Running Head: ESTABLISHING A HIGH SCHOOL VOCAL JAZZ ... · a high school vocal jazz ensemble. The...

Running Head: ESTABLISHING A HIGH SCHOOL VOCAL JAZZ ENSEMBLE 1

ESTABLISHNG A HIGH SCHOOL VOCAL JAZZ ENSEMBLE,

A NINE WEEK CURRICULUM

ELIZABETH M. STEWART

SUPERVISORY COMMITTEE

DR. TIMOTHY S. BROPHY, CHAIR

DR. RICHARD S. WEBB, COMMITTEE MEMBER

A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT

OF THE REQUIRMENTS FOR THE DEGREE OF

MASTER OF MUSIC

2016

ESTABLISHING A HIGH SCHOOL VOCAL JAZZ ENSEMBLE 2

ABSTRACT

The purpose of this Capstone project was to design of a curricular unit for the first nine weeks of

a high school vocal jazz ensemble. The curriculum content is presented through unit studies that

provide fundamental knowledge and introduce basic skills for successful jazz performance. The

curriculum includes sample lesson plans and activities designed to engage students in the idioms

of vocal jazz through sequenced experiences. The curriculum aligns with the National Core Arts

Standards for Music as well as Florida’s Next Generation Sunshine State Standards. Student

learning is measured by various assessment tools, including the NAfME Model Cornerstone

Assessments for creating, performing and responding to music.


ACKNOWLEDGEMENTS

Thank for to my family for your continued support during the course of this project, especially

my husband, Robert Stewart. Your uncompromising love and support goes above and beyond

my expectations. Thank you for working overtime to make it possible for me to attend the

University of Florida and fulfill my goal of attaining a Master’s degree in Music Education.

Thank you Dr. Timothy S. Brophy for your patience and guidance throughout the process of this

Capstone project. I have gained a tremendous amount of knowledge and insight through your

guidance which is extremely valuable to me as a music educator. Lastly, thank you to Dr.

Richard S. Webb for your guidance and direction as well. I am honored to have learned from

both of you.


TABLE OF CONTENTS

Abstract……………………………………………………………………...………..……2

Acknowledgements…………….……………………………………………….…………..3

Purpose…………………………………………………………………………….….……6

Review of Literature…………………………………….…………………….…….……...8

Bloom’s Taxonomy………….…………………………………………….………..9

Webb’s Depth of Knowledge………….……………………………………...……10

Common Core…………………………………………………………….....……..11

National Core Arts Standards …….………...…………………………………..….12

Next Generation Sunshine State Standards (Florida)…….……………………...…13

Hillsborough County High School Choral Directors Curriculum Map (Tampa)......14

Standards Crosswalks…………………………………………………………...….16

Creativity……………………………………………………………...…...……….18

Comparing the technical aspects of traditional and vocal jazz ensemble singing.... 22

Stylistic considerations of vocal jazz…………………………….……………...….24

Pedagogy…………………………………...………………………………..….….27

Vocal Jazz Pedagogical Content Knowledge…………..………...……………..….27

Methodology…………………………………………………………………………..……28


Curriculum and Assessment……………….…...……………………………………….….30

Presentation of Curriculum…………………………….……………………………….….31

References……………………………………………………...…………………….…….34

Curriculum Outline…….…………………………………………………………….……..37

Instruction Guide………………………………………………………………………...…39

Unit Overviews………………………………………………………………………..……44

Vocal Improvisation Unit Design……………………………………………………..……46

Sample lesson plan: Introduction to Vocal improvisation………...………....….…48

Sample lesson plan: Melodic Embellishments………………………...……..….…49

Performance preparation for Vocal Jazz Solos Unit Design……………………….....…….50

Sample lesson plan: Text analysis………………………………...…………...……53

Sample lesson plan: Melodic Variations………………………………….……..….55

Appendices

National Music Standards (NAfME)…………………………………….………….57

Hillsborough County High School Choral Directors Curriculum Map……….…….61

Florida Vocal Association Music Performance Assessment Rubrics…………….…63

Music Depth of Knowledge Stem Questions……….………………………….……67


ESTABLISHING A HIGH SCHOOL VOCAL JAZZ ENSEMBLE

Traditional high school band programs offer a variety of instrumental ensembles for band

students including marching band, concert band and jazz band. Each embraces its own genre of

music, diversifying the development of student performance skills (including improvisation) on

their instruments. High school choral programs, however, are more limited because the focus is

predominantly on more traditional choral ensembles, sometimes including a vocal jazz ensemble.

Although choral directors engage their students in singing jazz literature, the approach to jazz is

traditional in nature and their experience with vocal improvisation are limited (Freer, 2010).

University and college graduates in vocal music education acquire extensive knowledge of the

traditional elements of music such as choral conducting, music history, and music theory with

virtually no knowledge or experience in vocal jazz (Lyons, 2009). Many choral educators feel

unprepared to teach improvisatory skills due to their lack of pre-service training in the idioms of

jazz and stylistic approaches that clearly differ from the more traditional approach to singing

(Ward-Steinman, 2008).

This research supports the need for vocal jazz curriculum, which I have addressed in this

project by developing a research and standards based nine-week curriculum for choral directors.

The curriculum includes three components of study that address core concepts and skills relevant

to vocal jazz performance. The units incorporate a brief overview of vocal jazz history and

instruction to the basic rhythms, harmonies and scales often utilized in vocal improvisation.

Additionally, the curriculum addresses vocal technique, development of improvisatory skills, and

the stylistic considerations of vocal jazz applicable to solo and ensemble performance.


PURPOSE

The purpose of this project was to develop a standards based curriculum for the first nine-

weeks of a high school level vocal jazz ensemble. In 2014, the National Coalition for Core Arts

Standards revised the national arts standards and clarified expectations in arts education

(National Association for Music Education, 2016). The core music standards are designed to

engage music students in the four processes of creating, performing, responding to music. The

standards provide a conceptual framework within which teachers can design curriculum that

integrates the core standards of music into their instruction. In this project, I examined the

National Core Arts Standards for traditional and emerging ensembles, Florida’s Next Generation

Sunshine State Standards (Florida State University, 2016) and the Hillsborough County

curriculum map specific to high school level ensembles. The standards provide a framework for

designing instructional outcomes in the nine- week vocal jazz curriculum.

ESSENTIAL QUESTIONS

1. Which music standards are central to the design of a high school vocal jazz

curriculum?

2. What are the similarities and differences in traditional and vocal jazz singing with

regard to vocal technique?

3. What are effective methodologies of teaching vocal jazz style and engaging

students’ vocal improvisation?

4. How do these methods of vocal jazz instruction lead to student achievement of the

standards?


