A Study of Jazz Piano Pedagogy in Malaysia and Taiwan

Graduate School of Music National Taichung University of Education Master’s Thesis

Advisor: Professor Jessie H. S. Chen

Graduate Student: Low Ee Kee

May 2014

ACKNOWLEDGEMENTS

This research had been a real growth experiences and the resulting study was my greatest achievement and something of which I was very proud of during the two and a half year study life in Taiwan.

First of all, I would like to thank Prof. Jessie Chen for her guidance and insight.

She had always pointed me into the right direction and my study wouldn’t have been completed without her.

Second, I would like to thank my parents for their wonderful upbringing that shaped me into who I am today. To my four lovely siblings and in-laws for being there for me and went through all the hardship with me, being supportive and care. Tanny, thanks for pampering me.

Third, I would like to thank my classmate, Double, Winnie, Tzu Yun, Jenny,

Rosanne, Lucy and Win for assisting me all along. Knowing them was the happiest moment of my entire study life in Taiwan.

To all of the influential music teachers that I have ever had in my life, Cher

Siang, Justin, Juan, Alex, Adil for introducing me the joy of playing jazz music. I will never forget the piano jury and the crazy modern band exam.

Finally, to PohSoon, thank you. Your love sustained me. I could not have seen this through without you.

摘要

近年來的爵士音樂之地位在學術界中逐漸受到重視，因此對音樂教育者來

說，深入了解爵士音樂教育亦成為一個重要的課題。雖然許多爵士音樂教育家和

音樂家對現今的爵士音樂教育提供了個人的批判和哲學概念的反思，但仍少有人

能針對其爵士音樂不同的教學模式及方法作進一步的探究。

相較於美國，爵士音樂在馬來西亞及臺灣並非主流音樂。而馬來西亞及臺灣

這兩個國家之人民皆由不同的種族、宗教和文化組成，因此其爵士音樂教育的概

念呈現上也會有所不同。

本研究的目的為比較馬來西亞和臺灣的爵士鋼琴教學，採文獻分析及訪談，

針對六位馬來西亞和臺灣之爵士鋼琴教師進行研究。研究對象皆為當地之傑出教

師及演奏者，並成功的建立了良好聲譽。本研究的结果如下：

1.兩國之爵士風氣皆為盛行，每年舉辦爵士音樂節。另外，兩國皆有爵士酒吧，

其部份酒吧提供 live jamming sessions，為爵士音樂家互相交流的平台。

2.研究對象認為和聲，和弦，音階，調式和即興在爵士音樂學習中是相當重要之

音樂技能，並鼓勵學生参加爵士樂隊和現場即興演奏。但因即興演奏無法事先準

備，對其爵士樂鋼琴家來說是一項挑戰。

3.馬來西亞老師主要運用 The Real Book 作為爵士鋼琴之教材。臺灣老師大多使

用自編教材，同時也運用本土音樂素材，通常選用爵士編曲的華語經典歌曲。

最後，研究者根據研究結果提出建議，以提供後續研究及爵士鋼琴教學者參

考。

關鍵字：爵士樂，爵士鋼琴教學

ABSTRACT

Nowadays, jazz had gained a foothold in academia; so the need for a critical understanding of the subject had become a primary concern. While many jazz educators and musicians had called for the rethinking of jazz education through both personal critique and philosophical re-conceptualizing of current pedagogical trends, few had actually explored alternatives through the creation and exploration of varied pedagogical models.

Jazz music was not as widely accepted as a part of mainstream music in

Malaysia and Taiwan as compared to the United States. The people of both Malaysia and Taiwan were made up of different races, religions and cultures, their concepts in jazz music might be different from each other or other countries.

This study aimed to examine the jazz scenes, jazz piano pedagogy and jazz learning in Malaysia and Taiwan.

This research was a comparative case study employed analysis of literature and interviews. Six prominent teachers from Malaysia and Taiwan were recruited as research participants in this study. The teachers had established a reputation as successful teachers as well as performers. The findings of the study were as follows:

1. The jazz scene was vibrant in both countries. There were a few jazz festivals each

year. Jazz bars could be easily found in both countries and some of the jazz bars

provided jazz jamming sessions as a platform for jazz musicians to perform.

2. The research participants stated that harmony, chord tones, scales, modes and

improvisation were found important in jazz music learning. They encouraged

iii

students to join jazz ensemble and live jam session. Jamming session was an

important activity where jazz pianists were trained to improvise and accompany

without preparation.

3. Malaysia used mostly The Real Book as teaching materials. The teachers in Taiwan

used self-developed materials and also local Chinese oldies and pop songs books

with jazz rearrangement.

Finally, recommendations were made accordingly to the results in order to provide reference for relative researchers and jazz piano teachers.

Keywords: Jazz, Jazz piano pedagogy

Table of Contents

中文摘要...... i Abstract………………………………………………………………...……….…….iii Table of Contents .……………………..……………………………………………..v List of Tables..……………………………………………………………………….vii List of Figures.………………………………………………………...………………x

Chapter I Introduction ...... 1

Background of the Study ...... 1 Purpose of the Study ...... 2 Delimitation and Limitation ...... 2 Definition of Terminology ...... 3

Chapter II Review of Literature ...... 5

Jazz Music ...... 5 The Origins of Jazz Music ...... 5 The structure of Jazz ...... 9 Jazz Education ...... 14 Importance of Jazz Education………………………………………………..15 Abilities Required in Jazz………………………………...………………… 17 Pedagogy of Jazz ...... 24

Chapter III Methodology ...... 31

Research method ...... 31 Research Participants ...... 32 Research Instruments ...... 38 Data Collection and Analysis……………………………………………….….42

Chapter IV Data Analysis and Results………………………………………….... 47

Status of Jazz in Malaysia and Taiwan………………………………………… 47 Pedagogy of Jazz……………………………………………………………... 106 Jazz Learning…………………………………………………………………. 119

Chapter V Conclusions and Recommendations ……………………………….. 125

Conclusions.………………………………………………………………….. 125 Recommendations …………………………………………………………… 127

References ...... 129

List of Tables

Table 1 Chords Types ..……………………………………………………………....10

Table 2 Numeric Voicings Chart ………………………….…………………………11

Table 3 Professionals on interview outline validity checking ……………...... 40

Table 4 Coding for interview ………………………………………………………..43

Table 5 Performers list of Borneo International Jazz Festival for 2006……………..49

Table 6 Performers list of Borneo International Jazz Festival for 2007……………..49

Table 7 Performers list of Borneo International Jazz Festival for 2008……………..49

Table 8 Performers list of Borneo International Jazz Festival for 2009……………..50

Table 9 Performers list of Borneo International Jazz Festival for 2010……………..50

Table 10 Performers list of Borneo International Jazz Festival for 2011…………....50

Table 11 Performers list of Borneo International Jazz Festival for 2012...... 51

Table 12 Performers list of Borneo International Jazz Festival for 2013…………….51

Table 13 Performers list of Penang Island Jazz Festival for 2004…………………..54

Table 14 Performers list of Penang Island Jazz Festival for 2005……...... 54

Table 15 Performers list of Penang Island Jazz Festival for 2006…………………...55

Table 16 Performers list of Penang Island Jazz Festival for 2007…………………..56

Table 17 Performers list of Penang Island Jazz Festival for 2008……...... 57

Table 18 Performers list of Penang Island Jazz Festival for 2009…………………..58

Table 19 Performers list of Penang Island Jazz Festival for 2010………………….59

Table 20 Performers list of Penang Island Jazz Festival for 2011…………………..60

Table 21 Performers list of Kota Kinabalu Jazz Festival for 2009………………….62

Table 22 Performers list of Kota Kinabalu Jazz Festival for 2010………………….62

vii

Table 23 Performers list of Kota Kinabalu Jazz Festival for 2011…………………..63

Table 24 Performers list of Kota Kinabalu Jazz Festival for 2012…………………63

Table 25 Performers list of Kota Kinabalu Jazz Festival for 2013…………………..64

Table 26 Performers list of Kota Kinabalu Jazz Festival for 2014…………………..64

Table 27 KILJF Ticketing 2013……………………………………………………...66

Table 28 Performers list of KL International Jazz Festival for 2012………………...68

Table 29 Performers list of KL International Jazz Festival for 2013………………...69

Table 30 Michael Veerapen's Discography...... 72

Table 31 Tay Cher Siang's Discograpy ………………………………………………73

Table 32 ABRSM Certificate Jazz Piano Assessment Fees………………………….77

Table 33 ABRSM Certificate Jazz Ensemble Assessment Fees……………………...77

Table 34 ABRSM Certificate Jazz Performance Assessment Fees…………………..77

Table 35 Rock School Certificate Piano Assessment Fees…………………………...78

Table 36 Rock School Certificate Ensemble Assessment Fees……………………....78

Table 37 Taipei International Summer Jazz Academy Events…………...... 80

Table 38 Performers list of Taipei International Jazz Festival for 2008...... 81

Table 39 Performers list of Taipei International Jazz Festival for 2009...... 82

Table 40 Performers list of Taipei International Jazz Festival for 2010...... 82

Table 41 Performers list of Taipei International Jazz Festival for 2011...... 83

Table 42 Performers list of Taipei International Jazz Festival for 2012...... 83

Table 43 Performers list of Taipei International Jazz Festival for 2013...... 84

Table 44 Performers list of Taichung Jazz Festival for 2009………………………...85

Table 45 Performers list of Taichung Jazz Festival for 2010………….……………..86

Table 46 Performers list of Taichung Jazz Festival for 2011………………………...86

Table 47 Performers list of Taichung Jazz Festival for 2012………….……………..87

Table 48 Performers list of Taichung Jazz Festival for 2013………………………...88

viii

Table 49 Gold Prague Musical Instruments Co., LTD Jazz Piano Assessment

Fees………………………….……………………….………………………92

Table 50 ChenSong Certificate Pop/Jazz Piano Assessment Fees………………….93

Table 51 Song list of Pop/Jazz Piano Assessment…………………………………..94

Table 52 Jazz Related Program in Malaysia's Higher Education Institutions……...99

Table 53 Jazz Related Program in Taiwan's Higher Education Institutions………103

List of Figures

Figure 1. Ionion………………………………………………………………………12

Figure 2. Dorian……………………………………………………………………...12

Figure 3. Phrygian…………………………………………………………………....12

Figure 4. Lydian……………………………………………………………………...13

Figure 5. Mixolydian…………………………………………………………………13

Figure 6. Aeonian…………………………………………………………………….13

Figure 7. Locrian……………………………………………………………………..13

Figure 8. Blues……………………………………………………………………….13

Figure 9. Structure of the Study……………………………………………………...36

Figure 10. Procedure of the Study…………………………………………………....37

Figure 11. Triangulation……………………………………………………………...45

Figure 12. Borneo International Jazz Festival……………………………………….48

Figure 13. Rhythm Pattern of Chaal…………………………………………………52

Figure 14. Dhol……………………………………………………………………....52

Figure 15. Sitar……………………………………………………………………….52

Figure 16. Tumbi……………………………………………………………………..52

Figure 17. Sarangi……………………………………………………………………52

Figure 18. Penang Island Jazz Festival………………………………………………53

Figure 19. Kota Kinabalu Jazz Festival……………………………………………...61

Figure 20. KL International Jazz Festival…………………………………………....65

Figure 21. Seating Plan of KLIJF…………………………………………………….66

Figure 22. Jazz Piano Certification Programs in Malaysia and Taiwan…………….105

Chapter I

Introduction

I. Background of the study

Jazz had been described as music with syncopation, improvisation, interpretation, elaboration, and interpolation. A history of jazz had been a constant mixture of musical traditions derived from diverse cultural contributions (Kuzmich & Bash,

1984).

Over recent years, jazz as an academic discipline had grown in volume. Jazz studies now play a significant role in a number of higher education music programs within universities. The proliferation of jazz education programs had brought about the publications of specific pedagogical methodologies; from the development of jazz examinations to the widespread dissemination of Associated Board of the Royal

Schools of Music (ABRSM) Jazz Examination, Rock School and so on.

In an article published over 20 years ago, former NAJE Research Chairman

Charles Brown (1988) said that while jazz research was expanding in a number of areas, there was little organizational logic about the overall direction of this research.

The development of such an organizational structure in the field of jazz pedagogy research was especially important because it was only through the collected findings of multiple studies that explanations of educational phenomena can be understood

(Duke, 2000).

As the study of jazz gained increased legitimacy in academic circles, jazz educators need to become more critically aware. Traditionally, the narrative of jazz, including textbooks, biographies and documentaries, was very limited, with the

history of the music being defined in terms of names, dates and anecdote. As jazz had gained a foothold in academia, the need for a critical understanding of the subject had become a primary concern.

While many jazz educators and musicians had called for the rethinking of jazz education through both personal critique and philosophical re-conceptualizing of current pedagogical trends, few have actually explored alternatives through the creation and exploration of varied pedagogical models.

This study aimed to examine the different concepts of jazz piano pedagogy and professional’s suggestions which might to open up the field of study to broader cultural analysis.

II. Purpose of the Study

The purposes of this study were threefold. The first purpose was to compare the status of jazz in Malaysia and Taiwan; the second was to compare jazz pedagogy between two different countries and the third was the students’ jazz learning. With the suggested alternative strategies, it was with the hope that other jazz educator may consider these when examining and constructing their own respective pedagogy.

III. Delimitation and Limitation

Six prominent jazz piano teachers from Malaysia and Taiwan were the research participants. All of them were active members of the professional jazz scene. They had all established themselves as reputable teachers and performers nationally.

Some participants might have held back in their sharing of their teaching strategies and the focus of the interview might shift from time to time. This may

inevitably affect the outcome and was not within the control of the researcher. Besides that, some of the participants taught with other instruments. The researcher had to lead the participants effectively by not asking questions that were irrelevant. The purposes of this study were to compare the method and perspective of jazz pedagogy between two different countries, so issues other than this would not be considered useful and relevant.

IV. Definition of Terminology i. Jazz

A musical tradition rooted in performing conventions that was introduced and developed early in the 20th century by African Americans, characterized by syncopation, melodic and harmonic elements derived from the blues, cyclical formal structures and a supple rhythmic approach to phrasing known as swing. (Mark &

Travis, 2013). The jazz mentioned in this study was different music style from the 19th century to 20th century as in swing, bebop, cool jazz and so on.

ii. Piano pedagogy

The art or study of teaching piano can include a study of composers, piano literature, learning theories, methods and materials, technical concerns of the instrument, as well as other musical or non-musical aspects which may inform piano teaching

(Slawsky, 2011). The piano pedagogy mentioned in this study referred to teaching method, teacher talk, teacher demonstration and so on.

Chapter II

Review of Literature

I. Jazz Music

i. The Origins of Jazz Music

Put it in this way. Jazz is a good barometer of freedom…

In its beginnings, the United States of America spawned certain ideals of

freedom and independence through which, eventually, jazz was evolved, and the

music is so free that many people say it is the only unhampered, unhindered

expression of complete freedom yet produced in this country.

-Duke Ellington

Slavery, colonialism, and exploitation were significant and uncomfortable elements in the development of African-American music (Shipton, 2001). It appeared that jazz came into being around 1900, by the combination of different kind of existing popular musical styles, primarily ragtime and the blues (Townsend, 2000).

From 1890 onwards, ragtime had reached a high level of popularity in all places of America. Ragtime was a rhythmically lively style of solo piano performance which consist a lot of patterns of syncopation (Townsend, 2000). A lot of ragtime music was written down and played without improvisation. However, there was evidence that improvisation was an element in the musical culture surrounding ragtime and it was an important characteristic of African-American music in other musical and non-musical activities (Townsend, 2000).

In the late 19th century, the blues came in with a simpler, looser, primarily vocal idiom. It was based on a three-line verse form, with a simple repeated harmonic sequence. It allowed the performers to write their own words or melodies with wide range of vocal and instrumental effects and variations.

As ragtime and blues drifted towards jazz, there was a new form of style. It combined the musical discipline and complexity of ragtime, the individualized and improvisatory property of the blues and the musical materials of both forms. A third component was the more formal and European brass-band tradition which influenced the instrumentation and the repertoire of early jazz (Townsend, 2000).

Until the middle of the World War I, alongside sex and alcohol, music was in demand as an entertainment. The strong and ethnically diverse musical traditions of various cities produced large numbers of performers who were able to supply that demand.

Jazz originated specifically in New Orleans. Mu-Sung Nam (2006) stated that colonial war occurred during 17 to 18 centuries. For this reason, a mixture of Spanish,

French, British, and also black and white mixed race, makes New Orleans like a personal kind of display area. So compared New Orleans to the other cities in the

United State, New Orleans was a city surrounded by more diverse kind of people and cultures.

The New Orleans jazz style was initially polyphonic based on collective improvisation by “front line” instruments, namely trumpet, trombone and clarinet, supported by three rhythm players which were piano/guitar, bass and drums. Jazz music evidentially became commercialized at the end of the World War I.

From mid-1930s, jazz achieved a new higher level of popularity and became the mainstream of popular music in the United States led by large and organized ensemble (Townsend, 2000). That was the big band period and the generic term for

the music associated with that period was “swing”. The style of the large ensembles of the period was highly organized, but an important place was left for the improvising soloist (Townsend, 2000).

The big band declined rapidly from the mid-1940s onwards. There was a group of young musicians who brought out a new influential jazz style. The new style was

Bebop. Bebop was a music style with a higher standard of technique, new asymmetry of rhythm and phrasing, and it greatly advanced the complexity of jazz harmony.

The late 1950s, musicians began to use “modal” forms. The harmonies which soloists improvised with had become simpler. Soloists improvised for long spells within a single scale of notes instead of improvising on changing chords. The use of modal forms enabled jazz to draw closer to rock (Townsend, 2000). In the 1970s, there was this movement came to be called jazz-rock of fusion, and it provided jazz musicians to gain access to a popular music (Townsend, 2000).

Townsend (2002) stated that the period of jazz history since the early 1980s had been variously described as one of the conservatism, pluralism or fragmentation.

During that period, a number of younger musicians espoused a disciplined, tradition-conscious re-examination of older musical styles, and this aspect of the scene was presented as the most prominent public image of the music. The variety of styles of music being performed under the title of jazz was wider in 1990s than ever before (Townsend, 2000).

The development of jazz seemed likely to propel the idea of jazz as an American music in a long run. So, musicians of other traditions and nationalities started to add different elements to their own folk music.

At the same time, the full range of old and new jazz styles continued to be played

throughout USA and in other industrialized societies. Large groups of musicians trying to recreate and keep alive all the past styles of jazz, from turn of the century ragtime to jazz-fusion. Among these, there were many renowned professional players, musicians whose non-professional, non-institutional, practical involvement with the music helped to maintain the past styles of jazz as active musical idioms at the end of the century (Newton, 1961).

Szwed (2000) divided jazz music styles into:

1. Pre jazz: 1875-1915: ragtime, vaudeville

2. Early jazz: 1910-1927: New Orleans Jazz

3. Swing: 1928-1945

4. Bebop: 1945-1953

5. Cool jazz/West Coast: 1949-1958

6. Hard bop: 1954-1965

7. Soul/Funk: 1957-1959

8. Modal jazz: 1958-1964

9. Third stream: 1957-1963

10. Free Jazz: 1959-1974

11. Fusion/ Jazz rock: 1969-1979

12. Neo-traditionalism: 1980-

Whereas Taiwanese jazz player Chipin and Kaiya divided jazz styles development into:

1. Origin and bloom: New Orleans and swing: 1920, 1930

2. The beginning of modern jazz: Bebop: 1940

3. The improvement of bebop: Cool jazz and hard bop

4. The middle path of jazz music: Modal jazz and post-bop

5. Liberation: Free jazz.

6. Resolution: Combination of jazz and folk music (Lin, 2009).

According to the analysis above, educators generally divided jazz styles into swing, bebop, cool jazz, hard bop, modal jazz, and free jazz.

ii. The structure of Jazz

The structure of jazz had three principal components which were rhythm, form, and harmony (Smith, 2008). The rhythm component dictated fixed rhythmic relationships among the participating instruments. The form component was based largely on song forms, and the harmony component was governed by a relatively small number of types of chord progressions (Smith, 2008).

