灵乐的其他风格

灵乐英文介绍~

Soul music is a music genre originating in the United States combining elements of gospel music and rhythm and blues.According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying."The genre occasionally uses improvisational additions, twirls and auxiliary sounds. Catchy rhythms, stressed by handclaps and plastic body moves, are an important feature. Other characteristics are a call and response between the soloist and the chorus, and an especially tense vocal sound.

Origins
Soul music has its roots in gospel music and rhythm and blues. The hard gospel vocal quartets of the 1940s and 1950s were big influences on major soul singers of the 1960s.

Ray Charles is often cited as inventing the soul genre with his string of hits starting with 1954's "I Got A Woman". Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Another view has it that a decade would transpire until Solomon Burke's early recordings for Atlantic Records codified the soul style; his early 1960s songs "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Little Richard, Fats Domino and James Brown originally called themselves rock and roll performers. However, as rock music moved away from its R&B roots in the 1960s, Brown claimed that he had always really been an R&B singer. Little Richard proclaimed himself the "king of rockin' and rollin', rhythm and blues soulin'", because his music embodied elements of all three, and because he inspired artists in all three genres.

Aretha Franklin's 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "Respect" (originally sung by Otis Redding), and "Do Right Woman-Do Right Man", are considered the apogee of the soul genre, and were among its most commercially successful productions. In the late 1960s, Stax artists such as Eddie Floyd and Johnnie Taylor made significant contributions to soul music. Howard Tate's recordings in the late 1960s for Verve Records, and later for Atlantic (produced by Jerry Ragovoy) are another notable body of work in the soul genre. By 1968, the soul music movement had begun to splinter, as artists such as James Brown and Sly & the Family Stone began to incorporate new styles into their music.

1970s
Later examples of soul music include recordings by The Staple Singers (such as I'll Take You There), and Al Green's 1970s recordings, done at Willie Mitchell's' Royal Recording in Memphis. Mitchell's Hi Records continued the Stax tradition in that decade, releasing many hits by Green, Ann Peebles, Otis Clay, O.V. Wright and Syl Johnson. Bobby Womack, who recorded with Chips Moman in the late 1960s, continued to produce soul recordings in the 1970s and 1980s.

In Detroit, producer Don Davis worked with Stax artists such as Johnnie Taylor and The Dramatics. Early 1970s recordings by The Detroit Emeralds, such as Do Me Right, are a link between soul and the later disco style. Motown Records artists such as Marvin Gaye and Smokey Robinson contributed to the evolution of soul music, although their recordings were considered more in a pop music vein than those of Redding, Franklin and Carr. Although stylistically different from classic soul music, recordings by Chicago-based artists are often considered part of the genre.

By the early 1970s, soul music had been influenced by psychedelic rock and other genres. The social and political ferment of the times inspired artists like Gaye and Curtis Mayfield to release album-length statements with hard-hitting social commentary. Artists like James Brown led soul towards funk music, which became typified by 1970s bands like Parliament-Funkadelic and The Meters. More versatile groups like War, the Commodores and Earth, Wind and Fire became popular around this time. During the 1970s, some slick and commercial blue-eyed soul acts like Philadelphia's Hall & Oates and Oakland's Tower of Power achieved mainstream success, as did a new generation of street-corner harmony or city-soul groups like The Delfonics and Howard University's Unifics. By the end of the 1970s, disco and funk were dominating the charts. Philly soul and most other soul genres were dominated by disco-inflected tracks. During this period, groups like The O'Jays and The Spinners continued to turn out hits.

1980s and later
The emergence of hip hop culture in the late 1970s greatly influenced the soul music that followed in the 1980s. Afrika Bambaata & The Soulsonic Force had hits with a new electronic sound, with songs such as "Planet Rock" and "Looking For The Perfect Beat". Soul music-makers realised they would have to make their beats bigger, and also find a way of fusing soul with drum machines and synthesizers. Production teams like James 'Jimmy Jam' Lewis and Terry Harris (former members of The Time), L.A. Reid and Babyface created a harder but also lusher almost epic soul sound, providing endless hits for Janet Jackson, TLC, Alexander O'Neal, The SOS Band and Bobby Brown.

Writer and producer Teddy Riley and others created new jack swing (also known as swingbeat), which fused soul and hip hop. Riley's sound consisted of hip hop beats, gospel and jazz melodies, and a raw and sparse sound.

