专业黑客技术知识,入门教程,电脑知识

文章简介:

• 1、freestyle是什么意思中文？
• 2、说唱里的FLOW到底是什么？
• 3、黑人说唱时候 前面总说一大堆 什么yooyoo 什么的 谁知道麻烦多说点
• 4、求一首黑人说唱，背景音是唢呐的
• 5、说唱中的常用术语
• 6、new style和free style,HIPHOP有什么关系？

freestyle是什么意思中文？

freestyle中文指指即兴的、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。2017年6月，因吴亦凡在国产说唱综艺《中国有嘻哈》中屡次提起freestyle而火遍网络。

freestyle又指花式街球，Freestyle，简称FS，街球起源于美国黑人社区。经过长期的积累和演变，已成为一种由斗牛、花式表演、涂鸦、街舞、打碟等多种元素构成的独特街头文化，街球体现了篮球的自由性和创意，没有繁琐的规则、没有×号战术、只有特立独行的风格和随心所欲的技巧。

扩展资料

词汇来源：

freestyle该词开始走红网络，完全是因为近日某视频网站上线的由吴亦凡、张震岳、热狗（MC Hotdog）和潘玮柏几个担当制作人的音乐选秀节目《中国有嘻哈》。

节目中每每镜头切到吴亦凡考核的时候，都会听到作为该节目制作人吴亦凡的灵魂发问：“有freestyle吗，给我来段freestyle，会freestyle吗，”意思为即兴说唱，目的在于再给选手一些展现自我才华的机会。类似于之前汪峰参加节目的常用语“你的梦想是什么”。

freestyle该词其实由来已久，常适用于HIPHOP说唱、街头篮球（花式篮球）、breaking街舞、花式足球等一些深受年轻人喜爱的嘻哈文化中。

说唱里的FLOW到底是什么？

flow是指说唱歌手个人风格的标志，rap过程中的停顿、拉长和加速等等技巧。每个rapper都有自己独特的flow，大概来说就是流畅度，节奏感，flow讲究的是节奏和词的完美融合，在音节和音节、音节和节奏的关系上，会有不同的处理。

从技术层面来说，Flow是独立于写词之外的，所以很多情况下，不同的Rapper在处理同一段歌词时会有很大的出入。但是通常来说，Flow与写词是不可分离的。也就是有属于自己独特的风格。

flow是由六十年代出生在美国的黑人说唱歌手Rakim定义的，他定义的flow推动了嘻哈文化的发展潮流。

扩展资料

嘻哈（hip hop）诞生于美国贫民区街头的一种文化形式，一般的说法认为它诞生于美国纽约布朗克斯。嘻哈首先在纽约市北部布朗克斯市区的非裔及拉丁裔青年之间兴起，继而发展壮大，并席卷全球。

说唱里的基本名词：

freestyle：即兴说唱，即说唱歌手通过一段音乐，结合当时的环境等等，即兴表演一段说唱。

battle：一种比赛形式，两位rapper在规定时间内轮流用freestyle贬低对方，抬高自己，一般为三轮，依据观众的呼声大小来判断胜负。

diss：两个说唱歌手之间爆发了不可调和的矛盾之后，通常采用这种方式证明自己，类似于battle，不同之处在于battle仅仅是为了展示自己的技巧，与私人恩怨无关。

Cyper（mic pass）：一种演唱方式，几位说唱歌手轮流拿着麦克风rap。

punchline：在rap里指歌词中押韵、节奏使演唱者和听众都觉得十分完美的部分。

参考资料

百度百科-嘻哈

黑人说唱时候 前面总说一大堆 什么yooyoo 什么的 谁知道麻烦多说点

加 yo ，yo 这些的，应该是freestyle吧，因为是即兴说唱，脑中想到的词是需要整理的，因为说唱是要有韵脚的，不然的话听着很没味道，像鼠来宝一样，还有应该就是在整理词汇的时候，用yo，yo来判断Beat节奏吧，因为节奏没卡好的话，听起来也不是个味儿。

千万不要理解成说唱就要加yo，yo什么的，只有凤凰传奇才那样，虽说凤凰传奇里的那男声可以说就不叫说唱

求一首黑人说唱，背景音是唢呐的

你好！

呐

可以确定是jay-z

不过

..歌名是不知道..

可能是他的freestyle

喜欢这个歌的话,你可以拿录音器来录嘛..

要不我帮你录下来..

加Q1083703152.

如有疑问，请追问。

说唱中的常用术语

说唱常见术语：

Homie：哥们儿。

Keep Real:做自己。

Peace:和平。

Mixtape:集锦、混音带。

freestyle：即兴饶舌，通常用于battle。

battle：battle是指个人对个人带有攻击性的比赛。

diss:diss与battle不同的是，diss是一首作品，而battle是面对面交流。

Acappella:无伴奏合唱、无伴奏清唱。

Demo:样本、演示、小样.说唱里面指未制作完成的半成品。

Represent：代表，象征.美国说唱地域性非常强，很多说唱歌手都说自己代表什么什么地方。

AKA:Also Known As的简写，直译就是“也可以被称作”

Ya：口语中的You。例如“Ya Know”

You know/You know what i am saying/You getti：你懂的!/你懂我意思吗?

Roll:卷、裹。裹什么呢?Ya getti!

O.G：有很多单词的缩写都是O.G.而在西海岸说唱文化中常常提到的O.G是“Original Gangster”的缩写，可以译做“真正的大佬”“纯正的匪帮”

扩展资料:

Rap是一个黑人俚语中的词语，相当于“谈话”，中文意思为说唱。即有节奏地说话的特殊唱歌形式。发源于纽约贫困黑人聚居区。

它以在机械的节奏声的背景下，快速地诉说一连串押韵的诗句为特征。这种形式来源之一是过去电台节目主持人在介绍唱片时所用的一种快速的、押韵的行话性的语言。

斥责或说唱音乐的节奏，布鲁斯音乐风格包括vocals 等巧妙地和音乐融合。陪同一般包括电子鼓敲打与样品（数字式地被隔绝的酣然的叮咬） 被结合从其它音乐录音。

参考资料：

说唱-百度百科

new style和free style,HIPHOP有什么关系？

freestyle是指即兴说唱。要讲的有很多。它是hip-hop五大元素之一“说唱”的附属产品。NY style指的是纽约风格。new school是说唱的一种类型。你问的问题相互之间要联系起来说的话需要很多相关的内容，涉及的范围太广，不知道我这么简单的给你解释你能懂不。不懂的话可以修补答案。

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 product, 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 producer Rick Rubin of Def Jam were quickly advanced on by producer Marley Marl and his Juice Crew MCs, and acts like Boogie Down Productions, Public Enemy and Eric B. Rakim. The production 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.