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When singer, musician, and broadcast journalist Malka Marom had the opportunity to interview Joni Mitchell in 1973, she was eager to reconnect with the performer she'd first met late one night in 1966 at a Yorkville coffeehouse. More conversations followed over the next four decades of friendship, and it was only after Joni and Malka completed their last recorded interview, in 2012, that Malka discovered the heart of their discussions: the creative process. In Joni Mitchell: In Her Own Words, Joni and Malka follow this thread through seven decades of life and art, discussing the influence of Joni's childhood, love and loss, playing dives and huge festivals, acclaim and criticism, poverty and affluence, glamorous triumphs and tragic mistakes ... This riveting narrative, told in interviews, lyrics, paintings, and photographs, is shared in the hope of illuminating a timeless body of work and inspiring others.

\"Their conversations range far beyond the biographical-to their feelings, motivations, musical approaches, and attitudes. These women were obviously comfortable with their questioners. [Enstice and Stockhouse] came prepared, having delved deeply into the music and history of each, bringing them closer to the essence of each musician.\" -from the Preface by Cobi Narita and Paul Ash \"Jazzwomen includes many artists who are not covered in earlier books and also reveals new information about artists who are. In addition, the interview format used in Jazzwomen provides the reader with each artist's own words, permeated with a warmth and immediacy not typically found in author narratives. Jazzwomen is a much-needed book.\" -David N. Baker, Distinguished Professor of Music and Chairman, Jazz Department, Indiana University School of Music; and Artistic and Musical Director, Smithsonian Jazz Masterworks Orchestra Between 1995 and 2000, Wayne Enstice and Janis Stockhouse interviewed dozens of women jazz instrumentalists and vocalists. Jazzwomen collects 21 of the most fascinating interviews. The participants discuss everything-their personal lives, musical training and inspirations, recordings, relationships with other musicians, the music industry, sexism on the bandstand-and often make candid and revealing statements. At the end of each interview is a recommended discography compiled by the authors. Every jazz listener, musician, teacher, and student will be captivated by interviews with Marian McPartland, Regina Carter, Abbey Lincoln, Cassandra Wilson, Diana Krall, and their peers. Includes a sampler CD with complete works by several of the artists, including Jane Ira Bloom and Ingrid Jensen.

Presently, women are still underrepresented in jazz music performance and education, with only around 10% of jazz academics being female. The aim of this paper is to analyze the reason for the gender disparity and how it has changed over time. Several questions are addressed in this paper. Why the significant disparity? Do women feel unwelcome in the jazz community? If so, what historical events have led to this perception? What can be done to correct this lack of representation? Answering these questions will shine a light on historical gender discrimination in the United States and illuminate existing problems. From examining books and peer-reviewed articles, and conducting interviews with women in jazz, this paper concludes that discrimination that began 100 years ago against women in jazz remains today, impacting the number of women who pursue jazz as a career. Nevertheless, being a woman in jazz has improved in recent years.

If you have published recent research in singing, voice pedagogy, voice science, vocal repertoire, pedagogic methodology, or other topics of interest to the membership of NATS, please send citations and abstracts to Donald Simonson at drs@iastate.edu for review and possible inclusion in future columns. MA Thesis, Rutgers The State University of New Jersey, Graduate School-Newark, 2023, 300 pages; ProQuest 2801818687. (ProQuest/Author Abstract) Donald Simonson is an Emeritus Morrill Professor of Music and Theatre at Iowa State University.

