A Proposed Model of Jazz Theory Knowledge Acquisition

Abstract

The purpose of this study was to test a hypothesized model that proposes a causal relationship between motivation and academic achievement on the acquisition of jazz theory knowledge. A reliability analysis of the latent variables ranged from .92 to .94. Confirmatory factor analyses of the motivation (standardized root mean square residual [SRMR] = .067) and jazz theory (SRMR = .063) measures indicated a good fit of the predicted model to the observed data. Results of the latent path model indicated good fit (χ 2 = 20.08, p = .692, df = 24, N = 102) and large, positive, and statistically significant direct effects of motivation (β = 0.65) and academic achievement (β = 0.56) on jazz theory knowledge acquisition. The successful identification of this proposed model lends enough support for continued investigation into the process surrounding the acquisition of jazz theory knowledge. Keywords jazz theory knowledge, motivation, academic achievement, path analysis, theoretical model Jazz improvisation is a unique art form that necessitates spontaneous performance within a specific musical structure. Experienced jazz improvisers draw information from a well-developed knowledge base of both theory and experience that evolves over a lifetime of practice (Kenny & Gellrich, 2002 292Journal of Research in Music Education 62(3) for improvisatory performance in both familiar and unfamiliar musical situations (e.g., harmonic function, compositional form, etc.). Iconic jazz musician Miles Davis stressed the importance of an education in jazz theory and held that a jazz musician with a solid knowledge of jazz theory could develop his or her improvisational abilities much further than a jazz musician who uses aural skills alone (Adams, 1988). In addition to anecdotal support, several research studies suggest that acquiring jazz theory knowledge can influence instrumental and vocal improvisation achievement significantly (Ciorba, 2009;Madura, 1992). Unfortunately, no paradigm exists that explains the process of jazz theory knowledge acquisition, which raises the question, how do we acquire jazz theory knowledge necessary for successful improvisation?Jazz musicians have traditionally learned through a process of trial and error (e.g., jam sessions and live performance). More recently, academia has kept the tradition alive through the development of jazz studies programs. Acquiring a requisite amount of jazz theory understanding within the confines of a specific degree program requires efficiency of instruction. The development of a theoretical model would help to identify the factors that influence the acquisition of jazz theory knowledge. The development of theoretical models has helped to understand complex processes in music, such as (a) extramusical influences (Bergee, 2006) (Russell, 2010). The identification of a theoretical paradigm illustrating the process of acquiring jazz theory knowledge can help students wishing to learn the art of jazz improvisation, while providing important information to music educators...

Exploring personality and musical self-perceptions among vocalists and instrumentalists at music colleges

“…In addition, the vocalist or instrumentalist needs to have learning and practice strategies (Papageori & Welsh, 2014) and memorization skills (Ginsborg & Sloboda, 2007). The value of mastering sight-reading (Lehmann & Kopiez, 2009), playing by ear (Brodsky, Henik, Rubinstein, & Zorman, 2003) or music theory (Ciorba & Russell, 2014) for training and performance will depend on the musical genre (Creech et al, 2008). To master interpersonal skills such as communicating with other performers will be beneficial when group playing and in rehearsals (McPherson & Hallam, 2009).…”

The creation and validation of a Jazz Theory Measure: Implications for improvisation education

“…The influence of jazz theory knowledge on jazz improvisation achievement has been acknowledged by several music education researchers (Ciorba, 2009; Ciorba & Russell, 2014; Hargreaves, 2012; Madura, 1996; May, 1998, 2003; Palmer, 2016; Sanborn, 2014). Sanborn (2014) states that successful jazz improvisation is achieved through a mixture of study and practice.…”

“…Given the large effects of academic achievement and motivation on jazz theory knowledge (Ciorba, 2009), Ciorba and Russell (2014) decided to examine a hypothesized causal model of jazz theory knowledge acquisition. Data from the Ciorba’s (2009) study were explored to confirm the hypothesized latent influence of motivation and academic achievement on jazz theory knowledge acquisition.…”

“…A CFA of the revised JTAM indicated adequate model fit, which allowed for the estimation of the path model. Ciorba and Russell (2014) concluded from the results of the final path analysis utilizing the revised JTAM that development of jazz theory knowledge can be significantly influenced by motivation for making music and academic achievement. However, due to the limited number of items remaining on the revised JTAM and the questionable stability of the measure, Ciorba and Russell recommended further investigation into the development of a new valid and reliable instrument for assessing jazz theory knowledge.…”

“…Jazz education has grown steadily over the past five decades (Ake, 2002; Dobbins, 1988; Renick, 2012). Subsequently, jazz theory knowledge has demonstrated significant influence on jazz improvisation achievement (Ciorba, 2009; Ciorba & Russell, 2014; Hargreaves, 2012; Madura, 1996; May, 1998, 2003; Palmer, 2016; Sanborn, 2014). Research studies on jazz improvisation achievement have documented the need for further research into valid and reliable tools for investigating jazz theory (Ciorba, 2009; Ciorba & Russell, 2014; May, 2003; Palmer, 2016).…”