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.