乡村音乐英文介绍视频

『壹』 英语介绍的美国乡村音乐

美国乡村音乐

乡村音乐是土生土长的美国音乐，体现了浓郁的美国南方民间音乐的风格。传统的乡村音乐从19世纪的弦乐曲和传统叙事歌中发展而来，他的一个显著特点就是，不受性别和年龄限制，也不受时间地点的限制，一把吉他，外加班卓琴和口琴乐器的伴奏，歌手便可以尽情抒发他们心中的快乐和忧愁。在相当长的一段时间里，乡村音乐的歌手和歌迷几乎都是农民、牛仔、矿工和伐木工等生活在南部乡村的美国白人，歌手唱歌时也总是带着浓重的南方鼻音。大部分歌曲的内容都表达了他们对爱情的忠贞不渝，对乡土的眷恋之情，或者反映了生活的艰辛，贫困的煎熬以及家庭的温馨等。
20世纪50年代初，随着电声乐器的发展，乡村音乐中逐渐加入了电子乐器、鼓、提琴、和号，声乐合唱也取代了先前音乐中“高亢、孤独”的歌声。这时期的乡村音乐已经慢慢失去原先醇厚的“乡土气息”，而呈现出更多的现代都市风味。借此契机，乡村音乐也在全美各地拓展了它的市场。田纳西州的收服纳什维尔是当时美国乡村音乐最大也是最为人所熟知的商业中心，绝大部分的乡村音乐歌手都来到这里寻求发展的机会，绝大部分的乡村歌曲也都是在纳什维尔的录音棚里录制的，以至于人们将这一时期的乡村音乐称为“纳什维尔音乐”。
70年代中期，以威利.纳尔逊和维龙.詹宁斯为首，在美国乡村音乐界发起了一场称为“叛逆”的运动，旨在用一种更简单朴实的方法取代已经程式化的“纳什维尔音乐”。之后不久，在70年代末到80年代初，“新传统派歌手”异军突起，成为美国乡村音乐中最走红的一派。这些新一代乡村歌手的音乐不再是纳什维尔、纽约或洛衫机生产线上推出的毫无生命力的音乐制品，他们力图摒弃村音乐歌坛上那些令人眼花缭乱的手法和技巧，而以其不加雕饰的音乐风格恢复乡村音乐的真实面貌。“新传统派歌手”以其声音悦耳动听、旋律优美柔和而获得巨大成功。至今，它仍在美国流行乐坛上独领乡村音乐的风骚。
在一个多世纪的发展历程中，美国乡村音乐虽然在音乐风格上多种多样，但是几乎都有着共同的主题思想，即歌曲都毫无例外地反映了普通美国人，特别是生活在社会最底层的普通工人和农民的爱情婚姻生活、宗教信仰、对乡土的热爱和眷恋以及他们生活中最普通也最感人的经历。不少歌曲都以工作场面为主题，还有的甚至以赌徒、醉汉和监狱囚犯的生活经历为主题，但是不管如何，美国乡村音乐是名副其实的美国“特产”，也是美国人民献给世界人民的一份美好礼物。

Shawn Colvin 《Sunny Came Home》
外文歌曲 - 美国乡村音乐 - 草帽歌.mp3
美国乡村音乐（经典） - 外文歌曲 - 欧美经典篇 - 昨日重现-yesterday once more.mp3
美国乡村音乐-love is blue(爱是忧郁).mp3
经典英文歌 - 美国乡村音乐i - longer [dan fogelberg].mp3
英文歌曲 - 欧美经典 - 生命因你而动听-落日之幻美国乡村音乐(经典) - 雨中的旋律 mp3
美国乡村音乐 - blowing in the wind.mp3
猫王--美国乡村歌曲-温柔爱我.mp3
jambalaya(on the bayou) 什锦菜_美国乡村音乐经
典.mp3
（英文歌曲）take me home country road 乡村路带我回家约翰丹弗(美国乡村音乐).mp3
国外经典(外文)-好歌大家听 - 美国乡村音乐 - hey jude.wma
参考资料：http://www.szpiano.org/Html/Article/theory/2/2554.htm

『贰』 用英文介绍乡村音乐

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).

