鄉村音樂英文介紹視頻

『壹』 英語介紹的美國鄉村音樂

美國鄉村音樂

鄉村音樂是土生土長的美國音樂，體現了濃郁的美國南方民間音樂的風格。傳統的鄉村音樂從19世紀的弦樂曲和傳統敘事歌中發展而來，他的一個顯著特點就是，不受性別和年齡限制，也不受時間地點的限制，一把吉他，外加班卓琴和口琴樂器的伴奏，歌手便可以盡情抒發他們心中的快樂和憂愁。在相當長的一段時間里，鄉村音樂的歌手和歌迷幾乎都是農民、牛仔、礦工和伐木工等生活在南部鄉村的美國白人，歌手唱歌時也總是帶著濃重的南方鼻音。大部分歌曲的內容都表達了他們對愛情的忠貞不渝，對鄉土的眷戀之情，或者反映了生活的艱辛，貧困的煎熬以及家庭的溫馨等。
20世紀50年代初，隨著電聲樂器的發展，鄉村音樂中逐漸加入了電子樂器、鼓、提琴、和號，聲樂合唱也取代了先前音樂中「高亢、孤獨」的歌聲。這時期的鄉村音樂已經慢慢失去原先醇厚的「鄉土氣息」，而呈現出更多的現代都市風味。藉此契機，鄉村音樂也在全美各地拓展了它的市場。田納西州的收服納什維爾是當時美國鄉村音樂最大也是最為人所熟知的商業中心，絕大部分的鄉村音樂歌手都來到這里尋求發展的機會，絕大部分的鄉村歌曲也都是在納什維爾的錄音棚里錄制的，以至於人們將這一時期的鄉村音樂稱為「納什維爾音樂」。
70年代中期，以威利.納爾遜和維龍.詹寧斯為首，在美國鄉村音樂界發起了一場稱為「叛逆」的運動，旨在用一種更簡單朴實的方法取代已經程式化的「納什維爾音樂」。之後不久，在70年代末到80年代初，「新傳統派歌手」異軍突起，成為美國鄉村音樂中最走紅的一派。這些新一代鄉村歌手的音樂不再是納什維爾、紐約或洛衫機生產線上推出的毫無生命力的音樂製品，他們力圖摒棄村音樂歌壇上那些令人眼花繚亂的手法和技巧，而以其不加雕飾的音樂風格恢復鄉村音樂的真實面貌。「新傳統派歌手」以其聲音悅耳動聽、旋律優美柔和而獲得巨大成功。至今，它仍在美國流行樂壇上獨領鄉村音樂的風騷。
在一個多世紀的發展歷程中，美國鄉村音樂雖然在音樂風格上多種多樣，但是幾乎都有著共同的主題思想，即歌曲都毫無例外地反映了普通美國人，特別是生活在社會最底層的普通工人和農民的愛情婚姻生活、宗教信仰、對鄉土的熱愛和眷戀以及他們生活中最普通也最感人的經歷。不少歌曲都以工作場面為主題，還有的甚至以賭徒、醉漢和監獄囚犯的生活經歷為主題，但是不管如何，美國鄉村音樂是名副其實的美國「特產」，也是美國人民獻給世界人民的一份美好禮物。

Shawn Colvin 《Sunny Came Home》
外文歌曲 - 美國鄉村音樂 - 草帽歌.mp3
美國鄉村音樂（經典） - 外文歌曲 - 歐美經典篇 - 昨日重現-yesterday once more.mp3
美國鄉村音樂-love is blue(愛是憂郁).mp3
經典英文歌 - 美國鄉村音樂i - longer [dan fogelberg].mp3
英文歌曲 - 歐美經典 - 生命因你而動聽-落日之幻美國鄉村音樂(經典) - 雨中的旋律 mp3
美國鄉村音樂 - blowing in the wind.mp3
貓王--美國鄉村歌曲-溫柔愛我.mp3
jambalaya(on the bayou) 什錦菜_美國鄉村音樂經
典.mp3
（英文歌曲）take me home country road 鄉村路帶我回家約翰丹弗(美國鄉村音樂).mp3
國外經典(外文)-好歌大家聽 - 美國鄉村音樂 - hey jude.wma
參考資料：http://www.szpiano.org/Html/Article/theory/2/2554.htm

