Ⅰ 藍調classical time 的歌詞
Now what if I never kiss your lips again
or feel the touch of your sweet embrace
How would I ever go on
Without you there is no place to belong
Well someday love is going to lead you back to me
but till it does I』ll have an empty heart
So I』ll just have to believe
some where out there your thinking of me
Till the day I let you go
Until we say our next hello it』s not goodbye
Till I see you again
I』ll be right here remembering when
And if time is on our side
there will be no tears to cry on down the road
their is one thing I can』t deny it』s not goodbye*
You think I』d be strong enough to make it through
and rise above when the rain falls down
But it』s so hard to be strong
when you』ve been missing somebody so long
It』s just a matter of time I』m sure
but time takes time and I can』t hold on
so won』t you try as hard as you can
Put my broken heart together again
Till the day I let you go
Until we say our next hello it』s not goodbye
Till I see you again
I』ll be right here remembering when
And if time is on our side
there will be no tears to cry on down the road
their is one thing I can』t deny it』s not goodbye*
Till the day I let you go
Until we say our next hello it』s not goodbye
Till I see you again
I』ll be right here remembering when
And if time is on our side
there will be no tears to cry on down the road
and I can』t deny
It』s not goodbye ,
Till the day I let you go
Until we say our next hello it』s not goodbye
Till I see you
I』ll be right here remembering when
And if time is on our side
time is on our side
there will be no tears to cry on down the road
and I can』t deny it』s not goodbye*
it』s not goodbye*
goodbye*
no more tears to cry
It』s not goodbye
Ⅱ 求電影<我是傳奇>的英文介紹!!!!!!!!!!!!!!!!!
Robert Neville is a scientist who was unable to stop the spread of the terrible virus that was incurable and man-made. Immune, Neville is now the last human survivor in what is left of New York City and perhaps the world. For three years, Neville has faithfully sent out daily radio messages, desperate to find any other survivors who might be out there. But he is not alone. Mutant victims of the plague -- The Infected -- lurk in the shadows... watching Neville's every move... waiting for him to make a fatal mistake. Perhaps mankind's last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But he knows he is outnumbered... and quickly running out of time. Written by Warner Bros. Pictures
It is the year 2012. In the ruins of New York city. Robert Neville who is a military scientist who is the lone survivor of a biochemical disease which was supposed to cure cancer 3 years previous. With only blood thirsty zombies as his neighbors and his trusty dog, Samantha, Robert is trying to discover a cure for this disease and to find out any other people who might have also survived. Written by John Wiggins
Ⅲ 求classical music的英文介紹，請直接把資料發出來，謝謝
What is Early Music?
The term "early music" sometimes causes confusion. As a very casual indication, music from the 1400s is early music in the sense which we use here, whereas music from the 1940s is not. The context is European classical music, which had its best-known pieces written in the 1700s & 1800s, and so the "early" in early music means earlier than that. In this way, early music usually designates the Medieval, Renaissance, and Baroque periods of Western music. Early Music is a standard term, used in trade magazines, journals, record store classical sections, etc.
Musical Periods
Precise date-based definitions of the stylistic periods of Western music, and by implication of "early music" in sum, are a rather illusory goal. The most common ending date given for the Baroque period is 1750, with the death of J. S. Bach. This is a convenient and acceptable date, frequently used in definitions of early music, but it is also a simplification of the various stylistic events of the period. If one views the Baroque as a style with specific traits, then those traits were being overturned in favor of those of the "Classical" style by some composers before this date, and persisted in the work of some other composers after this date. Stylistic periods are designated only later, by historians who necessarily prioritize certain features over others.
Baroque music has its origins in the rise of the recitative style among Monteverdi and others, the beginning of opera as a form, and the consequent adoption of basso continuo. In fact, the end of the Renaissance style around 1600 is among the clearest divisions in Western music, owing to the simultaneity of these changes, as well as to the self-conscious way in which Monteverdi and others advocated them. The beginning of the Renaissance is less clear. There are two major changes to be considered, the use of the interval of a third as a stable harmony and the new humanistic orientation to text with music at its service. In this case, the important changes occurred over several decades, and so although most references will place the beginning of the Renaissance with the new harmonies of Dufay around 1420, others will place it with the humanistic texts of Josquin around 1500. Some of the former references will then call the latter period the High Renaissance. Some European classifications include only the Medieval & Renaissance periods under the early music label, with the Baroque period considered separately.
Ancient Music
Obviously, what we know about music and its performance tends to decrease as we look farther backward in time. This is e to less writing of original sources, to more chance for destruction of sources which were written, and also to the temporal distance between these people and ourselves making it less likely that we will understand statements and instructions in the same way. We hope to overcome the latter factor with study and familiarity, but the former two are inherent barriers. Designating a beginning to Medieval music is one area where knowledge is too vague to give a precise date. Various trends do emerge in the 1100s, such as relatively large volumes of written notated polyphony and non-liturgical Latin song. It is tempting, therefore, to locate the "beginning" of the Medieval music period at this point, especially because of the general historical factors surrounding the "Twelfth Century Renaissance." However, such a designation marginalizes the closely related pre-12th century repertory, and that repertory possesses no clear starting point at all.
The beginning of polyphony, something which likely occurred in improvised form centuries prior to the major codifications of the 1100s, is a central event in Western musical history. However, surviving Medieval musical sources are actually dominated by plainchant. It is a correspondingly large area of study & performance, in various regional & historical styles. Not only were there the semi-mythical consolidations of Gregorian chant, but various earlier chant repertories for which some manuscript sources survive. There are also some scattered sources of ancient music which might broadly be considered under the term early music. Owing to its greater historical distance, this music is rather distinct from the usual "early music" repertories and so is often considered separately, especially as none of it survives from Western Europe itself. There is a true break here, with no discernible stylistic continuity between surviving ancient music and the earliest Western plainchant of centuries later.
Revival
It is easy enough to say that early music means music of the Medieval, Renaissance and Baroque periods, but why is it those periods in particular? The answer is relatively simple. Beginning with the late 18th century music of Mozart & Haydn, some works simply never stopped being put before the public. Mozart & Haydn's music, and especially Beethoven's in the following generation, was performed in public concerts ring their lifetimes and then after their deaths, continuously to the present day. This is a fairly noticeable change, historically speaking, as earlier music frequently was not performed even a few decades after it was written. There were various exceptions to this basic trend, especially in ceremonial music such as that used in the Vatican or for royal funerals. More broadly, plainchant & tunes in general are a very conspicuous and distinct exception. However, early music becomes early by virtue of not generally having had this public continuity, even if it did have various threads of scholarly or specialized continuity.
To turn a convoluted phrase, early music is etymologically the music which is earlier than the earliest music which was typically being performed in concerts at the time when performers decided to perform early music. For the most part, this happened in the 1900s, graally over the course of a few decades in the beginning & middle of the century. Some of the first institutions to revive Renaissance music on a larger scale were the English Cathedral Choirs, and they now have a long-standing tradition of performing this music. Their early entry into this repertory was facilitated by various embryonic musicological revival efforts in England in the 1800s and even notably the 1700s, and buoyed by interest in Renaissance music among early 20th century English composers. By the 1950s, early music was a definite phenomenon, with such performers as Safford Cape, Alfred Deller, Noah Greenberg, etc. Since then, the number of early music performers has increased steadily, as has audience interest, to the point where early music sales are more or less equal to those of non-early classical music.
Beyond historical technique, which remained under study with examples from these eras in a fairly continuous way in academia, and with which many prominent composers were associated at one time or another, there were some notable revivals prior to the decisive one which has defined the Early Music Movement as such. Mendelssohn's revival of Bach's St. Matthew Passion in 1829 is probably the single most significant such event, although the survival of Handel's Messiah in re-orchestrations by Mozart and others is also notable, especially as these events conditioned some of the first musical antiquarian societies in England. In this way, some composers' works have performance traditions which predate the present Early Music revival, but which do not generally extend continuously to their actual lifetimes. These various performance threads can be interesting to consider, especially as the Early Music movement itself becomes more extensive in both history and stylistic range. For instance, the history of musical revival in England is quite involved, leading to many ramifications for different performance styles today.
Recreation
The idea of revival has become a touchstone for the Early Music Movement, and consequently the fact that some styles of performance have been going on long enough to develop and build their own continuity presents some philosophical complications. Early music performers have a history of going directly to written & manuscript sources, and consequently not basing their interpretations so much on what other performers have done, but more on their own direct intuition of the sources themselves. This is very different from what "mainstream" performers have generally done, and so the latter have a history of continuity with and development of previous performance ideas as such. The existence of performance continuity within the early music community itself provides something of a bifurcation in the goals of performers, as to this point early music has been fundamentally a radical movement.
The idea of wanting to perform music only a few decades older than the 18th century music already being performed regularly does not seem very radical. However, the desire to base interpretations directly on original sources, rather than on the way previous performers had interpreted them, has had significant ramifications. For one thing, ing and modifying a previous performance, perhaps extending back in a chain to that of the composer himself, is a rather different skill from intuiting it directly after a lapse of some decades. The necessity of taking this step for chronologically early music has led directly to conflicts with interpretations which are based on performance history, especially such earlier revived performance histories as that for Bach. A battle cry has become "composer's intentions" together with the huge body of philosophical argument which that notion implies, and so there has been a general trend toward "recreating" the sound world from which the composition arose. This act necessarily puts the performer at some distance from the event to be recreated, and so is mediated fundamentally by textual sources.
Historically Informed Performance
When Bach's music was revived by Schumann and Mendelssohn, it was performed and even transcribed in 19th century style. Orchestrations were updated, piano parts were added to the Sonatas & Partitas for Solo Violin, etc. It seemed natural to them to perform the music, which they had "discovered" and found valuable, in the style of their own time. As interest increased, and with it curiosity, especially regarding the difficulties involved in performing Bach's keyboard music on the piano, the idea of "original instruments" arose in this repertory. Bach's music simply sounds rather different on a harpsichord than it does on a piano, while the former also enforces different ideas on phrasing, ornament, dynamics, technique, etc. The idea that older sonorities might be interesting on their own terms, and not need updating, was also radical, and created another fundamental impetus for the Early Music Movement. However, the term "original instruments" has been mostly abandoned for two important reasons: There are questions about just how original "original" means when it comes to available reconstructions or surviving specimens, and also "instruments" gives a skewed labeling of historical vocal technique.
Labels such as "authentic performance" and "composer's intentions" have likewise been mostly abandoned, but this time primarily for philosophical rather than practical reasons. There are two basic facts underlining this decision. The first is that knowing precisely how a work was originally performed, especially one rather distant in time, is not really possible. The second is that, perhaps with a few exceptions, composers do not state their intentions with regard to hypothetical performances hundreds of years in the future. The idea that the composer "wants" the music to sound today exactly as it did for the first performance is simply a philosophical one. Judging by their own actions, one might conclude that Schumann and Mendelssohn would have expected or even wanted their music to be "updated" for new stylistic eras. This is partly an issue in the wake of Beethoven, a composer who had some difficulty achieving a performance in practice which fit what he had in mind. One can interpret this fact either as a call to redouble one's efforts to achieve precisely what he had in mind, or more generally to develop performance ideas in such a way as to make the once impossible rendition possible. Which exactly is the intent? For Bach's Mass in b, which was never performed in his lifetime? For music of even earlier composers, who probably did not anticipate it being heard ten years after their deaths?
