from their honky tonk roots. While the outlaws weren’t strictly honky tonk — they were as much storytellers in the tradition of folk songwriters as they were honky tonk vocalists — they kept that spirit alive. Outlaws didn’t play by Nashville’s rules. They didn’t change their music to fit the heavily produced, pop-oriented Nashville sound, nor did they go out of their way to fit into the accepted conventions of country music. Instead, they created an edgy form of hardcore country that was influenced by rock & roll, folk, and blues. Ironically, two of the leading figures of the movement — Waylon Jennings and Willie Nelson — had their roots in the music industry, but by the time they came into their own as recording artists in the mid-‘70s, they had developed a unique, defiant way of performing. Several other musicians — including David Allan Coe, Billy Joe Shaver, and Tompall Glaser — followed in their footsteps, and the outlaws were quite popular for a period of three to four years. At the end of the ‘70s, the urban cowboy movement easily eclipsed the outlaw movement in terms of commercial appeal, but the outlaws had a lasting influence. During the ‘80s, certain neo-traditionalists owed a bit of their sound to the outlaws, while a whole breed of songwriters, led by Steve Earle, demonstrated a massive debt to the outlaws and their fusion of country, folk, and rock.
18.弦乐团 String Band¶
现今经常被提到的弦乐一般是指西洋管弦乐队中的弦乐组（小提琴，中提琴，大提琴，低音提琴）。可以合奏的乐器很多，在西洋弦乐方面最常见的是弦乐四重奏（第一小提，第二小提琴，中提琴，大提琴）不过形式也不固定。现在的重奏形式更始层出不穷，木管组（长笛，单簧管，双簧管，巴松）也经常加上圆号组成五重奏。民族器乐中除了传统常见的重奏形式，古筝，琵琶，二胡等都可以加上钢琴来伴奏。
With their intricate instrumental interplay and driving rhythms, String Bands were the most distinctive subgenre of old time country. Though all old-time artists supported themselves with stringed instruments, string bands were notable because they emphasized the instrumentation, not the singers. The popularity of string bands faded in the ‘30s after Jimmie Rodgers and the Carter Family became country’s first stars, yet the groups provided the foundation for the harder sounds of bluegrass in the late ‘40s.
19.器乐乡村 Instrumental Country¶
乡村器乐就是指任何一种形式的乡村音乐，无论是乡村酒吧轻键盘乐还是乡村摇滚，凡是只有乐器演奏而没有演唱的均为乡村器乐。
Instrumental Country is exactly what it says it is — any form of country, from traditional honky tonk to country-rock, played strictly instrumentally and without any vocals.
20.乡村布吉 Country Boogie¶
乡村布吉音乐是乡村酒吧轻键盘乐与纳什维尔之声的交融。它具有欢快的旋律与蓝调的变奏，并由乡村乐器伴奏。从根本上来说，乡村布吉音乐用其快节奏的曲调与蓝调和声为日后的摇滚打下了基础。
Country Boogie is a cross between the bluesy inflections of honky tonk and the polished style of the Nashville sound. It has a rollicking beat and follows bluesy changes, but is played with country instruments. In essence, the genre foreshadowed rockabilly with its uptempo beat and bluesy chords.
21.西部摇摆 Western Swing¶
西部摇摆是乡村乐的一个分支，20世纪30年代，由于美国东南部经济的不景气，使得唱片销量急剧下降，乡村音乐只能通过大量的广播节目而维持它的听众。此时出现了一种现象，原来的演唱组逐渐被个人演唱所替代。如罗伊·阿卡夫（Roy Acuff）、简尼·奥崔（Gene Autry）等人成了这时的焦点人物。在这种背景下，来自德克萨斯的鲍勃·韦尔斯（Bob Wills）在乡村音乐中融入了大量的西部牛仔歌曲（一种来自乡间的浪漫情歌）和摇摆乐的成分，创造了一种类似”大乐队”阵容的西部摇摆（Westen Swing）风格。1933年，鲍勃·韦尔斯将这种集合了舞蹈节奏、提琴音色、大乐队阵容、爵士唱法和架子鼓、失真吉它的新型风格成功地推向了市场，从而使其获得了”西部摇摆之王”的称号。
西部摇摆-特色
超好听的西部摇摆乐，身体里的每个细胞都会跳动起来，吉它声响起时，觉得自己已变身西部牛仔,骑在马上扬着缰绳，随着轻快的小提琴声，追着牛儿在农场上狂奔。而当Steel Guitar响起时，我就仿佛坐在酒吧前,喝着啤酒,看着窗外西部草原的落日徐徐落下，享受着夜晚来临的恬静。
Asleep at the Wheel是一支老牌西部摇摆乐队,自1973年出道以来发行了22张专辑,赢得9项格莱美大奖.,是他们2007年的最新专辑。如果你喜欢乡村,如果你喜欢爵士,如果你喜欢摇摆,那你一定不能错过这张专辑。PS西部摇摆是一种产生于美国经济大萧条时期的音乐，诞生在德克萨斯和俄克拉荷马州的脏兮兮的舞厅里，西部摇摆乐把乡村乐的感觉嫁接在复杂的爵士节奏上。采用不同于传统乡村乐而更接近大乐队（Big band）的阵容（一般包括小号）。
西部摇摆-影响
一种经济大萧条时期的音乐，诞生在德克萨斯和俄克拉荷马州的脏兮兮的舞厅里，西部摇摆乐把乡村乐的感觉嫁接在复杂的爵士节奏上。 采用不同于传统乡村乐而更接近大乐队（Big band）的阵容（一般包括小号）。 Bob Wills不久无可争议地夺取了这一音乐类型的王冠。
在即兴演奏方面与他的”德州花花公子”（The Texas Playboys）乐队在一起他是一个真正的革新者。在任何一个晚上，他都有能力发挥他的同伴和他的最佳状态这在乡村音乐史上产生了深远的影响。其他的西部摇摆乐队包括折中音乐形式的创始人 Milton Brown（以及他的Musical Brownies）和Spade Cooley。 今天，象”睡在轮边”（Asleep At The Wheel）这样的乐队还在继续这一乡村音乐传统！
西部摇摆-背景
在20年代所打下的基础上不断发展下， 30 年代的乡村音乐融入了西部的味道。歌唱牛仔如Gene Autry那样开始风行；在德克萨斯（Texas），颇具创新的bob wills参与创造了一种时尚崭新的舞曲音乐叫作“西部摇摆”（Westen Swing）；而Patsy Montana则以一曲“我想成为牛仔的心上人”（I want to be a cowboy’s sweetheart）成为第一个乡村女明星。
当时的美国东南部，经济的不景气使得唱片销量急剧下降，但乡村音乐却通过大量广播的谷仓舞曲（radio“barn dances”）节目而维持住了它的份额。需要强调的是，不过表演的形式有所改变，从原先的演唱组表演南部山区的音乐变得更倾向于个人的演唱，如 Roy Acuff 和 Ernest Tubb 。
1934年，Decca唱片作为一个廉价品牌注册成立。在此之前，南部山区音乐在电台和舞台上的推广已进行得相当不错了。Decca成立后，它逐渐成为最重要和最伟大的乡村音乐品牌。但30年代最大的新闻却源自西部以外的新的声音。
Western Swing was the most eclectic form of country music and in its free-wheeling diversity, it set the stage for rock & roll. Based in traditional string band music, Western swing also incorporated traditional pop melodies, jazz improvisation, blues, and folk, creating a wildly entertaining and eclectic form of American music. Bob Wills and Milton Brown popularized the genre in the ‘30s, and Wills became known as the father of the genre, since he remained popular for several decades, during which he had a remarkable string of hit singles. Although it sometimes faded away from view, Western swing remained popular throughout the 20th century, occasionally experiencing upswings in popularity, such as in the early ‘70s and the early ‘90s.
雷鬼 Reggae¶
雷鬼是早期牙买加的流行音乐之一，由斯卡(Ska)和洛克斯代迪(Rock Steady)音乐演变而来，它不仅融合了美国节奏蓝调的抒情曲风，同时还加入了拉丁音乐的热情。另外，雷鬼十分强调vocal的部份，不论是独唱或合唱，通常它是运用吟唱的方式来表现，并且藉由吉他、打击乐器、电子琴或其他乐器带出主要的旋律和节奏。而在雷鬼乐当中，电贝斯占了相当重要的比例!雷鬼乐是属于四四拍的音乐，重音落在第二和第四拍。从音乐中大鼓的部份，我们可以清楚的听出一个明显的节奏和固定的旋律线。拥有自成一派、懒洋洋的独特节奏。
雷鬼发源于牙买加，其根源来自New Orleans的R&B。 当时牙买加的乐手根据广播中听到的New Orleans快节奏R&B，发展成属于自己的R&B音乐。 这种称为Ska的音乐型态，在当时60年代相当盛行。然而在一次非常热的夏天， 当地的人无法在高温的户外弹奏如此快节奏的音乐及跳舞。 当地的乐手就将音乐放慢，而形成了 Reggae音乐。 Reggae这个字是源自于「Ragged」，代表牙买加不修边幅的舞蹈形式。
Reggae is a music genre first developed in Jamaica in the late 1960s. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that evolved out of the earlier genres ska and rocksteady.
1.回响 Dub¶
听起来比雷鬼还要沉，并且加入了大量的echo、reverb与delay等效果，让歌曲产生极大的空间感，所以dub基本上就是一种录音的技术，最早出现在1967年，当DJ发现在舞厅中放雷鬼，其实跳舞的群众还蛮爱跟着唱，所以干脆把主唱抽掉，可以让大家合唱，或者是即兴的乱唱，到了1969年，一些人开始创作只有些许主唱的雷鬼歌曲，最早这么作的是U-Roy，他是一个DJ，后来dub大师King Tubby拿U-Roy的歌去重新混音，King Tubby干脆把主唱整个抽掉，并加入了前述的几个效果，马上出现了跟雷鬼感觉不太一样的歌曲，dub也就这样开始了，可是到了1973年开始，才有 dub专辑，当时King Tubby帮几个制作人Bunny Lee与Augustus Pablo等人混音，到了1976年，dub已经变成牙买加很受欢迎的音乐，仅次于最传统的、最草根的雷鬼，也在这个时候传入了英国，这都拜Island 这个英国厂牌所赐，而当初玩雷鬼的一些人，像是Burning Spear与Black Uhuru等也都开始尝试dub，到了80年代，Mad Professor与dub打击乐大师Adrian Sherwood对英国的dub场景贡献卓越，尤其是他所创立的厂牌On-U Sound，90年代，科技日新月异，也让英国出现更多dub乐团，靠着高科技，他们可以更随心所欲的玩dub，也让dub出现了更多种的面貌，像是 ambient dub、experimental dub以及techno-dub等，dub的代表人物与团体有King Tubby、Scientists、Augustus Pablo、The Congos、Keith Hudson、Lee “Scratch” Perry、Prince Jammy以及Sly & Robbie等，较近期的则有Dub Syndicate、知名制作人Bill Laswell等，dub早已成为电子音乐的一个重要元素，知名trip-hop乐团Massive Attack(强烈冲击)就曾经找过Mad Professor料理他们的混音专辑，“嘻哈美国”中也提到，hip hop音乐常用的取样(sampling)概念，其实是来自King Tubby，所以，如果没有dub，就不会有现在这么多面貌的电子音乐。 Dub derives its name from the practice of dubbing instrumental, rhythm-oriented versions of reggae songs onto the B-sides of 45 rpm singles, which evolved into a legitimate and accepted style of its own as those re-recordings became forums for engineers to experiment with the possibilities of their mixing consoles. The practice of re-recording reggae tracks without vocals dated back to 1967, when DJs found that dancehall crowds and partygoers greatly enjoyed being given the opportunity to sing the lyrics themselves. Around 1969, some DJs began talking, or “toasting,” over these instrumentals (known as “versions”), frequently reinterpreting the already familiar original lyrics. The most important early DJ was U-Roy, who became renowned for his ability to improvise dialogues with the recorded singers; U-Roy ran the sound system owned by engineer King Tubby, who mixed all of the instrumental tracks over which his DJ toasted. Eventually, Tubby began to experiment with remixing the instrumental tracks, bringing up the level of the rhythm section, dropping out most or all of the vocals, and adding new effects like reverb and echo. The results were seen by many reggae fans as stripping the music down to its purest essence. 45-rpm singles with dub versions on the B-sides became ubiquitous, and King Tubby’s credit on the back soon became a drawing card in and of itself. Full-fledged dub albums began to appear in 1973, with many highlights stemming from Tubby’s mixes for producers Bunny Lee and Augustus Pablo (the latter of whom also played the haunting melodica, which became one of dub’s signature added elements); other key early producers included the minimalistic Keith Hudson and the colorful, elaborate Lee “Scratch” Perry. By 1976, dub’s popularity in Jamaica was second only to Rastafarian roots reggae, and the sound had also found acceptance the U.K. (thanks largely to the Island label), where roots reggae artists like Burning Spear and Black Uhuru became just as well-known for their forays into dub. The Mad Professor and the experimental Adrian Sherwood helped Britain’s dub scene remain vital in the ‘80s, but in spite of skilled newcomers like Scientist, Prince Jammy, and Mikey Dread, Jamaican popular taste had by then shifted to DJ toasters and lyrical improvisers, which led to the prominence of dancehall and ragga. The downtempo atmospherics and bass- and rhythm-heavy textures of dub had a lasting influence outside of reggae, beginning with Public Image Ltd.’s 1979 Metal Box/Second Edition album; during the ‘90s, dub was frequently incorporated into the melting-pot eclecticism of underground avant-garde rock, and Britain’s thriving electronica/drum’n’bass scene owed a great deal to dub’s mixing and production techniques.
2.斯卡 Ska¶
早在50年代的中期，美国的节奏布鲁斯（Rhythm and Blues —也就是我们现在所说的R&B），通过迈阿密、新奥尔良、孟菲斯等地的广播电台传入牙买加后，当地的一些音乐家便将其与牙买加当地的传统民间音乐Mento（门特）相融合，并混杂了美式灵歌的演唱，逐渐形成了Ska（斯卡）音乐。Ska音乐的速度较快，感觉更轻易让人随之舞动蹦跳起来，更加活泼跳跃，节奏强调反拍的重音，乐队中除了采用传统的Mento音乐的乐器（如木吉他、各种拉美打击乐器）外还加入了铜管乐、
电吉他、电贝司和键盘等乐器，并突出铜管的华丽色彩。而电吉它的反拍切分演奏技巧也更是体现了Ska音乐的特性，更轻易与其他音乐区别开来。Ska不仅延承了Mento中诙谐的论题和音乐上的特点，其更为欢快的节奏则更能体现出牙买加这个布满阳光和希望的加勒比海岛国的开放与热情。 Ska marked the true beginning of Jamaican popular music, coming to prominence during the early and mid-‘60s right around the time the island was granted its independence. Ska ensembles were generally a blend of electric instrumentation and horns most popular in jazz (saxophone, trumpet, trombone).
Although structurally simple, ska has a bevy of influences, synthesizing American R&B, jump blues, Jamaican mento, calypso and other Caribbean styles, big-band swing, Afro-Cuban jazz, pocomania and other local religious folk music, and European ballroom dances. Of those, the first three – R&B, jump blues, and mento – were the most important building blocks. Jump blues tunes – both sax-driven instrumentals and vocal numbers by artists like Wynonie Harris and Louis Jordan – had become wildly popular at Jamaican dance parties, with sound-system operators making frequent trips to the U.S. searching for the hottest and rarest 45s. As R&B shifted into rock & roll, less crossover-oriented American performers like Little Richard and Fats Domino also became Jamaican favorites. In 1959, when the boogie beat had become less important in rock-oriented R&B, top sound-system owners like Clement “Coxsone” Dodd and Duke Reid (as well as restaurateur-cum-producer Leslie Kong) took matters into their own hands, forming their own labels, acting as producers for local talent, and recording the music their audiences wanted to hear when it was no longer readily available in the U.S. From there, the music took on distinctly Jamaican characteristics, melding influences from all the different styles in which Jamaican instrumentalists had been trained. The most important of these was mento, Jamaica’s first indigenous musical form; it was essentially a blend of Caribbean calypso and Jamaican folk music. Mento ensembles used the banjo to play chords on the off-beat, and when this practice was transferred to Jamaican R&B recordings, those off beats were punched up and strongly emphasized because of R&B’s emphasis on driving rhythm. This was essentially the birth of ska, and that rhythmic emphasis continued to dominate Jamaican music for decades to come. Important ska vocalists included Derrick Morgan, Laurel Aitken, Prince Buster (himself a sound system owner), Desmond Dekker, Toots & the Maytals, and the very young Bob Marley and the Wailers; the Skatalites, featuring a number of virtuosic soloists and led by the mercurial trombonist Don Drummond, were far and away the top instrumental group, and also served as the house backing band for Coxsone Dodd’s prolific Studio One. Ska’s popularity declined in 1966, when the slower, cooler rock steady style found favor with younger listeners during the particularly hot summer; moreover, ska lost one of its top performers that year when Don Drummond was arrested for the murder of his girlfriend and committed to an institution (he died there several years later). Ska enjoyed a brief and popular revival in the U.K. during the late ‘70s and early ‘80s, thanks to the enthusiasm of many British punk fans for reggae records, and the skipping, infectious ska beat in particular. A more rock-oriented take on ska became popular in the U.S. during the ‘90s, although it was much farther removed from the music’s Jamaican origins than the British version had been.
3.雷鬼流行 Reggae Pop¶
雷鬼（Reggae）-流行音乐起源于雷鬼乐，但音乐因结实，旋律的旋律，商业化的生产和对分音的敏感性而得到了改善。有时，雷鬼-流行乐是由寻求使他们的声音多样化的流行乐队表演的，但更多情况是由对流行音乐充满热情的雷鬼艺术家演奏的。在70年代，像Eric Clapton和Clash这样的多元化摇滚歌手尝试了雷鬼演奏，并且80年代初的整个2-Tone ska复兴运动与雷鬼演奏紧密结合。尽管如此，直到80年代-UB40，Eddy Grant和Maxi Priest等艺术家都在排行榜上确立了它的位置-雷鬼音乐流行成为了大众意识的一部分。雷鬼-流行音乐于80年代中期首次浮出水面，并在本世纪末期蓬勃发展，因为前面提到的那些艺术家获得了跨界热卖。在90年代，即使没有80年代末和90年代初的交叉击打次数，其风格仍然很强。
Reggae-Pop has its foundation in reggae, but the music is tempered with strong, melodic hooks, commercial production, and a crossover sensibility. Sometimes, reggae-pop is performed by pop bands seeking to diversify their sounds, but more often it’s played by reggae artists with a fondness for pop. During the ‘70s, such diverse rockers as Eric Clapton and the Clash experimented with reggae, and the entire 2-Tone ska revival movement of the early ‘80s was closely aligned with reggae. Nevertheless, it wasn’t until the ‘80s – when artists like UB40, Eddy Grant, and Maxi Priest all established a place for it on the charts – that reggae-pop became part of the mass consciousness. Reggae-pop first surfaced in the mid-‘80s, and flourished toward the end of the decade, as those previously mentioned artists had crossover hits. During the ‘90s, the style remained strong, even if there weren’t as many crossover hits as there were in the late ‘80s and early ‘90s.