5. What are effective methods of assessment for students in a vocal jazz ensemble?

REVIEW OF LITERATURE

Curriculum developers must work within the policies established in response to relevant

education laws passed by Congress that stipulate federal oversight of basic programs operated by

state and local education agencies. Fifty years ago President Lyndon B. Johnson signed into law

the Elementary and Secondary Education Act (ESEA, 1965) which established a commitment to

equal educational opportunity for all students. The law was reauthorized by George W. Bush in

2002 in a bipartisan effort known as No Child Left Behind (NCLB, 2002), which identified goals

for reducing achievement gaps identified for minority or economically disadvantaged students in

Title I schools (U.S. Department of Education, 2004). No Child Left Behind was scheduled for

revision in 2007, but the law was not revised at that time. In 2010, the Obama administration

was encouraged by stakeholders to further education reform and identified that some provisions

in NCLB were actually hindering student progress. Congress could not come to a resolution, so

the President to establish of ESEA flexibility, which allowed states, schools and educators to

develop and implement effective strategies for higher student achievement. States that received

this flexibility were required to develop and implement accountability systems for improving

educational outcomes for students who were not demonstrating growth in academic achievement

(the White House, n.d.). On December 10, 2015 President Barack Obama signed into law another

bipartisan bill known as Every Student Succeeds Act (ESSA, 2015). The President stated, "With

this bill, we reaffirm that fundamentally American ideal—that every child, regardless of race,

income, background, the zip code where they live, deserves the chance to make of their lives

what they will." (U.S. Department of Education, 2016, p. 1). This law reaffirmed the importance

of arts education in Sec. 5551 of NCLB (U.S. Department of Education, 2004) which outlined


stipulations for assistance for arts education. The new law (ESSA, 2015) describes music and the

arts as part of a ‘well-rounded education’ (National Association for Music Education, 2016). It

is therefore important to develop meaningful arts curriculum. This further supports the research

findings that evidence the degree to which engagement in the arts fosters students’ creativity and

development of critical thinking skills (Hickey & Webster, 2001). National, state and county

standards provide a framework for the development of curriculum that promotes optimal student

achievement.

Educational theorists posit frameworks of student learning that guide the development of

curriculum and assessment. Bloom (1956), developed a model for categorizing educational

objectives. Bloom’s Taxonomy of Educational Objectives (1956/2001) consisted of six major

components: (a) knowledge; (b) comprehension; (c) application; (d) analysis; (e) synthesis; and

(f) evaluation (Vanderbilt University, 2016). As education systems continued to evolve, new

perspectives emerged during the 1960s and 1970s. Educational theorist identified three domains

of human learning as cognitive (Bloom), affective (Krathwohl) and psychomotor (Harrow and

Simpson). These domains were arranged into a hierarchy ranging from the simplest functions to

the more complex, or higher order thinking (Thomas, 2005). In 2001, Krathwohl, and Anderson

(a student of Bloom’s) revised the original taxonomy created by Bloom using verbs or actions to

determine levels of learning (see Figure 1).


Figure 1: A comparison of the two versions of Bloom’s Taxonomy (Wilson, 2016)

In the revision of Blooms’ taxonomy, Krathwohl and Anderson felt it important to include

a matrix of cognitive processes ranging from concrete knowledge progressing to abstract

knowledge (Krathwohl, 2002). Figure 2 represents the conceptual framework of higher order

thinking wherein learners begin with the ability to recall information, and develop the ability to

the transfer information known as active learning (Paige, Sizemore, & Neace, 2013).

Figure 2: Knowledge dimension of Bloom’s taxonomy (adapted from Anderson and Krathwohl,

2001, p. 46)

Norman Webb (1997) conceptualized the cognitive learning process in his Depth of

Knowledge (DoK) model. While the Bloom/Anderson taxonomies present a hierarchical model

of educational objective, Webb’s model presents a hierarchy of cognitive complexity. Cognitive


complexity is a means of classifying the cognitive demands presented by standards and

curriculum (Florida Department of Education, 2012). Webb’s DoK classifies thinking at four

levels of complexity: (a) recall; (b) basic application of skill or concept; (c) strategic thinking;

and (d) extended thinking (Paige, Sizemore, & Neace, 2013). Many teachers and administrators

have found that when observing instruction, Webb’s four indicators are easier to distinguish than

the six indicators used by Bloom (Hess, 2013) (see Figure 3).

Figure 3: Webb’s Depth of Knowledge (Heidi Butkus, 2013)

Webb’s Depth of Knowledge and Common Core

The Common Core State Standards Initiative (Common Core State Standards Initiative,

2016) details what students should know and be able to do in core academic subjects upon

graduation from high school to prepare them for success in institutions of higher education as

well as the workforce. Common Core was developed by the National Governors Association

(NGA) (National Governors Association, 2011) and the Council of Chief State School Officers

(CCSSO) (Council of Chief State School Officers , 2016) and is intended to establish

consistency in state standards in English language arts (ELA) and mathematics. Common Core

places emphasis on content rigor and application of knowledge through higher order thinking


(Common Core State Standards Initiative, 2016). Higher order thinking is at the center of the

Webb model and, as a result, the Depth of Knowledge model is a framework used by educators to

estimate the cognitive demand or complexity required for students to demonstrate achievement

of the standards (Hess, 2013). While the Every Student Succeeds Act (ESSA, 2015), includes the

arts in the definition of a ‘well-rounded education', the law does not state that the arts are core

academic subjects. However, in order to reach the highest level of expectation in the arts, it is

important to frame the development of a vocal jazz curriculum to meet the expectations

described in the core arts anchors standards.

National Core Arts Standards

In 2014 a group of distinguished arts educators from five arts disciplines established the

National Coalition of Core Arts Standards. A primary purpose of this collaborative effort was to

provide clarification of common core standards achieved across all disciplines of arts education.

These standards were designed to achieve "attainment of artistic literacy, which is the knowledge

and understanding required to participate authentically in the arts" (National Association for

Music Education, 2016, p. 3). Artistic literacy includes philosophical foundations and lifelong

goals, artistic processes and creative practices, anchor and performance standards that are

measured through the model cornerstone assessments (MCAs). A visual representation of this is

illustrated in figure 4. (National Association for Music Education, 2016). The arts standards

like the common core standards focus on outcomes (McTighe & Wiggins, 2006).


Figure 4: Conceptual Framework of National Core Arts Standards

The Core Arts Standards are content specific. Each discipline has published detailed

criteria for their content in the context of Artistic Processes, Enduring Understandings, and

Essential Questions and Model Cornerstone Assessments. The National Association for Music

Education (NAfME) published the eleven music anchor standards defined in the documents

detailing different categories or music education including K-8 standards, and high school

standards for composition and theory, music technology, keyboard and guitar as well as

ensembles (National Association for Music Education, 2016). The curriculum developed for the

current project is framed within these standards. The descriptors for high school performance

standards levels are: (a) proficient (one or more years of high school study); (b) accomplished

(proficiency exceeded average performance proficiency for high school study); and (c) advanced

(preparing for collegiate study in music) (National Core Arts Standards, 2014). (see Appendix 1:

2014 National Music Standards for Performing Ensembles)


Florida’s Next Generation Sunshine State Standards

A diverse group of experts in the arts disciplines of dance, music, theatre and visual arts

drafted and updated arts standards in Florida known as the Next Generation Sunshine State

Standards (NGSSS) (Florida State University, 2016). There are forty-nine standards for music

grouped into five categories and broken down by grade level: (a) critical thinking and reflection;

(b) skills, techniques and processes; (c) organizational structure; (d) historical and global

connections; and (e) innovation, technology and future. This project incorporates the relevant

Florida standards that provide the framework for the development of vocal jazz curriculum.

