Ⅰ 蓝调classical time 的歌词
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 求电影<我是传奇>的英文介绍!!!!!!!!!!!!!!!!!
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的英文介绍，请直接把资料发出来，谢谢
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的区别的用法
第1章 动词时态
第2章 被动语态
第3章 虚拟语气
第4章 情态动词
第5章 动词不定式
第6章 动词的ing形式
第7章 过去分词
第8章 独立主格结构
第9章 名词性从句
第10章 定语从句
第11章 状语从句（一）
第11章 状语从句（二）
第12章 直接引语和间接引语
第13章 倒装
第14章 强 调
第15章 省略
第16章 主谓一致
动词时态－－ 一般时
第一章 动词时态（一）
在英语中，不同时间发生的动作或存在的状态，要用不同的动词形式来表示，这就叫做动词的时态。
一、一般时
一般时包括一般现在时、一般过去时、一般将来时和一般过去将来时。
A.一般现在时
1． 一般现在时的构成
一般现在时主要用动词原形来表示。主语是第三人称单数时，动词后面要加-s或-es。
They want good jobs.
他们想要好的工作。
The coat matches the dress.
外衣和裙子很相配。
This work does not satisfy me.
这项工作我不满意。
Do you understand?
你懂了吗?
2．一般现在时的用法
①一般现在时的基本用法
a. 表示现在习惯性的动作或存在状态
He always takes a walk after supper.
晚饭后他总是散散步。
Everyone is in high spirits now.
现在大家都情绪高涨。
b. 表示客观事实或普遍真理
The sun rises in the east and sets in the west.
太阳从东方升起在西方落下。
Sound travels faster through water than it does through air.
声音在水中的传播速度要比在空气中快。
Time and tide wait for no man.
时间不等人。
c. 表示主语的特征、能力和状态
This cloth feels soft.
这布摸上去很软。
I love classical music.
我喜欢古典音乐。
The President still seems able to find time to go fishing.
看来总统仍能有时间去钓鱼。
d. 表示按计划或安排将要发生的动作
The meeting begins at 7:00.
会议七点钟开始。
We leave here at 8:00 sharp.
我们八点整离开这里。
e. 在时间、条件、让步状语从句中表示将来动作
When you come next time, bring me some magazines.
你下次来时，给我带几本杂志。
If time allows, we shall go there tomorrow.
如果时间允许的话，我们明天去那里。
Whether he agrees or not, I will stay at home.
不管他同意与否，我都会待在家里。
②一般现在时的特殊用法
a. 用于新闻标题或图片说明中
China Declares Manned Spaceflight Successful
中国宣布载人航天飞行圆满成功
Laura Bush Arrives in Moscow
劳拉·布什抵达莫斯科
b. 用于体育运动、表演等实况报道中
Francis slips past, passes the ball to Yao Ming, who jumps, catches and shoots it into the basket.
弗朗西斯穿过去，把球传给姚明，姚明跳起来，接住球投进篮里。
Now, look, I press the button and turn on the machine.
现在，看，我按下按扭，打开了这台机器。
c. 表示告诫或劝说
You mind your own business.
你不要管闲事！
If he does that again, he goes to prison.
如果他再那样的话，他就会进监狱的。
d. 表示现在瞬间的动作
Here comes the bus.
汽车来了。
There goes the bell.
铃响了。
B．一般过去时
1． 一般过去时的构成
一般过去时是用动词的过去式来表示。
His words fetched a laugh from all present.
他的话使在场的人都笑了。
I did not sleep well last night.
我昨晚没睡好。
Did you direct the tourist to the hotel?
你告诉这位游客去旅馆的路了吗？
2．一般过去时的用法
①一般过去时的基本用法
a. 表示过去某个特定时间发生的动作或存在的状态
He suddenly fell ill yesterday.
昨天他突然生病了。
The engine stopped because the fuel was used up.
发动机因燃料用光而停机了。
注意：
在一般过去时的句子中，通常都要有表示过去的时间状语。
【误】I visited the Palace Museum.（在没有上下文的情况下，应避免这样说）
【正】I visited the Palace Museum last year.
去年我参观过故宫博物院。
【正】I have visited the Palace Museum.
我参观过故宫博物院。
b. 表示过去经常发生的动作或存在的状态
I wrote home once a week at college.
我上大学时每周给家里写一封信。
He was already in the habit of reading widely in his boyhood.
他童年时就养成了广泛阅读的习惯。
提示：
表示过去的习惯性动作，除了用过去式外，还可以用used to或would来表示。
She used to study late into the night when she was in Senior Three.
她上高三时经常学习到深夜。
He would sit for hours doing nothing.
过去他常常一坐几个钟头什么事也不做。
c. 表示过去连续发生的一系列动作
She entered the room, picked up a magazine and looked through it carefully.
她走进房间，拿起一本杂志，认真地翻阅了起来。
The students got up early in the morning, did morning exercises and then read English aloud in the open air.
学生们很早起床，做早操，然后在室外朗读英语。
d. 在时间、条件状语从句中表示过去将要发生的动作
We would not leave until the teacher came back.
老师回来我们才会离开。
She told me she would not go if it rained the next day.
她告诉我如果第二天下雨的话，她就不去了。
②一般过去时的特殊用法
a. 在虚拟语气中表示现在或将来时间的动作或状态
It's time we went.
是我们该走的时候了。
I wish I were twenty years younger.
但愿我年轻20岁。
I would rather you didn't do anything for the time being.
我宁愿你暂时先不要采取什么措施。
b. 在口语中，一般过去时往往显示委婉客气。
I wondered if you could give me a hand.
我想请你帮个忙。
Might I come and see you tonight?
我想今晚来看你，好吗？
3．一般现在时和一般过去时的比较
一般现在时要和现在时间相联系，而一般过去时和说话的“现在”不相联系。
His father is a film director.
他父亲是电影导演。（他现在还是）
His father was a film director.
他父亲曾是电影导演。（他现在不是）
How do you like the novel?
你觉得这部小说怎么样？（还在看小说）
How did you like the novel?
你觉得这部小说怎么样？（已看完小说）
C．一般将来时
1． 一般将来时的构成
一般将来时是由“will / shall + 动词原形”构成的。shall只限于第一人称，主要见于英国英语，现在的趋势是第一、二、三人称的单复数形式均用will表示。在口语中，shall和will常缩写成“'ll”，紧接在主语之后。其否定式shall not 和will not 常简略为shan't 和won't。
I'll go and shut the door.
我去关门。
When will you know your exam results?
你什么时候能知道考试结果？
I can see you're busy, so I won't stay long.
我看得出你很忙，所以我不会呆太久的。
提示：在you and I或both of us等短语后，只用will，不用shall。
You and I will arrive there next Monday.
我和你下周一都要到达那里。
Both of us will graate from middle school next year.
我们俩明年中学毕业。
2．一般将来时的用法
①表示将要发生的动作或存在的状态
I shall be free this afternoon.
我今天下午有空。
There'll be no chemistry classes tomorrow.
明天没有化学课。
They will probably go to Shanghai for their holiday.
他们可能去上海度假。
注意：
在口语中，常用will / shall + be doing结构来代替will / shall + 动词原形，以表示生动。
I'll be seeing a friend off at the airport.
我要去机场给一个朋友送行。
He'll be going with us tomorrow.
他明天和我们一起去。
②表示将要反复发生的动作
My uncle will come to see me every Saturday.
我叔叔每个星期六都会来看我。
The students will have five English classes per week this term.
本学期学生们每周要上五节英语课。
③表示同意或答应做某事
That bag looks heavy. I'll help you with it.
这个包看起来很重，我来帮你提。
I won't tell anyone what happened, I promise.
我保证不告诉别人所发生的事。
④表示一种倾向或推测
Flowers will die without water.
没有水花会枯死的。
Water will change into ice at 0℃.