Rhythm

The unique rhythmic character of jazz was generated in different styles. This rhythm was an interpretation by different performers and not notated in jazz lead sheets, scores, or parts (Smith, 2008). Jazz music borrowed many things from

European musical traditions (major/minor harmonic systems, scales and pitch sets, instruments) but had drawn much of its rhythmic heritage from the African culture (Bert, 2001). Bert (2001) stated that the rhythm in jazz can be categorized into polyrhythm, swing eighth notes, accents & articulation and syncopation.

Form

Jazz inherited much of its formal structure from earlier music (Smith, 2008). In jazz music, the form was the sum of the rhythmic and harmonic content in a tune, and usually included at least two contrasting sections with repeated A section. By far, the most common used form was AABA along with ABAC, ABCD and ternary (ABC) as variation.

Harmony

Jazz harmony was the theory and practice of how chords were used in jazz music.

There were certain similarities in harmony by looking at the western earlier music

(Smith, 2008). (See Table 1) Rob Mullins (2002) stated that jazz piano voicings were all about the most colorful chord sounds with the least amount of movement in chord progression.

Table 1 Chord Types

Type Major6 Minor6 Minor7 Minor7b5 Dominant7 Diminished7 Major7

Symbol 6 -6 -7 -7b5 7 。7 Maj7

Formula 1,3,5,6 1,b3,5,6 1,b3,5,b7 1,b3,b5,b7 1,3,5,b7 1,b3,b5,bb7 1,3,5, 7

Note. From Berklee Jazz Piano (p.1), by Ray Santisi, 2009, USA: Berklee Press.

Other than basic chord types, Corozine (2002) said that voicing was the manner in which one distributes, or spaces, notes and chords among the various instruments.

Chord voicing were important for jazz pianist. “Voicing” referred to the way chord tones were deployed (Smith, 2008). There were many approaches to chord voicing.

The choice of which approach to use was partly a matter of what kind of musical group was involved, such as solo keyboard, piano trio, big band, vocal jazz ensemble and so on. Musicians who had had training in classical harmony, counterpoint, and orchestration were likely to use more sophisticated voicing techniques, while musicians with less classical training were more likely to use automatic techniques based on the mechanical application of a few voicing rules (Smith, 2008). See Table

Table 2 Numeric Voicings Chart

Major 1st position root,3,5,6,9 Diminished7 1st position root,b3,b5,6,9

Major 2nd position root,6,9,3,5 Diminished7 2nd position root,6,9,b3,b5

Major 3rd position root,3,5,6,9,5,1 Diminished7 3rd position root,b3,b5,6,9,b5,7,9

Dominant7 1st position root,3,6,b7,9 11th 1st position root,4,6,b7,9

Dominant7 2nd position root,b7,9,3,6 11th 2nd position root,b7,9,4,6(13)

Dominant7 3rd position root,3,6,b7,9,5,1 11th 3rd position root,4,6,b7,9,5,1

Minor7 1st position root,b3,5,b7,9 7+11 1st position root,b3,#4(+11),b7,9

Minor7 2nd position root,b7,9,b3,5 7+11 2nd position root,b7,3,+11,6(13)

Minor7 3rd position root,b3,5,b7,9,5,1 7+11 3rd position root,3,#4(+11),6(13),b7,6(13),1

Minor7b5 1st position root,b3,b5,b7,9 7+9+5 1st position root,b3,+5,b7,+9

Minor7b5 2nd position root,b7,9,b3,b5 7+9+5 2nd position root,b7,+9,3,+5

Minor7b5 3rd position root,b3,b5,b7,9,11,b7 7+9+5 3rd position root,3,+5,b7,+9,+5,1

Note. From Jazz Piano Voicings (p.3), by Rob Mullins, 2002, Hal. Leonard.

Scales

Other than harmony, scales were also important in jazz music. In classical music, diatonic, harmonic, melodic and pentatonic scales were always being used.

Meanwhile modal scales and blues scale were commonly used in jazz music.

Modal Scales

Modal scales were found in various forms. Plainchant, the traditional music of the Catholic liturgy, makes use of eight modes, the church modes, with names derived from very different, earlier Greek modes (SFCV, 2014). During the 1950’s Miles

Davis was the first person who applied modes in jazz music (Lin, 2009). There were seven kind of modal scales that included Ionian, Dorian, Phrygian, Lydian,

Mixolydian, Aeonian, and Locrian that showed below.

Figure 1. Ionian

Figure 2. Dorian

Figure 3. Phrygian

Figure 4. Lydian

Figure 5. Mixolydian

Figure 6. Aeonian

Figure 7. Locrian

Blues scales

Blues scale can always been found in jazz and rock music. Unlike other scales, blues scales consisted of only six notes as illustrated below:

Figure 8. Blues

II. Jazz Education

The profound connection and . . . disconnection between formal education and culture is a problematic one. It is hardly controversial to state that most classroom teachers abide by a select compendium that represents our culture’s best ideas and greatest works. Disagreements occur when the education we receive serves to reinforce one greater culture or heritage at the expense of another. Thus, differing voices who wish to compete in this landscape must argue that their culture’s best works are valid and worth engaging in (Allsup, 2003).

Not everyone had subscribed to the idea that all people can learn to play jazz.

Ake (2002) said that since the time of the earliest accounts of the music, many writers and audiences had perceived jazz as a “natural expression” of the performers rather than as learned and practiced behaviors. Many believe that America’s most significant and original contribution to the world of music was jazz (Dunscomb, 2002).

Dunscomb asserted that it was important that music programs included the music of many cultures in their selection process but it was essential that we also include the music of our own culture – and that music, in his mind, was jazz. Jazz education was about teaching students skills in the art of improvisation , helping them to acquire knowledge in the jazz idiom ( history, theory, arranging , composition etc.), and leading them to understand the fusion of cultures and music traditions that made and continue to make jazz a reflection of the diversity in America (Dunscomb, 2002).

During the 1960s, jazz education saw a significant increase in activities in school music programs. David Baker (1965), a leading figure in the history of jazz education,

wrote in his 1965 Downbeat Magazine article entitled “Jazz: The Academy’s

Neglected Stepchild” of the legitimate need for the creation of jazz curriculum at the university level. In the article, he described the “needs, weaknesses and inadequacies of jazz education” and the difficulties of teaching improvisation. His perspective helped to establish the legitimacy of jazz education at the university level. At the beginning of the decade, 40 colleges offered one or more jazz related courses, and by the end of the decade that number grew to 300, 135 of which offered courses for credit (Carter, 1986). There were ten universities offered a complete jazz program in

Malaysia and this number had been increasing continuously.

The dramatic growth in jazz education in higher education also created a rise in the number of important pedagogical leaders who became influential in designing concepts in jazz education, many of which were still used by jazz educators the world over. Most influential among those pedagogical leaders were Jerry Coker, David

Baker, and Jamey Abersold from Indiana University, Bob McDonald from Los

Angeles City College, Bob Share and Lawrence Berk from Berklee College of Music, and Gene Hall from North Texas State University (Carter,1986).

i. Importance of Jazz Education

Hill (2002) stated that jazz study introduced students to something exciting about this country (USA) and about its history; he thought that jazz study had tremendous value for young people. He also asserted that some music educators believed that jazz classes embodied the prefect environment in which to teach all of the National

Standards for Music Education. In jazz classes, students had to become keen listeners as well as good readers; they had to have excellent performance skills, good rhythmic

sense, and great intonation; and must be able to improvise and play in a variety of styles.

Yet, Barr (1974) summarized the four major points most often cited by educators in defense of jazz as an acceptable part of students’ musical training which were as follows: i) Jazz contained much that was of immediate value to the theoretical and technical growth of the young musician and was highly relevant to the musical dialect of 20th century America. ii) Jazz was the only truly indigenous American musical idiom, containing a high degree of complex formal scheme and format. iii) Jazz was a musical art requiring a continually growing array of skills as demanding in their own way as those in classical music, and jazz contained unique musical skills to be learned which were not to be found in other types of music. iv) Jazz in the curriculum would upgrade rather than disintegrate music standards.

Baker (1965) argued that jazz deserves the dignity and status afforded other serious music. He also stated that “all music schools ultimately should at least include a full jazz curriculum and not just a token offering of subjects”. Collier (1975) pointed out that the main advantage of having jazz as a part of the curriculum in higher education had been the opportunity it provided students to learn from the experiences of others. Such experiences helped to stimulate the student’s mind and examine and explore new ideas.

Coker (1989) provides another example for the role of the university in jazz education. He was one of the pioneers in jazz education and personally developed comprehensive jazz studies programs at four different universities in United States.

The formal setting of a university, according to Coker (1989), offers students facilities,

equipment, and spaces dedicated to their learning needs, time for practice, and most importantly, the opportunities to interact socially with peers in a musical setting.

Coker’s point was of great importance in establishing legitimacy for the need of continued jazz education programs in higher learning. Perhaps jazz programs can continue to be the place where young developing musicians learn from each other and from older, more experienced professionals—their professors.

In the spring of 1967, the Music Education National Conference (MENC) held a symposium at the Tanglewood Institute in western Massachusetts to discuss questions like “How can we better serve?” and “What do we need to do in order to make music education more useful to the American society of today and tomorrow?” (Mark &

Gary, 1999). In response to these questions, the members of the symposium agreed on eight key points. The most important point related to jazz education was music of all periods, styles and forms and cultures belong in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teen-age music and avant-garde music, American folk music, and the music of other cultures. It can be concluded from the above that jazz education was necessary and important.

ii. Abilities Required in Jazz

Listening

Famous educator and motivator Tony Robbins often talks about how people only learn new ideas by connecting them to things they already know. He stated that by listening to music, people were simply expanding the number of things people

“already know.” He thought that one of the beautiful things about music was one

could absorb so much of it passively, just by listening to it and immersing oneself in it

(Dittert , 2010).

Dunscomb (2002) stated that as many languages, music was learned through a process of hearing it first, followed by practicing and perfecting “speaking” and communication skills. Playing jazz by reading strictly what was indicated on the printed music would result in very square, non-jazz sounding music. On the other hand, consistent listening to jazz recordings would illuminate how one can interpret the written notes correctly and brought the music to life.

Nam (2010) thought that it was virtually impossible to teach or perform jazz music without having listened to it. She stated that jazz music was different from other genres. Students need to comprehend which musical traits make the unique sound of jazz. Most of the jazz musicians learned jazz music by listening and imitating other musicians’ live performances or recordings first (Yoshizawa, 1999).

Other than that, Kit (1998) also mentioned that listening to examples of good and precise music and performance were the best way to learn music. Therefore, it was important for beginning pianist to identify the characteristic concepts of jazz by listening in order to identify musical concepts of a tune, comparing its musical style with other styles was an effective approach (Nam, 2010).

Ake (2002) asserted that records and CDs were not only act as the physical

“texts” of jazz; they also serve as the pre-eminent “textbooks” of the music and provided study materials for virtually all players. Listening to many different styles and genre of jazz was essential (Arriale, 2009). Ake (2002) said that the repeatability of recordings enables musicians to familiarize themselves thoroughly with the general sound of the music. In order to figure out different style of jazz music, undeniably listening was the prior.

Improvisation

“In jazz, improvisation isn’t a matter of just making any ol’ thing up. Jazz, like any language, has its own grammar and vocabulary. There’s no right or wrong, just some

choices that are better than others.”

-Wynton Marsalis

Hill (2002) asserted that the essence of jazz was improvisation. Improvisation was the process of spontaneously creating fresh melodies over the continuously repeating cycle of chord changes of a tune. In the National Standards for Music

Education, improvisation was Content Standard Three described as “Improvising melodies, variations, and accompaniment.”

Other than that, Carl Czerny (1791-1857), one of the foremost music pedagogues of the nineteenth century, a student of Ludwig van Beethoven (1770-1827), and the teacher of Franz Liszt (1811-1886), defined improvisation as follows:

. . . The talent and the art of improvising consist in the spinning out, during the very performance, on the spur of the moment, and without special immediate preparation, of each original or even borrowed idea into a sort of musical composition which, albeit in much freer form than a written work, nevertheless must be fashioned into an organized totality as far as is necessary to remain comprehensible and interesting

(Mitchell, 1983).

The Orff approach was one of the several developmental approaches including

Kodaly, Dalcroze and Suzuki; and improvisation was the heart of the Orff approach.

In Orff, there were improvisation in speech, in movement, in melody, in instrumental play, and not least, in the art of teaching. Carl Orff (1895-1982) himself noted this emphasis on improvisation as a unique characteristic of his way of teaching music, an essential part of the process of learning and making music. Apart from this, Abraham

Maslow (1908-1970) said that in an age of rapid change, children needed to learn flexibility, independence of thought, faith in their own ideas, and the courage to try, fail, adjust and change until satisfactory solutions were found. There was no surer way than through regular lessons in improvisation.

Lastly, Nam stated that the typical form of jazz performance composed of three parts: a statement of the melody, the improvisation, and the re-statement of the melody. The improvisational was a key feature of jazz and played over the harmonic structure of the original tune. Learning to improvise was similar to learning a foreign language: people can more easily speak what they had heard (Dunscomb, 2002). Hill

(2002) indicated that jazz musicians improvised by using musical ideas from their collected memory.

The results from most of the researches showed that challenging young instrumentalist to improvise music allowed them to acquire higher-order music thinking skills. Two beneficial results were meaningful creative performance and performance of music from notation with greater recognition and understanding of music structure. This can be demonstrated through accurate and precise performance.

Improvising may be an effective method by which beginning instrumental music students could acquire the music thinking skills necessary to perform notation with greater understanding (Azzara, 1993). Thus, pianists need to listen, memorize and internalize many musical ideas before improvising.

The Qualities of Improvisation

Cherie Hung (1998) pointed out that improvisation included four qualities. They were i) an ‘on the spot’ composition performance, ii) The difference in the thought process of an improvisation and score reading performances, iii) Improvisation fully

showed out the personality of the improviser, and iv) It was a ‘reflection’ musical activity rather than an ‘instinct’ musical activity.

i) On the Spot

Schwartz (2001) said that improvisation and composition were not all that different form one another. He stated that they were both intensely focused and single minded creative acts. Cherie Hung (1998) indicated that improvisation meant the performer had to play a new melody on the spot without preparation. The differences between a composer and improviser were the composers had time to plan their composition and correct them but improviser had to produce music in a shorter time.

Schwartz (2001) thought that the difference between improvisation and composition was that improvisation happened in ‘real time’ while composition happened in ‘frozen time’.

Music improvisation was flexible and full of surprises and this can attract audiences.

ii) Thought process

Thomas (1991) stated that improvisation was to experience a most prevalent form of musicianship, a major factor in the creative process of the real world of music making, and that type of experience was considered vital in establishing a sense of authenticity and relevance in education. He also stated that when improvisers were improvising, they exercise skills very different from those employed in reading notes or performing a familiar tune. First they must direct their thought toward the creation of a musical idea. When the idea was formulated, their attention shifts to the specific sounds that would communicate that idea and finally to the performance technique

required to produce those sounds. In the other hands, in reading music, one’s attention was focused on the specified notes and then on the physical acts involved in producing the sounds indicated by those notes (Thomas, 1991). Cherie Hung (1998) thought that improviser had to express themselves through music.

Campbell (1991) stated that improvisation was the musical response to an unpredictable impulse or feeling. It was the intricate balance of performance and compositions, all at once. It deserved of its air of mystery its magic to empower both performers and listeners and its status as a quality whose skills may be acquired by the performer through informal listening, observation and experimentation and through formal training.

Improvisations differed from traditional notated musical forms because they introduced the elements of spontaneity into not only the interpretive facets of the performance but also the music itself (Hinz, 1995). Every facet of the music – dynamics, articulation, phrasing, harmony, rhythm, melody, and form –was directly under the control of the improviser (Hinz, 1995). A performance of a notated composition on the other hand, involved the performer in trying to render an “ideal” expression of the work of the circumstances. Except for some minor adjustments as a change in pedaling to compensate for greater or lesser amounts of hall reverberation in a piano performance, the piece was played as it was rehearsed (Hinz, 1995).

iii) Personality of improviser

Each improviser used their own way to deliver their thoughts during their performances. Each improviser performed differently and fully showed up their strong personality. With their unpredictable performances always brought surprises to the audiences.

iv) “Reflection”

Improvisation skill was actually a “reflection” rather than an “instinct”.

Improvisers had to improvise with their musical knowledge, techniques, and their experiences. Cherie Hung (1998) asserted that improvise was not only based on inspiration, but improvisers had to have a strong music background to improvise well and to be convincing. Improvisation was about using past experience and immediate attentiveness to the sounds around and creates music in real time (Custodero, 2008).

Improviser used the sounds of music as language much as people used language to formulate and express personal thoughts. Improvisation was an “on the spot” activity as it looked; a player must have good technique, harmony and musical knowledge to be convincing.

III. Pedagogy of Jazz

In order for jazz to become a legitimate subject of higher education and to exist in the educational system, jazz educators were required to create a finite definition of a single jazz style and related skills. If jazz was to be taught, then it had to be definable and consequently for both practical and theoretical. Jazz educators had to slowly develop an explicit pedagogical system for its teaching and adjudicating (Ake,

2002b; Nicholson, 2005). To insure that jazz received the academic respect and financial support that its advocates sought, many educators and authors alike have openly promoted the ideology that “jazz has all the things that classical music has”

(Ake, 2002b; Cooke, 2002). While this ideology did much to advance jazz education’s cause within the academy, it simultaneously disregarded many of the unique characteristics of jazz that contradict conservatory standards of excellence, most notably the oral tradition of African American culture (Ake, 2002b), and its evolving nature. Herzig (1997) stated that imagination, expressiveness and social interaction were often neglected in jazz pedagogy. “Jazz piano pedagogy was most effective as a combination of applied lessons, interacting with peers, and learning from method books,” she said.

Because there weren’t much research of jazz piano pedagogy, so based on the instruments pedagogy, existing research had investigated certain aspects of instrument teaching such as modeling, teacher talk, questioning and practicing (Zhukov, 2012).

Speer (1994) reported that student playing occupied the greatest part of piano lessons, followed by verbal teacher comments and modeling (Zhukov, 2012).

i. Modeling

Teacher demonstration was an important component of an instrumental music lesson (Lehmann, Sloboda, & Woody 2007). In instruments teaching, students could absorb better with teacher’s practical demonstration.

ii. Teacher talk

Pallister (1995) investigated the piano studio teaching context and found that teacher talk consisted of task statement, feedback and questioning. Teacher praise and criticism can have a significant impact on student’s motivation. Research showed that positive teacher statements had a greater motivating effect on students playing than negative statements (Bartholomew, 1993).

iii. Questioning

While teacher modeling, feedback and directives comprise a large part of instrumental lesson, little is known about what role teacher questions and answers play in learning (Zhokov, 2012).Research showed that effective use of questioning can had a positive impact on students achievement (Single, 1991).

iv. Learning Jazz Improvisation

Jazz improvisation = Jazz vocabulary and aural skills (Hill, 2002).

Hill (2002) asserted that the ultimate goal for a jazz improviser was to play effortlessly what was heard in mind. He thought that the finest, most successful and well-established jazz players not only continuously practice on their instruments to maintain technical facility but constantly seek to improve their jazz vocabulary. The ability to improvise jazz depended on learning the “tools of the trade” (chords, scales, and repertoire), applying the tools to actuals musical situations, phrasing and

articulation, learning to swing, and shaping creativity through structure and design

(Meadows, 1991). Hinz (1995) stated that different styles, rhythms, harmonic systems, and the improviser’s own musical philosophy determine the nature of the improvisation. Hill (2002) stated that there were 6 steps to learn improvisations.