The national and state standards provide the framework of knowledge and skills that

students should attain. Wiggins and McTighe (2006) recommend that standards serve as a

blueprint for curricular design. They suggest that standards be ‘unpacked’ into four broad

categories. The first is long term transfer goals; content understanding, skills and knowledge we

want our students to acquire through the curriculum. The second and third are concerned with

the essential understandings and essential questions. Understandings are knowledge students

need to transfer learning to new situations and questions which engage students in a deeper

understanding of acquired knowledge. The final category is the cornerstone task, which is a

measurement of acquired knowledge (McTighe & Wiggins, 2006).

The process of aligning national and state standards is critical in defining content

outcomes and therefore plays a key role in curriculum design. It is through the alignment of

standards that core content emerged in this project. In this project, I employed a backward

design model to connect relevant content standards to targeted outcomes. This provided a

framework in which the vocal jazz curriculum units and subsequent lessons were structured to

maximize student achievement (McTighe & Wiggins, 2006). Articulation of intended outcomes


are often detailed in a curricular maps, documents that identify skills and core content presented

through scope and sequence of instruction (Abbott, 2014). The Hillsborough county standards

for choral educators are presented in a curriculum map that emphasizes three core areas of choral

performance (a) vocal technique; (b) music literacy; and (c) ensemble skills (see Appendix 2:

Hillsborough County Public School High School Choral Director Curriculum Map).

High School Choral Music Essential Criteria in Hillsborough County, Florida

A group of skilled secondary choral directors worked collaboratively to develop a

curriculum map to help guide instruction of choral ensembles in Hillsborough County, Florida

(Tampa). The curriculum map document clearly articulates desired choral performance and

music literacy outcomes of students enrolled in choral ensembles. The curricular outcomes of

choral ensembles in this project were derived from the literacy and performance skills that are

detailed in the Florida Vocal Association (FVA) Music Performance Assessment (MPA) sight

singing and performance rubrics. (see Appendix 3: Florida Vocal Association adjudication

rubrics) The essential areas of achievement range from simple skills at the freshman level,

progressing to higher levels of complexity at the completion of the senior level. These ensemble

guidelines serve as the Hillsborough County Public School standards for vocal ensembles and

were implemented in the vocal jazz curriculum presented in this project.

The focus in this project is on the artistic processes associated with the standards that are

defined “content specific” to vocal jazz ensembles. National content standards have been clearly

defined by the National Coalition of Core Arts Standards. However, music education standards

are not consistent from state to state. Each state has its own set of music education standards.

For this project, I categorized the processes of music into creating, performing and responding.

Then I examined Florida’s Sunshine State Standards as the High School Choral Music Essential


Criteria and correlated them according to these processes. From this process, I was able to

identify specific content consistent in national, state and even county approved standards. I have

created four crosswalk examples (Tables 1-4) that align national and state standards to define the

standards that guide this curricular design. Table 1 represents the creating processes of music that

are common in National and Florida standards. Table 2 signifies performance standards that

involve the selection, analysis, interpretation, development and refinement of music that occur in

the rehearsal process. Table 3 denotes a correlation of National and county performance skills

essential to concert preparation. Table 4 represents the connection of these standards in relation

to artistic ideas and works with societal, cultural, and historical contexts to deepen

understanding.

Table 1. Crosswalk of National Core Arts Standards, National High School Core Music

Standards for Improvisation Ensembles and the Florida Next Generation Sunshine State

Standards

National Core Arts

Standards

NCCAS

National High School Core

Music Standards for

Improvisation Ensembles

(Proficient Level)

Next Generation Sunshine

State Standards

NGSSS

1. Generate and

conceptualize artistic

ideas and work.

MU:Cr1.1.E.Ia Compose

and Improvise ideas for

melodies, rhythmic passages

and arrangements for specific

purposes that reflect

characteristics of music from

a variety of historical periods

studies in rehearsal.

MU.912.O.2 The structural

rules and convention serve as

both the foundation and

departure point for creativity.

2. Organize and

develop artistic ideas

and work

MU: Cr2.1.E.Ia Select and

develop draft melodies,

rhythmic passages, and

arrangements for specific

purposes that demonstrate

understanding of

characteristics of music from

a variety of historical periods

studied in rehearsal.

MU.912.S.1.4 Arrange

musical work by

manipulating two or more

aspects of the composition or

improvisation.



Standards for Traditional and Emerging Ensembles and the Florida Next Generation Sunshine

State Standards

National Core Arts

Standards

NCCAS


Music Standards for

Traditional & Emerging

Ensembles

(Proficient Level)


State Standards

NGSSS

4. Analyze, interpret and

select work for presentation

MU: Pr4.1.E.Ia Explain the

criteria used to select a varied

repertoire to study based on

an understanding of

theoretical and structural

characteristics of music, the

technical skill of the

individual or ensemble, and

the purpose of the context of

the performance.

MU:Pr4.2.E.Ia

Demonstrate, using music

reading skills where

appropriate, how

compositional devices

employed and theoretical and

structural aspects of musical

works impact and inform

prepared of improvised

performances.

MU:Pr4.3.E.Ia Demonstrate

an understanding of context

in a varied repertoire of music

through prepared and

improvised performances,

MU.912.C.3.1 Make critical

evaluations, based on

exemplary models of the

quality and effectiveness of

performances and apply the

criteria to personal

development of music.

MU.912.O.3.2 Interpret and

perform expressive elements

indicated by the musical

score and/or the conductor.

5. Develop and refine

artistic work for

presentation.

MU:Pr5.3.E.Ia Develop

strategies to address

expressive challenges in a

varied repertoire of music,

and evaluate their success

using feedback from

ensemble peers and other

sources to refine

performances.

MU.912.C.2.1 Evaluate and

make appropriate adjustments

to personal performance in

solo and ensemble.



Standards for Traditional and Emerging Ensembles and the Hillsborough County Public Schools

High School Choral Music Essential Criteria

National Core Arts

Standards

NCCAS


Music Standards for

Traditional and Emerging

Ensembles

(Proficient Level)

Hillsborough County Public

Schools High School

Choral Music Essential

Criteria

6. Convey meaning through

the presentation of artistic

work

MU:Pr6.1.E.Ia Demonstrate

attention to technical

accuracy and expressive

qualities in prepared and

improvised performances of a

varied repertoire of music

representing diverse cultures,

styles, and genres.

MU:Pr6.1.E.Ib Demonstrate

an understanding of

expressive intent by

connecting with an audience

through prepared and

improvised performances.

The student demonstrates low

diaphragmatic breathing with

a lifted rib cage with

prompting from director.

The student demonstrates

breath energy, support and

management in his/her vocal

tone.

The student demonstrates

phonation without a glottal

attack or release with


The student demonstrates a

healthy, vibrant, resonant and

free tone that is consistently

well supported with



Standards for Traditional and Emerging Ensembles and the Florida Next Generation Sunshine

State Standards

National Core Arts

Standards

NCCAS


Music Standards for

Traditional & Emerging

Ensembles

(Proficient Level)


State Standards

NGSSS

10. Relate artistic ideas and

works with societal,

cultural, and historical

contexts to deepen

understanding.

MU:Cr1.1.E.Ia

MU:Pr6.E.Ib

MU.912.H.1.5 Analyze

music within cultures to gain

understanding of authentic

performances.