After the decline of disco and funk in the early 1980s, soul music became influenced by electro music and funk. It became less raw and more slickly produced, resulting in a style known as contemporary R&B, which sounded very different from the original rhythm and blues style.

In mid 1980s Chicago, house music was heavily influenced by soul, funk and disco. This was mainly made using synthesizers and other electronic equipment. House and techno rose to mainstream popularity in the late 1980s and remained popular in the 1990s and 2000s. Also starting in the 1980s, soul music from the United Kingdom become popular worldwide.

The United States saw the development of neo-soul around 1994. Mainstream record label marketing support for soul genres cooled in the 2000s due to the industry's re-focus on hip hop.

Subgenres
Detroit (Motown) soul
Further information: Motown Records
Dominated by Berry Gordy's Motown Records empire, Detroit soul is strongly rhythmic and influenced by gospel music. The Motown sound often includes hand clapping, a powerful bass line, violins and bells. Motown Records' house band was The Funk Brothers.


Deep soul and southern soul
Further information: Deep soul and Southern soul
The terms deep soul and southern soul generally refer to a driving, energetic soul style combining R&B's energy with pulsating southern United States gospel music sounds. Memphis, Tennessee label Stax Records nurtured a distinctive sound, which included putting vocals further back in the mix than most contemporary R&B records, using vibrant horn parts in place of background vocals, and a focus on the low end of the frequency spectrum. The vast majority of Stax releases were backed by house bands Booker T and the MGs (with Booker T. Jones, Steve Cropper, Duck Dunn, and Al Jackson) and the Memphis Horns (the splinter horn section of the Mar-Keys).


Memphis soul
Further information: Memphis soul
Memphis soul is a shimmering, sultry style of soul music produced in the 1960s and 1970s at Stax Records and Hi Records in Memphis, Tennessee. It featured melancholic and melodic horns, organ, bass, and drums, as heard in recordings by Hi's Al Green and Stax's Booker T. & the M.G.'s. The latter group also sometimes played in the harder-edged Southern soul style. The Hi Records house band (Hi Rhythm Section) and producer Willie Mitchell developed a surging soul style heard in the label's 1970s hit recordings. Some Stax recordings fit into this style, but had their own unique sound

New Orleans soul
The New Orleans soul scene directly came out of the rhythm and blues era, when such artists as Little Richard, Fats Domino, and Huey Piano Smith made a huge impact on the pop and R&B charts and a huge directly influence for the birth of the Funk music . The principal architect of Crescent City’s soul was songwriter, arranger, and producer Allen Toussaint. He worked with such artists as Irma Thomas (“the Soul Queen of New Orleans”), Jessie Hill, Kris Kenner, Benny Spellman, and Ernie K. Doe on the Minit/Instant label complex to produced a distinctive New Orleans soul sound generating a passel of national hits. Other notable New Orleans hits came from Robert Parker, Betty Harris, and Aaron Neville. While record labels in New Orleans largely disappeared by the mid-1960s, producers in the city continued to record New Orleans soul artists for other mainly New York and Los Angeles record labels—notably Lee Dorsey for New York-based Amy Records and the Meters for New York-based Josie and then LA-based Reprise.


Chicago soul
Further information: Chicago soul
Chicago soul generally had a light gospel-influenced sound, but the large number of record labels based in the city tended to produce a more diverse sound than other cities. Vee Jay Records, which lasted until 1966, produced recordings by Jerry Butler, Betty Everett, Dee Clark, and Gene Chandler. Chess Records, mainly a blues and rock and roll label, produced a number of major soul artists. Mayfield not only scored many hits with his group, the The Impressions, but wrote many hit songs for Chicago artists and produced hits on his own labels for The Fascinations and the Five Stairsteps.


Philadelphia soul
Further information: Philadelphia soul
Based primarily in the Philadelphia International record label, Philadelphia soul (AKA Philly Soul) had a lush orchestral sound and doo-wop-inspired vocals. Thom Bell, and Kenneth Gamble & Leon Huff are considered the founders of Philadelphia soul.


Psychedelic soul
Further information: Psychedelic soul
Psychedelic soul was a blend of psychedelic rock and soul music in the late 1960s, which paved the way for the mainstream emergence of funk music a few years later.


