¹ Whiplash, directed by Damien Chazelle (2014; Los Angeles: Sony Pictures Classics, 2015), DVD.

² Richard Brody, “Getting Jazz Right in the Movies,” The New Yorker, 13 October 2014, http://www.newyorker.com/culture/richard-brody/whiplash-getting-jazz-right-movies.

³ Ake, David, Jazz Matters: Sound, Place, and Time Since Bebop (Los Angeles: University of California Press, 2010), 103–4CrossRefGoogle Scholar.

⁴ Ibid, 103.

⁵ Ibid, 119.

⁶ Nettl, Bruno, Heartland Excursions: Ethnomusicological Reflections on Schools of Music (Urbana: University of Illinois Press, 1995)Google Scholar; and Kingsbury, Henry, Music, Talent, and Performance: A Conservatory Cultural System (Philadelphia: Temple University Press, 1988)Google Scholar.

⁷ Russell, George, The Lydian Chromatic Concept of Tonal Organization: The Art and Science of Tonal Gravity, 4th ed. (New Delhi, India: Concept Publishing, 2001)Google Scholar.

⁸ Based on George Russell's aforementioned Lydian Chromatic Concept of Tonal Organization, the “chord-scale” theory is a method of teaching jazz improvisation by demonstrating which species of scales are appropriate for any given chord. As mentioned earlier, the method emphasizes moment-to-moment harmonic sonority, rather than large-scale form or melody. This approach is also the basis for educator Jamey Aebersold's popular Play-a-Long pedagogical texts.

⁹ Nicholson, Stuart, “Teachers Teaching Teachers: Jazz Education,” in Is Jazz Dead? (Or Has it Moved to a New Address) (New York: Routledge, 2005), 99–128 Google Scholar.