Jazz Education in Research and Practice最新文献_第2页

That Modern Malice: Exploring Representations and Understandings of Bebop and Modern Jazz in 50 Years of Jazz Historiography 现代的恶意:在50年的爵士乐史学中探索比波普和现代爵士乐的表现和理解

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/jazzeducrese.1.1.16

B. W. Casey

{"title":"That Modern Malice: Exploring Representations and Understandings of Bebop and Modern Jazz in 50 Years of Jazz Historiography","authors":"B. W. Casey","doi":"10.2979/jazzeducrese.1.1.16","DOIUrl":"https://doi.org/10.2979/jazzeducrese.1.1.16","url":null,"abstract":"Abstract:Jazz historiography is replete with a variety of contradictions and points of departure among those who write about jazz, critics and historians alike. Because jazz is a relatively new genre in musicological terms, the conversation among musicologists writing about jazz has been relatively myopic only until very recently. One of the most dynamic and significant developmental moments in this history is connected with the origins of what is commonly referred to as the modern jazz era. This moment, associated with the development of bebop as a clearly defined style, has been the subject of much discourse in terms of origins, specific figures involved and consequences within the jazz genre as a whole. Furthermore, new perspectives and approaches to understanding the origins of modern jazz are continually added to the conversation. This article seeks to summarize the prominent approaches to understanding the development of modern jazz, and address points of disagreement and outright dissention among these approaches. This study will explore the main points of the arguments for considering the development of modern jazz as evolution or revolution and seek to identify a reasonable discourse that helps define the functions and figures important in this transition.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116207592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Petting Zoo: Fostering Practice-Based Experience in Jazz Appreciation Classes 宠物动物园:在爵士乐鉴赏课上培养基于实践的经验

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/jazzeducrese.1.1.14

E. J. Lapin, Joshua Koury

引用次数: 0

Highlighting Collaboration in the Music History Classroom through the Duke Ellington Orchestra 通过艾灵顿公爵管弦乐团在音乐史课堂上突出合作

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/JAZZEDUCRESE.2.1.03

K. Teal

引用次数: 0

From Clubs to Concert Halls: The Influence of Performance Venue on Collective Identity Formation in Jazz 从俱乐部到音乐厅:表演场地对爵士乐集体认同形成的影响

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/JAZZEDUCRESE.2.1.09

William J. Coppola

{"title":"From Clubs to Concert Halls: The Influence of Performance Venue on Collective Identity Formation in Jazz","authors":"William J. Coppola","doi":"10.2979/JAZZEDUCRESE.2.1.09","DOIUrl":"https://doi.org/10.2979/JAZZEDUCRESE.2.1.09","url":null,"abstract":"Abstract:As a jazz educator and musician, I have often experienced an incongruency between the formalized customs found in many educational jazz performances and the more informal conventions emblematic to the art form. As jazz music has historically migrated from clubs to concert halls, a renegotiation of musicians' and audiences' social behaviors has followed suit. Framed partially through Christopher Small's critique of the symphony hall's implicit power over participants' behaviors, I utilized the theory of collective identity to explore the influence of the performance venue on musician-audience dynamics during a formal jazz performance. Through this case study, I explored how meanings are generated when audiences and musicians interact within a musical tradition that may, at first glance, appear incongruent with the implicit customs of the venue (i.e., jazz music within a traditional concert hall). I concluded that characteristics of the performance venue could potentially impose some influences on musician-audience relationships, but the development of a welcoming and intimate climate is ultimately of greater salience when establishing a sense of interconnectedness between musicians and audiences. Framed through these findings, I offer implications for jazz educators seeking to uphold the participatory ethos central to the jazz idiom by prioritizing a genuine and intimate connection with their audiences.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132173774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

JEN Research President's Letter JEN Research总裁的信

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/JAZZEDUCRESE.1.1.01

T. Stoll

引用次数: 0

Integrating the Musical, the Natural, and the Improvised: David Rothenberg and Multispecies Musicking 整合音乐，自然和即兴:大卫·罗森伯格和多物种音乐

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/jazzeducrese.1.1.12

Robin Ryan

{"title":"Integrating the Musical, the Natural, and the Improvised: David Rothenberg and Multispecies Musicking","authors":"Robin Ryan","doi":"10.2979/jazzeducrese.1.1.12","DOIUrl":"https://doi.org/10.2979/jazzeducrese.1.1.12","url":null,"abstract":"Abstract:It is in musical performance, suggests Ingram (2010), that our relationships with environments most cogently sustain and enrich ecology (p. 11). Ecology informs and inspires music, but it does not govern music (Boyle & Waterman, 2016). Composers have long incorporated the sounds of birds and animals into their music, and in recent years, technology has played a role in the study and development of more-than-human “musicality.”1 However when jazz musicians improvise in or out of sync with the acoustic presence of wildlife, creativity remains in flux.2 This baffling anti-institutional practice furnishes new combinations of sound, but it remains subject to philosophical questions that deflect attention away from the music's inherent artistic worth. For the purposes of this reflective essay, there exists a gap in the literature around fresh approaches to jazzing within—and with—nature. Likewise, a pedagogy is needed to explain the benefits of multispecies musicking.In privileging musical engagement with natural ecologies of sound, the essay revolves around the American jazz clarinetist David Rothenberg's use of nature as a model and resource for improvising musicians.3 Process is the underlying principle in his organic practice of knowing through doing. Rothenberg (b. 1962) works in a variety of international fields, scenes, and settings as he challenges the boundaries of experimental jazz. He displays considerable technical knowledge of the clarinet, saxophone, and synthesizer, having performed and recorded music with Peter Gabriel and countless other jazz musicians. His extensive literary output provides explanations for consumers of his concerts and recordings.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122340710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