4.雷嘎 Ragga¶
Ragga与Dancehall密不可分，甚至从音乐形式上来说，Ragga就是Dancehall（Ragga不过是法国人的叫法），其实Ragga就是Raggamuffin的缩写，源自于牙买加首都金斯敦的贫民窟，到了80年代中期，成为牙买加年轻一代相当喜爱的音乐形式，歌词有别于Dancehall的肮脏与暴力，到了90年代，Ragga则对英国的Drum&Bass/Jungle（在英格兰出现的一种音乐类型，转变自Techno音乐，它也是Techno所有子类音乐中一种最具节奏性的混合，音乐中可能什么都没有，但绝对少不了那种速度很快的击鼓声以及很沉的低音）影响深远。
Ragga refers to reggae in which the backing instrumentation (or the vast majority of it) is digital. The style is most commonly associated with dancehall, and while not all dancehall reggae is electronic (and therefore not ragga), there is a great deal of overlap between the two. “Ragga” is short for “raggamuffin,” originally a term for a Kingston ghetto youth; the music took on that name as it became the younger generation’s style of choice in the mid- to late ‘80s. Because of the relatively low costs of building synthesized rhythms, ragga became the preferred mode for many Jamaican producers as well, enabling them to turn out thousands of singles per year, and to craft more adventurous new rhythms instead of simply borrowing them from old rock steady records. This also led to the explosion of the “rhythm album,” for which different artists would record their own lyrics and melodies over the same pre-existing rhythm track. Although ragga is linked in the minds of many with deejay toasting, straight-ahead singers often address romantic and Rastafarian concerns, and the two vocal styles are frequently mixed as well. The first ragga record was Wayne Smith’s 1985 single “Under Me Sleng Teng,” which was produced by King Jammy and built around a rhythm that was discovered pre-programmed on a Casio keyboard. Its impact was immediate, spawning a host of imitators and establishing Jammy for a time as Jamaica’s most dominant producer. During the ‘90s, ragga remained firmly entrenched as the most popular sound in Jamaican dancehalls. It began to incorporate hip-hop sampling techniques, and several of its artists scored pop crossover hits in the U.S.; ragga was also an important influence on the U.K.’s thriving jungle/drum’n’bass scene.
5.舞厅 Dancehall¶
Dancehall发展于80年代，最初称作Ragamuffin，音乐的主要结构仍是Reggae，但是速度快了许多，强调大鼓的重拍，有别于Ska/Reggae的慵懒，表演内容通常是DJ在台上以半唱半念饶舌的方式演出，歌词内容却都比较低俗，并经常伴以非常激进的唱腔，称作Dancehall是因为这样的音乐并不适合在电台播放，最合适的地点就是舞池（Dancehall），于是Ragamuffin就有了一个通俗的新名字，Dancehall早期的代表人物有Sizzla、Yellowman、Shabba Ranks等人。到了90年代，Dancehall与美国的Hip-Hop进行了结合，许多帮派饶舌逐渐地加入了Dancehall，使得原本就有肃杀之气的歌曲更加的激进，这股潮流延续了下来，Dancehall也成为Hip-Hop的一个重要元素，同时也创造出像Beenie Man以以及Sean Paul这样的知名巨星。 Dancehall developed in the ‘80s as “ragamuffin,” a hybrid style featuring a DJ or “sing-jay” half-singing, half-rapping with often bawdy (“slack”) themes. The musical structure is rooted in reggae though the rhythms, played by drum machines, are considerably faster. By the ‘90s, dancehall crossover was common, with many gangsta-rappers incorporating dancehall rhythms and its rapid-fire toasting. Major dancehall figures include Yellowman and Shabba Ranks.
6.根源雷鬼 Roots Reggae¶
Roots Reggae美国摇滚和Ska（牙买加流行乐）民族摇滚的杂交，其代表乃强烈的歌唱和虔诚的拉斯特法里主义歌词；这可能是Reggae音乐最容易理解的一 种形式，也是最全球性的一种。Roots reggae浮现于70年代初，并马上发展成为慢拍摇滚的追随者。 A cross between American rock and ska/rock steady, Roots Reggae is typified by strong vocals and devoutly rasta lyrics; it is perhaps the most easily accessible form of reggae, and the most successful globally. Roots reggae emerged during the early 1970s, immediately following the development of rocksteady.
7.迪杰 Deejay / Toasting¶
8.当代雷鬼 Contemporary Reggae¶
9.洛克斯代迪 Rocksteady¶
Rocksteady其实代表的正是牙买加音乐的一个高峰，她是ska的其中一个分支。Ska音乐流行于1960至1965年之间，到60年代中期逐渐演变为Rocksteady音乐。Rocksteady与Ska相比，它的速度明显放慢，节奏及旋律更为细腻丰富；其乐队完全采用节奏布鲁斯的组合方式，将吉他作为节奏乐器，用切音技巧演奏松弛而富有韵律的节奏音型；贝司声部的旋律也更具独立性，与华丽的主唱声部构成对位，成为美妙的低音铺垫，相对来说要求有一定的技术性和演奏技巧。60年末，Rocksteady又发展成更具国际性的Reggae（雷鬼）音乐。实际上，很难在Rocksteady和Reggae之间划出明显的界限，只是Reggae比Rocksteady更为细腻，更多地使用电声乐器和更加国际化、商业化而已，没有Rocksteady那么明显的牙买加传统地方特性。不过Rocksteady在Reggae乐的发展中扮演了重要的角色，Rocksteady主要代表艺人有Alton Ellis、Ken Boothe与The Melodians等，他们的歌曲动听，歌词却布满了政治意味，对接踵而至的Reggae做了很好的铺垫，成为Reggae乐的先锋。 Rocksteady was a style of popular music that developed out of ska in the 1960s. In its simplest terms, rocksteady is half-speed ska with the trombone replaced by piano and prominent bass. The lyrics are more socially and politically conscious, and there is a greater focus on harmonies, particularly in trios like the Heptones, Gaylads, Dominoes, Aces, and Wailers. Other major figures include Alton Ellis and Ken Boothe. With its relaxed beat and social-protest lyrics, the music served as a forerunner to reggae.
10.雷吉顿 Reggaeton¶
Reggaeton，也称为reggaetón和reguetón，是一种音乐风格，起源于1990年代末期的波多黎各。它从舞厅发展而来，受到美国嘻哈，拉丁美洲和加勒比音乐的影响。声音包括说唱和唱歌，通常使用西班牙语。
古典 Classical¶
古典音乐是一个含义广泛的术语，广义的西洋古典音乐是指那些从西方中世纪开始至今、并在欧洲主流文化背景下创作的音乐，或者指植根于西方传统礼拜式音乐和世俗音乐，其范围涵盖了约公元11世纪至今的全部时期。主要因其复杂多样的创作技术和所能承载的厚重内涵而有别於通俗音乐和民间音乐。在地理上，这些音乐主要创作於欧洲和美洲，这是相对於非西方音乐而言的。另外，西洋古典音乐主要以乐谱记录和传播，和大多数民间音乐口传心授的模式不同。
亦有人认为“古典”是对应于“流行”而言的，因为这些音乐经得起时间的考验，能够引起不同时代听众的共鸣，故认为应当称之为“经典”（classic）的音乐。
但如果细究古典一词，本意可以理解为古代留传下来堪称经典的音乐作品（古代+经典），但是一般来说，古典音乐是具有规则性本质的音乐，具有平衡、明晰的特点，注重形式的美感，被认為具有持久的价值，而不仅仅是在一个特定的时代流行。这也体现於“古典”（classical）与“经典”（classic）的不同。
古典音乐（classical music）本来是专指德奥在1750—1820年间以海顿、莫扎特、贝多芬為代表的音乐，即所谓“维也纳古典乐派”的音乐（或翻译為“维也纳古典主义音乐”）。这就是狭义的古典音乐。
从这个狭义的古典音乐概念出发，我们可以向前追溯到巴赫、亨德尔，乃至更早的天主教、基督教的宗教音乐，向后延伸到浪漫主义、民族乐派，以及20世纪西方的现代音乐。这些都是广义的古典音乐，也就是基於这个传统的，无论是继承和发扬这个传统，还是试图以创新来突破这个传统的音乐创作尝试，都可以归入古典音乐之内。而在这个传统外独立发展的音乐，虽然有借鉴和影响古典音乐创作的，但是一般也不归入古典音乐之内，比如爵士乐、摇滚乐，以及东方一些民族的音乐。
因此对于广义的“古典音乐”这个词来说，欧洲艺术音乐的定义更加准确。
欧洲艺术音乐与其他的非欧洲音乐和流行音乐体系的主要区别是记谱法有所不同，其规则大约源自于16世纪便开始使用的记谱法。在西方记谱法中，作曲者给演奏者规定了音调、格律、速度，独特的节奏和对于一同段音乐准确的演奏方式。这种即兴演奏发挥空间很小的记谱法模式，极大的不同于非欧洲艺术音乐（相对于传统的日本音乐和印度音乐）和流行音乐。
古典音乐作為音乐中类别的称呼，是相对于轻音乐、通俗音乐等类别而存在，它本身并没有严格明确的解释或者定义。在轻音乐范围里，有时也採采用“古典”的概念来指某些经过时间检验，被人们奉为楷模的轻音乐作品，如古典轻歌剧、古典爵士乐等，这里的 classical 理解为“古代+经典”，似乎更为合适一些。
1.西方古典 Western Classical Music¶
古典音乐是一个含义广泛的术语，广义的西洋古典音乐是指那些从西方中世纪开始至今、并在欧洲主流文化背景下创作的音乐，或者指植根于西方传统礼拜式音乐和世俗音乐，其范围涵盖了约公元11世纪至今的全部时期。主要因其复杂多样的创作技术和所能承载的厚重内涵而有别於通俗音乐和民间音乐。在地理上，这些音乐主要创作於欧洲和美洲，这是相对於非西方音乐而言的。另外，西洋古典音乐主要以乐谱记录和传播，和大多数民间音乐口传心授的模式不同。
亦有人认为“古典”是对应于“流行”而言的，因为这些音乐经得起时间的考验，能够引起不同时代听众的共鸣，故认为应当称之为“经典”（classic）的音乐。
但如果细究古典一词，本意可以理解为古代留传下来堪称经典的音乐作品（古代+经典），但是一般来说，古典音乐是具有规则性本质的音乐，具有平衡、明晰的特点，注重形式的美感，被认為具有持久的价值，而不仅仅是在一个特定的时代流行。这也体现於“古典”（classical）与“经典”（classic）的不同。
古典音乐（classical music）本来是专指德奥在1750—1820年间以海顿、莫扎特、贝多芬為代表的音乐，即所谓“维也纳古典乐派”的音乐（或翻译為“维也纳古典主义音乐”）。这就是狭义的古典音乐。
从这个狭义的古典音乐概念出发，我们可以向前追溯到巴赫、亨德尔，乃至更早的天主教、基督教的宗教音乐，向后延伸到浪漫主义、民族乐派，以及20世纪西方的现代音乐。这些都是广义的古典音乐，也就是基於这个传统的，无论是继承和发扬这个传统，还是试图以创新来突破这个传统的音乐创作尝试，都可以归入古典音乐之内。而在这个传统外独立发展的音乐，虽然有借鉴和影响古典音乐创作的，但是一般也不归入古典音乐之内，比如爵士乐、摇滚乐，以及东方一些民族的音乐。
因此对于广义的“古典音乐”这个词来说，欧洲艺术音乐的定义更加准确。
欧洲艺术音乐与其他的非欧洲音乐和流行音乐体系的主要区别是记谱法有所不同，其规则大约源自于16世纪便开始使用的记谱法。在西方记谱法中，作曲者给演奏者规定了音调、格律、速度，独特的节奏和对于一同段音乐准确的演奏方式。这种即兴演奏发挥空间很小的记谱法模式，极大的不同于非欧洲艺术音乐（相对于传统的日本音乐和印度音乐）和流行音乐。
古典音乐作為音乐中类别的称呼，是相对于轻音乐、通俗音乐等类别而存在，它本身并没有严格明确的解释或者定义。在轻音乐范围里，有时也採采用“古典”的概念来指某些经过时间检验，被人们奉为楷模的轻音乐作品，如古典轻歌剧、古典爵士乐等，这里的 classical 理解为“古代+经典”，似乎更为合适一些。
2.浪漫主义 Romanticism¶
浪漫时期的音乐(古典主义音乐)是维也纳古典乐派的延续和发展，是西方音乐史上的一种音乐风格或者一个时代。
浪漫主义音乐以它特有的强烈、自由、奔放的风格与古典主义音乐的严谨、典雅、端庄的风格形成了强烈的对比。如果贝多芬的音乐只是黑白电影或版画的话，那么浪漫主义音乐派作品则像水彩画和五颜六色的油画。这一时期产生了两种不同的浪漫主义音乐流派。一种是以勃拉姆斯为主要代表的保守浪漫主义，另一种是积极浪漫主义。浪漫主义音乐时期也是欧洲音乐发展史上成果最为丰富的时期，它极大丰富和发展了古典主义音乐的优良传统，并有大胆的创新，这一时期的许多音乐珍品至今仍深受人们的喜爱和欢迎。
3.古典主义 Classical period¶
古典主义音乐不同于古典音乐。古典主义音乐指的是1750至1820年时期的欧洲主流音乐。海顿、莫扎特和贝多芬是古典主义音乐的杰出代表，由于他们都在维也纳度过自己的创作成熟时期，因而也称作“维也纳古典乐派”。古典主义音乐承继著巴洛克音乐的发展，是欧洲音乐史上的一种音乐风格或者一个时代。这个时代出现了多乐章的交响曲、独奏协奏曲、弦乐四重奏、多乐章奏鸣曲等等体裁。而奏鸣曲式和轮旋曲式成为古典时期和浪漫时期最常见的曲式，影响之深远直至20世纪。乐团编制比巴洛克时期增大，乐团由指挥带领逐渐变成一种常规。现代钢琴在古典时期出现，逐渐取代了大键琴的地位。
随着法国大革命对社会造成的冲击，作曲家的生计也受到影响，由最初依赖宫廷、教会聘雇转变为独立的创作者。
4.巴洛克音乐 Baroque Music¶
巴洛克原意指形状不规则的珍珠，是一种艺术形式，由于这种艺术风格的盛行后人称之为巴洛克时期。这个时期出产的音乐作品就称为巴洛克音乐。
巴洛克音乐的一些特点（Baroque），它的节奏强烈、跳跃，采用多旋律、复音音乐的复调法，比较强调曲子的起伏，所以很看重力度、速度的变化。巴洛克音乐是后期发展的一个基础。在声乐方面，巴洛克音乐带有很浓的宗教色彩，当时的宗教音乐在西方音乐的发展占很大的分量。那个时期的器乐曲发展也很迅速，尤其是弦乐方面的发展，弦乐的音色更能体现出巴洛克的特色。
5.现代古典 Modern Classical¶
纷繁复杂的现代音乐流派正如二十世纪的其它艺术形式那样，音乐艺术也趋向于多样化，众多的流派各成一体，都完全脱离了古典的美学传统。比较典型的几个音乐流派为：以巴托克、斯特拉文斯基为代表的“原始主义”；以欣德密特为代表的“新古典主义”；以勋伯格、韦伯恩为代表的“十二音主义”；以普罗科菲耶夫、肖斯塔科维奇为代表的“社会主义现实主义”等。
6.声乐 Vocal Music¶
声乐是由一个或多个歌手表演的音乐形式，使用乐器伴奏与否皆可，而人声是作品的重点。含有人声但重点不在其上的乐曲一般称作器乐（如古斯塔夫·霍尔斯特的《行星组曲》中没有歌词的女声合唱）。没有乐器伴奏的的合唱曲则通常称为无伴奏合唱。
对于声乐而言，相当多声乐作品（部份或全部）为模仿其他声音或纯粹内容抽象，而运用非语言音节甚或是噪音，然而一般人特别注意歌词的使用。较短小且含有歌词的声乐作品常称为歌曲。
声乐也许是最古老的音乐形式，因为它不需要任何乐器，仅仅人声便可。在各种音乐文化中都存在着某种形式的声乐。语言和音乐目的虽不同，皆有共同的音乐因子。
Vocal music can describe any music produced by the human voice, but is generally differentiated from choral music, which is sung by large groups. Because its instrument is the body itself, it is the most primal music produced by humans and is common to all cultures. It is most frequently expressed as song, words sung to a melody. At least since the Middle Ages, songs have commonly been accompanied by a string instrument, often played by the singer, a tradition that continues to the present. Art songs with piano accompaniment often gathered into thematically-related cycles, came to prominence in the 19th century in the works of Schubert, Schumann, Brahms, and Wolf. Nearly all European composers of the era wrote songs. Post-Romantic composers like Mahler and Richard Strauss popularized songs and song cycles with orchestral accompaniment, and songs have been significant in the output of modern composers such as Poulenc, Britten, and Barber.
7.管弦乐 Orchestral¶
管弦乐是随着16，17世纪声乐与器乐的发展逐渐形成的，到了18世后，海顿确立了管弦乐队编制和主调音乐样式；莫扎特则进一步加以肯定，贝多芬以交响性、戏剧性手法写作管弦乐序曲。19世纪到20世纪管弦乐发展达到鼎盛时期，一大批优秀作曲家与优秀作品相继出现。
Orchestral music originated in the late 16th century stage spectacles and 17th century opera orchestras. The word “orchestra” came into common use in the 18th century, when music of the Baroque and Classical eras often was composed for specific occasions. Incidental music to accompany plays was also important in the Classical and early Romantic eras. The Romantics threw off the constraints of pre-established forms and luxuriated in the possibilities offered by the expansion of instruments available. Liszt pioneered the tone poem or symphonic poem. Orchestral dances like “On the Beautiful Blue Danube” have lost none of their popularity. For much of the 20th century, the orchestra stood at the center of community life in classical music, and new works appeared accordingly. The success of pieces like John Adams’ “A Short Ride in a Fast Machine,” shows that the orchestra remains a vital medium, even in an age of high technology.
8.歌剧 Opera¶
歌剧（opera）是将音乐（声乐与器乐）、戏剧（剧本与表演）、文学（诗歌）、舞蹈（民间舞与芭蕾）、舞台美术等融为一体的综合性艺术，通常由咏叹调、宣叙调、重唱、合唱、序曲、间奏曲、舞蹈场面等组成（有时也用说白和朗诵)。早在古希腊的戏剧中，就有合唱队的伴唱，有些朗诵甚至也以歌唱的形式出现；中世纪以宗教故事为题材，宣扬宗教观点的神迹剧等亦香火缭绕，持续不断。但真正称得上“音乐的戏剧”的近代西洋歌剧，却是16世纪末、17世纪初，随着文艺复兴时期音乐文化的世俗化而应运产生的。
An opera is a stage work accompanied by music in which all or most of the dialogue is sung. Opera was invented around the turn of the 17th century by a group of Florentine musicians who were trying to replicate the form of Greek theatre in which drama and music were combined. One of their members, Claudio Monteverdi, wrote the first great opera, Orfeo, in 1607. Virtuoso singing soon came to be a central element, and many operas give the singers the opportunity for spectacular vocal display. The subject matter of operas can be as diverse as that of plays, and the musical styles reflect the vast variety of all music. Operas may range from the small and intimate to the most extravagantly grand, but in the best of them, the music and drama work together to heighten the intensity of each other, making opera one of the most emotionally potent art forms.
