PROCESSES AND CRITERIA FOR SELECTION OF VOCAL ......Traditionally, jazz choirs perform standard jazz arrangements including bebop, swing, jazz ballads, and contemporary arrangements

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PROCESSESANDCRITERIAFORSELECTIONOFVOCALJAZZLITERATURE

By Ruiel T. Doonkeen

SUPERVISORY COMMITTEE: DR. PETER R. WEBSTER, CHAIR

DR. KEITH P. THOMPSON, MEMBER

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT

OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC

UNIVERSITY OF FLORIDA 2015


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ACKNOWLEDGEMENTS

I would like to sincerely thank my supervisory committee Dr. Peter Webster and Dr.

Keith Thompson for their dedicated support throughout all stages of this capstone project. I

would especially like to thank Dr. Peter Webster for his guidance and patience! I would like to

express my appreciation to Justin Benick, Derek Chapin, Frank DeMiero, Beth Enloe-Fritz, R.

John Hamilton, Kerry Marsh, Mike Plunkett, Janice Vlachos, and Jennifer Barnes, the vocal jazz

experts, for their contributions to this capstone project. I would like to thank the members of

Claremore High School “Room 701” Vocal Jazz for serving as an inspirational element in

completing this journey. To my two favorite teachers, Suzanne Aylor and Mike Plunkett, thank

you for filling my soul with music! Thank you to my parents, Pete and Lisa for a lifetime of

support and encouragement. Thank you to the two most wonderful girls in the world, Brooklyn

and Lilly, for loaning out their daddy for the past two years. Daddy loves you! Finally, to the

woman that this work is dedicated to, my magnificent wife Alicia. Without you, none of this

would be possible --- you are my muse!


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Abstract

This capstone project was designed to create a comprehensive guide for selecting vocal

jazz choir repertoire and resources for locating current authentic vocal jazz literature. It is

intended to assist the novice as well as the advanced vocal jazz educator by defining criteria for

selecting repertoire. Based on systematic interviews with selected expert teachers of vocal jazz

ensembles, a set of criteria were developed based on aesthetic and pedagogical merit, national

and state standards for selecting repertoire, and selection method recommendations from expert

vocal jazz choir educators. The construction of rubrics for selecting vocal jazz repertoire based

on expert vocal jazz educator recommendations were created to serve as guidelines for the

continuation of evaluating of vocal jazz choir repertoire in preparation for selection and

performance.


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Processes and Criteria for Selection of Vocal Jazz Literature

Background

Definition of a Vocal Jazz Choir

What is a vocal jazz choir? The compilation of a traditional vocal jazz choir is generally

considered to be sixteen to twenty-four voices, a piano accompanist, bassist, jazz guitarist, and

drummer (Emerson, 2015). This ensemble traditionally performs from a semi-circle formation

while standing and singing into individual microphones used for amplification and balance

alongside live instrumentation. The traditional ensemble performs with little to no choreographed

movement. Traditionally, jazz choirs perform standard jazz arrangements including bebop,

swing, jazz ballads, and contemporary arrangements (Rutherford, 2008). The focus of this

project relates to the description of this type of vocal jazz choir. A YouTube video example

produced by Jennifer Barnes, the Director of Vocal Jazz at the University of North Texas,

encapsulates the description of a vocal jazz choir as mentioned above (Barnes, 2012).

Although the overall examination of vocal jazz curricula is beyond the scope of this

study, the focus here is to provide pathways of understanding vocal jazz repertoire selection for

educators who are interested in establishing high-quality vocal jazz style and sound in the vocal

jazz choir rehearsal and performance setting. Although there is much research conducted in

traditional choral and instrumental jazz repertoire selection, there is little work published on

vocal jazz ensemble repertoire selection particularly for the high school vocal jazz ensemble.

A high school music educator seeking to begin a vocal jazz ensemble is complex and

presents a number of challenges. One particular challenge is to locate high-quality and authentic

repertoire that will complement the high school vocal jazz ensemble. This challenge remains true

for the veteran vocal jazz educator seeking to locate new repertoire that will inspire participating


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music students, as well as the less experienced educators hoping to establish and sustain high

quality ensembles. Unfortunately, many high-quality and authentic resources are not easily

accessible for the vocal jazz educator. A comprehensive guide for selecting vocal jazz repertoire

to benefit the experienced and inexperienced choral educator is the purpose of this capstone

project.

Questions of Definition

A central theme for this project is the importance of authentic and high-quality vocal jazz

repertoire. In an effort to obtain a deeper understanding of “authentic and “high quality” vocal

jazz literature, I first had to determine the meaning of these terms in terms of the context of this

study. To understand the meanings of vocal jazz quality and authenticity, we must understand the

jazz idiom and its theoretical elements. The present day vocal jazz choir style has its foundation

in instrumental groups, from the small jazz ensemble to the big bands (Anderson, 1993). A

traditional vocal jazz choir typically performs in the style of big band jazz. According to

Anderson (1993), the vocal jazz style is typically emulative of instrumental big bands and thus

contains smooth and interesting voice leading, chords comprised of dissonant harmonies,

rhythmic interpretations, and note articulations that are arranged in the jazz style (see Figure 1).

For example, arrangements of vocal jazz literature may contain: (1) chords consisting of

sevenths, ninths, elevenths, and thirteenths; (2) beats that are subdivided into triplets, (known as

“jazz time” (p.92)); and (3) note durations that may not receive the value as written. According

to Anderson, these characteristics are indicative of the authentic vocal jazz style as well as the

instrumental jazz idiom (p. 93).


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Figure 1. Jazz Swing Style Quarter Note Articulations (Anderson, 1993, p. 96).

Throughout my tenure as a vocal jazz educator, I have introduced my own performance

ensembles to a multitude of vocal jazz repertoire in many diverse styles and instrumentation. The

choices of repertoire have, on many occasions, caused me to question the authenticity of the

music I have chosen. Did it contain good examples of dissonant jazz harmonies, the use of swing

style eighth note articulations, and multicultural jazz style of note articulations? Also, what about

the lack of improvisation opportunities I provided? According to Baker (2003), improvisation is

considered to be an integral part of jazz music; however, within his study, more than three

fourths (77.3%) of the 150 vocal jazz compositions from major music publication companies

(e.g. Hal Leonard, Shawnee Press, and Alfred), make no reference to this practice within the

score.

Certainly, traditional use of jazz style composition can vary in contemporary arranging.

Key elements included within vocal jazz arrangements may determine if indeed the composition

is considered high quality or authentic. Kerry Marsh’s arrangement of Ben Fold’s “Selfless,


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Cold, and Composed” (Marsh, 2009) for example, contains elements of traditional jazz style

arrangement based on the use of swing style eighth note interpretations, the composition of

dissonant harmonies, and the use of scat syllables within the soli section. His arrangement also

provides opportunities for improvisation, a key component (Baker, 2003) to traditional jazz style

(see Figure 2 and 3).

Another example is Paul Simon’s popular song “You Can Call Me Al” arranged by Jim

Farrell (Farrell, 1989). Although this arrangement does contain elements of vocal jazz

composition including the use of scat syllables, and is sold by the University of Northern

Colorado Jazz Press, it does not contain the use of traditional jazz harmonies but rather chord

structures based on triads that lack dissonant harmonies as well as lacks the opportunity for

improvisation (see Figure 4). Although the examples below illustrate the definition of

contemporary vocal jazz composition, do they meet the standard criteria to be considered as

authentic and high quality literature to vocal jazz experts?

