new style和free style,HIPHOP有什么关系?
发布网友
发布时间：2022-05-02 11:07
共4个回答
热心网友
时间：2022-06-19 15:27
ps.我很想跟恨舞琳生同学探讨探讨这个问题，看得出来你是“学院派”的。请问你对HIPA了解多少？你知道是谁打造了HIPA第五元素？你知道西海岸的G FUNK是怎么形成的吗？你知道"笙现象"指的是什么吗？你觉得我是胡扯，你给出证据了吗？你觉得你听了几首HAMMER，DMC的歌后你就是HIPA先驱了？我来给你上一课吧。HIPA一共有7大元素Mc'ing，DJing, graffiti writing,breakdancing，beatboxing, hip hop fashion,slang. 正统的是前四个，但是随着20世纪80年代The Fat Boys的发起以及90年代rahzel的推广后，Beatboxing成了HIPA中日趋重要的元素。fasion和slang的地位没变，但是beatboxing却在攀升，于是HIPA一直以5大元素著称。如果你非要守旧的话，我无可厚非，只是希望你在说别人之前请给你的论证。关于你对FS的理解，我实在是想破口大骂。如果你没玩过这个，请你闭嘴。而且你的new style是一笔带过的。你在讲NEW SCHOOL和OLD SCHOOL的时候能不能不要那么南郭？关于这两个东西，我懒得给你翻译，自己有能力就看，没能力就继续装你的比！
OLD SCHOOL
Hip hop music began in the early 1970s in New York City with the advent of breakbeat DJing. Kool DJ Herc, Grandmaster Flash, Afrika Bambaataa and other DJs extended the breaks (short percussion interludes) of funk records. This use of extended percussion breaks led to the development of mixing and scratching techniques. As hip hop's popularity grew, performers began speaking while the music played, and became known as MCs or emcees. Melle Mel, a rapper in the group Grandmaster Flash & The Furious Five was the first to call himself "MC". Performers often emceed for hours at a time, with some improvisation and a simple four-count beat and basic chorus. MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a theme. These early raps had precursors and parallels in other aspects of African American culture, such as the dozens and signifying. During this early stage were prominent rap groups such as Funky Four Plus One, who appeared on Saturday Night Live in 1981. (see Roots of hip hop music).
First steps towards commercialization
The first steps towards the commercialization of hip hop came with the release of what are usually called the first two commercially issued hip hop recordings: "King Tim III (Personality Jock)" by the Fatback Band, and "Rapper's Delight" by The Sugarhill Gang. While "King Tim III" is considered technically the earliest recorded hip hop song, it was the Sugarhill Gang that won hip hop its first mainstream popularity. Though neither the Fatback Band nor the Sugarhill Gang had significant roots in the DJ culture, "Rapper's Delight" became a Top 40 hit on the U.S. Billboard pop singles chart. After the releases of follow ups by acts such as Kurtis Blow ("The Breaks"), The Sequence ("Funk You Up"), and Grandmaster Flash & the Furious Five ("Freedom"), hip hop was pegged as a successful, yet temporary, trend in music.
Musical characteristics and themes
Old school hip hop would often reference disco and funk tracks. A live band was often used, as in the case of The Sugarhill Gang. The use of extended percussion breaks led to the development of mixing and scratching techniques. Scratching was invented by Grand Wizard Theodore in 1977, and was found on DJ records such as Grandmaster Flash's "Adventures on the Wheels of Steel". In contrast with the later rhymes of new school hip hop, old school rap was relatively simple in its rhythms and cadences.
"The Message"
Old school rap was often focused on good times, parties and friendship. An exception was "The Message", a rap song written by Melle Mel for his hip hop group, Grandmaster Flash and The Furious Five. The popularity of "The Message" led the "message rap" to gain a place in the hip hop canon.
Diversification
During the 1980s, hip hop began to diversify and develop. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite commercial made him the first hip hop musician to be considered mainstream enough to represent a major proct, but also the first to be accused by the hip hop audience of selling out. The simple tales and party rhymes of 1970s emcees were replaced by aggressive, self-assertive raps over hard, minimalist beats.