They were listening, practicing, playing, transcribing, copying and analyzing:

Listening

The language and vocabulary of jazz were most easily grasped through the process of listening, which was been proven through the 100 years of jazz history.

Teacher can develop students’ aural skills and jazz vocabulary by listening to a jazz tune or artiste.

Practicing

The role of instrumental teachers was to demonstrate different practice strategies to students, set achievable goals and evaluate the results (McPherson & Davidson,

2002). Hallam (1997) described practice as a metacognitive activity and suggested that in addition to developing technique, interpretation, memory and performance skills, students need to think about how they habitually practice.

Technical skills were necessary for improvisation. A wide variety of all types of exercise should be practiced to gain technique (Hill, 2002). Provide students a supportive classroom or studio environment for better results (Hinz, 1995)

Playing

Aspiring improvisers can play along with jazz recordings. Hill (2002) suggested teachers to have their students sing the tune before playing it and the tune must not be something too complex as to discourage the students but rather something accessible,

realistic, and attainable. Hinz (1995) stated that improvisers often “prehear” what they improvise. The ability to know what a melody would sound like immediately before it was performed was essential in the art of improvisation and takes time to develop.

Students can develop this ability by singing short melodic phrases or by having someone else play these phrases on another instrument and then playing the same phrases on their own instruments. Hill (2002) encouraged students to put on a set of headphones, pop in a CD and try playing along with the radio. This strategy would also get the players accustomed to finding the notes on their instruments without written music.

Transcribing

Request students to play a jazz phrase (or simple solo) over and over until it can be written down. This exercise would associate hearing the note, finding the note on instrument, and notating it (Hill, 2002). Beginning improvisers often rely on scales and other simple patterns to become familiar with the basic vocabulary of their instruments (Hinz, 1995). Hill (2002) recommended all players, including percussion and rhythm instrument players to participate in this process. This exercise helped students improve their ear and their ability to “prehear” phrases (Hinz, 1995). This process principally involves aural skill development, but may also involve the application of theoretical knowledge –scales, intervals, chords, and so on (Hinz,

1995).

Copying

The process of playing along with, or mimicking, someone’s playing was essential to internalizing the nuances of jazz language.

Analyzing

Students should practice transcribed solos by figuring out why the notes were selected and search for patterns, sequences, scales and the outlining of chords.

v. Jazz Ensembles

Hodson (2000) stated that good jazz improvisational skills were created by active interplay among players. Dawkins (2002) thought that a group setting provided opportunities for a small group of musicians to interact as soloists, accompanists and ensemble participants. This group allowed participants to strive for a high level of musicianship; developed improvised solo; focus on individual expression as well as group cohesiveness; to perform in public frequently, be self-directed. Thus, a group setting was a useful way for beginning pianists to get familiar with jazz improvisation.

William (2012) stated four key elements of operant conditioned learning in jazz ensembles which were: students learning occurs in small successive steps, which each step student DOES something, feedback was immediate and positive reinforcement followed. He also said that students in jazz ensembles not only practice but had to plan specific strategies and tactics for the practice.

Bollinger (1979) noted that jazz bands had been accepted as a regular part of many public schools’ music curriculum and listed the following as foundational elements of jazz band (a) educational value, (b) student interest, (c) functional advantages, (d) public relations value, and (e) additional music challenge and enrichment for talented students. Kowall (1966) stated that jazz ensemble allowed a student to gain immeasurably from being solely responsible for his personal part and school jazz bands helped musicians to improve their playing skills.

Nam (2010) stated that due to cost and scheduling issues, it was hard to offer group instruction. Thus, in order to solve the problems, she suggested the use of two pianos placed side by side, so that the teacher could easily observed how each student was playing and the student could also interact more. Nam also stated that digital piano was a very beneficial tool for practicing jazz because it usually had a sound simulator of bass or drums, metronome and headphone capabilities for individual practicing in class.

Other than jazz ensemble, jazz jam session was also an important activity in jazz music. A jam session was a jazz get-together, where the players improvise in an informal and unstructured way. Ake (2000) stated that jam session was one of the most important educational services. It provided the opportunity for beginning and intermediate musicians to play, or ‘sit in’, with their more established colleagues.

Sitting in allowed the beginner to experience with group’s interaction and felt of an effective swing groove on a bandstand. He also noted that sessions also serve as meeting points where players often make their first professional contacts. He thought that one outstanding performance at a session can lead to a string of gigs which, in turn, could lead to broader playing experience and hopefully a more mature style, as well as an expanding circle of musicians and patrons as a source of future professional engagements.

In this chapter, the researcher reviewed literature in an effort to identify the history of jazz, jazz education and jazz pedagogy methods within the world of academia. Jazz learners needed to gain different abilities required in learning jazz music. The researcher also found that jazz music had tremendous value both on theoretical and technical aspects for jazz learner. To compare the information that researcher had collected, six professionals were interviewed to gather their opinions

and experiences so as to identify the jazz pedagogy model both in Malaysia and

Taiwan.

Chapter III

Methodology

I. Research Method

The purpose of this study, as expressed in Chapter I, was to investigate the different jazz pedagogical methods in two countries namely Malaysia and Taiwan. To find out the experiences of the musicians/teachers and to reconnect jazz pedagogy to democratic principles found in its historic pedagogical roots. The study meant to present educational models that other jazz educators might use for rediscovering, reexamining, and reconstructing their own respective pedagogical philosophies. The group of musicians that formed the community for this study consisted of 6 professional university jazz piano teachers and performers, who were active members of the professional jazz scene in Malaysia and Taiwan. The researcher had several interview sessions with each musician in order to understand their experiences in teaching. The structure of the study was as Figure 1 while the procedure was presented in Figure 2.

Comparative case study was used as the research method in this study. In comparative case studies, structure and focus were easier to achieve if a single investigator not only planned the study, but also conducted all of the case studies.

Structured and focused comparisons were more difficult to carry out in collaborative research when each case study was undertaken by a different scholar (George &

Benett, 2005). Therefore the researcher was the only investigator in the study, who designed and interviewed all the participants by her own.

II. Research Participants i. Researcher

This study was conducted in in Taiwan but data collection was both in Malaysia and Taiwan. Researcher is Malaysian and now studying in Taiwan. Researcher started to learn classical piano at age of five and completed her ABRSM Grade 8 exam at 18 years old. She started her Degree in Contemporary music in UCSI University

Malaysia in 2007 where she first in touch of jazz music. Jazz music was new challenges to her, so she started to listen to a lot of jazz music, go to watch live jamming session, and get involved in jazz band. Jazz improvisation was always the hardest part to her. At the year of 2012, researcher came to Taiwan to pursue her

Master in Music Education. ii. Participants

All the participants were carefully selected. They were experienced and professionals. Confidentiality was about not disclosing the identity of study participants, and not attributing comments to individuals in ways that can permit the individuals or institutions with which they were associated to be recognized (Arksey

& Knight, 1999). Therefore, to protect their privacy, the participants in Malaysia were anonym to teacher A, B and C whereas the participants from Taiwan were anonym to teacher X, Y and Z.

Malaysia

Teacher A

Teacher A held a Master in Jazz Pedagogy from West Virginia University. He started to learn classical piano and took up an interest in jazz during teenage years, finally to pursue his musical journey as a jazz pianist. He taught jazz piano in several universities in Malaysia and has been promoting jazz in Malaysia for many years. He gave master classes, talks, and seminars. He had been active in Kuala Lumpur music scene and now the band leader of WVC Trio and the pianist of Unit Asia. He had performed in a variety of music festivals: Malacca Straits Jazz Festival in Riau (June

2007), Penang Jazz Festival in Penang (November 2007), Mosaic Music Festival in

Singapore (2008 and 2009), Taichung Jazz Festival (2010 and 2011), Kota Kinabalu

Jazz Festival (2011), Langkawi One Earth Music Festival (2011), Phuket International

Jazz Fest (2011), Thailand International Jazz Fest and Tianjin International Jazz Fest

(2012), and latest Taichung Jazz Festival (October 2013).

Teacher B

Teacher B held a Master in composition – theory from Penn State University and degree in music technology from University Putra Malaysia. He was currently the head of Contemporary Music Department in UCSI University. He taught jazz piano and jazz harmony in the university. He was actively performing as a pianist/keyboardist and had worked with a few of pops idols in Malaysia and

Indonesia. He also performed in jazz festivals in China, Korea, Malaysia, Singapore and Taiwan.

Teacher C

Teacher C held a Master in jazz piano pedagogy from West Virginia University.

He just completed his Master in jazz pedagogy and currently teaching jazz piano, big band, jazz improvisation and jazz ensembles in universities. He was the best keyboardist in Asian Beat Band competition 2008 and the runner up in the pop/ jazz piano solo category at the Grand Finals of the Roland Piano Festival 2010. He performed in 2013 World Youth Jazz festival and he also collaborated with many international and Malaysia local artists. Moreover, he composed a lot of songs and rearranged jazz standards for bands.

Taiwan

Teacher X

Teacher X held a Master in jazz music from American Music Institute in Chicago.

He had been teaching jazz piano for 22 years. Currently, he is the lecturer of National

Sun Yat-Sen University. He taught jazz harmony, jazz ensemble, improvisation and the history of jazz. He also played in different jazz festivals and art festivals.

Teacher Y

Teacher Y originated from Belgium but a Taiwan resident for over 6 years. He studied Jazz in Belgium Lemmensinstituut. Before moving to Asia, he worked in and around Belgium a lot as a double bassist. After moving to Taiwan in 2006, he quickly became one of the most wanted musicians in the scene, played with different artists.

He frequently accompanied international jazz musicians on their tour to Taiwan. He had played over 100 concerts in Taiwan but also played internationally in jazz festivals in Hong Kong, Korea, Malaysia, and Lithuania. Besides a double bassist, he

was also a composer, a jazz piano teacher and producer.

Teacher Z

Teacher Z held a Master in classical piano performance from Tunghai University

Taiwan. Currently, she is a lecturer of center of general education at National

Taichung University of Education. She taught jazz piano and pop piano group class.

Malaysia Taiwan

Teacher’s learning background Teacher’s learning background

Pedagogy •Teaching Skills •Teaching Materials

Students’ Abilities

Student’s Student’s Need Background

Figure 9. Structure of the study

Design of topic and proposal

Literature Review

Design the study

Recruit and search for Develop Research

participants Instruments

Validity and Reliability

Decisions on participants

Interview

Transcription of interview

Data Analysis On member checking

Conclusion

Figure 10. Procedure of the study

III. Research Instruments i. Role of Researcher

In qualitative studies, the researcher was the main instrument of this study. From the perspective from a novice jazz musician, comparison and analysis of jazz pedagogy were understood and analyzed through interviews. ii. Interview

Arksey and Knight (1999) stated that interviews may provide data on understandings, opinions, attitudes, feelings and the like that people might have in common. Interviewing can be structured, semi structured or unstructured (Andrea &

James, 1998). Semi structured interview was used to be a research instrument in this study. Semi structured meant that main questions and scripts were fixed but an interviewer was able to improvise at the follow up questions and to explore meaning and areas of interest that emerged (Arksey & Knight, 1999). Interviewing at two different countries, researcher foresaw that the participants would have different responses and might provide some others useful information, so semi structured interview was chosen as the research instrument of this study.

Audio recording was used as the method of recording the interview in this study.

Audio recording was probably the most popular method of recording qualitative interview (Arksey & Knight, 1999). There were plenty of advantages in audio recording which were:

• The interviewer can concentrate on what participant had said.

• A permanent record that captured the whole of the conversation verbatim, as

well as tone of voice, emphases, pauses and so on.

• Using a recorder demonstrates to informants that their responses were being

treated seriously.

iii. Reliability and Validity

The reliability of interview was always been questioned. So in order to enhance the reliability, the researcher had to be certain of the purpose of the interview and chose the participants wisely (Lin, 2002). Besides that, Lin (2002) also stated that the interview questions had to be specific and in depth. Lastly, researcher had to record and analyzed all the data correctly.

• Choose the participants wisely – The participants that had been chosen were

all professionals in jazz music between two nations. They were experienced

in teaching and performing.

• Be specific – Researcher had been discussing the interview questions with

her lecturer, expecting and considering the reaction of the participants and

keep improving the interview questions.

• Record – The interview were recorded with audio recorder.

• Collections of data – The interviews were all fully transcribed and the

participants were provided a transcript in which they could modify, edit, or

add to for authenticity. Once transcripts were edited to their satisfaction,

they were emailed back to the researcher. This form of member checking

was advocated by Johnson and Christensen (2004) as a means of

strengthening the accuracy and credibility of participant responses.

Validity was an important criterion for the quality of a study. While interview was the major tool for data collection, the outline of interview needed to be validated for its meaningful use .Three professionals of music education (see table 3) were invited for checking the interview outline of this study. Thus, the interview outline was modified according their professionals’ opinions.

Table 3 Professionals on interview outline validity checking

Name Institutions Expertise

Prof. Lin University of Taipei Music Education

Piano Pedagogy

Prof. Lin National Taichung University of Flute performance

Education Music technology

Prof. Chang National Taichung University of Piano Improvisation

Education Dalcroze

The researcher adjusted the sequences and modified the questions after gathering the professionals’ opinions, and the finalized interview outlines was shown below:

iv. Interview Outline

1. When do you start to listen to jazz music? Please talks about your learning

background, what institute are you teaching now and what are the places you

perform.

2. In your opinion, what are the differences between classical music and jazz music?

3. What do you think about the jazz scene in your country right now?

4. Has jazz education been known by public? What are the ways to gain more

attention from the public?

5. Are there any university/ college/ music centre providing jazz program in your

country?

6. Talk about your students’ background. What do they want to learn from jazz piano?

Do you think your teaching fulfill their needs? What do you think they should

learn in jazz piano?

7. What is your concept and method when you teach jazz piano?

8. How do you teach beginning improvisation? Do you use any software to support

student’s improvisation?

9. Talk about your advice regarding practicing? (Harmony or Scales)

10. Do you encourage your students to be in jazz ensembles? Why?

11. Do you require your students to play at live jamming section? If yes, what will

they learn from there?

12. Do you give demonstration or feedback during teaching process? Do you allow

your student to audio/ video record your demonstration? If yes, what is the

follow up?

13. What is your advice to those who want to learn jazz piano?

14. What do you hope to achieve in your teaching?

15. If an institute or university wants to establish a jazz program, what do you think

the program should offer?

16. In your opinion, do you have anything more to say about jazz piano teaching?

IV. Data Collection and Analysis

i. Data Collection

The semi-structured interviews were conducted in two different countries of six interviews each in order to refine the interview outline and interviewing skills of the researcher, allow new and relevant questions to evolve, and improve data analysis techniques in each interview. Following data collection methods were utilized.

• Semi-structured interviews with each of the six participants

• Fully transcription

The researcher conducted one “semi-structured” interview with each participant.

Three of the participants from Malaysia were interviewed in Kuala Lumpur. On the other hand, the other three participants from Taiwan were interviewed separately in

Taichung and Taipei. The interviews provided the participants with the opportunity to put their experiences into their own words and allowed them to better “understand rather than explain” those experiences (Wolcott, 1997).

All interview sessions were audio recorded. This was necessary for two reasons.

First, researcher needed to repeatedly review them and record down the interaction accurately. Second, the audio recording served as a record of the participants’ opinions, perspective and method they applied in their jazz piano pedagogy. Written transcriptions were made of verbal dialogue after each interview session. These interview sessions served as the largest source for making and using records in the study (Wolcott, 1997).

Lastly, the researcher would conduct phone interview as followed up when there were questions to add.

ii. Data analysis

The researcher had labeled the question 1 to question 18 as‘1~16’ and the participants as A, B, C and X, Y, Z as shown at Table 4.

After all the transcription, the researcher will underline the important advices and relevant information according to the code of the questions and participants correctly.

It allowed the researcher to compare the content of one interview with another and to summarize the results of a number of interviews on the same topic by showing the frequency with which each type of information was given.

Table 4 Coding for interview Code Description A1~16 Participant A, ‘1’ represent the answer for question 1, ‘16 ’represent the answer for question 16. B1~16 Participant B, ‘1’ represent the answer for question 1, ‘16 ’represent the answer for question 16. C1~16 Participant C, ‘1’ represent the answer for question 1, ‘16 ’represent the answer for question 16. X1~16 Participant X, ‘1’ represent the answer for question 1, ‘16 ’represent the answer for question 16. Y1~16 Participant Y, ‘1’ represent the answer for question 1, ‘16 ’represent the answer for question 16. Z1~16 Participant Z, ‘1’ represent the answer for question 1, ‘16 ’represent the answer for question 16.

iii. Reliability and Validity

Achieving “validity” in the telling of the participants’ opinions through the creation of narrative texts was no easy matter and was “fraught with problems”

(Denzin, 1995). All the cases in this study, the key to the definition were the idea of representative participants. The nature and quality of the sampling process was important in order to provide evidence of content validity (William, 1995).

Other than that, Patton (2002) discussed four types of triangulation in doing evaluation which were data triangulation, investigator triangulation, theory triangulation and methodological triangulation.

Data triangulation was employed in this study in order to increase the reliability and validity. Data triangulation was to collect information from multiple sources but aimed at corroborating the same fact or phenomenon. In this study, the researcher collected three participants information from two different countries to triangulate the data so the information and facts of the study had been supported more than a single source of evidence (See figure 3). Participant A, B and C represent Malaysia whereas participants X, Y and Z represent Taiwan were invited to provide their experience in jazz piano teaching.

B C

Taiwan

Y Z

Figure 11. Triangulation

Chapter IV

Data Analysis and Results

Comparative case study was used as the research method in this study. In this chapter, the researcher compiled and compared the results and divided this chapter into three sections which were the comparison of the “Status of Jazz in Malaysia and

Taiwan,” “The Jazz Piano Pedagogy in Malaysia and Taiwan,” and “The Learning of

Jazz between Malaysia and Taiwan.”

I. Status of Jazz in Malaysia and Taiwan

i. Malaysia

Jazz Scene

In Kuala Lumpur, Malaysia, there was quite a jazz scene but not in other cities.

Kuala Lumpur was the federal city and most populous city in Malaysia. It was the fastest growing metropolitan region in the country in terms of populations and economy. Tourism played a very important role in Kuala Lumpur as this city was the sixth most visited city of the world with 8.9 million tourists per year.

There were a few jazz festivals happened in Malaysia each year which were

Borneo International Jazz Festival, KL International Jazz Festival, Kota Kinabalu

Jazz Festival and Penang Island Jazz Festival. International and local jazz bands were invited to Malaysia every year.

Jazz Festival i) Borneo International Jazz Festival

Figure 12. Borneo International Jazz Festival

Sarawak was one of two Malaysian states on the island of Borneo and it was also known as Bumi Kenyalang (Land of the Hornbills). It was situated on the northwest of the island, bordering the Malaysian state of Sabah to the northeast, Indonesia to the south and surrounding Brunei. It was the largest Malaysian state.

Miri International Jazz Festival started from the year of 2006. At the year of

2011, it had changed its name to Borneo International Jazz Festival. This change was to reflect the growing stature of the festival among leading jazz festivals in the region.

“Borneo” gave a unique positioning of Sarawak among jazz music aficionados.

Borneo International Jazz festival was a two days jazz festival. Table 5-10 showed the international and local performers that had been invited to Borneo International Jazz

Festival from the year of 2006 to 2013. The information of the performers was from

The Borneo International official website (Borneo Jazz, 2014).

One-day pass ticket for adult was RM70 and the price for a two-day pass was

RM130. As for children one day pass costed RM30 while a two-day pass was RM50.

The shows lasted from 7:30pm to 12:15am.

