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For years jazz has always been classified as the poor cousin to classical in the academics of most University

campuses. It seems that jazz also has the problem of simply fitting into the Classical establishment that's been around for much longer. Most people do not think that jazz is in anyway inferior to Classical...it's just that no one knows how to fit it in to the already established Classical system in place at most institutions. As the old saying goes people simply fight that which they dont understand.

The idea of studying such music as jazz, blues, country, rhythm and blues were totally out of the picture when it comes to the average college curriculum. Many professors and faculty in the Music departments would often discourage the students by indicating that jazz singing would harm the voice. Others claimed that students will not be as educated in jazz as they would classical music. As stated on page 9, Many departments believed that students interested in Jazz should leave their preferences at the port engraved with revered names: Beethoven, Wagner and Verdi. They also agreed that who suggest that the jazz musician who wants to earn a college degree should put his jazz aside lest his jazz compulsion deprive him of his best efforts in legitimate studies. Most colleges treated the Jazz ensemble as a major ensemble credit like Orchestra. There were also smaller jazz ensembles, probably quartets, which were perhaps small ensemble credit. Every music education major are required to have so many credits of a major performing ensemble and a small ensemble. Sadly, in music history class the discussion about Jazz was minimal. Although, there is a set of four music history courses a student must take for the major, which fit into the four-year degree. But many students would have even taken an elective course on jazz if one had been offered. It is believed that having a class on jazz in music history is one way to incorporate jazz into the music education curriculum. Even just a one-semester course to cover how it began and

what it is now. As of including more jazz in the music education curriculum, most institutions find it difficult to employ qualified professors. For some, jazz can really be a technical and difficult subject to teach . Many teachers fear teaching jazz because they have had limited or no experience with it themselves. It is important to note that one does not have to be an accomplished jazz performer to teach jazz. Gaining proficiency as a teacher of jazz requires understanding how the fundamental elements of music are applied in a jazz setting. Jazz incorporates melody, rhythm, form, timbre, and expression just as other music styles do. How these elements are utilized is what makes jazz so unique. Understanding the application of music fundamentals to jazz can be compared to learning a new language. Often we consider jazz as classical American music, but a large percentage of choral musicians are not willing to accept this and have very little training or understanding in the general "jazz/pops" category. After all, it took enough time and trouble getting the early New Orleans "jass" out of the sinful and into the acceptable category as a listenable, intellectually acceptable style, to say nothing of bringing it into the school music programs. There is also a feeling that young students already know enough about "pops" music and therefore there is no need to bring it into the school choral repertory. This keeps out a lot of American styles of musical creativity born in the 20th century, which should be considered fundamental to any Choral program, just as it is to the instrumental programs with their "big band jazz" activities. While the conflict continues to rise in most colleges and universities, there are yet many students who actually would love to enroll in applied classes or have more hands on experiences in the area of improvisation. As stated on pages 7 and 8, the 1970s saw the flowering of jazz in campus music buildings across the country. Professor Paul Tanner attracted as many as 700 students to his class on jazz development at UCLA. It was discovered that over 600 colleges reported that most of them wanted to add more jazz courses, but again the issues arises, trouble

finding the necessary advanced degrees.

Even though there were struggles of getting the respect which has been long overdue, several organizations and individuals offered their generous support. Millions of dollars was funded into jazz programs. It paints a picture that jazz has arrived. But the question is asked; where? and to what end? Many colleges now offer optional jazz methods classes, and an increasing number now require jazz methods and/ or improvisation as a part of their instrumental music education degree programs. The University of Louisville is among those schools that require both jazz methods and jazz improvisation for instrumental music education majors. There are also a number of summer workshops offered by colleges and organizations to aid teachers who feel unprepared to incorporate jazz in their teaching. In closing I believe that teaching American music such as Jazz, Pop, Blues.Etc, can be an enhancement to most music departments in our institutions; particularly if the various styles are taught not only from a historical point of view, but also a theoretical view. This will also allow students to acquire a balance in their music career and prepare some music majors for the real world.