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Riddim
Riddim is the Jamaican Patois pronunciation of the English word "rhythm," but in calypso, soca, dancehall and reggaeton parlance it refers to the instrumental accompaniment to a song. These genres consist of the riddim plus the "voicing" (vocal part) sung by the deejay. The resulting song structure is distinctive in many ways. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings, but also in live performances.
==Definition==
Some classic riddims, such as "Nanny Goat" and "Real Rock", are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them. Thus, for example, "Diwali" is the name not of a song, but of a riddim created by Lenky Marsden, subsequently used as the basis for several songs, such as Sean Paul's "Get Busy" and Bounty Killer's "Sufferer."〔Goodman, Steve (2009). ''Sonic Warfare: Sound, Affect, and the Ecology of Fear'', p.161. ISBN 0-262-01347-9; and Manuel, Peter, and Wayne Marshall (2006). "The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall," in Popular Music 25(3), pp. 447-70.〕
"Riddims are the primary musical building blocks of Jamaican popular songs.... At any given time, ten to fifteen riddims are widely used in dancehall recordings, but only two or three of these are the ''now ting'' (i.e., the latest riddims that everyone must record over if they want to get them played in the dance or on radio).... In dancehall performing, those whose timing is right on top of the rhythm are said to be ''riding di riddim''.〔Stolzoff, Norman C. (2000). ''Wake the Town and Tell the People: Dancehall Culture in Jamaica'', p.126. ISBN 0-8223-2514-4.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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