Blue-eyed soul
Further information: Blue-eyed soul
Blue-eyed soul is a term used to describe R&B or soul music performed by white artists. The term doesn't refer to a distinct style of music, and the meaning of blue-eyed soul has evolved over decades. Originally the term was associated with mid-1960s white artists who performed soul and R&B that was similar to the music released by Motown Records and Stax Records. The term continued to be used in the 1970s and 1980s, particularly by the British media to describe a new generation of singers who adopted elements of the Stax and Motown sounds. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music.


Neo soul
Further information: Neo soul
The term neo soul is a marketing phrase coined by producer and record label executive Kedar Massenburg to describe a musical blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip hop beats and poetic interludes. The style was developed in the early to mid 1990s. A key element in neo soul is a heavy dose of Fender Rhodes or Wurlitzer electric piano pads over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music a warm, organic character.


Northern soul and modern soul
Further information: Northern soul and Modern soul
The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine.[3] The term refers to rare soul music that was played by DJs at nightclubs in northern England. The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records. Modern soul developed when northern soul DJs began looking in record shops in the United States and United Kingdom for music that was more complex and contemporary. What emerged was a richer sound that was more advanced in terms of Hi-Fi and FM radio technology.


Nu-Jazz and soulful electronica
Further information: Nu jazz and Electronica
Many artists in various genres of electronic music (such as house, drum n bass, UK garage, and downtempo) are heavily influenced by soul, and have produced many soul-inspired compositions.

