2087AddisonStreet Berkeley,CA94704

510.845.5373 registrar@cjc.edu

CALIFORNIAJAZZCONSERVATORYSCHEDULEOFCLASSES

FallSEMESTER2018 August20-December14

FallSemester2018 SpringSemester2019 FallSemester2018

June1-F18Enrollmentdepositdue Jul30-Aug3RegistrationforFA18 Aug20 FirstdayofFA18instruction Sept2 Lastdaytoaddordropaclass Sept3 Academic&adminholiday Nov19–25Academic&adminholiday Nov30S19Enrollmentdepositdue Dec9LastdayofFA18instruction Dec10–14Finalexaminations&juries Dec15-Jan14 Winterrecess

Dec1(2018)SP19Enrollmentdepositdue Jan2–5RegistrationforSpring Jan22 FirstdayofSpringinstruction Feb5 Lastdaytoaddordropaclass Feb18 Academic&adminholiday Mar25-31SpringRecess May10LastdayofSpringinstruction May13-17Finalexaminations&Juries May18Commencement May19-Aug19SummerRecess June1F19Enrollmentdepositdue

Jul30-Aug3 RegistrationforFA17 Aug20 FirstdayofFA17instruction Sept2 Lastdaytoaddordropaclass Sept3 Academic&adminholiday Nov19-25 Academic&adminholiday Nov30SP19Enrollmentdepositdue Dec9 LastdayofFA17instruction Dec10-16 Finalexaminations&juries Dec17-Jan14 Winterrecess

***AuditionsbyAppointment***

ACADEMICCALENDAR

F18EnrollmentDepositDueJune1st,2018!

RegistrationforF18isJuly30–AugustStudentsregisteringafterthe

deadlinewillincuralateregistrationfeeof$50!

Instrumentalists

Full-Time (12 credits per semester and above): $9,500. This includes 1 credit of Private Instruction; it doesnotincludeIndividualTutorialorTrioInstruction.

Part-Time (11 credits per semester or fewer): $750 per credit. This feedoesnot includePrivate Instruction,IndividualTutorial,orTrioInstruction.

Vocalists

Full-Time(12creditspersemesterandabove):$9,800.Thisincludes1creditofPrivateInstruction;itdoesnot

includeIndividualTutorialorTrioInstruction. Part-Time (11 credits per semester or fewer): $750 per credit. This feedoesnot includePrivate Instruction,

IndividualTutorial,orTrioInstruction.

AllStudents

Registration:$50persemester PrivateInstruction/IndividualTutorial:$1,650percredit.Notethat1creditofPrivateInstructionisincludedin

theFull-Timetuitionrate. TrioInstruction:$1,100percredit.

TuitionPolicies

Tuitionisdueatthetimeofregistration.(SeeregistrationdateslistedintheAcademicCalendar.)Studentsregisteringaftertheregistrationperiodaresubjecttoalateregistrationfeeof$50.Studentsmusteitherhavepaidtuitionandfeesinfull,havebeenacceptedforfinancialaid,orhavecreatedanin-housesemester-longpaymentplanpriortothefirstdayof instruction toattendclasses.Studentswithoverdue tuitionmaynot register for succeedingsemesters.Seniorswith outstanding tuitionwill be prohibited from taking part in their graduation ceremony andwill not beissuedtheirtranscript. In-HousePaymentPlan—TheCJCoffersstudentstheoptionofpayingtheir tuitiononamonthlybasis fora feeof$50/semester. TheCJC In-HousePaymentPlanmust be created at the timeof registrationeach semester. For fallsemester,tuitionisdividedupintofiveequalpaymentsdueonthefirstofthemonthformonthsAugust–December;forspringsemestertuitionisdividedupintofiveequalpaymentsdueonthefirstofthemonthformonthsJanuary–May. A late fee of $25 will be charged for payments submitted after the first of eachmonth. Note: the currentsemester’s tuition must be paid in full before a student may register for the subsequent semester. To create apaymentplan,contacttheRegistraratregistrar@cjc.edu. Studentswithanoutstandingbalancewhohavenotyetbeenacceptedforfinancialaidorcreatedapaymentplanbythe first day of instructionwill be dropped from the program. Studentswith overdue tuitionmay not register forsucceeding semesters. Seniors with outstanding tuition will be prohibited from taking part in their graduationceremonyandwillnotbeissuedtheirtranscript.TuitionattheCaliforniaJazzConservatoryissubjecttoincreasebyapproximately4%peryear.

