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Dub is a genre of electronic music〔A History of Rock Music: 1951–2000, p.120〕 that grew out of reggae in the 1960s, and is commonly considered a subgenre,〔Dub: soundscapes and shattered songs in Jamaican reggae, p.2〕 though it has developed to extend beyond the scope of reggae. Music in this genre consists predominantly of instrumental remixes of existing recordings〔Chris Roberts, Heavy Words Lightly Thrown: The Reason Behind Rhyme, Thorndike Press,2006 (ISBN 0-7862-8517-6)〕 and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, and emphasizing the drum and bass parts (this stripped-down track is sometimes referred to as a 'riddim'). Other techniques include dynamically adding extensive echo, reverb, panoramic delay, and occasional dubbing of vocal or instrumental snippets from the original version or other works. Dub was pioneered by Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others〔 in the late 1960s. Similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy.〔Larkin, Colin: "The Virgin Encyclopedia of Reggae", 1998, Virgin Books, ISBN 0-7535-0242-9〕 These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock (most significantly the subgenre of post-punk and other kinds of punk〔Dub: soundscapes and shattered songs in Jamaican reggae, p.3〕), pop,〔Dub: soundscapes and shattered songs in Jamaican reggae, p.4〕 hip hop,〔 disco, and later house,〔Dub: soundscapes and shattered songs in Jamaican reggae, p.1〕 techno,〔 ambient,〔 and trip hop.〔 Dub has become a basis for the genres of jungle/drum and bass〔Living through pop, p.107〕〔Discographies: dance music, culture and the politics of sound, p.79〕 and dubstep.〔Multi-Ethnic Britain 2000+: New Perspectives in Literature, Film and the Arts, p.263〕 Traditional dub has survived and some of the originators, such as Lee "Scratch" Perry and Mad Professor, continue to produce new material. ==Name== The verb ''dub'' is defined as making a copy of one recording to another. The process of using previously recorded material, modifying the material, and subsequently recording it to a new master mix, in effect doubling or "dubbing" the material, was utilized by Jamaican producers when making dubs.〔 The term ''dub'' had multiple meanings in Jamaica around the time of the music's origin. The most frequent meanings referred to either a form of erotic dance or sexual intercourse;〔Dub: soundscapes and shattered songs in Jamaican reggae, p.61〕 such usage is frequently present in names of reggae songs, for instance, of The Silvertones' "Dub the Pum Pum" (where ''pum pum'' is Jamaican slang for female genitalia), Big Joe and Fay's "Dub a Dawta" (''dawta'' is Jamaican slang for ''girlfriend''). I-Roy's "Sister Maggie Breast" features several references on sex: I man a-''dub'' it on the side Some musicians, for instance Bob Marley and The Wailers, had alternative meanings for the term ''dub''. In concert, the order "''dub'' this one!" meant "put an emphasis on bass and drums". Drummer Sly Dunbar points to a similar interpretation, relating the term ''dubwise'' to using only drums and bass.〔Dub: soundscapes and shattered songs in Jamaican reggae, p.62〕 Another possible source was the term ''dub plate'', as suggested by Augustus Pablo.〔Great Spirits: Portraits of Life-Changing World Music Artists, p.140〕 John Corbett has suggested that ''dub'' could derive from ''duppy'', a Jamaican patois word for ''ghost'', as referenced by Burning Spear having named the dub version of his ''Marcus Garvey'' album ''Garvey's Ghost'', and by Lee "Scratch" Perry stating that ''dub'' is "the ghost in me coming out".〔Dub, Scratch, and the Black Star, 21C, (24), 1997〕 The word "duppy" also relates to "dub" through Jamaica's history of intra-racial terror, violence, and murder that is often overlooked in favor of Jamaican ideologies of racial solidarity. The ghosts of these victims, or "duppies", are thought to be captured best within the dub instrumentals. To describe dub in his study "When Echoes Return", Louis Chude-Sokei states, "Its swirling echoes are metaphors of loss while the disembodied voices and gunshots mimic the sound of ghosts, the sudden dead." 〔When Echoes Return, Louis Chude-Sokei, Transition, Issue 104, 2011, pp. 76-92〕 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「Dub music」の詳細全文を読む スポンサード リンク
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