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{{traduint|en|Post-punk}}{{Infotaula de gènere musical
| name = Post-punk
| bgcolor = crimson
| color = white
| stylistic_origins = [[Punk rock]], [[art rock]], [[krautrock]], [[música electrònica|electrònica]], [[rock progressiu]], [[música dub|dub]], [[funk]], [[reggae]], [[música experimental|experimental]], [[música disco|disco]]
| cultural_origins = Mitjans del 1970, Regne Unit, EUA, Austràlia
| instruments = [[Bateria (percussió)|Bateria]] - [[Guitarra]] - [[Baix elèctric|Baix]] - [[Sintetitzador]] - [[teclat electrònic|Teclats]] - [[Bateria electrònica]] - [[instrument musical electrònic|Electrònics modificats]] - [[Saxòfon]]
| popularity = Moderada a finals dels anys 1970, moderada-alta a començaments dels anys 1980, moderada-baixa a finals dels anys 1980 i als 1990. Gran [[Post-punk revival|reviscolament]] a començaments dels anys 2000.
| derivatives = [[Rock alternatiu]] - [[Dark Wave]] - [[Rock gòtic]] - [[No Wave]] - [[Shoegazing]] - [[Indie rock]] - [[Post-punk revival]] - [[música industrial|Industrial]] - [[Dance-rock]] - [[Dance-punk]]
| regional_scenes = Neerlandesa ([[Ultra (música)|Ultra]]) - Alemanya ([[Neue Deutsche Welle]]) - Francesa ([[Coldwave]])
| other_topics = [[Música industrial]] - [[New Wave]] - [[No Wave]]
}}
El '''Post-punk''' és un moviment de [[música rock]] amb arrels als finals dels anys 1970, tot seguit de l'explosió inicial del [[punk rock]] de mitjans dels 1970. Aquest gènere reté les seues arrels del moviment punk però d'una manera més introvertida, complexa i experimental.<ref name=allmusic>Erlewine, Stephen Thomas. "[{{Allmusic|class=explore|id=essay/|pure_url=yes}} Post-Punk]" ''[[Allmusic]]''. Retrieved 2 November 2006.</ref> En el post-punk jau la base del futur [[rock alternatiu]] mitjançant l'ampliació del rang del punk i la [[música underground]] incorporant-hi elements del [[Krautrock]] (particularment l'ús de [[sintetitzadors]] i l'extensa [[repetició (música)|repetició]]), el [[música dub|dub]] jamaicà (específicament en el baix), el [[funk]] americà, l'experimentació a l'estudi i de, fins i tot el gènere més oposat tradicionalment al punk, la [[música disco]] al gènere.
During the first wave of punk, roughly spanning 1974–1978, acts such as [[Sex Pistols]], [[The Clash]], [[Ramones]], [[Patti Smith]], [[The Saints (band)|The Saints]] and [[The Damned (band)|The Damned]] began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed.
 
Classic examples of post-punk outfits include [[Wire (band)|Wire]], [[The Sisters of Mercy]], [[Siouxsie and the Banshees]], [[Magazine (band)|Magazine]], [[Public Image Ltd]], [[The Fall (band)|The Fall]], [[Joy Division]], [[Subway Sect]], [[Neu Electrikk]], [[Gang of Four (band)|Gang of Four]], [[New Order]], [[The Teardrop Explodes]], [[The Sound]], [[U2]], [[Echo & the Bunnymen]], [[The Birthday Party (band)|The Birthday Party]], [[The Psychedelic Furs]], [[The Lords of the New Church]], [[Killing Joke]], [[The Cure]], [[Bauhaus (band)|Bauhaus]], [[Devo]], [[The Jesus and Mary Chain]], and [[Crass]]. Several bands formed in the wake of traditional punk rock groups: Magazine was formed by [[Howard Devoto]], formerly of [[Buzzcocks]], for instance, and Public Image Ltd derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include [[Television (band)|Television]], whose album ''[[Marquee Moon]]'', although released in 1977 (and recorded in 1976) at the height of punk, is universally considered post-punk in style. Other groups, such as The Clash, remained predominantly punk in nature, yet were inspired by the experimentalism of post-punk, most notably in their album ''[[Sandinista!]]''.
 