Toregisterforclasses,pleasee-mailregistrar@cjc.edu.

TUITION&SUPPLEMENTALFEESFORTHE2018-2019ACADEMICYEAR

MONDAYCLASSES

MUS100AEarTraining&SightSinging (3credits,3hourslecture/lab) A coursedesigned to develop aural and visual perceptionof rhythmic,melodic andharmoniccomponentsofmusic.Coursematerialisjazzbased. Instr.JayLehmann MW9–10:30amTHE215ASingleLineSoloingforVocalistsI (3credits,3hourslecture) A course for vocalists (or instrumentalists who wish to participate as vocalists) focusing ondeveloping single line soloing techniques idiomatic to the bebop and post-bop traditions.Includesanalysisandperformanceofkeytranscriptionsofbebopandpost-bopmastersaswellasin-classapplicationofthefundamentaldevicesemployedinmodernjazzimprovisation. Prerequisites:MUS201andTHE100B Instr.DannZinn MW9–10:30amMUS103IntroductoryMusicTheoryandEarTraining3credits,3hourslecture/labAn introductory elective course taken on a pass/no pass basis designed to strengthenknowledge of music theory and aural skills. Successful completion of this course qualifiesstudents for enrollment inTHE100A and MUS100.Highlyrecommended for drummers andvocalists.Instr.JayLehmannMW10:45am–12:15pm THE205ASingle-LineSoloingI(3credits,3hourslecture/lab) Acoursefocusingondevelopingsinglelinesoloingtechniquesidiomatictothebebopandpost-boptraditions. Includesanalysisandperformanceofkeytranscriptionsofbebopandpost-bopmasters as well as in-class application of the fundamental devices employed in modern jazzimprovisation.Prerequisites:THE100B. Instr.DannZinn MW10:45am–12:15pm HIS390AHistoryofWesternEuropeanMusicfromAntiquityto1750 (3credits,3hourslecture) This course traces the development of Western European art music from the 10th centurythroughthemiddle18thcentury,focusingonthemusicalstylesofthemastercomposersoftheMedieval, Renaissance and Baroque periods. Emphasis on the socioeconomic and politicalconditionsthatgaverisetothem. Instr.JasonLevis MW10:45–12:15pmTHE100AJazzTheory&Improvisation (3credits,3hourslecture/lab) A course covering jazz theory and improvisation techniques and styles based on the artisticpracticeofjazzmasters,fromtheearlytwentiethcenturyinnovationsofLouisArmstrong,tothecontemporaryartistryofHerbieHancock, andbeyond. Studentsgaina solidunderstandingofjazz theory and improvisation, from the fundamentals to chord/scale theory, soloing,