One basic fact seems inescapable: Learning more about the circumstances surrounding the creation of a piece of music leads to a greater understanding of it. The sonorities and resources of historical voices & instruments give insight into phrasing & articulation. Historical tuning gives insight into harmonic motion. Especially in the case of music very distant from us, such as Medieval or early Renaissance music, some "common sense" ideas on how music should be performed, as based on typical practice today, are very different from those described in historical treatises. Although ultimately a performer makes an artistic decision as to what and how to perform today, understanding these differences can lead to a more informed decision, even if modern instruments or other factors are eventually chosen. This is what makes the term "Historically Informed Performance" (or HIP) fairly widely accepted today.
Authenticity
In its own time, the setting for early music was very different from today, and so e.g. performing Medieval music in a concert hall is already inherently an anachronism. Facts such as this are unavoidable, even if performers painstakingly research and interpret music according to historical sources. Likewise, the mere idea of "historical performance" is primarily a modern one, and so attempting to render works in this way contains some philosophical contradictions which cannot be resolved. With the right attitude, these philosophical pitfalls are simply a way to ensure that musical performance will remain a creative activity. One can even extend the context in all directions, from using period-style instruments and vocal technique, to placing the music into its historical social context in a historical building in historical costume. Such extremes are less common, but can also be fun, provided one remembers that there is nothing one can do to recreate a historical audience, i.e. an audience for which the music is truly new.
What then is an authentic performance? This is an emotionally charged question, at least when asked concerning repertories with competing performance traditions. Although the label "historically informed performance" seems fairly neutral and sective, in the sense that one can hardly vilify gaining information, there are also strong implications regarding how informed one must be and how that information must be used. As more information becomes available, and as the movement progresses on its own terms, various practical questions arise in addition to the more theoretical ones about the nature of text & composition. It is one step to decide to perform Bach's music on harpsichord rather than on piano, but as alluded to in the dismissal of the "original instruments" term, there are continuing questions of precision regarding which harpsichord. This is only the beginning, because at least hypothetically, every nuance of the physical performance can be exactly as it was for Bach. If one values information concerning historical context, and wants to use as much as one can as faithfully as possible, there is still a point at which one simply must stop studying and start performing. Otherwise, there is no performance and no music.
To return to a fundamental issue, even the hypothetical perfect reproction of the original performance presents theoretical problems. At some level of precision, and for relatively early music this level is not very fine at all, the notation and available sources will not dictate every detail. Phrasing, nuance, the most delicate inflections of single notes... these are not included in notation. The performers must make these decisions, especially as they reflect their own physical gifts or inclinations. Singers will not sound identical, even if their technique is the same. This is part of what makes music a living art, something which must be continually reinterpreted in order to exist (until the invention of recordings). More than that, the composition of a piece, especially one which we would want to hear centuries later, was a creative act made in the context of creative musicians. In this sense, if musicians today are to abandon any creativity when rendering old music, then they are not authentic, because that is not the frame of mind under which the original was made. The same frame of mind is indeed impossible today, because the piece will never be new again. Of course, for many indivials, it will seem new, and that is part of what has made the revival aspect of early music so successful and exciting.
Motivation
Performance histories have frequently reflected ideas such as "progress" & "evolution" and consequently an underlying implication that scoring & interpretation should be updated to reflect contemporary concerns & possibilities. There have been normative judgements at work. However, there have also been inherent contradictions, as the continuing performance of works by Mozart & Beethoven clearly suggests that the classical music community has not viewed more recent compositions as simply better. Throughout Western musical history, there have been statements that the new music of the time was self-evidently superior to that of the previous generation, but these statements have become increasingly fringe judgements since the era of Beethoven. It is not by coincidence that the early music movement traces some of its deepest roots to the following generations. Once one begins to believe that some earlier music is no worse, or perhaps even better, than what is being written now, the idea that even earlier music and performance practices are worthwhile too cannot be far behind.
In some ways, nothing has changed. Performance histories continue to reflect contemporary concerns & possibilities, even if these differ substantially from what they once were. The growing desire today for a musical museum reflects various factors in society, not least of which is a multicultural awareness that the art of other times & places can speak to us. It may also reflect some disturbing psychological facts of contemporary life, but such a discussion would move rather far from the topic here. Beyond any of this, a fundamental understanding of historical changes in style and artistry leads naturally to an expansion of our ideas on what music must be. This is something which early music gives to contemporary music-making as a whole, something which may prove enormously proctive as early music moves firmly into the popular consciousness of the 21st century.
Conclusion
Early music is therefore either music which is chronologically early (as in "before 1750"), or an attitude toward performance which can be applied to any music (as in "Historically Informed Performance"). Frequently it is both, canonically so. For more specific examples and discussion, please examine other sections of the FAQ.
Practitioners of early music tend to have rather different ideas on precisely how these factors work out and delineate themselves in practice. The question remains somewhat open, which is a big reason that the topic always proces interesting discussion on our forum. That early music cannot fully define itself also ensures it will remain a living art.
Ⅳ classes start和class start的區別的用法
第1章 動詞時態
第2章 被動語態
第3章 虛擬語氣
第4章 情態動詞
第5章 動詞不定式
第6章 動詞的ing形式
第7章 過去分詞
第8章 獨立主格結構
第9章 名詞性從句
第10章 定語從句
第11章 狀語從句（一）
第11章 狀語從句（二）
第12章 直接引語和間接引語
第13章 倒裝
第14章 強 調
第15章 省略
第16章 主謂一致
動詞時態－－ 一般時
第一章 動詞時態（一）
在英語中，不同時間發生的動作或存在的狀態，要用不同的動詞形式來表示，這就叫做動詞的時態。
一、一般時
一般時包括一般現在時、一般過去時、一般將來時和一般過去將來時。
A.一般現在時
1． 一般現在時的構成
一般現在時主要用動詞原形來表示。主語是第三人稱單數時，動詞後面要加-s或-es。
They want good jobs.
他們想要好的工作。
The coat matches the dress.
外衣和裙子很相配。
This work does not satisfy me.
這項工作我不滿意。
Do you understand?
你懂了嗎?
2．一般現在時的用法
①一般現在時的基本用法
a. 表示現在習慣性的動作或存在狀態
He always takes a walk after supper.
晚飯後他總是散散步。
Everyone is in high spirits now.
現在大家都情緒高漲。
b. 表示客觀事實或普遍真理
The sun rises in the east and sets in the west.
太陽從東方升起在西方落下。
Sound travels faster through water than it does through air.
聲音在水中的傳播速度要比在空氣中快。
Time and tide wait for no man.
時間不等人。
c. 表示主語的特徵、能力和狀態
This cloth feels soft.
這布摸上去很軟。
I love classical music.
我喜歡古典音樂。
The President still seems able to find time to go fishing.
看來總統仍能有時間去釣魚。
d. 表示按計劃或安排將要發生的動作
The meeting begins at 7:00.
會議七點鍾開始。
We leave here at 8:00 sharp.
我們八點整離開這里。
e. 在時間、條件、讓步狀語從句中表示將來動作
When you come next time, bring me some magazines.
你下次來時，給我帶幾本雜志。
If time allows, we shall go there tomorrow.
如果時間允許的話，我們明天去那裡。
Whether he agrees or not, I will stay at home.
不管他同意與否，我都會待在家裡。
②一般現在時的特殊用法
a. 用於新聞標題或圖片說明中
China Declares Manned Spaceflight Successful
中國宣布載人航天飛行圓滿成功
Laura Bush Arrives in Moscow
勞拉·布希抵達莫斯科
b. 用於體育運動、表演等實況報道中
Francis slips past, passes the ball to Yao Ming, who jumps, catches and shoots it into the basket.
弗朗西斯穿過去，把球傳給姚明，姚明跳起來，接住球投進籃里。
Now, look, I press the button and turn on the machine.
現在，看，我按下按扭，打開了這台機器。
c. 表示告誡或勸說
You mind your own business.
你不要管閑事！
If he does that again, he goes to prison.
如果他再那樣的話，他就會進監獄的。
d. 表示現在瞬間的動作
Here comes the bus.
汽車來了。
There goes the bell.
鈴響了。
B．一般過去時
1． 一般過去時的構成
一般過去時是用動詞的過去式來表示。
His words fetched a laugh from all present.
他的話使在場的人都笑了。
I did not sleep well last night.
我昨晚沒睡好。
Did you direct the tourist to the hotel?
你告訴這位遊客去旅館的路了嗎？
2．一般過去時的用法
①一般過去時的基本用法
a. 表示過去某個特定時間發生的動作或存在的狀態
He suddenly fell ill yesterday.
昨天他突然生病了。
The engine stopped because the fuel was used up.
發動機因燃料用光而停機了。
注意：
在一般過去時的句子中，通常都要有表示過去的時間狀語。
【誤】I visited the Palace Museum.（在沒有上下文的情況下，應避免這樣說）
【正】I visited the Palace Museum last year.
去年我參觀過故宮博物院。
【正】I have visited the Palace Museum.
我參觀過故宮博物院。
b. 表示過去經常發生的動作或存在的狀態
I wrote home once a week at college.
我上大學時每周給家裡寫一封信。
He was already in the habit of reading widely in his boyhood.
他童年時就養成了廣泛閱讀的習慣。
提示：
表示過去的習慣性動作，除了用過去式外，還可以用used to或would來表示。
She used to study late into the night when she was in Senior Three.
她上高三時經常學習到深夜。
He would sit for hours doing nothing.
過去他常常一坐幾個鍾頭什麼事也不做。
c. 表示過去連續發生的一系列動作
She entered the room, picked up a magazine and looked through it carefully.
她走進房間，拿起一本雜志，認真地翻閱了起來。
The students got up early in the morning, did morning exercises and then read English aloud in the open air.
學生們很早起床，做早操，然後在室外朗讀英語。
d. 在時間、條件狀語從句中表示過去將要發生的動作
We would not leave until the teacher came back.
老師回來我們才會離開。
She told me she would not go if it rained the next day.
她告訴我如果第二天下雨的話，她就不去了。
②一般過去時的特殊用法
a. 在虛擬語氣中表示現在或將來時間的動作或狀態
It's time we went.
是我們該走的時候了。
I wish I were twenty years younger.
但願我年輕20歲。
I would rather you didn't do anything for the time being.
我寧願你暫時先不要採取什麼措施。
b. 在口語中，一般過去時往往顯示委婉客氣。
I wondered if you could give me a hand.
我想請你幫個忙。
Might I come and see you tonight?
我想今晚來看你，好嗎？
3．一般現在時和一般過去時的比較
一般現在時要和現在時間相聯系，而一般過去時和說話的「現在」不相聯系。
His father is a film director.
他父親是電影導演。（他現在還是）
His father was a film director.
他父親曾是電影導演。（他現在不是）
How do you like the novel?
你覺得這部小說怎麼樣？（還在看小說）
How did you like the novel?
你覺得這部小說怎麼樣？（已看完小說）
C．一般將來時
1． 一般將來時的構成
一般將來時是由「will / shall + 動詞原形」構成的。shall只限於第一人稱，主要見於英國英語，現在的趨勢是第一、二、三人稱的單復數形式均用will表示。在口語中，shall和will常縮寫成「'll」，緊接在主語之後。其否定式shall not 和will not 常簡略為shan't 和won't。
I'll go and shut the door.
我去關門。
When will you know your exam results?
你什麼時候能知道考試結果？
I can see you're busy, so I won't stay long.
我看得出你很忙，所以我不會呆太久的。
提示：在you and I或both of us等短語後，只用will，不用shall。
You and I will arrive there next Monday.
我和你下周一都要到達那裡。
Both of us will graate from middle school next year.
