T HIS is written in the belief that jazz, or anly other form of 'popular music should be presented in school-not as a softening up device for teaching the but as an end in itself. This is certainly contradictory to the frequent suggestion that classics are more easily approached through Further, this is not intended as a brief history of jazz, nor will an attempt be made to define in any absolute sense the terms to be used. Above all, this must not be interpreted as a of the poor elements of jazz, for which there is no defense, or conversely a defense of the desirable qualities which need no defense. Rather, this is meant as a challenge that the educator (who has not already done so) explore the field of jazz with the purpose of proving to himself that (1) jazz is a legitimate form of music and art, with all the weaknesses of an art, yet capable of fundamental truth and aesthetic beauty; and (2) a sincere, intelligent presentation of jazz will offer to the student the same challenge as does a similar presentation of the classics, and will improve the student in musical, artistic, and human concepts of value. Before venturing further, it is necessary to understand some basic terms. The definitions herein proposed are in reality vastly broadened in scope so as to become concepts rather than absolute words. It must be understood that these words are so used only for lack of more encompassing terms, and their use in this article is not meant to clarify the many arguments as to what they actually mean. Jazz must include, in a sense, the popular song-the thirty-two bar sentimental ballad which is the bulk of all However, it must be understood that this stock song is merely the framework on which the many jazz styles are built. A song may be played in a jazz style, but it would be wrong to think of the song itself as jazz. Essentially then, jazz is a spirit of playing manifested in tangible musical devices not in themselves jazz. Remove any single element from context and it ceases to be jazz. This is why there can be no satisfactory definition of jazz on a purely rhythmic, melodic, or harmonic basis. It must suffice that in concept jazz be expanded to include origins such as ragtime and blues, ramifications such as swing, be-bop, or cool, regressions such as boogie-woogie or rock'n roll, as well as the mainstream pure or classic jazz. Classical music or the classics, on the other hand, will also be expanded to include all the literature of the classicists, traditionalists, romanticists, modernists, impressionists, atonalists, or such other schools of composition as one may associate with the contemptible word longhair. Purposely avoided is the term music, often used as an antonym for jazz. Jazz has its serious moments nmore often than not, and classical music is not devoid of its own circus music. There is a musical no man's land referred to as the field of light or semi-classics. Actually, music of this nature has such universal appeal that it is generally quite automatically presented in school. Because of its neutrality it is excluded from discussion here. The history of jazz is largely within the scope of the present century. Origins may be traced far back into history, but it is generally held that jazz in some sort of characteristic form emerged at about the turn of the century. With the increasing complexity of jazz in its many forms, it appears that a positive definition becomes even more elusive. New terms continually enter the picture and for this reason the earlier qualification of the word jazz was necessary. However, a unique property of jazz and its outgrowths is that it is largely a property of the performer. The finest musician may reproduce the same written notes, yet will not produce jazz. Logically, this then demands a creativeness on the part of the performer in quite a unique sense. (The solo has always been a vital element of jazz for this reason. Groups where solos are rarely employed have beell criticized by jazz purists as not really playing jazz.) Not only is jazz notation nearly impossible, but the very process would destroy the jazz spirit of spontaneous improvisation. (And jazz purists are highly critical of arranged jazz.)