MENC: The National Association for Music Education

Jazz Goes to College: Part I

Author(s): Paul Tanner
Reviewed work(s):
Source: Music Educators Journal, Vol. 57, No. 7 (Mar., 1971), pp. 57+105-109+111-113
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education
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LLEGE
Part

By Paul Tanner

Under the sponsorship of the Fine

Arts and Humanities Division,
UCLA Extension, the author of this
article visited over one hundred colleges, universities, and conservatories to determine attitudes, problems,
and solutions regarding the teaching
of jazz in higher education. The institutions were selected from more
than 450 that responded to a preliminary questionnaire. This article,
on the organization and administration of courses in the history and
development of jazz, has resulted
from Mr. Tanner's talks with teachers, administrators, and students on
these campuses. It is the first of two
articles. The second will appear in
the April issue of Music Educators
Journal and will discuss courses in
jazz improvisation, scoring, and performance. Mr. Tanner, who spent
many years with the Glenn Miller
Orchestra, is on the music faculty
at the University of California, Los
Angeles.-ED.
* Although most colleges across
the country are still in the process of
building jazz into the curriculum,
there are pockets of considerable
activity-more activity, in fact, than
one might guess. The reasons for
offering a history of jazz course vary
widely. In one school, the instructor
feels the administration backs his
course mainly because it attracts a
large enrollment and makes the department look active. Another instructor says his goal in teaching the
class is to wean students away from
music he disapproves of, thus setting
himself up as the sole judge of what
is good or bad. (His favorite happens to be country-and-western
music.) Still another has revealed
that his course is constructed to
show the exchange of styles and
forms between jazz and art music.
(If this instructor feels good jazz
playing is not an art, then the wrong
man is teaching the course.) Some
of those who teach only music students spend a great deal of effort
demonstrating devices used in jazz
that are also used in other types of
music. The thinking here, of course,
is that if the device appears in music
the students enjoy, they will remember it. Many teachers profess that
their goals are to study the contributions jazz has made to other musics.
The faculties from two-year colleges
generally state that they are merely
trying to broaden the students'

MARCH, NINETEEN SEVENTY-ONE

awareness. In most cases, however,

the subject is offered because of the
considered value of the music itself.
Most teachers are trying to make the
students more sophisticated about
jazz because they feel that without
jazz the student is not well-rounded
musically.
Generally, the history of jazz is
treated as a music course and taught
in the music department. In some
cases, though, it fulfills a humanities
requirement for nonmusic majors,
and in others, it fulfills a history of
music requirement for the music majors. All colleges, of course, do not
spell out their curriculum offerings
and requirements in the same manner. In some schools, the history of
jazz is a humanities course, and it
is not in the music department; elsewhere it is called a fine arts course,
although it is not offered by the
music department. One school is so
involved in red tape that a humanities professor teaches the course in
night school only; the music department wants the course, but the
humanities department will neither
release the instructor to the music
department (even part time) nor
put the course in the regular daytime curriculum. There are also
schools where this same course can
be found in still another department,
such as anthropology.
There are situations in which the
subject is taught at varying degrees
of concentration in courses designed
to fulfill some other requirement.
For example, the development of
jazz is usually touched upon rather
lightly in music appreciation courses
for the nonmusic major. Folk music
courses often spend some time on
the blues form. One unusual approach to teaching a course in music
history is to start with a contemporary jazz group and work backwards
in time, analyzing contemporary
music by tracing its origins. Some
instructors who teach courses in
either twentieth-century music or
American music often include a
lengthy unit on jazz. One of the
main problems seems to be whether
or not there is time or space in a
student's curriculum for a complete
course in jazz history. The other major problem is the lack of qualified
faculty to handle the subject. One
instructor told me that he avoids
jazz because it is so loud and raucous. I bought two records of quiet
CONTINUEDON PAGE 105

