Relevant bibliographies by topics / Jazz – Instruction and study

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Jazz – Instruction and study'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Jazz – Instruction and study"

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Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (October 2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.

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The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities. Participants engaged in three 70-minute instructional treatment sessions over 4 days and completed pre- and postinstruction improvisation performances that were evaluated by four expert judges using the researcher-constructed Jazz Improvisation Performance Achievement Measure. Self-efficacy was measured using the researcher-constructed Jazz Improvisation Self-Efficacy Scale. Results indicated a significant ( p < .05) interaction effect for pre- to postinstruction and instructional method, with the aural instruction group demonstrating significantly greater gains than the notation group. Posttreatment achievement scores indicated nonsignificant correlations with experience variables. Participants’ self-efficacy for jazz improvisation increased significantly ( p < .001) following exposure to improvisation instruction; however, no interaction effect was found for instruction and mode of instruction.
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Watson, Kevin E. "A Comparative Analysis of Method Books for Class Jazz Instruction." Update: Applications of Research in Music Education 36, no. 1 (February 16, 2017): 5–11. http://dx.doi.org/10.1177/8755123317692640.

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The purpose of this study was to analyze and compare instructional topics and teaching approaches included in selected class method books for jazz pedagogy through content analysis methodology. Frequency counts for the number of pages devoted to each defined instructional content category were compiled and percentages of pages allotted to each category were calculated. Analyses of supplementary media consisted of noting the duration in seconds that each excerpt devoted to illustrating concepts in each instructional content category. Results indicated that the largest amount of content was devoted to arrangements of tunes for group performance (34%), rhythm section pedagogy (13%), and suggested rehearsal techniques (10%). Of note, the categories of improvisation and aural training each comprised only 3% of the surveyed content. Pedagogical approaches to the emphasized instructional areas were identified and discussed within the context of prior research in jazz pedagogy.
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Coss, Roger G. "Descriptions of expert jazz educators’ experiences teaching improvisation." International Journal of Music Education 36, no. 4 (June 11, 2018): 521–32. http://dx.doi.org/10.1177/0255761418771093.

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The tensions present in learning jazz improvisation are well recognized given the contextual shift from more informal environments such as jam sessions and apprenticeships towards academic settings such as school bands and college jazz programs. Research suggests that the development of instruction in music education be informed by and modeled after expert practitioners, yet scant evidence exists on the most effective strategies, methods, and/or approaches for teaching jazz improvisation, in particular against the backdrop of this shift in educational paradigms. In response, the purpose of this phenomenological study was to investigate seven jazz educators’ lived experiences teaching jazz improvisation. Seven expert jazz educators situated in a variety of teaching contexts throughout Northern California were recruited using purposeful, snowball sampling strategies. Data were collected through semi-structured interviews, observations of the participants in a teaching context, and documents such as syllabi, handouts, and recordings. Five themes in the form of vignettes describe these participants’ common experiences in teaching jazz improvisation: (1) Teacher as Guide; (2) Teacher as Motivator; (3) Psychological Aspects; (4) Navigating the Academic Chasm; and (5) Cultivating Lifelong Learners. Implications for practice and suggestions for future research are discussed.
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Seddon, Frederick A. "Modes of communication during jazz improvisation." British Journal of Music Education 22, no. 1 (March 2005): 47–61. http://dx.doi.org/10.1017/s0265051704005984.

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This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances.
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Norgaard, Martin, Laura A. Stambaugh, and Heston McCranie. "The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students." Journal of Research in Music Education 67, no. 3 (August 9, 2019): 339–54. http://dx.doi.org/10.1177/0022429419863038.