我們倆明年中學畢業。
2．一般將來時的用法
①表示將要發生的動作或存在的狀態
I shall be free this afternoon.
我今天下午有空。
There'll be no chemistry classes tomorrow.
明天沒有化學課。
They will probably go to Shanghai for their holiday.
他們可能去上海度假。
注意：
在口語中，常用will / shall + be doing結構來代替will / shall + 動詞原形，以表示生動。
I'll be seeing a friend off at the airport.
我要去機場給一個朋友送行。
He'll be going with us tomorrow.
他明天和我們一起去。
②表示將要反復發生的動作
My uncle will come to see me every Saturday.
我叔叔每個星期六都會來看我。
The students will have five English classes per week this term.
本學期學生們每周要上五節英語課。
③表示同意或答應做某事
That bag looks heavy. I'll help you with it.
這個包看起來很重，我來幫你提。
I won't tell anyone what happened, I promise.
我保證不告訴別人所發生的事。
④表示一種傾向或推測
Flowers will die without water.
沒有水花會枯死的。
Water will change into ice at 0℃.
水在零攝氏度就會結冰。
This will be your sister, I guess.
我猜想這是你姐姐。
3．一般將來時的常用結構
①用於「I expect, I'm sure, I think, I wonder + 賓語從句」中
Don't worry about the exam. I'm sure you'll pass.
不要擔心這次考試，我確信你會通過的。
I wonder what will happen.
我不知道將會發生什麼事。
I don't think the test will be very difficult.
我想這次測驗不會太難。
②用於「祈使句 + and + 陳述句」中
Work hard and you will succeed.
如果你努力，就會成功的。
Go at once and you will see her.
馬上去，你就會見到她了。
③與表示時間或條件的狀語從句連用
I'll let you know as soon as he arrives.
他一到我就通知你。
If you ask him, he will help you.
如果你請他，他會幫助你的。
We shall go unless it rains.
除非下雨，否則我們是要去的。
4．將來時間的其他表達法
①be going to + 動詞原形
「be going to+ 動詞原形」這一結構常用於口語中。
a. 表示決定或打算要做某事
I'm going to buy a new coat this winter.
今年冬天我打算買一件新大衣。
Are you going to play basketball after class?
下課後你去打籃球嗎？
He is going to be a doctor when he grows up.
他長大後要當醫生。
What are you going to do today?
今天你打算做什麼？
b. 表示有跡象即將要發生什麼事
Look at those black clouds. It is going to rain.
瞧那烏雲，天要下雨了。
The car is going to turn over.
汽車要翻了！
There is going to be a snowstorm.
將有一場暴風雪。
比較：
「be going to + 動詞原形」與「will / shall + 動詞原形」的區別
1．be going to通常表示很快就要發生的事，而will/shall既可表示不久的將來，也可表示長遠的將來或不確定的將來。
She is going to get better.
她的病要好了。（有恢復健康的跡象）
She will get better.
她的病會好的。（認為最終會恢復健康的）
2．will表示將來，通常是指事先無計劃的意圖，是臨時決定的； be going to則表示事先有計劃的意圖，是經過考慮的。
— George phoned while you were out.
你外出的時候喬治打電話來的。
— Ok. I'll phone him back.
好的，我給他回電話。（臨時決定）
— Matthew phoned while you were out.
你外出的時候馬修打電話來了。
— Yes, I know. I'm going to phone him back.
是的，我知道了。我准備給他回電話。（早有安排）
但在正式文體中，要用will來表示事先安排的動作。
The meeting will begin at 10:00 a.m..
會議將在10點開始。
Coffee will be served from 9:30 from today onwards.
從今天起9:30開始供應咖啡。
3．表示有跡象顯示將要發生某一動作時，要用be going to，不用will或shall。
I feel terrible. I think I'm going to be sick.
我覺得不舒服，我想我要生病了。
4．be going to 可用於條件句，表示將來時間，will則不能。
If you are going to attend the meeting, you'd better leave now.
如果你要出席會議，你最好現在就動身。
②be + 動詞的-ing形式
「be + 動詞的-ing形式」表示根據現在的計劃或安排，預期將會發生某事，這種安排不容隨意改變。在這一結構中，動詞-ing形式通常是表示位置轉移的動詞，如arrive, come, go, leave, move, start, stay, get 以及eat, meet, see off, die等，並與表示將來的時間狀語連用。如果沒有時間狀語，則所表示的動作有即將發生之意。
He is leaving for Xinjiang in a few days.
他幾天後要動身去新疆。
I am dining out tonight.
今晚我將出去吃飯。
The plane is taking off soon.
飛機馬上就要起飛了。
The old man is dying.
那位老人快要死了。
比較：
「be + 動詞的-ing形式」和「be going to + 動詞原形」的異同
1．表示按計劃發生的動作時，兩者可互換。
We are moving to a new flat tomorrow.
我們明天就要搬到新房子里去了。
We are going to move to a new flat tomorrow.
我們明天就要搬到新房子里去了。
2．表示由於客觀因素而產生的將來動作或狀態時，用be going to結構，不用be + 動詞的-ing形式。
You are going to fall if you climb that tree.
如果你爬樹的話，你會摔下來的。（不可說 You are falling if ...）
Be careful. You are going to break that chair.
當心！你會把那張椅子弄壞的。（不可說 You are breaking that chair）
③ be + 動詞不定式
這一結構中的be，只有現在式 (am, is, are) 和過去式 (was, were) 兩種形式。
a. 表示按計劃或安排將要發生的動作
The highway is to be open to traffic in May.
這條公路將在五月份通車。
Am I to take over his work?
我是不是要接管他的工作？
b. 用於條件句中強調按計劃或安排將要發生的動作
If we are to take the 5:00 train, we must leave now.
如果我們乘坐5點的火車的話，那我們現在就得出發。
c. 表示命令或吩咐等。否定形式常表示「禁止」或「不許」。
You are to be back before 10 p.m..
你必須在10點前回來。
You are not to go out alone at night.
晚上你不能單獨出去。
比較：
「be + 動詞不定式」與「be going to+ 動詞原形」的區別
1．「be going to+ 動詞原形」側重說話人個人的意圖和打算，「be + 動詞不定式」側重受別人的指示或安排要做的事。
I'm going to try my best to write this article well.
我將盡力把這篇文章寫好。
Am I to wait here till their arrival?
我要在這兒一直等到他們抵達嗎？
2．表示由於客觀因素或不受人控制的將要發生的動作時，只用「be going to+ 動詞原形」，不用「be + 動詞不定式」。
It's going to rain.
天要下雨了。（不說It's to rain.）
Rachel is going to faint.
雷切爾要暈倒了。
④一般現在時
一般現在時可以用來表示將來時間，主要用法有：
a. 表示由於日歷或時刻表的規定而固定不變的或比較不易變更的將來時間發生的動作。
Tomorrow is Friday.
明天是星期五。
What time does the next train leave for Paris?
下一班開往巴黎的火車幾點出發？
b. 在時間狀語從句或條件狀語從句中，用一般現在時表示將來時間的動作或狀態。
I'll give the book to you after I finish it.
我看完這本書就給你。
If he arrives, we must go and meet him at the railway station.
如果他到了，我們就得到火車站去接他。
c. 在hope, suppose等後面的賓語從句中常用一般現在時表示將來動作或狀態。
I hope all is well with him.
我希望他一切都好。
Suppse we go hiking tomorrow.
我們明天還是去遠足吧。
D．一般過去將來時
1．一般過去將來時的構成
一般過去將來時是由「should/would + 動詞原形」構成的。
He asked me yesterday when I should leave for Paris.
昨天他問我什麼時候動身去巴黎。
They wanted to know how they would finish the homework earlier.
他們想知道怎樣才能早一點兒完成家庭作業。
2．一般過去將來時的用法
一般過去將來時間的出發點是過去，即從過去某一時刻看以後要發生的動作和狀態。
a. 一般過去將來時常用於間接引語中
He said they would arrange a party.
他說他們將安排一個晚會。
I asked if he would come and fix my TV set.
我問他是否來幫我修電視機。
b. 一般過去將來時可用來表示非真實的動作或狀態
If I had a chance to study abroad, I would study at Cambridge University.
如果我有機會出國學習的話，我就會去劍橋大學。
I wish he would go with me to the cinema tonight.
今晚他能和我一起去看電影就好了。
3．過去將來時間其他表達法
a. was/were going to +動詞原形
He said that he was going to live in the country when he retired.
他說他退休後要住在農村。
They thought it was going to rain.
他們認為天要下雨了。
b. was/were +動詞的-ing形式
Nobody knew whether the guests were coming.
沒人知道客人們是否要來。
I was told that the train was leaving in a few minutes.
我被告知火車幾分鍾後就要開了。
c. was/were +動詞不定式
She said she was to clean the classroom after school.
她說她放學後要打掃教室。
It was reported that another bridge was to be built across the Yangtse River.
據報道長江上將要再建一座大橋。
提示：
「was/were going to +動詞原形」或「was/were + 動詞不定式完成式」可表示未能實現的過去將來時間的動作。
Last Sunday we were going to visit the Great Wall, but it rained.
上星期天我們本想去游覽長城的，但卻下雨了。（沒有去成）
I was to have helped with the performance, but I got flu the day before.
我是打算幫忙演出的，但前天我感冒了。（沒有幫上忙）
d. was/were about to do
「was/were about to do」表示說話的瞬間就會發生的動作。
I felt something terrible was about to happen.
我覺得有可怕的事要發生了。
e. was/were on the point of doing
I'm glad you have come. I was on the point of calling you, but you've saved me the trouble now. 很高興你來了。我正准備給你打電話，現在你省去我這個麻煩了。
提示：
「be about to do」和「be on the point of doing」結構一般不與表示將來的時間狀語連用，但後面可以接when引導的分句。
I was about to start when it suddenly began to rain.