57

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music that was definitely jazz and
presented them to him. After listening, he admitted that he had been
unaware of this diversity, and I believe his outlook was changed.
Teaching music to a class that
enrolls both music students and
nonmusic students presents many
problems. Most of the time the professor feels he is either talking over
somebody's head or talking down to
someone. Some schools separate
music students and nonmusic majors, although this is rare. In cases
where music and nonmusic people
study together, many instructors
have strong prerequisites for enrollment. One school had a class of
fifty-five graduate music students,
the only group allowed in the course.
The size of classes varies from a
technical seminar of nine students
to a lecture class of about 650. The
average size is about fifty students.
The attitude toward class size ranges
from those who deplore mass lecture
techniques, especially in a subject
that can be as intimate and personal
as jazz, to those who feel that the
more people who have an understanding of this subject, the better.
In most colleges, the size of the class
is restricted by the college itself.
Some schools take the first twentyfive students who sign up; in others,
class size is dictated by space alone.
Some teachers have their classes in
auditoriums, and the enrollment is
determined only by fire department
regulations. Classes of over one
hundred are not unusual. One thing
is certain: the enrollment is growing
swiftly, usually beyond the teacher's
capacity for handling the applicants,
and particularly if he is knowledgeable and exciting. If the teaching
load permits, large classes are
divided into sections. In one college,
three different instructors teach the
subject in consecutive quarters, each
MARCH, NINETEEN SEVENTY-ONE

with his own approach and emphasis. There are 35 students in one
class, 180 in another, and 240 in
the third.
Another important issue is
whether this material should be
covered in one quarter (or semester) or two. It is taught in one semester four times as often as in two
semesters. Students who take two
segments seem much happier because of the depth with which they
are allowed to go into the subject.
In some cases, a teacher alternates
semesters between two approaches,
such as a survey and a history
course, or more specifically, a course
possibly titled "Black Music" and
one called "Jazz History." In this
case, he would alter his emphasis
between sociology and music history. A few schools allow students
to repeat these courses for credit,
believing not only that the instructor
will vary his approach, but also that
the contemporary aspects of the
subject change constantly.
Although class time devoted to
the subject of jazz ranges from one
one-hour meeting a week to four
one-hour meetings a week, the
majority of classes meet two or three
hours weekly. Some classes meet
once for two hours, and others twice
for one hour each. When asked their
preference, some instructors stated
that one long session helps concentration and continuity; others said
they seem to have a more dynamic
approach if the meetings are shorter.
A survey of textbooks used reveals that books by five authors are
used much more than any others.
Alphabetically, they are Joachim
Berendt's The New Jazz Book (New
York: Hill and Wang, 1961),
Andre Hodeir's Jazz: Its Evolution
and Essence (New York: Grove
Press, 1954), Gunther. Schuller's
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Development (New York: Oxford

University Press, 1968), Marshall
Stearns' The Story of Jazz (New
York: Oxford University Press,
1956, New American Library, 1958,
and Mentor Books, 1958), and Paul
Tanner and Maurice Gerow's A
Study of Jazz (Dubuque, Iowa:
Wm. C. Brown, 1964, revised
1969).
A fairly definite pattern has
emerged from opinions expressed
about these texts. The Berendt and
Hodeir books are excellent if the
class is advanced in musical techniques. It seems that Europeans
take a close and dissecting view of
jazz. Most teachers who use the
Schuller book agree on three points:
(1) It is well done in a scholarly
manner. (2) It is too advanced for
nonmusic students (I do not agree).
(3) Since it only goes as far as a
certain point in time, it is hard to
use. The Stearns book was more
popular before there were others on
the market. The consensus of opinion is that Stearns did excellent research, especially in the prejazz
area, although he did lack understanding of more modern idioms. As
to the book by this author and
Maurice Gerow, there were two general observations. First, the music
examples in the book frighten the
nonmusic people, although the record in the back does help them.
Second, the book should not be used
by an instructor who does not know
the subject fairly well because he
seems to be left a great deal to expand on his own. Other authors
whose books are used (also alphabetically) are Ralph de Toledano,
Leonard Feather, Rex Harris, LeRoi
Jones, Charles Keil, Leroy Ostransky, Nat Shapiro and Nat Hentoff,
Barry Ulanov, Martin Williams, and
John Wilson.
Most of the instructors teach this
material with a chronological approach, since jazz is a music of
evolution and each style is greatly
dependent on what was played before. Almost all the teachers go as
far back as prejazz African music,
showing (but generally without
great emphasis) the rhythmic roots
of jazz. In the other direction,
those teachers who feel at home in
the area will carry this study all the
way up to today's rock, free form,
and electronic musics. Most of the
teachers seem to emphasize what has
happened during the last decade,
MUSIC EDUCATORS JOURNAL

