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14.0 2014 – 2015 general catalog California Jazz Conservatory Academic Calendar 2014 – 2015*

Spring Semester 2014

Auditions for Spring 2014 By Appointment Academic and Administrative Holiday Jan 20 First Day of Spring Instruction Jan 21 Last Day to Add / Drop a Class Jan 31 Academic and Administrative Holiday Feb 17 Spring Recess March 24 – March 30 Auditions for Fall 2014 By Appointment Last Day of Instruction May 11 Final Examinations and Juries May 12 – 16 Commencement May 17 Fall 2014 Enrollment Deposit Due On or before June 1 Fall 2014 Registration On or before August 4

Fall Semester 2014

Auditions for Fall 2014 By Appointment New Student Orientation Aug 14 First Day of Fall Instruction Aug 18 Academic and Administrative Holiday Sept 1 Last Day to Add/Drop a Class Sept 2 Academic and Administrative Holiday Nov 24 – Nov 30 CJC academic calendar Spring 2015 Enrollment Deposit Due On or before Dec 1 Spring 2015 Registration Jan 5 – 9 Last Day of Instruction Dec 7 Final Examinations and Juries Dec 8 – 14 Commencement Dec 20 Winter Recess Dec 15 – Jan 19

Spring Semester 2015

Auditions for Spring 2015 By Appointment Academic and Administrative Holiday Jan 19 First Day of Spring Instruction Jan 20 Last Day to Add / Drop a Class Feb 3 Academic and Administrative Holiday Feb 16 Spring Recess March 23 – March 29 Auditions for Fall 2015 By Appointment Last Day of Instruction May 10 Final Examinations and Juries May 11 – 15 Commencement May 16 Z Z C J A O N A S Fall 2015 Enrollment Deposit Due On or before June 1 I E Fall 2015 Registration August 3 – 7 N R R V

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covers the time period of July 15, 2014 – July 14, 2015. P D Y C I U N G A A D • R T I S T S A N • B Y E R K E L E california

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WELCOME TO THE CALIFORNIA JAZZ CONSERVATORY!

The 2014 – 2015 academic year begins with some exciting news:

• Accreditation by the National Association of Schools of Music (NASM)

• A new institutional name — California Jazz Conservatory (CJC)

• A world renowned artist-in-residence — jazz pianist Benny Green

It’s been said that all good things come in threes. In line with this familiar proverb, these welcome to the CJC recent developments are simply groundbreaking.

First, accreditation signifi es that the institution has met the rigorous artistic, academic and administrative standards set by NASM. Accreditation will soon enable us to participate in U.S. government fi nancial aid programs and will also allow us to admit students from abroad. Next, we’ve adopted an organizational name that best refl ects our mission as the only independent music conservatory devoted to the study and performance of jazz and related styles of music in the country. Third, our students will now have the opportunity to learn directly from one of the country’s most revered jazz pianists — Benny Green — an authentic living legend who exemplifi es the ultimate in artistic excellence.

Our momentum will continue to grow this year, allowing us to bring you the very best in jazz education and performance. Please join us by taking advantage of the many exciting opportunities the California Jazz Conservatory has to offer you this year!

Susan Muscarella Founding President and Dean of Instruction, CJC Inc.

CALIFORNIA JAZZ CONSERVATORY 2087 Addison Street • Berkeley, California 94704 phone: 510.845.5373 • fax: 510.841.5373 web: www.cjc.edu TABLE OF CONTENTS

Academic Calendar ...... Inside Front Cover The Bachelor of Music Degree in Jazz Studies About the California Jazz Conservatory Curriculum Requirements ...... 20 Message from the President ...... 1 Residency Requirements ...... 20 History and Program ...... 3 Juries and Senior Project ...... 20 Vision, Mission, Goals and Objectives ...... 4 Performance ...... 20 State Licensure ...... 5 Core Courses: Instrumental Track ...... 21 Accreditation ...... 5 Core Courses: Vocal Track ...... 21 Questions or Complaints ...... 6 Elective Courses ...... 21 Facilities and Student Services ...... 6 General Studies Courses ...... 21 Library ...... 6 Independent Study ...... 22 Record-Keeping ...... 7 Keyboard Proficiency ...... 22 Workshops and Master Classes ...... 22 General Information Curriculum Requirements Template ...... 23 Admission Requirements ...... 8 Auditions ...... 8 Course Descriptions table of contents Audition Requirements ...... 9 Course Numbering ...... 25 Placement Examinations ...... 9 Musicianship ...... 25 Tuition and Supplemental Fees ...... 9 Theory ...... 27 Private Instruction ...... 11 Harmony ...... 29 Financial Assistance ...... 12 Composition ...... 29 Scholarships ...... 12 History ...... 30 Work Study ...... 12 Private Instruction ...... 33 Code of Academic Integrity ...... 12 Instrumental Performance Ensemble ...... 34 Code of Conduct ...... 13 Vocal Performance ...... 36 Academic Standing ...... 14 Music Technology ...... 37 Academic Probation, Business of Music ...... 37 Suspension and Dismissal ...... 14 Recording Arts...... 38 Housing ...... 14 Senior Project ...... 38 International Students ...... 15 Department of GeneralZ StudiesZ ...... 38 Policies CJC Faculty ...... A C O...... 57 Student Enrollment Agreement ...... 15 J N A S Cancellations, Withdrawals and Refunds . ... 15 CJC ProgramI and E Leaves of Absence ...... 16 Administrative Staff ...... 57 R Attendance ...... 16 N CJC Board of Directors V Grading and Academic Penalties ...... 16 andR Advisory Board ...... 57 Adding, Dropping and Withdrawing O A

from Courses ...... 17 Application for Admission ...... 59

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Challenge Examinations ...... 17 T E E

DirectionsI V to the CJC ...... Inside Back Cover

Credit for Prior Experiential Learning ...... 17 C O

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P D Y Notice Regarding Transferability C I N U of Credits ...... 19 G A Faculty Advisors ...... 19 A D • R T I S S A N • Student Grievances ...... 19 B T Injury Prevention ...... 20 E Y california jazz conservatory 2014 – 2015 R K E L E

2 ABOUT THE CALIFORNIA The California Jazz Conservatory offers students: JAZZ CONSERVATORY • a synergistic, comprehensive jazz education and performance program for today’s History and Program professional jazz instrumentalist and vocalist Founded in 2009 as the Jazzschool Institute, the California Jazz Conservatory is a private • small classes taught by professional artists independent music conservatory offering the and experienced educators in the fi eld of jazz aspiring professional musician a progressive and related styles of music education and performance baccalaureate • opportunities to study with preeminent degree program in Jazz Studies. visiting artists and educators

The CJC is located in the historic Kress Building • performance opportunities at Yoshi’s, on Addison Street in the heart of the Downtown The Freight & Salvage and other prominent Berkeley Arts District. Part of the vibrant East Bay Area venues; workshop opportunities Bay performing arts scene, the CJC is situated with SFJAZZ resident and visiting artists

in close proximity to the Berkeley Repertory about the CJC and Aurora Theatres, Freight & Salvage, and • opportunities to record, study and perform the world-class performing arts presenter Cal at the world-renowned recording facility Performances at the University of California, Fantasy Studios Berkeley. Only half a block from BART, the CJC • access to important networking opportunities is easily accessible by public transportation and just 20 minutes away from San Francisco. • easy access to the San Francisco Bay Area’s thriving arts scene via public transportation A nonprofi t 501(c)(3) corporation, the California The California Jazz Conservatory is an Equal Jazz Conservatory offers instrumentalists and Opportunity Employer. It does not discriminate vocalists a challenging core curriculum of in the admissions process or in the awarding performance, jazz theory and improvisation, ear of fi nancial aid on the basis of race, religion, training, composition, arranging, transcription sex, national origin, or disability. and analysis, and music history courses taught by professional artists and educators in jazz and related styles of music.

The CJC holds its students accountable to the Z highest artistic, academic and ethical standards A Z C O at all times. Evaluation of students’ develop- J N ment is based on their performance in classes, A S juries and concerts and culminates in a Senior I E Project, a fi nal concert open to the public, that N R includes a synthesis and demonstration of all of their artistic and academic work throughout the R V 4-year degree program.

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CJC VISION, MISSION, GOALS AND OBJECTIVES

VISION GOALS AND OBJECTIVES The California Jazz Conservatory aspires to be The following five goals and corresponding an internationally recognized preeminent music objectives serve to guide the CJC: conservatory dedicated to the study and perfor- mance of jazz and related styles of music from 1. Promoting Excellence in Education throughout the world. The institution educates The CJC strives to promote excellence future generations to sustain the jazz art form. in music scholarship and performance by:

MISSION • Establishing and maintaining the highest The California Jazz Conservatory is a music artistic and academic standards and conservatory providing a dynamic community promoting a strong work ethic. of students, artists, educators, scholars and about the cjc audiences with a forum to study, perform, teach, • Providing an educational forum on par research, appreciate and enjoy jazz and related with nationally-ranked institutions offering styles of music from throughout the world. programs in jazz studies. Comprising two distinct education programs, the California Jazz Conservatory, a postsecondary • Attracting and retaining a world-class degree-granting program, and the Jazzschool faculty and inspired student body. Community Music School, a non-degree-granting community education program, the institution • Providing a comprehensive curriculum and honors the contributions of past masters and supportive environment to develop artistic promotes artistic innovation, bringing together sensibility and musicological insight relevant a diverse music community to develop practical to the aspiring jazz professional and the skills, acquire artistic sensibility, realize creative jazz enthusiast. potential and find artistic voice. • Providing a forum to exercise freedom • The California Jazz Conservatory of expression both individually and as a The California Jazz Conservatory is dedicated member of a group in the democratically- to the study and performance of jazz and structured paradigm of the jazz ensemble. related styles of music from throughout the world, fostering the development of • Maintaining a state-of-the-art, aesthetically the aspiring professional jazz musician and pleasing, one-stop-shopping-for-jazz facility, building audiences to sustain the jazz art form. housing classrooms, practice rooms, The CJC integrates a progressive education intimate performance space, book and program leading to a Bachelor of Music record store, and café. degree taught by world-class musicians and music educators with public performance 2. Fostering High Ethical Standards opportunities to prepare future generations The CJC strives to foster high ethical for a fulfilling life in jazz. standards by:

• The Jazzschool Community Music School • Providing an environment that promotes the The Jazzschool Community Music School development of well-balanced, conscientious, fosters the development of the aspiring jazz compassionate, forward-looking individuals musician of all ages and levels and builds who will contribute to a just society. audiences to sustain the jazz art form through a non-degree-granting education program Z Z C J A O N integrating classes, short-term workshops, A S I E N R artists-in-residency, and public performance R V

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State Licensure The CJC is a private institution approved to operate by the Bureau of Private Postsecondary 3. Honoring Historical and Cultural Heritage Education in the State of California as set forth in The CJC strives to honor the historical and the California Private Postsecondary Education cultural heritage of the jazz canon by: Act of 2009 (CEC) and Title 5, Division 7.5 of the California Code of Regulations (CCR). The • Recognizing the historical and multicultural Act is administered by the Bureau for Private origins of jazz. Postsecondary Education, under the Department of Consumer Affairs. Bureau approval means the • Highlighting the prominent role the jazz art form has played in shaping American institution is in compliance with and meets the history and culture; and minimum standards pursuant to the California Private Postsecondary Education Act of 2009. • Offering curricula designed to inform and develop an appreciation of the relationship Bankruptcy Disclosure: the CJC has never filed about the cjc between jazz and American culture and a bankruptcy petition, operated as a debtor in the global jazz diaspora. possession, or had a bankruptcy petition filed against it. 4. Nurturing Diversity in All of its Forms The CJC strives to create a diverse, Accreditation all-inclusive, close-knit community by: The California Jazz Conservatory is an accredited institutional member of the National • Seeking and embracing the cultural richness of a diverse constituency of students, faculty, Association of Schools of Music (NASM). staff and greater music community. NASM is recognized by the United States Department of Education. • Implementing targeted community outreach efforts and providing scholarship “NASM, founded in 1924, is an organization opportunities to deserving students in of schools, conservatories, colleges and need of financial assistance. universities with approximately 644 accredited institutional members. It establishes national • Providing a nurturing environment for standards for undergraduate and graduate students, teachers, scholars and artists degrees and other credentials.” in the jazz field. http://nasm.arts-accredit.org/

• Providing an inviting setting for family, Please note: This program does not lead to friends, and the greater music community positions in a profession, occupation, trade, to celebrate students’ accomplishments and or career field requiring licensure in the State enjoy listening to jazz in its many forms. of California. 5. Developing Collaborations The CJC strives to build relationships and create Questions or Complaints collaborations with artistic and educational Any questions a student may have regarding constituencies by: this catalog that have not been satisfactorily answered by the institution may be directed • Providing access to local, national to the Bureau for Private Postsecondary and global perspectives and new and Education at: meaningful educational and artistic resources. Address • Creating opportunities for student and faculty 2535 Capitol Oaks Drive exchanges with music education programs Suite 400, Sacramento, CA 95833 locally, nationally and internationally. P.O. Box 980818, West Sacramento, CA 95798-0818 california jazz conservatory 2014 – 2015

5 Web site address Library www.bppe.ca.gov Students have access to an extensive music col- Telephone lection housed in the Art and Music Department (888) 370-7589 or Fax: (916) 263-1897 at the Berkeley Public Library and the Jean Gray (916) 431-6959 or Fax: (916) 263-1897 Hargrove Music Library on the University of California, Berkeley campus, both located within A student or any member of the public may walking distance of the CJC. Students will be fi le a complaint about this institution with the given assistance with obtaining library cards to Bureau for Private Postsecondary Education both libraries. by calling (888) 370-7589 (toll-free) or by completing a complaint form, which can be The Art and Music Department at the Berkeley obtained on the Bureau’s internet web site: Public Library. The scope of the music collection www.bppe.ca.gov. at the Art and Music Department runs from

about the cjc Albinoni to Zouk — on compact disc, vinyl and As a prospective student, you are encouraged score. The rich jazz collection ranges from reis- to review this catalog prior to signing an sues of vintage recordings to contemporary enrollment agreement. You are also encouraged offerings from the next generation of jazz mas- to review the School Performance Fact Sheet, ters. Music from around the globe is available which must be provided to you prior to signing in the audio collection in all formats. an enrollment agreement. The CD collection, started in September 1985, now includes over 14,000 titles. The Art and Facilities and Student Services Music Department music collection also The CJC is housed in a 7,500 square foot includes roughly 6,000 vinyl records. Classical, aesthetically pleasing facility, custom-designed opera, jazz, world, and popular music are for use as a music conservatory. Students have represented. Printed music scores, a range of access to fully equipped classrooms (with music biographies and books on music theory pianos, drum sets, amplifi ers and sound and performance are readily available. systems), practice rooms, a bookstore and an intimate performance space. The Art and Music Department subscribes to over forty periodicals covering a variety Student services include: the availability of of musical genres, specifi c instruments, and counseling and mental health services around recorded sound. Their periodical collection also the clock; free tickets to the CJC year round includes the impressive Greenwood Press jazz concert series; two regularly-priced workshops periodicals collection, a microfi lm archive of the free of charge each semester; and ongoing historical jazz periodical, containing reviews networking opportunities relevant to students’ and events dating back to the 1920s. professional aspirations. The Jazzcaffè, an on-site café specializing in panini, salads and Electronic resources available through the Berke- a wide range of espresso drinks, is open to ley Public Library website allow patrons to listen students 7 days a week. The CJC provides online to recordings of classical and contempo- free wireless Internet access. rary music from around the world. Please note: All class sessions are held at 2087 The Art and Music Department can be found Addison Street, Berkeley, California. Class sessions on the 5th fl oor of the Berkeley Public Library are not held at any other location at this time. and is open Mondays, 12 – 8pm; Tuesdays, 10am – 8pm; Wednesdays, Thursdays, Fridays and Saturdays, 10am – 6pm; and Sundays, 1pm – 5pm. Visit www.berkeleypubliclibrary.org for a complete schedule of holidays. california jazz conservatory 2014 – 2015

6 Students may borrow up to 50 items at any Record Keeping given time with their Berkeley Public Library The Registrar and Custodian of Records main- card. Those items not available onsite may tains a secure fi le for each student that contains be acquired through Link+. pertinent information including but not limited to: the Application for Admission; transcripts Jean Gray Hargrove Music Library. Founded in from the CJC and other institutions (including 1947 as a branch of the University Library, the verifi cation of high school completion or the Music Library was located on the second fl oor of equivalency); documents evidencing a student’s Morrison Hall from 1957 until July 6, 2004, when prior experiential learning; class scheduling and the Jean Gray Hargrove Music Library opened registration; degree requirements and progress to the public. Its collections today contain some reports; attendance; grading; documents relating 180,000 volumes of books and printed music, to tuition, fi nancial assistance and scholarships; 50,000 sound and video recordings, and 30,000 records of the dates of enrollment, withdrawal, microforms in addition to extensive special hold- leaves of absence, suspension and/or dismissal ings of manuscripts, rare materials, and archives. from the institution and graduation; copies of any about the cjc The collection serves the diverse teaching and offi cial advisory notices or warnings regarding the research needs of the UC Berkeley Department student’ progress; results of juries or other exami- of Music, which offers a general undergraduate nations; copies of recordings programs, awards major and graduate programs in musicology, or other accomplishments of note; and/or evalua- ethnomusicology, and composition, as well as tions, suggestions and/or complaints. embracing a variety of performance activities. The CJC shall maintain pertinent student records The majority of materials in the Hargrove for a period of at least 5 years from the student’s Music Library — with the exception of sound date of completion or withdrawal. Transcripts and video recordings, periodicals, microforms, documenting the completion of the degree will and special collections — circulate for use out- be maintained permanently. side the library. Borrowing materials requires a current UC Berkeley Library card. Borrowers Please note: Student records are strictly must have a current library card issued by the confi dential. A student wishing to disclose Privileges Desk at Doe Library. Visitors are their educational record to any other party welcome to use collections on-site. must fi rst submit written proof of authorization to the Registrar and Custodian of Records. www.lib.berkeley.edu/MUSI/collections.html Authorization may be revised at any time throughout a student’s tenure at the CJC. california jazz conservatory 2014 – 2015

7 GENERAL INFORMATION 5. Results of the Ear Training and Sight Singing, Jazz Theory and Improvisation and English Admission Requirements Composition Placement Exams. (See Auditions, Both incoming freshmen and transfer students Audition Requirements and Placement are accepted into the CJC based on the Examinations, next section). following: 6. For international students, an internet-bassed 1. A completed application form including a TOEFL (iBT) score. All instruction at the CJC personal statement outlining your past occurs in English. A high level of English profi - accomplishments, future objectives and ciency is required for admission. All non-native how and why you believe the CJC will help speakers must submit an offi cial score report you realize them. from the Test of English as a Foreign Language (TOEFL) prior to enrolling. Applicants who 2. An official high school transcript. Please have completed a 4-year degree program at Note: All students must have a satisfactory an English-speaking college or university may academic record and have earned an overall request TOEFL exemption. The CJC accepts GPA of 2.0 or higher to be admitted to the internet-based TOEFL (iBT) scores only. Please CJC. Transcripts should be sent directly to do not submit paper-based TOEFL (pBT) scores. the CJC at the address below. Photocopies Applicants must receive a score of 75 or higher are not accepted. Also note: the CJC does to be admitted into the CJC. TOEFL scores are not accept ability-to-benefi t students. valid for two years after the test date and there is no limit to the number of times the test may

general information 3. Two original letters of recommendation, one be taken. of which is from a professional musician and/ or music educator familiar with your work Please send all application materials along with a and professional objectives. Please note: non-refundable $100 Application Fee to: photocopies are not accepted. California Jazz Conservatory 4. A live audition. Students living more than 150 Offi ce of Admission miles from the CJC may substitute a DVD of 2087 Addison Street their playing in lieu of a live audition. (See Berkeley, CA 94704 Audition and Placement Exam, next section).

