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Dissertations / Theses on the topic 'Jazz – Instruction and study'

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Published: 4 June 2021

Last updated: 28 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Brien, Stephen. "An investigation of forward motion as an analytic template." Master's thesis, Sydney Conservatorium of Music, 2004. http://hdl.handle.net/2123/9045.

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12

Forster, Raymond. "An investigation into a cohesive method of teaching jazz harmony and improvisation to elective music students in secondary schools using the basic principals of chord-scale theory." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/7284.

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This study investigates and suggests a coherent method/curriculum of teaching the basic principals of ‘chord-scale theory’ to elective music students in high schools with a view of increasing and enhancing their skill and understanding of modern jazz harmony and improvisation. The teaching was delivered as a series of eight lessons to a group of Year 10 elective music students in a school in NSW, Australia. In doing so, the purpose of the study was not only to provide information to the students on the harmonic implications of this theory (chords), but also to suggest improvisational possibilities (scales), and to record their personal or group responses to these lessons. The conclusions reached are the results of questionnaires, class recordings, class and individual participation, the students’ general enthusiasm for the subject, and the relevance of the lessons to statements about improvisation in the Music syllabuses of the NSW Board of Studies.

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13

Heffner, Steven (Bassist). "An Analysis of Dave Holland's Free Improvisation in "Waterfall" and Its Pedagogical Applications for Bassists in Avant-Garde Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609128/.

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This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.

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14

Edmund, David Charles. "The effect of articulation study on stylistic expression in high school musicians' jazz performance." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024367.

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15

Coss, Roger G. "A Phenomenological Inquiry into the Process of Teaching Jazz Improvisation." Scholarly Commons, 2016. https://scholarlycommons.pacific.edu/uop_etds/5.

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In seeking to further exploration on the relationship between jazz improvisation and creativity, this study describes the pedagogical beliefs and practices utilized by jazz educators for the teaching of improvisation as a creative process. Improvisation has been an integral feature of the jazz performance tradition for well over a century. However, the field of creativity studies has only recently come to recognize improvisation as a site for the creative process. While the jazz performance tradition has traditionally operated with a more collaborative and community-based pedagogical model based on various playing opportunities such as apprenticeships and participation at local jam sessions, the growth of jazz courses and degree programs has raised questions on the efficacy of current teaching practices within academia. The following central research question guided this study: What is the relationship between jazz improvisation and creativity? A qualitative methodology served as a theoretical underpinning for framing two supportive research questions: (1) What pedagogical beliefs do jazz educators hold in how they conceptualize improvisation as a creative process? (2) What are the pedagogical practices utilized by jazz educators in teaching improvisation as a creative process? This study utilized Moustakas’ transcendental, phenomenological research design and defined the phenomenon as the process of teaching jazz improvisation. Seven expert jazz educators situated in a variety of teaching contexts throughout Northern California were selected as participants using purposeful, snowball sampling strategies. Twenty themes emerged and were organized through four features of improvised music found across a variety of genres: creative, spontaneous, social, and accessible. These findings challenge de-socialized ways of teaching and learning creativity and add to the knowledge base on the teaching beliefs and practices of jazz educators within the fields of creativity, jazz, and music education. In providing valid data through semi-structured interviews, observations of the participants in a teaching context, and documents such as syllabi, student handouts, and music recordings, this study is intended to inform jazz educators and academics of the importance of collaborative, fully-immersed learning opportunities for the development of the skills needed for jazz improvisation.

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16

White, Christopher K. "The communication of musical expression : as exemplified in jazz performance." Diss., Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/2376.

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17

Denson, Marjorie Louise. "Music from the Margins: An Autoethnographic Study of the Development of a Jazz Composer’s Voice." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366579.