rather than the earlier styles, perhaps because it is quite easy to get
the students involved in the more
controversial aspects of modern
jazz.
The most common demonstration
device is a collection of records. In
about one-third of the colleges, the
school furnishes all the records for
the course. In about one-half, the
school furnishes records but the instructor augments these with his own
collection. In the rest of the situations, the schools have no jazz records at all and it is entirely up to
the teacher to supply whatever he
requires. In every case in which the
school buys the records, the instructor is able to dictate what records
are to be purchased. Where classes
are small enough, listening assignments are made. In large classes, the
listening must be done during class
time. Of course, the amount of listening varies with each instructor and
with the particular points to be explained. In a few situations, the
entire course is based on analyzing
a small select collection of records.
Teachers who are adverse to spending much time on history naturally
spend more time on the development
of listening skills. One large eastern
college uses only records brought in
by the students. In general, the person who teaches this subject has
been listening quite conscientiously
to jazz since youth and therefore
has a large collection; records have
always been the greatest learning
source for this music. However,
most of the personal collections are
slanted toward the owner's preference of styles and usually have to
be augmented. Sometimes the
campus radio station comes to the
rescue, especially with contemporary sounds.
A few of the schools use tape
recordings for jazz classes, but only
a handful of teachers tape the demonstration excerpts from recordings
for the entire class. More often, certain records are taped for required
listening; these tapes are kept either
in the music library or in a listening
laboratory of some kind. Some
teachers tape excerpts for class use
to help with a particular point or
issue, and the rest of the time they
use records. There are conflicting
views on the use of tape in the classroom. One group deplores the
necessity of searching through a record with the phonograph needle to
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find the right spot. The solution

would seem to be to play the records
all the way through, but when this
is done students often forget what
to listen for. Others say that taping
the excerpts restricts the teacher too
much, that he is forced to follow the
routine of his tapes. They also say
that the process is too involved, too
inconvenient, and simply not worth
the time and trouble. Moreover,
some schools do not have the equipment.
A large percentage of those who
teach this course are instrumental
performers and most of them use
their instruments to demonstrate
jazz elements in class. Most of these
people also play enough piano to
explain certain points with this potent aid. Some of the teachers bring
entire performing groups into class.
Even though the groups are usually
stylistically oriented, the experience
of seeing live players construct lines,
improvise, and react to one another
has significant impact. Players often
talk with classes during such an
appearance. The value of a change
of pace from lectures and records
cannot be denied.
Quite a few teachers invite guests
into their classes who answer questions and sometimes perform. Occasionally, a school budget supports
these lecturers, but most of the time
the guests do not even ask for a fee.
The availability of guests is usually
determined by geographic proximity
to cities large enough to support
professional jazz.
One of the most difficult problems
that teachers have is testing and
grading. Both written and listening
tests are common; most teachers
give both. Many more instructors
give subjective written tests than
objective ones, although a few use
both methods. On the subjective
tests, they ask for contrasts, descriptions, discussions, comparisons of
stylistic differences, the tracing of an
element, sociological information, or
a short essay on a specific jazz performer. Occasionally, teachers ask
some technical questions, but usually this is impossible since the class
has nonmusic people in it. In my
classes, however, nonmusic students
are able to write the notes to the
standard chord progression of the
blues in any key. Objective tests are
made up of true/false, matching
(usually styles to people or styles to
emphases), or short fill-ins. These
MUSIC EDUCATORS JOURNAL

tests lean quite heavily on names.

About one-half of the listening
exams ask only for style identification, but quite a few teachers grade
these tests in such a way that the
more the student can state about
what he is hearing, the more points
he scores. Such information would
include the artist, approximate date,
style, meter, instruments, and title
of the record. Some teachers ask
that their students (nonmusic, too)
recognize a blues progression by ear.
Most teachers give two written
tests and one listening test, or two
tests with listening being a part of
one or both. The size of the class
usually determines whether or not
anything subjective is done.
In many grading situations a
paper is assigned to be done outside
of class. The topics used most frequently are individual personalities
and sociological aspects of jazz. In
some schools, a term paper is required of every graduate student in
every course that he takes. One very
interesting class in a New Jersey
college has each student write an
original blues tune. Some of the outside papers are concerned with
critiques of jazz concerts or even
critiques of stage band rehearsals.
Some teachers also ask for reports
on assigned reading or assigned listening. Another grading method is
oral reports, but very few teachers
assign them. The students usually
talk about a personality, and the talk
can be either musically technical or
sociological. Many students get quite
involved in these assignments.
The one team teaching effort I
encountered sounded fairly successful. One of the teachers emphasized
technical aspects, while the other's
forte was history and sociology.
They each gave their own tests and
averaged the grades.
The university that uses three
teachers alternating quarters on this
subject has an interesting situation.
One instructor handles the course in
a manner similar to most ethnomusicology courses. His time is divided
between the music department and
the anthropology department, and
this shows up in his teaching; he is
particularly concerned about the
African influences and other prejazz
aspects. Another of the three is a
fine instrumentalist and emphasizes
the technical aspects of the music.
The third instructor regards jazz as,
in his own words, "the Negro thing."
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109

