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singer–songwriter is a musician who write, compose and sing their own material including lyrics and melodies. They often provide the sole accompaniment to an entire composition or song, typically using a guitar or piano. A number of other well-known musicians may write some of their own songs, but are usually called singers instead.


Théodore Botrel

The concept of a singer–songwriter can be traced to ancient bardic culture, which has existed in various forms throughout the world . Poems would be performed as chant or song, sometimes accompanied by a harp or other similar instrument. After the invention of printing, songs would be written and performed by ballad sellers. Usually these would be versions of existing tunes and lyrics, which were constantly evolving. This developed into the singer–songwriting traditions of folk culture. Traveling performers existed throughout Europe. Thus, the folklorist Anatole Le Braz gives a detailed account of one ballad singer, Yann Ar Minouz, who wrote and performed songs traveling through Brittany in the late nineteenth century and selling printed versions. In large towns it was possible to make a living performing in public venues, and with the invention of phonographic recording, early singer–songwriters like Théodore Botrel and George M. Cohan became celebrities. Radio further added to their public recognition and appeal.

North America and United Kingdom

The origins of the singer–songwriter in North America can be traced back to folk singers who created original works in the folk music style. The best known early singer-songwriters include Woody Guthrie, Leadbelly and Pete Seeger, along with members of The Weavers (Seeger performed solo and as part of the Weavers). These proto-singer-songwriters were less concerned than today's singer-songwriters with the unadulterated originality of their music and lyrics, and would lift parts from other songs and play covers without hesitation. The tradition of writing topical songs (songs regarding specific issues of the day, such as LeadBelly 's "Jim Crow Blues" or Guthrie's "Deportees") was established by this group of musicians. These singers would lead rallies for labor unions, and so wrote many songs concerning the life of the working classes. This focus on social issues has greatly influenced the singer-songwriter genre.

The first popular recognition of the singer-songwriter in English-speaking North America and Great Britain occurred in the 1960s and early 1970s when a series of folk and country-influenced musicians rose to prominence and popularity. These singer-songwriters included Johnny Cash, Kris Kristofferson, Mickey Newbury, Bob Dylan, Tom Waits, Phil Ochs, Steve Goodman, Arlo Guthrie, Paul Simon, Neil Young, John Denver, Jackson Browne, John Prine, Dave Mason, Jim Croce, Joni Mitchell, David Crosby, Leonard Cohen, Donovan, Randy Newman, Ian Tyson, Gordon Lightfoot, Sylvia Tyson, Nick Drake, Carly Simon, Cat Stevens, Bruce Cockburn, Harry Chapin, James Taylor, Jerry Jeff Walker, Dan Fogelberg and Dolly Parton. People who had been primarily songwriters, notably Carole King and Neil Diamond, also began releasing work as performers. In contrast to the storytelling approach of most prior country and folk music, these performers typically wrote songs from a highly personal (often first-person), introspective point of view. The adjectives "confessional" and "sensitive" were often used (sometimes derisively) to describe this early singer-songwriter style.

While the members of rock bands of the era were not technically singer-songwriters, many former band members (including Paul McCartney, John Lennon, George Harrison, Peter Frampton and later Don Henley and Glenn Frey) found success as singer-songwriters in their later careers.

By the late 1970s and early 1980s the original wave of singer-songwriters had largely been absorbed into a more general pop or soft rock format, but some new artists in the singer-songwriter tradition (including Billy Joel, Madonna, Michael Jackson, Bruce Springsteen, Mark Heard, Lucinda Williams, Patti Smith, Kate Bush, Rickie Lee Jones, Stevie Nicks, Cheryl Wheeler and Warren Zevon) continued to emerge, and in other cases rock and even punk rock artists such as Peter Case, Paul Collins and Paul Westerberg transitioned to careers as solo singer-songwriters.

In the late 1980s, the term was applied to a group of predominantly female U.S. artists, beginning with Suzanne Vega whose first album sold unexpectedly well, followed by the likes of Tracy Chapman, Nanci Griffith, k.d. lang and Tori Amos, who found success first in the United Kingdommarker, then in her home market. In the early 1990s Mariah Carey rose to fame and became one of the most successful and well known singer-songwriters of all time. Later in the mid-1990s, the term was revived again with the success of Canada's Alanis Morissette and her breakthrough album Jagged Little Pill. The form had also grown to encompass fellow-Canadian Sarah McLachlan, who started the Lilith Fair, a tour that brought together numerous U.S. artists known for a diverse range of styles, including Sheryl Crow, Victoria Williams, Patty Griffin, Jewel, Lisa Loeb, Natalie Merchant and Joan Osborne.

