A SURVEY OF CURRENT ELEMENTARY AND MIDDLE SCHOOL JAZZ EDUCATION CURRICULUMS by ERIC MCLAUGHLIN A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ ___________________________________ Newark, New Jersey May 2017 © 2017 Eric McLaughlin ALL RIGHTS RESERVED ABSTRACT OF THE THESIS A Survey of Current Elementary and Middle School Jazz Education Curriculums By ERIC McLAUGHLIN Thesis Director: Dr. Henry Martin This thesis aims to explore the history of jazz curriculums in the United States, as well as current curriculums that are being used, or are available for use in the elementary and middle school general music classes today. The main focus will concern jazz appreciation and history. The recorded history of jazz in schools dates back to the late 1920’s and early 1930’s in the form of critic reviews and the infancy of collegiate ensembles. In the 1940’s and 1950’s, jazz education sprawls out even further with the introduction and production of supporting materials as well as recognition in schools. Throughout the last 80 years of music education at the elementary and middle school level, different methodologies and processes have been developed and applied in the classroom including the teachings of Kodály, Orff-Schulwerk, Gordon, Dalcroze, and Suzuki. These methods will be briefly examined and examples drawn for use in jazz curriculums. Two current major organizations in the jazz education world will then be discussed as well as their contributions to a cohesive jazz curriculum. New projects by both the Thelonious Monk Institute of Jazz and Jazz at Lincoln Center will be the focus. ii A survey was conducted by the author of 365 New Jersey music educators who teach in the elementary and/or middle school settings. The results will be analyzed and conclusions drawn based upon the survey responses. The participants answered ten questions based on their experience with jazz, materials they use, their training, and thoughts they have for improvement. A wide range of responses and opinions was graciously collected and will help serve to identify strengths and weaknesses within the current jazz education system. Finally, supplemental instructional materials for the teaching of jazz in the classroom will be looked at. These include children’s books, listening activities, thoughts, and other materials that help create a cohesive and accessible jazz curriculum for both teachers and students. iii PREFACE What should be incorporated into a jazz curriculum? When should students first start being exposed to jazz in the public school? How does one go about introducing the famous personalities, styles, instruments, and relevant historical background? Is there an appropriate sequence to introduce the material properly? The above questions were essential in formulating this thesis, and for many music educators, they still stand to be answered. This thesis aims to shed light on certain pedagogical aspects of jazz education in public schools. This includes jazz curriculums and history, as well as a brief look at the historical roles of ensembles and improvisation, respectively. Many educators claim to be afraid to teach improvisation or about jazz in general due to lack of experience or knowledge in the subject matter. Though this author received jazz training throughout the undergraduate experience, it is found to be something that is achievable and approachable by all. The genre is too valuable to American society and history to not be taught in American public schools. The connections between jazz music and American history are innumerable. The goals here will not be to examine the improvisational aspect of jazz, as that has already been covered by other authors. Instead, the development, history, and functionality of jazz curriculums will be examined as well as their respective impacts. In addition, a survey of 395 New Jersey music educators was conducted and the results vary amongst respondents on topics in the spectrum of jazz education. Those results will be analyzed and the most useful data presented, allowing the author to draw conclusions and make recommendations. iv ACKNOWLEDGMENTS There are many people to acknowledge for their continuing support and assistance to me throughout this process and musical career. Thank you to Dr. Henry Martin, who made my experience at Rutgers-Newark both fruitful and inspiring. Also, thank you to Dr. Lewis Porter, Evan Spring, and Dr. John Wriggle for their support during my studies at this institution. I am very appreciative of my two interviewees: Sharon Burch and Dr. J. B. Dyas. Thank you for sharing your time, passion, and experience with me. My family has always been supportive of my educational endeavors and I graciously thank them. Thank you Vicki for your continuing support, and Tim Sidley for your editing assistance. I would not have pursued music, and jazz more specifically, if it were not for my high school music teacher and good friend, Alan Abraham. Along with the late June Weiss, both of you helped me find my true passion in music and education, along with the love of jazz. v TABLE OF CONTENTS Abstract ............................................................................................................................ii Preface ..............................................................................................................................iv Acknowledgments ............................................................................................................v Chapter 1: The History of Jazz Education in America ....................................................1 Chapter 2: Elementary and Middle School Learning Methods and Processes: Their Application to Jazz Education ............................................................ 10 Chapter 3: Jazz Curriculums .......................................................................................... 22 Chapter 4: Survey Results from New Jersey Music Educators ..................................... 35 Chapter 5: Supplemental Jazz Education Materials ....................................................... 44 Chapter 6: Conclusions .................................................................................................. 52 Bibliography .................................................................................................................. 54 Discography ................................................................................................................... 62 Appendix A: Jazz Education Survey Results ................................................................. 65 Appendix B: Interview with Sharon Burch ..................................................................124 Appendix C: Interview with Dr. J.B. Dyas ...................................................................140 Appendix D: Other Supplemental Resources ...............................................................150 vi 1 Chapter 1 An Early History of Jazz Education in America Jazz education in public schools, from its inception in the 1930’s, has seen a slow rise to its current stature in today’s society. This is referring to classroom instruction in history, styles, musicians, and improvisation, not ensembles. There were many who received it enthusiastically, while others did not see the need for studying this art form, which was considered to be ‘low class.’ The Thelonious Monk Institute of Jazz notes that “during the 1930s - 1950s, jazz often came under attack in music education texts and journals because it was thought to have a degenerative effect on school music.”1 Major American universities such as Alabama State Normal School saw the earliest additions of jazz to their curriculums and the idea eventually trickled down into the public schools. There were also a few early books published by select educators that began to explain the concepts of jazz, including Ben Harney’s Rag Time Instructor, published in 1897. Robert Griffin’s 1932 history Aux Frontieres Du Jazz and Milwaukee teacher Nobert Bleihoff’s 1935 text Modern Arranging and Orchestration are more primitive examples of the beginnings of jazz texts, according to renowned jazz educator David Baker. Magazines such as Metronome and Downbeat also started publishing columns on jazz education in the 1930’s. The earliest records of jazz pedagogy mark it as an aural art, which strongly correlates it with all the elementary music methods and processes to follow in the next 1 “Jazz Education: History of Jazz Education, a Brief Outline,” Jazz In America. http://www.jazzinamerica.org/JazzResources/JazzEducation/Page. Accessed 25 August 2016. 2 chapter. Skills and concepts were acquired by ear and students had to perform “purposeful rote memorization of key aspects of the style,” since there were no textbooks or methods of instruction.2 Those issues then lead to many musicians being self-taught or taught ‘on the job.’ ‘Cutting contests’ are a prime example, which were held throughout the late teens and 1920’s. These were organized mini performances, typically at rent parties held in Harlem, New York. In order to raise the month’s rent, a tenant would host a “rent party” in his/her apartment and charge admission. This was an ideal place for stride pianists such as Fats Waller and Willie “The Lion” Smith