Landing on the Wrong Note

Heble, Ajay

doi:10.4324/9780203901007

Cited by 2 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Women instrumentalists who wanted the opportunity to express themselves in jazz around the emergence of be-bop were policed by male band members (Caudwell, 2012). Trombone player Melba Liston recalls how she was scared to record in studio with Dexter Gordon's band during the 1940s and 1950s, because she had never hung out with them on jam sessions (Placksin, 1982), and how Dizzy Gillespie had to defend her place in his band against condescending comments from the other (male) band members, when they could not play her music (Heble, 2000, in Caudwell, 2012Van Vleet, 2021). Trumpeter Clora (Bryant) found herself the only woman on jam sessions, since other female musicians avoided attending them (Townsend, 2000, in Caudwell, 2012.…”

Section: Naturalization Of Jazz As a Masculine Spacementioning

confidence: 99%

“Playing jazz is what she does”: The impact of peer identification and mastery experiences on female jazz pupils’ self-efficacy at Improbasen

Johansen

2023

Front. Educ.

View full text Add to dashboard Cite

This article is a conceptual analysis of the concepts of enactive mastery experience and vicarious learning experience from Albert Bandura’s socio-cognitive theory, applied to the empirical case of the Norwegian learning centre Improbasen. I outline some historical and socio-psychological contexts that posits jazz practice as a masculine stereotyped activity, to indicate various mechanisms that may cause a low self-efficacy for playing jazz in girls and non-binary children. When presenting the empirical case, I highlight the learning center’s strategies to promote gender equality. Finally, I discuss theoretically how these strategies may strengthen self-efficacy in children, relating them to experiences of mastery and vicarious learning. In conclusion I suggest that a diverse learning environment that facilitates peer identification works better for all genders than, when iconic male jazz musicians are treated as models for learning.

show abstract

Section: Naturalization Of Jazz As a Masculine Spacementioning

confidence: 99%

“Playing jazz is what she does”: The impact of peer identification and mastery experiences on female jazz pupils’ self-efficacy at Improbasen

Johansen

2023

Front. Educ.

View full text Add to dashboard Cite

show abstract

Section: A Social Lens To Musicmentioning

confidence: 99%

“…Several writers highlighted the unbreakable link of Jazz and free jazz improvisation to underlying social dynamics (Heble, 2000;Gazit, 2015;Liberatori, 2019). Heble (2000) presented his evolutional course of thinking of jazz playing as embedded in social structures. Firstly, Heble emphasized (mainly) black people's ethnical and political motivations as giving rise to jazz and free jazz improvisation, as part of their social struggle for becoming emancipated from the control, hegemony and expectations of white men.…”

Section: A Social Lens To Musicmentioning

confidence: 99%

The varying social dynamics in orally transmitted and notated vs. improvised musical performance

Hadar

Rabinowitch

2023

Front. Psychol.

View full text Add to dashboard Cite

Musical performance can be viewed as an intricate form of social behavior. Accordingly, the rich diversity of existing musical styles and traditions may reflect distinct modes of social interaction. To gain a better understanding of the relations between musical style and social dynamics, we have formulated a framework for dissecting different genres of musical performance according to key social criteria. In particular, we contemplate on the continuum ranging from strictly orally transmitted and notated to fully improvised music, and its relation to general compliance with social norms and structure, borrowing key concepts from tight-loose theory, a powerful paradigm for studying societal behaviors and tendencies. We apply this approach to analyze four distinct prominent musical genres, providing a detailed mapping between musical style and social dynamics. This work highlights important factors that link between musical performance and social interaction, and will enable future experimental unraveling of social aspects of musical performance as expressed by different musical styles and practices.

show abstract

Landing on the Wrong Note

Cited by 2 publications

References 0 publications

“Playing jazz is what she does”: The impact of peer identification and mastery experiences on female jazz pupils’ self-efficacy at Improbasen

“Playing jazz is what she does”: The impact of peer identification and mastery experiences on female jazz pupils’ self-efficacy at Improbasen

The varying social dynamics in orally transmitted and notated vs. improvised musical performance

Contact Info

Product

Resources

About