The purpose of this study was to identify the occupational aspirations and expectations of students majoring in jazz studies, and to investigate relationships between students' aspirations, expectations and selected variables including significant others, choice of school, instrument type, academic achievement, academic level, socioeconomic status, age, gender, and early jazz experience. All jazz studies majors enrolled at the University of North Texas during the Spring 2001 academic semester responded to a pilot test questionnaire (return rate 85%, N = 211). Frequencies, percentages, means, and standard deviations described the students' occupational aspirations, occupational expectations, backgrounds and training in jazz prior to entering UNT, and determined the extent to which parents, relatives, teachers, friends, and role models helped steer them into jazz (Pearson r, Spearman Rho and Point Biserial correlation coefficients provided). The low to moderate positive correlation between aspirations and expectations (r = 0.43) indicated that the two variables were different and measured different types of occupations. Fifty percent of students aspired to be jazz performers whereas 29.7% expected to be jazz performers. While 42% aspired to be engaged in a combination of occupational activities, 48% expected a combination of occupational activities. Only 4.7% aspired to teach; however, almost 16% expected to be engaged in teaching. Low positive correlations were found between aspirations and significant others, expectations and significant others, expectations and gender, and expectations and role models. Respondents indicated that role models (jazz musicians, community musicians, and college instructors) had contributed the most to their decision to major in jazz. Recommendations for educators, researchers, and improvements to the questionnaire are provided.

Includes bibliographical references (leaves 350-359). / xi, 359 leaves : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present. / Thesis (Ph.D.)--University of Adelaide, Elder Conservatorium, 2001

Thesis (M. Mus. (Perf.))--University of Sydney, 2009. / Title from title screen (viewed October 27, 2009) Submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) to the Sydney Conservatorium of Music, University of Sydney. Includes bibliographical references.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1987.

Thesis (Ph.D.)--Ohio University, June, 2007. / Includes bibliographical references (leaves 280-297)

Thesis (Ph. D.)--University of North Texas, 2001. / Includes bibliographical references (p. 116-126).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Steven Stusek; submitted to the School of Music. Title from PDF t.p. (viewed Sep. 4, 2009). Includes bibliographical references (p. 100-101).

Thesis (D.M.A.)--Ohio State University, 1986. / Includes bibliographical references (leaves 191-196). Discography: leaves 105-190. Available online via OhioLINK's ETD Center

This study involves the social structures and processes contained in the organization of New Orleans jazz musicians. The literature concerning the sociology of musicians as well as general sociology suggests some initial hypotheses. These hypotheses involve sociological concepts such as formalization, socialization into jazz, band cohesion, band-audience relations, commercialism and organizational type. However, the hypotheses function merely as starting points for the major purpose of this paper -- the generation of emergent theory. The emergent theory involves the concept of formalization as well as the other concepts previously mentioned. The data from which the theory emerges are provided by histories of jazz, biographies and autobiographies, institutional sources and interviews with seventeen commercial jazzmen. The findings in relation to New Orleans jazzmen indicate that changes in the type of organization that the musicians manifest have important consequences for the variables selected for the hypotheses. In addition, some general theoretical findings emerge; e.g., the nature of the dialectical relationship between orientation and organization is explored. More specifically, the findings suggest that first (on the macro level) as the musicians have become more formal (and less communal) in organization and progressively white vis-a-vis racial composition, the socialization into music has become more secondary, the codification associated with the production of music has increased, the end product has become objectified (in the form of recordings), and the social class of the musicians has increased from "lower-middle" to "upper-middle" class. Second (on the biographical level), the following changes are associated with the orientations of the musicians throughout their careers: perception of codification within the organization decreases; the social distance between the musician and the band decreases; the orientation of the musician changes from traditional to commercial; and the commitment to the band increases. Finally, a formal theoretical statement suggests that there is a dialectical relationship between orientations and social organization. / Ph. D.

During the middle decades of the twentieth century, the exiling from South Africa of jazz musicians, including The Blue Notes, brought the discourses of local jazz, its performance culture and repertoires, to international attention. This process points to jazz’s global reach and raises questions about its adoption by differently constituted cultural subjects. Arjun Appadurai’s arguments about global homogenisation and heterogenisation come into play here, and have special significance today, when the study of jazz performance and history is increasingly part of the music education of young South Africans. Questions about who ‘owns’ jazz and what constitutes its authenticity loom large, as do questions about its global entanglement. The careers of The Blue Notes emerge from a background of South African syncretic musical performance; as such, they belong within the protracted history of African cultural engagement with European and American mediations of modernity. Among other issues, my thesis examines the use of jazz-influenced repertoires in the narration of cultural identities in postcolonial South Africa, under apartheid, and in exile. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.