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Research investigating links between academic achievement and active music instruction has not previously differentiated between different types of instruction. In the current study, 155 seventh- and eighth-grade middle school band students were divided into two groups. Both groups received 2 months of instruction in jazz phrasing, scales, and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on the Wisconsin Card Sorting Task (cognitive flexibility) and the classic Stroop task (inhibitory control). At posttest, eighth-grade students in the experimental group scored significantly better on cognitive flexibility with a smaller percentage of perseverative errors, whereas the treatment had no effect on seventh-grade students on this outcome. Seventh graders, but not eighth graders, in the experimental group increased their posttest scores for inhibitory control, though this result was only marginally significant. In relation to previous research, the current results strongly suggest that far-transfer effects of active music participation depend on the nature of the instruction. Results of prior and future studies should therefore be interpreted in light of the type of music-making engaged by participants.
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Sriputtarin, Saran, Pongpittaya Sabpaso, and Anak Charanyananda. "Guidelines for the Development of Jazz Music Education Management in Thailand’s Higher Education Institutions." International Journal of Membrane Science and Technology 10, no. 3 (September 18, 2023): 2534–41. http://dx.doi.org/10.15379/ijmst.v10i3.1992.

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The objectives of this research were to study 1) the conditions and problems of jazz education management in higher education institutions in Thailand, and 2) the guidelines for developing jazz music education management in higher education institutions in Thailand. Qualitative research methods were employed by collecting data from documents, interviews, observations, and focus group discussions. The findings are as follows: Regarding the conditions of jazz music education management in Thailand’s higher education institutions, in terms of curriculum, the course offered is a four-year Bachelor of Music Program in Jazz Studies; in terms of instruction, there were qualified instructors with expertise in professional jazz, and the educational system allows students to gain knowledge and experience to the fullest extent from the faculty members and external experts; regarding educational resources, enough budgets are allocated for the purchase of educational equipment, and quality instruments and music rooms were provided; regarding measurement and evaluation, there was a measurement and evaluation system that complies with the undergraduate learning benchmarks, teaching strategies were evaluated, and student achievement was assessed according to standard criteria. Meanwhile, the problems were that some courses focused too much on classical music, learners still lacked good basic skills for jazz, the budget for organizing skills-enhancing activities was insufficient, and individual differences made group assessment difficult. Guidelines for the development of jazz music education management in Thailand’s higher education institutions. Jazz music personnel should be prepared to study the history of jazz music and understand its essence. It should be encouraged that learning content be determined, starting from the listening-memorizing-understanding-application. The inspiration and space for jazz music should be promoted in all dimensions of society, and linkages between other types of music and jazz music should be established. Jazz music should be developed based on the area, history, society, and culture of each locality. There should be an integration of what exists in society in education management personnel and agencies in the public and private sectors. As well as other related parties providing cooperation, the jazz music curriculum should be developed in accordance with the undergraduate education framework, national policy and strategy, manpower development policy of the country, United Nations Sustainable Development Goals (SDGs), and visions and missions of each university.
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Petty, Simon. "The Jazz Diaspora: Challenging Perspectives for 21st-Century Jazz Education Methodologies." Jazz Education in Research and Practice 5, no. 1 (January 2024): 108–27. http://dx.doi.org/10.2979/jazzeducrese.5.1.08.

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Abstract: Until the late 20th century, global narratives of jazz were limited. However, more recently, as the field of New Jazz Studies has gained a strong foothold in academia, the need for a more critical understanding of diasporic jazz studies within the academy is now timely. This study examines the jazz diaspora and the growth of New Jazz Studies. A literature synopsis of jazz diaspora and New Jazz Studies scholarship serves as a reference for further investigation and practical application within jazz education settings that are discussed in the final sections of the article. As an example of the jazz diaspora, Australian jazz musician Graeme Bell is presented as an instructive case study for his contribution to establishing the Australian jazz style. Accordingly, the study of Bell is used as an example for suggesting a rethinking of jazz education through the lens of the jazz diaspora.
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Jungate, Kittikun, Sayam Chuangprakhon, Weerayut Seekhunlio, and Suthasinee Theerapan. "Conditions and Problems of Instructional Management in Saxophone Practical Skills Course in Higher Education Institutions in Thailand." Journal of Educational Issues 8, no. 2 (December 31, 2022): 910. http://dx.doi.org/10.5296/jei.v8i2.20509.

