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1
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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Powell, Jason, and Kris Chesky. "Reducing Risk of Noise-Induced Hearing Loss in Collegiate Music Ensembles Using Ambient Technology." Medical Problems of Performing Artists 32, no. 3 (September 1, 2017): 132–38. http://dx.doi.org/10.21091/mppa.2017.3024.
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Student musicians are at risk for noise-induced hearing loss (NIHL) as they develop skills and perform during instructional activities. Studies using longitudinal dosimeter data show that pedagogical procedures and instructor behaviors are highly predictive of NIHL risk, thus implying the need for innovative approaches to increase instructor competency in managing instructional activities without interfering with artistic and academic freedom. Ambient information systems, an emerging trend in human-computer interaction that infuses psychological behavioral theories into technologies, can help construct informative risk-regulating systems. The purpose of this study was to determine the effects of introducing an ambient information system into the ensemble setting. The system used two ambient displays and a counterbalanced within-subjects treatment study design with six jazz ensemble instructors to determine if the system could induce a behavior change that alters trends in measures resulting from dosimeter data. This study assessed efficacy using time series analysis to determine changes in eight statistical measures of behavior over a 9-wk period. Analysis showed that the system was effective, as all instructors showed changes in a combination of measures. This study is in an important step in developing non-interfering technology to reduce NIHL among academic musicians.
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Ryu, Eunjoo. "A Phenomenological Study of Faculty Members’ Experiences with Online Instruction in Jazz and Commercial Music Departments: Focusing on Teaching Applied Lessons and Performance Classes." Korean Music Education Society 52, no. 1 (February 28, 2023): 29–56. http://dx.doi.org/10.30775/kmes.52.1.29.
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Baker, Wilbur R. "An Analysis of Vocal Jazz Repertoire by Three Selected Publishing Companies." Update: Applications of Research in Music Education 30, no. 1 (August 26, 2011): 54–63. http://dx.doi.org/10.1177/8755123311418625.
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The purpose of this study was to analyze SATB (soprano, alto, tenor, bass) vocal jazz octavos ( N = 150) from three publishers in an effort to (a) identify the most prolific arrangers/composers, (b) cite improvisation opportunities, (c) document publisher improvisation markings, (d) indicate repeated titles, (e) identify most popular styles, and (f) investigate instrumental accompaniment combinations. Results revealed that the most prolific composers were Kirby Shaw, Steve Zegree, and Darmon Meader. Less than one fourth (22.6%) of the charts included improvisation opportunities for singers with transcribed notation ( n = 18) or instructions ( n = 16). Swing and Ballad styles were more prevalent than Latin and Contemporary. Categories for instrumental accompaniments included none/a cappella ( n = 31), bass ( n = 1), piano ( n = 39), combo ( n = 48), and augmented combo ( n = 32). Further results and discussion are included.
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O’Neill, Jennifer R., Russell R. Pate, and Michael W. Beets. "Physical Activity Levels of Adolescent Girls During Dance Classes." Journal of Physical Activity and Health 9, no. 3 (March 2012): 382–88. http://dx.doi.org/10.1123/jpah.9.3.382.
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Background:The aims of this study were to describe the physical activity levels of girls during dance classes and to identify factors associated with moderate-to-vigorous physical activity (MVPA) in those classes.Methods:Participants were 137 girls (11 to 18 years-old) enrolled in ballet, jazz, or tap dance classes from 11 dance studios. Participants wore an accelerometer during the selected dance class on 2 separate days. Factors hypothesized to be associated with MVPA were dance style, instructional level, instructor’s experience, percent of class time spent in choreography, and participants’ age, race/ethnicity, BMI-for-age percentile, and years of dance training. Data were analyzed using generalized linear mixed models.Results:Girls engaged in 9.8 minutes of MVPA, 6.0 minutes of moderate, 3.8 minutes of vigorous, 39.3 minutes of light, and 10.9 minutes of sedentary behavior per hour of dance class participation. Jazz/tap classes provided more MVPA than ballet classes, and intermediate level classes provided more MVPA than advanced level classes. Girls with more dance training obtained more MVPA than girls with less dance training.Conclusion:Dance classes provide valuable opportunities for adolescent girls to be physically active.
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Bibik, Janice M. "Pedagogical Considerations Regarding Perceptions of Dance Competence." Journal of Teaching in Physical Education 12, no. 3 (April 1993): 266–85. http://dx.doi.org/10.1123/jtpe.12.3.266.
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This study examined how college-age students in a beginning jazz and modem dance class construct their self-perceptions of dance competence. Each class was videotaped one class per week for 12 weeks. During the 12th week a perceived competence in dance scale was administered to the students (N=26) and the teacher. Results indicated that 57.7% of the students’ perceptions of their competence were congruent with the teacher’s; 42.3% were incongruent (15.3% higher, 27% lower). Based on interviews, these groups displayed distinct characteristics regarding attribution for success, interpretation of feedback, and focus on classroom activities. Videotape analysis using the Dyadic Adaptation of CAFIAS indicated there was no differential treatment of the students by the teacher. It was concluded that, rather than the teacher expectation effect, the students’ interpretation of themselves in the instructional context accounted for their self-perceptions of their competence.
