A Curricular Outline for Teaching Beginning Improvisation in the High School Jazz Ensemble Based on a Survey of Band Directors' Practices and Opinions PDF Download
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Author: John Christopher Porter Publisher: ISBN: Category : Improvisation (Music) Languages : en Pages : 68
Book Description
The primary purpose of this study was to investigate and analyze the practices and opinions of high school band directors regarding the teaching of beginning improvisation in jazz ensemble rehearsal. The secondary purpose was to outline a curriculum for teaching beginning jazz improvisation in said rehearsals. Participants (N = 57) for the Instrumental Jazz Improvisation Instruction Questionnaire were Indiana high school band directors. Regarding whether or not improvisation should be taught in a large jazz ensemble setting, an overwhelming majority (93%) of respondents felt that the skill should be taught in rehearsal. Concerning an appropriate amount of jazz ensemble rehearsal time to dedicate to improvisation, the largest percentage (42%) selected was 11-16 minutes. However, at the time the IJIIQ was distributed, the largest percentage of directors (46%) allotted only 5-10 minutes. Regarding what to include in a beginning jazz improvisation curriculum, the highest rated item, considered "extremely important," was listening to expert recordings. Other items considered "very important" were chord-scale relationships, ear training, aural imitation, call and response, melodic embellishment, guide tones, and melodic devices. Concerning what is most difficult about learning to improvise, directors most frequently reported "playing the right notes/chord changes" when referring to their own playing. In the case of their students, "fear" was most frequently reported. Finally, with regard to what is most difficult about teaching jazz improvisation, directors most frequently reported "student inhibitions."
Author: John Christopher Porter Publisher: ISBN: Category : Improvisation (Music) Languages : en Pages : 68
Book Description
The primary purpose of this study was to investigate and analyze the practices and opinions of high school band directors regarding the teaching of beginning improvisation in jazz ensemble rehearsal. The secondary purpose was to outline a curriculum for teaching beginning jazz improvisation in said rehearsals. Participants (N = 57) for the Instrumental Jazz Improvisation Instruction Questionnaire were Indiana high school band directors. Regarding whether or not improvisation should be taught in a large jazz ensemble setting, an overwhelming majority (93%) of respondents felt that the skill should be taught in rehearsal. Concerning an appropriate amount of jazz ensemble rehearsal time to dedicate to improvisation, the largest percentage (42%) selected was 11-16 minutes. However, at the time the IJIIQ was distributed, the largest percentage of directors (46%) allotted only 5-10 minutes. Regarding what to include in a beginning jazz improvisation curriculum, the highest rated item, considered "extremely important," was listening to expert recordings. Other items considered "very important" were chord-scale relationships, ear training, aural imitation, call and response, melodic embellishment, guide tones, and melodic devices. Concerning what is most difficult about learning to improvise, directors most frequently reported "playing the right notes/chord changes" when referring to their own playing. In the case of their students, "fear" was most frequently reported. Finally, with regard to what is most difficult about teaching jazz improvisation, directors most frequently reported "student inhibitions."
Author: Daniel J. Healy Publisher: Oxford University Press ISBN: 0190462086 Category : Music Languages : en Pages : 224
Book Description
Improvisation is a boundless and exciting way to experience music, especially for students. Teachers increasingly agree that improvisation is an essential skill for students to learn - however, many are unsure how to productively incorporate it in the classroom. Furthermore, most improvisational practices are centered around jazz, with very little to help even classical and vocal ensembles let alone the general music classroom. Now, in this new book, Daniel Healy and Kimberly Lansinger Ankney offer a practical volume aimed at busy music teachers. Recognizing educators' desire to balance the standard curriculum with improvisational activities, the authors provide 36 activities to incorporate into their everyday music classes and ensemble practices. All activities are flexibly designed in styles ranging from modern classical to pop. Teachers can spend anywhere from 5 minutes to an entire term on a single activity, in a variety of environments and ensembles - concert bands, orchestras, choirs, jazz ensembles, and music technology classes alike can benefit from the practices of improvisation. Aligning improvisation practices with the constraints of the classroom, the lessons focus on key music learning principles (melody, harmony, rhythm, texture/timbre, articulation, and dynamics), allowing students' basic performance skills to develop in conjunction with their improvisational ones. The book also comes with a companion website which provides helpful resources for teachers, including recordings of actual K-12 ensembles performing the improvisation activities. Designed for a wide range of ages and experience levels, Music Discovery: Improvisation for the Large Ensemble and Music Classroom is the first practical guide of its kind, and gives teachers a long-awaited jumping-off point to introduce this playful, thrilling, and vital musical practice to their students.