『貳』 用英文介紹鄉村音樂

A history of Country Music
Southern States: Hillbilly Music

In 1910 ethnomusicologist John Lomax published "Cowboy Songs and Other Frontier Ballads" (that followed by two years the first known collection of cowboy songs), and in 1916 Cecil Sharp began publishing hundreds of folk songs from the Appalachian mountains (or, better, the Cumberland Mountains, at the border between Kentucky and Tennessee), two events that sparked interest for the white musical heritage, although the world had to wait until 1922 before someone, Texan fiddler Eck Robertson, cut the first record of "old-time music". These collections created the myth of the Appalachians as remote sanctuaries of simple, noble life, whose inhabitants, the "mountaneers", isolated from the evils of the world embodied the true American spirit. Many of those regions were not settled until 1835, and then they were settled by very poor immigrants, thus creating a landscape of rather backwards communities, still attached to their traditions but also preoccupied with the daily struggle for survival.

In 1922, a radio station based in Georgia (WSM) was the first to broadcast folk songs to its audience. A little later, a radio station from Fort Worth, in Texas (WBAP), launched the first "barn dance" show. In june 1923, 55-year old Georgia's fiddler John Carson recorded (in Atlanta) two "hillbilly" (i.e., southern rural) songs, an event that is often considered the official founding of "country" music (although Texas fiddler Eck Roberton had already recorded the year before). The recording instry started dividing popular music into two categories: race music (that was only black) and hillbilly music (that was only white). The term "hillbilly" was actually introced by "Uncle" Dave Macon's Hill Billie Blues (1924). In 1924, Chicago's radio station WLS (originally "World's Largest Store") began broadcasting a barn dance that could be heard throughout the Midwest.

With When The Work's All Done This Fall (1925), Texas-bred Carl Sprague became the first major musician to record cowboy songs (the first "singing cowboy" of country music). And, finally, in 1925, Nashville's first radio station (WSM) began broadcasting a barn dance that would eventually change name to "Grand Ole Opry". Country music was steaming ahead. Labels flocked to the South to record singing cowboys, and singing cowboys were exhibited in the big cities of the North.

Among the most literate songwriters were Texas-born Goebel Reeves, who penned The Drifter (1929), Blue Undertaker's Blues (1930), Hobo's Lullaby (1934) and The Cowboy's Prayer (1934), i.e. a mixture of hobo and cowboy songs, and Tennessee-born Harry McClintock, the author of the hobo ballads Big Rock Candy Mountain (1928) and Hallelujah Bum Again (1926).

Country music was a federation of styles, rather than a monolithic style. Its origins were lost in the early decades of colonization, when the folk dances (Scottish reels, Irish jigs, and square dances, the poor man's version of the French "cotillion" and "quadrille") and the British ballad got transplanted into the new world and got contaminated by the religious hymns of church and camp meetings. The musical styles were reminiscent of their British ancestors. The lyrics, on the other hand, were completely different. The Americans disliked the subject of love, to which they preferred pratical issues such as real-world experiences (ranching, logging, mining, railroads) and real-world tragedies (bank robberies, natural disasters, murders, train accidents).

The instrumentation included the banjo, introced by the African slaves via the minstrel shows, the Scottish "fiddle" (the poor man's violin, simplified so that the fiddler could also sing) and the Spanish guitar (an instrument that became popular in the South only around 1910). Ironically, as more and more blacks abandoned the banjo and adopted the guitar, the banjo ended up being identified with white music, while the guitar ended up being identified as black music. For example, Hobart Smith learned to play from black bluesman Blind Lemon Jefferson, but went on to play the banjo while Jefferson played the guitar.

The role of these instruments was more rhythmic than melodic, because most performances were solo, without percussion. Some regions added their own specialties (such as the accordion in Louisiana), but mostly white music was based on stringed instruments. When not performed solo, it was performed by string bands, particularly after the 1920s, when the first recordings allowed musicians to actually make a living out of their "old-time music". The string bands of the 1920s included Charlie Poole's North Carolina Ramblers, that augmented the repertory of old-time music with songs from minstrel and vaudeville shows, Ernest Stoneman's Dixie Mountaineers, and finally (but the real trend-setters for string bands) the hillbilly supergroup Skillet Lickers, formed in 1926 and featuring Riley Puckett on guitar, Gideon Tanner and Clayton McMichen on fiddles (and all of them on vocals), the first ones to record Red River Valley (1927).

The "hillbilly" format (led by the guitar and a bit more "cosmopolitan") was more popular in the plains, while the "mountain" format of the Appalachians (dominated by fiddle and banjo) remained relatively sheltered from urban and African-American influences.