9.教堂音乐 Church Music¶
教会音乐是为了在教堂的表演而创作的，或任何音乐背景的教会礼仪，或音乐集的话表达命题的一个神圣的性质，如赞美诗。
10.艺术歌曲 Lied¶
艺术歌曲（德语：Lied，复数：Lieder）与歌曲有所不同；艺术歌曲（Lied）的德语字义即是“歌曲”，但“艺术歌曲”通常特指欧洲古典音乐中的一种歌曲型式，英语也可称为“art song”。典型的艺术歌曲表演型式是由一位歌唱者与钢琴伴奏一起演出。有时候多首艺术歌曲（Lieder）可以组成一组联篇歌曲（德语：Liederkreis，英语：song cycle）—由一串歌曲连接成单一故事或主题。作曲家舒伯特及舒曼即擅长写作这类型的音乐作品。因为在德语中，“Lied”仅指“歌曲”，因此德语的使用者也经常以更精确的字“Kunstlied”来指称“艺术歌曲”。
在德语中，Lied 具有相当久远的历史，从12世纪经由民歌（Volkslieder）和教堂赞美诗（Kirchenlieder）表现的游吟诗人歌曲（Minnesang），到20世纪的讽刺歌曲或抗议歌曲（Kabarettlieder, Protestlieder）都有它的踪迹。
在德国，歌曲发展的重要年代在19世纪。德国及奥地利作曲家从写作附伴奏乐器的声乐作品，发展到古典时期及浪漫时期音乐与德国文学相呼应，在作品中引用文学题材，作曲家可以从诗当中获得许多灵感，因而产生出艺术歌曲（Lied）的类型。莫扎特及贝多芬所作的歌曲即为艺术歌曲的滥觞，但直到舒伯特才为艺术歌曲型式建立了明确的意涵，在文字与音乐间找到新的平衡，对于文字所表达的意念升华至与音乐的呈现互相辉映。常被引用的诗人有：歌德Goethe，海涅Heine，席勒Schiller等。舒伯特写作超过六百首歌曲，有些是具有故事内容的联篇歌曲的型式，如：《美丽的磨坊少女》、《冬之旅》、《天鹅之歌》；心灵上的游历更胜于肉体上的遭遇。此一艺术歌曲的传统由舒曼、布拉姆斯及雨果·沃尔夫（Hugo Wolf）承续了下来，并且传承到了20世纪的理查·斯特劳斯和马勒。此种艺术歌曲的歌曲质体，类似三个世纪前的意大利牧歌（madrigal），充分展现了人类情感中最丰富的创作力。
艺术歌曲的传统与德国语文有着密不可分的关系，然而在其他国家，也有一些相类似的歌曲型式。比较著名的作曲家如法国的佛瑞、德布西、普朗克，和俄罗斯的穆索斯基。而20世纪的英国也有几位作曲家，如佛汉·威廉士和布里顿，写作过此类型的作品。
11.合唱团 Choral¶
合唱指一种集体性的歌唱艺术。在合唱中，人员分成若干声部，分别采用不同的旋律，同时唱歌。这类表演团队被称为合唱团或者合唱队。参加的人员则称做合唱团员或者合唱队员，其所演唱的歌曲称作合唱音乐，但也常遇到将合唱当做合唱团或合唱音乐的简称。
Choral music is music performed by a group of singers or a choir. The singers may perform without accompaniment, or may be accompanied by any instrumental combination, from piano to full orchestra. Plainchant, the oldest notated Western music, dating from the 9th century, was sung in unison (all voices singing the same melody) by monks. Choral music, mostly liturgical, remained the primary focus of composers through the Renaissance. Using highly sophisticated harmonies and counterpoint (the interweaving of many melodies), they created a significant and diverse body of works. Some of the greatest works by Baroque composers J.S. Bach and Handel were choral, and all but a handful of prominent composers since then have contributed to the choral repertoire. Thanks to church choirs, school choirs, and local choral associations, which are particularly popular in the US and the UK, choral singing provides the most widespread opportunities for amateur music-making.
12.交响乐 Symphonic Music¶
交响乐（SYMPHONY）又称交响曲。是采用大型管弦乐队演奏的鸣奏曲（奏鸣—交响套曲）。交响音乐主要是指交响曲、协奏曲、乐队组曲、序曲和交响诗五种体裁。但其范畴也时常扩展到一些各具特色的管弦乐曲，如交响乐队演奏的幻想曲、随想曲、狂想曲、叙事曲、进行曲、变奏曲和舞曲等。此外，交响音乐还包括标题管弦乐曲。
The symphony is one of the central forms of Classical music and one that has something new to say to each generation. Typically, a symphony is a multi-movement, multi-character work for orchestra, with origins in the sinfonias that served as curtain-raisers for operas in the early 17th century. In the Classical era, Haydn perfected the form, which would bring forth masterpieces from Mozart, Beethoven, Brahms, Mahler, Sibelius, Shostakovich, Ives, and so many others. As it developed, symphonies began to encompass more than abstract musical ideas, embracing programmatic narratives, nationalistic characteristics, and modern compositional techniques such as serialism. Even in the 21st century, when the costs – financial and otherwise – of performing such large-scale works can seem prohibitive, composers like Einojuhani Rautavaara, Philip Glass, and Tan Dun are still compelled to write them.
13.交响曲 Symphony¶
交响曲是器乐体裁的一种，是管弦乐队演奏的包含多个乐章的大型（奏鸣曲型）套曲。源于意大利歌剧序曲，海顿时定型。
基本特点为：第一乐章快板，采用奏鸣曲式；第二乐章速度徐缓，采用二部曲式或三部曲式等；第三乐章速度中庸或稍快，为小步舞曲或诙谐曲；第四乐章又称”终乐章”，速度急速，采用回旋曲式奏鸣曲式等。
早期的交响曲（1725～1760）由17世纪末意大利式歌剧序曲演变而来。交响曲的前身是巴罗克时期的意大利歌剧序曲（sinfonia），18世纪上半叶作曲家们采用意大利歌剧序曲的快—慢—快结构谱写管弦乐作品，并将其称为交响曲。从此，交响曲逐渐取代了巴罗克风格的乐队协奏曲，成为音乐会中主要的器乐形式。序曲的“快板一慢板—快板”的三段形式，为交响曲的套曲形式打下了基础。
18世纪中后期，序曲性质的交响曲脱离歌剧， 吸收大协奏曲、组曲及三重奏鸣曲的因素，发展成独立的3乐章的器乐体裁。但这时曲式尚未最后确立， 交响乐队的编制也未成形，交响曲仍属器乐重奏及小型乐队演奏的作品。
这时，不少作曲家，为创建交响曲体裁作出了贡献。意大利的G.B.萨马蒂尼开始运用早期奏鸣曲式、动机式的旋律写作交响曲，并于1760年开始废弃通奏低音，以铜管乐来填补和声。曼海姆乐派的J ．斯塔术茨创建了一个训练有素的双管制交响乐队，首创了具有“渐强”、“渐弱”等力度变化的演奏风格，并使管乐器起到独立的声部作用。
维也纳乐派的M.G.莫恩首先在他的《D大间交响曲》（1740）的慢板乐章后，插入一个小步舞曲乐章，创造了旱期的4乐章交响曲形式。在创作中，他与G. C.瓦根塞尔等都重视乐队色彩的运用，扩大管乐器的作用，并使小提琴成为乐队的主体，他们与斯塔米茨一起都为发展交响曲作出了一定的贡献。
14.协奏曲 Concerto¶
协奏曲（concerto），指一件或数件独奏乐器和乐队协同演奏，既有对比又相互交融的作品。用一件乐器者又称“独奏协奏曲”，用几件乐器者又称“大协奏曲”。通常为三个乐章，但也有仅一个乐章的协奏曲，舒曼将自己这样的作品称为“小协奏曲”，以及乐章更多的协奏曲。
The first concertos – works typically for one or more soloists and orchestra – date from the late 17th century, and new ones are being written every year. The genre gives a talented soloist the chance to strut his or her stuff. Yet it also seems to embody the relationship between the individual and the crowd. Several beloved concertos originated in the late Baroque era, including Vivaldi’s violin concertos entitled the “Four Seasons,” and Bach’s “Brandenburg Concertos,” which represent the concerto grosso form – a group of soloists accompanied by an orchestra. The touring virtuoso tradition of concerto performance began with Mozart and Beethoven, flourished in the 19th century when composers such as Liszt and Tchaikovsky were happy to push soloists to their technical limits, and continues even now. Concertos will be written as long as the idea of the one against the many remains relevant.
15.芭蕾 Ballet¶
古典芭蕾(classic ballet)的历史约有五百年,是沿袭宫廷芭蕾的各种技法与表现方式,虽经过了不断地改变和革新，在19世纪形成的新流派芭蕾舞。
事实上,古典芭蕾尚有浪漫派与古典派的区分。前者为十七十八世纪的舞剧《吉赛尔》。后者专指十九世纪的舞剧，如《天鹅湖》。两者较明显的差别在于舞者所穿的舞衣之不同,古典派的舞衣为纱质的短裙,称为classical tutu[1],舞鞋质地较软;而浪漫派的舞裙长及膝与踝之间,称为romantic tutu[2],舞鞋为硬式,便于舞者跐立。
除此之外,古典芭蕾依动作又可分为快舞与慢舞。快舞孕育于意大利,最大特色是跳跃与旋转,专指男舞者与女舞者随著迅速的音乐踊舞的舞蹈,所有活泼迅速而华丽的舞蹈均属之。慢舞孕育于法国,是法国舞蹈的最大特征,舞者以缓慢的动作,或以单脚支立平衡身体,构成优雅曲线之舞步与舞姿等均称为慢舞,这种舞蹈充满了纤细的美感。
在古典芭蕾舞剧中,通常以慢舞来表现男女的情爱场面,如天鹅湖中的第二幕公主与王子的双人慢舞。慢舞基本上是属于女性的舞蹈,而男舞者只是支扶女舞者的陪衬而已,对于女舞者来说,无非是一个呈现其舞艺与优美曲线的大好机会,而此时表现身体的平衡更显得格外重要。
如今快舞与慢舞虽以交互使用,但仍可视其强调的程度,来分辨意大利派的华丽与法国的浪漫气质。
While dance and music have been intertwined since their origins, the visual-corporeal-musical spectacle we call ballet has its origins in the 17th and 18th century French court. In its most common manifestations, ballet combines music and dance to tell a story. It was brought to perfection in the 19th century, peaking with France’s Adolph Adam and Russia’s Tchaikovsky. Stravinsky and Copland composed the most well-loved ballets of the 20th century, both representing the tradition of great ballet music arising as collaborations between composer and choreographer, such as that of John Cage and Merce Cunningham. For much of the 20th century new dance works were designated by the term “modern dance” rather than “ballet,” and were more abstract in subject. Modern choreographers tend to draw eclectically on a variety of musical sources for their works. Meredith Monk is an inventive, contemporary creative figure whose works include both music and dance elements.
16.独奏 Recital¶
17.室内乐 / 重奏 Chamber Music¶
室内乐（Chamber music），又称室乐，是一种古典音乐作品的体裁，为几件在室内演奏的乐器所作。室内乐由几人合奏，每人各演奏一个声部，通常不含独奏。“室内”指音乐可以在空间较小的室内演奏。
Broadly speaking, chamber music is any ensemble music suited to a small room rather than to a large concert hall. Chamber ensembles range from two to eight or nine musicians, within families of string, wind, brass, and even percussion instruments, or combining diverse instruments. The most characteristic form is the string quartet (two violins, viola, and cello), perfected by Haydn. Chamber music of the Romantic era came mostly from composers who extended the forms they inherited from Mozart and Beethoven. Perhaps the greatest 19th century composer of chamber music was Brahms, whose depth of musical thought influenced even his most experimental successors. Chamber music in the 20th century showed composers making each piece of music into a miniature sound world of its own in a medium that would display what they were doing with maximum clarity. More new works are written today for chamber ensembles than for orchestra or the stage.
18.古典跨界 Classical Crossover¶
及至今天，古典跨界已经成了最受瞩目的Crossover，有时候人们说到跨界，就是指古典跨界。而众多音乐家和表演家的参与也使这个领域变得精彩纷呈，并不能简单的评价为商业噱头了。
有些古典跨界音乐精致讨好，无涉现实生活，让人们在一定距离内欣赏其形式美感。像莎拉·布莱曼，她代表了广为大众接受的一种古典跨界模式：曼妙的美声，加流行的编曲。这个模式几乎成了速成手法，以致很多歌手竞相套用，大大降低了创造性。不过话又说话来，这类古典跨界并无太多创造诉求，它们看重的是某种手法对人们是否还有吸引力。
还有，我们常会“音乐”上面打转，而疏略了其他。实际上莎拉·布莱曼代表的跨界音乐很多时候还是一种表演方式：音乐跨界，视觉也跨界。例如古典辣妹，她们只需持琴并以性感狂野形象示人，不闻其乐，即已“跨界”。
而马友友则代表了另一类古典跨界，一种文化旅行式的音乐。正像那张< Appalachian Journey >的名字一样，它用声音描绘阿巴拉契亚山地的美国风情，讲述移民故事，我们听着，正像是做了一次文化根源的寻访。这种音乐不会太让人注意到“模式”，“模式”已经在音乐深度面前隐匿了。
这种跨界还让我们领略到古典音乐家多面的魅力， 正如在中，含蓄优雅的马友友一下子释放出了拉丁的狂放与市井的欣喜。假如皮亚佐拉听到的话，应该会喜欢这样的马友友。
Classical crossover is a genre that hovers between classical and popular music, and is usually targeted at fans of both types of music. In the most common type of crossover, classically trained performers (most often operatic superstars) sing popular songs, folk music, show tunes, or holiday songs. Crossover may refer to pop stars singing classical repertoire. Crossover can also be applied to the work of artists, vocal or instrumental, who attempt to create a synthesis between a classical and a popular style, such as jazz interpretations of traditional classical pieces, or contemporary classical works that are heavily influenced by rock. Music that doesn’t fall comfortably into either category, but that might appeal to both pop and classical fans, such as world music and non-Western folk traditions, is sometimes also classified as crossover.
19.键盘音乐 Keyboard¶
键盘音乐指在键盘乐器上演奏的音乐，如在管风琴、羽管键琴、钢琴等键盘乐器上演奏的音乐，j.s巴赫堪称为键盘音乐之王，莫扎特、贝多芬等大音乐家都为键盘乐器写了大量的乐曲。
Many people have their first encounters with classical music at the keyboard of a piano, but the keyboard genre covers more than just piano music. The organ is the oldest of keyboard instruments, dating back to the 3rd century BCE. Nearly all of the early keyboard music grew out of the tradition of accompanying church services with organ. The harpsichord came into wide use in the 15th century, but the instrument that dominates keyboard music, the piano, did not come along until the early 1700s. The capability of the instrument to produce both loud and quiet, controlled notes, as well as percussive sounds, opened the floodgates to a world of music that can be dramatic, lyrical, transcendent, or experimental – almost as wide-ranging as music for any instrumental ensemble. The repertoire has a rich history of masterpieces composed by virtuoso performers.
20.奏鸣曲 Sonata¶
21.极简主义 Minimalism¶
简约音乐是甚么？ 「简约主义」(Minimalism)是指一切从简、愈简单愈好的一种想法。放在音乐上， 当然也是这样的了，「简约音乐」(Minimalism)不是指所有简单的音乐，而是专指 其中一种流派，这种流派是现代正统音乐中的一派，它对流行乐、New Age及电子 音乐也有重要影响。「简约音乐」的特点是不断重复数个音符¶
不断重复……重 复……然后，在不知不觉间将音符慢慢转变。这种音乐跟我们听惯的音乐很不相 同，我们听惯的歌总是有旋律的，有一句一句的旋律的，但「简约音乐」只有不断 重复的一组音符，没有明显的一句句旋律，好像向人催眠一样。
「简约音乐」代表人物有 Philip Glass 及 Steve Reich 等，他们于六十年代开 始创作这类音乐，至今已被公认为现代最具权威性的正统音乐。在香港，没有玩 「简约音乐」的著名音乐人，如果想了解这种音乐，最宜听 Philip Glass 的 CD，任何一张都极有趣呢。
One of the main innovations in the contemporary classical field, Minimalism has also influenced new age composers and electronic producers alike, particularly in progressive electronic styles where sequencers play an important role. Generally, this music is characterized by a strong and relentless pulse, the insistent repetition of short melodic fragments, and harmonies that change over long periods of time. A trio of ‘60s figures, LaMonte Young, Terry Riley and Steve Reich, did the most to pioneer the field, though Philip Glass had the most success with the style during the 1970s.
22.后极简主义 Post-Minimalism¶
23.新古典主义音乐 Neoclassicism Music¶
新古典主义音乐（Neoclassicism Music）是19世纪至20世纪古典音乐的一种流派。在美学上反对浪漫主义音乐和后浪漫主义音乐的标题性和主观性以及夸张渲染的表现手法，强调创作采用中立客观的立场和明晰的音乐语言。在音乐形式上，主要继承巴洛克音乐和古典主义音乐时期的曲式和体裁，并重新使用一部分古乐器（如羽管键琴），但和声常常较为尖锐，并多用复杂的对位法。其具体表现形式十分多样，根据作曲家的所属地域和个人风格而相差甚远。新古典主义音乐主张作曲家应该摆脱主观性，而以冷静的客观性把古典的均整平衡的形式，用现代手法再现出来。
作为体系而对后世有影响的新古典主义，以意大利作曲家F.布索尼和俄国作曲家I.F.斯特拉文斯基为代表。布索尼认为音乐应当保持严格的客观精神和中立态度，而古典的对位手法以及帕蒂塔、大协奏曲、托卡塔、 萨卡里亚和里切尔卡等古典形式是实践这种理论最好的途径。斯特拉文斯基于1927年在英国杂志上刊登了“回到巴赫”的宣言后，掀起了新古典主义的热潮。
新古典主义早期的典型创作是布索尼的《喜剧序曲》和《钢琴小奏鸣曲》，但最典型的则是斯特拉文斯基的舞剧音乐《缪斯的主宰阿波罗》、《仙女之吻》、《诗篇交响曲》和《钢琴协奏曲》等。这些作品有的选自古 代神话故事，有的采用中世纪的宗教题材，在音乐上则力求模拟古代音乐风格并以现代的技法与之相结合，从而形成一种新型的拟古的音乐风格。
由布索尼和斯特拉文斯基倡导的新古典主义，对许多现代优秀的作曲家都有深远的影响。法国六人团的A.奥涅格早期所写的《弦乐四重奏》和《第一小提琴奏鸣曲》以及后期的《室内协奏曲》、《无伴奏小提琴奏鸣曲》、《阿卡依组曲》等作品，在音乐的观念和结构上都有明显的新古典派特色。他的交响曲的深刻内容和高雅而富有理智的表现方法，都反映了古典的特色。六人团的另一作曲家D.米约，早期作品虽有后期浪漫派的影响，但其中的《钢琴奏鸣曲》(1916)、交响组曲《普罗德》、钢琴曲集《巴西的索达多》（1919～1920）、六首微型的《小交响曲》以及中后期的《春天协奏曲》、《钢琴协奏曲》、《小提琴、单簧管、钢琴组曲》(1936)、《法国组曲》、第14～16弦乐四重奏，还有许多交响曲和钢琴协奏曲，都有明显的新古典主义的特征。F.普朗克中期的许多作品，例如《法国组曲》(1936)、《两架钢琴协奏曲》、《g小调乐队协奏曲》(1939)、《钢琴与管乐六重奏》、《钢琴、双簧管与大管的三重奏》都可以纳入这一范畴。
德国的P.欣德米特虽被称为新客观主义的代表，在和声理论上建立了新的体系。但他从没有远离传统的调性与和声组织，他用新鲜而精密的对位法技巧，写了许多现代化的赋格。他擅于把古典的体裁形式和新的音乐语汇结合在一起。
匈牙利的B.巴托克与Z.科达伊都是新民族主义者，前者应用民族的音乐主题，但并不是简单地搬用，而是把调性、节奏、曲调等要素加以分解，细致地融合到自己独特的音乐语法中去。他的《为弦乐器、打击乐器和钢片琴所写的音乐》(1936)、《两架钢琴与打击乐器的奏鸣曲》、《小提琴奏鸣曲》、《第三钢琴协奏曲》、《管弦乐协奏曲》均系新古典主义的典型之作。而科达伊在应用玛扎尔民歌的同时，力求使语言和曲调密切结合,平易近人。例如管弦乐组曲《哈里·亚诺什》、《加兰塔舞曲》、《管弦乐协奏曲》、第、第二弦乐四重奏、《无伴奏大提琴奏鸣曲》为其代表。
苏联的С.С.普罗科菲耶夫、Д.Д.肖斯塔科维奇则把现代的、民族的、社会性意念的东西和古典的严肃的理性的思维结合在一起，大大地扩充了新古典主义音乐风格的范畴。
法国作曲家拉韦尔尽管有非常富于色彩性的配器，大量应用古代与西班牙、中国、阿拉伯、希腊等异国情调的调式、避免自然音阶和空四、五度音程而自成一家。但他那巧夺天工的手法，明确的主题性，古典的三和弦的和声体系，以及对古典形式的尊重，也可以归入新古典主义的范畴。
Neoclassicism in music was a twentieth-century trend, particularly current in the period between the two World Wars, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of “classicism”, namely order, balance, clarity, economy, and emotional restraint. As such, neoclassicism was a reaction against the unrestrained emotionalism and perceived formlessness of late Romanticism, as well as a “call to order” after the experimental ferment of the first two decades of the twentieth century. The neoclassical impulse found its expression in such features as the use of pared-down performing forces, an emphasis on rhythm and on contrapuntal texture, an updated or expanded tonal harmony, and a concentration on absolute music as opposed to Romantic program music. In form and thematic technique, neoclassical music often drew inspiration from music of the 18th century, though the inspiring canon belonged as frequently to the Baroque and even earlier periods as to the Classical period—for this reason, music which draws inspiration specifically from the Baroque is sometimes termed Neo-Baroque music. Neoclassicism had two distinct national lines of development, French (proceeding partly from the influence of Erik Satie and represented by Igor Stravinsky), and German (proceeding from the “New Objectivity” of Ferruccio Busoni and represented by Paul Hindemith.) Neoclassicism was an aesthetic trend rather than an organized movement; even many composers not usually thought of as “neoclassicists” absorbed elements of the style.
