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Results show significant pre-to-post gains in singing notated jazz melodies, nearly significant improvements in jazz improvisation, and no significant change for playing notated melodies.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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was the primary purpose of the study?","Question",{"text":63,"@type":64},"To investigate effects of a singing-aural imitation treatment on collegiate instrumentalists’ jazz performance achievement and self-efficacy for playing and teaching jazz and improvisation.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How were jazz performances evaluated?",{"text":68,"@type":64},"Three expert judges assessed performances using the researcher-constructed Jazz Melody and Improvisation Performance Achievement Measure.",{"name":70,"@type":61,"acceptedAnswer":71},"What outcomes improved after the treatment?",{"text":72,"@type":64},"Participants showed significant increases in their ability to sing the notated jazz melody, nearly significant increases in jazz improvisation, and non-significant differences in playing the notated jazz 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Systemic Vocalization Method on Jazz Performance Achievement and Self-Efficacy  \nThe primary purpose of this study was to investigate the effects of a singing-aural imitation treatment on collegiate instrumentalists’ jazz performance achievement and self-efficacy to play and teach jazz and improvisation  . A secondary purpose was to investigate to what extent various background variables might relate to jazz improvisation achievement  . Participants (N = 18) in the study received approximately sixty-minutes of jazz instruction  .  \nJazz performances were evaluated by three expert judges using the researcher-constructed Jazz Melody and Improvisation Performance Achievement Measure  . Results indicated significant increases from pre- to posttest on participants’ ability to sing the notated jazz melody, nearly significant increases in participants’ jazz improvisation, and non-significant differences in participants’ ability to play the notated jazz melody . Participants reported greater self-efficacy for jazz performance and jazz teaching at posttest compared to pretest  . The number of years participants spent in a jazz ensemble and improvising in genres other than jazz significantly correlated with scores on some of the performance measures  .  \nFindings of this study associated with singing strongly suggest that music educators should incorporate singing (a systematic vocalization system) in their instruction  .  \nKeywords: jazz improvisation, pedagogy, singing, self-efficacy, performance achievement  \nIntroduction  \nTeaching students how to play music by having them sing first has been recommended as a pedagogical approach by many music educators and theorists (Bernhard, 2003); the concept being, if you can sing it, you can play it. Relations between music and language and embracing a sound-to-symbol approach to pedagogy is a feature of many traditional approaches to music teaching such as the Kodàly, Orff, Dalcroze, and Suzuki methods (Carder, 1990) . This teaching approach is especially used by jazz educators to assist students towards using  \nContributions to Music Education  \nappropriate style and improving their improvisational ability. Jazz educator and saxophonist Ron Carter describes jazz as a “vocally derived art form based on the African American dance tradition.” He further states,“I believe the human voice was our first instrument”(personal communication, November 2, 2016). Wycliffe Gordon, jazz educator and trombonist, also asserts:  \nThe instrument is an extension of your voice . . . If you sing accurately and in tune, that means that you hear it. And if you can do that, that means that you’ve internalized the pitches. If you internalize something, the music comes from within you . . . you can actually hear it . . . feel it. You can actually train yourself to play it. ( JazzTimesVideo, 2012)  \nDunscomb and Hill (2002) emphasized the importance of having students sing to improve students’jazz performance ability. They stated:  \nProper jazz articulation is essential to all successful jazz ensembles, and without it, jazz never gains its character. Being able to sing using jazz syllables and teach your ensemble to sing is key to your group’s successful performance of the jazz style. (p. 67)  \nSeveral studies have revealed aural imitative ability to be positively associated with improvisation ability (Bash, 1983; Madura, 1996; May, 2003) . In line with this concept, Watson (2010) found students that received aural-based improvisation instruction improved significantly more than a group that received notationbased instruction. Additional studies have indicated how using vocalization as a tool helps students improve their musical ability and stylistic approach (Erwin, 1992; Krubsack, 2006), their jazz and improvisational skills (Bash, 1983; Biasutti & Frezza, 2009; Schneller, 2014), as well as their articul","cbCaiaAKvlbnGuJy","https://ap.wps.com/l/cbCaiaAKvlbnGuJy","pdf",389000,"English","# Introduction\n## Purpose and study focus\n## Participants and procedure\n## Measures and results\n## Background and related research\n## Implications for music education","[{\"question\":\"What was the primary purpose of the study?\",\"answer\":\"To investigate effects of a singing-aural imitation treatment on collegiate instrumentalists’ jazz performance achievement and self-efficacy for playing and teaching jazz and improvisation.\"},{\"question\":\"How were jazz performances evaluated?\",\"answer\":\"Three expert judges assessed performances using the researcher-constructed Jazz Melody and Improvisation Performance Achievement Measure.\"},{\"question\":\"What outcomes improved after the treatment?\",\"answer\":\"Participants showed significant increases in their ability to sing the notated jazz melody, nearly significant increases in jazz improvisation, and non-significant differences in playing the notated jazz melody.\"}]","The Effect of a Systemic Vocalization Method on Jazz Performance Achievement and Self-Efficacy | PDF",1792090208,48]