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Essay / Research Paper Abstract
A 25 page research paper that examines the topic of jazz education, and, specifically, jazz education in Korea. The writer discusses what jazz is; the nature of jazz education; the place and meaning of jazz in Korea; jazz education in the US (with specific descriptions of curricula); and jazz in Japan before concluding with recommendations and suggestions for jazz pedagogy and instruction. Bibliography lists 22 sources.
Page Count:
25 pages (~225 words per page)
File: D0_khjazkor.rtf
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distortions of pitch and timbre" (West, 2006). It has also been defined as an "improvisational, Afro-American musical idiom," which combines features the features of African rhythm and melody with harmonic
traditions borrowed from European music (Machlis, 1970, p. 413). However, while jazz borrows from European tradition, it is also true that it has developed its own harmonic patterns and idioms
(Machlis, 1970). While jazz has been defined in this manner, West (2006) points out that different jazz musicians, listeners and scholars will all offer different answers to the question "What
is jazz?" This is because jazz is a living arm form that continues to change, grow and evolve (West, 2006). For example, consider the history of different jazz idioms.
Charlie Bird developed bebop to its "logical conclusion" (West, 2006). In the 1960s, jazz musicians began introducing elements from rhythm and blues (R&B) into their playing and Miles Davis and
Ornette Coleman created the concepts of "modal playing and free jazz" (West, 2006). Nevertheless, despite variations in how to define jazz, there are certain facts about jazz history that are
conclusive. For example, there is consensus that jazz is "Americas only original living art form" and that jazz relies heavily on the art of improvisation (West, 2006). Prior
to the advent of jazz, improvisation was an integral part of European music, as the improvisational skills of such composers as Bach, Mozart and Beethoven are well known (Machlis, 1970).
However, in the European tradition, improvisation typically only involved one musician. In jazz, on the other hand, once certain common parameters are established, such as harmonic sequence, tempo, etc., four
or more jazz musicians frequently improvise at the same time (Machlis, 1970). Jazz began in the back streets of New Orleans, as an African American idiom, which some scholars
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