Auditions All freshmen and transfer students applying for admission to the CJC must come for a live audition prior to acceptance. Auditions are held on-site. Please email or call the Registrar at [email protected] or 510.845.5373 to schedule an audition appointment. Please note: pre-recorded performance samples on a DVD are accepted in lieu of a live audition for students living more than 150 miles from the CJC. california jazz conservatory 2014 – 2015

8 Audition Requirements Tuition and Supplemental Fees A live audition is required for all freshmen and transfer students applying for admission to the • Tuition CJC. Students must be prepared to perform and Tuition for the 2014 – 2015 academic year is $525 / improvise over the following: a medium-tempo credit for full-time students (students enrolled in 12-bar blues; a ballad; a Latin tune; and an up- 12 credits / semester or more); tuition is $550 / credit tempo jazz tune of their choice. They will also for part-time students (students enrolled in fewer be given a short selection to sight-read. than 12 credits / semester). Private instruction is $1200 / semester. Auditions are approximately 30 minutes in length and may be scheduled throughout the Tuition is due at the time of registration. (See academic year. Please email or call the Registrar registration dates listed in the Academic Calendar at [email protected] or 510.845.5373 to schedule an on the inside front cover of the General Catalog.) audition appointment. Please note: pre-recorded Please note: Students are subject to a late payment performance samples on DVD are accepted in fee of $50/month. Failure to pay tuition and fees on lieu of a live audition for students living more time may result in dropping students from classes. than 150 miles from the CJC. Students with overdue tuition may not register for succeeding semesters. Transcripts will not be released to students with outstanding tuition. Placement Examinations All freshman and transfer students must take • Application Fee placements exams in Ear Training and Sight Students must pay a one-time, non-refundable

Singing, Jazz Theory and Improvisation, and Application Fee of $100. The Application Fee is general information English Composition. Placement exams are not submitted along with the Application for Admission. graded; they serve to determine appropriate placement in Ear Training and Sight Singing, • Registration Fee Jazz Theory and Improvisation, and English A non-refundable Registration Fee of $50 is Composition. Placement Examinations are charged per semester. Students registering administered directly following the audition. The after the deadline will be charged a late Musicianship placement exam is approximately registration fee of $50 (please see Academic 30 minutes in length; the Jazz Theory and Calendar 2013-2014 on the inside front cover Improvisation placement exam is one hour in for registration deadlines). length; and the English Composition placement exam is one hour in length.

“ There’s a natural overlap in content among coursework, private lessons and performance classes, so I’m always connecting the dots.”

Stephen DuPraw CJC Student california jazz conservatory 2014 – 2015

9 • Enrollment Deposit • Student Tuition Recovery Fund (STRF): New students are required to pay a non- Students are required to pay the non-refundable refundable Enrollment Deposit of $100 at the state-imposed assessment for the Student Tuition time of their acceptance into the program. Recovery Fund (STRF) of $.50 per every $1,000 Returning students are required to make a non- of tuition each semester. California law requires refundable Enrollment Deposit of $200 on or that upon enrollment a fee be assessed relative before June 1, prior to each fall semester, and to the cost of tuition. These fees support the on or before December 1, prior to each spring Student Tuition Recovery Fund (STRF), a special semester. The Enrollment Deposit is credited fund established by the California Legislature to to students’ tuition for the upcoming semester. reimburse students who might otherwise experi- A late fee of $100 per month will apply to an ence a financial loss as a result of untimely school Enrollment Deposit made after the due date. closure. Institutional participation is mandatory.

• Course Materials You must pay the state-imposed assessment for Students should expect to pay approximately the Student Tuition Recovery Fund (STRF) if all of $300 for texts and supporting course materials the following applies to you: per semester. 1. You are a student in an educational program, • Computer Requirements who is a California resident, or are enrolled in a Instruction at the CJC utilizes many modern residency program, and prepay all or part of your technologies and internet resources, and all tuition either by cash, guaranteed student loans, students are expected to own or have access to or personal loans, and

general information a computer running Mac OS 10.5 or Windows 7 at minimum with high-speed internet access 2. Your total charges are not paid by any third- for research, communication and coursework. party payer such as an employer, government For music technology courses, a laptop with program or other payer unless you have a a recent version of Sibelius and Pro Tools is separate agreement to repay the third party. required to participate. If purchasing a computer and software specifically for this program, we You are not eligible for protection from the STRF recommend a Macintosh laptop, a standard and you are not required to pay the STRF assess- word processing suite such as Microsoft Office ment, if either of the following applies: or OpenOffice, and the Sibelius music notation program, for maximum compatibility with the 1. You are not a California resident, or are not material and software being taught. enrolled in a residency program, or

• Library Cards 2. Your total charges are paid by a third party, California residents are entitled to a Berkeley such as an employer, government program Public Library card. There is a $100 annual fee for or other payer, and you have no separate a library card for the Jean Gray Hargrove Library agreement to repay the third party. at UC Berkeley. The State of California created the Student Tuition • Challenge Examinations Recovery Fund (STRF) to relieve or mitigate eco- The fee for Challenge Examinations (testing out nomic losses suffered by students in educational of a course) is $275 per course. programs who are California residents, or are enrolled in a residency programs attending • Transcripts certain schools regulated by the Bureau for Official transcripts are issued for a fee of $10 per Private Postsecondary Education. transcript. Unofficial transcripts are free of charge To request a transcript, please contact the Regis- trar and Custodian of Records. california jazz conservatory 2014 – 2015

10 You may be eligible for STRF if you are a — Late Registration Fee (per semester): $50 California resident or are enrolled in a residency — Late Payment Fee (per month): $50 (per program, prepaid tuition, paid the STRF assess- terms of the Enrollment Agreement ment, and suffered an economic loss as a result of any of the following: — Tuition: $525 / credit, full-time enrollment; $550 / credit, part-time enrollment 1. The school closed before the course of — Private Instruction: $1200 / semester instruction was completed. — STRF fee: 0.50 per $1,000 of tuition (per semester); see under Student 2. The school’s failure to pay refunds or charges Tuition Recovery Fund) on behalf of a student to a third party for license fees or any other purpose, or to provide — Challenge Examinations: $275 / course equipment or materials for which a charge was — Textbooks and supporting materials: collected within 180 days before the closure of $300 / semester (estimated) the school. — Library fee (annually): $0 – $100

3. The school’s failure to pay or reimburse loan — Transcripts: $10 per official transcript proceeds under a federally guaranteed student loan program as required by law or to pay or • Total Program Charges reimburse proceeds received by the school prior Full-time enrollment ($525/credit): to closure in excess of tuition and other costs. $77,338 (Non-pianists and vocalists); $76,288 (pianists)

4. There was a material failure to comply with general information Part-time enrollment ($550/credit): the Act or this Division within 30 days before $80,540 (non-pianists and vocalists); the school closed or, if the material failure $79,439 (pianists) began earlier than 30 days prior to closure, the period determined by the Bureau.

Private Instruction 5. An inability after diligent efforts to prosecute, Students are required to take fifteen one-hour prove, and collect on a judgment against the private lessons per semester. Please contact institution for a violation of the Act. the California Jazz Conservatory for a list of approved private instruction faculty. The rate for However, no claim can be paid to any student private instruction is $1200 per semester and without a social security number or a taxpayer includes the cost of CJC room rental. Private identification number. lessons are scheduled on a to-be-arranged basis between student and teacher. All fifteen hours • Summary of Tuition and Supplemental Fees of private instruction must be completed within — Application Fee (one-time, non-refundable): the semester in which the student is enrolled. $100 Please note: In addition to the 8-credit Private — Enrollment Deposit (per semester, non- Instruction requirement, students may choose to refundable; applied to tuition): $100 (new use 4 Elective credits toward private instruction students); $200 (returning students) on an instrument/voice other than their primary instrument/voice. For example, a guitarist — Enrollment Deposit Late Fee (per month): pursuing a career as a singer/songwriter may $100 (See under Enrollment Deposit) take up to 4 Elective credits of Private Instruction — Registration Fee (per semester, in vocal technique. non-refundable): $50 california jazz conservatory 2014 – 2015

11 Financial Assistance / Loans • The Jamey Aebersold Scholarship California Jazz Conservatory students will be Established in honor of Jamey Aebersold, eligible to apply for government-subsidized one of the world’s leaders in jazz educa- financial assistance beginning in the fall of tion and performance, the Jamey Aebersold 2014. In the interim, qualified students may Scholarship provides financial support for apply to the CJC for a payment plan. Payment promising CJC students. plans are approved on a case-by-case basis based on need. To apply for a payment plan or • The William E. Robinson Scholarship to schedule a consultation regarding an appli- The William E. Robinson Scholarship is cation for a payment plan, please email the awarded to a CJC student who demonstrates CJC at [email protected]. Please note: student must commitment to excellence in the fields of jazz maintain an overall grade point average of 2.0 and related styles of music. or higher to be eligible for a payment plan. • The Mark Murphy Vocal Jazz Scholarship Please note: if a student obtains a loan from a In honor of Mark Murphy, one of the world’s third party to pay for an educational program, most original and musically gifted vocalists, the student will have the responsibility to repay the Mark Murphy Vocal Jazz Scholarship is given the full amount of the loan plus interest, less to a CJC vocal student who demonstrates the amount of any refund, and that, if the creativity and artistic promise. student has received federal student financial aid funds, the student is entitled to a refund of the monies not paid from federal student Work Study

general information financial aid program funds. All CJC student CJC offers work-study opportunities on an loans must be paid in full to graduate. as-available basis. Work-study positions may include accompaniment, light office work, book- store staffing and more. Please inquire regarding Scholarships availability of work-study positions. CJC awards unsolicited partial scholarships on occasion to qualified students based on a combination of artistic merit and financial need. Code of Academic Integrity Students must maintain a cumulative GPA of 3.0, Academic integrity is central to forwarding the and earn a C or higher in all classes, to remain mission, goals and objectives of the California eligible for scholarships. Students receiving a Jazz Conservatory. The CJC is committed to pro- scholarship who earn a non-passing grade of C- viding an environment conducive to all aspects or lower in any required courses are responsible of teaching and learning. CJC students are held for retaking those courses at their own expense. to the highest moral and ethical standards and are obligated to conduct themselves in a man- The following scholarships are awarded to CJC ner consistent with the principles as stated in students who demonstrate a combination of the Code of Academic Integrity as follows: artistic promise, commitment to excellence, and financial need on an as-available basis: The Code of Academic Integrity prohibits students from engaging in any acts of academic dishonesty whatsoever including but not limited to: plagiarizing; lying; cheating; and/or fraud. Under the Code of Academic Integrity: “ It’s not so much thinking ahead as it is hearing ahead.”

John Gove CJC Faculty california jazz conservatory 2014 – 2015

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Plagiarizing is defined as taking ownership • Verbal, physical or written harassment based of the work or idea of another as one’s own on race, color, creed, religion, national or without crediting the source. ethnic origin, age, handicap, gender, sexual orientation or other Lying is defined as making a false state- ment which is intended to deceive. • Use or sale of illegal drugs • Alcohol intoxication Cheating is defined as benefitting from acting dishonestly or unfairly. • Smoking within 50 feet of campus • Disorderly conduct of any kind Fraud is defined as serving as an impostor for personal gain. • Non-consensual physical contact of a sexual nature All alleged infractions of the Code of Academic • Damaging or defacing CJC property Integrity should be reported to the Dean of or resources Instruction in writing. The Dean of Instruction, • Theft or attempted theft together with the student’s instructor, will thoroughly review the allegations for their • Possession of weaponry of any kind veracity, and based on their findings, will determine the appropriate action. Proof of All alleged infractions of the Code of Conduct violation of the Code of Academic Integrity will should be reported to the Dean of Instruction in result in either reprimand and a loss of credit writing. The Dean of Instruction, together with for the assignment, loss of credit for the course, the student’s instructor, will thoroughly review the allegations for their veracity, and based on suspension for one year, or permanent dis- general information missal, depending on the seriousness of the their findings, will determine the appropriate offense. Students found in violation must meet action. Proof of violation of any aspect of the with the Dean of Instruction in person at which Code of Conduct will result in either reprimand, time they will be given a written notice citing probation for the remainder of the semester the infraction and consequences of the offense. and subsequent semester, suspension for one Any academic and/or financial penalties will year, or permanent dismissal, depending on the apply as of that date. Please note: In the case of seriousness of the offense. Students found in suspension, a student is required to reapply for violation must meet with the Dean of Instruction admission into the program as a new student in person at which time they will be given a (see under Admission Requirements). In the written notice citing the infraction and conse- case of dismissal, a student may not reapply for quences of the offense. Please note: Academic admission into the program. Violation of the and financial penalties (see under Cancellations, Code of Academic Integrity that results in either Withdrawals and Refunds and Adding, Dropping suspension or dismissal will be permanently and Withdrawing from Courses) will apply as of attached to a student’s transcript. the date of the written notice.

Please note: In the case of suspension, a student Code of Conduct is required to reapply for admission into the The CJC is committed to providing our colle- program as a new student (see under Admission giate community of students, faculty and staff Requirements). In the case of dismissal, a student with an environment conducive to the freedom may not reapply for admission into the program. to teach and to learn — a setting that promotes Violation of the Student Code of Conduct that intellectual freedom, nurtures individual creativity results in either suspension or dismissal will be and self-expression and is free from discrimina- permanently attached to a student’s transcript. tion of any kind. Violations of the Student Code of Conduct include but are not limited to the following on-campus acts: california jazz conservatory 2014 – 2015

13 Students enrolled in the CJC are upheld Academic Probation — A student whose to the highest standards of conduct, and cumulative grade point average falls below who as citizens within our society, must obey 2.0 will be placed on academic probation for federal, state and local laws. one semester. A student must raise his/her cumulative grade point average to a minimum of 2.0 and maintain it for at least one additional Academic Standing semester for academic probation to be lifted. Undergraduate students are classified as either Lower or Upper Division. Academic Suspension — A student whose cumulative grade point average falls below Lower Division students include: 2.0 while on academic probation will be Freshman — Students who have completed suspended for one year and must reapply for 0 – 33 credits of passing work and have admission into the program as a new student passed their freshman jury. (see under Admission Requirements). Sophomore — Students who have completed Academic Dismissal — A student who is 34 – 67 credits of passing work and have suspended for the second time will be passed their sophomore jury. dismissed and may not reapply for admission into the program. Upper Division students include:

Junior — Students who have completed Please note: Students must maintain a 68 – 101 credits of passing work and have minimum cumulative grade point average passed their junior jury. of 2.0 to be eligible for payment plans or general information Senior — Students who have completed scholarships. 102 – 136 credits of passing work and have passed their senior jury. Housing There are no living accommodations available Academic Probation, through the CJC at this time. The CJC is not Suspension and Dismissal responsible for fi nding or assisting a student in All students must maintain a minimum fi nding housing. CJC students are responsible cumulative grade point average of 2.0 for making arrangements for their own housing. or higher to remain in good academic The CJC is located within easy walking distance standing (see Grading). of a number of student-friendly apartment complexes in downtown Berkeley and the nearby vicinity and is also easily accessible by BART for students who wish to live outside of the city. As of May 2013, average monthly apartment rent in Berkeley ranged from $1740 for a studio; $2104 for a one-bedroom; and $2652 for a two-bedroom apartment. Visit http://www.mynewplace.com/city/berkeley- apartments-for-rent-california for more information on apartment rentals in Berkeley.

International Students The CJC is not yet SEVIS approved. It cannot issue I-20’s for F-1 visas and therefore cannot accept international students at this time. california jazz conservatory 2014 – 2015

14 POLICIES Refunds — New students who cancel the Enrollment Agreement within the aforemen- Student Enrollment Agreement tioned timeframe may obtain a 100 percent Students must sign the CJC Student Enrollment refund of charges paid less the Application Fee Agreement prior to enrolling in classes each ($100), Registration Fee ($50) and Enrollment semester. This document serves as a binding Deposit ($100). Returning students who cancel agreement between the student and the school the Enrollment Agreement within the afore- formalizing the details of the student’s financial mentioned timeframe may obtain a 100 percent policies obligations to the school and the school’s refund of charges paid less the Registration Fee obligations to the student. ($50) and Enrollment Deposit ($200).

Refunds for students who withdraw during a Cancellations, Withdrawals and Refunds period of attendance are calculated as follows: Cancellation — A student has the right to cancel Students who have completed 60 percent or the Enrollment Agreement and obtain a refund less of the period of attendance shall receive a of charges paid through attendance at the first refund calculated on a pro rata basis. Refunds class session, or the seventh day after enroll- shall be calculated based on the total amount ment, whichever is later. A notice of cancella- owed by the student for the portion of the tion shall be in writing and submitted to the educational program completed as of the date Registrar. The notice to cancel the Enrollment of receipt of the notice of cancellation Agreement will be considered effective no later or withdrawal. than the date it is received by the Registrar. A pro rata refund shall be no less than the total Withdrawal — A student who wishes to amount owed by the student for the portion of permanently withdraw from the CJC must file a the educational program provided subtracted Withdrawal Form with the Registrar. Withdrawal from the amount paid by the student, calculated Forms are available from the Registrar in the as follows: The amount owed equals the daily Main Office. The notice to permanently withdraw charge for the program (total institutional will be considered effective no later than the charge, divided by the number of days or hours date it is received by the Registrar. Permanent in the program), multiplied by the number of withdrawal may be effectuated by a student’s days student attended, or was scheduled to written notice or by a student’s conduct, includ- attend, prior to withdrawal. ing, but not necessarily limited to, a student’s lack of attendance (see under Code of Conduct Please note: A student who has been enrolled and Attendance). for more than nine weeks (60 percent of the term) is not eligible for a refund. All financial and academic penalties apply as of the date the notice to permanently withdraw is The CJC shall issue or credit refunds within received by the Registrar (see under Refunds 45 calendar days of a student’s cancellation, below, and Adding, Dropping and Withdrawing withdrawal or completion of the program. from Courses). Exceptions may be made for family or medical emergencies with valid docu- Upon a student’s failure to pay a debt owed to mentation. Please note: Students who have the CJC, permission to register for the forth- permanently withdrawn and subsequently coming semester may be withheld. The CJC wish to return to the CJC must reapply for also reserves the right to withhold a student’s admission as a new student (see under transcript until the debt and all costs associated Admission Requirements). with collecting it are paid in full. california jazz conservatory 2014 – 2015

15 Leaves of Absence Grading and Academic Penalties Students who wish to take a temporary leave of Grades are based on a combination of absence between semesters for professional, attendance, progress, written assignments, medical or personal reasons must submit a exams and performances. Students must request in writing to the Dean of Instruction. maintain a grade point average of 2.0 or Leaves of absence may not exceed two higher in all classes to remain in good consecutive semesters without permission academic standing. The CJC adheres to the

policies from the Dean of Instruction. Leave of Absence following grading scale: Request forms may be obtained from the Registrar in the Main Office and must be A+ 100% – 99% = 4.0 submitted to the Dean of Instruction prior to A 98% – 93% = 4.0 the first day of instruction of the semester for A- 92% – 90% = 3.7 which the leave is requested. B+ 89% – 87% = 3.3 B 86% – 83% = 3.0 Please note: Students who wish to take a B- 82% – 80% = 2.7 leave of absence from the CJC during a C+ 79% – 77% = 2.3 semester are subject to all academic and C 76% – 73% = 2.0 financial penalties (see under Cancellations, C- 72% – 70% = 1.7 Withdrawals and Refunds and Adding, D+ 69% – 67% = 1.3 Dropping and Withdrawing from Courses) as D 66% – 63% = 1.0 of the date of the requested leave of absence. D- 62% – 60% = 0.7 Exceptions may be made for family or medical F 59% and below = 0.0 emergencies with valid documentation. Please note: To advance, a student must receive a Students taking a leave of absence for letter grade of no less than C. A student receiving more than two semesters must reapply a grade of less than ‘C’ or ‘W’ in a required course for admission as a new student (see under must retake it at his/her own expense and receive Admission Requirements). a grade of ‘C’ or higher to graduate.