Figure 2. Traditional Jazz Style Uses of Dissonant Harmonies (Marsh, 2009)


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Figure 3. Use of Improvisation Opportunity (Marsh, 2009)

Figure 4. Use of Scat Syllables and Harmonies Based on Triads (UNC Jazz Press, 2015)

Throughout my research for this study, I encountered many meanings for the words

“authentic” and “authenticity.” In an investigation of performance standards used to evaluate

jazz musicians, Pogwiz (2015) stated that standards of authenticity are based first and foremost

on the experiences of those determining them. For this project, in order to avoid ambiguity, I

relied not only on my own experiences but also on the expert vocal jazz teacher themselves to

help determine the meaning for “authentic” and “high quality” repertoire.


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Need

One of the positions emphasized at the 1967 Tanglewood Symposium was the need for

teaching music of all periods, forms, cultures, and styles, including popular music (MENC,

2002). Grier (1991) indicated the need for teachers to develop skills and specialized training in

conducting popular music for stylistic authenticity as well as locating literature that is conducive

for the vocal musician’s health and wellbeing while maintaining musical integrity (p. 36).

However, teachers may feel uncomfortable teaching the genre of vocal jazz and favor so-called

“watered down” or altered arrangements of repertoire due to lack of training or knowledge of the

vocal jazz genre (Singh, 2005). Research of the sort provided here on the topic of vocal jazz

repertoire selection offers guidance to the teacher that may be unaware that jazz ensemble

repertoire should serve to challenge and improve performance skills, offer perspectives on

historical performance practices, serve as a vehicle for teaching important structural elements of

the music, and above all, motivate and inspire students to delve more deeply into the art form

(Anderson, 1993; Watson, 2013).

Many choral educators have an interest in vocal jazz literature, however the selection of

quality repertoire is not always clear for both the new teachers or even for veteran instructors of

the formal choral classroom. Teachers intending to implement vocal jazz in the high school

choral curriculum are faced with key questions: “Where can I find authentic and high quality

vocal jazz music for teaching and listening” as well as “What are some guidelines to selecting

vocal jazz repertoire?”

Indeed, one of the most important responsibilities undertaken by any educator is the

selection of appropriate literature to help foster student learning (Watson, 2013). Prospective

vocal jazz educators desire the ability to gain a deeper understanding of repertoire (Cappello,


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2006; Emmerson, 2015; Lyons, 2009; Madura, 2013), pedagogy (Brekke, 2013), vocal creativity

including vocal jazz improvisation (Marcy, 2006; Weir, 2003), instrumentation, and technology

(Emmerson, 2015; Rutherford, 2008). A project such as this is intended to help develop this

deeper understanding.

Anderson (1993) stated that vocal jazz repertoire listings become dated very quickly due

to the publishers forcing the listed titles out of print and that there is a continuous need for

updated repertoire lists gathered from the sharing of information from educators (p. 70). There is

a need for a comprehensive guide in locating high quality and authentic vocal jazz repertoire for

the new and continuing vocal jazz educator. The guidance will help insure that vocal jazz

educator’s literature selection more accurately benefits the learning goals of the vocal jazz

classroom.

Purpose and Research Questions

The purposes of this paper are (1) to assist the vocal jazz educator by providing a

comprehensive framework of criteria for the process of repertoire selection, including possible

rubrics to guide in selection and (2) to provide current and available resources for the new and

continuing high school vocal jazz educator. Specific research questions include:

1. What are criteria for selecting vocal jazz repertoire for high school ensembles?

2. What are some of the best resources for high quality vocal jazz repertoire?

3. What criteria contribute to the compilation of a rubric for evaluating vocal jazz repertoire

based on expert vocal jazz educator interview responses?

The goal of this research is to contribute to the quality resources for music educators in the area

of authentic vocal jazz repertoire and resource selection.


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Related Literature

Criteria for Selecting Literature

In an effort to answer the research question of what criteria are considered in selecting

vocal jazz repertoire, I discovered examples of literature that provided a deeper understanding of

the literature selection processes and criteria considerations. The following literature also

provided deeper understanding of components that classify vocal jazz literate as high quality and

authentic.

Emerson (2015) stated that the right vocal jazz choir literature could make or break the

vocal jazz experience. He also noted that high-quality vocal jazz repertoire did not have to be

difficult, but it did need to contain some complex jazz harmonies, which by nature may not be

easily accomplished by the more traditionally trained choir. For example, in Monkelien’s (2001)

study of the influence of Phil Mattson on vocal jazz education in America, she refered to the

arrangement “I’ll Be Seeing You,” as simple, yet complex through the creative use of chords,

varied voicing, text setting with integrity, and harmonic complexity. The Jazz and Show Choir

Handbook II by Doug Anderson (1993) specifically addressed key components and ideas for

selecting vocal jazz literature. Anderson stated that when dealing with the many aspects of

selecting literature, one should consider criteria when obtaining vocal jazz literature. These

criteria included: readability, arrangement creativity, attractive introductions and endings, and

accompaniment provide characteristics to authentic and high-quality vocal jazz music. These

criteria may serve as a model for selecting authentic vocal jazz ensemble repertoire.

In an article that explained ways to expand and create a more varied approach to

choosing literature for the school vocal jazz choir, Marcy (2011) offered six guidelines for

selecting vocal jazz repertoire. These suggestions included: (1) choosing a variety of works that


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represents both historical and contemporary approaches to the art of jazz; (2) choosing repertoire

that is well written, with age appropriate lyrics that will challenge singers and players to

interpret, relate to and communicate with an audience; (3) knowing the vocal range of the

ensembles and choose literature that exists within the comfortable range, but occasionally

challenging singers to strengthen the upper and lower registers as well; (4) selecting repertoire

that utilizes live accompaniment including piano, bass, drums, and guitar; (5) selecting repertoire

that contains educational value by providing opportunities for student to learn jazz concepts, be

they melodic, harmonic, rhythmic, or interpretative and; (6) whenever possible, commissioning

new works to add an influx of new literature into the genre.

The set of criteria that demonstrates connections between the concepts of rhythmic style,

melodic range, melodic harmony, melodic rhythm, and harmonic content with rhythmic feel,

song form, improvisation, and harmony (Buchholz, 2010) are key characteristics of authentic

vocal jazz repertoire. Authenticity guides the musical field and impacts the production,

marketing, reception, and evaluation of contemporary music (Fisher, 2002). This information

provided a basis for constructing the interview question relating to criteria for selecting vocal

jazz literature.

Known Sources for Vocal Jazz Literature

When considering the research question related to the best resources for locating vocal

jazz literature, I needed a deeper understanding of what resources are known and how might

these resources be utilized and measured by experts. The following paragraphs explain current

resource locations, classifications of vocal jazz literature and the contributions they offer to the

genre.1

1 Note that information in this section is based on the current time this study was done.


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Vocal Jazz literature can be located in many major publication catalogs or websites. For

example, J.W. Pepper, the largest retailer of sheet music in the United States (Farrar, 2001), lists

selections of sheet music from the retailer’s website, under the category of “vocal jazz.”

Although the sound examples of some of the music from the website catalog provide an aural

perception of the vocal jazz genre, not all listed vocal jazz literature examples will fit the abilities

of a beginning vocal jazz ensemble nor are they appropriate (Emerson, 2015) for a beginning

jazz choir. Anderson (1993) stated that certain vocal jazz arrangements are outstanding and

others are quite the opposite. He explained that some of the reasons for the gap in quality are due

to composers hastily constructing arrangements without ample editing or thought toward the

arrangement. Some beginning vocal jazz educators without prior knowledge of repertoire might

select music that is too easy or difficult for a vocal jazz group and that this error in selection

could lead to boredom or frustration for singers which may cause them to be less interested in the

genre altogether (Apfelstadt, 2000).

