The Cambridge Companion to the Singer-Songwriter (Cambridge Companions to Music) by Hamilton, Katy -- Read -- Imperial Library of Trantor

Index

Half title Title page Imprints page Dedication Contents Figures Music examples Contributors Acknowledgements Introduction Part I Establishing a tradition

1 The emergence of the singer-songwriter 2 Singer-songwriters of the German Lied

Schubert’s predecessors and contemporaries Lied singer-songwriters after Schubert Lied Singer-Songwriters in Brahms’ and Wolf’s day

3 Bill Monroe, bluegrass music, and the politics of authorship

Bill Monroe, bluegrass, and the early country music industry ‘Uncle Pen’: authorship, ownership, and collaborative composition

4 Singer-songwriters and the English folk tradition

Origins Politics Locality Humour Compassion Personal experience The new tradition The supernatural Contemporary approaches

5 The Brill Building and the creative labour of the professional songwriter

Introduction Historical context Studying the Brill Building The creative labour of the professional songwriter Conclusions

6 Forging the singer-songwriter at the Los Angeles Troubadour

Getting to the Golden State The Troubadour’s business practices ‘People got quiet for her’ The Troubadour today

7 The ‘professional’ singer-songwriter in the 1970s

Part II Individuals

8 Thomas D’Urfey

The works of D’Urfey The popularity of D’Urfey Types of D’Urfey song Putting D’Urfey in historical perspective

9 Leadbelly

Rambling singer-songwriters in the deep south Accommodation and resistance in the Jim Crow era Liberation, mobility, and New York’s folk revival Transatlantic crossover

10 Region and identity in Dolly Parton’s songwriting

My Tennessee Mountain Home Conclusions

11 Authorship and performance in the music of Elton John

Songwriting partnership Performance Stardom and celebrity Gender and live performance

12 Depicting the working class in the music of Billy Joel

Blues, gospel, and collectivity in ‘Ain’t No Crime’ Industrial decline and unfulfilled promises in ‘Allentown’ Struggle and resignation aboard ‘The Downeaster “Alexa”’

13 Musical gesture in the songs of Nick Drake

‘Pink Moon’ ‘One of These Things First’ ‘Rider on the Wheel’ ‘Clothes of Sand’ ‘Day is Done’ ‘Fruit Tree’ Conclusion

14 Sampling and storytelling: Kanye West’s vocal and sonic narratives

‘Diamonds From Sierra Leone’, Late Registration (2005) ‘Welcome to Heartbreak’, 808s & Heartbreak (2008) ‘Black Skinhead’, Yeezus (2013) Conclusions

15 James Blake, digital lion

Post-production and the art of sampling Silence as instrument Blue-eyed soul Club vibrations Conclusion

16 Outside voices and the construction of Adele’s singer-songwriter persona

Interpreting Adele

Adele as performer Adele as song character The artistic persona

‘My Same’, 19 ‘Rumour Has It’, 21 No stunts

17 Joanna Newsom’s ‘Only Skin’: authenticity, ‘becoming-other’, and the relationship between ‘New’ and ‘Old Weird America’

‘New’ and ‘Old Weird America’ ‘Becoming-child’ ‘Becoming-woman’

Part III Men and women

18 Gender, race, and the ma(s)king of ‘Joni Mitchell’

Lady of the Canyon Art Nouveau Conclusion

19 Gender, genre, and diversity at Lilith Fair

Scrutinising Lilith Fair Lilith Fair, genre, and ‘women’s music’ Conclusion

20 Changing openness and tolerance towards LGBTQ singer-songwriters

Elton John ‘Your Song’ (1970) k. d. lang ‘Constant Craving’ (1992) Rufus Wainwright ‘Pretty Things’ (2003) Conclusion

21 Tori Amos as shaman

Shamanism in popular culture Shamanism, healing, and song Problems and issues with pop-culture ‘shamans’

22 Gender identity, the queer gaze, and female singer-songwriters

KT Tunstall Missy Higgins Bic Runga Conclusion

23 The female singer-songwriter in the 1990s

Introduction Alternative and mainstream Embodying femininity and female power Social context in the 1990s Riot Grrrl

Part IV Frameworks and methods

24 Reconciling theory with practice in the teaching of songwriting

An overview of the literature on songwriting Creativity and the environment of the songwriter Defining the contemporary song text Conclusion

25 Singer-songwriters and open mics

A historical evolution Open mics and singer-songwriters Liminality, communitas, and pilgrims Liminality: singer-songwriters and open mics Communitas at the open mics Conclusion: singer-songwriters as pilgrims

26 Singer-songwriter authenticity, the unconscious and emotions (feat. Adele’s ‘Someone Like You’)

Defining the singer-songwriter Popular music and authenticity Popular music and the unconscious transmission of emotion ‘Someone Like You’ The singer-songwriter in the twenty-first century

Part V Global perspectives

27 Don McGlashan and local authenticity

Authenticity and singer-songwriters Don McGlashan’s local authenticity ‘Andy’ and the persona–environment model Conclusion

28 Italian canzone d’autore and Greek entechno tragoudi: a comparative overview

Origins of canzone d’autore Origins of entechno Entechno after the dictatorship: new directions From cantautori to canzone d’autore New cantautori, and a new genre. Contemporary entechno: artists, roles, and gender conventions Conclusion

29 Singer-songwriters and fandom in the digital age

Framing intimacy: singer-songwriters and their use of social media platforms New trajectories, new implications: embracing and negotiating digital fandom

(1) Crowd inspiration/involvement practices: (2) Public/Private Selves: (3) Musician/fan expectations: (4) Exposure to anti-fandom and ‘trolling’:

Concluding thoughts and suggestions

Select Bibliography Index Cambridge Companions to Music

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