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The objectives of this research were 1) to study the conditions and problems of instructional management in the Saxophone Practical Skills course in higher education institutions in Thailand, and 2) to propose guidelines for developing the instructional management in the Saxophone Practical Skills course in higher education institutions in Thailand. It is qualitative research. It applied the method of interviewing and observing instructors teaching the Saxophone Practical Skills course in higher education institutions in Thailand, a total of 9 people. The data was then analyzed, the content synthesized, and descriptive reports were written. The research results showed that 1) instructional management in the Saxophone Practical Skills course uses two teaching principles and methods: Classical Saxophone and Jazz Saxophone. Problems encountered in the instruction are the embouchure, air support, tone quality, articulation, performance techniques, understanding of musical performance, the condition of the learner's instruments, and the insufficient places of training for the learner, and 2) the guideline for developing the instructional management consists of to choose the suitable teaching method that the individual learners, encourage students to perform soloists or band members, and attend musical performances.
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Salvador, Karen, Allison Paetz, and Abby Lewin-Zeigler. "Being the Change: Music Teachers’ Self-Reported Changes in Mindset and Practice." Update: Applications of Research in Music Education 39, no. 1 (May 25, 2020): 17–26. http://dx.doi.org/10.1177/8755123320925754.

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Music educators sometimes enter the workforce un(der)prepared to design and implement inclusive instruction. The purpose of this descriptive interview study was to explore practicing teachers’ self-reported changes in mindset and practice as they worked to become more inclusive. Participants ( N = 20) were music educators with between 1 and 17 years of teaching experience. All participants taught some combination of preK–12 students in general music, choir, band, orchestra, jazz, and other music classes in 10 states. We present qualitative analysis from two sets of interviews concerning self-reported changes in mindsets and teaching practices. We conclude with implications of this study for practicing teachers who wish to enact more equitable and just classroom practices.
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Pratama, Bayu. "Examining Tori Kelly's vocal improvisation on the song "Don't You Worry ‘Bout a Thing"." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (June 27, 2024): 76–87. http://dx.doi.org/10.17509/interlude.v3i2.71594.

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This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisations that define the song, emphasizing how these aspects contribute to its overall artistic expression. This study not only provides instructional value for budding musicians but also enhances the general audience's understanding and enjoyment of jazz improvisation. This research offers a helpful update to existing knowledge by providing extensive insights into the vocal improvisation techniques used in "Don't You Worry ‘Bout A Thing". It addresses the need for more thorough data in this area. The findings emphasize the significance of improvisation in jazz, demonstrating how impromptu voice alterations can augment a song's emotional profundity and dynamic scope. The primary objective of this study is to enhance the comprehension and admiration of vocal improvisation among a broader range of people, promoting a more thorough involvement with jazz music and stimulating the growth of personal musical abilities and expressions.
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Dissertations / Theses on the topic "Jazz – Instruction and study"

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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.

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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Re, Adrien Marcus. "The role of transcription in jazz improvisation : examining the aural-imitative approach in jazz pedagogy." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285406.

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Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedures, methods and materials used have abandoned the aural-imitative tradition. This study examines the current use of and the viability of future jazz education methods based primarily on aural-imitative procedures.Forty-one jazz faculty from universities and colleges throughout the United States participated in an interview process. An open-ended questionnaire survey was used to elicit responses. Each was asked a series of questions directly related to transcribing. The responses were recorded via cassette and were transcribed verbatim. In addition, four music teachers at schools at four schools for the blind were asked a similar series of questions. Their interviews responses were analyzed for similarities and differences.The results suggest that current methods do not contain adequate aural representations and that transcription could be a viable alternative to current methods. A practical system based on the transcription paradigm could and should be developed. Current digital technologies and Internet developments may help facilitate an all-transcription based methodology. Certain recordings and solos have become recognized as `masterpieces' that deserve to be transcribed and studied. The insights gained from school for the blind suggest that certain musical aspects may be beet gained from an aural-centric perspective.
School of Music
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Flack, Michael A. "The effectiveness of Aebersold play-along recordings for gaining proficiency in jazz improvisation." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1290772.