Solo artists, or "ramblers", became popular after World War I, but often had to move to New York to make recordings. Some of them specialized in "event" songs, songs that chronicled contemporary events, such as Henry Whitter's The Wreck Of The Old 97 (1923), that may have been the first "railroad song" (but actually used the melody of the traditional The Ship That Never Returned), later recorded by New York's singer Vernon Dalhart (1924) for the national audience (perhaps the first hit of country music), Andrew Jenkins' Death Of Floyd Collins, also first recorded by Dalhart (1926), about a mining accident, and Bob Miller's Eleven Cent Cotton and Forty Cent Meat (1928), Dry Votin' (1929), and especially Twentyone Years (1930), perhaps the first "prison song". Miller was, by far, the most prolific, writing thousands of hillbilly songs.

Hillbilly musicians also dealt with the opposite genre, the novelty song: Wendell Hall's ukulele novelty It Ain't Gonna Rain No Mo (1923), Carson Robison's whistling novelty Nola (1926), Frank Luther's comic sketch Barnacle Bill The Sailor (1928).

Very few of these singers were of country origins: Vernon Dalhart, Carson Robison and Bob Miller were New York singers who became famous singing hillbilly songs (and sometimes composing them, as in the case of Robison and Miller).

The real country musicians had been known mainly for their instrumental bravura. A national fiddle contest had been organized in Georgia already in 1917 (by the Old Time Fiddlers Organization). Two musicians important in the transition from the quiet and linear "mountain" style and the fast and syncopated "bluegrass" style were banjoists Charlie Poole of the North Carolina Ramblers (Don't Let Your Deal Go Down, 1925; White House Blues, 1926, better known as Cannonball BluesKeep My Skillet Good And Greasy, 1924; Chewing Gum, 1924; Sail Away Ladies, 1927). If these two already used the banjo as much more than a mere rhythmic device, Dock Boggs was perhaps the first white banjoist to play the instrument like a blues guitar (in 1927 he recorded six plantation blues numbers and Sugar Baby, that was rockabilly ante-litteram). Sam McGee was one of the first to play the guitar like a bluesman, starting with Railroad Blues (1928). Georgia's blind guitarist Riley Puckett, the author of My Carolina Home (1927), played a key role in transforming the guitar from percussion instrument to accompanying instrument.

Un until the late 1920s, hillbilly artists were considered comedians as much as musicians. Many of them had a repertory of both songs and skits. The Skillet Lickers were probably instrumental in creating the charisma of the country musician, as opposed to the image of the hillbilly clown.

The Hawaian steel guitar, invented by Joseph Kekuku around 1885 in Honolulu, was a late addition to the line-up of string bands. The incidental music to Richard Walton Tully's play Bird of Paradise (1912) popularized the ukulele and the steel guitar in the USA, as did the Hawaiian pavillion at the "Panama Pacific Exhibition" of San Francisco in 1915. On The Beach At Waikiki (1915), composed by Henry Kailimai and Sonny Cunha, started a nation-wide craze. In 1916 all the record labels started selling records of Hawaiian music, including Sonny Cunha's Everybody Hula (1916), Richard Whiting's Along the Way to Waikiki (1917), Hawaiian Butterfly (1917), composed by Billy Baskette and Joseph Santly, and Walter Blaufuss' My Isle of Golden Dreams (1919). Hawaiian steel-guitar virtuoso Frank Ferera toured internationally. He had debuted on record with Stephen Foster's My Old Kentucky Home (1915). The craze subsided in the 1920s, but the steel guitar (first recorded by a hillbilly musician in 1927) would become more and more popular in the repertory of country music.

The first stars of the hillbilly genre were the members of the Virginia-based Carter Family, basically a vocal trio (Sara on lead vocals and autohapr, Alvin on bass vocals, and Maybelle on alto vocals and on guitar) that started out in 1926 and first recorded in 1927. Unlike their peers, who emphasized the instrumental sound, the Carter Family focused on songs. Collectively, they wrote over 300 songs, including classics such as Will You Miss Me When I'm Gone (1928), Keep On The Sunny Side (1928), a cover of Theodore Morse's 1906 song, Foggy Mountain Top (1929), My Clinch Mountain Home (1929), Worried Man Blues (1930), Can The Circle Be Unbroken (1935), No Depression (1936), and especially Wildwood Flower (1928), a traditional first published in 1860 that Maybelle turned into a guitar masterwork. Their vocal style was the quintessence of the "close-harmony" style of country music. Later, Maybelle (who plucked the melody on the bass strings) formed her own quartet with her three daughters (among whom June wrote Ring Of Fire and Helen wrote Poor Old Heartsick Me).

