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首页> 外文期刊>Social & economic studies >'ACE' OF THE DANCEHALL SPACE: A PRELIMINARY LOOK AT U ROY'S VERSION AND SUBVERSION IN SOUND
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'ACE' OF THE DANCEHALL SPACE: A PRELIMINARY LOOK AT U ROY'S VERSION AND SUBVERSION IN SOUND

机译：舞厅空间的“王牌”：初步了解U ROY的声音和颠覆声音

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摘要

No history of the development of the sound system, of DJs or indigenous Jamaican popular music can be told without reference to stalwarts such as Count Machuki, King Stitt and Ewart 'U Roy' Beckford. This paper is a preliminary look at U Roy using a multi-disciplinary and multi-textual approach to analyse his life, lyrics, space, methods, innovations and contribution. We contextualize U Roy's verbal artistry in the Jamaican scene but also in a larger African / African American musical experience. We define the DJ's 'sound space' as an autonomous entity that unwittingly 'ruled the nation' by virtue of the subversive versioning that the DJ added to the musical arena, thus undermining the influence of, while still winning appeal from, 'polite society'. Notably, the musical laboratory or sound space gave credence to the artistry and culture of those persons considered as the under class. It is this laboratory or multi-layered sound space that is demarcated based on primary data from interviews and a review of secondary sources.
机译：没有提及诸如Machuki伯爵，King Stitt和Ewart'U Roy'Beckford之类的坚定人物，就无法说出音响系统，DJ或牙买加本土流行音乐发展的历史。本文是对U Roy的初步研究，它使用多学科和多文本的方法来分析他的生活，歌词，空间，方法，创新和贡献。我们将牙买加背景下的U Roy的言语艺术性与其他非裔/非裔美国人的音乐经验结合起来。我们将DJ的“声音空间”定义为一个自治实体，凭借DJ在音乐舞台上添加的颠覆性版本，无意中“统治了国家”，从而削弱了“礼貌社会”的影响力，同时仍赢得了“礼貌社会”的吸引力。值得注意的是，音乐实验室或声音空间使那些被认为是下层阶级的人的艺术性和文化得到了认可。根据采访和对次要来源的审查得出的主要数据来划分的是实验室或多层声音空间。

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