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The purpose of this study was to determine whether an Aebersold play-along recording is an effective tool for becoming a more proficient jazz improviser. Participants (N=35) were undergraduate and graduate trumpet, trombone, and saxophone students enrolled in the jazz program at a mid-sized university in the mid-western United States.The study followed a pretest/posttest design in which participants were randomly assigned to either an experimental or control group. Both groups were asked to record a pretest of improvisation over two choruses of F blues, along with a rhythm section playalong recording. Three expert judges evaluated these pretest performances using the Instrumental Jazz Improvisation Evaluation Measure (IJIEM). Participants self-reported a total of four hours of individual practice over the next thirteen days, the control group practicing F blues without the aid of accompaniment and the experimental group practicing with a play-along accompaniment compact disc provided by the researcher. Participants recorded two choruses of improvisation as a posttest on day fourteen, which were subsequently evaluated by the three expert judges, again using the IJIEM. The pretest and posttest results for all three judges were then averaged and compared for differences.The results reveal a significant difference with positive gain scores in both groups. While both groups showed higher mean gain scores, the experimental group experienced a fifty-six percent gain over the control group (not statistically significant).
School of Music
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Roothaan, John P. E. "Perspectives on teaching jazz piano "comping" in the college music program with sample instructional units." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164926.

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The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping.
School of Music
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Leavell, Brian K. ""Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.

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Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and coded in order to identify major themes and trends. Conclusions were verified through member checks, several types of triangulation and other qualitative analysis techniques. Trustworthiness was determined through an audit. Cognitively and physically, students had to accommodate musical techniques as these differed from those used in concert band. Some students were confused by the new seating arrangement and the playing of individualized parts. While some students could perform distinctly different swing and straight interpretations of the same song without external cues, others could only perform this task with external cues. Some changes in articulation were well within the students' capabilities while other techniques were more difficult to accommodate. Several students felt 'uptight' while they improvised alone in front of their peers, noting group improvisation and rhythmic embellishment of familiar tunes as being helpful in assuaging these feelings. Students recognized the environmental differences between concert band and jazz band, and reported more freedom of expression in jazz band. Particularly enjoying this freedom, the more willing improvisors banded together as a clique. The students' learning was viewed as being situated in the context of jazz band. 'Musical perturbation' and cognitive apprenticeship described students' physical and cognitive accommodation of the new context. The instructional strategies students found to be most helpful were student-centered and derived from cognitive behavior modification and scaffolding theory.
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Fischer, Louis W. "A comparison of jazz studies curricula in master's programs in the United States." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164924.

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The purpose of this study was to compare and review curricular offerings in selected institutions in the United States that presently are identified as offering (a) formal degree(s) in jazz studies to music majors at the master's degree level.This writer has identified: common areas of study, similarities in jazz studies departmental core requirements, and school of music core requirements, ensemble participation required of students, ensembles available to students, and areas unique to a particular curricula. One hundred percent of the institutions surveyed were members of the National Association of Schools of Music (NASM). The review of related literature includes general guidelines and principles as published by NASM pertaining to specific master's degrees in jazz studies.A secondary goal was to identify elements relating to the academic and professional background of the jazz studies directors, and the collective graduate jazz faculty as a unit.A third goal was to establish a composite sketch of the typical graduate jazz program and curriculum in the United States.Using the process of content analysis, various university catalogs and graduate handbooks were reviewed. Additionally, questionnaires completed by the directors of jazz studies programs from twenty-three universities were examined. The questionnaire asked respondents to identify their professional and academic background, in addition to estimating information regarding the academic and professional backgrounds of the collective graduate jazz faculty. Professional experience questions related to recording dates, concerts, touring, casual dates, and show experience. Academic background questions related to degrees held, when and where they were earned, continuing education practices, and publishing background. Respondents were asked to provide institutional demographics and philosophies in relation to existing curricula, and various institutional policies regarding the jazz studies department and the prioritization of course work and essential skills. Further, respondents were asked to give statistical information regarding the age of various programs within the curriculum, student population, library holdings, ensemble availability, performance and touring practices, type of literature performed, graduate assistants, administrative support, and guest artist budgets. Data were presented in combination narrative and outline form. Tables were utilized whenever appropriate.
School of Music
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Jensen-Hole, Catherine. "Experiencing the interdependent nature of musicianship and educatorship as defined by David J. Elliott in the context of the collegiate level vocal jazz ensemble." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/jensen-hole%5Fcatherine%5Fmary/index.htm.