“W” — Withdrew Attendance The grade of “W” is given when a student Students must attend all class meetings, withdraws from a course within weeks 5 and rehearsals and performances on a timely 6. Please note: A ‘W’ is not factored into the basis, barring illness or family emergency. calculation of a student’s grade point average, Students accumulating more than two but may be of concern to a potential employer unexcused absences or missing 15% or or a graduate school. more of class time per course, per 15-week semester, are at risk of being dropped “WP” — Withdrew Passing from the course by the instructor with The grade of “WP” is given when a student approval from the Dean of Instruction. has been granted approval for withdrawal from Please note: In the case of a mandatory drop, a course within weeks 7 – 8, and at the time of academic and financial penalties (see under withdrawal, was passing the course. Cancellations, Withdrawals and Refunds and Adding, Dropping and Withdrawing “WF” — Withdrew Failing from Courses) will apply as of the date of The grade of “WF” is given when a student the requested mandatory drop, which has been granted approval for withdrawal shall be submitted in writing to the Dean from a course within weeks 7– 8, and at the of Instruction for approval. time of withdrawal, was failing the course. california jazz conservatory 2014 – 2015

16 “I” — Incomplete After week eight, students will be permitted A student who has satisfactorily completed to withdraw from courses without academic a substantial portion of the coursework may penalty for medical or family emergencies only. request a temporary grade of Incomplete (‘I’) Students are required to provide the Registrar if he/she is unable to complete a course due to with valid documentation for all medical or circumstances beyond their control. Requests family emergencies. Students withdrawing from must be made no later than the last class courses after week eight for any reason other

meeting and are granted at the discretion of than a medical or family emergency will receive policies the instructor. Coursework must be completed the grade of ‘F’ in those courses. prior to completion of the next consecutive semester to convert the grade of ‘I’ to a passing grade of ‘A’, ‘B’ or ‘C’. Exceptions may be Challenge Examinations made with prior approval from the instructor Students may take a Challenge Examination with approval from the Dean of Instruction. to demonstrate their ability to meet the Coursework submitted after the deadline learning objectives of the following course without prior approval will automatically result requirements: MUS101, MUS102, HAR200A, in a permanent grade of ‘I – F’and will be TEC100 and TEC101. Successful completion averaged into students’ GPA as ‘F’. of a Challenge Examination allows a student to that requirement within the undergraduate program. The fee for taking a Challenge Adding, Dropping and Examination is $275 per course. Please Withdrawing from Courses contact the Dean of Instruction to schedule Students wishing to add, drop or withdraw a Challenge Examination. from a course must do so in writing. Add/Drop/ Withdraw forms are available from the Registrar Credit for Prior Experiential Learning in the Main Office. Students may add, drop or Students entering the CJC may bring with withdraw from a course as follows: them a wealth of prior, non-college experiential learning in the field of jazz performance. Weeks 1 and 2: Students may add or drop Recognizing the value of these experiences, courses without academic penalty. Please the CJC offers students the opportunity to earn note: No new courses may be added after credit in private instruction and/or performance, week two. based on their performance and recording portfolio. Please note: Credit is not granted Weeks 3 and 4: Students may drop courses based on the student’s experiences per se, but without academic penalty. rather on the student’s ability gained through their experiences. Weeks 5 and 6: Students may drop courses and receive a “W” on their transcript (see Credit for prior experiential learning is granted under Grading and Academic Penalties). only to matriculated students. The amount of credit is determined and documented in Weeks 7 and 8: Students may drop courses writing by CJC faculty with relevant credentials. with the consent of the instructor and Dean Instrumentalists may be granted a maximum of Instruction and receive a “WP” (Withdrew of 28 credits for prior experiential learning; Passing) or “WF” (Withdrew Failing) on vocalists may be granted a maximum of 36 their transcript (see under Grading and credits for prior experiential learning. Please Academic Penalties). note: Credit granted for prior experiential learning must have approval from the Dean of Instruction and will be recorded on a student’s transcript as ‘credit for prior experiential learning.’ california jazz conservatory 2014 – 2015

17 Credit Hour Policies • Private Instruction Private instruction is defined as a course in a • Definition of Semester-Hour of Credit one-on-one format focusing on technique on The semester-hour of credit represents one hour an instrument or voice. Private instructors also of classroom instruction plus a minimum of assist students in preparation for their juries. In two hours of work outside of the classroom for private instruction, one hour of credit is given a period of 15 weeks. Short-term offerings are for one 60-minute period of private instruction

policies calculated on the same basis. per week per 15-week semester. Students must complete fifteen 1-hour lessons per semester, • Calculations for the Determination within the given semester to earn credit. Private of Credit Hours instruction may not extend beyond the immedi- ate 15-week semester. Lecture Courses Lecture course are defined as courses in a pri- • Independent Study marily lecture-style format. In lecture courses, Independent Study is defined as time spent one hour of credit is given for one 60-minute independently completing a proposed research period of recitation. project that extends above and beyond the parameters of the curriculum. Students are Lecture/Laboratory Courses required to submit a proposal in writing to the Lecture/laboratory courses are defined as Dean of Instruction outlining: the project scope; courses that combines lecture with hands-on objectives; time frame for completion; and their application of course material. In lecture/labo- preferred faculty advisor. In Independent Study, ratory courses, one hour of credit is given for one hour of credit is given for a minimum of one 60-minute period of combined recitation one 60-minute period of research per week and application. per 15-week semester. Students are required to present the findings of their research to the Laboratory Courses public in the form of a paper, lecture/demon- Laboratory courses are defined as courses stration or concert. The designated faculty in a primarily hands-on format. In laboratory advisor provides supervision at the beginning, courses, one hour of credit is given for two midpoint and conclusion of the project and is 60-minute periods of application.* required to submit an evaluation of the com- pleted project in writing. *Please note: In instrumental performance ensembles, one hour of credit is given for one • Workshops 60-minute period of supervised instruction plus Workshops are defined as short-term courses or one 30-minute period of unsupervised instruc- programs in a lecture/laboratory format usually tion. Instrumental ensembles meet for a total with a visiting artist and often concluding with a of 3 hours per week. 2 hours are supervised public performance. In workshops, credit hours and 1 hour is unsupervised. Instrumentalists in for workshops are calculated on the same basis both small and large ensembles earn 2 hours of as credit hours for lecture/laboratory courses credit for each 15-week semester of classroom i.e., one hour of credit is given for one 60-minute instruction plus a final exam in the form of a period of recitation/application. public performance.

In vocal performance classes, one hour of Transfer Credit credit is given for one 60-minute period of Students who wish to transfer to the CJC must supervised instruction. Vocal performance provide an official satisfactory academic record classes meet for a total of 3 hours per week. and have earned an overall GPA of 2.0 or higher All 3 hours are supervised. Vocalists earn 3 to be admitted to the CJC. hours of credit for each 15-week semester of classroom work plus a final exam in the form of a public performance. california jazz conservatory 2014 – 2015

18 The CJC grants course credit to transfer Faculty Advisors students for the English Communication, After a student is admitted to the CJC, he Arts and Humanities and Mathematics and or she is assigned a faculty advisor to assist Quantitative Reasoning General Studies require- with overall academic planning. Faculty ments earned at any fully accredited institution. advisors are available to assist CJC students The Social Sciences General Studies require- Monday – Friday from 10am – 4pm. Please call ment (HIS100A-HIS200B Jazz History) and 510.845.5373 to schedule an appointment.

Physical Sciences General Studies requirement policies (SCI300) are not transferable from any other institution. These requirements must be Student Grievances fulfilled at the CJC. Students with complaints regarding their academic progress must first discuss the issue The CJC accepts up to 5 Elective credits with their instructor. If the issue is not resolved relevant to the program’s purposes from to their satisfaction, they may file a grievance any fully accredited institution. with the Dean of Instruction in writing. If the issue is still not resolved to their satisfaction, The CJC has not entered into an official they may contact the Bureau of Private Post articulation or transfer agreement with any Secondary Education at: 888.370.7589 or com- other college or university at this time. plete a complaint form which can be obtained on the Bureau’s website: www.bppe.ca.gov.

NOTICE CONCERNING TRANSFERABILITY OF CREDITS AND CREDENTIALS EARNED Student Right to Privacy AT OUR INSTITUTION Matriculated students are afforded the following rights regarding access to and privacy of their The transferability of credits you earn at the CJC personal information and educational records: is at the complete discretion of an institution to which you may seek to transfer. Acceptance of 1. Students have the right to inspect and the degree you earn in Jazz Studies is also at the review the education record maintained by complete discretion of the institution to which the CJC through the office of the Registrar. you may seek to transfer. If the degree that you earn at this institution is not accepted at the 2. Students have the right to request that the institution to which you seek to transfer, you Registrar correct any records they believe may be required to repeat some or all of your to be inaccurate or misleading. The Dean of coursework at that institution. For this reason Instruction shall serve as mediator should you should make certain that your attendance at information be contested. If the Dean of this institution will meet your educational goals. Instruction deems the request to amend a This may include contacting an institution to record unfounded, students have the right which you may seek to transfer after attending to place a written statement in their file, the CJC to determine if your degree will transfer. documenting their position.

3. Students have the right to privacy regarding any personal information including but not limited to information provided on “ Not all who master their craft their application, dates of attendance, grading, scholarship awards and/or financial assistance. are artists, but all artists are The CJC must have written permission on file masters of their craft.” from the student to release any information from a student’s education record. Mike Zilber CJC Faculty california jazz conservatory 2014 – 2015

19 Injury Prevention Vocalists — The CJC awards the Bachelor of The CJC places great importance on the Music degree in Jazz Studies to vocal students prevention of injury resulting from activities who satisfactorily complete 136 credits of study inherent in the life of a musician. These include divided among: a) core courses (91 credits); but are not limited to practicing, performing b) elective courses (15 credits) and c) general and/or listening, as related to both vocal and studies courses (30 credits). Vocalists must pass musculoskeletal health. Injury prevention is juries annually. (See Curriculum Requirements specifi cally addressed in the following courses: Template — Vocalists). Audio for Live Performance (required); Yoga for Musicians (elective); Vocal Technique for Instrumentalists (elective); and the Alexander Residency Requirements Technique (elective). Injury prevention is also Instrumentalists are required to complete a addressed in instrumental and vocal private minimum of 34 credits in residence during their instruction (required). junior and/or senior year at the CJC. Vocalists are required to complete a minimum of 34 credits in residence during their junior and/or THE BACHELOR OF MUSIC DEGREE senior year at the CJC. IN JAZZ STUDIES

Curriculum Requirements Juries and Senior Project Students must pass a jury in each of their Instrumentalists — The CJC awards the freshman, sophomore, junior and senior years. Bachelor of Music degree in Jazz Studies Juries serve to evaluate students’ progress in to instrumental students who satisfactorily private instruction. Students must be registered complete 134 – 136 credits of study divided for PRV100A – PRV400B to be eligible to take among: a) core music courses 89 (pianists) / 91 their jury examination. Students admitted in the (non-pianists); b) elective courses (15 credits) fall semester perform juries in week 16 of the and c) general studies courses (30 credits). following spring semester; students admitted in Instrumentalists must pass juries annually. the spring semester perform juries in week 16 of

bachelor of music degree (See Curriculum Requirements Template — the following fall semester. Jury Requirements Instrumentalists). are available online at www.cjc.edu. Hard copies are also available in the CJC Main Offi ce.

Graduating seniors must complete a Senior Project comprising a performance of original compositions and/or arrangements in a full length concert open to the public.

Performance The Jazz Studies undergraduate degree program has performance at its center.

Instrumentalists are required to take a total of 20 units of performance ensembles including jazz (8), big band (2), Afro-Caribbean (2), Brazilian (2) and three ensembles of their choice (6). Instrumentalists may also use 4 Elective credits toward performance ensembles. (See Instrumental and Vocal Curricula.) california jazz conservatory 2014 – 2015

20 Vocalists are required to take a total of 28 Core Music Courses: Vocal Track units of performance courses in both solo Vocalists are required to take 91 credits of and ensemble formats. Repertoire covers a the following Core Music Courses: 28 credits wide range of styles from the Great American of stylistically varying performance ensembles Songbook to contemporary jazz, world and over eight semesters including: Vocal Perfor- popular music. Vocalists may also use 4 Elective mance (24 credits); and Vocal Jazz Ensemble credits toward performance ensembles. (4 credits). 4 additional performance credits may (See Instrumental and Vocal Curricula). be taken as Elective courses. Additional required courses include: ear training and sight-singing Public performance is an integral component of (12 credits); keyboard proficiency (2 credits); jazz students’ tenure at the CJC. Students perform theory and improvisation (12 credits); jazz com- for the public a minimum of twice per year. position (3 credits); jazz arranging (3 credits); Performances include concerts at the CJC, Western European harmonic practice (6 credits); dates at clubs throughout the Bay Area, and Western European music history (6 credits); appearances at specially scheduled events. music technology (5 credits); business of music (4 credits); private instruction (8 credits); and a Additionally, students may attend over one senior project (2 credits). hundred concerts scheduled at the CJC through- out the year free of charge. The CJC Concert Series features a range of local, national and Elective Courses international artists. Visiting artists of note have All students are required to complete 15 included the Heath Bros., Theo Bleckmann, credits of degree-relevant Elective courses. Kenny Werner, Taylor Eigsti, Peter Erskine, (See under Course Descriptions). Quartet San Francisco, Pete Escovedo, Paula West, John Zorn, Geoffrey Keezer, Ambrose Akinmusire and many others! General Studies Courses A range of General Studies courses is offered at the CJC. The CJC also accepts select General Core Music Courses: Instrumental Track Studies requirements/electives from any fully

Instrumentalists are required to take 89 accredited institution. Recommended colleges bachelor of music degree (pianists) / 91 (non-pianists) credits of the in close proximity to the CJC include: Berkeley following Core Music Courses: 20 credits of City College in Berkeley, just one block from the stylistically varying performance ensembles CJC; and Laney College in Oakland, just a few over eight semesters including: jazz (8 credits); BART stops away. Tuition for General Studies big band (2 credits); Afro-Caribbean (2 credits); courses at other institutions is additional. Brazilian (2 credits); Indian (2 credits); and ensembles of their choice (4 credits). 4 additional All students are required to take 30 credits credits may be taken as Elective courses. of General Studies courses. General Studies Additional required Core courses include: ear requirements include: English Communication training and sight-singing (12 credits); keyboard (6 credits); Social Sciences (12 credits); Arts proficiency (2 credits); jazz theory and improvi- and Humanities (6 credits); Mathematics and sation (12 credits); form and analysis of jazz Quantitative Reasoning (3 credits); and Physical standards (4 credits); jazz composition (3 credits); Sciences (3 credits). (See Department of General jazz arranging (3 credits); the music of Latin Studies beginning on page 38.) Please note: the America (2 credits); jazz and intercultural Social Sciences and Physical Sciences General practice (2 credits); Western European harmonic Studies requirements are not transferable from practice (6 credits); Western European music another institution. These requirements must history (6 credits); music technology (5 credits); be fulfilled at the CJC. business of music (4 credits); private instruction (8 credits); and a senior project (2 credits). california jazz conservatory 2014 – 2015

21 Independent Study Keyboard Profi ciency Independent Study affords junior- and senior- All students must demonstrate a basic level standing students an opportunity to indepen- of keyboard profi ciency to graduate, either by dently undertake special research-oriented completing Beginning Piano for Non-Pianists projects extending above and beyond the and Jazz Piano for Non-Pianists, or by passing parameters of the curriculum. an equivalent keyboard proficiency exam. Keyboard profi ciency exams are given on a Students may apply up to 4 Elective credits to to-be-arranged basis throughout the year. Independent Study. Students interested in pur- suing Independent Study are required to submit a proposal in writing to the Dean of Instruction Workshops and Master Classes outlining: the project scope; objectives; time Students have the opportunity to attend a broad frame for completion; and their preferred range of specialized short-term workshops taught faculty advisor. by local and visiting artists throughout the year. Previous workshops by visiting faculty include Upon approval, students are required to sign a Bobby McFerrin, Geoffrey Keezer, Christian contract with their advisor agreeing to complete McBride, Kurt Elling, Jeff “Tain” Watts, Nancy the project. A letter grade is issued based upon King, Ron Carter, Dave Weckl, Nnenna Freelon, completion of projected objectives within the Matt Wilson, Rudresh Mahanthappa, Dafnis proposed timeframe. Prieto, Winard Harper, Taylor Eigsti, Donald Harrison, Uri Caine, and others. In addition to attending master classes, students often have the opportunity to schedule private lessons with visiting artists. The cost of private lessons with visiting artists varies and is on a to-be-arranged basis between the student and artist. bachelor of music degree california jazz conservatory 2014 – 2015

22 CURRICULUM REQUIREMENTS TEMPLATE — INSTRUMENTAL TRACK

Required Courses Suggested Course Sequence

Year 1 Year 2 Year 3 Year 4

Musicianship 6 6 Keyboard Proficiency (non-pianists) 2 Jazz Theory and Improvisation 6 6 Form and Analysis of Jazz Standards 4 Western European Harmonic Practice 6 Latin American Roots of Jazz 2 Jazz and Intercultural Practice 2 Western European Art Music and Culture 6 Instrumental Performance Ensemble 4 4 6 6 Jazz Composition 3 Jazz Arranging - Small Ensemble 3 Business of Music 2 2 Music Technology 2 3 Private Instruction 2 2 2 2 Senior Project 2 Electives* 2 4 5 4 English Communication (GS Area 1) 6 Arts and Humanities (GS Area 2) 3 3 Social Sciences (GS Area 3) 6 6 Mathematics and Quantitative Reasoning (GS Area 4) 3 Physical Sciences GS (Area 5) 3

Yearly Totals 34 34 34 34

Four-Year Total = 136 * 4 credits may be taken as Independent Study; 4 credits may be taken as Performance (pianists = 134)

CURRICULUM REQUIREMENTS TEMPLATE — VOCAL TRACK

Required Courses Suggested Course Sequence

Year 1 Year 2 Year 3 Year 4

Musicianship 6 6 Keyboard Proficiency (non-pianists) 1 1 Jazz Theory and Improvisation 6 6 Western European Harmonic Practice 6 Western European Art Music and Culture 6 Vocal Performance 6 6 6 6 Vocal Jazz Ensemble 2 2 Jazz Composition 3 Jazz Arranging - Small Ensemble 3 curriculum requirements template Business of Music 2 2 Music Technology 2 3 Private Instruction 2 2 2 2 Senior Project 2 Electives* 2 2 4 7 English Communication (GS Area 1) 3 3 Arts and Humanities (GS Area 2) 3 3 Social Sciences (GS Area 3) 6 6 Mathematics and Quantitative Reasoning (GS Area 4) 3 Physical Sciences GS (Area 5) 3

Yearly Totals 34 34 34 34

Four-Year Total = 136 * 4 credits may be taken as Independent Study; 4 credits may be taken as Performance 23

COURSE DESCRIPTIONS MUS101 Keyboard Proficiency — Piano for Non-Pianists Course Numbering 1 credit, 1 hour lecture/lab The 100- and 200-numbered courses are lower Entry-level keyboard technique for non-pianists division courses. The 300- and 400-numbered covering scales, reading and playing basic courses are upper division courses. repertoire. Serves as prerequisite for MUS201.