Many local music dealers are stocking far fewer examples of literature for jazz ensemble

than in years past, and while a local dealer will usually be able to help locate and obtain a

particular vocal jazz composition that one may wish to procure, the process of researching and

selecting repertoire necessitates looking beyond the current stock maintained by any individual

dealer (Watson, 2013). Apfelstadt (2000) stated that if the music eludes our own technical

understanding, then we must find a technical expert to help us. Discussions with other qualified

educators and composers of vocal jazz that have established respect among the vocal jazz

education field may be a rewarding procedure in the gathering of information about repertoire

selection. Discussions with vocal jazz experts regarding the selection process, repertoire that is

considered high quality, teachable, and appropriate to context may provide a deeper


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understanding of the components of authentic vocal jazz repertoire and the selection process of

repertoire for a vocal jazz choir.

Emerson’s resource table of starter jazz arrangements listed beginning vocal jazz choir

arrangements with difficulty levels ranging from two-part (upper elementary) to four-part SATB

(High School) provides a classification for beginning jazz choir arrangements (see Table 1). The

arrangements are listed as 2-part, 3-part and 4-part compositions including the appropriate

school-age level for instruction, title of the arrangement, composer, and publisher.

Table 1 Emerson Starter Jazz Arrangements for Elementary (2-part), Middle School (3-part), and High School (SATB). (Emerson, 2015) 2-part Upper Elementary Title Jr. Jazz – Vol 1,2,3 Jazzin’ It Up – Vol 1&2

Composer Kirby Shaw Various

Publisher Hal Leonard Sound Music Publications

3-part mixed/ SAB Middle and Small High School It Don’t Mean A Thing If It Ain’t Got That Swing

arr. Roger Emerson Hal Leonard

One Note Samba arr. Roger Emerson Hal Leonard SATB High School Route 66 arr. Kirby Shaw Hal Leonard Hey Ba Ba Re Bop arr. Steve Zegree Hal Leonard Happy Together arr. Greg Jasperse Shawnee My Romance arr. Greg Jasperse Shawnee Do Nothin’ Til You Hear From Me

Darmon Meader Alfred

Blame It On My Youth arr. Kerry Marsh www.kerrymarsh.com At the End of the Day arr. Michele Weir www.michmusic.com When I Fall In Love arr. Phil Matson Sound Music Publications That Ever I Saw Darmon Meader Carl Fischer Blue Skies arr. Roger Emerson Hal Leonard I’ll Be Seeing You arr. Phil Matson Hal Leonard Smoke Gets In Your Eyes arr. Kirby Shaw Hal Leonard I Wish arr. Roger Emerson Hal Leonard A Day In The Life of a Fool arr. Paris Rutherford Hal Leonard


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Kteily-O'Sullivan (2002) conducted an interview with Paris Rutherford, the former

director of the University of North Texas Jazz Singers, concerning vocal jazz repertoire and the

college vocal jazz ensemble. Kteily-O’Sullivan’s research produced a resource list for Paris

Rutherford’s compositions based on interview responses. According to both Emerson and Kteily-

O’Sullivan’s resource list, some of the listed arrangements are not published through major

music publication corporations but rather websites constructed by individual composers. For

example, the arrangement of “Blame it on my Youth” by Kerry Marsh can be found on the

website constructed by the composer, www.kerrymarsh.com (see Table 2). There are several

arrangements that are categorized as “unpublished” which leads the reader to believe that the

arrangement may or may not be available to the vocal jazz educator (see Table 3). Nether

Emerson or Kteily-O’Sullivan’s map indicate the criterion for selection of repertoire. A new

educator to vocal jazz may be unaware of the voicing (SSA, SAB, or SATB), whether the piece

is accompanied or a cappella, or if the range is appropriate for high school singers. There is a

mention of level categorization by both Emerson and Kteily-O’Sullivan. For example, what does

“level 5” indicate and what is the criterion for this classification? Also, the location or

availability of vocal jazz arrangements is left to question because the selection is listed as

unpublished. This poses the question of how many resources are available to teachers for

authentic vocal jazz arrangements and how can they be located as well as what the criterion is for

selecting and categorizing the music examples? It is the intent of this study to resolve some of

the ambiguity of selecting vocal jazz repertoire for vocal jazz educators.


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Table 2 Kteily-O’Sullivan Resource list for Paris Rutherford’s vocal jazz compositions (Kteily-O’Sullivan, 2002)

TITLE PUBLISHER LEVEL STYLE A Day In The Life Of A Fool HLC 3 Expansive Bossa Nova Alfie HLC 3 A Cappella Ballad Autumn Leaves HLC 3 Med Swing Call Me Irresponsible HLC 3 Vegas Swing Dearly Beloved HLC 3 Up Latin/Swing Desafinado HLC 3 Samba Easy To Love HLC 4 Samba Ev'ry Time We Say Goodbye HLC 3 Jazz Ballad Falling In Love With Love HLC 3 Medium Swing How Insensitive HLC 3 Bossa Nova I Didn't Know What Time It Was HLC 3 Med Swing w/ solo I Get Along Without You HLC 3 Groove Ballad I'll Be Around HLC 2 Pretty Ballad In The Wee Small Hours HLC 3 Transparent Ballad Is You Is Or Is You Ain't HLC 3 Swing It Never Entered My Mind HLC 2 Expressive Ballad Lost In The Stars HLC 3 A Cappella Ballad Moonlight Becomes You HLC 3 Choral Ballad My Favorite Things HLC 3 Aggressive Jazz My Romance HLC 4 Medium Swing No More Blues (Chega De Saudade) HLC 3 Slow Samba Old Devil Moon HLC 3 Up-Tempo Spain HLC 4 Rubato/Samba/Rubato The Meaning Of The Blues HLC 4 Jazz Ballad The Very Thought Of You HLC 3 A Cappella Ballad There'll Never Be Another You HLC 3 Med Swing with soli They Say It's Wonderful HLC 3 Latin groove This Can't Be Love HLC 2 Medium Swing All The Things You Are UNC 4 80s jazz/funk Not Like This UNC 5 A Cappella Ballad Strollin' UNC 4 Horace Silver Swing Shadow Of Your Smile UNC 4 Bossa Nova Trouble With Hello Is Goodbye UNC 4 A Cappella Ballad You Must Believe In Spring UNC 3 Ballad Anthropology unpub 4 Bebop head Bebop unpub 4 Bebop head Because I Love You unpub 4 ECM Swing Bird Alone unpub 4 Abbey Lincoln Ballad But Not For Me unpub 4 Slow Swing w/written Cheryl unpub 3 Bebop, lyrics R. Calderon Corcovado unpub 4 Bossa Nova


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Daahoud unpub 4 Swing w/scat lyrics Desafinado unpub 3 Slow Samba Geraldine unpub 5 Yellow jackets Here's That Rainy Day unpub 4 A Cappella Ballad Last Night When We Were Young unpub 4 A Cappella Ballad Shaker Song unpub 4 Samba Swing So Many Stars unpub 3 Slow Bossa Thanks For You unpub 4 Ballad Wind Machine unpub 5 Up Basie, lyrics G. Eckert Yesterdays unpub 4 A Cappella Ballad You're Everything unpub 4 Contemporary Samba You Taught My Heart To Sing unpub 3 Pop Ballad Note. HLC = Hal Leonard Corporation UNC = University of Northern Colorado Jazz Press Unpublished compositions and discography = contact University of North Texas Jazz Studies

Rubric Criteria and Design

An important product of this study was the creation of a rubric for choosing literature

based on recommendations and insight from expert vocal jazz educators. A close example of this

came from Dean (2011) who studied such criteria from the general choral literature. Table 3

provides an example of Dean’s choral repertoire rubric based pedagogical merit.

