Many university jazz programs today are doing a fine job producing graduates capable of sight-reading, interpreting a wide variety of written music, improvising, composing and arranging --- all at relatively high levels. In many regards, the curricular structure, guidelines and expected competencies outlined in the N.A.S.M.’s handbook appear to be working. The dedicated jazz educator must now grapple with how to balance traditional, proven methods of instruction with new systems, approaches and tools to best educate and equip our students for the future.
At increasingly younger ages, undergraduate students are becoming adroit in transcribing and copying master musicians, and assimilating their musical vocabulary. This adheres to the fist part of Clark Terry’s celebrated philosophy for learning to play jazz: “Imitate. Assimilate. Innovate.”
Transitioning from copying to creating is where students often falter. As mentors/guides/coaches, we collectively need to ponder how to help our students make the leap to musical innovation and creation. Ways in which this could be accomplished include:
If we are preparing and shaping tomorrow’s artists, we need to be concerned with their complete education. Skilled, conservatory-trained musicians without inquisitiveness for the world around them make boring artists. Somehow, we must impress upon our music students the importance of studying and contemplating the humanities. Artistic collaboration with other university units is one means through which to realize this mission.
Tracking the career paths of recent fine arts alumni reveals a trend towards blended careers, encompassing several skill sets. Tomorrow’s jazz program will embrace this shift, by developing/offering new cross-pollinated degrees which partner with business, education and/or other fine arts disciplines, thereby better preparing students for “real life” employment situations. Emphases in jazz studies within arts administration or business management degrees would be both practical and attractive. Adeptness in grant writing, project management and marketing has become mandatory for musicians, yet these disciplines have not entered the core curriculum of most conservatories.
Accessing information has never been easier than in this current technological age. We must not only stay current, but lead in finding new ways to utilize technology to our advantage. There is a need for the development of helpful music “apps”. Entrepreneurial ventures could be explored, such as a university-run recording label with online distribution. Streaming concerts and lectures will become the expected norm.
Our current jazz programs have done well in embracing the use of notation software in arranging and composition courses. Similarly, we should further stress the use of new recording technology. In the last decade, affordable, easy-to-use home systems have replaced the large professional recording studios. To remain current and create job opportunities, we must provide our students with the skills needed to create music for films, jingles, TV, video games and other digital media, from their laptops.
With a pang of remorse, the time may come when it will be necessary to evaluate the effectiveness of our jazz ensemble offerings. We will ask, “Has the big band become an obsolete instrumentation outside of academia?” If so, should our time and fiscal resources continue to be channeled into this area? Should big band be the default “flagship ensemble” by which our jazz programs are judged, or should we branch out to include other instrumental configurations? Options are limitless, but might include 10tet (decatet), jazz/strings lab ensemble, commercial ensemble, art ensemble, and studio orchestra.
The jazz educator’s work is not complete in challenging lingering, negative perceptions about jazz music and its practitioners. Even within music schools, classically oriented colleagues joke about our being up late at night, hanging out in bars. The jazz educator of today and tomorrow must be willing to proselytize for their art form and the discipline and intellect it demands. Every performance must be well-prepared and of the highest artistic caliber, capable of enhancing our collective lives, by providing unique expressions of emotion, thought and spirit.
Should a student of jazz ultimately choose another career path, he/she should be exalted for the transferable skillsets learned through the study of jazz. In saxophonist David Liebman’s article for Instrumentalist, “Jazz Education In the Century of Change: Beyond the Music”, he eloquently addresses the question, “What values does a jazz education offer beyond the music itself?”
Discussions of vocationalism are sometimes avoided within academia, based on the notion that professors are only responsible for transmitting information and guiding students’ artistic development. However, savvy students and parents are understandably seeking more thoughtful, calculated responses to their occupational queries. The tremendous cost of post-secondary education obligates the leaders of tomorrow’s jazz programs to know a multitude of current career options, and the route to attain such work. Industry mentorship programs could be cultivated at radio stations, concert venues, record labels, recording studios, publicists offices, jazz festivals, etc.
