The statistic provides data on favorite music genres among consumers in the United States as of July 2018, sorted by age group. According to the source, 52 percent of respondents aged 16 to 19 years old stated that pop music was their favorite music genre, compared to 19 percent of respondents aged 65 or above. Country music in the United States – additional information

In 2012, country music topped the list; 27.6 percent of respondents picked it among their three favorite genres. A year earlier, the result was one percent lower, which allowed classic rock to take the lead. The figures show, however, the genre’s popularity across the United States is unshakeable and it has also been spreading abroad. This could be demonstrated by the international success of (among others) Shania Twain or the second place the Dutch country duo “The Common Linnets” received in the Eurovision Song Contest in 2014, singing “Calm after the storm.”

The genre is also widely popular among American teenagers, earning the second place and 15.3 percent of votes in a survey in August 2012. The first place and more than 18 percent of votes was awarded to pop music, rock scored 13.1 percent and landed in fourth place. Interestingly, Christian music made it to top five with nine percent of votes. The younger generation is also widely represented among country music performers with such prominent names as Taylor Swift (born in 1989), who was the highest paid musician in 2015, and Hunter Hayes (born in 1991).

Country music is also able to attract crowds (and large sums of money) to live performances. Luke Bryan’s tour was the most successful tour in North America in 2016 based on ticket sales as almost 1.43 million tickets were sold for his shows. Fellow country singer, Garth Brooks, came second on the list, selling 1.4 million tickets for his tour in North America in 2016.

Abstract

Monitoring vulnerable species inhabiting mountain environments is crucial to track population trends and prioritize conservation efforts. However, the challenging nature of these remote areas poses difficulties in implementing effective and consistent monitoring programs. To address these challenges, we examined the potential of passive acoustic monitoring (PAM) on a cryptic high mountain bird species, the Rock Ptarmigan (Lagopus muta). We deployed 38 autonomous recording units spanning the Swiss Alps in areas where the birds are followed by a national monitoring program and built a machine-learning algorithm to automatize song recognition. We focused on studying the daily and seasonal call phenology of the species and relate it to meteorological and climatic data. Our results revealed that Rock Ptarmigans were vocally active from March to July, with a peak of activity occurring between mid-March and late April, one or two months earlier than the conventional count in the second half of May. The calling frequency peaked at dawn before dropping rapidly until sunrise. Daily vocal activity demonstrated a consistent dependency on daily weather and moon phase, while the timing of seasonal vocal activity was dependent on temperature and snow conditions. We found that the peak of vocal activity occurred when the snowpack was still thick, and snow cover was close to 100% but with a local peak of high temperatures. Between our two study years, the peak of vocal activity occurred with 30 days delay in the colder year, highlighting the species' phenological plasticity in relation to environmental conditions. PAM has the potential to complement conventional acoustic counts of the cryptic birds by highlighting periods of higher detectability of the individuals or following small populations where individuals often remain undetected. Moreover, our case study supports the idea that PAM can provide valuable data over large spatial and temporal scales, allowing it to decrypt hidden ecological patterns and assist conservation efforts.