MONDAYCLASSES

reharmonization,andtranscriptionandanalysis.Theoreticalconceptsareillustratedwithselectrecordingsof leading jazzartistsandappliedtorelevantexercisesandrepertoire inclass.Thiscourselaysimportantgroundworkcriticalinthedevelopmentofindividualstyle. Instr.JohnGove M11–2:15pm HAR390AWesternEuropeanHarmonicPracticefrom1600to1820 (3credits,3hourslecture) Focusing on compositions from the Baroque and Classical periods, this first-semester coursecoverspreparatorymaterialforthestudyofharmony,figuredbass,harmonizationofmelodies,voice leading,cadences,theoryofchordprogression,chordprogressions inthediatonicmajorandminor,chordinversions,andanintroductiontoanalysis. Instr.JasonLevis MW12:30–2pm PRF400JazzRepertoireEnsemble(GreenEnsemble) (4credits,4hourslab) Aperformanceensemblefor theadvancedstudent focusingon importantcore innovationsbypostbopluminariesincludingWayneShorter,JoeHenderson,HerbieHancock,ChickCorea,DaveLiebman, Michael Brecker among others. Students are encouraged to bring in original work.Prerequisites: rhythmic, melodic and harmonic fluency with the bop and postbop language;familiaritywithrepertoirefromtheGreatAmericanSongbook.Enrollmentbyauditiononly. Instr.DannZinn MW12:45–2:45pm;sectionalTBA HIS110TheJazzStandard:TheGreatAmericanSongbook (2credits,2hourslecture/lab) An overview of the evolution of The Great American Songbook — the canon comprisingAmericanpopularsongswrittenoriginallyformusicaltheatreandlaterfilmbetween1920and1950. Now the cornerstone of modern jazz, the repertoire of the Great American Songbookaroseduring thedecadeof the JazzAge,TheGreatDepression,WWIIandtheunprecedentedeconomicgrowththattookplacein1950sAmerica.Thissingularbodyofworkmanifestedhope,builtmorale,easedsocialbarriersandreflectedourcountry’spromiseforthefuture.Studentsexamine the lives and perform the work of the central composers of this period, includingJeromeKern, Irving Berlin,GeorgeGershwin, Cole Porter, Duke Ellington, Richard Rogers andHarold Arlen among others. Note: This course serves as a requirement for vocalists and is ahighlyrecommendedelectiveforinstrumentalists. Instr.MayeCavallaro M2:15–4:15pm PRF391ElectronicMusicEnsemble(2credits,2hourslab)Anensembleformusiciansutilizingelectronicand/orelectro-acousticinstruments.Theclasswillcover applied synthesis and signal processing techniques, collaborative electro-acousticimprovisation,scoringtechniquesforunconventionalinstruments,andutilizingsoftwareand/orhardwareinstrumentsinliveperformance.Prerequisites: Access to anyelectronicor electro-acoustic instrument(s) such as a guitar andpedal board, keyboard synthesizer,desktop ormodular synthesizer, drum machine, sampler(e.g.: Roland 404),vocal processing and looping (hardware and/or software),iPad synthesizer

MONDAYCLASSES

apps,anda laptopwithaDAWorother soundproducing software (e.g.:Max/MSP,PureData,SuperCollider, VCV rack, stand-alone softsynths). Questions about gear can be directedto:kim@cjc.eduInstr.KimNucci M2:30–4:30pm PRF100JazzRepertoireEnsemble (2credits,3hourslab) A performance ensemble focusing on a wide range of repertoire from the Great AmericanSongbooktobebop,post-bebopand“worldmusic”genres.Instr.JohnGove M2:15-4:15pm;sectionalTBA COM300JazzComposition (3credits,3hourslecture/lab) Aconcentratedwriting courseutilizing the compositional styles and techniquesof themastercomposersasapointofdeparture increatingnewwork.Composersstudied includeEllington,Parker, Silver, Mingus, Monk, Coltrane, Hancock, Henderson, Shorter, Brecker, Liebman,Grolnick,Pastorius,Townerandmore.Melodic,harmonicandrhythmictechniquesemployedinthe music ofMozart, Beethoven, Brahms, Debussy and other relevant past masters are alsoexaminedandappliedtostudents’work. Instr.MichaelZilber MW2:45-4:15pmPRF246BrazilianJazzGuitarEnsemble (2credits,3hourslab) Brazilianjazzrepertoirearrangedfor4-8guitarists. Instr.IanFaquini M4:15–6:15pm;sectionalTBA ENG110IntroductiontoShakespeare:FromPlaystoWorks (3credits,3hourslecture) ThiscourseexaminesselectedShakespeareplaysandpoetry,includingTwelfthNight,KingLear,TheTempest,and theSonnets.Studentsdemonstrate their response toandunderstandingofthese various texts by setting a selected scene, monologue and/or poem tomusic. StudentsworkinseminarformatandattendaliveperformanceofKingLearattheCaliforniaShakespeareTheater.Note:Well-knownBayAreacomposerPaulDresherwillattendselectedclasssessionsand provide students with guidance in setting prose to music in a theatrical context.Fundamental to this course is the understanding that setting text to music requires a deepcomprehensionofthetextandhowitworks.Dr.Kellywill illuminatehowShakespeare’splaysandpoetry functioned socially in his day: like today’s jazz, Shakespeare’swork startedout aspopularentertainment,gainingthestatureof“culturalenlightenment”throughtime.Dr.Kellywill also provide a rich context for understanding the rhythm andmeaning of Shakespeare’slanguage. Instr.PhilippaKelly MW4:45-6:15pm

