Enjeux audiotactiles de l’enseignement de Teddy Wilson

Abstract

Writings on the history of jazz education focus on the post-World War II period and the creation of the jazz curricula in the United States. The first developments in the teaching of this music largely predate this and are therefore neglected in academic research. e case of pianist Teddy Wilson (1912-1986) is singular in several respects. Firstly, he was a major musician of his time, and very early on became involved in teaching activities. From the 1930s onwards, he was an active contributor to Metronome magazine and founded his own jazz school. He later published a jazz piano method and taught at the Juilliard School in New York. His career illustrates the wide range of players involved in jazz education, before and after the war. Teddy Wilson’s pedagogical reections on the content and methods of learning are of the utmost importance. Harmonic and rhythmic know-how are detailed from the perspective of their improvisational implementation. Sound technologies (records, radio) are used as pedagogical tools, for their ability to transmit the autographed values of performance. The Theory of Audiotactile Music helps to identify the issues at stake in its teaching, which are still central to jazz pedagogy. Teddy Wilson’s role and infuence in the history of teaching thus deserve to be reconsidered.

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