The study covers the following areas:
Musical Background in Relation to Pedagogy
This examines Tristano's educational background, both from his study
of classical music and his influence by :he major jazz soloists from Louis
Armstrong to Charlie ,Parker. He learned from the great composers
and soloists and used that knowledge as a major ingredient in his pedagogy.
Selection of Students
This emphasizes 'Tristano’s criteria (1) as he evaluates the student's
potential for improvisation. (2) how the student relates to Tristano’s
musical philosophy, and (3) how strongly inclined the student is to express
his individuality.
Instruction of Students
Here are the details of Tristano's instruction, including fingering
exercises, training in rhythmic continuity, harmonic and melodic interrelationships
of the piano and other instruments. All of this is related to Tristano’s
insistence that the student discover and develop his individuality.
Effects of Tristano's Pedagogy
This examines Tristano’s effectiveness as a teacher of improvisation,
initially, and composition, secondly. It emphasizes the influence
he has had upon major jazz soloists, many of whom now use his methods as
they instruct their students.
Similarly, there is analysis of Tristano's influence upon jazz musicians
who never studied formally with him, but who use his means in instructing
their students. Overall. :he study shows that Tristano developed
jazz instruction in a unique way.
He insists that jazz is an improvised art: he considers improvisation
to be instant composition. His pedagogy accents that a student who
has attained a high degree of proficiency on an instrument can be
taught to be an imaginative improvisor.
The study includes analysis and evaluation of Tristano's unusual "course
guide" (i.e., recordings by Louis Armstrong, Earl Hines. Charlie
Parker, Bud Powell) that he offers as touchstones for creativity in jazz
improvisation. The study explains how Tristano teaches students to be expressive
soloists. rather than section men in large ensembles or studio musicians
for radio. films. or television.
Finally, this thesis explains why Tristano's pedagogy has had a strong
but limited effect in an era when other styles of jazz have been much more
popular. As such. it reveals Tristano's insistence that a jazz musician
should be a creative artist, not merely a craftsman.
BIBLIOGRAPHY ; APPENDIX: Discography