Table 5 Performers list of Borneo International Jazz Festival for 2006 Band Country All The Best Malaysia, Sarawak Fra Fra Sound Netherlands Gangbe Brass Band Benin Lluis Coloma Spain Nah Youn Sun Korea/ France Quinteto Mambo Jambo United Kingdom Shanghai Jazz Ensemble China Ublues Singapore

Table 6 Performers list of Borneo International Jazz Festival for 2007 Band Country David Gomes Jazz Sextet Malaysia/Philippines KCP4 India/Germany Lluis Coloma Spain The Dirty Dozen Brass Band United States Son2nos United Kingdom/Venezuela/Philippines Orak Naa Naa Morocco/Germany George Washingmachine Quartet Australia/UK/France Habana Sax Cuba

Table 7 Performers list of Borneo International Jazz Festival for 2008 Band Country Mood Indigo United Kingdom Diamond Dave & The Doodaddies Australia Habana Sax Cuba OMA Sound Japan T’Inventielke Netherlands Borneo Jazz Malaysia Chairmaine Clamor Philippines/United States Amar Sundy Algeria Rumba Calzada Canada

Table 8 Performers list of Borneo International Jazz Festival for 2009 Band Country Thomson Big Band Singapore Rumba Calzada Canada John Kaizan Neptune’s Steps in Time Japan Jeff Maluleke South Africa Alamode Australia Bombay Baja Brass Band United Kingdom Double Take Malaysia Dites 34 France

Table 9 Performers list of Borneo International Jazz Festival for 2010 Band Country Ricardo Herz Brazil SimakDialog Indonesia Amina Figarova Sextet Netherlands James Cotton Blues Band United States Mellow Motif Thailand Jeremy Tordjman Project Switzerland Norbert Susemihl’s New Orleans All Germany/United States/Denmark Star

Table 10 Performers list of Borneo International Jazz Festival for 2011 Band Country SIU2 China Cunha E Piper Brazil/Australia John Hammond United States Les Doigts De L’Homme France Victor Yong & The Electric Carnival Malaysia/Canada Band Yuichiro Tokuda’s Ralyzz Dig Japan State of Monc Netherlands Maria Muldaur United States

Table 11 Performers list of Borneo International Jazz Festival for 2012 Band Country F.V.E. Project Malaysia Slixs Germany Nita Aartsen Indonesia New Cool Collective Netherlands Tropic Green Singapore Tangora France Koh Mr. Saxman & Takeshi Band Thailand Schalk Joubert And The Three South Africa/Norway/Sweden/United Continents Sextet States

Table 12 Performers list of Borneo International Jazz Festival for 2013 Band Country West Jazz Band Malaysia Lisa Young Quartet Australia Scott Martin Latin Soul Band United States The Nylons Canada The Asian Jazz All Stars Power Quartet Singapore/Philippines/Hong Kong/Japan Hazmat Modine United States Mo’Blow Germany Jump 4 Joy Sweden

The most invited performers’ country was United States with eight groups of different performers from the past eight years, followed by United Kingdom and

Australia with five different groups of performers.

The performers from United States covered different styles included blues, world,

Latin, soul, rock, swing, calypso, fusion and funk music; whereas the band from

United Kingdom covered mostly the same as those from the United States. However, there was a band by the name of Bombay Baja Brass Band who played Bhangra.

Bhangra was fusion of music and dance which originated from the Punjab region of

India and Pakistan (Bhangra, 2014). Its earliest form was a celebratory folk dance meant for welcoming the season of spring. Now Bhangra had evolved became integrated into popular in the past 30 years. The most important rhythm pattern in

Bhangra music was known as chaal. This was a repeated eight note pattern, played on the dhol:

Figure 13. Rhythm Pattern of chaal Figure 14. Dhol

Besides dhol, Bhangra used string instruments like sitar, tumbi (a plucked string instrument with only one string), and the sarangi (a bowed string instrument) too

(Bhangra, 2014).

Figure 15. Sitar Figure 16. Tumbi Figure 17. Sarangi

Lastly, the performers from Australia covered bossa nova, samba, world and swing jazz music.

From the most invited country’s performers, researcher concluded that the most popular music styles being performed were blues, swing, Latin and world music.

ii) Penang Island Jazz Festival

Figure 18. Penang Island Jazz Festival

Penang was a state that located on the northwest coast of Peninsular Malaysia by the Strait of Malacca and it was the second smallest state in Malaysia. Penang was often knows as “The Pearl of the Orient” and Pulau Penang Pulau Mutiara meant

“Penang, Island of Pearls”.

Penang Island Jazz Festival began in the year of 2004 as an independent festival organized by The Capricorn Connection. It was a two day event at the beginning of

2004 and it had expanded to a 3-days event in 2005 and from 2006 to present, the event was 4-days long.

The festival was held annually during the first weekend of December. The festival also had a number of other supporting musical activities such as workshops, talks and forums, photography and poster exhibitions. The festival attracted a regional audience and had established itself to be one of the most highly anticipated and important musical festivals in the South East Asian Region.

One day ticket pass was RM78, children aged below 11 admissions were free but they had to be accompanied by adults. The doors opened at 7pm whereas shows started at 8.20pm. Workshops, talks and forum, photograph and poster exhibitions admissions were free and open for public. Table 13-20 were the performers lists from

the year of 2004-2011. The researcher gathered these information from the official

Penang Island Jazz Festival website (Penang Jazz, 2014).

Table 13 Performers list of Penang Island Jazz Festival for 2004 Band Country Aseana Percussion Unit Malaysia Double Take France The Idea of North Australia Juwita Suwito Malaysia Jeep Jazz Trio Malaysia Tonal Alchemy United States Steve Thornton LPJ Group United States YAA Quartet Featuring Atsuko Japan Kawahara Shelley Leong Malaysia

Table 14 Performers list of Penang Island Jazz Festival for 2005 Band Country Penang Areca Jazz Ensemble Featuring Malaysia Colleen Read Ruby Rozells and Kathleen Rodrigues Malaysia Saharadja Indonesia Mr. Gambus Band Featuring Chie Malaysia Hanawa Shanon Shah Malaysia Sufiah Noor Malaysia Lazy Monday Malaysia David Gomes Jazz Trio Featuring Junjie Malaysia Delfino Greg Lyons Nonet United Kingdom Zailan Razak Project Malaysia Steve White United States Randy Bernsen Group United States

Table 15 Performers list of Penang Island Jazz Festival for 2006 Band Country Seo Young Do Trio Korea Denise Mininfield Singapore John Kaizan Neptune United States Koh & Mr. Saxman Band Thailand Fredrik Noren Band Sweden Idang Rasjidi Quartet Featuring Tompi Indonesia James Boyle & The Ragged Tigers Malaysia Roger Wang & Farid Ali Malaysia Fairuz Hussein Malaysia Jeep Latino Jazz Band Malaysia J-Sun Lithuania Groove Doctor United States Rhapsody Malaysia Albert & Badar Malaysia Members from the Areca Center of Malaysia Performing Arts

Table 16 Performers list of Penang Island Jazz Festival for 2007 Band Country John Goldie United Kingdom Louis Soliano Quartet Singapore Nah Youn Son Korea Possicobilities China Bangkok Connection Thailand Bob Aves Jazz Group Featuring Grace Philippines Nono Anke Helfrich Trio Germany Paul Ponnudorai Singapore The Idea of North Australia Jose Thomas & Groove Unction Malaysia Cheong & Friends Australia Evening Breeze United States Elvira & Friends Malaysia James Boyle & The Ragged Tigers Malaysia Areca Jazz Quartet & Quintet Malaysia

Table 17 Performers list of Penang Island Jazz Festival for 2008 Band Country Pascoal Meirelles Trio Brazil Ray Harris & The Fusion Experience Scotland Jeon Youngse Trio Korea Friend N Fellow Germany Tran Manh Tuan Band Vietnam Andy Peterson Inc. Malaysia The Island Jazz Connection Morocco Adibah Noor Malaysia Djabe Featuring Steve Hackett United Kingdom Aseana Percussion Unit Malaysia Jaume Vilaseca Trio Featuring Violetta Barcelona Curry Evening Breeze United States Albert Sirimal & Russell Curtis Malaysia Dasha Logan Malaysia Prema Yin Malaysia Q Jazz Collective Malaysia Tonal Alchemy United States

Table 18 Performers list of Penang Island Jazz Festival for 2009 Band Country Janek Gwizdala Project United States In The Country Norway Studnitzky Trio Germany Sizhukong Taiwan Charlie Jung Band Korea Buzz Bros Band Holland Dainius Pulauskas Group Lithuania Paulo Bellinati & Cristina Azuma Brazil Michelle Nicolle Quartet Australia Island Palm Beach Boys Malaysia Organamix Singapore, Thailand Band of Brothers Thailand High Society Canada SquareCircles United States Rhapsody Malaysia Ray Cheong Trio Malaysia Tokyo Blue Malaysia De Leon Jazz Experience Malaysia Ocean of Fire Malaysia UNIT United States Mellowtones Sweden Winners of the Jazz Festival Young Malaysia Talent Competition

Table 19 Performers list of Penang Island Jazz Festival for 2010 Band Country Tommy Emmanuel Australia Penang Philharmonic featuring Ray Malaysia Rozells and James Boyle Celso Machado Brazil SC Yun Trio Korea Electric Barbarian Europe Stouxingers Germany Carefree Malaysia Roger Wang Trio Malaysia Boi Akih Netherlands Rain Sultanov Quartet Azerbaijan PELbO Norway Andy Peterson Independent Malaysia Rozz & Frequency Malaysia Raggy Project Malaysia Sax Organ Project, Malaysia Ocean of Fire & Dasha Malaysia JazzHats Malaysia Aseana Percussion Unit Malaysia sTrAiT sAx aHeAd featuring Russell Malaysia Curtis Reza Salleh Malaysia Clair V Rozells & Allan G. Murrilon Malaysia Jonathan Tse Trio and Winner of “Get Malaysia Inspired” Competition PFS Jazz Jam Crew Malaysia Northern Jazz Ensemble Malaysia Jeep Jazz Band and UPSI Big Band from Malaysia Sultan Idris University of Education Malaysia.

Table 20 Performers list of Penang Island Jazz Festival for 2011 Band Country Shakatak United Kingdom Ulf & Eric Wakenius – Father and Son Sweden Fred Cheah and The JazzHats Malaysia Espen Eriksen Trio Norway Michaela Rabitsch & Robert Pawlik Trio Austria Jiyoung Li Quartet Korea Yuri Honing Wired Paradise Dutch Amir Yussof Acoustic Project Malaysia Eve Bjerga Haugen with EET Norway Rusconi Switzerland Rio Sidik Quartet Indonesia Nina Van Horn France Amirah Ali Malaysia Andy Siti Quartet Malaysia Az Samad Duo Malaysia Azmyl Yunor Malaysia Cats In Love Malaysia Liyana Fizi Malaysia De Leon Jazz Experience Malaysia Damien Chew Malaysia Aqasha Malaysia Elixir Malaysia Bihzhu Malaysia Ksatriya Italy DJ G Malaysia DJ Ribut TAG Malaysia

Besides the local band and performers, the most invited countries over the past few years were United States, Australia, Thailand and Korea. From here, the researcher found that the music styles they usually played were standards, jazz, bebop, folk, pop, rock, funk, swing, blues and world music.

iii) Kota Kinabalu Jazz Festival

Figure 19. Kota Kinabalu Jazz Festival

Kota Kinabalu was the capital of the state of Sabah, located in East Malaysia.

The city was located along the northwest coast of Borneo facing the South China Sea.

Kota Kinabalu was often known as KK within Malaysia and internationally and it was a major fishing destination a popular gateway for travellers. There were many leisure spots in KK like Anjung Samudra, a waterfront entertainment spot which featured restaurants, cafes, pubs and nightclub; Tanjung Aru, a beach that along the West Coast featured with drink stalls, restaurant, night clubs and so on.

Kota Kinabalu Jazz Festival (KKJF), unlike the other jazz festival in Malaysia, it was an annual fund raising jazz festival jointly organized by the Rotary Club of Kota

Kinabalu and the Society of Performing Arts Kota Kinabalu Sabah. It took place at the Nature Resort City of Kota Kinabalu, Sabah (KKLF, 2014). The money raised from the KKJF was used to fund deserving community projects by the Rotary Club of

Kota Kinabalu- The Clean Water Projects, Literacy Program and Eye Screening and

Environment Protection. Some rural communities which benefited from this were Kg.

Timbou, Kg. Tamburan and Kg. Kokol.

One-day pass ticket was RM70 and two- day pass costed RM100. Show lasted from 7pm to 11pm. Table 21-26 showed the performers list of Kota Kinabalu Jazz

Festival gathered by researcher from the official website of Kota Kinabalu Jazz

Festival. Given that the performer lists from earlier years were not available online, such information was obtained directly from the co-organizing chairman via email request.

Table 21 Performers list of Kota Kinabalu Jazz Festival for 2009 Band Country SIA Jazz Syndicate Malaysia Jonathan Tse Malaysia Six2Eight Malaysia Son2nos United Kingdom/Venezuela/Philippines SIA Kudos Malaysia Rimba Malaysia Nah Youn Sun Korea UMS Jazz Quartet Malaysia Jun Kung and the Junk Unit (featuring Hong Kong Eugene Pao)

Table 22 Performers list of Kota Kinabalu Jazz Festival for 2010 Band Country Atilia Malaysia Island Jazz Connection Malaysia Amir Yussof and Roots Malaysia RTM Combo Malaysia Kidz Malaysia Fingerstyle Malaysia Organamix Singapore, Thailand UMS Big Band Malaysia Mood Indigo UK GPJQ Malaysia

Table 23 Performers list of Kota Kinabalu Jazz Festival for 2011 Band Country Momain Blues Malaysia Elixir Malaysia WVC Trio Malaysia Juzzie Smith Australia SIA Little Jazz Malaysia Spice of Tones Malaysia Z Yan Malaysia The Benjamin Lackner Trio United States Hato Mariko Japan Aseana Percussion Unit Malaysia

Table 24 Performers list of Kota Kinabalu Jazz Festival for 2012 Band Country Rimba Malaysia Amir Yussof Acoustic Project Malaysia Juwita Suwito Malaysia Raisa Indonesia Asif & Rene Malaysia UMS Big Band Malaysia Winnie Ho Malaysia Roger Wang Trio Malaysia Johnny Rodgers Band United States Rio Sidik Indonesia

Table 25 Performers list of Kota Kinabalu Jazz Festival for 2013 Band Country Appy Tots Malaysia Kian Kok School Big Malaysia Gee Mojina & Elixir Malaysia Moscow Fish Canada, Thailand Shanghai Jazz Redefined with Janet Lee Malaysia Johnny Allegre Trio Philippines Mia Palencia in Good Company Malaysia Humanfolk Philippines GruvAvenue ft. Poova Plachciak Malaysia Kekko Fornarelli Trio Italy Albert Sirimal Malaysia

Table 26 Performers list of Kota Kinabalu Jazz Festival for 2014 Band Country Funkafize Malaysia Eilvane Cheng Malaysia Jazz United Malaysia Albert Sirimal Malaysia Kekko Fornarelli Trio Italy Shanghai Jazz Redefined with Janet Lee Malaysia Moscow Fish Canada, Thailand Johnny Alegre Trio Philippines Kian Kok School Big Band Malaysia Appy Tot Malaysia Gee Mojina & Elixir Malaysia KK Jazz Half Fast Marching Brass Band Malaysia Mega Boogie Blues Buster Malaysia Mia Palencia In Good Company Australia Human Folk Philippines Gruvavenue Featuring Poova Plachciak Malaysia

From Table21-26, the researcher concluded that Kota Kinabalu Jazz Festival

featured mostly the jazz musicians from Malaysia, Kian Kok School Big Band and

UMS Band. The latters were schools from Sabah, Malaysia.

iv) KL International Jazz Festival

Figure 20. KL International Jazz Festival

The KL International Jazz Festival (KLIJF) was a world-class annual jazz music festival which aimed to present performances by acclaimed international jazz performers to large audiences. It started from the year of 2012 and it was a signature event for KL and a premier jazz festival for Malaysia. Besides, it was also the winner of the coveted The BrandLaureate Best Brands Awards 2012 “Country Brand Award.”

KLIJF took place at the University of Malaya and the ticket prices were from

RM98-RM288. Free admission for children under 12 years old but had to accompany by adults. Shows started from 6pm to midnight.

Table 27 KLIJF Ticketing 2013

Bronze (RM) Silver (RM) Gold (RM)

Pre- Sale 98 138 168

Offer Price 138 178 238

At the Gate 168 238 288

Figure 21. Seating Plan of KLIJF

The ticket prices and seating plan above were the information of KLIJF 2013 from the official website of KLIJF (KLIJF, 2014). Premier seats were reserved for sponsors and VVIP. The pre-sale and offer price period differed annually.

Food stalls at KLIJF did not provide any alcoholic drinks and audiences were not allowed to bring food and drinks. As the main sponsor of KLIJF was Kuala Lumpur

City Hall, it was the local authority charged with the administration of Kuala Lumpur.

Malaysia as a Muslim country comprised mainly three different races which were

Malay, Chinese and Indians. Malays were not allowed to consume alcohol. Therefore

unlike the other jazz festivals in Malaysia organized by private organization, KLIJF organized by Malaysia government did not allowed consumption of alcoholic beverages.

Table 28-29 stated the performers at KLIJF from the year of 2012-2013. These information were extracted from the official website of KLIJF.

Table 28 Performers list of KL Jazz Festival for 2012 Band Country Legendary Ahmad Jamal United States Hiromi Uehara Japan Incognito United Kingdom Everette Harp United States Meg Okura & The Pan Asian Chamber Jazz United States Ensemble Ernie Watts United States Jeremy Monteiro Singapore Jeremy Tordjman France Alfio Origlio & Roger Biwandu France Barry Likumahuwa Indonesia James Cammack United States Manolo Badrena United States Herlin Riley Helen Sung United States Anne Drummond United States Dezron Douglas United States E.J. Stickland Canada Yasuhi Nakamura Xavier Davis Japan Shawn Kelley United States Christy Smith Singapore The KL Jazz Project Patrick Terbrack Quatet Malaysia Marques Yong Malaysia John Thomas Malaysia Steve Thornton Malaysia Michael Veerapen Dewan Bandaraya Big Malaysia Band RTM Jazz Orchestra featuring Irene Soliano Daniel Foong Malaysia Steve Nanda Malaysia Junji Delfino Philippines

Table 29 Performers list of KL International Jazz Festival for 2013 Band Country Keiko Matsui Japan Tizer Quartet United States Diane Schuur United States John Beasley United States Michaela Rabitsch & Robert Pawlik Austria Phillippe Sellam Trio France Dominique di Piazza with Beyond & France Blues Quartet Lisa Young Australia Wadada Leo Smith United States David Tughan United Kingdom Beasley/ Biwandu Trio France Ashton Moore Japan Willerm Delisfort United States Keith Loftis United States Kirk Lightsey United States Tropic Green Singapore Christy Smith Singapore Chris Ong & The Colour Codes Singapore Roger “ KEMP” Biwandu Democratic Republic of Congo Patrick Terbrack New York Quartet Malaysia featuring Ashton Young Steve Thornton United States

As KLIJF was quite new with only two years of programs, the performers from

United States, Singapore and France were mostly invited. The music styles they covered were bebop, blues, fusion, Latin, pop, world, R&B, and rock.

To summarize the styles showcased in the four jazz festivals in Malaysia, it could be observed that Malaysia covered a rich variety of music styles. Besides providing the audiences great festivals, educating the audiences and raising funds during such festivals also brought purpose to the community.

Jazz Clubs

Besides jazz festivals, in this most visited city, there were also plenty of interesting and professional jazz clubs and live music bistro like “No Black Tie,”

“Alexis,” “Nero Fico” and so on that people loved. Those jazz clubs had jazz musicians performing live and provided a platform for them for jamming sessions.

i) No Black Tie

No Black Tie was a premier jazz club & bistro bar located in Kuala Lumpur. It was founded in 1998 by Sarawak born-US trained classical pianist Evelyn Hii. It offered Malaysia’s top singers and musicians a decent stage to perform and had an impressive lineup of international acts over the years.

