Bibliography of Vocal Jazz and Aural Skill References and Resources

by Cathy Jensen-Hole, Vocal Jazz Chair

Aebersold, J. and Aitken, G. (1983). Vocal jazz improvisation: an instrumental approach. Jazz Educators Journal, 15(3).

Aitken, G. (1986). Sherrill Milnes: Baritone extraordinaire talks about vocal jazz. Jazz Educators Journal, 19(1), 19-20.

Aitken, G. (1984). Rehearsal techniques. Jazz Educators Journal, 18(3), 56-58.

Aitken, G. (1984). Rehearsal techniques. Jazz Educators Journal, 18(4), 68-70.

Aitken, G. (1984). Vocal jazz techniques. Jazz Educators Journal, 18(6). 22-23.

Aitken, G. (1984). Vocal jazz vibrato. Jazz Educators Journal, 18(6). 16-18.

Aitken, G. (1989). A fresh start. Jazz Educators Journal, 21(4), 32.

Anderson, D. (1980). Improvisation for vocal jazz ensembles. Music Educators Journal, 66(5). 89-94.

Anderson, D. (1993). Jazz and show choir handbook II. Chapel Hill, NC: Hinshaw Music Inc.

Aubin, M. (2010). Effects of two instructional sequences of Laban movement theory onconductor expression in an undergraduate conducting class. Doctoral Dissertation. The Hartt School, University of Hartford.

Azzara, C.D. (1993). Audiation-based improvisation techniques and instrumental music achievement. Journal of Research in Music Education, 41(4), 328-342.

Azzara, C. D. (1999). An aural approach to improvisation. Music Educators Journal, 86(3). 21-25.

Azzara, C.D. (2002). Building the bridge between early childhood and beginning piano. Early Childhood Connections: Journal of Music and Movement-based Learning, 8(1), 15-23.

Azzara, C.D. (2008). Improvisation and choral musicianship. In M.Holt and J. Jordan (Eds.), The school choral program: philosophy, planning, organizing, and teaching (pp. 201-240). Chicago, IL: G.I.A. Publications Inc.

Azzara, C.D. and Grunow, R. F. (2006). Developing musicianship through improvisation 1. Chicago, IL: G.I.A. Publications Inc.

Baker, D. (1978). Jazz pedagogy.  Van Nuys, CA: Alfred Publishing.

Baird, R. (1993). Vocal Jazz: A place in choral music education. Jazz Educators Journal, 25(3), 60-61.

Baird, R. (1993). Vocal problems you can see. Jazz Educators Journal, 25(3), 77-78.

Banai, K., Hornickel, J., Kraus, N., Nicol, T., Skoe, E., & Zecker, S. (2009). Reading and subcortical auditory function. Cerebral Cortex. 19(11), 2699-2707. doi:10.1093/cercor/bhp024

Barnes, J.S. (2002). Vocal Jazz. In J.R. Dunscomb & W.L. Hill Jr, (Eds.). Jazz pedagogy, pp. 273-283.

Benward, B. and Carr, M. (1991). Sightsinging complete. (5th ed). Dubuque, IA: William C. Brown Publishers.

Benward, B., Carr, M. and Kolosick, T. (1992) Introduction to sight singing and ear training. Sacramento, CA: Brown and Benchmark.

Berg, S. (2005). Alfred’s essentials of jazz theory. Van Nuys, CA: Alfred Publishing.

Bergwell, K. and Fiscus, G. (1981). Vocal jazz in your classroom. Choral Journal, 22(4), 29-30.

Binder, J.R., Frost, J.A., et al. Function of the left planum temporale in auditory and linguistic processing. Brain, 119, 1239-1247.

Borg, W.R., Gall, J.P., & Gall, M.D.(1996). Educational research an introduction (6th ed.). White Plains, NY: Longman Publishers.

Borla, J. (1985). Key selection for the solo vocalist. Jazz Educators Journal, 19(5). 14-16.

Borla, J. (1988) Instrumental transcriptions for the solo vocalist. Jazz Educators Journal, 21(4), 27-29.

Bucholz, T. (2007). Teaching jazz concepts in the vocal jazz ensemble rehearsal. Masters Thesis, Western Michigan University.

Brent, T. J. (2008). A two semester course sequence for jazz ear-training with application for vocal improvisation. Doctoral Dissertation, University of Miami

Brown, K.D. (2001). Effects of fixed and movable sightsinging systems on undergraduate music students’ ability to perform diatonic, modulatory, chromatic, and atonal melodic passages. Doctoral Dissertation. University of Oregon.

