The “Finite” Art of Improvisation: Pedagogy and Power in Jazz Education
The “Finite” Art of Improvisation: Pedagogy and Power in Jazz Education
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即兴创作的“有限”艺术：爵士乐教育中的教学法和力量
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发表时间：
2008
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影响因子：
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通讯作者：
Ken Prouty
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作者：
Ken Prouty
雅克·阿塔利写道，音乐可以通过即兴实践“发明类别和动力，并再生社会理论”。然而，他所写的表演实践是基于自由即兴创作的，在结构上是无限的，在表演者之间的关系上是相对无等级的。然而，许多即兴的体裁并没有反映这种自由的方法。这些即兴创作的习语是否同样为社会关系开辟了新的可能性，或者说，由于它们被认为是正确或可接受的文体和实践界限的本质，实际上加强了现有的社会秩序？在这篇文章中，我探讨了这些论点的背景下，在制度背景下的爵士乐教育学的批评话语。它不是对爵士乐教育学本身的批判，而是对这种话语如何反映、产生和再产生社会互动的探索，这些社会互动往往受到各种实体之间的权力关系的深刻影响，如西方艺术音乐传统与爵士乐，教育机构与爵士乐表演社区，教师与学生，管理者与教师。所有这些关系都影响了制度化的爵士乐教学法的发展方式，以及所有参与者如何实践和生活。
Jacques Attali writes that music can serve to “invent categories and dynamics and regenerate social theory” through improvisational practice. Yet the performance practices of which he writes are those based in free improvisation, structurally boundless and relatively non-hierarchical with respect to the relationships between performers. Many improvised genres, however, are not reflective of such a free approach. Do such improvised idioms similarly open up new possibilities for social relationships, or, by the very nature of their stylistic and practical boundaries of what is considered correct or acceptable, actually reinforce existing social orders? In this essay, I explore these arguments within the context of the critical discourse over jazz pedagogy in the institutional context. It is not a critique of jazz pedagogy pre se, but rather, an exploration of how such discourses reflect, generate, and re-generate social interactions that are often deeply affect by power relations between various entities, such as the western art music tradition versus jazz, the educational institution versus the jazz performance community, teacher versus student, administrator versus teacher. All such relationships have affected the manner in which institutionalized jazz pedagogy has developed, and how it is practiced and lived by all involved.