Times a-changin': flexible meter as self-expression in singer-songwriter music
"It is 1969 and Joni Mitchell is on television, standing empty-handed in the middle of a circular stage that is adorned with psychedelic colors. She is wearing a long, hunter-green dress, surrounded by an audience sitting cross-legged on the floor. She waits for television host Dick Cavett to i...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Oxford University Press
2023
|
| Schriftenreihe: | Oxford studies in music theory
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "It is 1969 and Joni Mitchell is on television, standing empty-handed in the middle of a circular stage that is adorned with psychedelic colors. She is wearing a long, hunter-green dress, surrounded by an audience sitting cross-legged on the floor. She waits for television host Dick Cavett to introduce her next performance. The show is filming on the day after the 1969 Woodstock music festival, an event that Mitchell was initially scheduled to attend but from which she was held back by her management to ensure she could perform on The Dick Cavett Show the next day. The host introduces Mitchell and jokes with her about singing a capella, wondering aloud if someone stole her guitar. The singer laughs politely in response, denies any theft, and then proceeds to her performance, explaining to the audience that she will be singing a "song for America" that she wrote "as a Canadian living in this country." With her hands clasped behind her back, she performs "The Fiddle and the Drum" with no accompaniment, channeling the folk performance tradition on which the song is based. This song about military participation is a rare political statement from Mitchell who, unlike her peers Bob Dylan and Buffy Sainte-Marie, had only released this one "protest song" by 1969. But the song's message was not a particularly risky proclamation. Her anti-war narrative echoed the opinions of the young Cavett Show audience that night, aligning with an established trend of resistance against the war in Vietnam. Similar to the way that Mitchell's song "Woodstock" would eventually capture the spirit of an event she did not attend, "The Fiddle and the Drum" characterizes a popular anti-war sentiment in the public consciousness of the late 1960s"-- |
| Beschreibung: | XII, 203 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780197635216 |
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Datensatz im Suchindex
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|---|---|
| adam_text |
Contents List ofFigures Acknowledgments 1. The Self-Expressive Rhetoric of Flexible Meter Self-Expressive Features Self-Presentation Lyrics Techniques of Vocal Production Flexible Meter Flexible Meter and “The Fiddle and the Drum” The Challenges of Metric Flexibility Responding to Singer-Songwriter Self-Expression Self-Expression and the Singer-Songwriter The 1960s Protest Song 1970s Introspective Songwriting Expectations for Singer-Songwriter Music Self-Expression The Impression of Authenticity “Authenticity” in Popular Music “Authenticity” in Singer-Songwriter Music Bob Dylan and the Folk Revival The Ballad Tradition The Delta Blues Flexible Meter as Self-Expression in Singer-Songwriter Music Political and Confessional Singer-Songwriter Music 2. The Theory of Flexible Meter Types of Flexible Meter Regular Meter Meter in Rock Music Reinterpreted Meter Omitted and Added Beats Reinterpreted Meter: Mitchell, “Lesson in Survival” Grouping Parallelism and Simon’s “The Sound of Silence” Lost Meter Regular and Lost Meter: Mitchell, “Woodstock” ix xi 1 2 3 3 4 5 5 7 8 10 11 13 14 14 15 15 17 18 19 20 21 22 27 27 31 33 34 34 36 37 38 40
Vi CONTENTS Ambiguous Meter Metric Process Metric Projection Symbols Realized and Unrealized Durations Hiatus and Lost Meter in Mitchell’s “Blue” Ambiguous Meter: Sainte-Marie’s “Sir Patrick Spens” Metric Potential The Aspects of Meter Shifts Between Metric Types 3. Regular and Reinterpreted Meter Regular Meter Mitchell, “Little Green” Reinterpreted Meter Joni Mitchell’s Rhapsodic Sentiments “A Case of You” “AU I Want” Paul Simon: Reinterpreted Meter Expressing Enigmatic Lyrics “The Sound of Silence” “April Come She WiU” Simon’s Solo Singer-Songwriter Style Cat Stevens’s Introspection “The Wind” “Into White” “Katmandu” Stevens’s Introspection A Closer Look: Joni Mitchell’s “Lesson in Survival” Lyrics and Form В Sections: Melodic Descent C Sections: Escape and Freedom D Section: Dreams Flexible Meter and Meaning 42 43 44 46 47 48 49 50 51 54 54 55 57 58 58 60 63 63 66 66 67 68 68 71 73 74 74 75 79 82 84 4. Self-Expressive Innovations: Lost Meter 86 Bob Dylan’s “Only a Pawn in Their Game” Formal Flexibility Consistently Flexible Form Flexible Meter Self-Expressive Flexibility Later Verses Performance Frequency The Impression of Spontaneity Cat Stevens’s “Time” Meaning of “Time” Irregular Hierarchy 87 88 90 91 94 95 97 98 99 100 101
