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The Development of an Australian Jazz Real Book Timothy Peter The development of an Australian Jazz Real Book Timothy Peter Nikolsky Doctor of Philosophy 2012 RMIT University The development of an Australian Jazz Real Book A project submitted in fulfillment of the requirements for the deGree of Doctor of Philosophy Timothy Peter Nikolsky B. Arts (Music Industry); Grad. Dip. Education School of Education ColleGe of DesiGn and Social Context RMIT University August 2012 i Declaration I certify that except where due acknowledGement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research proGram; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and Guidelines have been followed. Tim Nikolsky 08/08/2012 ii “The problem with Jazz as a term it is both a strength and weakness. Jazz for most people is the picture of what they have in their minds. There isn’t a thinG called jazz. People have different ideas of what jazz might be, dependent on where and when they encountered it and the role it had in their lives.” Paul Grabowsky (interview with researcher, July 2011) “I conGratulate you. HavinG been closely involved in an attempt to compile one of these a couple of decades ago, I have a particularly acute appreciation of the magnitude of the task, and, worse, its politics. No two people will ever aGree as to what should be included in a book like this.” Professor Bruce Johnson (email correspondence, AuGust 2011) iii Table of Contents Title page i Declaration ii Quotes iii Table of Contents iv FiGures and Tables vi Acronyms vii Papers presented during candidature viii Abstract ix 1. Introduction 1 1.1 Aims and objectives 1 1.2 Research questions 1 1.3 Rationale 1 1.4 Situation of researcher 2 1.5 Limitations of the study 2 1.6 Plain lanGuage 2 1.7 Summary of research process 2 1.8 Chapter overview 4 2. Literature Review 5 2.1 Real Books 5 2.2 The absence of an Australian Jazz Real Book 10 2.3 Global contemporary jazz perspectives 20 2.4 National Film And Sound Archive: Australian Jazz Archive 23 3. Methodology 31 3.1 Insider-led work-based research 32 3.2 Survey 34 3.3 Quantitative analysis of Real Books 37 3.4 Key informant interviews 37 3.5 Assembling the Australian Jazz Real Book 43 4. Data and Findings 49 4.1 Web Survey results and analysis 50 4.2 Key Informant Interview responses 77 4.3 Analysis of AJRB Volume II (Draft 5) Compositions 85 iv 4.4 Analysis of Real Book Compositions and Dates 105 4.5 FindinGs 107 5. Conclusions and Recommendations 110 5.1 Conclusions and recommendations 110 5.2 Recommendations for future research 111 Appendices Appendix 1: Australian Jazz Real Book web survey questions 113 Appendix 2: Ethics approval 119 Appendix 3: Plain languaGe statement 120 Appendix 4: Consent form 121 References 122 Volume 2: The Australian Jazz Real BooK v List of Figures and Tables Page FiGure 1: Age of survey respondents 50 FiGure 2: Location of Survey Respondents 51 FiGure 3: Involvement in jazz of survey respondents 52 FiGure 4: Jazz GiG attendance of survey respondents 52 FiGure 5: Number of Australian jazz recordinGs owned survey respondents 53 FiGure 6: Number of Real Books owned survey respondents 54 FiGure 7: The need for an AJRB 54 FiGure 8: Would survey respondents use of an AJRB 55 FiGure 9: Frequency of tunes there should be in the AJRB 56 FiGure 10: Inclusion of tunes composed before 1950 in the AJRB 57 FiGure 11: Inclusion of tunes composed between 1950-1980 in the AJRB 57 FiGure 12: Inclusion of tunes composed after 1980 in the AJRB 58 FiGure 13: Inclusion of compositions not commercially available 58 FiGure 14: Exclusive representation of well known established composers in the AJRB 59 FiGure 15: Representation of developing composers in the AJRB 60 FiGure 16: Styles represented in the AJRB 61 FiGure 17: Range of difficulty in compositions contained in the AJRB 62 FiGure 18: Proportion of compositional difficulties represented in the AJRB 62 FiGure 19: Solo transcriptions contained in the AJRB 63 FiGure 20: Additional support material contained in the AJRB 63 FiGure 21: Inclusion of exam pieces in the AJRB 64 FiGure 22: Inclusion of audio recordinGs in the AJRB 65 FiGure 23: Use of the AJRB 65 FiGure 24: Backing tracks included in the AJRB 66 FiGure 25: Delivery options for the AJRB 67 FiGure 26: Inclusion of Bb and Eb versions of the AJRB 67 FiGure 27: DiGital delivery of the AJRB 68 FiGure 28: Presentation options for the AJRB 68 FiGure 29: Inclusion of performance notes in the AJRB 69 FiGure 30: Value of an AJRB website 69 FiGure 31: Survey respondents’ views of Australian jazz representation in the media 70 FiGure 32: Times Mentioned In AJRB Web Survey <2 75 FiGure 33: Real Book Dates of Composition Comparison 98 FiGure 34: Sher New Real Book 1 Dates of Composition Comparison 99 FiGure 35: Sher