• MUS201 Musicianship Keyboard Proficiency — Jazz Piano for Non-Pianists MUS100A 1 credit, 1 hour lecture/lab Ear Training and Sight-Singing An introduction to jazz piano technique ad- 3 credits, 3 hours lecture/lab dressing voicings, voice leading, soloing and The first in a four-semester course designed comping, as applied to standard jazz reper- to develop aural and visual perception of toire. Useful for composing and arranging. rhythmic, melodic and harmonic components Prerequisites: MUS101 or consent of instructor. of music. Course material is jazz-based. MUS102 • MUS100B Individual Tutorial 3 credits Elective — 1 credit, 1 hour lecture/lab A continuation of MUS100A. Individual supplemental instruction in a wide

course descriptions range of areas including but not limited to • MUS200A musicianship, theory, harmony, composition, 3 credits arranging and history. Students may take up A continuation of MUS100B. to 8 elective credits of MUS102. Please note: MUS102 is not a substitute for instrumental or • MUS200B Vocal Private Instruction. 3 credits A continuation of MUS200A. MUS103A Supplemental Musicianship Skills • MUS300A Elective — 1 credit, 2 hours lab Advanced Musicianship A supplement to MUS100A, a course designed Elective — 3 credits, 3 hours lecture/lab to strengthen musicianship skills. A continuation of MUS200B. Designed to further Suggested prerequisites: Concurrent enrollment develop aural and visual perception of advanced in MUS100A; highly recommended for rhythmic, melodic and harmonic material. drummers and vocalists. Includes sight singing, sight reading, rhythm, interval and chord recognition, and transcription. • MUS103B Prerequisites: MUS200B. Elective — 1 credit, 2 hours lab A supplement to MUS100B, a course • MUS300B designed to strengthen musicianship skills. 3 credits Suggested prerequisites: Concurrent A continuation of MUS300A. enrollment in MUS100B; highly recommended for drummers and vocalists. california jazz conservatory 2014 – 2015

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• MUS203A MUS205 Elective — 1 credit, 2 hours lab Chart Reading Workshop for Drummers A supplement to MUS200A, a course 3 credits, 3 hours lecture/lab designed to strengthen musicianship skills. A hands-on workshop for drummers designed Suggested prerequisites: Concurrent to develop proficiency in sight reading and enrollment in MUS200A; highly interpreting standard lead sheets and drum recommended for drummers and vocalists. charts for both large and small ensemble. Students work with pre-recorded jazz, funk, • MUS203B Latin, pop, rock, fusion and show arrangements. Elective — 1 credit, 2 hours lab Covers articulations, set-ups, fills, tempo A supplement to MUS200B, a course designed modulation, negotiating stick changes and to strengthen musicianship skills. utilizing the click track. Required texts: Suggested prerequisites: Concurrent Progressive Steps to Syncopation by Ted Reed; enrollment in MUS200B; highly recommended Modern Reading Text in 4/4 by Louis Bellson for drummers and vocalists. and Gil Breinnes. Recommended text: Studio and Big Band Reading by Steve Houghton. MUS104 Drum Set Technique for Non-Drummers MUS207 Elective — 2 credits, 2 hour lecture/lab Double Bass Ensemble Workshop Basic drum set technique as applied to jazz Elective — 2 credits, 2 hours lecture/lab and related styles of music. All instruments A course designed to develop technical and voice. facility through select repertoire for double

bass ensemble. course descriptions MUS110 Vocal Technique for Instrumentalists MUS208 Elective — 1 credit, 1 hour lecture/lab Gypsy Jazz Guitar Style and Technique An introduction to vocal technique and 2 credits, 2 hours lecture/lab song interpretation. Repertoire includes Analysis and practical application of the stylistic the Great American Songbook and standard and technical aspects of gypsy jazz guitar style and contemporary jazz. Covers basic stage from Django Reinhardt to the present. presence and microphone technique. Prerequisites: an acoustic guitar (played with a pick). Instrumentalists may take up to 2 credits of Vocal Technique for Instrumentalists. MUS209A Practical Applications for the Rhythm Section MUS202 Elective — 2 credits, 2 hours lecture/lab Sight Reading Workshop A two-semester hands-on, interactive course Elective — 1 credit, 2 hours lab for pianists, guitarists, bassists and drummers A lab focusing on developing sight reading focusing on rhythmic considerations relevant to skills relevant to the jazz music genre. Open the rhythm section. Course covers the role of the to instrumentalists and vocalists. individual and the rhythm section as a credit as applied to jazz, Afro-Caribbean, South American and World music styles past and present.

• MUS209B 2 credits, 2 hours lecture/lab A continuation of MUS209A california jazz conservatory 2014 – 2015

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MUS250 MUS190A North Indian Music Fundamentals Through Voice Yoga for Musicians Elective — 2 credits, 2 hours lecture/lab Elective — 1 credit, 1 hours lab A general overview of the styles, forms and A course for musicians to strengthen mind, practices of the traditional North Indian vocal body and spirit. Warm-ups, stretches and pos- tradition. Open to both vocalists and instru- ture exercises alleviate the aches and pains that mentalists, this course includes participatory can result from playing; breathing techniques singing, familiarization with the Indian solfège increase lung capacity and reduce stress; and system, exploration of the melodic concepts meditation eases performance anxiety and of raga, and the rhythmic concepts of tala. promotes greater awareness of the moment. Prerequisites: Musicianship 100B. • MUS190B MUS308 Elective — 1 credit, 1 hours lab Drum Grooves and Solos in Odd Meters A continuation of MUS190A Elective — 2 credits, 2 hours lecture/lab A class focusing on grooves and solos over odd MUS191 and mixed meters as applied to jazz and funk Alexander Technique genres. Students study approaches embodied Elective — 2 credits, 2 hour lecture / lab by groups including Dave Brubeck, Mahavishnu A hands-on introduction to the Alexander Orchestra, Dave Holland, Sting, Brad Mehldau Technique, a method used by musicians world- and the Pat Metheny Group among others. wide to prevent and resolve playing-related injuries, pain and/or stage fright. Inappropriate MUS309 muscular tension and unconscious habits of course descriptions Fusion Drumming Styles and Techniques misuse can interfere with technical facility, Elective — 2 credits, 2 hours lecture/lab sound quality, freedom of expression and the Fusion drumming styles and techniques from joy of playing music. The Alexander Technique the sixties to the present. Students learn the enables instrumentalists and vocalists to stylistic and technical approaches utilized by develop poise and ease of movement in fusion masters Tony Williams, Steve Gadd, practice and performance. Dave Garibaldi, Bernard Purdie, Peter Erskine, Billy Cobham, Clyde Stubblefield, Alex Acuna, MUS204 Steve Smith among others who blended the The Application of Eurhythmics power of rock, the syncopation of funk and to Jazz Repertoire the finesse and technique of jazz into their Elective — 2 credits, 2 hour lecture / lab respective personal styles. Techniques include Interpreting distinct rhythmic and melodic odd meters, linear drumming, funk indepen- aspects of select repertoire through dence and the all-important ghost notes. coordinated physical movement and the voice. Instrumentalists and vocalists gain a deeper understanding of the rhythmic and melodic underpinnings of significant jazz and related repertoire to facilitate performance. Note: students are advised to wear comfortable clothing to class.

“ The CJC provides some of the most in-depth study of jazz out there. A core curriculum of not two, but four semesters of hands-on jazz ear training and jazz theory and improvisation, culminating in transcription and analysis of the greatest jazz artists of all time.”

Lisa Feldman california jazz conservatory 2014 – 2015 CJC Student

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Theory THE250 Traditional North Indian Rhythmic Concepts THE100A Elective — 3 credits, 3 hours lecture / lab Jazz Theory and Improvisation An in-depth exploration of traditional rhythmic 3 credits, 3 hours lecture/lab concepts from the North Indian system of A four-semester course covering jazz theory and classical music. Through the medium of vocal improvisation techniques and styles based on percussion syllables known bols, students are the artistic practice of jazz masters, from the early introduced to Indian rhythmic idioms such as tala twentieth century innovations of Louis Armstrong, (rhythmic cycles), layakari (rhythmic modulation), to the contemporary artistry of Herbie Hancock, and and tihai (thrice-repeated cadential phrases used beyond. Students gain a solid understanding of jazz to end a musical idea). Students learn traditional theory and improvisation, from the fundamentals Indian rhythmic compositions drawn from the to chord/scale theory, soloing, reharmonization, and repertoire of classical North Indian percussion transcription and analysis. Theoretical concepts are instruments such as tabla and pakhawaj. This illustrated with select recordings of leading jazz art- class delves into the history and theory of North ists and applied to relevant exercises and repertoire Indian rhythm as well as its influence on Jazz in class. This course lays important groundwork over the last 50 years. Emphasis is placed on critical in the development of individual style. pointing out the cross-cultural applications of Indian rhythmic concepts to any instrument • THE100B and any style of music, enriching students’ 3 credits compositional and improvisational skills. A continuation of THE100A.

THE251 course descriptions • THE200A Traditional South Indian Rhythmic Concepts 3 credits Elective — 3 credits, 3 hours lecture / lab A continuation of THE100B. An in-depth exploration of traditional rhythmicco- ncepts from the South Indian system of classical • THE200B music. Through the medium of vocal percussion 3 credits syllables known as solkattu, students are intro- A continuation of THE200A. duced to Indian rhythmic idioms such as tala (rhythmic cycles), nadai (odd subdivisions of the THE202 beat), layakari (rhythmic modulation), and Polyrhythms and Odd Rhythm Groupings mora (thrice-repeated cadential phrases used to Elective — 2 credits, 2 hours lecture / lab end a musical idea). Students learn traditional The nature and history of polyrhythms and odd Indian rhythmic compositions drawn from the rep- rhythm groupings and their application to composition ertoire of classical Indian percussion instruments and improvisation. All instruments and voice. such as tabla, mridangam, kanjira, ghatam, thavil, Prerequisites: MUS100A and THE100A and morsing. Emphasis is placed on pointing out the cross-cultural applications of Indian rhythms to any instrument and any style of music, enriching students’ compositional and improvisational skills

THE300 Advanced Transcription and Analysis of the Jazz Masters Elective — 3 credits, 3 hours lecture/lab A continuation of THE200B Jazz Theory and Improvisation, focusing on transcription and analysis of more challenging works by jazz masters.

california jazz conservatory 2014 – 2015

27 THE301A Harmony Form and Analysis of Jazz Standards 2 credits, 2 hours lecture / lab The two-semester Harmony sequence covers A course in an ensemble format focusing on the melodic and harmonic devices specific to form and analysis of jazz standards essential the Western European common practice period to the professional musician. from 1600 to 1920. Attention is given to har- Prerequisite: concurrent enrollment in monic practice of the 20th century and beyond THE200B or the equivalent in the second semester.

• THE301B HAR200A Form and Analysis of Jazz Standards Western European Harmonic 2 credits, 2 hours lecture / lab Practice from 1600 to 1820 A continuation of THE301A 3 credits, 3 hours lecture Focusing on compositions from the Baroque and THE305 Classical periods, this first-semester course covers A Chromatic Approach to Jazz Harmony preparatory material for the study of harmony, Elective — 3 credits, 3 hours lecture figured bass, harmonization of melodies, voice An introduction to the harmonic and melodic leading, cadences, theory of chord progression, approaches David Liebman innovated and chord progressions in the diatonic major and minor, expanded in his seminal book “A Chromatic chord inversions, and an introduction to analysis. Approach to Jazz Harmony”. Beginning with John Coltrane and the second Miles Davis • HAR200B quintet who independently began developing an course descriptions Western European Harmonic advanced jazz language of chromaticism in the Practice from 1820 to the Present 1960s, this course addresses the work of David 3 credits, 3 hours lecture Liebman, along with Michael Brecker, Chick Corea Focusing on compositional styles of the and others who later that decade moved it to a Romantic and Contemporary Periods, this new level of sophisticated control of consonance second-semester course covers formal and dissonance that remains the gold standard analysis, advanced techniques related to for controlled harmonic tension and release, sequences, mixture, Neapolitan chords, most commonly known as ‘playing in and out of augmented 6th chords, diatonic and chromatic the changes’. During the past forty years, David modulation, and twelve-tone techniques. Liebman has become widely recognized as the leading spokesperson and educational force in explaining and codifying what is considered the Composition most advanced jazz language method to address modern harmony. COM210 Prerequisites: THE200B or consent of instructor. Lyric Writing Elective — 3 credits, 3 hours lecture/lab THE306 A course focusing on the various techniques Discovering the “Hidden” Principles of Music used to compose lyrics through analysis of the Elective — 2 credits, 2 hours lecture/lab masters: Great American Songbook lyricists A course for all instrumentalists on “how such as Lorenz Hart, Cole Porter and Howard and why to play” rather than “what to play” Dietz; vocalese wordsmiths Jon Hendricks, and how conscious application of a palette of Annie Ross, Kurt Elling and King Pleasure; musical tools may be used to express emotion. and popular songwriters such as Joni Mitchell Exercises are designed to help students find and Sting. Students build a repertoire of origi- their own voice. nal lyrics set to instrumental works by jazz masters as well as their own compositions. california jazz conservatory 2014 – 2015

28 COM300 COM301B Jazz Composition Jazz Arranging — Large Ensemble 3 credits, 3 hours lecture/lab Elective — 3 credits, 3 hours lecture/lab A concentrated writing course utilizing the com- A one-semester introductory course on basic positional styles and techniques of the master jazz arranging techniques for the large ensem- composers as a point of departure in creating ble. Students review ranges and characteristics new work. Composers studied include Ellington, of instruments, rules for notating rhythm, how Parker, Silver, Mingus, Monk, Coltrane, Hancock, to lay out a score, how to voice chorale-style Henderson, Shorter, Brecker, Liebman, Grolnick, chords, and how to harmonize a moving me- Pastorius, Towner and more. Melodic, harmonic lodic line with five voices. Through analysis of and rhythmic techniques employed in the music works by the masters from Duke Ellington to of Mozart, Beethoven, Brahms, Debussy and Maria Schneider, students also explore differ- other relevant past masters are also examined ent techniques for large scale development of and applied to students’ work. form, chord voicings for more than five horns and large ensemble texture and orchestration • COM400 techniques. Required text: Inside the Score, by Jazz Composition Seminar Rayburn Wright. Students are assigned three Elective — 3 credits, 3 hours lecture/lab arranging projects. All assignments must be A continuation of COM300. A seminar completed on a program such as Finale or addressing advanced composition techniques Sibelius. The final project is an arrangement and their practical application in performance. for full big band. Prerequisite: COM301A or Prerequisites: COM300 or consent of instructor. consent of instructor. course descriptions

COM301A COM380 Jazz Arranging — Small Ensemble Counterpoint 3 credits, 3 hours lecture/lab Elective — 2 credits, 2 hours lecture/lab A one-semester introductory course on Contrapuntal techniques and styles of seven- basic jazz arranging techniques for the teenth- and eighteenth-century instrumental small ensemble. Students learn ranges and and vocal music, providing a solid foundation characteristics of instruments, rules for notating for voice leading. Includes the writing of cantus rhythm, how to lay out a score, how to write firmus, two- and three-part species counter- for the rhythm section, how to compose point, and combined species in three voices, melodies and chord progressions, how to set in major and minor modes. Analysis of a range a melody to chords, how to voice chorale-style of important contrapuntal work including the chords, how to harmonize a moving melodic canons, inventions and fugues of J.S. Bach. line with two to five voices, and various ways of addressing form. Required texts: Jazz Arranging and Composing — a Linear Approach, History by Bill Dobbins. Students are assigned three to five arranging projects. The final project Jazz History is an arrangement for five horns and rhythm A four-semester course examining the musical section that is recorded. and cultural development of jazz, from its ante- cedents in the musical cultures of West Africa, Western Europe and the New World, to the music that is performed internationally today. Through extensive listening, reading and discus- sion, students gain a solid understanding of jazz, a twentieth-century urban dance music that has become globally celebrated as a cultural art form embodying the ideals of freedom and democracy. california jazz conservatory 2014 – 2015

29 HIS100A – 200B fulfi lls the CJC Social Sciences • HIS100B requirement. Please note: the Social Sciences Jazz History — Style and Culture requirement is not transferable from another in America from 1920 – 1939 institution. This requirement must be fulfi lled 3 credits, 3 hours lecture at the CJC. A survey of early jazz styles, from the Jazz Age of the Prohibition era, through the reign HIS100A of the swing bands and the jitterbug, to the Jazz History — The Roots of Jazz pre-World War II modern jazz jam sessions and Early Jazz, Pre-1900 – 1919 in Harlem. The music of Louis Armstrong, 3 credits, 3 hours lecture Duke Ellington, Charlie Parker and many This course examines the infl uences of West others is studied within the contexts of the African, Caribbean, South American, Asian and post-World War I economic boom, the Great European music and culture on the development Depression, ballrooms and big bands, the of jazz pre-1900, and on the early music of New rise of sound motion pictures, American Orleans that became known to the world as musical theater and the Great American jazz by 1917. The course focuses on the West Songbook, among other socioeconomic African conceptual approaches, practices, and and cultural touchstones. cultural conventions that form the foundation of jazz, and its origins in spirituals, blues, ragtime • HIS200A and other African American sacred and secular Jazz History — Style and Culture music. The development of jazz is studied in America from 1940 – 1959 within the historical context of American social 3 credits, 3 hours lecture forces including post-bellum segregation, the This course explores jazz as an art form, course descriptions industrial boom and the Great Black Migration, with a focus on the musical innovations of World War I, and the invention of the radio and modern jazz through the beginnings of free sound recordings. jazz. Styles including bebop, hard bop, funk, Latin jazz, cool jazz, and other styles created by Dizzy Gillespie, Thelonious Monk, Miles Davis, Max Roach, the Modern Jazz Quartet, Art Blakey’s and Horace Silver’s Jazz Mes- sengers, Ornette Coleman and many of their collaborators are examined, focusing on instrumental grouping, structural, harmonic and rhythmic creativity, and folk infl uences. Students draw connec tions between the mid- century impact of World War II, the Atomic Age and the Cold War, the hegemony of television, advertising, the burgeoning Civil Rights Movement and other historical epochs upon the evolution of jazz. california jazz conservatory 2014 – 2015

30 • HIS200B HIS302 Jazz History — Style and Culture The Miles Davis Legacy in America from 1960 – Present Elective — 3 credits, 3 hours lecture 3 credits, 3 hours lecture Arguably one of the most important and This course surveys the range of idioms and influential figures in modern jazz, trumpet subgenres of post-Coltrane jazz, particularly the player, bandleader and innovator Miles Davis evolution of free jazz with the AACM, the 1970s shaped virtually every facet of America’s most New York Loft Scene, jazz in Europe, the music important art form throughout a recording and and ideas of Wynton Marsalis juxtaposed with the performing career that spanned six decades. electronic fusion music of Miles Davis and his col- Beginning with Charlie Parker’s group in 1945 laborators, Herbie Hancock, Weather Report, Chick until his death in 1991, Miles directly influenced Corea, et al, and the return of jazz to its dance every important jazz movement and musician. origins. The steady influx of global influences Through recordings and those of his towering from traditional and contemporary musicians sidemen, this course traces the development of from Africa, Asia, and the New World continues modern jazz from bebop to cool, to hard bop to to infuse a diverse range of compositional styles, modal, to orchestral jazz to “time no changes”, forms and instruments into the jazz world. to fusion

HIS301 HIS305 New Orleans: The Birthplace of Jazz History of American Roots Music Elective — 2 credits, 2 hours lecture from 1900 – Present A course tracing the musical influence of the Elective — 2 credits, 2 hours lecture international port of New Orleans, the melting A survey course on the history and cultural course descriptions pot for music innovation and cultural exchange significance of American acoustic music styles, that is the wellspring of the American art form, from traditional country, blues and bluegrass, to jazz. Explores the African American experience singer-songwriter, and newgrass (progressive of cultural resilience through dance, singing and bluegrass), among other contemporary acoustic drumming traditions that fused elements from sounds. various cultures with gospel, blues and the Latin tinge. Includes analysis of important recordings HIS308 as well as in-class performance of traditional The Language of Hard Bop and modern New Orleans-style funeral marches, 3 hours, 3 credits listening / lab street parades, brass bands and other music Drawing on quintessential recordings of the 50s employing improvisation, syncopation, call and and 60s hard bop era, students listen to, explore response and friendly competition that continue and discuss selected works of hard bop masters, to influence music throughout the world. focusing in particular on the collaborative spirit inherent in jazz. Recordings include iconic Blue Note Records artists such as Art Blakey’s Jazz Messengers ‘family tree’, Miles Davis’ small groups and more. Students apply concepts characteristic of the hard bop style to in-class performance of jazz repertoire. Prerequisites: MUS200B and THE200B or permission of instructor. california jazz conservatory 2014 – 2015

31 HIS309 HIS330 Jazz Oral History Methodology Latin American Roots of Jazz Elective — 3 credits, 3 hours lecture 2 credits (may also be taken as an Elective), An introduction to jazz oral history methodol- 2 hours lecture ogy. Students learn research techniques in A survey of the evolution and relevance of the literature review focusing on biographies and Afro-Latino roots of jazz. This course examines autobiographies; oral history methodologies the pan-American sociopolitical circumstances including research, preparation, transcrip- that brought Afro-Latino music and jazz to- tion and analysis of interviews; and interview, gether as branches of the same tree. Emphasis audiovisual and archival techniques and their is placed on the historical development of the application. In partnership with the Smithsonian especially influential music of Cuba, New York Institution, students work with and contribute and Puerto Rico. Students listen to rare record- to the collection of the Smithsonian Jazz Oral ings from 1900 to the present. Music is analyzed History Program at the National Museum of through lecture, listening and discussion and American History. broadens an understanding of jazz from both Prerequisite: HIS100A or consent of instructor stylistic and historical perspectives.

