jazz education: methods and difficulties in teaching music derived from an oral tradition

8/10/2019 Jazz education: methods and difficulties in teaching music derived from an oral tradition

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Joe Higham

MUSI2M 2012-2013

Jazz education: methods and difficulties in teaching

music derived from an oral tradition

Stages et rati!ues discilinaires en musi!ue rati!ue

"rofesseur : #nne-$mmanuelle %eulemans

Anne Academiqu 2012-2013

Univrsite Catholiqu d Louvain

Faculte d philosophi, arts t lttrs

Departmnt histoir d lart, archeolo!i t musicolo!i

&ouvain-la-neuve


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Introduction

How does one teach jazz? The experiences of many musicians who try and find an answer to

this seemingly small question have, as yet, not been answered. The question, or conundrum, that

arises when approaching the subject of jazz pedagogy is how does one teach something that is, or

should be, intuitive? n an interview with !aul Haines, "teve "wallow says that #jazz can be learned

but not taught$%.&hat does that mean? Teachers try to pass on their love of jazz, technical details

such as scale use and chord manipulation, but also the history that is a part of that music, and

something of equal importance. Tony &hyton of the 'eeds (ollege of )usic has written about the

difficulties in developing jazz education in his paper #*irth of the school+ discursive methodologies

in jazz education$. He quite rightly says that #-... jazz pedagogy is regarded as complex and

problematic, education having the potential to occupy the uncomfortable position between

autonomous art and music as social text.$/

n this presentation, will try to outline some of the difficulties that a musician0teacherencounters when faced with the tas1 of passing on 1nowledge originally stemming from an oral

tradition, that has become an institutionalized field of music education. n the first part give a short

outline of the development of jazz education and pedagogy in higher education, leading to the

second section which is a presentation of my experiences and ideas, based on my teaching

experience.

)y original intention was to interview a selection of musicians and students. However, after

interviewing my first candidate, became aware that getting musicians to answer precisely was

difficult and summarizing their answers into such a short paper would be aw1ward. 2s an

alternative, as1ed a variety of musicians to fill in a brief and very general internet3based survey,

that has enabled me to have a quic1 glimpse at their experience4s5 in jazz education. 2lthough not

% !aul Haines, #"ienna0symposium+ (oda$, The Journal of Jazz and Improvised Music, 6anuary07ebruary 88/, p.

/93:8. Tony &H;Tol.

, =o. %, )arch 88@, pp. @A3%/ Ibidem.


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the most perfect or non3biased solution, it did however produce some interesting results, which

have annexed to this paper:.

'astly, although have discussed forms of pedagogy and their evolution within higher

education, have not explored the more practical problems of employment, subsidy systems or the

lac1 of venues in todays society. These also ma1e up an important part of the musical development

for studentsB where can they play and what are their future prospects for employment? These

questions seem equally relevant when discussing jazz education and could be subjects for research

in a future paper.

: 2nnex C%.


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Part One: The Development of Jazz Pedagogy

in Higher Education.

Early stages and development

Teaching music in formal higher education is far more recent than probably most people

would expect, dating bac1 as recently as the late %A thcentury, when, interestingly, &illiam &eber

points out that music was seen as social in context.A;et, music pedagogy was born later, as early

DconservatorioD were not necessarily music institutions but orphanages+

#The origins of conservatories must be sought in communal rather than purely

ecclesiastical institutions, and the most probable source of the concept lies in the

humanist view of musicEs social and educational role, which affected the curricula

of schools and other institutions from the late %Ath century.$@

*y the late %A88s, music had started to be accepted as something profitable and

acceptable+

#t was the =eapolitan conservatories that first discovered that music could be a

profitable activity. n Fermany the music teachers and their charges had

augmented their stipends by singing at weddings and similar functions, and also

by giving street entertainments.$G

2lthough the scope of this paper does not cover the development of music education in the

conservatory, it is interesting to realise that classical music has not always been a major subject of

study in institutions.

6azz was also added recently to the curriculum of high schools, universities and

conservatories. *ryce 'utyDs #6azz ducationDs "truggle for 2cceptance, !art $and I6azz

nsemblesD ra of 2ccelerated Frowth, !art $ 9, give a brief outline of the development of jazz

education in 2merica, one of the first countries to formalize the subject after the second world war.

A !opular music, jazz as it became 1nown, was also originally a DsocialD music although it would ta1e fifty years

before it was being taught within institutions.@ &illiam &*J, et al. I(onservatories.I Grove Music Online, Oxford niversit! "ress,

Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music0:%AL, 4consulted 9 6ul. 8%/5.G Ibidem.

*ryce 'MT;, I6azz ducationDs "truggle for 2cceptance, !art I, Music Educators Journal, >ol. @9, =o. / 4=ov.,%95, pp. /3/9NA/

9 *ryce 'MT;, I6azz nsemblesD ra of 2ccelerated Frowth, !art I,Music Educators Journal, >ol. @9, =o. : 4Oec.,%95, pp. :93A8N@:


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hat is !azz" #an it $e taught"

2lthough jazz is now happily taught in many countries there is no common understanding of

what defines a good jazz musician, or of the best way of teaching jazz.


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originality.8

!aul TannerDs papers #6azz Foes to (ollege+ !art S $, although a little outdated 4%9G%5,

ma1e for an interesting read, when loo1ing at the questions raised concerning jazz education. He

quotes some of the studentsD remar1s+ #not enough listening time, too much emphasis on afro3

american jazz, class sizes, the negative image of the word DjazzD, do we need another term?$

Teaching an oral3based tradition also cause other problems such as value judgements on how to

evaluate students, #-one of the most difficult problems that teachers have is testing and grading.$ %

2s Tanner mentions in his essay, it seems that it is difficult to decide Q in institutions Q what is

important+

#ol. AG, =o. G 4)ar., %9G%5, pp. AGN%8A3

%89N%%%3%%/. Ibidem.

