灵乐英文介绍
1，摇滚
Rock and roll is a music genre that originated in the United States in the late 1940s.
（摇滚是一种音乐类型，起源于20世纪40年代末期的美国。）
It became popular in the early 1950s and quickly spread around the world.
（20世纪50年代早期开始流行，迅速风靡全球。）
Rock and roll with its flexible bold expression form and full of passion music rhythm to express emotion.
（摇滚乐以其灵活大胆的表现形式和富有激情的音乐节奏表达情感。）
Popular with most people around the world, it became a craze in the 1960s and 1970s.
（受到了全世界大多数人的喜爱，并在1960年和1970年形成一股热潮。）
2，流行音乐
Popular Music is translated from English Popular Music.
（流行音乐是根据英语Popular Music翻译过来的。）
Popular music accurate concept should be commodity music, refers to the main purpose of profit for the creation of music.
（流行音乐准确的概念应为商品音乐，是指以盈利为主要目的而创作的音乐。）
It is a commercial music pastime and all the "industrial" phenomena associated with it.
（它是商业性的音乐消遣娱乐以及与此相关的一切“工业”现象。）
3，民谣
Folk songs that are popular and give national color are called folk songs or ballads.
（民间流行的、赋予民族色彩的歌曲，称为民谣或民歌。）
Folk music has a long history, so its author is unknown.
（民谣的历史悠远，故其作者多不知名。）
4，重金属
Music, a heavy metal, was originally considered by some to be a "hard rock" evolution.
（重金属音乐最早是被一些民众认为是“硬摇滚”演变过来的。）
In fact, hard rock and heavy metal are usually not easy to distinguish, and different people have different ways of distinguishing them.
（其实硬摇滚与重金属通常不太容易区分，不同的人有不同的区分方法。）
Some people think hard rock is called before the 70s and heavy metal is called after the 70s.
（有人认为70年代以前的叫硬摇滚，70年代以后的叫重金属。）
And most people think they are not of the same species through the perspective of history.
（又有大多数人通过历史的角度认为他们不属于同一种类。）
5，古典音乐
Classical BBB 0 can be divided into broad sense and narrow sense.
（古典音乐有广义、狭义之分。）
Broadly, it refers to those from the middle ages to the present.
（广义是指那些从西方中世纪开始至今的。）
Western classical works created under the background of European mainstream culture.
（在欧洲主流文化背景下创作的西方古典音乐。）
It is different from popular music and folk music mainly because of its complex and varied creative techniques and the heavy connotation it can carry.
（主要因其复杂多样的创作技术和所能承载的厚重内涵而有别于通俗音乐和民间音乐。）
参考资料来源：百度百科-古典音乐
参考资料来源：百度百科-重金属
参考资料来源：百度百科-民谣
参考资料来源：百度百科-流行音乐
参考资料来源：百度百科-摇滚
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.
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