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Orel, Dmitriy. "SYSTEMATIC TRAINING OF PROFESSIONAL CIRCUS ARTISTSБ (ACROBATS-VOLTIGERS AND AIR GYMNASTS ON THE CORDE-DE-PÉRIL) IN THE INSTITUTION OF HIGHER EDUCATION OF ART SPHERE." ART-platFORM 1, no. 1 (May 14, 2020): 126. http://dx.doi.org/10.51209/platform.1.1.2020.126-140.
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The article outlines the possibility of a systematic principle of training a circus artist in today's conditions.
The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined.
The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addition, empirical, descriptive, and general scientific methods of comparative analysis and synthesis are used. A The scientific novelty consists to identify the characteristic features of specificity and the training of a professional circus artist in genres − acrobatic voltage and air gymnastics on the cord de péril.
The circus culture in the process of evolution is enriched with the modern interaction of the performing arts: from introducing stunt elements from sports acrobatics and gymnastics; contemporary theater, in particular acting and psychophysical training; neoclassical ballet school and popular youth styles in contemporary choreography with the borrowing of modern dance, jazz dance; plastic and facial aspects of the school of contemporary pantomime; circus genres − manual balancing, juggling, as well as the humanities and art cycle of instruction. The uniform load of the professional cycle in combination with the artistic and humanitarian opens up new opportunities in the preparation of a contemporary circus artist with professional skills. The emphasis on the student’s use while learning the great possibilities of modern technologies for independent work is electronic sites, video presentations, master classes, training and practical training, creative events create unlimited opportunities for becoming a professional circus artist in the modern labor market, both in Ukraine and abroad.
Keywords: circus genres, acrobatics, gymnastics, voltige acrobatic, aerial gymnastics on the cord de parel, circus stunt, stage representation, circus number, choreography, pantomime.
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Goodrich, Andrew. "Peer Mentoring in a High School Jazz Ensemble." Journal of Research in Music Education 55, no. 2 (July 2007): 94–114. http://dx.doi.org/10.1177/002242940705500202.
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The use of peer mentoring in a successful high school jazz band was explored during one academic year of instruction using ethnographic techniques. Participants included primary informants (student jazz band members, director, assistant director, adult mentors) and secondary informants (guidance counselor, principal, parents, nonjazz band member students). Data analysis revealed that peer mentoring contributed to the success of a high school jazz band. Five themes emerged: (a) mentoring from the adult perspective, (b) peer mentoring for musicianship, (c) mentoring in rehearsals, (d) mentoring outside jazz band rehearsals, and (e) social mentoring. Suggestions for teacher educators include supporting, developing, and implementing peer mentoring, which can aid directors in instruction and rehearsal efficiency.
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Miroshnichenko, Oleg Nikolaevich. "Principle of contrast as a compositional technique in the Sonata for accordion by B. Mironchuk." Pan-Art 4, no. 1 (February 29, 2024): 41–46. http://dx.doi.org/10.30853/pa20240007.
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The aim of the study is to identify the role of the principle of contrast (figurative, genre, thematic, tempo) as a compositional technique in the Sonata for accordion by B. Mironchuk. The work of the Donetsk author becomes the object of comprehensive study for the first time. The principle of contrast is considered as an important factor in the formation and development of musical material. It is noted that the figurative contrast associated with the alternation of active and lyrical figurative spheres drives the dramatic development of the work. The tempo contrast is embodied in delimitating the sections of the form of each of the sonata’s movements. The figurative-tempo spheres are characterized by comparisons of the genre models of toccata, scherzo and song, the jazz style of boogie-woogie and quasi-choral episodes are involved. The thematic contrast is manifested in changes in the mode-tonal plan, features of the harmonic and rhythmic organization and stylistic decisions. The analysis of the interpretation shows the identity of the thinking of the performer and the composer embodied in one person and suggests the unique standard of such an interpretation due to the exact adherence to the instructions of the author’s text. The result of the study amounts to the following: the analysis of the compositional techniques and interpretation of this opus provides a platform for further study of B. Mironchuk’s creative work and the sonata genre.
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Casas-Mas, Amalia, Guadalupe López-Íñiguez, Juan Ignacio Pozo, and Ignacio Montero. "Function of private singing in instrumental music learning: A multiple case study of self-regulation and embodiment." Musicae Scientiae 23, no. 4 (March 5, 2018): 442–64. http://dx.doi.org/10.1177/1029864918759593.
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The aim of this article is to explore a range of largely embodied vocalisations and sounds produced by learners of string instruments and how they relate to the potential self-regulatory use provided by such vocalisations. This type of “singing” while learning to play an instrument may have similarities to the use of private speech in other types of learning tasks. This report describes a multiple case study based on the naturalistic observation of learners playing string instruments in different situations. We observed private rehearsals by six adult guitarists from different music cultures (classical, flamenco and jazz) who had different approaches to learning (traditional and constructivist). In addition, we observed the one-to-one lessons of a constructivist cello teacher with a 7-year-old beginner and a 12-year-old student. All sessions were recorded. We applied the System for Analysing the Practice of Instrumental Lessons to the video lessons and/or practices and participant discourse for constant comparative analysis across all categories and participants. From the theoretical framework of private speech, we identified a set of qualities in private singing, such as whistling, humming, and guttural sounds, with different levels of audibility. Self-guidance and self-regulation appeared to be the functions underlying both psychomotor learning and reflective-emotional learning from an embodiment approach. Guitar learners from popular urban cultures seemed to use less explicit singing expression than classical guitar learners, the explicitness of which may be related to the instructional use of the notational system. In the one-to-one cello lessons, we observed a process of increasing internalisation from the younger to the older student. Both results are consistent with the literature on private speech, indicating that this process is a natural process of internalisation at higher literacy levels. Singing is not as frequent in music lessons as might be expected, and it is even less frequently used as a reflective tool or understood as an embodied process. The examples provided in this article shed light on the multiplicity of applications and on the potential benefits of private singing in instructional contexts as a powerful learning tool.