In addition to the results from the interviews with experts for this study, the work by

Dean served as a framework for the construction of the rubric for the selection of vocal jazz

repertoire created for this study. Criteria for the findings were related to textual integrity,

craftsmanship, predictability consistency, originality, validity (Dean, 2011) as well as breath

control, tone quality, intonation, rhythmic integrity, and diction will serve as a guideline for a

rubric for selecting vocal jazz repertoire based on recommendations and insight from expert

vocal jazz educators. Together with the responses from interview participants and national and

state standards, the construction of the rubric for selecting vocal jazz repertoire is intended to


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enhance the abilities and develop confidence the new and continuing vocal jazz educator as they

begin to select vocal jazz repertoire.

Table 3 Dean’s (2011) rubric for selection of choral repertoire based on pedagogical merit

The work presents musical phrasing that is not of an appropriate length for the technical abilities of the ensemble. The space between the phrases and the tempo do not allow adequate time for the inhalation process.

The work presents musical phrasing that is occasionally of an appropriate length for the technical abilities of the ensemble. The space between the phrases and the tempo occasionally allows adequate time for the inhalation process.

The work presents musical phrasing that is generally of an appropriate length for the technical abilities of the ensemble. The space between the phrases and the tempo generally allows adequate time for the inhalation process.

The work presents musical phrasing that is of an appropriate length for the technical abilities of the ensemble. The space between the phrases and the tempo allow adequate time for the inhalation process.

The work does not present opportunities to develop resonance sensation and refine proper vowel formation. The work will not stimulate the imaginations of the conductor and singers.

The work occasionally presents opportunities to develop resonance sensation and refine proper vowel formation. The work will stimulate the imaginations of the conductor and singers to some degree.

The work presents several opportunities to develop resonance sensation and refine proper vowel formation. The work will stimulate the imaginations of the conductor and singers to a high degree.

The work presents numerous opportunities to develop resonance sensation and refine proper vowel formation. The work will stimulate the imaginations of the conductor and singers to the highest degree.

The work is of no pedagogical value with regards to the process of audiation. The work is either severely above or below the current audiation level of the ensemble.

The work is of some pedagogical value with regards to the process of audiation. The work is slightly above or below the current audiation level of the ensemble.

The work is of moderate pedagogical value with regards to the process of audiation. The work meets the current audiation level of the ensemble but will not challenge current understanding.

The work is of significant pedagogical value with regards to the process of audiation. The work meets and/or slightly exceeds the current audiation level of the ensemble, providing a stimulating challenge to current understanding.

The work provides a poor context for the application of count singing. The rhythmic structure of the work is not conducive to the development of consistent tempo through physical movement and audiation at times.

The work provides a fair context for the application of count singing. The rhythmic structure of the work is somewhat conducive to the development of consistent tempo through physical movement and audiation at times.

The work provides a good context for the application of count singing. The rhythmic structure of the work is mostly conducive to the development of consistent tempo through physical movement and audiation.

The work provides an optimal context for the application of count singing. The rhythmic structure of the work is highly conducive to the development of consistent tempo through physical movement and audiation.

The work provides a poor context for developing pronunciation and enunciation skills. The work also fails to provide opportunities to develop expressive intent through text declamation.

The work inconsistently provides a meaningful context for developing pronunciation and enunciation skills. The work provides some opportunities to develop expressive intent through text declamation.

The work consistently provides a meaningful context for developing pronunciation and enunciation skills. The work also provides sufficient opportunities to develop expressive intent through text declamation.

The work provides an optimal context for developing pronunciation and enunciation skills. The work also provides significant opportunities to develop expressive intent through text declamation.

The work provides a poor context for developing music literacy. The construction of the work provides relatively few opportunities to generate literacy related activities.

The work provides a fair context for developing music literacy. The construction of the work provides some opportunities to generate literacy related activities.

The work provides a good context for developing music literacy. The construction of the work provides many opportunities to generate literacy related activities.

The work provides an optimal context for developing music literacy. The construction of the work provides ample opportunities to generate literacy related activities.

Summary of Related Literature

For the purposes of answering the research questions, I had to consider the three

following components: (1) criteria for selecting vocal jazz literature, (2) known resources of


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vocal jazz literature, and (3) criteria for the design of a rubric for evaluating vocal jazz literature.

Criteria for selecting literature should include key components, however it was determined

through the review of literature that authenticity would be difficult to determine and that

components of repertoire should be based on expert recommendations. There are several known

resources for vocal jazz literature; however, many resources may not provide literature that

would be considered accurate by expert vocal jazz educators as authentic or high quality.

Through the process of interviewing expert vocal jazz educators as explained in the methodology

of this study, I discovered other resources that may be valuable for most vocal jazz educators.

Finally, a framework for a vocal jazz literature evaluation rubric was established through the

review of literature. This framework combined with expert vocal jazz educators insight and

recommendations helped to establish a criteria for evaluating vocal jazz repertoire and to better

answer the research question of what criteria contribute to the compilation of the rubric.

Method

In order to construct a comprehensive overview of the quality of vocal jazz repertoire

selection, this study utilized descriptive research. It was reasoned that, in order to provide a

deeper understanding of vocal jazz repertoire selection as suggested by the research questions,

the recommendations of veteran vocal jazz educators from across the United States would

provide the best source of data. I determined that a telephone interview would provide a robust,

in-depth description of repertoire selection processes through the personal insights and

experiences of master teachers. The data gathered from the interviews were used to construct a

comprehensive description of vocal jazz repertoire selection processes and location bases.


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Instrument and Interview Process

To proficiently provide criteria for vocal jazz literature selection, recommendations for

vocal jazz literature resources, and criteria for the development of a rubric for evaluating

literature selection, I needed personal and detailed expert educator insight. I determined that

personal telephone and videoconferences would be used to collect interview data. The interview

protocol included four questions to provide general information about the respondents’

description regarding vocal jazz literature selection processes (see Appendix A). The

construction of these questions were based in part on personal experience and review of related

literature. The interview questions specifically addressed the criteria and processes for selecting

vocal jazz literature, components required for authenticity of the genre, classification of music

difficulty level, and resources for vocal jazz literature. Interview responses were used to form a

rubric for evaluating the selection of vocal jazz repertoire.

Pilot Study

As a first stage, a pilot interview was conducted with five participating music educator

colleagues. The purpose of the pilot interview was to eliminate ambiguity among questions and

interview procedures and to determine if the interview was confusing or threatening. The pilot

interview also provided information regarding key questions that may have been overlooked.