TUESDAYCLASSES

HUM340BrazilianPortuguese3credits,3hourslecture/labAnintroductiontothePortugueselanguagespecifictotheBrazilianvernacular.Emphasisonthefourbasiccommunicationskills:reading,writing,speakingandlisteningwithparticularattentiongiventopronunciation.Instr.VivienMonicaGolcwajgTuTh9–11am(NOTE:Thisisalatestartclass;firstmeetingis9/4)THE200AJazzTheory&Improvisation (3credits,3hourslecture/lab) A course covering jazz theory and improvisation techniques and styles based on the artisticpracticeofjazzmasters,fromtheearlytwentiethcenturyinnovationsofLouisArmstrong,tothecontemporaryartistryofHerbieHancock, andbeyond. Studentsgaina solidunderstandingofjazz theory and improvisation, from the fundamentals to chord/scale theory, soloing,reharmonization,andtranscriptionandanalysis.Theoreticalconceptsareillustratedwithselectrecordingsof leading jazzartistsandappliedtorelevantexercisesandrepertoire inclass.Thiscourselaysimportantgroundworkcriticalinthedevelopmentofindividualstyle. Instr.JohnGove TuTh9-10:30am HAR390C20thCenturyHarmony (3credits,3hourslecture) Acourseexaminingworksbythemajorcomposersofwesternartmusicfromthebeginningofthe 20th century to today. Analysis of the theories behind various post-tonal approaches.Coursework focuses on short composition exercises utilizing the various practices studied.Emphasis on integrating these tools into students’ own work. The final project is a shortcomposition readbyaprofessionalensemble.Prerequisites:HAR390B.ConcurrentenrollmentinPRF390alsorecommended. Instr.JasonLevis TuTh9:30-11am PRF400JazzRepertoireEnsemble(BlueEnsemble) (4credits,4hourslab) Aperformanceensemblefor theadvancedstudent focusingon importantcore innovationsbypostbopluminariesincludingWayneShorter,JoeHenderson,HerbieHancock,ChickCorea,DaveLiebman, Michael Brecker among others. Students are encouraged to bring in original work.Prerequisites: rhythmic, melodic and harmonic fluency with the bop and postbop language;familiaritywithrepertoirefromtheGreatAmericanSongbook.Enrollmentbyauditiononly. Instr.JeffDenson TuTh10:30am-12:30pmPRF390ContemporaryMusicEnsemble (2credits,3hourslab) Repertoirecomposedandperformedexclusivelybyensemblestudents,incorporatingtwentiethcenturycompositiontechniques.Prerequisites:HAR390Corconcurrentenrollment. Instr.JasonLevis TuTh11am-12:15pmpm;sectionalTBA

