- #Andrew green jazz guitar technique pdf reader how to
- #Andrew green jazz guitar technique pdf reader software
In the second phase, six middle school students reported increased confidence after using the prototype for four weeks. In the first phase, seven expert music teachers and eight middle school instrumental students participated in user testing, revealing that the prototype effectively engaged users in learning many key objectives of improvisation pedagogy. A two-phased study of middle school instrumentalists and expert teachers examined the effectiveness of the prototype.
#Andrew green jazz guitar technique pdf reader software
The software is at once a tool for developing musical understanding and for exploring creative freedom in music.
As a result, a prototype application was built for iPad and iPhone based on the principles of the CMLT framework. An examination of existing technologies reveals a lack of available tools for cultivating a creative disposition to musicianship. Theoretical analysis of improvisation pedagogy and technology for learning to improvise provide the foundation for creative experimentation. This dissertation reports a research-creation approach for the development of a framework for Creative Music Learning with Technology (CMLT), which emphasizes a process of learning to interact creatively with music. If music education is to respond to the skills and needs of 21st-century music learners, innovative learning paradigms must be explored. The final chapter synthesizes data from these three ethnographies and explores the administrative and curricular implications of the study. Chapter 5 provides a second ethnographic study, conducted in New Orleans, Louisiana, in which I explore the intersection between non-formal and formal jazz learning environments by shadowing jazz trumpeter Mario Abney. Chapter 4 delves deeper into the Aebersold Workshop community to examine dynamics of race and gender in that environment. Chapter 3 provides the ethnographic study of a Jamey Aebersold Summer Jazz Workshop, to explain the workings of a unique milieu that influences not only how jazz is taught in schools around the world, but also how the music is culturally perceived and understood within and outside of academia. and Bruno Nettl, to construct a critical autoethnography of jazz learning environments at the turn of the twenty-first century. Chapter 2 draws upon ethnographic methods, notably as promoted by Guthrie P. Chapter 1 elucidates significant problems that arise from the lack of attention to appropriately targeted cultural competency within jazz education, with particular attention to the racial tensions within jazz programs and the praxis of color-blindness.
#Andrew green jazz guitar technique pdf reader how to
I argue that such a reorientation toward African-American cultural studies will help jazz musicians, jazz educators, and school administrators better understand how to solve problems of racial disparity and cultural awkwardness or ineptitude in both formal and non-formal environments. Through a continuum theory, I seek to provide a framework for viewing, teaching, learning, and performing jazz that situates it within the larger socio-cultural context of black American music. The study seeks to answer two main questions: What is the nature of the twenty-first-century learning environment? Moreover, how do cultural and racial dynamics affect the ways in which jazz is taught and understood in formal and non-formal settings? My proposition is that teaching jazz as a part of a broad spectrum of black musical styles and cultural traditions, which I shall call the black musical continuum, provides solutions for the dearth of cultural competency and narrow vision of jazz found in many learning environments. Although formal learning environments have increasingly supported the activities of the jazz community, I argue that this development has also entailed a number of problems, notably a renewal of racial tensions spurred on by 1) the under-representation of non-white students and faculty, especially black Americans 2) the widespread adoption of 'color-blind' methodologies in formal music-learning environments, which serve to perpetuate ambivalence or apathy in the addressing of racial problems 3) a failure adequately to address cultural studies related to the black heritage of jazz music and 4) the perpetuation of a narrow vision of jazz music that privileges certain jazz styles, neglects others, and fails to acknowledge the representative intersections between jazz and related forms of black music. By elucidating the broad aesthetic, stylistic, and social landscapes of present-day jazz pedagogy, it seeks to encourage the revitalization and reorientation of jazz education, and of the cultural spaces in which it takes place. This dissertation aims to explore and describe, in ethnographic terms, some of the principal formal and non-formal environments in which jazz music is learned today.
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