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rhythm and blues

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Journal Article
Journal of Music Theory (2023) 67 (2): 285–331.
Published: 01 October 2023
...Nicholas Stoia Abstract The transformation of blues into rhythm and blues in the mid-twentieth century mirrored the experience of migrants who traveled from the South and adapted to bustling city life in the North and Midwest. When millions of Black Americans moved to cities during the Great...
FIGURES | View All (44)
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Published: 01 October 2023
Figure 1. Rhythm and blues songs with a single couplet per twelve-bar verse but greater phrase-rhythmic density than the standard form. More
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Published: 01 October 2023
Example 1. Ma Rainey, “Sleep Talking Blues” (1928), exhibiting the conventional AAB poetic form, 5,5,5 phrase rhythm, call-and-response pattern, caesura placement, harmonic progression, and harmonic rhythm of the standard prewar blues. More
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Published: 01 October 2023
Example 2. Ruth Brown, “5-10-15 Hours” (1952, by Rudolph Toombs), exhibiting the conventional AAB poetic form, 5,5,5 phrase rhythm, call-and-response pattern, caesura placement, harmonic progression, and harmonic rhythm of the standard prewar blues. The recording conveys the more urbanized More
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Published: 01 October 2023
Example 3. Howlin' Wolf, “Rockin' Daddy” (1954), exhibiting the conventional attributes of the standard prewar blues. The recording demonstrates the characteristic electrification of postwar rhythm and blues. More
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Published: 01 October 2023
Example 20. Lowell Fulson, “Pay Day Blues” (1961), second verse (0:45). The archetypal sixteen-bar “Payday” variant with AB/CD/R(E/F) poetic form and 8,8,5,5 phrase rhythm. The refrain has both a poetic rhyme and a rhythmic rhyme. More
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... useful to include more transcriptions of the complete musical texture—or at least some drum and bass parts, especially in chapter 4, on rhythm and meter. More detailed chord labels would also have been helpful: in many cases chord extensions are reduced to triadic labels, which do not accurately reflect...
Journal Article
Journal of Music Theory (2005) 49 (2): 209–239.
Published: 01 October 2005
... melodic progressions (SMPs), un­­ambiguously reinforces the fundamental harmony and provides a reli- able source of continuity in the solo. Particularly toward the end of the blues progression, which is governed by a quicker harmonic rhythm, Ad­der­ley’s solos manifest this technique. Double-time...
Journal Article
Journal of Music Theory (2005) 49 (2): 277–299.
Published: 01 October 2005
... to a groove. A backbone of the African-American musical tradition since the ring shout, the groove 286 has been a major feature of black-influenced popular music from the nineteenth century through jazz and gospel, finally to rock, rhythm and blues (R&B), and rap...
Journal Article
Journal of Music Theory (2016) 60 (2): 281–294.
Published: 01 October 2016
... attention to hip-hop and contemporary rhythm and blues. There is a single oversized paragraph that covers “two further black US groups of styles [that] became important in the 1980s: rap and quiet storm,” both of which “have had large influences on mainstream popular music” (157). From...
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... transformational theory and rhythm and meter theory, this study examines blue- grass banjo music in terms of rhythm and motions of the human hand. It begins by presenting a mathematical model of the five-string banjo characterizing the gestural permutations that give rise to the instrument’s rhythmic...
Journal Article
Journal of Music Theory (2023) 67 (2): 333–338.
Published: 01 October 2023
... music will find conceptual ancestors of more modern ideas about form, rhythm, prosody, and harmony. Sweet Thing dovetails nicely into recent music-theoretic studies of rock, for example (Doll 2017 ; Nobile 2020 ). Now that the discipline has done more to theorize core ideas from within popular music...
Journal Article
Journal of Music Theory (2011) 55 (1): 161–166.
Published: 01 April 2011
... : The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” Oxford University Press , 2009 : xiv +425 pp. ($74.00 cloth, $29.95 paper) Allan F. Moore 2011 Reviews    Moore on Everett 161 Walter Everett The Foundations of Rock...
Journal Article
Journal of Music Theory (1999) 43 (2): 315–347.
Published: 01 October 1999
.... 1950 . Blue Book of Tin Pan Alley . New York: Century House. Citron, Stephen. 1993 . Noel and Cole: The Sophisticates . Oxford: Oxford University Press. Cole Porter Collection. American Musical Theater Collection . Yale University. Ewen, David. 1965 . The Cole Porter Story . New York...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
... of the compositions in question, although most were composed for Blue Note recordings he made as leader with various sidemen between 1964 and 1967. His com- positions became known for their harmonic explorations outside the idiom of bebop, for their motivically organized melodic lines, and for their fre...
Journal Article
Journal of Music Theory (2017) 61 (2): 143–170.
Published: 01 October 2017
... of musical styles, including (but not limited 2 For example, John Covach (2005) shows that “Smoke on to) country, rhythm and blues, soul, hard rock, pop, blues, the Water” by Deep Purple (hard...
Journal Article
Journal of Music Theory (2000) 44 (1): 236–249.
Published: 01 April 2000
... chapters covering harmony, rhythm, melody, words, form, and structure (which is where the graphic reduction comes in), followed by nine of case studies, and a conclusion. The case studies comprise a chapter each on the “big six,” Kern, Berlin, Porter, Gershwin, Rodgers, and Arlen, followed by two...
Journal Article
Journal of Music Theory (2018) 62 (1): 1–39.
Published: 01 April 2018
... Interface’: Two Plucked Lutes from Afghanistan .” In The Musical Human: Rethinking John Blacking’s Ethnomusicology in the Twenty-First Century , ed. Reily Suzel Ana , 107 – 23 . Aldershot : Ashgate . Baily John Driver Peter . 1992 . “ Spatio-motor Thinking in Playing Folk Blues...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... compositions of the 1960s Corea had shown some preference *Cole Porter’s piano-vocal score is reproduced on pages 338–42. 257 Example 1. “Tones for Joan’s Bones.” Transcribed from Blue Mitchell, Boss Horn (1966, Blue Note BST 84257) “Litha...
Journal Article
Journal of Music Theory (2021) 65 (1): 39–80.
Published: 01 April 2021
... of the pattern. 10.1215/00222909-9124726_v65i1_jmt9124726_video1 Video 1. 6257927018001 myVideo1 To return to my description of the on-1 dance basic, then, three steps are taken in each half of the eight-count pattern (on counts 1-2-3 and 5-6-7), resulting in a “quick-quick-slow” dance rhythm...
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