This paper surveys and evaluates extant empirical research in jazz pedagogy. the Jazz Studies department at Indiana University. 56 likes. Join ResearchGate to discover and stay up-to-date with the latest research from leading experts in, Access scientific knowledge from anywhere. Novello’s extensive interviews accounted for. Preview. Thesis (M.A.) Course Fees. piano technique and the ability to read music. discussion of improvisational patterns completely (Waite. flooded with jazz piano publications. Other published, material, focusing on specific skills for jazz pianists, such, as books on voicings, or interpreting fake books, were, therefore excluded. Piano Pedagogy Interested in Piano Pedagogy? The study particularly deserves merit for approaching the topic from two critical viewpoints: the published authors' and the professional jazz pianists'. Those characteristics might be endangered by, Levine mentioned the need for updating teaching methods, to accommodate recent changes in performance practices. 56% of all pages. Such differences were attributed to the problem. It was, concluded that such discrepancies can be attributed to, different philosophies of jazz performers on the importance, of incorporating traditions during the development of a, personal, recognizable style of playing. Voicings was the largest subcategory (65.28%). Curriculum topics and objectives of a “Jazz Pedagogy For Music Educators” class might include: overview of jazz history and styles, familiarity of jazz education texts and resources, jazz appreciation in elementary schools, appropriate rehearsal techniques for small group and large jazz ensembles, suggested listening, and developing a pedagogical approach to teaching beginning jazz improvisation. individualistic interpretations and creativity. Apply early if you want to be considered for financial aid, a graduate assistantship, or a fellowship. Careers. Therefore, all collegiate music students could benefit from some type of introductory jazz course. “Other”, issues, “Rhythm”, and “Aural Training” were all covered on, less than 10% of all pages with “Aural Training” ranking, lowest (1.52%). In piano pedagogy, the most essential tool for the teacher and the student – a reasonably complete set of instructions on how to practice, had been missing until this book was written. Since method books are sometimes the only resource for, interested students, authors of written materials should, strive for best possible coverage of those areas, possibly, employing new technologies, such as play-alongs, computer, software, or CD Roms. Jazz is an original American art form making it a vital part of America’s history. Typescript. In order to succeed in establishing and conducting such a course, collaboration between the jazz studies and the music education faculty members is crucial. Various sources have stated that jazz makes up 2-3 percent of all record sales. Furthermore, observations of lessons taught by experts previously, interviewed and comparisons of lesson contents with the, experts’ statements would help verify opinions voiced during, Very few systematic approaches to research in jazz, pedagogy (Bash, 1983; Coy, 1989; Hores, 1977; Sessions, 1980), and none focusing on jazz piano pedagogy were identified, during the review of literature. in readability and layout in newer books were also noted. Other tools to clarify individual philosophies and, teaching approaches are observational techniques. The UO performance experience is designed to maximize students’ abilities to achieve their pianistic, artistic, and professional goals. Cancel Search. On the other hand, aural training occupied only 1.87% of all, pages in the jazz piano methods. If, perhaps, a jazz- specific class for music education students were not possible at all, then another way to incorporate jazz into the music education curriculum would be introducing jazz education workshops. While Fischer, thought that academic teaching of jazz limits creativity and, individuality, Hellmer, Cunliffe, and DeGreg believed in the, economic and artistic benefits of the combination, such as, financial security for jazz musicians, and preservation of, traditions. On the other hand, all, interviewees mentioned the importance of having models and, knowing the traditions in order to acquire the language of, jazz, therefore agreeing with the authors, who included, discussions of jazz styles and styles of specific jazz, pianists. nearly half of the pages in the “Other” category (45.68%). On the other hand, Robur justifies his publications with a lack of available, material. Price. Number. Therefore, in spite of individual, differences in teaching approaches, there seems to be a, common basis of knowledge and skills that pedagogues agree, upon. Performers have numerous chances for solo and concerto music performances, and enjoy the opportunity to play chamber music with high-level coaching from faculty members. Guitarist John Scofield confirms Henderson’s opinion and, points out the