The Teaching of Jazz

Book for teachers and students of jazz

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Author: Jerry Coker

Publisher: Alfred Music

ISBN: 3892210225

Category: Jazz

Page: 175

View: 571

Book for teachers and students of jazz

Teaching Music Through Performance in Jazz

This book is the ideal tool for anyone seeking a deeper understanding of the preeminent music for jazz ensembles by seminal jazz composers.

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Author: Richard B. Miles

Publisher: G I A Publications

ISBN: UOM:39015082739858

Category: Music

Page: 589

View: 643

Teaching Music through Performance in Jazz continues in the best tradition of the Teaching Music series, bringing together insights from top jazz educators and invaluable analysis of the best repertoire published for jazz ensembles of all skill levels. This book is the ideal tool for anyone seeking a deeper understanding of the preeminent music for jazz ensembles by seminal jazz composers. In addition, leading jazz educators and musicians contribute chapters on topics such as: "Why Teach Jazz?" by Wynton Marsalis; "A Multi-Cultural approach to Jazz Education" by Ronald Carter; "Rehearsal Techniques: A holistic approach integrating composition, imporovisation, theory, and cultural considerations in the rehearsal" by Ron McCurdy; "The rhythm section: The band within the band" by Reginald Thomas; and "Promoting a high school jazz band" by Ron Modell. In addition, this book includes Teacher Resource Guides to more than 65 of the top jazz charts, broken down into developing, intermediate, and advanced categories. Each Teacher Resource Guide includes vital information on the composer, the composition, historical background, technical requirements, stylistic considerations, musical elements, form and structure, listening suggestions, and additional references. Teaching Music through Performance in Jazz is an essential resource for jazz leaders at all levels and a major contribution to the jazz field. -- from dust jacket.

Now s the Time

This one-of-a-kind book combines practice, theory, aesthetics, history and a proven pedagogy in leading both children and adults in the joys of jazz.

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Author: Doug Goodkin

Publisher:

ISBN: 0977371212

Category: Education

Page: 353

View: 542

This one-of-a-kind book combines practice, theory, aesthetics, history and a proven pedagogy in leading both children and adults in the joys of jazz. It features 70 activities for teachers to do with children based on the Orff approach to music education, a clear developmental sequence and a thorough analysis of the basics of the blues, jazz standards and improvisation. Activities are applicable to preschool, elementary and middle school students and adaptable to any age. They include games, speech, body percussion, movement, songs and arrangements for Orff instruments of classic jazz tunes. Included also is a Middle School curriculum with examples of children's work.

David Baker s Jazz Pedagogy

This volume was the first published jazz teaching method.

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Author: David Baker

Publisher: Alfred Music Publishing

ISBN: 0882844830

Category: Music

Page: 196

View: 312

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.

Teaching School Jazz

The book opens with a philosophical foundation to describe the current landscape of school jazz education. Readers are introduced to two expert school jazz educators who offer differing perspectives on the subject.

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Author: Chad West

Publisher: Oxford University Press, USA

ISBN: 9780190462574

Category: Education

Page: 296

View: 485

Written by an experienced and diverse lineup of veteran jazz educators, Teaching School Jazz presents a comprehensive approach to teaching beginning through high school-level jazz. Thoroughly grounded in the latest research, chapters are supported by case studies woven into the narrative. The book therefore provides not only a wealth of school jazz teaching strategies but also the perspectives and principles from which they are derived. The book opens with a philosophical foundation to describe the current landscape of school jazz education. Readers are introduced to two expert school jazz educators who offer differing perspectives on the subject. The book concludes with an appendix of recommended audio, visual, digital, and written resources for teaching jazz. Accompanied by a website of playing exercises and audio examples, the book is invaluable resource for pre- and in-service music educators with no prior jazz experience, as well as those who wish to expand their knowledge of jazz performance practice and pedagogy.

Jazz Pedagogy for Teachers and Students

This volume was the first published jazz teaching method.

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Author: David Baker

Publisher: Alfred Music

ISBN: 9781457426148

Category: Music

Page: 208

View: 204

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.

Children s Guided Participation in Jazz Improvisation

This book critically engages in current discussions about jazz pedagogy, inclusion and gender equity, beginning instrumental tuition, creativity, and authenticity in childhood.

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Author: Guro Gravem Johansen

Publisher: Routledge

ISBN: 9780429837463

Category: Music

Page: 186

View: 153

Improbasen is a Norwegian private learning centre that offers beginner's instrumental tuition within jazz improvisation for children between the ages of 7 and 15. This book springs out of a two-year ethnographic study of the teaching and learning activity at Improbasen, highlighting features from the micro-interactions within the lessons, the organisation of Improbasen, and its international activity. Music teachers, students, and scholars within music education as well as jazz research will benefit from the perspectives presented in the book, which shows how children systematically acquire tools for improvisation and shared codes for interplay. Through a process of guided participation in jazz culture, even very young children are empowered to take part in a global, creative musical practice with improvisation as an educational core. This book critically engages in current discussions about jazz pedagogy, inclusion and gender equity, beginning instrumental tuition, creativity, and authenticity in childhood.