/ Fary P==O;and *arry PJ=7'O. I6amey 2ebersoldI, Grove Music Online. Oxford Music Online,Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music06GA%88L, consulted, %9 2ug. 8%/.

: !aul J ='J. IOavid *a1erI, Grove Music Online. Oxford niversit! "ress.,Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music068/88L, consulted, %9 2ug. 8%/.

A Oave F'';and *arry PJ=7'O, I6erry (o1erI, Grove Music Online. Oxford Music Online.,Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music0689:/88L, consulted, %9 2ug. 8%/.


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investment and commercial development.@n conclusion, it could be interesting to combine

departments, covering a wider scope of material. (omputer programming, musicology, electro3

acoustics and jazz improvisation could all sit comfortably in one curriculum, giving students the

possibility to widen their 1nowledge and at the same time develop useful tools outside of music and

possibly beneficial to finding employment.

@ The )T 4)assachusetts nstitute of Technology5 wor1s with its students in the development of saleable software.x. #Fuitar Hero$, a computer game involving music Q http+00guitarhero.com0.


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Part T%o: Personal O$servations

This section is based on brief observations made over my years of teaching music, and more

specifically jazz, at the 6azz "tudio, in 2ntwerp. 2lthough would say that most of these methods

have been inspired by my teaching experience at school, others have come about from personal

experiences, private lessons that have taught, or that have ta1en.

&ethodology: pedagogy and general concepts

a' ensem$le %or( and lessons


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suggestions when needed, and usually, as1 the group if they are interested in the concept. feel

that imposing something that is either beyond the students capabilities or of little use to them can be

counter3productive. 2s for the concepts of harmony and improvisation, some students have had

initial experience whilst*ammin%-with friends or improvising using simple static harmony, but for

most the concept is a new adventure. 'et us also 1eep in mind that not all students wish to be great

improvisers. )any consider solos a small part of ma1ing music and will never really try to develop

this aspect. Fenerally singers seem less interested in learning to improvise, which is probably partly

due to a5 the difficulties and b5 most vocalists donDt envisage a career in jazz. 9

=aturally the most important part of wor1ing with music is the practical fun of playing.

Having that, an interesting approach to teaching music is DdiscussingD . 6azz can be quite confusing at

the early stages and tal1ing about music, without referring to notes or technicalities, is easilyaccessible to all in an ensemble. 2 second point which is equally important is communicating the

history of jazz through social context. n classical music, history is taught to students, from a social

aspect and is nothing more than a window through which we loo1 to see how people Q in most cases

composers Q lived at a certain period.


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the possibility to discover new music and ma1e suggestions for expanding their listening horizons.

2 student who listens to a lot of blues can be pointed in the direction of DbluesyD style jazz players

which helps them develop their ear, their understanding of jazz improvisation, in a way which is not

alien to their world.

7urthermore, many students have little notion of earlier music developments. "ome assume

that jazz began in the %stcentury, almost the year they started listening to it. (uriously one

saxophone student admitted they had norecordings of saxophone players and many of the students

come to the Djazz studioD having never listened to jazz even. *y presenting students with earlier

forms of jazz and other musics, they start to understand how much interesting music was made

before their time, and that innovation is not necessarily something restricted to their era. 2lthough

most of the students are instrumentalists every year there is a new influx of singers, often because offashions in the pop world/. )any singers come to the 6azz "tudio after hearing pop singers

approaching jazzy versions of tunes such as in 88 =orah 6onesE #OonDt Pnow &hy$, 6amie

(ullumDs album #!ointless =ostalgic$ in 88%, or one of many 2retha 7ran1lin hits. )ost donDt

realize that these singers are copying earlier singers, or influenced by them. *y introducing the

singers to earlier jazz vocalists such as *illie Holiday, lla 7itzgerald or modern equivalents such as

Purt lling, the student jazz singer is able to a5 discover a new voice and b5 establish historical

connections. 'astly it is often necessary to explain the different in styles 4as hard3bop, be3bop or

swing5. 7inding categories that appeal to students helps ma1e the learning process more fun.

Throughout the courses, also as1 the students questions or give them examples of ethics in

real professional life situations in music. )any years ago, one student was always arriving late. t

was the first lesson of the day and, as usual, the drummer was already set up and waiting. He came

from far away and had to get up at around 8Ah88 every morning, to catch his trains. He was never

late. The other student, the bass player, lived on the opposite side of the street and constantly arrived

half an hour late, and had us all wait for him. 7inally ended up explaining Q in front of the whole

ensemble Q that, firstly, it was very rude to arrive so late, not only for me but for his fellow students

and that if the drummer could arrive on time, surely DheD could ma1e the effort to get out of bed and

be there on time. The second point made was equally as important, as explained that if they

constantly arrived late to recording sessions, rehearsals and concerts, it was unli1ely that anybody

would hire them. #2fter all$ said, #time is money in studios, and arriving late means paying for

/ &henever a pop idol has a major hit using jazz material the school often has a large influx of singers all hoping toimitate DthisD person.


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wasted time, wouldnDt hire youU$. nterestingly, the student had never really thought about this and

his attitude changed radically Q for the better. These conversations aim at helping students

understand what a career in music means. ol. A:, =o. : 4&inter, 88@5, pp. //G3/:9/A Jesults range from % V #strongly disagree$, A V #"trongly agree$.


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deally, music should be taught as a living entity. try to play music with the students, from

the very first day, even if they cannot play their instruments, read or write music. This enables them

to play, after only two or three months, and develop instrumental s1ills such as sight reading and

chord recognition. remember my first ensemble lesson at =ewcastle (ollege as one such

experience. The teacher handed out the music and everybody stared blan1ly at the scores. 2s

someone who had never read a note of music in my life, told my colleague and neighbour, another

saxophonist, that could not read. He answered that nobody couldU The teacher counted us in, an

instant twelve tone cacophony erupted, the teacher screamed "T

little by little and, by the end of the ensemble lesson, we could more or less play the melody.