Creativity

The National Core Arts Standards are developed around the four artistic processes

common in all arts education (National Association for Music Education, 2016). These

processes include (a) creating; (b) performing; and (c) connecting as referenced in the standards

crosswalks (Tables 1-4). All processes in music involve creativity (Kratus, 1990). Music

educators must teach creative thinking in all the processes of music (Hickey & Webster, 2001).

Webster (2002) conducted extensive research on the topic of creative thinking and established a

model of the creative thinking process in music. This model describes the creative thinking

involved in the origination of a creative product in four stages. The first stage is preparation,

where the creative thinkers’ focus is on the generation of ideas or gathering materials for the final

product. The next stage, incubation, occurs when the creator contemplates a solution to the

creative problem. The subsequent stage is illumination, a period where the organization of

creative ideas take shape and concrete ideas emerge. The final stage of the creative process is

verification, where the creator brings all the ideas together to yield the creative product (Hickey

& Webster, 2001). In the arts, a creative problem is an impetus that is motivated by the need to

generate something original. This is manifested in music as (a) a composition; (b) performance

or improvisation; or (c) listening and analysis. These creative ideas involve both divergent and

convergent thinking. Creativity begins with divergent thinking, where many possibilities are

explored. This thinking process is followed by convergent thinking, the critical thinking process

where the possibilities are evaluated and refined (Sawyer, 2012). The exchange between

convergent and divergent thinking in these processes is at the core of creative thinking (Webster,

2002).


When we explore the concept of creative thinking in the context of vocal jazz, we need to

consider the artistic process of creating demonstrated through improvisation. Improvisation,

composition and arranging are all creative processes in music. Where composition of new music

and arrangement of existing literature involve improvement of the creative product,

improvisation occurs during a performance and actively engages the performer(s) in spontaneous

creative thinking (Sawyer, 2012). In the earliest recordings of instrumental jazz, improvisation

was a key component of the style, affording each member of the band the opportunity to

demonstrate virtuosity on their instrument (Starr & Waterman, 2014). As instrumental jazz

began to evolve into the swing and bebop years, improvisation remained the definitive feature of

jazz.

Understanding the organizational structure of instrumental jazz improvisation is crucial to

the generation of musical ideas for the development of vocal improvisation skills. Musical ideas

that are guided by structure and conventions of jazz would ultimately factor into musical

creativity both in spontaneous improvisation and the interpretation of ballad-style performances.

Processing and sequencing of musical ideas is essential to improvisation, the most distinguishing

characteristic of jazz (Madura, 1995). Imitation is another key element of improvisation.

Imitation is achieved when the performer selects specific melodic or rhythmic motives and

expands on the musical materials for the creation of original music. This skill requires the

performer to have well-developed aural skills through ear training. It is through the musician’s

audiation that the materials of sound are re-organized into creative improvisations. (Woody,

2012). It is through improvisation that students demonstrate divergent and convergent thinking,

as exhibited in Webster’s model of the creative thinking process in music (Hickey & Webster,

2001). Vocal improvisation originated when vocalists in a jazz orchestras would creatively


imitate the sounds and styles of instrumental solos. This was accomplished through the use of

scat syllables, nonsense vocables intended to emulate the phrasing and articulation of a horn

player (Lyons, 2009).

In secondary music education, a great deal of focus is placed on musical performance.

Before an ensemble can present a performance, there are a number of basic skills that must be

taught in class and applied during the rehearsals. Choral fundamentals include a basic

knowledge of music theory, aural skills, and sight reading skills as well as technical skills and

elements of expression. It is through the acquisition of these essentials that ensembles can create

a musical experience for the audience. Creating improvised music through performance is a

process that combines the fundamentals of music knowledge such as form and phrasing and

engages the performer in active creative thinking which demonstrates the highest level of

cognitive complexity described in Webb’s DoK (Collins & Williams, 2009). (see Appendix 4:

DoK in Music)

In the context of vocal jazz, it is important for students to have acquired strong aural

skills that are developed through learning activities. Listening to influential instrumental and

vocal jazz recordings is crucial to acquiring an understanding of jazz style (Venesile, 2010).

According to Woody (2012), “in music, it is the ear that defines great musicianship” (pg. 82).

He further goes on to describe three cognitive skills that contribute to music performance. The

first is goal imaging, where the performer creates an expectation of what the performance should

sound like. The second is motor production, which comprises the technical considerations that

contribute to creating sound. The third is self-monitoring, the performer’s ability to accurately

hear his/her own performance in real time (Woody, 2012). The task of interpreting composed


music to create a meaningful performance is another example of the cognitive complexity as

demonstrated in the Webb DoK model.

Music is a reflection of culture. The music of the United States is a “melting pot” of

musical traditions that emigrated from countries around the globe. Jazz is an indigenous

American art form that emerged in the early 1900s through two main streams of musical

influences; European and African. The union of these musical traditions are the roots of jazz.

(Starr & Waterman, 2014). Vocal jazz students should know about and appreciate the value of

jazz and its influence in American culture (Lyons, 2009). Understanding vocal jazz in the

context of history, culture and idiom enables singers to connect this knowledge and apply it in

improvisation as well as ensemble performances. For this reason, the inclusion of vocal jazz in

choral curriculum enriches students understanding of a distinctively American music genre.

Comparing the technical aspects of traditional and vocal jazz ensemble singing

Directors of traditional choral and vocal jazz ensembles need to have a firm

understanding of the similarities and differences between vocal production and vocal technique

as they apply these two different approaches to singing. While there are definite stylistic

differences in jazz and traditional choral singing, the instructional technique is the same. They

share the goal of establishing a healthy, vibrant, resonant sound that is blended with all the

members of the ensemble.

The first component of vocal production to consider is vibrato. Vennard (1967), defined

vocal vibrato as a “fluctuation in pitch, intensity and timbre with pitch variance at least a semi-

tone” (pg. 10). This fluctuation is a pulsation of sound that is pleasing, flexible and establishes a

resonant tonal quality to the voice. Natural vibrato is produced by a steady stream of breath


which allows the vocal folds to vibrate with ease and without tension. In the traditional Italian

school of vocal technique, there exists the bel canto approach to vibrato. This approach to

vibrato remains an acoustical phenomenon and is believed to improve intonation (Stark, 2003).

The bel canto approach to vibrato differs in vocal jazz as the use of vibrato is a stylistic

consideration and is mainly used as a color enhancement to the sound (Lyons, 2009).

The next component of vocal production is the absence of vibrato, or straight tone. In

traditional solo literature, vibrato is desirable; however, the vibrato of many singers in a group

makes blending the sound as one voice difficult. As a result, many choral directors require their

singers to use straight tone, especially when performing Renaissance literature (Olson, 2008).

Some consider the use of straight tone in choral singing a clear strident sound devoid of vibrancy

(Ferrell, 2015). Strident tone can fatigue the voice causing the laryngeal muscles to contract

resulting in inaccurate intonation (Olson, 2008). In contrast, the use of vibrato is preferred in

both solo and ensemble vocal jazz singing. The exception is when vocal jazz ensemble sings a

dissonant chord, straight tone in this instance leads to better tuning (Lyons, 2009).

