ドゥーワップDoo-Wop Wikipedia ja,eng

ドゥーワップのルーツはアメリカの黒人（アフリカ系アメリカ人）奴隷の労働歌に遡り、黒人教会で聖歌隊が歌うゴスペルによって基本的な形式が作られた。やがてゴスペルを基礎にジャズのメロディー、和声、歌詞、伴奏が取り入れられたものが商業音楽として1930年代に出現する。これが初期のドゥーワップで、ミルズ・ブラザーズ、インク・スポッツなどが代表的グループとされる。

「オンリー・ユー」で知られるプラターズや、「ラストダンスは私に」などがヒットしたドリフターズらである。ブームは数年で冷めたものの、ドゥーワップは1960年代のモータウンに代表されるソウルミュージックの隆盛の大きな原動力となった。

Two songs in particular may lay claim to being the first to contain the syllables "doo-wop" in the refrain: the 1955 hit, "When You Dance" by The Turbans, in which the chant "doo-wop" can be heard; and the 1956 song "In the Still of the Night" by The Five Satins, with the plaintive "doo wop, doo wah" refrain in the bridge. The Velvets also used the phrase "doo-wop" in the background of their 1961 song, "Tonight (Could Be The Night)". Another example is the Atlas label release #1055 "I Belong To You" by the Fi-Tones in 1956.

Some of the singers imitated instruments while singing the nonsense syllables from which the name of the style is derived. The name was later extended to group harmony . An example of this includes "Count Every Star" by The Ravens (1950), which includes vocalizations imitating the "doomph", "doomph" plucking of a double bass. This vocal style created a template for later groups. Among the earliest popular African-American vocal groups to make an impact were the Ink Spots and the Mills Brothers. Later, The Orioles helped develop the doo-wop sound with their hits "It's Too Soon to Know" (1948) and "Crying in the Chapel" (1953). Doo-wop broke into the mainstream in 1951, with R&B chart hits such as "My Reverie" by The Larks, "Where Are You?" by The Mello-Moods, "Glory of Love" by The Five Keys, "Shouldn't I Know" by The Cardinals, "I Will Wait" by the Four Buddies, and "Will You Be Mine" by The Swallows. Other important African American doo-wop groups included The Marcels, The Coasters, The Drifters, The Moonglows, Clovers, Little Anthony and the Imperials , The "5" Royales , The Flamingos , The Dells, The Cadillacs, The Midnighters, and The Platters.