Author: David Andrew Stringham Publisher: ISBN: Category : Composition (Music) Languages : en Pages : 0
Book Description
Common practice instrumental music pedagogy prioritizes performance from music notation. Certainly a worthy pursuit, such an exclusive objective often neglects other essential musical behaviors, such as singing, improvising, and composing. Local, state, and national music education policymakers, as well as authorities in the profession, agree that these behaviors are important. Nevertheless, singing, improvising, and composing are rarely included in instrumental music curricula. With the intent of improving music teaching and learning in secondary instrumental music, the purpose of this mixed methods study was to describe music achievement and personal perspectives of high school students who learned to improvise and compose using a sequential music curriculum in a non-auditioned wind and percussion ensemble. In this study, curriculum emphasized development of individual musicianship and emerging behaviors for improvisation and composition (i.e., singing, movement, and playing by ear to learn melodies, bass lines, tonal patterns, rhythm patterns, and voice leading). Quantitative measures revealed relationships between music aptitude and music achievement. Three judges rated student performances. Overall, mean scores were highest for singing, followed by mean scores for playing and writing music. Stabilized music aptitude scores were predictive of performance achievement, improvisation achievement, and composite music achievement; these aptitude scores were a relatively weak predictor of composition achievement. Several statistically significant correlations emerged among musical tasks. Analysis of variance revealed significant effects for gender and instrument group. Student perspectives on improvisation and composition were examined in a focus group comprising eight students who participated in the research. Students in this focus group found the sequential nature of this curriculum helpful, and reported success in learning to improvise and compose. Students generally agreed that learning musical elements by ear was beneficial. Several participants indicated that the processes of improvising and composing are related. Recorded class meetings and fieldnotes were examined to describe teaching and learning of improvisation and composition in this setting. Based on this examination, it was evident that musicianship, understanding of music teaching and learning, interaction, making connections, and a positive learning environment are important when learning to improvise and compose. Singing, moving, performing, improvising, composing, and analyzing were ongoing elements of the curriculum. Quantitative and qualitative data presented in this study provide preliminary evidence to suggest that teaching improvisation and composition in a non-auditioned secondary wind and percussion ensemble is a practical, meaningful, and musical objective.
Author: Ronite J. Gluck Publisher: ISBN: Category : Improvisation (Music) Languages : en Pages : 368
Book Description
Although aural learning and improvisation of music have been fundamental components of music learning theories for at least two hundred years, published resources for beginning instrumentalists usually take a notation-first approach. An analysis of popular beginning band method books published in the last six years further reveals an emphasis on the teaching of techniques necessary to play music in the Western classical tradition, an emphasis which might influence instrumental teachers' values and teaching approaches. An alternative approach in beginning instrumental music instruction emphasizes improvisation and the development of music listening and speaking vocabularies prior to the development of music literacy. Jazz offers an ideal medium for this exploration, as improvisation is integral to this art form, and it is a genre outside of the Western Classical tradition. The call to incorporate improvisation and jazz into the beginning instrumental curriculum will necessitate the revision of current curricula, the adoption of new learning goals, and the development of additional teaching strategies. This project aims to help fill this void and to make improvisation and jazz available to all instrumentalists through the creation of a jazz-based beginning band improvisation curriculum unit for grades 5 through 8. The unit that is the content of Chapter Four of the project meets the National Standards for Arts Education improvisation content standard and can be taught within the typical time constraints of beginning instrumental instruction in a school setting.
Book Description
THE ULTIMATE JAZZ MEDTHOD is very unique in structure and provides an abundance of information. The structure grew from my extremely successful experience with children who had never played a musical instrument before my class and had never heard of jazz. This jazz method curriculum is a vehicle for developing improvisational skills, theory, history and language that meets the objective to play jazz. It is a self-contained book with 12 sequential lessons for middle and high school students. Each lesson covers an era of jazz beginning with the early period, the blues. The student's edition is self-guided with objectives, goals, theory, melodic patterns, quizzes and tunes with traditional chord progressions that represent each period of jazz. It is well constructed and easy to follow for anyone who is not experienced or an expert in the field of jazz music. A teacher could review and prepare a lesson within ten minutes prior to class. In addition, the history, quiz and recording section of this curriculum is recommended for cross curriculum teaching in history and English classes.
Author: John Christopher Porter
Author: John Christopher Porter
Author: Zachary B. Poulter
Author: Charles L. Sable
Author: Daniel J. Healy
Author: Keith Swanwick
Author: 
Author: David Andrew Stringham
Author: Ronite J. Gluck
Author: Iowa State University
Author: Thaddeus Exposé