我正要動身天突然下雨了。
Ⅳ 有沒有類似california love的歌曲，加分哦。我喜歡那個唱歌的部分，那個風格很爽
1.年度最佳唱片(Record Of The Year)
《Not Ready To Make Nice》
Dixie Chicks
2.年度最佳專輯(Album Of The Year)
《Taking The Long Way》
Dixie Chicks
3.年度最佳單曲(Song Of The Year)
《Not Ready To Make Nice》
Dixie Chicks
4.最佳新人(Best New Artist)
Carrie Underwood
流行類
5.最佳流行女歌手(Best Female Pop Vocal Performance)
《Ain't No Other Man》
Christina Aguilera
6.最佳流行男歌手(Best Male Pop Vocal Performance)
《Waiting On The World To Change》
John Mayer
7.最佳流行樂隊/組合(Best Pop Performance By A Duo Or Group With Vocal)
《My Humps》
The Black Eyed Peas
8.最佳流行合唱(Best Pop Collaboration With Vocals)
《For Once In My Life》
Tony Bennett & Stevie Wonder
9.最佳流行器樂演奏(Best Pop Instrumental Performance)
《Mornin'》
George Benson (& Al Jarreau)
10.最佳流行樂器演奏專輯(Best Pop Instrumental Album)
《Fingerprints》
Peter Frampton
11.最佳流行演唱專輯(Best Pop Vocal Album)
《Continuum》
John Mayer
舞曲類
12.最佳舞曲唱片(Best Dance Recording)
《Sexy Back》
Justin Timberlake & Timbaland
13.最佳電子/舞曲專輯(Best Electronic/Dance Album)
《Confessions On A Dance Floor》
Madonna
傳統流行類
14.最佳傳統流行演唱專輯(Best Traditional Pop Vocal Album)
《Duets: An American Classic》
Tony Bennett
搖滾樂類
15.最佳搖滾歌手(Best Solo Rock Vocal Performance)
《Someday Baby》
Bob Dylan
16.最佳搖滾樂隊/組合(Best Rock Performance By A Duo Or Group With Vocal)
《Dani California》
Red Hot Chili Peppers
17.最佳硬搖滾演奏(Best Hard Rock Performance)
《Woman》
Wolfmother
18.最佳金屬演奏(Best Metal Performance)
《Eyes Of The Insane》
Slayer
19.最佳搖滾樂器演奏(Best Rock Instrumental Performance)
《The Wizard Turns On...》
The Flaming Lips
20.最佳搖滾歌曲(Best Rock Song)
《Dani California》
Flea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)
21.最佳搖滾專輯(Best Rock Album)
《Stadium Arcadium》
Red Hot Chili Peppers
另類音樂類
22.最佳另類音樂專輯(Best Alternative Music Album)
《St. Elsewhere》
Gnarls Barkley
節奏藍調音樂類
23.最佳女R&B歌手(Best Female R&B Vocal Performance)
《Be Without You》
Mary J. Blige
24.最佳R&B男歌手(Best Male R&B Vocal Performance)
《Heaven》
John Legend
25.最佳R&B樂隊/組合(Best R&B Performance By A Duo Or Group With Vocals)
《Family Affair》
(Sly & The Family Stone), John Legend, Joss Stone With Van Hunt
26.最佳傳統R&B歌手(Best Traditional R&B Vocal Performance)
《God Bless The Child》
George Benson & Al Jarreau Featuring Jill Scott
27.最佳城市/另類歌手(Best Urban/Alternative Performance)
《Crazy》
Gnarls Barkley
28.最佳R&B歌曲(Best R&B Song)
《Be Without You》
Johnta Austin, Mary J. Blige, Bryan-Michael Cox & Jason Perry, songwriters (Mary J. Blige)
29.最佳R&B專輯(Best R&B Album)
《The Breakthrough》
Mary J. Blige
30.最佳當代R&B專輯(Best Contemporary R&B Album)
《B'Day》
Beyonce
說唱類
31.最佳說唱歌手(Best Rap Solo Performance)
《What You Know》
T.I.
32.最佳說唱樂隊/組合(Best Rap Performance By A Duo Or Group)
《Ridin》
Chamillionaire Featuring Krayzie Bone
33.最佳說唱歌曲合作(Best Rap/Sung Collaboration)
《My Love》
Justin Timberlake Featuring T.I.
34.最佳說唱歌曲(Best Rap Song)
《Money Maker》
Christopher Bridges & Pharrell Williams, songwriters (Ludacris Featuring Pharrell)
35.最佳說唱專輯(Best Rap Album)
《Release Therapy》
Ludacris
鄉村類
36.最佳鄉村女歌手(Best Female Country Vocal Performance)
《Jesus, Take The Wheel》
Carrie Underwood
37.最佳鄉村男歌手(Best Male Country Vocal Performance)
《The Reason Why》
Vince Gill
38.最佳鄉村樂隊/組合(Best Country Performance By A Duo Or Group With Vocal)
《Not Ready To Make Nice》
Dixie Chicks
39.最佳鄉村合唱(Best Country Collaboration With Vocals)
《Who Says You Can't Go Home》
Bon Jovi & Jennifer Nettles
40.最佳鄉村樂器演奏(Best Country Instrumental Performance)
《Whiskey Before Breakfast》
Bryan Sutton & Doc Watson
41.最佳鄉村歌曲(Best Country Song)
《Jesus, Take The Wheel》
Brett James, Hillary Lindsey & Gordie Sampson, songwriters (Carrie Underwood)
42.最佳鄉村專輯(Best Country Album)
《Taking The Long Way》
Dixie Chicks
43.最佳蘭草專輯(Best Bluegrass Album)
《Instrumentals》
Ricky Skaggs And Kentucky Thunder
新世紀類
44.最佳新世紀專輯(Best New Age Album)
《Amarantine》
Enya
爵士類
45.最佳當代爵士樂專輯(Best Contemporary Jazz Album)
《The Hidden Land》
Bela Fleck & The Flecktones
46.最佳爵士演唱專輯(Best Jazz Vocal Album)
《Turned To Blue》
Nancy Wilson
47.最佳爵士樂器獨奏(Best Jazz Instrumental Solo)
《Some Skunk Funk》
Michael Brecker, soloist
48.最佳爵士演奏專輯(Best Jazz Instrumental Album, Indivial or Group)
《The Ultimate Adventure》
Chick Corea
49.最佳大爵士樂團專輯(Best Large Jazz Ensemble Album)
《Some Skunk Funk》
Randy Brecker With Michael Brecker, Jim Beard, Will Lee, Peter Erskine, Marcio Doctor & Vince Mendoza concting The WDR Big Band Koln
50.最佳拉丁爵士專輯(Best Latin Jazz Album)
《Simpatico》
The Brian Lynch/Eddie Palmieri Project
靈樂類
51.最佳靈樂表演(Best Gospel Performance)
《Victory》
Yolanda Adams
52.最佳靈樂歌曲(Best Gospel Song)
《Imagine Me》
Kirk Franklin, songwriter (Kirk Franklin)
53.最佳搖滾靈樂專輯(Best Rock Gospel Album)
《Turn Around》
Jonny Lang
54.最佳流行/當代靈樂專輯(Best Pop/Contemporary Gospel Album)
《Wherever You Are》
Third Day
55.最佳南方、鄉村或藍草靈樂專輯(Best Southern, Country, or Bluegrass Gospel Album)
《Glory Train》
Randy Travis
56.最佳傳統靈樂專輯(Best Traditional Soul Gospel Album)
《Alive In South Africa》
Israel & New Breed
57.最佳當代節奏藍調靈樂專輯(Best Contemporary R&B Gospel Album)
《Hero》
Kirk Franklin
拉丁類
58.最佳流行拉丁專輯(Best Latin Pop Album)
《Limon Y Sal》
Julieta Venegas
59.最佳拉丁搖滾/另類或城市音樂專輯(Best Latin Rock, Alternative Or Urban Album)
《Amar Es Combatir》
Mana
60.最佳熱帶拉丁專輯(Best Tropical Latin Album)
《Directo Al Corazon》
Gilberto Santa Rosa
61.最佳墨西哥/墨西哥-美洲專輯(Best Mexican/Mexican-American Album)
《Historias De Mi Tierra》
Pepe Aguilar
62.最佳特加諾專輯(Best Tejano Album)
《Sigue El Taconazo》
Chente Barreray Taconazo
63.最佳諾特諾專輯(Best Norteno Album)
《Historias Que Contar》
Los Tigres Del Norte
64.最佳Banda專輯(Best Banda Album)
《Mas Alla Del Sol》
Joan Sebastian
藍調類
65.最佳傳統藍調專輯(Best Traditional Blues Album)
《Risin' With The Blues》
Ike Turner
66.最佳當代藍調專輯(Best Contemporary Blues Album)
《After The Rain》
Irma Thomas
民謠類
67.最佳傳統民謠專輯(Best Traditional Folk Album)
《We Shall Overcome ― The Seeger Sessions》
Bruce Springsteen
68.最佳當代民謠/美國本土專輯(Best Contemporary Folk/Americana Album)
《Modern Times》
Bob Dylan
69.最佳印第安音樂專輯(Best Native American Music Album)
《Dance With The Wind》
Mary Youngblood
70.最佳夏威夷音樂專輯(Best Hawaiian Music Album)
《Legends Of Hawaiian Slack Key Guitar ― Live From Maui》
Various Artists
Daniel Ho, George Kahumoku, Jr., Paul Konwiser & Wayne Wong, procers
雷鬼類
71.最佳雷鬼專輯(Best Reggae Album)
《Love Is My Religion》
Ziggy Marley
世界音樂類
72.最佳傳統世界音樂專輯(Best Traditional World Music Album)
《Blessed》
Soweto Gospel Choir
73.最佳當代世界音樂專輯(Best Contemporary World Music Album)
《Wonder Wheel - Lyrics by Woody Guthrie》
The Klezmatics
波爾卡類
74.最佳波爾卡專輯(Best Polka Album)
《Polka In Paradise》
Jimmy Sturr And His Orchestra
兒童類
75.最佳兒童音樂劇專輯(Best Musical Album For Children)
《Catch That Train!》
Dan Zanes And Friends
76.最佳兒童朗讀專輯(Best Spoken Word Album For Children)
《Blah Blah Blah: Stories About Clams, Swamp Monsters, Pirates & Dogs》
Bill Harley
朗讀類
77.最佳誦讀專輯(兩名)(Best Spoken Word Album)
《Our Endangered Values: America's Moral Crisis (Jimmy Carter)》
Jimmy Carter
《With Ossie And Ruby: In This Life Together (Ossie Davis & Ruby Dee)》
Ossie Davis & Ruby Dee
喜劇類
78.最佳喜劇專輯(Best Comedy Album)
《The Carnegie Hall Performance》
Lewis Black
音樂劇類
79.最佳音樂劇專輯(Best Musical Show Album)
《Jersey Boys》
Bob Gaudio, procer (Bob Gaudio, composer; Bob Crewe, lyricist) (Original Broadway Cast With Christian Hoff, Daniel Reichard, J. Robert Spencer, John Lloyd Young & Others)
電影/電視/視頻類
80.最佳改編影視音樂專輯(Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media)
《Walk The Line》
Joaquin Phoenix (& Various Artists)
T Bone Burnett, procer
81.最佳原創影視音樂專輯(Best Score Soundtrack Album For A Motion Picture, Television Or Other Visual Media)
《Memoirs Of A Geisha》
John Williams, composer
82.最佳影視歌曲(Best Song Written For A Motion Picture, Television Or Other Visual Media)
《Our Town (From Cars)》
Randy Newman, songwriter (James Taylor)
作曲/編曲類
83.最佳器樂作曲(Best Instrumental Composition)
《A Prayer For Peace》
John Williams, composer (John Williams)
84.最佳器樂編曲(Best Instrumental Arrangement)
《Three Ghouls》
Chick Corea, arranger (Chick Corea)
85.最佳器樂編曲伴奏(Best Instrumental Arrangement Accompanying Vocalist(s))
《For Once In My Life》
Jorge Calandrelli, arranger (Tony Bennett & Stevie Wonder)
包裝類
86.最佳唱片包裝(Best Recording Package)
《10,000 Days》
Adam Jones, art director (Tool)
87.最佳盒裝/限量發行版包裝(Best Boxed Or Special Limited Edition Package)
《Stadium Arcadium》
Flea, John Frusciante, Anthony Kiedis, Chad Smith & Matt Taylor, art directors
(Red Hot Chili Peppers)
專輯註解類
88.最佳專輯註解(Best Album Notes)
《If You Got To Ask, You Ain't Got It!》
Dan Morgenstern, album notes writer (Fats Waller)
歷史類
89.最佳歷史性專輯(Best Historical Album)
《Lost Sounds: Blacks And The Birth Of The Recording Instry 1891-1922》
Meagan Hennessey & Richard Martin, compilation procers; Tim Brooks, David Giovannoni & Richard Martin, mastering engineers (Various Artists)
非古典類製作類
90.最佳非古典類工程專輯(Best Engineered Album, Non-Classical)
《At War With The Mystics》
The Flaming Lips & Dave Fridmann, engineers (The Flaming Lips)
91.年度最佳非古典類製作人(Procer Of The Year, Non-Classical)
Rick Rubin
92.最佳非古典類混音唱片(兩名)(Best Remixed Recording, Non-Classical)
《Be Without You (Moto Blanco Vocal Mix)》
Moto Blanco, remixer (Mary J. Blige)
《Talk (Thin White Duke Mix)》
Jacques Lu Cont, remixer (Coldplay)
環繞音響類
93.最佳環繞音響專輯(Best Surround Sound Album)
《Morph The Cat》
Elliot Scheiner, surround mix engineer; Darcy Proper, surround mastering engineer; Donald Fagen, surround procer (Donald Fagen)
古典類製作類
94.最佳古典類工程專輯(Best Engineered Album, Classical)
Elgar: Enigma Variations; Britten: The Young Person's Guide To The Orchestra, Four Sea Interludes
Michael Bishop, engineer (Paavo Jarvi & Cincinnati Symphony Orchestra)
95.年度最佳古典類製作人(Procer Of The Year, Classical)
Elaine Martone
古典類
96.最佳古典專輯(Best Classical Album)
《Mahler: Symphony No. 7》
Michael Tilson Thomas, conctor; Andreas Neubronner, procer (San Francisco Symphony)
97.最佳管弦樂隊(Best Orchestral Performance)
《Mahler: Symphony No. 7》
Michael Tilson Thomas, conctor (San Francisco Symphony)
98.最佳歌劇唱片(Best Opera Recording)
《Golijov: Ainadamar: Fountain Of Tears》
99.最佳合唱隊(Best Choral Performance)
Part: Da Pacem
Paul Hillier, conctor (Estonian Philharmonic Chamber Choir)
100.最佳器樂獨奏(與管弦樂隊合作)(Best Instrumental Soloist(s) Performance (with Orchestra))
《Messiaen: Oiseaux Exotiques (Exotic Birds)》
101.最佳器樂獨奏(不帶管弦樂隊)(Best Instrumental Soloist Performance (without Orchestra))
《Chopin: Nocturnes》
Maurizio Pollini
102.最佳室內音樂演奏(Best Chamber Music Performance)
《Intimate Voices》
Emerson String Quartet
103.最佳小樂隊演奏獎(Best Small Ensemble Performance (with or without Conctor))
《Padilla: Sun Of Justice》
Peter Rutenberg, conctor; Los Angeles Chamber Singers' Cappella
104.最佳古典演唱(Best Classical Vocal Performance)
《Rilke Songs》
Lorraine Hunt Lieberson (Peter Serkin)
Track from: Lieberson: Rilke Songs, The Six Realms, Horn Concerto
105.最佳當代古典音樂作曲獎(Best Classical Contemporary Composition)
《Golijov: Ainadamar: Fountain Of Tears》
Osvaldo Golijov (Robert Spano)
106.最佳古典跨界專輯(Best Classical Crossover Album)
《Simple Gifts》
Bryn Terfel (London Voices; London Symphony Orchestra)
音樂錄影帶類
107.最佳短篇音樂錄影帶(Best Short Form Music Video)
《Here It Goes Again》
OK Go
108.最佳長篇音樂錄影帶(Best Long Form Music Video)
《Wings For Wheels: The Making Of Born To Run》
Bruce Springsteen
Toybox - Tarzan and Jane.
