The Development Implementation And Evaluation Of Vocal Jazz Ensemble Curriculum For Secondary Students
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| Author | : Constance Ironmonger-Mann |
| Publisher | : |
| Total Pages | : 294 |
| Release | : 2011 |
| Genre | : Jazz vocals |
| ISBN | : |
The purpose of this study was to investigate vocal jazz ensemble study in the secondary choral ensemble. In pursuing this purpose, the researcher sought to answer the following questions: 1.) What are common practices for incorporating the elements of improvisation, listening skill, vocal health and balance, and assessment of vocal jazz performance ability into a vocal jazz ensemble unit of study for secondary school choral students? 2.) What are the most applicable assessment practices in a secondary school vocal jazz ensemble? and 3.) What effect does a vocal jazz ensemble unit of study have on secondary choral students’ vocal jazz performance achievement? The researcher designed and taught a secondary vocal jazz ensemble curriculum to fifteen students in her community children’s chorus in grades six through twelve. Best practices for content relating to vocal jazz instruction were informed by the results of interviews of master teachers in the vocal jazz field and a survey of participating secondary school choral teachers that are members of the Virginia Music Educator’s Association (VMEA). Methods of improvisation, development of listening skill, vocal health and balance, and assessment of vocal jazz ensemble performance ability were identified as common elements of vocal jazz ensemble instruction through an examination of the literature. Upon examining the interview transcripts and survey data, an additional element was identified: learning vocal jazz history. The examination of the t-test scores indicated that students did improve their vocal jazz performance ability while participating in a vocal jazz ensemble.
| Author | : Elizabeth M. Stewart |
| Publisher | : |
| Total Pages | : 67 |
| Release | : 2016 |
| Genre | : |
| ISBN | : |
The purpose of this Capstone project was to design of a curricular unit for the first nine weeks of a high school vocal jazz ensemble. The curriculum content is presented through unit studies that provide fundamental knowledge and introduce basic skills for successful jazz performance. The curriculum includes sample lesson plans and activities designed to engage students in the idioms of vocal jazz through sequenced experiences. The curriculum aligns with the National Core Arts Standards for Music as well as Florida's Next Generation Sunshine State Standards. Student learning is measured by various assessment tools, including the NAfME Model Cornerstone Assessments for creating, performing and responding to music.
| Author | : Staci A. Della-Rocco |
| Publisher | : |
| Total Pages | : 118 |
| Release | : 1989 |
| Genre | : Choral music |
| ISBN | : |
| Author | : Michael D. Lucich |
| Publisher | : |
| Total Pages | : 94 |
| Release | : 1977 |
| Genre | : Choral music |
| ISBN | : |
| Author | : Andrew Baguisa Evangelista |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2022 |
| Genre | : Jazz ensemble with orchestra |
| ISBN | : |
The purpose of this study is to explore instructional strategies and participation concerns regarding vocal jazz ensembles according to high school choral directors in Illinois who lead their schools’ vocal jazz programs. High school choir directors without jazz experience often recognize the need to expand their performance and pedagogical abilities in jazz and access to vocal jazz repertory; however, professional development opportunities in Illinois’ music education organization have yet to offer guidance. This leaves choral directors without jazz experience little insight on how to familiarize themselves with jazz styles, pertinent pedagogical ideas, and how to apply available resources towards the formation of vocal jazz ensembles. Literature that generally compares and contrasts choral and vocal jazz ensemble instruction exists; however, research has yet to extrapolate concepts applicable to disparate teaching contexts of high school choral programs in Illinois. This study surveys the perspectives of seventy-one choral and vocal jazz directors in various high school teaching contexts in Illinois to provide high school choral directors without vocal jazz programs insight regarding how to approach vocal jazz instruction in their choral programs, regardless of their jazz backgrounds, districts’ socio-economic context, and schools’ musical traditions. Since diversification of musical experience remains a growing initiative in music education, this study’s findings regarding pedagogy and resource application will provide directors with insight on how to expand their curricular explorations within and beyond typical choral programming. Directors would benefit from this insight, regardless of their extant musical-stylistic backgrounds and teaching contexts.
| Author | : Gregory Amerind |
| Publisher | : |
| Total Pages | : 79 |
| Release | : 2013 |
| Genre | : Electronic dissertations |
| ISBN | : |
The vocal jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate vocal jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the vocal jazz ensemble. The discussion relies on recent data showing the benefits of vocal jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.
| Author | : Gary Owen Haberman |
| Publisher | : |
| Total Pages | : 170 |
| Release | : 1974 |
| Genre | : High school teaching |
| ISBN | : |
| Author | : |
| Publisher | : |
| Total Pages | : 640 |
| Release | : 1998 |
| Genre | : Dissertations, Academic |
| ISBN | : |
| Author | : Christopher John Venesile |
| Publisher | : |
| Total Pages | : 197 |
| Release | : 2010 |
| Genre | : |
| ISBN | : |
The purpose of this study was to identify and describe the forms of pedagogical content knowledge needed by vocal jazz educators. A secondary purpose was to examine the role of professional development in the acquisition of pedagogical content knowledge by vocal jazz educators. Pedagogical Content Knowledge (PCK) is the specialized type of knowledge teachers possess that is characterized by an overlapping and interaction of subject matter content and pedagogical understandings (Shulman, 1986). Using PCK as a theoretical construct, the researcher designed the Vocal Jazz Educator Knowledge and Skill Inventory (VJEKSI), a survey that contained primarily quantitative, closed-ended items, with a few open-ended responses also solicited. The survey was delivered online to 271 purposefully selected secondary and post-secondary vocal jazz educators. Ninety- three respondents returned completed surveys, representing a return rate of 34.3%. Data analysis prioritized the statistical examination of the quantitative data, but also employed qualitative data analysis in a sequential explanatory strategy to highlight conclusions and illuminate broad points with a personal perspective (Creswell, 2003). Respondents rated all 15 subject matter knowledge and 14 pedagogical skill items between "4" (moderately important) and "5" (important) on a 5-point Likert-type scale. The knowledge and skill data was further delineated into eight categories for additional analysis. Study participants indicated that they acquired their PCK from a variety of sources, with regular, focused listening to live and/or recorded jazz, attending jazz festivals as a member or director of an ensemble, self-study on various topics related to jazz, and participation in jazz workshops most frequently utilized. The top topics that participants indicated interest in for future professional development included vocal jazz ensemble rehearsal techniques, new literature sources, and opportunities for networking with other vocal jazz educators. Sessions at professional music education conferences and participation in vocal jazz festivals were among the most preferred approaches to future professional development. Suggestions for further research include utilizing the PCK model as a theoretical lens in case studies of exemplary vocal jazz educators.
| Author | : Thomas John Husak |
| Publisher | : |
| Total Pages | : 370 |
| Release | : 1978 |
| Genre | : Arrangement (Music) |
| ISBN | : |