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Mizoguchi, Yasuaki, Tsukasa Urakawa, and Hitoshi Kurabayashi. "Safer return to jazz dance instruction after simultaneous bilateral total hip arthroplasty." BMJ Case Reports 14, no. 7 (July 2021): e243214. http://dx.doi.org/10.1136/bcr-2021-243214.
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To describe the case of a 48-year-old Japanese female patient with more than two decades of experience in jazz dance instructor returning to work after simultaneous bilateral total hip arthroplasty (SBTHA). We provided her with a tailored postoperative physical therapy programme considering her preoperative activity level and skills using three-dimensional motion analysis for guidance. The patient returned to jazz dance instruction 8 months after undergoing SBTHA, and her disease-specific quality of life assessment score at 1-year postsurgery was almost perfect. Use of three-dimensional motion analysis helped facilitate our assessment of whether her hip angle was within the acceptable range for teaching the compound movements necessary in jazz dance, but her preoperative experience was crucial in determining her full-scale participation in jazz dance. At present, 7 years since the surgery, the patient is able to continue jazz dancing, the THA component remains stable.
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Rinne, Marjo B., Seppo I. Miilunpalo, and Ari O. Heinonen. "Evaluation of Required Motor Abilities in Commonly Practiced Exercise Modes and Potential Training Effects Among Adults." Journal of Physical Activity and Health 4, no. 2 (April 2007): 203–14. http://dx.doi.org/10.1123/jpah.4.2.203.
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Background:There is a lack of knowledge of the motor abilities required in different exercise modes which are needed when counseling sedentary middle-aged people to start a physically active lifestyle.Methods:Nominal group technique was used to establish the consensus statement concerning motor abilities and physical fitness in 31 exercise modes.Results:Walking, running, jogging, and calisthenics were regarded as the most suitable exercise modes for most people with no specific requirements. The most demanding exercise modes of evaluated exercise modes were roller skating, downhill skiing, and martial arts, requiring all five motor abilities. Four abilities were necessary in skating, jazz dance, and ice hockey. When exercising is target-oriented, endurance is trained evidently in 27 out of 31 and muscle strength in 22 out of 31 exercise modes.Conclusions:The consensus statement gives theoretical basis for the components of motor abilities and physical fitness components in different exercise modes. The statement is instructive in order to promote health-enhancing physical activity among sedentary people. This study completes the selection of the exercise modes more detailed than current PA recommendation and guidelines for public health. A variety of exercise modes with one or none motor requirements is available to start. When amount and intensity of exercise is increased the training effects can be found in most components of motor ability and physical fitness.
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Richardson, Brittany. "A Survey of Music Faculty in the United States Reveals Mixed Perspectives on YouTube and Library Resources." Evidence Based Library and Information Practice 15, no. 4 (December 15, 2020): 185–87. http://dx.doi.org/10.18438/eblip29835.
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A Review of: Dougan, K. (2016). Music, YouTube, and academic libraries. Notes, 72(3), 491-508. https://doi.org/10.1353/not.2016.0009 Abstract Objective – To evaluate how music faculty members perceive and use video sharing sites like YouTube in teaching and research. Design – Survey Questionnaire. Setting – 197 music departments, colleges, schools, and conservatories in the United States. Subjects – 9,744 music faculty members. Methods – Schools were primarily selected based on National Association of Schools of Music (NASM) membership and the employment of a music librarian with a Music Library Association (MLA) membership. Out of faculty members contacted, 2,156 (22.5%) responded to the email survey. Participants were asked their rank and subspecialties. Closed-ended questions, ranked on scales of 1 to 5, evaluated perceptions of video sharing website use in classroom instruction and as assigned listening; permissibility as a cited source; quality, copyright, and metadata; use when items are commercially unavailable; use over library collections; comparative ease of use; and convenience. An open-ended question asked for additional thoughts or concerns on video sharing sites and music scholarship. The author partnered with the University of Illinois’ Applied Technology for Learning in the Arts and Sciences (ATLAS) survey office on the construction, distribution, and analysis of the survey data through SPSS. The open-ended question was coded for themes. Main Results – Key findings from closed-ended questions indicated faculty: used YouTube in the classroom (2.30 mean) more often than as assigned listening (2.08 mean); sometimes allowed YouTube as a cited source (2.35 mean); were concerned with the quality of YouTube recordings (3.58 mean) and accuracy of metadata (3.29 mean); and were more likely to use YouTube than library resources (2.62 mean), finding it easier to use (2.38 mean) and more convenient (1.83 mean). The author conducted further analysis of results for the nine most reported subdisciplines. Ethnomusicology and jazz faculty indicated a greater likelihood of using YouTube, while musicology and theory/composition faculty were more likely to use library resources than others. There was little significant difference among faculty responses based on performance subspecialities (e.g. voice, strings, etc.). Overall, open-ended faculty comments on streaming video sites were negative (19.3%), positive (19.3%), or a mixture of both (34.1%). Themes included: less use in faculty scholarship; a need to teach students how to effectively use YouTube for both finding and creating content; the value of YouTube as an audio vs. video source; concerns about quality, copyright, data, and reliability; and benefits like easy access and large amounts of content. Conclusion – Some faculty expressed concern that students did not use more library music resources or know how to locate quality resources. The study suggested librarians and faculty could collaborate on solutions to educate students. Librarians might offer instructional content on effective searching and evaluation of YouTube. Open-ended responses showed further exploration is needed to determine faculty expectations of library “discovery and delivery” (p. 505) and role as the purchaser of recordings. Conversations between librarians and faculty members may help clarify expectations and uncover ways to improve library resources and services to better meet evolving needs. Finally, the author recommended additional exploration is needed to evaluate YouTube’s impact on library collection development.