"everal wee1s later it, sounded much better, and by the end of the year, we could all read quite well

4we had several ensembles plus a big band rehearsal every wee15. +eeing ,hearing' and feelingyour o%n developmentis an important motivation, and usually after one academic year, most

students read and write music, and play their instruments reasonably well.

2lthough wor1ing with the ensemble on reading parts is important the most difficult aspect

of sight reading is transposing pieces into other 1eys at sight. "axophone and trumpet players are

just two of the instruments that need to transpose their music because of their specifications. very

piece needs to be either re3written, or more practically, transposed at sight.

d' Transposing

However, they are not the only ones to transpose music, all instruments need to wor1 on this

s1ill.


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qualities and individual characteristics.

-luesis probably one of the most popular forms that musicians use, as a basis for writing

and improvising. ts tonic, sub3dominant3 dominant relationships are perfect for teaching. 2 blues

also has the advantage of being a fixed chord scheme, which can have an!blues melody played on

its chord progression. D6azz bluesD/@

are often made up ofsimple repetitive four bar motifs which

repeated three times over the twelve bar form /G. (onsequently, students only have to learn one basic

chord pattern 4ideally in twelve 1eys5, yet can apply dozens of different melodies, depending on

their tastes, styles or ability. "imple examples of that style are #*ags Froove$ or #"onnymoon for

Two$ 4see footnote /@5, and an excellent example, although not a traditional blues, is #&atermelon

)an$ from Herbie Hancoc1Ds %9@ album #Ta1inD


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chosen is easier to explain. n jazz, the soloist is free to choose the scales that he0she requires,

depending on what musical effect they wish to produce. 2s an example one could explain how a %st

degree major chord Q the tonic of the piece Q can have two scales+

a5 The major scale related to the 1ey+ example ( major over a ( major chord.

$5 2 lydian scale. The lydian mode or scale is ta1en from the >th degree of a 1ey. xample

( lydian 4( lydian V (, O, , 7C, F, 2, *, ( or the scale of F major starting and finishing on the

note of D(D5.:The use of the lydian scale 4$5 will give a very colourful sound due to the raised %%th,

although the tonic solution 4a5 is just as good and probably used more often throughout. t is

particularly important to point out to students that simple chord0scale solutions are as good as the

complicated alternatives.

f' hythm&or1ing on chords and scales is important but jazz has important rhythm elements that

define its sound and feel. "omeone with a good technical command of the instrument but poor time

will unfortunately not sound as good as someone with average technique but good timing. )uch of

this is based on understanding how to manipulate the beat in a way that plays with the ambiguity

between triplets and eighth notes. n the example below we notice how two thnotes become felt as

a triplet feel+

&hat musicians call DswingD is based on this rhythmic subtlety. &hen played over a piece, scales can

either be swung using this phrasing or played as straight eighth notes. 2 second example of rhythm

is the importance of beats and :. These beats are accented to emphasise this swing feel, remember

that the thnotes have a triplet feelU

xample+

*oth these examples can be demonstrated either by playing or listening to recordings showing the

development of these rhythms through the history of jazz.

These are not the only timing details that can be demonstrated.


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your playing, or the groupsD, a sense of acceleration or you can drag the time feeling. This effect can

be either used in solos or by the bassist and0or drummer, to give energy or colour to the music.

)uch of the success in playing jazz is the understanding and feel for time, and use of metronomes

for practicing these techniques is most important. There are several games and techniques which

students can learn to wor1 with their metronomes. Two simple examples that often use to start

with are+

E/ample 0+ !lace the metronome on @8 beats per minute. =ormally this means that you would hear

4or assume5 the beat as 0, 1, 2and 3, or better still 0and 2.


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teachers room all wee1 long. &hen we inquired about the case, we were told that the student came

to collect his case minutes before the lesson, too1 his lesson and then immediately put the

instrument bac1 in the teachers room until the next wee1U 2 humorous example of a student that

obviously misunderstood the dedication needed to succeed, and there are many more li1e this.

2s a starting point, can be directed to recordings of soloists playing the same instrument:/,

because when students start transcribing solos from recordings, the instrument played and the

instrument transcribed both have the same ranges, which facilitates the process. mitation is highly

important in the initial stages of development and listening to soloists and imitating is the best way

to develop a solo language. 2lthough obvious, most people forget that we learn to spea1 by simple

imitation and correction from our elders. 6azz improvisation is no different. 5istenin% is of prime

importance and the more a student listens to recordings of famous soloists Q if possiblechronologically Q the quic1er he0she will acquire an idea of sound and style, understand the

differences in timing and pitching.

However, before starting to transcribe, students should study scales and intervals, as it helps

them develop their soloing abilities and strengthen their ear. *eing able to recognise scales will help

speed up the transcription process later.


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if the music is modal, it is clear that the soloists use major or minor scales in a tonal way. This is

probably due to their musical schooling, which roots date bac1 well before the modal harmony

fashion. Mnfortunately, many teachers wor1 on modes before scales. This is probably due to the fact

that it is easy to ma1e music from modes at an early stage, whereas scales need a certain mastery

before being used.

These scales have to be studied in multiple ways Q as simple scales 4up and down5, in triads,

arpeggios, in intervals of thirds, fourths, fifth, sixths and sevenths. )any patterns can be built on

these intervals, triads and arpeggios. 2s we see in xample %, a major scale is played ascending in

natural thirds Q the thirds within the scale.

n xample , have ta1en the same major scale and made a variation using the same system of

thirds but combined Q ascending and descending.

n the last example 4xample /5, again use the pattern from xample 4of ascending descending5,

yet, this time, use the interval of a fourth, creating yet a new variation of the first simple pattern.

