愛薇塔聽歌哈英語

Taylor Swift-6

Artistry

Influences

One of Swift's earliest musical memories is listening to her maternal grandmother, Marjorie Finlay, sing at church.[20][259] In her youth, Finlay was a television host in Puerto Rico, and performed in operas in Thailand and Singapore.[11][260] As a very young child, Swift enjoyed Disney movie soundtracks: "My parents noticed that, once I had run out of words, I would just make up my own."[31][261] Later, her parents exposed her to artists such as James Taylor, Simon & Garfunkel and Def Leppard.[262][263] Swift has said she owes her confidence to her mother, who helped her prepare for class presentations as a child.[264] She also attributes her "fascination with writing and storytelling" to her mother.[265]

Shania Twain (left), Stevie Nicks (center) and Carly Simon (right) have influenced Swift

Swift was introduced to country music by "the great female country artists of the '90s ... Shania, Faith, the Dixie Chicks."[74][266] She was drawn to the storytelling of country music.[267] Twain, both as a songwriter and performer, was her biggest musical influence.[268] Hill was Swift's childhood role model: "Everything she said, did, wore, I tried to copy it."[269][270] Swift admired the Dixie Chicks's defiant attitude and their ability to play their own instruments.[11][271] The band's "Cowboy Take Me Away" was the first song Swift learned to play on the guitar.[272]

Swift then began to explore the music of older country stars, including Patsy Cline, Loretta Lynn,[11]Dolly Parton, and Tammy Wynette.[11][273] She believes Parton is "an amazing example to every female songwriter out there."[270] Other mainstream country influences include Miranda Lambert,[274]Dwight Yoakam,[275] Strait,[11] Garth Brooks,[74] Kenny Chesney,[270] Reba McEntire,[276]Jackson,[11] Martina McBride,[277] LeAnn Rimes,[278] McGraw[279] and Brad Paisley.[280] Swift also admires alt-country artists such as Ryan Adams,[281] Patty Griffin,[282] and Lori McKenna.[283]

Swift has also been influenced by many artists outside the country genre. As a pre-teen, she enjoyed bubblegum pop acts including Hanson and Britney Spears; Swift has said she has 'unwavering devotion' for Spears.[284][285] In her high school years, Swift listened to emo bands such as Dashboard Confessional,[286] Fall Out Boy,[287] and Jimmy Eat World.[288] She was also a fan of contemporary female singer-songwriters including Celine Dion,[289] Michelle Branch,[288] Pink,[290]Alanis Morissette,[291] Ashlee Simpson,[292] Kelly Clarkson,[293] Fefe Dobson[288] and Avril Lavigne.[293]

Swift is a fan of hip hop music, stating that "Pride [in a lifestyle] is something that both country and hip-hop share."[11] Swift also drew inspiration from the catalogues of veteran artists. She describes Nicks as a "hero" who "has inspired me in so many ways."[172][294] Petty, she has said, "is on a pedestal for me."[295] She is "obsessed" with Sixties acts like The Shirelles, Doris Troy and The Beach Boys.[296][297] Influence also came from older female pop rock singers including Pat Benatar,[293][298] Melissa Etheridge,[298] Sarah McLachlan,[291] Shawn Colvin[299] and Linda Ronstadt

Swift lists Paul McCartney, Bruce Springsteen, Emmylou Harris, Kris Kristofferson and Carly Simon as her career role models: "They've taken chances, but they've also been the same artist for their entire careers."[302][303][304][305] McCartney, both as a Beatle and a solo artist, makes Swift feel "as if I've been let into his heart and his mind": "Any musician could only dream of a legacy like that."[306] She admires Springsteen because he is "so musically relevant after such a long period of time."[307] She aspires to be like Harris as she grows older: "It's not about fame for her, it's about music."[308] Swift says of Kristofferson: "He shines in songwriting ... He's just one of those people who has been in this business for years but you can tell it hasn't chewed him up and spat him out."[309] She admires Simon's "songwriting and honesty": "She's known as an emotional person but a strong person."

