ABSTRACT

Jazz has been a familiar element of secondary music curricula in the United States since the late 1960s (Worthy 2013). Yet, as broader social dialogue addresses equity and justice concerning gender and sexuality, secondary instrumental jazz education remains underrepresented in those discussions. Pressures to conform to heteronormative notions and performances of gender and sexuality in this field demand participants deemphasize aspects of their identities in order to avoid stigmatisation, a practice known as ‘covering’ (Yoshino 2002). Pressure to perform gender and sexuality ‘intelligibly’ (Butler 1999) can serve as motivation toward assimilation or as a force of discrimination (Yoshino 2002). Thus, in this paper I argue historically that established and contemporary instrumental jazz pedagogies comprise acts of discrimination. I recommend ways of troubling heteronormativity embedded in conventional methods of teaching aspects of instrumental jazz such as improvisation and swing feel. Suggestions are offered for shifts toward diminishing discriminatory pressures to cover.

摘要

自1960年代后期以来，爵士音乐就一直是美国中学音乐课程中比较熟悉的元素（Worthy 2013）。但是，随着更广泛的社会对话解决有关性别与性的公平与正义问题，在这些讨论中，中等爵士爵士乐教育的代表性仍然不足。在这个领域中，要遵循异规范的观念以及性别和性行为的压力要求参与者不加强调自己的身份，以避免污名化（Yoshino 2002）。“明智地”执行性别和性行为的压力（巴特勒1999）可以成为同化的动力或歧视的力量（吉野2002）。因此，在本文中，我从历史上争论说，既定的和当代的器乐爵士主义教学法包括歧视行为。我建议在传统的乐器爵士乐方面（如即兴演奏和摇摆感）的教学方法中嵌入的使异规范性困扰的方法。提出了一些建议，以减轻歧视压力。