A detailed examination of the musical practices specific to Erzincan's wedding tradition and the transformation of its repertoire over time requires field-based research to better understand the region's contemporary cultural structure. This study investigates how wedding music traditions in Erzincan have evolved over time and in what ways they have changed. It seeks to uncover the place and function of musical elements that reflect the cultural diversity of this geography within the broa-der cultural fabric of Erzincan, by closely examining wedding music practices that stand out within the region’s rich cultural identity. The research documents long-standing musical practices observed in Erzincan weddings, identifies changes in the repertoire, and evaluates the impact of these changes on traditional musical expressions within the local culture. In this context, the study employs qualita-tive research methods to explore the role of music within its spatial and cultural environment. Begin-ning with a literature review, the research focuses on music and its related cultural structures, aiming to interpret the dynamics of cultural transformation. This research adopts an ethnomusicological fieldwork approach and was conducted in the city center of Erzincan. Techniques such as field observations, face-to-face interviews, field notes, and repertoire comparisons were employed thro-ughout the study. Data were collected from a participant group consisting of five musicians familiar with the region's cultural structure and musical heritage; four young individuals (two women, two men) who regularly attend weddings; and four elderly participants in their seventies (two women, two men). The younger participants were between the ages of 18 and 25, while the older group inclu-ded individuals aged 60 and above, according to the United Nations definition. This diversity in the participant profile enables a multidimensional evaluation of the role of music across age, gender, and cultural contexts. The study, which aims to document the musical repertoire performed at weddings in Erzincan from the perspectives of both musicians and listeners, focuses on structural and functio-nal changes in the repertoire. Findings indicate that Erzincan-specific pieces in 4/4, 6/8, 2/4, and 9/8 meters-particularly the Erzincan Düz Halayı and folk dances from other regions—continue to be performed. However, local pieces such as Sivingin Ucu and Tavuk Barı, which were once popular, are no longer in demand today. Participants stated that Ankara-style dances are especially popular at weddings, and that the decline in musical diversity has led to a narrowing of the repertoire and a limitation of the expressive range in folk dances, as well as the emergence of short-term trends that undermine cultural continuity. In support of this, interviewees noted that dances such as Ankara dances, Southeastern halays, kolbastı, and horon are often preferred over Erzincan-specific folk dances. It was observed that the Erzincan wedding repertoire has expanded with musical pieces from different regions, and is shaped by popular songs selected according to the season or timing of the wedding, with transient trends playing a decisive role in repertoire formation. The narratives of the participants indicate a transformation process in which the traditional understanding of performance based on collective singing accompanied by local instruments has been replaced by individualized performances and the widespread use of digital music. Elderly participants recalled that, in the past, folk songs were sung collectively with drum and zurna in the Erzincan city center; in Kemaliye, solo performances accompanied by clarinet, cümbüş and darbuka were more prominent, while in wed-dings where asma davul and zurna were not present, ‘dem çevirme’ folk songs were performed. According to the common opinion of the participants, nowadays, music is mostly performed by a soloist accompanied by an electronic org or the songs brought by the wedding guests on portable memory sticks are played through a computer. Older participants emphasized that they find this new form of performance quite noisy and that individual participation in the music has become almost impossible. The study revealed that the wedding music repertoire in Erzincan has undergone a trans-formation not only in terms of content, but also in terms of performance style, function and level of cultural representation. The collective forms of singing that appeal to the collective memory in tradi-tional music have been replaced by individualized performances and standard repertoires carried over digital media. This transformation is not only a technical change, but also a redefinition of social relations, intergenerational transmission and the ceremonial function of music.

Objective: This study investigated the life and work of Dinorah Eumelia Valdés Pérez, a prominent Cuban musicologist and educator, focusing on her influence on music education in Cuba and her legacy in shaping multiple generations of musicians and musicologists.   Theoretical Framework: The research is based on a biographical-narrative and historical-logical approach, exploring her professional dynamics, career in Havana's music schools, and the influences that shaped her career. It highlights her unique educational methodologies and her ability to inspire and guide her students, leaving a lasting impact on Cuban academic and musical practice.   Method: A biographical-narrative and historical-logical methodological design was used, integrating inductive-deductive analysis methods through documentary analysis and semi-structured interviews. The sample was intentional, including family members, colleagues, and disciples of the educator, allowing an in-depth exploration of her life, work, and legacy.   Results and Discussion: The findings revealed that her influence on music education stemmed from her dedication, passion, and vocation, enriched by her interaction with influential figures in music.   Originality/Value: This study provides a comprehensive view of Dinorah Eumelia Valdés Pérez's career and artistic legacy, contributing to the historical-cultural landscape of music education in Cuba and Latin America. Her educational methodologies and inspiring approach represent a valuable pedagogical model for future generations of music educators.

This essay explores the representation of the mother-in-law/daughter-in-law (saas/bahu) relationship in women's folk songs from rural north India, focusing on songs in the Hindi vernacular from western Uttar Pradesh. The essay argues that these songs juxtapose conservative themes, emphasized in songs viewed from the mother-in-law character's perspective, with themes of liberation, highlighted in songs from the daughter-in-law character's perspective. Underlined by shared joviality, the performance of these songs by an undifferentiated collective of women signals a connection that is created by the performance itself.