There were shows for almost every night in No Black Tie covering different types of music like jazz, classical, blues, folk or even spoken word acts. Uncompromising in its acoustics and sound quality, No Black Tie had the reputation of being the most sough-after venue for up-coming as well as established musicians.

Cover charge applied from the price from RM20-RM50 depending on the featuring band of that night.

ii) Alexis

Established in 1995, Alexis offered some of the most pleasurable contemporary dining and entertainment experiences in Kuala Lumpur. Alexis led the way in staging mainly jazz performances every Friday and Saturday nights since 2003. Shows started from 10.30pm to 1am and admission was free. Over these years, Alexis had successfully hosted a wide range of local and international artists.

There was also a jazz jamming session every first Monday of the month at Alexis.

The Alexis Jam Session was often joined by seasoned professional musicians all

around town. Music students and jazz lover were welcomed to join the jazz jamming session and it was for free.

iii) Nero Fico

Nero Fico founded at the year of 2010. It was a jazz, Latin, soul venue showcasing the local, regional and international musicians’ talents every Friday and

Saturday nights (started from 10pm). It provided a high standard, unique environment and gorgeous Italian food. No cover charge applied.

Comparing the three jazz clubs in Kuala Lumpur, No Black Tie was the only one providing music shows every night, while Alexis provided free jamming session.

Besides these three, there were other jazz clubs like Sop Bar and Bistro, Hakka

Republic and so many others that provided nice food and music for patrons.

Jazz Musicians

After introducing the jazz festival and the jazz club in Malaysia, there were a few famous jazz pianists in Malaysia which were very popular like Michael Veerapen, Tay

Cher Siang and so on.

i) Michael Veerapen

The name most people would associate when discussing Malaysian jazz pianist, it would be Michael Veerapen. He had been active at the jazz scene in Kuala Lumpur for the past 30 years and was still going on strong. Before graduating from Berklee

College of Music and he already made a name for himself as an upcoming pianist. He had worked with some of the more popular bands who were at the forefront of the 70s era. He cited Oscar Peterson, Bill Evans and Herley Hancock as his major inspirations.

He played in No Black Tie frequently with his band, Michael Veerapen Trio with

Daniel Foong on bass and Steve Nanda on drums.

Table 30 Michael Veerapen’s Discography Year Album Name 1995 Pictures 2006 Noryn Aziz “Alam Maya” Artist Album

Note. From http://go.orastream.com.

ii) Tay Cher Siang

Tay Cher Siang had been active in Kuala Lumpur since he had return from his master study of jazz pedagogy at West Virginia University at the year of 2007. He taught jazz piano at UCSI University, UM, UPM, Yamaha Art & Music academy and he also taught in his private studio. He performed at different jazz festival and he had also taken part in composing, arranging and music production. He had been performing and touring with his band WVC Trio + 1 with bassist AJ Popshuvit, drummer KJ Wong and saxophonist Julian Chan. Besides that, he was also the pianist of Unit Asia which featured Isao Sankichi Miyoshi on guitar, Hiroyuki Noritake on drums, Shigeki Ippon on bass and Koh Mr. Saxman on saxophone.

On December 2013, Tay Cher Siang was featuring in the Taiwan local talk show named “Dian Deng”（點燈）of episode 326. It was the first Taiwan talk show since the year of 1994. In the show, Cher Siang introduced his hometown, Malacca, his high school, his music life, his band members and so on.

Table 31 presented his discography and information from his official website

(taychersiang, 2014). Besides pianist, he was also a music director. He directed the music album like Xiong Bossa Album, Chew Paulwah Time and so on.

Table 31 Tay Cher Siang’s Discography Year Album Name 2005 Confluence 2008 WVC Trio 2008 Unit Asia Debut! From Southeast Asia Tour 2008 2008 GRUVAVENUE The Awakening Live Concert 2008 Finally Gina Panizales 2010 Unit Asia Smile for you 2010 Jz 8 2010 Chew Paulwah Time 2010 Bossa Princess Zyan Brasileiro 2011 Yudi You Have to Protect Your Heart 2011 WVC Trio+ 1 In the Dark I See Her 2011 Winne Ho The Jazzy Sound of Terese Teng 2012 Yudi & Cher Siang Shades of Passion 2012 Winnie Ho The Jazzy Sound of Teresa Teng Audiophile Version 2012 Various Artists Jalan Sultan Commemorate Album 2012 Unit Asia Tomorrow Love Song 2013 Various Artists Listen to the Wind Pay Fong High School 100th Anniversary Album 2013 Xiong Bossa Album 2013 Various Artists Bloom Vol.1

Beside Michael Veerapen and Tay Cher Siang, there were other rising pianists like John Dip Silas, Ee Jing Hin, Cheah Wei Li and so on who were currently active at the jazz scene in Malaysia.

Broadcasting

There were 19 private and 34 government-owned radio stations in Malaysia.

Unlike Taiwan, the people had the freedom of speech but in Malaysia, that was prohibited. So unlike Taiwan, there was not any broadcasting program about criticizing the government or discussing any sensitive topics. So, when talking about jazz music, there were only two radio stations that actually played jazz music which were Gomo fm and THR Gegar fm. The other fm were broadcasting news, pop and classical music, talk and so on.

It was worth mentioning that the local jazz band WVC Trio + 1 were giving live broadcasting using Ustream. Ustream’s slogan was to “empower businesses and societies to be more transparent, more productive and create deeper relationships through the power of video.” Ustream was a video platform that had already powered more than 85 million live streams across the globe (Ustream, 2014). Through ustream live video broadcasting, there were more people started to concern about the jazz scene in Malaysia.

Jazz Education

In Malaysia, jazz education could be categorized into higher education and private institutions.

Higher Education

There were ten higher education institutions that providing jazz education. They were UCSI University, University of Malaya, University Putra Malaya, UITM, ICOM,

Segi College, Yamaha Academy of Music, USM, UMS and Aswara. Those institutions provided contemporary music program, music production program, music performance program, music business program, sound engineering program and so on.

In Malaysia, “contemporary music” was used to be a course subject title to differentiate from classical music and jazz music was part of the subjects of the program.

From the course subjects that gathered by the researcher from ten different universities official website, at table 52, researcher found that all of the universities provided jazz piano individual classes, eight of them provided ensemble classes, four of them provided harmony lesson and two of them offered ear training and improvisation courses. Tuitions fees ranged from RM6, 530 to RM88, 800.

Private Institutions

Besides those higher education institutions, there were two private music institutions that provide jazz piano certification programs which were Associated

Board of the Royals School of Music (ABRSM) and Rock School.

i) ABRSM

ABRSM was founded at the year of 1889. It was desired to promote high standards of musical education and assessment. ABRSM was already examining in excess of 600,000 candidates every year in a wide variety of instruments in 93 countries (ABRSM, 2014). Classical syllabus was the main examination in ABRSM but then jazz piano syllabus was introduced at the year of 1999 followed by jazz flute, jazz clarinet, jazz saxophone, jazz trumpet and jazz trombone assessments at the year of 2003. Currently, ABRSM only provided level 1-5 assessment; they were still working on the following level’s assessment. Recently, ABRSM was also provided jazz ensemble assessment and jazz solo performance assessment.

From the jazz piano syllabus, candidates were required to play three songs which covered blues, standards and contemporary jazz. The songs were all published by

ABRSM in Jazz Piano Pieces. Besides three pieces, candidates were also had to be test on scales, arpeggios, broken chords, quick study and aural test. Quick study was to play either at sight or to reproduce by ear a short phrase and to improvise a response

(ABRSM, 2014).

ABRSM exam textbook cost around USD10-15, price was slightly different on different levels. Besides the pieces, ABRSM published textbooks on aural training, scales and quick study too. Table 32-34 stated the exam fees of ABRSM certificate jazz piano, jazz ensemble and performance assessment fees (ABRSM, 2014).

Table 32 ABRSM Certificate Jazz Piano Assessment Fees Level Assessment Fees (USD) 1 93 2 101 3 106 4 132 5 140

Table 33 ABRSM Certificate Jazz Ensemble Assessment Fees Level Assessment Fees (USD) Primary 168 Intermediate 183 Advanced 214

Table 34 ABRSM Certificate Performance Assessment Fees Level Assessment Fees (USD) Performance Assessment 140

ii) Rock School Rock School was the other certification program that preferably used by the

Malaysian and it was founded at the year of 1991. They realized that unlike classical musicians, rock musicians were not being offered the same access to qualifications and training. So they launched the very first rock music certificate assessment for electric guitar, bass and drums. Then the syllabus had grown into piano, ensembles, vocals, higher level diplomas, vocational qualifications and band based keyboards.

Besides that, they also provided courses on music technology, music composition, performance skills, digital synthesis and music business skills (ROCKSCHOOL,

2014).

Candidates had to choose three pieces out of six pieces from the Rock School textbook, or they can choose to play two pieces and one of their own compositions.

Besides that, they had to play scales, broken chords and arpeggios, sight reading, improvisation and interpretation, quick study piece, ear test and general musicianship.

Quick study piece in Rock School was only required in level 6 and 8. The candidates would be given 20 minutes before they enter the exam room to prepare their quick study piece. Candidates had to perform the sheets music with styles, tempo, along with other musical information included solo sections. Rock school textbooks costed around 12.99-13.99 pounds. Table 35-36 showed the assessment fees for piano and ensemble assessments. Rock School ensemble only offered at level 3, 5 and 8

(ROCKSCHOOL, 2014).

Table 35 Rock School Certificate Piano Assessment Fees Level Assessment Fees ( Pounds) Entry Level 37.00 1 39.50 2 42.50 3 47.00 4 53.00 5 57.00 6 62.00 7 68.00 8 74.00

Table 36 Rock School Certificate Ensemble Assessment Fees Level Assessment Fees ( Pounds) 3 30.00 5 38.00 8 46.00

Comparing the two private institutions in Malaysia, they both shared the same range of exam fees. They both offered jazz piano certificate assessment and also jazz ensemble assessment, but ABRSM did provide performance assessment exam which

Rock School did not.

ii. Taiwan

Jazz Scene

Taichung and Taipei held jazz festival once a year and the Taichung government even provided free jazz festival for the citizens.

Jazz Festival

i) Taipei International Jazz Festival

The Taipei Summer Jazz Festival (Now Taipei International Jazz Festival) was founded at the year of 2004. Host by Department of Cultural Affairs Taipei City

Government and undertake by TIJEPA. Taipei International Jazz Festival was different from other jazz festivals because it firstly begun with an international jazz program to offer the quality jazz music instruction to young musicians and singers.

After that, the academy soon expanded in 2005 to include a Broadway program and outdoor concerts. In the year of 2006, the series of events were integrated into 2006

Taipei International Jazz Festival.

Taipei International Summer Jazz Academy (TISJA) offered opportunities for all

Taiwanese and Asian students who were unable to travel abroad for their music education to study with acclaimed international jazz artists and made an international educational experience available to them. Since 2004, there were over 15 young

talents were encouraged by the faculty members of TISJA and went abroad to study jazz professionally in Europe and USA such as Royal Conservatory of Brussels, North

Texas University and The New School in New York. TISJA organized few events every year. Table below showed the programs that they organized (Taipei Jazz, 2014).

Table 37 Taipei International Summer Jazz Academy Events Date Events May –July • Taipei International Jazz seasons • Introduction to Jazz A Course of Lecture • Taipei International Jazz Festival 3rd week of July Taipei International Summer Jazz Camp September – January Introduction to Jazz A course of Lecture September – June TISJA Reunion Jam

“Taipei International Jazz Seasons” was an introduction to jazz workshop for high school teacher and music education teacher. Yet, “Introduction to Jazz A Course of Lecture” was designed for non-musician audiences to understand and appreciate more about jazz music. It was the first step by step music appreciation course in

Taiwan and it had already running for seven years. It consist 10 classes, 2 hours per class, and the fee was NTD3, 900.

“Taipei International Summer Jazz Camp” was a seven days camp style studying program. The organizer planned a week’s activity and invited international jazz masters to teach in Taiwan. Registration fee was NTD500 and the camp fee was NTD

12, 500.

TISJA Reunion Jam was a reunion jamming session that happened once a month.

Musicians had been gathered together to jam and learn from each other and everyone was welcome to this activity.

In addition to the educational activities of the Jazz academy programs, headline artists, faculty and students were invited to perform in Taipei International Jazz

Festival at the Da An Forest Park in central Taipei. Table 38-43 showed the performers that had been invited to Taipei International Jazz Festival from the year of

2008 to 2013. The researcher gathered the information from the official website of

Taipei International Jazz Festival (Taipei Jazz 2014).

Table 38 Performers list of Taipei International Jazz Festival for 2008 Band Country Denise Jannah Holland Fabien Degryse Belgium John Ruocco United States Saskia Laroo Holland Chi-pin Hsieh Taiwan Kai-ya Chang Taiwan Steve Davis United States David Milne United States Peter Van Marle Holland Thierry Gutmann Belgium Bart De Nolf Belgium

Table 39 Performers list of Taipei International Jazz Festival for 2009 Band Country John Allred United States John Ruocco United States John Beasley United States Mimi Verderame Italy David Linx Belgium Bart De Nolf Belgium Bert Joris Belgium Joachim Schoenecker Germany Peter Van Marle Holland Chi-pin Hsieh Taiwan Kai-ya Chang Taiwan

Table 40 Performers list of Taipei International Jazz Festival for 2010 Band Country Chi-pin Hsieh Taiwan Kai-ya Chang Taiwan Rosario Giuliani Italy John Ruocco United States David Smith Canada Tutu Puoane South Africa Roger Biwandu Democratic Republic of Congo Mimi Verderame Italy Joachim Schoenecker Germany Bart De Nolf Belgium Peter Van Marie Holland

Table 41 Performers list of Taipei International Jazz Festival for 2011 Band Country Chi-pin Hsieh Taiwan Kai-ya Chang Taiwan Rosario Giuliani Italy John Ruocco United States David Smith Canada Tutu Puoane South Africa Alan Ferber United States Mimi Verderame Italy Joachim Schoenecker Germany Bart De Nolf Belgium Peter Van Marle Holland

Table 42 Performers list of Taipei International Jazz Festival for 2012 Band Country Chi-pin Hsieh Taiwan Kai-ya Chang Taiwan Amanda Tiffin South Africa Rosario Giuliani Italy John Ruocco United States David Smith Canada Alan Ferber United States Mimi Verderame Italy Joachim Schoenecker Germany Bart De Nolf Belgium Peter Van Marie Holland

Table 43 Performers list of Taipei International Jazz Festival for 2013 Band Country Chi-pin Hsieh Taiwan Kai-ya Chang Taiwan Amanda Tiffin South Africa Rosario Giuliani Italy John Ruocco United States David Smith Canada Alan Ferber United States Joachim Schoenecker Germany Bart De Nolf Belgium Mimi Verderame Belgium

From the table above, there were two Taiwanese musicians that took part for every year; they were Chi-pin Hsieh and Kai-ya Chang. They were the persons in charge of TIJEPA and also the ones who ran Taipei International Summer Jazz

Academy. Kai-ya Chang was a pianist while Chi-pin Hsieh was a violinist, therefore performers that invited were mostly vocalist, saxophonist, bassist, drummer and so on.

The masters were invited from different countries to lecture the students during the Taipei International Summer Jazz Camp, and then the students were invited to play with them at Da An Forest Park for Taipei International Jazz Festival.

ii) Taichung Jazz Festival

The key of policy of Taichung government was broadening the citizens’ view by introducing the international performances and made Taichung “The City of Jazz”

(Chang, 2013).Taichung government already held Taichung Jazz Festival for 10 years since 2003. For the past ten years, over 500 international jazz musicians had been invited to this festival and the festival had gathered almost over 8.5 million audiences.

Taichung Jazz Festival took place at Calligraphy Greenway and there were three

different stages with different performance each night. Table 44-48 showed the performers who had been invited to Taichung Jazz Festival and the researcher only stated out the main stage performers, the other two stages J1 and J2 mostly featuring the Taiwan local band. The Taichung government launched different theme each year by inviting the best musicians all over the world and besides that, they also held Youth

Star Jazz Band, New Jazz Talent Contest and international jazz master classes

(Taichung Jazz, 2014). By presenting different jazz learning experiences to the public, we can see that jazz had laid its roots and has grown thrive in the city of Taichung.

The mayor of Taichung city Mr. Hu Chih-chiang stated that the atmosphere of jazz in Taiwan was not as good as the Europe and America, but for these past ten years, through the performance, competitions and master classes, the Taichung Jazz

Festival had successfully gain attentions from the public and becoming one of the major festivals in Taiwan (Chang, 2013).

Table 44 Performers list of Taichung Jazz Festival for 2009 Band Country Richard Galliano France Pia-no-jaC Japan A.P.U. Malaysia Jeon Young Se Korea Zen Kang De Quartet Hong Kong Gu Zhong Shan Duet China Joey Gilmore Band United States Rich Harper Band United States

Table 45 Performers list of Taichung Jazz Festival for 2010 Band Country Dizzy All-Star Ensemble United States Rich Huang Jazz Quintet Taiwan Afro-Cuban Latin Jazz Orchestra United States Kat Edmonson United States Taiwan All-Stars Ensemble Taiwan Jimmy Heath Brothers United States Antonio Hart United States Daiki Yasukagawa Japan Francesca Han Trio Korea Arturo O’Farrill United States Taipei Jazz Orchestra Taiwan

Table 46 Performers list of Taichung Jazz Festival for 2011 Band Country Kupa Big Band Taiwan Jazz Invention Sax Ensemble Taiwan Mingus Dynasty United States Koh Mr. Saxman with Takeshi Band Thailand Dawn Ho Quartet Singapore GruvAvenue Malaysia Shawn Pickler Quartet Korea Jasmine Chen & Her Jazz Men China Sirius Quartet United States McCoy Tyner Trio with special United States guests Jose James & Chris Potter Rich Huang Jazz Band Taiwan Tonalrausch Germany Dizzy Jazz Band Taiwan

Table 47 Performers list of Taichung Jazz Festival for 2012 Band Country Saxitude Luxembourg The Killer 3000 Orchestra Taiwan The Glue Switzerland Eugene Pao@ Ted Lo Band Hong Kong Eiji Nonanka Jazz Trio Japan Hard Hat Area Philippines Francesca Han Trio Korea Mo-Men-T Hong Kong Rich Huang Jazz Band & BaoBao Taiwan Lin Sizhukong Taiwan Poova Plachciak Quintet Malaysia JB Trio with Greg Osby United States The Cookers United States Black Bottom Brass Band Japan Remi Panossian Trio & Frederika France Rodriguez Brothers United States Timeless Fusion Party Taiwan Ellis Marsalis Trio & Jason Marsalis United States

Table 48 Performers list of Taichung Jazz Festival for 2013 Band Country Winnie Ho/WVC Trio +1 Malaysia Wilson Jazz Band Taiwan Dutch Swing College Band Holland Kaori Kobayashi Japan Hendrik Meurkens United States Postyr Project Denmark Li Gao Yang Band China Steve Eaton United States Timeless Fusion Party Taiwan Rich Huang Jazz Band Taiwan Omer Avital Israel Silje Nergaard Norway Anne Ducros France Albare Quartet Australia Butterscotch United States Monday Michiru + Alex Sipiagin Japan Richie Beirach’s Quartet United States

From the tables above, the researcher found that the most invited country was

United States and Japan. From the music styles that they had covered, they mostly play bebop, Latin, pop, folk, samba, dance and R&B.

Comparing Taipei International Jazz Festival and Taichung Jazz Festival, the venue of Taichung was bigger than Taipei that can accommodate more audiences, and the performers for Taichung Jazz Festival were with much a wide variety.

Jazz Clubs

The jazz scene in Taiwan was actually been around for quite some time, and recently had grown a lot and more and more jazz musicians had come to Taiwan.