受影響

絲薇芙特最早的音樂記憶，是聽她的外祖母馬喬里·芬利（Marjorie Finlay，娘家姓Moehlenkamp）在教堂唱歌[17][251]。芬利年輕是波多黎各一檔電視節目的主持人，還在泰國和新加坡出演歌劇[9][252]。絲薇芙特年紀小小就會欣賞迪士尼電影原聲帶：「我的父母發現一旦我忘掉了歌詞，就會自己編[30][253]。」後來，她的父母讓她接觸詹姆士·泰勒、賽門與葛芬柯和戴夫·萊帕德等藝術家[254][255]。絲薇芙特表示，她自信歸功於幫助還是孩子的她準備課堂展示的母親[256]。她還認為「迷戀於給母親寫故事和講故事」[257]。

從左至右：給絲薇芙特影響的仙妮亞·唐恩、史蒂芬·尼克斯和卡莉·西門

絲薇芙特被「仙妮婭、菲思、南方小雞等90年代的傑出女性鄉村音樂家們帶入鄉村音樂界[72][258]。」她被鄉村音樂的故事和音色吸引住了[259]。作曲家兼表演者唐恩給她在音樂上的影響最大[260]。」希爾是絲薇芙特的童年榜樣：「但凡她的言行和衣著，我都嘗試去模仿[261][262]。」絲薇芙特欽佩南方的反叛態度和他們表演自創樂器的能力[9][263]，該樂團的歌曲《帶我走牛仔》是絲薇芙特第一支學會用吉他彈奏歌曲[264]。

絲薇芙特開始探索鄉村巨星前輩的音樂，包括克萊因、羅莉·塔琳[9]、桃莉·巴頓和泰咪·懷尼特[9][265]。她認為桃莉是「一位是所有女性詞曲作者的傑出榜樣[262]。」其他影響到她的主流鄉村音樂人包括米蘭達·蘭伯特[266]、德懷特·尤肯姆[267]、斯特拉特[9]、加斯·布魯克斯[72]、肯尼·薛士尼[262]、瑞芭·麥肯泰爾[268]、傑克森[9]、馬蒂娜·麥克布萊德[269]、萊姆斯[270]、麥格勞[271]和布拉德·佩斯利[272]。絲薇芙特也欽佩瑞恩·亞當斯[273]、帕蒂·格里芬[274]、洛瑞·麥肯納[275]和美好冬季樂團等另類鄉村藝術家[276]。

其他流派藝術家也影響到絲薇芙特。青少年時期的她喜歡漢森和布蘭妮·斯皮爾斯等泡泡糖流行樂藝人，她對斯皮爾斯仍然有「毫不動搖的熱愛」[277][278]。讀高中時，絲薇芙特喜歡聽風速告解樂團[279]、打倒男孩[280]、全美反對陣線[281]、大胃王吉米等情感核樂團的歌[282]。她也是席琳·狄翁[283]、英格麗·麥可森[284]、米歇爾·布蘭奇[282]、粉紅色佳人[285]、艾拉妮絲·莫莉塞特[286]、艾希莉·西恩普森[287]、凱莉·克萊森[288]、菲菲·道布森[282]和艾薇兒·拉維尼等當代女性創作型歌手歌迷[288]。

絲薇芙特十分關心電視影集《玩酷世代》和《實習醫生》的音樂總監，劇中的每一首歌她都會去下載[276]。她也是嘻哈樂迷，表示「（生活方式中的）傲慢是鄉村樂和嘻哈共同的元素[9]。」絲薇芙特還從老藝人目錄中的作品汲取靈感。她稱尼克斯是一位「英雄」，「在很多方面激勵著我」[176][289]。她認為佩蒂「是我的基座」[290]。她對雪莉兒合唱團、多麗絲·特洛伊：木馬屠城和沙灘男孩等60年代的藝人也很「痴迷」[155][291]。影響也來自於其他女性流行搖滾前輩歌手，包括帕特·貝納塔爾[288][292]、梅麗莎·埃瑟里奇[292]、莎拉·克勞克蘭[286]、西恩·科爾[293]和琳達·朗絲黛[294][295]。