Caffey, D., Lindeman, C., Garcia, A. and Montgomery, T. (1999). Teacher training for undergraduate music students in the new millennium. Jazz Educators Journal, 31(6), 39-42.

Cartwright, K. (1995). If you can’t sing it…: Oral-aural tradition and the integrated curriculum. Jazz Educators Journal, 28(3), 25-28.

Casarow, P.J. (2002). Sight-singing pedagogy: analysis of practice and comparison of systems as described in related literature. Doctoral Dissertation. Arizona State University.

Clayton, J. (2001).  Sing your story: A practical guide for learning and teaching the art of jazz singing. Rottenberg, N. Germany: Advance Music.

Clendening, J.P., Phillips, J., and West Marvin, E. (2005). The musicians guide to aural skills.v1. New York, NY: W.W. Norton & Co.

Clendening, J.P., Phillips, J., and West Marvin, E. (2005). The musicians guide to aural skills.v2. New York, NY: W.W. Norton & Co.

Colwell, R. (1963). An investigation of musical achievement among vocal students, vocal-instrumental students, and instrumental students. Journal of Research in Music Education, 11(2), 123-130.

Consortium of National Arts Education Association. (1994). National Standards for Arts Education. Reston, VA: MENC

Cooper, D. J. (1997). Literacy: helping children construct meaning (3rd ed.). New York: Houghton Mifflin.

Cruse, S.R. (1999). The status of vocal jazz ensembles in Texas high schools and the impact of vocal jazz instruction on the overall choral program. Doctoral Dissertation, University of Houston.

Daniels, R.D. (1986). Relationships among selected factors and the sight-reading ability of high school mixed choirs. Journal of Research in Music Education, 34(4), 279-289.

Dees, T., Kraus, N., Skoe, E., Russo, N.M., and Wong, P.C.M. (2007). Musical experience shapes human brainstem encoding of linguistic pitch patterns. Nature Neuroscience, 10(4), 420-422. doi:10.1038.nn1872.

Demorest, S. M. (2001). Building choral excellence: Teaching sight singing in the choral rehearsal. New York: Oxford University Press.

Demorest, S.M. & May, W.V. (1995). Sight singing instruction in the choral ensemble: Factors related to individual performance. Journal of Research in Music Education, 46, 156-167.

Diblasio, D. (1996). Scat singing: Imitating instruments. Jazz Educators Journal, 28(5), 33-35.

Dimitrov, D.M. & Rumrill Jr., P. D. (2003). Pretest-posttest designs and measurement of change. Speaking of Research, 20. Retrieved from: http:www.//cehd.gmu.edu/assets/docs/faculty_publications/dimitrov/file5.pdf.

Dobbins, B. (1986). What you know is what you get. Jazz Educators Journal, 62, 14-17.

Doneski, S.M. (2005). The effects of wait time on the performance pattern accuracy of second- and fourth- grade students. Doctoral Dissertation. The Hartt School, University of Hartford.

Dunscomb, J. R. and Hill, W.L. (2002). Jazz pedagogy: The jazz educator’s handbook and resource guide. Miami, FL: Warner Bros. Publications.

Egbert, J.B. (1990). The effects of systematic rhythm reading instruction versus rote rhythm sight-singing performance of high school choral ensemble members. Doctoral Dissertation. University of Missouri-Columbia.

Engelke, L.C. (1996). Jazz education: the critical link in meeting the national standards. Jazz Educators Journal, 29(2), 33-36.

Fisher, L. (1984). Topics, objectives and references for jazz pedagogy courses Part I. Jazz Educators Journal, 18(6). 17-19.

Floyd, Eva Gail. (2007). Effects of pentatonic versus diatonic training on elementary education majors’ sightsinging accuracy. Doctoral Dissertation. University of Kentucky.

Fredrickson, S. (1993). Teaching beginning vocal improvisation. Jazz Educators Journal, 26, 35-38.

Fredrickson, S. (2003). Scat singing method: beginning vocal jazz improvisation.U.S. Scott Music Publications.

Garcia, A. (1996). The IAJE jazz curriculum guide. Jazz Educators Journal, 29(2). 24-30.

Gaser, C. & Schlaug, G. (2003). Brain structures differ between musicians and non-musicians. The Journal of Neuroscience, 23(27), 9240-9245.

Gauldin, R. & Wennerstrom, M. (1989). Pedagogy. Music Theory Spectrum. 11(1), 66-73. doi: 10.1525/mts.1989.11.1.02a00100.

