Performance Objectives and Criteria

To enable students to develop:

1.       performing and /or composing skills necessary for the understanding of jazz and which enable them to function at a professional level in those areas,

2.       the rapid co-ordination of senses, brain and limbs which comes through improvisation,

3.       the social and musical skills which come from collaborative working,

4.       the analytical skills and techniques involved in intellectual reflection upon jazz and on musical experience in the world, together with the literary skills necessary for their articulation.

Technical accomplishment

As with classical performances, mere technique as an end in itself is not given much credit.  However, students are expected to show a command of their instrument and an ability to convey musical ideas and expressivity in their performance.

Examiners are aware of the effect of nerves, and particularly the negative effect that this can have on musical performances in which improvisation is central. However, students who suffer chronically from this affliction are strongly advised against pursuing performance as a Year 3 specialism.

Style

Students are guided in their choice of material by tutors, instrumental teachers and feedback from seminar presentations, and should be aware of the stylistic conventions relating to the music they play. Improvisation is an essential component of jazz performance and demonstration of spontaneity and individuality is given credit, as is a thorough understanding of the harmonic, rhythmic and melodic vocabulary relevant to the style of material chosen. For singers this does not necessarily mean that they must sing scat choruses; similar skills are displayed in a sensitive programme in which the performer has digested and manipulated the material and made it their own.

Ensemble

Interaction with other players is another important area in the performance of jazz and improvised music, and students must take responsibility for leading groups they assemble to participate in their performances, and inflect these ensembles with their own musical character.  Credit will also be given for the organisation and direction of larger ensembles where appropriate.

Presentation

A performance must communicate, and students who do not do this usually achieve little. Conviction, commitment and communication are looked for. While the focus in assessment is always on the musical aspects of performance, factors such as stage-manner and the acknowledgement of applause are significant and may be taken into account.

Standards

Because of the complexity of the interaction of the above criteria, it is impossible to lay down hard and fast rules as to what exactly and in all cases would distinguish an upper from a lower second class performance, for example. Nevertheless, there are, within the field of music education, long-established practices and conventions with regard to standards. In a multi-faceted music degree, students do not normally perform to as high a standard as those in institutions where the focus is mainly on performance. However, a first class grade (A, 1-4 pts) might be regarded as equivalent to a conservatoire Performer's Diploma standard and an upper second to a Teacher's Diploma. At the very least, in order to pass, a Year 3 student should perform to the standard of good amateurs.

Two internal examiners are always present at Year 3 recitals and an external examiner hears a sample and is party to the deliberations of the assessors. For borderline candidates, or where there is any doubt or disagreement among examiners, the student may be called for a viva voce.

Jazz Performance Assessment guidelines

Credit will be given for demonstration of the qualities and abilities below, some of which are general and some specific to instrumental roles.

Technique

All instruments  sound; resonance and focus

            confident use of the whole range of the instrument

            clarity of articulation and rhythmic security

            dynamic range

            ability to recover quickly from mistakes

            projection, communication with audience

Singers                 intonation and tonal inflections, clear diction, microphone technique  hands particularly in  solos, wide range of voicings

Guitar               use of single note lines and chordal playing, effective use of amplification

Bass                intonation, variety of right hand articulation, effective use of amplification

Drums               co-ordination and independence, tuning of kit

Interpretation

All instruments  sensitivity to style

            awareness of form rhythmic fluency and feel

            appropriate embellishment and variation of melodic line

            imaginative and inventive improvisation

            ability to conceive and deliver a varied programme

Interaction

            All instruments  leading the ensemble by clear cueing or eye contact

communication with other players and sensitivity to accompaniment                 and texture

            co-ordination of phrasing and dynamics

            balance, ability to blend into group sound

            rhythmic cohesion and continuity between players

Rhythm section ability to support, anticipate and feed soloists

            variation of comping rhythms and voicings

            textural variety in accompaniment - particularly drums