John Paul Meyers
Biographic Data
| ID | 112899 |
|---|---|
| NAME | John Paul Meyers |
| GIVEN NAMES | John Paul |
| FAMILY NAME | Meyers |
| SIGNATURE | MEYERS J P |
| AFFILIATIONS | Michigan State University |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Same Old Song
Popular music in the United States is made and listened to by people from a variety of racial groups, ages, genders, sexualities, and regions, but it is often dominated by an ideology of newness. The Grammys recognize the "Best New Artist" every year. Unknown artists compete on music television shows for a chance at stardom. And the most vibrant forms of popular music culture seem to be produced by and for the young: those with the facility for c…
Revisionist History in New Media Formats
Musicians in a wide variety of genres—especially in the constellation of Black American musical genres that includes jazz, soul, and hip-hop—have often been interested in the intersection of political activism and musical practice. The coexistence of musical content with political message is one of the things ordinary listeners, critics, and historians have valued about these genres, with recorded works as stylistically and contextually disparate…
Standards and Signification between Jazz and Fusion
This paper examines Miles Davis's studio and live repertoire during the time period from 1963 until 1970, particularly his performances of the ballad “I Fall in Love Too Easily,” which was a remarkably persistent presence in his sets, despite the myriad of other changes that took place in this time. Indeed, listening to multiple versions of “I Fall in Love Too Easily” certainly reveals clear differences in musical parameters such as form, tempo, …
Still Like That Old Time Rock and Roll
This paper integrates ethnographic description of several tribute band performances and a critical reading of popular music discourse in order to explain historical consciousness and examine the role that tribute bands are playing in its development. Tribute bands both construct and partake in this new attitude that treats the events of the popular music past with historical respect and legitimacy. Focusing on rock music as a case study, this pap…
Roll With It
The city of New Orleans and the careers of musicians hailing from the Crescent City are familiar subjects for jazz scholars and aficionados. But too often, more recent developments in New Orleans m
The World According to Marsalis: Difference and Sameness in Wynton Marsalis's From the Plantation to the Penitentiary
Still Like That Old Time Rock and Roll
This paper integrates ethnographic description of several tribute band performances and a critical reading of popular music discourse in order to explain historical consciousness and examine the role that tribute bands are playing in its development. Tribute bands both construct and partake in this new attitude that treats the events of the popular music past with historical respect and legitimacy. Focusing on rock music as a case study, this pap…
The World According to Marsalis: Difference and Sameness in Wynton Marsalis's From the Plantation to the Penitentiary
Roll With It
The city of New Orleans and the careers of musicians hailing from the Crescent City are familiar subjects for jazz scholars and aficionados. But too often, more recent developments in New Orleans m
Standards and Signification between Jazz and Fusion
This paper examines Miles Davis's studio and live repertoire during the time period from 1963 until 1970, particularly his performances of the ballad “I Fall in Love Too Easily,” which was a remarkably persistent presence in his sets, despite the myriad of other changes that took place in this time. Indeed, listening to multiple versions of “I Fall in Love Too Easily” certainly reveals clear differences in musical parameters such as form, tempo, …
Still Like That Old Time Rock and Roll
This paper integrates ethnographic description of several tribute band performances and a critical reading of popular music discourse in order to explain historical consciousness and examine the role that tribute bands are playing in its development. Tribute bands both construct and partake in this new attitude that treats the events of the popular music past with historical respect and legitimacy. Focusing on rock music as a case study, this pap…
Revisionist History in New Media Formats
Musicians in a wide variety of genres—especially in the constellation of Black American musical genres that includes jazz, soul, and hip-hop—have often been interested in the intersection of political activism and musical practice. The coexistence of musical content with political message is one of the things ordinary listeners, critics, and historians have valued about these genres, with recorded works as stylistically and contextually disparate…
Same Old Song
Popular music in the United States is made and listened to by people from a variety of racial groups, ages, genders, sexualities, and regions, but it is often dominated by an ideology of newness. The Grammys recognize the "Best New Artist" every year. Unknown artists compete on music television shows for a chance at stardom. And the most vibrant forms of popular music culture seem to be produced by and for the young: those with the facility for c…
History (6 works) · Music History and Culture (6 works) · Art history (5 works) · Art (4 works) · Aesthetics (2 works) · Computer Science (2 works) · Jazz (2 works) · Law (2 works) · Literature (2 works) · Performance art (2 works)