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This is a multi-modal, authoethnographic study which examines the development of my voice as a composer. It consists of a folio of music scores, two CD recordings, and an exegesis. The principal question of how my musical identity has been shaped by my experiences as a jazz practitioner has been examined through composing music, personal writing and reflection, and an examination of relevant literature. The compositions reveal the main influences in my musical identity - jazz, western art music and Latin music, as well as their connection to the places which have inspired their creation. They range from an art song cycle to Afro-Cuban dance music, reflecting the hybrid nature of my practice. The exegesis makes use of contemporary feminist musicology and cultural studies to examine the nature of my experiences as an Anglo-Canadian/Australian woman pianist trying to find her place in strongly male-identified Latin and jazz music communities. It addresses the historical eclipsing of the role of women in jazz, and examines the negotiation of gender dynamics in the job market and on the band stand in the various communities where I have lived and worked. Both the music and the narrative seek to add a unique voice to the ever-evolving and diversifying story of jazz in the 21st-century.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conseratorium
Arts, Education and Law
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18

Richardson, Saul Alexander. "Teaching jazz: A study of beliefs and pedagogy using Legitimation Code Theory." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/22066.

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This thesis explores how playing jazz can be taught to children and young people in a field that can hide its own basis of achievement. How to play jazz, how achievement is measured, and how it can be taught are problematic. The thesis looks at why the basis may be invisible to new players and suggests solutions Research highlights that many Australian and US school music teachers may lack expertise in jazz, it is uncommon for jazz musicians to be trained in pedagogy, and the public face of jazz may hide teaching and expertise, with potential implications for students’ learning or access to jazz for the those who may wish to engage creatively with playing it. Using a qualitative approach, the study first examines the field of jazz education, through a corpus of documentary sources, to explore the basis of achievement in rhetoric about pedagogy. Second, the research utilises case studies of three jazz educators at a jazz camp for young people, looking at what knowledge and ways of knowing were taught and how knowledge and knowing were built over time. Each teacher’s beliefs about the basis of jazz achievement was examined through interviews. Data analysis enacted the Legitimation Code Theory concepts of specialisation codes, semantic gravity, and semantic density. The corpus showed a disconnect between a public face of jazz that emphasises knower aspects of jazz while minimising skills, techniques, or other expertise and a jazz education reality of formal training, practice, and specialist knowledge. Analysis of pedagogy in the case studies uncovered different specialisation codes embodied by each of the teachers, but each illustrative of codes active in the field and with educational implications and affordances. Key conclusions include: (1) widespread assumptions that successful jazz musicians of the past universally learnt through informal means or were self-taught are overstated; (2) the emphasis on knowers and absence of knowledge in public rhetoric about education, and even the absence of pedagogy itself, has implications that restrict legitimacy to certain categories of people or experiences. Neglecting either the knowledge or the knowing aspects of jazz problematises student’s potential to succeed. The study shows that there are ways the ‘rules of the game’ can be made explicit to support more effective pedagogy.

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19

Sharp, Paul. "A critical study of George Russell's method of jazz improvisation." Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492386.

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20

Swanberg, Lena. "The Mystical Music. A minor field study in Recife and Olinda." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-948.

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21

Curran, Jessica. "Connectivity : A Study in Storytelling Through Musical Means." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2388.

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22

de, Jong Susan Johanna. "The Art Of Lyric Improvisation: A Comparative Study of Two Renowned Jazz Singers." Thesis, University of Canterbury. School of Music, 2008. http://hdl.handle.net/10092/1666.

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This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of "Sometimes I'm Happy" (Youmans/Caesar) between the years1955-1965. The method compares different elements of the individual singers' improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re-composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments.

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23

Barber, Simon. "Industrial mediation in jazz production : A case study of GRP records." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511095.

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24

Miller, Robyn Lee. "The role of the saxophone embouchure in the production of the South African jazz sound : a study of nine jazz saxophone players." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11118.

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South Africa is known for having its own distinctive jazz music sound of which the saxophone is a significant feature. The saxophone has often been recognised world-wide as a symbolic jazz instrument and has also played an important role in South African jazz. As the embouchure of the saxophone is crucial to its sound production, it stands to reason that it plays a role in producing this distinctive South African jazz sonority. The purpose of this study is to understand the role of the embouchure in producing the ‘South African jazz saxophone sound’, and to find a common trend in saxophonists.