HIS310 HIS331 The Jazz Singers Music of Latin America Elective — 2 credits, 2 hours lecture Elective — 2 credits, 2 hours lecture A history class focusing on the legendary jazz A survey course covering a wide variety of singers from the perspective of the first instru- Latin American traditional and contemporary ment, the voice. Students listen to and learn music styles and their Indigenous, European course descriptions about a gamut of jazz singers and their greatest and African cultural influences, including styles contributions, beginning with the precursors of of Salsa and Latin jazz that developed wholly or jazz from work songs, field hollers, spirituals, rag partly in the United States. This course focuses and blues, to the “holy trinity” — Billie Holiday, on the musicological aspects as well as the his- Sarah Vaughan and Ella Fitzgerald — on to jazz torical and social impact of each style. today and its future. Students learn to identify stylistic nuances unique to each artist as well HIS320A as become familiar with the important instru- String Players in Jazz mentalists supporting them. Lectures include an Elective — 2 credits, 2 hours lecture overview of the social climate of each period, An in-depth study of jazz string playing in the fostering a greater understanding of how this United States, Europe and Scandinavia, focusing music was created and has evolved. Film shorts on the key players who have led the charge. of some of the renowned artists are shown This course examines the stylistic development of throughout the course. Students are asked to the music from classical and folk roots to emerg- attend and write reviews of two live jazz concerts. ing forms of popular music and jazz over the last century. String players (both acoustic and elec- tric) have always played an important part in the development of jazz, but very few have entered the mainstream successfully. Students gain an historical perspective on these artists’ lives and as- sess the impact they have had on the jazz art form, listening to the earliest recordings of both soloists and ensembles and moving on to cover the pro- ponents and innovators of modern jazz idioms.

california jazz conservatory 2014 – 2015

32 • HIS320B Private Instruction 2 credits A continuation of HIS320A. PRV100A, 100B; 200A, 200B; 300A, 300B; 400A, 400B HIS360 Instrumental Private Instruction Jazz and Intercultural Practice 1 credit, 1 hour lecture 2 credits, 2 hours lecture Eight semesters of private instruction for in- This course reviews selected musical traditions strumentalists, one hour per week with select of the world and their cross-cultural and inter- faculty. Instrumental students must take one cultural jazz application. semester of private instruction focusing on Western European classical repertoire. HIS370 The Beatles PRV110A, 110B; 210A, 210B; Elective — 3 credits, 3 hours lecture 310A, 310B; 410A, 410B An examination of the life and work of the Vocal Private Instruction incomparable English rock and pop group 1 credit, 1 hour lecture The Beatles, framing the group’s career in Eight semesters of private instruction for the context of the vibrant social, cultural, vocalists, one hour per week with select faculty. and political climate of the 1960s. Attention is given to the group’s impeccable song writing, their rapid rise to fame, and their Instrumental Performance Ensemble creative use of newly-available technology in the recording studio. PRF100; 200; 300; 400 course descriptions Jazz Repertoire Ensemble 2 credits, 3 hours lab HIS480A A performance ensemble focusing on a wide range Western European Art Music and Culture of repertoire from the Great American Songbook to from Antiquity to 1750 bebop, post-bebop and ‘world music’ genres. 3 credits, 3 hours lecture This course traces the development of Western PRF101 European art music from the 10th century The Music of Horace Silver through the middle 18th century, focusing 2 credits, 3 hours lab on the musical styles of the master compos- An ensemble focusing on the repertoire ers of the Medieval, Renaissance and Baroque of Horace Silver. periods. Emphasis on the socio-economic and political conditions that gave rise to them. PRF120; 220; 320; 420 Jazz Strings Chamber Ensemble • HIS480B 2 credits, 3 hours lab Western European Art Music and Culture A performance ensemble for violinists, from 1750 to the Present violists, cellists and double bassists. 3 credits, 3 hours lecture Repertoire includes material written and This course traces the development of Western arranged by top composers in the jazz European art music from the middle 18th string world including Turtle Island Quartet, century through the twentieth century and Darol Ander, Jean-Luc Ponty, Edgar Meyer beyond focusing on the musical styles of the and Evan Price among others. Includes jazz, master composers of the Classical, Romantic Latin, fiddle, Western European classical, and Twentieth Century periods and beyond. pop and rock genres. Emphasis on the socio-economic and political conditions of each period. california jazz conservatory 2014 – 2015

33 PRF201 PRF205 The Music of Miles Davis and Wayne Shorter Music of Wes Montgomery 2 credits, 3 hours lab 2 credits, 3 hours lab An ensemble focusing on the repertoire An instrumental ensemble focusing on original of Miles Davis and Wayne Shorter. compositions and arrangements of standards as written/performed by legendary guitarist PRF202 Wes Montgomery. Repertoire includes classics Post-Bop Ensemble such as “Four on Six”, “West Coast Blues”, 2 credits, 3 hours lab “Road Song” and “‘Round Midnight”. An An ensemble focusing on music of the post in-depth analysis of transcribed solos from bop style including John Coltrane, Miles Davis, selected personnel on Montgomery’s seminal Bill Evans, Charles Mingus, Wayne Shorter and 1962 Riverside recording Full House spurs a Herbie Hancock among others. deep understanding of the music and provides a springboard for rhythmic, melodic and PRF203 harmonic exploration and development. Open Jazz Fusion Ensemble to guitarists, pianists, bassists, drummers, and 2 credits, 3 hours lab saxophonists. An ensemble focusing on playing and analyzing the music of Chick Corea, John McLaughlin, PRF230 Jaco Pastorius, Jean-Luc Ponty and others in Latin Jazz Ensemble the jazz fusion vein. 2 credits, 3 hours lab An ensemble based on the amalgam of

course descriptions PRF204 styles and techniques that form and inform Gypsy Jazz Ensemble the multifaceted field of Latin jazz. 2 credits, 3 hours lab An ensemble in the style of Django Reinhardt’s PRF231 and Stephane Grappelli’s Quintet of the Hot Afro-Venezuelan Jazz Ensemble Club of France. Beginning with their first record- 2 credits, 3 hours lab ings in 1934, these two innovators forged a An ensemble based on the styles and new genre — gypsy jazz or jazz Manouche — techniques that form and inform acoustic music combining pumping, infectious Venezuelan jazz. rhythm with virtuosity, inventiveness, and soul. Students learn the subtleties of the rhythm gui- PRF240 tar technique known as la pompe, the special Brazilian Jazz Ensemble role of the bass in a drum-less rhythm section, 2 credits, 3 hours lab as well as the distinctive improvisational dialect An ensemble focusing on the amalgam of Brazil- intrinsic to the style. Instrumentation: voice, ian and American jazz styles of music and tech- violin, viola cello, accordion, solo guitar, rhythm niques. Open to instrumentalists and vocalists. guitar and bass. PRF250 Traditional North Indian Ensemble 2 credits, 3 hours lab An instrumental ensemble focusing on the rhythmic, melodic and harmonic underpinnings of traditional North Indian music. california jazz conservatory 2014 – 2015

34 PRF262 PRF301 Cross-Cultural Jazz Ensemble Odd Meter Ensemble 2 credits, 3 hours lab Elective — 2 credits, 3 hours lab An ensemble combining jazz with traditional An ensemble exploring odd meter compositions styles of music from non-western European by John McLaughlin, George Duke, Milton cultures. Nascimento, Nguyen Le, Airto Moreira, Esbjorn Svensson, Jeff Beck and others. Course also PRF270 includes the application of odd meters to jazz East Bay Funk Ensemble standards. Students are encouraged to compose 2 credits, 3 hours lab and arrange original and existing work for the A performance ensemble focusing on the East ensemble. Bay funk canon — the distinctive, rhythm-driven genre of music that emerged out of San Fran- PRF303 cisco Bay Area-based bands from the late 60s to The Music of Charles Mingus the present. Beginning with its source, the music 2 credits, 3 hours lab of the “godfather of soul,” James Brown and his An ensemble focusing on the repertoire music director, Pee Wee Ellis, students study and of Charles Mingus. perform repertoire by noted San Francisco Bay Area bands including Sly and the Family Stone, PRF304 Cold Blood, Tower of Power, The Headhunters, The Music of Art Blakey Ray Obiedo and The V.W. Brothers, among others. 2 credits, 3 hours lab The revolutionary and legendary contributions A performance ensemble focusing on the of bassist Larry Graham are also covered. repertoire of Art Blakey. course descriptions

PRF271 Bluegrass Ensemble 2 credits, 3 hours lab An ensemble focusing on traditional and contemporary bluegrass technique with an emphasis on rhythmic drive, ensemble interaction, band dynamics and creative arrangements. Class is designed for acoustic guitar, mandolin, fi ddle, banjo, acoustic or electric bass, dobro and vocals. Listening assignments and a one-hour end-of-semester performance are required.

PRF272 The Music of Sting 2 credits, 2 hours lab An ensemble focusing on the repertoire of Sting — from ‘The Police’ (1978) to the present. california jazz conservatory 2014 – 2015

35 PRF305 PRF335 JI Jazz Orchestra Afro-Latin Percussion Ensemble 2 credits, 3 hours lab 2 credits, 3 hours lab A large performance ensemble focusing on the The history and performance of traditional, study and performance of standard and contem- popular and contemporary Latin American porary big band literature. Limited to standard big repertoire. Covers techniques, roles and concepts band instrumentation with one player to a part. of instruments including tumbadoras (conga drums), bongos, timbales, tambora, cajón, PRF308 pandereta, claves, cowbell, maracas, güiro, Improvised Music Ensemble quijada, güícharo, chékere, and güira. Rhythms 2 credits, 3 hours lab and styles addressed include Bembé, Iyesá, An ensemble exploring the realm of ‘free’ im- Palo, Makuta, Abakuá, Arará, Yambú, Columbia, provisation. Students are introduced to various Guaguancó, Conga de Comparsa Habanera, techniques they may use to collectively com- Conga de Comparsa Santiaguera, Bomba, Plena, pose in the moment. Focusing on listening and Merengue, Samba, Landó, Son, Danzón, Mambo, communication, students gain a deeper insight Salsa, Timba, and Cumbia. Prerequisites: into their own artistic voice and discover a wider Intermediate hand drum and stick technique spectrum of musical textures and compositional and coordination, and the ability to read approaches. Considerations include listening rhythmic notation. and communicating, style, form, motif, texture, meter and pulse, among others. PRF341 Tangos, Choros and Frevos

course descriptions PRF309 2 credits, 3 hours lab Percussion Ensemble An ensemble focusing on repertoire of Astor 2 credits, 3 hours lab Piazzola, Egberto Gismonti, Jose Maria de Abreu, A performance ensemble focusing on select Toninho Horta, Edu Lobo, Steve Erquiaga and percussion répertoire, transcriptions, students’ other signifi cant Latin American composers. original work and improvisation. Diverse instrumentation welcome. Prerequisites: Intermediate hand drum and stick technique and coordination, and the ability to PRF380 read rhythmic notation. Saxophone Quartet 2 credits, 3 hours lab The traditional SATB confi guration for soprano, alto, tenor and baritone saxophones. Repertoire covers styles from Baroque to bebop and beyond and addresses technical aspects relevant and unique to a woodwind quartet.

PRF409 Advanced Jazz Workshop 2 credits, 3 hours lab A performance ensemble for the advanced stu- dent focusing on important core innovations by post-bop luminaries including Wayne Shorter, Joe Henderson, Herbie Hancock, Chick Corea, Dave Liebman, Michael Brecker among others. Students are encouraged to bring in original work. Prerequisites: rhythmic, melodic and harmonic fl uency with the bop and post-bop language; familiarity with repertoire from the Great American Songbook. california jazz conservatory 2014 – 2015

36 Vocal Performance Music Technology

PRF110A, 110B TEC100 Vocal Performance Introduction to Music Technology 3 credits, 3 hours lab 2 credits, 2 hours lecture/lab An eight-semester course covering a range of An introduction to software tools available styles from the Great American Songbook to for sequencing, sampling, scoring/music bebop, modal, world, contemporary popular, notation, simple recording and production. and free music. Students compose original This course also covers software and web- material, write lyrics and create their own ar- based services that assist with developing rangements. Accompanied by a pianist and/or skills in basic musicianship. Introduction to rhythm section, singers focus on interpretation, Music Technology serves as a prerequisite stage presence, improvisation, vocal technique, for Basic Recording Techniques. The software phrasing as well as cultivating a personal style. reviewed in this course includes packages Students are expected to develop a repertoire that are multi-platform (Windows and Mac) of 100 songs over this four-year course. and web-based shareware.

• PRF210A, 210B TEC101 3 credits Digital Recording, Editing A continuation of PRF110B and Mixing Techniques 3 credits, 3 hours lecture/lab • PRF310A, 310B A one-semester course focusing on recording,

3 credits editing and mixing techniques using Avid course descriptions A continuation of PRF210B ProTools software. Topics include recording audio, audio editing, using MIDI, mixing, and • PRF410A, 410B using audio effects. Students complete several 3 credits projects over the course of a 15-week semester. A continuation of PRF310B

PRF111A Business of Music Vocal Jazz Ensemble Requirement / Elective — 2 credits, 2 hours lab BUS300 Repertoire includes historic arrangements from Audio for Live Performance and Recording groups including Lambert, Hendricks & Ross and 1 credit, 1 hour lecture the Singers Unlimited as well as original charts An introductory overview of live performance and arrangements. Emphasis on singing close audio systems and basic recording technology harmony parts, sight reading, intonation and providing an explanation of the signal path from creating a stylistically relevant ensemble sound. the source through the microphone to its even- tual destination of live show, loudspeaker or • PRF111B recording media. Strategies for successful live Requirement / Elective — 2 credits performance and interaction with live recording A continuation of ENS111A engineers are presented.

“ In addition to being a legend in his field, John Santos is a dynamic educator with an encyclopedic knowledge of Afro-Caribbean music and a generous spirit; he empowers and inspires his students. What a privilege it is to study with artists of his caliber at the CJC.”

Andrea Claburn CJC Student california jazz conservatory 2014 – 2015

37 BUS301 Recording Studio Legal Aspects of the Music Industry for Jazz Musicians REC101 1 credit, 1 hour lecture Recording Studio Internship Program An overview of the various legal issues in the Elective — 2 credits; 2–3 days/week lab music industry and the manner in which the law In conjunction with Fantasy Studios at Zaentz and technology have shaped the evolution of Media Center, a course providing supervised the industry. Covers current legal issues faced by practical training in the inner workings of a jazz musicians and jazz labels and the business professional, multi-room recording facility. practices that are being developed to address Internship training includes: them. Provides an understanding of the prin- • Basic recording techniques and microphone ciples of contract and copyright law and covers placement topics relevant to jazz musicians today, including • Basic recording session design and setup the role of agents and managers, live perfor- • Signal flow theory and patching mance agreements, recording contracts, music • Basic mixing console theory and application publishing, producer agreements, licensing • Recording session etiquette music for motion pictures, television and com- • Proper microphone and equipment handling mercials, understanding royalty statements and and storage the distribution and sale of music on the Internet. • Basic studio administrative tasks • Client concierge services BUS400 • Hospitality maintenance and cleanliness The Working Musician Prerequisites: Resume and consent of course descriptions 1 credit, 1 hour lecture Internship Program Coordinator. A one-semester course focusing on marketing Please note: This course is held offsite at and publicity practices critical to the success of Fantasy Studios at Zaentz Media Center, the professional musician. 2600 Tenth Street, Berkeley, California.

BUS401 Pedagogy Techniques Senior Project 1 credit, 1 hour lecture A course focusing on pedagogy techniques and SEN400A issues related to pedagogy. Guided by instruc- Senior Project tor on an individual basis, students design and 1 credit present a live, short-term workshop (2 hours) on Seniors prepare and perform a full-length a topic of their choice to the public as part of the concert of original material/arrangements at the Jazzschool Community Music School Workshop CJC, Yoshi’s or other concert venue. The concert Series. Students gain hands-on teaching skills, is professionally recorded. Students focus on expanding their employment options as pro- composing and arranging repertoire, recording fessional musicians. Prerequisites: senior-year and mixing the material, packaging and distrib- standing or consent of instructor. uting the product, marketing and publicizing the concert, rehearsing the band and gaining an Please note: Workshop proposals must be understanding of all of the legal issues related submitted to and approved by instructor six to production, publishing and copyright laws. months prior to presentation and a minimum Students complete this project in conjunction of six months prior to planned graduation. with a faculty advisor.