In 1924 with his first recording, Rock All Our Babies To Sleep, blind Georgia's guitarist Riley Puckett (already a radio star) introced the "yodeling" style of singing (originally from the Swiss and Austrian Alps) into country music, the style adopted in 1927 by the first star of country music, Mississippi's Jimmie Rodgers, who wed it to the Hawaian slide guitar and, de facto, invented the white equivalent of the blues with T For Texas (1927), Waiting For A Train (1928), In The Jailhouse Now (1928), Mule Skinner Blues (1930). Ironically (but also tellingly), Jimmie Rodgers became the first star of this very white phenomenon by being the most influenced by the very black music of the blues. The year he died (1933) was a watershed year for country music.

Rodgers was influential in creating the myth of the Far West, which had already been fueled by the cowboy songs of Carl Sprague and Goebel Reeves. Thus "country" music became "country & western" music. Originally, country music was mainly from the Southeastern states (Virginia, Tennesse, Kentucky and neighboring states). But now the audience was becoming fascinated with the Southwestern states (Texas and neihboring states). The romantic allure of the mountain dweller was slowly being replaced by the romantic allure of the roaming cowboy.

Another country musician who, like Rodgers, harked back to the blues, was Louisiana's singer-songwriter Jimmie Davis whose songbook was no less impressive: Pistol Packin' Papa (1929), Organ Grinder's Blues (1929), Pussy Blues (1929), Nobody's Darling But Mine (1935), It Makes No Difference Now (1938), You Are My Sunshine (1939).

In the meantime, two new styles were emerging: honky-tonk and western-swing. And two instruments debuted in those years that would become the staple of rock bands: Adolph Rickenbacker invented (1931) the electric guitar and Laurens Hammond invented (1933) the Hammond organ. The steel guitar was electrified shortly afterwards, and enthusiastically embraced by country musicians (another sign that the trend was away from the mountain purists).

It was Texas singer-songwriter Gene Autry's Silver Hairde Daddy Of Mine (1931) a big hit that launched the "honky-tonk" style of country music. Debuting in the film Tumbling Tumbleweeds (1935), Autry (who in real life was not a cowboy at all) was also the first of the "singing cowboys" of Hollywood (before Roy Rogers, Tex Ritter, Johnny Bond, Jimmy Wakely) that contributed to move country music (originally an eastern phenomenon) to the "far west", at least in the popular imagination. He also recorded Mother Jones (1931), a labor song, besides a long list of western-flavored songs, such as Mexicali Rose (1936). Roy Rogers and songwriters Bob Nolan and Tim Spencer formed the genre's supergroup, the Sons Of Pioneers, who composed some of the genre's classics, starting with Bob Nolan's Tumblin' Tumbleweeds (1927).

Clyde "Red" Foley was the star of Chicago, popularizing country music in the big city with Old Shep (1935) and Chattanooga Shoeshine Boy (1950).

By now "hillbilly" was no longer a positive attribute, but rather a derogatory one, and thus "country & western" came to connote all white southern music. The performers wore country attires and mimicked the slang of cowboys. The fascination with the West spread to the big cities of the North thanks to fake hillbilly songs written by professional Tin Pan Alley songwriters, such as Bill Hill's The Last Rounp (1933), actually a catchy tune in the Broadway style, but nonetheless influential in creating the vogue of the Far West. This enabled Tex Ritter, who had never been cowboy but simply a rodeo attraction, to become a star in New York, thanks to his Texan accent, and then (1936) in Hollywood (Rock'n'Rye Rag, 1948).

Both honky-tonk and western-swing were, de facto, by-procts of the shift of country music towards the western states (i.e. Texas).