絲薇芙特把保羅·麥卡尼、布魯斯·斯普林斯汀、艾美璐·哈里斯、克里斯·克里斯托佛森和卡莉·西門列為她的職業模範：「儘管他們擁有機遇，但他們在整個職業生涯一直沒有改變流派[293][296][297]。」披頭四樂團成員，現獨唱藝術家麥卡特尼讓絲薇芙特感覺「好像我進入到他的心臟和他的大腦裡去了」：「所有音樂人僅能奢望這樣的遺產[298]。」她欣賞斯普林斯汀，因為他「經過了這麼長一段時間仍在樂壇保持影響力」[299]。她還立志在未來成為像哈里斯那樣的人：「她不在乎名利，只在乎音樂[300]。」絲薇芙特認為克里斯托佛森「在寫歌方面很有才華……他是行業的老將之一，但你不能夠說還沒有琢磨透，就把它吐出來了[301]。」她欽佩西門「詞曲創作和誠實」：「她很情緒化，但也很堅強[302]。」

Lyrical themes and style

Thematically, The Guardian noted that Swift was "fantastically good at regarding teenage life with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums.[310] New York Magazine remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens... Her nearest antecedent might be sixties-era Brian Wilson, the one true adolescent auteur before she came along."[311] Comparisons have also been drawn with Janis Ian.[303] Fairytale imagery featured on Swift's second album, Fearless. She explored the disconnect "between fairy tales and the reality of love."[312][313] Her later albums address more adult relationships.[304] In addition to romance and love, Swift's songs have discussed parent-child relationships ("The Best Day", "Never Grow Up", "Ronan"), friendships ("Fifteen", "Breathe", "22", "Bad Blood"),[314][315] alienation ("The Outside", "A Place in This World", "Tied Together with a Smile", "Mean", "Shake It Off"), fame ("The Lucky One", "I Know Places"), and career ambitions ("Change", "Long Live").[265][316]

It has been said that Swift's defining quality as a songwriter is "a determination to register and hang onto fleeting feelings and impressions, a pre-emptive nostalgia for a present (and sometimes even a future) that she knows will some day be in the past."[317] Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative."[318] The New Yorker has said that her songs, "though they are not subversive, have a certain sophistication ... Sentimental songs are laced with intimations of future disillusionment."[319]

Structurally, Slant notes that Swift has "effortless, preternatural mastery of pop conventions: Very few songwriters can build better bridges than she does."[320]Rolling Stone described her as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture."[321] The Village Voice noted that Swift uses third-verse point of view reversals frequently.[318] In terms of imagery, repetition is evident in Swift's songwriting. In the words of The Guardian, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot."[310] Slant added, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album."[180] American Songwriter describes Swift as "a great songwriter, who writes with an unmatched and almost unnatural acuity ... Even her earliest material is characterized by thoughtful – perhaps meticulous – word choice and deliberate melodic construction, with nary a lazy rhyme or aimless tune to be found."[322][323] While reviews of Swift's work are "almost uniformly positive," The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary."[303]

Swift uses her real-life experiences as an inspiration in her work.[325] Listening to music as a child, she felt confused "when I knew something was going on in someone's personal life and they didn't address it in their music."[326] The New York Times believes that "righting wrongs is Ms. Swift's raison d'être."[327] In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities.[327] Mayer, the presumed subject of "Dear John", has said the song "humiliated" him: "I think it's kind of cheap songwriting. I know she's the biggest thing in the world, and I'm not trying to sink anybody's ship, but I think it's abusing your talent to rub your hands together and go, 'Wait till he gets a load of this!'"[328] The Village Voice has downplayed this aspect of Swift's songwriting: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic."[329] New York Magazine believes the media scrutiny over her decision to "mine her personal life for music... is sexist, inasmuch as it's not asked of her male peers": "It's a relief to see Swift, the ur-nice-girl, refuse to give the mea culpa that many journalists she's talked to have sought."[330] The singer herself has said that not all her songs are factual and are sometimes based on observations.[331] Aside from her liner note clues, Swift tries not to talk specifically about song subjects "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus."[332]

歌曲主題和風格

主題上，《衛報》指出絲薇芙特在她的前兩張專輯中「難以置信地擅長將青少年生活看作是一種令人嚮往、棕褐色的懷念[303]。」《紐約雜誌》指出，很少有創作型歌手能締造「明確地描繪他們的青少年生活的唱片……離她（泰勒）最近的前輩可能是六十年代的布萊恩·威爾森，在她（泰勒）到來之前，布萊恩是一個真正的青春期性格導演[304]。」珍娜斯·艾恩也被用作對比[296]。