There was quite a jazz scene in Taipei and there were some nice jazz performance

places in Taipei which were “Blue note,” “Riverside,” “Brown Sugar” and so on.

i) Blue Note

Blue Note was founded at the year of 1974 by Tsai Hui-yang. It was the oldest jazz bar in Taipei. This Blue Note was not the chain jazz club and it was even older than the one in New York City and Tokyo.

Every Monday, Thursday and Sunday was open to any musicians to perform.

Tuesday with Wink Duo, Wednesday with Balanced Jazz Band, Friday with the local

Taiwanese band Metamrphosis and Be-Bop Jazz Band who took turns in alternative weeks and lastly Saturday with Uno’s Jazz Quartet.

Metamrphosis started their performance at Blue Note. They form the band at

1997. The band showed its versatility through playing a variety of styles of jazz including swing, bebop, cool jazz, fusion and Latin jazz. Beside this, they also composed their own music, and rearrange Taiwanese folk songs into jazz style and creating their own works.

Blue Note opened from 8pm to 12.30am daily and shows’ cover charge ranged from 250NTD to 500NTD applied differently for different bands.

ii) Riverside

Riverside was founded at the year of 2000 and over 8000 live performance had been performed there. Riverside opened every day, Monday was open jamming session, cover charge was NTD150 and it was opened to public. There were shows every day. Cover charge for Tuesday to Thursday was NTD350 included one drink,

Friday and Saturday cover charge was NTD400 included one drink, and lastly Sunday was NTD350 with one drink too.

iii) Brown Sugar

Brown Sugar was a jazz bar that founded at the year of 1995 in Taipei. It provided the customers a nice ambience with good food and good music. Brown

Sugar attracted many talented local and international musicians to perform here with different kind of music styles like blues, Latin, fusion, standards, Dixieland and funk.

Cover charge was different depending on different bands.

There were many other jazz bar at Taipei like Jazz Café’and A Train Leads The

Way To Jazz, while in Taichung there were Grooveyard, Groovecity, Winsor Hotel and so on.

Jazz Musicians

Chi-pin and Kai-ya were the jazz musicians that represented Taiwan. They were a married couple with violinist Chi-pin and pianist Kai-ya. They got master degree in jazz performance from Koninklijk Conservatorium Brussel.

Their official website Chipin and Kaiya Jazz Site (Chipin & Kaiya Jazz Site,

2014) was the most professional website in promoting jazz music education among the Chinese speaking countries that attracted over 400,000 view all over the world

(Chipin & Kaiya Jazz Site, 2014).

They were also the persons in charge with Taipei International Summer Jazz

Academy and Taipei Jazz Festival for the past nine years. They were two very important people in promoting jazz music in Taiwan.

Broadcasting

Philharmonic Radio Taipei FM99.7 was a radio that broadcasted classical and jazz music. It was founded at the year of 1995 and it was the first radio station that broadcasting classical and jazz music in Taiwan (Philharmonic, 2014). Daniel Shen,

who was the DJ of Philharmonic Radio jazz section over past ten years, and also an important people in promoting jazz music in Taiwan. Daniel was the emcee of

Taichung Jazz Festival and also taking part in assessing the competitions. With promoting jazz music, he even provided free talks at schools, government organizations to enterprise.

Besides Philharmonic Radio, there was the other radio station Sunny891 that based in Taichung city. Sunny891 founded at the year of 2001, it was a radio station that played English oldies and jazz music (sunny891, 2014).

Jazz education

The jazz education in Taiwan could be categorized into two different groups which were higher educations and private institutions.

Higher Education

In Taiwan, there were few universities that offered jazz courses as elective subjects like Fu Jen Catholic University, Shih Chien University, National Sun Yat

-Sen University, National Taiwan Normal University, and Tainan National University of the Arts. Apart from this, Dong Hwa University was actually starting its way in the first jazz music major in Taiwan. However Dong Hwa University only provided trumpet as jazz major instrument, jazz piano class was still in scheme.

From the courses that provided by the universities of Taiwan, researcher found that although the jazz courses were not core courses, but the subjects that offered by the universities did covered the ability that the researcher mentioned before at the literature review which were harmony, ensemble and improvisation classes. For the core courses that scattered over different universities, the students were unable to gain all the abilities that required in jazz piano learning. On the other hands, as the first

jazz music department in Taiwan, Dong Hwa University also provided a nice planned program that would be shown at table 53.

Private Institutions

Other than that, there was two Taiwan private music centers provided jazz piano certification programs in studios too. They were Gold Prague Musical Instruments

Co., LTD and ChenSong Music.

i) Gold Prague Musical Instruments Co., LTD

Gold Prague Musical Instruments Co., LTD established at the year of 1999, it provided classical piano certification programs, jazz piano certification program, theory and cello certification programs. It was very popular in Taiwan.

From the syllabus of jazz piano certification programs, candidates were required to play one song on the style given by the board, scales, chords and improvisation.

The jazz piano level of Gold Prague Musical Instruments Co., LTD was from level 13 to level 4. The table below showed the assessment fees of jazz piano (Prague, 2014).

Table 49 Gold Prague Musical Instruments Co., LTD Jazz Piano Assessment Fees Level Assessment Fees (NTD) 13-12 800 11-10 1000 9-8 1200 7-6 1500 5 1600 4 1800

ii) ChenSong Music

Moreover, ChenSong Music established at the year of 1982. It emphasized itself as a jazz piano teaching academy on their official website. The researcher found the fact that, it was more like an organization that provided popular piano and harmony graded exam. Their courses were divided into three parts which were level 1-4 as

“sentimental piano,” level 5-7 as “rock piano,” and lastly level 8-9 as “jazz piano.”

Candidates were required to play five songs for the assessment and song list was shown at table 51. The courses had only emphasis jazz piano at level 8-9. Candidates in level 8 were required to play blues with variation or improvisation whereas level 9 had to play modern jazz with variation or improvisation.

Table 50 ChenSong Certificate Pop/ Jazz Piano Assessment Fees Level Assessment Fees (NTD) 1-4 900 5-9 1100

Table 51 Song list of Pop/ Jazz Piano Assessment

Le Song Title vel 1 • 愛的羅曼史 • 棋子 • Changing partner • 草原風光 • 愛的克莉絲汀 • 放我的真心在你的手中

• 傷心酒店 • 結婚進行曲

• 風中奇緣 • 雪中紅 2 • My dear old sunny home • Massachusetts • Holidays

• Grandfather’s clock • Annie Lorie • 送別 3 • Fascination • Home coming • 萍聚 • I really don’t want to know • Free as the wind • 恰似你的溫柔 • 載著你 • Itsumo nondodemo • Music box dancer • I’ll be there 4 • Can you feel the love tonight • Casablance • Everything’s gonna be alright • Endless love • Yesterday • Tennessee waltz • A time for us • You are my everything • 望春風 • My way • Love letters • You belong to me • Can’t help falling in love • Too young • Somewhere in time 5 • Colonel borgy • La comparsita • The green leaves of summer • How Deep is your love • Fly me to the moon • I only want to be with you • One way ticket • Top of the world • Love me with all your heart • Cerezo rosa • Please mr.postman • Sunshine on my shoulders • Tonight • From Russia with love • So nice 6 • Jours en franc • If you love me • Penelope • Un home et une femme • Do that to me one more • Take my breath away time • Kiss of fire • Blue tango • We are the world • Reality • Miami beach rumba • Up where we belong

• Only you • El cambanchero • Take five

Table 51 Song list of Pop/ Jazz Piano Assessment (Cont.)

Lev Song Title el 7 • 我的一顆心 • 無言的結局 • 願蒼天變了心 • 其實你不懂我的心 • 失戀陣線連盟 • 明天你是否依然愛我 • 歡樂年華 • 滾滾紅塵 • 愛相隨 • 情字這條路 • 大約在東季 • 脫軌

• 戀曲 1990 • 為了愛夢一生 • 淚海 8 • Frankie and Johnny • Elephant walk • The single stomp • C.c.rider • Boogie on down • Car’s blues • Steves blues • The beatle boogie • Straight eight • Davids shuffle • Simple Blues • Shuffling boogie • Boogie woogie workout • Summer

In contrast to this two private institutions, Gold Prague Musical Instruments Co.,

LTD provided other instruments certification programs, but ChenSong music only

provided pop/jazz piano certification programs.

iii. Comparisons

i) Jazz scene

The research thought that the jazz scenes in Malaysia and Taiwan were both

good since there were a few jazz festivals happening each year. Local and

international jazz musicians were invited from all over the world to play music with

different culture characteristics of music. Teacher X said he was glad that the

Taichung government worked hard on promoting jazz music to the public through

Taichung Jazz Festival (X3).

Comparing the ticket prices of the jazz festivals between Malaysia and Taiwan;

Taichung government did provide a free admission jazz festival to the public but

Malaysia’s jazz festival normally charged but with affordable prices.

Penang Island Jazz Festival and Taichung Jazz Festival provided master classes and workshops, while others jazz festivals did not. The researcher found that besides providing a quality jazz festival to the public, the organizer was also keen on educating the audience with all kinds of programs.

Referring to two different countries with different cultures, Malaysia government organized jazz festival without providing alcoholic for the public because Muslim were not allowed to drink due to their religion. Unlike the other jazz festivals in

Malaysia sponsored by private enterprise, alcohol drink was provided. Taichung Jazz

Festival did provide alcoholic drinks too. Jazz festival as also an attraction of tourism that targeting foreigners, alcoholic drinks blended with jazz music were expected; without alcohol drinks, it would be fly in the ointment.

Taipei International Jazz Festival, unlike the other jazz festival; it was more like a music showcase performed by the invited masters from other countries and local students. The program were featured the songs that students had learned in the summer camp.

Teacher A said that, he felt Kuala Lumpur did have quite a jazz scene comparing to the neighboring countries that there were these jazz clubs and a numbers of audiences that make this scene vibrant (A3). He mentioned No Black Tie as one of the best clubs in the regions in terms of acoustic, management and the quality of music that had been played there every night. Teacher A and C were optimistic about the future of the jazz scene in Malaysia and C even said that the jazz scene was growing and jobs were increasing compared to few years ago (A3, C3). While teacher Y said for the last twenty to thirty years, jazz had grown a lot in Taiwan and there were more jazz musicians that came to Taiwan (Y3).

ii) Jazz Education

Participants both from Malaysia and Taiwan stated that the jazz education was not aware by the public in their country. Teacher A said that in order to know what jazz really was, it had to take some effort and initiative, as in this society that filled with different type of entertainment, knowledge and information, music was just a very small part from it and jazz was even the smaller one (A4). B also emphasized that jazz in Malaysia was not considered as a product or part of culture like the United

States, so it was understandably that jazz education was not known by the public (B4).

Meanwhile, Y said that, only those who were interested in jazz notice about jazz education in Taiwan (Y4).

Comparing the jazz programs between two countries, Malaysia universities provided Degree program in Contemporary music with a more completed course outline that covered jazz music. On the other hand, besides National Dong Hwa

University, jazz was always an elective subject in Taiwan.

The researcher compared the syllabi of Malaysia’s and Taiwan’s universities and found that Malaysia’s universities provided a full context of jazz music learning program from the history of popular music to aural, harmony, ensemble, and improvisation to keyboard skills. As the abilities that required in jazz that the researcher mentioned at the literature review earlier, they were been covered in the syllabus of the universities of Malaysia, followed by others commercialize subjects like jingle writing, song writing that provided the students opportunities of works.

However, as we can see from the table 53, the elective subjects that provided in the universities in Taiwan were lacking of harmony and listening. Meanwhile, Dong

Hwa University had started as the first university in Taiwan that provided a completed jazz degree and master program.

At Table 52 and 53, comparing the Malaysia’s and Dong Hwa University syllabi,

the subjects that provided by Dong Hwa University were slightly less than Malaysia, but the subjects that they offered were the core course in jazz.

Comparing the teacher’s qualification between two countries, Taiwan’s teachers were all master holder whereas Malaysia’s teachers were with master and PhD holder.

SEGI University and Yamaha Academy of Arts and Music did not provide teacher’s qualification on their official website and did not reply to researcher’s email. Hence, the researcher could not get any information for that.

Then, comparing the private institutions certificate jazz piano assessment,

Malaysia was popular with the England private institutions which were ABRSM and

Rock School while Taiwan was popular with its local private institutions which were

Gold Prague Musical Instruments Co., LTD and ChenSong Music.

ABRSM and Rock School requested on three pieces, technical exercises, ear test, aural test and quick study; a complete assessment to test the candidates on music skills and on the spot improvisation on quick study.

On the other hand, Gold Prague Musical Instruments Co., LTD required two pieces followed by technical exercise like scales, harmony and improvisation.

However ChenSong Music, the academy that emphasized on teaching jazz piano, was not that professional after all. With nine levels of piano syllabus, level 1-4 as

“sentimental piano,” level 5-7 as “rock piano,” and lastly level 8-9 as “jazz piano,” the researcher could not find the connection from former level as a preparation to the next level, neither the relationship from sentimental piano to jazz piano. The outline of the ChenSong Music was not convincing. Instead of calling themselves as a jazz piano academy, popular piano was a more suitable title after all.

By comparing their exam fees, England private institutions were with a much expensive fees comparing to Taiwan local private institutions.

B mentioned that, as far as the education was concerned, not as commonly

available as classical music, it was probably had to take some time for the public to aware about jazz education (B4).

Table 52 Jazz Related Program in Malaysia’s Higher Education Institutions Higher Jazz related Subjects Teacher Qualifications Public/P Course Education rivate Fees (RM) Institutions Akademi Seni • Jazz Piano Master holder from Public 6,530 Budaya Dan • Composition • University of Warisan • Technology Manchester Kebangsaan • Music Production • UiTM (ASWARA) • Music Business International • Jazz Piano PhD holder from Private 88,800 College of • Music Theory • University of Colorado Music (ICOM) • Contemporary Master holder from Harmony • University of Newcastle • Ear Training • Middlesex University • Music Technology Bachelor degree holder from • Berklee College of Music • University of Westminster SEGI • Jazz Piano N/A Private 53,125 University • Improvisation • Contemporary Music • Drumming • Music Ensemble

Table 52 Jazz Related Program in Malaysia’s Higher Education Institutions (Cont.) Higher Jazz related Subjects Teacher Qualifications Public/P Course Education rivate Fees (RM) Institutions UCSI • Jazz Piano PhD holder from Private 76,620 University • Modern Band • West Virginia University • Introduction to Master holder from Popular History • University of Western • Popular History Ontario • Music and Popular • Birmingham Culture Conservatoire • Improvisation • Pennsylvania State skills University • Composing • Jingle Writing • Arranging Universiti • Jazz Piano PhD holder from Public 14,730 Teknologi • Keyboard Skills • Northwestern University MARA (UiTM) • Performing Group • Indiana University • Electronic Music • University of Sussex • Jingle Production Master holder from • Film Scoring • New England • Music Technology Conservatory of Music • Pop Ensemble • Jazz Ensemble Universiti • Jazz Piano PhD holder from Public 16,830 Malaya • Composition and • Louisiana State (UM) Arrangement University • Computer Music • The University of • Music Ensemble Illinois • Electronic • University of Texas Composition • Southampton University • Music for • University of Sheffield Animation and Master Holders from Film • Birmingham University

100

Table 52 Jazz Related Program in Malaysia’s Higher Education Institutions (cont.) Higher Jazz related Subjects Teacher Qualifications Public/P Course Education rivate Fees (RM) Institutions Universiti • Jazz Piano Master holder from Public 32,250 Malaysia Sabah • Theory and • University of (UMS) Harmony Hudderfields • Ear Training • University of Liverpool • Ensemble • University of Newcastle • Western Music • University of Pittsburgh Analysis • University of • Composition Queensland • Arranging • UiTM • Music Business • UMS • Synthesis and Sound • Studio Sound Technique • Music Programming • Digital Audio Universiti Putra • Jazz Piano PhD holder from Public N/A Malaysia • Arranging • Heriot-Watt University (UPM) • Theory • Humboldt University • Midi Berlin • Audio Digital • University of Cologne • Industry Music • Osaka University • Popular Music • Music Technology • Composition • Ensemble

101

Table 52 Jazz Related Program in Malaysia’s Higher Education Institutions (Cont.) Higher Jazz related Subjects Teacher Qualifications Public/P Course Education rivate Fees (RM) Institutions Universiti Sains • Jazz Piano PhD holder from Public 33,000 Malaysia • Contemporary • Indiana University (USM) Music Ensemble • Monash University • Keyboard • University of Edinburgh • Learning and • University of South Performing Music Carolina Ensemble Master Holder from • University of Central Arkansas • University Malaya Yamaha • Jazz Piano N/A Private 70,000 Academy of • Instrumental Arts and Music ensemble • Harmony and Analysis Series • Arts Marketing • Music Production • Arranging • Concert Management

102

Table 53 Jazz Related Program in Taiwan’s Higher Education Institutions Higher Jazz related Subjects Teacher Qualifications Public/ Course Education Private Fees Institutions (TWD)/ Per credit hour Fu Jen Catholic • Jazz Music Master Holder from Private 1,926 University • Jazz Harmony and • Berklee College of performance Music • Big Band Ensemble National Dong • Introduction to Master Holder from Public 1,530 Hwa University Jazz Music • Aaron Copland School • Jazz Ensemble of Music, Queens • Big Band College, City University • Jazz Theory of New York • Improvisation • Composition National Sun • Jazz Piano Master Holder from Public 1,140 Yat-sen • Jazz Theory • Music Institute of University • Jazz Harmony Chicago • Jazz Ensemble • Popular Music National • Jazz Keyboard Master Holder from Public 1,100 Taichung Group Class • Tung Hai University University of Education Shih Chien • Jazz Piano Master holder from Private 1,337 University • Improvisation and • Royal Conservatory Ensemble Skills Brussels, Belgium • Popular Music

103

Table 53 Jazz Related Program in Taiwan’s Higher Education Institutions (Cont.) Tainan National • Jazz Piano Master Holder from Public 1,200 University of the • Basic Jazz • Koninklijk Arts Ensemble Conservatorium Brussel • Advanced Jazz • Berklee College of Ensemble Music • Big Band • Jazz Musicianship • Piano Improvisation

104

Jazz Piano Certification Programs in Private Institutions

Malaysia

ABRSM Rock School • Tunes: 1 (Blues) • 3 Pieces 2 (Standards) • Technical Exercises

3 (Contemporary Jazz) • Sight-Reading or Improvisation & • Scales and Arpeggios/Broken Interpretation Chords • Quick study

• Quick Study • Ear Tests • Aural Tests • General Musicianship

Taiwan

Gold Prague Musical Instruments Co,. LTD ChenSong Music • 1 piece (Level 8-9 Jazz piano) • Scales, Harmony and cadences • 5 pieces (2 own choices, 2

• Improvisation requested pieces, 1 sight-reading- played with variation and improvisation)

Figure 22. Jazz Piano Certification Programs in Malaysia and Taiwan

105

II. Pedagogy of Jazz i. Malaysia

Background of the participants

Teacher A

Learning background of Teacher A was just like all the piano students in

Malaysia. He started with Yamaha Junior Course class and after two years he started his certificate piano assessment of ABRSM. He spent 10 years for finishing his

ABRSM assessment.

At the 1990’s when he first started to listen to jazz, he was attracted to any kinds of magazines with the word “jazz,” and at that time, the CD and books were mostly published by the Taiwanese publishers and record label. He mentioned there were a few magazines that he read by that time which were 影響, 音樂月刊 and 搖擺月

刊.

He went to study jazz piano at a music college at Kuala Lumpur but left after one year. After that he started to play lounge piano for a while and tried to get admitted to

National Taiwan Normal University. “At last I did not get in because it had only classical music course, and I went back to Malaysia again and started to work for two years,” he said (A1). After two years, he went to the West Virginia University and studied in the United States for five years, three years for Bachelor and two years for

Master Degree.