TUESDAYCLASSES

MUS200AEarTraining&Sight-Singing (3credits,3hourslecture/lab) A coursedesigned to develop aural and visual perceptionof rhythmic,melodic andharmoniccomponentsofmusic.Coursematerialisjazz-based. Instr.JohnGove TuTh11am-12:30pm HIS387ProtestSongs—FromtheAfricanAmericanWorkSongtoWomen’sRights (3credits,3hourslecture) Ahistoricaloverviewofprotest songs, fromtheAfricanAmerican roots tradition (worksongs,spirituals,fieldhollers,moans,ringshoutsandplantationdances)throughtheCivilRights,Anti-War, Free Speech and Women’s Rights movements –– sacred and secular oral traditionsmanifestingculturalresistanceandacridecœurforfreedomandequality. Instr.LindaTillery Tu1-4pm HIS100AJazzHistory—TheRootsofJazzandEarlyJazz,Pre-1900–1919 (3credits,3hourslecture) This course examines the influences of West African, Caribbean, South American, Asian andEuropeanmusic and culture on the development of jazz pre-1900, and on the earlymusic ofNewOrleansthatbecameknowntotheworldasjazzby1917.ThecoursefocusesontheWestAfricanconceptualapproaches,practices,andculturalconventionsthatformthefoundationofjazz,and itsorigins inspirituals,blues, ragtimeandotherAfricanAmericansacredandsecularmusic.ThedevelopmentofjazzisstudiedwithinthehistoricalcontextofAmericansocialforcesincluding post-bellum segregation, the industrial boom and the Great BlackMigration,WorldWarI,andtheinventionoftheradioandsoundrecordings. Instr.AnthonyBrown Tu1-4pmHIS200AJazzHistory—StyleandCultureinAmericafrom1940-1959 (3credits,3hourslecture) Thiscourseexploresjazzasanartform,withafocusonthemusicalinnovationsofmodernjazzthroughthebeginningsoffreejazz.Stylesincludingbebop,hardbop,funk,Latinjazz,cooljazz,and other styles created by Dizzy Gillespie, Thelonious Monk, Miles Davis, Max Roach, theModern JazzQuartet,ArtBlakey’s andHorace Silver’s JazzMessengers,OrnetteColemanandmany of their collaborators are examined, focusing on instrumental grouping, structural,harmonicandrhythmiccreativity,andfolkinfluences.Studentsdrawconnectionsbetweenthemid-century impact of World War II, the Atomic Age and the Cold War, the hegemony oftelevision,advertising,theburgeoningCivilRightsMovementandotherhistoricalepochsupontheevolutionofjazz.Prerequisite:HIS100B. Instr.JeffDenson Tu1-4pm

TUESDAYCLASSES

PRF240BrazilianJazzEnsemble (2credits,2hours) An ensemble focusing on the amalgam of Brazilian and American jazz styles of music andtechniques.Opentoinstrumentalistsandvocalists. Instr.MarcosSilva Tu4-6pm THE301Form&AnalysisofJazzStandards (2credits,3hourslecture) Acourseinanensembleformatfocusingonformandanalysisofjazzstandardsessentialtotheprofessionalmusician.Prerequisite:THE200Borconcurrentenrollment. Instr.GlennRichman Tu4:15-6:15pm SCI300PhysicsofSoundandMusic (3credits,3hourslecture) Anexplorationof themechanicsandperceptionofmusic— fromtheenergy thatexcites thevibratingobjectandthespacethroughwhichitswavespropagate,tothehumanearandbrainthat experience it as music and reshape it through design. Topics include: wave properties;soundproductionandtimbre;acousticsandpsycho-acoustics;pitch,tuningandtemperament;and music technology. Through an understanding of music from a scientific perspective,studentsworktowardexpandingandbuildingontheirexperienceandsensibilitiesasmusicians.While incorporating some basic mathematics, this course focuses primarily on a conceptualunderstandingofcomplexphenomena. Instr.TerryBuehler TuTh4:15-5:45pm BUS301LegalAspectsoftheMusicIndustryforJazzMusicians (1credit,1hourlecture) Anoverviewofthevariouslegal issuesinthemusic industryandthemannerinwhichthelawandtechnologyhaveshapedtheevolutionoftheindustry.Coverscurrentlegalissuesfacedbyjazzmusicians and jazz labels and thebusinesspractices that arebeingdeveloped to addressthem. Provides an understanding of the principles of contract and copyright law and coverstopics relevant to jazz musicians today, including the role of agents and managers, liveperformanceagreements,recordingcontracts,musicpublishing,produceragreements,licensingmusicformotionpictures,televisionandcommercials,under-standingroyaltystatementsandthedistributionandsaleofmusicontheinternet. Instr.ToddGascon Tu6:30–7:30pm

