In Your Own Sweet Way A study of tertiary jazz pianists’ individualised approaches to practice and performance Volume 1 Thesis Daniel Anthony Gough B Mus (Hons Class 1), Grad Dip Ed A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music The University of Sydney 2018 ii Declaration This is to certify that to the best of my knowledge the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Name: Daniel A. Gough Date: September 30, 2018 iii Abstract Set out in three volumes (Vol. 1 Thesis, Vol. 2 Transcriptions, Vol. 3 Appendices) and engaging the history of jazz transmission, this study investigates the ways aspiring jazz pianists practise in order to develop their own personal voice or musical identity, the supreme goal of the jazz musician. To date, this process has not been well served by research. It is commonly held that being an improvisational art form, jazz cannot be taught, at least not in a conventional way, and that jazz musicians search out for themselves what they wish to learn and who they wish to learn it from. When around the middle of last century jazz instruction began to move from the street and club to the formal institution, many experts became alarmed that this would have a homogenising effect on the music. Jazz had become highly technically developed, and it became clear that the jazz learner faced a “problem” of how to balance the acquisition of the knowledge and technical means to express oneself while being able to find one’s own unique way of playing it. Thus it appears that a jazz musician’s identity is ultimately grounded in his or her practice routines, and yet there is no clear approach or pathway to reach this artistic goal. According to jazz experts the guiding principles are individuality, musical responsibility, intuition, self-discovery, agency and autonomy, and creativity. In order to address how the emerging professional (as distinct from the seasoned expert) works towards establishing an individual voice, the study set out to observe, analyse, and compare the practice and performance of eight pianists enrolled in the well-established jazz performance program at the Sydney Conservatorium of Music in Australia. A “fly-on-the-wall” approach was employed, whereby over the course of a single week the participants recorded themselves practising the standards “In Your Own Sweet Way” and “Oleo”. Subsequently, each participant met with the researcher, who recorded them performing the pieces, and interviewed them about their background, influences, and approaches to achieving their musical goals. The data were transcribed and coded according to what the study terms Modes of Jazz Practice, Jazz Practising Concepts, and Practising Strategies. From analysis it began to emerge that the participants’ approaches to practising ranged from the spontaneous and intuitive to the more structured and systematic. In short, the pianists addressed a set of “Modes” familiar to jazz musicians and dedicated iv themselves to the exploration of particular “Concepts” while implementing various “Strategies”. Throughout, they engaged with ideas and exercises derived from an eclectic range of sources, such as method books, recordings, smart phone apps, and websites. The study concludes that while approaches to practising have to an extent become standardised, they are at the same time highly individualised. That is, they are developed according to the preferences and vision of each musician, in her or his “own sweet way”. To my loving soul mate Klara and amazing mother Margaret Two of the most influential people in my life This thesis is proudly dedicated to you With love always, Daniel vi Acknowledgements It has been a privilege and honour to be given the opportunity to study with skilled and knowledgeable supervisors, whom I deeply respect and admire. First and foremost, I would like to express my gratitude to my supervisor Dr Michael Webb. Thank you for your expert advice, constructive criticism, good humour and genuine love for the subject. Thank you for the countless meetings, late night phone calls, invaluable discussions over many coffees, and dedication to assisting me in strengthening the thesis. I wish to express my deep appreciation to my auxiliary supervisor Dr Kevin Hunt, for his calming influence, expert musicianship and invaluable and profound knowledge of jazz piano. Thank you for investing passion and enthusiasm into my research, which always left me feeling inspired in so many ways. Thank you both for your encouragement and for giving me the confidence to realise the potential worth of this work to the jazz community. Without your leadership, perseverance, honesty, continuous emails, and highly valued friendship, this thesis would not have come to full fruition. I would like to express a special thank you to Mona-Lynn Courteau for her assistance in editing Chapter 2 Review of literature and for formatting the thesis. Your assistance during the final stages of this thesis has been crucial and greatly appreciated. Thanks also to Dr Michael Webb for his editorial assistance in the final stages of writing. I wish to extend my sincere gratitude to the dedicated musicians who participated in this study, listed here in no particular order: Sean, Linus, Matthew, Wilbur, Amanda, David, Felix, and William. Without your enormous contribution, participation and assistance, this thesis definitely would not have been possible! I am most grateful to the Sydney Conservatorium of Music for providing me with a wealth of research opportunities, conference experiences, and for granting me an Australian Postgraduate Award (APA) scholarship. Special appreciation is extended to the Dean, Professor Anna Reid. I appreciate your generosity in allowing me to conduct the research and for the opportunity to prove that this study was a worthwhile undertaking. Thank you for believing in me and having the confidence in giving my research the green light. Many thanks also to Senior Lecturer in Jazz Studies, Craig Scott, for his assistance with initiating the recruitment of the participants for the study, and to Dr Helen Mitchell for her preliminary guidance vii during the early stages of this project. Thanks to the staff at the Sydney Conservatorium of Music library, in particular Ludwig Sugiri for his assistance with referencing. I would like to make special mention of my family and friends for their encouragement and support and for putting up with my delirious ups and disastrous downs. To Matthew, for his sense of passion, genuine enthusiasm and brotherly musicianship. To Stephen, for his influential advice in pursuing doctoral studies. No words can express the level of gratitude I have for Klara, my melody, my rock, my soul mate, whom I deeply adore. Your constant encouragement, patience, love and support throughout these years have been nothing short of amazing, and I definitely couldn’t have done this without you! You mean the world to me and inspire me every day. Thank you for your comfort, your amazing level of musicianship, for continuously finding a solution, and for tirelessly acting as my “third supervisor”. Thank you for your assistance with the editing and drafting, and for being brutally honest with me when I needed it. Your opinion matters so much to me and I am eternally grateful to have had your help and encouragement every step of the way. The amazing assistance you have provided me throughout this entire thesis is a testament to who you are as a person. You have truly gone above and beyond. I love you immensely and unconditionally! As the sweet melody of your violin sings a beautiful adagio The harmony of my piano will support you forever as an ostinato On… and on… and on… Finally, words cannot express the level of appreciation and admiration I have for my amazing and supportive mother, Margaret. Thank you for giving me the courage and inspiration to undertake this research and for helping me cross the finish line. Without your support and guidance, I wouldn’t have found myself writing, or even considering a PhD. On a deeper level, as a mother you have taught me so much about life. Thank you for being such an inspiring role model and for helping me realise who I am as a person, in my “own sweet way”. Thank you for nurturing my gifts as a musician and educator, for which I will always be grateful! Thank you for your contagious positivity, laughter and for continually reminding me throughout my studies that “hope springs eternal”. You have truly surpassed what is expected of a viii mother and I am grateful for your continuous love, support and encouragement. Thank you from the bottom of my heart! Music is a life changing force that teaches us, connects us and enriches us. At various levels it is about sharing or communicating, whether a composer sharing a creative view of their world, or a performer inviting us to listen in on their own individual musical journey. As a music educator, my goals are to encourage students to reach their true potential and to support and inspire others to be committed and motivated. I enjoy discovering new and exciting ways to help students achieve their potential, and I believe there is nothing better than sharing the joy of students who discover their own connection with music. For students,