Milí čitatelia, v súčasnej hudbe sa zdá, že sú stále aktuálnymi otázky vzťahu minulosti a prítomnosti. Tak, ako bolo vždy zrejmé, že žiadna moderná hudba sa nezrodila bez historickej nadväznosti na predchádzajúci vývoj, o to viac si to uvedomujú súčasní umelci. Ak je ich kreativita skutočne seriózna, tak zasahuje do hlbokého alebo širokého prameňa možných zdrojov. Umelci v modernej hudbe, alebo…
The authors of the contribution deal with new approaches to the performance of traditional Afro-American spirituals. The basic differences between the older and more recent sacred music of Afro-American realm which they endeavour to reveal reside in the relation between traditional spirituals and gospel music. Two spirituals are chosen, studied and analyzed in their new versions: Amazing Grace and No More Auction Block. An individual approach of the artists (Chris Tomlin: Amazing Grace, Katka Sliacka: Song for Noemi) is taken into consideration, and on the basis of the given criteria their relation to the original is assessed. The adaptation of the original material of spirituals ranges from restoration, conservation of the original melody and preservation of authenticity to various innovative transformations of the original. Identified significant features, transformations, and new elements demonstrate the expansion and popularity of spirituals not only in America but also in Europe.
In the second half of the 20th century flamenco – as flamenco nuevo – enjoyed great popularity in the world. Flamenco nuevo takes several impulses from pop music, in which the musical process concentrates around the chorus, and thus it changes its characteristics and becomes more accessible for the listeners of pop-music which enables its expansion in the global music space. The present flamenco nuevo has several various appearances – from the effort in authenticity, through sophisticated transcriptions to the crossing of musical genres aiming at a creation of a new aesthetical layer. At these degrees of elaboration of flamenco the transcription, collage, allusion and quotation, as demonstrations of post-modern aesthetics, come into effect. The author mentions the groups Los Remedios, Flamenco Clan and Dunya as examples of the penetration of flamenco to Slovakia and Central Europe. He analyzes them from the aspect of their treatment of melody, scales (phrygian mode, Spanish scale, Andalusian cadence), musical form, rhythmic patterns, he compares the traditional approach to flamenco (e.g. in a form of bulería, siguiriya, soleá) with a modern attitude (bossa nova, jazz) and searches for the relations between authentic traditional flamenco music and recent attitudes, e.g. in the use of jazz harmony in flamenco nuevo.
In the course of the historical development of jazz the rhythm section has gone through some transformations. Piano, double bass, drum set, later also guitar, bass guitar and percussions represented in themselves inconstant components of jazz section due to the different functions of the musical instruments in the section, and stylistic and rhythmic changes in jazz. In the jazz history several outstanding groups originated, with a characteristic rhythmic approach to music. Each of them presented a different concept of music and comprehension of rhythm, the section of Miles Davies consisting of musicians Herbie Hancock, Ron Carter and Tony Williams (1963–1968), or rhythm section Red Garland, Paul Chambers and Philly Jo Jones in hardbop era, or trio Bill Evans, Scott LaFaro and Paul Motian belonging to them. The author of the contribution points to the set-up of rhythm sections in jazz, their asset and changes in the functions of musical instruments. While for bop period a mutual collective collaboration between the members of the rhythm section was important, the current jazz accentuates the individuality of the bass and rhythmic lines.