Resonance is the effect of two vibrating chambers on the same pitch, creating an

occurrence known as sympathetic vibration (Vennard, 1967). These resonators in the vocal tract

allow the sound to become amplified through acoustic energy that moves through the pharynx

and nasal cavities (Ferrell, 2015). It is advantageous to establish resonance in order to create a

vibrant tone. Vowel production is another technical component of both traditional and vocal jazz

ensembles. In traditional choral ensemble singing, the approach to vowel production is the

vertical shaping of vowels to modify the vowels and create a self-amplified tonal quality. To

accomplish this, the larynx is lowered and the soft palate raised creating space in the mouth.

This lends it way to better blend among the vocalists in the choir and produce homogeneity of


tone (Ekholm, 2000). Vowels can also be manipulated to create a variety of tone colors in a solo

song. Vowel modifications allow the improviser to emulate the sounds of instruments. This is a

stylistic consideration in vocal jazz. These choices in how vowels are handled varies by the

preferences of the ensemble director.

Consonants are the next component of choral singing to be considered. Traditional

choral ensembles have the tendency to over enunciate consonants so that the text can be clearly

articulated and understood by the audience. This is considered to be the method of establishing

good diction. In vocal jazz, the consonants are more subdued yet just as deliberate through an

energized approach to voiced and unvoiced consonants (Lyons, 2009).

A well-produced tone begins with the breath. In bel canto vocal pedagogy, the breath is

the key factor in the establishment of clear, resonant tone. Breath control or breath management

is a vital element of both classical and vocal jazz phonation. Breath connection establishes vocal

line and contributes to vibrato, it considered the most important aspect of vocal production by

most vocal pedagogues (Ferrell, 2015). There is virtually no difference to the technical approach

of breath control in singing any style of music, in the solo or ensemble literature. Good breath

control is highly affected by posture. Proper posture is achieved when the head, chest and pelvis

are supported by the spine in a way that they remain in alignment with one another. The

shoulders should be back and relaxed with the sternum high. This provides the body position for

the diaphragm to expand in the inhalation and contract of the exhalation, the proper method of

breathing when engaged in singing.

Most choral directors are proficient in these technical aspects of singing, as most of them

had vocal technique training in studio lesson and choral ensembles during their undergraduate

program. Choral directors who have not had the advantage of vocal jazz experience require


professional development in the stylistic attributes of jazz in order to teach them successfully

(Venesile, 2010). This is due to their lack of training in approaches to improvisation and limited

personal experience (Watson, 2010). Choral directors who are establishing a vocal jazz should

invest a substantial amount of time to listening to improvisations in both instrumental and vocal

jazz recordings and performances. Additionally, they should attend professional development

courses and workshops to learn vocal improvisation techniques and methods.

Stylistic considerations of vocal jazz

Brass band and blues traditions of the delta region, ragtime music of the Midwest and the

birth of Tin Pan Alley in New York City all contribute to the development of jazz as we

experience it today. In order to understand the idioms of jazz, there needs to be an understanding

of the context in which it developed. Choral directors gain an understanding of rhythmic

approaches and the harmonic language of jazz through listening to vocal jazz soloists and vocal

jazz ensembles. The more they comprehend these stylistic elements, they begin to internalize

them (Venesile, 2010). This experience dramatically impacts their stylistic approach in teaching

vocal jazz curriculum.

The harmonic structures of jazz are complex. Traditionally trained choral directors are

not exposed to the study of vocal jazz unless they had experiences performing in a jazz ensemble

at a college and university that offer degree programs in jazz studies. Studio jazz studies

programs include courses in jazz theory, jazz trends and traditions as well as performance skills,

improvisation and arranging (University of Miami, 2016). Choral directors who experience

singing in vocal jazz ensembles have the opportunity to practice singing these complex

harmonies, giving them an advantage in the development of a vocal jazz ensemble.


For the purpose of this project, two basic chord progressions provide a framework for

vocal jazz students to learn how to scat. The twelve bar twelve bar blues is the most effective

form to use when introducing jazz harmonies to a vocal jazz students (Ward-Steinman, 2008).

This chord progression centers around three chords in a given key; I, IV and V. Originated in the

blues, this chord progression is fundamental in many familiar styles of music, including rock and

roll, pop, country, and jazz (Starr & Waterman, 2014). Another frequently used chord

progression in jazz is ii-V7-I, where the ii is substitution for the subdominant. (Stoloff, 1999).

Seventh chords are the basic harmonic device of jazz harmony, utilized more often than triads.

In the design of this vocal jazz curriculum, these two chord progressions will be the foundation

in which the vocal jazz students can establish a basic understanding of jazz harmony. As the

ensemble progresses through the school year, more chord progressions can be introduced.

There are two categories of jazz melodic features. The first is the straightforward

performance of jazz standard literature. Performance of jazz standard literature requires the

performer(s) to communicate the text with proper inflection, color and phrasing (Weir, 2005).

These are all stylistic skills that are addressed in the curriculum. The other approach is the art of

vocal improvisation or scat singing. Melodic considerations of scat singing include scale

choices, particularly when improvising over a chord progression. The most frequently used

scales in jazz include the blues scale, the whole tone scale, chromatic scales and pentatonic

scales; each possessing its own unique quality and interval relationships (Ward Steinman, 2014).

Another source of melodic material is modal, each mode containing different altered notes of the

scale making it characteristically different (Stoloff, 1999). Although modes are quite frequently

the source of melodic ideas for experienced vocal improvisers, an introductory level of scat

singing focus on the scales that are more familiar to the students.


Jazz rhythms can range from simple to extremely complex. However, underlying even

the most complex rhythms performed by each individual musician in a jazz group is the pulse or

the beat; that which makes the listener able to tap his/her foot with the music. In scat singing,

rhythm is articulated through the vocables, the syllables singers use to create the color and timbre

of instrument imitation (Lyons, 2009). Syncopation is a dominant form of jazz articulation

which is putting the accent on the offbeat. However, this can be accomplished by combining

duple and triple meters and stressing the accent on an offbeat. For instance the second or third

beat of a triplet as opposed to the first beat (Stoloff, 1999). In the early 1940s, swing became the

craze in the US (Starr & Waterman, 2014). With it came a distinctive style of dance categorized

by an emphasis on the backbeat (Lyons, 2009). Swing rhythm is characterized by an uneven feel

in eighth notes. The feeling is more of a dotted eighth-sixteenth articulation. Most jazz songs,

particularly in vocal jazz octavos, use this approach to rhythm. Once the swing rhythm is

internalized, the next step to creating an authentic feeling of swing is the ‘lay back’ (Weir, 2005).

Laying back is a slight displacement of rhythm just behind the quarter note. This subtle rhythmic

displacement is central to the swing feel. This approach to swing was cultivated by great jazz

vocalists like Louis Armstrong and Frank Sinatra (Starr & Waterman, 2014).

Pedagogy

Pedagogy is the ability to create meaningful learning experiences that lead to the transfer

of knowledge (Venesile, 2010). Choral directors who lead vocal jazz ensembles should have a

firm understanding of vocal pedagogy, and the knowledge and skill to train the individual voice

in technical aspects of singing such as posture, breathing, phonation and maintaining vocal

health. Many choral students do not have the opportunity to study with a private voice teacher or

vocal coach who may provide this fundamental knowledge of vocal production. Therefore it is


vital that choral directors include vocal technique as part of the curriculum in any ensemble

(Smith & Sataloff, 2013). Choral pedagogy is another important basis for the pedagogical

philosophy behind this vocal jazz curriculum. The production of a free, resonant, in-tune sound

that is well blended and balanced is the goal to which choral directors aspire. This is achieved

through establishing ensemble rehearsals with clearly articulated outcomes (Smith & Sataloff,

2013). These instructional outcomes are expressed in or developed from the standards.

