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Exploring Music Students' Jazz Impro...

Brown, Ronald.

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Exploring Music Students' Jazz Improvisation Skills through Listening or Jazz Improvisation Theory Instruction: A Qualitative Case Study.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Exploring Music Students' Jazz Improvisation Skills through Listening or Jazz Improvisation Theory Instruction: A Qualitative Case Study./
Author:	Brown, Ronald.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	120 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
Contained By:	Dissertation Abstracts International78-10A(E).
Subject:	Art education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10283094
ISBN:	9781369835960

Exploring Music Students' Jazz Improvisation Skills through Listening or Jazz Improvisation Theory Instruction: A Qualitative Case Study.
Brown, Ronald.

Exploring Music Students' Jazz Improvisation Skills through Listening or Jazz Improvisation Theory Instruction: A Qualitative Case Study. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 120 p.

Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.

Thesis (Ph.D.)--Northcentral University, 2017.

The problem addressed was whether theoretical or aural instruction would increase college music students' music creativity more effectively. The method and design employed included a descriptive case study to gather information. The theory of experiential learning is suitable for studying music and jazz improvisation, as it entails learning through the process of experience and learning through hands-on participation, such as duplicating sounds of other jazz musicians from listening or reading sheet music. The research question was as follows: What are student perceptions regarding the most effective way to learn jazz improvisation skills? The 12 music students who participated attended Austin Community College in Austin, Texas and included 6 female and 6 male music students ranging in age from 17 years to 70 years. Two students played saxophone, three students played trombone, two played trumpet, one played piano, one was a vocalist, one played drums, one played bass, and one played guitar. The study involved collecting qualitative data through interviews and analyzing pertinent documents through content analysis to determine patterns and themes. According to the findings, each participant interviewed felt traditional notation-based jazz improvisation instruction would provide college music students with the knowledge and skills needed to produce more powerful jazz improvisation solos. There was little indication that the participants felt they could develop or gain knowledge and skills to improvise melodies though aural application. The participants felt that listening to professional performers play live or on recordings does not help music students to identify the scales employed in jazz improvisation. There was a consensus that chords were more difficult to detect and identify by simply listening than any other element. Based on this qualitative case study, it was recommended that five specific elements be included in jazz improvisation instruction: jazz melodies, scales, chords, intervals, and rhythms are needed to increase college music students' creativity and to create productive improvisational solos.

ISBN: 9781369835960Subjects--Topical Terms:

547650
Art education.

Exploring Music Students' Jazz Improvisation Skills through Listening or Jazz Improvisation Theory Instruction: A Qualitative Case Study.
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520 $a The problem addressed was whether theoretical or aural instruction would increase college music students' music creativity more effectively. The method and design employed included a descriptive case study to gather information. The theory of experiential learning is suitable for studying music and jazz improvisation, as it entails learning through the process of experience and learning through hands-on participation, such as duplicating sounds of other jazz musicians from listening or reading sheet music. The research question was as follows: What are student perceptions regarding the most effective way to learn jazz improvisation skills? The 12 music students who participated attended Austin Community College in Austin, Texas and included 6 female and 6 male music students ranging in age from 17 years to 70 years. Two students played saxophone, three students played trombone, two played trumpet, one played piano, one was a vocalist, one played drums, one played bass, and one played guitar. The study involved collecting qualitative data through interviews and analyzing pertinent documents through content analysis to determine patterns and themes. According to the findings, each participant interviewed felt traditional notation-based jazz improvisation instruction would provide college music students with the knowledge and skills needed to produce more powerful jazz improvisation solos. There was little indication that the participants felt they could develop or gain knowledge and skills to improvise melodies though aural application. The participants felt that listening to professional performers play live or on recordings does not help music students to identify the scales employed in jazz improvisation. There was a consensus that chords were more difficult to detect and identify by simply listening than any other element. Based on this qualitative case study, it was recommended that five specific elements be included in jazz improvisation instruction: jazz melodies, scales, chords, intervals, and rhythms are needed to increase college music students' creativity and to create productive improvisational solos.
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