Jazz Improvisation: Differentiating Vocalists Author Hargreaves, Wendy Louise Published 2014 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/655 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366673 Griffith Research Online https://research-repository.griffith.edu.au Jazz Improvisation: Differentiating Vocalists Wendy Louise Hargreaves Bachelor of Arts (Music) Graduate Diploma of Education Master of Music Queensland Conservatorium Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy August 2013 ABSTRACT Improvising jazz musicians have long observed that vocalists differ from instrumentalists. A formal acknowledgement of differences has not yet pervaded jazz education. Little, if any, accommodation is made for the unique attributes of voice students. Instead singers are instructed to act more like instrumentalists in order to correct a perceived lag in vocal jazz improvisation achievement. The approach fails to recognise that giving vocalists and instrumentalists the same tuition is unlikely to produce the same results when fundamental differences exist prior to instruction. A thorough exploration of the vocalist’s characteristics must precede any logical attempt to address the imbalance in achievement outcome. Consequently, this thesis addressed the research question, “How do improvising jazz vocalists differ significantly from their instrumental counterparts?” The research began by examining and collating the wealth of existing citations of differences found in literature. Thirty-seven perceived differentiations of vocalists were identified and used to provide a preliminary benchmark for the investigation. A two-phase mixed methods study was then designed to explore the nature of each differentiation. Phase one employed a quantitative, anonymous, online survey of 209 Australian jazz vocalists and instrumentalists, investigating their perceptions and experiences of jazz performance and education. The computer program PASW was used to conduct chi square analysis of the datum to determine statistically significant differences. In phase two, 22 qualitative interviews were conducted with Australian jazz vocal performers and/or jazz educators in Australian tertiary institutions. The computer program NVivo was used to assist the organisation of data for thematic analysis by the researcher. A side-by-side presentation of quantitative and qualitative data facilitated comparison and enabled clarity in identifying congruency in the findings. Discussion integrated results and extrapolated meaning. The study found that vocalists differ significantly from instrumentalists in five primary categories: 1) Motor feedback, 2) verbal capability, 3) embodiment, 4) music learning experiences, and 5) role. Within the primary categories, several subcategories were also identified. Differences were experienced in motor feedback in its utilisation, the role of audiation and conceptualising pitch. The verbal capability of singers created unique experiences in relinquishing lyrics and implementing scat syllables. The housing of the vocal apparatus inside a human body created experiences of the organic instrument, personal representation and a performer-audience relationship expectation. Music learning experiences brought to the foreground differences in familiarity with referents and procedures, approaches to self-directed music practice and opportunities to develop improvising skills. The perceived role of jazz vocalists distinguished singers as experiencing more emphasis on the role of performer and less emphasis on the role of improviser. Additionally, some subcategories in the findings were shown to interconnect with those from other primary categories. This thesis makes a significant contribution to jazz education by responding to the demand by researchers for knowledge on the differences between improvising jazz vocalists and instrumentalists. It dispels the faulty assumption that vocalists are the same in nature as instrumentalists and provides evidence of how the unique attributes of singers distinguishes them as a distinct subgroup of jazz musicians. This understanding is essential before any reasonable attempt can be made to address the perceived lag in vocal jazz improvisation achievement. From this foundation, future researchers can independently test each attribute for scope and impact and then build upon them educational programs and resources that are more appropriate for jazz vocal improvisation students. TABLE OF CONTENTS Chapter 1: Introduction “Begin the Beguine” .......................................................... 1 The purpose of the research ............................................................................... 4 An overview of the study .................................................................................... 5 Delimitations ....................................................................................................... 7 Structural outline of the thesis ........................................................................... 8 The significance of the study .............................................................................. 10 Conclusion ........................................................................................................... 12 Chapter 2: Literature Review “What’s New?” ......................................................... 13 Establishing foundational concepts ................................................................... 14 What is jazz? .............................................................................................. 14 Construct one: Jazz improvisation ............................................................. 15 Construct two: Jazz musicians ................................................................... 20 Premise: There is a difference in achievement between improvising jazz vocalists and instrumentalists ......................................................... 23 Reviewing the context........................................................................................ 27 Jazz research literature .............................................................................. 27 Jazz education literature ........................................................................... 42 Jazz professional practice literature .......................................................... 53 Theoretical frameworks ............................................................................ 61 Summary of reviewing the context ........................................................... 66 Collation of the perceived differences between vocalists and instrumentalists ....... 66 Chapter summary .............................................................................................. 70 Chapter 3: Methodology “’Tain’t What You Do It’s the Way that You Do It” ...... 71 Methodology selection and rationale ............................................................... 72 Research design .................................................................................................. 75 Survey instrument ..................................................................................... 77 Interview instrument ................................................................................. 81 Interviewees .............................................................................................. 86 Presentation of the findings .............................................................................. 88 Chapter summary ............................................................................................... 93 Chapter 4: Findings on Motor Feedback “Do Nothing ‘Til You Hear from Me” ... 95 Utilising motor feedback .................................................................................... 95 The difference in utilising motor feedback ............................................... 95 The experience of the difference in utilising motor feedback .................. 98 Section summary: Utilising motor feedback ............................................. 104 The role of audiation .......................................................................................... 106 The difference in the role of audiation ..................................................... 106 The experience of the difference in the role of audiation ........................ 107 Section summary: The role of audiation ................................................... 117 Conceptualising pitch ......................................................................................... 120 The difference in conceptualising pitch .................................................... 120 The experience of the difference in conceptualising pitch ....................... 122 Section summary: Conceptualising pitch .................................................. 131 Pedagogical implications of the difference of motor feedback ....................... 134 Chapter summary ............................................................................................... 135 Chapter 5: Findings on Verbal Capability “Too Marvelous for Words” ............ 138 Relinquishing lyrics ............................................................................................. 138 The difference of relinquishing lyrics .......................................................