Vocal Jazz Pedagogical Content Knowledge

Instructional methods have evolved with the use of technology. Technology is a valuable

tool in education, as it provides new ways for students to engage in learning activities. It is

therefore important for music educators to be knowledgeable about resources that enhance

learning in their particular teaching situations (Bauer, 2014). Content and pedagogy have

already been addressed, so the question arises: How do all of these components factor into vocal

jazz curriculum? They do so through the intersection of content, technological, and pedagogical

knowledge to create engaging learning activities specific to the content (Bauer, 2014).

Although technology is a tool through which learning in music can be enhanced, many

meaningful learning activities in the vocal jazz ensemble can successfully be carried out without

the aid of technology. The way content and pedagogy intersect is the most crucial in the

development of vocal jazz curriculum. Accomplished vocal jazz ensemble directors combine

successfully their knowledge of choral singing and pedagogy, interpretation of jazz idioms, and

the development of improvisatory skills which often are enhanced through technology (Venesile,

2010).

Methodology


I explored a variety of vocal jazz and vocal improvisation method books in search of

appropriate resources for the curriculum. For the instruction of vocal improvisation, I use the

SCAT Singing method: Beginning Vocal Improvisation by Dr. Scott Fredrickson (Fredrickson,

2013). This methodology systematically introduces the basic techniques of vocal improvisation

through manipulation of syllables, melody and rhythm. The method book includes both notated

and aural samples that provide a context in which students can imitate vocal improvisation as

well as practice and expand upon their own musical ideas. An original melody is presented in

order to provide a consistent example to work with as they learn each individual improvisation

skill. The methodology gradually builds on each skill and student confidence through many

practice examples. The first skill developed in the sequence in the ability to use different

syllables to accent different notes and create timbre through vocables. The next skill presents

melodic embellishment through stylistic jazz techniques such as fall-offs, ascending smears,

plops, doits, ghost notes, flips and shakes. Each of these embellishments are presented and

demonstrated as a concept of melodic embellishment in scat singing. The last skill that is

explored is alteration of rhythm from the original melody. Throughout the skill presentations

learners are provided opportunities to further explore and develop their improvisation abilities.

Fredrickson (2013) gradually develops this scope and sequence through the integration of the

preceding musical elements. This methodology is an effective way to gradually establish the

student’s comfort level with vocal improvisation. Once the basic skills are acquired, the

smartphone application, ScatAbility created by Michele Weir (Weir M. , 2016) is used to further

develop vocal improvisation through suggested personal and classroom activities The application

is available for a number of devices including individual smartphones and classroom iPads. As


student improvisatory skills develop so does an awareness of the organization of musical

elements that contribute to more skillful vocal improvisations (Kratus, 1990).

The other method book utilized in the curriculum is the Jazz Singer's Handbook, the

Artistry and Mastery of Singing Jazz (Weir, 2005). This book guides students through the

selection of solo material appropriate for their skill and range. This unit of solo study is aligned

with core music performance standard 4: selecting, analyzing and interpreting in preparation for

performance. Students will select, analyze, interpret, refine and present solo material in order to

gain a fundamental understanding of expressive approaches to performance of standard jazz

literature. The book offers a choice of seven short songs in different ranges that explore

techniques to text interpretation and other stylistic features.

Interpretation of jazz literature and vocal improvisation are both contributing factors in

the selection of ensemble literature. The development of the ensemble sound should occur

simultaneously with developing individual improvisation skills. This provides an opportunity for

members of the ensemble practice vocal improvisations in the context of a solo feature in the

ensemble. Dr. Russell Robinson has composed vocal jazz pieces to develop and practice the

combination of these skills including Jazz Talkin’ (Robinson, Jazz Talkin', 2012), Jazzin’ It Up!

(Jazzin’ It Down) (Robinson, Jazzin' It Up (Jazzin' it Down), 2002) and Let’s Sing Some Jazz

(Robinson, Let's Sing Some Jazz, 1999). Elements of these materials and resources are the basis

I used to develop a method for teaching vocal jazz and improvisation skills for the first nine

weeks.

Curriculum and Assessment

All of the factors discussed thus far contributes to the design of a high school vocal jazz

curriculum. The design in framed within the core music education standards that are presented


in the crosswalks in Tables 1-4. All music processes engage creative and/or critical thinking as

described in Webb’s Depth of Knowledge model. Standards are content specific. The content of

my vocal jazz curriculum includes elements of vocal technique, knowledge of jazz and how it

connects to American culture and influences the style and idiom of vocal jazz, and the

performance of vocal improvisations (Lyons, 2009). Content must be presented in a way that is

skillful and stimulating for the students to maintain interest and motivation to learning.

Student learning and progress in vocal jazz is assessed in various ways. When assessing

student creativity, student achievement of learning objectives is the focus, not the evaluation of

the creative product (Kratus, 1990). The National Coalition for Core Arts Standards Model

Cornerstone Assessments are designed for music educators to measure student achievement of

standards (National Core Arts Standards, 2014). The curriculum presented in this project

includes model cornerstone assessments (MCA), writing assessments, self-reflection and peer

evaluation. Additionally, performance assessments such as district and state solo and ensemble

Music Performance Assessments determine to what extent students are able to acquire the

knowledge and skills needed to develop a superior ensemble. The nine-week vocal jazz

curriculum concludes with a concert to showcase the solos and ensemble skills and knowledge

gained through the curriculum. This performance is designed to serve as a summative assessment

of solo performances of jazz standard literature, vocal improvisation and vocal jazz ensemble

pieces.

Presentation of the Vocal Jazz Curriculum

The design to this vocal jazz curriculum utilizes tools from the Wiggins and McTighe

Understanding by Design (McTighe & Wiggins, 2006). The backwards design unit model starts

with desired outcomes, rooted in the standards. Assessments are then developed to measure


student achievement of standards through varied tasks. Units are designed to present the

curriculum through a series of lessons. These elements inform the scope and sequence of

instruction through selected learning activities (McTighe & Wiggins, 2006).

The vocal jazz curriculum is designed for the first nine weeks for a high school vocal jazz

ensemble. The rationale for the design is that students need to acquire specific vocal jazz

knowledge and skills for successful vocal jazz solo and ensemble performances throughout the

remainder of the school year and perhaps beyond. The curriculum comprises three major

components: (a) vocal improvisation; (b) performance preparation of vocal jazz solos; and (c)

vocal jazz ensemble skills. Specific elements of vocal jazz are integrated throughout the

curriculum including (a) vocal technique; (b) analysis/critical thinking; and (c) historical and

interdisciplinary contexts. Additionally, students maintain an online listening blog throughout

the term. This blog consists of exemplary examples suggested by the teacher that correlate with

concepts associated with each component of study.

There are a number of assessment embedded in the curriculum to measure student

achievement of the music standard expectations at the national, state and county levels. For

example, in the vocal solo project, the students maintain a solo project portfolio that is a

collection of learning artifacts acquired in the jazz solo unit. These artifacts provide evidence

that student tasks were accomplished. Additionally, Model Cornerstone Assessment are used to

demonstrate achievement of national standards. Quizzes on concepts and terminology of the

curriculum are part of each component. Reflection essays and short paragraphs are tools to

measure synthesis of knowledge. Finally, performance assessments are graded with rubrics that

detail the criteria used to measure the level of skills observed in each performance.


