نقش رونویسی در بداهه‌نوازی جاز: بررسی رویکرد شنیداری-تقلیدی در آموزش جاز (پایان‌نامه دکتری)

Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the late 1960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedures, methods and materials used have abandoned the aural-imitative tradition. This study examines the current use of and the viability of future jazz education methods based primarily on aural-imitative procedures. Forty-one jazz faculty from universities and colleges throughout the United States participated in an interview process. An open-ended questionnaire survey was used to elicit responses. Each was asked a series of questions directly related to transcribing. The responses were recorded via cassette and were transcribed verbatim. In addition, four music teachers at schools at four schools for the blind were asked a similar series of questions. Their interviews responses were analyzed for similarities and differences. The results suggest that current methods do not contain adequate aural representations and that transcription could be a viable alternative to current methods. A practical system based on the transcription paradigm could and she 1ldbe developed. Current digital technologies and Internet developments may help facilitate an all-transcription based methodology. Certain recordings and solos have become recognized as 'masterpieces' that deserve to be transcribed and studied. The insights gained from school for the blind suggest that certain musical aspects may be best gained from an aural-centric perspective. I INTRODUCTION Background of Problem Need for the Study Definition of Terms Assumptions Delimitations II REVIEW OF THE LITERATURE The study of jazz in academia Historical foundations of transcription The use of transcription The aural-imitative process The cognitive implications of transcription-language analogy Current methods and applications of transcription The applications of current transcribing technologies Other research on the aural-imitative process Summation of literature III METHODOLGY Subjects Procedure Processing and interpreting interviews and observations IV RESULTS V CONCLUSIONS AND IMPLICATIONS Implications of research Suggestions for future research APPENDIX A. Interview questions asked of jazz faculty B. Responses to interview questions C. Interview questions asked of school for the blind music faculty D. Responses to interview questions REFERENCES