24.康塔塔 Cantata¶
康塔塔（Cantata）是一种包括独唱、重唱、合唱的声乐套曲，一般包含一个以上的乐章，大都有管弦乐伴奏。
形式与主题
一首典型的康塔塔往往以序曲或者合唱开头，以合唱结尾，中间交错有伴奏的宣叙调，独唱或者重唱的咏叹调以及不同规模的合唱。可以看出，康塔塔旧译作大合唱是不准确的，因为在康塔塔中不只是合唱，独唱和重唱往往也有非常重要的地位。
宗教康塔塔一般比叙事性的清唱剧（oratorio）规模小，内容偏重抒情或论述。世俗康塔塔则包罗万象。
词源与历史
Cantata一词来自意大利语的歌唱cantare，英语等其他西方语言也大多原样使用这个词。cantata 与演奏 sonata 相对，分别用来指音乐的两种形式，即声乐和器乐。
16世纪-17世纪：意大利
16世纪意大利音乐以声乐为主，到了17世纪器乐开始崛起，并发展出奏鸣曲的形式，与之相对的声乐表演形式也开始被称为康塔塔。
康塔塔在意大利最早是一种世俗声乐套曲，由数首独唱返始咏叹调（或其原始形式）和穿插其间的宣叙调组成，和牧歌一样，主题是田园，爱情等等。这种意大利风格的早期世俗康塔塔一般是独唱的，以鲁特琴或通奏低音伴奏，后来发展出多声部的形式。这种一至两个声部的室内康塔塔，在17世纪中叶一直到18世纪后期，在意大利一直很受欢迎。和用于宗教场合的宗教康塔塔，后者由卡里希米（Carissimi）发展为宗教清唱剧。
这一时期最著名的康塔塔作曲家莫过于意大利的亚历山大·斯卡拉蒂，他主要创作独唱加通奏低音伴奏的康塔塔，共有600首之多，此外还有独唱和其他乐器组合的60余首，以及一些两声部的室内康塔塔。
17世纪-18世纪：德国
17世纪中叶，德国产生了德国式的宗教康塔塔。这种康塔塔一定程度上独立于意大利世俗和宗教康塔塔的发展，在巴赫的时代达到了高峰。
德国的宗教康塔塔发展的土壤是马丁·路德开创的众赞歌的音乐传统，众赞歌在其中起了基础和骨架的作用。布克斯特胡德、帕赫贝尔都作有这种类型的宗教康塔塔。
巴赫的早期宗教康塔塔按照更早的传统称为“经文歌”或“协奏曲”，其中合唱和重唱占据主导地位，著名的代表有第4康塔塔《耶稣躺在枯骨堆中》或译作《基督背负死亡枷锁》。可以听到巴赫使用了同名众赞歌作为骨架，每一句歌词作为一个乐章的主题，进行变奏。
巴赫创作成熟期的一百多首康塔塔展示了德国式宗教康塔塔的几种典型结构，在这些结构中，康塔塔的中段一般都是由包含对比主题的独唱咏叹调，宣叙调，重唱以及合唱构成的，主要的区别在于首位段落。大部分的康塔塔首尾段落为圣经词句或是众赞歌作为歌词的合唱，这些合唱大多具有利托奈罗曲式，部分康塔塔结尾使用所有会众共同参与的众赞合唱，有一些康塔塔在开场合唱之前还有序曲。
巴赫的创作相比前人突出独唱的作用，他大量使用独唱的返始咏叹调，甚至创作了独唱康塔塔，例如第82康塔塔“我厌倦了”。众赞歌的作用同样重要。可以说，巴赫是康塔塔创作的高峰，现在我们仍然演奏传唱的康塔塔主要是他的作品，尽管在他的时代，高产的泰勒曼，“就像别人写一封信一样”的创作了2000多首康塔塔，但是那些如同流水帐一般的作品大多已经被束之高阁，成为了音乐史学者们和猎奇的音乐爱好者的研究品，不再回响在人们的耳鼓里了。
19世纪-20世纪：巴赫之后
19世纪之后，随着乐队规模的扩大，宗教题材的康塔塔与清唱剧的界限变得模糊，同时大量的世俗康塔塔出现，也大大丰富了康塔塔的创作题材和形式，让界定康塔塔变得更加困难。
巴赫之后的著名康塔塔还有贝多芬的《悼念约瑟夫皇帝康塔塔》，巴托克的《世俗康塔塔》，奥尔夫的《博伊伦之歌》等等。
还有一些作品虽然叫做清唱剧，但也可以归入康塔塔的范畴，例如沃尔顿的《伯沙撒王的宴会》；而另一些作品虽然名称是康塔塔，但是却不再符合巴赫为典范的康塔塔形式，例如斯特拉文斯基的《康塔塔》，他使用了两位独唱，女声合唱和六件乐器。
25.清唱剧 Oratorio¶
清唱剧（Oratorio）是一种类似歌剧的大型声乐体裁，但它有一个叙述故事的人，通常同时使用管弦乐团、独唱家以及合唱团。
形式
清唱剧通常包含以下部份：
序曲，作为引子引出整部作品，给出基调。常见的形式是慢板开始到快板赋格段。
宣叙调，可以用于表现剧中人物的对话，或者以叙述者的角度来交代剧情，起到连贯整部作品结构的作用。
咏叹调，声乐家独唱或重唱，主要抒发剧中人的情感，此时剧情往往是静止的。
合唱，表现群众场面，或者发表作者的看法和观点。
大合唱，通常为宏伟的，用来传达荣耀的感觉，清唱剧中的合唱经常会使用到定音鼓、小号等乐器伴奏。
在亨德尔的时代，清唱剧演出时往往还有大协奏曲作为序曲前的铺垫或者幕间休息的间奏曲同时演出。
风格
清唱剧与歌剧在音乐型态和风格等许多方面都非常的类似，其和歌剧最大的不同在于清唱剧没有布景、化妆以及戏剧表演，且合唱在清唱剧中的地位更加重要。
清唱剧大都包含有宣叙调。相对于歌剧强调戏剧张力的对白而言，清唱剧的宣叙调通常更强调为作品铺陈结构，同时展示作曲家的审美趣味。
清唱剧的咏叹调可以温柔甜美，也可以精巧热烈。许多咏叹调都可以单独演唱，成为传世经典，例如亨德尔的《以色列人在埃及》当中的“上帝是我的力量”。
清唱剧当中合唱和大合唱往往占据了非常重要的地位，他们被用来表现群众一同祈祷，同声赞美等等宏大的场面。大合唱一般气势雄伟，音响宏大，亨德尔的《弥赛亚》第二部分终曲《哈利路亚大合唱》更是大大小小的合唱团和唱诗班的保留曲目，在西方几乎人人皆知。
历史及著名作品
清唱剧起源于意大利的奥拉托利会举行的戏剧表演，Oratorio一词便来自于奥拉托利会Oratory。当时的戏剧表演主题多是宗教性质的，有时有音乐伴奏。到了1600年前后，卡莱瓦利创作了第一部清唱剧《灵与肉的体现》，此时的演出还要求演员穿戏装，但音乐在其中已经占据了重要地位。卡里希米创作的清唱剧主要是为音乐会演出的，不再要求演出者穿戏装，也没有戏剧布景，从此正式确定了清唱剧的表演形式。
在德国，许茨为清唱剧的发展做出了重要的贡献，他创作了复活清唱剧和圣诞清唱剧。
清唱剧的发展大约在18世纪时达到巅峰。
亨德尔创作了大约30部宗教和世俗清唱剧。他的第一部宗教清唱剧是1738年的《以色列人在埃及》，最后一部是1751年的《耶夫塔》，这些作品成为此后一百年英国音乐中最受人欢迎的作品，同时也是最著名的清唱剧作品。亨德尔的清唱剧当中，最著名的当属《弥赛亚》，他本人最为欣赏的是《参孙》。亨德尔也作有多首世俗性质的清唱剧，如著名的《塞墨勒》取材于希腊神话。亨德尔的大部分清唱剧都以英语写成，但是最后一部《时间与真理的胜利》当中他回归了自己的母语德语。
同时期的著名清唱剧还有巴赫的六部《圣诞节清唱剧》，《复活节清唱剧》以及《升天节清唱剧》。
在亨德尔和巴赫之后，海顿以亨德尔为榜样创作了《四季》和《创世记》，贝多芬曾写过《基督在橄榄山》（不算很成功）。19世纪的清唱剧代表作有门德尔松的《以利亚》，在当时大受好评。
到了20世纪，斯特拉文斯基在其新古典主义创作时期写过歌剧-清唱剧《俄狄浦斯王》，取材于希腊神话。英国作曲家埃尔加写过多首清唱剧，其中最著名的《吉伦舍斯之梦》是否属于清唱剧音乐学者一直有争议；蒂皮特的《我们时代的孩子》受到了极高的评价，他的题材是纳粹对犹太人的屠杀；此外布里顿的著名作品《战争安魂曲》也被认为具有清唱剧的形式。由此我们也可以看到清唱剧的发展即使到了20世纪仍然是由英国作曲家主导的，这与亨德尔在英国音乐史上的深远影响是分不开的。
唱作人 Singer-Songwriter¶
1.根源唱作人 Singer-Songwriter¶
唱作人（Singer-songwriter，又名：歌手兼词曲作者、创作（型）歌手、原创歌手等）是指在流行乐坛能够独立进行词曲创作、音乐制作、具备一定演唱实力、演唱音乐作品以自己原创作品为主的歌手。因唱作人是演唱自己的作品，所以在社会影响力和艺术成就上达到一般歌手难以企及的高度，并深刻影响一个时代，成为乐坛常青树，如Bob Dylan、The Rolling Stones、Elton John、Barbra Streisand等。
2.当代唱作人 Contemporary Singer-Songwriter¶
随着70年代即将结束，第一批唱作人已经慢慢分化，像是轻摇滚（James Taylor),以及更加实验性的音乐（Joni Mitchell），或者是直接转型成为主流流行（Carole King, Paul Simon）。除了偶尔出现的经典作品，直接对整个时代产生影响力，像是Joan Armatrading或Rickie Lee Jones，以及Steve Forbert和Loudon Wainwright等“新”Bob Dylans流唱作人。然而，在80年代后期，涌现出一批新的唱作人和词曲作者，让人回忆起当时经典时代的歌曲里的自省和亲密感，但是增加了许多现代流行音乐制作技巧。在苏珊娜·维加（Suzanne Vega）1988年的热门歌曲“卢卡”（Luka）的成功推动下，许多女性艺术家，像是Tracy Chapman, Michelle Shocked, Shawn Colvin, Edie Brickell, 和Indigo Girls也慢慢取得了成功。该风格的受欢迎程度的最高点是在90年代后期，歌手/作家Sarah Mclachlan的Lilith Fair音乐之旅取得了巨大成功，到了2000年代中期仍然是一个具有影响力的声音。
3.另类唱作人 Alternative Singer-Songwriter¶
随着90年代初期另类摇滚的爆发，出现了一批新的唱作人。虽然自70年代初期的唱作人的音乐中存在各种政治元素，但是另外一些歌手也受到了朋克和硬摇的影响，在新兴美国运动浪潮中获得启发，兼顾着旋律和歌词的完美，他们以独立摇滚的态度宣告着他们的音乐无所不能。与跟随主流流行趋势的唱作人不同的是，像Liz Phair，Will Oldham和Elliott Smith等替代艺术家获得了广泛的赞誉，即使考虑到了大众化的程度，但仍旧坚持着另类的特色。
4.华语唱作人 Chinese Singer-Songwriter¶
唱作人泛指那些既能写又能唱的音乐人，近期电视上选秀节目火爆荧屏，其中大量的选手都带着原创歌曲参赛。有媒体报道，这些比较有才华的歌手可以向着唱作人的方向发展，会有更宽的演艺道路。其实中国国内乐坛近年来也诞生了不少唱作人，除了有一副好嗓子，他们还经常包办整张专辑的词曲创作。
华语唱作人特指华语音乐领域内的唱作人。
拉丁 Latin¶
1.拉美音乐 Latin American Music¶
拉丁美洲音乐包括起源于拉丁美洲或与拉丁美洲有关的节奏和风格。一些评论家将拉丁美洲音乐定义为融合了四种元素：音乐风格、地理、艺术家的文化背景和语言。第一种元素概括了所有来自拉美国家的音乐风格，如萨尔萨舞、梅伦格、探戈、COMPAS、波萨诺瓦和巴查塔；以及来自更主流流派的其他风格，如拉丁流行音乐、摇滚乐、爵士乐和雷格顿。在地理上，它通常指拉丁美洲的西班牙语和葡萄牙语地区，但有时也包括拉丁美洲的法语国家和领土。拉美音乐的起源始于16世纪西班牙和葡萄牙对拉丁美洲的殖民。拉美音乐以西班牙语、葡萄牙语和较小程度的法语演奏。
Latin American music encompasses rhythms and styles originated or related to Latin America.Some critics have defined Latin music as an incorporation of four elements: music style, geography, cultural background of the artist and language.The first of those encapsulates all music styles generated from Latin countries, such as salsa, merengue, tango, compas, bossa nova and bachata; as well as other styles derived from a more mainstream genre, such as Latin pop, rock, jazz and reggaeton.
Geographically, it usually refers to the Spanish and Portuguese-speaking regions of Latin America but sometimes include Francophone countries and territories of Latin America as well.The origins of Latin American music begins with Spain and Portugal’s colonization of Latin America in the 16th century.Latin American music is performed in Spanish, Portuguese, and to a lesser extent, French.
2.拉丁流行 Latin Pop¶
拉丁流行音乐（西班牙语，意大利语和葡萄牙语中的Pop Latino；法语中的Pop Latine）通常指的是具有拉丁影响力的流行音乐。从地理上讲，它可能是指拉丁美洲或拉丁美洲（西班牙，意大利，法国，葡萄牙，罗马尼亚）的流行音乐。拉丁流行音乐通常以西班牙语，葡萄牙语，法语，意大利语或其他罗曼语演唱，尽管英语和其他语言并不罕见。此外，许多来自法国和意大利的国际艺术家经常为西班牙语观众演唱西班牙语。主要的拉丁流行歌曲作者包括Selena，LeonelGarcía，Gian Marco，Estefano，Kike Santander，Juan Luis Guerra，Mario Domm，RudyPérez和Draco Rosa。拉丁流行音乐是一种流行的风格，并且有几位艺术家和乐队在该类型中表演。著名的人物包括塔利亚（Thalía），琳达·托马斯（Lynda Thomas），路易斯·丰西（Luis Fonsi），廷比里希（Timbiriche），乔恩·塞卡达（Jon Secada），朱利奥·伊格莱西亚斯（Julio Iglesias），格洛里亚·埃斯特芬（Gloria Estefan），珍妮弗·洛佩兹（Jennifer Lopez），夏奇拉（Shakira），里奇·马丁（Ricky Martin），恩里克·伊格莱西亚斯（Enrique Iglesias），皮特布尔（Pitbull），宝琳娜·鲁比奥（Paulina Rubio），赛琳娜（Selena），路易斯·米格尔（RoisMisés） ，贝琳达，亚历杭德罗·桑兹，爱神拉玛佐蒂，劳拉·鲍西尼，杜尔塞·玛丽亚，格洛里亚·特雷维，丰塞卡，维塔利·诺维奇，何塞·费利西亚诺和青少年偶像组合Menudo。
Latin pop (Pop Latino, in Spanish, Italian, and Portuguese; Pop Latine in French) generally refers to pop music that has what may be perceived a Latin influence. Geographically, it could refer to pop music from Latin America or Latin Europe (Spain, Italy, France, Portugal, Romania). Latin pop music is usually sung in Spanish, Portuguese, French, Italian or other Romance languages, although English and other languages are not uncommon. In addition, many international artists from France and Italy often sing in Spanish for Spanish language audiences. Major Latin pop songwriters include Selena, Leonel García, Gian Marco, Estefano, Kike Santander, Juan Luis Guerra, Mario Domm, Rudy Pérez, and Draco Rosa.
Latin pop is a popular style and there are several artists and groups who perform in the genre. Notable ones include Thalía, Lynda Thomas, Luis Fonsi, Timbiriche, Jon Secada, Julio Iglesias, Gloria Estefan, Jennifer Lopez, Shakira, Ricky Martin, Enrique Iglesias, Pitbull, Paulina Rubio, Selena, Luis Miguel, Rocío Dúrcal, José José, Juanes, Belinda, Alejandro Sanz, Eros Ramazzotti, Laura Pausini, Dulce María, Gloria Trevi, Fonseca, Vitaly Novich, José Feliciano and teen idol group Menudo.
3.拉丁爵士 Latin Jazz¶
拉丁爵士乐是具有拉丁美洲节奏的爵士乐。尽管音乐家不断扩大其参数，但通常认为拉丁爵士一词具有比来自拉丁美洲的爵士更具体的含义。一些拉丁爵士乐通常采用在非洲具有直接类比或表现出非洲影响力的节奏。拉丁爵士乐的两个主要类别是：非洲-古巴爵士乐-有节奏地基于拍子的爵士乐，通常在节奏部分采用古巴流行舞蹈音乐中的ostinato模式。非洲-巴西爵士乐-包括bossa nova和爵士桑巴舞。
Latin jazz is jazz with Latin American rhythms. Although musicians continually expand its parameters, the term Latin jazz is generally understood to have a more specific meaning than simply jazz from Latin America. Some Latin Jazz typically employs rhythms that either have a direct analog in Africa, or exhibit an African influence. The two main categories of Latin jazz are:
Afro-Cuban jazz—jazz rhythmically based on clave, often with a rhythm section employing ostinato patterns from Cuban popular dance music.
Afro-Brazilian jazz—includes bossa nova and jazz samba.
4.拉丁灵魂乐 Latin Soul¶
拉丁灵魂音乐是20世纪60年代在纽约市发展起来的一种短暂的音乐流派运动。它融合了古巴曼波舞与拉丁爵士乐和灵魂音乐的元素。虽然短暂，但这一流派对不断增长的萨尔萨运动产生了巨大的影响，该运动将在20世纪70年代主导纽约的拉丁音乐界。今天，这个词通常被制作R&B或灵魂音乐的西班牙裔艺术家使用。拉丁灵魂乐队非常强调非洲裔古巴人的节奏，并以主要用英语演唱的歌曲为特色。这种风格源于纽约市的拉丁音乐家试图将他们的音乐的影响范围扩大到当地拉丁社区之外，进入更广泛的主流美国社会。
Latin soul was a short lived musical genre movement which developed in the 1960s in New York City. It consisted of a blend of Cuban mambo with elements of Latin jazz and soul music.Although short-lived, the genre had a great influence on the growing Salsa movement which would dominate the New York Latin music scene in the 1970s. Today, the term is typically used by Hispanic artists producing R&B or soul music.
