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流行/搖滾/鄉(xiāng)村音樂(lè)：Pop/Rock/ Country
Pop/rock might seem like an overly vague designation — after all, rock & roll was catchy and melodic long before it was thought of as pop music, and from the early 60s on, nearly all pop reflected the influence of rock & roll in one way or another. But pure pop took a while to become comfortable with rocks insistent backbeat, and it wasn't until the dawn of the70s — around the time when rock & rolls first-generation fans were settling into adulthood — that truly equal pop/rock fusions became the epitome of mainstream music (as opposed to pre-rock vocal pop, which still commanded a sizable adult audience for most of the 60s).
流行／搖滾讓人覺(jué)得可能是個(gè)含糊不清的概念－－在其被視作一種流行樂(lè)很久之前，搖滾是又上口又有旋律感的。從1960年代的早期開(kāi)始，幾乎所有的流行音樂(lè)都多少折射出搖滾樂(lè)的影響，或者說(shuō)是一種相互的影響。但純粹的流行樂(lè)的確費(fèi)了一些時(shí)候才接受了來(lái)自搖滾樂(lè)中的一連串兒的重拍，并且直到1970年代初－－當(dāng)?shù)谝淮鷵u滾樂(lè)迷成長(zhǎng)為成人的時(shí)候－－真正的、份量合適的流行／搖滾風(fēng)格才變成了音樂(lè)的主流（與搖滾樂(lè)之前的1960年代中吸引了大量聽(tīng)眾的人聲流行樂(lè)相反）。
Naturally, pop/rocks primary focus was on melody — as big, catchy, and instantly memorable as possible, whether the song was a rocker, ballad, or midtempo in-betweener. But the other, less immediately apparent aspect of pop/rock was its emphasis on the professional craft of record-making. The songs were tightly constructed, with no wasted space or prolonged detours from the melodic hooks. The production was clean, polished, and bright, making full use of the advances in recording technology (and technique) that had taken place over the course of the 60s. In general, pop/rock was catchy and energetic enough to appeal to younger listeners, but clean and safe enough for adults as well. Pop/rock, however, was not soft rock; its important to realize — hard as it may be to imagine today — that the big hooks, rock instrumentation, and definite backbeat gave pop/rock an energy that would have been too edgy for more conservative listeners who hadn't grown up with rock & roll.
很自然地，流行／搖滾基本點(diǎn)是旋律的關(guān)注－－大氣，上口，最好能立刻記住，無(wú)論這歌是首搖滾的，民謠的，還是居中不溫不和的。但從另一側(cè)面看，流行／搖滾不為眾人所知的是對(duì)于專業(yè)錄音方面的關(guān)注。歌曲結(jié)構(gòu)很緊湊，既沒(méi)有浪費(fèi)的地方又沒(méi)有在旋律上故意拖延吊人胃口，制作上則干凈無(wú)暇，明亮華麗，充分運(yùn)用錄音技術(shù)的優(yōu)勢(shì)（和技巧）的情況在1960年代已經(jīng)大量出現(xiàn)。普遍上來(lái)說(shuō)，流行／搖滾是易于上口和活力充沛，足以吸引年輕聽(tīng)眾的，同時(shí)又干凈安全到足以滿足成人聽(tīng)眾。但是流行／搖滾畢竟不是軟搖滾，因此要格外意識(shí)到－－它可以如今日的音樂(lè)一樣的硬－－大氣的調(diào)調(diào)，搖滾器樂(lè)的演奏，還有堅(jiān)硬的節(jié)奏，給予流行／搖滾一種對(duì)于多數(shù)保守的，不是伴隨搖滾樂(lè)長(zhǎng)大的聽(tīng)眾來(lái)講過(guò)于銳利的力量。
Naturally, with its commercial accessibility, pop/rock produced some of the biggest stars of the 70s, such as Elton John, Peter Frampton, Paul McCartney & Wings, and Fleetwood Mac; it continued on into the 80s with Billy Joel, Bruce Springsteen, Hall & Oates, George Michael, and many others. In the 90s, pop/rock became largely the province of well-established veterans, as alternative rock, urban R&B, hip-hop, and teen pop took over the pop charts to the exclusion of most everything else.
