Javascript must be enabled to continue!
Relationships among Vocal Jazz Improvisation Achievement, Jazz Theory Knowledge, Imitative Ability, Musical Experience, Creativity, and Gender
View through CrossRef
The purpose of this study was to investigate relationships among various aspects of vocal jazz improvisation achievement and several predictor variables. Subjects included 101 college students enrolled in vocal jazz courses. The aspects of vocal jazz improvisation achievement that were measured included 18 tonal, rhythmic, and expressive items. Subjects performed two vocal jazz improvisation tasks, a blues, and a ü-V7-I progression. The independent variables included jazz theory knowledge, imitative ability, jazz experience, instrumental lessons, voice lessons, gender, and general creativity. The major findings of this study were as follows: (a) the best order of predictors of the blues task was jazz theory knowledge, jazz experience, and imitative ability; (b) the best order of predictors of the ü-V7-I task was imitative ability, jazz theory knowledge, and jazz experience; (c) the best order of predictors of the composite improvisation tasks were jazz theory knowledge, imitative ability, and jazz experience; and (d) instrumental lessons, voice lessons, gender, and general creativity were not found to be significant predictors of vocal jazz improvisation achievement.
Title: Relationships among Vocal Jazz Improvisation Achievement, Jazz Theory Knowledge, Imitative Ability, Musical Experience, Creativity, and Gender
Description:
The purpose of this study was to investigate relationships among various aspects of vocal jazz improvisation achievement and several predictor variables.
Subjects included 101 college students enrolled in vocal jazz courses.
The aspects of vocal jazz improvisation achievement that were measured included 18 tonal, rhythmic, and expressive items.
Subjects performed two vocal jazz improvisation tasks, a blues, and a ü-V7-I progression.
The independent variables included jazz theory knowledge, imitative ability, jazz experience, instrumental lessons, voice lessons, gender, and general creativity.
The major findings of this study were as follows: (a) the best order of predictors of the blues task was jazz theory knowledge, jazz experience, and imitative ability; (b) the best order of predictors of the ü-V7-I task was imitative ability, jazz theory knowledge, and jazz experience; (c) the best order of predictors of the composite improvisation tasks were jazz theory knowledge, imitative ability, and jazz experience; and (d) instrumental lessons, voice lessons, gender, and general creativity were not found to be significant predictors of vocal jazz improvisation achievement.
Related Results
Practice research in free improvisation
Practice research in free improvisation
This article focuses on interaction processes during the performance of free improvisation in the jazz idiom, and their correlation to the construction of individual musical identi...
Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory (Part 1)
Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory (Part 1)
Abstract
How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians ha...
Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory (Part 2)
Learning Jazz Language by Aural Imitation: A Usage-Based Communicative Jazz Theory (Part 2)
Abstract
How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians ha...
Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act
Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act
Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art for...
Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival
Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival
This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the recep...
Game Theory in Business Ethics: Bad Ideology or Bad Press?
Game Theory in Business Ethics: Bad Ideology or Bad Press?
Solomon’s article and Binmore’s response exemplify a standard exchange between the game theorist and those critical of applying game theory to ethics. The critic of game theory lis...
Octahedral Creativity Framework
Octahedral Creativity Framework
Abstract
Currently, Rhodes’ 4p framework of creativity is the most widely accepted framework to understand creativity. In spite of this, there are many new theories ...
Recent Results
Edinburgh, Romanticism and the National Gallery of Scotland
Edinburgh, Romanticism and the National Gallery of Scotland
An explanation for the formation of the National Gallery of Scotland is proposed which affirms the priority of local conditions of cultural production. In the absence of a fecund t...
Hat with Feathers and Human Hair
Hat with Feathers and Human Hair
Camelid hair cotton human hair feathers fiber, Peru; south coast (?)...