Latin soul placed a heavy emphasis on its Afro-Cuban rhythms and featured songs sung mostly in English. The style grew out of an attempt on the part of Latin musicians in New York City to expand the reach of their music beyond the local Latin community and into the wider mainstream American society.
5.拉丁摇滚 Latin Rock¶
拉丁摇滚(Rock en español)是西班牙语摇滚乐。虽然这个术语在英语中被广泛使用，但在西班牙语中使用主要是为了将这类音乐与“盎格鲁摇滚”区分开来。这是一种在西班牙、拉丁美洲国家和拉丁裔社区发展起来的摇滚乐风格，还有加勒比海斯卡、雷鬼和索卡等其他流派。在这一流派中演奏的成功的音乐家和乐队通常以“跨界”艺术家而闻名，因为这种流派天生就是语言和文化边界的桥梁。
Latin Rock(Rock en español) is the Spanish-language rock music. While the term is used widely in English, it is used in Spanish mainly to distinguish such music from “Anglo rock”. It is a style of rock music that developed in Spain, Latin American countries and Latino communities, along with other genres like Caribbean ska, reggae, and soca. Successful musicians and bands playing in this genre are often noted for being “crossover” artists, as this genre inherently bridges both linguistic and cultural boundaries.
6.拉丁说唱 Latin Hip Hop¶
自从说唱一开始，就有来自拉丁圈子的说唱。但是它直到很晚才闯入流行主流。Mellow Man Ace 的 “Mentirosa” 和 Kid Frost 的 “La Raza” 的双重成功标志着拉丁说唱－－用多种语言（尤其是西班牙语）的说唱，拉丁韵律和拉丁裔人的都市生活形象 －－ 在流行乐坛的成功。Mellow Man Ace 的兄弟，Sen Dog是最著名的拉丁说唱行动 Cypress Hill 的创建成员之一。
人们不断地从一个国家迁移到另一个国家，极大地影响了文化和音乐在全球的传播。在音乐领域，这可以在许多不同的流派中听到，比如雷鬼(后来导致了DanceHall)、说唱/嘻哈、雷格顿和拉丁说唱。后一种音乐形式很受欢迎，特别是在拥有大量移民到美国的国家。例如，墨西哥有越来越多的嘻哈场景，有控制砍刀、圣诞老人卡特尔和莫洛托夫等团体。同样，这场运动已经蔓延到波多黎各，这个国家的许多居民多年来已经搬到了纽约、迈阿密和芝加哥。拉丁说唱是由一波说唱歌手发起的，其中包括鲁本DJ和维科·C·鲁本的热门歌曲La Escuela(The School)和维科·C的热门歌曲La Recta Final(The End Of The Road)在20世纪80年代末获得了相当多的广播时间。除了拉丁说唱在波多黎各的发展与早期美国嘻哈几乎同时发展，以及说唱和雷鬼同时对彼此产生重大影响之外，所有三种流派(说唱、拉丁说唱和雷鬼/舞厅)都向各自的观众传达了特定的信息。波多黎各说唱作为波多黎各背景下的一种文化和社会抗议形式出现。这类似于美国和牙买加的年轻人使用说唱和雷鬼/舞厅作为交流他们对社会、文化和政治问题的感受的方式。从本质上说，波多黎各说唱成为波多黎各年轻人的声音，就像舞厅和说唱音乐是他们的牙买加和美国下层青年同行的表达方式一样。
拉丁说唱也在英国浮出水面，一个名为Cultura Londres的团体将来自柏树山的埃里克·波波列为成员之一。
还应该指出的是，一些通常被确认为非裔美国人的东海岸说唱歌手的父母来自讲西班牙语或葡萄牙语的国家，通常是波多黎各、多米尼加共和国和巴拿马。这份名单包括N.O.R.E.、Lloyd Banks、Kane&Abel、Joe Budden、J.R.Writer、Peedi Peedi、AZ、Juelz Santana和Fbolous
The constant migration of people from one country to another has greatly influenced the dispersion of cultures and music across the globe. In the music realm, this can be heard with many different genres, like reggae, (which later led to dancehall), rap/hip-hop, reggaeton, and Latin rap. The latter form of music has been a hit especially in countries with a large number of migrators to the United States. For example, Mexico has a growing hip hop scene with groups such as Control Machete, Cartel De Santa, and Molotov. Similarly, the movement has spread to Puerto Rico, a country where many of its residents have moved to New York, Miami and Chicago over the years. Latin rap was jumpstarted by a wave of rappers that included Ruben DJ and Vico C. Ruben DJ’s hit, La Escuela, (The School) and Vico C’s hit, La Recta Final, (The End of the Road) received considerable radio time during the late 1980s. In addition to Latin rap in Puerto Rico developing around the same time as early American hip-hop, and rap and reggae simultaneously having a substantial impact on each other, all three genres (rap, Latin rap, and reggae/dancehall) relate a certain message to their respective audiences. Puerto Rican rap emerged as a form of cultural and social protest within the Puerto Rican context. This is similar to the way American and Jamaican youth used rap and reggae/dancehall as a means to communicate their feelings on social, cultural, and political issues. In essence, Puerto Rican rap became the voice of Puerto Rican youth like dancehall and rap music are methods of expression for their Jamaican and lower-class U.S. youth counterparts.
Latin rap has also surfaced in the UK with a group called Cultura Londres who list Eric Bobo of Cypress Hill as one of their members.
It should also be noted that a number of East Coast rappers that have been usually identified as African American have parentage from a country that speaks Spanish or Portuguese, usually Puerto Rico, The Dominican Republic, and Panama. This list includes N.O.R.E., Lloyd Banks, Kane & Abel, Joe Budden, J. R. Writer, Peedi Peedi, AZ, Juelz Santana, and Fabolous
7.探戈 Tango¶
8.拉丁另类摇滚 Latin Alternative¶
拉丁语另类摇滚，或称“Alternlatino”，是一种将另类摇滚、金属、电子、嘻哈、新浪潮、流行摇滚、朋克摇滚、雷鬼和斯卡等流派与传统的伊比利亚-美国声音相结合而产生的拉丁摇滚乐品牌。摇滚乐自20世纪50年代末以来一直在伊比利亚美洲产生。一些摇滚乐队开始使用不寻常的乐器，如马拉卡斯和奎达斯。在20世纪60年代末，像桑塔纳这样的艺术家开始使用一种不同的技术来制作摇滚乐；通过融入拉丁爵士乐的影响。它的声音被美国的年轻拉丁裔球员融合在一起，作为对拉美裔美国和西班牙由Héroes del Silencio、Soda Stereo、Caifanes或Los Prisioneros等乐队领导的摇滚Español运动的回应。20世纪90年代初，它被Maldita Vecindad和CaféTacuba等墨西哥乐队使用，他们在美国的拉丁裔巡回演出中被接受，特别是被墨西哥社区接受。随后，实验音乐家琳达·托马斯(Lynda Thomas)在同一个十年里凭借另类音乐赢得了认可和商业成功。随着时间的推移和美国拉丁裔的许多音乐风格，拉丁另类音乐已经变得和摇滚乐流派本身一样多样化。今天，许多音乐记者和歌迷将拉丁语另类视为摇滚Español的一个子流派，就像摇滚Español一样，它可能会进一步划分为更具体的音乐流派。拉丁另类音乐最著名的活动是拉丁另类音乐大会(LAMC)，每年都会聚集来自美洲和西班牙各地的大量乐队。它最初在洛杉矶举行，但两年前新的主办城市改为纽约。2009年的活动有来自美洲各地的艺术家参加，包括阿根廷的胡安娜·莫利纳(Juana Molina)、波多黎各的嘻哈和雷格顿乐队Calle 13、哥伦比亚乐队Bomba Estéreo、巴西创作型歌手库鲁明(Curumin)和墨西哥的纳塔莉亚·拉夫卡德(Natalia Lafourade)，并在《纽约时报》的一篇文章中与更广泛的拉丁语另类场景一起进行了介绍。
Latin alternative, or “alterlatino”, is a brand of Latin rock music produced by combining genres like alternative rock, metal, electronica, hip hop, new wave, pop rock, punk rock, reggae, and ska with traditional Ibero-American sounds.
Rock music has been produced in Iberian America since the late 1950s. Some rock bands started to use unusual instruments such as maracas and quenas. In the late 1960s, artists like Santana started using a different technique to make rock music; by incorporating influences of Latin jazz. Its sound was incorporated by young Latino-players in the US, as an answer to the rock en Español movement in Hispanic America and Spain led by bands like Héroes del Silencio, Soda Stereo, Caifanes or Los Prisioneros.
In the early 1990s, it was used by Mexican bands such as Maldita Vecindad and Café Tacuba, they were accepted on the Latino circuit in the US, especially by the Mexican community. Subsequently, experimental musician Lynda Thomas earned recognition and commercial success with alternative music in the same decade.
With the passage of time and many musical styles in the US-Latino, Latin alternative has become as diverse as the rock music genre itself. Today, many music journalists and fans regard Latin alternative as a subgenre of rock en Español, and like rock en Español, it may be further divided into more specific genres of music.
The most known event of Latin alternative is the Latin Alternative Music Conference (LAMC) that every year gathers a large number of bands from all over the Americas and Spain. It was first held in Los Angeles but two years ago the new host city was changed to New York. The 2009 event featured artists from across the Americas including Argentina’s Juana Molina, Puerto Rican hip-hop and reggaeton outfit Calle 13, Colombian group Bomba Estéreo, Brazilian singer-songwriter Curumin and Mexico’s Natalia Lafourcade, and was profiled along with the wider Latin alternative scene in an article in The New York Times.
9.巴恰塔 Bachata¶
一种浪漫的舞曲形式，起源于多米尼加共和国，但现在在拉丁美洲其他地方以及美国的拉丁裔中很受欢迎。旋律中通常采用琶音和弦，乐器通常包括一种高音效(凸耳、混响和/或回声)的主吉他，一把切分节奏吉他，以及保持节奏的电贝司、güira和邦戈。歌词经常涉及痛苦、麻烦和爱情的阴暗面，一些人因此将巴查塔比作布鲁斯。
A form of romantic dance music that originated in the Dominican Republic, but is now popular elsewhere in Latin America, as well as among Latinos in the U.S. Standardly features arpeggiated chords in the melody, and the instrumentation usually consists of an effects (flanger, reverb, and/or echo) laden lead guitar, a syncopated rhythm guitar, and electric bass, güira, and bongos keeping the rhythm. Lyrics often dwell on pain, trouble, and the dark side of love, and some compare Bachata to the blues for this reason.
10.萨尔萨 Salsa¶
萨尔萨，一种结合了古巴黑人音乐、美国爵士乐以及南美民间音乐的舞曲音乐。40年代起源于美国，经过50至60年代的演变和发展，于70年代中期形成流行高峰。萨尔萨的节奏乐器仍以拉美打击乐器为主，如沙球、响棒、康加鼓、邦戈鼓等。基本节奏型与曼波、恰恰相似，但萨尔萨中的一种两小节节奏型却独具特色：4/4拍，× × ×× | 0 ×× 0 0 |。传统的萨尔萨音乐，经常由一个不断反复的固定动机构成的曼波段落而组成。salsa乐风及舞蹈百花齐放席卷了整个美洲各国，更沿烧全世界。
Salsa is one of the most dynamic musical styles to come out of the western hemisphere. “Salsa” means “sauce,” but the term should not be taken to mean simply hot and vibrant, nor should the music be regarded as such. Salsa is a term much like the word “swing” as it was applied to the jazz swing bands of the 1930s and 1940s. It describes a feeling that covers a wide range of emotions and musical expression. Salsa is not always fast-paced and vivid — it can be slow and romantic or anything in between. The basic sound of salsa was intact before the term was applied to the music. In the 1940s and ‘50s, the Cuban sonero Arsenio Rodrigues, a blind tres player, became the dominant trendsetter in Latin music. His ensemble included a piano, a second trumpet, sometimes a saxophone, and an expanded rhythm section that included timbales, conga, and a cowbell. Instrumental parts were standardized and tight pre-set compositions were used. Salsa is also characterized by syncopated bass patterns. The ensembles of Rodrigues became the standard for Cuban dance bands and formed the basis for salsa. Salsa is influenced by many Latin musical forms, like the Puerto Rican plenas, the Dominican merengue, and the Colombian cumbia, but its backbone is the Cuban son. The primary difference between salsa and Cuban music is that salsa has largely developed outside of Cuba. Although salseros are found in most Latin American countries, it is primarily associated with Puerto Rican musicians. The term “salsa” did not come into use until the 1960s. It was applied to the music of Tito Puente and others who had been playing the music for at least 25 years. The term was made popular primarily by Jerry Masucci, the New York-based founder of Fania Records (the largest producer of Latin dance music recordings until the 1980s). The best years for salsa were the 1970s, when Latin Americans were looking back to their roots. This showed in the attitude of salsa musicians looking for stylistic purity. They did so by using smaller band sizes like that of the Cuban conjunto, consisting of a rhythm section with a front line of three to five horns and one or two singers. Although salsa is a Cuban-based musical form (and a commercial form as well), it has served as a rallying point for Puerto Ricans and as an icon of pan-Latin consciousness. Nonetheless, salsa is still a form of dance music subject to the whims of public tastes, and it suffered a decline in popularity in the 1980s as the Dominican merengue became fashionable. Salsa survived in all its dynamism but in a more diffuse environment, as other styles of Latin music become popular on a mass level. — Keith Johnson
11.热带 Tropical¶
热带本质是一个包罗万象的现代拉丁音乐，产生于加勒比海-如古巴，波多黎各和多米尼加共和国（但不是墨西哥内陆地区）。萨尔萨、梅伦格、坎比亚是在热带音乐中最流行的节奏。Tropical is essentially a catch-all term for modernized Latin music emanating from the Caribbean — places like Cuba, Puerto Rico, and the Dominican Republic (though not the inland areas of Mexico). Salsa, merengue, and cumbia are the most popular rhythms in tropical music, although there’s room for ballads as well as uptempo dance numbers. While tropical draws on traditional musical forms, its sound and sensibilities are contemporary — it may employ electronic instruments like synthesizers and drum machines, and it is generally geared toward Latin pop radio and/or dance clubs.
