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Cultivating the imaginative ear for ...

Teachers College, Columbia University.

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Cultivating the imaginative ear for jazz improvisation: A study in three settings.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Cultivating the imaginative ear for jazz improvisation: A study in three settings./
作者:	Maceli, Anthony.
面頁冊數:	403 p.
附註:	Adviser: Lenore Pogonowski.
Contained By:	Dissertation Abstracts International70-02A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3348357
ISBN:	9781109038163

Cultivating the imaginative ear for jazz improvisation: A study in three settings.
Maceli, Anthony.

Cultivating the imaginative ear for jazz improvisation: A study in three settings. - 403 p.

Adviser: Lenore Pogonowski.

Thesis (Ed.D.)--Teachers College, Columbia University, 2009.

Over the years, many jazz educators have struggled with the concept of how to effectively teach jazz improvisation. Wittmer and Robbins (1988) surveyed the pedagogical materials for the teaching and learning in jazz and acknowledged the wealth of materials published in the thirty years preceding the survey. The Jamey Aebersold Jazz Aids Catalog (2007) provides a current source that garners further support of Wittmer and Robbins' observations. The amount of literature devoted to jazz improvisation speaks not only to the needs of the students, but also to the diversity of pedagogical approaches.

ISBN: 9781109038163Subjects--Topical Terms:

1017808
Education, Music.

Cultivating the imaginative ear for jazz improvisation: A study in three settings.
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245 1 0 $a Cultivating the imaginative ear for jazz improvisation: A study in three settings.
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500 $a Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0510.
502 $a Thesis (Ed.D.)--Teachers College, Columbia University, 2009.
520 $a Over the years, many jazz educators have struggled with the concept of how to effectively teach jazz improvisation. Wittmer and Robbins (1988) surveyed the pedagogical materials for the teaching and learning in jazz and acknowledged the wealth of materials published in the thirty years preceding the survey. The Jamey Aebersold Jazz Aids Catalog (2007) provides a current source that garners further support of Wittmer and Robbins' observations. The amount of literature devoted to jazz improvisation speaks not only to the needs of the students, but also to the diversity of pedagogical approaches.
520 $a The purpose of this multi-case study was to document how thirteen beginning jazz improvisation students at the college level developed their aural skills in three distinct but unique educational settings over the course of one semester. These settings, a jazz classroom, a cooperative learning dyad, and a jazz jam session, provided a snapshot of how beginning improvisers hear melodies, rhythms, chord changes, and other musical elements in jazz. More specifically, the two goals of this research paper were (a) to determine how beginning improvisers at the college level developed aural skills in those settings (the jazz classroom, the cooperative learning dyad, and the jazz jam session), and (b) to determine which factors affected the ability to develop aural skills in each setting. This study occurred throughout one college semester in the Fall of 2006.
520 $a The findings of this study showed that students developed their aural skills in these settings based on interaction with a jazz parent. This jazz parent took on a different form in each setting as follows: (a) jazz classroom setting---jazz parent=instructor, (b) jam session---jazz parent=other jam session participants, (c) cooperative learning dyad---jazz parent=dyad partner. Additionally, this study found that fear and community most affected the ability to develop aural skills in each setting.
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