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. Dub is a sub-genre of Jamaican reggae that flourished during reggae's "golden age" of the late 1960s through the early 1980s. Dub involves remixing existing recordings - electronically improvising sound effects and altering vocal tracks - to create its unique sound. 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. 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. 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.
Michael Veal is associate professor of ethnomusicology at Yale University, where he specializes in ethnomusicology and African-American music. He is the author of Fela: The Life and Times of an African Musical Icon (2000).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. Inventing and developing techniques with effects similar to what turntable scratching and sampling later achieved, Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, and others paved the way for rap by placing the boasting of "toasters" over bass-heavy charts and fractured soundscapes. 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. Drawing on interviews with dub pioneers DJ and producer-recording artist Mikey Dread, Veal posits that dub and hip-hop are "deconstructive compositional strategies" that sensitize "listeners to the microaesthetics of production." Yow! Persuasive if weighty stuff that draws a line of musical development from the studios of Kingston to the bling-encrusted world of hip-hop--and it has a killer discography. Mike Tribby
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Descrizione libro Wesleyan, 2007. Hardcover. Condizione libro: New. Codice libro della libreria DADAX0819565717