Even with the widespread adoption of rock-styled “praise and worship” music in American churches, bluegrass and gospel musics still serve as potent musical signifiers, especially among the white southern evangelicals comprising praise and worship's primary demographic. Drawing repertoire and influence from Hank Williams, Loretta Lynn, and Bill Gaither, evangelical artist David Crowder uses strategic musical references to establish his own sense of “hillbilly” religiosity but often deploys these references in ways that align him with a “hipster” community of young musicians and music fans. In this paper, I demonstrate the ways that strategic references to bluegrass and gospel music allow Crowder to situate himself within these multiple discourses of evangelical authenticity.

中文翻译：

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从时髦到乡巴佬：大卫克劳德的死亡、蓝草和福音

即使在美国教堂广泛采用摇滚风格的“赞美和敬拜”音乐，蓝草音乐和福音音乐仍然是强有力的音乐符号，尤其是在以赞美和敬拜为主的南方白人福音派中。受汉克·威廉姆斯、洛雷塔·林恩和比尔·盖瑟的影响，福音派艺术家大卫·克劳德使用战略性的音乐参考来建立自己的“乡巴佬”宗教感，但经常以使他与“时髦”社区保持一致的方式部署这些参考。年轻的音乐家和音乐爱好者。在本文中，我展示了对蓝草音乐和福音音乐的战略性引用使克劳德能够将自己置于这些福音派真实性的多重话语中的方式。