Jazz Theory" Today? Its Cultural Dynamics and Conceptualization
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What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Norman Michael Goecke, M.M. Graduate Program in African American and African Studies The Ohio State University 2014 Master's Examination Committee: William T. McDaniel, Advisor Ryan Skinner Horace Newsum (H. Ike Okafor-Newsum) Copyright by Norman Michael Goecke 2014 Abstract This thesis examines the complex sociocultural dynamics that surround the concept of jazz theory from two broad perspectives: formalized or academic jazz theory, which emerged as a result of the formal institutionalization of jazz in the academy, and organic or intrinsic jazz theory, which first arose from African American music-making practices. This dichotomy does not suggest that the majority of jazz community members exist at the extremes of either of these two poles. Contrarily, most musicians tend to occupy the grey area somewhere in between. The aim of this study was to shed light on the complex and elusive intersection between formalized and organic approaches to jazz theory. Through an analysis of informal, formal, and virtual (internet-based) jazz music-learning environments, the results offer a thick description of the way in which notions of "jazz theory" affected the social lives of musicians, fostered racialized jazz identities, defined community boundaries, and influenced music-making practices. The paper includes a variety of case studies, such as Miles Davis' experience studying music at Julliard, an analysis of the first methodological theory books published for jazz students and educators, online forums where jazz students discuss music theory, ii and ethnographic data related to modern day jazz theory that I collected from nonacademic and academic jazz learning environments. Two theory-related books examined included George Russell's Lydian Chromatic Concept and David Baker's Jazz Pedagogy: A Comprehensive Method of Jazz Education for Teacher and Student. In both, the cultural contexts in which the works were created and how many students and educators misinterpreted or omitted elements that reflect the tabooed subject of race were considered. The study also relied on original ethnographic content collected during a field study at a Jamey Aebersold Summer Jazz Workshop, a racially charged debate between two Aebersold camp attendees, a meeting with saxophonist Ornette Coleman, an interview with a 51-year-old African American jazz drummer and organic jazz theorist named Willie Smart, and a reflection on my experiences with an autodidactic African American saxophonist from Cincinnati, Ohio named Chuck Young. Overall, the paper elucidates the racialized and transcultural nature of the jazz community's music-learning environments, and examines the role in which jazz theory plays within them. Academic jazz educators may use insights from this essay to create curricula that include an increased cultural and racial competency as well as a greater awareness of approaches to jazz that are traditionally excluded. Jazz musicians, music historians, and jazz fans may benefit from the analysis of jazz theory as a social process. iii Dedication Dedicated to my junior high and high school jazz ensemble instructors Mr. Johnny Williams, Mr. Clark Lucky, and Mr. John Beasley. Thank you! iv Acknowledgments Foremost, I would like to express my sincere gratitude to my advisor Dr. McDaniel for his continuous support of my MA study and research. He has been a tremendous mentor and inspiration for me as I endeavor to address the challenging problems of race within jazz education. His advice regarding my research as well as my career has been invaluable. I admire the many years he has spent fighting to undo racism within higher education through the Jazz Studies and African American and African Studies programs at the Ohio State University. I would also like to thank my committee members, Drs. Skinner and Newsum. I truly appreciate their willingness to sit on my committee and provide me with brilliant comments and suggestions. They both have been strong supporters of my work, for which I am very grateful. I would also like to thank the professors I worked with in the African American and African Studies department, especially Dr. Kelechi Kalu for his mentorship and enthusiastic support for my work during its formative stages, and Dr. Kwaku L. Korang whose "Theorizing Race" course has proven invaluable to my work. I also give special thanks to my mentors from the Musicology department, whose efforts influenced this v thesis--especially my PhD advisors Drs. Graeme Boone, Margarita Mazo, Udo Will, and Danielle Fosler-Lussier. I would also like to thank Dr. Lois Rosow for her administrative guidance and support as I endeavored to sort out the particulars of simultaneously working on dual degrees from two different departments. Special thanks also go to professor and jazz trombonist James Masters for his support and inspiration, as I endeavor to be both a professional jazz musician and an aspiring academic scholar; music librarian Sean Ferguson; and African American and African Studies secretary Elona Boykin. Thanks are also in order for my friend and mentor from Northern Kentucky University, Dr. Michael Washington, and my professors from the University of Cincinnati College-Conservatory of Music who continue to support my work, including Rick VanMatre, Brad Goode, Marc Fields, Kim Pensyl, and Phil Degreg. My field research was funded by two generous grants from the Ohio State University's School of Music, for which I am exceedingly grateful. A number of individuals who deserve special mention here (in no particular order) facilitated my primary research: David Baker, Steve Davis, Pat Harbison, Rick Simerly, Tim Coffman, Jamey Aebersold, Shariif, Tom, Mario Abney, Clarence Slaughter, and Julian Addison. I would also like to give special thanks to my friend, mentor, and jazz drummer Willie Smart, who provided me with direct access to the jazz tradition that exists within the black community. I would also like to thank Chuck Young and John "Whitie" White for teaching me not what to think but how to think about jazz theory. And, a special thanks to vi my band mates Ryan Wells, Haneef Smart, and Eddie Brookshire for their patience and support. Lastly, I wish to thank my family. Words cannot express how grateful I am to my Aunt Alice for raising me and supporting all that I do. I would not be where I am if it were not for her love and selflessness. And, I appreciate the love and support of Dad, Aunt Mary, Aunt Judy, brother Philip, sister Meryl, stepmother Meyrl, nephews, and nieces. I would also like to thank all of my friends who supported me and encouraged me to strive for my goals. To the memories of my beloved Mother and Grandmother, thank you! vii Vita 2001 ............................................................................................... Princeton High School 2005 ............................................................................ B.M. Jazz Trombone Performance University of Cincinnati, College Conservatory of Music 2006 ...................................................................................................... M.M. Jazz Studies University of Cincinnati, College Conservatory of Music 2008 to 2009 ......................................................Graduate Research Associate, Musicology The Ohio State University 2009 to 2011 ..................................................... Graduate Teaching Associate, Musicology The Ohio State University Publications Goecke, N. Michael. "Archie Shepp." In Great Lives from History: African Americans, vol. 4, edited by Carl L. Bankston III, 1344-45. Pasadena, CA: Salem Press, 2011. Goecke, N. Michael. "Henry Threadgill." In Great Lives from History: African Americans, vol. 4, edited by Carl L. Bankston III, 1430-31. Pasadena, CA: Salem Press, 2011. Goecke, N. Michael. "Louis Armstrong." In Thirties in America, edited by Thomas Tandy Lewis, 51. Pasadena, CA: Salem Press, 2011. viii Goecke, N. Michael. "Miles Davis." In Great Lives from History: African Americans, vol. 2, edited by Carl L. Bankston III, 461-63. Pasadena. CA: Salem Press, 2011. Goecke, N. Michael, Thomas Albright, and Judson Jeffries. "A Ruckus on High Street: The Birth of Black Studies at the Ohio State University." Journal of Race & Policy 9, no. 1 (Spring/Summer 2013): 23-53. Fields of Study Major Field: African American and African Studies ix Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iv Acknowledgments................................................................................................................v Vita ................................................................................................................................... viii List of Figures ................................................................................................................... xii Chapter 1: Introduction ........................................................................................................1 Is Jazz Black Music? ........................................................................................................7 Formalized versus Organic