Two examples of the pilot interview were conducted. The first type of interview was conducted

over the telephone using the iPhone application TapeACall (http://www.tapeacall.com, 2015)

This application recorded the conversation in its entirety between the interviewee and the

interviewer. During the first pilot interview, the interviewee was asked the four key questions

regarding vocal jazz repertoire selection and was asked for feedback regarding ambiguity of

questions. It was determined after two tests that the iPhone application worked without fail and


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that the questions were clear and provided sufficient information to give a descriptive, yet

concise answer. The second pilot interview was conducted over the computer application Skype

version 6.15 (http://www.skype.com, 2015) as well as utilizing the computer application Call

Recorder for Skype (http://ecamm.com/mac.callrecorder, 2015). These applications were utilized

for memoranda purposes. Again, the second set of two pilot test calls using these procedures

were administered with positive results from both. It was decided then to proceed with the use of

these procedures.

After receiving the official approval from the University of Florida Institutional Review

Board on September 16, 2015 (see Appendix B), qualified interviewee candidates were contacted

on September 25, 2015 through September 30th, 2015 by email or telephone invitation to

participate in the project. Email invitations contained the consent letter (see Appendix B) and

interview script (see Appendix A). After receiving consent from the candidates, a specific date

was scheduled through email correspondence with each participant to conduct the interview. All

interviews were scheduled between the dates of October 5, 2015 and November 6, 2015.

Construction of Final Instrument

The purpose of the interview was to gain a deeper understanding of criteria for vocal jazz

literature selection through expert vocal jazz educators’ prospective. Another purpose of the

interview process was also to gain a deeper understanding of the components of high quality and

authentic vocal jazz literature as well as characteristics that make vocal jazz literature difficult to

easy. Finally, I wanted to gain a deeper understanding of the available resources for vocal jazz

literature. With these purposes in mind, I constructed my interview questions (see appendix A).

Along with my interview questions, a script was developed for use during the introduction of the

interview (see appendix B). Using the technology applications and programs mentioned above in


22

the pilot study section above, I captured the interview data for each participant. After the

interview process, I transcribed and analyzed the data (see Table 4,5,6,7) according to

reoccurring key terms and themes discussed in the interview.

Participant Selection

I decided the criteria for selecting participants should be based on one or more of the

levels of excellence in the field of vocal jazz education as noted below:

(1) Nationally recognized quality of vocal jazz program

(2) Leadership of an American Choral Directors Association (ACDA) affiliated state or

national honors ensemble

(3) Guest clinician of an All-State Vocal Jazz ensemble

(4) Downbeat Magazine Award recipient or other national recognition of equal merit

(5) Contributing member to the continuing evolvement of vocal jazz education.

Another important criterion for selection, although not a required one, was that the expert

is known by the researcher professionally and would be likely to agree to participate. Over eight

potential participants were already been identified as important informants based on the

researcher’s connections. These participants also met the requirements as noted above.

In addition, I requested a listing of all 2005 through 2015 All-State vocal jazz clinicians

from the ACDA Repertoire Vocal Jazz Leadership committee via email. Using a survey website

(www.surveymonkey.com), an inquiry survey was designed and delivered via email to the

ACDA Repertoire Vocal Jazz Leadership committee to gather information for potential

interview candidates. It was requested in the survey that recommended interview candidates

meet the requested criteria as stated above. Questions contained in the survey were related to

names of potential participants for interview and contact information. As a result, there were a


23

total of twenty-three candidates that were identified through this process. I also gathered names

of directors whose leadership had led their vocal jazz ensemble to the acquisition of a Downbeat

Magazine Student Music Award in the vocal jazz ensemble category. Names were also gathered

from the Downbeat website (www.downbeat.com). This resulted in a total list of thirty

candidates who met the criteria for interview participation. After researching the candidate’s

credentials using the returned survey from the ACDA Leadership committee members, the

Downbeat website, and through biographical information listed on candidate’s personal websites,

I determined that all thirty candidates met the criteria for interview.

Final Selection of Interviewees

A total of thirty vocal jazz expert educators who met the criteria were contacted either by

telephone call invitation or email invitation. If there was no response from a candidate after

seven to ten days, a mailed letter invitation was sent as well as another telephone call or email

invitation. Of the thirty invitations to participate in the interview, twelve responded and nine

agreed to participate. These participants are included below in Appendix C, together with their

qualifications.

Interview Schedule Construction

The questions that were administered to all participants were based on research questions

regarding selection criteria and locating resources for selecting vocal jazz repertoire and

literature sources. Specifically, interview questions were based on literature as described above:

(1) repertoire (Buchholz, 2010), (2) genre (Emerson, 2015), (3) style and authenticity (Anderson,

1993), and (4) selection processes (Forbes, 2001). Questions were provided to interview

candidates two weeks before the interview procedure through email correspondence (see


24

appendix A). The rationale for this procedure was to evoke a critical thought process and elicit a

more robust interview from all participants.

Allison (2010) stated that criteria including structural and theoretical elements are a key

component when selecting music literature. For example, Crocker (2000), lists voicing as a key

component for literature selection criteria. According to Williams (2011), a teacher must

establish philosophical beliefs about repertoire selection or directors would choose music that

would generate undesirable learning outcomes for the student. Marcy (2011) offered six

guidelines for selecting vocal jazz repertoire and Forbes (2001) offered seven criteria for

selecting compositions which are stated above. The purpose of including the criteria for selecting

vocal jazz repertoire was to discover, from a master teacher’s point of view, what structural and

theoretical elements, philosophical beliefs, and guidelines the interviewees had for selecting

vocal jazz repertoire.

According to Dean (2011), the awareness of key components relating to aesthetics and

pedagogy that embody the genre set a foundation for the selection of authentic vocal jazz

repertoire. Anderson (1993) includes arrangement creativity, attractive introductions and

endings, readability, and accompaniment provide characteristics to authentic and high quality

vocal jazz repertoire. Interviewees were asked to provide insight to what components are

required for authenticity of the genre.

Anderson (1993) stated that not all compositions are weighted with the same degree of

difficulty. According to Apfelstadt (2000), educators should have prior knowledge of repertoire

concerning difficulty level because the wrong selection could negatively influence the attitudes

toward learning the piece. For example, a selection that is too easy may bore an ensemble,

whereas a piece that is too difficult may frustrate the ensemble. Interviewees were asked to


25

identify characteristics that would classify vocal jazz repertoire as difficult to easy. The purpose

of this inquiry was to gain a deeper understanding of the components that would influence the

level of vocal jazz repertoire difficulty in order to benefit positive learning outcomes.

According to Watson (2013), vocal jazz educators should be looking beyond the current

stock of literature in the local music store. Emerson (2015) states that not all listed vocal jazz

literature examples from website catalogs will fit the abilities of a beginning, or experienced

vocal jazz choir. Interviewees were asked to provide resources for new and current vocal jazz

literature for the purpose of expanding the vocal jazz literature selection choice in order to

accommodate the needs of the vocal jazz ensemble.

Results

All telephone interviews were recorded and varied in length from 20 to 90 minutes. The

interviews were informal and open-ended, and were carried out in a conversational style.

Interviews were transcribed. A list of categories was developed for each interview question

based on interviewee responses, and data was coded according to themes (see Tables 4,5,6,7).

Results from coding responses were reviewed for overlap and redundancy and to observe the

relationship from one variable to another in order to develop explanations of responses and to

provide a foundation for a vocal jazz literature selection rubric. Descriptions of how expert vocal

jazz educators select literature were included in the most appropriate category or a new category

was created. For example, one respondent explained that the criteria for selecting literature were

related to “swing,” or “bebop.” This example was categorized under “style” because jazz can be

divided into many different styles such as “bebop” and “swing.” A few respondents explained

that the “feel” or “smooth tempo” is a component of authenticity. The category “Groove or


26

rhythmic style” was created to accommodate similar responses. Relationships of themes were

also scrutinized for similarity and redundancy. A similar table for each interview question was

constructed to display interviewee responses (see Tables 4,5,6,7). I have chosen to use

anonymous letter identifications when referring to the interviewees.

