Assessment of Jazz Improvisation Performance by Public School Teachers, Pre-Service Teachers, and Jazz Performers PDF Download

Author: Colton Dietz
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Languages : en
Pages : 0

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Book Description
Literature in jazz improvisation pedagogy suggests public school music teachers generally think that jazz improvisation is valuable and should be taught in public schools. However, music teacher preparation curricula often do not require participation in courses on jazz or jazz pedagogy. Therefore, music teachers often feel unprepared to teach the skill (Bernhard, 2013; Jones, 2005; Rummel, 2010; Shevock, Stringham, Thornton, 2015; Treinen 2011; Ward-Steinman 2007; West, 2014). There are resources for jazz teaching available, although little research regarding their content or use. Considering music educators' lack of undergraduate preparation in jazz improvisation pedagogy, they will likely consult jazz ensemble method books to aid in instruction (Watson, 2017). Research has identified five class jazz instruction method books that are all in print, for a heterogenous ensemble, and for students with limited background to jazz, although they consist of an overall mean of 3% of its content devoted to jazz improvisation (Watson, 2017). Literature on jazz improvisation assessment suggests effective assessments of jazz improvisation should be measured through achievement in several musical categories. However, among the studies there is variability in what those categories should be (Moore, 2016; Smith, 2009). Therefore, research is lacking regarding how teachers assess a jazz improvisation. This investigation examined how pre-service music teachers, practicing public school jazz educators, and professional jazz musicians assess jazz improvisation without the use of a rubric, thus providing insight as to what draws the focus of the participants. To collect data for the research, nine participants (three third or fourth year undergraduate pre-service music teachers, three practicing school jazz educators, and three professional jazz musicians) assessed two jazz improvisations in narrative form without the use of a rubric. Jazz improvisations were recorded by high school students who participate in their high school jazz band and have been playing their instrument for at least two years. Results were analyzed to identify what musical elements participants assess in a jazz improvisation. Results were additionally analyzed to identify to what extent the participant responses of a musical element agreed or disagreed. Musical elements identified were compared to the range of effective jazz improvisation assessment categories outlined in the literature. The data suggested pre-service teachers provide the most consistent analysis of musical elements. All practicing music teachers did not fully agree on any musical elements assessed. Professional jazz musicians did not fully disagree with each other on any musical elements. The responses in order from most to least specific assessment of musical elements are as follows: professional jazz musicians, practicing music educators, pre-service music teachers. The data suggests pre-service music teachers and practicing music teachers have suboptimal ability to assess chord tones and chord-scale relationships in a jazz improvisation in comparison to professional jazz musicians.