水在零摄氏度就会结冰。
This will be your sister, I guess.
我猜想这是你姐姐。
3．一般将来时的常用结构
①用于“I expect, I'm sure, I think, I wonder + 宾语从句”中
Don't worry about the exam. I'm sure you'll pass.
不要担心这次考试，我确信你会通过的。
I wonder what will happen.
我不知道将会发生什么事。
I don't think the test will be very difficult.
我想这次测验不会太难。
②用于“祈使句 + and + 陈述句”中
Work hard and you will succeed.
如果你努力，就会成功的。
Go at once and you will see her.
马上去，你就会见到她了。
③与表示时间或条件的状语从句连用
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.
如果你请他，他会帮助你的。
We shall go unless it rains.
除非下雨，否则我们是要去的。
4．将来时间的其他表达法
①be going to + 动词原形
“be going to+ 动词原形”这一结构常用于口语中。
a. 表示决定或打算要做某事
I'm going to buy a new coat this winter.
今年冬天我打算买一件新大衣。
Are you going to play basketball after class?
下课后你去打篮球吗？
He is going to be a doctor when he grows up.
他长大后要当医生。
What are you going to do today?
今天你打算做什么？
b. 表示有迹象即将要发生什么事
Look at those black clouds. It is going to rain.
瞧那乌云，天要下雨了。
The car is going to turn over.
汽车要翻了！
There is going to be a snowstorm.
将有一场暴风雪。
比较：
“be going to + 动词原形”与“will / shall + 动词原形”的区别
1．be going to通常表示很快就要发生的事，而will/shall既可表示不久的将来，也可表示长远的将来或不确定的将来。
She is going to get better.
她的病要好了。（有恢复健康的迹象）
She will get better.
她的病会好的。（认为最终会恢复健康的）
2．will表示将来，通常是指事先无计划的意图，是临时决定的； be going to则表示事先有计划的意图，是经过考虑的。
— George phoned while you were out.
你外出的时候乔治打电话来的。
— Ok. I'll phone him back.
好的，我给他回电话。（临时决定）
— Matthew phoned while you were out.
你外出的时候马修打电话来了。
— Yes, I know. I'm going to phone him back.
是的，我知道了。我准备给他回电话。（早有安排）
但在正式文体中，要用will来表示事先安排的动作。
The meeting will begin at 10:00 a.m..
会议将在10点开始。
Coffee will be served from 9:30 from today onwards.
从今天起9:30开始供应咖啡。
3．表示有迹象显示将要发生某一动作时，要用be going to，不用will或shall。
I feel terrible. I think I'm going to be sick.
我觉得不舒服，我想我要生病了。
4．be going to 可用于条件句，表示将来时间，will则不能。
If you are going to attend the meeting, you'd better leave now.
如果你要出席会议，你最好现在就动身。
②be + 动词的-ing形式
“be + 动词的-ing形式”表示根据现在的计划或安排，预期将会发生某事，这种安排不容随意改变。在这一结构中，动词-ing形式通常是表示位置转移的动词，如arrive, come, go, leave, move, start, stay, get 以及eat, meet, see off, die等，并与表示将来的时间状语连用。如果没有时间状语，则所表示的动作有即将发生之意。
He is leaving for Xinjiang in a few days.
他几天后要动身去新疆。
I am dining out tonight.
今晚我将出去吃饭。
The plane is taking off soon.
飞机马上就要起飞了。
The old man is dying.
那位老人快要死了。
比较：
“be + 动词的-ing形式”和“be going to + 动词原形”的异同
1．表示按计划发生的动作时，两者可互换。
We are moving to a new flat tomorrow.
我们明天就要搬到新房子里去了。
We are going to move to a new flat tomorrow.
我们明天就要搬到新房子里去了。
2．表示由于客观因素而产生的将来动作或状态时，用be going to结构，不用be + 动词的-ing形式。
You are going to fall if you climb that tree.
如果你爬树的话，你会摔下来的。（不可说 You are falling if ...）
Be careful. You are going to break that chair.
当心！你会把那张椅子弄坏的。（不可说 You are breaking that chair）
③ be + 动词不定式
这一结构中的be，只有现在式 (am, is, are) 和过去式 (was, were) 两种形式。
a. 表示按计划或安排将要发生的动作
The highway is to be open to traffic in May.
这条公路将在五月份通车。
Am I to take over his work?
我是不是要接管他的工作？
b. 用于条件句中强调按计划或安排将要发生的动作
If we are to take the 5:00 train, we must leave now.
如果我们乘坐5点的火车的话，那我们现在就得出发。
c. 表示命令或吩咐等。否定形式常表示“禁止”或“不许”。
You are to be back before 10 p.m..
你必须在10点前回来。
You are not to go out alone at night.
晚上你不能单独出去。
比较：
“be + 动词不定式”与“be going to+ 动词原形”的区别
1．“be going to+ 动词原形”侧重说话人个人的意图和打算，“be + 动词不定式”侧重受别人的指示或安排要做的事。
I'm going to try my best to write this article well.
我将尽力把这篇文章写好。
Am I to wait here till their arrival?
我要在这儿一直等到他们抵达吗？
2．表示由于客观因素或不受人控制的将要发生的动作时，只用“be going to+ 动词原形”，不用“be + 动词不定式”。
It's going to rain.
天要下雨了。（不说It's to rain.）
Rachel is going to faint.
雷切尔要晕倒了。
④一般现在时
一般现在时可以用来表示将来时间，主要用法有：
a. 表示由于日历或时刻表的规定而固定不变的或比较不易变更的将来时间发生的动作。
Tomorrow is Friday.
明天是星期五。
What time does the next train leave for Paris?
下一班开往巴黎的火车几点出发？
b. 在时间状语从句或条件状语从句中，用一般现在时表示将来时间的动作或状态。
I'll give the book to you after I finish it.
我看完这本书就给你。
If he arrives, we must go and meet him at the railway station.
如果他到了，我们就得到火车站去接他。
c. 在hope, suppose等后面的宾语从句中常用一般现在时表示将来动作或状态。
I hope all is well with him.
我希望他一切都好。
Suppse we go hiking tomorrow.
我们明天还是去远足吧。
D．一般过去将来时
1．一般过去将来时的构成
一般过去将来时是由“should/would + 动词原形”构成的。
He asked me yesterday when I should leave for Paris.
昨天他问我什么时候动身去巴黎。
They wanted to know how they would finish the homework earlier.
他们想知道怎样才能早一点儿完成家庭作业。
2．一般过去将来时的用法
一般过去将来时间的出发点是过去，即从过去某一时刻看以后要发生的动作和状态。
a. 一般过去将来时常用于间接引语中
He said they would arrange a party.
他说他们将安排一个晚会。
I asked if he would come and fix my TV set.
我问他是否来帮我修电视机。
b. 一般过去将来时可用来表示非真实的动作或状态
If I had a chance to study abroad, I would study at Cambridge University.
如果我有机会出国学习的话，我就会去剑桥大学。
I wish he would go with me to the cinema tonight.
今晚他能和我一起去看电影就好了。
3．过去将来时间其他表达法
a. was/were going to +动词原形
He said that he was going to live in the country when he retired.
他说他退休后要住在农村。
They thought it was going to rain.
他们认为天要下雨了。
b. was/were +动词的-ing形式
Nobody knew whether the guests were coming.
没人知道客人们是否要来。
I was told that the train was leaving in a few minutes.
我被告知火车几分钟后就要开了。
c. was/were +动词不定式
She said she was to clean the classroom after school.
她说她放学后要打扫教室。
It was reported that another bridge was to be built across the Yangtse River.
据报道长江上将要再建一座大桥。
提示：
“was/were going to +动词原形”或“was/were + 动词不定式完成式”可表示未能实现的过去将来时间的动作。
Last Sunday we were going to visit the Great Wall, but it rained.