He is quite involved with the social

influences. He takes his students to
black churches and brings in religious and secular groups to perform
for the class. He wants his students
to see all the facets of "black
music."
Another stimulating teacher uses
the Stearns historical approach, the
Berendt technical emphasis, and his
own view of jazz as an art to form
a three-sided approach.
Certain problems were mentioned
quite often in the interviews. One is
that in many colleges, no one on the
faculty has both the available teaching time and a knowledge of the
subject. One of the repeated criticisms from students is that there is
not enough listening. Some classes
complain that their instructor overemphasizes American Negro history. A big problem is the poor jazz
image, even among jazz-oriented
people. Some seem to need another
term for the word "jazz." The other
predominant problem is that most
instructors, administrators, and students have not really decided what
this music encompasses and precisely what should be studied in a
jazz course.
In most colleges, the faculty's attitude toward a history or development of jazz course is very good.
However, the exceptions to this are
quite strong, causing the overview
to be distorted. In one well-known
school, the history of jazz class is
denied equal status with other history of music classes to the point of
being called "literature" in order to
disclaim any connection. In one major city where jazz flourishes, the
biggest college only pays lip service
to teaching it. Although they have
claimed to be in favor of making
jazz an academic subject, they will
not go through the necessary procedures to enter the course into the
curriculum.
Some administrators say they are
worried that the course will not attract enough students. Others, whose
schools have very large jazz history
classes, worry because the classes
are too populated. One large midwestern university feels that the subject is not practical enough, yet it
sends its music majors out to teach
in schools that have jazz bands.
Closely related to the jazz history
curriculum are the courses in AfroAmerican music that are now being
offered in schools throughout the
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Ohio

Forthe study of liberalarts

and sciences, offering the
Bachelorof Arts (majorin Music),
Bachelorof Music
(applied Music), and Bachelor
of Music Education.
Scholarshipsavailable.

country. These courses receive

catalog titles according to the directions and attitudes of the individual
teacher, his music department, and
the needs of the students. About
half of the courses fitting this description are taught in alternate
semesters or quarters with some
other course dealing with contemporary musics. Most of the time it is
treated as a one-semester course,
but about fifteen percent of the time,
it is taught over two quarters or
semesters, allowing more depth by
including African music, early blues,
rhythm and blues, jazz, sociological
aspects, economic effects, views
from anthropology experts, and so
on.

Write: Admissions, The College of Wooster, Wooster, Ohio 44691

I

OF MARYLAND
UNIVERSITY
AND
PIANOFESTIVAL
INTERNATIONAL
COMPETITION

August1-7, 1971
Concerts and master classes by Alicia De Larrocha,
Guiomar Novaes, Stephen Bishop, and others.
Matthay workshop.
Competition for pianists
between the ages of 16 and 30.
$4000 in prizes.
For information write: Dr. Stewart Gordon, Music Department,
University of Maryland, College Park, Maryland 20742. Phone:
301-454-2501.

MUSIC EDUCATIONWORKSHOPS
at ANDREWS UNIVERSITY
featuring

methods

of

CARL ORFF and ZOLTAN KODALY

Featuring Grace Nash and Fran Margeson
Two Weeks-July 12 to 23
Week I July 12 to 16-Review of Basic Principles
Week II July 19 to 23-Advanced Orff and Kodaly Methods
Students may enroll for one or two weeks
Two quarter credits each week. Tuition $35.00 per week
For more information and brochure write to:
Dr. Paul Hamel, Chairman, Department of Music
Andrews University, Berrien Springs, Michigan 49104