有问题，wiki一下^_^

灵魂乐，又翻译为灵歌，是美国流行音乐的一个分支，起源于底特律黑人音乐，曾同时占据流行音乐和节奏与布鲁斯音乐两个排行榜的统治地位。1963年末期至1965年早期，它竟然将节奏与布鲁斯音乐挤出(公告牌)杂志排行榜长达14个月之久。对于白人与黑人来讲，这也是个绝无仅有的时期，因为他们都在争相购买同一种风格的唱片。从1969年8月23日开始直至灵歌的没落，灵歌排行榜一度成为黑人音乐排行榜的代名词。雷·查尔斯(CHARLES，RAY)是第一位灵歌艺人。他在节奏与布鲁斯音乐中大量吸收了黑人福音音乐的激情与唱法，特别是被称做“花唱”的发声法。他用一种近乎神圣的方式去演唱那些世俗的歌曲，在某些人眼里，这简直是大逆不道。以小理查德(LITTLERICHARD)为代表的黑人摇滚歌星则更为狂热的为同一目标进行着探索。这种不为人所知，包含大量黑人音乐要素的音乐风格的新颖独特，令白人青少年兴奋不已。萨姆·库克(COOKE，SAM)首开先河，脱离福音音乐流派[他是“灵魂煽动者”(SoulStirrers)的主唱，拥有大批歌迷]。他的一首《你使我神魂颠倒》(YouSendMe，1957年榜首歌曲)尽显“花唱”之精华，标志警灵歌时代的开始，但是他接下来的一些作曲大失水准，令听众大失所望。
King唱片公司的詹姆斯·布朗(BROWN，JAMES)风格独特，1958年挤入流行音乐排行榜。1960年，吉姆·斯图尔特 (JimStewart)在孟菲斯创建了Satellite唱片公司，着重培养当地的歌手。同年，他推出了由鲁弗斯·托马斯(RufusThomas)和他的女儿卡拉(Carla)录制的一系列上榜歌曲。当然，他们量大的成功还得算培养了奥蒂斯·雷丁(REDDING，OTIS)。因为西海岸已经出现了一家Satellite唱片公司，他们不得不更名为Stax唱片公司。不久，他们相继与Atlantic唱片公司和马斯尔·肖尔斯录音棚的Fame公司达成销售协议，杰里·韦克斯勒(JerryWexler)负责给Atantic的艺人到南部录制唱片的联系工作。由于当地的一支节奏与布鲁斯乐队 RoyalSpades以及随后BookerTandtheMGs和“孟菲斯号角”(MemphisHorns)乐队的加入，Stax公司拥有了自己的室内乐团。年轻的制作人奇普斯·莫曼(ChipsMoman)不久就开始建立自己的录音棚。伊萨克·海斯(IsaacHayes)和戴维·波特 (DavidPorter)也为“萨姆和戴夫”(Sam&Dave)写了大量的作品。举止古怪而又充满幻想的汤姆·斯塔福德 (TomStafford)招集了里克·霍尔(RickHall)、比利·谢里尔(BillySherill)等几个年轻的制作人以及键盘手斯普纳·奥尔德姆(SpoonerOldham)、歌手丹·佩恩[DanPenn，他唱过的黑人歌曲比埃尔维斯·普雷斯利(PRESLEY，ELVIS)多得多]、作曲家唐尼·弗里茨(DonnieFritts)等人创建了Fame唱片公司。他们的第一批上榜歌曲都是阿瑟·亚历山大(ArthurAlexander) 的作品。这些在黑人艺人中间掀起了灵魂音乐创作的热潮，除上面提到的人以外，阿蕾沙·富兰克林(FRANKLIN，ARETHA)、威尔逊·皮克特 (PICKETT，WILSON)、乔·特克斯(JoeTex)、珀西·斯莱奇(PercySledge)、本·E·金(KING，BENE)、威廉·贝尔(WilliamBell)和所罗门·伯克(BURKE，SOLOMON)等人分别在一些白人业余爱好者经营的小工作室中录制唱片。他们的做法得到了地处南方，头脑敏捷，朝气蓬勃的年轻音乐家的支持，他们不惜一切，在一条充满艰难的道路上跋涉。当时，这些艺人还没有条件随时在一起进行研讨，但是早期的音乐合成竞在这种情况下产生了(虽是偶然发生，但它却是千真万确)。它牵动了整整一代人的心。
众所周知，灵歌的黄金时代随着1968年4月4日马丁·路德·金(MartinLutherKing)的遇刺身亡而悄然结束。其后，全美国的黑人无可指责地展开了系列的报复活动，因为职员的人身安全不能得以保证，Stax公司不得不暂时停业。在1968年召开的全国广播电视时事评论员联合会大会上，韦克斯勒被模拟绞死，还有些人遭到了毒打，据说许多人还为此不得不开始携带枪支。事实上，尽管黑人在进军流行乐坛的过程中取得了完全的胜利，但是黑人艺人和商人 [除了芝加哥的贝里·戈迪(BerryGordy)以外]无法保持他们已取得的成功，而被迫求助于白人的企业(直至80年代，这种情况没有什么改观。如果你不是“莱昂内尔·里奇”式的人物，大的公司是不会搭理你的)。灵歌的黄金时代也标志着多年来现实存在的种族隔离的结束，同一时期，人权运动也开始蓬勃发展。当然，美国人民还需要20年、30年或者更长的时间去消除长达300多年来种族压迫所带来的深重的影响。在Stax公司和Fame公司投身这场音乐变革的艺人也各展身手，进行着各种各样的探索。但是，一些经典的音乐流派仍在兢兢业业地创作，他们的作品依然在听众的心里占有很高的地位。
阿诺德·肖在他的著作《86年度全美黑人流行音乐》(BlackPopularMusicinAmerica’86)一书中阐述了这样一条理论，节奏与布鲁斯音乐是教条型的，而灵歌Motown流行音乐是反教条的。白人音乐将此两种音乐形式合二为一，“棒哥们儿”(RIGHTEOUSBROTHERS)演唱组就成功地悟出了灵歌的真谛，人们将他们的这种独特的音乐风格称为“蓝眼灵歌”。史蒂夫·温伍德(WINWOOD，STEVE)在1987年度取得的格莱美奖是灵歌时代的又一成果。“北部灵歌”这个名词指英国北部的白人流行音乐从伟大的黑人音乐中汲取了大量营养，而不是从伦敦电视节目中那些枯燥乏味、装胶作势的表演中得到了什么，连英国俱乐部舞厅里的音乐也受到灵歌的极大的影响。出身于教会的阿尔·格林(GREEN，AL)成为整个70年代最伟大的艺人之一。“甜蜜的灵歌”指类似皮博·布赖森(PeaboBryson)的黑人浪漫歌手。阿尔·雅罗(AlJarreau)的唱片像80年代出版的其他一些唱片一样，曾一度滞销，但他那充满深情的歌声打动了成千上万的听众。80年代中期，从事广告、影视、唱片行业的人年龄在30～40岁之间。他们清楚经典的灵歌是如何的伟大。Atlantic公司利用了原来的录音，重新出版了7张双张唱片。只要不是草率行事，灵歌就是优美动听的标志

