“You Know What I Mean?” The Pedagogical Canon of “Cannonball” Adderley
2005; Columbia University Libraries; Issue: 2005 Linguagem: Inglês
10.7916/cm.v0i79/80.5055
ISSN2640-883X
Autores Tópico(s)Musicology and Musical Analysis
Resumowho can, do. Those who can't, teach. So reads a familiar adage often relayed to prospective teachers. Its appeal derives from a curious discon nect-namely, that those who teach are compelled to do so by, or even in spite of, incapacity. Usually passed along by outsiders, this observation is rarely borne out by practical application in the educational field because the most effective teaching models lead directly by example, relying upon inspiration to make lasting impressions upon students. Such was the approach favored by Julian Cannonball Adderley (192875), a hard bop alto saxophonist who exemplified a brand of music education rare for a jazz figure of his time and stature. A former music teacher, Adderley combined virtuosity, idiosyncratic pre-concert remarks, and a knack for discovering, promoting, and surrounding himself with innovative musicians. Throughout much of his career, he demonstrated concern for the future of jazz. He directed and participated in youth concerts, lectured in collegiate demonstrations with his band, and debated fellow artists in forums over the status of jazz and its projected viability. As a band leader, Adderley seemed similarly driven to promote musical awareness in his audience. Guided by these instructional impulses, his career offers a moving counterexample to cliches affirming the inherent ineptitude of pedagogues. While pedagogy formally unites educational theory with practice, in simpler terms, it refers to the art of teaching. It is the resulting merger of training and the subsequent application of that training, without which, no successful learning scenario can coalesce.! Pondering pedagogy can quickly result in a splintering of broader issues. How will the teacher transfer his or her knowledge to students? How can that transfer be measured accurately? Which techniques are appropriate to a given student's age, experience, or cultural awareness? Which procedures best suit transmission of the subject matter at hand? These are expressly pedagogical concerns-issues with which educators grapple daily, if not hourly. We learn by doing, as educator John Dewey believed, and any seasoned teacher knows that one never truly learns something until he or she has confronted the necessary thinking required to teach that something to another learner (Dewey [1916]1965). As we will see in each stage of Adderley's career, charisma plays a central role in pedagogical success. Indeed, the varied, colorful educational experi ences of jazz musicians demand that we expand our understanding of pe
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