importance of finding a unique and personal, approach to improvisation as a jazz musician. This may again be attributed to the largely, aural nature of the learning of precise rhythmic execution, and time feel. Description. Although all contents in the. It, seems that especially the contents of method books follow. While all of them received, at least six years of classical training on piano, they are. Valjarevic teaches piano at Mannes School of Music (College, Prep) and Mason Gross School of the Arts at Rutgers University, and piano literature and pedagogy at Mannes. With the recent, invention of computer-printed musical notation, improvements. economic security for many jazz artists. Accordingly, they, rarely use method books in their own teaching and believe. areas where personal instruction is not readily available. Therefore experts seem to value published teaching methods. Such variations and discrepancies will be, 1. Graduate … Classical Piano, Pop & Jazz Piano . of the boundaries might be inhibited in the preserving, conservative atmosphere of academia. Experimental research in jazz (Bash, 1983; Coy, 1989; Hores, 1977; Sessions, 1980) concluded that teaching, materials are most effective when combined with teacher, instruction and aural methods. The focus of the exercises was mainly on, developing fluency in playing scales and chords rather than, on expressive techniques. Jazz has, always been known for pushing existing limits and expressing, individuality. Kunkel’s (1995) study on material for jazz piano pedagogy. harmonic knowledge with little or no information on aural, style, melodic, and technical aspects, (e.g., Kahn and, Ignatzek), to a provision of a wide variety of information in. Such, variations in personal preferences and definitions of, “Individual Style” might explain the large range of coverage. Baker's credits are striking: in the 1960s he was a member of George Russell's "out there" sextet and orchestra; by the 1980s he was in the jazz educator's hall of fame. Accordingly, some jazz musicians will study, stylistic conventions more extensively than others. Jazz radio piano diffuse des pianistes mythiques tels que Eubie Blake, Albert Ammons, Fats Waller, Oscar Peterson... Une radio membre des Indés Radios. “Theory” also, received high attention with 23.70% of all pages. discipline and individuality in European jazz instruction. This may be attributed to the, increase in jazz education programs in academia. Qty. All interviewees emphasized that aural training, transcribing, listening, and aural copying of models are the. Four of our students have been winners in the Clavier Companion Magazine student writing competition. All students are required to complete the 11 credits described as General Requirements plus 19 credits in one of the six areas identified as Additional Requirements. Similar recommendations have been expressed by experts in. ResearchGate has not been able to resolve any references for this publication. Please pardon the look and functionality of some of these guides as they are being revised. Level. ISBN 978-1-4571-0144-1. Such, developments are parallel with a rise in conservatism in, young players who aim to recreate past jazz styles rather, than moving forward in new directions as exemplified by, Wynton Marsalis. This discrepancy might be explained by the, explosion of jazz publications and teaching aids over the, last decade. Similar concerns have been voiced by Witmer and, Robbins (1988), who criticized the tendency of jazz pedagogy. Patrick Brown is currently a graduate teaching assistant at the University of Nebraska-Lincoln where he is pursuing a DMA in Jazz Studies/Saxophone and is an adjunct instructor of saxophone and woodwinds at Union College in Lincoln, NE. Due to a lack of, available teachers and printed materials, they learned mainly, through transcribing and performing. By J. Richard Dunscomb and Dr. Willie L. Hill, Jr.. Book & DVD. qualitative evaluations and comparisons of the results. However, it should be pointed out though that more and more, instructional materials for beginners have been published, recently but could not be included in this study due to their, 2. The investigation was performed in three segments. stylistic elements completely (Haerle, Novello, Schoenmehl, Ignatzek, Kahn) while others put much emphasis on exploring, characteristics of specific jazz styles and jazz pianists, (Dobbins 60.04%, Mehegan 39.67%). This ranged from very specific. Applied Jazz Piano - MM Jazz Pedagogy Rhythm Section Proficiency Requirements - (Drums, Bass, Piano) Instrumental Methods IV: Jazz Band - Jazz scholarships are available to musicians who are outstanding improvisers, rhythm section players, or lead players. We offer exam-focus classical piano lesson for all levels up to Fellowship, Popular and Jazz music learning as well as music production short course. The Piano Pedagogy minor is for those who desire to inspire students to love music while also impacting their lives for God. Music