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The Music Achievement of Jazz Musicians Learning Bob Brookmeyer's Improvisational Style Through a Musicianship-Based Improvisation Curriculum
The Music Achievement of Jazz Musicians Learning Bob Brookmeyer's Improvisational Style Through a Musicianship-Based Improvisation Curriculum
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211151154
- ISBN
- 9798382320700
- DDC
- 780.7
- 서명/저자
- The Music Achievement of Jazz Musicians Learning Bob Brookmeyers Improvisational Style Through a Musicianship-Based Improvisation Curriculum
- 발행사항
- [Sl] : University of Rochester, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 373 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
- 주기사항
- Advisor: Azzara, Christopher D.
- 학위논문주기
- Thesis (Ph.D.)--University of Rochester, 2024.
- 초록/해제
- 요약Improvising is a core component of the music learning process. Analogous to speaking and conversation in language, improvisers understand and express musical ideas spontaneously in the moment of performance. Additionally, through improvisation, musicians may develop musical competencies, including listening, singing, moving, playing, reading, and composing with understanding (Azzara, 1993; McPherson, 1996; Snell & Azzara, 2015; Stringham, 2010). However, such researchers targeted novice improvisers. Therefore, with the intent of improving music improvisation pedagogy, the purpose of this study was to investigate the music achievement of advanced jazz improvisers learning Bob Brookmeyer's improvisational style through a scaffolded, comprehensive improvisation curriculum designed to improve musicianship.In this study, I examined the music aptitude, improvisation performance achievement, and composed counterpoint achievement levels of three advanced jazz improvisers. Using the Developing Musicianship through Improvisation (DMTI) model (Azzara & Grunow, 2006, 2010a, 2010b, 2011, 2019), participants independently developed improvisation skills over a nine-week period on the songs "I'll Remember April," "Body and Soul," and "I Hear a Rhapsody" through (a) vocally and instrumentally improvising, (b) composing counterpoint, and (c) aurally learning and performing three improvisations recorded by master jazz valve trombonist Bob Brookmeyer (1929-2011). I collected the following data: (a) Advanced Measures of Music Audiation (AMMA) scores, (b) participants' audio-recorded performances, (c) counterpoint compositions, and (d) participant interviews. I then analyzed, described, compared, and contrasted music aptitude, music achievement, and participant interview data.Analysis of data revealed that for advanced jazz musicians, improvising and composing can (a) positively affect musicianship; (b) be assessed with reliable rating scales; (c) facilitate personal expression; (d) develop musicians' musical understanding; (e) increase musicians' interest in music. Aural-based instruction is essential for all improvisers, regardless of their chronological or musical age. Improvisation and composition achievement may improve with experience and should be included within comprehensive music curricula.Recommendations for future research include replication of this study with (a) other musicians; (b) different repertoire; (c) different exemplar solos; (d) additional repertoire using advanced jazz harmony; (e) non-American participants; (f) a larger sample size; and (g) various settings. Researchers should continue to study advanced improvisers' creativity using scaffolded, comprehensive improvisation curriculum.
- 일반주제명
- Music education
- 일반주제명
- Music
- 일반주제명
- Musical composition
- 키워드
- Bob Brookmeyer
- 키워드
- Music assessment
- 키워드
- Musicianship
- 기타저자
- University of Rochester Eastman School of Music
- 기본자료저록
- Dissertations Abstracts International. 85-11A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■1001 ▼aMartino, Joseph R.▼0(orcid)0000-0001-9242-0704
■24510▼aThe Music Achievement of Jazz Musicians Learning Bob Brookmeyer's Improvisational Style Through a Musicianship-Based Improvisation Curriculum
■260 ▼a[Sl]▼bUniversity of Rochester▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a373 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-11, Section: A.
■500 ▼aAdvisor: Azzara, Christopher D.
■5021 ▼aThesis (Ph.D.)--University of Rochester, 2024.
■520 ▼aImprovising is a core component of the music learning process. Analogous to speaking and conversation in language, improvisers understand and express musical ideas spontaneously in the moment of performance. Additionally, through improvisation, musicians may develop musical competencies, including listening, singing, moving, playing, reading, and composing with understanding (Azzara, 1993; McPherson, 1996; Snell & Azzara, 2015; Stringham, 2010). However, such researchers targeted novice improvisers. Therefore, with the intent of improving music improvisation pedagogy, the purpose of this study was to investigate the music achievement of advanced jazz improvisers learning Bob Brookmeyer's improvisational style through a scaffolded, comprehensive improvisation curriculum designed to improve musicianship.In this study, I examined the music aptitude, improvisation performance achievement, and composed counterpoint achievement levels of three advanced jazz improvisers. Using the Developing Musicianship through Improvisation (DMTI) model (Azzara & Grunow, 2006, 2010a, 2010b, 2011, 2019), participants independently developed improvisation skills over a nine-week period on the songs "I'll Remember April," "Body and Soul," and "I Hear a Rhapsody" through (a) vocally and instrumentally improvising, (b) composing counterpoint, and (c) aurally learning and performing three improvisations recorded by master jazz valve trombonist Bob Brookmeyer (1929-2011). I collected the following data: (a) Advanced Measures of Music Audiation (AMMA) scores, (b) participants' audio-recorded performances, (c) counterpoint compositions, and (d) participant interviews. I then analyzed, described, compared, and contrasted music aptitude, music achievement, and participant interview data.Analysis of data revealed that for advanced jazz musicians, improvising and composing can (a) positively affect musicianship; (b) be assessed with reliable rating scales; (c) facilitate personal expression; (d) develop musicians' musical understanding; (e) increase musicians' interest in music. Aural-based instruction is essential for all improvisers, regardless of their chronological or musical age. Improvisation and composition achievement may improve with experience and should be included within comprehensive music curricula.Recommendations for future research include replication of this study with (a) other musicians; (b) different repertoire; (c) different exemplar solos; (d) additional repertoire using advanced jazz harmony; (e) non-American participants; (f) a larger sample size; and (g) various settings. Researchers should continue to study advanced improvisers' creativity using scaffolded, comprehensive improvisation curriculum.
■590 ▼aSchool code: 0188.
■650 4▼aMusic education
■650 4▼aMusic
■650 4▼aMusical composition
■653 ▼aBob Brookmeyer
■653 ▼aImprovisation curriculum
■653 ▼aMusic achievement
■653 ▼aMusic assessment
■653 ▼aMusicianship
■690 ▼a0522
■690 ▼a0214
■690 ▼a0413
■71020▼aUniversity of Rochester▼bEastman School of Music.
■7730 ▼tDissertations Abstracts International▼g85-11A.
■790 ▼a0188
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17161042▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
