This study compared the effects from the use of aural and notated exercises as pedagogical procedures for teaching harmonic accuracy to beginning jazz improvisation students. The methods of pedagogy were identified from published pedagogic and historical sources, the results of oral and written traditions of jazz pedagogy. The performance objective was produced from a review of the related literature as a recognized and measurable characteristic of jazz improvisation. The purpose of this study was to compare measurements of harmonic accuracy, following the use of notated and aural exercises as experimental procedures of jazz improvisation pedagogy. A lesson plan, materials, curriculum and outline were developed followed by student recruitment and participation. A total of 20 student volunteers participated in the methods of pedagogy (aural or notation). Data collection consisted of a musical background questionnaire and pre and posttest performance recordings. Student recordings were evaluated by six judges using the “experimental performance evaluation measure.” Statistical analyses were conducted, including comparisons of pre to posttest effects between, and among the methods of pedagogy. Although all student participants performed mostly from notated music prior to this study, students who received the aural method of pedagogy produced greater improvement for all measurement items. While the aural method produced no differences between grade level, the notation method produced significantly lower scores for 9th graders compared to 12th graders; no other significant grade level differences were noted. Conclusions were that although many sources of pedagogy do not include aural exercises as the predominate activity, beginning improvisers who have more experience reading music than playing by ear, learn better from aural, than notated exercises.

The piece is a twenty minute work discoursing the integration and eventual dissolution of two separate musical strands. The pitch material of each strand is determined from synthetic scales whose intervalic content duplicates at the following intervals: Perfect 12th, Diminished 12th, Minor 9th, Perfect 8ve, and Major 7th. A proportional means of temporal compression is generated through the use of the factor, 11/15 (e.g. Event 2 is 11/15 the duration of Event 1). Various elements of jazz music informed the construction of plies, including the instrumentation of the ensemble and the means by which the performers interact throughout the piece. Internal cueing and performer decisions are meant to eliminate the need of a conductor in favor of increased interpretive freedom by the performers.

The purpose of the study was to develop and evaluate a comprehensive first semester college jazz improvisation curriculum. Specific problems concerning the evaluation of the curriculum were, (a) to assess achievement in music theory fundamentals, (b) to assess achievement in jazz listening, (c) to assess improvement in jazz improvisation performance, (d) to assess student attitudes toward jazz improvisation and the curriculum. Based on the findings, the conclusions were as follows students benefited from the study of jazz improvisation, utilizing the developed curriculum, in the areas of, (1) knowledge of music fundamentals, namely, chord spelling, scale spelling and harmonic analysis; (2) identification of jazz tunes, composers, musical forms and prominent jazz performers; (3) improvisation performance in a jazz style, and (4) positive attitude toward improvement in jazz improvisation.

This bachelor thesis concerns an analysis of the concept of lyric improvisation, meaning improvising over the melody and lyrics of a jazz standard within the classic vocal jazz tradition. In order to explore this concept, I have studied the use of melody alteration in the song “Mean to Me” as performed by the renowned jazz vocalists; Sarah Vaughan, Betty Carter, and Ella Fitzgerald. After transcribing one chorus each from the three singers, where they improvised melodically and rhythmically while maintaining the lyric, I discovered specific vocal improvisational tools they all used, which I then formulated into a list. The list divided the tools into three categories; melodic, rhythmic, and lyric-related tools. Then I practiced applying these tools to my craft as a jazz vocalist and later presented my adaption of the concept of lyric improvisation in a concert at the Royal College of Music in Stockholm. In conclusion, studying vocal tools for lyrical improvisation made me discover that it’s not merely the selection of tools but how one uses and combines the tools that define a jazz vocalist’s individualistic, improvisational style. / <p>Repertoar:</p><p>Mean to Me (Fred E. Ahlert/Roy Turk)</p><p>Medley: I Love You/What is This Thing Called Love (Cole Porter)</p><p>The Month of May (Emmalisa Hallander)</p><p>Leaving or Arriving (Emmalisa Hallander)</p><p>But Not for Me (George Gershwin/Ira Gershwin)</p><p>Lush Life (Billy Strayhorn)</p><p></p><p>Medverkande musiker:</p><p>Emmalisa Hallander - sång</p><p>Milos Lindegren - piano</p><p>Jakob Ulmestrand - kontrabas</p><p>Henrik Jäderberg - trummor</p>

