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• 1 media/4367175385_0b1a59806b_b.jpg media/terence_slide-59f4991771db5dc5241fd42497e10a7075970db6-s900-c85.jpg 2017-04-25T10:48:25-07:00 Introduction 59 An examination of the shift from mentorship to institutionalized jazz education image_header 2017-05-11T14:53:18-07:00
  What is digital humanities?
  Digital humanities (DH) is a field in which researchers and teachers utilize computerized/digitized resources to accumulate and analyze information pertaining to the human experience from antiquity to the modernity. It is a dynamic field; constantly adapting to meet the evolving needs of those who wish to utilize DH resources as a provocative academic resource. As the print medium is supplanted by digitalized media, humanity projects must adapt to the digital to maintain accessibility, engage desired populations and distribute important information in a modern, effective manner.
  
  The Jazz Mentorship Project
  In this anecdotally-based Jazz DH project, you will explore how mentorship has influenced jazz education by instrumental type and temporally. You will be pushed to confront the following questions:  How did mentorship influence the early jazz musicians in becoming the notable jazz icons of the 21st centuries? Are jazz mentorships losing influence as jazz education has integrated into the classroom over the last 50 years? Is the passage of jazz via mentorship completely lost in our modern education system (e.g. college courses focused on jazz theory and composition)? To address these questions, we examine five jazz musicians thoughts on mentorship (sometimes referred to as apprenticeship) through their interviews with Monk Rowe and Michael Woods, directors of the Hamilton College Jazz Archive.  These jazz musicians include bassist Buster Williams, vocalist Germaine Bazzle, cornetist Bob Schulz, clarinetist Allan Vache, and violinist Claude "Fiddler" Williams. Through these interviews, you will investigate what has prompted the shift in jazz education from jazz's mentorship roots to a more institutionalized  education. Additionally, you will be introduced to on-going efforts to return the mentorship-based jazz education within the confines of formal jazz education, such as the Jazz Education Network Program.
  
  As you will soon read and hear, traditional jazz education in the form of mentorship was inherently personal. Thus, institutionalization of jazz education and thought coincides with the loss what jazz was meant to represent for early musicians. The loss of intimacy in jazz education may be one of the reasons jazz seems to be lost in popularity in modern American culture, as musicians maintain more superficial relationships with peers and tend to learn in a more impersonal manner as compared to previous generations.
  
  Previous Page
  Next Page
  
  Table of Contents
  1. Evolution of Jazz Mentorship
  2. Introduction
  3. History of Jazz Education and Mentorship
  4. Buster Williams
  5. Germaine Bazzle
  6. Bob Schulz
  7. Allan Vache
  8. Claude Williams
  9. Race in Jazz Education and DH
  10. Modern Mentorship
  11. Our Other DH Method
  12. Conclusion
  13. Additional Works Cited ​
  14. Annotated Bibliography
  15. Process
  16. Rubric

   
• 1 media/4367175385_0b1a59806b_b.jpg media/maxresdefault.jpg 2017-03-28T10:45:17-07:00 Bob Schulz 45 Cornetist image_header 2017-05-11T15:00:16-07:00 37.7749295,-122.41941550000001 43.6528° N, -90.2235° W Bibliography​
  Bob Schulz was born in the small town of Wonewoc, Wisconson on July 1, 1938.  A natural sportsman, he grew up playing baseball, football, track and basketball.  Born to a musical family, Bob began singing when he was eight years old and joined the chorus in high school.  He graduated from the University of Wisconsin, where he majored in Social Studies, minored in Music and Biology, and was a part of a band, chorus and symphonia.  He later went on to receive his master’s degree in music from the University of Wisconsin in Madison.
   
  
  In 1961 he pursued his passion as a music teacher for children in the first through eighth grade.  By 1968 he moved to Lake Mills, where he began teaching a junior high band and in 1972, he led the high school band for seven year before moving to the west coast to join Turk Murphy.  As a music teacher, Bob learned first-hand the importance of jazz education.  A rewarding experience, his 17 year career as a music teacher allowed him to motivate and train future generations of muscians. 
   
  
  Bob’s focus on “Trad” Jazz stems from his experience with Turk Murphy.  “Trad,” or traditional jazz dates back to the roots of jazz music in the 1920’s when legends like Armstrong and Buck Johnson ruled the jazz scene.  Bob emphasizes the skill required to play “trad” jazz, which can be more technical and complicated than the later jazz movements in New Orleans in the 40s, 50s, and 60s.  In reflecting on his passion for this earlier form of jazz, Bob notes that culture plays an important part in the different styles of jazz music.  Modern jazz has a different feel to it, but no matter what “you’ve got to have a feel for it.” 
  
  
  The significance on “feeling” the music highlights the importance of apprenticeship in Jazz education.  To play truly great music, one must learn in the presence of other great musicians and pick up on their habits, mannerisms, and techniques, which is more difficult to teach in school.  Emulation plays a major role in jazz education, which is best learned through mentorship from experienced players, rather than rigid lessons taught in institutions.  Experience plays a large role in forming a great jazz musician, as well.  Bob emphasizes the significance of one’s upbringing and schooling in the process of learning to play.  Like many other musicians of his time, Bob performed for the military, where the “old time” jazz forms were very popular. 
   
  
  Today, Bob continues his passion for teaching in an adult jazz camp that he hosts.  Passing on his talents to those who wish to learn the complex subtleties of improvisation.  He also has formed a band called the Frisco Jazz Band, which performs in his hometown of San Francisco.
  
  
  
  
  Bob Schulz on "Trad" Jazz
  The following is an interview between Bob Schulz and Monk Rowe in February of 1998.
  
  Previous Page
  Next Page
  
  Table of Contents
  1. Evolution of Jazz Mentorship
  2. Introduction
  3. History of Jazz Education and Mentorship
  4. Buster Williams
  5. Germaine Bazzle
  6. Bob Schulz
  7. Allan Vache
  8. Claude Williams
  9. Race in Jazz Education and DH
  10. Modern Mentorship
  11. Our Other DH Method
  12. Conclusion
  13. Additional Works Cited ​
  14. Annotated Bibliography
  15. Process
  16. Rubric