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 .........................