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(詳細はelectronic dance music. This article deals with the history of this musical style. ==Beginnings in the UK== Drum and bass began as a musical paradigm shift of the United Kingdom breakbeat hardcore and rave scene of the mid 1990s; and over the first decade and a half of its existence there have been many permutations in its style, incorporating elements from dancehall, electro, funk, hip hop, house, jazz, pop-created fusion of hardcore, house and techno (with a strong accent of both the UK industrial and Belgian New Beat sounds), pioneered by Joey Beltram, L.A. Style, CJ Bolland, Richie Hawtin and others. This scene existed briefly from approximately 1989-1993, a period of cross-pollination with the UK hardcore sound. This sound did survive in various forms in its mother countries - primarily Belgium, the Netherlands and Germany - beyond 1992, but by then the general scenes in these countries had moved forwards to trance, industrial techno or gabba (with happy hardcore/hard house being the equivalent 'Belgian Techno' - derivative sounds in the UK). London and Bristol are the two cities which are most associated with Drum and Bass. Returning to the UK, drum and bass (as jungle) has its direct origins in the breakbeat hardcore part of the UK acid house rave scene. Hardcore DJs typically played their records at fast tempos, and breakbeat hardcore emphasised breakbeats over the 4-to-the-floor beat structure common to house music. Breakbeat hardcore records such as The Prodigy's "Experience" (1992) Top Buzz 'Jungle Techno!' (1991), A Guy Called Gerald's 'Anything' (1991), Shut Up and Dance's "£10 to get in" / "£20 to get in" (both 1989), the Ragga Twins' "Spliffhead" (1990) & '18 Inch Speaker' (1991), Rebel MC's 'Wickedest Sound' (1990), 'Coming On Strong' (1990), 'Tribal Bass' (1991) & 'African' (1991) Nightmares on Wax's 'In Two Minds' (1990), Genaside II's "Sirens of Acre Lane" (1990), DJ Dextrous' "Ruffneck Biznizz" (1992), Noise Factory's 'Be Free' (1992), Demon Boyz 'Jungle Dett' (1992) and LTJ Bukem's "Demon's Theme" (1992) are generally credited as being among the first to have a recognizable drum and bass sound.〔(【引用サイトリンク】 "Top Buzz - Jungle Techno!". listing on Discogs" )〕 The very first record would arguably be Meat Beat Manifesto's "Radio Babylon", recorded in 1989, and is still recognisably 'drum and bass' in sound today. Some hardcore tracks at the time were extremely light and upbeat; the most extreme examples of this were the so-called "toy-town" tracks such as Smart E's' "Sesame's Treat" which features the children's show "Sesame Street" theme song. A style of hardcore with light and upbeat sounds and a predominant kick drum, with less emphasis on breakbeats, would many years later be known as happy hardcore. In response to these lighter tracks, some producers started focusing on darker, more aggressive sounds; this style became known as darkside hardcore, or darkcore. Strange noises and effects, syncopated rhythms made from rearranged funk breaks and loud bass lines defined the genre. Examples of darkcore include Goldie's "Terminator" (1992), and Top Buzz's "Living In Darkness" (1992). These took their cue from the darker sounds of 'Belgian Techno', as found in tracks such as Beltram's "Mentasm" and "Energy Flash" (1991), as well as the dark breaks of 4 Hero's "Mr Kirks Nightmare" (1990) among others. These tracks were not widely called jungle or drum and bass by the mainstream media at their time of creation (although the terms "jungle" and "jungle techno" were in common use in the rave scene by then, with "drum & bass" appearing here and there on particular mixes of several vinyl releases), but they can nevertheless be found on later jungle and drum and bass compilations. The first major round-up of these tracks which was to use the term 'drum & bass' was probably "The Dark Side - Hardcore Drum & Bass Style": a compilation on React Records, released March 1993, which featured both "Here Comes The Drumz" and "Terminator".〔(【引用サイトリンク】 Discogs information - Euphoreal - The Jungle Tekno EP )〕〔(【引用サイトリンク】 Discogs information - Noise Factory - Loving You / Jungle Techno )〕〔(【引用サイトリンク】 Discogs information - Manix - Hardcore Junglism )〕〔(【引用サイトリンク】 Discogs information - Various - Jungle Tekno Volume One )〕〔(【引用サイトリンク】 Discogs information The Prodigy - Charly (trip into drum & bass version) )〕〔(【引用サイトリンク】 Red Bull Academy Interview Fabio - The Root To The Shoot )〕〔(【引用サイトリンク】 "Popular Musicology On Line Article "Big Tings Ah Gwan": Junglist Music Takes Centre Stage, An Introduction to Jungle Music And An Enquiry Into Its Impact On The London Jazz Scene" )〕 This darker, more aggressive sound appealed to many in the dancehall and reggae communities. Both darkcore and dancehall shared an emphasis on rhythm and bass, and the tempos were well suited to be mixed together. Soon many elements of dancehall reggae were being incorporated into the hardcore sound. The Jamaican sound-system culture began to influence the emerging sound through the use of basslines and remixing techniques derived from dub and reggae music, alongside the fast breakbeats and samples derived from urban musics such as hip hop, funk, jazz, and r&b alongside many production techniques borrowed from early electronic music such as house, and techno. As the yet unnamed genre evolved, the use of sampled funk breakbeats became increasingly complex. Most notable and widely spread is the Amen break taken from a b-side funk track "Amen, Brother" by the Winston Brothers (The Winstons). During this time producers began cutting apart loops and using the component drum sounds to create new rhythms. To match the complex drum lines, basslines which had less in common with the patterns of house and techno music than with the phrasings of dub and hip hop began to be used. As the beat-per-minute range rose above 165, the emerging drum and bass sound became incompatible for straightforward DJ mixing with house and techno, which typically range dozens of beats-per-minute less (making it impossible to play the tracks at the same speed on club equipment). This sonic identity became highly distinctive for both the depth of its bass and the increasingly complex, rapid-fire breakbeat percussion. Vastly different rhythmic patterns were distinctively being used, as well as new types of sampling, synthesis and effects processing techniques, resulting in a greater focus on the intricacies of sampling/synthesis production and rhythm. This notably included early use of the time stretching effect which was often used on percussion or vocal samples. As the influences of reggae and dub became more prominent, the sound of drum and bass began to take on an urban sound which was heavily influenced by ragga and dancehall music as well as hip hop, often incorporating the distinctive vocal styles of these musical genres. This reggae/dancehall influenced sound is most commonly associated with the term jungle. Particular tracks from the 1992 - 1993 period that demonstrated some of the beat and sampling progression within drum and bass include: A Guy Called Gerald's "28 Gun Bad Boy", Bizzy B " is a Science" (1993) and Danny Breaks / Droppin Science "Droppin Science vol 1" (1993). This was an ongoing process however and can be demonstrated as a gradual progression over dozens of tracks in this period.〔(【引用サイトリンク】 Anything by A Guy Called Gerald on bbc.co.uk )〕〔(【引用サイトリンク】 Drum & Bass History on uploud.com )〕〔(【引用サイトリンク】 Junlge History on techno.de )〕〔(【引用サイトリンク】 DJ Hype feature on knowledgemag.co.uk )〕〔(【引用サイトリンク】 History of drum & bass on London News )〕 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「History of drum and bass」の詳細全文を読む スポンサード リンク
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