In 1932 vocalist Milton Brown and fiddler Bob Wills cut the first records of a kind of country music influenced by jazz that was later bbed "western swing" (by Foreman Phillips in 1944). Basically, the country & western music of rural towns merged with the swing of the big bands of urban jazz. The two pioneers then split. Brown's combo, the Musical Brownies, featuring fiddler Cecil Brower (who introced Joe Venuti's style to country music), jazz pianist Fred Calhoun, Bob Dunn on one of the first amplified steel guitars and a rhythm section influenced by ragtime, ruled in Texas, while Wills' Texas Playboys, based in Oklahoma and featuring a country string section and a jazz horn section, and now fronted by Tommy Duncan, debuted on record in 1935 (with Osage Stomp, reminiscent of Will Shade's Memphis Jug Band) and went on to proce Steel Guitar Rag (1936), New San Antonio Rose (1940), their greatest hit, recorded with an 18-piece band, perhaps the first nation-wide hits of country music. Time Changes Everything (1940), Smoke on the Water (1944), New Spanish Two Step (1946).

From 1936 Chicago's fiddler and accordionist Frank "Pee Wee" King, who wrote Bonaparte's Retreat, Tennessee Waltz and Slow Poke (1950), led the most popular of the western swing bands, the Golden West Cowboys.

After the war, Spade Cooley (in Los Angeles) introced a variant of western swing that de-emphasized the brass and reeds while returning to the more traditional sound of pop orchestras.

Western Swing marked the transition from the archaic string-bands to the dancehall orchestras. These bands were responsible for the introction into country music of instruments such as drums, horns and electric guitar.

Texas singer Al Dexter had hits in both the honky-tonk style, such as Honky Tonk Blues (1934), and the western-swing style, such as Pistol Packin' Mama (1942), boasting a revolutionary arrangement of accordion, trumpet and steel guitar. San Diego's pianist Merrill Moore did the same after World War II, achieving a synthesis in songs such as House Of Blue Lights (1953) that heralded rock'n'roll.

The other major genre to surface ring the 1930s was bluegrass music, but this one originated in the traditional southeastern areas ("bluegrass country" being the nickname of Kentucky). Several vocalist-instrumentalist couples had appeared (particularly brothers) that played a more spirited music devoted to domestic themes.

Alabama's guitar-based Delmore Brothers (Alton was the main composer and lead vocalist) were instrumental in popularizing the "brothers style" thanks to their tenure with the "Grand Ole Opry" between 1932 and 1938. They were also important for bridging the world of white music and the world of black music. Their songs were bluesy, and they often interpreted gospel songs. Their greatest hits were in fact blues numbers, from Brown's Ferry Blues (1933) to Blues Stay Away from Me (1949). In 1944 they added the bluesy harmonica of Wayne Raney, and in 1946 they added electric guitar and drums. That is when they recorded their series of breathless boogies, one step away from rock'n'roll: Hillbilly Boogie (1945), Freight Train Boogie (1946), Mobile Boogie (1948), Pan American Boogie (1950). Other famous numbers were Gonna Lay Down My Old Guitar, Midnight Special, Beautiful Brown Eyes (1951).

『叄』 求英文歌（好聽的鄉村音樂）

要聽經典的就這兩張專輯Let'S Folk（重回木吉他）和Let'S Folk Again，都很好聽，而且你會覺得好熟悉，搜狗和VC的有下載

『肆』 美國鄉村音樂發展史英文介紹

由於文字太多,已將網址發至網路消息,請注意查收.

『伍』 用英文介紹美國鄉村音樂

太難了吧？！

『陸』 跪求一個對美國鄉村音樂的英語簡介

Country music is a popular music with American national characteristics.

（鄉村音樂是一種具有美國民族特色的流行音樂。）

Originated in the southern United States in the 1920s.

（於20世紀20年代興起於美國南部。）

Its roots come from the British folk song, is the white American nation music representative.

（其根源來自英國民謠，是美國白人民族音樂代表。）

Rural music is characterized by simple tune, steady rhythm and narrative.

（鄉村音樂的特點是曲調簡單，節奏平穩，帶有敘事性。）

It has strong local flavor, cordial and warm without losing popular elements.

（具有較濃的鄉土氣息，親切熱情而不失流行元素。）

Most of them are ballad style, two-part style or trilogy style.