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Ahn, Byungkyu. "Journey for Jazz." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4245/.

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This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is considered a hybrid of both modes. The film focuses mainly on the scholarly and artistic experiences that the four students undergo while studying jazz in the United States.
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Mack, Kyle D. "The status of jazz programs in selected secondary schools of Indiana, 1991-1992." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861380.

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The purpose of this study was to determine the status of jazz programs in secondary schools of Indiana for the 1991-1992 school year. Data were gathered by means of questionnaires sent to the directors of twenty-six successful Indiana high school jazz ensembles. Information sought was divided into five major sections: (1) General Information, (2) Teacher Profile, (3) Facilities and Equipment, (4) The Jazz Program, and (5) Budget and Finance. Responses were obtained from 76.9 percent of the total sample, and the data were tabulated and presented with comparison of the findings.The majority of the performances by the successful jazz programs surveyed were for public relations purposes, festivals, and formal concerts. One-half of the jazz band directors were members of IAJE. IAJE members were more active academically. Ninety-five percent of the jazz band directors indicated that their jazz ensembles attend an average of 3.3 competitions each year. Seventy percent of the jazz ensembles rehearsed in the fall during marching band season. Eighty percent of the jazz band directors had their students sing their parts during rehearsals. Sixty-five percent of the jazz band directors had their jazz ensembles sight-read at least 1-2 times weekly. Eighty percent of the jazz programs operated on a budget of $1,000 or more per year.
School of Music
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Laughlin, James Edwin. "The use of notated and aural exercises as pedagogical procedures intended to develop harmonic accuracy among beginning jazz improvisers." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/laughlin%5Fjames/index.htm.

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Books on the topic "Jazz – Instruction and study"

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Richard, Michael, ed. Creative jazz education. London: Stainer & Bell, 1990.

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Anderson, Tom. Playing guitar in a jazz-big band: For the beginning jazz guitarist. Lebanon, IN: Houston, 1994.

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Fisher, Jody. Mastering jazz guitar improvisation: The complete jazz guitar method. Van Nuys: Alfred Publishing, 1995.

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Brynjolf, Niels. Jazz arrangement. Århus: Systime, 1995.

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Nelson, Karen R. A jazz education primer. Minneapolis: Arts Midwest, 1990.

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Teaching improvisation in jazz ensemble: Connecting improvisation with jazz ensemble charts. Lanham, [Md.]: Rowman & Littlefield Education, 2008.

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Yoder, M. Daniel. Beginning jazz improvisation. Upper Saddle River, N.J: Prentice Hall, 1996.

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Spitzer, Peter. Jazz theory handbook. Pacific, Mo: Mel Bay, 2001.

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MENC, the National Association for Music Education (U.S.). Teaching Jazz: A course of study. Lanham, MD: Rowman & Littlefield Education, 2007.

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Coker, Jerry. Improvising jazz. New York: Simon & Schuster, 1987.

