Country music, with its all-to-familiar stereotypes, has been slow to gain academic acceptance. This work aims to redress the balance. It includes articles exploring Hollywood and Nashville, humour, and country music's complex relationship with religion.

The swelling interest in popular music studies has far outpaced the outlets for publication. Country music, with its all-too-familiar stereotypes, has been particularly slow to gain scholarly acceptance. With the Country Music Annual , scholars, students, and even fans now have a outlet for the dissemination of research and ideas. Each volume of this new yearbook is devoted to all aspects of country music and is the only forum for series studies of the subject. Specific topics include old-time music, western swing, bluegrass, honky-tonk music, Cajun, instrumental music, Nashville sound era, new traditionalism, country rock, alternative country, Americana, modern folk, and contemporary Nashville, as well as biographical studies and interdisciplinary approaches to music, geography, gender, class, race, media, and culture. Advisory Board: Bill C. Malone, Nolan Porterfield, Jimmie Rogers, Curtis Ellison, William K. McNeil, Wayne W. Daniel, Joli Jensen. This inaugural edition defines country music in a broad sense and reflects the marvelous complexities of what has often been called a simple cultural form. The articles look at old-time music, Western swing, honky-tonk, Bluegrass, Cajun, country rock, and the many other incarnations country music has taken. Contributors explore country music in Hollywood and Nashville, humor, country's complex relationship with religion, music careers, sound mixing, and teaching country music in the classroom. Analysis of music, lyrics, and aesthetics stand alongside discussions of Minnie Pearl, Tennessee Ernie Ford, Dolly Parton, Loretta Lynn, Emmylou Harris, Shania Twain, and many more artists.