December, 2011

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Jazz music education

Sunday, December 25th, 2011

Jazz music education

There is a story that the first European college jazz course began in Frankfurt, Germany, in the early nineteen thirties, but was promptly closed down after Hitler seized power in January 1933!

The story, though difficult to confirm, has the ring of truth. Had Jazz Education been available so early in the history of jazz (the first jazz recordings appeared in 1917), the Jewish and Negro elements present in the music would have guaranteed the disapproval of the Nazis.

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Alas, they were not alone. Even Lord Reith’s BBC forbade the broadcasting of dance music on Sundays during the 1930′s.

Jazz has been the recipient of hostility and cultural philistinism throughout its eighty years.

Now it is pleasing to report to a steady post-war growth in opportunities for serious study of jazz at college level, leading to a current boom in provision.

In the nineteen forties America led the way, the most famous pioneer being the Berklee College of Music in Boston. Berklee still thrives today but has tough competition from numerous excellent courses, both in America and Europe. Jazz came from America and uses American popular song; so the language of jazz is English. The language of jazz education, from the blackboard to the bandstand (and vice versa) is also English. Couple with that fact the emergence of European Jazz as a distinctive genre, and study in Britain is increasingly seen as first choice for the international student wishing to combine the polishing of his or her English Language skills with the sharpening of jazz abilities.

In recent years the London conservatories – the Royal College of Music, the Royal Academy of Music, Trinity College of Music and Guildhall School of Music and Drama – have offered some jazz provision, either one year courses for advanced players or those at postgraduate level. Yet undeniably Leeds College of Music, who pioneered the BA (Hons) in Jazz Studies in 1993, remain the ‘Oxbridge’ of jazz education at undergraduate level. The degree course stemmed from one of the first jazz courses in Europe (Frankfurt excepted) in 1965 and students are able to precede the three-year course with a one-year access course if required.

The degree course includes options in sound recording and even Indian Music and fusion, where Leeds has the only specialist full-time Indian Music teacher and musician. The 200 jazz students at the College thrive in this environment where the only limit to their music-making is their own imagination.

Leeds itself is an active student town with two universities and specialist colleges of art, technology and building as well as the music college. Leeds is also the club capital of the north and venues range from music clubs for musicians and audiences to places to bop, chill or just to be seen at.

Whether you like contemporary dance, opera, straight or interactive theatre or sculpture, you will find some of the best arts events in Leeds. The College’s new neighbour – Leeds College of Music has just moved into brand new purpose-built premises – the West Yorkshire Playhouse, is known in the UK as the National Theatre of the North, producing its own excellent plays and musicals as well as providing and outlet for touring theatre productions. The theatre runs regular jazz in the foyer programmes and they are always on the lookout for new performers.

After three years, you can stay on for the postgraduate certificate 1-year course, the MMus due to come on stream in Autumn 1998 or launch yourself into the big wide jazz world as your predecessors have successfully done before you. Past students from the course include big names on the European jazz scene some of whom regularly perform in Japan, radio producers, producers of sell-out musicals, composers and teachers.

Following the success of the jazz course at Leeds and the jazz teaching in the London conservatories, there is considerable growth in the provision of jazz education at both Further Education (post-school but pre-undergraduate) and Higher Education (undergraduate) levels throughout the country including Newcastle, Chichester, Middlesex and Doncaster.

For complete details about study in uk, visit abroad education corner.

article source:http://www.intstudy.com/articles/ec185a14.htm

For complete details about study in uk, visit abroad education corner.

Lana’s Story: Re-Storying Literacy Education

Thursday, December 15th, 2011

Lana’s Story: Re-Storying Literacy Education

Susan (all names are pseudonyms), the adult education instructor, introduces her as “our resident writer and unofficial cut-up.” Lana is short in stature and slight in build, but as her writing demonstrates, her physical appearance belies the size and strength of her voice. In her short narratives and poems, she relates deeply personal issues of family and identity; she writes about marital turmoil, about her daughter’s coming out, about her own struggles with alcoholism, and about the dehumanizing experience of applying for welfare benefits, which Cushman (1998) called a “gate keeping interaction,” where individuals encounter the reductive, intrusive, “toxic” literacies of bureaucratic texts (Taylor, 1996). These are important themes of her life, issues she says she “had to get out,” and her determination to pursue them gives rise to a fundamental question for adult education programming and instruction: To what degree Breitling Replica can the pursuit of programmatic goals accommodate and build on students’ lives, personal goals, and interests, particularly as these interests relate to writing and the desire to make meaning of important experiences

The ideology underlying most adult literacy education in the United States today, despite many instructors’ perceptions of their practice, continues to hold productivity as its primary imperative.

The ideological disconnection between perception and practice, however, speaks to the staying power of an earlier “moral imperative” for literacy education. Brandt (2004) argued that, early in the 20th century, literacy was “supposed to turn people into something” (p. 500), that literacy held out the promise of social and moral transformation, but global events—namely World War I—presented the American educational system with daunting new challenges. The scale of technological inventions that accompanied modern warfare demanded new job skills and literate abilities and transformed educational policy regarding literacy. The underlying imperative for literacy policy shifted from moral transformation to economic and strategic competitiveness—productivity.

Perceptions and attitudes toward literacy, though, adhered to the moral imperative, and the understanding that greater literacy holds the potential to positively transform individuals continues to reverberate in the public consciousness, embellished by the social and educational upheavals of the 1960s and the cultural sanctioning of personal expression and choice as hallmarks of Breitling Bentley Replica democratic life. Literacy as a religious moral gave way to literacy as a democratic moral. All the while, official definitions and policies concerning literacy continue to favor economic productivity. As Brandt (2004) concluded, today’s students are expected to “turn [literacy] into something” (p. 500)—to produce. In the regional, state-funded adult education program that Lana attends, most students practice what Taylor and Dorsey-Gaines (1988) called “instrumental” literacy—reading and writing tasks related to a generalized notion of the workplace—learning to make resumes, filling out job applications, composing cover letters, to name a few. Programs and curriculum such as this, emphasizing workplace skills exclusively, can impede efforts of teachers and tutors to cater to students’ own interests in and goals for their literacy and learning because “the workplace” for which these students are being prepared has little or no interest in literacy as a means for examining one’s life and experience.

Adult education in the United States is not without fine examples of providers that strike a balance between student-articulated goals and program-prescribed goals, such as the provision of workplace skills. The Center for Literacy (CFL) in Philadelphia, PA, a nonprofit, community-based provider, is one such example, deriving curriculum in concert with individual learners’ personal interests and educational needs. Students are encouraged to write their personal lives and experiences into their emergent educational experience and have the opportunity to share their creative work with a larger audience via the Center’s publication Student SpeakOut, an annual book that includes short stories, poems and social commentaries, among other writings. The Center’s website proudly proclaimed that starting in 2006 Student SpeakOut was “published with an ISBN number, meaning all student writers are now considered published authors.” But for many state and federally funded programs—programs that often function under tight budgetary constraints and the constant demand to demonstrate success— catering the content and delivery of instruction to specific interests of individual learners is neither standard practice nor uniform concern. Perhaps the most inhibiting factors, though, are the conditions that preface and shape instructors and instruction in adult education itself.

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