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Times a-changin' : flexible meter as self-expression in singer-songwriter music / Nancy Murphy.
- Format:
- Book
- Author/Creator:
- Murphy, Nancy (Nancy Elizabeth), author.
- Series:
- Oxford studies in music theory.
- Oxford scholarship online.
- Oxford studies in music theory
- Oxford scholarship online
- Language:
- English
- Subjects (All):
- Musical meter and rhythm.
- Popular music--1961-1970--Analysis, appreciation.
- Popular music.
- Popular music--1971-1980--Analysis, appreciation.
- Mitchell, Joni--Criticism and interpretation.
- Mitchell, Joni.
- Sainte-Marie, Buffy--Criticism and interpretation.
- Sainte-Marie, Buffy.
- Dylan, Bob, 1941---Criticism and interpretation.
- Dylan, Bob.
- Stevens, Cat, 1948---Criticism and interpretation.
- Stevens, Cat.
- Simon, Paul, 1941---Criticism and interpretation.
- Simon, Paul.
- Physical Description:
- 1 online resource (217 pages)
- Place of Publication:
- New York, NY : Oxford University Press, 2023.
- Summary:
- How did emerging singer-songwriters in the 1960s and 1970s develop traditions for musical self-expression? This book takes a new listen to the music of beloved songwriters Joni Mitchell, Bob Dylan, Buffy Sainte-Marie, Paul Simon, and Cat Stevens to show how they used malleable metric settings as an important part of their self-expressive toolkit in performance.
- Contents:
- Cover
- Series
- Times A-Changin'
- Copyright
- Contents
- List of Figures
- 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"
- 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
- Mitchell, "Little Green"
- Joni Mitchell's Rhapsodic Sentiments
- "A Case of You"
- "All I Want"
- Paul Simon: Reinterpreted Meter Expressing Enigmatic Lyrics
- "The Sound of Silence"
- "April Come She Will"
- 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
- B Sections: Melodic Descent
- C Sections: Escape and Freedom
- D Section: Dreams
- Flexible Meter and Meaning
- 4 Self-Expressive Innovations: Lost Meter
- Bob Dylan's "Only a Pawn in Their Game"
- Formal Flexibility
- Consistently Flexible Form
- Self-Expressive Flexibility
- Later Verses
- Performance Frequency
- The Impression of Spontaneity
- Cat Stevens's "Time"
- Meaning of "Time"
- Irregular Hierarchy
- 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"
- Opening 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
- Instrumentation
- 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)
- Activist Music
- Vocal Production
- "My Country" (1966, Rainbow Quest)
- Expressive Voice
- "My Country" (2017, Medicine Songs)
- Self-Expressive Impact
- Conclusion: Flexible Meter as Self-Expression
- Bibliography
- Index.
- Notes:
- Also issued in print: 2023.
- Includes bibliographical references and index.
- Description based on online resource; title from home page (viewed on July 21, 2023).
- Other Format:
- Print version: Murphy, Nancy Times A-Changin'
- ISBN:
- 0-19-763524-5
- 0-19-763522-9
- 0-19-763523-7
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