自然而然地，伴隨商業(yè)的介入，流行／搖滾造就了一些1970年代最有名的明星，如Elton John，Peter Frampton，Paul McCartney & Wings（編者：Paul McCartney是前甲殼蟲(chóng)的左手貝斯手，后被封爵），還有Fleetwood Mac；進(jìn)入1980年代后，這種風(fēng)格伴隨著B(niǎo)illy Joel，Bruce Springsteen（編者注：拿一把Fender吉他的被稱作美國(guó)的“藍(lán)領(lǐng)英雄”的著名搖滾樂(lè)家），Hall & Oates，George Michael和眾多其他樂(lè)人繼續(xù)成長(zhǎng)。1990年代里，流行／搖滾變成了大量其他成熟的樂(lè)風(fēng)的基石，比如另類搖滾，都市節(jié)奏與布魯斯，黑炮以及青少年流行樂(lè)（如Britney Spears），從占領(lǐng)流行榜并滲透到幾乎每一個(gè)角度。
鄉(xiāng)村音樂(lè)--Country
Country music is about tradition, yet its simple form lends itself to endless variations on similar themes. Like blues — the two genres often shared themes, melodies and songs — country is a simple music at its core. Most of its songs are built around three chords and a plain melody, but these forms are so basic, they allow for many different styles, from the gritty sounds of honky tonk to the jazzy improvisations of Western Swing.
鄉(xiāng)村音樂(lè)是種傳統(tǒng)，而其簡(jiǎn)單的形式使其由于相似的主題而被其他音樂(lè)借用，產(chǎn)生無(wú)數(shù)的形式。就像是布魯斯－－這兩種音樂(lè)經(jīng)常有共同的主題、旋律和歌曲－－鄉(xiāng)村樂(lè)從核心來(lái)講是種簡(jiǎn)單的音樂(lè)。其中的多數(shù)歌曲只用三個(gè)和弦（編者注：布魯斯也如此，經(jīng)常用到的三和弦是大調(diào)的Ｉ、ＩＶ和Ｖ級(jí)和弦）和一個(gè)樸素的旋律。正因?yàn)檫@些形式如此的基本，它們?cè)试S加入其他眾多的音樂(lè)風(fēng)格，像從粗糙的honky tonk之聲到西部搖擺樂(lè)風(fēng)中爵士樂(lè)般的即興進(jìn)階。
Country music grew out of American Southern folk music, both Appalachian and blues, and old-time country was simple and folky, with just guitars and fiddles. As the genre progressed, old time music evolved into the rhythmic guitar-and-fiddle driven traditional country that became the foundation of modern country music, from honky tonk and Western Swing to the pop-oriented Countrypolitan and rock-inflected Bakersfield Sound.
鄉(xiāng)村音樂(lè)來(lái)自美國(guó)南方的民間音樂(lè)，包括阿巴拉契亞和布魯斯樂(lè)。老式的鄉(xiāng)村樂(lè)簡(jiǎn)單又純樸，只有吉他和小提琴。隨著此種音樂(lè)門類的發(fā)展，早年的音樂(lè)發(fā)展成為節(jié)奏感的吉他－提琴為基本演奏形式的，傳統(tǒng)鄉(xiāng)村為基礎(chǔ)的當(dāng)代鄉(xiāng)村音樂(lè)，并涵蓋了從honky tonk和西部搖擺，到基于流行的都市鄉(xiāng)村樂(lè)和受搖滾影響的貝克斯費(fèi)爾德之聲。(連慶譯自AMG)
(廈門吉他培訓(xùn)中心)
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