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25

Kteily-O'Sullivan, Laila Rose. "Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501262/.

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The purpose of this study is to investigate the theoretical causes of the stylistic results of both compositions and spontaneous improvisations of jazz pianist and composer Thelonious Monk. The specific topics chosen for analysis include Klangfarben (sound colors), rhythmic displacement (the relocation or complete removal of expected rhythmic events), and economy of means (the judicious use of silence, simplicity, and economy). All of the above topics are addressed with regard to the composer's original works, his selected renditions of works by other composers, and his improvisations. The musical examples appear in transcription form, as some of them are unpublished. The topics are introduced in the first chapter, and individually addressed in subsequent chapters.

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James, Casie Dawn. "Strategic spelling instruction." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/2993.

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The study proposes an alternative way for elementary school educators to instruct students in spelling. It suggests that spelling instruction should allow ample time for students to manipulate letters and patterns in their spelling words and provide time for writing. It also offers a two-week lesson plan of spelling instruction backed by research. The study was conducted using a mixed design with a predominantly Hispanic 6th grade class at a Title I school, with 60% of the students classified as English Language Learners. The study design consisted of observations of the students manipulating the spelling words, anecdotal notes taken while observing the students, and the collection of writing samples across time. Data was collected by four formal language arts tests and bimonthly spelling assessments.

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27

Cavalli, Massimo. "Double bass and electric bass: the case study of John Patitucci." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/18726.

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The electric bass and double bass are two different instruments sharing a common function: they link harmony with rhythm, especially when talking about jazz music. The capacity of a bassist to fully support an ensemble is something that can be achieved individually playing electric or double bass. However there are some bassists who, despite of the technical differences between these two instruments, choose to play both. Some of these performers are true masters using and switching electric and double bass according to the different musical settings. It is possible to define similarities and differences between the electric and double bass, but is it viable to use similar approaches too? In order to investigate this field, I focus my research on one exemplar player who combines all the qualities needed to both play electric than double bass: John Patitucci, an inspiration for bassists of all generations and a musician who synthesizes all the fundamental characteristics of an ideal bass player. This dissertation is inspired by Patitucci’s example and by the urge to fill a gap in the specialized literature concerning the history and application of different left and right hand techniques on the electric and double bass. The main purpose of this study is to create the backbone of a bass program for teaching both instruments using John Patitucci as example. His technical approach on both instruments and his soloing vocabulary are points of departure of this dissertation. I begin my study with the historical origins of Patitucci’s techniques ending with the development of exercises created in order to teach his techniques and vocabulary to those who aspire to play electric and double bass; RESUMO: Baixo elétrico e contrabaixo, dois instrumentos distintos que partilham uma função comum: a possibilidade de produzir um conjunto de notas capazes de interligar uma grelha harmonia a uma base rítmica, criando uma coesão estética e musical, sobretudo na música jazz. A capacidade de um baixista de conseguir alcançar de forma eficiente esta ligação como sólido suporte para um “ensemble” musical está na base de uma sua eventual afirmação profissional. Há músicos que apesar das diferencias técnicas entre estes dois instrumentos, decidiram tocar ambos; alguns deles conseguiram destacarse, usando e trocando o baixo elétrico e o contrabaixo para servir melhor diferentes situações musicais. O contrabaixo e baixo elétrico têm características em comum mas ao mesmo tempo diferem por apresentar algumas diferenças técnica substanciais; será por isso possível abordar, explorar e aprender ambos utilizando uma mesma base metodológica? Com o intuito de explorar esta possibilidade direcionei a minha pesquisa para o estudo de um músico que no curso da sua longa carreira consegui grande destaque em quanto baixista elétrico e contrabaixista. John Patitucci é a síntese desta tipologia de músico, sendo uma fonte de inspiração para baixistas de todas as gerações. Esta dissertação é inspirada no seu exemplo e no desejo de colmatar o vazio presente na literatura musical comum aos dois instrumentos sobre a história e aplicação das técnicas da mão esquerda e direita. O foco principal é a criação de uma base sólida para o futuro desenvolvimento de um programa de ensino comum para o baixo eléctrico e o contrabaixo, utilizando o vocabulário técnico e improvisativo de Patitucci como ponto de partida. A dissertação aborda as origens históricas das técnicas utilizadas por Patitucci desenvolvendo, numa fase sucessiva, exercícios criados com a função de ensinar as suas técnicas aos que desejarem aprofundar a prática do baixo elétrico e do contrabaixo.