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Book chapters on the topic "Jazz – Instruction and study"

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Nowatzki, Tony, Michael Ferris, Karthikeyan Sankaralingam, Cristian Estan, Nilay Vaish, and David Wood. "Case Study: Instruction Set Customization." In Optimization and Mathematical Modeling in Computer Architecture, 49–60. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-031-01773-5_3.

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Kruse, Sharon D., and Julie A. Gray. "Curriculum, Instruction, and Assessment." In A Case Study Approach to Educational Leadership, 51–75. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315108308-3.

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Gatto, Lynn Astarita. "Inclusivity Through Discursive Instruction." In A Retrospective Study of a Dialogic Elementary Classroom, 82–105. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003121893-5.

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Yang, Sixian, and Abdullah Abdulrazik. "Supplemental Academic Instruction (SAI) Pilot Study." In Institutional Research Initiatives in Higher Education, 172–84. New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315136042-10.

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Kaplan, Sandra N. "Independent Study." In Differentiated Curriculum and Instruction for Advanced and Gifted Learners, 95–111. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003111443-6.

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Ishii, Terumasa. "Historical overview of lesson study." In Curriculum, Instruction and Assessment in Japan, 57–72. New York, NY : Routledge, 2016. | Series: Routledge series on schools and schooling in Asia: Routledge, 2016. http://dx.doi.org/10.4324/9781315709116-7.

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Guarda, Marta. "The Contexts of this Study." In Student Perspectives on English-Medium Instruction, 22–43. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003094098-3.

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Frick, Theodore W., Rodney D. Myers, Cesur Dagli, and Andrew F. Barrett. "Overview of the Big Study." In Innovative Learning Analytics for Evaluating Instruction, 9–27. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003176343-2.

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Yang, Yudong. "How Classroom Instruction Was Improved in a Teaching Research Group: A Case Study from Shanghai." In Transforming Mathematics Instruction, 355–81. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04993-9_20.

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Chi, Michelene T. H. "Theoretical Perspectives, Methodological Approaches, and Trends in the Study of Expertise." In Expertise in Mathematics Instruction, 17–39. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-1-4419-7707-6_2.

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Conference papers on the topic "Jazz – Instruction and study"

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Francesconi, Fabiano, Fabiano Dalpiaz, and John Mylopoulos. "Models for strategic planning: Applying TBIM to the Montreux Jazz Festival case study." In 2015 IEEE 9th International Conference on Research Challenges in Information Science (RCIS). IEEE, 2015. http://dx.doi.org/10.1109/rcis.2015.7128884.

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Sahu, Dr Atma. "Undergraduate Mathematics Online Instruction Study." In Annual International Conference on Computer Science Education: Innovation & Technology. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2251-2195_cseit14.02.

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Cazac, Radu. "Sound aspects in Sonata no. 1 for clarinet and piano by Oleg Negruţa." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.11.

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The author proposes to study some structural elements of the sound discourse, as well as their manifestation in the ideation of Sonata no.1 for clarinet and piano by Oleg Negruţa. The fact that this creation is written under the influence of jazz music and style is mentioned by the composer himself in the preface to the work – Sonata in Jazz Style. Following the detailed analysis of the first part, it can be observed that the element (language) of jazz is used to the maximum. Typical intonations as jumps, ornaments, trills, sonorous slides, delayed sounds, but also the genuistic sphere are used to the full: the swing dance, although it is the author's music, without resorting to citation, yet its melody corresponds to metrical patterns, rhythmic and expressive of the jazz style. Equally ingenious are the harmonies specific to African-American music – altered chords, unresolved seventh chords, arpeggios, sound overlaps, etc. As is natural, the improvisational manner has a massive presence in the work, which persists in the illustration of the basic themes.
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Xie, Guimei. "Flipping Language Study in Classroom Instruction." In The Joint Conferences of 2015 International Conference on Computer Science and Engineering Technology (CSET2015) and 2015 International Conference on Medical Science and Biological Engineering (MSBE2015). WORLD SCIENTIFIC, 2015. http://dx.doi.org/10.1142/9789814651011_0061.