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Holbrook, Morris B. "Reflections on jazz training and marketing education." Marketing Theory 16, no. 4 (July 31, 2016): 429–44. http://dx.doi.org/10.1177/1470593116652672.
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In recent years, numerous marketing and organizational theorists have called attention to the analogy between jazz and management strategy. From the perspective of this jazz metaphor, key questions concern the implications of jazz training for marketing education. Too often—say, in motion pictures or television dramas—jazz is portrayed as an innocent folk music whose performance requires more feeling than knowledge. This inaccurate stereotype colors the treatment of music instruction found in the film Mr. Holland’s Opus (1995). A contrasting view of jazz as a technically demanding art form appears in the movie Whiplash (2014). These two films also represent diametrically opposed teaching styles—the first nurturing and customer-oriented, the second sadistic and product-oriented. A third motion picture entitled Keep On Keepin’ On (2014) presents a resolution of this dialectic in the form of a marketing-oriented instructor whose method of teaching combines kindness (the customer-oriented thesis) with rigor (the product-oriented antithesis) to achieve a balanced reconciliation (the marketing-oriented synthesis). From this perspective, like jazz training, marketing education is itself embarked on a marketing project that benefits from a rapprochement of customer-oriented and product-oriented impulses to attain a marketing-oriented synthesis. Thus, insights about jazz training become relevant to the challenges of marketing education—as illustrated by various examples from the author’s own experiences.
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Caplan, Victoria F., and Eunice S. P. Wong. "Diversity within unity: jazzing up sustainable information literacy teams." Library Management 37, no. 6/7 (August 8, 2016): 326–39. http://dx.doi.org/10.1108/lm-05-2016-0039.
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Purpose The purpose of this paper is to show how one medium-sized research library sustainably delivers large scale integrated library instruction via team efforts that allow for (and encourage) librarians diverse teaching approaches within a unified team. Design/methodology/approach This paper examines an individual case within the context of library and management research literature. Findings A self-managed library instruction team, using agreed upon learning outcomes and supported by good infrastructure, communication skills and tools, and within administration supportive of professional development and experimentation can sustainably delivery high volume, high-quality library instruction. Practical implications This paper may help other libraries learn how to develop their own self-managed teams to deliver sustainable high volume, high-quality library instruction. Originality/value This paper contributes to the literature on self-managed teams in librarianship and especially self-managed teams to deliver sustainable high volume information literacy. It also contributes to the small pool of literature using the jazz metaphor in library instruction.
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Husain, Aatif, Phyllis Zee, Eileen Leary, Wayne Macfadden, Douglas Fuller, Shawn Candler, and Charles Bae. "0598 Patient-Reported Sleep Quality in People With Narcolepsy Transitioning From Sodium Oxybate to Lower-Sodium Oxybate." SLEEP 46, Supplement_1 (May 1, 2023): A262. http://dx.doi.org/10.1093/sleep/zsad077.0598.