Gazzaniga, M.S. (2009). Arts and cognition: Findings hint at relationships. Introductory statement, learning arts, and the brain, the Dana Consortium report on arts and cognition conference manual. Dana Foundation. Washington D.C.

Gordon, E.E. (2003). Learning sequences in music: A music learning theory. Chicago, IL: GIA Publications.

Grier, G. (1991). Choral resources: A heritage of popular styles. Music Educators Journal, 77(8), 35-39.

Gromko, J.E. (2004). Predictors of music sight-reading ability in high school wind Players. Journal of Research in Music Education, 52(1), 6-15.

Hansen, D. (2010). Aural skills: at the juncture of early reading and music literacy. Music Educators Journal, In press.

Heil, L.T. (2005). The Effects of two vocal jazz improvisation methods on high school choir students’ attitudes and performance achievement. Doctoral Dissertation, University of Colorado.

Henry, M. & Demorest S.M. (1994). Individual sight-singing achievement in successful choral ensembles: A preliminary study. Update: Applications for Research in Music Education, 13(1), 4-8.

Huck, S. W. (2004). Reading statistics and research (4th ed.). Boston, MA: Pearson Education Inc.

Isaac, S. (1995). Handbook in research and evaluation (3rd ed.). San Diego, CA: Educational and Industrial Testing Services.

Johnson, G.J.B. (1987). A descriptive study of the pitch-reading methods and the amount of time utilized to teach sight-singing by high school choral teachers in the north central region of the American Choral Directors Association. Masters Thesis: University of Nebraska.

Karpinski, G. (2000). Aural skills acquisition: The development of listening, reading, and performing skills in college-level musicians. New York, NY: Oxford University Press.

Karpinski, G. (2007). Manual for ear training and sight singing. New York, NY: W.W. Norton.

Kraus, N., Musacchia, G., Sams, M., & Skoe, E., (2007). Musicians have enhanced subcortical auditory and audiovisual processing of speech and music. PNAS, 104(40), 15894-15898. doi: 10.1073.

Kraus, N., Nicol, T., Skoe, E., Stegemoller, E.L., & Warrier, C.M., (2008). Music training and vocal production of speech and song. Music Perception, 25(5), 419-428. doi: 10.1525/MP.2008.25.5.419.

Kraus, N., Skoe, E., Parbery-Clark, A., & Ashley, R., (2009).  Experience-induced malleability in neural encoding of pitch, timbre, and timing: implications for language and music. neurosciences and music III-disorders and plasticity.  Annals of the New York Academy of Sciences, 1-15.

Laing, D.R. (2007). The effect of rhythm pattern instruction on the sight-reading achievement of wind instrumentalists. Doctoral Dissertation. University of Missouri-Columbia.

Lapin, L. (1983). Vocal jazz majors speak out. Jazz Educators Journal, 14(1), 58-59.

Leisenring, J. (1984). Survey of jazz pedagogy: Courses at the university level. Jazz Educators Journal, 18(1), 14-16.

Leonard, C. (1984). Has jazz education fulfilled its promise?. Jazz Educators Journal, 18(1). 12-13.

Lucas, K.V. (1994). Contextual condition and sightsinging achievement of middle school choral students. Journal of Research in Music Education, 42(3), 203-216.

Madura, P.D.  (1997). Jazz improvisation for the vocal student. Teaching Music, 4(6), 26-28.

Madura, P.D. (1996). Relationships among vocal jazz improvisation achievement, jazz theory knowledge, imitative ability, musical experience, creativity, and gender. Journal of Research in Music Education, 44(3), 252-267.

Mann, R.G. (1991). The use of Kodaly instruction to develop sight-reading skills of undergraduate flute students. Doctoral Dissertation. Arizona State University.

Mark, Michael. (1986). Contemporary music education. New York, NY: Schirmer Books.

Mattson, P. (1996). Jazz and show choirs. Choral Journal, 36(7), 33.

May, L. (2003) Factors and abilities influencing achievement in instrumental jazz improvisation. Journal of Research in Music Education, 5(3), 245-259.

May, W.V. & Elliott, C.A. (1980). Relationships among ensemble participation, private instruction, and aural skill development. Journal of Research in Music Education, 28(3), 155-161.

McPherson, G.E. (1994). Factors and abilities influencing sightreading skill in music.  Journal of Research in Music Education, 42(3), 217-231.

McPherson G.E. and Gabrielson, A. (2002). From Sound to Sign. In R. Parncutt and G.E.McPherson (Eds.). The science and psychology of musical performance: creative strategies for music teaching and learning. Oxford: Oxford University Press.