上星期天我们本想去游览长城的，但却下雨了。（没有去成）
I was to have helped with the performance, but I got flu the day before.
我是打算帮忙演出的，但前天我感冒了。（没有帮上忙）
d. was/were about to do
“was/were about to do”表示说话的瞬间就会发生的动作。
I felt something terrible was about to happen.
我觉得有可怕的事要发生了。
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. 很高兴你来了。我正准备给你打电话，现在你省去我这个麻烦了。
提示：
“be about to do”和“be on the point of doing”结构一般不与表示将来的时间状语连用，但后面可以接when引导的分句。
I was about to start when it suddenly began to rain.
我正要动身天突然下雨了。
Ⅳ 有没有类似california love的歌曲，加分哦。我喜欢那个唱歌的部分，那个风格很爽
1.年度最佳唱片(Record Of The Year)
《Not Ready To Make Nice》
Dixie Chicks
2.年度最佳专辑(Album Of The Year)
《Taking The Long Way》
Dixie Chicks
3.年度最佳单曲(Song Of The Year)
《Not Ready To Make Nice》
Dixie Chicks
4.最佳新人(Best New Artist)
Carrie Underwood
流行类
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.最佳流行乐队/组合(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.最佳流行器乐演奏(Best Pop Instrumental Performance)
《Mornin'》
George Benson (& Al Jarreau)
10.最佳流行乐器演奏专辑(Best Pop Instrumental Album)
《Fingerprints》
Peter Frampton
11.最佳流行演唱专辑(Best Pop Vocal Album)
《Continuum》
John Mayer
舞曲类
12.最佳舞曲唱片(Best Dance Recording)
《Sexy Back》
Justin Timberlake & Timbaland
13.最佳电子/舞曲专辑(Best Electronic/Dance Album)
《Confessions On A Dance Floor》
Madonna
传统流行类
14.最佳传统流行演唱专辑(Best Traditional Pop Vocal Album)
《Duets: An American Classic》
Tony Bennett
摇滚乐类
15.最佳摇滚歌手(Best Solo Rock Vocal Performance)
《Someday Baby》
Bob Dylan
16.最佳摇滚乐队/组合(Best Rock Performance By A Duo Or Group With Vocal)
《Dani California》
Red Hot Chili Peppers
17.最佳硬摇滚演奏(Best Hard Rock Performance)
《Woman》
Wolfmother
18.最佳金属演奏(Best Metal Performance)
《Eyes Of The Insane》
Slayer
19.最佳摇滚乐器演奏(Best Rock Instrumental Performance)
《The Wizard Turns On...》
The Flaming Lips
20.最佳摇滚歌曲(Best Rock Song)
《Dani California》
Flea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)
21.最佳摇滚专辑(Best Rock Album)
《Stadium Arcadium》
Red Hot Chili Peppers
另类音乐类
22.最佳另类音乐专辑(Best Alternative Music Album)
《St. Elsewhere》
Gnarls Barkley
节奏蓝调音乐类
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乐队/组合(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.最佳传统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/另类歌手(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专辑(Best R&B Album)
《The Breakthrough》
Mary J. Blige
30.最佳当代R&B专辑(Best Contemporary R&B Album)
《B'Day》
Beyonce
说唱类
31.最佳说唱歌手(Best Rap Solo Performance)
《What You Know》
T.I.
32.最佳说唱乐队/组合(Best Rap Performance By A Duo Or Group)
《Ridin》
Chamillionaire Featuring Krayzie Bone
33.最佳说唱歌曲合作(Best Rap/Sung Collaboration)
《My Love》
Justin Timberlake Featuring T.I.
34.最佳说唱歌曲(Best Rap Song)
《Money Maker》
Christopher Bridges & Pharrell Williams, songwriters (Ludacris Featuring Pharrell)
35.最佳说唱专辑(Best Rap Album)
《Release Therapy》
Ludacris
乡村类
36.最佳乡村女歌手(Best Female Country Vocal Performance)
《Jesus, Take The Wheel》
Carrie Underwood
37.最佳乡村男歌手(Best Male Country Vocal Performance)
《The Reason Why》
Vince Gill
38.最佳乡村乐队/组合(Best Country Performance By A Duo Or Group With Vocal)
《Not Ready To Make Nice》
Dixie Chicks
39.最佳乡村合唱(Best Country Collaboration With Vocals)
《Who Says You Can't Go Home》
Bon Jovi & Jennifer Nettles
40.最佳乡村乐器演奏(Best Country Instrumental Performance)
《Whiskey Before Breakfast》
Bryan Sutton & Doc Watson
41.最佳乡村歌曲(Best Country Song)
《Jesus, Take The Wheel》
Brett James, Hillary Lindsey & Gordie Sampson, songwriters (Carrie Underwood)
42.最佳乡村专辑(Best Country Album)
《Taking The Long Way》
Dixie Chicks
43.最佳兰草专辑(Best Bluegrass Album)
《Instrumentals》
Ricky Skaggs And Kentucky Thunder
新世纪类
44.最佳新世纪专辑(Best New Age Album)
《Amarantine》
Enya
爵士类
45.最佳当代爵士乐专辑(Best Contemporary Jazz Album)
《The Hidden Land》
Bela Fleck & The Flecktones
46.最佳爵士演唱专辑(Best Jazz Vocal Album)
《Turned To Blue》
Nancy Wilson
47.最佳爵士乐器独奏(Best Jazz Instrumental Solo)
《Some Skunk Funk》
Michael Brecker, soloist
48.最佳爵士演奏专辑(Best Jazz Instrumental Album, Indivial or Group)
《The Ultimate Adventure》
Chick Corea
49.最佳大爵士乐团专辑(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.最佳拉丁爵士专辑(Best Latin Jazz Album)
《Simpatico》
The Brian Lynch/Eddie Palmieri Project
灵乐类
51.最佳灵乐表演(Best Gospel Performance)
《Victory》
Yolanda Adams
52.最佳灵乐歌曲(Best Gospel Song)
《Imagine Me》
Kirk Franklin, songwriter (Kirk Franklin)
53.最佳摇滚灵乐专辑(Best Rock Gospel Album)
《Turn Around》
Jonny Lang
54.最佳流行/当代灵乐专辑(Best Pop/Contemporary Gospel Album)
《Wherever You Are》
Third Day
55.最佳南方、乡村或蓝草灵乐专辑(Best Southern, Country, or Bluegrass Gospel Album)
《Glory Train》
Randy Travis
56.最佳传统灵乐专辑(Best Traditional Soul Gospel Album)
《Alive In South Africa》
Israel & New Breed
57.最佳当代节奏蓝调灵乐专辑(Best Contemporary R&B Gospel Album)
《Hero》
Kirk Franklin
拉丁类
58.最佳流行拉丁专辑(Best Latin Pop Album)
《Limon Y Sal》
Julieta Venegas
59.最佳拉丁摇滚/另类或城市音乐专辑(Best Latin Rock, Alternative Or Urban Album)
《Amar Es Combatir》
Mana
60.最佳热带拉丁专辑(Best Tropical Latin Album)
《Directo Al Corazon》
Gilberto Santa Rosa
61.最佳墨西哥/墨西哥-美洲专辑(Best Mexican/Mexican-American Album)
《Historias De Mi Tierra》
Pepe Aguilar
62.最佳特加诺专辑(Best Tejano Album)
《Sigue El Taconazo》
Chente Barreray Taconazo
63.最佳诺特诺专辑(Best Norteno Album)
《Historias Que Contar》
Los Tigres Del Norte
64.最佳Banda专辑(Best Banda Album)
《Mas Alla Del Sol》