更多信息：摩城唱片
由Berry Gordy的Motown唱片帝国的支配下，活塞队的灵魂，是强烈的节奏和福音音乐的影响。该汽车城的声音通常包括拍手，一个强大的低音，小提琴和铃铛。摩城唱片的房子放克兄弟乐队。 更多信息：灵魂深处的灵魂和南部
灵魂深处的条款和南部的灵魂一般指驾驶，精力充沛的灵魂风格相结合的脉动美国南部福音音乐的R&B的能源声音。田纳西州的孟菲斯标签的Stax唱片培育了独特的声音，其中包括把人声更久远比大多数当代R&B记录，在混合使用的背景声的地方充满活力的喇叭部分，对频谱的低端的焦点。对绝大多数的Stax发布辅以房子带布克T和（与布克琼斯，史蒂夫克罗帕，鸭Dunn和铝杰克逊）和孟菲斯角（该月-键分裂喇叭一节）毫克。 更多信息：孟菲斯灵魂
灰熊队的灵魂，是一个闪闪发光，在20世纪60年代，在记录和Hi的Stax田纳西州孟菲斯市的记录20世纪70年代生产的灵魂音乐撩人的风格。它的特色忧郁和旋律喇叭，风琴，贝司，鼓，如录音听取了Hi的艾尔格林和StAX的布克暨MG的。后者有时也难以发挥在边南的灵魂风格。房子的HI记录带（高节奏部分）和制片威利米切尔研制出澎湃的灵魂风格，在标签的20世纪70年代的录音听打。有些的Stax唱片融入这种风格，但有自己独特的声音
新奥尔良的灵魂
新奥尔良灵魂现场直接出来的节奏和蓝调的时代，当作为小理查德，脂肪Domino和休伊钢琴史密斯等艺术家作了关于流行和R&B的图表和一个巨大的直接影响有关的芬克出生的巨大影响音乐。在新奥尔良市的灵魂主要建筑师是词曲作者，编曲，制作人艾伦图森特。他曾作为伊尔玛托马斯（“新奥尔良的灵魂皇后”），杰西山，克里斯肯纳，本尼斯佩尔曼，和Ernie上的MINIT多伊光/即时标签复杂，这些艺术家制作了一个独特的新奥尔良灵魂声音产生一批国家命中。其他值得注意的点击来自新奥尔良罗伯特帕克，贝蒂哈里斯，和亚伦内维尔。而唱片公司在新奥尔良主要由1960年代中期消失，在全市生产持续录得新奥尔良其他灵魂艺术家们主要纽约和洛杉矶唱片公司，特别是李多尔西纽约的艾米记录和米总部位于纽约的乔西，然后洛杉矶的重奏。 更多信息：芝加哥的灵魂
芝加哥的灵魂一般有一个光福音影响的声音，但在城市的大量唱片公司往往产生比其他城市更多元化的声音。韦周杰伦记录，这延续到1966年，生产的杰里巴特勒，贝蒂埃弗雷特，迪伊克拉克和基因钱德勒录音。国际象棋记录，主要是布鲁斯和摇滚乐的标签，产生了重大的灵魂艺人。梅菲尔德不仅拿下了他的小组中，许多的印象安打，但芝加哥艺术家写了很多首热门歌曲制作的魅力，并为五Stairsteps自己的标签命中。 更多信息：费城灵魂
总部设在费城国际唱片公司为主，费城灵魂（又名费城灵魂）有茂密的管弦乐声斗wop风格的主唱。汤姆贝尔和Kenneth宝洁与莱昂吞吐被认为是费城灵魂的创始人。 更多信息：迷幻的灵魂
迷幻的灵魂是一个迷幻摇滚和灵魂音乐融汇在60年代末，它铺平了放克音乐的主流，几年后出现了道路。
蓝眼睛的灵魂
更多信息：蓝眼睛的灵魂
蓝眼睛的灵魂，是用来描述的R&B和灵魂音乐由白色艺术家表演的一个术语。这个词并不是指一种音乐独特的风格，以及蓝眼睛的灵魂的意义已经超过十年的演变。本来这个词是与60年代中期，谁执行的灵魂和白色的艺术家的R&B这是类似于Motown唱片和StAX唱片公司出版的音乐。继续一词用在20世纪70年代和80年代，特别是由英国媒体报道，描述一个歌手谁通过了STAX和声音元素的新一代汽车城。在较小的程度上，这个词已经被应用到其它的音乐流派是由灵魂音乐的影响歌手。 更多信息：新的灵魂
这个词新语的灵魂，是一个营销的执行制作人和唱片公司基达Massenburg用来形容20世纪70年代的音乐融合了灵魂风格的主唱，并与当代R&B的声音，嘻哈节奏和诗意的穿插仪器。这种风格发展于20世纪90年代初期到中期。一个新的灵魂在关键的因素是挡泥板罗兹或Wurlitzer电钢琴垫较圆润，开槽相互之间的鼓（通常是用边缘射门网罗声音）和一个静音，低音深厚质朴的药量。健全的Fender Rhodes的钢琴音乐给人的温暖，有机性格。 更多信息：北灵魂和现代灵魂
这句话的灵魂被创造北部由记者戴夫戈丁和推广在1970年通过他在杂志专栏布鲁斯和灵魂。[3]这个词是指稀有的灵魂音乐，是由DJ们播放了在英格兰北部的夜总会。原先的播放清单包括20世纪60年代和70年代初晦涩与加快节奏击败美国的灵魂，如摩城唱片记录和记录，如Okeh那些比较模糊的标签。现代灵魂发展的灵魂，当北方的DJ开始在美国和英国的音乐更加复杂和当代唱片店寻找。是什么出现了更丰富的声音是在Hi - Fi和FM广播技术方面更先进。 更多信息：爵士乐和电子乐民
在电子音乐（如房屋，鼓n'Bass音乐，英国车库，和downtempo）各种流派的许多艺术家都严重影响了灵魂，并产生了许多惊心动魄的作品鼓舞。

