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In this study, we examine contemporary eclectic approaches to jazz and consider to what extent they allow for originality (notwithstanding the opposition between the terms "eclectic" and "original"). The music of the Slovak jazz combo AMC Trio is often seen as typically "Slovak", and the presence of Slovak folk music in their compositions is discussed in detail. Because AMC Trio is one of the most exported Slovak jazz groups, this study analyses their music to see what makes it exceptional in the Slovak context and for the introduction of European impulses to jazz. We point out the fact that the trio's compositions do not draw directly on Slovak folk music, but, nevertheless, they contain interesting parallels and indirect inspirations. These are what give a Slovak character and melodic originality to their music, which impresses even foreign artists who collaborate with them. It remains a question, therefore, whether eclecticism ultimately leads to new concepts in jazz or whether it in fact moves jazz further away from its Afro-American roots. [ABSTRACT FROM AUTHOR]

In this study, we examine contemporary eclectic approaches to jazz and consider to what extent they allow for originality (notwithstanding the opposition between the terms "eclectic" and "original"). The music of the Slovak jazz combo AMC Trio is often seen as typically "Slovak", and the presence of Slovak folk music in their compositions is discussed in detail. Because AMC Trio is one of the most exported Slovak jazz groups, this study analyses their music to see what makes it exceptional in the Slovak context and for the introduction of European impulses to jazz. We point out the fact that the trio's compositions do not draw directly on Slovak folk music, but, nevertheless, they contain interesting parallels and indirect inspirations. These are what give a Slovak character and melodic originality to their music, which impresses even foreign artists who collaborate with them. It remains a question, therefore, whether eclecticism ultimately leads to new concepts in jazz or whether it in fact moves jazz further away from its Afro-American roots. [ABSTRACT FROM AUTHOR]

The prevailing approach to bar lengths in pop/rock music uses the standard rock drum beat as a model, whereby the kick is assigned to beats 1 and 3 and the snare to beats 2 and 4 in a bar of . In this paper, I show that a song’s drum pattern is not a reliable indicator of measure lengths, especially if we consider bar lengths to be an important benchmark for theories of form. I argue that our determinations of bar lengths and meter in popular music should also take absolute time into consideration. Specifically, I speculate that the two-second measure acts as an ideal for experiential or “real” measures, and so we may be best served—all other factors being equal—by partitioning a song into measure lengths that most closely approximate two seconds. My approach derives from recent research on tempo perception, statistical studies of pop/rock song corpora, and my own analyses of popular songs. An important concept is the notion of different drum “feels,” such as double-time and half-time, in which the drum pattern can be seen to exist on a metric level above or below the primary beat level as implied by the time signature. I show the value of my approach via a number of song comparisons, wherein structural similarities can be found despite differences in surface-level rhythmic patterns. I also discuss other factors—including harmonic rhythm and form—that may affect our perception of bar lengths, so as to concede that no single factor can fully simplify meter classification in this style. [ABSTRACT FROM AUTHOR]

This article examines the history of the trap (drum) kit. Debuting in the 1890s, the “kit” developed to meet the creative needs of Afrological musical styles: evolving mechanically, technically, and conceptually into a complex multi-instrument requiring four-limb coordinated independence to perform rhythmically interlocking sonic structures across four (or more) percussion instruments. Ubiquitous, often thought timeless, the kit is modern technology, the core of popular musics, articulating our sonic environment, influencing aural perception, identity, and consciousness. As embodied musical technology and praxis, kit drumming is a “technology of self” indicative of a need to re-locate African-American musico-cultural history within the technologies and philosophies that distinguish modern life. [ABSTRACT FROM PUBLISHER]

This bibliographic and discographic compilation depicts twentieth-century participation by white recording artists in musical realms generally associated with black performers. The '60s term 'blue-eyed soul' is expanded to include white male and female vocalists, instrumentalists, composers, lyricists, arrangers, and promoters who not only warmly embraced various genres of black music, admired and sometimes performed with black artists, emulated black vocal styling and phrasing, and often covered black songs-but also clearly established themselves as distinctive recording artists with audience crossover skills and strong preferences for R&B and soulful sounds. From the Boswell Sisters and Johnny Otis through Bonnie Raitt and Curtis Salgado, blue-eyed soul performers have thrived and produced a diverse, dazzling array of commercial recordings. [ABSTRACT FROM AUTHOR]

This extensive bibliographic compilation features published references on more than 100 Crescent City musicians. Materials featured include books, articles, and liner notes on major popular recording influences (Dave Bartholomew, Fats Domino, Irma Thomas, and Allen Toussaint) and noteworthy one-hit wonders (Barbara George, Jessie Hill, Roy Montrell, and Phil Phillips) of post-World War II New Orleans musical history. In addition, more than 35 compact disc anthologies containing songs by artists listed in the bibliography are provided. [ABSTRACT FROM AUTHOR]

The article focuses on the video sequences created by Valerie Fuchs for the play "Macbeth." The video sequences were prepared before rehearsals began which gave the stage director performers and lighting designer the opportunity to respond to the projected environment. The two elements of video such as movement and tempo were employed in the production. The backgrounds used by Fuchs were fast and bright, in harmony with the action, and with the sound score.