Joan Sebastian
蓝调类
65.最佳传统蓝调专辑(Best Traditional Blues Album)
《Risin' With The Blues》
Ike Turner
66.最佳当代蓝调专辑(Best Contemporary Blues Album)
《After The Rain》
Irma Thomas
民谣类
67.最佳传统民谣专辑(Best Traditional Folk Album)
《We Shall Overcome ― The Seeger Sessions》
Bruce Springsteen
68.最佳当代民谣/美国本土专辑(Best Contemporary Folk/Americana Album)
《Modern Times》
Bob Dylan
69.最佳印第安音乐专辑(Best Native American Music Album)
《Dance With The Wind》
Mary Youngblood
70.最佳夏威夷音乐专辑(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
雷鬼类
71.最佳雷鬼专辑(Best Reggae Album)
《Love Is My Religion》
Ziggy Marley
世界音乐类
72.最佳传统世界音乐专辑(Best Traditional World Music Album)
《Blessed》
Soweto Gospel Choir
73.最佳当代世界音乐专辑(Best Contemporary World Music Album)
《Wonder Wheel - Lyrics by Woody Guthrie》
The Klezmatics
波尔卡类
74.最佳波尔卡专辑(Best Polka Album)
《Polka In Paradise》
Jimmy Sturr And His Orchestra
儿童类
75.最佳儿童音乐剧专辑(Best Musical Album For Children)
《Catch That Train!》
Dan Zanes And Friends
76.最佳儿童朗读专辑(Best Spoken Word Album For Children)
《Blah Blah Blah: Stories About Clams, Swamp Monsters, Pirates & Dogs》
Bill Harley
朗读类
77.最佳诵读专辑(两名)(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
喜剧类
78.最佳喜剧专辑(Best Comedy Album)
《The Carnegie Hall Performance》
Lewis Black
音乐剧类
79.最佳音乐剧专辑(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)
电影/电视/视频类
80.最佳改编影视音乐专辑(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.最佳原创影视音乐专辑(Best Score Soundtrack Album For A Motion Picture, Television Or Other Visual Media)
《Memoirs Of A Geisha》
John Williams, composer
82.最佳影视歌曲(Best Song Written For A Motion Picture, Television Or Other Visual Media)
《Our Town (From Cars)》
Randy Newman, songwriter (James Taylor)
作曲/编曲类
83.最佳器乐作曲(Best Instrumental Composition)
《A Prayer For Peace》
John Williams, composer (John Williams)
84.最佳器乐编曲(Best Instrumental Arrangement)
《Three Ghouls》
Chick Corea, arranger (Chick Corea)
85.最佳器乐编曲伴奏(Best Instrumental Arrangement Accompanying Vocalist(s))
《For Once In My Life》
Jorge Calandrelli, arranger (Tony Bennett & Stevie Wonder)
包装类
86.最佳唱片包装(Best Recording Package)
《10,000 Days》
Adam Jones, art director (Tool)
87.最佳盒装/限量发行版包装(Best Boxed Or Special Limited Edition Package)
《Stadium Arcadium》
Flea, John Frusciante, Anthony Kiedis, Chad Smith & Matt Taylor, art directors
(Red Hot Chili Peppers)
专辑注解类
88.最佳专辑注解(Best Album Notes)
《If You Got To Ask, You Ain't Got It!》
Dan Morgenstern, album notes writer (Fats Waller)
历史类
89.最佳历史性专辑(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)
非古典类制作类
90.最佳非古典类工程专辑(Best Engineered Album, Non-Classical)
《At War With The Mystics》
The Flaming Lips & Dave Fridmann, engineers (The Flaming Lips)
91.年度最佳非古典类制作人(Procer Of The Year, Non-Classical)
Rick Rubin
92.最佳非古典类混音唱片(两名)(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)
环绕音响类
93.最佳环绕音响专辑(Best Surround Sound Album)
《Morph The Cat》
Elliot Scheiner, surround mix engineer; Darcy Proper, surround mastering engineer; Donald Fagen, surround procer (Donald Fagen)
古典类制作类
94.最佳古典类工程专辑(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.年度最佳古典类制作人(Procer Of The Year, Classical)
Elaine Martone
古典类
96.最佳古典专辑(Best Classical Album)
《Mahler: Symphony No. 7》
Michael Tilson Thomas, conctor; Andreas Neubronner, procer (San Francisco Symphony)
97.最佳管弦乐队(Best Orchestral Performance)
《Mahler: Symphony No. 7》
Michael Tilson Thomas, conctor (San Francisco Symphony)
98.最佳歌剧唱片(Best Opera Recording)
《Golijov: Ainadamar: Fountain Of Tears》
99.最佳合唱队(Best Choral Performance)
Part: Da Pacem
Paul Hillier, conctor (Estonian Philharmonic Chamber Choir)
100.最佳器乐独奏(与管弦乐队合作)(Best Instrumental Soloist(s) Performance (with Orchestra))
《Messiaen: Oiseaux Exotiques (Exotic Birds)》
101.最佳器乐独奏(不带管弦乐队)(Best Instrumental Soloist Performance (without Orchestra))
《Chopin: Nocturnes》
Maurizio Pollini
102.最佳室内音乐演奏(Best Chamber Music Performance)
《Intimate Voices》
Emerson String Quartet
103.最佳小乐队演奏奖(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.最佳当代古典音乐作曲奖(Best Classical Contemporary Composition)
《Golijov: Ainadamar: Fountain Of Tears》
Osvaldo Golijov (Robert Spano)
106.最佳古典跨界专辑(Best Classical Crossover Album)
《Simple Gifts》
Bryn Terfel (London Voices; London Symphony Orchestra)
音乐录影带类
107.最佳短篇音乐录影带(Best Short Form Music Video)
《Here It Goes Again》
OK Go
108.最佳长篇音乐录影带(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 帮忙找一下第45届格来美至今年的历届奖项得奖名单
第48届格莱美获奖名单
综合类
年度最佳唱片： 《Boulevard Of Broken Dreams》Green Day
年度最佳专辑：《How To Dismantle An Atomic Bomb》U2
年度最佳单曲： 《Sometimes You Can't Make It On Your Own》U2
年度最佳新人：John Legend
流行类
最佳流行女声表演奖：《Since U Been Gone》Kelly Clarkson
最佳流行男声表演奖：《Since U Been Gone》Kelly Clarkson
最佳流行团体演唱：《This Love》Maroon 5
最佳流行合唱：《Feel Good Inc.》Gorillaz Featuring De La Soul
最佳流行器乐专辑：《At This Time》Burt Bacharach
最佳流行演唱专辑：《Breakaway》Kelly Clarkson
舞曲类
最佳舞曲唱片：《Galvanize》The Chemical Brothers Featuring Q-Tip
最佳电子/舞曲专辑：《Push The Button》The Chemical Brothers
传统流行类
传统流行演唱专辑：《The Art Of Romance》Tony Bennett
摇滚类
最佳摇滚歌手：
《Devils & Dust》Bruce Springsteen
最佳团体摇滚演唱 ：《Sometimes You Can't Make It On Your Own》U2
最佳硬摇滚表演：《B.Y.O.B.》System Of A Down
最佳金属表演：《Before I Forget》Slipknot
最佳摇滚器乐表现：《69 Freedom Special》Les Paul & Friends
最佳摇滚歌曲：《City Of Blinding Lights》U2