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Abstract Introduction Lower-sodium oxybate (LXB; Xywav®), which contains the same active moiety as higher-sodium oxybate (SXB; Xyrem®) but with 92% less sodium, is approved by the US Food and Drug Administration (FDA) for treating cataplexy or excessive daytime sleepiness in patients ≥7 years of age with narcolepsy. LXB is recognized as clinically superior to SXB in narcolepsy by the US FDA due to lower chronic sodium exposure. Real-world data related to sleep quality following transition from SXB to LXB are lacking. Methods Transition Experience of persons with Narcolepsy taking Oxybate in the Real-world (TENOR; NCT04803786) was a patient-centric, prospective, observational, noninterventional, virtual-format study of US adults with narcolepsy (type 1 or 2) transitioning from SXB to LXB within the previous/upcoming 7 days. Longitudinal data collected during transition and for 21 weeks thereafter were based on daily and weekly questionnaires and sleep diaries instructing participants to rate the quality of their sleep and how refreshed they felt upon waking, and to record their sleep latency, wake after sleep onset (WASO), time in bed (TIB), and total sleep time (TST). Results The mean (standard deviation [SD]) age of the 85 participants (narcolepsy type 1, n=45; narcolepsy type 2, n=40) was 40.3 (13.0) years; most were female (73%) and White (87%). Almost all participants took SXB (82/85, 96%) twice nightly prior to transition and LXB (82/84, 98%) twice nightly after transition. Most participants rated their sleep quality as “good” or “very good” at baseline (45/84, 54%) and end of study (38/71, 54%), while 24/84 (29%) and 30/71 (42%) reported feeling “well-rested” or “very well-rested” at baseline and end of study, respectively. At end of study, changes (n=71) in mean (SD) sleep latency, WASO, TIB, and TST were −10.5 (16.2), −14.8 (56.6), 7.6 (67.7), and 33.0 (93.8) minutes, respectively. Conclusion Although participant-reported sleep quality was generally unchanged during the study, a greater percentage of participants reported feeling refreshed at end of study (on LXB) than at baseline (on SXB); however, there was no non-transitioning arm for comparison. Small changes were noted at end of study in sleep parameters, including sleep latency, WASO, and TST. Support (if any) Jazz Pharmaceuticals
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Manuel, Peter. "Flamenco Jazz: An Analytical Study." Journal of Jazz Studies 11, no. 2 (March 29, 2018): 29–77. http://dx.doi.org/10.14713/jjs.v11i2.113.
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Jin, Jae Young, Marzelan Salleh, and Camellia Siti Maya Mohamed Razali. "THE ELEMENTS INFLUENCING THE MUSICAL DIRECTION OF FUSION JAZZ ARTISTS: A STUDY OF LEE RITENOUR." International Journal of Creative Industries 6, no. 10 (June 6, 2024): 01–15. http://dx.doi.org/10.35631/ijcrei.610001.
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Traditional Jazz is characterized by swing rhythm, the use of blues notes, syncopation, and improvisation. Jazz music has gone through evolution, birthing multiple iterations of a genre. One such iteration is Fusion Jazz as a combination of Jazz and Rock music. This music has undergone changes, adopting musical elements from various genres such as Funk, R&B, Blues, and other popular music, including the occasional use of computer programing. This study analyzes and studies the elements that have influenced fusion jazz artists. During the process of producing, recording, and performing, musicians often discover their personal musical strengths and weaknesses. This greatly improves or changes the musician’s tendencies on music. This research is to explore the life, career, and musical contributions of guitarist Lee Ritenour, with a specific focus on his impact on the jazz and contemporary music scenes. This study aims to examine the influence he exerted on the fusion jazz world by analyzing the various musical elements present in his compositions. Thus, this study will also predict possible future trends of Fusion Jazz.
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Madura Ward-Steinman, Patrice. "Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study." Journal of Research in Music Education 56, no. 1 (April 2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.
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In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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GÂRLEA, MIHAELA LOREDANA. "Collision in new music. Cross-border perspectives in the study, research and manifestation of jazz." ARTES. JOURNAL OF MUSICOLOGY 27, no. 27-28 (July 2, 2023): 98–107. http://dx.doi.org/10.35218/ajm-2023-0006.
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I start with the inclusion of jazz in the category of new music in the transition phenomenon from Romanticism to the polystylism of the 20th century and until contemporary times. The work Collision in new music. Cross-border perspectives in the study, research and manifestation of jazz aims to identify some of the general approaches regarding the scientific investigation of jazz in universities around the world, study methods, means of promoting jazz musicians, etc. The work will also bring several personal opinions from some Romanian musicians on the study and research of jazz abroad: pianist Ion Baciu Jr. (Sweden), trombonist Robert Cozma (Germany), trumpeter Emil Bîzgă (U.S.A.) and others.
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Salley, Keith, and Daniel T. Shanahan. "Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study." Journal of Jazz Studies 11, no. 1 (November 19, 2016): 1. http://dx.doi.org/10.14713/jjs.v11i1.107.
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<p>Keith Salley and Dan Shanahan’s “Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study” reflects a number of Steven Strunk's scholarly interests. The authors encourage readers to consider how the layered analyses at the end of Strunk’s seminal “Harmony of Early Bop” article (<em>JJS</em> 6.1) agree, depart from, or inform the processes discussed in their contribution. Furthermore, Salley and Shanahan’s broad stylistic survey of standard jazz tunes resonates notably with Strunk’s work—particularly his “Linear Intervallic Patterns in Jazz Repertory” (<em>ARJS</em> 8) and his entry on “Harmony” in the <em>New Grove Dictionary of Jazz</em>.</p>
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Lee, Hyun-Jung. "A Study on Jazz Vocal Variation Techniques-Focusing on Jazz Ballad Style Techniques-." Asia-pacific Journal of Convergent Research Interchange 6, no. 9 (September 30, 2020): 141–50. http://dx.doi.org/10.47116/apjcri.2020.09.13.
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Jeong, Woo Sik. "A Study on the Interaction between Jazz Musicians and Audiences in Jazz Club." Korean Arts Association of Arts Management 57 (February 28, 2021): 85–126. http://dx.doi.org/10.52564/jamp.2021.57.85.