Interview data were analyzed through review of the transcriptions in order to determine

any developing themes describing vocal jazz repertoire selection processes and location sources.

The following pages provide a synthesis of data. Many of the processes of repertoire selection

were common to the experiences and procedures of all participants. However, there were distinct

differences and viewpoints centered toward particular questions.

Question one of the interviews investigated the respondent’s considerations of criteria for

vocal jazz literature selection. Responses are displayed in Table 4. Interview responses revealed

that many themes and key criteria are considered when considering vocal jazz repertoire. For

example, Interviewee F stated that the appeal of literature, the consideration of the ensemble,

programming context, level of uniqueness, improvisation, and creative potential are important

criteria when selecting vocal jazz literature. Results of the data analysis revealed that majority of

the respondents chose style and ensemble consideration as a main criterion for literature

selection. Only two respondents considered improvisation opportunity and tools as criteria.

Question two of the interviews investigated the respondent’s considerations of

components of repertoire required for authenticity of vocal jazz literature. Results of the data

analysis revealed that majority of the respondents considered “groove or rhythmic style” and

“improvisation’ as a necessary component for authentic vocal jazz literature. One particular

interviewee mentioned that need of a rhythm section as functioning accompaniment, however, in

the case of an a cappella arrangement, the voices can serve in this capacity. This example was


27

noted as a response under the “use of instrumental accompaniment.” Table 5 displays all

interviewee responses for question two.

Table 4. Question One Interviewee Responses to Criteria Used When Selecting Music

Question 1: What are the criteria you use when selecting music for your performing ensembles?

Interviewee A B C D E F G H I

Responses

Appeal: Is the literature appealing to the ensemble/ audience? X X X X

Historical Relationship: How does the music relate to the historical context of jazz?

X X X

Style: What is the style of literature? E.g. Swing, Latin, Afro-Cuban X X X X X X X

Ensemble Consideration: What are the strengths and limitations of the ensemble? E.g. knowledge of style, vocal range, age of student.

X X X X X

Arranger: Who composed the literature and what is their reputation for composing quality music?

X X

Programming Context: Who and is the ensemble audience and what is the context of the performance? E.g. Holiday Concert, Festival,

Contest.

X X

Instrumentation: What instruments are needed to perform the literature? E.g. Piano, Jazz Combo, A cappella

X X X

Tools for Teaching: Does the literature have tools to help facilitate learning? E.g. Part Tracks, Demo Tracks, Technology

X

Level of Uniqueness: Does the literature contain original characteristics? E.g. Commissioned works, popular genre

arrangements

X X X

Use of Clear Notation: Is the in print or handwritten? X X

Solo Features: Does the music contain opportunities for one or more solos?

X X

Improvisation Opportunity: Does the opportunity for vocal and/ or instrumental creativity exist within the work?

X

Creative Potential or Develop a Sense of Rendition: Does the work allow flexibility of interpretation by the director?

X

Difficulty Level: Is the work easy or difficult to learn? Is the work easy or difficult to teach? Are the notes and rhythms challenging?

X X X

Tessitura: What is the note range of the work? X X


28

Table 5 Interview Responses to Components of Repertoire Required for Authenticity of the Genre.

Question 2: What components of repertoire are required for authenticity of the genre?


Responses

Groove or rhythmic style X X X X X X

Complex harmonies: E.g. Use of 7th chords, alterations, etc. X X X X

Chord Progression X

Improvisation X X X X X X X

Use of soloists X

Tone Production X X

Historical reference to jazz idiom: E.g. Can the literature relate to a jazz standard?

X X X

Reputation of composer X

Use of Instrumental Accompaniment X

Question three of the interviews investigated the respondent’s considerations of

characteristics that classify vocal jazz literature as difficult to easy. Results of the data analysis

revealed that majority of the respondents considered “density of vocal harmony,” “Tessitura”

(the range of the composition), and the use of complex rhythms and subdivisions of rhythms as a

key characteristics of difficulty classification. According to five interviewees, the use of scat

syllables or soli scat sections within the compositions may contribute to the work being more

difficult and more difficult to teach. Table 6 displays all interviewee responses for question three.

Question four asked for the respondent’s recommendations for locating vocal jazz

literature. Results of the data analysis revealed that the majority of the respondents considered

“Sound Music Publications” (www.smpjazz.com), as a reliable source to locate high quality and

authentic vocal jazz literature. Another source was the University of Northern Colorado Jazz

Press, (www.uncjazzpress.com). Interviewees mentioned that both sites have access to demo

tracks so a new vocal jazz educator may listen to the track before they purchase. This may assist


29

the director in the consideration of the ensemble to best tailor the literature to the ensemble skill

set. Table 7 displays all interviewee responses for question four.

Table 6 Question Three Interview Responses to Consideration of Musical Characteristics

Question 3: What musical characteristics would you consider to vocal jazz repertoire to be classified as difficult to easy?


Tessitura X X X X X X

Tempo and changing tempos within the work X X X

Complex rhythms and subdivisions of rhythms X X X X X X

Density of vocal harmony X X X X X X X

Voice leading X X X X

Harmonic progression X X X X

Dynamic nuance X

Meter X

Use of scat syllables or soli sections X X X X X

Style X X

Length X

Use of instrumentation X X X

Table 7 Question Four Interview Responses to Available Resources for Literature

Question 4: What resources for arrangements may be available for vocal jazz educators that are not published by large music publication

corporations.


Responses

Sound Music Publications (www.smpjazz.com) X X X X X X X X

University of Northern Colorado Jazz Press (www.uncjazzpress.com)

X X X X X X X

Hal Leonard Vocal Jazz Series X X

Kendor Music X

Primarily A cappella www.singers.com

X

Commissioned literature X X X

Composer’s Personal Websites X X X X

Self Composed X X


30

Rubric Design

A rubric is a form of a criteria-specific performance scale that divides a task into

constituent parts and offers detailed descriptions of the performance levels for each part

(Wesolowski, 2012). Lists of criteria have been compiled from the interview data regarding

vocal jazz literature selection. I interviewed nine vocal jazz experts to develop a rubric based on

Dean’s (2012) method of repertoire selection. The interview participants were asked to define

criteria in selecting vocal jazz literature, characteristics of authentic vocal jazz, characteristics of

vocal jazz repertoire to rate as difficult to easy, and resources for vocal jazz literature. According

to the conclusions of the interviews, there were several criteria regarding vocal jazz literature

selection. A set of rubric descriptors was formed using criteria from the review of literature as

stated above. Table 8 displays the criteria examples that were used for the development of the

descriptors.

Table 8 Criteria for Rubric Descriptors

Forbes (2001) Seven criteria for selecting literature

• Quality • Vocal performance skills that could be taught through

composition • Technical difficulty of the work • Musical elements that could be taught through the work • Vocal maturity of the singers • Artistic demands of the composition

Allison’s (2010) criteria for selecting literature

• Inclusion of structural and theoretical elements • Technical and musical demands

Apfelstadt’s (2000) criteria for selecting literature

• Selecting high quality music


31

The results of the interviews and Forbes, Allison, and Apfelstadt’s criteria for selecting

classical compositions were used as a basis to construct the rubric descriptors for criteria in

selecting vocal jazz repertoire.

