In this Book

summary
Drawing on a mix of collaborative autoethnography, secondary literature, interviews with leading improvisers, and personal anecdotal material, Jamming the Classroom discusses the pedagogy of musical improvisation as a vehicle for teaching, learning, and enacting social justice. Heble and Stewart write that to “jam the classroom” is to argue for a renewed understanding of improvisation as both a musical and a social practice; to activate the knowledge and resources associated with improvisational practices in an expression of noncompliance with dominant orders of knowledge production; and to recognize in the musical practices of aggrieved communities something far from the reaches of conventional forms of institutionalized power, yet something equally powerful, urgent, and expansive. With this definition of jamming the classroom in mind, Heble and Stewart argue that even as improvisation gains recognition within mainstream institutions (including classrooms in universities), it needs to be understood as a critique of dominant institutionalized assumptions and epistemic orders. Suggesting a closer consideration of why musical improvisation has been largely expunged from dominant models of pedagogical inquiry in both classrooms and communities, this book asks what it means to theorize the pedagogy of improvised music in relation to public programs of action, debate, and critical practice.

Table of Contents

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  1. Cover in Jamming the Classroom
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  1. Cover in Jamming the Classroom
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  1. Cover in Jamming the Classroom
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  1. Cover in Jamming the Classroom
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  1. Half Title in Jamming the Classroom
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  1. Half Title in Jamming the Classroom
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  1. Half Title in Jamming the Classroom
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  1. Half Title in Jamming the Classroom
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  1. Series Page in Jamming the Classroom Justice
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  1. Series Page in Jamming the Classroom Justice
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  1. Series Page in Jamming the Classroom Justice
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  1. Series Page in Jamming the Classroom Justice
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  1. Title Page in Jamming the Classroom
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  1. Title Page in Jamming the Classroom
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  1. Title Page in Jamming the Classroom
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  1. Title Page in Jamming the Classroom
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  1. Copyright Page
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  1. Copyright Page
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  1. Copyright Page
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  1. Copyright Page
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  1. Dedication
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  1. Dedication
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  1. Dedication
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  1. Dedication
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  1. HebleStewart-0007
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  1. HebleStewart-0007
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  1. HebleStewart-0007
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  1. HebleStewart-0007
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  1. Contents
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  1. Contents
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  1. Contents
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  1. Contents
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  1. Preface
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  1. Preface
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  1. Preface
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  1. Preface
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  1. Acknowledgments
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  1. Acknowledgments
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  1. Acknowledgments
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  1. Acknowledgments
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  1. Introduction
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  1. Introduction
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  1. Introduction
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  1. Introduction
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  1. One. Solo Dialogics
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  1. One. Solo Dialogics
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  1. One. Solo Dialogics
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  1. One. Solo Dialogics
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  1. Two. Hearing What the Other Has to Play
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  1. Two. Hearing What the Other Has to Play
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  1. Two. Hearing What the Other Has to Play
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  1. Two. Hearing What the Other Has to Play
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  1. Three. Music Festivals as Alternative Pedagogical Institutions
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  1. Three. Music Festivals as Alternative Pedagogical Institutions
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  1. Three. Music Festivals as Alternative Pedagogical Institutions
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  1. Three. Music Festivals as Alternative Pedagogical Institutions
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  1. Four. Improv Goes to School
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  1. Four. Improv Goes to School
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  1. Four. Improv Goes to School
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  1. Four. Improv Goes to School
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  1. Five. A Force That’s Active in the World
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  1. Five. A Force That’s Active in the World
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  1. Five. A Force That’s Active in the World
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  1. Five. A Force That’s Active in the World
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  1. Coda
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  1. Coda
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  1. Coda
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  1. Coda
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  1. Notes
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  1. Notes
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  1. Notes
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  1. Notes
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  1. Works Cited
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  1. Works Cited
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  1. Works Cited
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  1. Works Cited
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  1. Select Discography of Improvised Music
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  1. Select Discography of Improvised Music
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  1. Select Discography of Improvised Music
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  1. Select Discography of Improvised Music
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  1. Index
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  1. Index
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  1. Index
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  1. Index
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