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Suryati, Suryati. "Pemanfaatan YouTube sebagai Media Pembelajaran Vokal Pop Jazz di Prodi Pendidikan Musik Institut Seni Indonesia Yogyakarta." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 117–26. http://dx.doi.org/10.24821/resital.v22i2.6040.
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Utilizing Youtube as a Learning Media for Pop-Jazz Vocal Course at Music Education Study Program of Institut Seni Indonesia Yogyakarta. The research aims to reveal the learning process of the Pop-Jazz vocal course and the utilization of youtube as an accompaniment in learning the Pop- Jazz vocal course. This research is expected to provide solutions for students who face problems in the learning process of the Pop-Jazz vocal course during the covid-19 pandemic. It is qualitative research with a case study approach. Data collection techniques were carried out through direct observation during the learning process. Furthermore, interviews with teachers and vocal students of Pop-Jazz were conducted to obtain the data. It was a case study of vocal students of Pop-Jazz Intermediate 1 at the Music Education Study Program. The literature studies were carried out to support the data and references. This study shows that the interest in vocal learning of Pop-Jazz at the Music Education Study Program by utilizing youtube as an accompaniment at the pop-jazz vocal course can be increased.
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Wishnoebroto, Wishnoebroto. "Globalization Goes Local: Nationalism in Indonesian Jazz." Lingua Cultura 4, no. 2 (November 30, 2010): 123. http://dx.doi.org/10.21512/lc.v4i2.358.
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Article presented how Jazz, as a product of American popular culture, can be very local in Indonesia. Nationalism, in this case, refers to how Indonesian jazz artists translate and create a kind of ‘dialogue’ between jazz and local Indonesian culture. The study used library research by finding what values that jazz had in order to create such dialogue, and how Indonesian nationalism could be transformed in jazz. The evolution of Jazz in Indonesia and the attitude of Indonesian jazz audience were discussed to see the position of jazz in Indonesian popular culture mainstream. It can be concluded that Jazz seems to deconstruct the common notion that music should be understood to be enjoyed. In jazz, the irrational and sometimes absurd combination between jazz and other indigenous culture, has created a specific kinds of the music itself. Jazz in Indonesia has gone through its own cycle of evolution where the western and the eastern culture has created its own art and nobody knows the direction of jazz in the future.
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Ovchinnikov, Pavel L., and Marina L. Zaitseva. "The Main Trends in the Development of the Moscow Jazz School (1950s – 1960s)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 356–65. http://dx.doi.org/10.37816/2073-9567-2023-69-356-365.
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The present paper deals with the leading trends in the development of Russian jazz art. The authors substantiate high productivity of the “thaw” era in Russian art leading to the emancipation of society, the expansion of the range of cultural communication and formation of the auto-image of Russian jazz. The research explores refraction of jazz aesthetics in stylistics as a youth subculture with its own slang, musical preferences and behavioral models. While the negative consequence of the promotion of jazz as a musical reference point for representatives of this youth subculture was the narrowing and stereotyping of listeners' expectations, the emergence of new artistic types, themes and images that do not lose their significance at the turn of the 21 century came to be the positive side of the popularity of jazz among young people. The paper reveals how Moscow jazz of the 1950s and 1960s entered a period of active development of jazz improvisation techniques, as well as embraced the experience of foreign collectives. Basing on the study of bibliographic sources and musicological literature, the authors identify the leading trends of the Moscow jazz school of the given period: transformation of ensemble interaction strategies, intellectualization of the perception of jazz music, institutionalization of jazz in Russian musical culture. The paper specified socio-cultural factors that determined the leading role of the Moscow jazz school in the period of the 1950s and 1960s in the creation of youth clubs, amateur associations and jazz study centers, jazz festivals, the appearance of the first professional educational institutions of the pop-jazz profile.
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Havas, Ádám. "The logic of distinctions in the Hungarian jazz field: a case study." Popular Music 39, no. 3-4 (December 2020): 619–35. http://dx.doi.org/10.1017/s0261143020000537.
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AbstractThis study aims to make the contemporary Hungarian jazz field the focus of a sociological investigation, based on a critical reinterpretation of Bourdieu's relational theory of artistic fields. It aims to grasp the logic of symbolic distinctions by analysing the free/mainstream dichotomy. This dichotomy of historically constituted poles is understood as a system of structuring oppositions that play a decisive role in the position-takings and prestige-construction of jazz musicians. The analysis of qualitative data shows how different evaluations and interpretations of shared musical references are instrumentalised in order to occupy positions in the field. Further, this article argues that such a qualitative analysis of local jazz fields transcends the national context, since culturally hybrid jazz diasporas offer an excellent terrain for analysing how the circulation of transnational artistic references influences the cultural dynamism of local fields that are embedded within global networks of cultural production.
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Nam, Ye Ji. "Early Jazz in Korea during the Japanese Colonial Period - Focused on Texts from Newspapers and Magazines between 1927 and 1940." Korean Association for the Study of Popular Music 33 (May 30, 2024): 135–77. http://dx.doi.org/10.36775/kjpm.2024.33.135.