Criteria for Vocal Jazz Repertoire Selection and Components Required for Authenticity

According to interviewee responses regarding the criteria for selecting vocal jazz

repertoire and components of repertoire that are required for authenticity of the genre, style,

instrumentation, “groove” and complex rhythms, improvisation, use of complex harmonies, and

literature referencing to the historical context are considerations of authenticity of vocal jazz

repertoire. The classification of the rubric for components of repertoire required for authenticity

of the genre is stated below (see Table 9).

Classification Characteristics for Vocal Jazz Repertoire

Most interview participants were of consensus when discussing the characteristics of

difficulty level for vocal jazz repertoire. All interview participants listed complexity of

harmonies, tessitura or amount of time singing in extreme ranges, and tempo as characteristics of

difficulty. Interview responses state that complex, syncopation, or unpredictable rhythms

increase the difficulty of a vocal jazz arrangement. Group soli sections, which are usually sung

on wordless syllables, are indicators of difficult music. According to interview participants, other

characteristics that affect the difficulty level of vocal jazz repertoire include meter, dynamic

nuance or shading of dynamics, divisi. Two participants interview C and H stated that printed

manuscript or poor arrangement of music is a characteristic of difficulty level. For example, if a

composition is arranged in four voice parts and then alters to eight and then at another point, the

voicing will alter to three voice parts, then the literature is considered to be more difficult for the

performer.


32

Table 9. Components for Authenticity

Components of repertoire that are required for authenticity of the genre

3

2 1

Style Swing, Latin, Bossa Nova, Bebop, Blues, etc.

Vocal jazz literature selection embodies the style for context for the performance.

Vocal jazz literature contains some elements of style for the context for the performance.

Vocal jazz literature contains no elements of style for the context for the performance.

Instrumentation (Instrumental Combo, A cappella)

Vocal jazz literature selection contains instrumentation appropriate for technical abilities of the ensemble and context for the performance.

Vocal jazz literature selection contains some instrumentation appropriate for technical abilities of the ensemble and context for the performance.

Vocal jazz literature selection contains little to no instrumentation appropriate for technical abilities of the ensemble and context for the performance.

Jazz Chords Use of seventh, elevenths, thirteenths, extensions, alterations, chord progression

Vocal jazz literature contains several seventh/ eleventh/ thirteenth/ extensions/ alterations to chords. Music follows chord progression of jazz idiom.

Vocal jazz literature contains few seventh/ eleventh/ thirteenth/ extensions/ alterations to chords. Music somewhat follows chord progression of jazz idiom.

Vocal jazz literature contains little to no seventh/ eleventh/ thirteenth/ extensions/ alterations to chords. Music does not follow chord progression of jazz idiom.

Improvisation

Vocal jazz literature contains the opportunity for improvisations

Vocal jazz literature does not contain the opportunity for improvisations

Historical reference to jazz Jazz Standard, Popular music containing jazz harmonies

Vocal jazz literature contains references jazz standards. Popular arrangement contains references jazz harmonies.

Vocal jazz literature contains few references to jazz standards. Popular arrangement contains few references jazz harmonies.

Vocal jazz literature contains no references to jazz standards. Popular arrangement contains no references jazz harmonies.

Groove /Rhythms Use of swing pattern, Latin rhythmic combinations

Vocal jazz literature contains complex rhythms and groove indicative to the appropriate jazz style

Vocal jazz literature contains few rhythms indicative to the appropriate jazz style

Vocal jazz literature contains no rhythms indicative to the appropriate jazz style


33

Resources for Arrangements

According to interview participant’s recommendations, there are several resources

available for the vocal jazz educator in locating vocal jazz arrangements that will suit most

ensembles. Table 11 is a list of recommended resources and websites that are currently available.

Summary

There were two goals for this paper. First, the results of the interviews provided vital

information describing the processes of vocal jazz repertoire selection based on the perceptions

of expert vocal jazz educators. The data from the interviews was also analyzed in order to

determine consistencies and differences of vocal jazz repertoire selection processes. Secondly,

results were used to form a rubric to be utilized as a guide for vocal jazz repertoire selection.

The interview participants provided detailed accounts of the activities, thought processes,

and resources used for selecting repertoire. Interview respondents described their understanding

of the vocal jazz genre, the vocal jazz ensemble, and the interaction of vocal jazz repertoire on

particular ensembles. Interview participants recounted personal insights, involvements, and

examples to describe in detail the concerns involving vocal jazz literature selection. All analyses

were used to identify commonalities and emergent processes for repertoire selection.

One limitation impacting the accuracy of the results was the fact that most interview

responses indicated educator opinions and philosophies. The responses of the interview

participants may not accurately reflect factual data from official sources, and were subjective in

nature. All responses reflected the views of only those teachers who chose to participate in the

study and provide first-hand information regarding vocal jazz repertoire selection. The purpose


34

of this paper was not to generalize the results, but to provide a much-needed depiction of the

vocal jazz repertoire selection process.

Table 10 Characteristics of Vocal Jazz Literature

Characteristics of Vocal Jazz Literature

Difficult Moderate Easy

Complex Harmonies Complex chords, use of tri-tones, modal voice leading and chord progression.

Literature contains many instances of close harmonies, leaping intervals, and unpredictable chord progression

Literature contains few instances of close harmonies, little use of leaping intervals, and few instances of unpredictable chord progression

Literature contains no instances of close harmonies, use of stepwise intervals, and predictable chord progression

Rhythm Syncopation, swing rhythm, multicultural rhythmic form

Literature contains many instances of syncopation or complex rhythmic patterns indicative of jazz style

Literature contains few instances of syncopation, complex rhythmic patterns indicative of jazz style

Literature contains little to no instances of syncopation, complex rhythmic patterns indicative of jazz style

Tempo

Literature is performed at a fast tempo

Literature is performed at a moderate tempo

Literature is performed at a slow tempo

Divisi Division of vocal parts, SATB, SSAATBB

Literature is divided into more than five voices. Literature divisi will change on several occasions during the duration of song.

Literature is divided into four or five voices. Literature divisi will rarely change during the duration of song.

Literature is divided into four or less voices. Literature divisi will not change during the duration of song.

Soli Section Group scat or wordless syllable vocal sections

Soli sections are used for literature selection

Soli sections are not used for literature selection

Meter Literature is composed using multiple meter changes

Literature is composed using few meter changes

Literature is composed using no meter changes

Dynamics Dynamic nuance, shading, micro dynamics or flips and shakes

Literature contains many instances of dynamics and dynamic nuances

Literature contains few instances of dynamics and dynamic nuances

Literature contains little to no instances of dynamics and dynamic nuances


35

Table 11 Recommended Resources for Vocal Jazz Literature

Hal Leonard Publications www.halleonard.com

Jennifer Barnes Vocal Jazz Arrangements http://www.jenniferbarnesmusic.com/ audio/catalog.htm

Sound Music Publications www.smpjazz.com

Primarily A Cappella www.singers.com/a-cappella/arrangements/vocal-jazz/

University of Northern Colorado Jazz Press www.uncjazzpress.com

Rosana Eckert Vocal Jazz Arrangements www.rosanaeckert.com/charts.html

Kerry Marsh Vocal Jazz Arrangements www.kerrymarsh.com

Michele Weir Vocal Jazz Arrangements www.michmusic.com

Interview results provided a basis for the completion of vocal jazz repertoire selection

rubric based on pedagogical merit. Selecting quality repertoire for use with the high school vocal

jazz ensemble is a difficult and multifaceted task regardless of expertise or experience (Dean,

2011). Through the guidance of vocal jazz experts and their experiences in selecting vocal jazz

literature, new and continuing vocal jazz educators may be provided quality direction and

resources in selecting the best repertoire for positive outcomes.

