university apprenticeships for jazz musicians??

[alocispepraluger102]

good or bad????

my first instinct is bad. jazz, to me, should be a music of the people. relegating it's artists(and ultimately its patrons) to the cool stilted rarified chambers of academia doesn't sem to be the way to go.

to think that the only jazz musicians who survive will do so because of their positions in academia would seem to be stifling and, with a few exceptions, place limits on their creativity.

link

Edited July 27, 2012 by alocispepraluger102

[Rooster_Ties]

BTW, here's the link that goes to page 1 of the story...

Jazz Apprentices Still Find Their Masters

[alocispepraluger102]

BTW, here's the link that goes to page 1 of the story...

Jazz Apprentices Still Find Their Masters

sorry--thx.

[BillF]

good or bad????

my first instinct is bad. jazz, to me, should be a music of the people. relegating it's artists(and ultimately its patrons) to the cool stilted rarified chambers of academia doesn't sem to be the way to go.

to think that the only jazz musicians who survive will do so because of their positions in academia would seem to be stifling and, with a few exceptions, place limits on their creativity.

link

But think of the employment and earning opportunities for jazz musicians as teachers now that jazz has entered the academy.

[soundenvelope]

The fact is that very few musicians are able to consistently make a living performing. Traditionally, survival has always meant/included teaching for those who are able. With the growth of the jazz education system in colleges/universities, a lot of work and, sometimes, economic security has been afforded. Are all of the folks who are teaching practicing artists? Should they be?

Good teaching/mentoring, wherever it occurs (on the 'scene' or in the schools) is what is needed. More troubling than anything else in all of this institutionalizing of the music and how it is taught is the conservatism that rises through the codifying of pedagogy.

The music does not fit neatly in a box. And teaching should not have the effect of stifling the growth and development of the music. Tradition should be a living thing.

For me, the most interesting work being done with teaching the music comes from Joe Morris. His new book, Perpetual Frontier: The Properties of Free Music will change things.

Read about it here: http://www.pointofdeparture.org/PoD39/PoD39PerpetualFrontier.html

Edited July 27, 2012 by Stephen Haynes

[alocispepraluger102]

The fact is that very few musicians are able to consistently make a living performing. Traditionally, survival has always meant/included teaching for those who are able. With the growth of the jazz education system in colleges/universities, a lot of work and, sometimes, economic security has been afforded. Are all of the folks who are teaching practicing artists? Should they be?

Good teaching/mentoring, wherever it occurs (on the 'scene' or in the schools) is what is needed. More troubling than anything else in all of this institutionalizing of the music and how it is taught is the conservatism that rises through the codifying of pedagogy.

The music does not fit neatly in a box. And teaching should not have the effect of stifling the growth and devlopment of the music. Tradition should be a living thing.

For me, the most interesting work being done with teaching the music comes from Joe Morris. His new book, Perpetual Frontier: The Properties of Free Music will change things.

Read about it here: http://www.pointofdeparture.org/PoD39/PoD39PerpetualFrontier.html

thanks for your knowledgeable comments. you clearly have deeper insight and understanding on this than i do.

[paul secor]

The fact is that very few musicians are able to consistently make a living performing. Traditionally, survival has always meant/included teaching for those who are able. With the growth of the jazz education system in colleges/universities, a lot of work and, sometimes, economic security has been afforded. Are all of the folks who are teaching practicing artists? Should they be?

Good teaching/mentoring, wherever it occurs (on the 'scene' or in the schools) is what is needed. More troubling than anything else in all of this institutionalizing of the music and how it is taught is the conservatism that rises through the codifying of pedagogy.

The music does not fit neatly in a box. And teaching should not have the effect of stifling the growth and development of the music. Tradition should be a living thing.

For me, the most interesting work being done with teaching the music comes from Joe Morris. His new book, Perpetual Frontier: The Properties of Free Music will change things.

Read about it here: http://www.pointofdeparture.org/PoD39/PoD39PerpetualFrontier.html

Are you getting a cut from the sales of Joe's book?

[soundenvelope]

Are you getting a cut from the sales of Joe's book?

Having a cut would be grand, Paul!

Joe is a good friend as well as a musical colleague. We co-curate a series here in Hartford, CT, Improvisations, at Real Art Ways. Joe is also a member of my trio, Parrhesia, with Warren Smith as well as my new quartet (a 2-bass project) w/Joe, William Parker and Warren Smith. The quartet will record in March 2013 at Firehouse 12 in New Haven.

I do feel that Perpetual Frontier is quite important on a number of levels, and that folks need to hear/know about it. Not just for musicians, the work opens up doorways that will help listeners apprehend the music, what it is, how it works, in a manner that will enhance the listening and aesthetic process.