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Ke, Xixiang, and Xue Yang. "Study on the Instruction of EOP." In 2017 7th International Conference on Education and Management (ICEM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icem-17.2018.9.

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Ragel, Roshan, Swarnalatha Radhakrishnan, and Angelo Ambrose. "Instruction-set selection for multi-application based ASIP design: An instruction-level study." In 2012 IEEE 6th International Conference on Information and Automation for Sustainability (ICIAfS). IEEE, 2012. http://dx.doi.org/10.1109/iciafs.2012.6419895.

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Shi, Yinghui, Harrison Yang, Di Wu, and Sha Zhu. "Interactive Whiteboard-Based Instruction versus Lecture-Based instruction: A Study on Students' Learning Achievement." In 2015 International Conference of Educational Innovation through Technology (EITT). IEEE, 2015. http://dx.doi.org/10.1109/eitt.2015.56.

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Ching, Emily, Chih-Ti Chen, Chih-Yueh Chou, Yi-Chan Deng, and Tak-Wai Chan. "A pilot study of computer supported learning by constructing instruction notes and peer expository instruction." In th 2005 conference. Morristown, NJ, USA: Association for Computational Linguistics, 2005. http://dx.doi.org/10.3115/1149293.1149302.

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Ragel, Roshan G., Swarnalatha Radhakrishnan, Jude Angelo Ambrose, and Sri Parameswaran. "A Study on Instruction-set Selection Using Multi-application Based Application Specific Instruction-set Processors." In 2013 26th International Conference on VLSI Design: concurrently with the 12th International Conference on Embedded Systems. IEEE, 2013. http://dx.doi.org/10.1109/vlsid.2013.154.

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Cen, Gang, and XueFen Lin. "A study of project instruction based on Internet." In 2011 International Conference on Electrical and Control Engineering (ICECE). IEEE, 2011. http://dx.doi.org/10.1109/iceceng.2011.6056882.

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Reports on the topic "Jazz – Instruction and study"

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Cottle, Christopher A., and Frederick S. Cottle. Suits to Robes: A study of Free Jazz Fashion. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-777.

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Wang, Changhua. A comparative study of Chinese EFL reading instruction and American ESL reading instruction. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5745.

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Glaser, Robert, and Miriam Bassok. Learning Theory and the Study of Instruction. Fort Belvoir, VA: Defense Technical Information Center, February 1989. http://dx.doi.org/10.21236/ada204744.

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Pratton, Jerry. A study of the effects of active participation in instruction upon learning. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.775.

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Percival, Georgann. The Adjunct Model of Content-based Instruction: A Comparative Study in Higher Education in Oregon. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7178.

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Sitabkhan, Yasmin, Matthew C. H. Jukes, Eileen Dombrowski, and Indrah Munialo. Differentiated Instruction in Multigrade Preprimary Classrooms in Kenya. RTI Press, December 2022. http://dx.doi.org/10.3768/rtipress.2022.op.0084.2212.

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There is little evidence of how differentiated instruction is being implemented, if at all, in low- and middle-income contexts, which often have unique challenges such as availability of resources and large class sizes. In this paper, we present the results of a qualitative study in eight multigrade preprimary classrooms in Kenya. We used classroom observations and teacher interviews to understand how teachers approached differentiation during language and mathematics lessons, including understanding why teachers were making the moves we observed. All teachers differentiated instruction to some extent in our findings, and we provide detailed descriptions of the ways that teachers adapted content to fit the needs of their students. We also provide recommendations, including how to support teachers in creating activities that are appropriate for different abilities of students in the same classrooms, and suggest next steps for research in this area.
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Hillman, Kylie, Elizabeth O'Grady, Sima Rodrigues, Marina Schmid, and Sue Thomson. Progress in Reading Literacy Study: Australia’s results from PIRLS 2021. Australian Council for Educational Research, May 2023. http://dx.doi.org/10.37517/978-1-74286-693-2.

