Jamming the Classroom Musical Improvisation and Pedagogical Practice

By:

Heble, Ajay [auth]

Contributor(s):

Stewart, Jesse [auth]

Material type: Text

TextLanguage: English Series: Publication details: University of Michigan Press 2023Description: 1 electronic resource (190 p.)Content type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780472056361
9780472076369
mpub.12733416

Subject(s):

Music
Techniques of music / music tutorials
Theory of music & musicology
Improvisation, pedagogy, community engagement, social justice, festivals, artspresentation, autodidactic methods of learning, collaboration, music education, social practice, arts-based community-making, community music, jazz, free, free jazz, activism, human rights, human rights movements, human rights campaign, jazz music, American studies, musicology, musical styles, musical history, social history

Online resources:

Summary: Drawing on a mix of collaborative autoethnography, secondary literature, interviews with leading improvisers, and personal anecdotal material, Jamming the Classroom discusses the pedagogy of musical improvisation as a vehicle for teaching, learning, and enacting social justice. Heble and Stewart write that to "jam the classroom" is to argue for a renewed understanding of improvisation as both a musical and a social practice; to activate the knowledge and resources associated with improvisational practices in an expression of noncompliance with dominant orders of knowledge production; and to recognize in the musical practices of aggrieved communities something far from the reaches of conventional forms of institutionalized power, yet something equally powerful, urgent, and expansive. With this definition of jamming the classroom in mind, Heble and Stewart argue that even as improvisation gains recognition within mainstream institutions (including classrooms in universities), it needs to be understood as a critique of dominant institutionalized assumptions and epistemic orders. Suggesting a closer consideration of why musical improvisation has been largely expunged from dominant models of pedagogical inquiry in both classrooms and communities, this book asks what it means to theorize the pedagogy of improvised music in relation to public programs of action, debate, and critical practice.

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Holdings
Item type	Home library	Collection	Call number	Materials specified	Status	Date due	Barcode
Electronic-Books	OPJGU Sonepat- Campus	E-Books Open Access			Available

Open Access Unrestricted online access star

Drawing on a mix of collaborative autoethnography, secondary literature, interviews with leading improvisers, and personal anecdotal material, Jamming the Classroom discusses the pedagogy of musical improvisation as a vehicle for teaching, learning, and enacting social justice. Heble and Stewart write that to "jam the classroom" is to argue for a renewed understanding of improvisation as both a musical and a social practice; to activate the knowledge and resources associated with improvisational practices in an expression of noncompliance with dominant orders of knowledge production; and to recognize in the musical practices of aggrieved communities something far from the reaches of conventional forms of institutionalized power, yet something equally powerful, urgent, and expansive. With this definition of jamming the classroom in mind, Heble and Stewart argue that even as improvisation gains recognition within mainstream institutions (including classrooms in universities), it needs to be understood as a critique of dominant institutionalized assumptions and epistemic orders. Suggesting a closer consideration of why musical improvisation has been largely expunged from dominant models of pedagogical inquiry in both classrooms and communities, this book asks what it means to theorize the pedagogy of improvised music in relation to public programs of action, debate, and critical practice.