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Technologické Podmínky Vzniku Dubstepu a Jeho Demokratizace

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Technologické Podmínky Vzniku Dubstepu a Jeho Demokratizace MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy Teorie interaktivních médií Ivo Skřenek Magisterská diplomová práce Technologické podmínky vzniku dubstepu a jeho demokratizace Vedoucí práce: doc. PhDr. Martin Flašar, Ph.D. 2021 Prohlašuji, že jsem bakalářskou diplomovou práci vypracoval/a samostatně s využitím uvedených pramenů a literatury. …..………………………………….. Podpis autora práce 1 Úvod ...........................................................................................................................................6 2 Dubstep ......................................................................................................................................7 2.1 Big Apple Records ................................................................................................................9 2.2 Tempa ............................................................................................................................... 11 2.3 DMZ .................................................................................................................................. 11 2.4 Hyperdub .......................................................................................................................... 13 2.5 Lis acetátů/dubplatů; White label ...................................................................................... 13 2.6 Živá dubstepová vystoupení .............................................................................................. 16 2.7 Šíření dubstepového zvuku ................................................................................................ 17 2.8 Dubstep Warz .................................................................................................................... 18 2.9 Celosvětové šíření dubstepu .............................................................................................. 19 2.10 Bristol ................................................................................................................................ 21 2.11 Dubstep v USA ................................................................................................................... 22 2.12 Subžánry dubstepu ............................................................................................................ 23 3 Hardcore kontinuum ................................................................................................................. 25 3.1 Acid house ......................................................................................................................... 26 3.2 Jungle ................................................................................................................................ 27 3.3 Drum and Bass................................................................................................................... 28 3.4 UK Garage ......................................................................................................................... 29 3.5 Nu dark swing .................................................................................................................... 31 3.6 Grime ................................................................................................................................ 32 4 Afro-karibská hudební kultura ................................................................................................... 33 4.1 Dub music ......................................................................................................................... 36 5 Technologie šíření ..................................................................................................................... 40 5.1 Pirátská rádiová vysílání ..................................................................................................... 40 5.2 Internet, weby a blogy ....................................................................................................... 42 5.3 P2P sharing ........................................................................................................................ 44 6 Technologie hudební produkce ................................................................................................. 46 6.1 Syntezátory ....................................................................................................................... 46 6.2 MIDI .................................................................................................................................. 47 6.3 Drum Machine ................................................................................................................... 49 6.4 Samplování ........................................................................................................................ 49 6.5 Digital audio workstations (DAWs) ..................................................................................... 51 6.6 Mixážní pulty ..................................................................................................................... 53 6.7 Mastering .......................................................................................................................... 53 7 Dubstep v České republice ........................................................................................................ 54 8 Závěr ......................................................................................................................................... 57 9 Resumé ..................................................................................................................................... 60 Zde bych rád poděkoval svému vedoucímu práce PhDr. Martinu Flašarovi, PhD. za cenné rady a připomínky. 1 Úvod Cílem této magisterské diplomové práce bude analýza technologických specifik, které stály za zrodem dubstepu. Jejím primárním cílem bude vyhodnotit technologie, které by se daly označit pro dubstep jako fundamentální. Ať už pro jeho samotnou produkci, nebo pro jeho šíření a demokratizaci. Abychom byli tyto technologie schopni vyhodnotit, považuji za důležité zaměřit se i na technologie, jež se staly zásadní pro hudební styly, ovlivňující dubstep určitým způsobem. Proto se třetí a čtvrtá část této práce zaměřuje právě na tyto hudební styly, rozdělené do dvou hudebních rodin – jedné spadající pod označení Hardcore Continuum1 a druhé do afro- karibské hudební větve. Pátá kapitola práce bude zaměřená na samotné technologie, které lze na základě předchozích kapitol vyhodnotit jako zásadní pro vznik a následnou demokratizaci dubstepu. Poslední část této práce se bude věnovat dubstepové kultuře v České republice, poněvadž doposud nevznikla žádná práce, zaměřující se na tento hudební styl v této zemi. Ačkoliv se dubstep během prvního desetiletí tohoto tisíciletí stal prakticky všudypřítomným, od malých undergroundových klubů v jižním Londýně až po přítomnost na stříbrných plátnech hollywoodských filmů, do současnosti nevznikly téměř žádné studie, zaměřující se na tento hudební styl. Asi nejrozsáhlejší akademickou prací, která se věnuje přímo dubstepu, je publikace od Mike D’Errico s názvem Electronic Dance Music in the Dubstep Era.2 Jeho práce je ovšem zaměřena spíše na hudební vztah mezi Velkou Británií a USA ve snaze zdůraznit význam lokálních scén ve světě rostoucí globalizace a dále zkoumá jeho využití napříč mediálními formami. Zaměření na technologie je zde však upozaděno. Protože se stále jedná o poměrně nový hudební styl, nevzniklo ani příliš odborné literatury věnující se tomuto fenoménu, a proto většina informací v této práci bude čerpána z rozhovorů se samotnými pionýry a lidmi, kteří byli u zrodu tohoto žánru. Pro vyhodnocení informací byla jako nejvhodnější metodologický postup vyhodnocena syntéza, přesněji synteticko-analytické poznávací postupy. U syntézy se obvykle sledují vzájemné podstatné souvislosti mezi jednotlivými složkami objektu, což napomáhá odhalení vnitřních zákonitostí fungování a vývoje objektu bádání. Tato metoda však mnohdy není proveditelná bez analýzy a naopak. Závěry tedy budou formulovány především na základě výchozích zjištění obou metod. 1 REYNOLDS, Simon. The Wire 300: Simon Reynolds on the Hardcore Continuum: Introduction. The Wire [online]. 2013 [cit. 2021-01-19]. Dostupné z: https://www.thewire.co.uk/in- writing/essays/the-wire-300_simon-reynolds-on-the-hardcore-continuum_introduction. 2 D'ERRICO, Mike. Electronic Dance Music in the Dubstep Era [online]. 2015 [cit. 2021-03-05]. Dostupné z: https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199935321.001.0001/oxfordhb- 9780199935321-e-74?result=2&rskey=h0mw5l. Oline publikace. UCLA. 6 2 Dubstep Dubstep je subžánr elektronické taneční hudby, který vznikl ve Velké Británii na počátku tohoto tisíciletí. Obecně lze dubstep charakterizovat jako hudební styl, pro nějž je charakteristická hluboká basová linka a tempo okolo 140 BPM (beats per minute). Další prvky, které se v dubstepu objevují, jsou povětšinu převzaté z jiných hudebních žánrů. Obecně ale lze tyto žánry rozdělit do dvou hudebních rodin – afro-karibské a Hardcore continuum. Pro většinu dubstepových skladeb jsou typické mohutné basové a sub-basové linky a zlomený beat s modulovanými samply a občasnými vokály, vše v rychlosti okolo 140 BPM. Tradičně jsou dnes jednotlivé složky dubstepového beatu uspořádány v tomto pořadí: intro, drop s hlavní částí, mezihra, drop s druhou hlavní částí a outro. Při formování tohoto žánru ovšem byla většina dubstepové hudební produkce přikloněna k experimentování jak se zvukem, tak i celou skladbou
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