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Each style and era of jazz adopted new techniques to help educate younger musicians. Early forms of jazz education were more informal. Since the first degree program was founded in 1947, the rise of institutionalized jazz education, resulted in jazz education becoming more formalized and more structured.〔Worthy〕 Formalized jazz education has brought a new wave of interest in jazz. (JazzTimes.com ) currently lists 492 collegiate jazz programs globally. This database is exclusive to just schools that offer majors and does not include the number of schools that also offer jazz courses in their curriculum.〔"Jazz Education"〕 The formalization of jazz was and still is a controversial subject. Many professional musicians believe that it has harmed the spirit of the music, while others maintain that it has been beneficial for the art form.〔Ake, 104〕 ==Early jazz education== Jazz has long been celebrated for its roots as an aural tradition. This defined early jazz education in New Orleans, where the music originated among musicians who largely could not read music.〔Kirchner, 87〕 Early musically literate musicians who were able to afford formal music lessons, such as Jelly Roll Morton, scorned formal education and were left with varying degrees of musical literacy.〔Kirchner, 89〕 In New Orleans at the turn of the 20th century, as jazz was taking form from its roots, musicians learned in a style that is best described as an apprenticeship. Younger musicians would study with an older and more experienced musician, learning by listening to the music their mentor played.〔Dapogny〕 This relationship also extended to a personal level. Many of these younger musicians would run errands for their mentors in order to repay them for the musical lessons. An early example of this style of education is Louis Armstrong, who studied under famed trumpet player King Oliver.〔Gioia,48〕 This educational form was dependent on aural skills. This style of pedagogy was prevalent in an era where the music relied heavily on group improvisation.〔Gridley, 46〕 The use, almost exclusively, of ear training amongst pedagogues and the cultural influence of New Orleans made this style of jazz the most practical and popular. In the late 1910s and early 1920s, jazz begins to move north to Chicago〔 and New York City.〔Gioia, 52〕 These two urban areas were particularly popular because they provided a larger audience base for performers and closer proximity to recording studios.〔Gioia, 70〕 During the early part of the 1920s, New Orleans Jazz was prevalent in the many nightclubs sprung up in Chicago.〔Gioia, 72〕 In New York a new style of jazz became immensely popular. This style, known as Big Band, ushered in a new era of jazz education.〔Gioia, 56〕 Big band music is particularly important for jazz education because it introduces a number of new forums for the furthering of jazz music. The first such forum is the arranger. With the emergence of big bands arose a need for more detailed and thorough arrangements. Arrangers helped to standardize big band vocabulary. With the arranger, jazz began to mature from its roots as an exclusively aural art form. The arranger helped to introduce new influences, especially Impressionist Music during the big band era.〔Shipton, 217〕 The next influential introduction of the big band era was the emergence of after hours jam sessions.〔 Many ideas for arrangements developed from after hours jam sessions. Many of these ideas would eventually turn into arrangements of their own. Duke Ellington used this technique to create new tunes and arrangements.〔Ellington〕 These jam sessions were also a pivotal forum for the development of jazz improvisation. Jam sessions were home to the exploration of and self-education in improvisation. Musicians used these sessions as a way to learn from fellow musicians to improve their own skills. Clubs like Monroe’s Uptown House and Minton’s Playhouse became the public home for the phenomena that already took place in apartments and smaller venues across Manhattan and the rest of the country. The style that most directly descended from these jam sessions is known as bebop. Early bebop musicians such as Charlie Parker, Dizzy Gillespie and Thelonious Monk introduced a new and more virtuosic style of improvising that proved influential to future generations of jazz musicians〔Gioia, 201〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「jazz education」の詳細全文を読む スポンサード リンク
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