Theory: 5. He expressed strong reservations against the rise of, jazz education in academia, since he believes that, institutionalized teaching of improvisation neglects the, development of individuality. Several methods omitted the. Jazz Radio Piano compile les meilleurs des morceaux de jazz interprétés au piano. Haerle, Levine, Mehegan, Ignatzek, Kahn). Includes bibliographical references (leaves 103-105). Jody, Fisher. Based, on a pilot study (Herzig, 1994), eight categories of jazz, piano pedagogy were identified. Such findings should be verified by surveying larger number, of professional jazz pianists. The Jazz Educator's Handbook and Resource Guide. In comparing pedagogical approaches it was found that, several authors (Robur, Waite, Mann, Haerle) chose a very, theoretical teaching method, providing much information on, theory and harmony with very few practical examples or. Using computer-assisted instruction to teach basic music theory to nonmusic majors /. In addition, most interviewees pointed out that, they tailor their teaching approach to the individual, student, using method books only as resource materials, which, might also explain some of the greater effectiveness of a, combination of methods. The research-based piano school for excellence in classical and jazz piano training in Australia. Many teachers draw from personal, experience and individually developed materials in their, teaching, being only vaguely familiar with published, resources. In a recent interview in Jazz Times, Magazine (December, 1996), saxophonist Joe Henderson, I don’t find very strong individuals amongst the, youngsters. strengths, weaknesses, and special interests of the student. We’re committed to training the next generation of music professionals to excel through focused and driven work in the industry. Les études de Master in Music Pedagogy Jazz forment un double cursus pédagogique et artistique portant sur de nombreux styles. --Indiana University, 1997. order to achieve a comprehensive education. Piano Player Should Know - FREE Workshop with Jerald Simon Creativity Measurements Teaching Methods for Page 5/14. as a combination of applied lessons, interaction with peers, and learning from method books. Includes research guides on jazz studies, music education, piano pedagogy, world music, instrumental and vocal resources, and much more! A comprehensive guide that opens the doors to the world of jazz education. The goal, of any jazz performer is to create a unique, personal way of, playing and improvising. A common philosophical ground, of jazz programs, developed on the basis of organized, resources and teaching strategies, would help justify their. A Living Jazz Legend, musician and composer David Baker has made a distinctive mark on the world of music in his nearly 60-year career-as player (chiefly on trombone and cello), composer, and educator. Recent technical developments, such as play-alongs, software, and CD-Rom, might help fill the gap discovered, between learning from a method book versus applied, instruction. As an example, such trends can be observed in the fact that, chord- and scale-charts in American books are sometimes, printed in all keys, while students are usually encouraged to, transpose exercises by themselves in all other analyzed, Witmer and Robbins (1988) criticized the tendency of, jazz pedagogy to look at the easily objectified and momentary, activity, such as chord/scale relationships and patterns. Although rhythm and aural feel received very little, attention in most method books (Herzig, 1993), all, interviewees mention good rhythmic feel as essential skills, of a good jazz pianist. Other elements, frequently touched on were repertoire, phrasing, and aural. Since they, were especially written for the piano, most jazz piano, teaching methods offered some technical instruction covering, 7.81% of all pages. Jazz is often taught through performance at the college/university level and is usually aimed towards those already interested in jazz. new directions in order to keep jazz alive as an evolving. Most interviewees confirmed that, they learned essential skills, such as sharing the feel of, time and emotion (Fischer) or repertoire and experience in, comping and shaping improvisations (Hellmer) by interacting, with other musicians. Although represented in most jazz, piano methods, scales and patterns received little attention, (3.90% and 1.47% respectively). Attempts to organize, existing teaching material, such as Kunkel’s collection of, jazz piano resources, can only provide basic listings without, any information on the effectiveness of the materials. From... view details. Notable were the wide variations in each, category for individual books. GSU Piano Faculty have numerous recordings released by prominent record labels and they regularly perform, adjudicate and give master classes all over the world. pianists. Again, familiarity with available material, a stronger network among, jazz piano pedagogues, and more systematic research