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Joni Mitchell is one of the foremost singer-songwriters of the late 20th century. The book presents a thorough exploration of Mitchell's musical style, sound, and structure in order to evaluate her songs from the perspective of music analysis. Analyses are conceived within a holistic framework, which takes account of poetic nuance, cultural reference, and stylistic evolution over a long, adventurous career. Mitchell's songs represent a complex, meticulously crafted body of work. This book offers a comprehensive survey of her output, with many discussions of individual songs, organized by topic rather than chronology. Individual chapters each explore a different aspect of her craft, such as poetic voice, harmony, melody, and large-scale form. A separate chapter is devoted to the central theme of personal freedom, as expressed through diverse symbolic registers of the journey quest, bohemianism, creative license, and spiritual liberation. The book develops a set of conceptual tools geared specifically to Mitchell's songs in order to demonstrate the extent of her technical innovation in the pop song genre, to give an account of the formal sophistication and rhetorical power characterizing her work as a whole, and to provide grounds for the recognition of her intellectual stature as a composer within her chosen field of popular music.

The torch song has long been a vehicle for expression--perhaps American song's most sheerly visceral one.Two artists in particular have built upon this tradition to express their own unique outlooks on their lives and the world around them.

The article analyzes the narrative and musical spaces in the story \"Joni Mitchell estaba cantando Blue\", included in the collection Carroza para actores from Cuban writer Karla Suárez, which plunges us into a world where music and literature influence the development of vital characters in the story. Anonymous and universal history, under the structure of drama or musical symphony, where social and thematic aspects tacked tenacious melody with a sober language and musical aspects which play an essential role in understanding and disposition. Here's the perfect space and rhythm to form a harmonious whole.

Joni Mitchell's life was completely transformed in 1965–67: She became pregnant, was abandoned by the child's father, gave birth to her daughter, placed her baby for adoption, married and subsequently divorced Chuck Mitchell, and moved between several cities in North America. In this article, I center this often overlooked period of Joni's life—which she herself has referred to as “this three-year period of childhood's end”—and move away from the usual focus on her studio albums. I contextualize this discussion within 1960s counterculture and examine how these turbulent changes are refracted through her music making, specifically through a selection of early recordings of her song “Urge for Going.” In so doing, I seek alternatives to the prevalent and influential theories of musical persona in popular music studies, arguing instead for the merits of an approach which strives for an intellectual disposition of care.

Having first raised questions of musical evaluation, and introduced my analytical approach, I proceed to an empirical, in the sense of more-or-less objective, analysis of the metric and melodic aspects of the songs on those five LPs that constitute Joni Mitchell's early style: Song to a Seagull (1968), Clouds (1969), Ladies of the Canyon (1970), Blue (1971) and For the Roses (1972). The results of this style analysis are then summarised. Next I proceed to a more phenomenologically inclined examination of ethereal, since evanescent or ‘ghostly’, ‘haunting’ characteristics of musical fluidity and expansion in Mitchell's music. Such passages of ‘stretched’ musical time arise from several properties: regulated yet ambiguous metric irregularity, swinging around the beat and melodic flow. The essay concludes with close examinations of the longest and most fluid musical properties of ‘Willy’ (Ladies of the Canyon) and ‘Case of You’ (Blue).

(ProQuest: ... denotes non-US-ASCII text omitted.) Exclusive Online Reviews In this critical discussion of fusion music and its development during the late 1960s and the 1970s, Fellezs situates the music's evolution in an American context and provides a welcome addition to the academic literature on fusion, which is very limited (largely to journal articles and one book-length history, Stuart Nicholson's Jazz: The Modern Resurgence (1998)). The two African American artists are drummer Tony Williams and pianist Herbie Hancock, the others being English-born guitarist John McLaughlin and, an unexpected choice perhaps (given that fusion is mostly male-dominated instrumental music), Canadian singer-songwriter Joni Mitchell. In a methodology statement in the introduction he justifies this approach (rather than interviewing his case studies directly) on the grounds that, first, Tony Williams was no longer alive, and second, he wanted to avoid the problem of misremembered events.

In order to assess possible connections between a singer-songwriter's unique vocal qualities and his or her songwriting, I created a rubric to assist with standardizing observations. Because the language used to typify voices is based on audible qualities and is still subjective at its best, I sought to find a system of vocal classification that would be at once standard, for comparison's sake, and fluid, to account for the variation in auditory perception. Because his system is intended to codify all types of styles, including classical and music theater, some of his spectra are more applicable to the focus of my research than others. For my purposes, I adjusted them to McCoy's synonymous terms of \"light\" and \"full,\" referring mainly to the perceived size and weight of a voice.8 An example of a full or big voice would be Aretha Franklin's, while a voice like Ariana Grande's would be considered light.

This article discusses the findings of an Arts and Humanities Research Council project researching how music festival communities in Scotland can address issues of environmental sustainability and climate change. It investigates how music festival communities are constructed with a focus on what role, if any, they might play in responding to the global challenge of environmental sustainability. Using music festivals in Scotland as a case study, we employed a variety of research methods to interrogate different constituents in music festival communities about their views and behaviours regarding climate change and environmental sustainability. These included festival audiences via onsite questionnaires; festival organisers and promoters via interviews and focus groups; and musicians via creative practice-led research. We conclude that rather than necessarily being a site for progressive or utopian socio-cultural experimentation (as they are occasionally portrayed in festival literature), music festival communities engage in complex and often contradictory behaviours when it comes to responding to – and making sense of – their own complicity in social challenges such as climate change.