WEDNESDAYCLASSES

PRF110A/210AVocalJazzPerformance(3credits,3hourslab–reqforvocalists)Afour-semestercoursecoveringarangeofstylesfromtheGreatAmericanSongbooktobebop,modal,world,contemporarypopular,andfreemusic.Studentscomposeoriginalmaterial,writelyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section,singersfocusoninterpretation,stagepresence,improvisation,vocaltechnique,phrasingaswellascultivatingapersonalstyle.Studentsareexpectedtodeveloparepertoireof100songsoverthistwo-yearcourse.Instr.LaurieAntonioliW12-3pmPRF201Miles/WayneEnsemble(2credits,3hourslab)TherepertoireofMilesDavisandWayneShorter.Instr.MichaelZilberW12:15-2:15pmPRF230LatinJazzEnsemble(2credits,3hourslab)An ensemble based on the amalgam of styles and techniques that form and inform themultifacetedfieldofLatinjazz.Instr.JohnSantosW12:15-2:15pm;sectionalTBAHIS330LatinAmericanRootsofJazz(2credits,2hourslecture)Asurveyof theevolutionandrelevanceof theAfro-Latinorootsof jazz.Thiscourseexaminesthepan-AmericansociopoliticalcircumstancesthatbroughtAfro-Latinomusicandjazztogetherasbranchesofthesametree.Emphasisisplacedonthehistoricaldevelopmentoftheespeciallyinfluentialmusic of Cuba, New York and Puerto Rico. Students listen to rare recordings from1900tothepresent.Musicisanalyzedthroughlecture,listeninganddiscussionandbroadensanunderstandingofjazzfrombothstylisticandhistoricalperspectives.Instr.JohnSantosW2:30-4:30pmMUS209APracticalApplicationsfortheRhythmSection(2credits,2hourslecture/lab–elective)A two-semester hands-on, interactive course for pianists, guitarists, bassists and drummersfocusingonrhythmicconsiderations relevant to the rhythmsection.Coursecovers the roleofthe individual and the rhythm section as a credit as applied to jazz, Afro-Caribbean, SouthAmericanandWorldmusicstylespastandpresent.Instrs.JeffDensonandAlanHallW2:30–4:30pm

WEDNESDAYCLASSES

THE201IntroductiontoJazzTranscription(1creditlecture/lab)An introductiontotechniquesfortranscribingjazzmelodies,rhythms,andchordprogressions.Transcribing assignments increase in level of difficulty throughout the semester. This courseservesasanoptionalprerequisiteforTHE200B,whichinvolvesadvancedleveltranscription.Instr.JohnGoveW3:15-4:15pmBUS400Marketing&Publicity(1credit,1hourlecture)Acoursefocusingonmarketingandpublicitypracticescriticaltothesuccessoftheprofessionalmusician.Instr.SherylLynnThomasW4:30–6pm(10weeks)MUS100AEarTraining&SightSinging (3credits,3hourslecture/lab) Instr.JayLehmann MW9–10:30amTHE21A5SingleLineSoloingforVocalistsI (3credits,3hourslecture) Instr.DannZinn MW9–10:30am MUS103IntroductoryMusicTheoryandEarTraining3credits,3hourslecture/labInstr.JayLehmannMW10:45am–12:15pm THE205ASingle-LineSoloingI (3credits,3hourslecture/lab) Instr.DannZinn MW10:45am–12:15pm HIS390AHistoryofWesternEuropeanMusicfromAntiquityto1750 (3credits,3hourslecture) Instr.JasonLevis MW10:45–12:15pm HAR390AWesternEuropeanHarmonicPracticefrom1600to1820 (3credits,3hourslecture) Instr.JasonLevis MW12:30–2pm

WEDNESDAYCLASSES

PRF400JazzRepertoireEnsemble(GreenEnsemble) (4credits,4hourslab) Instr.DannZinn MW12:45–2:45pm;sectionalTBACOM300JazzComposition (3credits,3hourslecture/lab) Instr.MichaelZilber MW2:45-4:15pm ENG110IntroductiontoShakespeare:FromPlaystoWorks (3credits,3hourslecture) Instr.PhilippaKelly MW4:45-6:15pm

