Jedi mind tricks: Lennie Tristano and techniques for imaginative musical practice

IF 0.1 0 MUSIC
Marian Jago
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引用次数: 2

Abstract

In the 1940s, pianist Lennie Tristano was among the first to attempt to teach jazz improvisation as an area of study distinct from instrumental technique. In doing so, he employed a methodology which was considered highly unorthodox at the time and which is still somewhat unique for jazz pedagogy. Chief among these unorthodox pedagogical devices was the use of visualization and other mental techniques for musical practice and composition. These methods enabled students to separate imaginative musical experiences from the habits of muscle memory, while at the same time speeding the acquisition of certain digital techniques and developing the musical imagination. Visualization techniques also served to extend available practice time for students who lacked space suited to audible instrumental practice, and to those who were working day jobs and had limited time available for instrumental practice. Recent studies in brain plasticity bear out Tristano’s intuitive use of mental techniques as a useful addendum to more traditional forms of instrumental and compositional practice. Though certainly not the first to emphasize the importance of mental conditioning and imaginative practice methods, Tristano’s use of them within a methodology for jazz instruction constitutes a unique pedagogical approach worthy of further research and discussion.
绝地思维技巧:伦尼·特里斯塔诺和富有想象力的音乐练习技巧
在20世纪40年代,钢琴家Lennie Tristano是最早尝试教授爵士即兴演奏的人之一,将其作为与器乐技术不同的研究领域。在这样做的过程中,他采用了一种在当时被认为是非正统的方法,这种方法在爵士乐教育学中仍然是独特的。在这些非正统的教学手段中,主要是在音乐练习和作曲中使用视觉化和其他心理技巧。这些方法使学生能够将富有想象力的音乐体验从肌肉记忆的习惯中分离出来,同时加速获得某些数字技术并发展音乐想象力。可视化技术还有助于为那些缺乏适合听觉器乐练习空间的学生,以及那些白天工作而没有时间进行器乐练习的学生延长可用的练习时间。最近关于大脑可塑性的研究证实,特里斯坦诺对心理技巧的直觉运用,是对更传统形式的器乐和作曲练习的有益补充。虽然肯定不是第一个强调心理调节和想象练习方法重要性的人,但特里斯坦诺在爵士乐教学方法中使用它们构成了一种独特的教学方法,值得进一步研究和讨论。
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来源期刊
CiteScore
0.30
自引率
0.00%
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期刊介绍: Jazz Research Journal explores a range of cultural and critical views on jazz. The journal celebrates the diversity of approaches found in jazz scholarship and provides a forum for interaction and the cross-fertilisation of ideas. It is a development and extension of The Source: Challenging Jazz Criticism founded in 2004 at the Leeds College of Music. The journal aims to represent a range of disciplinary perspectives on jazz, from musicology to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice. Jazz Research Journal publishes original and innovative research that either extends the boundaries of jazz scholarship or explores themes which are central to a critical understanding of the music, including the politics of race and gender, the shifting cultural representation of jazz, and the complexity of canon formation and dissolution. In addition to articles, the journal features a reviews section that publishes critical articles on a variety of media, including recordings, film, books, educational products and multimedia publications.
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