The past few decades have seen formal jazz degrees become more established in university music programs in the United States. As these universities strive to provide an exemplary education experience for jazz degree majors, it is especially important to thoughtfully inquire into the personal and environmental elements that led students to pursue a jazz degree. The purpose of this multiple case study is to examine the identities of four undergraduate jazz performance majors and the factors that guided their selection of major upon matriculation. Data collection included six interviews with each participant, reflective practice journals, and university small group jazz rehearsal field notes. The theoretical framework of music performer identity as framed by Davidson was used as the basis for this study. Cross-case themes that emerged as part of this theoretical framework include (1) the importance of aural music learning; (2) environments that promoted creative music-making; (3) the crucial importance of jazz recordings; (4) music as a social or communal activity; (5) attraction toward musical experimentation and variation. Study results suggest that both universities and K–12 music programs can actively prepare and engage students who are interested in jazz.

中文翻译：

---

爵士乐专业本科生的音乐身份：多个案例研究

在过去的几十年里，正式的爵士乐学位在美国的大学音乐课程中变得更加确立。由于这些大学努力为爵士乐学位专业提供模范教育体验，因此深思熟虑地探究引导学生攻读爵士乐学位的个人和环境因素尤为重要。这个多重案例研究的目的是研究四名爵士乐表演专业本科生的身份以及指导他们在入学时选择专业的因素。数据收集包括对每位参与者的六次采访、反思性实践日志以及大学小组爵士乐排练现场笔记。戴维森提出的音乐表演者身份的理论框架被用作本研究的基础。作为该理论框架一部分出现的跨案例主题包括（1）听觉音乐学习的重要性；(2) 促进创造性音乐创作的环境；(3)爵士乐唱片的至关重要性；(4) 音乐作为一种社交或公共活动；(5) 对音乐实验和变化的吸引力。研究结果表明，大学和 K-12 音乐课程都可以积极培养和吸引对爵士乐感兴趣的学生。