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This study examines how jazz, first introduced to Korea in the 1920s, was received until it faced interruption by the music prohibition decree of 1940 during the Japanese colonial era. This study collected newspaper and magazine texts between 1927 and 1940. The texts were then sorted into three categories and examined based on previous studies regarding the amount of jazz record release: period of formation, development, and decay. During the formation period, “Korean Jazz Band” was notably active, which was also known as the very first jazz band in Korea. During the development period, various jazz bands were produced by record companies and they actively performed live. Lastly, during the decay period, jazz-related texts rapidly disappeared from the media due to the music prohibition decree. Although the characteristics of these three periods are less explicitly distinguished due to a brief prevalence of jazz at the time and limited available data, this study is significant in that it examines the chronology of jazz during the time of Japanese colonial rule in Korea.
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Kluth, Andrew J. "Intertextuality and the Construction of Meaning in Jazz Worlds: A Case Study of Joe Farrell’s “Moon Germs”." Journal of Jazz Studies 12, no. 1 (December 9, 2019): 51–71. http://dx.doi.org/10.14713/jjs.v12i1.117.
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(Opening paragraph): In this article, I invoke the concept of intermusicality as defined by Ingrid Monson and develop its role in meaning-making in musical worlds. Her groundbreaking book, Saying Something: Jazz Improvisation and Interaction (1996) offers a sophisticated criticism of jazz improvisation and the construction of meaning therein. In doing so, it explores methods by which to nuance and/or rupture traditional historiographies that construct the jazz canon. More than intermusicality, though, I look to a more general intertextuality as a hermeneutic window disruptive to the “great man” histories that have so often heretofore constructed the jazz tradition. I argue that the notion of intertextuality is particularly useful in mediating questions of essentialism in jazz (racial or otherwise) with considerations of practical competency and an artist’s particular situatedness in that body of texts. Working against positivist taxonomies resultant in definitions of what is/is not jazz, this perspective leaves space for the refiguring work of novelty and experimentation requisite therein. This resonates with Steven B. Elworth’s (1995) claim: “Far from being an unchanging and an easily understood historical field, the jazz tradition is a constantly transforming construction” (58). In my suspicion of linear ideas of history and “progress” (and therefore, telos), I prefer to interrogate and ratify instead the complicated relationship of novelty to tradition. The negotiation of these meta-categories is at the heart of the work improvising musicians do; combining disparate ways of being in the world with musical ideas and practices to create new musico-sociocultural wholes.
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Dong, Yiru. "A Study on the Utilization Trends of Music in Films: Focusing on Malcom X(1992), Catch Me If You Can." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 483–503. http://dx.doi.org/10.33645/cnc.2023.10.45.10.483.
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This study aims to compare movies with distinct characteristics that utilize jazz to grasp the usage patterns of jazz in film music and to investigate the cinematic approach to the jazz genre in contemporary Hollywood films. For this research, Terence Blanchard's Malcolm X(1992), John Williams' Catch Me If You Can(2002), and Justin Hurwitz's La La Land(2016) were selected and researched; the conclusion was as follows. First, trumpeter Terence Blanchard faithfully served the cinematic function by utilizing jazz, a pillar of Black music. Second, Traditional Hollywood film composer John Williams fused symphonic sound with the jazz genre. Third, Justin Hurwitz crafted music by embracing the characteristics of the musical film. The music had a close relationship with the film's narrative structure and played a significant role throughout the film. As comparative analysis based on the research findings, the diverse cinematic approaches to the jazz genre were influenced by the film's structure and the composer's musical inclinations. According to this, distinctions appeared in the underscore, source music, and cinematic function of music depending on the film. However, they also coexisted with common elements, such as classical music's foundations and leitmotif techniques.
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Suwannabhum, Tayakorn, and Kyle Fyr. "Jazz History in Thailand: From Profession to Music Education." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 83–92. http://dx.doi.org/10.30819/aemr.9-6.
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This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.
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Jabouin, Emilie. "Black Women Dancers, Jazz Culture, and “Show Biz”: Recentering Afro-Culture and Reclaiming Dancing Black Bodies in Montréal, 1920s–1950s." Canadian Journal of History 56, no. 3 (December 1, 2021): 229–65. http://dx.doi.org/10.3138/cjh.56-3-2021-0030.
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The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.
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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (April 14, 2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.
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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.
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Wren, Toby. "Jazz Standard as Archive." Journal of Jazz Studies 13, no. 1 (November 7, 2022): 1–19. http://dx.doi.org/10.14713/jjs.v13i1.190.
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The jazz standard remains an enduring part of the tradition of jazz performance and pedagogy. Contemporary jazz scholarship has tended to focus on improvisation as a practice and jazz-as-lived-experience and, while the jazz standard repertoire has occasionally been the subject of study the relationship between the standard repertoire and the ‘language’ or style of jazz has not been theorised. In this article I argue that the distinctive style of jazz improvisation is at least in part, determined by the characteristics of its shared repertoire and the statements that have accrued around that repertoire. I borrow Foucault’s conception of the archive to propose a reexamination of the historical progression of ideas that troubles the narrative of the individual creative genius and of jazz as the normative condition of improvisation. In this genealogical context, the jazz standard is positioned as an archive of a particular body of thought, a way of organizing and understanding the transmission, evolution and connection of ideas over time. The intended effect is to provide an alternative perspective on creativity in jazz, and a theorisation of an idea that is already implicit in jazz pedagogy and practice.