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Progress in International Reading Literacy Study (PIRLS) is a large-scale assessment that measures how effective countries are in teaching reading literacy. Conducted every five years since 2001 (with Australia participating since 2011), PIRLS provides information about how to improve teaching and learning so that young students become accomplished and self-sufficient readers. In Australia, almost 5,500 Year 4 students participated in PIRLS 2021. These students completed tests in reading comprehension and answered questionnaires on their background and experiences in learning reading at school. To inform educational policy in the participating countries, alongside the assessment of reading literacy, PIRLS also routinely collects extensive background information that addresses concerns about the quantity, quality and content of instruction. This background information is collected through a series of questionnaires for students, teachers, principals and curriculum specialists.
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BOWLES NA. FIELD TEST INSTRUCTION 100-NR-2 OPERABLE UNIT DESIGN OPTIMIZATION STUDY FOR SEQUESTRATION OF SR-90 SATURATED ZONE APATITE PERMEABLE REACTIVE BARRIER EXTENSION. Office of Scientific and Technical Information (OSTI), October 2010. http://dx.doi.org/10.2172/1000062.

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Angrist, Noam, and Rachael Meager. The role of implementation in generalisability: A synthesis of evidence on targeted educational instruction and a new randomised trial. Centre for Excellence and Development Impact and Learning (CEDIL), September 2022. http://dx.doi.org/10.51744/cswp4.

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Targeted instruction is one of the most effective educational interventions in low- and middle-income countries, yet the reported impacts of this approach vary, from 0.07 to 0.78 standard deviations (SDs) across contexts. We study this variation and the contextual factors associated with it by combining an evidence aggregation covering 10 study arms with a new randomised trial. The results show that two factors explain most of the heterogeneity in reported effects: the degree of implementation (intention-to-treat or treatment-on-the-treated effects) and the instruction delivery model (teachers or volunteers). Accounting for these implementation factors enables substantial generalisation of effect sizes across contexts. We introduce a new Bayesian model which incorporates implementation information into the evidence aggregation process. The results show that targeted instruction can deliver 0.39 SD improvements in learning on average when taken up, and 0.80 SD gains when implemented with high fidelity, explaining the upper range of effects in the literature. Given the central role of implementation identified in our synthesis, we conduct a new randomised trial to increase programme fidelity in Botswana. The results show additional 0.22 SD gains relative to standard implementation, revealing concrete mechanisms to enhance implementation and achieve the largest frontier effects identified in the literature.
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Angrist, Noam, and Rachael Meager. Implementation matters: Generalising treatment effects in education. What Works Hub for Global Education, November 2023. http://dx.doi.org/10.35489/bsg-whatworkshubforglobaleducation-wp_2023/03.

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Targeted instruction is one of the most effective educational interventions in low- and middle-income countries, yet reported impacts vary by an order of magnitude. We study this variation by aggregating evidence from prior randomised trials across five contexts, and use the results to inform a new randomised trial. We find two factors explain most of the heterogeneity in effects across contexts: the degree of implementation (intention-to-treat or treatment-on-the-treated) and program delivery model (teachers or volunteers). Accounting for these implementation factors yields high generalisability, with similar effect sizes across studies. Thus, reporting treatment-on-the-treated effects, a practice which remains limited, can enhance external validity. We also introduce a new Bayesian framework to formally incorporate implementation metrics into evidence aggregation. Results show targeted instruction delivers average learning gains of 0.42 SD when taken up and 0.85 SD when implemented with high fidelity. To investigate how implementation can be improved in future settings, we run a new randomised trial of a targeted instruction program in Botswana. Results demonstrate that implementation can be improved in the context of a scaling program with large causal effects on learning. While research on implementation has been limited to date, our findings and framework reveal its importance for impact evaluation and generalisability.
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