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DeWitt, S. Lloyd Hesse Douglas Dean. "Hypertextualizing composition instruction a research study /." Normal, Ill. Illinois State University, 1992. http://wwwlib.umi.com/cr/ilstu/fullcit?p9234461.

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Thesis (D.A.)--Illinois State University, 1992.
Title from title page screen, viewed January 25, 2006. Dissertation Committee: Douglas D. Hesse (chair), James R. Kalmbach, Janice G. Neuleib, Anne Rosenthal. Includes bibliographical references (leaves 194-202) and abstract. Also available in print.

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Wang, Changhua. "A comparative study of Chinese EFL reading instruction and American ESL reading instruction." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3861.

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Reading instruction in China and that in the United States are so different that they are not compatible. In fact, they seem to go in opposite directions. This study examined some of the differences between Chinese EFL reading instruction and American ESL reading instruction through analyzing selected tape-recordings of reading classes from China and the United States, and comparing Chinese EFL reading textbooks with American ESL reading textbooks. This study was intended to answer the following questions. 1. Is a bottom-up method of reading really taught in China while a top-down method is taught in the United States? 2. Compared with the ESL reading textbooks used in the United States, do the Chinese EFL reading textbooks have a larger proportion of exercises dealing with vocabulary, grammar and pronunciation and fewer items in reading skills? 3. Compared with the American ESL subjects, what are the strengths and weaknesses of the Chinese EFL subjects in reading comprehension in terms of recognizing main ideas, understanding direct statements and drawing inferences?

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Bourgois, Louis George. "Jazz trombonist J.J. Johnson : a comprehensive discography and study of the early evolution of his style." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1165336001.

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Kwong, Chung-yuk. "A classroom study of collaborative study at the computer." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20137424.

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Pinson, Koren Heather. "The music behind the image : a study of the social and cultural identity of jazz /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266067.

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Ersoy, Halil. "Blending Online Instruction With Traditional Instruction In The Programming Language Course: A Case Study." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1063429/index.pdf.

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This study investigated the students&rsquo
perceptions about the web-based learning environment in the blended learning environment in terms of web-based instruction, online collaborative learning and the online instructor. The study tried to show the contributions of the web-based instruction in traditional face-to-face instruction. In this case study, Programming Languages II Course (CEIT211), a undergraduate course at Computer Education and Instructional Technology Department (CEIT), at Middle East Technical University, at the 2002-2003 Spring semester, was delivered as blended learning with a new web site. Totally 65 subjects, 2nd year CEIT students, attended the course in the term and participated to the study. The course was delivered via traditional face-to-face instruction and supported with the web site. At the end of the semester, three questionnaires were administrated in order to understand the students&rsquo
perceptions about web-based learning environment in terms of web-based instruction, online collaborative learning and online instructor. The time spent on the web site and the numbers of messages posted to forum were other data sources in this study. The data were statistically analyzed. The quantitative data showed that the students&rsquo
perceptions about web-based instruction and online instructor were positive, but online collaborative learning perceptions are about neutral. Beside the research questions, some design considerations in the blended learning case were presented. The study results may be used in evaluation of the blended learning environment for the instructor and for the department, may show a direction in the future design of the course.

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CARVER, TIMOTHY A. "A STUDY OF ADAPTIVE COMPUTER ASSISTED INSTRUCTION." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006187967.