Also in the 1990s, artists such as Dave Matthews and Elliott Smith borrowed from the singer-songwriter tradition to create new acoustic-based rock styles. In the 2000s, a quieter style emerged, with largely impressionistic lyrics, from artists such as Conor Oberst, Sufjan Stevens, David Bazan, South San Gabriel, Iron & Wine, David Gray, Ray LaMontagne, Steve Millar, Jolie Holland and Richard Buckner. Some started to branch out in new genres such as Kurt Cobain and Eddie Vedder.

Recording on the professional-grade systems became affordable for individuals in the late 1990s. This created opportunities for people to independently record and sell their music. Such artists are known as "indies" because they release their records on independent, often self-owned record labels, or no label at all. Additionally the Internet has provided a means for indies to get their music heard by a wider audience. Morgan MacIntyre and Jamie Ley are examples of artists, independent from any lable that have a large internet following.

Cantautori, the Italian tradition

Cantautori (Italian plural; the singular is cantautore) is the Italian expression corresponding to singer-songwriters in English. The word is a portmanteau of cantante (singer) and autore (writer).

Although the term, in theory, might refer to all those who compose and then perform their own songs, including, say, medieval troubadors, the term in contemporary Italian refers to a large number of relatively recent Italian popular singers − archetypically those who rose to prominence during the student protests of the 1960s and '70s − who write songs that may or may not be particularly melodic but always have social or political relevance. For the purposes of comparison, Bob Dylan would be an American cantautore. The most famous cantautore is Lucio Battisti. His songs are still popular today. Among the other best known are Francesco Guccini, Claudio Lolli, Lucio Dalla, Francesco De Gregori, Franco Battiato and Fabrizio De André.

Of the younger generation of artists, Samuele Bersani, Jovanotti, Carmen Consoli, Daniele Silvestri, Cristina Donà, Luciano Ligabue, Vinicio Capossela, and Zucchero have often been tagged as modern cantautori.

The Spanish, Portuguese, and Catalan cognates are cantautor. The French is chantauteur. The Romanian is cantautor.

Latin traditions

Beginning in the 1960s, many Latin American countries developed singer–songwriter traditions that adopted elements from various popular styles. The first such tradition was the mid-60s invention of nueva canción, which took hold in Andean countries like Chilemarker, Perumarker, Argentinamarker and Boliviamarker.

Brazilian singer-songwriter Caetano Veloso

At around the same time, the Brazilianmarker popular style bossa nova was evolving into a politically charged singer-songwriter tradition called Tropicalismo. Two performers, Gilberto Gil and Caetano Veloso became two of the most famous people in all of Brazil through their work in Tropicalismo.

In the same period, there developed in Italymarker a very prolific singer-songwriter (in Italian cantautore) tradition, initially connected with the French school of the chansonniers, and lately developed very heterogeneously. Although the term cantautore normally implies consistent sociopolitical content in lyrics, noteworthy performers in a more inclusive singer-songwriter categorization are: Domenico Modugno, Luigi Tenco, Gino Paoli, Sergio Endrigo, Fabrizio De André, Francesco De Gregori, Antonello Venditti, Roberto Vecchioni, Ivano Fossati, Lucio Dalla, Francesco Guccini and Franco Battiato. Completely resisting classification is the Neapolitan Pino Daniele, who often fuses genres as diverse as jazz, rock, blues and tarantella to produce a sound uniquely his own, with lyrics variously in Italian, Neapolitan, or English. Similarly Paolo Conte is often tagged as a cantatuore, but is more into the jazz tradition.

In neighbouring Malta, the main singer-songwriters are Walter Micallef, Manwel Mifsud and Vince Fabri. They all perform in Maltese.

Spainmarker and Portugalmarker have also had singer-songwriter traditions, which are sometimes said to have drawn on Latin elements. Spain is known for the nova. cançó tradition — exemplified by the Catalan Joan Manuel Serrat; the Portuguese folk/protest singer and songwriter José Afonso helped lead a revival of Portuguese folk culture, including a modernized, more socially-aware form of fado called nova canção. Following Portugal's Carnation Revolution of 1974, nova canção became more politicized and was known as canto livre. Another important Spain singer-songwriter is Joaquin Sabina.