These simple patterns can be constantly developed using thirds, fourths, fifths, and so on. They can

also be developed rhythmically, using eighth notes or triplets. 2ll have to be studied in % 1eys both

in major and minor tonalities.

2 technique that uses patterns has been developed to develop solo ideas. These simple

patterns are also called #motifs$. ;ou will notice that in the example, tal1 about thirds, however,

once we start using motifs, we often use numbers to identify the patternDs shape. f one listens

carefully to improvisers post %98, one will notice that soloists using this system have become the

norm. t has also enabled jazz schools and universities to have a stable assessment model for

judging pupilsE development 4i.e. (an they or can they not play a particular pattern?5.


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3 "ome simple examples of motif 4or pattern5 playing using the %,,/,A pattern+

4 diatonic 8 c ma*or, d minor, e minor =.

3 ma*or chords on a c!cle of fifths 7$ ma*or, > ma*or, (b ma*or, etc:


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examples in % 1eys and donDt let the student wor1 on the idea.


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developing new ideas bring their own benefits and rewards. ncouraging students to participate in

and listen to marginal music, to compose in different ways, helps them develop their creativity,

although it is also important to recognise that not everybody is interested in finding new paths. 2s

one student pointed out, opening new doors can cause confusion if they are not ready to do so.

(onsequently, choice is beneficial only if students are well prepared. ven so, feel one of the most

important aspects of teaching is the ability to pass on your enthusiasm for 1nowledge and learning.

*oo1s such as Oere1 *aileyDs #mprovisation+ ts nature and practice in music$ Aor =icolas

"lonims1yDsA/#Thesaurus of "cales and )elodic !atterns$ are just two examples of literature that

can allow the student to develop original ideas. 7ilms and boo1sA:can also be used as starting points

and students should be given the possibility to play their own ideas in the ensembles or lessons.

3Thin1ing and breathing the music2s "teve "wallow explains to !aul Haines 4see introduction5, jazz has to be learned.


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interaction between teacher and student via guided learning. The goal is for

students to become participants in jazz cultural community which may include an

#accumulated store of symbols, ideas, and material products associated with a

social system$46ohnson, %99A, p.@5. 6azz music includes symbols 4e.g., notationB

historic personalitiesB musical gestures5, ideas 4e.g., performance practicesB

improvisationB cultural, ethnic, gender stereotypes5, and materials 4e.gB, charts,

recordings5.$AG

He continues to discuss some of the studies that confirm the progress that students ma1e when

wor1ing first hand with professionals. He also underlines the use of transcription, play3along

records and other teaching aids. t is clear that any possibility to involve the students directly with

the practicing musicians speeds up the learning process and the quality of the music. 2lthough the

heyday of jazz 4%9:8s and A8s5 is long passed, it seems that the transmission of historical andpersonal experiences from the past is more than beneficial in helping the students develop a

personal language.

Mnfortunately, to my 1nowledge, there has been no in3depth study from a uropean angle,

and as influences surely differ from one continent to another a more modern approach may have to

be embraced that includes a variety of modern styles. These new influences may well have a

stronger connection and connotation for students in modern day urope.

AG Ibidem.


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#onclusion

t is evident that, although music improvisation has clearly become a mainstream art form,

not all developments have been beneficial. There are discrepancies as to technique, melody and

talent assessment. )any papers on jazz and improvisation highlight the importance of listening,

which naturally ties in with an art form heavily dependant on orality. t is impossible to improvise Q

and interact Q without listening to your fellow band members. 2lthough many institutions agree on

methods for teaching improvisation it would also seem some areas are either neglected or not

adapted to modern techniques and newer styles of music, the danger being that the music, in this

case jazz, may become stifled as the word DconservatoryD suggests.

'astly, the techniques that have outlined in the second section D!ersonal


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-i$liography

6amey 2*J"ol.

, =o. %, "pecial 7ocus+ (omposition and mprovisation 46ul., 88%5, pp. %93/

Fary P==O;and *arry PJ=7'O. I6amey 2ebersoldI, Grove Music Online. Oxford Music

Online,Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music06GA%88L, consulted,

%9 2ug. 8%/.

*arry PJ=7'O. I)iles OavisI, Grove Music Online., Oxford Music Online,

Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music08G/%8L, (onsulted, A 2ug.8%/.

*ryce 'MT;, I6azz ducationDs "truggle for 2cceptance. !art I, Music Educators Journal, >ol. @9,

=o. / 4=ov., %95, pp. /3/9NA/

*ryce 'MT;, I6azz nsemblesD ra of 2ccelerated Frowth, !art I,Music Educators Journal, >ol.

@9, =o. : 4Oec., %95, pp. :93A8N@:

!aula )


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'ewis !ol. 9 4%995,

pp. %/:3%/9.

!hilip J(, Iducated 6azz. &hat happened when jazz Rwent to collegeEI, &eminar in Jazz and

"eda%o%!, &estminster (hoir (ollege, % )ay, 8%%.

!aul J='J. IOavid *a1erI, Grove Music Online. Oxford niversit! "ress.,

Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music068/88L, consulted, %9 2ug.

8%/.

*radford Jol. AG, =o. / 4ol. AG, =o. G 4)ar., %9G%5,

pp. AGN%8A3%89N%%%3%%/.

!aul T2==J, I6azz Foes to (ollege+ !art I,Music Educators Journal, >ol. AG, =o. 42pril.,

%9G%5, pp. :ANA39/.

&illiam &*J, et al. I(onservatories.I Grove Music Online, Oxford niversit! "ress,

Khttp+00www.oxfordmusiconline.com0subscriber0article0grove0music0:%AL, 4consulted 9 6ul.

