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Jazz Improvisation: Differentiating Vocalists
Wendy Louise Hargreaves
Bachelor of Arts (Music)
Graduate Diploma of Education
Master of Music
Queensland Conservatorium
Arts, Education and Law
Griffith University
Submitted in fulfilment of the requirements of the degree of
Doctor of Philosophy
August 2013
ABSTRACT Improvising jazz musicians have long observed that vocalists differ from instrumentalists. A
formal acknowledgement of differences has not yet pervaded jazz education. Little, if any,
accommodation is made for the unique attributes of voice students. Instead singers are
instructed to act more like instrumentalists in order to correct a perceived lag in vocal jazz
improvisation achievement. The approach fails to recognise that giving vocalists and
instrumentalists the same tuition is unlikely to produce the same results when fundamental
differences exist prior to instruction. A thorough exploration of the vocalists characteristics
must precede any logical attempt to address the imbalance in achievement outcome.
Consequently, this thesis addressed the research question, How do improvising jazz
vocalists differ significantly from their instrumental counterparts?
The research began by examining and collating the wealth of existing citations of differences
found in literature. Thirty-seven perceived differentiations of vocalists were identified and
used to provide a preliminary benchmark for the investigation. A two-phase mixed methods
study was then designed to explore the nature of each differentiation. Phase one employed
a quantitative, anonymous, online survey of 209 Australian jazz vocalists and
instrumentalists, investigating their perceptions and experiences of jazz performance and
education. The computer program PASW was used to conduct chi square analysis of the
datum to determine statistically significant differences. In phase two, 22 qualitative
interviews were conducted with Australian jazz vocal performers and/or jazz educators in
Australian tertiary institutions. The computer program NVivo was used to assist the
organisation of data for thematic analysis by the researcher. A side-by-side presentation of
quantitative and qualitative data facilitated comparison and enabled clarity in identifying
congruency in the findings. Discussion integrated results and extrapolated meaning.
The study found that vocalists differ significantly from instrumentalists in five primary
categories: 1) Motor feedback, 2) verbal capability, 3) embodiment, 4) music learning
experiences, and 5) role. Within the primary categories, several subcategories were also
identified. Differences were experienced in motor feedback in its utilisation, the role of
audiation and conceptualising pitch. The verbal capability of singers created unique
experiences in relinquishing lyrics and implementing scat syllables. The housing of the vocal
apparatus inside a human body created experiences of the organic instrument, personal
representation and a performer-audience relationship expectation. Music learning
experiences brought to the foreground differences in familiarity with referents and
procedures, approaches to self-directed music practice and opportunities to develop
improvising skills. The perceived role of jazz vocalists distinguished singers as experiencing
more emphasis on the role of performer and less emphasis on the role of improviser.
Additionally, some subcategories in the findings were shown to interconnect with those
from other primary categories.
This thesis makes a significant contribution to jazz education by responding to the demand
by researchers for knowledge on the differences between improvising jazz vocalists and
instrumentalists. It dispels the faulty assumption that vocalists are the same in nature as
instrumentalists and provides evidence of how the unique attributes of singers distinguishes
them as a distinct subgroup of jazz musicians. This understanding is essential before any
reasonable attempt can be made to address the perceived lag in vocal jazz improvisation
achievement. From this foundation, future researchers can independently test each
attribute for scope and impact and then build upon them educational programs and
resources that are more appropriate for jazz vocal improvisation students.
TABLE OF CONTENTS Chapter 1: Introduction Begin the Beguine .......................................................... 1 The purpose of the research ............................................................................... 4 An overview of the study .................................................................................... 5 Delimitations ....................................................................................................... 7 Structural outline of the thesis ........................................................................... 8 The significance of the study .............................................................................. 10 Conclusion ........................................................................................................... 12 Chapter 2: Literature Review Whats New? ......................................................... 13 Establishing foundational concepts ................................................................... 14 What is jazz? .............................................................................................. 14 Construct one: Jazz improvisation ............................................................. 15 Construct two: Jazz musicians ................................................................... 20 Premise: There is a difference in achievement between improvising jazz vocalists and instrumentalists ......................................................... 23 Reviewing the context........................................................................................ 27 Jazz research literature .............................................................................. 27 Jazz education literature ........................................................................... 42 Jazz professional practice literature .......................................................... 53 Theoretical frameworks ............................................................................ 61 Summary of reviewing the context ........................................................... 66 Collation of the perceived differences between vocalists and instrumentalists ....... 66
Chapter summary .............................................................................................. 70 Chapter 3: Methodology Taint What You Do Its the Way that You Do It ...... 71 Methodology selection and rationale ............................................................... 72 Research design .................................................................................................. 75 Survey instrument ..................................................................................... 77 Interview instrument ................................................................................. 81 Interviewees .............................................................................................. 86 Presentation of the findings .............................................................................. 88 Chapter summary ............................................................................................... 93 Chapter 4: Findings on Motor Feedback Do Nothing Til You Hear from Me ... 95 Utilising motor feedback .................................................................................... 95 The difference in utilising motor feedback ............................................... 95 The experience of the difference in utilising motor feedback .................. 98 Section summary: Utilising motor feedback ............................................. 104 The role of audiation .......................................................................................... 106 The difference in the role of audiation ..................................................... 106 The experience of the difference in the role of audiation ........................ 107 Section summary: The role of audiation ................................................... 117 Conceptualising pitch ......................................................................................... 120 The difference in conceptualising pitch .................................................... 120
The experience of the difference in conceptualising pitch ....................... 122 Section summary: Conceptualising pitch .................................................. 131 Pedagogical implications of the difference of motor feedback ....................... 134 Chapter summary ............................................................................................... 135 Chapter 5: Findings on Verbal Capability Too Marvelous for Words ............ 138 Relinquishing lyrics ............................................................................................. 138 The difference of relinquishing lyrics ........................................................ 138 The experience of the difference of relinquishing lyrics ........................... 139 Section summary: Relinquishing lyrics ...................................................... 143 Implementing scat syllables .........................