CONTENTS The Limits of Reinterpreted Meter Loose Metric Process Synthesized Flexible Meter Metrically Regular Ending Introspective Temporalities Joni Mitchell’s “Blue” Central Relationship Lyrics and Accompaniment Reinterpreted Meter: Narrative Space Expressively Lost Meter First Statement of “Blue” Restored Regularity Reinterpreted Then Lost Meter An Expressive Ending Musical and Creative Freedom 5. Intensifying “Imperfection”: Ambiguous Meter Bob Dylan’s “Down the Highway” The Blues Model Stressed Events Flexible First Line Metric Orientation Loose Metric Structure Second Line Third Line Flexible Blues “Imperfect” Metric Flexibility Bob Dylan’s “Restless Farewell” Influence from “The Parting Glass” Stressed Events Opening Line Second Line Third and Fourth Lines Fifth Line Flexible Effects Self-Presentation and “Authenticity” Restless Metric Imperfection Joni Mitchell’s “The Fiddle and the Drum” First Vocal Fragment Second Fragment Metric Emergence Expressive Emergence Self-Presentation and Flexible Meter Buffy Sainte-Marie’s “Sir Patrick Spens” Ballad Narrative vii 103 105 108 108 109 110 110 111 112 112 116 118 118 120 122 125 127 128 129 131 131 133 133 134 134 136 137 138 139 140 142 143 144 146 146 147 148 149 149 151 153 153 154 156
viii contents Instrumentation Stressed Events Vocal Entry and Narrator Authority Folk Song Adaptations 6. What Happens Next to Self-Expressive Flexible Meter? Beyond 1972 Ensemble Careers Future Singer-Songwriters Buffy Sainte-Marie’s “My Country ‘Tis of Thy People You’re Dying” (1966) Self-Presentation Activist Music Lyrics Vocal Production Flexible Meter “My Country” (1966, Rainbow Quest) Expressive Voice “My Country” (2017, Medicine Songs') Self-Expressive Impact Conclusion: Flexible Meter as Self-Expression Bibliography Index 156 157 159 161 164 164 165 166 167 168 169 169 171 172 175 175 176 180 181 183 197 |
| adam_txt |
Contents List ofFigures Acknowledgments 1. The Self-Expressive Rhetoric of Flexible Meter Self-Expressive Features Self-Presentation Lyrics Techniques of Vocal Production Flexible Meter Flexible Meter and “The Fiddle and the Drum” The Challenges of Metric Flexibility Responding to Singer-Songwriter Self-Expression Self-Expression and the Singer-Songwriter The 1960s Protest Song 1970s Introspective Songwriting Expectations for Singer-Songwriter Music Self-Expression The Impression of Authenticity “Authenticity” in Popular Music “Authenticity” in Singer-Songwriter Music Bob Dylan and the Folk Revival The Ballad Tradition The Delta Blues Flexible Meter as Self-Expression in Singer-Songwriter Music Political and Confessional Singer-Songwriter Music 2. The Theory of Flexible Meter Types of Flexible Meter Regular Meter Meter in Rock Music Reinterpreted Meter Omitted and Added Beats Reinterpreted Meter: Mitchell, “Lesson in Survival” Grouping Parallelism and Simon’s “The Sound of Silence” Lost Meter Regular and Lost Meter: Mitchell, “Woodstock” ix xi 1 2 3 3 4 5 5 7 8 10 11 13 14 14 15 15 17 18 19 20 21 22 27 27 31 33 34 34 36 37 38 40
Vi CONTENTS Ambiguous Meter Metric Process Metric Projection Symbols Realized and Unrealized Durations Hiatus and Lost Meter in Mitchell’s “Blue” Ambiguous Meter: Sainte-Marie’s “Sir Patrick Spens” Metric Potential The Aspects of Meter Shifts Between Metric Types 3. Regular and Reinterpreted Meter Regular Meter Mitchell, “Little Green” Reinterpreted Meter Joni Mitchell’s Rhapsodic Sentiments “A Case of You” “AU I Want” Paul Simon: Reinterpreted Meter Expressing Enigmatic Lyrics “The Sound of Silence” “April Come She WiU” Simon’s Solo Singer-Songwriter Style Cat Stevens’s Introspection “The Wind” “Into White” “Katmandu” Stevens’s Introspection A Closer Look: Joni Mitchell’s “Lesson in Survival” Lyrics and Form В Sections: Melodic Descent C Sections: Escape and Freedom D Section: Dreams Flexible Meter and Meaning 42 43 44 46 47 48 49 50 51 54 54 55 57 58 58 60 63 63 66 66 67 68 68 71 73 74 74 75 79 82 84 4. Self-Expressive Innovations: Lost Meter 86 Bob Dylan’s “Only a Pawn in Their Game” Formal Flexibility Consistently Flexible Form Flexible Meter Self-Expressive Flexibility Later Verses Performance Frequency The Impression of Spontaneity Cat Stevens’s “Time” Meaning of “Time” Irregular Hierarchy 87 88 90 91 94 95 97 98 99 100 101