最佳摇滚专辑：《How To Dismantle An Atomic Bomb》U2
另类音乐类
最佳另类音乐专辑：《Get Behind Me Satan》The White Stripes
R&B类
最佳R&B女声演唱：《We Belong Together》Mariah Carey
最佳R&B男声演唱：《Ordinary People》John Legend
最佳R&B团体演唱：《So Amazing》Beyoncé & Stevie Wonder
最佳传统R&B演唱：《A House Is Not A Home》Aretha Franklin
最佳城市/另类表演：《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专辑：《Get Lifted》John Legend
最佳现代R&B专辑：《The Emancipation Of Mimi》Mariah Carey
说唱类
最佳个人说唱表演：《Gold Digger》Kanye West
最佳团体说唱表演：《Don't Phunk With My Heart》The Black Eyed Peas
最佳合作说唱：《Numb/Encore》Jay-Z Featuring Linkin Park
最佳说唱歌曲：《Diamonds From Sierra Leone》D. Harris & Kanye West
最佳说唱专辑：《Late Registration》Kanye West
乡村类
最佳乡村女声：《The Connection》Emmylou Harris
最佳乡村男声：《You'll Think Of Me》Keith Urban
最佳乡村团体演唱：《Restless》Alison Krauss And Union Station
最佳乡村合唱：《Like We Never Loved At All》Faith Hill & Tim McGraw
最佳乡村器乐表现：《Unionhouse Branch》Alison Krauss And Union Station
最佳乡村歌曲：《Bless The Broken Road》Bobby Boyd, Jeff Hanna & Marcus Hummon
最佳乡村专辑：《Lonely Runs Both Ways》Alison Krauss And Union Station
最佳蓝草专辑：《The Company We Keep》The Del McCoury Band
新世纪音乐类
福音类
最佳福音表演：《Be Blessed》Yolanda Adams
最佳摇滚福音专辑：《Until My Heart Caves In》Audio Adrenaline
最佳Salsa/Merengue专辑：《Son Del Alma》Willy Chirino
最佳Tejano专辑：《Chicanisimo》Little Joe Y La Familia
最佳现代民谣专辑：《Fair & Square》John Prine
雷鬼音乐类
最佳雷鬼乐专辑：《Welcome To Jamrock》Damian Marley
包装类
最佳唱片包装：《The Forgotten Arm》Aimee Mann & Gail Marowitz
最佳盒装/限量发行版包装：《The Legend》Ian Cuttler
非古典类制作类
最佳非古典类工程专：《Back Home》Alan Douglas & Mick Guzauski
最佳非古典类混音唱片：《Superfly》(Louie Vega EOL Mix)
Louie Vega
音乐录影带类
最佳短篇音乐录影带：《Lose Control》Missy Elliott Featuring Ciara & Fat Man Scoop
最佳长篇音乐录影带：《No Direction Home》Bob Dylan
47届格莱美完全获奖名单
综合类
最佳年度专辑: Ray Charles & V.A. 《Genius Loves Company》
最佳年度唱片: Ray Charles & Norah Jones“Here We Go Again”
最佳年度单曲: John Mayer“Daughters”
最佳年度新人: Maroon5
流行类
最佳流行演唱专辑: 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
最佳流行组合: Los Lonely Boys
最佳流行合唱: Ray Charles & Norah Jones "Here We Go Again"
最佳传统流行专辑: Rod Stewart《Starst The Great American Songbook Volume III》
最佳流行乐器专辑：Henry Mancini《Pink Guitar》
最佳流行乐器演奏: Ben Harper“11th Commandment”
节奏蓝调(R&B)类
最佳当代R&B专辑:Usher《Confessions》
最佳R&B专辑: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组合：Usher & Alicia Keys "My Boo"
最佳传统R&B歌手：Prince
最佳城市/另类歌手：Jill Scott
说唱类
最佳说唱专辑: Kanye West《The College Dropout》
最佳说唱歌曲: C. Smith & "Jesus Walks"
最佳说唱歌手：Jay-Z
最佳说唱组合：The Black Eyed Peas
最佳说唱/演唱合作：Usher、Lil Jon & Ludacris "Yeah!"
舞曲类
最佳舞曲唱片： Britney Spears "Toxic"
最佳舞曲专辑： Basement Jaxx 《Kish Kash》
摇滚类
最佳摇滚专辑：Green Day《American Idiot》
最佳摇滚歌曲：U2 “Vertigo”
最佳摇滚乐队：U2
最佳摇滚歌手：Bruce Springsteen
最佳硬摇滚演奏：Velvet Revolver“Slither”
最佳金属演奏：Motorhead “Whiplash”
最佳摇滚乐器演奏：Brian Wilson “Mrs. O'Leary's Cow”
非主流音乐类
最佳另类音乐专辑：Wilco《A Ghost Is Born》
乡村类
最佳乡村专辑：最佳乡村专辑：Loretta Lynn《Van Lear Rose》
最佳乡村女歌手： Gretchen Wilson《 Redneck Woman》
最佳乡村男歌手：Tim McGraw 《Live Like You Were Dying》
最佳乡村乐队/组合：Dixie Chicks《Top Of The World》
最佳乡村合唱：Loretta Lynn & Jack White《 Portland Oregon》
最佳乡村乐器演奏：Nitty Gritty Dirt Band Featuring Earl Scruggs, Randy Scruggs, Vassar Clements & Jerry Douglas《 Earl's Breakdown》
最佳乡村歌曲： Tim Nichols & Craig Wiseman / Tim McGraw《 Live Like You Were Dying》
最佳兰草专辑：Ricky Skaggs & Kentucky Thunder《Brand New Strings》
爵士类
最佳当代爵士乐专辑：Bill Frisell《Unspeakable》
最佳爵士演唱专辑：Nancy Wilson《R.S.V.P.》
最佳爵士乐器独奏 ：Herbie Hancock “Speak Like A Child”
最佳爵士演奏专辑:McCoy Tyner With Gary Bartz, Terence Blanchard, Christian McBride & Lewis Nash 《Illuminations》
最佳大爵士乐团专辑：Maria Schneider Orchestra《Concert In The Garden》
最佳拉丁爵士专辑：Charlie Haden：《Land Of The Sun》
灵乐类
最佳灵乐表演：Ray Charles & Gladys Knight“Heaven Help Us All”
最佳摇滚灵乐专辑：Third Day《Wire》
最佳流行/当代灵乐专辑：Steven Curtis Chapman《All Things New》
最佳南方、乡村或蓝草灵乐专辑：Randy Travis：Worship & Faith
最佳传统灵乐专辑：Ben Harper & The Blind Boys Of Alabama《There Will Be A Light》
最佳当代灵乐专辑：Smokie Norful《Nothing Without You》
最佳灵乐合唱专辑：Carol Cymbala, choir director; The Brooklyn Tabernacle Choir《Live...This is Your House》
拉丁类
最佳流行拉丁专辑：Marc Anthony《Amar Sin Mentiras》
最佳拉丁摇滚/另类专辑：Ozomatli《Street Signs》
最佳传统热带拉丁专辑：Israel Lopez《Cachao〉
最佳萨尔萨/梅伦格专辑：Spanish Harlem Orchestra Featuring Ruben Blades《Across 110th Street》
最佳墨西哥/墨西哥-美洲专辑：Intocable《Intimamente》
最佳特加诺专辑：David Lee Garza, Joel Guzman & Sunny Sauceda《Polkas, Gritos y Acordeónes》
蓝调类
最佳传统蓝调专辑：Etta James《Blues To The Bone》
最佳当代蓝调专辑：Keb' Mo'《Keep It Simple》
民谣类
最佳传统民谣专辑：Various Artists《Beautiful Dreamer - The Songs Of Stephen Foster》
最佳当代民谣类： Steve Earle《The Revolution Starts...Now》
最佳印第安音乐专辑：Bill Miller《Cedar Dream Songs》
最佳夏威夷音乐专辑：Various Artists《Slack Key Guitar Volume 2》
雷鬼类
最佳雷鬼专辑：Toots & The Maytals《True Love》
New Age类
最佳New Age专辑：Will Ackerman《Returning》
世界音乐类
最佳传统世界音乐专辑：Ladysmith Black Mambazo《Raise Your Spirit Higher》
最佳当代世界音乐专辑：Youssou N'Dour《Egypt》
波尔卡类
最佳波尔卡专辑：Brave Combo《Let's Kiss: 25th Anniversary Album》
儿童类
最佳儿童音乐剧专辑：Various Artists《cELLAbration! A Tribute To Ella Jenkins》
最佳儿童朗读专辑：Tom Chapin《The Train They Call The City Of New Orleans》
朗读类
最佳诵读专辑：Bill Clinton《My Life》
喜剧类
最佳喜剧专辑(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
音乐剧类
最佳音乐剧专辑(Best Musical Show Album)
Wicked