Elements of the jazz language for the developing improvisor

Jerry Coker followed an early calling to become a jazz tenor saxophonist, growing up in a ... 1991 marks his 33rd year of teaching at the college level.

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Author: Jerry Coker

Publisher: Alfred Music Publishing

ISBN: 157623875X

Category: Music

Page: 142

View: 260

A comprehensive book on jazz analysis and improvisation. Elements used in jazz improvisation are isolated for study: they are examined in recorded solos, suggestions are made for using each element in the jazz language, and specific exercises are provided for practicing the element.

Teaching Jazz

This book provides guidance on starting a jazz-oriented program in conjunction with any existing program.

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Author: Music Educators National Conference (U.S.)

Publisher: Rowman & Littlefield Education

ISBN: 1565451023

Category: Music

Page: 76

View: 916

This book provides guidance on starting a jazz-oriented program in conjunction with any existing program. Organized in six levels from Beginner to Advanced, it is suitable for any age or grade level and is designed so students and teachers can work at their own pace. Developed by the International Association for Jazz Education Curriculum Committee. A publication of IAJE and MENC.

Artie s Jazz Pack Grades 4 8 Games and Activities for Teaching about Jazz in the Classroom

Grades 4 8 Artie's Jazz Pack includes a CD for use with the guided-listening activities, Teacher's Guide with seven reproducible worksheets, and manipulatives for Jazz Term Concentration and Jazz Term Flashcards. 36 copies of the activity ...

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Author: Artie Almeida

Publisher: Heritage Music Press

ISBN: 1429107618

Category: Music

Page:

View: 766

Grades 4 8 Artie's Jazz Pack includes a CD for use with the guided-listening activities, Teacher's Guide with seven reproducible worksheets, and manipulatives for Jazz Term Concentration and Jazz Term Flashcards. 36 copies of the activity boards The Instruments of Jazz and Jazz Styles Dial are also provided, as are an overview of jazz styles, two WebVisits, a list of historical jazz greats and current jazz voices, and listening library and children's literature suggestions. These teaching tools, all of which have been classroom-tested for appeal and effectiveness, will provide you with the necessary materials to teach your students about jazz in an enjoyable and effective manner. You may use any individual component by itself, or utilize the entire kit for a complete jazz instructional unit.

Jazz Piano from Scratch

An essential how-to guide for students and teachers.

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Author: Charles Beale

Publisher:

ISBN: 1860960154

Category: Improvisation (Music)

Page: 197

View: 637

An essential how-to guide for students and teachers. Designed for the complete beginner, it breaks down the process of learning jazz into simple activities and contains a range of easy music examples. It is an indispensable companion to the ABRSM Jazz Piano exams, with Part III dealing with the exam in detail. Comes with a full-length CD.

Chord Changes on the Chalkboard

The interaction between teachers and students in New Orleans public school classrooms opens a new field of research for music historians, and this book is the first to document ways in which public school teachers acted as mentors to shape ...

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Author: Al Kennedy

Publisher: Scarecrow Press

ISBN: 9781461657460

Category: History

Page: 248

View: 492

The world's fascination with New Orleans stems from the allure of the music of the city_music that owes its origins and development to many sources. Until now, popular and scholarly books, dissertations, and articles that attempt to explain these sources have failed to recognize the unsung heroes of the New Orleans jazz scene: the teachers in its public schools. Through more than 90 original interviews and extensive research in New Orleans' historical collections, Dr. Kennedy documents ways that public school teachers pushed an often unwilling urban institution to become an important structure that transmitted jazz and the other musical traditions of the city to future musicians. Music legends from Louis Armstrong to Ellis Marsalis Jr._who also provides the foreword_are just two of the many well-known former students of the New Orleans public schools. Chord Changes on the Chalkboard shows that, particularly after the 1920s, public school students benefited not only from the study of instrumental music and theory, but also from direct exposure to musicians, many of whom were invited to perform for the students. The impact the teachers had on generations of musicians and music fans is undeniable, yet their teaching techniques are only part of the story. In addition to the successes enjoyed with their students, the teachers' own musical experiences, recordings, and performances are also examined. The interaction between teachers and students in New Orleans public school classrooms opens a new field of research for music historians, and this book is the first to document ways in which public school teachers acted as mentors to shape the future of jazz and the music of New Orleans. An important addition to its field, Chord Changes on a Chalkboard will provide invaluable information for jazz fans and historians, music scholars and students, and it is also useful reading for any public school teacher. A must for any music library, it should also be a welcome addition to any collection supporting African-American history or popular culture.

Teaching and Learning Jazz Trombone

Abstract: The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors.

