歐陸節拍
| 欧陆节拍 Eurobeat | |
|---|---|
| 風格起源 | |
| 文化起源 | 英国欧陆节拍： 20世纪80年代中期，  英国当代欧陆节拍： 20世纪80年代后期  義大利、 西德、 日本 |
| 融合類型 | |
| 日本流行音乐[4][5] | |
| 地區樂壇 | |
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| 其他主題 | |
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欧陆节拍（英語：Eurobeat）是一种音乐类型，是两种起源于欧洲的舞曲音乐风格：一种是受意大利欧陆迪斯科影响的英国舞曲流行乐，另一种是以高能量音乐为主导的意大利迪斯科舞曲。这两种形式均在20世纪80年代发展起来。
制作人三人组斯斯托克·艾特肯·沃特曼和流行乐队Dead or Alive（直译：死或活）使欧陆节拍在美国和东南亚更加流行，在那里，欧陆节拍曾被称为高能量（hi-NRG，发音为“high energy”，直译：高能量）。在短时间内，它也与早期的自由式音乐和意大利迪斯科共享这个名称。
虽然源自欧洲，欧陆节拍传到日本后因为合成音乐及活泼的风格而大受欢迎，日本也成了欧洲节拍的主要市场[6]。
歐陸節拍也因作為重野秀一的漫畫《頭文字D》的動畫版中賽車的配樂而廣為人知。
在早期，欧陆节拍的速度（BPM）大约在每分钟120拍左右。20世纪90年代，一种混合欧陆节拍与Happy hardcore的风格——《超级欧陆节拍》——出现，这种超级欧陆节拍成为日本各地啪啦啪啦舞厅的主流，速度也增加到150BPM或更高，也称为能量科技舞曲（Hyper techno）。2002年左右，这种风格又融合出神音乐形成了赛博出神（Cyber trance）。
音乐
[编辑]代表歌手及組合
[编辑]歐洲
[编辑]美洲及澳洲地區
[编辑]日本
[编辑]台灣
[编辑]脚注
[编辑]参见
[编辑]参考文献
[编辑]- ^ 1.0 1.1 Arena, James. Europe's Stars of '80s Dance Pop. McFarland. 2017: 85 [2020-01-29]. ISBN 9781476630144.. Relevant pages 29-32 (Pete Burns), Pages 44 & 85 (high-energy music). Page 29 quote: "I got really sick working with them during the making of the Mad, Bad album. I got really, really sick." [...] The Stock Aitken Waterman team was reportedly quite firm about adhering to their production methods and concepts, which Burns said was a major source of friction. "That's why we eventually walked away from them. For instance, there was a lyric from 'Something in My House' [from the follow-up album, Mad, Bad and Dangerous to Know] where I make a reference to a 'wicked queen.' The actual producer, Mike Stock, stopped me and said I couldn't use the term because it would mean the record is about gay people. I was like, 'Fuck this; it's going on!' They actually wiped the original vocal, but then Pete Waterman came back and said, 'Let [Burns] do it the way he wants to.' There you go."
- ^ Cunningham, Mark "Good Vibrations: A History of Record Production" (Sanctuary Music Library), Alan Parson (Introduction), Brian Eno (Introduction) Sanctuary Publishing, Ltd; 2 edition (1998, Digitized 20 May 2010). ISBN 1-86074-242-4, ISBN 978-1-86074-242-2
- ^ 3.0 3.1 David D. Laitin, Robert Schuman Centre (2000). Culture and National Identity: "the East" and European Integration. European University Institute. Page 14.
- ^ Keizai, Kokusai & Zaidan, Kōryū (cont.) "Japan Spotlight: Economy, Culture & History, Volume 23". Page 24 (Ng Wai-ming: "The Rise of J-Pop in Asia and Its Impact"). Japan Economic Foundation & the University of California. 2004. Quote: "JAPANESE pop music is commonly I referred to as "J-pop", a term coined by Tetsuya Komuro the "father of J-pop", in the early 1990s. The meaning of J-pop has never been clear. It was first limited to Euro-beat, the kind of dance music that Komuro produced. However, it was later also applied to many other kinds of popular music in the Japanese music chart, Oricon, including idol-pop, rhythm and blues (R&B), folk, soft rock, easy listening and sometimes even hip hop."
- ^ Society for Asian Music (2003). "Asian Music: Journal of the Society for Asian Music, Volume 34, Issue 1". Page 1 ("Japanese Popular Music in Singapore"). The University of California.
- ^ Avex Trax , J-EURO （页面存档备份，存于互联网档案馆） （日語）
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