Teaching School Jazz

2019 ◽  
Keyword(s):  
Case Studies ◽  
Performance Practice ◽  
Music Educators ◽  
Jazz Education ◽  
Jazz Pedagogy ◽  
Collegiate Level ◽  
Specific Teaching ◽  
Service Music ◽  
Jazz Performance ◽  
Instrumental Methods

Teaching School Jazz: Perspectives, Principles, and Strategies is an edited collection of suggested practices in school jazz education authored by a seasoned and diverse lineup of jazz educators with supporting research-based case studies woven into the narrative. It provides not only a wealth of school jazz teaching strategies but also, and perhaps as important, the jazz perspectives and principles from which they are derived. The first part of the book describes the current landscape of school jazz education and offers an overview of basic jazz concepts through the lenses of two expert, yet very different, school jazz educators. Parts II–VI constitute the heart and soul of the book, covering a vast and comprehensive set of topics central to school jazz education. Included throughout each chapter are references and links to audio, visual, and print resources for teaching school jazz that are downloadable from a related website. This text is an invaluable resource for preservice and in-service music educators who have no prior jazz experience, as well as for those who wish to expand their knowledge of jazz performance practice and pedagogy. The book may serve as a primary text for collegiate-level jazz pedagogy courses or as a supplemental text for general instrumental methods and pedagogy classes. Chapters begin with jazz case studies and contain a wealth of jazz-specific teaching material, lists of recommended artists for listening, and visual demonstrations of each chapter’s material.

The “Finite” Art of Improvisation: Pedagogy and Power in Jazz Education

2008 ◽  
Vol 4 (1) ◽  
Author(s):  
Kenneth E. Prouty
Keyword(s):  
Educational Institution ◽  
Art Music ◽  
Jazz Education ◽  
Performance Practices ◽  
Western Art ◽  
Jazz Pedagogy ◽  
Free Improvisation ◽  
Jacques Attali ◽  
Jazz Performance ◽  
Social Orders

Jacques Attali writes that music can serve to “invent categories and dynamics and regenerate social theory” through improvisational practice. Yet the performance practices of which he writes are those based in free improvisation, structurally boundless and relatively non-hierarchical with respect to the relationships between performers. Many improvised genres, however, are not reflective of such a free approach. Do such improvised idioms similarly open up new possibilities for social relationships, or, by the very nature of their stylistic and practical boundaries of what is considered correct or acceptable, actually reinforce existing social orders? In this essay, I explore these arguments within the context of the critical discourse over jazz pedagogy in the institutional context. It is not a critique of jazz pedagogy pre se, but rather, an exploration of how such discourses reflect, generate, and re-generate social interactions that are often deeply affect by power relations between various entities, such as the western art music tradition versus jazz, the educational institution versus the jazz performance community, teacher versus student, administrator versus teacher. All such relationships have affected the manner in which institutionalized jazz pedagogy has developed, and how it is practiced and lived by all involved.

Brief Report: Teaching Practices Associated With the Authoritative Proof Scheme

2010 ◽  
Vol 41 (1) ◽  
pp. 14-19 ◽  
Author(s):  
Guershon Harel ◽  
Jeffrey M. Rabin
Keyword(s):  
Student Learning ◽  
Case Studies ◽  
Teacher Change ◽  
Teaching Practices ◽  
Classroom Teaching ◽  
Future Research ◽  
Classroom Observations ◽  
Proof Scheme ◽  
Specific Teaching ◽  
Academic Year

This Brief Report summarizes case studies of the classroom teaching practices of 2 algebra teachers. The data consist of videotaped classroom observations during 1 academic year. The study identifies and characterizes specific teaching practices that establish the norm that the teacher is the sole arbiter of mathematical correctness in the classroom. The authors suggest that these practices are likely to promote the development of the authoritative proof scheme in students. The results can provide a basis for future research investigating the prevalence of these teaching practices and their impact on student learning, and they can be used as parameters to investigate teacher change.

Classroom Management Through Lesson Design: Considering Some Often-Overlooked Variables to Prevent Issues Before They Start

2018 ◽  
Vol 32 (1) ◽  
pp. 33-35 ◽  
Author(s):  
Tiger Robison
Keyword(s):  
Classroom Management ◽  
Classroom Teacher ◽  
Detailed Examination ◽  
Music Educators ◽  
Time Of Day ◽  
Management Skills ◽  
Lesson Design ◽  
Behavior Issues ◽  
Music Class ◽  
Service Music

Classroom management skills and related issues are usually top concerns of preservice and new in-service music educators. This column, the first in a series about classroom management issues, is about designing lessons to avoid common behavior issues. There are many more variables to consider besides curriculum when designing a lesson, such as the students’ experiences directly prior to music class, the culture set by the classroom teacher, and dozens of others. This column contains a detailed examination with applicable strategies concerning two such variables: time of day of the lesson and students’ physiological needs.

Choosing Engaging Tools for the Music Classroom

2021 ◽  
pp. 43-55
Author(s):  
James Thomas Frankel
Keyword(s):  
Case Studies ◽  
Music Teachers ◽  
Music Educators ◽  
Music Classroom ◽  
Software Designers ◽  
Music Making ◽  
The World ◽  
Software And Hardware ◽  
Teaching Learning ◽  
Music Classrooms

Over the course of the past fifty years, countless software and hardware products have been introduced into music classrooms around the world with varying degrees of pedagogical success. The majority of these products were geared toward professional and amateur musicians and composers, only to be introduced to music teachers, either organically (teachers bringing real-world products into their classrooms) or through the efforts of manufacturers to obtain a new revenue stream for their products by selling them to schools. Knowing this, teachers often find it difficult to become aware of, identify, and choose these tools for use in their classroom instruction. The chapter presents key elements in successfully identifying and implementing creative, intuitive, and engaging tools for teaching, learning, and music making in the music classroom, as well as measuring their efficacy. Case studies focusing on the practices of several music educators are presented, including interviews with the software designers to illuminate the process behind innovative design. In addition to these case studies, a discussion of current products and their individual features and design ethos is given, with an emphasis on concepts instead of brands and devices.

Broad Landscape of School Jazz Education

2019 ◽  
pp. 9-16
Author(s):  
Chad West
Keyword(s):  
Student Achievement ◽  
Instructional Strategies ◽  
Case Studies ◽  
The Other ◽  
Music Teacher ◽  
Approaches To Teaching ◽  
Jazz Education ◽  
Other Hand ◽  
Jazz Musician ◽  
High Student Achievement

Previous research has shown what school jazz educators spend their time teaching, but not how they teach those things or why. Certain instructional strategies are correlated with high student achievement in jazz, but it is not known whether school jazz teachers are utilizing them or what those strategies look like when they do. Teaching School Jazz: Perspectives, Principles, and Strategies introduces the reader to two expert, yet very different, school jazz educators, whose case studies are inserted in chapters throughout the book. Bruce considers himself an experienced music teacher who happens to also teach jazz, rather than a professional jazz musician. Emily, on the other hand, considers herself both an experienced music teacher and a professional jazz musician. This chapter describes differing thoughts about and approaches to teaching school jazz to help paint a picture of what school jazz looks like.

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