NEW SCHOOL
The new school of hip hop was a second wave of recorded hip hop music starting 1983–84 with the early records of Run-D.M.C. and LL Cool J. Like the hip hop preceding it, it came predominately from New York City. The new school was initially characterized in form by drum machine led minimalism, often tinged with elements of rock. It was notable for taunts and boasts about rapping, and socio-political commentary, both delivered in an aggressive, self-assertive style. In image as in song its artists projected a tough, cool, street b-boy attitude. These elements contrasted sharply with the P-funk- and disco-influenced outfits, novelty hits, live bands, synthesizers and party rhymes of artists prevalent in 1984, and rendered them old school. New school artists made shorter songs that could more easily gain radio play, and more cohesive LPs than their old school counterparts. By 1986 their releases began to establish the hip hop album as a fixture of the mainstream.
The innovations of Run-D.M.C., LL, and new school procer Rick Rubin of Def Jam were quickly advanced on by procer Marley Marl and his Juice Crew MCs, and acts like Boogie Down Proctions, Public Enemy and Eric B. & Rakim. The proction became denser, the rhymes and beats faster, the music admitting more possibilities as the drum machine was augmented with the sampler. Rakim took rapping about rapping to new heights, while the MCs of the former two groups, KRS-One and Chuck D, pushed "message rap" towards black activism and beyond. Developments in the New York new school continuum in the face of factors like the rise of a new, West Coast underground—gangsta rap—were represented by Native Tongues artists whose inclusive, sample-crowded music accompanied their positivity, Afrocentricity and playful energy. With the eventual commercial dominance of gangsta rap, particularly following the emergence of the relaxed sounds of g-funk in the early nineties, hip hop can be said to have moved into a new period.
The terms "old school" and "new school" have fallen more and more into the common vernacular as synonyms for "old" and "new" (witness the current Urban Dictionary entry for new school which reads, "Anything contemporary") and are often applied in this conversational way to hip hop, to the confusion and occasional exasperation of writers who use the terms historically.[a][b] The phrase "leader of the new school", coined in hip hop by Chuck D in 1988, and presumably given further currency by the group Leaders of the New School (named by Chuck D prior to signing with Elektra in 1989), remains popular, and has been applied to artists ranging from Jay-Z to Lupe Fiasco.
热心网友
时间：2022-06-19 15:27
LA style LA ：美国加利福尼亚州洛杉矶市 （Los Angeles），简称LA
NY style NY ：美国东部城市纽约 （New York），简称NY
