Welcome to jazztheory.org — a webpage for the research project:
The Emergence of Jazz Theory
Theorization in jazz is a complex system involving transhistorical axioms, proto-theories, and both oral and pedagogical transmission. A systematic investigation of its development, which evolved outside classical music theory from the 1930s onward, remains absent. The academic institutionalization of jazz theory began in 1945 with the founding of Schillinger House in Boston, later renamed Berklee School of Music. The standardization of jazz theory in the 21st century is largely based on conceptual frameworks developed there, but these ideas extend beyond Joseph Schillinger’s Schillinger System of Musical Composition. Contributions from Winthrop Sargeant, Leonard Bernstein, and George Russell played a foundational role in jazz theory’s evolution. Despite their significant influence, key pedagogues such as Barry Harris, Dennis Sandole, and Charlie Banacos left no systematic written records of their work.
This study aims to reconstruct the formation of jazz theory from 1940 to 1970, with a focus on North American institutions and the summation of theoretical pluralism in the context of academization. It also examines gaps in historical documentation, such as the origins of concepts like tritone substitution or chord symbol conventions (∆, ø). Additionally, it explores the continued European influence on jazz theory.
Methodologically, the research includes archival work, transcription analysis, expert interviews, and systematic bibliographic review. A core hypothesis posits that improvisational practice relies on universal mechanics and transhistorical elements, offering insights for music education and historical reconstruction. By integrating aspects from philosophy of science, formal logic, neuroscience, and the history of music theory the study contributes to a broader understanding of theorization processes in music. It aims to bridge the gap between classical music theorists and jazz scholars, fostering interdisciplinary discourse in 21st-century music theory.