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1996, Montuori, A., (1996). The art of transformation: Jazz as a metaphor for education. Holistic Education Review, Winter, 9, 4, pp. 57-62.
In this paper I explore jazz as a generative metaphor for education. I first briefly discuss the role of metaphor in shaping the way we think about education and organizations. I then compare the hierarchical organization of a classical symphony orchestra with the Industrial Machine Age factory/office system and the educational system that arose with it. I contrast this with the organization of a jazz band, and discuss the educational implications in relation to creativity, learning, collaboration, improvisation, and social organization.
2018 •
Although only 2% of Americans bought jazz albums in 2014, Edward Sarath is as confident as ever that jazz music can help our world on a scale that most would probably not consider. Fellow for the American Council of Learned Societies, the Ford Foundation, the National Center for Institutional Diversity, and the National Endowment of the Arts, sets out in his book, Improvisation, Creativity and Consciousness, to not only prove the need for major changes within academia’s approach to jazz education and overall musical pedagogy, but also how powerful an effect such changes could have on society. I have structured this review in three parts: The introduction will serve as background on the author and subject matter, accessorized with my own opinions. Part 1 is a discussion of the books themes and contents accompanied by my own commentary, and Part 2 is my takeaway and opinions on the book.
Jazzforschung Heute
The ABCs of Jazz Education. Rethinking Jazz Pedagogy2019 •
(English) This essay proposes future directions in jazz pedagogy research by tracing the unique social and community aspects surrounding and fostering the work of the ABCs (Jamey Aebersold, David Baker, and Jerry Coker) in the 1960s, their impact on the international growth of jazz as a field of academic study, and a discussion of critical voices and responses from leaders in the field. A new view of the narrative of jazz education based on revisiting history as an organic composite of social, cultural, economic trends rather than the traditional linear progression of singular events and personas is suggested as a result of the analysis. Abstract (Deutsch) Der Beitrag beschäftigt sich mit zukünftigen Richtungen der Jazzpädagogik. Grund-lage ist eine Analyse der sozialen und kulturellen Aspekte im Umfeld der ABCs (Jamey Aebersold, David Baker und Jerry Coker) in den 1960er-Jahren und des Ein-flusses ihrer Arbeit auf die internationale Ausbreitung von Jazzstudienprogrammen sowie eine Diskussion von kritischen Standpunkten in der heutigen Jazzpädagogik. Als Ergebnis wird eine neue Perspektive der Jazzpädagogik vorgeschlagen, die im Gegensatz zur traditionellen linearen Sichtweise auf einzelne Personen und Ere-ignisse auf der Gesamtheit der sozialen, kulturellen und wirtschaftlichen Tendenzen der Jazzgeschichte aufbaut.
University of Chicago Press
School for Cool: The Academic Jazz Program and the Paradox of Institutionalized Creativity2014 •
Jazz was born on the streets, grew up in the clubs, and will die—so some fear—at the university. Facing dwindling commercial demand and the gradual disappearance of venues, many aspiring jazz musicians today learn their craft, and find their careers, in one of the many academic programs that now offer jazz degrees. School for Cool is their story. Going inside the halls of two of the most prestigious jazz schools around—at Berklee College of Music in Boston and the New School for Jazz and Contemporary Music in New York—Eitan Y. Wilf tackles a formidable question at the heart of jazz today: can creativity survive institutionalization? Few art forms epitomize the anti-institutional image more than jazz, but it’s precisely at the academy where jazz is now flourishing. This shift has introduced numerous challenges and contradictions to the music’s practitioners. Solos are transcribed, technique is standardized, and the whole endeavor is plastered with the label “high art”—a far cry from its freewheeling days. Wilf shows how students, educators, and administrators have attempted to meet these challenges with an inventive spirit and a robust drive to preserve—and foster—what they consider to be jazz’s central attributes: its charisma and unexpectedness. He also highlights the unintended consequences of their efforts to do so. Ultimately, he argues, the gap between creative practice and institutionalized schooling, although real, is often the product of our efforts to close it.
Critical Studies in Improvisation / Études critiques en improvisation
The Metaphor of 'The Jazz Band': Ethical Issues for Leadership2013 •
One of the principal ways in which musical improvisation has impacted upon corporations, businesses, and other institutions is through the metaphor of 'the jazz band.' This paper explores the emergence of this metaphor and examines the significance and meaning that it has generated, as well as the ways that it might help us to understand social organizations. This metaphor has been used to provide insights into leadership, organizations, schools as learning communities, and even the meaning of life itself. While this is not an exhaustive list, these examples demonstrate the wide range of contexts in which this metaphor can be applied. This paper serves two purposes. First, it provides a critical evaluation of six examples of the jazz band metaphor in order to explore the significance of this metaphor and identify the contribution it has made to our broader understanding of improvisation. Second, it views the use of this metaphor as a leadership strategy, and attempts to iden...
Artistic Research in Jazz : Positions, Theories, Methods
The Lessons of Jazz: What We Teach When We Teach Jazz in College2021 •
This chapter examines the transfer of knowledge in and through jazz practice, asking what types of knowledge are passed on in different contexts. Jazz entered the academy several decades ago and young musicians now primarily learn jazz in an academic environment, not through the informal mentorship of professional jazz musicians as was common in the 1920s through the 1950s. I highlight some of the lesser discussed problems with learning jazz in colleges and universities, that is, the sexism and racism that I link with the overall value system put forward by many of these programs. At its worst, jazz education teaches sexism and racism to its students. By prizing a certain “how” of jazz (the technical aspects) and not the “why” or the “what it’s for”, jazz programs pass on subtle or not so subtle prejudices embedded in a Eurocentric value system and marginalize other value systems, including what pianist, scholar and advocate, Dr. Billy Taylor argued was the “Afro- American value system” of jazz. My chapter calls for a shift in the understanding of what jazz is in higher education and therefore a shift in what is important to teach when we teach jazz as a practice.
Organization Science
Coda—Creativity and Improvisation in Jazz and Organizations: Implications for Organizational Learning1998 •
After discussing the nature of improvisation and the unique challenges and dangers implicit in the learning task that jazz improvisers create for themselves, the author broadly outlines seven characteristics that allow jazz bands to improvise coherently and maximize social innovation in a coordinated fashion. He also draws on his own experience as a jazz pianist. Finally, implications for organizational design and managing for learning are suggested.
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