The curriculum outline details its structure. Each component is covered within a three

week time period. At the end of the sixth week, there is a concert featuring the individual work

of the students completed the vocal jazz solo projects and vocal improvisation unit.

Additionally, there is a culminating concert that showcases the skills acquired in all three

components, which is assessed using the Florida Vocal Association solo and ensemble Music

Performance Assessment rubrics.

The design of this nine-week vocal jazz curriculum is rooted in national core music

standards, Florida’s NGSSS and the HCPS Curriculum map. The standards that are aligned with

the divergent and convergent thinking processes are incorporated in the vocal improvisation unit.

Standards that are aligned with the sequence of performance preparation; selection, analysis,

interpretation, refinement and performance are addresses in the vocal solo project and within the

ensemble rehearsals. This curriculum is designed to fully engage the students in a variety of

experiences in jazz. These learning experiences build confidence in the student’s abilities to

perform vocal improvisation and stylistic conventions of jazz.

The concepts presented in this project are intended to serve as a blueprint that could be

adapted and applied to individual teaching situations. I have included a curriculum outline that

describes the components of the nine-week curriculum and an instructional guide that details

what students should learn and be able to do. The curriculum has three components, and I have

presented them in an instructional planning curriculum map. Additionally, I decided to include

the rationale of the two unit design along with two lesson plan samples unique to this project.

Music educators approach instruction according to their educational philosophy and performance

outcome priorities for their students. This project was intended to define core content for a vocal

jazz ensemble specifically rooted in the standards of music education.


REFERENCES

Abbott, S. (2014, August 26). Hidden Curriculum. Retrieved from http://edglossary.org/hidden-

curriculum

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing and

responding to music. New York, NY: Oxford University Press.

Collins, M., & Williams, S. (2009). Fine arts depth of knowledge. Retrieved from Richmond

County School System:

http://www.rcboe.org/site/handlers/filedownload.ashx?moduleinstanceid=16480&dataid=

7939&FileName=DOK%20Fine%20Arts%20packet.pdf

Common Core State Standards Initiative. (2016). Abut the Standards. Retrieved from

http://www.corestandards.org/about-the-standards/

Council of Chief State School Officers . (2016). Retrieved from Council of Chief State School

Officers : http://www.ccsso.org/

Ekholm, E. (2000). The effect of singing mode and seating arrangement on choral blend and

overall choral sound. Journal of Research in Music Education, 48(2), 125-135.

Elementary and Secondary Education Act of 1965, Pub L. 89-10 79 § 27

Every Student Succeeds Act of 2015, 114th United States Congress, Pub. L 114-95

Ferrell, M. A. (2015). Choral Conductors and Voice Teachers: Finding Common Ground . The

Choral Scholar, 30-42.

Florida Department of Education. (2012, July). Office of Assessment. Retrieved 4 16, 2016, from

Florida Department of Education: http://fcat.fldoe.org/pdf/cog_complexity-fv31.pdf.

Florida State University. (2016, January 18). Next Generation Sunshine State Standards.

Retrieved from CPALMS Where Educators Go For Bright Ideas:

http://www.cpalms.org/Public/search/Standard#0

Fredrickson, S. (2013). Scat singing method. Charleston, SC: Scott Music Publications.

Freer, P. K. (2010). Choral improvisation: tension & resolution. Choral Journal, 51(5), 18-31.

Hanna, W. (2007). The New Bloom’s Taxonomy:Implications for Music Education. Arts

Education Policy, 108(4), 7-13.

Hess, K. (2013). A guide for using Webbs depth of kowledge for common core standards.

Retrieved from Ohio Department of Education: education.ohio.gov

Hickey, M., & Webster, P. (2001). Creative thinking in music. Music Educators Journal, 85(4),

26-33.

Krathwohl, D. R. (2002). A Revision of Blooms Taxonomy: An Overview. Theory into Practice,

41(4), 212-218.


Kratus, J. (1990). Structuring the music curriculum for creative earning. Music Educators

Journal, 76(33), 33-37.

Lyons, L. E. (2009). Strategies for developing a jazz and contemporary vocal ensemble sound

for the traditional chamber choir. University of Miami.

Madura, P. D. (1995). An exploratory investigation of the assessment of vocal jazz

improvisation. The Society for Research in Psychology of Music and Music Education,

23, 48-62.

McTighe, J., & Wiggins, G. (2006). Understanding by design (2nd ed.). Upper Saddle River, NJ:

Pearson Prentice Hall.

National Association for Music Education. (2016). 2014 Music Standards. Retrieved from

http://www.nafme.org/my-classroom/standards/core-music-standards/

National Association for Music Education. (2016). Everything ESSA. Retrieved from NAfME:

http://www.nafme.org/take-action/elementary-and-secondary-education-act-esea-updates/

National Association for Music Education. (2016). National Coalition for Core Arts Standards.

Retrieved from http://www.nafme.org/my-classroom/standards/

National Core Arts Standards. (2014). Music Model Cornerstone Assessments. Retrieved from

http://www.nationalartsstandards.org/mca/music

National Governors Association. (2011). Retrieved from http://www.nga.org/cms/home.html

No Child Left Behind Act of 2001, Pub. L. No. 107-110, § 115 Stat. 1425 (2002).

Olson, M. (2008). Vibrato vs. Nonvibrato: The Solo Singer in the Collegiate Choral Ensemble.

Journal of Singing, 64(5), 561-564.

Paige, D. D., Sizemore, J. M., & Neace, W. P. (2013). Working inside the box: exploring the

relationship between student engagement and cognitive rigor. NASSP Bulletin, 97(2),

105-123.

Sawyer, R. K. (2012). Explaining Creativity: The Science of Human Innovation. New York, NY:

Oxford University Press.

Smith, B. J., & Sataloff, R. T. (2013). Choral pedagogy (3rd ed.). San Diego, CA: Plural

Publishing, Inc.

Stark, J. (2003). Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toranto Press.

Starr, L., & Waterman, C. (2014). American popular music from mistrelsy to mp.3 (4th ed.). New

York, NY: Oxford Press.

Stoloff, B. (1999). Scat! vocal improvisation techniques. New York, NY: Gerald and Sarzan

Publishing Co.

the White House. (n.d.). Education. Retrieved 4 16, 2016, from Reforming No Child Left

Behind: https://www.whitehouse.gov/issues/education/k-12/reforming-no-child-left-

behind


Thomas, K. (2005). Learning Taxonomies. Retrieved 4 16, 2016, from Rocky Mountain

Alchemy: www.rockymountainalchemy.com/

U.S. Department of Education. (2004, 9 15). Laws and Guidance. Retrieved 4 16, 2016, from

Title 1: Improving the Academic Acheivement of the Disadvantaged:

http://www2.ed.gov/policy/elsec/leg/esea02/pg1.html#sec101

U.S. Department of Education. (2016). Every Student Succeeds Act. Retrieved from

http://www.ed.gov/essa

University of Miami. (2016, February 21). Academic Bulletin: B.M. in Studio Music and Jazz

Voice. Retrieved from http://bulletin.miami.edu/undergraduate-academic-

programs/music/departments-degree-programs/studio-music-jazz/studio-music-jazz-

voice-bm/

Vanderbilt University. (2016). Center for Teaching. Retrieved from

https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/

Venesile, C. J. (2010). The Acqusition of pedagogical content knowledge. Cleveland, OH: Case

Western Reserve University.

