Teaching Jazz Improvisation Through Transcription Within the Daily Public High School Jazz Ensemble Rehearsal PDF Download

Author: David J. Dunning
Publisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 68

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Author: Zachary B. Poulter
Publisher: R & L Education
ISBN: 9781578868179
Category : Improvisation (Music)
Languages : en
Pages : 0

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MENC: The National Association for Music Education

Author: Charles L. Sable
Publisher:
ISBN:
Category :
Languages : en
Pages : 146

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Author: John Christopher Porter
Publisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 68

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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: David Baker
Publisher: Alfred Music Publishing
ISBN: 9780882844831
Category : Music
Languages : en
Pages : 212

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Book Description
This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students.

Author: J. Richard Dunscomb
Publisher: Alfred Music Publishing
ISBN: 9780757991257
Category : Juvenile Nonfiction
Languages : en
Pages : 398

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DVD provides over three hours of audio and video demonstrations of rehearsal techniques and teaching methods for jazz improvisation, improving the rhythm section, and Latin jazz styles.

Author: Ronald Brown
Publisher: Createspace Independent Publishing Platform
ISBN: 9781986878296
Category :
Languages : en
Pages : 120

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Book Description
Curriculum and teaching have prevailed as instruments of knowledge that accommodate social change and development of the arts (Danmole, 2011). College music students' expressivity and creativity when producing improvisation depend on the theoretical knowledge of improvisation gained in high school (Hargreaves, 2012). General music instruction has been included in public schools since the mid-1970s however, there were limited research studies conducted about the instruction of jazz music (West, 2014). Core music standards challenge learners and instructors to engage in developing new musical commodities that entail both improvisation and composition (Shuler, Norgaard, & Blakeslee, 2014; West, 2014). Leaders of the National Coalition for Core Arts Standards (2013) affirmed the importance of creativity and improvisation for students' development in the music standards. Music researchers have noted the new national standards for music educators include jazz ensemble in educational music programs, but music educators in public schools provide limited instruction in jazz improvisation theory (Lewis & Lovatt, 2013; Roger, 2013). Researchers have produced studies to educate instructors about music creativity that involve defining, evaluating, and composing jazz improvisation (Abramo & Reynolds, 2015). Music educators within the field of curriculum and teaching apply music creativity research to construct frameworks to foster music creativity for instructors studying music education (Hargreaves, 2012). Researchers have also noted jazz improvisation instruction and extended creativity concepts can contribute to developing students' music creativity (Bresler, 2012). The problem is that college faculty members do not have sufficient knowledge regarding how best to focus instructional time to promote students' jazz improvisation skills. More research is necessary to determine if theoretical or aural instruction will increase students' music creativity (Bresler, 2012). Without further research, students will continue to be underprepared for careers and further study in jazz (Watson, 2010a).

Author: David Baker
Publisher: Alfred Music
ISBN: 1457426145
Category : Music
Languages : en
Pages : 211

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Book Description
This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students.

Author: Ray Smith
Publisher: Outskirts Press
ISBN: 1977208150
Category : Music
Languages : en
Pages : 504

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Book Description
Written by a jazz teacher for jazz teachers, "The Real Jazz Pedagogy Book" is based on the premise that successful jazz teachers must be constantly working four main areas: 1) the wind instruments-including tone production, intonation, and section playing skills; 2) playing styles correctly-such as rhythmic and time feel approach, articulation approach, and phrasing; 3) the rhythm section-playing the instruments, time feel and concept, coordination of comping, harmonic voicings, drum fills and setups, stylistic differences; and 4) the soloists-developing improvisational skills (both right brain and left brain), jazz theory, the ballad soloist, and the vocal soloist. Ray Smith, who has taught and directed jazz ensembles, including the acclaimed Brigham Young University group, Synthesis, and given private lessons for over forty years, also discusses the details of running school programs. Smith's YouTube channel complements "The Real Jazz Pedagogy Book."

Author: Colton Dietz
Publisher:
ISBN:
Category :
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.