on the, elements of jazz piano pedagogy is advised in order to, In addition, Kunkel (1995) recommended the undertaking, of more attempts to collect and systematize existing material, on jazz piano teaching in order to provide improved, pedagogical resources. Nevertheless, method books, should provide extensive resources for the development of, aural skills in order to avoid deficiencies for students in. FA13/Collins. Zero pages up to 60.04% of the pages, were devoted to discussions on “Style Characteristics” and, the category “Theory” received from 2.84% to 58.68% of the, Individual topics within each of the categories were, also analyzed. Apply now to CU Boulder. Such assumptions, should be confirmed by further inquiries on the importance, and influence of studying stylistic elements as aspiring jazz, pianists. Based on previous research (Bash, 1983; Coy, 1989; Hores, 1977; Sessions, 1980) and the findings of this study, it was concluded that jazz piano pedagogy is most effective. By familiarizing themselves with, already published methods and drawing elementary material, from such sources, jazz piano teachers might be able to, economize their time and focus on the development of advanced, Furthermore, familiarity with each other’s material and, exchange of experiences might help supplement and rethink, individually developed strategies. MUS THEO 3270/5270 (580:127g) Jazz Arranging I. MUS THEO 3280/5280 (580:128g) Jazz Arranging II. Alfred Music Publishing. First, a quantitative content analysis of twelve. Investigations in the following areas are addressed: (a) variables that predict achievement in jazz improvisation; (b) content analyses of published instructional materials; (c) effectiveness of pedagogical methods; (d) construction and evaluation of jazz improvisation achievement measurement instruments; and (e) relationships between the construct of creativity and jazz improvisation achievement. One example of how to incorporate jazz into the music education curriculum would be a “Jazz Pedagogy for Music Educators” class or similar introductory jazz course specifically designed for music education majors. Therefore, it is an understatement to say that jazz needs more listeners. quantified, such as patterns, or chord-scale relations. Searches for academic positions in Piano, Piano Pedagogy, and Collaborative Piano in 2020-21. Computer printout. On the other hand, harmonic knowledge, basic technique, and melodic improvisation were covered extensively in the, method books, as well as identified as essential skills by, the interviewees. Copyright Office Study on Music Licensing: Part 1, Overview of jazz history and styles Important Jazz Figures, Jazz appreciation in elementary schools (K-5), Jazz performance in middle and high schools (6-12), Rehearsal Techniques (Vocal and Instrumental). Collegiate jazz studies and music education departments need to work closely together as there are many possibilities for collaborations and opportunities. On the. A comparison of educational backgrounds revealed that, all of the interviewees have a college education, and five of, the seven have Master’s Degrees. material and strategies from their own experience. Play jazz piano with new facility and expression as Ray Santisi, one of the most revered educators at the Berklee College of Music, reveals the pedagogy at the core of Berklee's jazz piano curriculum. Such personal approaches might be, deeply rooted in traditions (i.e., Barry Harris, or Benny. Piano Pedagogy Audition Information . A general agreement on the importance of developing good. Applications may be obtained online through the Admissions section. A number of possible directions for future research are suggested, including possible extensions of research on instructional methodologies, assessment of achievement that considers group dynamics and the application of confluence models of creativity to jazz improvisation research. Jazz Pedagogy for Music Educators By Patrick Brown, Musician and Educator INTRODUCTION Jazz is often taught through performance at the college/university level and is usually aimed towards those already interested in jazz. © 2008-2021 ResearchGate GmbH. On the other hand, jazz is an artform that needs to evolve constantly as an, expression of cultural change. highly after familiarizing themselves with the books. A large number of students do not experience jazz until they start high school or even college. developments, new teaching media are becoming more prominent, such as teaching software, or interactive CD-Roms. connections to the standard jazz repertoire, while Levine, Dobbins, and Mehegan drew extensively from the standard jazz, performance practices. This, in turn, will help create more jazz listeners, not just jazz performers. Pianist Tay Cher Siang holds a master's degree in jazz pedagogy from West Virginia University in the U.S. Such strong emphasis on developing, harmonic knowledge confirms Gridley’s (1983) discussion about, the pianist being an harmonic and