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The article discusses the definition of dance step "pasodobles" The said dance step was define in various music dictionaries and encyclopedias with different ideas of how really the step is executed. It is the most common march form in the Spanish band repertoire. Moreover, in Spanish culture, it is often lively festival music that may be dedicated to a famous bull-fighter or a woman. The step is also performed at a tempo of 120-124 beats per minute, but in different regions, the tempo varies.

The article analyzes the music release "Carnaval in Sao Paulo," by James Barnes, to establish its samba connections. "Carnaval in Sao Paulo" portrays the Brazilian equivalent of the boisterous New Orleans, Louisiana, celebration that culminates with Mardi Gras. In the early-20th century, a distinctive musical style known as samba became associated with carnaval. The work has a clever tune, interesting modulations, and easy Latin percussion. The meter, bass line, melody, rhythms, and call-and-response style in "Carnaval in Sao Paulo" all have characteristics of the samba style. Of the many types of samba, the style used for carnaval is the samba batucada, which is played while marching and uses only percussion instruments that can be carried by hand or with shoulder straps. Brazilian music sounds best on native instruments because only these create an authentic sound. In many instances substitutes are the only option. Although cymbals are used in samba batucada, claves, cowbell, and vibraslap are of Cuban origin, and not traditionally associated with this samba style.

The article presents information on the instrumental dance music "Court Festival," composed by William Latham. It brings to life a portion of Renaissance and Baroque musical history by drawing upon the forms and styles of that period. All thematic material in Court Festival is original with the exception of the music piece "The Horses," which appeared in "Orchesographie," a book from 1588 that details the movements of the dances. The opening piece of festive is an intrada, which first appeared in the music of Spanish composers in the middle of the 16th century, and was later extensively used by North German composers. The pavan and galliard, both known throughout Europe from the early part of the 16th century, are believed to be of Italian origin. The pavan is a stately dance in duple meter and the galliard a sprightly dance in triple meter. The branle, which was a very popular 16th-century dance, vary considerably. While some are in duple meter others are in triple. In many places of scoring typical antiphonal and echo effects have been used.

The article reviews the music release "Country Dances," composed by Greg Danner.

The article presents a list of musical piece. They include "Choral Fantasy on Schlafes Buder," composed by Johann Sebastian Bach, arranged by Ronald Kernen,"Big Time Operator," composed by Scooty Morris, aranged by Richard Saucedo, and "I Wan'na Be Like You," composed by Richard M. Sherman and Robert B. Sherman, arranged by John Moss.

The article reviews the music release "Mambo No. 5," by Damaso Perez Prado and Lou Bega.

The article presents an interview with William Latham, professor of music and coordinator of composition at the University of North Texas. He recently received the 36th A.S.C.A.P. award. When asked about how his interest in music began he said that when he was about two years old his mother made him take piano lessons, which he did not study for long and never learned to play well. By about age nine, he took trumpet lessons and continued through college and earned a certificate in trumpet performance from the Cincinnati Conservatory of Music. By that time he had also become interested in composition. He said that it is a good idea that the history of a piece and background information on the composer be a factor in how a conductor interprets a piece. According to him the most important task for conductors is to analyze the piece themselves and see what is there. He wrote the music piece "Court Festival," in 1957 shortly after completing his doctorate at the Eastman School of Music. During his time there he analyzed music of various periods, and he became particularly intrigued by Renaissance dance pieces.

The article reviews the music release "Boogie Wonderland," by Jon Lind and Allee Willis, arranged by Tim Waters.

The article reviews the music release "Bohemian Suite for String Orchestra," by Vaclav Nelhybel.

The article reviews the music release "Dublin," by Bob Phillips.

The article reviews the music release "Dominique's Dance," by John Nieto.

The article reviews the music release "Somerset Overture," by Robert Parker.

The article reviews the several music releases by Loreta Fin including "Rhythmic Rondo," "South Brisbane Tango" and "Snap, Crackle and Pop."

The article reviews the music release "Samba for Strings," by Andrew Balent.

The article reviews the music release "Appalachian Dance," by James Curnow.

The article reviews the music release "Klezmer Dances," arranged by Stephen Bulla.

The article reviews the Krakowiak dance music by Mikhail Glinka and arranged by Larry Daehn from the opera "A Life for the Czar."

The article reviews the music release "Highlights From Peer Gynt," Edvard Grieg and arranged by Jamin Hoffman.

The article reviews the music release "Give Up The Funk," by Clinton, Collins, and Brailey, arranged by Dave Henning.

The article reviews the music release "Bad," by Michael Jackson, arranged by Shane Porter.

The article reviews the music release "Life in the Fast Lane," by Henley, Frey and Walsh, arranged by Roland Barrett.

The article reviews the music release "Bad to the Bone," by George Thorogood, arranged by Victor Lopez.

The article reviews the music release "Hey Pachuco!" arranged by Shane Porter featuring corps-style, dance feature, pep band, opener, swing and other arrangements.

The article reviews the music release "Grease," by Barry Gibb arranged by Doug Adams.

The article reviews the music release "Signed, Sealed, Delivered I'm Yours," by Stevie Wonder arranged by Paul Murtha.

The article reviews the music release "Would I Lie to You?," arranged by Tim Waters.

The article reviews the music release "Fusion," composed by Brian Balmages.

The article reviews the music release "Viper," composed by George Farmer.

The article reviews the music release "African Spirit Dance," composed by John O'Reilly.

The article reviews the music release "Ain't No Other Man" by Aguilera, Martin, DioGuardi, Roane, and Beatty, arranged by Jim Waters.

Reviews the music release "Slavonic Dance, Op. 46, #8," by Antonin Dvorák, arranged by Robert D. McCashin.

Reviews the music release "Two Old English Dances," arranged by Frank J. Halferty.

Reviews the music release "Russian Folk Dances," by Dan Rager.

Reviews the music release "The Blue Orchid," by William Owens.

Reviews the music release "Choral, Scherzo, and Dance," by Jack Stamp.

Reviews the music release "As Winds Dance," by Samuel R. Hazo.

Reviews the music release "Short Suite #4," by Joseph Kreines.

The article reviews the musical piece "Calling Dr. Chops," composed by Rob Vuono.

The article reviews the musical piece "The Swan Trio," composed by Jonathan Battishill.

The article reviews the musical piece "Habanera," composed by Paul Carr.

The article reviews the musical piece "Four Comedy Dances," composed by Paul Carr.

The article reviews the musical piece "Ja-Da," composed by Bob Carlton.

The article reviews the musical piece "Public Domain," composed by Rick Lawn.

The article reviews the musical piece "Bone Busters," composed by Mark Taylor.

The article reviews the musical piece "The Looking Glass," composed by Matt Haris.

The article reviews the musical piece "What A Difference A Day Makes," composed by Frank Mantooth.

The article reviews the music release "Slavonic Dances," by Elliot Del Borgo.

The article reviews the music release "Tango Mariana," by Joseph Compello.

The article reviews the music release "Carribean Nocturne," by Bryan Kidd.