New Real Book 2 Dates of Composition Comparison 100 FiGure 36: Sher New Real Book 3 Dates of Composition Comparison 101 FiGure 37: Hal Leonard Real Book Vol. 1 Dates of Composition Comparison 102 FiGure 38: Hal Leonard Real Book Vol. 2 Dates of Composition Comparison 103 FiGure 39: Hal Leonard Real Book Vol. 3 Dates of Composition Comparison 104 Table 1: Analysis of AJRB Volume II (Draft 5) Compositions 85 Table 2: Top 40 established Australian jazz artists to be represented in AJRB 76 Table 3: Frequency of Standards in Hal Leonard and Sher Real Book series that 106 occur in other Real Books vi Acronyms AJA Australian Jazz Archive AJRB Australian Jazz Real Book AMEB Australian Music Examinations Board ANZCA Australia and New Zealand Cultural Arts Limited ANZARME Australian and New Zealand Association for Research in Music Education ASME Australian Society for Music Education MCN Music Centre the Netherlands NFSA National Film and Sound Archive NRB New Real Book NSWJDO New South Wales Jazz Development Office RB Real Book VCA Victorian ColleGe of the Arts VJA Victorian Jazz Archive vii Papers presented during candidature Nikolsky, T. (2011). DevelopinG the Australian Jazz Real Book: A PhD Project. Thailand International Jazz Conference January 2011: http://www.allaboutjazz.com/php/article.php?id=38764 Nikolsky, T. (2011). DistillinG a National Jazz Sound into a real book for the next generation of jazz musicians. In E. Mackinlay & D. Forrest (Ed.) Making sound waves. ProceedinGs of the XVIII ASME Conference, Gold Coast. Nikolsky, T. (2011). An approach to creating an Australian Jazz Real Book for practisinG and professional musicians. “Research Conversations”, the XXXIIIrd Annual Australian New Zealand Research in Music Education (ANZARME) Conference, Gold Coast, Australia, 2011. Nikolsky, T. (2011). MakinG Your Own Professional Leadsheets with the creator of the Australian Jazz Real Book. Music Technology In Education Conference, Sydney, Australia 2011. viii Abstract This study outlines a research project, which involved developinG an Australian Jazz Real Book (AJRB). The research question GuidinG this study is: How is an Australian Jazz Real Book developed? A mixed methods approach was used in respondinG to the research question and incorporates survey, Real Book analysis and key informant interviews to create an insider-led work-based research project. Data was obtained throuGh a survey and Real Book analysis; from this a draft AJRB was produced. I embarked on a composition collection process, accepting submissions from composers and attempting to locate compositions that were identified in the survey. The draft AJRB was used for comment and criticism by key informants in a series of interviews. Key informants of education, performance, curriculum development and Australian jazz history were identified to represent a wide cross-section of the Australian jazz community. These people have ‘insider’ knowledge of the history and development of Australian jazz. This study involved the development of the Australian Jazz Real Book. This research is important, as the AJRB has the potential to be a culturally and educationally significant resource as well as a useful tool for practising musicians and educators in Australia. The AJRB is a resource, particularly relevant in tertiary music education communities. With its availability, it provides curriculum desiGners the opportunity to inteGrate previously unavailable Australian jazz. The AJRB was developed according to the results Gained from the web survey. Key informant interviews provided Greater insiGhts and detail that were refined into the draft AJRB. Whilst this study did not encompass the implementation of the AJRB, its development has Gone a lonG way towards addressinG the aims of makinG Australian jazz compositions available, encouraGinG Greater awareness of Australian jazz, and developing a useful resource for practising and performing musicians. ix Chapter 1. Introduction This study involved the development of the Australian Jazz Real Book. This research is important, as the AJRB has the potential to be a culturally and educationally siGnificant resource as well as a useful tool for practisinG musicians and educators in Australia. The creation of the AJRB is the start of many other processes needed to further acknowledGe and make available Australian jazz. The AJRB is a needed resource, particularly in tertiary music education communities. With its availability, it provides curriculum desiGners the opportunity to inteGrate previously unavailable Australian jazz into curricula. Aims and objectives The primary objective of undertakinG the research on developing an AJRB is to: 1. Develop an AJRB: a useful resource for practisinG and performinG musicians and educators.
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