中国特色 Chinese Characteristic¶
1.中国戏曲 Chinese Opera¶
中国戏曲主要是由民间歌舞、说唱和滑稽戏三种不同艺术形式综合而成。它起源于原始歌舞，是一种历史悠久的综合舞台艺术样式。经过汉、唐到宋、金才形成比较完整的戏曲艺术，它由文学、音乐、舞蹈、美术、武术、杂技以及表演艺术综合而成，它的特点是将众多艺术形式以一种标准聚合在一起，在共同具有的性质中体现其各自的个性。距今约有三百六十多个戏曲剧种，从全国300多个戏曲剧种中脱颖而出的京剧、豫剧、越剧，被官方和戏迷友人们誉为中国戏曲三鼎甲。其它比较著名的戏曲种类有：昆曲、粤剧、川剧、秦腔、评剧、晋剧、汉剧、河北梆子、河南坠子、湘剧、黄梅戏、湖南花鼓戏等。
戏曲是中国汉族传统艺术之一，剧种繁多有趣，表演形式载歌载舞，又说又唱，有文有武，集“唱、做、念、打”于一体，在世界戏剧史上独树一帜，以集汉族古典戏曲艺术大成的京剧为例，其主要特点一是男扮女（越剧中则常见为女扮男）；二是划分生、旦、净、丑四大行当；三是有夸张性的化装艺术–脸谱；四是“行头”（即戏曲服装和道具）有基本固定的式样和规格；五是利用“程式”进行表演。中国民族戏曲，从先秦的“俳优”、汉代的“百戏”、唐代的“参军戏”、宋代的杂剧、南宋的南戏、元代的杂剧，直到清代地方戏曲空前繁荣和京剧的形成。
中国的戏曲与希腊悲剧和喜剧、印度梵剧并称为世界三大古老的戏剧文化。戏曲是一门综合艺术，是时间艺术和空间艺术的综合，这种综合性是世界各国戏剧文化所共有的，而中国戏曲的综合性特别强。
中国戏曲是以唱、念、做、打的综合表演为中心的戏剧形式，它有丰富的艺术表现手段，它与表演艺术紧密结合的综合性，使中国戏曲富有特殊的魅力。它把曲词、音乐、美术、表演的美熔铸为一，用节奏统驭在一个戏里，达到和谐的统一，充分调动了各种艺术手段的感染力，形成中国独有的节奏鲜明的表演艺术。中国戏曲中最重要的一点特征是虚拟性。舞台艺术不是单纯模仿生活，而是对生活原形进行选择、提炼、夸张和美化，把观众直接带入艺术的殿堂。中国戏曲另一个艺术特征，是它的程式性，如关门、上马、坐船等，都有一套固定的程式。程式在戏曲中既有规范性又有灵活性，所以戏曲艺术被恰当地称为有规则的自由动作。
综合性、虚拟性、程式性，是中国戏曲的主要艺术特征，它们凝聚着中国传统文化的美学思想精髓，构成了独特的戏剧观，使中国戏曲在世界戏曲文化的大舞台上闪耀着它的独特的艺术光辉。
2.京剧 Beijing Opera¶
京剧在台湾又称平剧、国剧，它的行当全面、表演成熟、气势宏美，是中国影响最大的戏曲剧种，近代中国汉族戏曲的代表。分布地以北京为中心，遍及全国。
清代乾隆五十五年（1711年）起，原在南方演出的三庆、四喜、春台、和春四大徽班陆续进入北京，他们与来自湖北的汉调艺人合作，同时接受了昆曲、秦腔的部分剧目、曲调和表演方法，又吸收了一些地方民间曲调，通过不断的交流、融合，最终形成京剧。
京剧起源于四个地方的剧种：一是原来流行于安徽省一带的徽剧；二是流行于湖北的汉剧；三是流行于江苏一带的昆曲；四是流行于陕西的秦腔，又叫梆子。清乾隆末期、嘉庆初期四大徽班进北京后，于嘉庆、道光年间同来自湖北的汉调艺人合作，互相影响，逐渐接受了昆曲、秦腔的部分剧目、曲调和表演方法，并吸收了一些民间曲调、北京土语，逐渐融合发展。
京剧音乐属于板腔体，用锣鼓、胡琴（京胡）、京二胡、月琴等伴奏。主要唱腔有二黄、西皮两个系统，声腔为主的“三庆”，所以京剧也称“皮黄”。京剧常用唱腔还有南梆子、四平调、高拔子和昆腔、吹腔。
京剧角色的行当划分比较严格，早期分为生、旦、净、末、丑、武行、流行（龙套）七行，以后归为生、旦、净、丑四大行，每一种行当内又有细致的进一步分工。
京剧流播全国，影响甚广，有“中国戏曲三鼎甲榜首”及“国剧”之称。它走遍世界各地，成为介绍、传播中国传统文化的重要手段。
2010年11月17日，京剧被列入“人类非物质文化遗产代表作名录”。
3.昆曲 Kunqu Opera¶
昆曲，又称昆剧、昆腔、昆山腔，清代以来被称为“昆曲”，现又被称为“昆剧”。昆曲是中国汉族传统戏曲中最古老的剧种之一，也是中国汉族传统文化艺术，特别是戏曲艺术中的珍品，被称为百花园中的一朵“兰花”。
昆曲发源于公元14世纪中国的江苏昆山，后经魏良辅等人的改良而走向全国，自明代中叶独领中国剧坛近三百年，清中叶后衰落。昆曲糅合了唱念做打、舞蹈及武术等，以曲词典雅、行腔宛转、表演细腻著称，被誉为“百戏之祖”。
昆曲早在元朝末期（14世纪中叶）即产生于江苏昆山（属太仓州）一带，它与起源于浙江的海盐腔、余姚腔和起源于江西的弋阳腔，被称为明代四大声腔，同属南戏系统。昆山腔开始只是民间的清曲、小唱。其流布区域，开始只限于苏州一带，到了万历年间，便以苏州为中心扩展到长江以南和钱塘江以北各地，万历末年还流入北京。这样昆山腔便成为明代中叶至清代中叶影响最大的声腔剧种。
昆剧行腔优美，以缠绵婉转、柔漫悠远见长。在演唱技巧上注重声音的控制，节奏速度的顿挫疾徐和咬字吐音的讲究，场面伴奏乐曲齐全。昆曲以鼓、板控制演唱节奏，以曲笛、三弦等为主要伴奏乐器，其唱念语音为“中州韵”。昆曲在2001年被联合国教科文组织列为“人类口述和非物质遗产代表作”。
4.越剧 Shaoxing Opera¶
越剧发源于浙江绍兴嵊州，发祥于上海，是中国五大戏曲剧种之一，全国第二大剧种。
越剧清末起源于浙江绍兴嵊州（古代越国首都），由当地民间歌曲发展而成，在发展中汲取了昆曲、话剧、绍剧等特色剧种之大成。经历了由男子越剧到女子越剧为主的历史性演变。历称小歌班、的笃班、绍兴戏剧、绍兴文戏、髦儿小歌班、绍剧、嵊剧、剡剧。1925年9月17日上海《申报》演出广告中首次用“越剧”称之。1938年始，多数戏班、剧团称“越剧”。新中国成立后才统一称“越剧”。
越剧长于抒情，以唱为主，声音优美动听，表演真切动人，唯美典雅，极具江南灵秀之气；多以“才子佳人”题材的戏为主，艺术流派纷呈。主要流行于上海、浙江、江苏、福建、江西、安徽等广大江南地区，以及北京、天津等大部北方地区，鼎盛时期除西藏、广东、广西等少数省、自治区外，全国都有专业剧团存在。据统计，约有280多个；业余、民间剧团更有成千上万，是影响最广的地方剧种。
建国后，越剧多次随周恩来总理出访各国，在海外亦有很高的声誉和广泛的群众基础。1954年的日内瓦会议上，在周恩来的指示下，新中国第一部彩色戏曲电影《梁山伯与祝英台》被用来招待外宾，获得了广泛的赞誉。2006年5月20日经国务院批准，越剧被列入第一批国家级非物质文化遗产名录。
5.粤剧 Cantonese Opera¶
粤剧，又称“大戏”或者“广东大戏”是融汇明清以来流入广东的海盐、弋阳、昆山、梆子等诸腔并吸收珠江三角洲的民间音乐所形成的以梆子（京剧称西皮）、二黄为主的我国南方一大剧种，主要流行于广东、广西、台湾和港澳。
粤剧源自南戏，自明朝嘉靖年间开始在广东、广西出现，是揉合唱做念打、乐师配乐、戏台服饰、抽象形体等等的表演艺术。最初演出的语言是中原音韵，又称为戏棚官话。19世纪40年代中，广府戏已从开埠后的香港，传到东南亚的新加坡、马来西亚了。以后，星马的粤剧也颇兴盛，故新加坡有“粤剧第二故乡”之称。广府戏到了外国，西人称之为Cantonese Opera，到了清朝末期，文化人为了方便宣扬革命而把演唱语言改为粤语，使广州人更容易明白。
粤剧演员的表演工艺分为四大基本类别：唱、做、念、打。 唱是指唱功，配合不同的角色有各自不同演唱的方式，包括平喉及子喉。平喉是平常说话的声调，一般男性角色小生就是采用平喉演出。子喉是比平喉调子高了八度，常常以假音来扮演女性角色。除了以音阶来分类，也会以声音特色来分类。大喉是使用粗犷声音。同时，粤剧也会吸收不同的地方的独特唱腔，例如来自福建的广东南音、木鱼、广东的本地民谣粤讴及板眼。
粤曲唱腔音乐的基本特色是板腔类，即梆子和二黄，俗称“梆黄”，也即是和京剧的“皮黄”同类，所以粤剧也属于南北路的戏曲，即有南路“二黄”唱腔和北路“梆子”唱腔。粤曲的板腔原是由外省传入，是由诗赞类的齐言滚唱方式发展出来，后来节以鼓板，由不同板式引发唱腔的变化，故称“板式变化体”。
粤剧名列于2006年5月20日公布的第一批518项国家级非物质文化遗产名录之内。2009年9月30日，粤剧获联合国教科文组织肯定，列入人类非物质文化遗产名录。
6.中国曲艺 Chinese Quyi¶
曲艺是中华民族各种说唱艺术的统称，它是由民间口头文学和歌唱艺术经过长期发展演变形成的一种独特的艺术形式。以“说、唱”为主要的艺术表现手段。说的如小品、相声、评书、评话；唱的如京韵大鼓、单弦牌子曲、扬州清曲、东北大鼓、温州大鼓、胶东大鼓、湖北大鼓等等；似说似唱的如山东快书、快板书、锣鼓书、萍乡春锣、四川金钱板等；又说又唱的如山东琴书、徐州琴书、恩施扬琴、武乡琴书、安徽琴书、贵州琴书、云南扬琴等；又说又唱又舞的走唱如二人转、十不闲莲花落、宁波走书、凤阳花鼓、车灯、商花鼓等。
中国曲艺发展的历史源远流长，早在古代，我国民间的说故事、讲笑话，宫廷中俳优的弹唱歌舞、滑稽表演，都含有曲艺的艺术因素。到了唐代，讲说市人小说和向俗众宣讲出现，大曲和民间曲调的流行，使说话伎艺、歌唱伎艺兴盛起来，自此，曲艺作为一种独立的艺术形式开始形成。宋明以来，曲艺以小说、演义形式表现在民间，如日中天。
曲艺表演的简便易行，使它对生活的反映快捷。曲目、书目的内容多以短小精悍为主，因而曲艺演员通常能自编，自导，自演。与戏剧演员相比，曲艺演员所肩负的导演职能，尤为明显。比如一个曲目、书目，或一个相声段子，在表演过程中故事情节的结构、场面的安排、场景的转换、气氛的渲染、人物的出没、人物心理的刻划、语言的铺排、声调的把握、节奏的快慢等等，无一不是由曲艺演员根据叙事或抒情的需要，根据对听众最佳接受效果的判断，来对说或唱进行统筹安排，进行调度，导演出一个个令听众心醉的精彩节目。
曲艺以说、唱为艺术表现的主要手段，因而它是诉诸人们听觉的艺术。也就是说曲艺是通过说、唱刺激听众的听觉来驱动听众的形象思维，在听众形象思维构成的意象中与演员共同完成艺术创造。曲艺表演可以在舞台上进行，也可划地为台随处表演，因而曲艺听众的思维与戏剧观众相比，不受舞台框架的限制，曲艺所说、唱的内容比戏剧具有更大的时间和空间的自由。为了把听众天马行空的形象思维规范到由说、唱营造的艺术天地之中，曲艺演员对听众反应的聆察更其迫切，也更为细致，因而他与听众的关系，比之戏剧演员更为密切。
不管是说书的，还是唱戏的，都能把中国历代传奇故事等娓娓道来，这就是曲艺的特殊表现手法。
7.中国民乐 Chinese Folk Music¶
中国民乐又称中国民族音乐，指用中国传统乐器以独奏、合奏形式演奏的民间传统音乐。中国民乐的历史悠久，从西周到春秋战国时期民间流行吹笙、吹竽、鼓瑟、击筑、弹琴等器乐演奏形式，那时涌现了师涓、师旷等琴家和著名琴曲《高山》和《流水》等。秦汉时的鼓吹乐，魏晋的清商乐，隋唐时的琵琶音乐，宋代的细乐、清乐，元明时的十番锣鼓、弦索等，演奏形式丰富多样。近代的各种体裁和形式，都是传统形式的继承和发展。
民族器乐有各种乐器的独奏、各种不同乐器组合的重奏与合奏。不同乐器的组合，不同的曲目和演奏风格，形成多种多样的器乐乐种。各种乐器的独奏乐是民族器乐的重要组成部分。琴曲《广陵散》《梅花三弄》；琵琶曲《十面埋伏》《夕阳箫鼓》；筝曲《渔舟唱晚》《寒鸦戏水》；唢呐曲《百鸟朝凤》《小开门》;笛曲《五梆子》《鹧鸪飞》；二胡曲《二泉映月》，等等，都是优秀的独奏曲目。
8.中国传统民歌 Chinese Traditional Folk¶
中国传统民歌是劳动人民集体的口头诗歌创作。民歌，即民间歌谣，属于民间文学中的一种形式，能够歌唱或吟诵，多为韵文。从《诗经》民歌到汉乐府民歌，可以说是中国民歌的古代早期，其内容之丰富，表现力之强烈，已相当完美，可以想象到在此之前，民歌还有一个相当长的原始时代。
中国传统民歌依即兴方式创作，借口传心授流播，因而总是最贴近民众与社会现实，最直接地反映人民大众的悲欢离合、喜怒哀乐。优秀的传统民歌作品，都是将真挚朴实的情感、深刻动人的表现、精致巧妙的样式完美结合的典范，都浸润着民间音乐家的心血和智慧，传统民歌的魅力与迷人之处尽在于此。
我国各民族的民间歌谣蕴藏极其丰富，从《诗经》里的《国风》到解放后搜集出版的各种民歌选集，数量是相当多的。至于当今仍流传于民间的传统歌谣和新民歌，更是浩如烟海，这些民歌就形式而言，汉族的除厂民谣、儿歌、四句头山歌和各种劳动号子之外，还有《信天游》《爬山歌》《赶五句》以及《四季歌》《五更调》《十二月》。《十枝花》《盘歌》等备具特色的多种样式。至于像藏族的《鲁》《协》，壮族的《欢》，白族的《白曲》，回族的《花儿》，苗族的《飞歌》，侗族的《大歌》，布依族的《笔管歌》，瑶族的《香哩歌》等，都各具独特的形式。就风格而言，苗歌瑶歌古朴浑厚，藏歌傣歌光丽优美。蒙古族民歌健朗悠扬，鄂伦春族民歌则粗犷有力。同是《花儿》，保安族和东乡族的韵味不同，宁夏和青海的也各有异。同是汉族民歌，北方的以豪放见长，南方的则比较委婉。
9.古风 GuFeng Music¶
“古风”（Chinese Ethno Pop）是一类新型的文化。“古风”以中国的传统文化为基调，结合中国传统的文学、琴棋书画、诗词歌赋等，经过不断的发展磨合，形成了比较完备的音乐、文学、绘画等艺术形式。
古风歌曲的特点，是用民族调式来创作出大众更能接受的流行音乐，而在编曲上相对中国风来说，古风的编曲中对中国乐器的运用更多，多数旋律悠扬、速度缓慢，基本上属于飘逸类型，很容易让人想起那句“遗世而独立，羽化而登仙”。
曲调，这是二者最大的区别。中国风，更多采用大小调，但带有浓厚的中国风味。古风，更多采用五声或七声民族调式。
歌词，古风歌曲的歌词多接近于古典诗词，有很多化用，如小曲儿《剑心》，河图《倾尽天下》；中国风的歌词有古典风韵但是接近白话如周杰伦《青花瓷》《烟花易冷》。
古风歌曲歌词的内容偏重于中国传统古代文化，用词颇有考究，广义上延伸的范围更大，而在调式上，一般的古风基本上都是民族五声调式。古风歌曲的创作形式，基本上是填词，在别人的编曲（可以理解为伴奏）基础上再进行歌词创作，这也是大多数流行音乐惯用的手法，先作曲，后填词。
歌词大多数都有用典。代表：《上邪》《南山忆》、《湖光水色调》。部分歌曲（如广播剧主题曲、翻唱等）是由现代流行乐重新填词翻唱，如：《此夜光寒》《江秋已过》。
古风音乐社团：墨明棋妙，鸾凤鸣，平纱落雁，声自在，千城醉歌，流觞曲水，花魁楼，千歌未央等；
古风音乐人：河图，董贞，小曲儿，银临，HITA，音频怪物，小爱的妈，重小烟，清弄，檀烧，少司命，潇梦临等，词作EDIQ、Finale、荀夜羽、梦饮千樽月、择荇、Vagary等；
古风文学代表作家：公子欢喜，殿前欢，墨舞碧歌，匪我思存，天下归元，沧月，施定柔，倾泠月，步非烟，九鹭非香；
古风绘画代表：雪代薰，痕迹画廊等；
古风文化正逐渐流行，受到越来越多的人喜爱。
10.中国风 China-Wave¶
中国风，即在歌曲中加入中国古代一些典故作为创作背景，用现代的音乐唱出古典的味道，唱法多样。曲风偏向传统的东方演奏，加入的是一些东方乐器，通曲音调婉转，回环，有一种传统东方的美感；中国风词风注重语言的简洁，精炼及语境的意用，用一些诗词文的化用，通过汉语的一些修辞手法，如比喻，借代等来以表现曲的意境。
中国风就是“三古三新”（古辞赋、古文化、古旋律、新唱法、新编曲、新概念）结合的中国独特乐种。歌词具有中国文化内涵，使用新派唱法和编曲技巧烘托歌曲氛围，歌曲以怀旧的中国背景与节奏的结合，产生含蓄、忧愁、幽雅、轻快等歌曲风格。中国风分纯粹中国风和近中国风两种，纯粹中国风是满足以上六大条件的歌曲；近中国风是某些条件不能满足而又很接近于纯粹中国风的歌曲。
中国风的音乐多采用“宫调式”的主旋律，在音乐的编曲上大量运用中国乐器，如二胡、古筝、箫、琵琶等，唱腔上运用了中国民歌或戏曲方式，题材上运用了中国的古诗或者传说故事。
11.红歌 Red Song¶
“红歌”是指社会主义国家（尤其是中国）特有的政治和社会现象，泛指歌颂社会主义祖国、共产党和无产阶级革命的歌曲。由于红色象征着无产阶级革命和社会主义，“红歌”自然代表着无产阶级的政治取向和意识形态。红歌一般是歌颂社会主义和伟大祖国，歌颂伟大领袖的歌曲。
12.军旅歌曲 Military Songs¶
军旅歌曲是指描述部队生活，军人意志，革命情怀的歌曲。承载着一代人的军旅记忆，以及国家繁荣富强背后的钢铁力量。在歌词中体现了军人们军中生活的点滴，以及坚定不移保卫国家的意志，旋律朗朗上口，彰显了革命浪漫主义情怀。
13.台湾原住民音乐 Taiwan Aboriginal¶
台湾族群之多、文化之富是世界许多岛屿中无能出其右的。其中最具特色的无非是原住民音乐的丰富性与多样性。
台湾原住民音乐独具特色，例如布农族的著名的八部合音、多声部合唱，泰雅族与太鲁阁族的多金属簧口簧琴、阿美族的自由对位式复音合唱等。已故民族学家史惟亮说：“如同不经琢磨的宝石，原住民音乐量的丰富，超过人口占百分之九十八强的汉族民问音乐，甚至量之丰富包罗了整个欧洲的歌唱型式。”同时台湾民谣中，原住民民谣的数量之多是惊人的。
泰雅族在唱法上有吟诵唱法及民歌唱法。歌唱方式有独唱及合唱，传统歌谣不多。音阶有三音(mi, sol, la )、四音(re, mi, sol,la) 和五音(sol, la, do, re, mi)三种音阶。
赛夏族除了一般所唱的歌之外，矮灵祭的祭歌最为重要。一般所唱的歌为数很少，流传不多，可能很少人去唱的缘故。矮灵祭的歌，由于每二年一次祭典中，由集体一起歌唱，且祭歌需要很长的时间吟唱，所以在族人中广受流传。除迎神歌之外，其余都伴有舞蹈。而祭歌歌词内容最具文学价值。
布农族的音乐大都以自然泛音的do, mi, sol, do 所构成，族人中合唱甚为普遍。大小三度、完全四度、五度、八度构成了合唱的和声。布农族许多歌谣中都非常类似，但和声甚为族人所重视。祈祷小米丰收歌pasibutbut这世界唯一仅有的特殊唱法，是布农族最具特色的歌谣。
邹族歌谣中包括有单音性歌谣与和音唱法，单音性歌谣都以独唱和齐唱方式出现。和音唱法有和音合唱及部分和音唱法两种，前者较多。和声以三度、五度最为常见。邹族可说是多产「祭歌」的民族，其中极为重要的祭仪mayasvi 就包含了迎神曲、送神曲、战歌、历史颂、勇士颂等祭歌。
阿美族的歌谣丰富又富有变化，歌谣中旋律的变化和音乐形式的多样性反映了阿美族热情开朗的性格。唱法上包含吟诵、对唱、领唱与应答及卡农唱法。歌词可以是针对特定的对象和目的而吟唱，亦有以不同的对象、生活、工作、人物等作即兴的唱喝。音阶包含五音和无半音五音音阶，临时音也经常出现在其中。
卑南族歌谣抒情、流畅、高亢、悠远最为常见。由于重视团体，歌谣常于生活、工作中配合节奏性的旋律由族人作整体性的歌诵和舞蹈。祭典歌较属男性所唱。唱法上常有吟诵、对唱及领唱应答的唱法。
排湾族是一个出产情歌最为丰富的民族。旋律一样的歌谣，歌词可以因人情感之抒发而有不同的内容，以即兴、自由、隐喻的方式表达个人深沉的爱意。歌唱有独唱、领唱与回应及合唱等方式。合唱中常出现二度、四度、八度及杜农唱法。
鲁凯族的特征是单音性与多音性歌谣。单音性主要表现在独唱、齐唱两种。多音性歌谣则多以持续低音唱法着称。独唱旋律出现于上声部，持续低音合唱则行于下声部。情歌亦不少出现在鲁凯族歌谣裡面，婚礼中新娘祝福歌最具特色。
雅美族的生活大都以捕鱼、农耕、放牧为生，特别以捕鱼为重。所以歌谣中不乏与祭有关的歌，如船祭之歌、下水礼之歌、粟丰收祭之歌等等。其他与生活有关的，如工作之歌、划船之歌、捕捉飞鱼之歌、主屋落成歌、捡柴歌、思念之歌及摇篮歌等都非常生活化。曲式类型不多，音阶仅有一、二个，歌的类型常因歌词的变化而改变。歌并没有特定的歌词。
有人担心随着新旧时代的更替，加上年迈长者的离世，原住民音乐也可能因此而逐渐流失，原住民民谣也为此失去了传承的希望。但是，从民谣的生存环境来看，部落了依然存在，原住民音乐会随着部落延续下来。
时代不断的改变，原住民音乐也间接受到影响，原本部落的生活，以农为生，处处耳闻狩猎、耕种与砍伐木材的歌词。社会转型之后，包含着许多有关织布歌、竹竿舞的轻松悠闲歌词，现在也不复存在，虽然这些民谣随着环境变了，但是这些改变的民谣，也是从传统延续来的，只是它随着不同环境的改变，产生不同的变化罢了。
14.时代曲 Shidaiqu¶
1920年代，华语流行音乐被称为时代歌曲。它们被视作华语流行音乐的原型。从地域上说，上海是华语流行音乐的中心。被视为“中国流行音乐之父”的黎锦晖是该种音乐体裁的创始者。他创作于1920年代的作品《毛毛雨》被视为最早的中文流行音乐。而巴克·克莱顿（Buck Clayton）——美国爵士乐小号手——曾在上海同黎锦晖一起工作，他们两人彼此学习，相互影响，使对方熟习的音乐元素融入自己的音乐中。黎锦晖创建的明月歌舞团也是首个中国流行音乐团体，后于1931年并入联华电影公司，成为首个进入中国电影工业的流行音乐团体。
代表艺人：白虹、周璇、白光、龚秋霞、吴莺音、张露、夏丹、静婷、姚莉、姚敏、李丽华、林黛、李香兰、潘秀琼、潘迪华、方逸华、崔萍、葛兰、凌波、邝玉玲、叶枫、邓小萍、欧阳飞莺、华怡保、顾媚、黄菱、蓓蕾、邓白英、逸敏、韦秀娴、留韵
15.佛教音乐 Buddhist Music¶
佛教音乐，中国佛教寺院和信众在举行宗教仪式时所用的音乐。佛教认为，音乐有“供养”、“颂佛”作用。形式有声乐和器乐等多种。
佛教音乐（Buddhist music），简称佛乐，是指佛教用以阐明佛理弘扬佛法的佛事音乐，也可指世人创作的歌颂佛教的音乐。佛乐通常庄严清净，蕴涵慈悲之情，使人听后动容，起欢喜之心，动善意之念。可以说，佛乐是佛陀教化的殊胜之音，是音乐百花园中粲然绽放的一株清净莲花。佛乐也可分为经咒类的“梵呗声闻”、仪轨音乐、参禅悟道类的“禅乐”。
佛教音乐起源于山东东阿鱼山梵呗。鱼山梵呗是中国最早的梵呗。三国魏明帝太和四年(公元230)，陈思王曹植游鱼山，感鱼山之神制，于是删治《太子瑞应本起》始著《太子颂》(即今浴佛赞)及《睒颂》,因为之制声，吐纳抑扬，并法神授，今之皇皇顾惟，盖其风烈也。”而“以为学者之宗，传声则三千有余，在契则四十有二”传为后式有六契的“鱼山梵”或“鱼山呗”，后世简称“梵呗”，盛于齐梁，普及隋唐。
16.喊麦 MC¶
MC喊麦，喊麦主要形式是在网上下载一些伴奏，套用一些古诗词，用伴奏带着伴奏对着麦喊。MC全称 Microphone Controller。其实MC是一些RAPPER的自称，早期一些RAPPER在自己名字前面加上MC二字，MC就这么由来了。国外从来没有喊麦这个叫法，MC的工作就是RAP，而MC就是RAPPER。
喊麦虽然开始以自称嘻哈歌手兴起，但其实他们并不够格，但到现在已经发展为近乎独立于传统意义的说唱（rap）的风格，成为中国一种新兴的表演形式。喊麦也不再称自己为说唱歌手，而说唱歌手也普遍不承认喊麦是说唱。喊麦十分随意，在中国通常流行网络，几乎没有现场表演，而且中国的喊麦并不属于正式音乐，多为网络红人创作的情感喊麦。
从喊麦的作品（凤舞九天）来看，与说唱的最大不同就是没有曲调，以语言的原来音调描述内容，加上流行音乐做背景编曲，动感节奏，更像是中国传统快板或者二人转说口 的现代形式。
17.评书 Story Telling¶
评书，又称说书、讲书，广东粤语等地区俗称讲古，古代称为说话，是一种古老的中国传统口头讲说表演艺术形式，在宋代开始流行。各地的说书人以自己的母语对人说着不同的故事，因此也是方言文化的一部份。
清末民初时，评书的表演为一人坐于桌后表演，道具有折扇和醒木，服装为长衫；至20世纪中叶，多不再用桌椅及折扇、醒木等道具，而以站立说演，服装也较不固定。而在70年代末中国改革开放后，在电子媒体及推广普通话的冲击之下，一些方言的说书文化日渐式微，处于濒临消失的状态，但还仍然有其活力。
18.西藏传统乐 Tibetan Traditional Music¶
西藏一直到上个世纪50年代，由于西藏社会一直处于封闭状态，其音乐也长时间停留于固有的传统形式。从分类上看，音乐理论界一般把西藏的传统音乐分为四种类型：宫廷音乐、民间音乐、宗教音乐、戏剧音乐。此外还存一种三分法，就是将喜剧音乐归类为民间音乐。
西藏的宫廷音乐，一般特指西藏在上世纪中叶的布达拉宫供云乐舞之音乐，也包括各地寺院大活佛宫廷内的供云乐舞之音乐。
民间音乐在西藏传统音乐中占有较大的比重，无论从品种、数摄上看，还是从内容之丰富程度上讲，无论从覆盖面上看，还是从表演频率上讲，它都居西藏音乐四大类之首。从体裁上分，民间音乐又可分为歌舞类、民歌类、劳动歌曲类、说唱类和器乐类五种。
和平解放以前，西藏是一个政教合一、几乎全民信教的社会，藏传佛教占领普整个社会意识领域，并支配普人们的行为。因此，宗教音乐在西藏社会中占有至尊的地位，因而也得到了长足的发展。西藏的宗教音乐也称寺院音乐，一般可分为苯教音乐和藏传佛教音乐两种。藏传佛教音乐又有显宗与密宗之分。从形式上看，有味经曲、仪轨曲、密宗金刚舞曲。宗教音乐的表演是在宗教节日中进行的，因为，就本质而言，宗教音乐就是宗教活动本身的一部分内容或一个组成部分。不论是咏经曲、仪轨曲、或者是密宗金刚曲，它们都是宗教本身的一个组成部分一个密不可分的内容。因此，哪里有宗教活动哪里就有宗教音乐，从这个意义上讲宗教音乐的分布就仅次于民间音乐。
宗教乐器也称“法器”。一般有“铜钦”（法号）：它是在大型仪式中使用：甲林是一种起源于汉地的吹奏乐器．常常也是在大型仪式中使用：“苏呐”：是一种起源于阿拉伯一带的乐器常用于各种仪式中长柄鼓或铃鼓：常用于护法神殿及攘解仪礼中：大锣或铜锣：主要是由于宣报僧侣们集合时间的；白海螺：它是宗教仪轨中的重要伴奏乐器之一；大海螺：它主要用于具有高级特点的密教仪轨中，在萨迦巴、宁玛巴和噶举巴中该乐器一般仅用于颂赞歌中：大擦：它主要用于与恶神有关的仪轨中：胫骨号：它是一种广泛使用的吹奏乐器之一在召神仪式中必不可少单旗它是一种来自汉地的吉祥物云锣：它常由九锣组成同样也是一件吉祥物。
西藏的戏剧艺术主要有藏戏、昌都戏、门巴戏等。藏戏也称藏剧，它是西藏戏剧艺术的总名称。从这个意义上讲昌都戏、门巴戏都是属于藏戏的范畴，是藏戏的几个分支，只是这些戏的唱腔、表演形式等与卫藏地区的藏戏相比有着明显的差异而已，因而也就得了上述名称。藏戏是藏族人民喜闻乐见的艺术品种，其流传广泛，包括藏区的城镇、乡村、家喻户晓。在和平解放前西藏各地有20多个民间的藏戏班子，其中，最有影响的有“琼日沃钦”藏戏团、“杰卡曲宗”藏戏团、“香巴”藏戏团、“觉木隆”藏戏团。
实验 Experimental¶
试验音乐是对任何推动现有的音乐边界线和流派定义的一种普遍的分类，像在摇滚，爵士，现代合成或其他的风格。当一个音乐家或作曲家接近一种全异风格的混合物或是合成非正统的，新的，明显独特的成分。
实验音乐，是指一种有别于传统音乐和流行音乐的新式音乐类型，最早起源于20世纪中后期的北美地区。长期以来，实验音乐会被一部份一般的音乐人责难偏离音乐的传统规范，指其为噪音或不符常理。
“实验音乐”定义较为松散，并不指某种固定的音乐模式。实验音乐汇合多种流派的音乐，可以是完全不同风格的音乐的混合体，可以是采用新技术（尤其是电脑技术）制作的非正统音乐、电子音乐，或是一种鲜明独特的音乐风格；实验音乐有时也可以用来形容跨种族的混合音乐风格。
