Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts—and is impacted by—events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted "great men" and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz’s "public pedagogy," and the sometimes-difficult relationships between "jazz people" and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and non-institutional forces in the educational realm of jazz.

How the claim to jazz knowledge forges community and forms an understanding of canon Ken Prouty argues that knowledge of jazz, or more to the point, claims to knowledge of jazz, are the prime movers in forming jazz's identity, its canon, and its community. Every jazz artist, critic, or fan understands jazz differently, based on each individual's unique experiences and insights. Through playing, listening, reading, and talking about jazz, both as a form of musical expression and as a marker of identity, each aficionado develops a personalized relationship to the larger jazz world. Through the increasingly important role of media, listeners also engage in the formation of different communities that not only transcend traditional boundaries of geography, but increasingly exist only in the virtual world. The relationships of "jazz people" within and between these communities is at the center of Knowing Jazz. Some groups, such as those in academia, reflect a clash of sensibilities between historical traditions. Others, particularly online communities, represent new and exciting avenues for everyday fans, whose involvement in jazz has often been ignored. Other communities seek to define themselves as expressions of national or global sensibility, pointing to the ever-changing nature of jazz's identity as an American art form in an international setting. What all these communities share, however, is an intimate, visceral link to the music and the artists who make it, brought to life through the medium of recording. Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, Knowing Jazz charts a philosophical course in which many disparate perspectives and varied opinions on jazz can find common ground.

Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts—and is impacted by—events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted "great men" and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz’s "public pedagogy," and the sometimes-difficult relationships between "jazz people" and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and non-institutional forces in the educational realm of jazz.

Ken Prouty argues that knowledge of jazz, or more to the point, claims to knowledge of jazz, are the prime movers in forming jazz's identity, its canon, and its community. Every jazz artist, critic, or fan understands jazz differently, based on each individual's unique experiences and insights. Through playing, listening, reading, and talking about jazz, both as a form of musical expression and as a marker of identity, each aficionado develops a personalized relationship to the larger jazz world. Through the increasingly important role of media, listeners also engage in the formation of different communities that transcend not only traditional boundaries of geography, but increasingly exist only in the virtual world.

The relationships of "jazz people" within and between these communities is at the center of "Knowing Jazz." Some communities, such as those in academia, reflect a clash of sensibilities between historical traditions. Others, particularly those who inhabit cyberspace, represent new and exciting avenues for everyday fans, whose involvement in jazz has often been ignored. Other communities seek to define themselves as expressions of national or global sensibility, pointing to the ever-changing nature of jazz's identity as an American art form in an international setting. What all these communities share, however, is an intimate, visceral link to the music and the artists who make it, brought to life through the medium of recording. Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, "Knowing Jazz" charts a philosophical course in which many disparate perspectives and varied opinions on jazz can find common ground.