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This study explores the evolution of jazz string education, integrating both theoretical and practical perspectives to underscore the crucial role of improvisation-focused curricula in enhancing music education quality. Through a comprehensive review of improvisation education, traditional jazz teaching methods, and jazz string programs in public universities, the study provides a nuanced understanding of these components' intersection. Special attention is given to the challenges faced by classical string students transitioning to jazz improvisation and the need for a shift away from generic teaching methodologies. The paper proposes the introduction of specialized improvisation classes for string students to bridge this gap. Practical case studies, including exploration of the University of North Texas's Jazz String program and insights from teaching fellow experiences, foster a deeper comprehension of the impact of such programs on students from diverse backgrounds. The research also delves into cognitive aspects of music, highlighting the significance of material selection, bowing techniques, automation, and structure planning in fostering musical creativity and communication skills. This study serves as a guide for educators, research bodies, and academic institutions striving to enrich music curricula, bridging the gap between classical tradition and jazz improvisation, and addressing the unique needs of string students transitioning between these styles.

In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies.

Doctor of Philosophy / Department of Music / Frederick Burrack / The purpose of this study examined high school band directors and college music educators’ attitudes in regard to implementing curricula requirements for music teacher training programs in jazz education, as well as personal and professional characteristics to current and past jazz cultures in music education. In addition, high school band directors and college music educators were also asked to evaluate specific teaching skills and competencies necessary for preparing music education students to teach jazz as an essential part of their teaching responsibilities in Kansas’ schools. Primary participants in this study included high school band directors (N=175) randomly selected from each of the six districts based upon geographical location in Kansas: (1) Northeast, (2) North-central, (3) Northwest, (4) Southeast, (5) Southcentral, and (6) Southwest, and college music educators (N=50) from eight Kansas institutions that were members of the National Association of Schools of Music (NASM), and offer degrees in music education. The survey in this study used modified questions and statements that focused on teaching instead of performance as highlighted in an existing research instrument by Walter Barr (1974), “The Jazz Studies Curriculum.” Data compared between both studies revealed similar findings. A descriptive method of research was used and designed to provide structured responses. The survey was divided into five sections, included frequencies, rating scales, mean scores, yes-no questions and 3-point Likert type questions. Data collected from this study described the following: background characteristics, teaching skills and experiences, competencies for music education majors, and jazz education as it relates to teacher preparation in Kansas. Results from this study indicated that high school band directors and college music educators agreed that the current music education programs in Kansas were not preparing music education majors to teach jazz in the public schools. Respondents were asked to provide opinions related to jazz and jazz course requirements for music education majors graduating and applying for teacher certification. Respondents were also asked to provide statistical information regarding the prioritization of courses in jazz pedagogy, jazz ensemble, jazz history, jazz theory, jazz keyboard and jazz improvisation with regards to essential skills and competencies needed for public school teaching. Tables were utilized to show statistical data and comparisons. Implications from this study included the need for more teacher preparation in jazz education.

<p>Forget-me-not - Samuel Löfdahl</p><p>The Law of Jante - Samuel Löfdahl</p><p>Pediophobia - Samuel Löfdahl</p><p>The Usual Procedure - Samuel Löfdahl</p><p>The Defending Warrior - Samuel Löfdahl</p><p>Restless legs Syndrome - Samuel Löfdahl</p><p>The Theme - Miles Davies</p><p></p><p>Samuel Löfdahl - kontra-/elbas</p><p>Björn Arkö - saxofon</p><p>Henning Ullén - trumpet</p><p>Anton Dromberg - piano</p><p>Karl-Henrik Ousbäck - trumset</p>