----------------------------------------------
smile golden sky
----------------------------------------
Sound of my dream
------------------------------------
ses - dreams come true
--------------------------------------
golden sky Ding Dong.
------------------------------------------------------
So in Love with two
-------------------------------------------
my oh my
---------------------------------------
Buckle Up N Chuggeluck
---------------------------------
Ein Kleines Lied
------------------------------------------
Floorfiller
---------------------
Nothing in the world
---------------------------------------------
Peerless
---------------------------------
The magic key
-------------------------------
Rhythm of love
-----------------------------------
Ⅵ 幫忙找一下第45屆格來美至今年的歷屆獎項得獎名單
第48屆格萊美獲獎名單
綜合類
年度最佳唱片： 《Boulevard Of Broken Dreams》Green Day
年度最佳專輯：《How To Dismantle An Atomic Bomb》U2
年度最佳單曲： 《Sometimes You Can't Make It On Your Own》U2
年度最佳新人：John Legend
流行類
最佳流行女聲表演獎：《Since U Been Gone》Kelly Clarkson
最佳流行男聲表演獎：《Since U Been Gone》Kelly Clarkson
最佳流行團體演唱：《This Love》Maroon 5
最佳流行合唱：《Feel Good Inc.》Gorillaz Featuring De La Soul
最佳流行器樂專輯：《At This Time》Burt Bacharach
最佳流行演唱專輯：《Breakaway》Kelly Clarkson
舞曲類
最佳舞曲唱片：《Galvanize》The Chemical Brothers Featuring Q-Tip
最佳電子/舞曲專輯：《Push The Button》The Chemical Brothers
傳統流行類
傳統流行演唱專輯：《The Art Of Romance》Tony Bennett
搖滾類
最佳搖滾歌手：
《Devils & Dust》Bruce Springsteen
最佳團體搖滾演唱 ：《Sometimes You Can't Make It On Your Own》U2
最佳硬搖滾表演：《B.Y.O.B.》System Of A Down
最佳金屬表演：《Before I Forget》Slipknot
最佳搖滾器樂表現：《69 Freedom Special》Les Paul & Friends
最佳搖滾歌曲：《City Of Blinding Lights》U2
最佳搖滾專輯：《How To Dismantle An Atomic Bomb》U2
另類音樂類
最佳另類音樂專輯：《Get Behind Me Satan》The White Stripes
R&B類
最佳R&B女聲演唱：《We Belong Together》Mariah Carey
最佳R&B男聲演唱：《Ordinary People》John Legend
最佳R&B團體演唱：《So Amazing》Beyoncé & Stevie Wonder
最佳傳統R&B演唱：《A House Is Not A Home》Aretha Franklin
最佳城市/另類表演：《Welcome To Jamrock》Damian Marley
最佳R&B歌曲：《We Belong Together》J. Austin, M. Carey, J. Dupri & M. Seal
最佳R&B專輯：《Get Lifted》John Legend
最佳現代R&B專輯：《The Emancipation Of Mimi》Mariah Carey
說唱類
最佳個人說唱表演：《Gold Digger》Kanye West
最佳團體說唱表演：《Don't Phunk With My Heart》The Black Eyed Peas
最佳合作說唱：《Numb/Encore》Jay-Z Featuring Linkin Park
最佳說唱歌曲：《Diamonds From Sierra Leone》D. Harris & Kanye West
最佳說唱專輯：《Late Registration》Kanye West
鄉村類
最佳鄉村女聲：《The Connection》Emmylou Harris
最佳鄉村男聲：《You'll Think Of Me》Keith Urban
最佳鄉村團體演唱：《Restless》Alison Krauss And Union Station
最佳鄉村合唱：《Like We Never Loved At All》Faith Hill & Tim McGraw
最佳鄉村器樂表現：《Unionhouse Branch》Alison Krauss And Union Station
最佳鄉村歌曲：《Bless The Broken Road》Bobby Boyd, Jeff Hanna & Marcus Hummon
最佳鄉村專輯：《Lonely Runs Both Ways》Alison Krauss And Union Station
最佳藍草專輯：《The Company We Keep》The Del McCoury Band
新世紀音樂類
福音類
最佳福音表演：《Be Blessed》Yolanda Adams
最佳搖滾福音專輯：《Until My Heart Caves In》Audio Adrenaline
最佳Salsa/Merengue專輯：《Son Del Alma》Willy Chirino
最佳Tejano專輯：《Chicanisimo》Little Joe Y La Familia
最佳現代民謠專輯：《Fair & Square》John Prine
雷鬼音樂類
最佳雷鬼樂專輯：《Welcome To Jamrock》Damian Marley
包裝類
最佳唱片包裝：《The Forgotten Arm》Aimee Mann & Gail Marowitz
最佳盒裝/限量發行版包裝：《The Legend》Ian Cuttler
非古典類製作類
最佳非古典類工程專：《Back Home》Alan Douglas & Mick Guzauski
最佳非古典類混音唱片：《Superfly》(Louie Vega EOL Mix)
Louie Vega
音樂錄影帶類
最佳短篇音樂錄影帶：《Lose Control》Missy Elliott Featuring Ciara & Fat Man Scoop
最佳長篇音樂錄影帶：《No Direction Home》Bob Dylan
47屆格萊美完全獲獎名單
綜合類
最佳年度專輯: Ray Charles & V.A. 《Genius Loves Company》
最佳年度唱片: Ray Charles & Norah Jones「Here We Go Again」
最佳年度單曲: John Mayer「Daughters」
最佳年度新人: Maroon5
流行類
最佳流行演唱專輯: Ray Charles & V.A. 《Genius Loves Company》
最佳流行男歌手: John Mayer
最佳流行女歌手: Norah Jones
最佳流行組合: Los Lonely Boys
最佳流行合唱: Ray Charles & Norah Jones "Here We Go Again"
最佳傳統流行專輯: Rod Stewart《Starst The Great American Songbook Volume III》
最佳流行樂器專輯：Henry Mancini《Pink Guitar》
最佳流行樂器演奏: Ben Harper「11th Commandment」
節奏藍調(R&B)類
最佳當代R&B專輯:Usher《Confessions》
最佳R&B專輯:Alicia Keys《The Diary Of Alicia Keys》
最佳R&B歌曲:Alicia Keys 「You Don't Know My Name」
最佳R&B男歌手:Prince
最佳R&B女歌手：Alicia Keys
最佳R&B組合：Usher & Alicia Keys "My Boo"
最佳傳統R&B歌手：Prince
最佳城市/另類歌手：Jill Scott
說唱類
最佳說唱專輯: Kanye West《The College Dropout》
最佳說唱歌曲: C. Smith & "Jesus Walks"
最佳說唱歌手：Jay-Z
最佳說唱組合：The Black Eyed Peas
最佳說唱/演唱合作：Usher、Lil Jon & Ludacris "Yeah!"