In the latter part of the 1960s and into the 70s, socially and politically aware singer-songwriters like Silvio Rodríguez and Pablo Milanés emerged in Cubamarker, birthing a genre known as nueva trova. Trova as a genre has had broad influence across Latin America. In Mexico, for example, canción yucateca on the Yucatan Peninsulamarker and trova serrana in the Sierra Norte de Oaxaca are both regional adaptations of trova. Today, Guatemalan Ricardo Arjona qualifies as Latin America's most commercially successful singer-songwriter. Although sociopolitical engagement is uneven in his oeuvre, some see Arjona's more engaged works as placing him in the tradition of the Italian cantautori.

In the mid-1970s, a singer-songwriter tradition called canto popular emerged in Uruguaymarker.

Soviet Union and Russia

Since the 1960s, those singers who wrote songs outside the Soviet establishment have been known as "bards". Many bards performed their songs in small groups of people using a Russian guitar, rarely if ever would they be accompanied by other musicians or singers. Those who became popular held modest concerts. Bards were rarely permitted to record their music, given the political nature of many songs. As a result, bard tunes usually made their way around via the copying of amateur recordings (known as magnitizdat) made at concerts, particularly those songs that were of political nature. Bard poetry differs from other poetry mainly in the fact that it is sung along with a simple guitar melody as opposed to being spoken. Another difference is that this form of poetry focuses less on style and more on meaning. This means that fewer stylistic devices are used, and the poetry often takes the form of narrative. What separates bard poetry from other songs is the fact that the music is far less important than the lyrics; chord progressions are often very simple and tend to repeat from one bard song to another. A far more obvious difference was the commerce-free nature of the genre: songs were written to be sung and not to be sold. The similar genre dominated by singers-songwriters is known as sung poetry in other Post-Soviet countries.

Hong Kong

Singer–songwriters were not common in Hong Kongmarker until the early 21st century. This is due to the unique situation of the pop music scene in Hong Kong. Record labels are controlled by large enterprises leading to an abundance of K-songs (Karaoke type songs) in Hong Kong. Currently some of the distinctive and well-known singer-songwriters in Hong Kong are: Nicholas Tse (谢霆锋), Chet Lam (林一峰), Pong Nan (藍奕邦), Khalil Fong (方大同), Justin (側田), and Ivana Wong (王菀之).


Singer–songwriters are popular in Bulgaria under the name "bards", or "poets with guitars". Their tradition is a mixture of traditional folk motifs, city folklore from the early 20th century and modern influences. In the 60's, 70's and 80's of the 20th century the Communist regime in the country started to tolerate the Bulgarian "bards", promoting the so called "political songs", performed usually by one-man bands. A national festival tradition was established, under the title "Alen Mak" (Red Poppy), a symbol with strong Communist meaning in Bulgaria. After the collapse of Communism in 1989 the singer-songwriters' tradition was re-established. Currently the Bulgarian "bards" enjoy several festivals (local and international) per year, namely the PoKi Festival (Poets with Guitars, Poetic Strings) in the town of Harmanli, the Bardfest in Lovech, the Sofia Evenings of Singer-Songwriters and others. Major figures in the Bulgarian tradition are Mihail Belchev, Assen Maslarski, Grisha Trifonov, Plamen Stavrev, Vladimir Levkov, Margarita Drumeva, Plamen Sivov, Krasimir Parvanov.

World folk

Despite the communist isolation, the tradition of singer–songwriter in Romaniamarker flourished beginning with the end of the 1960s and it was put in the context of the folk music, with its three main styles in Romania : ethno folk, American-style folk and lyrical (cult) folk. The framework for many of these initiatives came under the form of Cenaclul Flacara, a series of mass cultural events with an inevitable ideological touch, still, with the merritt of supporting great opening initiatives: the appropriation of Western artists like Bob Dylan, Joan Baez and others from the Woodstockmarker generation, the public performance of gospel-like music, the opening to big international issues (pop culture, accountability of the leadership, tension surging during the Cold War-with surprisingly neutral positions etc).Overall, the Romanian folk, in general, could be marked as an underground cultural movement, somewhere between non-aligned and protest music.

See also

Further reading


  1. Anatole Le Braz, "The Pardon of the Singers", The Land of Pardons, London, Methuen, 1926, pp. 45–104.

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