Stephen Schwartz, procer; Stephen Schwartz, composer/lyricist (Original Broadway Cast Recording With Kristin Chenoweth & Idina Menzel)
电影/电视/视频类
最佳改编影视音乐专辑(Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media )
Garden State
Various Artists
最佳原创影视音乐专辑(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)
最佳影视歌曲(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/编曲类
最佳器乐作曲(Best Instrumental Composition)
Merengue
Paquito D'Rivera, composer (Yo-Yo Ma)
最佳器乐编曲(Best Instrumental Arrangement)
Past Present & Future
Slide Hampton, arranger (The Vanguard Jazz Orchestra)
最佳器乐编曲伴奏(Best Instrumental Arrangement Accompanying Vocalist(s))
Over The Rainbow
Victor Vanacore, arranger (Ray Charles & Johnny Mathis)
包装类
最佳唱片包装(Best Recording Package )
A Ghost Is Born
Peter Buchanan-Smith & Dan Nadel, art directors (Wilco)
最佳盒装/限量发行版包装(Best Boxed Or Special Limited Edition Package )
Once In A Lifetime
Stefan Sagmeister, art director (Talking Heads)
专辑注解类
最佳专辑注解(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)
历史类
最佳历史性专辑(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)
非古典类制作类
最佳非古典类工程专辑(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)
年度最佳非古典类制作人(Procer Of The Year, Non-Classical )
John Shanks
最佳非古典类混音唱片(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
环绕音响类
最佳环绕音响专辑(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)
古典类制作类
最佳古典类工程专辑(Best Engineered Album, Classical )
Higdon: City Scape; Concerto For Orchestra
Jack Renner, engineer (Robert Spano)
年度最佳古典类制作人(Procer Of The Year, Classical )
David Frost
古典类
最佳古典专辑(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)
最佳管弦乐队(Best Orchestral Performance)
Adams: On The Transmigration Of Souls
Lorin Maazel, conctor (Brooklyn Youth Chorus & New York Choral Artists; New
York Philharmonic)
最佳歌剧唱片(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)
最佳合唱队(Best Choral Performance)
Berlioz: Requiem
Robert Spano, conctor; Norman Mackenzie, choir director (Frank Lopardo, tenor; Atlanta Symphony Orchestra Chorus; Atlanta Symphony Orchestra)
最佳器乐独奏(与管弦乐队合作)(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)
最佳器乐独奏(不带管弦乐队)(Best Instrumental Soloist Performance (without Orchestra)
Aire Latino (Morel, Villa-Lobos, Ponce, Etc.)
David Russell, guitar
最佳室内音乐演奏(Best Chamber Music Performance)
Prokofiev (Arr. Pletnev): Cinderella - Suite For Two Pianos/Ravel: Ma Mère L'Oye
Martha Argerich, piano & Mikhail Pletnev, piano
最佳小乐队演奏奖(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)
最佳古典音乐当代作曲奖(Best Classical Contemporary Composition)
Adams: On The Transmigration Of Souls
John Adams (Lorin Maazel; Brooklyn Youth Chorus & New York Choral Artists; New
York Philharmonic)
最佳古典跨界专辑(Best Classical Crossover Album )
LAGQ's Guitar Heroes
Los Angeles Guitar Quartet
音乐录影带类
最佳短篇音乐录影带(Best Short Form Music Video)
Vertigo
U2
最佳长篇音乐录影带(Best Long Form Music Video)
Concert For George
Various Artists
46届格莱美完全获奖名单
一、综合类
1.年度最佳单曲(Record Of The Year)
《Clocks》，Coldplay
2.年度最佳专辑(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、流行类
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.年度最佳流行乐队/组合(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.年度最佳流行乐器演奏(Best Pop Instrumental Performance )
《Marwa Blues》，George Harrison
10.年度最佳乐器演奏专辑(Best Pop Instrumental Album)
《Mambo Sinuendo》，Ry Cooder & Manuel Galbán
11.年度最佳流行演唱专辑(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、传统流行类
13.年度最佳传统流行演唱专辑(Best Traditional Pop Vocal Album )
《A Wonderful World》，Tony Bennett & k.d. lang
四、摇滚乐类
14.年度最佳摇滚女歌手(Best Female Rock Vocal Performance )
《Trouble》，Pink
15.年度最佳摇滚男歌手(Best Male Rock Vocal Performance )
《Gravedigger》，Dave Matthews
16.年度最佳摇滚乐队/组合(Best Rock Performance By A Duo Or Group With Vocal )
《Disorder In The House》，Warren Zevon & Bruce Springsteen
17.年度最佳硬摇滚演奏(Best Hard Rock Performance )
《Bring Me To Life》，Evanescence Featuring Paul McCoy
18.年度最佳金属演奏(Best Metal Performance )
《St. Anger》，Metallica
19.年度最佳摇滚乐器演奏(Best Rock Instrumental Performance )
《Plan B》Jeff Beck
20.年度最佳摇滚歌曲(Best Rock Song )
《Seven Nation Army》Jack White, songwriter (The White Stripes)
21.年度最佳摇滚专辑(Best Rock Album )
《One By One》Foo Fighters
五、另类音乐类
22.年度最佳另类音乐专辑(Best Alternative Music Album )
《Elephant》The White Stripes
六、节奏蓝调音乐类
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乐队/组合(Best R&B Performance By A Duo Or Group With Vocals )
《The Closer I Get To You》Beyoncé& Luther Vandross
26.年度最佳传统R&B歌手(Best Traditional R&B Vocal Performance )
《Wonderful》Aretha Franklin
27.年度最佳城市/另类歌手(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专辑(Best R&B Album )
《Dance With My Father》Luther Vandross
30.年度最佳当代R&B专辑(Best Contemporary R&B Album )
《Dangerously In Love》Beyoncé
七、说唱类
31.年度最佳说唱女歌手(Best Female Rap Solo Performance )
《Work It》Missy Elliott
32.年度最佳说唱男歌手(Best Male Rap Solo Performance )
《Lose Yourself》Eminem
33.年度最佳说唱乐队/组合(Best Rap Performance By A Duo Or Group )
《Shake Ya Tailfeather》Nelly, P. Diddy & Murphy Lee
34.年度最佳说唱歌曲合作(Best Rap/Sung Collaboration )
《Crazy In Love》BeyoncéFeaturing Jay-Z
35.年度最佳说唱歌曲(Best Rap Song )
《Lose Yourself》J. Bass, M. Mathers & L. Resto, songwriters (Eminem)
36.年度最佳说唱专辑(Best Rap Album )
《Speakerboxxx/The Love Below》Outkast
八、乡村类
37.年度最佳乡村女歌手(Best Female Country Vocal Performance )
