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Scientific Journal

fusion music

Ubuntu – Abstracts

· · Musicologica 1/2022

The conference aims to answer the questions as to whether fusion music is still relevant today in Europe and in the world, in which genres and styles, and whether the current situation is similar to or reminiscent of the early history melting pot of jazz in the USA. Some papers will be based on their authors´ musical and creative practices and will point out the artistic processes and the significance of improvisation in the genesis of a new composition. Another group of contributors will bring theoretical knowledge and new information about fusion trends in the world of contemporary music.

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Penetration of Jazz into Various Genres and Subcultures

· · Musicologica 1/2015, Rock Pop Jazz

Jazz is a universal music that has influenced many generations and still attracts new audiences. Although it was developing autonomously along with popular and classical music, its development has been progressively absorbed into different musical genres and styles. Jazz penetration into other genres culminated in the 1960s with its expansion into pop music. The 1970s saw “the golden era” with the fusion of rock and jazz and, in the 1980s, with the funky style. Since the 1990s jazz has been transformed into such styles as nujazz and electrojazz. Due to the heterogeneous character of contemporary music it is very difficult to differentiate the characteristics of a particular music style and define the jazz influences in it. This paper emphasizes the versatility of jazz styles, points out the penetration of jazz music into various subcultures, and it particularly examines these phenomena in Slovakia and the Czech Republic.

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Jazz-rock and Fusion Music in Slovakia

· · Musicologica 1/2014, Rock Pop Jazz

The syntheses of jazz and rock music in Slovakia have had their own specific development. This paper illustrates the historical development of Slovakian jazzrock and fusion music and its parallels and differences compared with such styles in the Czech Republic, world music and music of American provenance. The author aims to answer questions about the definitions of jazzrock and fusion music related to their stages of development within the history of non-classical music in Slovakia. By musical analysis of selected and transcribed compositions, the author points out the significant style-forming elements in jazzrock and fusion music.

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“I ain’t playing no jazz” – Towards the musical style of The Zawinul Syndicate

· · Musicologica 1/2014, Rock Pop Jazz

Joe Zawinul’s 55-year musical career was marked by three major periods: his stint with Cannonball Adderley (1961–1970), the ensemble Weather Report (1970 – ca. 1986) and his own The Zawinul Syndicate (1988–2007). Thus considered, his stylistic development began with hard bop and soul, paving the way for his own debut jazz-rock recordings (1966), then continuing to more avant-garde, experimental forms with Miles Davis (1968–1970), and finally leading to a broader combination of jazz-rock and what came to be known as world music – and what Zawinul himself considered to be something other than jazz. This final chapter in Zawinul’s career, essentially congruent with the Zawinul Syndicate period, is the focus of this study. Zawinul’s musical style with the Syndicate – in particular his sound, harmony, conception of time, musical density and ballad playing – is first considered. Further, the issue of whether or not stylistic elements typical of the Syndicate era were present with Weather Report, or even earlier, is discussed. Hence, such elements can be traced back to his early career, emerging as characteristics not only of his work in the last two decades, but also of the musician in general.

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