实验音乐追求纯粹的、不带任何意义的聆听，如森林中的鸟兽鱼虫所发出的声音、电脑音乐家制作的“听程式逻辑在跑的声音”、甚至某个路段的录音，在实验音乐人看来，其本质都是对声音的最高礼拜。
Avant-Garde is taken from the French for “vanguard,” which is the part of the armed forces that always stands at the front of the rest of the army. In the case of music, the avant-garde are those individuals who take music to the next step in development or at least take music on a divergent path. The term was first applied only after World War II. In popular idioms it is a term used to describe or refer to free jazz movements but the meaning remains the same: techniques of expression that are new, innovative and radically different from the tradition or the mainstream. Wagner and Debussy can easily be classified as avant-garde relevant to their time but the term did not enter familiar usage until the advent of Stockhausen.
1.自由即兴 Free Improvisation¶
自由即兴音乐代表了前卫音乐人对彻底的、不妥协姿态的创作自由追求的顶点。即兴意味着毫无准备之下的演绎，意味着要在当时当地即时创作音乐。
即兴不是新鲜事物：古典音乐作曲家（如Mozart）便是技艺高超的即兴表演者。自由即兴音乐则让音乐艺人随心所欲，置任何规条于不顾，节奏、和声、旋律，甚至对乐器自身的物理完整性的尊重，全都被粉碎。“自由即兴”表演者通过他的乐器和演奏传达出自己的创造力，与可能给人的仿佛印象相比，自由即兴演绎实际上要艰难许多，它要求大量的音乐和心理上的训练，因为音乐人必须达到一种高水平的专注力，一种将自己赤裸裸地表现在观众面前的能力，如果不是单独表演（也不想被孤立的话），他还需要聆听他人的即兴，以便与之互动。
Free improvisation represents the culmination of the avant-gardist musician¹s quest for complete, uncompromised freedom. To improvise means to perform without preparation, to make music on the spot. Improvising is nothing new: classical composers like Mozart were accomplished improvisers. But free improvisation lets the musician do whatever he wants, regardless of any rule. Rhythm, harmony, melody, even respect for the physical integrity of the instrument itself (preparations and home-built instruments are often used) are shattered. The free improviser channels his creative energy through his instrument and plays. A lot harder than it may seem, free improvising requires extensive musical and psychological training, as the musician must attain a high level of concentration, an ability to metaphorically strip naked in front of the audience, and if he is not performing alone, to listen to the other improvisers in order to interact with them if he doesn¹t want to get isolated. Free improvisers come from very diverse backgrounds – jazz (Cecil Taylor, Derek Bailey), rock (Thurston Moore), electronica (Fennesz, Jim O’Rourke, Voice Crack), even classical (Patrick Scheyer, Aki Takase) – and perform in settings ranging from solo to large groups called creative orchestras.
Free improvisation is not the same as free jazz, although some key musicians like Bailey and Taylor came from such a background. Free jazz often remained anchored in its originating idiom, using heads and licks to structure the improvised material. There is no such thing in free improvisation – being freed of all rules, it cannot be traced back to a genre other than the very generic term “avant-garde.” As a style, free improv started to emerge in the late 1960s, mainly on the Berlin and London scenes, when people like Peter Brötzmann and the musicians revolving around (and trained by) John Stevens started to push American free jazz into more abstract territories. Brötzmann¹s 1968 LP Machine Gun shattered the world of free jazz and pioneered a form of improv characterized by extreme energy levels. Around Stevens and his Spontaneous Music Ensemble, a group of musicians developed an approach to improvisation relying on listening, toning down, trying to “become” the other musicians while being oneself, instead of attempting to outplay the other participants. This school of free improv is best exemplified by the productions released on the record label Emanem. In the late 1990s/early 2000s, an even more radical approach to free improvisation emerged, based on silence and the use of very short, very fragmented musical gestures. People like John Butcher, Axel Dörner, Franz Hautzinger and Radu Malfatti first explored these extremes.
2.噪音 Noise¶
就像这种音乐名字所启示的那样，噪音是泥泞的，生硬粗暴的，使人精疲力竭的。它为了开拓声波的攻击性，几乎完全摈弃了旋律和作曲技巧。从来自日本的Merzbow震耳欲聋，牙齿霍霍的攻击，到Amphetamine Reptile厂牌下乐队Tar 和Vertigo厚重，碾压式的紧张感，这是一种黑暗和残忍的音乐，将摇滚乐推向最远的极致。到了90年代末，50年代具象音乐中开创的正弦波死灰复燃，大批音乐家采用这种元素进行创作，比如大友良英。
Sludgy, abrasive, and punishing, Noise is everything its name promises, expanding on the music’s capacity for sonic assault while almost entirely rejecting the role of melody and songcraft. From the ear-splitting, teeth-rattling attack of Japan’s Merzbow to the thick, grinding intensity of Amphetamine Reptile-label bands like Tar and Vertigo, it’s dark, brutal music that pushes rock to its furthest extremes. By the end of the ‘90s, a resurgence in the use of sine waves – originally explored by musique concrète artists in the ‘50s – became increasingly frequent among noise artists such as Otomo Yoshihide.
3.自然采样 Field Recordings¶
自然采样是指离开录音室，在此之外的地方录下各种声音。
现场记录可以是两种。自然声音的现场录制，也称为留声机（一个用来说明其与摄影相似之处的术语），最初是作为记录的辅助手段开发的，用于现场研究和电影电影的研究。随着高质量便携式记录设备的引入，它本身已成为一种令人回味的艺术形式。在1970年代，经过处理的录音唱片和自然的唱片录音（由《环境》系列首创）都变得很流行。
“现场录音”还可以指在熟悉和随便的环境中从音乐家那里获得的简单的单声道或立体声录音，例如John Lomax开创的民族音乐学录音，Nonesuch Records和Vanguard Records。
Field recording is the term used for an audio recording produced outside of a recording studio.
Field recordings can be either of two varieties. Field recording of natural sounds, also called phonography (a term chosen to illustrate its similarities to photography), was originally developed as a documentary adjunct to research work in the field and foley work for film. With the introduction of high-quality portable recording equipment, it has subsequently become an evocative artform in itself. In the 1970s both processed and natural phonographic recordings (pioneered by the Environments series) became popular.
“Field recordings” may also refer to simple monaural or stereo recordings taken of musicians in familiar and casual surroundings, such as the ethnomusicology recordings pioneered by John Lomax, Nonesuch Records and Vanguard Records.
4.声效拼贴 Sound Collage¶
在音乐中，蒙太奇(字面意思是“拼凑”)或声音拼贴(“粘合在一起”)是一种技术，其中声音对象或作品，包括歌曲，是从拼贴创作出来的，也称为蒙太奇，使用以前录音或乐谱的一部分。这通常是通过采样来完成的，而一些可播放的声音拼贴是通过将不同的黑胶唱片区段粘合在一起而产生的。就像它的视觉表亲一样，拼贴作品可能会产生与组成部分完全不同的效果，即使原始部分是完全可识别的，或者只有一个来源。
5.蜂鸣 Drone¶
在音乐中，无人机是一种和声或单声道的效果或伴奏，其中音符或和弦在作品的大部分或全部中连续发出。“无人机”这个词也用来指乐器上刚刚用来产生这种效果的任何部分。单音效果可以通过持续的声音或重复音符来实现。它通常建立一种调性，作品的睡觉就建立在这种调性之上。无人机可以是器乐的，也可以是人声的，或者两者兼而有之。
In music, a drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece. The word drone is also used to refer to any part of a musical instrument that is just used to produce such an effect.
A drone effect can be achieved through a sustained sound or through repetition of a note. It most often establishes a tonality upon which the rest of the piece is built. A drone can be instrumental, vocal or both.
6.诵读音乐 Spoken Word¶
诵读音乐是一种基于词语表现形式的表演，较多与音乐，舞台剧，舞蹈相结合，不过本身更重于语言所表达的内容，其他起衬托的作用。
Spoken word is a performance art that is word-based. It often includes collaboration and experimentation with other art forms such as music, theater, and dance. However, spoken word usually tends to focus on the words themselves, the dynamics of tone, gestures, facial expressions, and not so much on the other art forms.
In entertainment, spoken-word performances generally consist of storytelling or poetry, exemplified by people like Hedwig Gorski, Gil Scott Heron and the lengthy monologues by Spalding Gray.
7.实验电子 Experimental Electronic¶
电子音乐与其说是高科技的产物，不如说是时代的产物，与过去的摇滚乐有所不同，它更提倡青年人的参与精神，每一个电子音乐的追随者都坚信只有TECHML近乎一百分贝的震撼，才能使人获得心跳每分钟一百三十下的刺激与享受。它要求并不是用耳朵去听，而是要用全身心去感觉。电子音乐的宗旨是爱、和平、团结，这倒与联合国宪章有着异曲同工之妙，对于电子音乐的崇拜者来说，他们推崇的是少说话多思索的人生态度，追求人性中的真善美，并试图以一种博爱精神和世界大同的家庭观念来消除竞争社会中人与人之间的隔阂与冷漠。
然而，通常电子乐是指当它刚成形时艺术家们通过电子设备所探索出的各种独一无二的声响，以及后人们所创造出的继承这些先驱们的作品。前卫作曲家们长时间的着迷于利用先进的技术手段，创造那些前所未有的电子声响。法国作曲家Edgard Vare是这个领域的一个先驱，早在上世纪20年代就发明了自己的电子乐设备，50年代一直在实验磁带延时技术。Vare的工作极大的影响了美国前卫艺术家John Cage和德国作曲家Karheinz Stockhausen，后两位极大的扩展了电子乐的曲式结构。然而，直到上世纪70年代，音序器和合成器变得越来越便宜和 简便时，电子乐才真正的进入大众的视野。1968年，Wendy Carlos发行了一张带有迷幻性质的Bach专辑，使用Moog合成器实现了Bach的一些音乐片断。这张专辑在公众中引起了极大的反响，Stockhausen对电子乐器的推广也在德国引起了实验音乐的风潮——Krautrock(德国摇滚)。诸如Can和Neu!等乐队开始将合成器和磁带机的使用带入他们的实验，但是这场风潮中最重要的乐队还是Kraftwerk和Tangerine Dream(橙梦)。 Kraftwerk开创了在pop中使用合成器的新观念，他们机器人般的，机械的，催眠性的形式极大的影响了20世纪几乎所有的电子乐。同时，Tangerine Dream受到简约古典作曲技法的启发，创造了一种称为space的音乐形式，顾名思义，这是一种氛围舒缓的， 曰没惚的音乐。其他重要的艺人还包括Klaus Schulze，他探索了比space还要迷幻的音乐形式；Brain Eno，对于电子元素在pop中的应用有着创造性的发明和实验，可是他最出名还是他的ambient music(氛围音乐)——一种依靠合成器创造出某种环境的音乐类型。 Ambient和space音乐引发了后来的new age(新世纪)，后者强调的是一种安宁的，平和的，深邃的氛围并且旋律及其优美。Progressive electronic(激进电子乐)是new age的一个分支，它表现的是一种更加戏剧化，管弦乐使用更多的形式，从而打破了电子乐根基中的简约风格。此外，诸如synth-pop，techno和electronica等音乐形式也都在早期的电子乐基础上有了很大的创新。
Electronic is a broad designation that could be construed to cover many different styles of music – after all, electronic instrumentation has become commonplace, and much dance-oriented music from the late ‘80s on is primarily, often exclusively, electronic. However, in this case, it refers mostly to electronic music as it took shape early on, when artists were still exploring the unique possibilities of electronically generated sound, as well as more recent music strongly indebted to those initial experiments. Avant-garde composers had long been fascinated with the ways technology could be used to produce previously unheard textures and combinations of sounds. French composer Edgard Varèse was a pioneer in this field, building his own electronic instruments as early as the 1920s and experimenting with tape loops during the ‘50s. Varèse’s work was hugely influential on American avant-gardist John Cage and German composer Karlheinz Stockhausen, both of whom greatly expanded the compositional structures in which electronic devices could be incorporated. But electronic music didn’t really begin to enter the wider consciousness until around the 1970s, when sequencers and synthesizers became more affordable and easier to obtain. Wendy Carlos’ 1968 Switched-On Bach album, a selection of Bach pieces performed on the Moog synthesizer, had ignited tremendous public attention, and Stockhausen’s teachings had begun to inspire a burgeoning experimental music scene in Germany. Krautrock groups such as Can and Neu! integrated synthesizers and tape manipulations into their rabid experimentalism, but the two most important electronic artists to emerge from the scene were Kraftwerk and Tangerine Dream. Kraftwerk pioneered the concept of pop music performed exclusively on synthesizers, and their robotic, mechanical, hypnotic style had a tremendous impact on nearly all electronic pop produced in the remainder of the 20th century. Tangerine Dream, meanwhile, was indebted to minimalist classical composition, crafting an atmospheric, slowly shifting, trance-inducing sound that helped invent the genre known as space music. Other crucial figures included Klaus Schulze, who explored a droning variation on space music that was even more trancelike than Tangerine Dream, and Brian Eno, whose inventive production and experiments with electronics in a pop context eventually gave way to his creation of ambient music, which aimed to blend thoroughly into its environment and often relied heavily on synthesizers. Ambient and space music helped give rise to new age, which emphasized the peaceful, soothing, and meditative qualities of those influences while adding greater melodicism; the progressive electronic branch of new age crafted a more dramatic, lushly orchestrated style that broke with electronic music’s roots in minimalism. Synth-pop, techno, and its artier companion electronica all owed a great deal to the basic innovations of early electronic artists as well.