《Keep On The Sunny Side》June Carter Cash
38.年度最佳乡村男歌手(Best Male Country Vocal Performance )
《Next Big Thing》Vince Gill
39.年度最佳乡村乐队/组合(Best Country Performance By A Duo Or Group With Vocal )
《A Simple Life》Ricky Skaggs & Kentucky Thunder
40.年度最佳乡村合唱(Best Country Collaboration With Vocals )
《How's The World Treating You》James Taylor & Alison Krauss
41.年度最佳乡村乐器演奏(Best Country Instrumental Performance )
《Cluck Old Hen》Alison Krauss & Union Station
42.年度最佳乡村歌曲(Best Country Song )
《It's Five O'Clock Somewhere》Jim "Moose" Brown & Don Rollins, songwriters (Alan Jackson & Jimmy Buffett)
43.年度最佳乡村专辑(Best Country Album )
《Livin', Lovin', Losin' - Songs Of The Louvin Brothers》群星，Carl Jackson, procer
44.年度最佳蓝草专辑(Best Bluegrass Album )
《Live》Alison Krauss & Union Station
九、新世纪类
45.年度最佳新世纪专辑(Best New Age Album )
《One Quiet Night》Pat Metheny
十、爵士类
46.年度最佳当代爵士乐专辑(Best Contemporary Jazz Album )
《34th N Lex》Randy Brecker
47.年度最佳爵士演唱专辑(Best Jazz Vocal Album )
《A Little Moonlight》Dianne Reeves
48.年度最佳爵士乐器独奏(Best Jazz Instrumental Solo )
《Matrix》Chick Corea, soloist
49.年度最佳爵士演奏专辑(Best Jazz Instrumental Album, Indivial or Group)
《Alegría》Wayne Shorter
50.年度最佳大爵士演奏专辑(Best Large Jazz Ensemble Album )
《Wide Angles》Michael Brecker Quindectet
51.年度最佳拉丁爵士专辑(Best Latin Jazz Album )
《Live At The Blue Note》Michel Camilo With Charles Flores & Horacio "El Negro" Hernandez
十一、灵乐类
52.年度最佳摇滚灵乐专辑(Best Rock Gospel Album)
《Worldwide》Audio Adrenaline
53.年度最佳当代灵乐专辑(Best Pop/Contemporary Gospel Album)
《Worship Again》Michael W. Smith
54.年度最佳南方、乡村或蓝草灵乐专辑(Best Southern, Country, or Bluegrass Gospel Album)
《Rise And Shine》Randy Travis
55.年度最佳传统灵乐专辑(Best Traditional Soul Gospel Album)
《Go Tell It On The Mountain》The Blind Boys Of Alabama
56.年度最佳当代灵乐专辑(Best Contemporary Soul Gospel Album )
《...Again》Donnie McClurkin
57.年度最佳灵乐合唱专辑(Best Gospel Choir Or Chorus Album )
《A Wing And A Prayer》Bish
Ⅶ 谁能帮我总结第50届格莱美奖所有得奖歌手歌曲专辑 谢谢
1、年度最佳唱片
（Record Of The Year）
《Rehab》
Amy Winehouse
2、年度最佳专辑
（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
流行类
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、最佳流行乐队/组合
（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、最佳流行器乐演奏
（Best Pop Instrumental Performance）
《One Week Last Summer》
Joni Mitchell
10、最佳流行乐器演奏专辑
（Best Pop Instrumental Album）
《The Mix-Up》
Beastie Boys
11、最佳流行演唱专辑
（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、最佳电子/舞曲专辑
（Best Electronic/Dance Album）
《We Are The Night》
The Chemical Brothers
14、最佳传统流行演唱专辑
（Best Traditional Pop Vocal Album）
《Call Me Irresponsible》
Michael Bublé
摇滚类
15、最佳摇滚歌手
（Best Solo Rock Vocal Performance）
《Radio Nowhere》
Bruce Springsteen
16、最佳摇滚乐队/组合
（Best Rock Performance By A Duo Or Group With Vocals）
《Icky Thump》
The White Stripes
17、最佳硬摇滚演奏
（Best Hard Rock Performance）
《The Pretender》
Foo Fighters
18、最佳金属演奏
（Best Metal Performance）
《Final Six》
Slayer
19、最佳摇滚乐器演奏
（Best Rock Instrumental Performance）
《Once Upon A Time In The West》
Bruce Springsteen
20、最佳摇滚歌曲
（Best Rock Song）
《Radio Nowhere》
Bruce Springsteen
21、最佳摇滚专辑
（Best Rock Album）
《Echoes, Silence, Patience & Grace》
Foo Fighters
另类音乐类
22、最佳另类音乐专辑
（Best Alternative Music Album）
《Icky Thump》
The White Stripes
节奏蓝调音乐类
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乐队/组合
（Best R&B Performance By A Duo Or Group With Vocals）
《Disrespectful》
Chaka Khan Featuring Mary J. Blige
26、最佳传统R&B歌手
（Best Traditional R&B Vocal Performance）
《In My Songs》
Gerald Levert
27、最佳城市音乐/另类歌手
（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专辑
（Best R&B Album）
《Funk This》
Chaka Khan
30、最佳当代R&B专辑
（Best Contemporary R&B Album）
《Because Of You》
Ne-Yo
说唱类
31、最佳说唱歌手
（Best Rap Solo Performance）
《Stronger》
Kanye West
32、最佳说唱乐队/组合
（Best Rap Performance By A Duo Or Group）
《Southside》
Common Featuring Kanye West
33、最佳说唱歌曲合作
（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、最佳说唱歌曲
（Best Rap Song）
《Graation》
Kanye West
35、最佳说唱专辑
（Best Rap Album）
《Graation》
Kanye West
乡村类
36、最佳乡村女歌手
（Best Female Country Vocal Performance）
《Before He Cheats》
Carrie Underwood
37、最佳乡村男歌手
（Best Male Country Vocal Performance）
《Stupid Boy》
Keith Urban
38、最佳乡村乐队/组合
（Best Country Performance By A Duo Or Group With Vocals）
《How Long》
Eagles
39、最佳乡村合唱
（Best Country Collaboration With Vocals）
《Lost Highway》
Willie Nelson & Ray Price
40、最佳乡村乐器演奏
（Best Country Instrumental Performance）
《Throttleneck》
Brad Paisley
41、最佳乡村歌曲
（Best Country Song）
《Before He Cheats》
Josh Kear & Chris Tompkins, songwriters (Carrie Underwood)
42、最佳乡村专辑
（Best Country Album）
《These Days》
Vince Gill
43、最佳兰草专辑
（Best Bluegrass Album）
《The Bluegrass Diaries》
Jim Lauderdale
新世纪类
44、最佳新世纪专辑
（Best New Age Album）
《Crestone》
Paul Winter Consort
爵士类
45、最佳当代爵士乐专辑
（Best Contemporary Jazz Album）
《River: The Joni Letters》
Herbie Hancock
46、最佳爵士演唱专辑
（Best Jazz Vocal Album）
《Avant Gershwin》
Patti Austin
47、最佳爵士乐器独奏
（Best Jazz Instrumental Solo）
《Anagram》
Michael Brecker, soloist
48、最佳爵士演奏专辑
（Best Jazz Instrumental Album, Indivial or Group）
《Pilgrimage》
Michael Brecker
49、最佳大爵士乐团专辑
（Best Large Jazz Ensemble Album）
《A Tale Of God's Will (A Requiem For Katrina)》
Terence Blanchard
50、最佳拉丁爵士专辑
（Best Latin Jazz Album）
《Funk Tango》
Paquito D'Rivera Quintet?