• SEN400B 1 credit A continuation of SEN400A california jazz conservatory 2014 – 2015

38

DEPARTMENT OF GENERAL STUDIES Area 1. English Communication (Requirement: 6 credits)

The General Studies curriculum is integral to Students are required to take a total of 6 credits the overall development of the aspiring jazz in English Communication: 3 credits of English professional. Courses in General Studies Composition and 3 credits of English Literature. promote broad-based cultural literacy, critical The following courses fulfill the CJC English thinking and communication skills necessary Communication General Studies requirements to function successfully in the music world and and are offered at the CJC: beyond. Courses in General Studies serve to broaden perspectives and provide points of ENGLISH COMPOSITION reference invaluable to the jazz professional in a global society. ENG100 The Essay The General Studies requirement comprises 30 English Composition Requirement / Elective credits and is divided into the following five areas: 3 credits, 3 hours lecture Focusing on writing style, sentence structure Area 1. English Communication and grammar course in effective expository (Requirement: 6 credits) writing and critical thinking that covers structure and function of the essay (non-fiction prose) as Area 2. Arts and Humanities a literary form. Students read exemplary essays (Requirement: 6 credits) about music, the entertainment industry, visual course descriptions art and culture, and write analytical arguments, Area 3. Social Sciences music reviews, manifestoes and revisions (Requirement: 12 credits) to gain the tools they need to express their personal perspectives, experiences and ideas. Area 4. Mathematics and Please note: this course is offered at the CJC. Quantitative Reasoning (Requirement: 3 credits) ENG102 The Biography and Autobiography Area 5. Physical Sciences English Composition Requirement / Elective (Requirement: 3 credits) 3 credits, 3 hours lecture A writing intensive that covers structure and A range of General Studies courses is offered at function of the biography and autobiography the California Jazz Conservatory. The CJC also as literary forms. Considerations include accepts select General Studies requirements/ strategy, research and documentation along electives from any fully accredited institution. with an examination of the structure and Transfer credit fulfilling CJC General Studies conventions of writing “a life.” Using key requirements in English Communication biographies and autobiographies of jazz (6 credits), Arts and Humanities (6 credits) musicians as models, students write a and Mathematics and Quantitative Reasoning biography of a jazz musician of their choosing (3 credits) is evaluated and accepted on a case- or their autobiography. Please note: this by-case basis. Please note: the Social Sciences course is offered at the CJC. (12 credits) and Physical Sciences (3 credits) requirements are not trans­ferable from another institution. These require­ments must be fulfilled at the CJC. california jazz conservatory 2014 – 2015

39 ENGLISH LITERATURE The following courses fulfill the CJC English Composition General Studies requirement and ENG105 have been approved for transfer from Berkeley Poetry of Jazz; Jazz of Poetry City College. Please note: Additional courses English Literature Requirement / Elective of interest may be approved on a case-by-case 3 credits, 3 hours lecture basis. For Berkeley City College course Beginning with the lyrics of work songs, gospel descriptions and class schedules, please and blues, and continuing through the Harlem visit http://www.berkeleycitycollege.edu/wp/ Renaissance, pre- and post- World War II, programs/class-schedules-and-catalogs/. bebop and the Beats, modern and postmodern, and the “NOW”, jazz poetry has rhythmic and ENGL 1A, 1B Composition and Reading lyrical styles nurtured by the music and its (4 credits) players. This extensive range of poetic and ENGL 5 Critical Thinking in Reading and jazz aesthetics is studied through the voices of Writing (3 credits) Bessie Smith, Willie Dixon, Langston Hughes, Jack Kerouac, Michael McClure, Al Young, ENGL 100 College Composition and Reading Michael S. Harper, Jayne Cortez, Ishmael Reed, (3 credits) Billy Collins, Quincy Troupe, et al. In depth readings and analysis, as well as historical and The following courses fulfill the CJC English musical context are emphasized and explored. Literature General Studies requirement and Please note: this course is offered at the CJC. have been approved for transfer from Berkeley City College. Please note: Additional courses

course descriptions of interest may be approved on a case-by-case ENG110 basis. For Berkeley City College course descrip- Introduction to Shakespeare: tions and class schedules, please visit From Plays to Works http://www.berkeleycitycollege.edu/wp/ English Literature Requirement / Elective programs/class-schedules-and-catalogs/. 3 credits, 3 hours lecture A course examining three selected Shakespeare ENGL 50 Multicultural American Literature plays and poetry such as Twelfth Night, Othello, (3 credits) the Sonnets, and Antony and Cleopatra with ENGL 85A Literature in English through Milton an emphasis on historical context — from the (4 credits) Renaissance to the present. The shift from Shakespeare’s theatre as raw commercial ENGL 85B Literature in English: Late 17th entertainment to its status today as preeminent through Mid 19th Century (4 credits) drama is analogous to the evolution of jazz as HISTORY 47 Critical Thinking in History early twentieth century entertainment found (3 credits) in brothels, bars and dance halls, to its status today as a serious art form. Working in seminar format, students consider problems of poetry, character and performance and attend a live performance of one of the plays, schedule permitting. Please note: this course is offered at the CJC.

california jazz conservatory 2014 – 2015

40 The following suggested courses fulfill the Area 2. Arts and Humanities CJC Arts and Humanities General Studies (Requirement: 6 credits) requirements/electives and have been approved for transfer from Berkeley City Students are required to take 6 credits in the College. Please note: Additional courses area of Arts and Humanities. The following of interest may be approved on a case-by- courses fulfill the CJC Arts and Humanities case basis. For Berkeley City College course General Studies requirements and are offered descriptions and class schedules, please at the CJC: visit http://www.berkeleycitycollege.edu/wp/ programs/class-schedules-and-catalogs/. HUM200 Introduction to Linguistics Requirement/Elective ART1 Introduction to Art History (3 credits) 3 credits, 3 hours lecture ART 4 History of Modern Art (3 credits) A general survey of the field of linguistics and AFRAM 44B African-American Culture Today: introduction to core areas such as phonetics African-American Music/Art/Thought and phonology, morphology, syntax and (3 credits) semantics, historical change, creolization and contact phenomena, language acquisition, COMM 5 Persuasion and Critical Thinking pragmatics and sociology, with a wide range (3 credits) of data from diverse languages. Students learn FREN 1A, 1B Elementary French (5 credits) the basic principles of linguistic analysis and HIST 33 History of Native American Thought

analytical reasoning, and the skills needed course descriptions and Literature (3 credits) to draw generalizations and find patterns to understand and explain how languages work. HUMAN 21 Film: Art and Communication (3 credits) HUM305 HUMAN 26 Global Cinema (4 credits) Philosophy of Jazz HUMAN 30A, 30B Human Values/Ethics Requirement/Elective (4 credits) 3 credits, 3 hours lecture What is the meaning of jazz? What is the HUMAN 40 Religions of the World (3 credits) purpose of art? How do you form your artistic HUMAN 46 Philosophy of the Human message within the jazz idiom? Andy Hamilton’s Experience (3 credits) “Aesthetics and Music” serves as a guide in PHIL 1 Introduction to Philosophy (3 credits) addressing these profound questions while reviewing the history of music aesthetics PHIL 10 Logic (3 credits) from Plato to Adorno. Topics covered PHIL 46 Philosophy of the Human Experience include a history of the concept of music and (3 credits) improvisation, and the relationship of jazz PORT 1A, 1B Elementary Portuguese (5 credits) to modernism and postmodern philosophy. Students question their own expectations SPAN 1A, 1B Elementary Spanish (5 credits) regarding jazz, including the relationship WS 35 Feminist Philosophy (3 credits) between art and commerce and personal motivations behind their artistic pursuits. california jazz conservatory 2014 – 2015

41 42 california jazz conservatory 2014 – 2015 course descriptions and EarlyJazz,Pre-1900 – 1919 Jazz History—TheRootsof HIS100A freedom anddemocracy. discussion, studentsgainasolidunderstanding Jazz History at theCJC. institution. Thisrequirementmustbefulfilled requirement is nottransferablefromanother Social SciencesGeneralStudies The note: requirement andisofferedattheJCJC.Please fulfills the Students (Requirement: Area 3.SocialSciences and soundrecordings World War I,andtheinventionofradio industrial including historical development American spirituals, the practices, andculturalconventionsthatform on the music development and Europeanmusiccultureonthe African, This cultural that of Through music thatisperformedinternationallytoday. Western cedents and A

3 credits,hourslecture four-semester jazz,

the

world

area foundation

cultural has course

the of

West a

art

in

Caribbean,

become

Europe of extensive twentieth-century

New

boom

are context

as CJC blues, post-bellum sacred the

form

Social

examines development

African

jazz of required

of musical Orleans Social

and

of jazz 12

course and

embodying

globally jazz ragtime by

of

and

Sciences. jazz,

listening,

credits)

South

the pre-1900, 1917. conceptual American the

Sciences is

the cultures secular that to

examining Great

and studied segregation, New

celebrated and take

of

influences The

American,

urban became

the jazz, its reading HIS100A

World, Black

other and

12

course General social music.

of

origins

approaches, ideals within

from dance credits West

on the

Migration,

African known

as

to and

of forces

Asian

the

the – focuses musical The its of

a Africa,

the

St the in 200B West music

in

early

ante

udies

to

-

in Americafrom1940 – 1959 Jazz History—StyleandCulture HIS200A other socioeconomicandculturaltouchstones. and motion ballrooms economic within Charlie The War swing of A historical burgeoning the hegemonyoftelevision,advertising, War between and structural, harmonicandrhythmiccreativity, examined, Coleman and Roach, Gillespie, cool including jazz a focusonthemusicalinnovationsofmodern This in Americafrom1920 – 1939 Jazz History—StyleandCulture HIS100B

survey 3 credits,hourslecture 3 credits,hourslecture the

through the music folk Horace II II, jazz, course

Prohibition modern

bands the

the

the Parker pictures, Great

influences.

the

of

and

and epochs

bebop,

Thelonious boom,

contexts

and

of Atomic focusing Modern

early Silver’s explores Civil

the mid-century and

Louis

many American

other

and jazz big

American beginnings

the jazz Rights the hard upon era,

bands, Age

many

jam

Armstrong, of

Jazz Jazz styles Students of

on

Great

jitterbug,

jazz

styles, Monk, the through

bop, their

sessions and the instrumental

Songbook,

Movement Quartet, others Messengers,

post-World as the impact

created

musical Depression,

evolution

the

funk,

collaborators

from of an Miles

rise draw

the

to

Duke

free Cold

art is in

the of

Art Latin

of the studied

reign

by Harlem. Davis,

form, theater

among connections

jazz. and World

sound

War, Ellington,

pre-World grouping,

Blakey’s War of Jazz Dizzy

Ornette

jazz,

of jazz.

other

Styles

with

Max

I

are

Age

the

HIS200B The following suggested courses fulfill CJC’s Jazz History — Style and Culture Mathematics and Quantitative Reasoning in America from 1960 – Present General Studies requirement and have been 3 credits, 3 hours lecture approved for transfer from Berkeley City This course surveys the range of idioms and College. Please note: Additional courses of subgenres of post-Coltrane jazz, particularly the interest may be approved on a case-by-case evolution of free jazz with the AACM, the 1970s basis. For Berkeley City College course New York Loft Scene, jazz in Europe, the music descriptions and class schedules, please visit and ideas of Wynton Marsalis juxtaposed with http://www. berkeleycitycollege.edu/wp/ the electronic fusion music of Miles Davis and programs/class-schedules-and-catalogs his collaborators, Herbie Hancock, Weather BUS 10 Introduction to Business (3 credits) Report, Chick Corea, et al, and the return of jazz to its dance origins. The steady influx of global BUS 20 General Accounting (3 credits) influences from traditional and contemporary BUS 53 Small Business Management (3 credits) musicians from Africa, Asia, and the New BUS202 Business Mathematics (3 credits) World continues to infuse a diverse range of compositional styles, forms and instruments into the jazz world. Area 5. Physical Sciences (Requirement: 3 credits) Area 4. Mathematics and Students are required to take 3 credits in Quantitative Reasoning the area of Physical Sciences. SCI300 fulfills

(Requirement: 3 credits) the CJC Physical Sciences General Studies course descriptions requirements and is offered at the CJC. Please Students are required to take 3 credits in note: The Physical Sciences General Studies the area of Mathematics and Quantitative requirement is not transferable from another Reasoning. institution. This requirement must be fulfilled at the CJC. MAT300 Entrepreneurial Skills for Musicians SCI300 3 credits, 3 hours lecture Physics and Psychoacoustics of Music A course designed to provide the aspiring 3 credits, 3 hours lecture/lab professional musician with entrepreneurial An exploration of the mechanics and skills critical to a successful career in the music perception of music — from the energy that industry. Using a systematic approach to excites the vibrating object and the space learning, students gain an understanding of through which its waves propagate, to the financial statement analysis, costing projects human ear and brain that experience it as and profitability, financial planning, and tax music and reshape it through design. Topics implication. This course provides students with include: wave properties; sound production a solid financial foundation applicable to a wide and timbre; acoustics and psychoacoustics; range of music industry-related ventures. pitch, tuning and temperament; and music technology. Through an understanding of music from a scientific perspective, students work toward expanding and building on their experience and sensibilities as musicians. While incorporating some basic mathematics, this course focuses primarily on a conceptual understanding of complex phenomena. california jazz conservatory 2014 – 2015

43 44 california jazz conservatory 2014 – 2015 faculty Murphy; Long Studied Vocal JazzStudies(FullProfessor, full-time) Laurie Antonioli/Voice; Chair, www.ambroseakinmusire.com. Roney, Lynne Jason San Charlie Stefon Redman, nician. International performingandrecordingartist/cli- lonious Jazz of Blanchard, Dick Pinzerella hattan the CJC (Visiting Professor, onoccasion) Ambrose Akinmusire/Trumpet FACULTY and with specializing musician B.A. M.M (Associate Professor, part-time) William R.Aron/Woodwinds to lyricist ofPauer-— AntonioliSongbook,soon Joe Cables, clinician; international performingandrecordingartist/ Graz,

both be

Monk

San Francisco Bonner;

Visiting in Trumpet Oatts, the

in

Beach. Austria;

released.

Moran,

Carrington,

School

Harris, Performed Music,

Herbie Performance, Persip,

the

Monk

at Bobby

San Francisco

Professor,

performed Steve and

Institute;

from

Mt.

Lew Billy 2007

in

Professor.

Student Francisco

bandleader,

Solo

music

Nabel International UC Hal Josh of

Jazz Hancock Hood classical

the

the

Coleman, McFerrin, Soloff,

Childs www.laurieantonioli.com.

Carmine Music.

Berkeley, Crook,

with

Ron

Mingus Symphony Competition

BM New Collective, Vocal Roseman,

educator and Records College

of San

and Carter, Laurie MA in Joe Saxophone

saxophone and Joe Studied

York

recorded

Bob

Jazz Performance, Caruso Billy

Francisco

Foreign Richie

Big

in

Gary Jazz Henderson,

1979. Wayne

Henderson,

and

recording

Philharmonic,

Music,

Hurst, for Frink,

and

Vijay Jimmy Studies, among Band, Higgins,

and

Competition. with

Grant.

Cal 42 International Professional Beirach,

with Wallace

Affair; Quartet playing Shorter.

Iyer,

Terence State, 2007 years;

Terri

State USC the

Vincent

Heath, others.

Kug

George artist; Joshua

Winner Man

Mark

The

and

1982;

U.,

-

-

Instructor: resident faculty. Instructor: Residentfacultyholdingtheminimum on occasion. Internationally Visiting Professor: lessons academicians equivalent. of and/or the minimum Adjunct Professor:Residentfacultyholdingthe in Widely Master’s Associate Professor:Residentfacultyholdinga who performers demonstrating Full Professor:ResidentfacultyholdingaPh.D.or Faculty Rankings Symphony Disappear bands (James Meader, Ben Marsalis; Outstanding producer; Eastman (Associate Professor, part-time) Joe Bagale/MusicTechnology period classroom Visiting: faculty. lessons hours Adjunct: week / Part-time: week and aloadofupto18privatestudioinstructionhours/ Full-time: Faculty Classifications academicians

week

the a

equivalent.

Bachelor’s teach Monder,

taught taught

field

/

and academicians of

including

recognized

week on

taught

Brown); A

A

Scott degree

time

A

A studied of

School

on hours course Manager,

of a up An

course

Widely and/or course

course

Incompletely,

on Orchestra; on a regular

jazz taught

a

in who

to Rhythm Master’s by indeterminate

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the

Widely on Amendola; a regular

a

degree

the

18

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/ consistent

non-resident consistent

Hot

who

load full

week

with

a academicians load Non-resident, equivalent. performers load load teach recognized of

private demonstrating

field consistent

Jenkins,

basis. on

in

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Music Einstein,

time

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basis. degree Rich the

of of of

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taught an

or leader,

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of performers

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faculty. than or for

basis

a

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academicians recognized classroom of

who field classroom

equivalent.

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SF;

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Fred

Bay

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Mafia

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Peter Barshay / Bass (Instructor, part-time) Anthony Brown / Drums/Percussion, Studied at San Francisco Conservatory of Music; Ethnomusicology (Full Professor, part-time) Manhattan School of Music. HOTTEA Produc- Composer, percussionist, ethnomusicologist, tions and Platform Recordings artist; has per- Guggenheim and Ford Fellow, Smithsonian formed nationally and internationally with Associate Scholar, and GRAMMY nominee. Milt Jackson, Freddie Hubbard, Sonny Stitt, Dr. Anthony Brown has collaborated with

Eddie Henderson, Woody Shaw, Pharoah Max Roach, Cecil Taylor, Zakir Hussain, faculty Sanders, Blue Mitchell, Tony Williams, Joe Steve Lacy, David Murray, Anthony Davis Henderson, Joe Lovano, Johnny Griffin and and the San Francisco Symphony. Brown Bobby McFerrin. www.peterbarshay.com. holds an M.A. and Ph.D. in music (ethnomusi­ cology) from UC Berkeley, and a Master of Music David Belove / Bass degree in jazz performance from Rutgers (Associate Professor, part-time) University. He has served as a Visiting Professor Studied at San Francisco State and San Francisco of Music at UC Berkeley, an advisor and con- Conservatory of Music. Recorded and/or sultant for The Exploratorium, and previously performed with Pete Escovedo, John Santos and was Curator of American Musical Culture and The Machete Ensemble, Danilo Perez, Tito Puente, Director of the Jazz Oral History Program at the Francisco Aguabella, Rebeca Mauleon, Ray Smithsonian Institution. He is currently Artistic Obiedo, Marcos Silva, Joe Henderson, Max Director of Fifth Stream Music, and the interna- Roach, Blue Mitchell, Eddie Harris, Mark Levine, tionally acclaimed Asian American Orchestra. Pat Metheny, Larry Coryell and Zakir Hussain. www.anthonybrown.org.

Theo Bleckmann / Voice John Calloway / Flute, Piano (Visiting Professor, on occasion) (Visiting Professor, on occasion) CJC Visiting Professor. National and international PhD in International and Multi-Cultural performing and recording artist and educator. Education, U. of San Francisco (in progress); Performed with Laurie Anderson, Anthony MA in Music Education, San Francisco State Braxton, Steve Coleman, Dave Douglas, Philip U.; BA in Music, City University of New York. Glass, Meredith Monk, Michael Tilson Thomas, Multi-instrumentalist, composer and arranger John Zorn and the Bang On A Can All-Stars. in jazz and Latin music styles; performed Featured soloist with the Albany Symphony, throughout the United States, Europe and Latin San Francisco Symphony Chorus, Estonian America with Israel“Cachao” Lopez, Max Roach, Radio Choir, Merce Cunningham Dance Com- Omar Sosa, Dizzy Gillespie, Pete Escovedo, pany and Mark Morris Dance Group. Currently Jesus Diaz, John Santos, Quique Cruz, Rebeca on faculty at Manhattan School of Music. Previ- Mauleon and Wayne Wallace. Recordings ously on faculty at New York University, The include Diaspora, The Code and collaborations New School and Queens College. Teaches voice with John Santos, Jesus Diaz and Omar Sosa; privately and in workshops and master classes faculty, San Francisco State U.; clinician, worldwide. www.theobleckmann.com. Stanford Jazz Workshop and Jazz Camp West; program coordinator, PlazaCuba. Lee Brenkman / Recording, Sound www.johncalloway.com. (Associate Professor, part-time) Sound system operation, design. Sound engineer, Avalon Ballroom, Family Dog Productions; head sound technician, Great American Music Hall, Stanford Jazz Workshop, Dick Bright’s SRO Band; mixed live shows for Bill Evans Trio, Stephane Grappelli, Count Basie Orchestra, Sarah Vaughan, Van Morrison, Astor Piazzolla, Duke Ellington Orchestra, Oregon; engineered recordings by Ed Blackwell, Betty Carter, Tito Puente, Woody Herman, Hampton Hawes, Carmen McRae. california jazz conservatory 2014 – 2015

45 46 california jazz conservatory 2014 – 2015 faculty Itzhak Workshop; Institute, Violinjazz winning 1991 College. Studied (Adjunct Professor, part-time) Jeremy Cohen/Violin and ensemble specials. for festivals inadditiontotelevisedperformances Vienne, appearances Asia, Teddy Newman, Eddie with tory BFA (Instructor, part-time) Matt Clark/Piano / Accompanist Discover America, program; Symphony’s Valley faculty David and Scaggs, Fishberg, with Cruise, mances teaching performanceandpresentation.Perfor performing U. Boulder; BA (Instructor, part-time) Clairdee /Voice /Performance

of

CNN in

others;

Cazadero in of

Bobby Cyrus

– San Europe

Fine

Marshall, College;

93; Sanborn,

Edwards.

Perlman. Jazz at Music. Playboy

include Big

Bernard

at

BS Showbiz Member,

Quartet

Channel’s

Clinician,

California

UC Red

voice-over

Francisco. Quartet; UCLA; founder Gene

instructor

Arts Sonoma

Chestnut,

opened Studies and in Sur, student Hutcherson,

“Adventures

Berkeley and at

Holloway, jazz

Information Recorded teaching

Jazz

and Monterey

the

Bertoncini, John Etta recording

Toured Stanford,

“Pretty”

www.violinjazz.com.

San

the Today

, faculty,

Turtle

workshops.

faculty,

lecturer 2-time Fit

State

Monterey,

Education, for

from

at State talent James. at of Vocalist

Bucky United

Francisco;

Faddis,

Jazz TV. the

the Anne Count

artist

Ray extensively

and/or Island and

Benny

Lottery, Purdie,

the in

Jazz

www.clairdee.com.

Rose

Systems U.

