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翻訳と辞書　辞書検索 [ 開発暫定版 ] スポンサード リンク Post-Britpop ： ウィキペディア英語版 Post-Britpop Post-Britpop is a subgenre of British alternative rock, made up of bands that emerged from the late 1990s and early 2000s in the aftermath of Britpop,〔〔〔S. Birke, ("Label Profile: Independiente" ), ''Independent on Sunday'', 11 April 2008, retrieved 2 January 2010.〕〔M. Clutton, ("Naration – Not Alone" ) ''Music-Zine'', retrieved 3 January 2010.〕〔〔 influenced by acts like Pulp, Oasis and Blur, but with less overtly British concerns in their lyrics and making more use of American rock and indie influences, as well as experimental music.〔 Post-Britpop bands that had been established acts, but gained greater prominence after the decline of Britpop, such as Radiohead and The Verve, and new acts such as Travis, Stereophonics, Feeder and particularly Coldplay, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s. ==Characteristics== Many post-Britpop bands avoided the Britpop label while still producing music derived from it.〔J. Harris, ''Britpop!: Cool Britannia and the Spectacular Demise of English Rock'' (Da Capo Press, 2004), ISBN 0-306-81367-X, pp. 369–70.〕〔S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), ISBN 0-7486-1745-0, p. 188.〕 The music of most bands was guitar based,〔〔 often mixing elements of British traditional rock (or British trad rock),〔("British Trad Rock" ), ''Allmusic'', retrieved 3 January 2010.〕 particularly the Beatles, Rolling Stones and Small Faces〔A. Petridis, ("Roll over Britpop ... it's the rebirth of art rock" ), ''The Guardian'', 14 February 2004, retrieved 2 January 2010.〕 with American influences. Post-Britpop bands also utilized specific elements from 1970s British rock and pop music.〔 Drawn from across the United Kingdom, the themes of their music tended to be less parochially centred on British, English and London life, and more introspective than had been the case with Britpop at its height.〔〔M. Cloonan, ''Popular Music and the State in the UK: Culture, Trade or Industry?'' (Aldershot: Ashgate, 2007), ISBN 0-7546-5373-0, p. 21.〕〔A. Begrand, ("Travis: The boy with no name" ), ''Pop matters'', retrieved 2 January 2010.〕〔("Whatever happened to our Rock and Roll" ), ''Stylus Magazine'', 2002-12-23, retrieved 6 January 2010.〕 This, beside a greater willingness to woo the American press and fans, may have helped a number of them in achieving international success.〔S. Dowling, ("Are we in Britpop's second wave?" ) ''BBC News'', 19 August 2005, retrieved 2 January 2010.〕 They have been seen as presenting the image of the rock star as an ordinary person, or "boy-next-door"〔S. T. Erlewine, ("Travis: The Boy With No Name" ), ''Allmusic'', retrieved, 17 December 2011.〕 and their increasingly melodic music was criticised for being bland or derivative.〔A. Petridis, ("And the bland played on" ), ''Guardian.co.uk'', 26 February 2004, retrieved 2 January 2010.〕 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「Post-Britpop」の詳細全文を読む スポンサード リンク 翻訳と辞書 : 翻訳のためのインターネットリソース Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.