Saturday, May 14, 2016

JAZZ PAPERS From Jazz Pedagogy to Improvisation Pedagogy: Solving the Problem of Genre in Beginning Improvisation Training

Gabriel Solis Gabriel Solis
University of Illinois at Urbana-ChampaignHistorical Musicology/EthnomusicologyFaculty Member
Improvisation is a skill all student musicians may wish to benefit from, but the narrow-band focus on idiomatic modern jazz in most college-level improvisation classes can be an impediment to widespread learning. This article identifies the reasons for this and suggests other ways to incorporate improvisation in college music curricula.
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Matthieu Jouan
Universit√© Paris-Sorbonne (Paris IV)Musique et Musicologie, Graduate Student
We " play music " : the English language uses this notion to characterize musical practice. Pure chance? As Johan Huizinga underlines it in Homo ludens, the semantic concordance of play and music is no English exception: German uses spielen, French uses jouer (whereas other romance languages don't: Italian uses suonare, Spanish, tocar), and this reference can also be found in Arabic, as well as a few Slavonic languages. According to Huizinga, this fact appears as the " deep-rooted psychological reason for so remarkable a symbol of the affinity between play and music " 1. We could add a more...
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Jonah Katz Jonah Katz
West Virginia UniversityWorld Languages, Literature and Linguistics, Faculty Member
Theories of metrical structure postulate the existence of several degrees of beat strength. While previous work has clearly established that humans are sensitive to the distinction between strong beats and weak ones, there is little evidence for a more fine grained distinction between intermediate levels. Here, we present experimental data showing that attention can be allocated to an intermediate level of beat strength. Comparing the effects of short exposures to 6/8 and 3/4 metrical structures on a tone detection task, we observe that subjects respond differently to beats of intermediate...
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