絲薇芙特的第二張專輯《無懼的愛》出現了童話般的想像。她探討了「童話故事和愛情的現實之間」的脫節[305][306]。她在後來的專輯探討更為成年人的關係[297]。除了浪漫和愛情，絲薇芙特的歌曲還探討父母與子女的關係（如《完美的一天》（The Best Day）、《長不大》（Never Grow Up）、《羅南》（Ronan））、友情（如《十五歲》、《呼吸》（Breathe）、《二十二歲》、《敵對》）[307][308]、逃離（如《外面》（The Outside）、《一席之地》（A Place in This World）、《用微笑做自己》（Tied Together with a Smile）、《太刻薄》、《通通甩掉》）、成名（如《幸運兒》（The Lucky One）、《藏身之地》（I Know Places））和職業抱負（如《改變》（Change）、《直到永遠》（Long Live））[309][310]。

據稱絲薇芙特所定義的質量是詞曲作者要「有表達和緊抓稍縱即逝的情感和印象的判斷力，用懷舊的禮物先發制人（有時甚至是未來的），她知道總有一天自己也會成為過去[311]。」絲薇芙特經常利用「一氣呵成的語句暗示大量和糟糕不適合用於歌曲的事物及增強或顛覆表面性敘事的事物」[312]。《紐約人》雜誌曾表示，她的歌「儘管不是顛覆性的，但有一定的複雜性……青澀的歌曲夾雜著前程破滅的暗示[313]。」

在結構上，《Slate》雜誌指出絲薇芙特「毫無費力、異於常人地掌握流行樂壇的公約：很少有詞曲作者比她建立的結構還要好[314]。」《滾石》稱她為「詞曲作者的學者，對主歌-副歌-連結結構有著直覺上的天賦[315]。」《鄉村之聲》指出絲薇芙特頻繁採用了三段主歌視覺暫留逆轉[312]。在畫面感方面，重複是絲薇芙特歌曲創作的顯著特點。《衛報》表示，「她花了太多時間去親吻雨露，似乎她還沒有患上戰壕腳是種奇蹟[303]。」作者補充道，「絲薇芙特的功勞是她在（第四張）專輯中探索出一種全新的抒情主題[183]。」《美國詞曲作者》雜誌指出絲薇芙特是「一位偉大的詞曲作者，所寫的歌無與倫比、敏銳度幾乎不自然……甚至連她最早的素材有著全面的特點——也許是一絲不苟——遣詞和蓄意的旋律結構，不帶一絲慵懶的韻味或是漫無目的的曲調[316][317]。」儘管對絲薇芙特作品的評價「幾乎全是正面的」，但《紐約人》稱她一般被形容為「不算巴布·狄倫那樣有遠見的音樂人，而更像個熟練的技術工人」[296]。

絲薇芙特在她的作品中採用了自傳細節[319]。小時候聽音樂時，讓他感到困惑的是，「當我知道某人的私生活要發生些什麼，他們卻沒有在他們的音樂中處理這個問題[320]。」

《紐約時報》認為，「伸張正義是絲薇芙特女士們存在的理由[321]。」在她的歌曲中，絲薇芙特經常處理高中三年和近年來同行名人的難以言表的壓榨[321]。梅爾將「春花秋月不了情約翰」的主角假定為自己，認為這首歌羞辱了他：「我認為是一種廉價的詞曲創作。我知道她是世界上最重要的事，我不是那種落井下石的人，但我認為你濫用你的才華來擦乾淨你的說，『等到他已經受夠了這些！』就走[322]。」《鄉村之聲》已經淡化了絲薇芙特作曲的這一方面：「教人們讀懂歌詞就像是一位愛出風頭的教授所做。這已危及到對絲薇芙特的天賦的由衷讚美。這不是懺悔，但卻是戲劇性的[323]。」《紐約雜誌》認為媒體監督她使用自傳細節是「性別上的歧視，由於這不用問她的男同行們」：「了解絲薇芙特這位拒絕向曾經問過她的記者認錯不那麼漂亮的女孩能夠讓人釋然[324]。」

這位歌手她自己也表示，她所有的歌曲都是不真實的[325]，經常要靠觀察[326]。除了她的自帶的線索標籤，絲薇芙特儘量不去具體談論歌手「因為這些人都是真實的。你嘗試去審視自己算哪根蔥敢當作曲家，就不會完全被其他人從公交車上擠下來[327]。」

