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Dolly Parton, a rhinestone-studded, rags-to-riches daughter of Appalachia who for six decades ruled country music — and much of pop culture — with an outsize personality and down-home wit that enshrined her as one of America’s most cherished originals, died on Tuesday in Nashville. She was 80.

Her death was announced in a video posted on social media by her nephew Bryan Seaver. No cause was provided. Concerns about Ms. Parton’s health were raised last year as she postponed and later canceled a Las Vegas residency, and intensified to the point that she took to social media in October to announce, “I ain’t dead yet.” This May, she said that she had responded well to treatment after her immune and digestive systems had, as she put it, “got all out of whack” in recent years.

From her hardscrabble beginnings to glittering stardom, Ms. Parton’s life was the stuff of make-believe. With her voluptuous figure, sparkly stage costumes and blond bouffant wigs, she was likened by the writer Chet Flippo to the Big Rock Candy Mountain, the Depression-era symbol of abundance. Her songs spoke to millions, confronting privation and loss even as they radiated possibility and hope.

She was, quintessentially, a uniter of people. In 2019, The New York Times ran a story with the headline “Is There Anything We Can All Agree On? Yes: Dolly Parton.”

Ms. Parton cannily exploited — and transcended — rural stereotypes and kitsch to fashion a folksy chic entirely her own. (“A country girl’s idea of glam,” she called it in the song “Backwoods Barbie.”) In the process, she became an international celebrity who headlined stadium tours, starred in Hollywood movies, built a business empire and appeared on the cover of Rolling Stone. Her at times girlish soprano notwithstanding, she was anything but the “dumb blonde” invoked in the title of her 1966 single.

“I’ve created this and played it up — the makeup, the whole persona,” Ms. Parton said, alluding to her plastic surgeries as well as her colloquial “Dollyisms” in a 2002 interview with The Times.

“But this isn’t all I am,” she added. “It’s not even most of what I am. Hopefully people can see beneath the hair to know there’s a brain, beneath the boobs to know there’s a heart and behind all the other stuff to know there’s some talent.”

Inducted into both the country music and rock ’n’ roll halls of fame, Ms. Parton was the top-ranking female singer on country radio from 1967 to 1993, and had a total of 25 No. 1 country singles.

Her early breakthrough came in 1967 when she was hired as the “girl singer” on “The Porter Wagoner Show,” a syndicated country music television variety program. Several years later, she had No. 1 country hits with records like “Jolene” and “I Will Always Love You.”

Both songs were among about 3,000 titles she published in her lifetime, hundreds of which have been recorded by other artists, including Tina Turner, Norah Jones, the White Stripes, Merle Haggard, RuPaul and Whitney Houston.

Featured in the 1992 movie “The Bodyguard,” Ms. Houston’s version of “I Will Always Love You” spent 14 weeks at the top of the pop chart. The song had previously been a No. 1 country single twice, in versions released by Ms. Parton in 1974 and 1982.

With Loretta Lynn and Tammy Wynette, Ms. Parton blazed a trail for women in country music, inspiring contemporaries like Linda Ronstadt and Emmylou Harris, as well as latter-day hitmakers like Carrie Underwood, Kacey Musgraves and Taylor Swift. She recorded a pair of albums, “Trio” and “Trio II,” with Ms. Ronstadt and Ms. Harris.

“I can’t imagine anybody, especially in country, who doesn’t try to emulate Dolly in some way,” Ms. Harris said on the occasion of Ms. Parton’s Kennedy Center Honors award in 2006.

Ms. Parton was one of country music’s greatest ambassadors, but she also collaborated widely with artists outside traditional Nashville circles, including Mavis Staples, Queen Latifah, Julio Iglesias and Ladysmith Black Mambazo. “Islands in the Stream,” a triple platinum-selling duet Ms. Parton recorded with Kenny Rogers, topped both the country and pop charts in 1983. (The song was written by Barry, Maurice and Robin Gibb of the Bee Gees.)

Stylistically, Ms. Parton’s music ran the gamut: mountain bluegrass and soul-inflected countrypolitan, disco-era pop and covers of classic rock touchstones written by Neil Young and Led Zeppelin — all of it rendered indelible by her irrepressible spirit and alternately keening and gossamer soprano drawl.

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Dolly Parton in 1975. She was likened to the Big Rock Candy Mountain, the Depression-era symbol of abundance. Her music confronted privation and loss even as it radiated possibility and hope. 

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