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Doo-wop is a genre of music that was developed in African-American communities in New York, Philadelphia, Chicago, Baltimore, Newark, Pittsburgh, Cincinnati, Detroit, Washington, D.C. and Los Angeles in the 1940s, achieving mainstream popularity in the 1950s and early 1960s. Built upon vocal harmony, doo-wop was one of the most mainstream, pop-oriented R&B styles of the time. Singer Bill Kenny (1914–1978) is often called the "Godfather of Doo-wop" for his introducing the "top and bottom" format which featured a high tenor singing the lead and a bass singer reciting the lyrics in the middle of the song. Doo-wop features vocal group harmony, nonsense syllables, a simple beat, sometimes little or no instrumentation, and simple music and lyrics.〔Hoffmann, F. (Roots of Rock: Doo-Wop ). In ''Survey of American Popular Music'', modified for the web by Robert Birkline. Retrieved on: 2011-09-17.〕 The first record to use the syllables "doo-wop" was the 1955 hit "When You Dance" by the Turbans.〔 The term "doo-wop" first appeared in print in 1961. During the late 1950s many Italian-American groups contributed a significant part in the doo-wop scene. The peak of doo-wop was in 1961. Doo-wop's influence continued in soul, pop, and rock groups of the 1960s. At various times in the 1970s, 1980s, and 1990s, the genre has seen revivals. Doo-wop was a precursor to many of the African-American musical styles seen today. An evolution of jazz and blues, doo-wop also influenced many of the major Rock and Roll groups that defined the later decades of the 20th century. Doo-wop is iconic for its swing-like beats and using the off-beat to keep time. Doo-wop laid the foundation for many musical innovations, for example, R&B. == Origins == During the years around World War II, hit records by African-American vocal groups such as The Delta Rhythm Boys, The Cats and the Fiddle, the Ink Spots, The Mills Brothers, along with Negro spiritual groups, set important precedents for the genre. The Ink Spots had a string of record successes in 1939 and 1940, both in the United States and in Britain, with "My Prayer", "Bless You", "If I Didn't Care", "Address Unknown", "Memories Of You", "I'm Gettin' Sentimental Over You" and "Whispering Grass" and The Mills Brothers followed suit in 1943 and 1944 with "Paper Doll", "You Always Hurt The One You Love" and "Till Then". These were generally slow songs in swing time with simple instrumentation and close four-part harmony reminiscent of the barbershop quartet—The Mills Brothers evolved from there. The subject of the lyrics was generally love and relationships. The typical doo-wop chord progression I–vi–IV–V was a slight but significant variation of the I-vi-ii-V-loop that generated several American 1930s hits such as Rodgers and Hart's "Blue Moon" (1934), and Hoagy Carmichael's "Heart and Soul" (1938); it later become closely associated with doo-wop such that it is sometimes referred to as the 50s progression. This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley pop.〔Appen/Frei-Hauenschild 2015〕 A second stream of doo-wop oriented itself to the harmonic, formal and melodic means of jump blues. From the outset, singers gathered on street corners, and in subways, generally in groups of three to six. They sang a cappella arrangements, and used wordless onomatopeia to mimic instruments since instruments were little used: the bass singing "bom-bom-bom", a guitar rendered as "shang-a-lang" and brass riffs as "dooooo -wop-wop". For instance, "Count Every Star" by The Ravens (1950), includes vocalizations imitating the "doomph, doomph" plucking of a double bass. This art dates to The Mills Brothers, who first came to fame in the 1930s with their mimicking of instrumental music. Radio, gramophone, and cinema inspired imitation in many U.S. cities. The late 1940s and early 1950s brought the so-called "bird groups"; The Swallows, the Ravens, The Orioles, The Penguins, The Crows, The Flamingos, The Blue Jays and The Larks. A number of band names are also drawn from cars (The Edsels, The Cadillacs, The Fleetwoods, The Impalas, and Little Anthony & The Imperials). The Orioles helped develop the doo-wop sound with their hits "It's Too Soon to Know" (1948) and "Crying in the Chapel" (1953). Doo-wop scored 1951 R&B chart hits such as "Sixty Minute Man" by Billy Ward and His Dominoes, "Where Are You?" by The Mello-Moods, "The Glory of Love" by The Five Keys, "Shouldn't I Know" by The Cardinals, "I Will Wait" by the Four Buddies, and "Will You Be Mine", by The Swallows. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Doo-wop」の詳細全文を読む スポンサード リンク
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