The production of the rubric was intended to assist the novice as well as the advanced

vocal jazz educator by defining criteria for selecting repertoire. The intention was to provide all

vocal jazz educators a guide for selecting vocal jazz repertoire that would best suit the needs for

their own vocal jazz ensemble. By pinpointing particular criteria in a literature example, an

educator can determine if the literature is indeed high quality, produce positive learning

outcomes, and will aid in the advancement of vocal jazz education.

As I discussed criteria that should be considered for selecting vocal jazz repertoire with

interview participants, I began to realize that there are many components that I neglect when

considering literature for other nontraditional choral ensembles. For example, what criteria are

considered when selecting literature for a show choir or madrigal ensemble? Future research


36

should perhaps include criteria for literature selection for all nontraditional choirs. It is important

for the vocal jazz educator to select the appropriate repertoire for their participating vocal jazz

students (Marcy, 2011). A need for future study into what components and criteria provide

appropriateness for literature selection, which may provide a deeper understanding of

authenticity. An empirical study was conducted as an investigation in what musicians consider

being their aesthetic experience with jazz music selections that vary in level of conceptual

advancement. The investigation revealed that attitudes toward jazz repertoire selections and prior

knowledge of the selection by the educator, can affect the aesthetic experience (Coggiola,1998;

Reames, 2001). A future research should perhaps be conducted measuring the aesthetic

experience with literature selecting from the evaluation of the developed rubric for vocal jazz

literature selection.


37

Appendix A. Script and questions for interview participants

Name of Interviewee____________________________ Date of Interview ______________________________ Time of Interview______________________________ Hello __________________, Thank you very much for your time to talk with me about vocal jazz! I know your time is important, so thank you for your assistance in answering a few questions that new vocal jazz educators or continuing vocal jazz educators would like to have answered. As mentioned in our email correspondence, I will record the phone conversation for memoranda so I will not miss anything that is relevant to our conversation. Let me start by stating that I will ask a few general questions about our subject and you may want to give a much professional insight to help teachers such as myself, understand a little more about the literature selection of vocal jazz music.

• What are the criteria you use when selecting music for your performing ensembles?

• What components of repertoire are required for authenticity of the genre?

• What musical characteristics would you consider to vocal jazz repertoire to be classified as

difficult to easy?

• What resources for arrangements may be available for vocal jazz educators that are not published

by large music publication corporations?

Thank you for your contribution to my research. Again, I appreciate your time and willingness to participate in this

interview. Have a great day


38

Appendix B. Institutional Review Board Approved Letter of Consent


39

Appendix C. Interview Participant Credentials

Name Justin Benick Occupation Doctoral Teaching Fellow, University of North Texas

Director of “Avenue C” Vocal Jazz ensemble at the University of North Texas Served as the Head of Vocal Jazz Studies at the University of the Arts in Philadelphia

Experience Internationally recognized jazz and classical singer, pianist, and clinician/ adjudicator.

Awards Honors Ensemble Recognition Jazz Educators Network Conference ensemble performance

2014. Compositions Published with SMP Jazz publications All-State Vocal Jazz Clinician Pennsylvania Name Derek Chapman Occupation Director of Vocal Jazz Yukon High School Yukon, Oklahoma Experience 10 Years Teaching Vocal Jazz Ensembles Awards Honors Ensemble Recognition Southwest American Choral Directors Association Honors

Ensemble 2016 Compositions All-State Vocal Jazz Clinician Oklahoma All-State Vocal Jazz coordinator 2015-16 Name Frank DeMiero Occupation Co-Founder of Sound Music Publications

Director of the vocal jazz ensemble “Soundsations” for 11 years. Edmonds Community College Lynnwood, WA. Director of Seattle Singers professional vocal jazz ensemble

Experience Over 40 years experience directing and adjudicating vocal jazz ensembles

Awards Mr. DiMiero’s jazz choirs have performed with many great artists including Joe Williams, Anita Kerr, Carmen McRae, Mark Murphy, Louise Rose, the Hi-Lo’s, Ernestine Anderson, Dee Daniels, Bobby McFerrin, Nancy King, the Four Freshmen, Bill Cosby, and have toured with Bob Hope.

Honors Ensemble Recognition Compositions All-State Vocal Jazz Clinician Mr. DeMiero has conducted many different All-State and

honor choirs throughout the United States and Canada


40

Name Beth Enloe-Fritz Occupation Director of Vocal Music Fort Zumwalt West High School

O’Fallon, Mo. and Director of Vocal Jazz Experience Repertoire and Standards Chair for Missouri Music Educators

Association (Vocal Jazz ) Awards Honors Ensemble Recognition Compositions All-State Vocal Jazz Clinician Name R. John Hamilton Occupation Director of Hamilton High School Academy of Music Vocal

Jazz Ensemble Los Angeles, CA. Experience Awards Performing Arts High School Downbeat Magazine Award

2011, 2014 Honors Ensemble Recognition Compositions All-State Vocal Jazz Clinician Name Kerry Marsh Occupation Director of Vocal Jazz Studies at the University of Northern

Colorado in Greely, CO. Experience 15 Years Teaching Vocal Jazz Ensembles

Member of Vertical Voices (Professional Vocal Jazz Ensemble)

Awards Downbeat Jazz Magazine Award Winner for Large Graduate Level Vocal Jazz Ensemble Category Sacramento State University - 13 awards University of Northern Colorado - 1 award)

Honors Ensemble Recognition International Association of Jazz Educators Honors Jazz Ensemble

2005 & 2006 Compositions Vocal Jazz compositions composed for College, high school,

and middle school ensembles All-State Vocal Jazz Clinician Kerry Marsh has conducted All-State Jazz choirs in many

states including Arizona California Colorado Illinois Iowa Maine Missouri Nebraska New Hampshire New Jersey New York Oklahoma North Dakota and Wyoming


41

Name Mike Plunkett Occupation 22 Years of vocal jazz teaching experience Experience Awards Honors Ensemble Recognition Oklahoma Music Educators Association Honor Choir for

vocal jazz 1994 Compositions All-State Vocal Jazz Clinician Mike Plunkett has conducted as an All-State Vocal Jazz

clinician in New York, New Hampshire, and Washington. Name Janice Vlachos Occupation Director of Vocal Music Fairview High School Boulder, CO. Experience 22 Years of teaching experience Awards Downbeat Jazz Magazine Award Winner for Large Graduate

Level Vocal Jazz Ensemble Category “Age of Guinevere” Women’s Vocal Jazz2011

Honors Ensemble Recognition American Choral Directors Association Honors Jazz Ensemble 2013

Compositions All-State Vocal Jazz Clinician Name Jennifer Barnes Occupation Director of Vocal Jazz Studies at North Texas University in

Denton, TX. Experience Awards Downbeat Jazz Magazine Award Winner for eight different

university vocal jazz ensembles. Honors Ensemble Recognition Jazz Educators Network and International Association of Jazz

Educators Honors Vocal Jazz Ensemble Compositions Vocal Jazz compositions composed for College, high school,

and middle school ensembles All-State Vocal Jazz Clinician Jennifer Barnes has been a guest clinician for many All-State

Vocal Jazz ensembles including Illinois Iowa Missouri Nebraska North Dakota and Oklahoma


42

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