Grammy Stanford and Henry artist,

for Ensembles Stanford,

in

Joshua

Music” Pizzarelli,

Former Drummond,

States numerous and

for and

Oberlin

David Crowden,

jazz Apple, Festival, Basie

San

Rochester

U. String Bowl; performed Golson,

San

member, T

specializing

Coca-Cola Mancini international

Brooklyn aylor of history,

Francisco,

Management,

Redman, education

including

award-

“Fathead” vocal throughout

Jazz Orchestra,

Colorado- Francisco

Oaktown

Bank Conserva

performed

Quartet Dave

and The

Eigsti

PBS

Boz

jazz

jazz

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of

Diablo

Jazz

and

and in

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(Instructor, part-time) Sandy Cressman/Voice /Performance and San on ford is and soul, Performing at before School graduated on began Born Percussion (Visiting Professor, onoccasion) Kwami Coleman/Musicology;Pianoand recording Marsalis Nova Jazz in-demand Pagan with Brasileira Bandleader Jazz Conference University(Graz State Cornish at: Has Jazz Teaches and musicanship/eartrainingsimultaneously. a methodforteachingvocaldevelopment Techniques ledhertocreate ConnectedVoice, continuing and recordingartist/clinician.Cressman’s State Educated

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and University, University; Dreams”

earning his a

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Daniel Cullen / Physical Sciences / Taylor Eigsti / Piano Music Technology / Composition (Visiting Professor, on occasion) (Full Professor, part-time) CJC Visiting Professor. Studied music at U. Ph.D., MA in Composition from UC Berkeley; of Southern California. Concord Recording B. Mus in Composition from the University of Artist; 2007 Grammy nominee; faculty, Oregon. Interests in notation, open-form scores, Stanford Jazz Workshop since 1999; leader,

aleatoric composition, extended techniques and Taylor Eigsti Group with five albums as a faculty live electronics. Instructor in music technology leader; featured on BET jazz channel; performed and director of the Laptop Ensemble at the with Joshua Redman; Ernestine Anderson, University of San Francisco. Dave Brubeck, Diane Schuur, James Moody, Bobby Hutcherson, Frederica Von Stade, Patti George W. Davis / Poetry / Literature Austin, Christian McBride, Red Holloway, Rufus (Adjunct Professor, part-time) Reid, Alan Broadbent; featured on Marian BA in Literature, St. Lawrence University; McPartland’s Piano Jazz on NPR; featured in Graduate Studies, Poetry and Drama, Bread DownBeat Magazine, Billboard, Jazziz, Jazz Loaf School of English & UC Berkeley; teaches Times, Keyboard Magazine. www.tayjazz.com. English, poetry, creative writing, Berkeley Adult School; tutor in Adult Education; teacher,” Kai Eckhardt / Bass Literary Groove of Jazz”, JCMS; co-producer, (Adjunct Professor, part-time) Florio Street Concerts; producer, Jazz and the BA with honors, Berklee College of Music. Word, CJC; performer and reader throughout Internationally acclaimed performing and the San Francisco Bay Area. recording artist, composer and educator; performed with Steve Smith’s Vital Information, Jeff Denson / Double Bass Alphonse Mouzon, Randy Brecker, John (Full Professor, full-time) McLaughlin, Billy Cobham, Fareed Haque, DMA in Contemporary Music Performance with Courtney Pine, Zakir Hussain, George Brooks, an emphasis in Composition, University of Mike Marshall, and Stanley Clarke. Faculty on California San Diego; MM in Jazz Studies Magna occasion at Berklee College of Music, Boston; Cum Laude, Florida State University; BM in Per- the Bass Collective, NYC; Anton Bruckner Con- formance Cum Laude, Berklee College of Music. servatory, Austria; and Musician’s Institute of Enja Records recording artist with Minsarah Technology in Los Angeles. www.kaizone.com. and with the Lee Konitz New Quartet. National and international performing and recording Steve Erquiaga / Guitar artist; performed with Bob Moses, Joe Lovano, (Associate Professor, part-time) Carl Allen, Kenny Werner, Anthony Davis, National and international recording and Mark Dresser, Geoffrey Keezer, Claudio Puntin, performing artist; performed at Montreux Jazz Lionel Loueke, Dan Weiss, Ralph Alessi, Charles Festival, Berlin Jazz Festival, North Sea Jazz McPherson and Lee Konitz. Select performances Festival; performed with Bobby McFerrin, include: Berlin Jazz Festival, the JVC Jazz Joe Henderson, Les McCann, John Scofield, Festival Paris and the Montreal Jazz Festival, David Byrne, Turtle Island String Quartet, Paulo The Kennedy Center and the Village Vanguard. Bellinati, Andy Narell, and Paul McCandless; www.jeffdenson.com. founder, leader, Trio Paradiso; faculty, Jamey Aebersold Jazz Clinics; publications include Ann Dyer / Yoga (Adjunct Professor, part-time) Guitar Duets and Arrangements from his CD Vocalist, lyricist, composer, international per- Cafe Paradiso. www.erquiaga.com. forming and recording artist, yoga instructor. Leader, “Ann Dyer & No Good Time Fairies.” Recordings, Sunnyside, Premonition Records. Studies with Pandit Mukesh, Desai, Shweta Jhaveri, Dhanshree Pandit, Mark Murphy. BA in Dance and Psychology, Mills College. www.anndyer.com. california jazz conservatory 2014 – 2015

47 48 california jazz conservatory 2014 – 2015 faculty Critics Poll Diana Branford Performed Jazz featured Oregon, U., Alaska at Guitar Cork, Festivals Europe, five-time International recording/performingartistand Mimi Fox/Guitar(Instructor, part-time) and Kills Springsteen, (The and CD InGoodCompany columnist forBanjoNewsletter College; Virginia artist author ofBanjoForDummies Grisman, recording Anthropology (Ethnomusicology); PhD (Associate Professor, part-time) Bill Evans/Banjo

NYU;

CalArts,

Jayme bluegrass

candidate on Sorrow), Infamous

in Perth

Krall.

Festival. Jazz

NPR;

residence

Asia,

guest Commonwealth

USC director

artist

include DownBeat Magazine Marsalis,

Peter artist

winner.

with

and

Stone; Cornish Workshop,

www.mimifoxjazzguitar.com.

Crooked

and the

(Folklore); Erik featured clinician/artist on

charts;

Stringdusters), &

Adjunct

Rowan North who Charlie

Montreal,

of MA,

Caribbean Marian

Berkeley

at Yates www.billevansbanjo.com. Performed David

NashCamp College BA,

has Berklee

UC mentored Wales Still), topped

artist, & Britt

professor Byrd,

University international

(Hot

University, performed

McPartland’ Dry Sanchez Berkeley

College Monterey,

Music Wes

of

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in

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throughout international

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Benny Green / Piano Kenneth Helman / Voice (Artist in Residence, 2014 –15) (Instructor, part-time) A member of Art Blakey’s famed Jazz Messengers, Postgraduate fellowship in Accompanying, Benny Green served as star side man with such Manhattan School of Music; postgraduate notables as Betty Carter, Freddie Hubbard and fellowship at American Opera Center, The Ray Brown. He has appeared on hundreds of Juilliard School; B.M. in Piano Performance,

recordings with them and with Oscar Peterson, Peabody Conservatory; Voice Pedagogy and faculty Etta Jones, Milt Jackson, and Russell Malone, Performance, Westminster Choir College; Vocal to name only a few. He formed his own trio in Fellowship, Tanglewood Festival; and vocal 1991, and has produced dozens of recordings, study with Brian Gill, New York University. as a leader and with others, for Blue Note, A faculty member at the California Jazz Telarc and other labels. His most recent release, Conservatory and composer and in residence Magic Beans (Sunnyside, 2013), is his first self- at Little Opera in San Francisco, Ken has produced recording of all original compositions, maintained teaching studios for 35 years. As a and includes his Jazz Messenger teammate, performer, he has appeared as a singer/pianist Peter Washington on bass and Kenny Washington in numerous venues including Carnegie Hall, on drums. Benny Green was the first recipient Maxim’s, The Town Hall, Merkin Concert Hall, of the Glenn Gould International Protégé Prize The Lensic Theater, Count Basie Theater, The in Music (1993), and his remarkable career Rainbow Room and The Algonquin Hotel. Ken stretches back to his days at Berkeley High, has worked extensively with Sting on numerous in the school’s influential Jazz Ensemble. Mr. recording and theater projects. As a songwriter, Green is accepting students in private instruction Ken produced a recording titled “Emerging” in spring 2014, and will teach a course entitled in 2009 and is at work on a new musical titled “The Language of Hard Bop” in the fall. “Starting Over”. www.kenhelman.com www.bennygreenmusic.com Terri Hinte / Music Business — Publicity Alan Hall / Drums (Associate Professor, part-time) (Associate Professor, part-time) Independent publicist whose current clients Advisor, Drum Program. Former assistant include the CJC, James Carter, Danilo Perez, professor at Berklee College of Music; adjunct Bobby Broom, Clifton Anderson, Dave Holland, faculty at UC Berkeley; clinician; author; Ed Reed, Nicolas Bearde, Anthony Brown and performed with Ernie Watts, Paul McCandless, the Asian American Orchestra, the Hot Club of Eddie Harris, Bruce Wilamson, Art Lande, Tom San Francisco, and (since 1978) Sonny Rollins. Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Served as Fantasy Records’ Director of Press Stuart Hamm; artist endorsement with Zildjian & Public Information for more than 30 years. Cymbals, Vic Firth Sticks, Aquarian Accessories. Recipient of a 2006 “A Team” Award from the www.jazzdrumming.com. Jazz Journalists Association. www.terrihinte.com.

“ My experience at the CJC has been nothing short of magical every single day. The faculty, in addition to being the best players in their field, are also great teachers. They really demonstrate that they want the students to succeed in becoming the next generation of great players.”

Dillon Vado CJC Student california jazz conservatory 2014 – 2015

49 50 california jazz conservatory 2014 – 2015 faculty Waybacks, Pollyanna Bush and many others. of Metallica, Lavay Smith, James Nash of the Asher, Spencer Day, Jasmine Guy, members Mariah), Los Tigres Del Norte, Hilary Duff, Lynn Walden (producer for Whitney, Aretha and Duritz of Counting Crows, Narada Michael internationally known artists including Adam Voicestra; vocal coach for many Bay Area and Founding member of Bobby McFerrin’s Raz Kennedy/Voice (Instructor, part-time) College. www.jekabson.tripod.com. at Berkeley City College and Los Medanos Fresh Sound/New Talent label. Currently teaches projects. Recorded a solo album Intersection on Galactic, andhascomposedforfi lmand dance Toured with John Mayer, Illinois Jacquet and B Mus. in Trumpet, Oberlin Conservatory of Music. MA in Composition, SF Conservatory of Music; (Associate Professor, part-time) Erik Jekabson/Trumpet www.peterhorvath.com. arranged and recorded for Aretha Franklin. Bennie Maupin, Richie Cole, Ray Obiedo; Hathaway, Oakland Symphony, Bob Sheppard, Bobby Hutcherson, Joe Henderson, Lalah toured, recorded with Victor Bailey Group, Vienna Conservatory of Music. Performed, Conservatory of Music, Budapest, Hungary; MA, Berklee College of Music; Bela Bartok /Piano(Instructor,Peter Horvath part-time) Instructor, U.C. Berkeley Extension. courses (online) in Literature. Honored National award-winning UC Berkeley Extension Writing and Literature, UC Berkeley Extension. Drama, UC Berkeley. Instructor in Creative SFSU. Lecturer in Shakespeare and Renaissance Lecturer in Shakespeare and Short Fiction, Ph.D. in Literature (Renaissance), UC Berkeley. (Full Professor, part-time) Chair, ofGeneralStudies Department Mary AnnKoory/Literature; of FivePlay Jazz Quintet. www.lauraklein.net. composer; fi ve recordings; currently co-leader Berklee Private Studies. Active jazz pianist/ at SF Community Music Center and piano at since 1987. Taught piano and jazz ensembles teaching the Alexander Technique in Berkeley Training Course), 2001-08. Private practice Center for the Alexander Technique (Teacher Department 150 Program. Faculty, Bay Area of Alexander Technique, UC Berkeley Music Alexander Technique, AmSAT, STAT. Instructor of the Alexander Technique, Center for the Berklee College of Music. Certifi ed Teacher BA in Music, SUNY Buffalo. Jazz Studies at (Associate Professor, part-time) Laura Klein/AlexanderTechnique Janet Kutulas / Voice Jason Lewis / Drums (Instructor, part-time) (Adjunct Professor, part-time) BA in Music Performance from the Classical BM, San Francisco Conservatory of Music, Percussion Program, San Jose State U. Private 1988. Music Director, KITKA Women’s Vocal teacher, combo assistant at Stanford Jazz Ensemble. Trained with Bulgarian singers Workshop, clinician for the San Jose Jazz Tzvetanka Varimezova, Kremena Stancheva, Society. Has performed with John Stowell,

and Ukrainian singer Mariana Sadovska, and Gary Burton, Gil Goldstein, James Moody, Mark faculty others. Awarded a Hertz Fellowship from UC Murphy, Bob Sheppard, Steve Rodby, Paul Berkeley. Performed with A.C.T.; Le Mystère McCandless, Norma Winstone, Larry Coryell, des Voix Bulgares; Linda Tillery and the Cultural Darol Anger, Regina Carter, Johnny Frigo, Heritage Choir; Marcel Khalife; and on Prairie James Carter, John Handy, Anton Schwartz, Home Companion. Performed as a flutist with Mark Levine, Peter Apfelbaum, Paul Nagel, and the Berkeley Symphony, California Symphony, Kurt Elling. Has also performed with the San the Civic Orchestra of Chicago and the Illinois Jose Symphony and the San Jose Civic Light Philharmonic. As a founding member, played Opera. Recorded and toured internationally with for 15 years with EARPLAY; also Composers Boz Scaggs, Michael Brook, Djivan Gasparyan, Inc., Left Coast Chamber Players and in the SF Ann Dyer and Taylor Eigsti. Can be heard on Symphony’s New and Unusual Music Series. numerous recordings as well as TV (Spark www.kitka.org. on PBS) and movie soundtracks (Affliction, Albino Alligator and Ratatouille). Art Lande / Piano Piano (Visiting Professor, on occasion) Frank Martin / Piano, Keyboards Grammy-nominated recording artist, (Adjunct Professor, part-time) internationally known pianist, composer, Music Director for Narada Michael Walden, Patti drummer and educator. Has performed Austin, Angela Bofill; Carnegie Hall appearances with Joe Henderson, Woody Shaw, Bobby with Sting, James Taylor, Elton John; Record Hutcherson, Steve Swallow, Charlie Haden, producer/arranger for Al Jarreau, Turtle Island Kenny Wheeler, Sheila Jordan, Mark Isham, String Quartet, Joey DeFrancesco, Mimi Fox, Mary Paul McCandless, Jan Garbarek and Jenson, Molly Holm, Deuce, Tuck & Patti, Karen many others. Blixt; performed/recorded with John McLaughlin, Buddy Montgomery, Joe Farrell, Dizzy Gillespie, Jay W. Lehmann / Trumpet Larry Coryell, Herbie Hancock, Stanley Jordan, (Full Professor, full-time) Stevie Wonder, Airto, Dori Caymmi, Dianne MA in Trumpet Performance, CSU East Bay; Reeves, Patrice Rushen, Trilok Gurtu, Richard BA in Music, UC Davis. California Lifetime Bona; Faculty, UC Berkeley Jazz Ensembles. Teaching Credential; Chairman, Laney www.frankmartinproductions.com College Music Department; Director, Laney Summer Music Program; performed at the Jeff Marrs / Drums Monterey Jazz Festival and with Don Menza, (Associate Professor, part-time) Bill Watrous; studied with John Cage. BA and MA in Jazz Performance from The New www.laney.peralta.edu. England Conservatory; works regularly with Marcus Shelby Jazz Orchestra, The Mel Martin Quartet, The “Dynamic” Ms. Faye Carol; has performed with Dr. Lonnie Smith, Marc Cary and George Russell; part-time faculty member, Los Medanos College, Diablo Valley College, and UC Berkeley. california jazz conservatory 2014 – 2015

51 52 california jazz conservatory 2014 – 2015 faculty tional touringandrecordingartist.“Godfather artists includingFredHo,Danongan national performing/recordingartistandeduca- Chamber Association; 2008 McPartland’s and and Keystone at arranger Ensembles of Portugal. FoundingPresidentandDean candidate BA (Full Professor, full-time) Susan Muscarella/PianoDeanofInstruction Wong Kalanduyan, Sosa, Oliver Anthony and Ornette and tor, musicians Lecturer ‘91 SF 1998, ProfessorofWorld CulturesProgramat original PhD, (Adjunct Professor, part-time) Hafez Modirzadeh/Theory, Saxophone Jazz DVDS producer ofCDrecordingsandInstructional of Leader Violin, Viola, Bass(AssociateProfessor, part-time) Paul Mehling/Guitar, Tenor &PlectrumBanjo,

major gypsy Instruction,

State’s

in NEA

Modirzadeh

Concord the Peter Mark

Educators

“A

Wesleyan

Music and

for and Lake,

of

Coleman,

Lighthouse, “chromodal”

Jazz

Team”

to clubs jazz and

Brown’s

Music

guitar;

Korner, the Apfelbaum’s Izu’s

in School many

Asian

in work program

Composition, James

member Musicology,

Akira

Jazz in Fellow, Piano recording Morocco Hot

CJC,

and

Circle

award-winner.

Award

America

has

America. University

Asian with International

Improv

John

Great Club of Asian Festivals;

Tana,

festivals

Inc. Jazz

Newton,

worked and

Music 1984

and

of of Gnawan approach

from and Handy, of

Hieroglyphics

and

Director, artist; American

Fire,

the American on Kenny Monterey, (according

Arts.

2006 University San www.cjc.edu.

–

UC

and

Asian

NPR; 89;

(1992), Andalucia. including featured Board the with

Leo Steve

performances Francisco;

Zakir Berkeley. Association www.HCSF.com.

Fulbright and

composer,

Dance. Endo, to Jazz

UC

recipient Don Smith,

American

Music

jazz. of

Orchestra,

Flamenco

Hussein Berkeley Lacy

for

to

of Jazz

Journalists

on

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Francis Cherry

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Angels Music; Diablo private 20+ Valley of Voice, University; Master Voice (AssociateProfessor, part-time) Joyce Pricco/Voice of and the the BA Kim Nalley/Voice (AdjunctProfessor, part-time) Artist Director, performer, Multi-instrumentalist, Percussion (AdjunctProfessor, part-time) Jackeline Rago/Cuatro,Afro-Venezuelan music facultyatWellesley College. Chamber Francisco fiddler Francisco, HCSF, internationally. six Hot Performing Kenny D’Rivera, internationally, which winning member and Attended bands, A (Associate Professor, part-time) Evan Price/Violin

native Completion, Jazz

albums,

in

Bay “Ten

Club years blues the

In

History,

Turtle

San College.

has

Barron, Valley Liz music string at

Episcopal of

instruction Residence

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jazz Venezuelan of of

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of

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Orchestra. Pearl’s. Music.

Girls’ in vocalist; Carroll,

released Providence

Francisco

composer,

Detroit, Bachelor the San member and

venues Island ensemble

College quartets,

director Ying Cleveland

UC

Influential

and internationally Bay Multimedia two-time

Composer and

Chorus, College Francisco, performed

Music

www.kimnalley.com.

Church. Berkeley.

Orchestra Grant.

since

Quartet, actress

Sergio Quartet, MI. Area five

collaborated

Music throughout

Former of of State

and

national at arranger,

String

and Roots

Turtle Music,

the

Education,

albums, of

and

St. 1978; Institute

freelance Grammy®-award- www.jackelinerago.com. African

Bradley

and and

and Music. Project; University;

which

gypsy

Studies, blues

nationally Awarded Dr. Michael

Quartet

member Nashville, the

Quartet, in Island

instructor Music

and arranger Odair acclaimed

former Billy

educator;

square

the

New

performed

with

Americans

of bands.

