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Jazz Improvisation Pedagogy: Evaluating the Effectiveness of a Beginning Jazz Improvisation Learning Environment for Middle School Instrumentalists

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Jazz Improvisation Pedagogy: Evaluating the Effectiveness of a Beginning Jazz Improvisation Learning Environment for Middle School Instrumentalists JAZZ IMPROVISATION PEDAGOGY: EVALUATING THE EFFECTIVENESS OF A BEGINNING JAZZ IMPROVISATION LEARNING ENVIRONMENT FOR MIDDLE SCHOOL INSTRUMENTALISTS By SARA E. MARINO A dissertation submitted to the Graduate School of Education Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Education Graduate Program in Design of Learning Environments written under the direction of ________________________ Dr. Clark A. Chinn ________________________ Dr. Angela M. O’Donnell ________________________ Dr. Stephanie Cronenberg New Brunswick, New Jersey May 2019 ©2019 Sara E. Marino ALL RIGHTS RESERVED ii Abstract In the last century, the practice of improvisation has distinguished jazz and set it apart from other musical genres and their performance practices (Azzara, 2002; Coker, 1978). Despite available resources, improvisation’s role in the National Core Arts Standards (NCCAS, 2014), and jazz’s significance in school music programs (Azzara, 2002; Sarath, 2002; Watson, 2010), inconsistencies in music improvisation education have persisted. To explain deficiencies in improvisation education, researchers have proposed a lack of teacher experience (Alexander, 2012; Azzara, 1999) and a need for greater pre-service teacher preparation (Watson, 2010; West, 2015). Educators and music students may therefore benefit from research-based best practices for teaching jazz improvisation. Existing research has studied the effectiveness of jazz improvisation instruction in general (e.g., Bash, 1983; Coy, 1989; Watson, 2010) and which personal characteristics predict positive outcomes (e.g., Ciorba, 2009; Madura, 1996; May, 2003). Future research should investigate which methods are most effective (Azzara, 2002; Bowman, 1988; May, 2003) and at which stages of musical development (Azzara, 2002; Bowman, 1988; Kratus, 1995). The purpose of this design-based, sequential explanatory mixed methods study, was to investigate if and how four critical features of a beginning jazz improvisation learning environment affected outcomes for middle school instrumentalists, including whether one of two instructional sequences better supported outcomes. The learning environment was designed to support achievement, self-assessment, self-efficacy, and motivation outcomes. Over 12 weeks, 5th-8th grade instrumentalists (n=43) at two sites studied jazz improvisation in 6 jazz combos, which were divided into Groups A and B. The design features of the learning environment were consistent between groups; the two conditions differed by harmonic form instructional sequences. Quantitative data for all outcomes was collected pre-, iii mid-, and post-instruction, and all instruction was video recorded. Primary findings showed: (a) a significant effect on all measured outcomes over time, not only for the 12-week duration of the instructional period but even in the first 6 weeks; (b) no significant differences between conditions for any outcomes; (c) a significant interaction between assessed task and achievement; (d) minimal significant relationships among outcomes; (e) evidence of how design features acted as sources of positive outcomes. iv DEDICATION To my mother, Patricia, and my father, Louis, who instilled in me a love for learning at an early age, and who drove me to band practice many, many times. To my sister, Kathryn, for her love and support, and for always understanding when I had to “work on my paper.” v ACKNOWLEDGEMENTS I would like to first and foremost thank my dissertation committee. Thank you to Dr. Clark A. Chinn, who spent countless hours guiding me through this process, provided thoughtful and invaluable feedback, and inspired me to pursue this investigation farther than I had imagined when it began. Thank you to Dr. Angela M. O’Donnell, who I was lucky enough to have for two graduate courses at the GSE and whose expertise and feedback I value very much. Thank you to Dr. Stephanie Cronenberg for offering support and guidance even before she agreed to join my committee, and for making me feel a part of the music community at Rutgers. Thank you also to the other professors at the Rutgers GSE who supported and encouraged me during my coursework. The GSE is truly a special place, and I am grateful for both what I learned there and the people that I met. A special thank you to my cohort and dissertation group. The coursework and the dissertation experience were more meaningful because we went through them together. Thank you to my music students, whose love of learning and music make me want to be a better teacher. Finally, I would like to acknowledge Dr. Mary Kate Newell, Dr. William L. Grillo, Mx. Mel Chayette, and Mr. John Lebitsch, music education colleagues who sustained me professionally and personally during the time I was planning and implementing this study. vi TABLE OF CONTENTS ABSTRACT .................................................................................................................................. iii DEDICATION .............................................................................................................................. v ACKNOWLEDGEMENTS .......................................................................................................... vi LIST OF TABLES ........................................................................................................................ x LIST OF FIGURES ...................................................................................................................... xii CHAPTER 1. INTRODUCTION ............................................................................................................ 1 Problem ...................................................................................................................... 2 Purpose ........................................................................................................................ 9 Achievement ......................................................................................................... 10 Self-Assessment .................................................................................................... 11 Self-Efficacy ......................................................................................................... 11 Motivation ............................................................................................................. 13 Rationale for Measuring All Four Outcomes........................................................ 15 Middle School Instrumental Beginning Jazz Improvisation Learning Environment . 16 Embodiment: Design Features .............................................................................. 18 Questions..................................................................................................................... 33 2. REVIEW OF LITERATURE ........................................................................................... 34 Harmonic Forms ........................................................................................................ 36 Published Methods ................................................................................................ 37 Choices in Research .............................................................................................. 39 Harmonic Improvisation Readiness ...................................................................... 40 Student Characteristics and Contexts.......................................................................... 42 Musical Aptitude ................................................................................................... 42 Jazz Theory Knowledge ........................................................................................ 44 Self-Efficacy ......................................................................................................... 46 Motivation ............................................................................................................. 50 vii 3. METHODOLOGY ........................................................................................................... 57 Sample ........................................................................................................................ 59 Recruiting .............................................................................................................. 59 Selection ................................................................................................................ 60 Organization .......................................................................................................... 62 Sites ....................................................................................................................... 65 Data Collection ........................................................................................................... 66 Achievement ......................................................................................................... 69 Self-Assessment .................................................................................................... 75 Self-Efficacy ......................................................................................................... 75 Motivation ............................................................................................................. 76 Learning Environment .......................................................................................... 78 Data Analysis .............................................................................................................
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