Vennard, W. (1967). Singing, the mechanism and the technic. Los Angeles, CA: Carl Fischer.

Ward Steinman, P. (2014, October 2). Patrice Madura Ward Steinman: Unlocking the mystery of

improvisation. Retrieved from YouTube:

https://www.youtube.com/watch?v=AQOrAyMkUHM

Ward-Steinman, P. M. (2008). Vocal improvisation and creative thinking by Australian and

American university singers. Journal of Research in Music Education, 56(1), 5-17.

Watson, K. E. (2010). The effects of aural versus notated instructional materials on acheivement

and self-effiacy in jazz improvisation. National Association for Music Education, Vol. 58,

58(3), 240-259.

Webster, P. (2002). Creative Thinking in Music: Advancing a Model. Evanston, Illinois USA :

School of Music, Northwestern University.

Weir, M. (2005). Jazz singers handbook, the artistry and mastery of singing jazz. Alfred Music

Publishing.

Weir, M. (2016). home page. Retrieved from MIch Music: www.MichMusic.com

Wilson, L. O. (2016). Anderson and Krathwohl – Bloom’s Taxonomy Revised. Retrieved from

The Second Principle: http://thesecondprinciple.com/teaching-essentials/beyond-bloom-

cognitive-taxonomy-revised/

Woody, R. (2012). Playing by ear: Foundation of frill? Music Educators Journal, 99(2), 82-87.


Curriculum Outline

I. Components of the nine-week vocal jazz curriculum

A. Vocal Improvisation Skills

B. Stylistic interpretation of jazz in solo literature

C. Ensemble skills: Technique, Style, and Performance

II. Instructional Guide-categorized listing of knowledge and skills

A. Performance Skills

1. Vocal Technique

2. Vocal Improvisation Skills

3. Ensemble Skills

B. Analysis and Critical Thinking Skills

1. Critical Listening

2. Vocal Solo Song Selection

3. Jazz Solo and Ensemble Analysis

4. Jazz Solo and Ensemble Interpretation

5. Ensemble Rehearsal, Evaluation and Refinement

C. Historical Context and Connection to other Genres of Music

1. Historical Overview

2. Jazz Connections

III. Component Overview

A. Introduction to Scat Singing: The Art of Vocal Improvisation

Text: SCAT Singing Method by Dr. Scott Fredrickson

B. Performance preparation of Vocal Jazz Solos


Text: Jazz Singers Handbook (the Artistry and Mastery of Jazz Singing by

Michele Weir

C. Collaborative Processes: Polish, Perfect and Perform

Text: Vocal Jazz Octavos

IV. Vocal Improvisation Unit Design

A. Lesson Plan: Introduction to Vocal Improvisation

B. Lesson Plan: Melodic Embellishments

V. Vocal Solo Unit Design

A. Lesson Plan: Text Analysis Strategies

B. Lesson Plan: Melodic Variations


Instructional Guide: High School Vocal Jazz Ensemble

First Nine Weeks

I. Performance Skills

A. Vocal Technique

1. Describe and demonstrate correct singing posture and body alignment

2. Describe and demonstrate correct breathing technique.

3. Describe and demonstrate phonation without a glottal attack

4. Describe and demonstrate qualities of a healthy, vibrant and resonant

tone.

5. Describe and demonstrate appropriate use of vibrato and straight tone in

vocal jazz.

6. Describe and demonstrate jazz stylistic approach to vowel production.

B. Vocal Improvisation Skills

1. Describe and demonstrate syllabic variation in a scat solos. [E1]

2. Describe and demonstrate melodic embellishments in scat solos [E2]

a. Tenutos, vertical accents and staccato

b. Fall-offs and ascending smears

c. Ascending glissandos and plops

d. Doits and host notes

e. Shakes and flips

3. Describe and demonstrate the ability to alter and embellish rhythm in scat

solos [E3]

4. Demonstrate the ability to combine two of the three described skills

simultaneously in performing scat solos [E1], [E2], [E3]

5. Demonstrate ability to perform imitative vocal improvisations.


6. Describe and demonstrate aural imagery in vocal improvisations.

7. Demonstrate the ability to perform question and answer vocal

improvisations.

C. Ensemble Skills

1. Describe and demonstrate pitch and rhythm accuracy.

2. Demonstrate proper phrasing through breath management.

3. Demonstrate good diction.

4. Demonstrate proper inflection.

5. Describe and demonstrate appropriate articulations and dynamics.

6. Demonstrate harmony independence

7. Demonstrate the ability to balance when singing harmony and blend with

the other voices in the ensemble.

II. Analysis/Critical Thinking Skills

A. Critical Listening

1. Maintain a listening online blog reviewing exemplary examples of jazz

recordings or live performances.

a. Instrumental improvisation

b. Solo vocalists with scat solos

c. Vocal jazz ensembles

B. Select

1. Select appropriate solo jazz literature based on interest, skill level, and

technical factors in the appropriate vocal range.

C. Analyze

1. Analyze the structure and context of vocal jazz solo with the intention of

preparing for a live performance. Based on exemplary models of quality

and effectiveness of performance, apply these criteria to the personal

development of selected vocal solo.


D. Interpretation

1. Develop personal and ensemble interpretation that is consistent with the

composer or arrangers intent.

E. Evaluation

1. Listen to two peer improvisations and provide feedback on the creative

devices used in the performance (24 bars)

a. Syllabic variety and use of aural imagery

b. Melodic embellishments

c. Rhythmic alterations and embellishments.

2. Listen to three peer performances of solo jazz literature and provide

feedback in regard to the following four criteria on a four point rubric

(week 6)

a. Tone production/vocal quality

b. Rhythm and pulse accuracy

c. Pitch and intonation accuracy

d. Expressive qualities/stylistic interpretation

3. Listen to two recordings in contrasting tempo from a rehearsal and provide

positive and constructive detailed feedback to the ensemble in regard to:

a. Tonal ensemble quality (blend and balance)

b. Rhythm and pulse accuracy

c. Pitch and intonation accuracy

d. Expressive qualities/stylistic interpretation

III. Historical and Interdisciplinary connections

A. Historical overview

1. The Delta Region-gospel and blues


2. Brass Bands

3. Ragtime

4. Vaudeville

5. Tin Pan Alley

6. Big Band

7. Swing Era

8. Bebop

9. Ensembles through the eras of jazz

B. Jazz Connections

1. Early Broadway

2. Emerging genres

a. Rock and roll

b. Rhythm and blues

c. Soul and Funk


Appendix 1


Appendix 1 continued


Appendix 1continued


Appendix 2


Appendix 3


Appendix 3 contiued


Appendix 4

Date post:	24-Oct-2020
Category:	Documents
Upload:	others
View:	6 times
Download:	0 times

Running Head: ESTABLISHING A HIGH SCHOOL VOCAL JAZZ ... · a high school vocal jazz ensemble. The...

Documents