112

In almost every situation, these

classes are attended by a mixture
of both music and nonmusic students. Some of the students are more
interested in the jazz aspects, some
in the history of the black American.
These courses, like those in jazz history, are not always taught by the
music department; sometimes they
are listed under such departments as
sociology or anthropology.
There is a definite need for
adequate textbooks. Some teachers
use none; some use as many as
three in order to cover the desired
material. There does not seem to be
anything current enough to cover
situations.
present
sociological
Those who use more than one often
use a book on the history of the
American Negro plus their choice of
a book on jazz.
Almost all schools furnish the
records for these courses. One
teacher said that he is allocated
$1,500 a year for records and scores
-a most unusual and happy situation. Sometimes the desired records
or bands from records are put on
tape for the convenience of the instructor, especially older records
that are not so easily replaced. Other
demonstration devices depend on
the ingenuity of the teacher plus
availability. One instructor spends
the first six weeks listening to South
African records and playing drums
in class. Many guitarists will gladly
come into the class for no fee and
demonstrate various styles. Some
schools are using the film Discovering Jazz. Most courses use guest
speakers to a great extent, and
schools in large cities often are able
to do this with no budget at all. A
school in Boston has $1,000 a year
MUSIC EDUCATORSJOURNAL

allotted to guest lecturers. A university in Raleigh has guest lecturers

such as LeRoi Jones and Donald
Byrd.
How much of the course content
involves jazz varies according to
who is doing the teaching. In some
cases, the course is almost entirely
about jazz; in others, it is almost a
sociology course. In a college in
New Jersey, a course called "The
Black Man's Musical Contribution"
excludes jazz because the teacher is
not knowledgeable in this vein. In
a New York college, the course
alternates teachers because of their
individual backgrounds. Most teachers seem to prefer a chronological
approach. Some will start with slave
songs, others with African music.
One teacher said that in his opinion,
Negro teachers are too often concerned with comparing jazz (or any
other Afro-American music) with
the European academic approach to
music. This seems to give the course
academic snob appeal, but he feels
that this music should be taught as
a separate entity on its own merits.
As far as testing is concerned, almost every instructor that I talked
with uses subjective type questions
or grades by having the students
write papers in lieu of tests. Some
instructors give assigned reading for
outside of the class to save themselves the trouble of trying to reconstruct the past in the classroom.
The outside papers are usually critiques on books such as Charles
Keil's Urban Blues or LeRoi Jones'
Black Music, or papers on an individual musician or on a mixing of
races in a certain geographic area.
A major problem in black music
courses seems to be the lack of adequate textbooks. Another problem
is to get today's students of any color
to clearly visualize social situations
in the past.
When I asked about faculty attitude toward this type of course, the
favorable and positive comments
were almost unanimous. One instructor did say, however, that his
(black) administrators considered
jazz as entertainment.
In some colleges, anything concerning jazz is welcomed as long as
it is handled as a teaching overload.
Many administrators are still not
"true believers," but in more and
more schools, this vital music is
accepted and taught as best it can
be in the individual situation.
A
MARCH, NINETEEN SEVENTY-ONE

the

of

college

hIoly

aames

oakland, california
MOVEMENT AND MUSIC: AN APPROACH
TO LANGUAGE AND READING
* an application of the techniques of
Kodaly and Orff to the study of
language and reading
* 3 graduate units

JUNE 28 to JULY23, 1971

JANICE SODERBERG

WORKSHOP IN SUZUKI VIOLIN TECHNIQUES

* demonstrationswith children from preschool age through high school
* 2 graduate units

JULY 26 to AUGUST 6, 1971

ELIZABETH
MILLS

WORKSHOPS
lead to
B.A. or Mus. B. degrees
M.A. or M.M.degrees
M.E.in Reading
Reading Specialist Certificate

WRITEfor bulletin to
Chairman, Department of Music
College of the Holy Names
3500 Mountain Boulevard
Oakland, California 94619

A majorfield
leading to
B.A. or B. F.A.,
M. A. in Music,
M. S. in Education
Forinformationwrite:
Music Department
C. W. Post College
Long Island University
Greenvale,L. I., N. Y. 11548
J
"Wft~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IllllI

^^i^l

Il

WORKSHOPAT WHITEWATER
WisconsinState University
Whitewater, Wisconsin 53190

proudly presents
Katinka Daniel
Arpad Darazs
Advanced Techniques
Elementary Techniqu Les
Robert Perinchief, Director
3 credits
July 26-August 6, 1971
For further information, write: Dr. Thomas McLeRoy
Acting Dean, Summer School and Extension Services
113