8%/5.

rin &HJ37'


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Annex #1

Jazz Education Survey

As mentioned in the main paper this is a short and very general survey that I sent out to musicians

that I know via professional connections or through personal contacts. Although the survey is far

from thorough it does have some interesting points. There were 40 questions to be answered. I

notice that there was a small drop-out rate and some people obviously decided to not answer some

questions moving directly to either the net! or another.

I didn"t use the survey to answer questions in my paper! I was more interested to see if

musicians agreed with me and each other on certain points. In general the results seemed fairly even

and there were not too many surprises.

#ome interesting points that I noticed are as follows $unfortunately no women answeredmy survey%&

I was not surprised to see that most people (87.5%) listened to rock music before studying a!!

"uestion ("uestion n#$). In the ntwerp &a!! 'tudio where I teach I would say that most students

arrie at the school haing listened to ery little a!! but plenty of rock music.

*he figures connected to listening singing were most reealing (+,-). $.55% of people practised

singing what they play. /-.5,% of people try to sing someone0s solo to learn it (+,/). 1oth these

figures backed up my thoughts on working on solos with students as mention in the main paper. It

also linked with "uestion n#,7 asking if people could sing chord tones oer chord progression and

"uestion n# ,$ where I asked peoples strengths and weaknesses when using their ears. ll these

answers seemed to back up my thoughts on this subect. 'ome of the later "uestions also confirmed

the same thing. In "uestion n#- 233% answered that the ear was essential for deeloping solos

$3.$2% said listening to recordings was important also (+27).

4uestion n#, seemed to show that learning music was best done with others ia an ensemble. I

would hae been interested to know what the 2/.2% of people who disagreed thought were better

options

It was interesting to read in "uestion n#/ that free6improisation was considered the most easy

thing to play showing how free6impro is rising in popularity.

inally "uestion n#8 is particularly important to read as here the musicians commented on what

they find most important for learning to play a!!. ere again listening came up as probably the

most important point to focus on 9 in one way or another.

Due to layout problems and character sizes I have left the survey in its oriinal form!


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What is your gender?

# Question no. no.(%)

1 What is your gender? 33 100%

Male 32 96.97%

Female 1 3.03%

Print report http://app2.evalandgo.com/report/print_report2


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What country are you from (where are you living now)?

# Question Text

2

What country are

you from (where

are you living

now)?

- England

- USA

- USA - Uk

- USA

- UK

- United States

- uk

- Australia

- England

- US

- Australia

- USA

- USA

- USA

- US

- USA

- UK

- Switzerland - Belgium

- UK

- From the U.S. but now living in Japan.

- Belgium

- usa

- usa

- Scotland; Belgium

- belgium

- Canada

- United States

- sweden

- USA

- usa

- Belgium



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Student or teacher?


3 Student or teacher? 33 100%

student 2 6.06%

teacher 20 60.61%

neither 11 33.33%



31/68

What instrument(s) do you play?

# Question Text

4What instrument(s)

do you play?

- double bass

- Piano, drums

- Trumpet - Double bass

- clarinet

- Trumpet, laptop

- Saxophone

- guitar

- Drums

- Saxophone

- trombone, drums, bass, piano

- piano

- Trumpet, piano, euphonium, didgeridoo

- guitar

- Saxophone

- cornet, trumpet, flugelhorn, soprano cornet, alto horn

- Drums

- Chromatic harmonica, Trumpet, Flugelhorn, Valve Trombone, Vox

- reeds - Valve Trombone

- Saxophone & Flute (Specializing in soprano saxophone)

- Professionally-Trumpet

- guitar

- string bass

- saxophone

- Saxophone

- acoustic bass, electric bass, piano, recorder

- VIBRAPHONE, drum set, all hand drums & percussion

- Alto / Tenor saxophone, Bb / Bass Clarinet

- saxophones

- Trombone

- tuba

- sax



32/68

If you are a teacher where, or how, did you study (before you became a teacher)?


5 If you are a teacher where, or how, did you study (before you became a teacher)? 24 100%

conservatory 10 41.67%

university 14 58.33%

private courses 10 41.67%

music workshops or summer courses 10 41.67%

from recordings (CDs, LPs, tapes, etc) 15 62.5%

teach yourself books (play-alongs) 11 45.83%

Other 6 25%

# Question View Other(s)

5

If you are a

teacher where, or

how, did you study

(before you

became a

teacher)?

- junior and high school

- College

- N/A

- Private teachers

- Playing with others



33/68

If you are a student did you study music before entering an institution, and if so where?


6 If you are a student did you study music before entering an institution, and if so where? 10 100%

private lessons 9 90%

music workshops 2 20%

academies (or music schools) 2 20%

from recordings (CDs, LPs, tapes, etc) 5 50%

teach yourself books (play-alongs) 3 30%

Other 1 10%


6

If you are a

student did you

study music before

entering an

institution, and if

so where?

- N/A



34/68

If you are neither a teacher or student - where did you learn to play jazz?


7 If you are neither a teacher or student - where did you learn to play jazz? 13 100%

conservatory 3 23.08%

academy 1 7.69%

private courses 4 30.77%

music workshops or summer courses 4 30.77%

from recordings (CDs, LPs, tapes, etc) 10 76.92%

university 1 7.69%

teach yourself books (play-alongs) 7 53.85%

Other 5 38.46%


7

If you are neither a

teacher or student

- where did you

learn to play jazz?

- loads of ways - private lesson,s playing lots, transcribing, attended a MA programme but dropped out half way

through

- your question posits the notion that jazz is learned primarily through an education system

- Classically trained pianist

- on the stand

- Giging



35/68

Teachers and students - did you listen to jazz records before studying jazz?


8 Teachers and students - did you listen to jazz records before studying jazz? 25 100%

yes 22 88%

no 3 12%



36/68

What types of music(s) did you listen to before studying jazz?