『叁』 求英文歌（好听的乡村音乐）

要听经典的就这两张专辑Let'S Folk（重回木吉他）和Let'S Folk Again，都很好听，而且你会觉得好熟悉，搜狗和VC的有下载

『肆』 美国乡村音乐发展史英文介绍

由于文字太多,已将网址发至网络消息,请注意查收.

『伍』 用英文介绍美国乡村音乐

太难了吧？！

『陆』 跪求一个对美国乡村音乐的英语简介

Country music is a popular music with American national characteristics.

（乡村音乐是一种具有美国民族特色的流行音乐。）

Originated in the southern United States in the 1920s.

（于20世纪20年代兴起于美国南部。）

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

（其根源来自英国民谣，是美国白人民族音乐代表。）

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

（乡村音乐的特点是曲调简单，节奏平稳，带有叙事性。）

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

（具有较浓的乡土气息，亲切热情而不失流行元素。）

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

（多为歌谣体、二部曲式或三部曲式。）

(6)乡村音乐英文介绍视频扩展阅读

起源：这个名字是20世纪20年代在美国出现的，它的源流很广。那时歌曲的内容，除了表现劳动生活之外，厌恶孤寂的流浪生活，向往温暖、安宁的家园，歌唱甜蜜的爱情以及失恋的痛苦等都有。

1925年，美国田纳西州纳什维尔建立了一家广播电台。他们开办了一个“往昔的歌剧-老乡音"的专栏节目。邀请了一位名叫杰米·汤普森的81岁的民间歌手演唱，节目受到听众们的热烈欢迎。

从此，人们统称这种音乐为"乡村音乐"。乡村音乐成为美国劳动人民最喜爱的音乐形式之一。在美国，"蓝领"指的是下层人，故这种音乐又称"蓝领音乐"。

『柒』 用英语介绍country music(乡村音乐)

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』 乡村音乐发展史及著名歌手的英文介绍

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

部分翻译：

乡村音乐
曲风起源 阿帕拉契山民谣、福音、英国-凯尔特音乐
文化起源 二十世纪早期的美国南部，尤其是阿帕拉契山区（田纳西州、维吉尼亚州、西维吉尼亚州及肯塔基州）。
典型乐器 吉他 - 小提琴 - 钢弦吉他 - 钢琴 - 多拨拉 - 口琴 - 贝斯 - 鼓 - 曼陀林 - 班卓琴
普遍程度 1920年代至今。在美国、澳洲和加拿大高度流行，英国、爱尔兰及新西兰尚普遍，亚洲、非洲、拉丁美洲与英国与爱尔兰以外的欧洲较不主流。
延伸曲风 蓝草 - Dansband - 摇滚 - 乡村摇滚 - 南部摇滚
子类别
贝克斯菲尔德之音 - 蓝草 - Close harmony - Honky tonk - Jug band - 拉伯克之音 - 纳什维尔之音 - 新传统乡村 - 解放乡村 - 红土 - 德州乡村
融合曲风
另类乡村 - 乡村蓝调 - 乡村摇滚 - 精神摇滚（Psychobilly） - 山地乡村摇滚 - 牛仔庞克 - 乡村rap - 乡村流行 - 西部摇摆乐
其他主题
乡村音乐家 - 乡村音乐年表

乡村音乐（Country music），也称乡村与西部（Country and Western），是一种当代的流行音乐，起源于美国南部与阿帕拉契山区。乡村音乐的根源可追溯至1920年代，融合了传统民谣音乐、凯尔特音乐、福音音乐及古时音乐[1]。1940年代，当乡土音乐（hillbilly music）地位渐衰时，人们开始以统一的术语“乡村音乐”作为称呼，1970年代更大大普及，并在世界各地（除了美国及爱尔兰）取代了“乡村与西部”的称呼[1]。

乡村音乐出了两位十分知名的畅销歌手。一位是艾维斯·普利斯莱，人称猫王，同时也是新音乐类型“摇滚乐”的代表人物。另一位，当代音乐家葛司·布鲁克斯（Garth Brooks），拥有一亿两千八百万专辑销售量，则是美国史上最畅销的歌手[2]。

『玖』 请问谁有介绍美国乡村音乐的英文ppt

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