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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.
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.
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.
This collection of lessons is an easy-to-grasp musical philosophy of practical jazz drumming, from a professional jazz drummer who learned from the masters. The lessons are based on a simple way of approaching the jazz ride cymbal, and applying that concept to the whole drum set. For advanced players and beginners, this will change the way you play.
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.
The Routledge Companion to Jazz and Gender identifies, defines, and interrogates the construct of gender in all forms of jazz, jazz culture, and education, shaping and transforming the conversation in response to changing cultural and societal norms across the globe. Such interrogation requires consideration of gender from multiple viewpoints, from scholars and artists at various points in their careers. This edited collection of 38 essays gathers the diverse perspectives of contributors from four continents, exploring the nuanced (and at times controversial) construct of gender as it relates to jazz music, in the past and present, in four parts: Historical Perspectives Identity and Culture Society and Education Policy and Advocacy Acknowledging the art form’s troubled relationship with gender, contributors seek to define the construct to include all possible definitions—not only female and male—without binary limitations, contextualizing gender and jazz in both place and time. As gender identity becomes an increasingly important consideration in both education and scholarship, The Routledge Companion to Jazz and Gender provides a broad and inclusive resource of research for the academic community, addressing an urgent need to reconcile the construct of gender in jazz in all its forms.
Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts—and is impacted by—events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted “great men” and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz’s “public pedagogy,” and the sometimes-difficult relationships between “jazz people” and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and noninstitutional forces in the educational realm of jazz.
The Oxford Handbook of Preservice Music Teacher Education in the United States identifies the critical need for change in Pre-K-12 music education. Collectively, the handbook's 56 contributors argue that music education benefits all students only if educators actively work to broaden diversity in the profession and consistently include diverse learning strategies, experiences, and perspectives in the classroom. In this handbook, contributors encourage music teachers, researchers, policy makers, and music teacher educators to take up that challenge. Throughout the handbook, contributors provide a look at ways music teacher educators prepare teachers to enter the music education profession and offer suggestions for ways in which new teachers can advocate for and adapt to changes in contemporary school settings. Building upon students' available resources, contributors use research-based approaches to identify the ways in which educational methods and practices must transform in order to successfully challenge existing music education boundaries.
To reach the highest standards of instrumental performance, several years of sustained and focused learning are required. This requires perseverance, commitment and opportunities to learn and practise, often in a collective musical environment. This book brings together a wide range of enlightening current psychological and educational research to offer deeper insights into the mosaic of factors and related experiences that combine to nurture (and sometimes hinder) advanced musical performance. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical journeys and educational reflections; performance learning; and developing expertise and professionalism. Although each chapter within its home section offers a particular focus, there is an underlying conception across all the book’s contents of the achievability of advanced musical performance and of the important nurturing role that higher education can play, particularly if policy and practice are evidence-based and draw on the latest international research findings. The narrative offers an insight into the world of advanced musicians, detailing their learning journeys and the processes involved in their quest for the development of expertise and professionalism. It is the first book of its kind to consider performance learning in higher education across a variety of musical genres, including classical, jazz, popular and folk musics. The editors have invited an international community of leading scholars and performance practitioners to contribute to this publication, which draws on meticulous research and critical practice. This collection is an essential resource for all musicians, educators, researchers and policy makers who share our interest in promoting the development of advanced performance skills and professionalism.
This volume explores music education locally and globally, and critically investigates where music education has come from, where it is, and where it may be going in the future, as well as what this means to us in the twenty-first century.