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Furiani, Dominic Michael. "Informal Teaching and Learning Practices in a Traditional Jazz Ensemble| A Case Study." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978203.

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Non-traditional music ensembles have emerged in public school classrooms as part of a larger effort to facilitate informal learning in school music. In this multi-instrumental case study, twenty-two member jazz ensemble composed of 10-12th grade students embarked on an aural learning activity. In this study, I examine the teaching and learning styles that emerged from the participants to gain a better understanding of informal learning practices and how they manifest in a formal learning environment. Data collection included twenty-two student surveys and one semi-structured interview of the participating teacher. In addition, video recordings of instruction, field notes, and in class memos were composed while observing the teacher and students. All data were coded using open and axial processes. The data are divided into two sections—the teacher’s experience which highlights teaching strategies and implementation procedures and the students’ experiences which focused on affective perception, the learning process, social/communal responses, and achievement. Findings indicate that a teacher who is implementing an aural learning activity into a large ensemble setting may adopt a different teaching style in order to create an authentic informal learning experience for the students. When authentically placing informal methods into a formal learning environment, students rely more on self- and peer-teaching, which led to heightened social and communal responses. These findings are linked to this specific aural learning activity, and future research in other settings with different activities may yield alternative results. Additional research which may include sharing of new activities, experiences and teaching strategies may benefit all teachers in blending informal and formal learning practices.

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Sanchez, Cantu Rosa Maria. "Learning transactions in adult education : a case study of a jazz piano class." Thesis, University College London (University of London), 1987. http://discovery.ucl.ac.uk/10020172/.

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Sawkins, Jeremy Hugh. "Stringing it all together: A study in harmony and counterpoint for solo jazz guitar." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18788.

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How do Australian jazz guitarists create their unique arrangements of jazz songs in the context of solo performance? This research focuses on the methods of three prominent Australian jazz guitarists – George Golla, Jim Kelly and James Muller. They are representatives of three different generations and their music reflects trends and stylistic influences in the evolution of jazz music. Through the analysis of their song interpretations and interviews I have revealed a range of methods for the juxtaposition of melody and harmony on the guitar.

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Lilley, Andrew. "The jazz piano style : a comparative study of bebop, post-bebop and modern players." Doctoral thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/9262.

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Includes bibliographical references.
The study embraces a need to document the jazz piano style through analytical representation of key players in the jazz tradition. While there are several educational books outlining method, there is little material discussing jazz style in the context of influential piano players. Educator and author, David Baker, has undertaken to introduce several books from this perspective for some of the more influential horn players (Baker 1982). A search for the jazz style of Bud Powell, Thelonius Monk or Horace Silver, however, will reveal little material and where available this constitutes mostly short biographical information often occupying less than a paragraph within a chapter of historical context. Thomas Owens, for example, discusses the bebop style in 'Bebop, The Music and the Players' (Owens, 1995). He mentions most of the key players for each instrument and discusses their respective stylistic traits. The work is very informative from an overall perspective but serves only to introduce a broad understanding of the players listed. There is very little in-depth analytical discussion or comparative study on style. The subject base is too large for this kind of detail.

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Roberson-Weser, Bettyjean. "An exploratory study of multicultural curriculum and instruction." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2004. http://digitalcommons.auctr.edu/dissertations/2320.

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This study examines whether or not student teachers are prepared to work with students from diverse populations. Teachers' perceptions of culture-related identities and their manifestations in the classroom are relevant to school achievement in students. Teachers understanding of students from various cultural backgrounds can provide a caring an supportive learning environment that will more than likely promote the students cultural identity and encourage high academic performance. However, teachers misunderstandings of and reactions to students' cultural behavior can lead to school and social failure. A predominantly white college located in Atlanta, Georgia, provided the sample of 35 student teachers. Each participant completed a questionnaire regarding their prior understanding of diverse cultures prior to entering school. The questionnaire also discussed if the schools they are attending includes multicultural instruction and curriculum. The data collected via the questionnaire were analyzed using descriptive, as well as a P-Test. The findings of this study showed that multicultural curriculum and instruction had no effect on teachers' perceptions when working with students form diverse culture backgrounds. Implications for measuring the variables are also discussed.

