The purpose of this study is to explore instructional strategies and participation concerns regarding vocal jazz ensembles according to high school choral directors in Illinois who lead their schools’ vocal jazz programs. High school choir directors without jazz experience often recognize the need to expand their performance and pedagogical abilities in jazz and access to vocal jazz repertory; however, professional development opportunities in Illinois’ music education organization have yet to offer guidance. This leaves choral directors without jazz experience little insight on how to familiarize themselves with jazz styles, pertinent pedagogical ideas, and how to apply available resources towards the formation of vocal jazz ensembles. Literature that generally compares and contrasts choral and vocal jazz ensemble instruction exists; however, research has yet to extrapolate concepts applicable to disparate teaching contexts of high school choral programs in Illinois. This study surveys the perspectives of seventy-one choral and vocal jazz directors in various high school teaching contexts in Illinois to provide high school choral directors without vocal jazz programs insight regarding how to approach vocal jazz instruction in their choral programs, regardless of their jazz backgrounds, districts’ socio-economic context, and schools’ musical traditions. Since diversification of musical experience remains a growing initiative in music education, this study’s findings regarding pedagogy and resource application will provide directors with insight on how to expand their curricular explorations within and beyond typical choral programming. Directors would benefit from this insight, regardless of their extant musical-stylistic backgrounds and teaching contexts.

The purpose of this study was to investigate vocal jazz ensemble study in the secondary choral ensemble. In pursuing this purpose, the researcher sought to answer the following questions: 1.) What are common practices for incorporating the elements of improvisation, listening skill, vocal health and balance, and assessment of vocal jazz performance ability into a vocal jazz ensemble unit of study for secondary school choral students? 2.) What are the most applicable assessment practices in a secondary school vocal jazz ensemble? and 3.) What effect does a vocal jazz ensemble unit of study have on secondary choral students’ vocal jazz performance achievement? The researcher designed and taught a secondary vocal jazz ensemble curriculum to fifteen students in her community children’s chorus in grades six through twelve. Best practices for content relating to vocal jazz instruction were informed by the results of interviews of master teachers in the vocal jazz field and a survey of participating secondary school choral teachers that are members of the Virginia Music Educator’s Association (VMEA). Methods of improvisation, development of listening skill, vocal health and balance, and assessment of vocal jazz ensemble performance ability were identified as common elements of vocal jazz ensemble instruction through an examination of the literature. Upon examining the interview transcripts and survey data, an additional element was identified: learning vocal jazz history. The examination of the t-test scores indicated that students did improve their vocal jazz performance ability while participating in a vocal jazz ensemble.

The vocal jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate vocal jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the vocal jazz ensemble. The discussion relies on recent data showing the benefits of vocal jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.

This textbook prepares Music Education and Choral Conducting majors to be effective middle school and high school choral music teachers. It fully integrates the choral field experience for hands-on learning and reflection and allows the student to observe and teach the book’s principles. It covers the essentials of vocal development, auditions, literature, rehearsals, classroom management, and practical matters.