University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. Mary H. Beaven Jazz, a unique American phenomenon, may now be considered America's classical music. As a musical language it has developed steadily from a single expression of the consciousness of black people to a national music which expresses Americana to Americans as well as to people from other countries. As a classical music, it has its own standards of form, complexity, literacy, and excel- lence. And as such, jazz has been a major influence on the music of the world for more than seventy—five years. Although jazz has influenced other styles of music and , in turn, has been influenced by them, jazz has its own undeniable identity, firmly rooted in the African musical tradition Jazz is America's classical music ; yet most American music educators have been consistent in their bias against teaching it from that perspective . Their belief that Western European music is superior to any other in the world and , therefore , the only music that warrants serious and intensive study has resulted in the systematic exclusion of jazz and other Afro-American music from the , American educational process.^ A music education seminar at Yale University in 1 955 pointed out the need for more materials in the Afro-American music tradition and improved teacher preparation in that area. And this text prepared for educators, musicians, students, and the general public v/as written to meet stipulated educational needs. Although jazz is frequently considered America's main con- tribution to the world ' s musical heritage, some ironies exist: much of the material written about jazz is incorrect; much of the written material has been prepared by non-black authorities; standard educa- tional materials written on American music tend to si ight the contri- butions of Afro-Americans; no author has yet treated the hi story of jazz as the development of America's classical music ; and no jazz- performer-composer has written a hi story of jazz piano. "The History and Development of Jazz Piano: New Perspectives for Educators and Musicians" provides a concise hi story of jazz--the classical music of America--from the perspective of a practicing musician, a jazz pianist, and an educator. Jazz piano styles from pre-ragtime to the present are the vehicl es through which the development and evolution of jazz are discussed. Material that has been general ly misinterpreted or ignored is pointed out along with historical philosophical, and sociological observations which, unquestionably, ^Ellsw'orth Janifer, "The Role of Black Studies in Education: A Critical Analysis," in Bla ck Manifesto for E ducation , edited by 1 1 Jim Haskins (Now York: William Morrow 8. Company, Inc. 973) , p. 50. have had a direct effect on the history and development of jazz in this country. Musical examples, bibliographies, and discographies appear- ing at the end of each chapter provide additional information and resources. The appendices include additional materials for the study of jazz piano styles: resources dealing with techniques of improvisations, jazz patterns, cycles, harmonic practices, jazz tonal and rhythmic principles, etudes, exercises, and methods for keyboard study. There are also a glossary of terms and a listing of pianists indicating the time, place, and style with which they are most often associated. There is a large educational potential in the study of jazz 'which should be more fully explored. Social studies and English teachers, in particular, as well as math and science teachers, should find much in the history of jazz that would enrich what they are currently doing. Units can be developed with the study of jazz as the core that integrates a number of subject areas; units in critical thinking can be developed. This dissertation was written to serve as a text, a resource for self-study, a basis to integrate disciplines, and a starting point for further studies in Afro- American traditions. As an extension of this document appropriate audio-visual materials need to be developed. As educators, musicians, students, and the general public study jazz, they will recognize that jazz is a unique American phenomenon. It has been ridiculed, distorted, fragmented, diluted. deemed unworthy of serious study by music educators , musicologists, historians, and others who were not qualified to evaluate the music, but it has continued to be the music which most consistently expressed American moods , thoughts , and feelings as it has evolved to its pre- sent state. It represents an important aspect of the American cul- ture heritage--America ' s classical music. TABLE OF CONTENTS Abstract iv Table of Contents vii Chapter I. Introduction T African Characteristics Found in Jazz The Development of Jazz Criticism of Available Written Material on Jazz Purpose of the Dissertation Personal Qualifications of the Author Need for Better Written Information on Jazz Summary Chapter II. Roots 15 Work Songs and Field Hollers Spirituals Ring Shouts and Games Acquisitions from European Sources Cakewalk, Juba, Coon Songs, Ethiopian Songs Summary Recommendations for Reading Recommendations for Listening Chapter III. Early Jazz 28 Ragtime as Music of Early Bands and Singers Early Ragtime Pianists vni Characteristics of Ragtime Piano Ragtime and the Piano Roll Latin Rhythms Recollections of Ragtime Pianists Summary Examples Recommendations for Reading Recommendations for Listening Chapter IV. Blues Boogie 43 Slave Seculars Afro-American Expression Afro-American Links Blues Piano Bass Patterns The Boogie Bass Line Boogie-Woogie Melodies Boogie-Woogie Harmony Early Blues Pianists W.C. Handy and Other Writers Summary Examples Recommendations for Reading Recommendations for Listening Chapter V. Ragtime/Stride 59 Shout Piano My Introduction to Shout Piano IX Ragtime/Stride Devices Jelly Roll Morton Ragtime/Stride A Common Vocabulary Summary Examples Recommendations for Reading Recommendations for Li stening Chapter VI. Blues/Urban 73 The Importance of Phonograph Records Blues Singers' Influence on Jazz Styles , Urban Blues Kansas City Interactions Jam Sessions Value System Summary Examples Recommendations for Reading Recommendations for Listening Chapter VII. Swing/Pre-Bop 85 Duke Growi ng Pains Listening Instead of Dancing The Importance of Radio Swing in Smal 1 Groups X Art Tatum The Change of Beat Conflict The New York Scene Jazz Clubs Summary Exampl es Recommendations for Reading Recommendations for Listening Chapter VIII. Bebop . 113 Characteristic Devices From Pre-bop to Bebop The Bebop Beat Bebop Phrasing Parker and Gillespie Updated Spanish Tinge The Bebop Challenge Summary Examples Recommendations for Reading Recommendations for Listening Chapter IX. Cool 133 The Change from Music for Listening to Music for Dancing The Cool Beat Cool Harmonies Cool Melodies . Xl Pianistic Approaches West Coast School Other Influences Summary Examples Recommendations for Reading Recommendations for Listening Chapter X. Hard Bop/Progressive Jazz/Funky Jazz/ The Third Stream 144 Rhythmic Approaches Infl uential Groups Hard Bop Pianists Belated Recognition Progressive Jazz Funky Jazz The Third Stream Summary Examples Recommendations for Reading Recommendations for Listening Chapter XI Post-Bop/ Neo-Gospel 159 Soul Jazz Other Directions The Pianistic Approach Reassessment A Great Jazz Musician . xii Summary Examples Recommendations for Reading Recommendations for Listening Chapter XII. Abstract Jazz/Mainstream Jazz/Modal Jazz/ Elec- tronic Jazz 172 Free Form Players New Resources Musical Training Group Improvisation Modal Playing Electronic Instruments Multi -Keyboard Artists Summary Examples Recommendations for Reading Recommendations for Listening Chapter XIII Jazz , America's Classical Music 188 Jazz as Classical Music Jazz : America ' s Classical Music Chapter XIV.