東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

What Is at Stake in Jazz Education? ...

Goecke, Norman Michael.

FindBook

Google Book

Amazon

博客來

What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment./
作者:	Goecke, Norman Michael.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	506 p.
附註:	Source: Dissertations Abstracts International, Volume: 78-06, Section: A.
Contained By:	Dissertations Abstracts International78-06A.
標題:	American studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10294628
ISBN:	9781369370355

What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment.
Goecke, Norman Michael.

What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 506 p.

Source: Dissertations Abstracts International, Volume: 78-06, Section: A.

Thesis (Ph.D.)--The Ohio State University, 2016.

This item must not be sold to any third party vendors.

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.

ISBN: 9781369370355Subjects--Topical Terms:

2122720
American studies.

What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment.
LDR:04787nmm a2200409 4500 001 2210087
005 20191118121540.5
008 201008s2016 ||||||||||||||||| ||eng d
020 $a 9781369370355
035 $a (MiAaPQ)AAI10294628
035 $a (MiAaPQ)OhioLINK:osu1461119626
035 $a AAI10294628
040 $a MiAaPQ $c MiAaPQ
100 1 $a Goecke, Norman Michael. $3 3437211
245 1 0 $a What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 506 p.
500 $a Source: Dissertations Abstracts International, Volume: 78-06, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Boone, Graeme M.
502 $a Thesis (Ph.D.)--The Ohio State University, 2016.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a 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.
590 $a School code: 0168.
650 4 $a American studies. $3 2122720
650 4 $a Cultural anthropology. $3 2122764
650 4 $a Black history. $3 2122718
650 4 $a Fine arts. $3 2122690
650 4 $a Folklore. $3 528224
650 4 $a Music education. $3 3168367
650 4 $a Performing arts. $3 523119
650 4 $a African American studies. $3 2122686
690 $a 0296
690 $a 0323
690 $a 0326
690 $a 0328
690 $a 0357
690 $a 0358
690 $a 0522
690 $a 0641
710 2 $a The Ohio State University. $b Music. $3 1672701
773 0 $t Dissertations Abstracts International $g 78-06A.
790 $a 0168
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10294628