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| '''Ska''' was the first independent ]n ], which began in the early ]. It was a precursor in Jamaica to ], and later, ]. | '''Ska''' was the first independent ]n ], which began in the early ]. It was a precursor in Jamaica to ], and later, ]. | ||
| The sound of the ska was created at Studio One in ], by musical group called the "Skatalites," whom worked with music producer Clement "Coxsone" Dodd. The originators of the ska beat were the drummer, Lloyd Knibb and the bassist Lloyd Brevett. |
The sound of the ska was created at Studio One in ], by musical group called the "Skatalites," whom worked with music producer Clement "Coxsone" Dodd. The originators of the ska beat were the drummer, Lloyd Knibb and the bassist Lloyd Brevett. | ||
| The music of ska is known for the placement of the accented guitar and piano rhythms on the upbeats. The word ska may have a ] origins in a tradition of poetic or possibly even musical rythms. It is reported that the phrase "Skavoovie" was a greeting used by "Clue J," whenever greeting the Skatalites and Coxsone Dodd. Cluett Johnson, better known as ], or "]" was the bassist and leader of "Clue J and the Blues Blasters." He lead that late 1950s Jamaican musical group. That music group spawned some of the greatest musicians of the ska era (1962-1966). | |||
| ⚫ | Onomatopoeia-based music uses the mouth and vocal cords ( |
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| The master guitarist Ernest Ranglin, said that "the offbeat guitar scratching that he and other musicians played was referred to as 'skat! skat! skat!'" | |||
| It should be noted that historically, some forms of onomatopoeia served as a mnemonic and a mimetic tool for musicians around the world. This music tool was used in various forms of traditional music in the Anglo-Saxon, Irish, Turkish and Middle Eastern ] cultures. Such ] existed prior to the 1200s and the First Crusade into Palestine and the city of Jerusalem, possibly even before 900]/]. It's use may even be older, considering that contemporary music and classic European music developed as a derivative of its parents of Classic Poetry and the Myth-Drama plays from the Fertile Cresent Civilizations of Ancient Asia Minor and Northern Africa (Egypt, Rome, Persia, Mesopotamia Valley, Greece, Ethiopia, etc). Interestly, the modern descendants of the ancient !Kung tribes and clans of Southern Africa utilize similar traditional music techniques. That could mean the practice of musical onomatopoeia may be as old as human civilization. | |||
| ⚫ | Onomatopoeia-based music uses the mouth and vocal cords (that is, ]) as the primary musical instrument. A common music tool in European and American cultures uses the ] instrumental tool that is technically called a ]. A solfege is a vocalized musical scale that is commonly known as''Do-Re-Mi-Fa-Sol-La-Ti''. A solfege may be sung, spoken or used in a combination. A variety of similar tools are found in ] of ], ] and also ] and the ska of reggae (the last which is also called '''Two Tone'''). | ||
| It should be noted that historically, some forms of ] served as a mnemonic and a mimetic tool for musicians around the world. See ]. | |||
| Ska's popularity has waxed and waned since its original inception, and has had revivals of note in England in the ] (known as ]), and another wave of popularity in the ] (referred to as ]). | Ska's popularity has waxed and waned since its original inception, and has had revivals of note in England in the ] (known as ]), and another wave of popularity in the ] (referred to as ]). | ||
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| The biggest selling American bands of Third Wave Ska were the ] and ], both of whom fused ska with rock music to the point of losing almost all Jamaican elements in their musics. | The biggest selling American bands of Third Wave Ska were the ] and ], both of whom fused ska with rock music to the point of losing almost all Jamaican elements in their musics. | ||
| ==Further Reference== | |||
| *Timothy White, ''Catch a Fire: The Life of Bob Marley'', UK:Corgi Books, 1983 | |||
| ==External Links== | |||
| * by Matt Sakakeeny | |||
| * | |||
| * by Lloyd Dewar | |||
Revision as of 04:31, 30 December 2002
Ska was the first independent Jamaican music, which began in the early 1960s. It was a precursor in Jamaica to rocksteady, and later, reggae.
The sound of the ska was created at Studio One in Kingston, Jamaica, by musical group called the "Skatalites," whom worked with music producer Clement "Coxsone" Dodd. The originators of the ska beat were the drummer, Lloyd Knibb and the bassist Lloyd Brevett.
The music of ska is known for the placement of the accented guitar and piano rhythms on the upbeats. The word ska may have a onomatopoeia origins in a tradition of poetic or possibly even musical rythms. It is reported that the phrase "Skavoovie" was a greeting used by "Clue J," whenever greeting the Skatalites and Coxsone Dodd. Cluett Johnson, better known as Clue J. Johnson, or "Clue J" was the bassist and leader of "Clue J and the Blues Blasters." He lead that late 1950s Jamaican musical group. That music group spawned some of the greatest musicians of the ska era (1962-1966).
The master guitarist Ernest Ranglin, said that "the offbeat guitar scratching that he and other musicians played was referred to as 'skat! skat! skat!'"
Onomatopoeia-based music uses the mouth and vocal cords (that is, voice) as the primary musical instrument. A common music tool in European and American cultures uses the voice instrumental tool that is technically called a solfege. A solfege is a vocalized musical scale that is commonly known asDo-Re-Mi-Fa-Sol-La-Ti. A solfege may be sung, spoken or used in a combination. A variety of similar tools are found in scat singing of jazz, Delta blues and also rock and roll and the ska of reggae (the last which is also called Two Tone).
It should be noted that historically, some forms of onomatopoeia served as a mnemonic and a mimetic tool for musicians around the world. See mouth music.
Ska's popularity has waxed and waned since its original inception, and has had revivals of note in England in the 1980s (known as Two-Tone), and another wave of popularity in the 1990s (referred to as Third Wave Ska).
One of the most commercially successful bands of Two Tone ska music was Madness.
The biggest selling American bands of Third Wave Ska were the Mighty Mighty Bosstones and No Doubt, both of whom fused ska with rock music to the point of losing almost all Jamaican elements in their musics.
Further Reference
- Timothy White, Catch a Fire: The Life of Bob Marley, UK:Corgi Books, 1983