Musical style

Swift's music contains elements of pop, pop rock and country.[333][334][335] She self-identified as a country artist until the 2014 release of 1989, which she has described as a "sonically cohesive pop album."[335][336] Despite the pop direction of 1989,[225] Swift has said that she will probably record further country music albums in the future.[335]

Rolling Stone asserted that, "she might get played on the country station, but she's one of the few genuine rock stars we've got these days."[337] The New York Times noted that, "There isn't much in Ms. Swift's music to indicate country—a few banjo strums, a pair of cowboy boots worn onstage, a bedazzled guitar—but there's something in her winsome, vulnerable delivery that's unique to Nashville."[338] The New Yorker believes she is "considered part of Nashville's country-pop tradition only because she writes narrative songs with melodic clarity and dramatic shape—Nashville's stock-in-trade."[61] The Guardian has said that Swift "cranks melodies out with the pitiless efficiency of a Scandinavian pop factory."[310]

音樂和演唱風格

絲薇芙特的音樂融合了流行樂、流行搖滾和鄉村元素[328][329]，擁有從E3到F#5兩個八度的輕抒情女高音音域[330]。她自稱鄉村藝人，直至2014年《1989》發行，這被她稱為「在音樂層面上有凝聚力的流行專輯[331][332]。」儘管《1989》走流行樂路線[219]，但絲薇芙特仍打算在未來繼續錄製鄉村音樂專輯[332]。

《滾石》斷言，「她可能會在鄉村電台上表演，但她迄今為止為數不多的真正的搖滾明星[333]。」《紐約時報》指出，「絲薇芙特的音樂中沒有很多對鄉村樂的暗示——幾個班卓琴掃弦，在舞台上穿著一雙牛仔靴，抱著一個痴痴的吉他——但她迷人、脆弱地表達出獨一無二的納什維爾[334]。」《紐約客》認為她「被認為是納什維爾鄉村流行樂傳統的一部分，不僅在於她寫的敘事曲有著旋律上的識別度和戲劇般的形態——這是納什維爾人的慣用手法[335]。」《衛報》指出絲薇芙特「斯堪的納維亞人流行樂工廠做無用功的效率製作潦草地製作旋律[303]」。

絲薇芙特的聲線被認為是「甜蜜但柔弱」[336]。在錄音棚里錄音，《洛杉磯時報》稱絲薇芙特所「定義」的發音姿勢像是「滑落的線條，就像一聲知足的嘆息或像是挑眉毛，給她那受到只顧享樂的年輕女性歡迎的熱單帶來輕鬆親密的空氣[140]。」《滾石》在《愛的告白》的樂評中表示：「絲薇芙特的聲線不受影響得足以掩飾她作為一名歌手是多麼的會算計，為了應付害羞的女孩試圖表白的經典模式歌詞，她降低了她的聲音[337]。」在《愛的告白》的另一篇樂評中，《鄉村之聲》指出她措辭是以前的那種「平淡混亂的，但現在改了。她仍然發出緊張和柔軟的聲音，而且經常迷失在音調中，把某些人搞瘋，但她學會了如何讓歌詞聽起來像是它們的本來意思[141]。」

在演唱會布置方面，《好萊塢報導者》稱絲薇芙特「盡其所能，但肯定不會出現像克莉絲汀·阿奎萊拉或卡麗·安德伍的那種進擊的大佬的場面[336]。」她的演唱會唱功在2009年被描述成「平淡」、「細微，有時像個小馬駒那樣的搖搖晃晃[338][339]。「然而，絲薇芙特拒絕用自動調音修正軟體修音的態度獲得讚賞[340][341][342]。

在接受《紐約人》採訪時，絲薇芙特稱她的主要特點是當作曲家：「我寫的歌、我的聲音只是親近那些歌詞的一種方式[8][343]。「波爾切塔在2010年承認絲薇芙特「並不是最好的技術型歌手」，但形容她是「我們所以知道的最好的溝通者[344]。」絲薇芙特的聲樂表現讓人們感到擔心，她已經「投入大量的精力」去改進它[345]。另據2010年的報導，她還在繼續上聲樂課[346][347]。她表示自己唯一對表演感到緊張是在「我不清楚觀眾如何看待我，就像是在頒獎典禮上」時[348]。