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jazz Performing

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musician, awarded Boston international

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of Century

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Glenn Richman / Bass John Santos / Percussion (Associate Professor, Part-time) (Associate Professor, part-time) Mannes School of Music (1 yr); Berklee College Percussionist, producer, composer, recording of Music (2 yrs). Advisor, JCMS Bass Program; artist, writer and historian. Multi Grammy student of Buster Williams, George Mraz and nominee (5); Founder and Director, The Machete Mike Longo; performed with Bobby Hutcherson, Ensemble, 1985 – 2006; performed and/or

Jon Hendricks, Dave Liebman, Chet Baker, Benny recorded with Dizzy Gillespie, Tito Puente, faculty Green, Dakota Staton, Chris Connor, Tom Harrell, Santana, Cachao, Eddie Palmieri, Max Roach, Eddie Henderson, John Hicks, Mike Clark, Jack McCoy Tyner, Steve Turre, Bobby Hutcherson, Wilkins, Billy Hart, Larry Willis, George Coleman Lalo Schifrin, James Moody, The Latin Giants and Mickey Roker; faculty, Brubeck Institute, UC of Jazz, Omar Sosa, Buena Vista Social Club, Berkeley and Chabot College. Batacumbele, Lázaro Ros, Francisco Aguabella, Armando Peraza, El Conjunto de Clave y Rita Sahai / Voice (Adjunct Professor, part-time) Guaguancó, John Faddis, and Mark Murphy. Performing artist, educator and composer. Lectured and/or offered residencies at the A native of Allahabad, India, the disciple of Berklee School of Music, Yale, UCLA, Whittier renowned vocalist Pandit Rama Shankar Mishra, College, Michigan State, U. of Wisconsin at specialist in the Benares Gharana style. Student Madison, Dillard U., UC Berkeley, UC of sarod maestro Ustad Ali Akbar Khan focusing Sacramento, UC Santa Cruz, UC Monterey Bay, on the Seni Allaudin Gharana style. Performed San Jose State U., SF State U., Humboldt State throughout the United States, Canada, United U., and Brigham Young U., as well as through- Kingdom and India, recorded several solo CDs, out Europe and Latin America. Currently on and collaborated on major recording projects with faculty of the College of San Mateo, Jazz Camp Grammy Award-winning artist Béla Fleck, and West, and director of the highly acclaimed John renowned choreographer, Alonzo King. Currently Santos Sextet. on faculty at the Ali Akbar College of Music. Jaz Sawyer, / Drums, Percussion Jim Santi Owen / Indian Percussion (Visiting Professor, part-time) (Associate Professor, part-time) MPA, Metropolitan College of New York; BFA, MA in World Music, CalArts. Trained in Indian Mannes Jazz & Contemporary Music Program. percussion under Pandit Swapan Chaudhuri, A San Francisco native, drummer and percus- T.H. Subash Chandran, and K. Sekar. Student sionist Jaz Sawyer has performed and recorded of Charlie Haden, James Newton, and Tootie with major artists including Wynton Marsalis, Heath, and African drumming and dance from George Benson, Phil Lesh & Friends, Abbey the Ladzekpo Brothers. Performed with Pharoah Lincoln, SF Symphony, Lincoln Center Jazz Sanders, Alonzo King, Hamza el Din, Mickey Orchestra, Irvin Mayfield among others. Hart, Alam Khan, George Brooks, Steve Smith, He has performed at The Blue Note, The Village Chitresh Das, Gamelan Sekar Jaya, and Jai Vanguard, Carnegie Hall (NY), Davies Symphony Uttal among others. On faculty at the Ali Hall (SF), The New Morning (Paris), The Con Akbar College of Music, the CJC, Dominican certgebow (Germany), Red Sea Festival (Israel), University, and Lines Ballet School and is and the North Sea Jazz Festival (Cape Town). currently the Musical Director of the San Founder and CEO of Pursuance Records, he Francisco World Music Festival. is also actively involved in communities in the www.jimsantiowen.com. San Francisco Bay Area and New York, and con- tinues to conduct workshops and special events throughout the country as part of his mission to improve music education for young musicians. www.pursuancerecords.com. california jazz conservatory 2014 – 2015

53 54 california jazz conservatory 2014 – 2015 faculty Joyce; Nana Bud Purim, Music Marcio formed composer, international performingandrecordingartist, Advisor, (Associate Professor, part-time) Marcos Silva/Piano Harold Ernie Norma Red Scott Boz orchestras; countless studiosessionsandmanypit ensembles U. Served Attended John Shifflett/Bass(Instructor, part-time) Jazz founder Church performs Orchestra, Contemporary artist, Michigan. Colorado; MA (Adjunct Professor, part-time) Dave Scott/Trumpet www.antonjazz.com. featured Yoshi’s, and clinician, Phi and Science MS (Visiting Professor, onoccasion) /Saxophone Anton Schwartz

of

Beta

in in Scaggs,

recording Holloway, Shank,

Quartet. Philosophy,

Iowa.

Watts,

Caymmi,

Amendola jazz, Computer

Director, Trumpet

leader,

Airto,

Land,

on

Montarroyos,

Winstone,

with Change

Blues

Foundation of Kappa. CJC

artist

Brubeck graduate wi

BA the

National

Marcus arranger, Tr classical at Currently

Ricardo

th

toured

Smith

Taylor

Leny

umpet

Toninho

Brazilian Kurt

www.davescott.org. San in faculty

Alley, Marcos

on artist; Boz

John

Jazz Danilo

Performance, arranger,

Faculty, Band, Instrumental

Science,

Harvard Band;

NPR’s

Institute; Andrade, Elling

Jose

John Shelby

Scaggs, Dobson, school

Eigsti,

performing with

Orchestra, idioms; Supergroup,

Silveira, Monterey Fellow;

Zorn, producer,

headliner, of

teaching

Jon

Horta,

Silva Caymmi, Program. Brass

the

State

also Stanford

JazzSet, and

Stowell, Dave

keyboards

U.,

Lucien, Stanford Madeleine

in Bobby Jazz

Jazz

performer,

Glide and Emilio lead BA

Toshiko

Paquito Monkey many

performed Music, Dori

magna University. U. Music,

bass Jazz Liebman,

educator;

The

Blue Orchestra; and

Studies in

Edu Intersection.

of National

trumpet,

2005.

Jazz

Dave Hutcherson, Memorial Claudio Caymmi, Ann Mathematics

Santiago, Northern others.

Realistic U.; Festival;

and

recording

U.

for

Note,

Akiyoshi, Lobo,

cum

U. D’Rivera, Peyroux,

Band; Workshop;

composer

National Dyer,

of

Scott program,

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small

with per Played

and Iowa.

laude,

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Sheryl Lynn Thomas / Business of Music — Arjun Verma / Sitar Marketing (Associate Professor, part-time) (Associate Professor, part-time) BA in Drama from San Francisco State U. BA in Psychology with a thesis in music learning with emphasis on Musical Theater. Marketing techniques, Dominican University of California. Director, CJC Inc.; Marketing and Publicity A student of sarod maestro Ustad Ali Akbar Khan. Manager, Patois Records; Latin jazz and world Recipient of the prestigious Shenson Fellowship

music recording artist; award recipient and from the San Francisco Foundation. Performed faculty honorary member of the International throughout the US and Europe including the Thespian Society; vocal and acting training United Nations in Geneva, Switzerland, the with San Francisco Academy for The Performing New School in New York City and Prague Castle Arts, Seydways Acting Studio and John Howard in Prague, Czech Republic. Currently on faculty Swain. www.fantabulousink.com at the Ali Akbar College of Music.

Mads Tolling / Violin, Viola Marc van Wageningen / Electric Bass (Associate Professor, part-time) (Associate Professor, part-time) Internationally renowned violinist, violist, and San Francisco Bay Area electric bassist and composer. Two-time Grammy award-winner recording artist specializing in funk, Latin and with the Turtle Island Quartet. As violist with the jazz. Performed with Diane Reeves, Tower of quartet, 2003 – 2007 and now as fi rst violinist, Power, Pee Wee Ellis/Maceo Parker, Steve Smith, 2007 – present, Mads maintains an active touring Stan Getz,George Duke, Francisco Aquabella, Pete and recording schedule as well as composing Escovedo, Eddie Marshall, Sheila E. and the E. and giving master classes. Tours as jazz violinist Train and Andy Narell among others. Recorded with the acclaimed bassist Stanley Clarke and with Steve Winwood, Sheila E., Tom Grant, David his touring band. In 06 and 08 as part of Turtle Garibaldi, Pete Escovedo, Ray Obiedo, Linda Island Quartet, Mads won two Grammy awards Tillery, Cornelius Bumpus and Teresa Trull and for Best Classical Crossover album with the Barbara Higby. Served as house band member recordings “4+Four” and “A Love Supreme for The Wayne Brady Show, But Can They Sing — The Legacy of John Coltrane.” Tolling has and The One. Marc has a debut recording out received Denmark’s Sankt Annae’s Award for under the VW Brothers name titled “Muziek” on Musical Excellence as well as grants from Queen Patois Records. Margaret, the Sonning Foundation and the Berklee Elvin Jones Award. He has performed with Paquito d’Rivera, Kenny Barron, Joe Lovano, Stefon Harris, Sergio & Odair Assad, Leo Kottke and Russell Ferrante. california jazz conservatory 2014 – 2015

55 56 california jazz conservatory 2014 – 2015 faculty Smith and Bruce Barth. www.michaelzilber.com. Narada Michael Walden, Barry Finnerty, Steve Handy, Dave Douglas, Rachel Z, James Genus, Haque, Geoffrey Keezer, Donald Harrison, John Vitous, Bob Berg, Eddie Henderson, Fareed Gillespie, Sonny Stitt, Dave Liebman, Miroslav arranger, educator; performed with Dizzy performing andrecordingartist,composer, England Conservatory. National and international Tufts U.; B Mus. in Composition, New PhD in Composition, NYU; MM in Composition, (Full Professor, part-time) Michael Zilber/Saxophone Co-producer, Florio Street Concerts. Music History, U. of Washington, Seattle. Mountain College, San Francisco; BA in Germany; MA in Organ Performance, Lone Norddeutsche Orgelakademie, Bremen, Post-graduate studies in Early Music, (Associate Professor, part-time) Katherine Westine /Piano and Brubeck Institute. www.dannzinn.com. Harris, Barry Finnerty. Faculty CSUEB, UCB, Eshelman, Jeff Tain Watts, Mary Wells, Frank Performed/Recorded with Joe Henderson, Dave Dann Zinn Band. Featured on over 40 CDs. NFAA Outstanding Teacher Recipient. Leader BA Music Performance CSUEB, UCLA 3-time (Associate Professor, part-time) Dann Zinn/Saxophone/Flute CJC ADMINISTRATIVE Lauren Adams AND PROGRAM STAFF Development Consultant

Susan Muscarella Bill Aron Founding President and Dean Bookkeeper of Instruction, CJC, Inc. Lee Brenkman Rob Ewing Sound Technician Director, Jazzschool Community Music School Robert Soper Piano Technician Laurie Antonioli Chair, Poulson Gluck Design

CJC Vocal Program Graphic Design staff & board Director, Jazzschool Community Music School Kristine Seinsch Vocal Program Owner, Jazzcaffè

Erik Jekabson Director, CJC BOARD OF DIRECTORS Jazzschool Young Musicians Program Susan Brand (Director and Chairman of the Board) Joshua Birch Ed.D. Clinical Psychologist Dean of Administration Registrar and Custodian of Records Clifford Brown, Jr. (Director) President, Brown Radio and Audio Solutions Dean Muench Operations Manager; Charles Charnas (Director) Manager, CJC Bookstore Former Vice President, Associate General Coun- sel, Corporate Law, and Assistant Secretary at Jesse Rimler Hewlett-Packard Company and Apple Inc. Program and Events Coordinator James Ellis (Director) Mary D’Orazi Branch Manager, Development Associate University Branch Center, Wells Fargo

Herman Bosset, Eli Goldlink, Jerry Fiddler (Director) Erika Oba & Christian Sullivan Principal, Zygote Ventures; Chairman, Solazyme Administrative Assistants Sy Grossman (Director, Assistant Secretary) Mike Charlasch Chief of Gastroenterology, Marketing Consultant Oakland Kaiser Permanente, retired

Sheryl Lynn Thomas Rita Hargrave, M.D. (Director) Digital Marketing Manager Geriatric Psychiatry

Hollis Ashby Communications Consultant california jazz conservatory 2014 – 2015

57 Tyler Johnston Denny Abrams (Director) (Director and Vice Chairman of the Board) Partner, Abrams-Millikan Design Construction Executive Vice President, Marketing, Development, Emeritus Dreyer’s Grand Ice Cream, Inc., retired Sherie Friedlander (Director) Bertram Lubin, M.D. (Director) Sherie Friedlander Insurance Agency, Emeritus President and Chief Executive Officer, Children’s Hospital, Oakland Research Institute Vaughan Johnson (Director) M.A.T., M.D., F.A.C.S., Emeritus Richard A. Lyons (Director, Secretary) Partner, Wendel, Rosen, Black & Dean, LLP, James J. Keefe (Director) Attorneys at Law President and Owner, BCC Corporation, Emeritus

staff & board Larry Marcus (Director) Managing Director, Walden Venture Capital Amy Orton (Director and CFO) Attorney at Law, Emeritus Ernie Mieger (Director, Treasurer) Real Estate Operative John Papini (Director) Real Estate Investor, Emeritus photos Susan Muscarella (Director) Founding President and Walter Riley (Director) Interior

/

Dean of Instruction, CJC, Inc. Attorney at Law, Emeritus

Gregg Perloff (Director) Danny Scher (Director) McGrath Founder and CEO President, Dansun Productions, Vice-President Hali Another Planet Entertainment Bill Graham Presents, retired, Emeritus Cover;

/ Jim Reynolds (Director) Roastmaster emeritus at Peet’s Coffee and Tea. ADVISORY BOARD Littles Past president, Pacific Coast Coffee Association Tom Carr

Andrew Rumer Carole Davis Grason (Director and Treasurer of the Board) Paula Forney Certified Public Accountant, retired Benny Green Charles Hamilton M. David Sherrill (Director) Richard Hindman Photography: CFA, CFP, Morgan Stanley Smith Barney, Stacey Hoffman New York, NY Mark Levine Design Jason Olaine Kevin Whitman (Director) Patricia Phillips Gluck

President and CEO of Whitman Development David Ring Company and Whitman Capital Jayne Sanchez Poulson Chuck Sher Michael Yovino-Young (Director) Merrilee Trost Design, General Certified Real Estate Appraiser Wayne Wallace Peter Williams Michael Zaninovich (Director)

Vice President/Senior Investment Manager Malmquist Wells Fargo california jazz conservatory 2014 – 2015 Design:

58 APPLICATION FOR ADMISSION

You may also download an application form from www.cjc.edu. Please submit the completed form along with a $100 application fee to :

California Jazz Conservatory, Office of Admission 2087 Addison Street, Berkeley, CA 94704 fax: 510.841.5373 e-mail: [email protected]

APPLYING FOR: FALL 20 SPRING 20 application

Personal Information

FIRST NAME MIDDLE NAME LAST NAME DATE

Name, if different from above on other academic records:

FIRST NAME MIDDLE NAME LAST NAME

( ) – ( ) –

E-MAIL ADDRESS HOME PHONE CELL PHONE

/ / – –

BIRTHDATE (MM/DD/YYYY) SOCIAL SECURITY NUMBER

Instrument Voice

LIST INSTRUMENT(S) PLAYED AND YEARS STUDIED / PERFORMED YEARS STUDIED / PERFORMED

Permanent Address:

ADDRESS CITY STATE ZIP

Current Mailing Address:

ADDRESS CITY STATE ZIP california jazz conservatory 2014 – 2015

59 Educational History

Please list all schools and colleges you have attended or will attend before enrolling in the CJC.

SCHOOL LOCATION DATES ATTENDED DEGREE/DIPLOMA

1.

2.

3.

4.

5.

6. application 7.

8.

9.

10.

Resume

Please describe your achievements, awards, extracurricular activities and other interests.

ACHIEVEMENTS

1.

2.

3.

4.

5.

AWARDS TITLE DATE DESCRIPTION

1.

2.

3.

4.

EXTRACURRICULAR ACTIVITIES DESCRIPTION DATES

1.

2.

3.

4.

OTHER INTERESTS

Personal Statement

Tell us about yourself, your music, future aspirations and objectives in pursuing a Bachelor of Music degree in Jazz Studies at the CJC. Please submit approximately 1,000 words in Times New Roman, 12-point font. (please attach) california jazz conservatory 2014 – 2015

60 Driving Directions

From San Francisco: UNIVERSITY AVE Take the Bay Bridge to 1-80 East towards Berke- ley/Sacramento. Take the University Avenue CJC exit. Go east (towards the hills) 2 miles to Shat- ADDISON STREET tuck Avenue. Turn right on Shattuck Avenue to Addison Street. Turn right on Addison Street. The CJC is immediately on your right. CENTER STREET

From East of Berkeley: OXFORD STREET From Highway 24, take the Berkeley exit: High- ALLSTON WAY way 13/Tunnel Road/Ashby Avenue. Drive west on Ashby for 2 – 3 miles. Turn right on Shattuck Avenue. Drive north to Addison Street and turn KITTRIDGE STREET

left. The CJC is immediately on your right. UC BERKELEY

MILVIA STREET

From the South Bay: SHATTUCK AVE BANCROFT WAY Take 880 North to I-80 East/Sacramento towards

Berkeley. Take the University Avenue exit. BERKELEY HIGH SCHOOL Go east (towards the hills) 2 miles to Shattuck FULTON STREET Avenue. Turn right on Shattuck Avenue to Addison Street. Turn right on Addison Street. CALIFORNIA JAZZ CONSERVATORY The CJC is immediately on your right. 2087 Addison Street • Berkeley, California 94704 510.845.5373 • www.cjc.edu

Bay Area Rapid Transit — BART

The CJC is located less then a block from the Downtown Berkeley BART station. Please visit www.BART.gov for specifi c train information. The Downtown Berkeley BART Station is located in downtown Berkeley on Shattuck Avenue between Center Street and Allston Way. BART serves San Francisco/Colma, SFO/Milbrae, Fremont, Richmond, Dublin/Pleasanton, and Pittsburg/Bay Point.

AC Transit

There are nineteen AC Transit bus lines that service the downtown Berkeley area. All buses are wheelchair accessible and can transport bicycles. Please visit 511, www.actransit.org for specifi c train information. The William E. Robinson Bus lines: F, FS, 800, 1Lx, 52L, 1R, 51S, Foundation 7, 9, 15, 18, 19, 51, 65, 67, 79, 604, 605, 851. california

aconservatoryzz

2087 Addison Street Berkeley CA 94704 510 845-5373 phone 510 841-5373 fax email: [email protected] www.cjc.edu

Z Z C J A O N A S I E N R R V

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P D Y C I U N G A A D • R T I S T S A N • B Y E R K E L E

“Those who descend a short fl ight of stairs to the school’s basement digs in the former Kress “dime store” fi nd a warren of soundproofed classrooms, students of all ages and a jazz education program that has put the Jazzschool on the map as one of the most vital centers of jazz education in the West.”

David Wiegand, SF Chronicle Datebook October 10, 2010

“Globally recognized as America’s music, originating in the great city of New Orleans just a century ago through the African American experience, today jazz is performed and listened to by people of all ethnicities, backgrounds, ages and creeds. Indeed, jazz is considered by many to be America’s greatest artistic gift to the world. The understanding and appreciation of jazz is integral to understanding and appreciating American history and culture. It’s an outstanding artistic model of individual expression and democratic expression, as well. And there’s probably no better example of democracy than a jazz ensemble: individual freedom, but with responsibility to the group. It’s essential that we preserve, develop and expand this treasured art form for our future generations by recognizing and elevating the importance of our jazz education programs in every single school across America.”

First Lady Michelle Obama at the White House Music Series, “The Jazz Studio,” on June 15, 2009