He taught in University Putra Malaysia, University Malaya, UCSI University,

Yamaha Academy of Arts and Music and his own studio. He also used to perform occasionally in different jazz clubs like No Black Tie, Alexis, Nero Fico and so on. He was now active with his band WVC Trio+ 1 and Unit Asia.

106

Teacher B

Teacher B started his classical piano lesson during 6 years old. During his teenage years, he was always interested in the blues. His first exposure to extemporization and improvisation came from playing guitar accompany in church.

After that, he started to transfer those concepts to the piano when he was around 13 years old. He only formally learned jazz piano in his University Putra Malaysia, and after that he got his Master in composition-theory from Penn State University. His composition master degree was based on the western classical tradition but not necessarily excluding others type of music. He was now the head of Contemporary

Music Department of UCSI University. He taught jazz piano, band ensemble and popular music history.

He did not perform very often these days, but when he did, he performed at the jazz clubs like Alexis, No Black Tie and also some functions and events.

Teacher C

Teacher C started to learn classical piano at the age of seven. When he was 20, he started his degree program which was pedagogy and performance at the University

Sains Malaysia. “The program did not focus primarily in jazz but jazz was part of the program,” he said (C1). During the three years in university, he started to learn voicings and play in big band. At the year of 2010, he went to West Virginia

University for his master in jazz pedagogy. “Jazz was originated from America, at that time I thought that the best place of studying jazz would be the United States. My piano teacher who graduated from West Virginia University too, so I preferred to study at a relatively familiar place,” said C (C1).

Teacher C now taught at UCSI University and University Putra Malaysia. He performed at No Black Tie and Alexis and he was currently preparing his debut album

107

with mainly his own compositions.

Teaching Skills

Classical music and jazz music were different. From the outlook of classical and jazz music, classical music was more into deliver the intention of the composers by reading the scores (A2). “In classical music, some players interpreted the songs differently but the notes were pretty much the same, but in jazz music, you cannot NOT to change the note,” said teacher A (A2). Jazz players needed to play the tunes differently from the originals in order to attract audiences and a lot of rearrangement, re-harmonization was needed to make the songs sounded with a personal style and being unique (A2, B2, C2).

Three participants agreed that it was very important to establish the foundation in the understanding of harmony, building chords, chord symbols, voicings and inversions at the very beginning of jazz piano learning. Teacher A stated after having the knowledge of harmony, he would talk about the scales that could fit in to the harmony; taking things step by step was his persistence. He then said that there were three compartments in jazz music which were harmony, melody and rhythm (A9).

Other than that, improvisation was a core component in jazz music (A2, B2, C2).

Speaking of improvisation, three teachers had different methods and concepts on teaching it.

“Usually beginning improvisation, I would always encourage the students without referring to the scores but rather in their heads, they needed to find the 3rd and the 7th of the chords of the each individual chord, and by linking the 3rd and 7th they can kind of make some decent melodies,” said A (A8). After that, added tensions like 9th, 11th or 13th. By doing this, letting the students to be able to know which notes were safe to play with and visualize the notes that they can go to (A9, A8). He

108

mentioned about visualizing the notes because he thought that the students were not used to listen when they first came in. Thus visualization was mainly from theoretical point of view. As a pianist, by visualizing those notes correctly, at least playing the right notes then expand slowly from there (A8).

“I had tried a few things; some worked better with some students and other did not seem to work as well. I used to start students off like playing the blues, unlike soloing

over diatonic chord changes, it was easier to get a sound,” said Teacher B (B8).

Improvising with the blue, students did not have to change the scales while the chord changed so they would feel more secured and easier. Besides using blues, he also used modal scales as a teaching material on improvisation too. Modal songs based on one chord vamps made students feel more comfortable to improvise, and modal jazz provided the improvisers to draw from an entire scale rather than focusing solely on the chord tones that defined a particular harmony (B8). “I heard some people using free jazz as a way of teaching improvisation,” he said (B8). By doing this kind of free jazz exercise, it would make the students play more freely and it did not matter if they played wrongly. By making mistakes, they would learn which notes sounded good or bad.

“I personally asked them to sing out the ideas,” said Teacher C (C8). He thought that playing out the harmony on the piano and singing out the melody on top of it was a good way to learn improvisation. After that, they could try to play out the melody and the harmony on the piano together (C8). In order to do this, the students must have a basic knowledge of harmony.

When the students were doing great on the “tools” as scales/ modes/ chord tones, the following steps would be the rhythmic concepts and rhythmic ideas (A8, B8, C8).

Teachers would provide some rhythmic patterns for the students to work to and experiment with different possibilities, and students would have expanded their own

109

ideas from there.

Other than practicing on the scales, participants from Malaysia encouraged students to transcribe music too, but they pointed out that transcription did not really work for every student. “Students who did transcribe usually did better in class but from experience, I thought it took too much time for them,” said B (B8). However affirmatively through transcription, students learned to listen and internalize music which were the most important skills in learning jazz (A8, B8, C8). Teacher A also organized listening session once or twice a year by gathering up the students and listen to certain recording together. They discussed the music, parts, analyzed the music and try to reflect it into own playing together (A7). Teacher stated that as a musician grown by copying other people’s playing and expand from there (A7). Same as transcription, by copying masters’ work first and then came up with own way of improvising.

Michael Veerapen once said that solo piano was common in classical piano, but in jazz, it was often the reverse (B10). Jazz pianist always performed with groups and piano solo was quite a challenge (B10). Speaking of listening, Teacher A stated that playing with other people was an ongoing communication (A10). Teacher B agreed too that the pianist had to listen to the other band members and without understanding of how the other instruments worked; the pianist would had a very limited scope on playing (B10).

Teacher A indicated that music was about courtesy and it was about give and take.

He expressed himself about people had to learn making music sound as a community rather than individual (A10).

By playing in jamming session Teacher A and B said that the students’ weak point would be magnified and it would bring the students out of their comfort zones

(A11, B11). During the jamming session, students could not choose the song and even

110

if they could, it would probably in a different key; Teacher C mentioned that students had to try their best to adapt to every kind of situations (C11). Jamming session was like an assessment to test the students’ level and on the spot reactions. “I found that

Malaysia students tend to have low self-esteem and always felt that they were not good enough”, said Teacher A (A7). Those problems would be encountered by pushing them to play with others more.

All the participants demonstrated and gave feedbacks during classes (A12, B12,

C12). They felt that pointing out some of the things that the students might not see, and demonstrating what were the options that students can do in a specific piece was important. Apart from this, Teacher A mentioned about YouTube that he believed to be very useful in this time and age. YouTube provided a learning platform to people to exchange ideas and opinions by sharing their own works. At this time, the teacher as an important role to criticize each videos and guide the students on choosing a good example. So, three participants allowed students to record their playing as a reference and model (A12, B12, C12).

Lastly, practicing was the problem that faced by most of the students. Consistent practice was always better than one long practice. Speaking of practicing, students had to take care of the problems that they were lacking at and not to practice the things that they were already good at (A9, B9). Professionals also recommend students to separate the practice into different compartment and practice with metronome (A9, C9).

Teaching Materials

Participants from Malaysia used The Real Book as teaching materials. Rumors were that The Real book was an underground serie of books that transcribed by the

111

students from Berklee College of Music during the 1970s. The students began to transcribe the melodies and the chord progressions of the jazz standards and binded them together into a book that they could share among each other. They never got permissions from the composers or publishers from those songs, so the sheets were considered illegal. Finally, Hal Leonard published a serie of legal The Real Book at the year of 2004 which cost USD35 (Hal Leonard, 2014). The Real Book was essential books that full of loads of different jazz standards and Broadway tunes that the teachers would always love to use as their teaching materials.

Besides The Real Book, Teacher B used David Baker’s “How to Play Bebop” and Dominic Alldis’s “A Classical Approach to Jazz Piano.” David Baker’s “How to

Play Bebop” was a three books series that included the scales, chords and modes necessarily to play bebop music (Baker, 2006), while Dominic Alldis’s “A Classical

Approach to Jazz Piano” addressed accompaniment models, basic jazz theory, polychords, reharmonizations, and many more subjects (Alldis, 2000).

Meanwhile, Teacher C also used the other two books which were “Jazz Piano- A complete guide to Jazz Theory and Improvisation” by Christian Klikovits and “Blues

Hanon- 50 Exercises for the Beginning to Professional Blues Pianist” by Peter Deneff.

“Jazz Piano- A complete guide to Jazz Theory and Improvisation” covered with two parts where part I with progressions, harmony, voicings and chords while part II covered with scales and modes, what to play over various chord types, building melodies and soloing (Klikovits, 2004). Following the “Blues Hanon- 50 Exercises for the Beginning to Professional Blues Pianist” provided 50 exercises to put the students’ hands through a regimen of idiomatic patterns in the blue styles (Deneff,

2002).

112

ii. Taiwan

Background of the Participants

Teacher X

“I had been started to listen to jazz music since I was five with my dad, but at that time I did not realize it as jazz music. After I got to know more about jazz music, I realize it was big band jazz,” said X. When he was five, he had classical piano lesson too. After that, he got to know a Philippines band that came to Taiwan by chance when he was thirteen. Then he started to learn from the jazz pianist from the band and since then, he withdrew his classical piano lesson.

Then, he got to played jazz piano at the lobby bar of Evergreen Laurel Hotel.

Evergreen Laurel Hotel was mainly dealt with international customers and was aware of the level of jazz music that was performed at the lobby bar. Therefore the manager of Evergreen Laurel Hotel recommended Teacher X to further study at United States as well as scholarship provided. So at the age of 31, he went to the states for jazz study. During that period in States, he was the pianist of Chicago Tzu Chi Foundation band and he took part in composing religious songs too.

Now, he was teaching at Tainan National University of the Arts and National Sun

Yat-sen University. He wrote a lot of books like Jazz Piano for Children, Jazz

Harmony, Jazz Harmony and Improvisation and so on.

Teacher Y

Teacher Y was from Belgium. He played classical music since ten years old and had been in a band since he was fourteen. Besides that, he played in a cover band and in church too. When he was 17, he went to conservatory to study jazz music and

113

major in bass, though he also played piano and guitar.

After he came to Taiwan at the year of 2006, he started to get interested in

Taiwan folk music and starting to have his own band Orbit Folks which granted 2

Golden Melody Awards out of 5 nominations in 2011. They had been active in Taiwan, touring around the universities and creating different collaborating projects

(Orbitfolks, 2014).

Teacher Y used to teach at Tainan National University of Arts and at a private music learning centre.

Teacher Z

Teacher Z had classical music background but started to explore to different styles of music after graduating from Tunghai University. “My teacher did not allow me to play jazz music during university time, and after I graduated from there, I started to discover jazz and I love the rhythmic elements, especially Ravell’s G

Concerto,” said teacher Z. After that she started to study jazz music and teach.

She set a goal each year for holding a few concerts featuring her students. Now she was teaching jazz keyboard group class in National Taichung University of

Education.

Teaching Skills

Jazz to Teacher Y was “groove, taste and improvisation” (Y2). He stated that the differences between classical music and jazz music; the first was to play from the scores and the second was to play differently from the scores (Y2). Meanwhile,

Teacher X said that the root of jazz music was classical music, but jazz music emphasized on the elements which classical music did not. For example in 4/4 music

114

classical music emphasized on beat1 and 3 but jazz music emphasized on beat 2 and 4

(X2).

Teacher X said that the three main elements for him to teach jazz piano were chords, scales and make up tones. But the students had to know how to read staff notation before that. He disagreed on the jazz teaching materials that using numbered musical notation that could be found at any book stores, “most of the Taiwanese had this wrong idea about numbered musical notation equal to jazz music, which was not true, he said (X13).

About improvisation, Teacher X mentioned that the most important thing to start to improvise was the understanding of the relationship of the chords and the scales including modes. After that, by breaking the diatonic scales into three different groups of swing notes and started to play around from there. He also stated that scatting over the harmony changes would help a lot in improvisation (X8).

“My method of teaching jazz piano was to start with chords, guide tones, 8 notes swing feel, scales and improvisation” said teacher Y (Y8). He advocated free jazz so he encouraged the students to play whatever they liked in improvising. He thought that the students had to experiment more and it would take time for them to sound good (Y8).

Unlike Teacher X, Teacher Z indicated that the students had to know how to read numbered musical notation for learning jazz piano (Z8). Her teaching concept and method were different from the other two teachers. History of jazz was important because she wanted her students to understand and accept different styles of music and perspective about music. Besides that, she promoted J. S. Bach’s music. She said that classical improvisation was popular back then during Baroque era and she thought that through playing Bach’s composition, students could learn improvisation from there. On the other hand, if students were interested in improvising pop music,

115

she encouraged them to listen more to popular music and learn the grace notes from there.

From these three participants from Taiwan, it was interesting that one of the participants did promote using classical music as the tools to learn improvisation.

Researcher found a study of Yuusaku Ichio (2011) about “Bach and improvisation” which was about how useful Bach was for improvising music. In this study, Yuusaku

Ichio (2011) analyzed Bach’s composition “Corrente” from Partita 1 BWV1002 and based on triads, 7th notes, and 13th, and he found out that it was possible to improvise using Bach’s idea. So, by learning Bach’s music, it had proven that the students might gain the ability on improvisation.

In jazz ensemble, Teacher X mentioned that most of the students were with classical background, so firstly he would require his students to forget about the articulations that they had learn in classical music. Students had to get rid of overused of pedal and legato in jazz piano and it applied to horn and double bass players too

(X10). Besides that, Teacher Z pointed out that while playing with others, students got to listen to other instruments and they would be more sensitive on music (Z10).

Teacher Y said that other than ensemble, jamming sessions were important too. He asserted that students had to be well prepared to expect everything that would happen during jamming sessions since the band had not rehearsed (Y11).

Moreover, two of the participants mentioned about numbered musical notation.

Firstly, the researcher thought that the students of both teachers dealt with were different. Teacher X taught in university that the students were age 18 and above who had a strong classical background, while teacher Z taught in a jazz keyboard group class that the students age were from 20 to 60 who might not had any musical background. Numbered musical notation was easier for those who picked up piano late.

116

Teacher X said about numbered musical notation was not equal to jazz music.

The researcher found that the jazz music books normally found in the book stores were mainly using numbered musical notation. One of the ways to change the publics’ image about jazz music was the book stores had to bring in more choices on jazz music books that using staff notation and by doing this, hopefully the public would have a different way of thinking of jazz music.

Teaching Material

Teacher X published four books as his own teaching materials, including i) Jazz

Theory and Harmony, ii) 18 Exercises of Jazz Harmony, iii) Jazz Harmony and

Improvisation, and iv) Jazz History. He used his own books as the teaching material for his classes. Three of his books emphasized in jazz harmony. The contexts in the books included introduction to triads, seventh chords, tensions, voicings and improvisation. Teacher X mentioned that besides techniques, he taught the students history too for the understanding of music styles.

Teacher Y wrote his own teaching materials and the other three books he used were Mark Levin’s The Jazz Piano Book, Bill Boyd’s Jazz Chord Progressions and

Intermediate Jazz Chord Voicings for Keyboard. Teacher Y said that Mark Levin’s The

Jazz Piano was the one of the best which covered harmony, voicings, scales, comping styles and practice (Levine, 1989), while Bill Boyd’s Jazz Chord Progression covered on chord voicings, progressions, turnaround and fourth voicings/ modal playing

(Boyd, 1997). Lastly, Bill Boyd’s Intermediate Jazz Chord Voicings for Keyboard introduced chord voicings and practical application (Boyd, 1991).

Teacher Z used a serie of a jazz textbook name “TanQinShuoAi” (彈琴說愛)by

Peng Wan-xiong. The serie contained four different books which were i) All New Jazz,

117

ii) Pop Good Jazz, iii) Jazz Good Jazz and iv) Piano Solo with Melody Styling

Variation. Teacher Z mentioned that she preferred using this books were because of the clear and simple layout of numbered musical notation, the accompanying styles that had been featured in these books which including breaking chords of pop music, slow soul accompaniment, bossa nova accompaniment and so on. The song lists were mostly Chinese oldies that she thought the students would have more fun by learning them. iii. Comparisons

From the background of six participants, all of them started their music learning with classical music. Five of them went to university for jazz degree and master while teacher Z graduated with master in classical performance and self-studied jazz.

Speaking of classical and jazz music, jazz music was about creativity by concluding the participants’ statements. It was because jazz pianist had to play a tune uniquely and differently from the original tune.

Comparing the method of jazz piano teaching within two countries, the professional opinions were mostly consistent. They agreed that harmony, chord tones, modes, scales and rhythmic were important. In order to improvise, the students need to have a strong foundation. The participants from two different countries shared a lot in common. Teacher C from Malaysia and Teacher X from Taiwan mentioned about singing over harmony. Singing over harmony was like scatting, and scatting was a vocal improvisation. Before improvising at piano, singing over the harmony first would help students to discover on what notes sound good on that harmony.

In addition, teacher B and teacher Y pointed out about free jazz in learning improvisation. They said that let the students to be free, play at everything, and forget about scales, chord tones, guide tones, tensions and so on. By making mistakes, they

118

would get to know it someday, which notes sounded nice or the other way. Then, transcription was a very good exercise in order to train the students to have better ears, and learn from the masters’, but they would not force them to.

Jazz ensemble was important. By working with other people, students learn to listen and play with each other. Communication was important when it came to jazz ensemble, and by playing in ensemble, jazz pianist got to develop their playing styles too. Other than that, jazz jamming session as an assessment to test students’ level and on the spot reaction was important in jazz learning too.

Lastly, the researcher must emphasize that teacher Z promoted about Bach music for improvising. As most of the students in Malaysia and Taiwan had classical background, and research showed that Bach’s music did help in learning improvisation; music teachers may considered about introducing Bach’s music to the students.

III. Jazz Learning i. Malaysia

Students’ Background

As three of the participants taught at different places, the background of students was quite from a wide field. Teacher A’s students were mostly pursued music as a career; some of them were with classical piano background.

Teacher B was the head of the contemporary music department and he said that most of the students who came for the contemporary music department had very little exposure to jazz music. Most of the students got their interest was from the third piece of ABRSM classical piano certification program. ABRSM classical piano certification assessment required three different pieces which the first piece was classical/baroque

119

era, second was romantic era and third piece was a contemporary work by twentieth century composers Stravinsky, Bartok, Dave Stapleton and so on. Meanwhile teacher

C’s students mostly had foundation in classical music.

Students’ Needs

“The students in Malaysia seem to have the same problem that they cannot play without scores,” said A (A6). By learning jazz, they expected to be able to play and understand the music without scores, and to be able to hear, feel and understand how to make the music sounds good (A6).

“By the third piece of ABRSM, most of the students came to contemporary music department with not really knowing what to expect, so by providing them the basic understanding of harmony, improvisation would be the big part,” said B (B6).

“Different students had different needs,” said C (C6). With having foundation in classical music, the students of teacher C asked for exploring more different styles of music (C6).

In summary, apart from the students who were not familiar to jazz music, the students in Malaysia were keen to play without scores, to learn different kinds of jazz music.

Students’ Abilities

While teaching jazz, Teacher A always tried his best to cater to different individual needs (A7). As mentioned before, Teacher A emphasized the concept of harmony and melody and besides teaching, he organized listening session for the students too. So, except learning the basic knowledge of jazz music, Teacher A taught the students to listen and communicate to each other by discussing different recording during listening session.

The students of Teacher A would like to learn to play without reading scores, to

120

hear, feel and understand music. By doing the listening sessions, Teacher A introduced the students to different kinds of recordings and they discussed about the composers, forms, arrangements, improvisations and so on. So the students got to learn to listen, analyze, feel and to talk about the music.

“I always tried to give my students something that can push them beyond what they can currently do,” said Teacher B (B7). The students that studied for degree of contemporary music were not sure of what they would be dealing with at first. So, teacher B said it was important to teach them the basic knowledge of jazz music and understand what they were dealing with.