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Author: Julia M. Gendrich

Publisher:

ISBN: OCLC:59882119

Category: Jazz

Page:

View: 298

Abstract: The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences. Teachers ranked listening and playing-along with recordings as the most important method of teaching beginning jazz trombonists to play jazz. For intermediate and advanced college students, learning scales, licks and patterns were viewed as most important. Listening and playing-along was ranked second, with using books and other published materials ranked third. Teachers supplied suggested goals of learning for each of four years of college. In addition, they provided recommendations on books and recordings for students at three levels: beginning, intermediate and advanced. Teachers reported that the teaching of technical skills was important to the development of their students, especially in the first two years of jazz trombone study. With the exceptions of circular breathing and multiphonics, technical skills of all kinds were rated as being important to teach students. Based upon the findings, conclusions and recommendations were given.

Teaching Music Through Performance in Jazz

Teaching Music through Performance in Jazz, Volume 2 is the much-anticipated successor to this acclaimed first book in this series, providing insights of today's top jazz educators and performers as well as invaluable analyses of the best ...

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Author: Richard B. Miles

Publisher:

ISBN: 1622771540

Category: Jazz

Page: 804

View: 868

Teaching Music through Performance in Jazz, Volume 2 is the much-anticipated successor to this acclaimed first book in this series, providing insights of today's top jazz educators and performers as well as invaluable analyses of the best repertoire published for jazz ensembles, from developing to advanced levels...Central to this volume are the Teacher Resource Guides for 100 of the top jazz charts for developing, intermediate, and advanced ensembles. Each Teacher Resource Guide provides detailed background information on the chart's composer and its historical perspective, plus technical and stylistic considerations, a discussion of musical elements, and a measure-by-measure description of the form and structure of each piece. These Teacher Resources Guides provide deep insights for jazz leaders looking to identify and prepare works for ensembles of all sizes and experience levels. Teaching Music through Performance in Jazz, Volume 2 is a major contribution for jazz educators and leaders. This volume is an essential tool to enhance your teaching and your students' understanding of jazz. -- from dust jacket.

What is at Stake in Jazz Education Creative Black Music and the Twenty first century Learning Environment

This dissertation aims to explore and describe, in ethnographic terms, some of the principal formal and non-formal environments in which jazz music is learned today.

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Author: Norman Michael Goecke

Publisher:

ISBN: OCLC:968152675

Category:

Page: 490

View: 351

This dissertation aims to explore and describe, in ethnographic terms, some of the principal formal and non-formal environments in which jazz music is learned today. By elucidating the broad aesthetic, stylistic, and social landscapes of present-day jazz pedagogy, it seeks to encourage the revitalization and reorientation of jazz education, and of the cultural spaces in which it takes place. Although formal learning environments have increasingly supported the activities of the jazz community, I argue that this development has also entailed a number of problems, notably a renewal of racial tensions spurred on by 1) the under-representation of non-white students and faculty, especially black Americans; 2) the widespread adoption of 'color-blind' methodologies in formal music-learning environments, which serve to perpetuate ambivalence or apathy in the addressing of racial problems; 3) a failure adequately to address cultural studies related to the black heritage of jazz music; and 4) the perpetuation of a narrow vision of jazz music that privileges certain jazz styles, neglects others, and fails to acknowledge the representative intersections between jazz and related forms of black music. The study seeks to answer two main questions: What is the nature of the twenty-first-century learning environment? Moreover, how do cultural and racial dynamics affect the ways in which jazz is taught and understood in formal and non-formal settings? My proposition is that teaching jazz as a part of a broad spectrum of black musical styles and cultural traditions, which I shall call the black musical continuum, provides solutions for the dearth of cultural competency and narrow vision of jazz found in many learning environments. Through a continuum theory, I seek to provide a framework for viewing, teaching, learning, and performing jazz that situates it within the larger socio-cultural context of black American music. I argue that such a reorientation toward African-American cultural studies will help jazz musicians, jazz educators, and school administrators better understand how to solve problems of racial disparity and cultural awkwardness or ineptitude in both formal and non-formal environments. Chapter 1 elucidates significant problems that arise from the lack of attention to appropriately targeted cultural competency within jazz education, with particular attention to the racial tensions within jazz programs and the praxis of color-blindness. Chapter 2 draws upon ethnographic methods, notably as promoted by Guthrie P. Ramsey Jr. and Bruno Nettl, to construct a critical ethnography of jazz learning environments at the turn of the twenty-first century. Chapter 3 provides the ethnographic study of a Jamey Aebersold Summer Jazz Workshop, to explain the workings of a unique milieu that influences not only how jazz is taught in schools around the world, but also how the music is culturally perceived and understood within and outside of academia. Chapter 4 delves deeper into the Aebersold Workshop community to examine dynamics of race and gender in that environment. Chapter 5 provides a second ethnographic study, conducted in New Orleans, Louisiana, in which I explore the intersection between non-formal and formal jazz learning environments by shadowing jazz trumpeter Mario Abney. The final chapter synthesizes data from these three ethnographies and explores the administrative and curricular implications of the study.