Personally, I bubble over with enthusiasm when considering the many possibilities for tomorrow’s jazz program. I believe the future is bright for jazz education! I would love to hear from other passionate jazz educators about their vision for tomorrow's jazz program. Do we stay on our current path, maintaining the status quo, or should we start instigating some radical changes?
At increasingly younger ages, undergraduate students are becoming adroit in transcribing and copying master musicians, and assimilating their musical vocabulary. This adheres to the fist part of Clark Terry’s celebrated philosophy for learning to play jazz: “Imitate. Assimilate. Innovate.”
Transitioning from copying to creating is where students often falter. As mentors/guides/coaches, we collectively need to ponder how to help our students make the leap to musical innovation and creation. Ways in which this could be accomplished include:
- subtly modifying our pedagogy to emphasize the conceptual.
- encouraging and rewarding experimentation with instrumentation.
- increasing the required presentation of original compositions.
- prompting upperclassmen to write and play their own melodic lines, rather than only drawing upon transcribed material.
- directly exposing our students to cutting-edge, innovative artists through campus visitations.
Tracking the career paths of recent fine arts alumni reveals a trend towards blended careers, encompassing several skill sets. Tomorrow’s jazz program will embrace this shift, by developing/offering new cross-pollinated degrees which partner with business, education and/or other fine arts disciplines, thereby better preparing students for “real life” employment situations. Emphases in jazz studies within arts administration or business management degrees would be both practical and attractive. Adeptness in grant writing, project management and marketing has become mandatory for musicians, yet these disciplines have not entered the core curriculum of most conservatories.
Accessing information has never been easier than in this current technological age. We must not only stay current, but lead in finding new ways to utilize technology to our advantage. There is a need for the development of helpful music “apps”. Entrepreneurial ventures could be explored, such as a university-run recording label with online distribution. Streaming concerts and lectures will become the expected norm.
Our current jazz programs have done well in embracing the use of notation software in arranging and composition courses. Similarly, we should further stress the use of new recording technology. In the last decade, affordable, easy-to-use home systems have replaced the large professional recording studios. To remain current and create job opportunities, we must provide our students with the skills needed to create music for films, jingles, TV, video games and other digital media, from their laptops.
With a pang of remorse, the time may come when it will be necessary to evaluate the effectiveness of our jazz ensemble offerings. We will ask, “Has the big band become an obsolete instrumentation outside of academia?” If so, should our time and fiscal resources continue to be channeled into this area? Should big band be the default “flagship ensemble” by which our jazz programs are judged, or should we branch out to include other instrumental configurations? Options are limitless, but might include 10tet (decatet), jazz/strings lab ensemble, commercial ensemble, art ensemble, and studio orchestra.
The jazz educator’s work is not complete in challenging lingering, negative perceptions about jazz music and its practitioners. Even within music schools, classically oriented colleagues joke about our being up late at night, hanging out in bars. The jazz educator of today and tomorrow must be willing to proselytize for their art form and the discipline and intellect it demands. Every performance must be well-prepared and of the highest artistic caliber, capable of enhancing our collective lives, by providing unique expressions of emotion, thought and spirit.
Should a student of jazz ultimately choose another career path, he/she should be exalted for the transferable skillsets learned through the study of jazz. In saxophonist David Liebman’s article for Instrumentalist, “Jazz Education In the Century of Change: Beyond the Music”, he eloquently addresses the question, “What values does a jazz education offer beyond the music itself?”
Discussions of vocationalism are sometimes avoided within academia, based on the notion that professors are only responsible for transmitting information and guiding students’ artistic development. However, savvy students and parents are understandably seeking more thoughtful, calculated responses to their occupational queries. The tremendous cost of post-secondary education obligates the leaders of tomorrow’s jazz programs to know a multitude of current career options, and the route to attain such work. Industry mentorship programs could be cultivated at radio stations, concert venues, record labels, recording studios, publicists offices, jazz festivals, etc.
Personally, I bubble over with enthusiasm when considering the many possibilities for tomorrow’s jazz program. I believe the future is bright for jazz education! I would love to hear from other passionate jazz educators about their vision for tomorrow's jazz program. Do we stay on our current path, maintaining the status quo, or should we start instigating some radical changes?