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古浪县14799863941： 福音音乐,灵乐,爵士乐和布鲁斯音乐的区别? - ？
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逮袁消炎： Blues ——蓝调 Blues音乐是居住在美国的黑人在艰难困苦的生活中创造出的音乐风格.它发源于密西西比河的三角洲地带,起源于20世纪初,早期为人们劳作时的劳动号子.Blues最初主要是人声的叙述,后来才加上了乐器的伴奏,它对爵士乐...

古浪县14799863941： 灵魂乐属不属于蓝调的一种呢 - ？
逮袁消炎： 最高处的是灵歌曲,然后分支出来的R&B/蓝调,HIP-HOP JAZZ等风格的音乐

古浪县14799863941： 什么是灵乐 - ？
逮袁消炎： 灵魂乐吧?代表人物雷.查尔斯(Ray Charles)

古浪县14799863941： 什么是＂灵乐＂?？
逮袁消炎： 灵魂乐是南方福音和中西部的节奏蓝调的融合,礼拜乐的复兴被带入节奏蓝调的 Boogie-Woogie 世界之中.从这种肥沃的基础开始,灵魂音乐诞生了.灵魂音乐的特点是坚实的节奏部分配以明确的世俗动感及宗教音乐.吉它常常让位于 ...

古浪县14799863941： 灵乐的定义?？
逮袁消炎： 一种黑人教堂里的福音音乐,与曲调忧郁的布鲁斯音乐有机结合体,是一种全新的音乐流派:“灵乐” 创始人是雷·查尔斯

古浪县14799863941： bigbang五个人的穿着、音乐各走什么风格? - ？
逮袁消炎： 像大成,太阳走抒情绅士路线,像胜利走清新路线,而龙和贤都是劲爆的.穿着:太阳:半袖,喜欢露 大成:平淡 志龙:超拽,特殊 TOP:更多的是西服,三件不离身

古浪县14799863941： 音乐风格有多少种?分别是..? - ？
逮袁消炎： 音乐风格分为 古典主义音乐、浪漫主义音乐、巴洛克音乐、Gregorian Chant、乡村音乐、爵士音乐、摇滚音乐、重金属音乐、朋克音乐、电子音乐、灵乐等, 详细请参考: http://baike.baidu.com/view/413187.html?wtp=tt

古浪县14799863941： If i were a boy是什么风格? - ？
逮袁消炎： 这首歌是灵乐风格,具体详见给你的参考资料.顺,很大气的歌曲,我也很爱听.