儿童 Children¶
1.儿歌 Nursery Rhyme¶
童谣，又称儿歌（Nursery Rhyme），是一种以儿童为主要对象的歌曲，曲色旋律多半较为简单，歌词亦简单琅琅上口，使儿童容易记忆（但未必各年龄层都能充分理解）。这类的歌曲可能是民谣（如丢丢铜仔）、模拟儿童的思想和内心世界所做的曲子（如妹妹背着洋娃娃），或是大人将现实社会与未来期许简化放进歌曲（如只要我长大），今代也有相当数量为动画卡通的主题曲（如樱桃小丸子主题曲）。
2.儿童音乐 Children’s Music¶
儿童音乐（Children’s Music）作为一种音乐风格，专指成人制作或演唱给儿童的歌曲。儿童音乐既有娱乐又有教育孩子的特点，通过轻松娱乐的外在形式为孩子传达生活习惯、文化风俗、生活能力技巧等等。
3.童声合唱团 Children’s Chorus¶
童声合唱团（Children’s Chorus）顾名思义，是由儿童组成的合唱团。童声合唱之所以具有独特魅力，是因为它与成人合唱相比，具有清纯、率真、明快的特点，因此它除了具备与其他合唱一样的特点外，还有“儿童化”的特点。
4.胎教音乐 Prenatal Music¶
胎教音乐，主要是以音波刺激胎儿听觉器官的神经功能，刺激胎儿的脑部成长。怀孕8个月后反复播送一首固定的乐曲，可为出生后的孩子培养音乐爱好，并为开发孩子的想象力打下基础。
有声书 Audio Book¶
1.有声书 Audio Book¶
2.广播剧 Radio Drama¶
广播剧指由配音演员或播音员表演的戏剧或其他以话语为主的表演，通常通过广播电台放送或通过其他音频媒介（CD，磁带等）发行。
广播剧（或音频剧，音频剧，广播剧，广播剧场）是一种戏剧化的，纯声学的表演，可以在广播中播放或在磁带或CD等音频媒体上发布。由于没有视觉成分，广播剧依靠对话，音乐和声音效果来帮助听众想象人物和故事：“它在身体方面是听觉的，但在心理方面与视觉力量一样强大。”在1920年代最初的十年发展中，广播剧获得了广泛的普及。到1940年代，它已成为领先的国际流行娱乐。但是，随着1950年代电视的出现，广播电视剧失去了它的一些知名度，并且在某些国家，广播电视从未获得大批观众。但是，如今，OTR（旧时收音机）的录音在收藏家和博物馆的音频档案以及一些在线站点（如Internet档案）中仍然存在。截至2011年，广播电视剧在美国的地面广播电台中所占份额很少。美国的许多广播戏剧仅限于前几十年的节目的转播或播客。但是，其他国家仍然有繁荣的广播剧传统。例如，在英国，英国广播公司（BBC）每年在Radio 3，Radio 4和Radio 4 Extra上制作和广播数百个新的广播剧。除播送老式节目外，播客还提供了创作新的广播剧的方法。术语“音频戏剧”或“音频剧院”有时与“广播戏剧”同义使用，但有一个可能的区别：音频戏剧或音频剧院可能不一定专门用于广播。音频戏剧，无论是新近制作的还是OTR的经典作品，都可以在CD，盒式磁带，播客，网络广播和常规广播电台中找到。得益于数字记录和Internet分发的进步，广播剧正在复兴。
Radio drama (or audio drama, audio play, radio play, radio theater) is a dramatized, purely acoustic performance, broadcast on radio or published on audio media, such as tape or CD. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the characters and story: “It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension.”
Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s, however, radio drama lost some of its popularity, and in some countries has never regained large audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors and museums, as well as several online sites such as Internet Archive.
As of 2011, radio drama has a minimal presence on terrestrial radio in the United States. Much of American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio 4 Extra. Podcasting has also offered the means of creating new radio dramas, in addition to the distribution of vintage programs.
The terms “audio drama” or “audio theatre” are sometimes used synonymously with “radio drama” with one possible distinction: audio drama or audio theatre may not necessarily be intended specifically for broadcast on radio. Audio drama, whether newly produced or OTR classics, can be found on CDs, cassette tapes, podcasts, webcasts and conventional broadcast radio.
Thanks to advances in digital recording and Internet distribution, radio drama is experiencing a revival.
舞台 / 银幕 / 娱乐 Stage & Screen & Entertainment¶
1.原声 Soundtrack¶
原声即电影、电视剧等电视节目、游戏、书等作品中所使用的音乐，通常是无人声演唱或不以人声演唱为主的背景音乐，也包括这些作品中使用的歌曲。
配乐可以是伴随和同步于电影、书籍、电视节目或视频游戏的图像的录制的音乐；可以是电影或电视节目的配乐的商业发行的配乐专辑；或者是包含同步录制的声音的电影的物理区域。在电影业的术语用法中，音轨是在电影制作或后期制作中创建或使用的音频记录。最初，电影中的对话、音效和音乐都有自己的单独音轨(对话音轨、音效音轨和音乐音轨)，然后将这些音轨混合在一起，形成电影中听到的所谓的合成音轨。当电影被配音成另一种语言时，配音轨道通常是后来创建的。这也被称为M&E音轨(音乐和效果)，其中包含所有声音元素减去对白，然后由外国发行商以其领土的母语提供。20世纪40年代末，随着所谓的“配乐专辑”的出现，收缩的配乐进入了公众的意识。最初由电影公司构思，作为新电影的宣传噱头，这些商业上可以买到的唱片被贴上标签，并打上广告称“来自原始电影原声带的音乐”，或“来自电影的音乐和受其启发的音乐”。这些短语很快就被缩短为“原创电影配乐”。更准确地说，这样的录音是由电影的音乐轨道制作的，因为它们通常由电影中孤立的音乐组成，而不是带有对话和音效的合成(声音)轨道。缩写OST通常用于描述已录制介质(如CD)上的音乐配乐，它代表原创配乐；但是，它有时也用于区分所听到和录制的原始音乐与重新录制或翻唱的音乐。
A soundtrack can be recorded music accompanying and synchronized to the images of a motion picture, book, television program or video game; a commercially released soundtrack album of music as featured in the soundtrack of a film or TV show; or the physical area of a film that contains the synchronized recorded sound.
In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production. Initially the dialogue, sound effects, and music in a film each has its own separate track (dialogue track, sound effects track, and music track), and these are mixed together to make what is called the composite track, which is heard in the film. A dubbing track is often later created when films are dubbed into another language. This is also known as a M & E track (music and effects) containing all sound elements minus dialogue which is then supplied by the foreign distributor in the native language of its territory.
The contraction soundtrack came into public consciousness with the advent of so-called “soundtrack albums” in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as “music from the original motion picture soundtrack”, or “music from and inspired by the motion picture.” These phrases was soon shortened to just “original motion picture soundtrack.” More accurately, such recordings are made from a film’s music track, because they usually consist of the isolated music from a film, not the composite (sound) track with dialogue and sound effects.
The abbreviation OST is often used to describe the musical soundtrack on a recorded medium, such as CD, and it stands for Original Soundtrack; however, it is sometimes also used to differentiate the original music heard and recorded versus a rerecording or cover of the music.
2.电影原声 Film Score¶
电影原声其原意是指电影声音中的音乐轨（另外还有对白、音效等，都录制在不同的音轨上），但现在已经泛指因电影而发行的音乐唱片，可以分成以下3种基本型态：
1.以歌曲为主的歌曲原声唱片（Song-Oriented Soundtrack Album） 这是最常见的一种Soundtrack，因为其商业利益比纯配乐唱片要高出很多倍。绝大多数时候，这些歌曲都是现成品，但也有一些是真正为电影而创作的原著歌曲，比如《毕业生》是最典型的例子。
2.以配乐为主体的原声唱片（Original Dramatic Scores On Record） 真正将电影中的音乐轨直接翻录成唱片的情况很少，一般原声唱片发行时，是将原始的Soundtrack进行删减并重新组合编排，以达到音乐的流畅性和完整感。但也有不是取自原始Original Soundtrack，而是音乐家根据配乐原谱，重新为发行唱片而特别选曲，有时还会重新改写编辑，重新演绎灌录，而这往往是大片巨制的做法。
3.没有使用在电影中，但挂名为电影原声唱片的音乐专辑（Music Inspired by Motion Picture） 这当然是一种纯商业行为，而且也已经越来越普遍，甚至一部完全没有音乐的电影也会发行原声唱片。还有一种情况是“落选配乐”Rejected Score，就是音乐家已经完成的作品，最后没有使用在电影中，后来又发行了电影原声唱片，最著名的例子是Alex North为《2001年太空漫游》所做的“落选配乐”。
以上只是3种基本型态，而实际上很多原声唱片是混合型的，其中混合了歌曲（不管它是否真的出现过）、原著配乐、演奏单曲等，甚至会有没有使用在电影里的音乐片段，以及电影中的音效对白等。而且，一部电影可能会发行好几张不同形态、不同版本的原声唱片。
Film Music works in conjunction with dialogue and image to establish the mood and tone of a movie; classical, jazz, electronic — regardless of genre, any material composed or scored expressly for use in a motion picture can be defined as film music. A soundtrack album, on the other hand, is not necessarily film music, as many of the songs that make up the record (as with those for American Graffiti, The Big Chill, Dirty Dancing, and so forth) were not originally intended for use in the movie, and other times (as in Batman Forever) don’t even appear in the actual feature at all.
3.电视原声 Television Music¶
电视配乐即电视剧中所使用的音乐，包括无人声演唱或不以人声演唱为主的背景音乐，也包括这些剧中使用的歌曲，或者电视主题曲插曲等。
4.卡通配乐 Cartoon Music¶
卡通音乐的历史主要工作围绕着作曲家/编曲Carl Stalling，他在著名华纳兄弟公司的动画工作室担任了20年音乐总监。充满激情而疯狂的Stalling创造了新的方式，跟随屏幕上视觉轨迹的替代了被动的创作规律。卡通音乐如我们所熟知的迪斯尼动画配乐。
The history of Cartoon Music centers primarily around the work of composer/arranger Carl Stalling, who served as the musical director at the famed Warner Bros. animation studios for two decades. Frenzied and impassioned, Stalling’s work broke new ground by following the visual trajectory of the on-screen action instead of the accepted rules of composition. The result — a technique not anchored in conventional senses of time, rhythm, or thematic development — was unprecedented in its extremism, as melody, style, and form crashed together in a glorious pile-up of sound and image perfectly attuned to the crazed imagery it underscored. Stalling’s WB music created the basic formula which cartoon scores continue to follow even today, although from the rock era onward, more conventional pop songs have also played a key role in animated productions as well. Many series (like Josie & the Pussycats and Jabberjaw) have focused on fictional rock bands, while latter-day Disney productions have featured scores by pop stars including Elton John and Phil Collins.
5.游戏配乐 Video Game Music¶
游戏被称为第九种艺术，是各项艺术的完美集合体。游戏是一个独立的、完整的世界。这个缔造的世界里面，音乐是不可或缺的因素。游戏的玩家在探索着未知的游戏世界时，在一张张完全不同的游戏地图里面徘徊探索，完全融入了那个世界里面。音乐有着不可或却的作用。
在九十年代之前，游戏音乐是由Trent Reznor、Fluke这样的音乐家创作的，他们正视舞曲、电子乐及摇滚。而且，早期的游戏音乐中暗示出的重复、如催眠一般的节奏被证明奠定了现代舞曲的根基。
Video Game Music refers to the tinny, electronic music that is played in the background during video games. At first, video game music was cheaply-produced, naggingly catchy computer music, but as the systems became more sophisticated, so did the music. By the mid-‘90s, video game music was being composed by such musicians as Trent Reznor and Fluke, two artists who had come to grips with electronic music, dance, and rock. And, in a weird way, it demonstrated that the early days of video game music suggested the repetitive, hypnotic electronic rhythms that became the foundation of modern dance and techno.
6.音乐剧 Musical theatre¶
音乐剧是20世纪出现的一门新兴的综合舞台艺术，集歌、舞、剧为一体，结合了音乐、歌曲、舞蹈、戏剧、杂耍、特技和综艺等表演形式，广泛地采用了高科技的舞美技术，不断追求视觉效果和听觉效果的完美结合。它以幽默、讽刺、感伤、爱情、愤怒等情感引发剧情，再通过演员的语言、音乐、动作以及固定的演绎传达给观众。虽然音乐剧和歌剧、舞剧、话剧等舞台表演形式有相似之处，但它的独特之处在于：它对歌曲、对白、肢体动作、表演等等因素给予同样的重视。一些著名的音乐剧包括：奥克拉荷马、音乐之声、西区故事、悲惨世界、猫以及歌剧魅影等。
音乐剧在全世界各地都有上演，但演出最频密的地方是美国纽约市的百老汇和英国的伦敦西区。因此百老汇音乐剧这个称谓可以指在百老汇地区上演的音乐剧，又往往可是泛指所有近似百老汇风格的音乐剧。而习惯上称呼为音乐剧的戏剧，多是指西方音乐剧。一些著名的音乐剧包括：奥克拉荷马、音乐之声、西区故事、悲惨世界、猫以及歌剧魅影等。
特色及结构：
音乐剧的文本由以下几个部份组成：音乐的部份称为乐谱（score）、歌唱的字句称为歌词（lyrics）、对白的字句称为剧本（book/script）。有时音乐剧也会沿用歌剧里面的称谓，将歌词和剧本统称为曲本（libretto）。
音乐剧的长度并没有固定标准，但大多数音乐剧的长度都介乎两小时至三小时之间。通常分为两幕，间以中场休息。如果将歌曲的重复和背景音乐计算在内，一出完整的音乐剧通常包含二十至三十首曲。
音乐剧普遍比歌剧有更多舞蹈的成份，早期的音乐剧甚至是没有剧本的歌舞表演。虽然著名的歌剧作曲家华格纳（Richard Wagner）在十九世纪中期已经提出总体艺术（Gesamtkunstwerk），认为音乐和戏剧应融合为一。但在华格纳的乐剧（music drama）里面音乐依然是主导，相比之下，音乐剧里戏剧、舞蹈的成份更重要。
音乐剧擅于以音乐和舞蹈表达人物的情感、故事的发展和戏剧的冲突，有时语言无法表达的强烈情感，可以利用音乐和舞蹈表达。在戏剧表达的形式上，音乐剧是属于表现主义的。在一首曲之中，时空可以被压缩或放大，例如男女主角可以在一首歌曲的过程之中由相识变成堕入爱河，这是一般写实主义的戏剧中不容许的。
西方音乐剧的历史：
音乐剧起源可以追溯到十九世纪的轻歌剧（Operetta）、喜剧（Comedy）和黑人剧（Minstrel Shows）。
初期的音乐剧并没有固定剧本，甚至包含了杂技、马戏等等元素。自从1927年演艺船（画舫璇宫）开始着重文本之后，音乐剧开始踏入它的黄金岁月。这时期的音乐剧多宣扬乐观思想，并经常以大团圆的喜剧结局。直至1960年代摇滚乐和电视普及之前，音乐剧一直是最受美国人欢迎的娱乐和演艺形式。1980年代以后，英国伦敦西区（West End）的音乐剧演出蓬勃，已经追上百老汇的盛况。后来甚至出现法文的音乐剧，如悲惨世界（后改编为英文版，曾在百老汇演出）、星梦Starmania、钟楼怪人、罗密欧与茱丽叶、小王子等等。
而随着英国和美国的音乐剧经常在世界各地巡回演出，音乐剧也开始在日本、韩国、中国、台湾、香港、新加坡等亚洲地区流行。参见亚洲的音乐剧。
亚洲的音乐剧：
据香港七十年代的杂志《南极星》记载，香港最早的原创音乐剧是七十年代初潘迪华主演的《白娘娘》。一九八零年香港话剧团曾演出翻译成广东话的百老汇音乐剧《西区故事》。此后越来越多团体制作音乐剧，比较著名的有雪狼湖、遇上1941的女孩、边城、四川好人、一屋宝贝等等。
Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements. Since the early 20th century, musical theatre stage works have generally been called, simply, musicals.
Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America. These were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan. The Princess Theatre musicals and other smart shows like Of Thee I Sing (1931) were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat (1927) and Oklahoma! (1943). Some of the most famous and iconic musicals through the decades that followed include West Side Story (1957), The Fantasticks (1960), Hair (1967), A Chorus Line (1975), Les Misérables (1985), The Phantom of the Opera (1986), Rent (1994), The Producers (2001) and Wicked (2003).
Musicals are performed all around the world. They may be presented in large venues, such as big budget West End and Broadway theatre productions in London and New York, or in smaller fringe theatre, Off-Broadway or regional theatre productions, on tour, or by amateur groups in schools, theatres and other performance spaces. In addition to Britain and North America, there are vibrant musical theatre scenes in many countries in Europe, Latin America, Australasia and Asia.
7.歌舞剧 Cabaret¶
8.演出金曲 Show Tunes¶
Show Tunes是从音乐戏剧和电影精选出的曲目。这些歌曲通常由专业的词曲作者创作，并且由演绎传统曲调的演员或歌手演唱。百老汇音乐剧产生出大量不同的歌曲，前奏曲、间奏曲、后奏曲、主题曲。任何一首出自百老汇的歌曲都可以被认为是Show Tunes. are the songs that have been featured in musical plays and films. The songs are usually written by professional songwriters, and are sung by the original cast or by vocalists that interpret show tunes and traditional pop. Broadway musicals generate a number of different songs, preludes, interludes, postludes, and theme songs. Any musical song from a Broadway musical can be considered a show tune, specifically in reference to the memorable melody. Most of Cole Porter’s songs were show tunes. Andrew Llloyd Weber’s generation of hit songs are all show tunes, including songs from The Phantom of the Opera, like “Music of the Night” and “All I Ask of You.”
9.圣诞歌曲 Christmas Music¶
年终岁末，当圣诞歌声四处响起的时候，就是人们准备欢度 圣诞节 的时候了。人们等不到12月25日的到来，几周之前就开始用圣诞歌曲来烘托节日气氛。无论你走到哪里，都能听到曲调不同、内容各异的圣诞歌，或雅或俗，亦庄亦谐，无处不在。
没有哪个节日像 圣诞节 这样歌曲多、歌者众的了。追溯历史，有记载的圣诞歌曲以及与圣诞沾边的民歌、颂歌、诗词歌赋不下千首。然而能像常青树一样长盛不衰、朗朗上口的歌却“倔指可数”——音乐史学家威廉·史迪威是国际公认的研究圣诞歌曲的专家，他所认定的“倔指可数”也有五十多首之多。
圣诞歌曲在音乐领域里自成一家，但它又像圣诞老人袜子里的礼物一样五彩斑斓。有的是美国人的作品;有的是传承欧洲前人的遗产;有的庄严肃穆;有的轻松活泼;还有的诙谐幽默。
Christmas music comprises a variety of genres of music normally performed or heard around the Christmas season.