（多為歌謠體、二部曲式或三部曲式。）

(6)鄉村音樂英文介紹視頻擴展閱讀

起源：這個名字是20世紀20年代在美國出現的，它的源流很廣。那時歌曲的內容，除了表現勞動生活之外，厭惡孤寂的流浪生活，嚮往溫暖、安寧的家園，歌唱甜蜜的愛情以及失戀的痛苦等都有。

1925年，美國田納西州納什維爾建立了一家廣播電台。他們開辦了一個「往昔的歌劇-老鄉音"的專欄節目。邀請了一位名叫傑米·湯普森的81歲的民間歌手演唱，節目受到聽眾們的熱烈歡迎。

從此，人們統稱這種音樂為"鄉村音樂"。鄉村音樂成為美國勞動人民最喜愛的音樂形式之一。在美國，"藍領"指的是下層人，故這種音樂又稱"藍領音樂"。

『柒』 用英語介紹country music(鄉村音樂)

A commercial offshoot of the folk music of the rural South, country music is an American art form that gained worldwide appeal after World War II. Originally known as hillbilly or mountain music, country music grew from the folk music that was brought to North America by Anglo-Celtic settlers in the 1700s and 1800s. The music changed as it came in contact with ethnic musics—Acadian…

『捌』 鄉村音樂發展史及著名歌手的英文介紹

Country music (or country and Western) is a blend of traditional and popular musical forms traditionally found in the Southern United States and the Canadian Maritimes that evolved rapidly beginning in the 1920s.[1] Distinctive variations of the genre have also emerged elsewhere including Australian country music.

The term country music gained popularity in the 1940s when the earlier term hillbilly music came to be seen as denigrating. Country music was widely embraced in the 1970s, while country and Western has declined in use since that time, except in the United Kingdom and Ireland, where it is still commonly used.[1] However, in the Southwestern United States a different mix of ethnic groups created the music that became the Western music of the term country and Western. The term country music is used today to describe many styles and subgenres.

Country music has proced two of the top selling solo artists of all time. Elvis Presley, who was known early on as 「the Hillbilly Cat」 and was a regular on the radio program Louisiana Hayride,[2] went on to become a defining figure in the emergence of rock and roll. Contemporary musician Garth Brooks, with 128 million albums sold, is the top-domestic-selling solo U.S. artist in U.S. history.[3]

While album sales of most musical genres have declined since about 2005, country music experienced one of its best years in 2006, when, ring the first six months, U.S. sales of country albums increased by 17.7 percent to 36 million. Moreover, country music listening nationwide has remained steady for almost a decade, reaching 77.3 million alts every week, according to the radio-ratings agency Arbitron, Inc.[4][5

部分翻譯：

鄉村音樂
曲風起源 阿帕拉契山民謠、福音、英國-凱爾特音樂
文化起源 二十世紀早期的美國南部，尤其是阿帕拉契山區（田納西州、維吉尼亞州、西維吉尼亞州及肯塔基州）。
典型樂器 吉他 - 小提琴 - 鋼弦吉他 - 鋼琴 - 多撥拉 - 口琴 - 貝斯 - 鼓 - 曼陀林 - 班卓琴
普遍程度 1920年代至今。在美國、澳洲和加拿大高度流行，英國、愛爾蘭及紐西蘭尚普遍，亞洲、非洲、拉丁美洲與英國與愛爾蘭以外的歐洲較不主流。
延伸曲風 藍草 - Dansband - 搖滾 - 鄉村搖滾 - 南部搖滾
子類別
貝克斯菲爾德之音 - 藍草 - Close harmony - Honky tonk - Jug band - 拉伯克之音 - 納什維爾之音 - 新傳統鄉村 - 解放鄉村 - 紅土 - 德州鄉村
融合曲風
另類鄉村 - 鄉村藍調 - 鄉村搖滾 - 精神搖滾（Psychobilly） - 山地鄉村搖滾 - 牛仔龐克 - 鄉村rap - 鄉村流行 - 西部搖擺樂
其他主題
鄉村音樂家 - 鄉村音樂年表

鄉村音樂（Country music），也稱鄉村與西部（Country and Western），是一種當代的流行音樂，起源於美國南部與阿帕拉契山區。鄉村音樂的根源可追溯至1920年代，融合了傳統民謠音樂、凱爾特音樂、福音音樂及古時音樂[1]。1940年代，當鄉土音樂（hillbilly music）地位漸衰時，人們開始以統一的術語「鄉村音樂」作為稱呼，1970年代更大大普及，並在世界各地（除了美國及愛爾蘭）取代了「鄉村與西部」的稱呼[1]。

鄉村音樂出了兩位十分知名的暢銷歌手。一位是艾維斯·普利斯萊，人稱貓王，同時也是新音樂類型「搖滾樂」的代表人物。另一位，當代音樂家葛司·布魯克斯（Garth Brooks），擁有一億兩千八百萬專輯銷售量，則是美國史上最暢銷的歌手[2]。

『玖』 請問誰有介紹美國鄉村音樂的英文ppt

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