90年代以前：自60年代起出现于美国加州地区的城市黑人舞蹈，包括Boogaloo、Poppin、Lockin等多种风格可以统称为LA style；而70年代出现于纽约的城市黑人舞蹈breakin和80年代出现于纽约的新派城市黑人舞蹈，有Freestyle、House、Jazz等多种风格则可以统称为NY style。
80年代末90年代初，东部的舞者已基本能掌握西部的所有舞种，随着HOUSE乐的推广，舞者对在舞蹈中只使用单种的舞步或舞风的观念被逐渐淡化，NEW SCHOOL也开始逐渐兴起。而在大约相同时期，90年代初在西部出现并迅速兴起的小丑舞以及后来出现的krumpin则更新了LA STYLE的定义。
那么什么才是90年代后的NY style？答案很简单，那就是以freestyle为基础的new school,当然，这只是暂时的，随着Krumpin和Clownin开始被越来越多的东部舞者所接受，NY的定义也将被逐渐淡化。
21世纪以后，new style的概念出现在了世人的面前，这是一个若人争议的“新概念”。
其实new style的前身就是freestyle hiphop（自由式街舞），从词面上便可以看出，new style是freestyle发展到new school阶段的必然产物。
从词意上看，new style有2个特点，
a、新动作，等同与freestyle所追求的舞者的自由发挥，和动作创新的含义。也因此，new style只是属于个人的舞蹈风格，所以不存在new style齐舞，而只有new school齐舞。
b、新风格，在old school时代，freestyle舞者习惯跟着音乐跳舞，机械式的踩拍子；而在new school阶段，舞者们所追求的是将舞步和音乐的节奏融合在一起，以更好的表现出音乐和舞蹈的美感。也许这也是new style这个新概念诞生的原因之一，为了区别于人们记忆中old school时代的freestyle。
那么如何才能成为一名一流的舞者呢？
假设有一段轻音乐，DJ打出1个大8拍，还有8个小拍，一共有16个拍点，
我们可以机械的认为，三流的舞者只能踩到8个大拍点（踩拍子），二流的舞者能够踩到全部的16个拍点（与拍子相融合），而一流的舞者不需要DJ打拍，也可以随意的跳出自己舞步
因此，从街舞的发展角度，也可以看出new style出现的必然性。
从“踩拍子”到“与拍子相融合”到“舞出拍子”
从“old school”到“new school”到“街舞艺术”
从“freestyle”到“new style”到“街舞艺术家”
另一方面，在2005年以前接触new style的舞者们应该记的，当时new style的概念刚刚传入内地不久，就引起舞者们的极大重视，其表现为05年到06年掀起过的“寻NS音乐热”和“什么是NS的求知热”，在这里我们提到了NS音乐，NS本没有特定的音乐，但是在NS出现的初期，NS舞者们却有着共同的特殊爱好：a、往往喜欢用重拍较少、小拍较多的舞曲，b、习惯使用freestyle、cwalk、clownin等嘻哈舞步。
现在，已经有很多舞者使用poppin、jazz、krumpin等舞步，也有部分舞者尝试着把breakin、lockin的舞步也跳出new的感觉来。 与此相对应的是，能通过自己的舞步来表现出街舞艺术的舞者也出现了很多，（国内虽不常见，但日本和美国到是能看到不少，也许这就是差距吧！
补充：文章中在提到东部舞种时，我多次提到freestyle，我想大家可能不容易懂我用这个词的意思。
我对freestyle也有自己的看法：
freestyle hiphop（自由式街舞）:80年代初在纽约出现，当时纽约最流行音乐是old school（拍点较明确，不太容易将不同舞种的舞步混跳到一起），最流行的舞种也只有，hiphop（俗称“黑人舞”，就是以updown和身体律动为基础的那种）、jazz和breakin，我想大家应该可以想的到，在那种环境下的舞者所做的freestyle基本上都是hiphop的一些动作，即使后来开始流行house乐,又从西部学来了lockin、poppin的舞步，直到new school时代流行音乐的发展，甚至到21世纪，纽约人仍然保留了对hiphop（那最原始的freestyle）的热爱和重视。
文中的“那么什么才是90年代后的NY style？答案很简单，那就是以freestyle为基础的new school”，在此我没有用“以hiphop为基础”就是要体现出freestyle的发展，以照应文章的主题“new style发展篇”。
参考资料：new style发展篇
热心网友
时间：2022-06-19 15:27
Freestyle就在于各街舞舞种随意组合，个人风格明显，要做到漂亮，就要多多学习，多多练习。需要学习locking的基本功甩手,popin的基本功wave ,电流，滑步。如果攻breakin的话可以学breakin的基本footwork:6 steps,3 steps等。
freestyle有很多含义,一般指即兴的,随性的随意的发挥,例如HIPHOP说唱中的freestyle就是即兴说唱的意思Battle Freestyle 就是两个或多个说唱歌手即兴演唱,互相反驳或争论甚至谩骂,歌词完全出于随意;而街头篮球中的freestyle就是即兴表演花哨动作;breaking街舞中的freestyle就是随意串联一些动作或者自己即兴表演动作.
hip-hop是源自于街头的一种文化，也泛指rap（说唱乐）。hip-hop 文化的四种表现方式包括m-cing（有节奏、押韵地说话后来演变成rap）、b-boying（街舞）、dj-ing（玩唱片及唱盘技巧）、graffiti writing（涂鸦艺术）。 因此rap （说 唱 乐）只是hip-hop 文化中的一种元素，要加上其它舞蹈、服饰、生活态度等才构成完整的hip-hop文化。另外，亦衍生出嘻哈时装、嘻哈语等文化。有人争论第五元素b-box，或者街头篮球
热心网友
时间：2022-06-19 15:28
Hip-Hop没有五大元素 只有四大 所谓的什么五大 六大全是人们胡加上去的
而且Freestyle是自由风格的意思 只有用在RAP或者DJ SCRATCH或者街舞里 才有即兴的含义~
New Style是新风格的意思 一种街舞的风格 我个人比较喜欢！
NEW SCHOOL是指新式的Hip-Hop 相对New School来讲还有Old School
拿街舞来说Breakin King-Tut就属于Old School
而New Style则属于New School
从音乐的角度来讲 我们现在听到的Hip-Hop音乐大多数都是New School的东西！
而Old School的代表则有MC HAMMER和RUN.D.M.C（他们的MV里还有吴建豪呢- -！）
建议1楼那样的人不要出来胡扯 你自己不懂就算了 还误导别人！