9 What types of music(s) did you listen to before studying jazz? 32 100%

rock (includes alt-rock, etc) 28 87.5%

country 8 25%

folk music (includes world music) 20 62.5%

blues 17 53.13%

funk (or other dance music) 23 71.88%

classical (pre 1900s) 19 59.38%

classical (post 1900s) 15 46.88%

pop, chanson francaise, etc 15 46.88%

jazz (jazz-funk, jazz-rock, etc) 22 68.75%

Other 3 9.38%


9

What types of

music(s) did you

listen to before

studying jazz?

- improv, klezmer

- Salsa

- Anything that was going on including all the above



37/68

Did (does) anyone in your family listen to jazz?


10 Did (does) anyone in your family listen to jazz? 32 100%

yes 18 56.25%

no 14 43.75%



38/68

Did you hear any jazz when at school (primary or secondary)


11 Did you hear any jazz when at school (primary or secondary) 32 100%

yes 23 71.88%

no 9 28.13%



39/68

Did your music lessons (if you had them) include improvising?


12 Did your music lessons (if you had them) include improvising? 32 100%

yes 19 59.38%

no 11 34.38%

no music lessons 2 6.25%



40/68

Did you play any other type of music before playing Jazz (i.e. I was in a rock band)?


13 Did you play any other type of music before playing Jazz (i.e. I was in a rock band)? 30 100%

yes 26 86.67%

no 4 13.33%



41/68

If you answered yes to question 11. What type of music did you play?

# Question Text

14

If you answered

yes to question 13.

What type of music

did you play?

- think you mean question 13? Played blues and rock guitar as a kid, got into improv early on, got serious about

playing jazz in my 20s

- Rock and Reggae - Concert band/ marching band

- Classical, funk, rock

- rock, classical

- Classical

- alt rock, blues, and freeform improvisation

- Rock, musical theatre, school concert band, etc

- Rock

- rock, classical, marching band, concert band

- Classical, rock

- West European Concert Music

- Rock and pop

- classical

- Classical, folk, rock

- R and B. Brass Bands. Military Bands.

- Any style or group of musicians that would have me, opra to punk its all playing

- Played classical and pop-rock. - pop music

- classical and band music

- classical

- marching band, rock band

- Rock, R&B, British Invasion

- Middle & High school band music / wind ensemble

- progrock, psychedelic rock

- Classical piano

- classical

- Blues/folk/rock



42/68

Do you listen to music every day?


15 Do you listen to music every day? 32 100%

yes - I have music on most of the day 8 25%

yes - when I have time to really listen 21 65.63%

no 3 9.38%



43/68

How much music do you listen to?


16 How much music do you listen to? 33 100%

a lot 21 63.64%

sometimes 12 36.36%

occasionally 0 0%



44/68

Do you think listening to recordings is essential to learn a style?


17 Do you think listening to recordings is essential to learn a style? 33 100%

yes 30 90.91%

no 2 6.06%

not sure! 1 3.03%



45/68

If you are a teacher - do you make the students listen to recordings?


18 If you are a teacher - do you make the students listen to recordings? 21 100%

yes 20 95.24%

no 1 4.76%



46/68

Do you play along with recordings (solos, or other music)


19 Do you play along with recordings (solos, or other music) 33 100%

often 10 30.3%

sometimes 19 57.58%

never 4 12.12%



47/68

Do you transcribe other peoples solos?


20 Do you transcribe other peoples solos? 32 100%

yes 22 68.75%

no 10 31.25%



48/68

Do you transcribe solos of other instruments - other than the one you play?


21 Do you transcribe solos of other instruments - other than the one you play? 33 100%

yes 14 42.42%

no 9 27.27%

occasionally 10 30.3%



49/68


50/68

Do you think you should be able to sing what you play (or at least some of it)?


23 Do you think you should be able to sing what you play (or at least some of it)? 31 100%

yes 26 83.87%

no 5 16.13%



51/68

How often do you practice singing what you play?


24 How often do you practice singing what you play? 31 100%

sometimes 29 93.55%

never 2 6.45%



52/68

People who can sing what they play have more control over their solos?

# Question no. min avg. max

25People who can sing what they play have more control over their

solos?29 0 7.14 10

# QuestionDetail

no(%)

25 People who can sing what they play have more control over their solos? 29 (100%)

0 1 (3.45%)

1 0 (0%)

2 1 (3.45%)

3 1 (3.45%)

4 2 (6.9%)

5 2 (6.9%)

6 3 (10.34%)

7 5 (17.24%)

8 3 (10.34%)

9 3 (10.34%)

10 8 (27.59%)



53/68

Do you ever try singing someones solo to learn it?


26 Do you ever try singing someones solo to learn it? 31 100%

yes 20 64.52%

no 11 35.48%



54/68

Can you sing the scales and chords of a tune - using guide tones etc?


27 Can you sing the scales and chords of a tune - using guide tones etc? 29 100%

yes 26 89.66%

no 3 10.34%



55/68

In the school you study (or studied) at, do they teach you to use your ears?


28 In the school you study (or studied) at, do they teach you to use your ears? 28 100%

yes 21 75%

no 7 25%



56/68

When using your ears, can you...

yes no sometimes

# Question no. no.(%) no. no.(%) no. no.(%)

29 When using your ears, can you... 90 60% 5 3.33% 55 36.67%

play a solo without looking at the chords? 19 63.33% 0 0% 11 36.67%

recognise chords (if they're played one at a time)? 18 60% 1 3.33% 11 36.67%

recognise scales? 18 60% 1 3.33% 11 36.67%

sing the melody (in tune)? 21 70% 1 3.33% 8 26.67%

write out a simple melody after just listening to it? 14 46.67% 2 6.67% 14 46.67%



57/68

Did you (or have you) ever used Jamey Aebersold play-alongs to learn material?