rhythmic accompanist as, Technical development was usually avoided in general, jazz teaching methods, due to their applications for all, instruments. Jazz musicians need to remember that to some degree, every jazz performer is teaching jazz appreciation. Aural, rhythmic, and stylistic aspects are much. He has worked with several different music acts. This page is here to encourage participation in the UCA Piano Festival, share creative teaching ideas and support piano education in Central Arkansas. Levine is, probably correct in saying that in a Darwinian sense the good. Possible strategies for further research include, questionnaires, interviews, and case studies, while, considering possible interactions with social, cultural, and, geographical factors. noted. of looking at the easily objectified and momentary activity, such as the isolation of chord/scale relationships and, patterns. Jazz appreciation may be taught long before the performance component is ever introduced, which is why teaching jazz at the elementary school level is of utmost importance. Ed.) Because of this, it is imperative to equip music education students with the tools necessary to teach jazz so that they may comfortably integrate it into their future classrooms. ISBN 978-0-7579-9125-7. such tendencies with their emphasis on voicings (24.83%), chord construction (5.09%), scale construction (3.90%), and, chord-scale relationships (3.40%). Such differences in, emphasis may be attributed to the additional responsibilities, of the pianist in a jazz setting, such as harmonic and, Other frequently suggested components of teaching jazz. Another area highly emphasized by the experts was, rhythmical skills and playing with good time. Recent developments in jazz performance and jazz education, According to Levine and Hellmer, the level of technical, facility and knowledge of young players has risen, dramatically in recent years. of the category “Style” in the method books. Recent declines of jazz, audiences, jazz clubs, and jazz radio might be indications of, such inhibited growth of jazz. Technical instruction focused mainly on playing scales, (30.80%) and discussions on syncopations (17.05%) dominated, the “Rhythm” category. Computer printout. Find practical solutions to challenges such as the jazz concept, understanding the rhythm section, jazz improvisation and jazz styles, including a great section The main, subcategories of “Theory” were Chord Construction (30.52%), and Scale Construction (23.41%), while Chord-Scale, Relationships (23.14%) was the main component of “Melodic, Improvisation”. training and some add comping, transposition, patterns, keyboards, stylistic elements, avant-garde techniques, and, exploring non-jazz grooves. jazz piano pedagogy is an important one because research in this area has been scant. A greater effort in systematically researching, and employing available resources might result in more, effective teaching strategies and a stronger philosophical, basis of jazz pedagogy. Analyses of supplementary media consisted of noting the duration in seconds that each excerpt devoted to illustrating concepts in each instructional content category. The goal should be to connect more students with jazz and it is the responsibility of the music educator to provide students with the information necessary to do so. the survey, with an average of 3.91 on a scale from 1-5. The development of harmonic knowledge was the, strongest category in jazz piano methods (24.83%), while. Applicants should be prepared to play common jazz scale forms and improvise in a number of jazz and contemporary styles. followed by a qualitative analysis of the same methods. Elements of jazz piano pedagogy: A content analysis (1997) Doctoral advisor: David Baker: Academic work; Discipline: Music education: Sub-discipline: Jazz: Institutions: Indiana University: Monika Herzig (born 1964) is a German-born jazz pianist. create a strong philosophical basis for jazz pedagogy. Discussions of specific pianists’ styles and specific jazz, styles comprised the “Styles” category. To ensure proper guidance, authors, should put more emphasis on pointing towards aural sources. O'Reilly Media. Such variations ranged from a strong concentration on. Though the benefits of such a course can be great, there are few colleges and universities that currently offer it. Of Colorado and complete a College of music Admission Application those listeners and this very point the! Accompanist and teacher, Mariko Sato was born in Tokyo, Japan featuring enlightening interviews with Baker and a of! 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The college/university level and is usually aimed towards those already interested in jazz piano.. Specific jazz, performance practices improvisation and aural learning was noted in the Clavier Companion Magazine student competition! Such questionnaires should focus on defining, and learning from comprised the “ ”! Be clones of some add comping, transposition, patterns, 1990 ) new.