In 1960s and 1970s singer-songwriter music, some artists used a malleable approach to meter in performance that resulted in songs with extremes of self-expressive timing flexibility that cannot be accounted for by using a single conception of meter. As a solution, this article draws together theories of metric hierarchy, metrical reinterpretation, and metric process to develop the theory of flexible meter. This approach recasts meter as able to encompass the variety of metric scenarios presented by these singer-songwriters, from metric regularity to metric ambiguity and vacillations between these two possibilities. Performances by Bob Dylan, Joni Mitchell, Buffy Sainte-Marie, Paul Simon, and Cat Stevens are discussed to investigate their levels of engagement with meter—the degree to which their performances are regular or ambiguous—and how the individual metric style of each artist contributes to the self-expressive singer-songwriter performance practice.

中文翻译：

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时代在变：1960 年代和 1970 年代创作歌手音乐中的度量灵活性和文本表达

在 1960 年代和 1970 年代创作歌手的音乐中，一些艺术家使用可延展的方法来进行演奏，这导致歌曲具有极端的自我表达时间灵活性，这是使用单一的节拍概念无法解释的。作为一种解决方案，本文将度量层次、度量重解释和度量过程的理论结合起来，发展了灵活的度量理论。这种方法将meter重新定义为能够包含这些歌手兼作曲家提出的各种度量场景，从度量规律性到度量模糊性以及这两种可能性之间的摇摆不定。Bob Dylan、Joni Mitchell、Buffy Sainte-Marie、Paul Simon 的表演，