舞曲類
最佳舞曲唱片： Britney Spears "Toxic"
最佳舞曲專輯： Basement Jaxx 《Kish Kash》
搖滾類
最佳搖滾專輯：Green Day《American Idiot》
最佳搖滾歌曲：U2 「Vertigo」
最佳搖滾樂隊：U2
最佳搖滾歌手：Bruce Springsteen
最佳硬搖滾演奏：Velvet Revolver「Slither」
最佳金屬演奏：Motorhead 「Whiplash」
最佳搖滾樂器演奏：Brian Wilson 「Mrs. O'Leary's Cow」
非主流音樂類
最佳另類音樂專輯：Wilco《A Ghost Is Born》
鄉村類
最佳鄉村專輯：最佳鄉村專輯：Loretta Lynn《Van Lear Rose》
最佳鄉村女歌手： Gretchen Wilson《 Redneck Woman》
最佳鄉村男歌手：Tim McGraw 《Live Like You Were Dying》
最佳鄉村樂隊/組合：Dixie Chicks《Top Of The World》
最佳鄉村合唱：Loretta Lynn & Jack White《 Portland Oregon》
最佳鄉村樂器演奏：Nitty Gritty Dirt Band Featuring Earl Scruggs, Randy Scruggs, Vassar Clements & Jerry Douglas《 Earl's Breakdown》
最佳鄉村歌曲： Tim Nichols & Craig Wiseman / Tim McGraw《 Live Like You Were Dying》
最佳蘭草專輯：Ricky Skaggs & Kentucky Thunder《Brand New Strings》
爵士類
最佳當代爵士樂專輯：Bill Frisell《Unspeakable》
最佳爵士演唱專輯：Nancy Wilson《R.S.V.P.》
最佳爵士樂器獨奏 ：Herbie Hancock 「Speak Like A Child」
最佳爵士演奏專輯:McCoy Tyner With Gary Bartz, Terence Blanchard, Christian McBride & Lewis Nash 《Illuminations》
最佳大爵士樂團專輯：Maria Schneider Orchestra《Concert In The Garden》
最佳拉丁爵士專輯：Charlie Haden：《Land Of The Sun》
靈樂類
最佳靈樂表演：Ray Charles & Gladys Knight「Heaven Help Us All」
最佳搖滾靈樂專輯：Third Day《Wire》
最佳流行/當代靈樂專輯：Steven Curtis Chapman《All Things New》
最佳南方、鄉村或藍草靈樂專輯：Randy Travis：Worship & Faith
最佳傳統靈樂專輯：Ben Harper & The Blind Boys Of Alabama《There Will Be A Light》
最佳當代靈樂專輯：Smokie Norful《Nothing Without You》
最佳靈樂合唱專輯：Carol Cymbala, choir director; The Brooklyn Tabernacle Choir《Live...This is Your House》
拉丁類
最佳流行拉丁專輯：Marc Anthony《Amar Sin Mentiras》
最佳拉丁搖滾/另類專輯：Ozomatli《Street Signs》
最佳傳統熱帶拉丁專輯：Israel Lopez《Cachao〉
最佳薩爾薩/梅倫格專輯：Spanish Harlem Orchestra Featuring Ruben Blades《Across 110th Street》
最佳墨西哥/墨西哥-美洲專輯：Intocable《Intimamente》
最佳特加諾專輯：David Lee Garza, Joel Guzman & Sunny Sauceda《Polkas, Gritos y Acordeónes》
藍調類
最佳傳統藍調專輯：Etta James《Blues To The Bone》
最佳當代藍調專輯：Keb' Mo'《Keep It Simple》
民謠類
最佳傳統民謠專輯：Various Artists《Beautiful Dreamer - The Songs Of Stephen Foster》
最佳當代民謠類： Steve Earle《The Revolution Starts...Now》
最佳印第安音樂專輯：Bill Miller《Cedar Dream Songs》
最佳夏威夷音樂專輯：Various Artists《Slack Key Guitar Volume 2》
雷鬼類
最佳雷鬼專輯：Toots & The Maytals《True Love》
New Age類
最佳New Age專輯：Will Ackerman《Returning》
世界音樂類
最佳傳統世界音樂專輯：Ladysmith Black Mambazo《Raise Your Spirit Higher》
最佳當代世界音樂專輯：Youssou N'Dour《Egypt》
波爾卡類
最佳波爾卡專輯：Brave Combo《Let's Kiss: 25th Anniversary Album》
兒童類
最佳兒童音樂劇專輯：Various Artists《cELLAbration! A Tribute To Ella Jenkins》
最佳兒童朗讀專輯：Tom Chapin《The Train They Call The City Of New Orleans》
朗讀類
最佳誦讀專輯：Bill Clinton《My Life》
喜劇類
最佳喜劇專輯(Best Comedy Album )
The Daily Show With Jon Stewart Presents...America: A Citizen's Guide To Democracy Inaction
Jon Stewart And The Cast Of The Daily Show
音樂劇類
最佳音樂劇專輯(Best Musical Show Album)
Wicked
Stephen Schwartz, procer; Stephen Schwartz, composer/lyricist (Original Broadway Cast Recording With Kristin Chenoweth & Idina Menzel)
電影/電視/視頻類
最佳改編影視音樂專輯(Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media )
Garden State
Various Artists
最佳原創影視音樂專輯(Best Score Soundtrack Album For A Motion Picture, Television Or Other Visual Media )
The Lord Of The Rings - The Return Of The King
Howard Shore, composer (Howard Shore)
最佳影視歌曲(Best Song Written For A Motion Picture, Television Or Other Visual Media )
Into The West (From The Lord Of The Rings - The Return Of The King)
Annie Lennox, Howard Shore & Fran Walsh, songwriters (Annie Lennox)
作曲/編曲類
最佳器樂作曲(Best Instrumental Composition)
Merengue
Paquito D'Rivera, composer (Yo-Yo Ma)
最佳器樂編曲(Best Instrumental Arrangement)
Past Present & Future
Slide Hampton, arranger (The Vanguard Jazz Orchestra)
最佳器樂編曲伴奏(Best Instrumental Arrangement Accompanying Vocalist(s))
Over The Rainbow
Victor Vanacore, arranger (Ray Charles & Johnny Mathis)
包裝類
最佳唱片包裝(Best Recording Package )
A Ghost Is Born
Peter Buchanan-Smith & Dan Nadel, art directors (Wilco)
最佳盒裝/限量發行版包裝(Best Boxed Or Special Limited Edition Package )
Once In A Lifetime
Stefan Sagmeister, art director (Talking Heads)
專輯註解類
最佳專輯註解(Best Album Notes)
The Complete Columbia Recordings Of Woody Herman And His Orchestra & Woodchoppers (1945-1947)
Loren Schoenberg, album notes writer (Woody Herman & His Orchestra)
歷史類
最佳歷史性專輯(Best Historical Album)
Night Train To Nashville: Music City Rhythm & Blues, 1945-1970
Daniel Cooper & Michael Gray, compilation procers; Joseph M. Palmaccio & Alan Stoker, mastering engineers (Various Artists)
非古典類製作類
最佳非古典類工程專輯(Best Engineered Album, Non-Classical )
Genius Loves Company
Robert Fernandez, John Harris, Terry Howard, Pete Karam, Joel Moss, Al Schmitt & Ed Thacker, engineers (Ray Charles & Various Artists)
年度最佳非古典類製作人(Procer Of The Year, Non-Classical )
John Shanks
最佳非古典類混音唱片(Best Remixed Recording, Non-Classical )
It's My Life (Jacques Lu Cont's Thin White Duke Mix)
Jacques Lu Cont, remixer (No Doubt)
Track from: The Singles 1992-2003
環繞音響類
最佳環繞音響專輯(Best Surround Sound Album)
Genius Loves Company
Al Schmitt, surround mix engineer; Robert Hadley & Doug Sax, surround mastering
engineers; John Burk, Phil Ramone & Herbert Waltl, surround procers (Ray
Charles & Various Artists)
古典類製作類
最佳古典類工程專輯(Best Engineered Album, Classical )
Higdon: City Scape; Concerto For Orchestra
Jack Renner, engineer (Robert Spano)
年度最佳古典類製作人(Procer Of The Year, Classical )
David Frost
古典類
最佳古典專輯(Best Classical Album)
Adams: On The Transmigration Of Souls
Lorin Maazel, conctor; John Adams & Lawrence Rock, procers (Brooklyn Youth Chorus & New York Choral Artists; New York Philharmonic)
最佳管弦樂隊(Best Orchestral Performance)
Adams: On The Transmigration Of Souls
Lorin Maazel, conctor (Brooklyn Youth Chorus & New York Choral Artists; New
York Philharmonic)
最佳歌劇唱片(Best Opera Recording)
Mozart: Le Nozze Di Figaro
RenéJacobs, conctor; Patrizia Ciofi, Véronique Gens, Simon Keenlyside, Angelika Kirchschlager & Lorenzo Regazzo; Martin Sauer, procer (Various Artists; Concerto K?ln)
最佳合唱隊(Best Choral Performance)
Berlioz: Requiem
Robert Spano, conctor; Norman Mackenzie, choir director (Frank Lopardo, tenor; Atlanta Symphony Orchestra Chorus; Atlanta Symphony Orchestra)
最佳器樂獨奏(與管弦樂隊合作)(Best Instrumental Soloist(s) Performance (with Orchestra))
Previn: Violin Concerto "Anne-Sophie"/Bernstein: Serenade
AndréPrevin, conctor; Anne-Sophie Mutter, violin (Boston Symphony Orchestra & London Symphony Orchestra)
最佳器樂獨奏(不帶管弦樂隊)(Best Instrumental Soloist Performance (without Orchestra)
Aire Latino (Morel, Villa-Lobos, Ponce, Etc.)
David Russell, guitar
最佳室內音樂演奏(Best Chamber Music Performance)
Prokofiev (Arr. Pletnev): Cinderella - Suite For Two Pianos/Ravel: Ma Mère L'Oye
Martha Argerich, piano & Mikhail Pletnev, piano
最佳小樂隊演奏獎(Best Small Ensemble Performance (with or without Conctor))
Carlos Chávez - Complete Chamber Music, Vol. 2
Jeff von der Schmidt, conctor; Southwest Chamber Music
最佳古典演唱(Best Classical Vocal Performance )
Ives: Songs (The Things Our Fathers Loved; The Housatonic At Stockbridge, Etc.)