Meyer, L.B. (1973). Explaining music: essays and explorations. Berkeley, CA: University of California Press.

Muijs, D. (2004). Doing quantitative research in education. Thousand Oaks, CA: SAGE Publications Inc.

Myers, G.C. (2008). Sight-singing instruction in the undergraduate choral ensembles of colleges and universities in the southern division of the American Choral Directors Association: teacher preparation, pedagogical practices, and assessed results. Doctoral Dissertation. University of North Carolina-Greensboro.

No Child Left Behind (NCLB) Act of 2001, Pub. L. No. 107-110, § 115, Stat. 1425 (2002).

Nolker, D.B. (2001). Individual sight-singing success: effects of testing condition, large ensemble sight-singing rating, school size, and selected background factors. Doctoral Dissertation. University of Missouri- Columbia.

Norris, C.E. (2004). A Nationwide overview of sight-singing requirements of large-group choral festivals. Journal of Research in Music Education, 52(1), 16-28.

Ottman, R.W. (2001). Music for sight singing. (5th ed). Upper Saddle River, NJ: Prentice Hall.

Parker, N.R. (2007). A team-based learning model to improve sight-singing in the choral music classroom. Doctoral Dissertation. University of Minnesota.

Pinker, S. (1995). The language instinct. New York, NY: Harper Perennial.

Pisciotta, E. (1992). The history of jazz choir in the United States. Doctoral Dissertation, University of Missouri- Kansas City.

Prouty, K.E. (2002). Understanding the culture of jazz education: An ethnomusicological perspective. Jazz research proceedings yearbook, 60-64.

Robinson, R. (1994). Getting started with jazz/show choir.  Reston, VA: MENC

Rodeheaver, R.E. (1972). An investigation of the vocal sight-reading ability of college freshman music majors. Dissertation Abstracts International: 33(03), 1190A.

Schlaug, G.I. (2005). Effects of music training on the child’s brain and cognitive development. Annals of the New York Academy of Sciences, 930(1),  219-230.

Scott, T.B. (1996). The construction of a holistic, criterion-referenced sight-singing test for high school sopranos based on the voluntary national standards for music education. Dissertations Abstracts International, 57(11A), 4684.

Shapiro, J. (1986). The Realities of vocal jazz style. Jazz Educators Journal, 19(1), 21.

Spradling, D.R. (1986). Pedagogy and Vocal Jazz. Choral Journal, 27(4), 27.

Spradling, D. (2000). Vocal Jazz- And its credibility in the university curriculum. Jazz Educators Journal, 32(5), 59-64.

Stegall, J.C. (1992). The influence of isolated rhythmic training with a selected method of study on the ability to sing music at sight. Doctoral Dissertation. University of Missouri- Kansas City.

Stoloff, B. (2003). Blues scatitudes: Vocal improvisations on the blues.  Brooklyn, NY: Gerard and Sarzin Publishing.

Stoloff, B. (1996). Scat: Vocal improvisation techniques. Brooklyn, NY: Gerard and Sarzin Publishing.

Swann, W.E. (2000). An aural approach to teaching the fundamentals of jazz theory. Doctoral Dissertation. University of Mississippi.

Szabo, C.E. (1992). A profile of ten high school choral directors and their activities during one week. Dissertation Abstracts International: 53, 2730A.

Music Educators National Conference (2007). Teaching jazz: a course of study. International Association for Jazz Education and MENC: The National Association for Music Education: New York, NY: Rowman & Littlefield Education.

Tomasetti, B. (2003) Beginning blues improvisation pedagogy for the non-jazz specialist music educator. Music Educators Journal, 89(3), 17-21.

Tucker, D.W. (1969). Factors related to musical reading ability of senior high school students participating in choral groups. Dissertation Abstracts International: 31, 2427A.

Walker, C.W. (2002). Cognition and audiation of the blues among novice vocalists: a descriptive inquiry. Jazz Research Proceedings Yearbook, 106-113.

Weir, M. (2001) Vocal improvisation.  Van Nuys, CA: Advance Music Co.

Weir, M. (2005) Jazz singer’s handbook. Van Nuys, CA: Alfred.

Wilcox, E. (1995). Focus on improvisation: Music content standard 3: Chorus-start with the melody. Teaching Music, 3(5), 2-32.

Zegree, S. (2002). The complete guide to teaching vocal jazz; including pop and other show styles. Dayton, OH: Heritage Music Press.