Consequently, it is my belief that current music educators across the Greater Toronto Area (GTA) should consider alternative methods of pedagogy if students are to understand the historicity- the historical authenticity of this African American folk music. Unless the narratives of this music are unpacked, analyzed and taught from its internal elements, which embodies the symbiosis and synthesis of African American dance, theatrics, poetics and American black English that encapsulates the “African American-ness” in jazz, then there remains a risk that this folk music will become more and more diluted. More specifically, finding and hiring African American instructors whose musical genealogy can be delineated from “black” oral/aural histories and can draw from these historicities. One of the challenges faced in post-secondary jazz education across the GTA is finding qualified instructors who are familiar with dialogical methods for teaching African American jazz histories.
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