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Yan, Alycia Fong, Richard Smith, Benedicte Vanwanseele, and Claire Hiller. "Mechanics of Jazz Shoes and Their Effect on Pointing in Child Dancers." Journal of Applied Biomechanics 28, no. 3 (July 2012): 242–48. http://dx.doi.org/10.1123/jab.28.3.242.
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There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes tested were a split-sole jazz shoe, full-sole jazz shoe, and jazz sneaker. A shoe dynamometer measured the stiffness of the jazz shoes. The shoes had a significant effect on ankle plantar flexion. All jazz shoes significantly restricted the midfoot plantar flexion angle compared with the barefoot condition. The split-sole jazz shoe demonstrated the least restriction, whereas the full-sole jazz shoe the most midfoot restriction. A small restriction in metartarsophalangeal plantar flexion and a greater restriction at the midfoot joint were demonstrated when wearing stiff jazz shoes. These restrictions will decrease the aesthetic of the pointed foot, may encourage incorrect muscle activation, and have an impact on dance performance.
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Royer, Shawn L. "David Baker: The Nexus of Jazz Curriculum and the Civil Rights Movement at Indiana University." Journal of Historical Research in Music Education 43, no. 2 (March 8, 2022): 142–61. http://dx.doi.org/10.1177/15366006221081885.
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In 1966, David Baker, a Black man and esteemed jazz musician and composer, created and developed the Jazz Studies program at Indiana University (IU). The purpose of this study was to investigate how David Baker came to join the faculty and created the Jazz Studies program at IU through an examination of the school’s course offerings and historical context between the years 1949–1969. This time period captures when jazz was evolving from its roots as an informally learned art form into one that was taught in academic settings, as well as important evolutionary moments in jazz, specifically the transition from bebop and cool jazz through the development of hard bop, modal jazz, and Third Stream. Finally, it captures the tumultuous Civil Rights Movement of the 1950s and 1960s which coincided with IU’s hiring of David Baker and the school’s decision to begin to include jazz courses in its curricular offerings. This examination concludes with a discussion of relevant implications for jazz and music education.
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Du, Ruoxi. "Analysis the approaches and applications for jazz music composing based on machine learning." Applied and Computational Engineering 68, no. 1 (June 6, 2024): 114–22. http://dx.doi.org/10.54254/2755-2721/68/20241408.
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As a matter of fact, computer composing is a hot topic for study in recent years. To be specific, Jazz, one of the essential music genres, has a complex and irregular musical structure. Current researchers are focusing on how to use models to generate expressive and innovative jazz. This study first summarizes in detail the characteristics of the musical structure of jazz and the unique structures of jazz music that are the difficulties of model training. At the same time, it then analyzes the feasibility and application of several popular machine learning models in jazz music composition. Finally, this study combines the current development of the field of computer composition with the challenges faced by the field of computer-generated jazz, as well as the direction of the next step in the development of continued efforts to explore in-depth, in the hope that this will provide researchers with new research perspectives, and to promote the development of new forms of jazz music can flourish in the age of intelligent machines.
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Smith, Derek T. "Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.
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The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.
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May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.
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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
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Ovchinnikov, Pavel, and Marina Leonidovna Zaitseva. "Moscow Jazz School of the 1950s and 1960s: leading soloists and collectives." PHILHARMONICA. International Music Journal, no. 2 (February 2023): 51–60. http://dx.doi.org/10.7256/2453-613x.2023.2.40897.
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The subject of the study is the creativity of the leaders of the Moscow jazz school of the 1950s and 1960s: the variety orchestra at the Moscow State Orchestra under the direction of E. Rosner, the jazz orchestra of the Central Chamber of Artists Yu. The Saul Variety Orchestra conducted by O. Lundstrom. The article summarizes the results of the study of the domestic jazz art of the 1950s and 1960s, substantiates the trend in the development of instrumental jazz, and characterizes the repertoire policy of Moscow jazz ensembles. The hypothesis of the influence on the development of the national jazz art of the 1950s and 1960s of those innovations that were formed in American and European jazz of the 1940s and 1950s is substantiated. The characteristics of the performing styles of the leading metropolitan soloists and collectives are given, their role in the development of the Moscow jazz school is determined. The scientific novelty lies in the analysis of the performing styles of the leading Moscow jazz soloists and ensembles of the 1970s and 1980s, which allowed us to substantiate the hypothesis of the influence on the domestic jazz art of trends formed in American and European jazz of the 1940s and 1950s. They are based on the principle of dominance of small groups of participants, the desire to improve technical and expressive capabilities all instruments of the ensemble, based on the use of the artistic potential of the solo parts. The peculiarity of the Moscow jazz ensembles, which along with Leningrad and Baltic ensembles were the flagships of the national jazz art of the 1970s and 1980s, was the strengthening of experimental orientation in the field of expanding the timbre palette of ensemble sound through the use of electronic instruments and sonoristics techniques. The tendency of advancing the timbre-coloristic aspect of musical sound to the forefront of creative searches brings the sphere of jazz and academic art of the second half of the XX century closer.
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Jin, Liu, and Hyuntae Kim. "A Study on Changes in K-Jazz." Journal of Humanities and Social sciences 21 13, no. 4 (August 30, 2022): 2039–48. http://dx.doi.org/10.22143/hss21.13.4.141.
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