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The music of Barbados includes distinctive national styles of folk and popular music, including elements of Western classical and religious music. The culture of Barbados is a syncretic mix of African and British elements, and the island's music reflects this mix through song types and styles, instrumentation, dances, and aesthetic principles. Barbadian folk traditions include the Landship movement, which is a satirical, informal organization based on the British navy, tea meetings, tuk bands and numerous traditional songs and dances. In modern Barbados, popular styles include calypso, spouge, contemporary folk and world music. Barbados is, along with Guadeloupe, Martinique, Trinidad, Cuba, Puerto Rico, and the Virgin Islands, one of the few centers for Caribbean jazz.〔De Ledesma and Popplewell, pg. 518〕 ==Characteristics and musical identity== Bajan culture is syncretic, and the island's musical culture is perceived as a mixture of African and British musics, with certain unique elements that may derive from indigenous sources. Tension between African and British culture has long been a major element of Bajan history, and has included the banning of certain African-derived practices and black Barbadian parodies of British traditions.〔Millington, pg. 816 ''Millington notes that "(l)inks, fusion and tension between African and British cultural expressions are still currently manifested."''〕 Simple entertainment is the basis for most Barbadians' participation in music and dance activities, though religious and other functional musics also occur. Barbadian folk culture declined in importance in the 20th century, but then rekindled in the 1970s, when many Barbadians became interested in their national culture and history.〔Millington, pp 813-821〕 This change was heralded by the arrival of spouge, a popular national genre that reflects Barbadian heritage and African origins; spouge helped kindle a resurgence in national pride, and became viewed as Barbados' answer to the popular Caribbean genres reggae and calypso from Jamaica and Trinidad, respectively.〔Hinkson, ''The Barbados Advocate''〕 The religious music of the Barbadian Christian churches plays an important role in Barbadian musical identity, especially in urban areas. Many distinctive Barbadian musical and other cultural traditions derive from parodies of Anglican church hymns and British military drills. The British military performed drills to both provide security for the island's population, as well as intimidate slaves.〔 cited in Millington, pp 813-821〕 Modern Barbadian tea meetings, tuk bands, the Landship tradition and many folk songs come from slaves parodying the practices of white authorities. British-Barbadians used music for cultural and intellectual enrichment and to feel a sense of kinship and connection with the British Isles through the maintenance of British musical forms. Plantation houses featured music as entertainment at balls, dances and other gatherings. For Afro-Barbadians, drum, vocal and dance music was an integral part of everyday life, and songs and performance practices were created for normal, everyday events, as well as special celebrations like Whitsuntide, Christmas, Easter, Landship and Crop Over. These songs remain a part of Barbadian culture and form a rich folk repertoire.〔 Western classical music is the most socially accepted form of musical expression for Barbadians in Bridgetown, including a variety of vocal music, chamber and orchestral music, and piano and violin. Along with hymns, oratorios, cantatas and other religious music, chamber music of the Western tradition remains an important part of Barbadian musical through an integral role in the services of the Anglican church.〔 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「Music of Barbados」の詳細全文を読む スポンサード リンク
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