CONTENTS The Limits of Reinterpreted Meter Loose Metric Process Synthesized Flexible Meter Metrically Regular Ending Introspective Temporalities Joni Mitchell’s “Blue” Central Relationship Lyrics and Accompaniment Reinterpreted Meter: Narrative Space Expressively Lost Meter First Statement of “Blue” Restored Regularity Reinterpreted Then Lost Meter An Expressive Ending Musical and Creative Freedom 5. Intensifying “Imperfection”: Ambiguous Meter Bob Dylan’s “Down the Highway” The Blues Model Stressed Events Flexible First Line Metric Orientation Loose Metric Structure Second Line Third Line Flexible Blues “Imperfect” Metric Flexibility Bob Dylan’s “Restless Farewell” Influence from “The Parting Glass” Stressed Events Opening Line Second Line Third and Fourth Lines Fifth Line Flexible Effects Self-Presentation and “Authenticity” Restless Metric Imperfection Joni Mitchell’s “The Fiddle and the Drum” First Vocal Fragment Second Fragment Metric Emergence Expressive Emergence Self-Presentation and Flexible Meter Buffy Sainte-Marie’s “Sir Patrick Spens” Ballad Narrative vii 103 105 108 108 109 110 110 111 112 112 116 118 118 120 122 125 127 128 129 131 131 133 133 134 134 136 137 138 139 140 142 143 144 146 146 147 148 149 149 151 153 153 154 156
viii contents Instrumentation Stressed Events Vocal Entry and Narrator Authority Folk Song Adaptations 6. What Happens Next to Self-Expressive Flexible Meter? Beyond 1972 Ensemble Careers Future Singer-Songwriters Buffy Sainte-Marie’s “My Country ‘Tis of Thy People You’re Dying” (1966) Self-Presentation Activist Music Lyrics Vocal Production Flexible Meter “My Country” (1966, Rainbow Quest) Expressive Voice “My Country” (2017, Medicine Songs') Self-Expressive Impact Conclusion: Flexible Meter as Self-Expression Bibliography Index 156 157 159 161 164 164 165 166 167 168 169 169 171 172 175 175 176 180 181 183 197 |
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| geographic | USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV048978764 |
| illustrated | Illustrated |
| index_date | 2024-07-03T22:04:42Z |
| indexdate | 2024-09-13T14:00:40Z |
| institution | BVB |
| isbn | 9780197635216 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034242265 |
| oclc_num | 1410698275 |
| open_access_boolean | |
| owner | DE-20 DE-12 |
| owner_facet | DE-20 DE-12 |
| physical | XII, 203 Seiten Illustrationen, Notenbeispiele |
| psigel | BSB_NED_20231127 |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Oxford University Press |
| record_format | marc |
| series2 | Oxford studies in music theory |
| spelling | Murphy, Nancy Verfasser (DE-588)1238320600 aut Times a-changin' flexible meter as self-expression in singer-songwriter music Nancy Murphy New York Oxford University Press 2023 XII, 203 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Oxford studies in music theory The Self Expressive Rhetoric of Flexible Meter -- The Theory of Flexible Meter -- Regular and Reinterpreted Meter -- Self-Expressive Innovations : Lost Meter -- Intensifying "Imperfection" : Ambiguous Meter "It is 1969 and Joni Mitchell is on television, standing empty-handed in the middle of a circular stage that is adorned with psychedelic colors. She is wearing a long, hunter-green dress, surrounded by an audience sitting cross-legged on the floor. She waits for television host Dick Cavett to introduce her next performance. The show is filming on the day after the 1969 Woodstock music festival, an event that Mitchell was initially scheduled to attend but from which she was held back by her management to ensure she could perform on The Dick Cavett Show the next day. The host introduces Mitchell and jokes with her about singing a capella, wondering aloud if someone stole her guitar. The