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Times a-changin'
flexible meter as self-expression in singer-songwriter musicVerfasser: Murphy, Nancy
(DE-588)1238320600978-0-19-763521-6
Schlagwörter: USA
; Sänger ; Songwriter ; Popmusik ; Song ; Metrum ; Musikalische Analyse ; Geschichte 1960-1980
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Letzte Änderung: 08.12.2023
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Letzte Änderung: 08.12.2023
| Titel: | Times a-changin' |
|---|---|
| Untertitel: | flexible meter as self-expression in singer-songwriter music |
| URL: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=03424226... |
| Erläuterung : | Inhaltsverzeichnis |
| Von: | Nancy Murphy |
| ISBN: | 978-0-19-763521-6 |
| Preis/Einband: | hardback |
| Erscheinungsort: | New York |
| Verlag: | Oxford University Press |
| Erscheinungsjahr: | 2023 |
| Umfang: | XII, 203 Seiten |
| Details: | Illustrationen, Notenbeispiele |
| Serie/Reihe: | Oxford studies in music theory |
| Abstract: | "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"-- |
| Sprache: | eng |
| RVK-Notation: | LS 48620 |
| Fid-Notation: | MUS |
| Angaben zum Inhalt: | 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 |
| Andere Ausgabe: | Erscheint auch als |
| _Bemerkung: | Online-Ausgabe |
| _ISBN: | 978-0-19-763523-0 |
| Thema (Schlagwort): | USA; Sänger; Songwriter; Popmusik; Song; Metrum; Musikalische Analyse; Geschichte 1960-1980 |
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| 520 | 3 | |a "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"-- | |
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