In noncompartmental analysis, poor characterization of the terminal elimination rate constant (Kel) will lead to biased results for half-life and total exposure (AUCinf), providing incorrect relative bioavailability and bioequivalence conclusions. We set out to determine if the sampling scheme duration…

The editors of the Journal of Jazz Studies explain their rationale for converting their print journal, the Annual Review of Jazz Studies, into a free, open-access, online publication. Open access makes the journal universally accessible, and offers other technological advantages.…

Henry Martin, a composer, music theorist, professor of music at Rutgers University–Newark, and co-editor of the Journal of Jazz Studies, contributes a review-essay about Steve Larson’s recent book, Analyzing Jazz: A Schenkerian Approach (Pendragon Press, 2009).

Poet Mark Haywood presents three sonnets that explore the life and music of Thelonious Monk, the great jazz pianist and composer.

Randy Sandke, a working professional trumpeter and composer for the last thirty years, contributes a review-essay on Krin Gabbard’s book Hotter Than That: The Trumpet, Jazz, and American Culture (Faber and Faber, 2008).

This bibliography compiles articles of interest in jazz music scholarship that were published in 2005 or 2006 and appeared in journals not specifically dedicated to jazz study.

This article provides background on Allen Forte’s 1958 lecture, “The Development of Diminutions in American Jazz,” which is published for the first time in this issue of the Journal of Jazz Studies. Topics include the context in which the lecture…

Allen Forte, the prominent Yale music theorist, delivered this previously unpublished lecture in Germany in 1958. In “Forte’s Lecture on Jazz: An Introduction” (included elsewhere in this issue), Benjamin Givan states that this lecture is “the earliest known analytical study…

In 1986, the adventurous and accomplished jazz pianist Andrew Hill (1937–2007) presented his composition “Verona Rag,” based loosely within the traditional ragtime idiom. Through close analysis of Hill’s studio recording, the author explains how this composition is “an exemplary illustration…

In 1944, Duke Ellington told a writer from The New Yorker that his composition “Harlem Air Shaft,” recorded four years earlier, was inspired by the myriad sounds heard in the air shaft of a Harlem apartment building (“You hear fights,…