30 Did you (or have you) ever used Jamey Aebersold play-alongs to learn material? 31 100%

yes 24 77.42%

no 7 22.58%



58/68

Can you learn to improvise WITHOUT going to a school of music?


31 You can learn to improvise WITHOUT going to a school of music? 30 7 9.37 10

# QuestionDetail

no(%)

31 You can learn to improvise WITHOUT going to a school of music? 30 (100%)

0 0 (0%)

1 0 (0%)

2 0 (0%)

3 0 (0%)

4 0 (0%)

5 0 (0%)

6 0 (0%)

7 2 (6.67%)

8 4 (13.33%)

9 5 (16.67%)

10 19 (63.33%)



59/68

Is it important to play in a group or ensemble to learn jazz and improvisation?


32 Is it important to play in a group or ensemble to learn jazz and improvisation? 31 100%

yes 26 83.87%

no 0 0%

could be useful! 5 16.13%



60/68

Do you need to 'know' the history of jazz to make good solos?


33 Do you need to 'know' the history of jazz to make good solos? 26 0 6.5 10

# QuestionDetail

no(%)

33 Do you need to 'know' the history of jazz to make good solos? 26 (100%)

0 2 (7.69%)

1 1 (3.85%)

2 0 (0%)

3 2 (7.69%)

4 1 (3.85%)

5 1 (3.85%)

6 5 (19.23%)

7 1 (3.85%)

8 6 (23.08%)

9 2 (7.69%)

10 5 (19.23%)



61/68

What are the most improtant things to develop if you wish to play jazz and improvise

not important useful very improtant


34What are the most improtant things to develop if you wish to play jazz and

improvise7 3.27% 57 26.64% 150 70.09%

the ear 0 0% 0 0% 31 100%

scales 2 6.67% 12 40% 16 53.33%

repertoire (tunes) 2 6.67% 15 50% 13 43.33%

knowledge of styles 1 3.23% 14 45.16% 16 51.61%

listening to CDs etc 0 0% 4 13.33% 26 86.67%

harmonic knowledge 1 3.23% 7 22.58% 23 74.19%

timing (metronome practice) 1 3.23% 5 16.13% 25 80.65%



62/68

Do you practice with a metronome?


35 Do you practice with a metronome? 31 100%

yes 26 83.87%

no 5 16.13%



63/68

What type of situations do you find DIFFICULT?

difficult it's okay no problem


36 What type of situations do you find DIFFICULT? 46 21.3% 70 32.41% 100 46.3%

ballads 3 9.68% 10 32.26% 18 58.06%

up-tempo (fast) 12 38.71% 8 25.81% 11 35.48%

free improvisation (just play!) 4 12.9% 6 19.35% 21 67.74%

odd time signatures (5/4,7/4,9/4,etc) 10 32.26% 13 41.94% 8 25.81%

modal 6 19.35% 7 22.58% 18 58.06%

complex chord structures 6 20% 15 50% 9 30%

written music (following a chart) 5 16.13% 11 35.48% 15 48.39%



64/68

Do you enjoy .....

never sometimes often


37 Do you enjoy ..... 9 5.2% 88 50.87% 76 43.93%

reading books about jazz (fiction/non-fiction) 1 3.45% 20 68.97% 8 27.59%

reading books about music theory 5 17.24% 17 58.62% 7 24.14%

watching music documentaries 1 3.45% 20 68.97% 8 27.59%

going to concerts 0 0% 12 41.38% 17 58.62%

buying CDs/LPs and other music supports 0 0% 9 31.03% 20 68.97%

composing music 2 7.14% 10 35.71% 16 57.14%



65/68

What are the most important things to work on if you want to learn to play jazz?

# Question Text

38

What are the most

important things towork on if you

want to learn to

play jazz?

- so many things! hard to answer briefly - ear and time most of all

- Listening to yourself and others. Having a good feel and sound.

- Practice everything - Understanding the underlying relationships within music- both theoretical, intangible and personal

- Developing appropriate techniques and listening skills, learning to be creative

- For me: listening to and copying great solos, and studying harmony/counterpoint on the piano.

- Ears!

- Vocabulary, concept, technique, listening (not necessarily in that order, different things are more important to focus

on at different times)

- Sound, time, feel/style

- being around and playing with players who push you to improve.

- your sound, hearing and time

- Developing a unique style that reflects your own personal inclinations and relation to jazz history.

- physicality, technique, interaction and agency

- Listening, locking in with fellow players, understanding both standard and unconventional forms of jazz,

facility/familiarity.

- Scales, chord sequences (start with blues), tone, intervals, listen to your heroes.

- Sound Metronome Harmony Listen to jazz and play along

- LIsten to others - Scales and listening. Develop imagination.

- Learn a balanced approach that includes listening, scales and patterns, guide tones, contouring of solos, target or

goal note method, harmony and theory and rhythm studies.

- technique, timing, expressivity

- Listening comes first. Going to see top notch jazz performers on all instruments, including jazz vocalists. Having a

knowlege of how jazz relates to you. Having access to a decent instrument.

- Deeper aspects of music (rhythm-the true aspects of this abstract concept, that are waaaay deeper than just

swing eighth notes. harmony - as a maleable world of physics/tension-resolution/color/shape, BEYOND the idea of

rules. Melody - as something inherant in every culture, not just this scale fits this chord, melody exists within a sound

and is a very difficult thing to attempt to explain. Form - as a vehicle to explore and open oneself up instead of a

"paint-by-numbers" map to succesfully adhere to. AESTHETIC - that any element has behind it a nature of aliveness

will enact that element (melody, rhythm, etc) and should be at the centerpiece of one's musicality, ie, many people

find this in the element of time feel, ie that swing will happen more deeply if you can feel it.