THURSDAYCLASSES

PRF111AVocalJazzEnsemble (2credits,2hourslab) RepertoireincludeshistoricarrangementsfromgroupsincludingLambert,Hendricks&Rossandthe Singers Unlimited aswell as original charts and arrangements. Emphasis on singing closeharmonyparts,sightreading,intonationandcreatingastylisticallyrelevantensemblesound. Prerequisites:PRF110B. Instr.BenFlint Th9:30-11:30am PRF110A/210AVocalJazzPerformance (3credits,3hourslab) Afour-semestercoursecoveringarangeofstylesfromtheGreatAmericanSongbooktobebop,modal,world,contemporarypopular,andfreemusic.Studentscomposeoriginalmaterial,writelyrics and create their own arrangements. Accompanied by a pianist and/or rhythm section,singersfocusoninterpretation,stagepresence,improvisation,vocaltechnique,phrasingaswellascultivatingapersonalstyle.Studentsareexpectedtodeveloparepertoireof100songsoverthistwo-yearcourse. Instr.LaurieAntonioli Th12-3pm PRF300JazzRepertoireEnsemble 2credits,3hourslab Instr.FrankMartin Th1-3pm:sectionalTBA MUS207DoubleBassEnsembleWorkshop(2credits,2hourslecture/lab–elective)A course designed to develop technical facility through select repertoire for double bassensemble.Instr.JeffDensonTh1–3pmHIS340BrazilianRootsofJazz(2credits,2hourslecture)AsurveycoursetracingtheBrazilianrootsofjazzfromtheirmidnineteenthcenturyAfricanandEuropean-influencedfolkloricoriginstothemidtwentiethcenturyemergenceofthesamba-derivedbossanovaandbeyond.Instr.SherryKeithTh6–8pmBUS300AudioforLivePerformance&Recording (1credit,1hourlecture) An introductory overview of live performance audio systems and basic recording technologyproviding an explanation of the signal path from the source through the microphone to itseventualdestinationofliveshow,loudspeakerorrecordingmedia.Strategiesforsuccessfulliveperformanceandinteractionwithliverecordingengineersarepresented. Instr.LeeBrenkman Th6–7pm

THURSDAYCLASSES

HUM340BrazilianPortuguese3credits,3hourslecture/labInstr.VivienMonicaGolcwajgTuTh9–11am(NOTE:Thisisalatestartclass;firstmeetingis9/4)THE200AJazzTheory&Improvisation (3credits,3hourslecture/lab) Instr.JohnGove TuTh9-10:30am HAR390C20thCenturyHarmony (3credits,3hourslecture) Instr.JasonLevis TuTh9:30-11am PRF400JazzRepertoireEnsemble(BlueEnsemble) (4credits,4hourslab) Instr.JeffDenson TuTh10:30am-12:30pmPRF390ContemporaryMusicEnsemble (2credits,3hourslab) Instr.JasonLevis TuTh11am-12:15pmpm;sectionalTBA MUS200AEarTraining&Sight-Singing (3credits,3hourslecture/lab) Instr.JohnGove TuTh11am-12:30pm SCI300PhysicsofSoundandMusic (3credits,3hourslecture) Instr.TerryBuehler TuTh4:15-5:45pm

FRIDAYCLASSES

PRF300JazzRepertoireEnsemble (2credits,3hourslab) Instr.TBD F10am-12pm;sectionalTBAPRF200JazzRepertoireEnsemble (2credits,3hourslab) Instr.SteveErquiaga F10am-12pm;sectionalTBATEC100IntroductiontoMusicTechnology (2credits,2hourslecture/lab) An introduction to software tools available for sequencing, sampling, scoring/music notation,simplerecordingandproduction.Thiscoursealsocoverssoftwareandweb-basedservicesthatassistwithdevelopingskillsinbasicmusicianship.IntroductiontoMusicTechnologyservesasaprerequisite for Basic Recording Techniques. Students must own or have access to a laptopcomputerwithSibeliussoftware(version6orhigher)installedforuseinclass. Instr.ErikJekabson F10am-12pmTHE302PolyrhythmsandOddRhythmGroupings(2credits,2hourslecture/lab)Thenatureandhistoryofpolyrhythmsandoddrhythmgroupingsandtheirapplicationtocompositionandimprovisation.Allinstrumentsandvoice.Prerequisites:Mus100AandThe100AInstr.JeffMarrsF10am-12pm MUS101PianoforNon-Pianists (1credit,1hourlab) Entry-level keyboard technique for non-pianists covering scales, reading and playing basicrepertoire.ServesastheprerequisiteforMUS201. Instr.KatherineWestine F12:15-1:15pm PRF250TraditionalNorthIndianEnsemble(2credits,3hourslab–requirement)RepertoireintheNorthIndianmusictraditionbycomposersincludingAliAkbarKhanandAlamKhanamongothers.Instr.AlamKhanF12:15-2:15pm