A Jazz History Course for the Information Era 信息时代的爵士乐历史课程

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/jazzeducrese.1.1.06

W. Bares

引用次数: 1

A Critical Examination of Preservice Music Teacher Preparation in Jazz: Current Policies Influencing Curricula, Certification, and Pedagogical Competency in Oklahoma 对爵士音乐教师职前准备的批判性审查:影响俄克拉何马州课程、认证和教学能力的现行政策

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/JAZZEDUCRESE.2.1.08

Lonnie Easter

{"title":"A Critical Examination of Preservice Music Teacher Preparation in Jazz: Current Policies Influencing Curricula, Certification, and Pedagogical Competency in Oklahoma","authors":"Lonnie Easter","doi":"10.2979/JAZZEDUCRESE.2.1.08","DOIUrl":"https://doi.org/10.2979/JAZZEDUCRESE.2.1.08","url":null,"abstract":"Abstract:The curricula for preparing preservice teachers in music education has experienced progressive and innovative thinking for years. Preservice music education teacher preparation programs' (MUED-TPPs) curricula should adequately and comprehensively prepare students to deliver successful, standard-based instruction in all areas of music, including jazz. The purpose of this investigation was to examine policies that influence jazz education in MUED-TPP curricula, subject area certification exams, and pedagogical competency expected of classroom music educators in Oklahoma. I examined accredited curricula from all undergraduate MUED-TPPs (instrumental emphasis) at degree-granting colleges/universities in Oklahoma (N = 18), as well as state-level requirements for subject-area licensure and teacher certification. Data revealed instruction delivered by MUED-TPPs concerning jazz competence remains unfavorably intermittent, indicating that no institution required a jazz course of any kind toward degree completion. Further examination of the findings (a) highlight critical insights regarding equity and access to jazz instruction, (b) call into question certification exam contents for instrumental music teachers, and (c) suggest a need for increased preparation of preservice instrumental music teachers to meet the diverse needs of students. I postulate the need for the inclusion of jazz pedagogy coursework in the instrumental MUED-TPP curriculum and suggest a revision of music teacher certification policies to address competencies in jazz instruction.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129177898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Effects of Two Jazz Pedagogical Approaches on Improvisation and Ensemble Performance Achievement by High School Musicians 两种爵士乐教学方法对高中音乐家即兴演奏和合奏演奏成绩的影响

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/jazzeducrese.1.1.05

Glen A. Brumbach

{"title":"The Effects of Two Jazz Pedagogical Approaches on Improvisation and Ensemble Performance Achievement by High School Musicians","authors":"Glen A. Brumbach","doi":"10.2979/jazzeducrese.1.1.05","DOIUrl":"https://doi.org/10.2979/jazzeducrese.1.1.05","url":null,"abstract":"Abstract:This study investigated the impact of two methods of jazz instruction—theory-based and practice-based—on the improvisational and performance development of high-school jazz musicians. Students (N = 191) from 10 high-school jazz bands in a mid-Atlantic state were randomly assigned to either the theory-based control group or the practice-based experimental group. Both groups were given the same jazz composition and were recorded when sight-reading the piece for the pretest. Individual student soloists in the control (n = 13) and experimental (n = 21) groups improvised over a 32-measure section of the piece. After four weeks of instruction, both groups were again recorded for the posttest evaluation and also completed a questionnaire pertaining to pedagogical and cultural perspectives. Three experienced jazz adjudicators evaluated the recordings. A comparison of scores using a between-subjects repeated-measures ANOVA showed that the practice-based group achieved significantly greater gains in improvisation than the theory-based group. Practice-based participants indicated a stronger inclination to express themselves through improvisation and were more likely to listen to jazz outside school than were theory-based participants.","PeriodicalId":186040,"journal":{"name":"Jazz Education in Research and Practice","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134376977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Listening with a Purpose: Engaging Assignments for Jazz History Courses 有目的的聆听:爵士乐历史课程的引人入胜的作业

Jazz Education in Research and Practice Pub Date : 2022-01-01 DOI: 10.2979/JAZZEDUCRESE.2.1.07

Vilde Aaslid

引用次数: 0