灵乐类
51、最佳灵乐表演
（Best Gospel Performance）
《Never Gonna Break My Faith》
Aretha Franklin & Mary J. Blige(Tie)《Blessed & Highly Favored》
The Clark Sisters
52、最佳灵乐歌曲
（Best Gospel Song）
《Blessed & Highly Favored》
Karen Clark-Sheard, songwriter (The Clark Sisters)
53、最佳摇滚/说唱灵乐专辑
（Best Rock Or Rap Gospel Album）
《Before The Daylight's Shot》
Ashley Cleveland
54、最佳流行/当代灵乐专辑
（Best Pop/Contemporary Gospel Album）
《A Deeper Level》
Israel And New Breed
55、最佳南方、乡村或蓝草灵乐专辑
（Best Southern, Country, Or Bluegrass Gospel Album）
《Salt Of The Earth》
Ricky Skaggs & The Whites
56、最佳传统灵乐专辑
（Best Traditional Gospel Album）
《Live - One Last Time》
The Clark Sisters
57、最佳当代节奏蓝调灵乐专辑
（Best Contemporary R&B Gospel Album）
作者： satan0424 2008-2-11 13:59 回复此发言
--------------------------------------------------------------------------------
3 【Grammy-公布】第50届格莱美音乐奖完全获奖名单
《Free To Worship》
Fred Hammond
拉丁类
58、最佳流行拉丁专辑
（Best Latin Pop Album）
《El Tren De Los Momentos》
Alejandro Sanz
59、最佳拉丁摇滚/另类或城市音乐专辑
（Best Latin Rock Or Alternative Album）
《No Hay Espacio》
Black:Guayaba
60、最佳拉丁城市专辑
（Best Latin Urban Album）
《Residente O Visitante》
Calle 13
61、最佳热带拉丁专辑
（Best Tropical Latin Album）
《La Llave De Mi Corazón》
Juan Luis Guerra
62、最佳墨西哥/美洲专辑
（Best Mexican/Mexican-American Album）
《100% Mexicano》
Pepe Aguilar
63、最佳特加诺专辑
（Best Tejano Album）
《Before The Next Teardrop Falls》
Little Joe & La Familia
64、最佳诺特诺专辑
（Best Norteno Album）
《Detalles Y Emociones》
Los Tigres Del Norte
65、最佳Banda专辑
（Best Banda Album）
《Te Va A Gustar》
El Chapo
蓝调类
66、最佳传统蓝调专辑
（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、最佳当代蓝调专辑
（Best Contemporary Blues Album）
《The Road To Escondido》
JJ Cale & Eric Clapton
民谣类
68、最佳传统民谣专辑
（Best Traditional Folk Album）
《Dirt Farmer》
Levon Helm
69、最佳当代民谣/美国本土专辑
（Best Contemporary Folk/Americana Album）
《Washington Square Serenade》
Steve Earle
70、最佳印第安音乐专辑
（Best Native American Music Album）
《Totemic Flute Chants》
Johnny Whitehorse
71、最佳夏威夷音乐专辑
（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音乐专辑
（Best Zydeco Or Cajun Music Album）
《Live! Worldwide》
Terrance Simien & The Zydeco Experience
雷鬼类
73、最佳雷鬼专辑
（Best Reggae Album）
《Mind Control》
Stephen Marley
世界音乐类
74、最佳传统世界音乐专辑
（Best Traditional World Music Album）
《African Spirit》
Soweto Gospel Choir
75、最佳当代世界音乐专辑
（Best Contemporary World Music Album）
《Djin Djin》
Angelique Kidjo
波尔卡类
76、最佳波尔卡专辑
（Best Polka Album）
《Come Share The Wine》
Jimmy Sturr And His Orchestra
儿童类
77、最佳儿童音乐剧专辑
（Best Musical Album For Children）
《A Green And Red Christmas》
The Muppets
78、最佳儿童朗读专辑
（Best Spoken Word Album For Children）
《Harry Potter And The Deathly Hallows》
Jim Dale
朗读类
79、最佳诵读专辑
（Best Spoken Word Album）
《The Audacity Of Hope: Thoughts On Reclaiming The American Dream》
Barack Obama
喜剧类
80、最佳喜剧专辑
（Best Comedy Album）
《The Distant Future》
Flight Of The Conchords
音乐剧类
81、最佳音乐剧专辑
（Best Musical Show Album）
《Spring Awakening》
Duncan Sheik, procer; Duncan Sheik, composer; Steven Sater, lyricist
电影/电视/视频类
82、最佳改编影视音乐专辑
（Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media）
《Love》(The Beatles)
George Martin & Giles Martin, procers
83、最佳原创影视音乐专辑
（Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media）
《Ratatouille》
Michael Giacchino, composer
84、最佳影视歌曲
（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/编曲类
85、最佳器乐作曲
（Best Instrumental Composition）
《Cerulean Skies》
Maria Schneider, composer(Maria Schneider Orchestra)
86、最佳器乐编曲
（Best Instrumental Arrangement）
《In A Silent Way》
Vince Mendoza
87、最佳器乐编曲伴唱
（Best Instrumental Arrangement Accompanying Vocalist(s)）
《I'm Gonna Live Till I Die》
John Clayton, arranger (Queen Latifah)
包装类
88、最佳唱片包装
（Best Recording Package）
《Cassadaga》
Zack Nipper, art director (Bright Eyes)
89、最佳盒装/限量发行版包装
（Best Boxed Or Special Limited Edition Package）
《What It Is!: Funky Soul And Rare Grooves (1967-1977)》
Masaki Koike, art director (Various Artists)
专辑注解类
90、最佳专辑注解
（Best Album Notes）
《John Work, III: Recording Black Culture》
Bruce Nemerov, album notes writer (Various Artists)
历史类
91、最佳历史专辑
（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)
非古典类制作类
92、最佳非古典类工程专辑
（Best Engineered Album, Non-Classical）
《Beauty & Crime》
Tchad Blake, Cameron Craig, Emery Dobyns & Jimmy Hogarth, engineers (Suzanne Vega)
93、年度最佳非古典类制作人
（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、最佳非古典类混音唱片
（Best Remixed Recording, Non-Classical）
《Bring The Noise (Benny Benassi Sfaction Remix)》
Benny Benassi, remixer (Public Enemy)
环绕音响类
95、最佳环绕音响专辑
（Best Surround Sound Album）
《Love》
Paul Hicks, surround mix engineer; Tim Young, surround mastering engineer; George Martin & Giles Martin, surround procers (The Beatles)
古典类制作类
96、最佳古典类工程专辑
（Best Engineered Album, Classical）
《Grechaninov: Passion Week》
John Newton, engineer (Charles Bruffy, Phoenix Bach Choir & Kansas City Chorale)
97、年度最佳古典类制作人
（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)
古典类
98、最佳古典专辑
（Best Classical Album）
《Tower: Made In America》
Leonard Slatkin, conctor; Tim Handley, procer (Nashville Symphony)
99、最佳管弦乐队
（Best Orchestral Performance）
《Tower: Made In America》
Leonard Slatkin, conctor (Nashville Symphony)
100、最佳歌剧唱片
（Best Opera Recording）
《Humperdinck: Hansel & Gretel》
Sir Charles Mackerras, conctor; Rebecca Evans, Jane Henschel&Jennifer Larmore; Brian Couzens, procer
101、最佳合唱团
（Best Choral Performance）
《Brahms: Ein Deutsches Requiem》
Simon Rattle, conctor; Simon Halsey, chorus master
102、最佳器乐独奏(与管弦乐队合作)
（Best Instrumental Soloist(s) Performance (with Orchestra)）
《Barber/Korngold/Walton: Violin Concertos》
James Ehnes
103、最佳器乐独奏(无管弦乐队)
（Best Instrumental Soloist Performance (without Orchestra)）
《Beethoven Sonatas, Vol. 3》
Garrick Ohlsson
104、最佳室内音乐演奏
（Best Chamber Music Performance）
《Strange Imaginary Animals》
Eighth Blackbird
105、最佳小乐队演奏奖
（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、最佳当代古典音乐作曲奖
（Best Classical Contemporary Composition）
《Made In America》
Joan Tower
108、最佳古典跨界专辑
（Best Classical Crossover Album）
《A Love Supreme: The Legacy Of John Coltrane》
Turtle Island Quartet
音乐录影带类
109、最佳短篇音乐录影带
（Best Short Form Music Video）
《God's Gonna Cut You Down》Johnny Cash
Tony Kaye, video director; Rachel Curl, video procer
110、最佳长篇音乐录影带
（Best Long Form Music Video）
《The Confessions Tour》Madonna
Jonas Akerlund, video director; Sara Martin & David May, video procers