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Cummings, Brienne M. "Reading Instruction for All: A Study of the Status of Reading Instruction in Ohio High Schools." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206195511.

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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.

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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.

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Dwyer, Edward J. "Sustained Study Time." Digital Commons @ East Tennessee State University, 1991. https://dc.etsu.edu/etsu-works/3743.

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Butterfield, Craig. "The improvisational language of Niels-Henning Ørsted Pedersen a performance study /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9790.

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Cumyn, Lucy A. "Pedagogical reflection in statistics instruction." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115594.

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Today, education is arguably one of the most important facets used to prepare and train students for the future. Society expects that students will acquire the requisite knowledge and competence in their respective fields to prepare them to successfully navigate the demands of today's competitive markets. This expectation has consequences on teachers at all levels of education across many domains. Teachers have a significant role: to prepare students for the future. Competent teachers spend a great deal of time reflecting on their own practices and beliefs, reviewing their teaching goals and evaluating if students have met these goals effectively. The process of reflection in teaching is vital in the preparation and training of students.
The purpose of this dissertation therefore was to investigate how statistics professors reflect on their practice. The research questions were designed to access what statistics teachers thought about before giving their courses and before giving two of their classes (hypothesis testing, t-tests). Post class evaluation interviews were conducted to determine where professors thought they were effective and whether they considered a need for change based on student understanding. More specifically, the questions asked: 1) What are the main themes in teacher reflection? 2) How is the content of reflection similar or different between statistics teachers? 3) How is the content of teacher reflection defined in statistics?
The design was based on a grounded theory approach whereby data collection consisted solely of interviews conducted throughout the semester: one pre-course interview and two sets of pre-class and post-class interviews. There were 13 participants in total. Participants were either statistics teachers from Quebec Cegeps or university professors. Participants were from the following departments: anthropology, economics, psychology, sociology, education, math, and biology. The analyses dealt with three data sources: pre class reflection, in class reflection, and post class reflection.
Data analysis focused on defining the main themes of teacher reflection that emerged from the data, identifying the content of reflection between and within participants in terms of similarities or differences. The pre course interview revealed five main themes: the course (logistics), the teacher as 'self, teaching approaches (what do they say they do in the classroom?), teaching and learning influences, and evaluation of teaching.
The pre and post class interviews addressed class planning. What did the professors foresee as any issues students might have in understanding hypothesis testing and t-tests? What changes would they make the next time they taught these concepts? Results showed that the focus of professor reflection centered around three main categories: the class, the student, and the teacher. For the main category, class, some professors reviewed lecture notes, added examples that emphasized authentic statistical problems, and others did no preparation. Student related themes addressed issues students had with understanding statistical content, learning associated difficulties, and student affect. The last category, the teacher, looked at self evaluation, their in-class strategies, methods of promoting and gauging student understanding, and decisions made in class and for future classes. Recommendations for future research include examining the role of experience in professor's level of reflection as well as defining the process of decision making and its role in reflection.

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Gough, Daniel Anthony. "In Your Own Sweet Way: A study of tertiary jazz pianists’ individualised approaches to practice and performance." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20876.