singer laughs politely in response, denies any theft, and then proceeds to her performance, explaining to the audience that she will be singing a "song for America" that she wrote "as a Canadian living in this country." With her hands clasped behind her back, she performs "The Fiddle and the Drum" with no accompaniment, channeling the folk performance tradition on which the song is based. This song about military participation is a rare political statement from Mitchell who, unlike her peers Bob Dylan and Buffy Sainte-Marie, had only released this one "protest song" by 1969. But the song's message was not a particularly risky proclamation. Her anti-war narrative echoed the opinions of the young Cavett Show audience that night, aligning with an established trend of resistance against the war in Vietnam. Similar to the way that Mitchell's song "Woodstock" would eventually capture the spirit of an event she did not attend, "The Fiddle and the Drum" characterizes a popular anti-war sentiment in the public consciousness of the late 1960s"-- Geschichte 1960-1980 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Sänger (DE-588)4124099-6 gnd rswk-swf Songwriter (DE-588)4580700-0 gnd rswk-swf Song (DE-588)4138544-5 gnd rswk-swf Popmusik (DE-588)4046781-8 gnd rswk-swf Metrum (DE-588)4169752-2 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Musical meter and rhythm Popular music / 1961-1970 / Analysis, appreciation Popular music / 1971-1980 / Analysis, appreciation Mitchell, Joni / Criticism and interpretation Sainte-Marie, Buffy / Criticism and interpretation Dylan, Bob / 1941- / Criticism and interpretation Stevens, Cat / 1948- / Criticism and interpretation Simon, Paul / 1941- / Criticism and interpretation Dylan, Bob / 1941- Mitchell, Joni Sainte-Marie, Buffy Simon, Paul / 1941- Stevens, Cat / 1948- Popular music / Analysis, appreciation 1961-1980 Criticism, interpretation, etc USA (DE-588)4078704-7 g Sänger (DE-588)4124099-6 s Songwriter (DE-588)4580700-0 s Popmusik (DE-588)4046781-8 s Song (DE-588)4138544-5 s Metrum (DE-588)4169752-2 s Musikalische Analyse (DE-588)4040814-0 s Geschichte 1960-1980 z DE-604 Erscheint auch als Online-Ausgabe 978-0-19-763523-0 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034242265&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Murphy, Nancy Times a-changin' flexible meter as self-expression in singer-songwriter music The Self Expressive Rhetoric of Flexible Meter -- The Theory of Flexible Meter -- Regular and Reinterpreted Meter -- Self-Expressive Innovations : Lost Meter -- Intensifying "Imperfection" : Ambiguous Meter Musikalische Analyse (DE-588)4040814-0 gnd Sänger (DE-588)4124099-6 gnd Songwriter (DE-588)4580700-0 gnd Song (DE-588)4138544-5 gnd Popmusik (DE-588)4046781-8 gnd Metrum (DE-588)4169752-2 gnd |
| subject_GND | (DE-588)4040814-0 (DE-588)4124099-6 (DE-588)4580700-0 (DE-588)4138544-5 (DE-588)4046781-8 (DE-588)4169752-2 (DE-588)4078704-7 |
| title | Times a-changin' flexible meter as self-expression in singer-songwriter music |
| title_auth | Times a-changin' flexible meter as self-expression in singer-songwriter music |
| title_exact_search | Times a-changin' flexible meter as self-expression in singer-songwriter music |
| title_exact_search_txtP | Times a-changin' flexible meter as self-expression in singer-songwriter music |
| title_full | Times a-changin' flexible meter as self-expression in singer-songwriter music Nancy Murphy |
| title_fullStr | Times a-changin' flexible meter as self-expression in singer-songwriter music Nancy Murphy |
| title_full_unstemmed | Times a-changin' flexible meter as self-expression in singer-songwriter music Nancy Murphy |
| title_short | Times a-changin' |
| title_sort | times a changin flexible meter as self expression in singer songwriter music |
| title_sub | flexible meter as self-expression in singer-songwriter music |
| topic | Musikalische Analyse (DE-588)4040814-0 gnd Sänger (DE-588)4124099-6 gnd Songwriter (DE-588)4580700-0 gnd Song (DE-588)4138544-5 gnd Popmusik (DE-588)4046781-8 gnd Metrum (DE-588)4169752-2 gnd |
| topic_facet | Musikalische Analyse Sänger Songwriter Song Popmusik Metrum USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034242265&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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