Championed by late night [[BBC]] [[disc jockey|DJ]] [[John Peel]] and record label/shop [[Rough Trade Records|Rough Trade]] (amongst others, including [[Postcard Records]], [[Factory Records]], [[4AD|Axis/4AD]], [[Falling A Records]], [[Industrial Records]], [[Fast Product]], and [[Mute Records]]), "post-punk" could arguably be said to encompass many diverse groups and musicians.
Around 1977, in North America, the New York [[No Wave]] was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as [[Teenage Jesus and the Jerks]], [[Glenn Branca]], [[Rhys Chatham]], [[Mars (band)|Mars]], [[James Chance and the Contortions]], [[DNA (band)|DNA]], [[Bush Tetras]], [[Theoretical Girls]], [[Swans (band)|Swans]], and [[Sonic Youth]]. No Wave focused more on performance art than actual coherent musical structure. The [[Brian Eno]]-produced ''[[No New York]]'' compilation is considered the quintessential testament to the history of No Wave.<ref>{{cite book | last=Masters | first=Marc | title=No Wave | publisher=Black Dog Publishing | location=New York City | year=2008 | isbn=190615502X | page=9}}</ref>
 
The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Many post-punk bands, most notably The Cure and Siouxsie and the Banshees, evolved into [[gothic rock]] and became identified with the [[goth subculture]]. Some shifted to a more commercial [[New Wave music|New Wave]] sound (such as Gang of Four),<ref>[{{Allmusic|class=album|id=r1687662|pure_url=yes}} Songs of The Free Bonus Tracks Allmusic review]</ref><ref>[{{Allmusic|class=album|id=r7986|pure_url=yes}} Hard Allmusic review]</ref> while others were fixtures on American [[college radio]] and became early examples of alternative rock. In the United States driven by [[MTV]] and alternative radio stations a number of post punk acts had an influence on or became part of the [[Second British Invasion]] of "[[New Music (music industry)|New Music]]" there.<ref>[http://news.google.com/newspapers?id=qQhKAAAAIBAJ&sjid=sx4NAAAAIBAJ&pg=2933,2175658&dq=new-music+new-wave&hl=en Triumph of the New [[Newsweek]] on Campus reprinted by the [[Michigan Daily]] March 2, 1984]</ref><ref>[http://docs.google.com/viewer?a=v&q=cache:K1FT9s7iZgMJ:iaspm-us.net/wordpress/wp-content/uploads/2010/09/Cateforis.pdf+Theo+Cateforis+the+death&hl=en&gl=us&pid=bl&srcid=ADGEESgXPV1cYTF5r2LVbQGmx2Vq76McE-1jikbaLuWR25ICOVhW1DXrVLZHO3GRx7LE_ki7TaPXhVFLU-DR_UJGNT9WLGe9rzwHKHs65aEhz92mAr0sxeZ81Vw_KUOOjJcoDsuvbehB&sig=AHIEtbSjIigaJFb7ZIlERw4k5u8F4Wt3ug The Death of New Wave Theo Canteforis Syracuse University 2009]</ref><ref>"Rip it Up and Start Again Post Punk 1978-1984" by [[Simon Reynolds]]</ref><ref>[http://books.google.de/books?id=JWdMOZGNOHUC&pg=PP1&dq=Tarnished+gold:+the+record+industry+revisited#v=onepage&q=british%20invasion&f=false Tarnished gold: the record industry revisited" Von R. Serge Denisoff, William L. Schurk p. 441]</ref>
 
===Post-punk revival===
 
==Further reading==
* Heylin, Clinton. 2007 ''Babylon's Burning: From Punk to Grunge''. (Initially issued on Viking). Reissued in 2008. 720 pages. Penguin. ISBN 978-0141024318
* Reynolds, Simon. 2006. "Rip it Up and Start Again: Postpunk 1978 - 1984". London: Faber&Faber. ISBN 9780571215706
* McNeil, Legs and Gillian McCain. 1997. "Please Kill Me: The Uncensored Oral History of Punk". London: Little, Brown Book Group. ISBN 9780349108803
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