Susan Graham, mezzo soprano (Pierre-Laurent Aimard, piano)
最佳古典音樂當代作曲獎(Best Classical Contemporary Composition)
Adams: On The Transmigration Of Souls
John Adams (Lorin Maazel; Brooklyn Youth Chorus & New York Choral Artists; New
York Philharmonic)
最佳古典跨界專輯(Best Classical Crossover Album )
LAGQ's Guitar Heroes
Los Angeles Guitar Quartet
音樂錄影帶類
最佳短篇音樂錄影帶(Best Short Form Music Video)
Vertigo
U2
最佳長篇音樂錄影帶(Best Long Form Music Video)
Concert For George
Various Artists
46屆格萊美完全獲獎名單
一、綜合類
1.年度最佳單曲(Record Of The Year)
《Clocks》，Coldplay
2.年度最佳專輯(Album Of The Year)
《Speakerboxxx/The Love Below》，Outkast
3.年度最佳歌曲(Song Of The Year)
《Dance With My Father》，Richard Marx & Luther Vandross, songwriters (Luther Vandross)
4.年度最佳新人
Evanescence
二、流行類
5.年度最佳流行女歌手(Best Female Pop Vocal Performance)
《Beautiful》，Christina Aguilera
6.年度最佳流行男歌手(Best Male Pop Vocal Performance)
《Cry Me A River》，Justin Timberlake
7.年度最佳流行樂隊/組合(Best Pop Performance By A Duo Or Group With Vocal)
《Underneath It All》，No Doubt
8.年度最佳流行合唱(Best Pop Collaboration With Vocals )
《Whenever I Say Your Name》，Sting & Mary J. Blige
9.年度最佳流行樂器演奏(Best Pop Instrumental Performance )
《Marwa Blues》，George Harrison
10.年度最佳樂器演奏專輯(Best Pop Instrumental Album)
《Mambo Sinuendo》，Ry Cooder & Manuel Galbán
11.年度最佳流行演唱專輯(Best Pop Vocal Album )
《Justified》，Justin Timberlake
12.年度最佳舞曲唱片(Best Dance Recording )
《Come Into My World》，Kylie Minogue，Rob Davis & Cathy Dennis, procers; Rob Davis, Cathy Dennis, Bruce Elliott-Smith & Phil Larsen, mixers
三、傳統流行類
13.年度最佳傳統流行演唱專輯(Best Traditional Pop Vocal Album )
《A Wonderful World》，Tony Bennett & k.d. lang
四、搖滾樂類
14.年度最佳搖滾女歌手(Best Female Rock Vocal Performance )
《Trouble》，Pink
15.年度最佳搖滾男歌手(Best Male Rock Vocal Performance )
《Gravedigger》，Dave Matthews
16.年度最佳搖滾樂隊/組合(Best Rock Performance By A Duo Or Group With Vocal )
《Disorder In The House》，Warren Zevon & Bruce Springsteen
17.年度最佳硬搖滾演奏(Best Hard Rock Performance )
《Bring Me To Life》，Evanescence Featuring Paul McCoy
18.年度最佳金屬演奏(Best Metal Performance )
《St. Anger》，Metallica
19.年度最佳搖滾樂器演奏(Best Rock Instrumental Performance )
《Plan B》Jeff Beck
20.年度最佳搖滾歌曲(Best Rock Song )
《Seven Nation Army》Jack White, songwriter (The White Stripes)
21.年度最佳搖滾專輯(Best Rock Album )
《One By One》Foo Fighters
五、另類音樂類
22.年度最佳另類音樂專輯(Best Alternative Music Album )
《Elephant》The White Stripes
六、節奏藍調音樂類
23.年度最佳女R&B歌手(Best Female R&B Vocal Performance )
《Dangerously In Love》Beyoncé
24.年度最佳R&B男歌手(Best Male R&B Vocal Performance )
《Dance With My Father》Luther Vandross
25.年度最佳R&B樂隊/組合(Best R&B Performance By A Duo Or Group With Vocals )
《The Closer I Get To You》Beyoncé& Luther Vandross
26.年度最佳傳統R&B歌手(Best Traditional R&B Vocal Performance )
《Wonderful》Aretha Franklin
27.年度最佳城市/另類歌手(Best Urban/Alternative Performance )
《Hey Ya!》Outkast
28.年度最佳R&B歌曲(Best R&B Song )
《Crazy In Love》Shawn Carter, Rich Harrison, BeyoncéKnowles & Eugene Record, songwriters (BeyoncéFeaturing Jay-Z)
29.年度最佳R&B專輯(Best R&B Album )
《Dance With My Father》Luther Vandross
30.年度最佳當代R&B專輯(Best Contemporary R&B Album )
《Dangerously In Love》Beyoncé
七、說唱類
31.年度最佳說唱女歌手(Best Female Rap Solo Performance )
《Work It》Missy Elliott
32.年度最佳說唱男歌手(Best Male Rap Solo Performance )
《Lose Yourself》Eminem
33.年度最佳說唱樂隊/組合(Best Rap Performance By A Duo Or Group )
《Shake Ya Tailfeather》Nelly, P. Diddy & Murphy Lee
34.年度最佳說唱歌曲合作(Best Rap/Sung Collaboration )
《Crazy In Love》BeyoncéFeaturing Jay-Z
35.年度最佳說唱歌曲(Best Rap Song )
《Lose Yourself》J. Bass, M. Mathers & L. Resto, songwriters (Eminem)
36.年度最佳說唱專輯(Best Rap Album )
《Speakerboxxx/The Love Below》Outkast
八、鄉村類
37.年度最佳鄉村女歌手(Best Female Country Vocal Performance )
《Keep On The Sunny Side》June Carter Cash
38.年度最佳鄉村男歌手(Best Male Country Vocal Performance )
《Next Big Thing》Vince Gill
39.年度最佳鄉村樂隊/組合(Best Country Performance By A Duo Or Group With Vocal )
《A Simple Life》Ricky Skaggs & Kentucky Thunder
40.年度最佳鄉村合唱(Best Country Collaboration With Vocals )
《How's The World Treating You》James Taylor & Alison Krauss
41.年度最佳鄉村樂器演奏(Best Country Instrumental Performance )
《Cluck Old Hen》Alison Krauss & Union Station
42.年度最佳鄉村歌曲(Best Country Song )
《It's Five O'Clock Somewhere》Jim "Moose" Brown & Don Rollins, songwriters (Alan Jackson & Jimmy Buffett)
43.年度最佳鄉村專輯(Best Country Album )
《Livin', Lovin', Losin' - Songs Of The Louvin Brothers》群星，Carl Jackson, procer
44.年度最佳藍草專輯(Best Bluegrass Album )
《Live》Alison Krauss & Union Station
九、新世紀類
45.年度最佳新世紀專輯(Best New Age Album )
《One Quiet Night》Pat Metheny
十、爵士類
46.年度最佳當代爵士樂專輯(Best Contemporary Jazz Album )
《34th N Lex》Randy Brecker
47.年度最佳爵士演唱專輯(Best Jazz Vocal Album )
《A Little Moonlight》Dianne Reeves
48.年度最佳爵士樂器獨奏(Best Jazz Instrumental Solo )
《Matrix》Chick Corea, soloist
49.年度最佳爵士演奏專輯(Best Jazz Instrumental Album, Indivial or Group)
《Alegría》Wayne Shorter
50.年度最佳大爵士演奏專輯(Best Large Jazz Ensemble Album )
《Wide Angles》Michael Brecker Quindectet
51.年度最佳拉丁爵士專輯(Best Latin Jazz Album )
《Live At The Blue Note》Michel Camilo With Charles Flores & Horacio "El Negro" Hernandez
十一、靈樂類
52.年度最佳搖滾靈樂專輯(Best Rock Gospel Album)
《Worldwide》Audio Adrenaline
53.年度最佳當代靈樂專輯(Best Pop/Contemporary Gospel Album)
《Worship Again》Michael W. Smith
54.年度最佳南方、鄉村或藍草靈樂專輯(Best Southern, Country, or Bluegrass Gospel Album)
《Rise And Shine》Randy Travis
55.年度最佳傳統靈樂專輯(Best Traditional Soul Gospel Album)
《Go Tell It On The Mountain》The Blind Boys Of Alabama
56.年度最佳當代靈樂專輯(Best Contemporary Soul Gospel Album )
《...Again》Donnie McClurkin
57.年度最佳靈樂合唱專輯(Best Gospel Choir Or Chorus Album )
《A Wing And A Prayer》Bish
Ⅶ 誰能幫我總結第50屆格萊美獎所有得獎歌手歌曲專輯 謝謝
1、年度最佳唱片
（Record Of The Year）
《Rehab》
Amy Winehouse
2、年度最佳專輯
（Album Of The Year）
《River: The Joni Letters》
Herbie Hancock
3、年度最佳歌曲
（Song Of The Year）
《Rehab》
Amy Winehouse, songwriter (Amy Winehouse)
4、最佳新人
（Best New Artist）
Amy Winehouse
流行類
5、最佳流行女歌手
（Best Female Pop Vocal Performance）
《Rehab》
Amy Winehouse
6、最佳流行男歌手
（Best Male Pop Vocal Performance）
《What Goes Around...Comes Around》
Justin Timberlake
7、最佳流行樂隊/組合
（Best Pop Performance By A Duo Or Group With Vocals）
《Makes Me Wonder》
Maroon 5
8、最佳流行合唱
（Best Pop Collaboration With Vocals）
《Gone Gone Gone (Done Moved On)》
Robert Plant & Alison Krauss
9、最佳流行器樂演奏
（Best Pop Instrumental Performance）
《One Week Last Summer》
Joni Mitchell
10、最佳流行樂器演奏專輯
（Best Pop Instrumental Album）
《The Mix-Up》
Beastie Boys
11、最佳流行演唱專輯
（Best Pop Vocal Album）
《Back To Black》
Amy Winehouse
12、最佳舞曲唱片
（Best Dance Recording）
《LoveStoned/I Think She Knows》
Justin Timberlake
13、最佳電子/舞曲專輯
（Best Electronic/Dance Album）
《We Are The Night》
The Chemical Brothers
14、最佳傳統流行演唱專輯
（Best Traditional Pop Vocal Album）
《Call Me Irresponsible》
Michael Bublé
搖滾類
15、最佳搖滾歌手
（Best Solo Rock Vocal Performance）
《Radio Nowhere》
Bruce Springsteen
16、最佳搖滾樂隊/組合
（Best Rock Performance By A Duo Or Group With Vocals）
《Icky Thump》
The White Stripes
17、最佳硬搖滾演奏
（Best Hard Rock Performance）
《The Pretender》
Foo Fighters
18、最佳金屬演奏
（Best Metal Performance）
《Final Six》
Slayer
19、最佳搖滾樂器演奏
（Best Rock Instrumental Performance）
《Once Upon A Time In The West》
Bruce Springsteen
20、最佳搖滾歌曲
（Best Rock Song）
《Radio Nowhere》
Bruce Springsteen
21、最佳搖滾專輯
（Best Rock Album）
《Echoes, Silence, Patience & Grace》
Foo Fighters
另類音樂類
22、最佳另類音樂專輯
（Best Alternative Music Album）
《Icky Thump》
The White Stripes
節奏藍調音樂類
23、最佳R&B女歌手
（Best Female R&B Vocal Performance）
《No One》
Alicia Keys
24、最佳R&B男歌手
（Best Male R&B Vocal Performance）
《Future Baby Mama》
Prince
25、最佳R&B樂隊/組合
（Best R&B Performance By A Duo Or Group With Vocals）
《Disrespectful》
Chaka Khan Featuring Mary J. Blige
26、最佳傳統R&B歌手
（Best Traditional R&B Vocal Performance）
《In My Songs》
Gerald Levert
27、最佳城市音樂/另類歌手
（Best Urban/Alternative Performance）
《Daydreamin'》
Lupe Fiasco Featuring Jill Scott
28、最佳R&B歌曲
（Best R&B Song）
《No One》
Dirty Harry, Kerry Brothers & Alicia Keys, songwriters (Alicia Keys)
29、最佳R&B專輯
（Best R&B Album）
《Funk This》
Chaka Khan
30、最佳當代R&B專輯
（Best Contemporary R&B Album）
《Because Of You》
Ne-Yo
說唱類
31、最佳說唱歌手
（Best Rap Solo Performance）
《Stronger》
Kanye West
32、最佳說唱樂隊/組合
（Best Rap Performance By A Duo Or Group）
《Southside》
Common Featuring Kanye West
33、最佳說唱歌曲合作
（Best Rap/Sung Collaboration ）
《Good Life》
Aldrin Davis, Mike Dean, Faheem Najm & Kanye West, songwriters (J. Ingram & Q. Jones, songwriters)(Kanye West Featuring T-Pain)
34、最佳說唱歌曲
（Best Rap Song）
《Graation》
Kanye West
35、最佳說唱專輯
（Best Rap Album）
《Graation》
Kanye West
鄉村類
36、最佳鄉村女歌手
（Best Female Country Vocal Performance）
《Before He Cheats》
Carrie Underwood
37、最佳鄉村男歌手
（Best Male Country Vocal Performance）
《Stupid Boy》
Keith Urban
38、最佳鄉村樂隊/組合
（Best Country Performance By A Duo Or Group With Vocals）
《How Long》
Eagles
39、最佳鄉村合唱
（Best Country Collaboration With Vocals）
《Lost Highway》
Willie Nelson & Ray Price
40、最佳鄉村樂器演奏
（Best Country Instrumental Performance）
《Throttleneck》
Brad Paisley
41、最佳鄉村歌曲
（Best Country Song）
《Before He Cheats》
Josh Kear & Chris Tompkins, songwriters (Carrie Underwood)
42、最佳鄉村專輯
（Best Country Album）
《These Days》
Vince Gill
43、最佳蘭草專輯
（Best Bluegrass Album）
《The Bluegrass Diaries》
Jim Lauderdale
新世紀類
44、最佳新世紀專輯
（Best New Age Album）
《Crestone》
Paul Winter Consort
爵士類
45、最佳當代爵士樂專輯
（Best Contemporary Jazz Album）
《River: The Joni Letters》
Herbie Hancock
46、最佳爵士演唱專輯
（Best Jazz Vocal Album）
《Avant Gershwin》
Patti Austin
47、最佳爵士樂器獨奏
（Best Jazz Instrumental Solo）
《Anagram》
Michael Brecker, soloist
48、最佳爵士演奏專輯
（Best Jazz Instrumental Album, Indivial or Group）
《Pilgrimage》
Michael Brecker
49、最佳大爵士樂團專輯
（Best Large Jazz Ensemble Album）
《A Tale Of God's Will (A Requiem For Katrina)》
Terence Blanchard
50、最佳拉丁爵士專輯
（Best Latin Jazz Album）
《Funk Tango》
Paquito D'Rivera Quintet?