Teacher C’s students were with classical music background. Each student had different preference on music styles, and he mentioned some of the students wanted to pick up different jazz music styles and some of them wanted to learn hit music. He admitted he had difficulty on delivering on the students those who want to learn modern music like those hit or up to date of music (C6). At that time, he would recommend the other teacher who was capable on that music styles for that students.

121

ii. Taiwan

Students’ Background

As the researcher mentioned before, jazz music was not a major subject in

Taiwan. Therefore, the students’ background in Taiwan was slightly different from

Malaysia.

Teacher X taught in Tainan National University of the Arts and National Sun

Yat-sen University. He taught jazz ensemble, improvisation and so on. All of his students were classical music students.

Teacher Y used to teach in Tainan National University of the Arts. His students were from applied music department and some of them were without musical background.

Teacher Z taught in National Taichung University of Education. She taught jazz keyboard group class and the students aged between 20 to 60 years old.

Students’ Needs

Students of teacher X were with classical background and they wanted to learn improvisation because they had to perform sometimes during their performance (X6).

In contrast with teacher X, most of the students of teacher Y were from the applied music department at Tainan University of Arts. They learned midi, Cubase, composition, sound engineering and so on. Most of them had very limited musical background but they had to learn contemporary music in order to compose their own music for their soundtracks (Y6).

In the jazz keyboard group class of teacher Y, she said that most of the students came to her class to fulfill their dreams of learning piano; some of them were without music background (Z6).

122

Students’ Ability

Teacher X’s students were with classical background and they wanted to learn improvisation to apply during their gig. From Teacher X’s own teaching material, he emphasized on jazz harmony like triads, seventh chords, tensions, voicings and improvisation. From the way he taught improvisation as the researcher mentioned before at teaching skills, he highlighted on chords and scales. Other than that, he also encouraged the students to scat while trying to improvise. Besides that, he always reminded the students to forget about the techniques they learned in classical music too.

Teacher Y’s students were from applied music department and most of them had very limited musical background. Besides basic knowledge of harmony, he mentioned about asking the students to practice simple concept like II-V-I-VI chord progressions in different keys. Then, he advocated free jazz while teaching. He always let the students to explore their own. By teaching the students to practice on chord progression and try to improvise by free jazz, students got to learn to make their own music through practicing them. “Making music was more conceptual and not just reading of a chart,” said Teacher Y (Y6).

Unlike the other two teachers, Teacher Z taught in a keyboards group class with

33 students. She mentioned most of the students were there to fulfill their dreams to learn music. Besides teaching them what they wanted to learn, she also allowed the students to record her demonstration. She admitted that because there were too many students, so sometimes she could not take good care of each of individuals.

123

iii. Comparisons

It was difficult comparing the students’ background between two countries because the students’ levels were varied. In Malaysia, the students’ backgrounds were with ABRSM piano graded certificate, foundation in music degree or already pursued music as a career. On the other hand, Taiwan students were either with classical music background or without any musical background.

The researcher categorized the students into two types, which were: i) students who had knowledge about jazz music before learning it and ii) students that without any jazz knowledge before learning it.

In Malaysia, for those who knew what jazz was and wanted to learn more, or at least learned the third piece of ABRSM piano graded exams, students got to gain their ability and needs on jazz piano with the interactions with the teachers. Overall,

Teacher A, B and C fulfilled the needs of their students completely.

On the contrary, in Taiwan, some of the students did not really know what jazz music was before they seek for a jazz piano teacher. Students from applied sciences were even force to learn it in order to finish their works and some of them had the misconception towards jazz music. Consequently by learning jazz music gave them the opportunity to learn the history, harmony and improvisation of jazz that would increase their knowledge and interest in music.

124

Chapter V

Conclusions and Recommendations

This chapter served to summarize the conclusion of the comparison made with regards to the jazz scene, pedagogy and jazz learning between Malaysia and Taiwan, and the suggestions made by the researcher.

I. Conclusions

i. Jazz Scenes

Jazz festivals, jazz clubs, musicians, broadcasting and educations were been discussed in jazz scenes. Both countries hosted a few jazz festivals each year. Local and international musicians were invited to join the festivals which served as a platform to promote and educate jazz music to the public. Taichung city government provided free jazz festivals but Taipei city and Malaysia did not. Both countries had a few quality jazz clubs and radio stations promoting jazz music. Professionals stated that jazz education was not known by the public. In Malaysia, there were ten higher institutions offering jazz music programs while National Dong Hwa University was the only institution in Taiwan offering jazz in both bachelor and master degree. From the qualifications of the lecturers taught in higher education institutions in both countries, the researcher found that lecturers of Malaysia were mainly graduated from

United States while lecturers of Taiwan mostly hold degrees from European countries.

The differences of Europe and US jazz were always the topic of discussions. There was not a clear distinction but in general, jazz originated from the United States, musicians always improvised based on blues or swing, while European Jazz

125

incorporates ethnic and folk music elements into the genre which was easily noticeable in jazz music from Scandinavia and Eastern Europe. Besides that, classical music heritage was deeply rooted in Europe, so European musicians played with much more classical influenced compared to United States.

ii. Jazz Pedagogy

The conclusion drawn from the professionals was they all agreed that harmony, chord tones, scales, modes and improvisations were important in jazz piano learning.

Jazz pianists were encouraged to join jazz ensembles and jamming sessions. By working with other instruments, jazz pianists can expand their scope on playing and had better ears. Jazz jamming sessions provided an opportunity for the students to check their self-capability while working with others without any preparations.

Jazz taught in Malaysia was usually from The Real Book, while teachers in

Taiwan develop their own materials and jazz arrangement song books based on

Chinese oldies and pop songs.

iii. Jazz Learning

Students who knew about jazz music before learning it successfully gained their needs and the abilities on playing jazz piano through the interaction with their teachers. Meanwhile, students that without any knowledge of jazz music, or those who were forced to learn jazz music were able to gain sufficient knowledge of jazz to compose their own music after learning it.

126

II. Recommendations

Jazz festivals were the best way to promote jazz music to the public. Taichung government spent the last ten years promoting jazz to the public through free festivals and they targeted over 80,000 people each year. The Malaysia government can adopt the similar idea of providing free jazz festival too. Promoting and marketing on the jazz festivals can have further reach and penetration with government’s funding. The festival might not be a lavish but one of high quality which was welcome by every citizen, the life styles and aesthetic appreciation of the citizens would be enhanced by providing them with more exposure to performing arts.

Malaysia’s jazz music programs had been around for more than 20 years.

Comparing the jazz education between two countries, Taiwan’s jazz program was just started. Music education in Taiwan was deeply influenced by classical music and they would have trying to make progress by increasing jazz major programs in their curriculum. There were a few methods employed to promote jazz education were, educating the public through articles in newspapers or magazines; providing free jazz music concerts in education institution of various level and encourage music teachers to teach different music styles to the students beside classical music.

There were many choices on locally developed jazz music teaching materials in

Taiwan. But in Malaysia, jazz music teaching materials were mainly from the United

States. Malaysia could have started writing jazz music teaching materials that suit for

Malaysians while Taiwan could have considered recommending books from the

United States as United States was the place of where jazz originated.

For those who wanted to learn jazz piano, they had to love the music first. Then start learning the basic theory of jazz music included harmony, chords, scales, modes and listen to different recordings.

127

After comparing the jazz status, pedagogy and learning between two countries;

Malaysia government should start funding to educate the public; Taiwan government should start to promote jazz education in higher education institutions. Method of jazz pedagogy from both countries was mostly consistent and from the teaching methods, it was proved that students can successfully gain skills by learning jazz piano.

128

References

ABRSM. (2014). Our exam. Retrieved from www.abrsm.org/ Ake, D. (2002a). Jazz cultures. Berkeley, CA: The University of California Press. Ake, D. (2002b). Learning jazz, teaching jazz. Cambridge, England: Cambridge University Press. Alexander, L.G., & Andrew, B. (2005). Case study and theory development in the social science. United States: The Belfer Center for Science and International Affairs. Alice, L. M. (1983). A systematic introduction to improvisation on the Pianoforte: Opus 200. New York: Schirmer Books. Alldis, D. (2000). A classical approach to jazz piano. UK: Hal Leonard. Allsup, R. (2003). Transformational education and critical music pedagogy: examining the link between culture and learning. Music Education Research, 5 (1), 5-12. Andrea, F., & James, H. (1998). Collecting and interpreting qualitative materials. interviewing: The art of science. USA: Sage. Arksey, H., & Knight, P. (1999). Interviewing for social scientist. London, UK: Sage. Arriale, L. (2009). Teaching fearlessness. Retrieved from http://www.jazzedmagazine.com/2338/articles/spotlight/lynne-arriale-teaching- fearlessness/. Arthur, D. (2002). Jazz pedagogy: The jazz combo. Tampa, FL: Alfred. ASWARA. (2014). Programs. Retrieved from www.aswara.edu.my/ Azzara, C. D. (1993). Audiation- Based improvisation techniques and elementary instrumental students’ music achievement. Journal of Research in Music Education, 41 (4), 328-342. Baker, D. (1965). Jazz: The academy’s neglected stepchild. Downbeat, 32, 29-32. Baker, D. (2006). How to play bebop. USA: Alfred Publishing Co. Barr, W. L. (1974). The jazz studies curriculum. Dissertation Abstracts International, 35 (07), 4219. Bartholomew, D. (1993). Effective strategies for praising students. Music Education Journal, 80 (3), 40-43. Bhangra. (2014). What is Bhangra? Retrieved from http://www.bhangra.org/about/bhangra-history/what-is-bhangra/ Bob, H. (1995). Helping student master improvisation. Music Educators Journal, 82 (2) ,32-36.

129

Bollinger, D.F. (1979). Band director’s complete handbook. New York: Parker Publishing Company. Borneo Jazz. (2014). Performers list. Retrieved from www.jazzborneo.com Boyd, B. (1991). Intermediate jazz chord voicings. USA: Hal Leonard. Boyd, B. (1997). Jazz chord progressions. USA: Hal Leonard. Brown, C. (1988). The current state and future directions in jazz research: A personal perspective. Bulletin of the Council for Research in Music Education, 42-46. Campbell, P. S. (1991). Lessons from the world: A cross-cultural guide to music teaching and learning. New York: Schirmer Books. Carter, W. L. (1986). Jazz pedagogy: A history still in the making. Jazz Educators Journal, 18 (3), 10-13. Chang, Y. W. (2013). The Research into Event Marketing,City Image and Civic Identity-Using “Taichung Jazz Festival ” as the Research Object (Unpublished master thesis). Asia University, Taichung, Taiwan. ChenSong Music. (2014). Exams. Retrieved from http://www.chensong.com.tw/about.php Cherie Hung, S. C. (1998). The importance of improvisation training in piano teaching (Unpublished master thesis). National Taiwan Normal University, Taipei, Taiwan. Chipin & Kaiya’s Jazz site . (2014). Jazz from Taiwan. Retrieved from http://www.chipin-kaiya.com Collier, G. (1975). Jazz: A students and teacher’s guide. New York: Cambridge University Press. Coker, J. (1989). The teaching of jazz. Rottenburg, Germany: Advance Music. Cooke, M. (2002). Jazz among the classics and the case for Duke Ellington. Cambridge, England: Cambridge University Press. Corozine, V. (2002). Arranging music for the real world: classical and commercial aspects. Pacific, MO: Mel Bay. Deneff, P. (2002). Blues hanon- 50 exercises for the beginning to professional blues pianist. USA: Hal Leonard. Denzin, N. (1995). Qualitative voices in educational research. Curriculum Inquiry, 25(3), 313-329. Dittert, J (2010). Is my child too young for drums lesson? Retrieved from http://www.jondittertdrums.com/. Dong Hwa University. (2014). Programs. Retrieved from www.ndhu.edu.tw bin home.php?Lang en

130

Duke, R.A. ( 2000). Measures of instructional effectiveness in music research. Bulletin of the Council for Research in Music Education 143: 1-48. Dunscomb, R.J. (2002). The jazz concept- swing. J. Richard Dunscomb & Dr. Willie L. Hill, Jr (Eds.), Jazz pedagogy: The jazz educators handbook and resource (pp.62-76). Tampa, FL: Alfred Music. Fu Jen Catholic University. (2014). Programs. Retrieved from 140.136.240.107 english_fju Gold Prague Musical Instrument Co., Ltd. (2014). Exams. Retrieved from http://www.pragues.com.tw/front/bin/cglist.phtml?Category=6 Hallam, S. (1997). Approaches to instrumental music practice of experts and novices: Implications for education. In H. Jorgensen & A.C. Lehmann (Eds.), Does practice make perfect? Current theory and research on instrumental practice (pp.89-107). Oslo, Norway: Musikkhogskole. Hal leonard. (2014). Retrieved from http://www.halleonard.com Herzig, M. (1997). Elements of jazz piano pedagogy: A content analysis. Bulletin of the Council for Research in Music Education, 145, 77-82. Hill, W. L. J. (2002). Jazz improvisation- An introduction. J. Richard Dunscomb & Dr. Willie L. Hill, Jr (Eds.), Jazz pedagogy: The jazz educator’s handbook and resource Guide (pp.95.102). Tampa, FL: Alfred. Hodson, R. D. (2000). Interaction and improvisation: Group interplay in jazz performance (Unpublished doctoral dissertation). The University of Wisconsin-Madison, Wisconsin, US. International College of Music . (2014). Programs. Retrieved from www.icom.edu.my/ Johnson, B., & Christensen, L. (2004). Educational research: Quantitative, qualitative, and mixed approaches (2nd ed.). Boston: Pearson. Kit, E. (1998). Some Thoughts on Listening. Retrieved from http://www.musickit.com/listen.html. KKLF. (2014). Performers List. Retrieved from www.kkjazzfest.com. KLIJF. (2014). Performers List. Retrieved from www.klinternationaljazz.com. Klikovits, C. (2004). Jazz Piano- A complete guide to jazz theory and improvisation: USA: Hal Leonard. Kowall, B. C. (1966). Perspectives in music education: Source book III. Washington D.C.: Music Educators National Conference. Kuzmich, J., & Bash, L. (1984). Complete guide to instrumental jazz instruction: Techniques for developing a successful school jazz program. New York: Parker Publishing Company.

131

Lehmann, A. C., Sloboda, J. A., & Woody, R. H. (2007). Psychology for musicians: Understanding and acquiring the skills. Oxford, UK: Oxford University Press. Levine, M. (1989). The jazz piano book. USA: Sher Music Co. Lin, J. Y. (2009). Comparative research of jazz courses in Alfred’s basic piano library and Hal Leonard student piano library (Unpublished master thesis). National University of Tainan, Tainan, Taiwan. Lin, S. C. (2002). Educational research methodology. Taipei, TW: Psychological. Lori, A. C. (2008) Living jazz, learning jazz: Thoughts on a responsive pedagogy of early childhood music. General Music Today, 22, 24-29. Mark, M. L., & Gary, C. L. (1999). A history of American music education. USA: MENC. Mark, T., & Travis, A. J. (2013). Jazz. Retrieved from http://www.oxfordmusiconline.com/subscriber/article/grove/music/45011. McPherson, G. E., & Davidson, J. W. (2002). Musical practice: Mother and child interactions during the first year of learning an instrument. Music Education Research, 4(1), 141-156. Meadows, E. S. (1991). Improvising: A beginner guide. Music Education Journal, 78 (4), 41-44. Mullins, R. (2002). Jazz piano voicings. USA: Hal Leonard. Nam, M. S. (2006). Jazz it up! Korea: Go Ryeowonbukseu. Nam, S. (2010). A method for teaching jazz improvisation to beginning pianists in a group setting (Unpublished master thesis). California State University, California, US. National Taiwan Normal University. (2014). Programs. Retrieved from http://www.ntnu.edu.tw/ntnu-eng.html Newton, F. (1961). The jazz scene. London: Penguin. Nicholson, S. (2005). Is jazz dead, or has it moved to a new address? New York: Routledge. Orbitfolks. (2014). About. Retrieved from http://www.orbitfolks.com/ Pallister, R. (1995). Studio piano teaching: An investigation into verbal interaction between teachers and students (Unpublished master’s thesis). University of Sydney, Sydney, Australia. Patton, M. Q. (2002). Qualitative research and evaluation methods (3rd ed.) Thousand Oaks, CA: Sage. Penang Jazz. (2014). Performers list. Retrieved from www.penangjazz.com. Philharmonic Radio. (2014). About. Retrieved from tunein.com/radio/Philharmonic-Radio-Taipei-997-s3135

132

Rock School. (2014). Exams. Retrieved from www.rockschool.co.uk Santasi, R. (2009). Berklee jazz piano. USA: Berklee Press. Schwartz, E. (2001). Contemporary composer on contemporary music. Retrieved from http://www.schwartzmusic.com. Segi Collge. (2014). Programs. Retrieved from www.segi.edu.my/ SFCV (2014) . Modes. Retrieved from https://www.sfcv.org/learn/glossary/m?page=1 Shih Chien University. (2014). Programs. Retrieved from english.usc.edu.tw/ Shipton, A. (2001). A new history of jazz. London, UK: Continuum. Single, N. A. (1991). A summary of research-based principles of effective teaching. Update:Applications of Research in Music Education, 9(2), 3-10. Slawsky, M. (2011). Transitioning from student to teacher in the master-apprentice model of piano pedagogy: An exploratory study of challenges, solutions, resources, reflections, and suggestions for the future (Unpublished doctoral dissertation). University of South Florida, Tampa, Florida. Smith, S. (2008). Jazz Theory. Retrieved from http://www.cs.uml.edu/~stu/JazzTheory.pdf. Sunny891. (2014). About. Retrieved from www.sunny891.com.tw/ Sun Yat-Sen University. (2014). Programs. Retrieved from www.sysu.edu.cn 2012 en Szwed, J. (2000). Jazz 101: A complete guide to learning and loving jazz. New York: Hyperion. Taichung Jazz. (2014). Performers list. Retrieved from www.taichungjazzfestival.com.tw. Tainan National University of Arts. (2014). Programs. Retrieved from www.tnnua.edu.tw/releaseRedirect.do?unitID=1&pageID=7998 Taipei Jazz. (2014). Performers list. Retrieved from http://www.taipeijazz.com/TaipeiInternationalJazzFestival/ Tay Cher Siang. (2014). Biography. Retrieved from http://www.taychersiang.com/ Thomas, R.B. (1991). Musical Fluency: MMCP and Today’s Curriculum. Music Education Journal, 78(4), 26-29. Townsend, P. (2000). Jazz in American Culture. London, UK: Edinburgh University Press Ltd. UCSI University. (2014). Programs. Retrieved from www.ucsiuniversity.edu.my/. Universiti Malaya. (2014). Programs. Retrieved from www.um.edu.my/ Universiti Malaysia Sabah. (2014). Programs. Retrieved from https://www.ums.edu.my Universiti Putra Malaysia. (2014). Programs. Retrieved from www.upm.edu.my Universiti Sains Malaysia. (2014). Programs. Retrieved from www.usm.my/ Universiti Teknologi MARA. (2014). Programs. Retrieved from www.uitm.edu.my

133

Ustream. (2014). About. Retrieved from http://www.ustream.tv/ Uszle, M. (1992). Research on the teaching of keyboard music. New York: Schinrmer Books. William, C. B. (1995). Content validity, face validity, and quantitative face validity. Retrieved from http://www.burns.com/wcbcontval.htm. William, K. (2012). More on jazz-band teaching and learning- Learning thrives when there is operant conditioning and deliberate practice. Retrieved from www.psychologytoday.com. Wolcott, H. F. (1997). Ethnographic research in education. Washington, DC: American Educational Research Association. Yamaha Academy of Music. (2014). Programs. Retrieved from my.yamaha.com Yoshizawa, H. (1999). Phraseology: A study of bebop piano phrasing and Pedagogy. New York: Columbia University. Zhukov, K. (2012). Teaching strategies and gender in higher education instrumental studios. International Journal of Music Education, 30 (1), 32-45.

134