FRIDAYCLASSES

MUS241BrazilianJazzBassStylesandTechniques(2credits,2hourslecture/labelective(eAhands-oncoursefocusingonessentialBrazilianjazzbassstyles,includingsamba,partidoalto,sambafunk,baião,maracatuandcalango.Studentsalsolearncorrespondingdrumpatterns.RepertoirebyBrazilianmasters,includingJobim,Regina,Donato,Pinheiro,Bosco,Moreira,Horta,Silvaandmore.Instr.ScottThompsonF12:15-2:15pmCOM301BJazzArranging—LargeEnsemble(3credits,3hourslecture/lab)Aone-semesterintroductorycourseonbasicjazzarrangingtechniquesforthelargeensemble.Studentsreviewrangesandcharacteristicsofinstruments,rulesfornotatingrhythm,howtolayoutascore,howtovoicechorale-stylechords,andhowtoharmonizeamovingmelodiclinewithfivevoices.ThroughanalysisofworksbythemastersfromDukeEllingtontoMariaSchneider,studentsalsoexploredifferenttechniquesforlargescaledevelopmentofform,chordvoicingsformorethanfivehornsandlargeensembletextureandorchestrationtechniques.Requiredtext:InsidetheScore,byRayburnWright.Studentsareassignedthreearrangingprojects.AllassignmentsmustbecompletedonaprogramsuchasFinaleorSibelius.Thefinalprojectisanarrangementforfullbigband.Prerequisite:COM301Aorconsentofinstructor.Instr.ErikJekabsonF12:30-3:30pmPRF215BrazilianJazzBassandVoiceDuets(2credits,2hourslecture/labelective)AnensembleinduetformatforbassandvoicefocusingoniconicBrazilianjazzrepertoirewithlyricsinbothEnglishandBrazilianPortuguese.Opentovocalistsonly.Instr.ScottThompsonF2:30-3:30pm

INDIVIDUALINSTRUCTION

MUS102IndividualTutorial (1credit,1hourlecture/lab) Individualsupplementalinstructioninawiderangeofareasincludingbutnotlimitedtomusicianship,theory,harmony,composition,arrangingandhistory.Studentsmaytakeupto8totalelectivecreditsofMUS102.Pleasenote:theprivatelessonrateappliestothiscourse,butMUS102isnotasubstituteforprivateinstruction.Instr.JohnGove,JeffDenson,JayLehmann,orotherswithapproval.Day/TimetobescheduledwithinstructorPRV100A-400BInstrumentalPrivateInstruction (1credit,1hourlab) Privateinstructiononthestudent’sinstrumentbyaprofessionalplayerofthatinstrument.Coursecoversbothtechniqueandrepertoire,andpreparesthestudentforyearlyjuries.Thisclassmayalsobetakenonadifferentinstrumentforelectivecredit. InstructortobeapprovedbytheDean Day/Timetobescheduledwithinstructor PRV110A-410BVocalPrivateInstruction (1credit,1hourlab)Privateinstructiononvoicebyaprofessionalvocalist.Coursecoversbothtechniqueandrepertoire,andpreparesthestudentforyearlyjuries.Thisclassmayalsobetakenbyaninstrumentalistforelectivecredit. InstructortobeapprovedbytheDean Day/Timetobescheduledwithinstructor SEN400SeniorProject (1credit,individualstudy) Seniorsprepareandperformafull-lengthconcertoforiginalmaterial/arrangementsattheCJC,Yoshi’sorotherconcertvenue.Theconcertisprofessionallyrecorded.Studentsfocusoncomposingandarrangingrepertoire,recordingandmixingthematerial,packaginganddistributingtheproduct,marketingandpublicizingtheconcert,rehearsingthebandandgaininganunderstandingofallofthelegalissuesrelatedtoproduction,publishingandcopyrightlaws.Studentscompletethisprojectinconjunctionwithafacultyadvisor. Advisor:MayeCavallaro