靈樂類
51、最佳靈樂表演
（Best Gospel Performance）
《Never Gonna Break My Faith》
Aretha Franklin & Mary J. Blige(Tie)《Blessed & Highly Favored》
The Clark Sisters
52、最佳靈樂歌曲
（Best Gospel Song）
《Blessed & Highly Favored》
Karen Clark-Sheard, songwriter (The Clark Sisters)
53、最佳搖滾/說唱靈樂專輯
（Best Rock Or Rap Gospel Album）
《Before The Daylight's Shot》
Ashley Cleveland
54、最佳流行/當代靈樂專輯
（Best Pop/Contemporary Gospel Album）
《A Deeper Level》
Israel And New Breed
55、最佳南方、鄉村或藍草靈樂專輯
（Best Southern, Country, Or Bluegrass Gospel Album）
《Salt Of The Earth》
Ricky Skaggs & The Whites
56、最佳傳統靈樂專輯
（Best Traditional Gospel Album）
《Live - One Last Time》
The Clark Sisters
57、最佳當代節奏藍調靈樂專輯
（Best Contemporary R&B Gospel Album）
作者： satan0424 2008-2-11 13:59 回復此發言
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3 【Grammy-公布】第50屆格萊美音樂獎完全獲獎名單
《Free To Worship》
Fred Hammond
拉丁類
58、最佳流行拉丁專輯
（Best Latin Pop Album）
《El Tren De Los Momentos》
Alejandro Sanz
59、最佳拉丁搖滾/另類或城市音樂專輯
（Best Latin Rock Or Alternative Album）
《No Hay Espacio》
Black:Guayaba
60、最佳拉丁城市專輯
（Best Latin Urban Album）
《Residente O Visitante》
Calle 13
61、最佳熱帶拉丁專輯
（Best Tropical Latin Album）
《La Llave De Mi Corazón》
Juan Luis Guerra
62、最佳墨西哥/美洲專輯
（Best Mexican/Mexican-American Album）
《100% Mexicano》
Pepe Aguilar
63、最佳特加諾專輯
（Best Tejano Album）
《Before The Next Teardrop Falls》
Little Joe & La Familia
64、最佳諾特諾專輯
（Best Norteno Album）
《Detalles Y Emociones》
Los Tigres Del Norte
65、最佳Banda專輯
（Best Banda Album）
《Te Va A Gustar》
El Chapo
藍調類
66、最佳傳統藍調專輯
（Best Traditional Blues Album）
《Last Of The Great Mississippi Delta Bluesmen: Live In Dallas》
Henry James Townsend, Joe Willie "Pinetop" Perkins, Robert Lockwood, Jr. & David "Honeyboy" Edwards
67、最佳當代藍調專輯
（Best Contemporary Blues Album）
《The Road To Escondido》
JJ Cale & Eric Clapton
民謠類
68、最佳傳統民謠專輯
（Best Traditional Folk Album）
《Dirt Farmer》
Levon Helm
69、最佳當代民謠/美國本土專輯
（Best Contemporary Folk/Americana Album）
《Washington Square Serenade》
Steve Earle
70、最佳印第安音樂專輯
（Best Native American Music Album）
《Totemic Flute Chants》
Johnny Whitehorse
71、最佳夏威夷音樂專輯
（Best Hawaiian Music Album）
《Treasures Of Hawaiian Slack Key Guitar》
Daniel Ho, George Kahumoku, Jr., Paul Konwiser & Wayne Wong
72、最佳柴迪科舞曲/Cajun音樂專輯
（Best Zydeco Or Cajun Music Album）
《Live! Worldwide》
Terrance Simien & The Zydeco Experience
雷鬼類
73、最佳雷鬼專輯
（Best Reggae Album）
《Mind Control》
Stephen Marley
世界音樂類
74、最佳傳統世界音樂專輯
（Best Traditional World Music Album）
《African Spirit》
Soweto Gospel Choir
75、最佳當代世界音樂專輯
（Best Contemporary World Music Album）
《Djin Djin》
Angelique Kidjo
波爾卡類
76、最佳波爾卡專輯
（Best Polka Album）
《Come Share The Wine》
Jimmy Sturr And His Orchestra
兒童類
77、最佳兒童音樂劇專輯
（Best Musical Album For Children）
《A Green And Red Christmas》
The Muppets
78、最佳兒童朗讀專輯
（Best Spoken Word Album For Children）
《Harry Potter And The Deathly Hallows》
Jim Dale
朗讀類
79、最佳誦讀專輯
（Best Spoken Word Album）
《The Audacity Of Hope: Thoughts On Reclaiming The American Dream》
Barack Obama
喜劇類
80、最佳喜劇專輯
（Best Comedy Album）
《The Distant Future》
Flight Of The Conchords
音樂劇類
81、最佳音樂劇專輯
（Best Musical Show Album）
《Spring Awakening》
Duncan Sheik, procer; Duncan Sheik, composer; Steven Sater, lyricist
電影/電視/視頻類
82、最佳改編影視音樂專輯
（Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media）
《Love》(The Beatles)
George Martin & Giles Martin, procers
83、最佳原創影視音樂專輯
（Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media）
《Ratatouille》
Michael Giacchino, composer
84、最佳影視歌曲
（Best Song Written For Motion Picture, Television Or Other Visual Media）
《Love You I Do (From Dreamgirls)》
Siedah Garrett & Henry Krieger, songwriters (Jennifer Hudson)
作曲/編曲類
85、最佳器樂作曲
（Best Instrumental Composition）
《Cerulean Skies》
Maria Schneider, composer(Maria Schneider Orchestra)
86、最佳器樂編曲
（Best Instrumental Arrangement）
《In A Silent Way》
Vince Mendoza
87、最佳器樂編曲伴唱
（Best Instrumental Arrangement Accompanying Vocalist(s)）
《I'm Gonna Live Till I Die》
John Clayton, arranger (Queen Latifah)
包裝類
88、最佳唱片包裝
（Best Recording Package）
《Cassadaga》
Zack Nipper, art director (Bright Eyes)
89、最佳盒裝/限量發行版包裝
（Best Boxed Or Special Limited Edition Package）
《What It Is!: Funky Soul And Rare Grooves (1967-1977)》
Masaki Koike, art director (Various Artists)
專輯註解類
90、最佳專輯註解
（Best Album Notes）
《John Work, III: Recording Black Culture》
Bruce Nemerov, album notes writer (Various Artists)
歷史類
91、最佳歷史專輯
（Best Historical Album）
《The Live Wire - Woody Guthrie In Performance 1949》
Nora Guthrie & Jorge Arévalo Mateus, compilation procers; Jamie Howarth, Steve Rosenthal, Warren Russell-Smith & Dr. Kevin Short, mastering engineers (Woody Guthrie)
非古典類製作類
92、最佳非古典類工程專輯
（Best Engineered Album, Non-Classical）
《Beauty & Crime》
Tchad Blake, Cameron Craig, Emery Dobyns & Jimmy Hogarth, engineers (Suzanne Vega)
93、年度最佳非古典類製作人
（Procer Of The Year, Non-Classical）
Mark Ronson
>Back To Black (Amy Winehouse) (T)
>Littlest Things (Lily Allen) (T)
>Rehab (Amy Winehouse) (T)
>Version (Mark Ronson) (A)
>You Know I'm No Good (Amy Winehouse) (T)
94、最佳非古典類混音唱片
（Best Remixed Recording, Non-Classical）
《Bring The Noise (Benny Benassi Sfaction Remix)》
Benny Benassi, remixer (Public Enemy)
環繞音響類
95、最佳環繞音響專輯
（Best Surround Sound Album）
《Love》
Paul Hicks, surround mix engineer; Tim Young, surround mastering engineer; George Martin & Giles Martin, surround procers (The Beatles)
古典類製作類
96、最佳古典類工程專輯
（Best Engineered Album, Classical）
《Grechaninov: Passion Week》
John Newton, engineer (Charles Bruffy, Phoenix Bach Choir & Kansas City Chorale)
97、年度最佳古典類製作人
（Procer Of The Year, Classical）
Judith Sherman
>American Virtuosa: Tribute To Maud Powell (Rachel Barton Pine & Matthew Hagle)
>From Barrelhouse To Broadway: The Musical Odyssey Of Joe Jordan
>Górecki: String Quartet No. 3 '...Songs Are Sung'
>Strange Imaginary Animals (Eighth Blackbird)
>Tchaikovsky: Three String Quartets, Souvenir De Florence (Ying Quartet)
古典類
98、最佳古典專輯
（Best Classical Album）
《Tower: Made In America》
Leonard Slatkin, conctor; Tim Handley, procer (Nashville Symphony)
99、最佳管弦樂隊
（Best Orchestral Performance）
《Tower: Made In America》
Leonard Slatkin, conctor (Nashville Symphony)
100、最佳歌劇唱片
（Best Opera Recording）
《Humperdinck: Hansel & Gretel》
Sir Charles Mackerras, conctor; Rebecca Evans, Jane Henschel&Jennifer Larmore; Brian Couzens, procer
101、最佳合唱團
（Best Choral Performance）
《Brahms: Ein Deutsches Requiem》
Simon Rattle, conctor; Simon Halsey, chorus master
102、最佳器樂獨奏(與管弦樂隊合作)
（Best Instrumental Soloist(s) Performance (with Orchestra)）
《Barber/Korngold/Walton: Violin Concertos》
James Ehnes
103、最佳器樂獨奏(無管弦樂隊)
（Best Instrumental Soloist Performance (without Orchestra)）
《Beethoven Sonatas, Vol. 3》
Garrick Ohlsson
104、最佳室內音樂演奏
（Best Chamber Music Performance）
《Strange Imaginary Animals》
Eighth Blackbird
105、最佳小樂隊演奏獎
（Best Small Ensemble Performance）
《Stravinsky: Apollo, Concerto In D; Prokofiev: 20 Visions Fugitives》
Yuri Bashmet, conctor; Moscow Soloists
106、最佳古典演唱
（Best Classical Vocal Performance）
《Lorraine Hunt Lieberson Sings Peter Lieberson: Neruda Songs》
Lorraine Hunt Lieberson
107、最佳當代古典音樂作曲獎
（Best Classical Contemporary Composition）
《Made In America》
Joan Tower
108、最佳古典跨界專輯
（Best Classical Crossover Album）
《A Love Supreme: The Legacy Of John Coltrane》
Turtle Island Quartet
音樂錄影帶類
109、最佳短篇音樂錄影帶
（Best Short Form Music Video）
《God's Gonna Cut You Down》Johnny Cash
Tony Kaye, video director; Rachel Curl, video procer
110、最佳長篇音樂錄影帶
（Best Long Form Music Video）
《The Confessions Tour》Madonna
Jonas Akerlund, video director; Sara Martin & David May, video procers