Dub: Soundscapes and Shattered Songs in Jamaican Reggae (Music/Culture)
| Author | : | |
| Rating | : | 4.76 (607 Votes) |
| Asin | : | 0819565725 |
| Format Type | : | paperback |
| Number of Pages | : | 352 Pages |
| Publish Date | : | 2015-07-05 |
| Language | : | English |
DESCRIPTION:
In addition to chronicling dub’s development and offering the first thorough analysis of the music itself, author Michael Veal examines dub’s social significance in Jamaican culture. Just as hip-hop turned phonograph turntables into musical instruments, dub turned the mixing and sound processing technologies of the recording studio into instruments of composition and real-time improvisation. Dub is a sub-genre of Jamaican reggae that flourished during reggae’s “golden age” of the late 1960s through the early 1980s. He further explores the “dub revolution” that has crossed musical and cultural boundaries for over thirty years, influencing a wide variety of musical genres around the globe.. Dub involves remixing existing recordings—electronically improvising sound effects and altering vocal tracks—to create its unique sound. Winner of the ARSC’s Award for Best Research (History) in Folk, Ethnic, or World Music (2008)When Jamaican recording engineers Osbourne “King Tubby” Ruddock, Errol Thompson, and Lee “Scratch” Perry began crafting “dub” music in the early 1970s, they were initiating a musical revolution that continues to have worldwide influence
From Booklist Veal chronicles how dub music progressed from remixing and altering existing reggae recordings to studio-creating original songs out of music samples, noise, and found sounds. Veal traces the development of the drum-and-bass sound central to reggae and dub, noting that "sonically and aesthetically, musicians like DJ Kool Herc," often called the progenitor of rap, "essentially transplanted the Jamaican sound system model" to the Bronx, where it was finally distilled into rap. All rights reserved. Drawing on interviews with dub pioneer
"Imaginative Work on a Revolutionary Musical Form" according to Anonymous. A book like this is long overdue. The simple fact that it was published makes it good. Of the two most important strains of contemporary black music, hip-hop has generated thousands of books and articles, but dub has been largely ignored by the ethno-musicological world.Dub - Soundscapes And Shattered Songs In Jamaican Reggae by Yale ethnomusicologist Michael E. Veal, is a scholarly work, but don't let that scare you. I know some of you might dislike the book because of its somewh. Kam-Au Amen said Mind blowing!. This is a mind blowing piece of work by Michael Veal. I highly recommend it if you want a well researched account with a detailed analysis of the contribution Jamaica's dub music made to contemporary pop music (hip-hop, techno, house, jungle, ambient, and trip-hop). He argues that it is not overstating the case that this music has changed the way the world conceives of the popular song. Through this book he expertly demonstrates that the production style of Jamaican music has help. "Awesome" according to Dude. This book is the bomb. Academic in design, but eminently readable.It explains so much about the music that Kool Herc brought to the Bronx in the beginnings of Hip Hop (this book is not about the hip hops).It explains so much about the burgeoning reapplications of technology to their unintended usage.It's the very unappreciated story of one of electronic dance music's major foundations.I tend not to write long reviews about books I love, because I can't find anything wrong with the