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Set out in three volumes (Vol. 1 Thesis, Vol. 2 Transcriptions, Vol. 3 Appendices) and engaging the history of jazz transmission, this study investigates the ways aspiring jazz pianists practise in order to develop their own personal voice or musical identity, which is the supreme goal of the jazz musician. To date, this process has not been well served by research. It is commonly held that because it is an improvisational art form, jazz cannot be taught, at least not in a conventional way, and that jazz musicians search out for themselves what they wish to learn and who they wish to learn it from. In order to understand how the emerging professional (as distinct from the seasoned expert) works towards establishing an individual voice, the study observed, analysed and compared the practice and performance of eight pianists enrolled in the well-established jazz performance program at the Sydney Conservatorium of Music in Australia. It employed a “fly-on-the-wall” approach whereby over the course of a single week the participants recorded themselves practising the standards, “In Your Own Sweet Way” and “Oleo”. The researcher then recorded each participant performing the pieces and interviewed them about their background, influences, and how they set about achieving their musical goals. The data were transcribed and coded according to what the study terms Modes of Jazz Practice, Jazz Practising Concepts, and Practising Strategies. From analysis it began to emerge that the participants’ approaches to practising ranged from the spontaneous and intuitive to the more structured and systematic. In short, the pianists addressed a set of “Modes” familiar to jazz musicians and dedicated themselves to the exploration of particular “Concepts” while implementing various “Strategies”. Throughout, they engaged with ideas and exercises derived from an eclectic range of sources, such as method books, recordings, smart phone apps, and websites. The study concludes that while approaches to practising have to an extent become standardised, they are at the same time highly individualised. That is, they are developed according to the preferences and vision of each musician, in her or his “own sweet way”.

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Peters, Melvin Lloyd. "Jazz as a model for teaching improvisation in music education." Thesis, 1988. http://hdl.handle.net/10413/8884.

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Thusi, Nhlanhla Brian. "Jazz education for post-apartheid South Africa." Thesis, 2001. http://hdl.handle.net/10413/5190.

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This essay has two primary purposes: (1) to make a case for jazz education and (2) to suggest ways in which jazz education can more prominently and profitably feature in post-Apartheid South African education. Justifying jazz education and determining how it can best fit into South African education both require a clear conception of what jazz education is in its various forms. Thus, the essay begins by attempting a holistic definition of jazz education as education in, about, and through jazz followed by a systematic consideration of the many and varied educational outcomes jazz education is capable of achieving. Thereafter, an overview is presented of jazz education as it presently exists in South Africa. Employing criteria derived from the essay's discussions, South African jazz education is evaluated and suggestions are made for how it can be further developed.
Thesis (M.Mus.)-University of Natal, Durban, 2001.

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Buttermann, Matthew Garry. "Motivating and Engaging the Music Learner in Jazz." Thesis, 2019. https://doi.org/10.7916/d8-xktm-q348.

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This study investigated the motivating and engaging factors of jazz programs present in the learning environments of avocational jazz musicians in higher education. The investigation explored these factors as perceived by the learners themselves as well as the educators tasked with creating enriching musical experiences for their college students. The student participants for this study consisted of college students currently enrolled at a liberal arts college in the NorthAbeles, east, all of whom perform in the jazz ensemble at their institution. The setting of liberal arts colleges was chosen for the study as an environment where students are actively learning and performing jazz music while pursuing other academic interests more closely related of their desired future professional goals. The educator participants came from the same institutions and provided data in specific regard to their experiences working with this unique population of jazz learners. Students reported their motivations were peaked by the social element inherent to the ensemble experience, their desire to exercise their creativity, and the value of diverse learning environment as part of their overall college experience. On the other hand, educators from the same institutions found that they were best serving their students by demonstrating their own enthusiasm for the music, demonstrating the critical thinking element of jazz learning, and understanding that the students more closely relate the ensemble to a recreational activity available at the college. The study gathered data from focus group interviews with 49 students and 6 one-on-one interviews with jazz educators at liberal arts colleges. The questions for these interviews and focus groups were derived from an earlier pilot study of the same population of jazz learners and liberal arts music educators, and the analysis paralleled reported findings to relevant motivational theories and pedagogical practices common to jazz performance education.

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Mason, Colin Michael. "A comparative and historical survey of four seminal figures in the history of jazz education." Thesis, 2005. http://hdl.handle.net/2152/1568.

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Soodyall, Merle Chantal. "Jazz in the classroom : an interdisciplinary and intercultural means of achieving 'arts and culture' outcomes in curriculum 2005." Thesis, 1999. http://hdl.handle.net/10413/8897.

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