![]() ![]() ![]() This procedure was to gain archetypal works worthy of demonstration of this period of jazz and the electric bass. Integral to the performances and exegesis research was the audio examination phase and the meticulous inspection of works and literature encompassing 1970 through to the twenty-first century. It reveals shifts between explanation and action, discussion and personal reflection, and credits broader considerations. The narrative is grounded in my lived experiences and research. To develop these broad considerations, I constructed a semi-autoethnographic narrative that focuses on my creative practices, processes and discoveries as an electric bassist. The CD recording represents the outcome of a five-year research process and a musical and personal journey to New York City to rehearse and record the CD with Omar Hakim, Mike Mainieri, Rachel Z and other well-known jazz exponents. The electric jazz period post-1970 was an exploratory time when composers began merging other music styles and genres with jazz in the search for new ideas and concepts. It is an investigation that examines my journey, through the CD recording, three performances, transcription, analysis and research, utilising some pivotal contemporary jazz composers and electric bassists from the late twentieth century. This exegesis is tied to the CD, ‘Portrait of New York’ – an assortment of inventive musical compositions to explore diversity in electric jazz after 1970, and three multi-faceted live performances focused on electric bass from that period. This should be approached with a degree of flexibility depending on the musical experience and capability of the music class. When referring to the answers provided in the Teacher’s manual, the answers given should guide the teacher as to the kinds of responses to award a mark for. Teachers may not wish to record the result of each listening test. Although each of the active listening activities are provided so that a mark out of 20 can be awarded, they are designed as learning tools to promote engagement during the listening process. If teachers wish to add viewing as part of the process this can of course be included but it is advised to be aware of the film rating. It is important to note that the lessons are designed so that the films do not have to be watched. ![]() Some of the films included in this text book have ratings that may not suit the age of the students. Teachers may choose to spend more time on certain lessons and omit others from their teaching and learning program. The films can be taught in any order and have not been designed to be sequential. Each of the films have been organised into genres however it is important for teachers to choose the sequence that they would like to teach them in. These lessons have not been designed to be ‘about’ the films, but use the music from the films to enable students to learn about the music elements. The activities focus on: Performance, Listening and Composition however each film comes with a brief synopsis and additional information about instrumentation and people of interest. These lessons for use in the middle-school classroom are designed to be fun, engaging and to promote musical literacy. ![]()
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