- sound and time

- improvising - Technique, ear training & Chord-scales.

- listening to what's going on around you (not just the music)

- Facility on the instrument, listening to recordings, playing what you hear and learning chords, scales and harmony

- general technique, and practicing material you like in all transpositions

- Ear/Rhythm/Imagination/Creative attitude towards practising & playing/ transcriptions/Repertoire



66/68

What's the jazz scene like in the area you live, and are there many opportunities to play and learn

(other than going to a school)?

# Question Text

39

What's the jazz

scene like in the

area you live, and

are there many

opportunities to

play and learn

(other than going

to a school)?

- amazing musicians, hard to make a living

- There are a lot of restaurant gigs and weddings etc. There are not too many opportunities to play concerts in quietrooms dedicated to music although there are some. There are about 5-10 public jam sessions a week as well.

- There are not a lot of jazz venues, but there are a lot of opportunities to use skills you learn through jazz

improvisation.

- Very good,'plenty of opportunities

- Lots of opportunities to learn in London, both in institutions and by checking out gigs, but opportunities to play less

so, and increasingly competitive.

- It's OK in Seattle, definitely opportunities for playing/learning/and especially teaching. There are some really

exceptional High School programs. There is a resurgence of creativity and output from young musicians in their 20s

right now. The University of Washington Jazz program has gotten stronger than ever, but still can't compete with East

Coast music schools.

- Moderate scene, some great musicians but not loads of places to play.

- Very good scene (Sydney), not enough opportunities to play a lot but there are plenty of opportunities to play a

little (with each band/project). Some great players and a good community.

- More musos than punters, but we're working on it.

- numerous opportunities to play at formal and informal jam sessions. jazz gigs are less common.

- Great, plenty of people and places to play, but the funding is generally distributed towards a few outlets. i.e. most

gigs are not funded, but some are

- The jazz scene in Minneapolis is reasonable vibrant, and in Chicago it is fantastic. There are opportunities, but

you must seek them out.

- Large community of relatively high-level jazz musicians, many opportunities to play (though not always ideal

venues).

- Jazz is not very popular with the public here or anywhere. 1). People are not exposed to it enough to allow them to

embrace it. 2). Jazz musician's can be too self indulgent. There is no point playing to a handful of geeks, you've got

to draw people in slowly. We need audiences. 3). The word itself is far too vague, jazz is a very varied entity. I have

often heard people say "I don't like jazz". When asked what they think it is, they usually refer to one particular type.

They maybe don't understand free / avant garde and yet if you mention Miles Davis, Nat King Cole, they may say

"That's different". What I'm getting at here is people's perception of jazz can be born out of ignorance of the varied

styles from different artists and eras. Education, education, education. let them be exposed to it and they will find

much pleasure.

- Many opportunities to play and to listen to jazz

- so so - There are always oppertunities you just have to look

- There are over 200 clubs in Tokyo and clubs are generally relegated to three levels, advanced that has top

international acts, intermediate which has the top local acts and beginner which includes college students, amateurs,

etc.

- I live in a small town with no jazz scene. The nearest city is Antwerp with some jazz clubs, jam sessions etc...

- There are few jazz venues in the Boston area; We've performed at most of them.

- New York - it is a jungle of everything under the sun, good and bad.

- Ok

- difficult question, there can be more opportunities to play

- It's there but I wouldn't say "thriving". There are opportunities if you really want them.

- some

- A few non-profits that offer jazz education to kids and adults

- lots of players, few venues

- Changing jazzscene & not enough opportunities to play.



67/68

Is there any really improtant question that I left out that you think would make this survey better?

# Question Text

40

Is there any really

improtant question

that I left out that

you think would

make this survey

better?

- some of the questions are not really answerable in 'yes' or 'no' format

- What got you interested in playing jazz?

- Nope. Good luck! - There can be a big distinction between playing jazz and improvising, not neccesarily the same thing!

- I'm interested in what relative emphasis is placed on 'knowledge' and the 'knower' (social relations / individual

ability), and how jazz is taught in relation to this. See Karl Maton's writing on legitimation code theory (LCT). I would

be interested in seeing research on how people perceive the value or importance of these things in jazz education.

This may be beyond your research but it's a relevant subject and some questions touch on this issue already.

- Why do you feel improvising is an important feature in the music that you play/aspire to play?

- I refer to the above : Why do the majority of people not understand jazz, not listen to it, reject it?

- Sound is important, especially for reeds and other wind instruments, then timing (metronome !), then knowledge of

harmony, etc DG

- Do you feel that jazz music has an import role within contemporary society. If not how could we improve matters.

- Do you genuinely belive you have something to say with your instrument & your music

- Instead of just yes or no answers, I think you should also have sometimes or occasionally as choices. Not much

on private teachers and lessons or jazz duets, texts, method books, transcriptions...

- Yes. You should ask, 1, "Do you play AND sing jazz?",2' "Are you a practicing jazz or jazz oriented musician?", 3,

"Do you believe you have an obligation to pass along your learning to others?" and, 4, "Do you have additionmal

comments?" - The idea of what/how to practice is becoming an obvious defining element of what makes up a musician. In

creative music (composing, improvising, etc), what/how one RESEARCHES (listening, getting deeper with a kind of

music and figuring out why it feels that way, both in books and certainly out of books) will determine the player.

- break down of study materials (i.e. tunes and recordings) by decade of composition... relative importance of

pattern/sequence-based practice versus melodies taken directly from heads or solos

- Is it important to compose in order to develop a personal musical identity? Do you think that" innovation" is still

possible in Jazz or is" Innovation" an old way of thinking?Isn't it finally not a question of renewing oneself in order to

get better and a more personal jazzmusican?



68/68

Annex #2.

jazz education: methods and difficulties in teaching music derived from an oral tradition

Documents