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(2056) TWO TRADITIONS: THE THREE P'S OF VOCAL JAZZ PEDAGOGY IMPACTING VOCAL EDUCATORS

机译:(2056)两个传统:三个Pocal Jazz教育学影响声乐教育者

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The purpose of this investigative study is to examine how the gap in vocal educator preparedness hasimplications on pedagogical content and heterogeneity of vocal repertoire, and how vocal educatorpreparedness in turn has an impact on the performance careers of vocal students. The researchquestions being addressed are: Why has the research of the last twenty years failed to verify vocaljazz pedagogy applicable to general vocal educator training? Is there a direct impact on studentoutcomes in vocal jazz programs run by vocal music educators lacking in vocal jazz performanceexperience? What are the perceptions supporting competing paradigms espousing teacherpreparation programs exclusion of non-traditional genres of vocal and choral repertoire - namely worldmusic, contemporary music (gospel, pop, musical theatre) and vocal jazz? High-school and universityvocal educators were interviewed for this study with open-ended questions about their perceptions,training and experience in traditional and non-traditional vocal repertoire. Methodologies used foradditional data collection included interviews and surveys with faculty, senior administrators, jazzstudies alumni, and professional musicians. Three themes were derived from the interviews: a)decisions about the significance of multi-genre vocal education are wholly dependent upon perceivedvalue and the individual's efficacy in matching his/her experience as a vocal musician and teacher intoa multi-genre framework. b) vocal educators rely on traditional choral or vocal repertoire, overwhelmedat how to validly address contemporary music forms;;and c) a disparity in knowledge and achievementin a field like Jazz - regarded as high art and demanding mastery of musicianship - will renderprospective jazz vocal professionals as outliers, potentially struggling to maintain sustainable careersand professional success. Educational implications of these findings are discussed for their impact onvocal jazz education in secondary and post-secondary education with respect to informing vocal jazzcurriculum revision and vocal jazz educator preparation.
机译:该调查研究的目的是探讨声乐教育者的差距如何对声乐曲目的教学含量和异质性以及声乐教育所准备的方式的差距如何影响声乐学生的表现职业。正在解决的研究是:为什么对过去二十年的研究未能验证适用于通用声乐教育者培训的VOCALJAZZ教育学吗?在声乐爵士乐教育者缺乏声乐爵士乐的PerformentExience的发声爵士乐课程中是否有直接影响汉语爵士队的课程支持竞争范式的看法是什么,支持守护者商品计划排除非传统的声乐和曲目的非传统类型 - 即世界上,当代音乐(福音,流行,音乐剧)和声乐爵士乐?高中和大学高中的教育者对本研究进行了采访,其中关于他们在传统和非传统声乐曲目中的看法,培训和经验的开放式问题。使用的方法载体数据收集包括对教师,高级管理人员,爵士族校友和专业音乐家的访谈和调查。三个主题是从访谈中获取的:a)关于多类型声乐教育意义的决定完全依赖于感知值和个人在将他/她作为声乐音乐家和教师组成多类型框架的经验的疗效。 b)声乐教育者依靠传统的合唱或声乐曲目,越来越多地解决了当代音乐形式;; c)知识和成就差距,像爵士乐一样,被认为是高艺术和苛刻的音乐家掌握 - 将渲染爵士爵士乐专业人士作为异常值,潜在努力维持可持续的职业生涯和专业成功。这些调查结果的教育影响是在次要和中学教育中的影响,关于通知声乐爵士爵士修订和声带爵士乐教育家准备的影响。

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